Shifting between bemols and diesis in the key signatureHow can I easily translate between a key and a key signature?What is a key signature?How to determine what key changes are appropriate?Diminished and augmented key signatureWhy do we have key signatures as they are? Could a key with unconventional accidentals make sense?Why is the key signature not the same as the listed key?Theory vs PracticeAre all modes/scales in a given key signature perceived as equally bright/dark?How to easily transpose sheet music?Does the ability of reading and writing music on staff help with learning music fundamentals?

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Shifting between bemols and diesis in the key signature


How can I easily translate between a key and a key signature?What is a key signature?How to determine what key changes are appropriate?Diminished and augmented key signatureWhy do we have key signatures as they are? Could a key with unconventional accidentals make sense?Why is the key signature not the same as the listed key?Theory vs PracticeAre all modes/scales in a given key signature perceived as equally bright/dark?How to easily transpose sheet music?Does the ability of reading and writing music on staff help with learning music fundamentals?













3















I am a beginner in music with little knowledge, but like once in a month spend a little time playing with a digital keyboard.



I noticed that if I have some notes of a song which got 4# in the beginning of the stave, I can play the song like there is 3♭ instead. The same happens if I have 4 bemols (flats) then I can play the song like it has 3 diesis (sharps) (yes, it will sound a bit higher, but not that different).



I was curious if other combinations exists, let's say we have a song in 2 bemols (flats), what is the equivalence of it in diesis (sharps)? I couldn't find it myself. Is there a name for this phenomenon so I can learn more?










share|improve this question









New contributor




Zacky is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.















  • 1





    For those of us who only know English, I wonder if it would help to explain what a "bemol" and what a "diesi" is.

    – Todd Wilcox
    5 hours ago











  • A bemol is the symbol that tell us that we have to decrease the note by a semi-tone, whereas a diesis increases a note by a semi-tone.

    – Zacky
    5 hours ago











  • So that’s just “flat” and “sharp”, respectively?

    – Todd Wilcox
    4 hours ago











  • Yes, it is. en.wikipedia.org/wiki/Sharp_(music)

    – Zacky
    4 hours ago















3















I am a beginner in music with little knowledge, but like once in a month spend a little time playing with a digital keyboard.



I noticed that if I have some notes of a song which got 4# in the beginning of the stave, I can play the song like there is 3♭ instead. The same happens if I have 4 bemols (flats) then I can play the song like it has 3 diesis (sharps) (yes, it will sound a bit higher, but not that different).



I was curious if other combinations exists, let's say we have a song in 2 bemols (flats), what is the equivalence of it in diesis (sharps)? I couldn't find it myself. Is there a name for this phenomenon so I can learn more?










share|improve this question









New contributor




Zacky is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.















  • 1





    For those of us who only know English, I wonder if it would help to explain what a "bemol" and what a "diesi" is.

    – Todd Wilcox
    5 hours ago











  • A bemol is the symbol that tell us that we have to decrease the note by a semi-tone, whereas a diesis increases a note by a semi-tone.

    – Zacky
    5 hours ago











  • So that’s just “flat” and “sharp”, respectively?

    – Todd Wilcox
    4 hours ago











  • Yes, it is. en.wikipedia.org/wiki/Sharp_(music)

    – Zacky
    4 hours ago













3












3








3








I am a beginner in music with little knowledge, but like once in a month spend a little time playing with a digital keyboard.



I noticed that if I have some notes of a song which got 4# in the beginning of the stave, I can play the song like there is 3♭ instead. The same happens if I have 4 bemols (flats) then I can play the song like it has 3 diesis (sharps) (yes, it will sound a bit higher, but not that different).



I was curious if other combinations exists, let's say we have a song in 2 bemols (flats), what is the equivalence of it in diesis (sharps)? I couldn't find it myself. Is there a name for this phenomenon so I can learn more?










share|improve this question









New contributor




Zacky is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.












I am a beginner in music with little knowledge, but like once in a month spend a little time playing with a digital keyboard.



I noticed that if I have some notes of a song which got 4# in the beginning of the stave, I can play the song like there is 3♭ instead. The same happens if I have 4 bemols (flats) then I can play the song like it has 3 diesis (sharps) (yes, it will sound a bit higher, but not that different).



