Up = (#/Sharp). Down = (b/Flat).
| 0 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
10 |
11 |
| C |
C# Db |
D |
D# Eb |
E |
F |
F# Gb |
G |
G# Ab |
A |
A# Bb |
B |
There are a number of discussions possible here. My point is the rose is a rose experience from my own limited understanding. Music theory is not my strong point. I know players that are very specific in the reference of notes or the progression used when naming them. It does make it easier to communicate – – – – – – To set up this conversation let it be understood that any note can be raised or lowered in increments of half-steps. Take your Root note and play the next highest note and you have ‘sharped’ the note. If you play the next lowest note you have ‘flatted’ that note. Up = Sharp. Down = Flat.
Any note. Any instrument. Any Western scale. Similar to the reference in Tuning; if pitch is too high it is Sharp, and if it is too low it is Flat.
We agree on common ground for the Titles of the Twelve. Looking at the piano as my standard example we need to notice the color of the keys not as a place on a musical staff or its place in a scale but as a compact representation of DISTANCE. The chart above uses the shading to mimic the keyboard and is not compressed or compact like the real piano is but if you play notes to the right they get higher by half-notes. Color means nothing to this reference. We rarely call the C note a B#, and we rarely call the F note an E# but this is a similar relationship.
Above you see the black notes have alternate names assigned to them. One way to help easy translation is to keep with one designator in the project. Give the notes names that are one system and not the other. Various way to think of it – a rose;
C, C#, D, D#, E, F, F#, G, G#, A, Bb, B, C is a rose:
C, C#, D, D#, E, F, F#, G, G#, A, A#, B, C
is a rose;
C, Db, D, Eb, E, F, Gb, G, Ab, A, Bb, B, C
Along those lines I want to copy a recent comment from a great friend of mine and frequent commenter on this blog:
The math is easier if you name the root “zero.” 0 2 4 5 7 9 11 (the major scale). You can add 12 and get the same notes, just an octave higher. Subtract 12 and get the original keys. There are only 12 tones on a piano: 0, 1, 2, …, 11 After that, it just repeats.
The Mysterious Twelve is represented this way in the chart above. Starting with zero would change the Safe Seven representation to look like this:
C D E F G A B C
0 2 4 5 7 9 11 12
This is true and practical to use when considering the relationships of notes especially when working with musical scores where you are talking multiple octaves and keeping the relationships common. For many musicians, songs can be described as patterns. For example, if you are beginning a Jam and following previous examples in the key of C, you could say ‘lets start out with C for a few measures, then go to F and then go to G and repeat. Ready, set go!’. The Safe Seven shows us this relationship as a number starting with the Root equaling 1.
The Jam could also be started by saying ‘key of C, let’s play a 1,4,5 progression. Ready, set, Go!’. In this relationship, 1 = the Root or C, the 4th = F, and the 5th of the scale = G. The next jam session might be in the key of Bb, but we can still state this as 1,4,5 and the musicians that know the Safe Seven in each key will easily translate. You would be surprised how many popular songs follow the 1 – 4 – 5 and similar patterns! Starting with 1 as the Root, allows this pattern to more easily translate to the Root, 3rd, 5th – as this matches the common chord progression associations.
The point being there are a number of names for our ‘rose’, depending on the need or project at hand. If we call C “C”, “B#”, “0” or “1”, we are still describing the relationship between the 12 notes. As with the sharps and flats naming structure, once we start with a system, use the system through the entire project to avoid confusion!
MidiMike 