| Author | Topic: alternating enharmonics |
 Taciturn
Registered User
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8/3/2003 | posted: 9/14/2003 at 4:16:19 PM ET
In written music, what's the point of alternating enharmonics? Like in the key F major, they might have a Db accidental in one measure, then in the next, they will have C#. Those are the same note... so what is the point? Is there any particular reason why they do that?
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 craneclassical
Registered User
From:
Atlanta, Ga
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9/5/2003 | posted: 9/14/2003 at 11:19:06 PM ET
This is a very valid question, that I find comes up often, when teaching violin and viola students, who have not been exposed to very much music theory. In general the choice of enharmonic spellings, are directly due to the "function" of the specific pitch. Often, a chromatic alteration, is directly taking place as a functional tone...in a sense being the integral pitch for a modulation. In addition, several surrounding tones...may have the integrity of their "spelling", and function, remain, intact... due to the non harmonic tones being written, in relationship to standard voice leading, and analysis. I would suggest studying Music Theory. There are many helpful sites on here. I can suggest specific books. One "bible" of music theory is by Walter Piston.
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Taciturn
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8/3/2003 | posted: 9/15/2003 at 12:04:15 AM ET
I do currently take AP music theory in high school, so that's a start... well more like a continuation. I took it because I'm a composer (having had 4 pieces played in concert by an orchestra, heh) and I really thought I should increase my knowledge of music theory, to expand my composing and actually understand what I'm composing. And I've been exposed to plenty of theory... about 7 years worth. I've just never known the reasoning for using 2 enharmonics right next to eachother in music, for some reason. I mean I've even seen it happen in the same measure, which I just don't get.
Anywho, I don't think I understand your response... what exactly is a "function" of a pitch?
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craneclassical
Registered User
From:
Atlanta, Ga
Registered:
9/5/2003 | posted: 9/15/2003 at 3:02:32 AM ET
Glad you are studying theory! As far as function of a pitch...there are harmonic, and non harmonic tones. Stable (part of underlying harmony)...or passing. In reference to your original question, if a pitch is a leading tone to a new key center.it most probably will be written as a sharp, resolving to the new key area. For example..if you see an e# instead of f natural...most probably it is on the way (the e#) to resolve to f#. glad to hear you are composing.
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Taciturn
Registered User
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8/3/2003 | posted: 9/15/2003 at 6:04:13 PM ET
Oh I see, that seems to make sense. I'll have to go check it out in my cello music. Thanks
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trumpet guru
Registered User
From:
Washington State
Registered:
8/22/2003 | posted: 9/20/2003 at 11:52:46 PM ET
You can also understand much of the underlying reasons for which enharmonic choice the writer uses by understanding the chord itself. While the function is always important, it does not always explain the choice. Much modern music does not follow the conventions of "functional harmony". If the composer writes an E Augmented chord, the fifth would be a B# (not C which would make the chord a C Augmented Chord). It is a theory thing. In tertial harmony (harmonies based on thirds) it is necessary to use 1 - 3 - 5 - 7 - 9 - 11 - and 13 when writing the chord. You may have a C# because it part of a D major 7 chord and then a Db because it is the b9 of a C7 chord. The more complex the harmonies, the more important it is to be accurate in your choice. Otherwise analysis is difficult.
GOOOOOOROOOOOO
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