I was curious if other combinations exists, let's say we have a song in 2 bemols (flats), what is the equivalence of it in diesis (sharps)? I couldn't find it myself. Is there a name for this phenomenon so I can learn more?







theory key key-signatures






share|improve this question









New contributor




Zacky is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.











share|improve this question









New contributor




Zacky is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.









share|improve this question




share|improve this question








edited 3 hours ago







Zacky













New contributor




Zacky is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.









asked 6 hours ago









ZackyZacky

1164




1164




New contributor




Zacky is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.





New contributor





Zacky is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.






Zacky is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.







  • 1





    For those of us who only know English, I wonder if it would help to explain what a "bemol" and what a "diesi" is.

    – Todd Wilcox
    5 hours ago











  • A bemol is the symbol that tell us that we have to decrease the note by a semi-tone, whereas a diesis increases a note by a semi-tone.

    – Zacky
    5 hours ago











  • So that’s just “flat” and “sharp”, respectively?

    – Todd Wilcox
    4 hours ago











  • Yes, it is. en.wikipedia.org/wiki/Sharp_(music)

    – Zacky
    4 hours ago












  • 1





    For those of us who only know English, I wonder if it would help to explain what a "bemol" and what a "diesi" is.

    – Todd Wilcox
    5 hours ago











  • A bemol is the symbol that tell us that we have to decrease the note by a semi-tone, whereas a diesis increases a note by a semi-tone.

    – Zacky
    5 hours ago











  • So that’s just “flat” and “sharp”, respectively?

    – Todd Wilcox
    4 hours ago











  • Yes, it is. en.wikipedia.org/wiki/Sharp_(music)

    – Zacky
    4 hours ago







1




1





For those of us who only know English, I wonder if it would help to explain what a "bemol" and what a "diesi" is.

– Todd Wilcox
5 hours ago





For those of us who only know English, I wonder if it would help to explain what a "bemol" and what a "diesi" is.

– Todd Wilcox
5 hours ago













A bemol is the symbol that tell us that we have to decrease the note by a semi-tone, whereas a diesis increases a note by a semi-tone.

– Zacky
5 hours ago





A bemol is the symbol that tell us that we have to decrease the note by a semi-tone, whereas a diesis increases a note by a semi-tone.

– Zacky
5 hours ago













So that’s just “flat” and “sharp”, respectively?

– Todd Wilcox
4 hours ago





So that’s just “flat” and “sharp”, respectively?

– Todd Wilcox
4 hours ago













Yes, it is. en.wikipedia.org/wiki/Sharp_(music)

– Zacky
4 hours ago





Yes, it is. en.wikipedia.org/wiki/Sharp_(music)

– Zacky
4 hours ago










2 Answers
2






active

oldest

votes


















8














I'm not aware of a name for this phenomenon, it's just a quick way to transpose music based on how the tonal system works out.



In short, when you're in a key, look at the key signature. Take the number of accidentals in the key and replace them with the mod-7 complement of the other accidental type and you're left with a key built a half step away from the original tonic.



So you're in E major with 4 sharps. Let's take the mod-7 complement of the other accidental type: 7-4=3, so we're left with 3 flats, which is E♭ major, one half step away from the original tonic of E.



You're now asking about 2 flats in the key signature; this is B♭ major. 7-2=5, so a key of 5 sharps will be B major.



This trick is especially fun in C, which has 0 sharps or flats. The mod-7 complement of 0 is 7, so if we have 7 sharps in the key signature, we're in C♯ major; 7 flats makes it C♭ major!



Note that this trick isn't exclusive to major; it works for minor keys as well.



Lastly, know that this works perfectly until you encounter accidentals in the music; you'll have to have a more contextual understanding of those accidentals to know how they should be interpreted in your new key.






share|improve this answer























  • Thank you! Give me a little time to digest it because I am using Do-Re-Mi-Fa system not C-D-E one so I need to corellate, but I will come back later.

    – Zacky
    5 hours ago












  • @Zacky You will need to swap C for Do, D for Re, etc but otherwise the answer should work.

    – badjohn
    4 hours ago






  • 1





    +1. Usual thorough answer! It's just mathematical serendipty, but useful. I often used to start a song in Eb and modulate to E by 'changing the key sig.'. Same with Ab and A. They seem to be the simplest 'mod-7'.

    – Tim
    4 hours ago











  • @badjohn - I suspect Zacky's using 'fixed do', which can get rather messy in this situation. Moveable do works just fine, though.

    – Tim
    4 hours ago







  • 1





    @Tim In the fixed do system, can't we just regard do as a translation of C, re or D etc. If I read "mi bémol majeur" in French, I just think "E♭ major". For example: fr.wikipedia.org/wiki/Symphonie_n%C2%BA_3_(Beethoven).

