Enharmonic Equivalents - Music Theory
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Date: 2022-03-28
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Comments and reviews: 9
OneEye
it can be confusing if you havnt learn different scales..
Harmonic min, Harmonic min b2, Harmonic min #4, Harmonic MAJOR, Hungarian Major.
you'll have to make adjustments ( I do)
example.....Mix #1, Aeo maj7, loc maj6, ion #5.
It' sort of WACKED for me to count from #1..so it gets transfer to G# Loc b4, bb7
The same with a mode from C Harmonic Major Ab Aeo b1gets transfer to Ab lydian aug, #2.
or b4 is sort of equilent to Maj3......#2 to b3 ( lydian #2)
It actaully helped me later. Ab lydian #2, #6....
If I was used to pushing down from C MAJOR toward C min....( b)
In combination of
A Minor UP towards A MAJOR
or using the A Harmonic min b2.....( G#, Bb)
They are what they are...if I use A harmonic min b2
example....while in F MAJOR/D min...as the Parent KEY.
I could play F melodic min...and D melodic min
Play.....F min Bb7 C7 into F MAJOR G 7 A7 into D min.
it's just easier..( for me to see /play) Db Maj7 ( lydian #2, #6)
Play thes movement for cadence..ect
and variation of this movement.
Db Maj7, Ab Maj....G min C7 into F MAJOR
Db Maj7 Ab Maj Bb Min , C7 into F MAJOR....( Bb min is lydian b3 or lydian #2)
The Db Maj7 is sort of F min inverted.
I can apply F melodic min Bb7 C7 into F MAJOR again...
or instead of playing that all the time
F min....D dim....E dim into F MAJOR ( D dim and E dim borrowed from F melodic min)
Or I can sub in more dim chords...( it sounds cool when I play it on the guitar)
when I arpeggiate the chords,,,,It'll sound as if Im playing some sort of scale run..
Resolve it to F MAJOR...if want.
F Min.....B dim.....C# dim D dim E dim into F MAJOR
Then Im going to simply play the D min chord...
Play different bass notes.....D, A....Eb, Bb....ect
It's just from D Harmonic min b2 ( I could play to G min CHORD or KEY)
I learned all these movements in C MAJOR/Amin...at first.
I could easily play F min or F MAJOR ..... Ab/G# dim into A min
reply
it can be confusing if you havnt learn different scales..
Harmonic min, Harmonic min b2, Harmonic min #4, Harmonic MAJOR, Hungarian Major.
you'll have to make adjustments ( I do)
example.....Mix #1, Aeo maj7, loc maj6, ion #5.
It' sort of WACKED for me to count from #1..so it gets transfer to G# Loc b4, bb7
The same with a mode from C Harmonic Major Ab Aeo b1gets transfer to Ab lydian aug, #2.
or b4 is sort of equilent to Maj3......#2 to b3 ( lydian #2)
It actaully helped me later. Ab lydian #2, #6....
If I was used to pushing down from C MAJOR toward C min....( b)
In combination of
A Minor UP towards A MAJOR
or using the A Harmonic min b2.....( G#, Bb)
They are what they are...if I use A harmonic min b2
example....while in F MAJOR/D min...as the Parent KEY.
I could play F melodic min...and D melodic min
Play.....F min Bb7 C7 into F MAJOR G 7 A7 into D min.
it's just easier..( for me to see /play) Db Maj7 ( lydian #2, #6)
Play thes movement for cadence..ect
and variation of this movement.
Db Maj7, Ab Maj....G min C7 into F MAJOR
Db Maj7 Ab Maj Bb Min , C7 into F MAJOR....( Bb min is lydian b3 or lydian #2)
The Db Maj7 is sort of F min inverted.
I can apply F melodic min Bb7 C7 into F MAJOR again...
or instead of playing that all the time
F min....D dim....E dim into F MAJOR ( D dim and E dim borrowed from F melodic min)
Or I can sub in more dim chords...( it sounds cool when I play it on the guitar)
when I arpeggiate the chords,,,,It'll sound as if Im playing some sort of scale run..
Resolve it to F MAJOR...if want.
