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b# versus c

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b# versus c Empty b# versus c

Post by Jussi Tue Mar 11, 2008 11:24 pm

Maybe one of you guys can help me out with something I was wondering earlier today. b# is b plus one semitone, which equals c. Is there a good reason to write b# instead of c? This is done for example in the fourth measure of moonlight sonata. Thanks in advance.

-Jussi

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b# versus c Empty Re: b# versus c

Post by Admin Andrew Wed Mar 12, 2008 3:48 am

Jussi wrote:Maybe one of you guys can help me out with something I was wondering earlier today. b# is b plus one semitone, which equals c. Is there a good reason to write b# instead of c? This is done for example in the fourth measure of moonlight sonata. Thanks in advance.

-Jussi

Yes what your'e discribing is actually called an enharmonic note ^_^

You'd use a B# in C# major as every note is sharped in it ^_^ there are also enharmonic keys, in other words Db major and C# major are played exactly the same except they're written completely differently! Either sharps or flats. Anyway this can be a bit confusing when you're first learning, I'd try googling it try "Enharmonic notes"
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Post by Jussi Wed Mar 12, 2008 10:46 am

Hi Andrew, thanks for helping me out. I found a post at pianoworld.com that I think answers my question:

This is because Beethoven was writing the harmonic C-sharp minor scale, which is created by augmenting (raising or sharpening) the 7th note in the scale.

The natural C# minor scale is related to E-major, and shares the same sharps of C#, D#, F#, and G#.

The scale is as follows for the natural minor:

C#, D#, E, F#, G#, A, B, and C#

The harmonic version of the same minor scale is:
C#, D#, E, F#, G#, A, B# (C-natural), and then C#.

He wrote a B# instead of a C-natural to show that the B was augmented (sharpened) to create the harmonic minor.

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Post by Admin Andrew Thu Mar 13, 2008 5:02 am

Awesome! I'm glad you understand now!
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