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Originally Posted by jazzman1021
The equals sign or equality sign (=) is a mathematical symbol used to indicate equality. It was invented in 1557 by Robert Recorde. In an equation, the equals sign is placed between two (or more) expressions that have the same value.
Wow! I wasn't aware they knew the who and the when.
On the other hand in what sense are enharmonic keys equal, in what sense not equal?
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06-27-2019 10:27 AM
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I personally used to avoid writing Cb and Fb because I was afraid of making things harder to read, but, these are very common in classical music and I think they often make musical and notational sense. If you're writing a line in Gb, it's much clearer to use Cb instead of B natural and this will result in less accidentals overall.
I play classical upright bass and while I wouldn't say Cb or Fb is common as a key, it's very common to see these notes as accidentals and I don't think they should be avoided.
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In a tempered scale environment, enharmonics are the same sonic event (=).
The difference then exists solely on paper. Musicians make an informed individual choice
whether to use the technically correct contextual spelling or go with the expediency of
using the more familiar note spelling. And for those who believe that B#,Cb, E#, Fb
were put on this earth just to make our musical lives more difficult.......
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Originally Posted by Babaluma
I've seen them more than occasionally in melodies. Well, mostly Cb out of that group.
I've seen them, but rarely, in chord symbols. I suspect it's usually a computer-transposed chart.
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I reckon this is the time to ask for assistance here.
I've a vague memory of Roy Acuff or Maybe Jimmy Martin, probably with the Nitty Gritty Dirt Band,
on a record calling out a song in " the key of K-sharp flat minor."
Anyone remember this?
Dare you to learn that in all 12 keys.
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I saw a passage in Ab minor (7 flats) in a piece by John Rutter. It then transposes to A minor so probably that‘s why he didn’t write it down as G# minor (5 sharps). Hell to read as a player, I was lucky I only had to sing it.
The reason why there are no pieces in the aforementioned keys is that they are easier to read in their enharmonic keys (B instead of Cb and so forth).
Recently I saw a chart that had Bb in the bass and A# in the treble of the same chord. This is sheer incompetence IMHO. Same with an A# chord in a passage in D minor. Absolutely no reason to confuse the player by opting for the less obvious choice.
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Originally Posted by BigDaddyLoveHandles
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Enharmonic keys (my preference in bold)
Db and Bbm
or
C# and A#m (contains E# and B#)
Gb and Ebm (contains Cb)
or
F# and D#m (contains E#)
B and G#m
or
Cb and Abm (contains Cb and Fb)
But if in a flat key area, I hesitate to modulate to a sharp key or vice a versa.
There are inevitable challenges. We can use our preferred spelling of a note,
but it somewhat obscures the interval ex. Gb > E or Gbm > D.
I guess all the experience reading music badly spelled helps develop the skill to
make sense of whatever version appears before us.
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After reading through this thread.
My head hurts.
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The most obvious use of Cb is when you're playing the relative minor. The relative minor of Cb is Abm, not nearly as unintuitive as Cb.
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Originally Posted by Jim Soloway
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Actually as we often play Abm on G7 it’s a good point
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Originally Posted by christianm77
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I just play in G# minor and don’t tell anyone
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Originally Posted by Jim Soloway
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