allansto
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If im asked to play a c flat on my tenor which note do I play ??????????
help please
allansto
help please
allansto
I am going to be a good boy and resist all temptation, well this one at least. )) For most people (assuming you're not a barber shop singer, an advanced string quartet player, or into playing period instruments) you can probably ignore that issue for the time being...C flat is a semitone below C natural and hence the same as B natural. Imagine a piano keyboard - there's no black key between B and C so they're only a semitone apart. Some people will tell you it's not as simple as that - google "equal temperament" to open a can of worms.
Of course, the tenor sax is a transposing instrument so, if you want a C flat in concert pitch, you need to play a C sharp.
At least unti you find you need to play in the key of GbI am going to be a good boy and resist all temptation, well this one at least. )) For most people (assuming you're not a barber shop singer, an advanced string quartet player, or into playing period instruments) you can probably ignore that issue for the time being...
I am going to be a good boy and resist all temptation, well this one at least.
I am going to be a good boy and resist all temptation, well this one at least. )) For most people (assuming you're not a barber shop singer, an advanced string quartet player, or into playing period instruments) you can probably ignore that issue for the time being...
All my admiration.
The perfect wrong answer I heard once: "same as a B# of course"
But in case of B# at least we have a differing for it.
elsewhere i was explaining to someone that how we "spell" intervals harmonically is part of the issue. For example, c=>eb is a minor third, whereas c=>d# is an augmented second, so context is imporant. In eb maj or cmin that interval would be a minor third, because it would be notated with eb, but in keys such as e min (ascending, d# leading note) it would be a d# and hence an augmented second.
Elsewhere I was explaining to someone that how we "spell" intervals harmonically is part of the issue. For example, C=>Eb is a minor third, whereas C=>D# is an augmented second, so context is imporant. In Eb maj or Cmin that interval would be a minor third, because it would be notated with Eb, but in keys such as E min (ascending, D# leading note) it would be a D# and hence an augmented second.
Why? Easier or just different? Underlying theory is the same.How comes that the alphabet is so minor in England and so phrygian in Germany?
And I always assumed that D major was a bra size.
Can we start a campaign to introduce the Italian notation system? It is much easier.
It sounds better:Why? Easier or just different? Underlying theory is the same.
If im asked to play a c flat on my tenor which note do I play ??????????
help please
allansto
Underlying theory is the same.
Sorry, but that's a different system. You're referring to what in the UK would be referred to as solmization and solfege
That makes sense in terms of "do mobile" or Orff system.
Maybe I don't like the idea that the alphabet is minor (or phrygian in Germany, due to the B/H thing).
And D major still sounds bra-related.
It's way off topic and I don't want to initiate a protracted and ultimately probably futile exchange. There's a decent book written by an American, Richard Taruskin, published by OUP called, "Music from the Earliest Notation to the Sixteenth Century" in the 'Oxford History of Western Music' series.
This gives a thorough history of the development of the notation that we use and it is a pan-European perspective.
Generally, northern European countries use letter names A-G (G was the last to be added and originally assigned the Greek letter 'gamma') and have done so since Medieval times.