If we called the semitone above Bb a B, that would be a chromatic semitone, which would be incorrect. The note C-flat occurs because it is a diatonic semitone above Bb. The note C-flat occurs in several scales the major scale of G-flat major, for example: Using chromatic semitones would result in the possibility of two notes having the same letter name. We use diatonic semitones when we create scales, because each individual note of a scale must have its own letter name. When we see “semitone”, we mean diatonic semitone. Notes are usually named with reference to a key and scale. We know that to create a major scale, we start on a given note, and then ascend according to this pattern: The question is, why not just decide on one way to name a note, and leave it at that?Īnd especially, if a C-flat (i.e., the note one semitone below aC) is a B, why do we have the note C-flat at all? Every note in an octave has several ways they can be named. When two notes sound like each other (like F# and Gb, for example), they are called enharmonic equivalents. So when you limit your choices to notes that form scales without needing double sharps or double flats, you find that there are 15 possible major scales: It is possible to show double sharps (x), but again, it’s a bit meaningless. And even if we could, an Ebb scale is a bit meaningless, tonally speaking. That’s because there is no way to show double flats in a key signature. It can be quite a complex-looking scale if you decide that your first note is going to be E-double-flat (Ebb):Įbb – Fb – Gb – Abb – Bbb – Cb – Db – Ebbīut when it comes to scales for which we can use a key signature, you cannot account for every possibility. Tone – Tone – Semitone – Tone – Tone – Tone – Semitone The concepts in this blog post refer to Lessons 8 and 9 of the “Easy Music Theory with Gary Ewer” Course.
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