as flat and sharp also show the direction of movement (higher to lower in pitch and vice-versa) for any and every musical structure. Of course this would also depend on if you have a chord progression or scale that is either ascending or descending in pitch, if the Maj.-chord progression/scale in this position descends it should be called an Ab Maj., but if it ascends it should be called a G# Maj. finger pattern moved to the G#/Ab position- all major and natural minor keys are simply the C-major finger pattern transposed to a different tonic note. (3) to make it even easier,(on guitar) it's both the 1st G major finger pattern and also the 3rd C Maj. It doesn't matter how many sharps or flats a key has or if there is a theoretical complication, if you follow the simple formula it all works out automatically. scale as such and follow the major scale formula (W-W-H-W-W-W-H) and substitute the double F# for it's whole tone name of G for convenience sake, so you would have 6 sharps instead of 6 + a double (actually a double sharp would count as 2, so you have 8 sharps). It's a theoretical problem much like arguing if there is such a key as B#/Cb Maj., E#/Fb Maj., in comparison to G# which is not at the same time enharmonically a whole tone note such as B#/Cb, E#/Fb are. You can look at the "G# Maj." key in a couple of different ways, (1) as a disregarded, feared and denounced part of music and music theory, very much like the dreaded locrian and diminished modes - to be avoided at all cost. Fortunately, I have not been faced with a concert pitch piece in B major while playing the alto or baritone sax. Your scale options are the two scales that use one sharp: G major or E. Nonetheless, if you are playing music in concert pitch by sight then G# might be slightly better as transposing up a major 6th will be familiar to many Eb instrument players (I have done it many times) but transposing up a diminished 7th will be much less familiar (I have never done it). The sharps and flats (accidentals) seen in a key signature are the same ones used. However, this will be a surprising key for a saxophone player. ![]() G# major is so crazy that it would be more practical to rewrite it as Ab major provided that you regard that as the same. However, if you transpose on sight with these instruments then you need to be comfortable with some quite wild keys.Īddition suggested by phoog's comment. ![]() If the piece is intended for these instruments then these keys are unlikely. Some instruments are pitched in Eb so if the non-transposing instruments are playing in B major (not so unusual) then the Eb instruments will have to play in G# major. For example, if the non-transposing instruments are playing in F# major then the Bb instruments will have to play in G# major. These unusual keys are more likely with transposing instruments.
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