Accidentals
Sharps, flats and naturals are called accidentals. Picture all the notes we've learnt: A, B, C, D, E ,F and G. When you look at a piano's keyboard, these notes, A- G are the white keys. All the black keys are called accidentals.
Sharps
The purpose of a sharp is to raise the pitch of a note by a semitone.
Let's talk about a semitone first: A semitone or half step is the smallest musical interval in western music. This means, that, say on a keyboard, if two notes are next to each other, that is, if there are no notes in between them, then those two notes are a semitone apart.
If we look at the keyboard below, we will see clearly the notes A to G. However, there are black keys in between some of the white keys.
Let's talk about a semitone first: A semitone or half step is the smallest musical interval in western music. This means, that, say on a keyboard, if two notes are next to each other, that is, if there are no notes in between them, then those two notes are a semitone apart.
If we look at the keyboard below, we will see clearly the notes A to G. However, there are black keys in between some of the white keys.
Let's look exactly at what white keys have black keys in between them.
In between C and D, there's a black note, therefore, C and D are not truly right next to each other, and so they are not a semitone apart. If we look at C, the closest note to it is the black one between itself and D. Therefore, this black note is a semitone away from C. This 'black note' is one semitone higher than C, which makes it C sharp (C#). Conveniently, the 'number sign' looks like a musical sharp sign so I can type it on the computer keyboard. However, this is not the case with other musical signs.
Similarly, Between D and E is also a black note that is a semitone higher than D, so we call it D sharp. Get the idea?
Between F and G is F sharp, between G and A is G sharp and between A and B is A sharp!
Note well that all accidentals are placed in front of music notes. They only affect notes that are placed on that same line or in that same space. Take a look at the following examples.
In between C and D, there's a black note, therefore, C and D are not truly right next to each other, and so they are not a semitone apart. If we look at C, the closest note to it is the black one between itself and D. Therefore, this black note is a semitone away from C. This 'black note' is one semitone higher than C, which makes it C sharp (C#). Conveniently, the 'number sign' looks like a musical sharp sign so I can type it on the computer keyboard. However, this is not the case with other musical signs.
Similarly, Between D and E is also a black note that is a semitone higher than D, so we call it D sharp. Get the idea?
Between F and G is F sharp, between G and A is G sharp and between A and B is A sharp!
Note well that all accidentals are placed in front of music notes. They only affect notes that are placed on that same line or in that same space. Take a look at the following examples.
Sharpened note in a space
Observe that the sharp sign is in front of the note.
Sharpened note on a line
Once more, the sharp sign is in front of the note.
Flats
When we flatten a note, we lower it by a semitone.
Let's look once more at the keyboard, coming down from B. If we flatten B, or lower it by one semitone, we will arrive at the black note between B and A. Earlier, we called it A sharp, but now we are calling it B flat. This is what we call enharmonic equivalents. This means that they are the same note, but they are written or spelled differently.
Let's see if we can find some more. The black note between A and G was called G sharp before. But if we lower the note A by a semitone, that black note is now called A flat. Similarly, between G and F is G flat (if we lower G by a semitone.) The same can be said of the black notes between E and D ( E flat) and D and C (D flat).
But what about the notes that don't have black keys between them? Well, the same rules apply. Let's look at E and F. If we raise E by a semitone, or sharpen it, we arrive at F. So F is the enharmonic equivalent of E sharp. The reverse is true too. If we lower F by a semitone, or flatten it, we arrive at E, so E is the enharmonic equivalent of F flat!
Let's summarise:
C sharp = D flat
D sharp = E flat
F sharp= G flat
G sharp= A flat
A sharp= B flat
E= F flat
F= E sharp
B= C flat
C= B sharp
Note: As with sharps, flats may be placed in front of notes that are on lines or in spaces.
Let's look once more at the keyboard, coming down from B. If we flatten B, or lower it by one semitone, we will arrive at the black note between B and A. Earlier, we called it A sharp, but now we are calling it B flat. This is what we call enharmonic equivalents. This means that they are the same note, but they are written or spelled differently.
Let's see if we can find some more. The black note between A and G was called G sharp before. But if we lower the note A by a semitone, that black note is now called A flat. Similarly, between G and F is G flat (if we lower G by a semitone.) The same can be said of the black notes between E and D ( E flat) and D and C (D flat).