    – badjohn
    4 hours ago


















1















I was curious if other combinations exists, let's say we have a song in 2 bemols (flats), what is the equivalence of it in diesis (sharps)? I couldn't find it myself. Is there a name for this phenomenon so I can learn more?




There isn’t a name for this phenomen. But we can find one. In German I would call them “gleichnamige” Tonarten, in English this would be “same named” keys.
(Now, as we know they are not exactly the same name, as the “related” key*1) has added a -bemol (flat) and is a half tone lower!)



The phenomen can be explained quite simply by the circle of fifths and by the tones of the twelve
tone scale (fixed do names!)



Do, Re-bemol, Re, Mi-bemol, Mi, Fa, Fa#/Sol-bemol, Sol, La-bemol, La, Si-bemol, Si.



Of each tone of the doremi scale exist two keys: one on the -bemol site (flats) and the -diesis (sharps) site. The two keys with the same name are differing logically a minor second respectively 7 fifths
and can be played by exchanging the amount of # with the amount of b of its same named (“related”) key:



enter image description here



So this “related” keys in question are:



Si-bemol (2bemol) and Si (5#)



analogically we get (starting with Re-bemol):



Re-bemol and Re



La-bemol and La



Mi-bemol and Mi



Si-bemol and Si



Fa and Fa#



Do and Do# (Re-bemol)



Sol and Sol# (La-bemol)






share|improve this answer






















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    2 Answers
    2






    active

    oldest

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    2 Answers
    2






    active

    oldest

    votes









    active

    oldest

    votes






    active

    oldest

    votes









    8














    I'm not aware of a name for this phenomenon, it's just a quick way to transpose music based on how the tonal system works out.



    In short, when you're in a key, look at the key signature. Take the number of accidentals in the key and replace them with the mod-7 complement of the other accidental type and you're left with a key built a half step away from the original tonic.



    So you're in E major with 4 sharps. Let's take the mod-7 complement of the other accidental type: 7-4=3, so we're left with 3 flats, which is E♭ major, one half step away from the original tonic of E.



    You're now asking about 2 flats in the key signature; this is B♭ major. 7-2=5, so a key of 5 sharps will be B major.



    This trick is especially fun in C, which has 0 sharps or flats. The mod-7 complement of 0 is 7, so if we have 7 sharps in the key signature, we're in C♯ major; 7 flats makes it C♭ major!



    Note that this trick isn't exclusive to major; it works for minor keys as well.



    Lastly, know that this works perfectly until you encounter accidentals in the music; you'll have to have a more contextual understanding of those accidentals to know how they should be interpreted in your new key.






    share|improve this answer























    • Thank you! Give me a little time to digest it because I am using Do-Re-Mi-Fa system not C-D-E one so I need to corellate, but I will come back later.

      – Zacky
      5 hours ago












    • @Zacky You will need to swap C for Do, D for Re, etc but otherwise the answer should work.

      – badjohn
      4 hours ago






    • 1





      +1. Usual thorough answer! It's just mathematical serendipty, but useful. I often used to start a song in Eb and modulate to E by 'changing the key sig.'. Same with Ab and A. They seem to be the simplest 'mod-7'.

      – Tim
      4 hours ago











    • @badjohn - I suspect Zacky's using 'fixed do', which can get rather messy in this situation. Moveable do works just fine, though.

      – Tim
      4 hours ago







    • 1





      @Tim In the fixed do system, can't we just regard do as a translation of C, re or D etc. If I read "mi bémol majeur" in French, I just think "E♭ major". For example: fr.wikipedia.org/wiki/Symphonie_n%C2%BA_3_(Beethoven).

      – badjohn
      4 hours ago















    8














    I'm not aware of a name for this phenomenon, it's just a quick way to transpose music based on how the tonal system works out.



    In short, when you're in a key, look at the key signature. Take the number of accidentals in the key and replace them with the mod-7 complement of the other accidental type and you're left with a key built a half step away from the original tonic.



    So you're in E major with 4 sharps. Let's take the mod-7 complement of the other accidental type: 7-4=3, so we're left with 3 flats, which is E♭ major, one half step away from the original tonic of E.



    You're now asking about 2 flats in the key signature; this is B♭ major. 7-2=5, so a key of 5 sharps will be B major.



    This trick is especially fun in C, which has 0 sharps or flats. The mod-7 complement of 0 is 7, so if we have 7 sharps in the key signature, we're in C♯ major; 7 flats makes it C♭ major!



