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Anonymous
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| posted: 3/15/2008 at 2:45:36 PM ET
I was trying to read through one of chopin's etudes. i found that if(say) the key is e minor, even though a g flat is denoted at the beginning of the score where the key signature is denoted, within the score, there is another flat added to g. There were no naturals added to g prior to this note anywhere in the score, so does this signify a double flat?
Again, if a natural(or any other accidental, for that matter) is used on a note, how long will that note be considered to include that accidental with it, for a whole bar, or for the whole subsequent score?
I hope i cud get my point across.I'm just a beginner so plz xcuz my ignorance.
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 maintube
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5/26/2004 | posted: 3/16/2008 at 1:46:52 AM ET
Not sure, but I think the piece may be starting in Bass Clef. There is NO key that has Gb by itself. In the Bass Clef, however Bb would be on the 2nd line. I think you are confusing the Treble Clef 2nd line G with the Bass Clef 2nd line B.
If this is the case( and I'm almost certain it is) Gb would be a regular accidental lasting for one measure.
The piece then is in either F Major or d minor. Those are the only 2 keys with 1 flat (Bb).
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Anonymous
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| posted: 3/16/2008 at 5:05:30 AM ET
hey thanx 4 clarifying with the longevity of the natural
well for that Gb thing, i was just supplying an example actually, my main question is if there is any significance of a double flat in any score; if it is, and if a double flat signifies a natural note(as gbb), why would a double flat be shown, and not simply he natural?(say the key signature shows a Gb, but in the score, there is another flat upon the note g itself (with no preceding accidentals, as i mentioned)- this should typically be gbb or f natural)
is it something to do with intonation, etc.?
Are chopin's etudes supposed to be played under the rules of just intonation?
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Anonymous
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| posted: 3/16/2008 at 5:09:56 AM ET
And yeah, the Gb at the key signature was not on its own (the key signature was probably Bb minor)
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maintube
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5/26/2004 | posted: 3/16/2008 at 1:32:42 PM ET
quote:
hey thanx 4 clarifying with the longevity of the natural
well for that Gb thing, i was just supplying an example actually, my main question is if there is any significance of a double flat in any score; if it is, and if a double flat signifies a natural note(as gbb), why would a double flat be shown, and not simply he natural?(say the key signature shows a Gb, but in the score, there is another flat upon the note g itself (with no preceding accidentals, as i mentioned)- this should typically be gbb or f natural)
is it something to do with intonation, etc.?
Are chopin's etudes supposed to be played under the rules of just intonation?
You could use F natural rather than Gbb. The reason Gbb is used is to fit the key of the music. It has a lot to do with music theory rather than practicality. If you are playing a piece that has Gbb, as far as theory is concerned it is NOT an F natural, it is a Gbb.
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maintube
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5/26/2004 | posted: 3/16/2008 at 1:33:20 PM ET
quote:
And yeah, the Gb at the key signature was not on its own (the key signature was probably Bb minor)
Sorry, I misunderstood your question.
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Anonymous
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59.93.241.x
| posted: 3/17/2008 at 6:45:28 AM ET
well sorry to come forward again but i am trying to clear up the longevity of the accidental thing: if, in a bar, a g flat is shown using the accidetal b, and subsequently, a g note is shown without any accidentals in the same bar, would it signify gb?
where i come from from, there are practically no good theory teachers so this place is the only one where i can get my doubts cleared...thnx for answering the earlier ques...
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Bandirector
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9/27/2007 | posted: 3/17/2008 at 8:33:56 AM ET
The accidental flat will carry over for the entire measure unless there is an accidental natural or sharp on that note in that measure that cancels it out. The accidental will not, however, carry over to the next measure. It will have to be reprinted.
It might help if you tell us what the other notes in the other voices are at the time of the accidental Gb.
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