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Use of key signature usual or unusual ... Half diminished scale on C. ... Whole tone scale on C. Play ...
Notes that are shown as sharp or flat in a key signature will be played that way in every octave—e.g., a key signature with a B ♭ indicates that every B is played as a B ♭. A key signature indicates the prevailing key of the music and eliminates the need to use accidentals for the notes that are always flat or sharp in that key. A key ...
Starting the major scale pattern (whole step, whole, half, whole, whole, whole, half) on C requires no sharps or flats. Proceeding clockwise in the diagram starts the scale a fifth higher, on G. Starting on G requires one sharp, F ♯ , to form a major scale.
4 (two beats per bar, with each beat being a quarter note); 6 8 (six beats per bar, with each beat being an eighth note) and 12 8 (twelve beats per bar, with each beat being an eighth note; in practice, the eighth notes are typically put into four groups of three eighth notes. 12 8 is a compound time type of time signature).
The composer Olivier Messiaen called the whole-tone scale his first mode of limited transposition. The composer and music theorist George Perle calls the whole-tone scale interval cycle 2, or C2. Since there are only two possible whole-tone-scale positions (that is, the whole-tone scale can be transposed only once), it is either C2 0 or C2 1.
Other relevant features of the piece include the groups of three notes taken from the whole-half diminished scale in mm. 12–18. In these measures, the right hand features D ♭, E ♭, and G ♭, the tetrachord without the 3rd (F). The left hand has the same tetrachord transposed down a tritone (G, A, C).
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In a whole note, the notehead, shaped differently than shorter notes, is the only component of the note. Shorter note values attach a stem to the notehead, and possibly beams or flags. The longer double whole note can be written with vertical lines surrounding it, two attached noteheads, or a rectangular notehead. [ 1 ]