    Note that this trick isn't exclusive to major; it works for minor keys as well.



    Lastly, know that this works perfectly until you encounter accidentals in the music; you'll have to have a more contextual understanding of those accidentals to know how they should be interpreted in your new key.






    share|improve this answer























    • Thank you! Give me a little time to digest it because I am using Do-Re-Mi-Fa system not C-D-E one so I need to corellate, but I will come back later.

      – Zacky
      5 hours ago












    • @Zacky You will need to swap C for Do, D for Re, etc but otherwise the answer should work.

      – badjohn
      4 hours ago






    • 1





      +1. Usual thorough answer! It's just mathematical serendipty, but useful. I often used to start a song in Eb and modulate to E by 'changing the key sig.'. Same with Ab and A. They seem to be the simplest 'mod-7'.

      – Tim
      4 hours ago











    • @badjohn - I suspect Zacky's using 'fixed do', which can get rather messy in this situation. Moveable do works just fine, though.

      – Tim
      4 hours ago







    • 1





      @Tim In the fixed do system, can't we just regard do as a translation of C, re or D etc. If I read "mi bémol majeur" in French, I just think "E♭ major". For example: fr.wikipedia.org/wiki/Symphonie_n%C2%BA_3_(Beethoven).

      – badjohn
      4 hours ago













    8












    8








    8







    I'm not aware of a name for this phenomenon, it's just a quick way to transpose music based on how the tonal system works out.



    In short, when you're in a key, look at the key signature. Take the number of accidentals in the key and replace them with the mod-7 complement of the other accidental type and you're left with a key built a half step away from the original tonic.



    So you're in E major with 4 sharps. Let's take the mod-7 complement of the other accidental type: 7-4=3, so we're left with 3 flats, which is E♭ major, one half step away from the original tonic of E.



    You're now asking about 2 flats in the key signature; this is B♭ major. 7-2=5, so a key of 5 sharps will be B major.



    This trick is especially fun in C, which has 0 sharps or flats. The mod-7 complement of 0 is 7, so if we have 7 sharps in the key signature, we're in C♯ major; 7 flats makes it C♭ major!



    Note that this trick isn't exclusive to major; it works for minor keys as well.



    Lastly, know that this works perfectly until you encounter accidentals in the music; you'll have to have a more contextual understanding of those accidentals to know how they should be interpreted in your new key.






    share|improve this answer













    I'm not aware of a name for this phenomenon, it's just a quick way to transpose music based on how the tonal system works out.



    In short, when you're in a key, look at the key signature. Take the number of accidentals in the key and replace them with the mod-7 complement of the other accidental type and you're left with a key built a half step away from the original tonic.



    So you're in E major with 4 sharps. Let's take the mod-7 complement of the other accidental type: 7-4=3, so we're left with 3 flats, which is E♭ major, one half step away from the original tonic of E.



    You're now asking about 2 flats in the key signature; this is B♭ major. 7-2=5, so a key of 5 sharps will be B major.



    This trick is especially fun in C, which has 0 sharps or flats. The mod-7 complement of 0 is 7, so if we have 7 sharps in the key signature, we're in C♯ major; 7 flats makes it C♭ major!



    Note that this trick isn't exclusive to major; it works for minor keys as well.



    Lastly, know that this works perfectly until you encounter accidentals in the music; you'll have to have a more contextual understanding of those accidentals to know how they should be interpreted in your new key.







    share|improve this answer












    share|improve this answer



    share|improve this answer










    answered 5 hours ago









    RichardRichard

    42.6k696183




    42.6k696183












    • Thank you! Give me a little time to digest it because I am using Do-Re-Mi-Fa system not C-D-E one so I need to corellate, but I will come back later.

      – Zacky
      5 hours ago












    • @Zacky You will need to swap C for Do, D for Re, etc but otherwise the answer should work.

      – badjohn
      4 hours ago






    • 1





      +1. Usual thorough answer! It's just mathematical serendipty, but useful. I often used to start a song in Eb and modulate to E by 'changing the key sig.'. Same with Ab and A. They seem to be the simplest 'mod-7'.

      – Tim
      4 hours ago











    • @badjohn - I suspect Zacky's using 'fixed do', which can get rather messy in this situation. Moveable do works just fine, though.

      – Tim
      4 hours ago







    • 1





      @Tim In the fixed do system, can't we just regard do as a translation of C, re or D etc. If I read "mi bémol majeur" in French, I just think "E♭ major". For example: fr.wikipedia.org/wiki/Symphonie_n%C2%BA_3_(Beethoven).