But what about the notes that don't have black keys between them? Well, the same rules apply. Let's look at E and F. If we raise E by a semitone, or sharpen it, we arrive at F. So F is the enharmonic equivalent of E sharp. The reverse is true too. If we lower F by a semitone, or flatten it, we arrive at E, so E is the enharmonic equivalent of F flat!
Let's summarise:
C sharp = D flat
D sharp = E flat
F sharp= G flat
G sharp= A flat
A sharp= B flat
E= F flat
F= E sharp
B= C flat
C= B sharp
Note: As with sharps, flats may be placed in front of notes that are on lines or in spaces.
Naturals
A natural sign, when placed in front of a note, cancels out the effects of a sharp sign or flat sign placed in front of a similar note before it.In other words, it restores a note to its original pitch.
Let me explain this further. Say I place a sharp sign in front of an F, the note then becomes F sharp and any other F that appears in the same bar is also F#. Let me repeat that: If an F sharp appears in a bar of music, then any other Fs in that same bar become F sharp (even if the repeated Fs don't have sharp signs in front of them). But what if the composer wanted to play a natural F and not a sharpened F? Then the natural F would have a natural sign placed in front of it, thus, restoring the note to its original pitch. The picture below summarises this explanation.
Let me explain this further. Say I place a sharp sign in front of an F, the note then becomes F sharp and any other F that appears in the same bar is also F#. Let me repeat that: If an F sharp appears in a bar of music, then any other Fs in that same bar become F sharp (even if the repeated Fs don't have sharp signs in front of them). But what if the composer wanted to play a natural F and not a sharpened F? Then the natural F would have a natural sign placed in front of it, thus, restoring the note to its original pitch. The picture below summarises this explanation.
A few more examples.....
I this example, I've included sharpened and flattened notes as well as natural notes.
Let's look at bar 1: There's a sharp sign in front of the F, which makes the note F sharp. Following this note is another F. But there isn't a sharp sign in front of this F. Even so, this note is still F sharp, because it does NOT have a natural sign in front of it, and it IS in the same bar as the F sharp.
Bar 2: The second note in bar 2 is B flat (because there is a flat sign in front of the B). The fourth note also occupies the same line and is therefore the same B flat even though there is no flat sign in front of it. Remember that these two notes are in the same bar so another flat sign is not necessary.
Bar 3: The first note in bar 3 is E flat. Since there IS a natural sign in front of the second note, then this note is NOT E flat, but in fact, is E natural (or just E).
Let's look at bar 1: There's a sharp sign in front of the F, which makes the note F sharp. Following this note is another F. But there isn't a sharp sign in front of this F. Even so, this note is still F sharp, because it does NOT have a natural sign in front of it, and it IS in the same bar as the F sharp.
Bar 2: The second note in bar 2 is B flat (because there is a flat sign in front of the B). The fourth note also occupies the same line and is therefore the same B flat even though there is no flat sign in front of it. Remember that these two notes are in the same bar so another flat sign is not necessary.
Bar 3: The first note in bar 3 is E flat. Since there IS a natural sign in front of the second note, then this note is NOT E flat, but in fact, is E natural (or just E).
Tones
A tone or whole step is basically two semitones. If you need to find a note that is, say, a tone higher than C, first we find C. We look for the note that is a semitone higher than C, C#, and then we look for the note that is a semitone higher than that, D. Therefore, D is a tone above C.
Let's Review...
Sharps- A sharp raises a note by one semitone.
Flats- A Flat lowers a note by one semitone.
Naturals- A natural cancels out any accidentals that may affect the note which it is placed in front of.
A semitone is the smallest musical interval in western music. Just remember that notes that are right next to each other, are a semitone apart.
A tone consists of two semitones. This is easy to remember as 'semi' means half and when you drop the 'semi' (or 'half') you get a whole tone!
Flats- A Flat lowers a note by one semitone.
Naturals- A natural cancels out any accidentals that may affect the note which it is placed in front of.
A semitone is the smallest musical interval in western music. Just remember that notes that are right next to each other, are a semitone apart.
A tone consists of two semitones. This is easy to remember as 'semi' means half and when you drop the 'semi' (or 'half') you get a whole tone!
Test yourself!
test_6-_accidentals.pdf | |
File Size: | 110 kb |
File Type: |