F Min.....B dim.....C# dim D dim E dim into F MAJOR
Then Im going to simply play the D min chord...
Play different bass notes.....D, A....Eb, Bb....ect
It's just from D Harmonic min b2 ( I could play to G min CHORD or KEY)
I learned all these movements in C MAJOR/Amin...at first.
I could easily play F min or F MAJOR ..... Ab/G# dim into A min
reply
Reverend
I have seen a few of your videos over the last week or so, and they are all excellent. Unfortunately I now have what is becoming an overwhelming urge to write out the Circle of Fifths in a linear form, adding a sharp with each move to the right and a flat with each one to the left. If I do this until I have applied either double sharps or double flats to all seven notes in the scale it will at least pass an hour or so of this seemingly endless self-isolation, and I might even see new patterns somewhere in there and learn something. Thanks for another informative video.
reply
I have seen a few of your videos over the last week or so, and they are all excellent. Unfortunately I now have what is becoming an overwhelming urge to write out the Circle of Fifths in a linear form, adding a sharp with each move to the right and a flat with each one to the left. If I do this until I have applied either double sharps or double flats to all seven notes in the scale it will at least pass an hour or so of this seemingly endless self-isolation, and I might even see new patterns somewhere in there and learn something. Thanks for another informative video.
reply
Andreu
Hello, my friend. I think you are forgetting to mention that in reality C sharp is not the same as Dflat...and so on with all flats and sharps... Mathematically they are close but they are different frequencies and sound different, but during 1700 in the piano, for convenience and practical reasons, they decided to merge both in one single key in the middle of both and they called it -tempered-.
reply
Hello, my friend. I think you are forgetting to mention that in reality C sharp is not the same as Dflat...and so on with all flats and sharps... Mathematically they are close but they are different frequencies and sound different, but during 1700 in the piano, for convenience and practical reasons, they decided to merge both in one single key in the middle of both and they called it -tempered-.
reply
Rhydian
I understand perfectly about enharmonic equivalence but I am puzzled when it comes to key signatures involving 7 sharps or 7 flats. I follow the need for completeness but surely the key signature of C# is really better considered as the key of D flat major with only 5 flats. Thank you for your informative videos. (Dr) Rhydian Harker.
reply
I understand perfectly about enharmonic equivalence but I am puzzled when it comes to key signatures involving 7 sharps or 7 flats. I follow the need for completeness but surely the key signature of C# is really better considered as the key of D flat major with only 5 flats. Thank you for your informative videos. (Dr) Rhydian Harker.
reply
Mike
Would it not be simpler, in most cases, to write something like B# as C with a natural accidental? I guess with enough practice you would instantly recognize that B# = C, but I feel it would just be easier with sightreading or whatnot to just go with a C natural accidental. Thoughts?
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Would it not be simpler, in most cases, to write something like B# as C with a natural accidental? I guess with enough practice you would instantly recognize that B# = C, but I feel it would just be easier with sightreading or whatnot to just go with a C natural accidental. Thoughts?
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opium32
Seems kinda silly why composers would care about a letter being used twice... They don't write the music down in letters, they use musical notation. So why not just use the same notation for the same notes?
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Seems kinda silly why composers would care about a letter being used twice... They don't write the music down in letters, they use musical notation. So why not just use the same notation for the same notes?
reply
Groover
Thank you for the excellent explanation! But I would like to know why we even have flats and sharps to begin with. Why weren-t the notes simply named A,B,C,D,E,F,G,H,I,J and K?
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Thank you for the excellent explanation! But I would like to know why we even have flats and sharps to begin with. Why weren-t the notes simply named A,B,C,D,E,F,G,H,I,J and K?
reply
rjdd
Hello, this was a very informative video! Quick question in the bass clef what would be the enharmonic equivalent of C flat. Thank you.
reply
Hello, this was a very informative video! Quick question in the bass clef what would be the enharmonic equivalent of C flat. Thank you.
reply
David
One question you didn-t answer is why a composer would choose to write in D flat rather than C sharp, or G flat rather than F sharp.
reply
One question you didn-t answer is why a composer would choose to write in D flat rather than C sharp, or G flat rather than F sharp.
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