Hello, Tuba players who have learned in Brass bands only to play from Eb treble clef parts, when confronted with bass clef in C often transpose the part by reading for Eb treble clef and adding 3 sharps to the key signature, a practise which can theoretically result in as many as 10 sharps in the key signature. Although they would be advised to learn bass clef properly, some don't and can be quite successful playing this way and become well acquainted with such extreme "theoretical" keys. A good ear and a full knowledge of scales and arpeggios must help.
Just an example of some musicians who have a practical use for these keys. best Wishes, Benno On 29.10.2004 14:28 Uhr, "Steve Freides" <[EMAIL PROTECTED]> wrote: > These "odd" keys are not totally unheared of in music, and one doesn't have > to think too hard to find example of why. For instance, composers often > move to the parallel major from minor and versa vice. If a piece in Gb > major moves to the parallel minor, while you probably aren't looking at a > key _signature_ of 9 flats, you're certainly playing in that key. > > There's a Schubert "musical moment", I think it's Opus 96, for piano, in > which the piece starts in the key of Ab major, has a section in Ab minor, > and then moves to F-flat major. Fortunately for us all, Schubert, or at > least his editors, changed the key signature to E-major instead at that > point so one doesn't have to read in 8 flats but, frankly, the music _is_ > really in the key of 8 flats there. And this is but one example. > > I don't think the idea of visiting key signatures with more than seven > sharps or flats is at all out of line but I likely wouldn't make students > responsible for these keys signatures; instead, I'd make them responsible > for up to 7 sharp and up to 7 flats, and then go over a few more places > around the circle of fifths in class so that everyone understood the point > of what was possible, just in case they ever need to think in one of those > odd keys. And as to your original question of key signatures for these > keys, I confess that if I''ve ever seen them, I don't remember it. > > -S- > >> -----Original Message----- >> From: >> [EMAIL PROTECTED] >> [mailto:[EMAIL PROTECTED] >> du] On Behalf Of [EMAIL PROTECTED] >> Sent: Thursday, October 28, 2004 11:19 PM >> To: [EMAIL PROTECTED] >> Subject: [Hornlist] Theoretical Minor Keys? >> >> I'm doing a quickie music theory worksheet where we have to >> go through and rapidly write down all the minor key >> signatures based on the note letter given. >> Pretty simple really, you are given a 'd minor' for example >> and you write down one flat on any given clef. >> >> However there are quite a few typos, which seems to me like >> they just randomly put out note names without thinking about >> whether or not there truly is a minor key for some note names. >> >> The three typos that are showing up are d flat, c flat, and g >> flat minor. >> Well those typically aren't found on the general circle of >> fifths anywhere as any true minor key signature. A quick way >> to find any minor key mentally is to add three flats to any >> given key signature (it works for me), and when you get to >> five flats you just go back to the beginning of the flat >> cycle, where five flats plus three flats is back to the >> first flat, b flat, and so on. >> >> Now using the rule where the minor key is the sixth degree of >> the tonic, you will only be able to find the minor keys for >> which the sixth degree of a major scale is actually in a >> scale. D flat, C flat, and G flat are not in the sixth >> degree of any major scale. If you use the rule where you go >> up/down three half steps for minor to major (and vice versa >> respectively), you still do not end up with a viable key >> signature. With d flat you end up with an E, but an E has C# >> as its minor key, not D flat. With c flat you end up D, but >> D's sixth degree is not c flat, it is b. The same goes with >> g flat. Three half steps up from that yeilds an A, which has >> an F# as it's key signature. >> >> So I'm wondering, with those three trouble notes I wonder if >> you could theoretically go through the 'add three flats' rule >> and double flat Bb, Eb, and Ab for these troublesome >> 'pseudo-minor-keys'. >> >> I'd have to physically write these theoretical key signatures >> down and see if the minor scale progression actually works, >> but I'm wondering if anyone has already done this, and could >> tell me what their findings were. >> >> It really makes you think... and thankful that double flat >> and double sharp key signature aren't used as far as I know of. >> >> -William >> _______________________________________________ >> post: [EMAIL PROTECTED] >> unsubscribe or set options at >> http://music.memphis.edu/mailman/options/horn/steve%40fridaysc > omputer.com > > _______________________________________________ > post: [EMAIL PROTECTED] > unsubscribe or set options at > http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de > _______________________________________________ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
