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#1336086 - 12/29/09 07:51 AM Swap #=7-b  
Joined: Apr 2008
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ROMagister Offline
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ROMagister  Offline
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Bucuresti, Romania
From another forum:
"if you want to play in flats when the music is written in sharps (or vice-versa), one way to do it is to subtract the number of sharps or flats in the music from 7, then play the same written music in the key with that many of the other type. Examples: with 4 sharps, subtract 4 from 7 giving 3 and play the same music as if written in 3 flats; music in 5 flats would be played as if in 2 sharps; etc. Note that transforming from sharps to flats will transpose the music down 1/2 step; going from flats to sharps will raise it 1/2 step. And all "accidentals" (sharps or flats not found in the key signature) are naturalized. This technique works best when the music does not have many accidentals. Except for the raising or lowering of the overall pitch, the scales remain accurate."

I've never seen this tip in any teaching book, but tested it and it works! Also proved it mathematically:
7 fifths - 4 octaves = 7*7 - 4*12 = 49 - 48 = 1 semitone.

I also knew the enharmonic equivalence of #=12-b (e.g. 7#=5b), no transposition done.

So these all reduce the burden of learning 'by fingertips' to only (edit: not 5 but) 7 major scales: A,D,G,C,F,Bb,Eb (3#...3b). Very welcome to this multitasking-limited guy!

Last edited by ROMagister; 12/29/09 12:47 PM.
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#1336091 - 12/29/09 08:10 AM Re: Swap #=7-b [Re: ROMagister]  
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Studio Joe Offline
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That's interesting: Thanks


Joe Whitehead ------ Texas Trax
#1336126 - 12/29/09 10:17 AM Re: Swap #=7-b [Re: Studio Joe]  
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Morodiene Offline
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Hmm, that might make transposing on the fly a lot easier! I always have trouble doing this...this one definitely gets printed out. laugh


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#1336160 - 12/29/09 11:24 AM Re: Swap #=7-b [Re: Morodiene]  
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deAlmeida Offline
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In another words:

0<-->7
1<-->6
2<-->5
3<-->4
4<-->3
5<-->2

but in fact is better to think as a sum of accidentals, because in this way one may be confused if (C MAJOR - 7) might result in 7b or in 7#

the sum has to be = 7 always

x(#) + y(b) = 7


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#1336165 - 12/29/09 11:43 AM Re: Swap #=7-b [Re: deAlmeida]  
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Morodiene Offline
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Now if only there were an easy way to go from A flat major to G major for example wink.


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#1336269 - 12/29/09 02:13 PM Re: Swap #=7-b [Re: Morodiene]  
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deAlmeida Offline
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Morodiene, author of the "trovador"! smile

I still hope to see the sheet music of that piece smile

weel, if you think in terms of the 5th cycle of MAJOR scales, the scheme should look like this:

C - 0# <> Cb - 7b
G - 1# <> Gb - 6b
D - 2# <> Db - 5b
A - 3# <> Ab - 4b
E - 4# <> Eb - 3b
B - 5# <> Bb - 2b
F# - 6# <> F - 1b
C# - 7# <> C - 0b


as you see the sum of accidentals is always = 7

if you go one step down the table you will find the 5th of the precedent note

but if you go two steps down the table you will find the 5th of the "pre-precedent" note

so, we can build another table going straight through note by note like this:

C - 0# <> Cb - 7b
D - 2# <> Db - 5b
E - 4# <> Eb - 3b
F# - 6# <> F - 1b
G - 1# <> Gb - 6b
A - 3# <> Ab - 4b
B - 5# <> Bb - 2b
C# - 7# <> C - 0b

you can do the same with the minor scales and then write the equivalent scales that shares the same number of accidentals, and so on...

I think the last table is more usefull to what you want, that is, transpose tone by tone and know the number of accidentals to be used

for instance, to transpose a melody in G major to E major, 2 steps down, 2x2=4 amount of accidentals down

#1336344 - 12/29/09 03:56 PM Re: Swap #=7-b [Re: deAlmeida]  
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deAlmeida Offline
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Morodiene, I made a table of all scales, semitone by semitone, perhaps this could be useful

http://www.4shared.com/file/184150506/820b0fe/SCALES.html

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#1337774 - 12/31/09 11:57 AM Re: Swap #=7-b [Re: deAlmeida]  
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Morodiene Offline
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Morodiene  Offline
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al-mahed,
Thanks for that! I think mainly the problem is actually playing in that manner. Perhaps I'm not understanding your chart, but I have no trouble figuring out the key that I should be playing in. The hard part comes in looking at a note say in G major and playing instead in F major. Everything is down one step, and that's fine if it's an easy piece with limited jumps. But when you have to jump far away which requires reading the note, then you also have to think "whole step down" after reading it.

Guess that's just a skill I'll have to practice on. laugh



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