      – badjohn
      4 hours ago

















    • Thank you! Give me a little time to digest it because I am using Do-Re-Mi-Fa system not C-D-E one so I need to corellate, but I will come back later.

      – Zacky
      5 hours ago












    • @Zacky You will need to swap C for Do, D for Re, etc but otherwise the answer should work.

      – badjohn
      4 hours ago






    • 1





      +1. Usual thorough answer! It's just mathematical serendipty, but useful. I often used to start a song in Eb and modulate to E by 'changing the key sig.'. Same with Ab and A. They seem to be the simplest 'mod-7'.

      – Tim
      4 hours ago











    • @badjohn - I suspect Zacky's using 'fixed do', which can get rather messy in this situation. Moveable do works just fine, though.

      – Tim
      4 hours ago







    • 1





      @Tim In the fixed do system, can't we just regard do as a translation of C, re or D etc. If I read "mi bémol majeur" in French, I just think "E♭ major". For example: fr.wikipedia.org/wiki/Symphonie_n%C2%BA_3_(Beethoven).

      – badjohn
      4 hours ago
















    Thank you! Give me a little time to digest it because I am using Do-Re-Mi-Fa system not C-D-E one so I need to corellate, but I will come back later.

    – Zacky
    5 hours ago






    Thank you! Give me a little time to digest it because I am using Do-Re-Mi-Fa system not C-D-E one so I need to corellate, but I will come back later.

    – Zacky
    5 hours ago














    @Zacky You will need to swap C for Do, D for Re, etc but otherwise the answer should work.

    – badjohn
    4 hours ago





    @Zacky You will need to swap C for Do, D for Re, etc but otherwise the answer should work.

    – badjohn
    4 hours ago




    1




    1





    +1. Usual thorough answer! It's just mathematical serendipty, but useful. I often used to start a song in Eb and modulate to E by 'changing the key sig.'. Same with Ab and A. They seem to be the simplest 'mod-7'.

    – Tim
    4 hours ago





    +1. Usual thorough answer! It's just mathematical serendipty, but useful. I often used to start a song in Eb and modulate to E by 'changing the key sig.'. Same with Ab and A. They seem to be the simplest 'mod-7'.

    – Tim
    4 hours ago













    @badjohn - I suspect Zacky's using 'fixed do', which can get rather messy in this situation. Moveable do works just fine, though.

    – Tim
    4 hours ago






    @badjohn - I suspect Zacky's using 'fixed do', which can get rather messy in this situation. Moveable do works just fine, though.

    – Tim
    4 hours ago





    1




    1





    @Tim In the fixed do system, can't we just regard do as a translation of C, re or D etc. If I read "mi bémol majeur" in French, I just think "E♭ major". For example: fr.wikipedia.org/wiki/Symphonie_n%C2%BA_3_(Beethoven).

    – badjohn
    4 hours ago





    @Tim In the fixed do system, can't we just regard do as a translation of C, re or D etc. If I read "mi bémol majeur" in French, I just think "E♭ major". For example: fr.wikipedia.org/wiki/Symphonie_n%C2%BA_3_(Beethoven).

    – badjohn
    4 hours ago











    1















    I was curious if other combinations exists, let's say we have a song in 2 bemols (flats), what is the equivalence of it in diesis (sharps)? I couldn't find it myself. Is there a name for this phenomenon so I can learn more?




    There isn’t a name for this phenomen. But we can find one. In German I would call them “gleichnamige” Tonarten, in English this would be “same named” keys.
    (Now, as we know they are not exactly the same name, as the “related” key*1) has added a -bemol (flat) and is a half tone lower!)



    The phenomen can be explained quite simply by the circle of fifths and by the tones of the twelve
    tone scale (fixed do names!)



    Do, Re-bemol, Re, Mi-bemol, Mi, Fa, Fa#/Sol-bemol, Sol, La-bemol, La, Si-bemol, Si.



    Of each tone of the doremi scale exist two keys: one on the -bemol site (flats) and the -diesis (sharps) site. The two keys with the same name are differing logically a minor second respectively 7 fifths
    and can be played by exchanging the amount of # with the amount of b of its same named (“related”) key:



    enter image description here



    So this “related” keys in question are:



    Si-bemol (2bemol) and Si (5#)



    analogically we get (starting with Re-bemol):



    Re-bemol and Re



    La-bemol and La



    Mi-bemol and Mi



    Si-bemol and Si



    Fa and Fa#



    Do and Do# (Re-bemol)



    Sol and Sol# (La-bemol)






    share|improve this answer



























      1















      I was curious if other combinations exists, let's say we have a song in 2 bemols (flats), what is the equivalence of it in diesis (sharps)? I couldn't find it myself. Is there a name for this phenomenon so I can learn more?




