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  2. D-sharp minor - Wikipedia

    en.wikipedia.org/wiki/D-sharp_minor

    For orchestration of piano music, some theorists recommend transposing the music to D minor or E minor. If D-sharp minor must absolutely be used, one should take care that B ♭ wind instruments be notated in F minor , rather than E-sharp minor (or G instruments used instead, giving a transposed key of G-sharp minor ), and B ♮ instruments in ...

  3. D♯ (musical note) - Wikipedia

    en.wikipedia.org/wiki/D%E2%99%AF_(musical_note)

    D ♯ (D-sharp) or re dièse is the fourth semitone of the solfège.It lies a chromatic semitone above D and a diatonic semitone below E, thus being enharmonic to mi bémol or E ♭.

  4. D-sharp - Wikipedia

    en.wikipedia.org/wiki/D-sharp

    Hello, I'm 85.249.22.63.An edit that you recently made seemed to be a test and has been reverted.If you want to practice editing, please use the sandbox.If you think I made a mistake, or if you have any questions, you can leave me a message on my talk page.

  5. Closely related key - Wikipedia

    en.wikipedia.org/wiki/Closely_related_key

    In the key of C major, these would be: D minor, E minor, F major, G major, A minor, and C minor. Despite being three sharps or flats away from the original key in the circle of fifths, parallel keys are also considered as closely related keys as the tonal center is the same, and this makes this key have an affinity with the original key.

  6. Music written in all major or minor keys - Wikipedia

    en.wikipedia.org/wiki/Music_written_in_all_major...

    2 C minor: 3 flats 3 Either C# major: 7 sharps Bach and Alkan chose C# major, but most composers have preferred D♭ major or D♭ major: 5 flats 4 C# minor: 4 sharps 5 D major: 2 sharps 6 D minor: 1 flat 7 E♭ major: 3 flats 8 Either D# minor: 6 sharps Most composers of sets of 24 pieces have preferred E♭ minor over D# minor.

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  8. List of pitch intervals - Wikipedia

    en.wikipedia.org/wiki/List_of_pitch_intervals

    The extremes of the meantone systems encountered in historical practice are the Pythagorean tuning, where the whole tone corresponds to 9:8, i.e. ⁠ (3:2) 2 / 2 ⁠, the mean of the major third ⁠ (3:2) 4 / 4 ⁠, and the fifth (3:2) is not tempered; and the 1 ⁄ 3-comma meantone, where the fifth is tempered to the extent that three ...

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