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Why would you use them instead of B Major and Db?
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04-07-2013 06:25 PM
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If you are driving a car and you hear a whump whump whump, you must Cb. If you are hired to be a lookout on a pirate ship, you climb up the crow's nest and you must C#.
Those are just some of the uses but certainly the ones I find handy.
David
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If you are modulating around in flat keys, going to Cb would make more sense than going to B. As for Pirates, I think their favourite bebop tune is the Yaaaarbird Suite.
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Without C#, F# would have no one to resolve to him, he would be so lonely waiting. Everyone deserves someone to come home to.
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so basically Cb & C# major are worthless unless it's on paper
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If your ears can tell the difference between Cb and B, I will pay you $100.
Originally Posted by bobsguitars09
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haha! yes! Originally Posted by BigDaddyLoveHandles
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C# does have friends so watch what you say....
Johann Sebastian Bach chose C-sharp major for Prelude and Fugue No. 3 in both books of the Well-Tempered Clavier. In Hungarian Rhapsody No. 6, Franz Liszt takes the unusual step of changing key from D-flat major to C-sharp major near the beginning of the piece. Maurice Ravel selected C-sharp major as the tonic key of Ondine from his piano suite Gaspard de la nuit. Louis Vierne used C-sharp major for the "Dona Nobis Pacem" of the Agnus Dei of his Messe Solennelle in C sharp minor.
Wilbert Harrison used the C-sharp major in his 1959 hit, "Kansas City." A more modern example is the usage of C-sharp major in the song "Winter Wrap Up" from the TV show, My Little Pony: Friendship Is Magic.
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Johann Sebastian Bach chose C-sharp major for Prelude and Fugue No. 3 in both books of the Well-Tempered Clavier. In Hungarian Rhapsody No. 6.
My question is why did he call it C-sharp? or did someone else call it later?
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Bach and My Liitle Pony in the same paragraph!
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trying to be politically correct equal billing. Originally Posted by BigDaddyLoveHandles
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If Cb and C# are worthless, so are Db and B, and so would be every other key, and so would be anything in music.
Nothing in music is worthless.
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Nothing is better than eternal happiness. A ham sandwich is better than nothing. Therefore...
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Originally Posted by BigDaddyLoveHandles
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Also, back in Bach's time, keys had symbolic significance. I remember reading about the well-tempered clavier and how one piece in it was particularly sombre, and it coincided with its key signature forming the shape of a cross. I don't know if this dea extends to C#/Db etc... but sometimes extra-musical ideas impinge.
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Can anyone point me to some songs in Cb Major and C# Major?
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Here's some. Originally Posted by bobsguitars09
Complete Overview
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[QUOTE=bobsguitars09;315365]
Johann Sebastian Bach chose C-sharp major for Prelude and Fugue
Oh yeah?? Well fug him too!!!
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c# is different to db in that sharps impart a sharper brighter sound than flats. it is probably only psychological though
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Originally Posted by BigDaddyLoveHandles
Originally Posted by mja
And "back in the day" all notes were NOT equal. The equal temperment that allows for key equality now was not the given for music at that time. There is a stronger use of natural harmonics in some keys in music of earlier eras, so that some keys would sound very beautifully harmonically, overtones and strong harmonics all over, but as you travel along the cycle of 5ths, the keys would get more and more dissonant. In this system of writing in flat keys, and writing in sharp keys gave diverging keys with different harmonics. F# and Gb were actually different keys.
I play with a singer, I play All Of Me in C, she seems to favour a tendency towards C#. Originally Posted by bobsguitars09
But seriously... most jazz songs in the standard genre are popular songs in popular arrangement, you won't find them in odd keys that are difficult for the populace to negotiate. Even studio musicians are given charts that arrangers would not write in very nonstandard keys, and they're the only ones that see those charts anyway.
In modern jazz, there is an increasingly strong priority to write your own original music. Why don't you do that? Not saying anyone would readily sign up for an on the gig reading with you though.
Often you'll see these keys as turnaround combinations for chord substitutions, say a chromatically descending sequence of tritone subs, but again, much of this is encountered as on the fly improvisation, not actually written in the chart. Even then, Cb will be written as B and understood to be an enharmonic writing for the benefit of the reading of the performer. The purpose of performance is not to wow the audience but to facilitate the sound, and ease becomes a factor.
Yeah, the next time I play All of Me, I'm going to announce that this is a special arrangement I did in the very difficult key of B# and that I will attempt it without the use of a capo. Then I'm going to ask for a raise.
Am I impressive of what?
David
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@David...sounds impressive to me.
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before equal temperament there was Quarter-comma meantone - Wikipedia, the free encyclopedia tuning.
c flat and b nat would have slightly different frequencies.
this could be why harpsichords have double courses of strings with pedals to switch for transposition.
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Exact Armondo! Originally Posted by hodge12
When you've played natural frequency tunings, like early music, even tempering is just a little off everywhere you go, but it's equally off. That has a little bearing on the OP's question. The proper answer would be different depending on what era you were living in.
David
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You've obviously never played with a bad drummer. Originally Posted by jtizzle
David
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in the key of e-flat minor the III chord is G flat maj, you will also have C flat in the key signature.
if you are playing Round Midnight for example, its cleaner to write in the key of 6 flats than 6 sharps and needing to write c double sharp accidentals all the time.
also transposing for horn players often is the reason for tunes being in keys with a lot of flats.Last edited by hodge12; 04-08-2013 at 06:32 PM.
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