Is there a terminology, for the above notes, not accidentals, but those specific notes. not including all the other enharmonics
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Double Bass C♭, B♯, E♯, F♭
- Thread starter photogdude
- Start date
yes, but so are the other sharp and flats, I was just wondering if there is a special term for just those 4
Nope, not that I know of. To be enharmonic with a natural note, has not been given a special term that I'm aware of.
Haven't heard them called anything other than enharmomic equivalents.
While we're on it.... I find reading Db7/B more confusing than Db7/Cb.
While we're on it.... I find reading Db7/B more confusing than Db7/Cb.
Using harmonically wrong enharmonic equivalents might (!) be easier to read, but will make understanding the music and underlying harmonic structure much harder.
If you only have to play sheet music and not improvise, using the enharmonic equivalents might be easier to play (but might depend on instrument and player), but if you need to improvise over more elaborate scales, an enharmonic equivalents pushes your thinking in the wrong direction.
I would even consider using double sharps or flats if it makes a line clear to understand and there is a good reason why avoiding them by transposing is not an option.
If you only have to play sheet music and not improvise, using the enharmonic equivalents might be easier to play (but might depend on instrument and player), but if you need to improvise over more elaborate scales, an enharmonic equivalents pushes your thinking in the wrong direction.
I would even consider using double sharps or flats if it makes a line clear to understand and there is a good reason why avoiding them by transposing is not an option.
I've been teaching and writing for amateurs for 30 years. In my experience, they prefer B, F, C, E, even if it would be more correct to use Cb, E#, B#, Fb. It most cases it makes it easier for them to read (some exeptions, like Db/Cb, chromatic runs (D#, E, E#, F#), E# leading to F# in F# minor etc.). I always try to write as correct as possible, but sometimes I save myself a lot of work when I make it easier for them to read.
It depends on the setting. If all that is needed is for the player to sightread a line, absolutely--the fewer accidentals the better. But in settings where a harmonic understanding is expected of the player, a C natural in place of a B# can confuse matters.
Absolutely, like the mentioned E# leading to F# in F# minor, or B# leading to C# in C# minor.
YES! I completely agree! I write a lot of charts and I do try to be sparing with those Cbs, E#s and such, but even so there are times when 'simplifying' to the natural enharmonic equivalent just feels wrong. Context is key...
Db/B not only feels wrong, it is wrong. And stupid. And wrong.
In the key of C Minor (or C Major), the Neapolitan chord (Db, F, Ab) with an added Augmented Sixth (B♮) is "theoretically" possible.
Whether this inversion (Db/B) occurs often -- probably not. But, it is neither wrong nor stupid, in the correct context.
And the chance that this occurs in a chart with written chords like Db/Cb is next to nothing.
As does an augmented sixth.
It always depends on the context.
If you want to be dogmatic about it, it (Db and B) would be the correct way to notate a Fr6 or Gr6.
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