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Klarinet Archive - Posting 000695.txt from 2001/02

From: "Tony Wakefield" <tony-wakefield@-----.net>
Subj: Re: [kl] Enharmonic perplexity
Date: Sun, 18 Feb 2001 17:01:29 -0500

Here`s a little Sunday evening`s puzzle for everyone who`s bored with T.V:-
write out the scale of Bbb melodic minor, transposed for clarinet in A. No
prizes. Guaranteed to keep you up half the night!!! (He he)

Enharmonic perplexity
>
>
> >
> > if a composer wants you to play a g natural then why doesn't he just
> write
> > out a g natural rather than an F double sharp?
> >
> > natalie
>
>
> It has to do with how chords are constructed and named.
>
> Let's start with a simple example. The C major chord is C E G. Now if
you
> want an augmented C major chord, you raise the third note by 1/2 step
which
> yields C E G#.
>
> Now let's see how a double sharp could come about. For example, a Bmajor
> chord is B D# F#. If you wanted an augmented Bmajor chord then you raise
> the third note of the chord by half a step, which yields B D# Fdouble
sharp.
> It would be incorrect in a chordal sense to write the chord as B D# G.
>
> Another instance in which they can come up are harmonic and melodic minors
> in sharp keys. In the harmonic minor, the 7th note of the scale is raised
> 1/2 step from what it would be based on the key signature. If that note
is
> sharpped to start with, then the resulting additional 1/2 step would make
it
> a double sharp. Again using the enharmonic name of the note would result
in
> an incorrect "spelling" of the scale.
>
> Dee Hays
> Michigan

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