![]() ![]() Hence it becomes (G would be incorrect as that would be a fourth in D major, not an augmented third similarly a diminished fourth in D major would be G♭ not F♯) The diatonic note is already marked with a sharp, so you have to use a double-sharp to indicate it's raised a semi-tone. When you raise or lower a diatonic note, it keeps its letter name. NOTE that you couldn't write an augmented 5th in D major as B♭ because the fifth is an A and you're raising that one semi-tone. But if you augmented the 5th in D major, you'd write it A♯. It's in the latter case you encounter double-sharps and double-flats.Ĭonsider the case of D major: F♯ and C♯ are notes in the scale (the third degree and seventh degree respectively). to indicate how chromatic notes differ from the diatonic notes.to indicate how the diatonic notes of a key different from the notes in the key of C.The flat or sharp symbols (not yet considering double-sharps and double-flats, we'll get to that) are used for two purposes: It has the same notes but it's functioning as something other than a major triad because of the chords that come before and after it. There are times when you might write D sharp, G natural, A sharp when the chord has a different meaning. Now to make it a major chord you write D, F double-sharp, A. To build a minor chord on D sharp you write D, F, A (which you play as D sharp, F sharp, A sharp because of the key signature). To turn it into a major chord you write C, E sharp, G - not C, F natural, G. You write it as C E G without the sharps because the sharps are already in the key signature. In the key of C sharp minor, the tonic chord is C sharp, E, G sharp. On the staff the notes will be on three lines or three spaces. You wouldn't write "Come over hear so I can here you better" even though it sounds the same.Ī major triad is spelled as if the notes are a certain distance apart. ![]()
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