      There isn’t a name for this phenomen. But we can find one. In German I would call them “gleichnamige” Tonarten, in English this would be “same named” keys.
      (Now, as we know they are not exactly the same name, as the “related” key*1) has added a -bemol (flat) and is a half tone lower!)



      The phenomen can be explained quite simply by the circle of fifths and by the tones of the twelve
      tone scale (fixed do names!)



      Do, Re-bemol, Re, Mi-bemol, Mi, Fa, Fa#/Sol-bemol, Sol, La-bemol, La, Si-bemol, Si.



      Of each tone of the doremi scale exist two keys: one on the -bemol site (flats) and the -diesis (sharps) site. The two keys with the same name are differing logically a minor second respectively 7 fifths
      and can be played by exchanging the amount of # with the amount of b of its same named (“related”) key:



      enter image description here



      So this “related” keys in question are:



      Si-bemol (2bemol) and Si (5#)



      analogically we get (starting with Re-bemol):



      Re-bemol and Re



      La-bemol and La



      Mi-bemol and Mi



      Si-bemol and Si



      Fa and Fa#



      Do and Do# (Re-bemol)



      Sol and Sol# (La-bemol)






      share|improve this answer

























        1












        1








        1








        I was curious if other combinations exists, let's say we have a song in 2 bemols (flats), what is the equivalence of it in diesis (sharps)? I couldn't find it myself. Is there a name for this phenomenon so I can learn more?




        There isn’t a name for this phenomen. But we can find one. In German I would call them “gleichnamige” Tonarten, in English this would be “same named” keys.
        (Now, as we know they are not exactly the same name, as the “related” key*1) has added a -bemol (flat) and is a half tone lower!)



        The phenomen can be explained quite simply by the circle of fifths and by the tones of the twelve
        tone scale (fixed do names!)



        Do, Re-bemol, Re, Mi-bemol, Mi, Fa, Fa#/Sol-bemol, Sol, La-bemol, La, Si-bemol, Si.



        Of each tone of the doremi scale exist two keys: one on the -bemol site (flats) and the -diesis (sharps) site. The two keys with the same name are differing logically a minor second respectively 7 fifths
        and can be played by exchanging the amount of # with the amount of b of its same named (“related”) key:



        enter image description here



        So this “related” keys in question are:



        Si-bemol (2bemol) and Si (5#)



        analogically we get (starting with Re-bemol):



        Re-bemol and Re



        La-bemol and La



        Mi-bemol and Mi



        Si-bemol and Si



        Fa and Fa#



        Do and Do# (Re-bemol)



        Sol and Sol# (La-bemol)






        share|improve this answer














        I was curious if other combinations exists, let's say we have a song in 2 bemols (flats), what is the equivalence of it in diesis (sharps)? I couldn't find it myself. Is there a name for this phenomenon so I can learn more?




        There isn’t a name for this phenomen. But we can find one. In German I would call them “gleichnamige” Tonarten, in English this would be “same named” keys.
        (Now, as we know they are not exactly the same name, as the “related” key*1) has added a -bemol (flat) and is a half tone lower!)



        The phenomen can be explained quite simply by the circle of fifths and by the tones of the twelve
        tone scale (fixed do names!)



        Do, Re-bemol, Re, Mi-bemol, Mi, Fa, Fa#/Sol-bemol, Sol, La-bemol, La, Si-bemol, Si.



        Of each tone of the doremi scale exist two keys: one on the -bemol site (flats) and the -diesis (sharps) site. The two keys with the same name are differing logically a minor second respectively 7 fifths
        and can be played by exchanging the amount of # with the amount of b of its same named (“related”) key:



        enter image description here



        So this “related” keys in question are:



        Si-bemol (2bemol) and Si (5#)



        analogically we get (starting with Re-bemol):



        Re-bemol and Re



        La-bemol and La



        Mi-bemol and Mi



        Si-bemol and Si



        Fa and Fa#



        Do and Do# (Re-bemol)



        Sol and Sol# (La-bemol)







        share|improve this answer












        share|improve this answer



        share|improve this answer










        answered 37 mins ago









        Albrecht HügliAlbrecht Hügli

        3,080220




        3,080220




















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