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Its relative minor is A-sharp minor (or enharmonically B-flat minor), its parallel minor is C-sharp minor, and its enharmonic equivalence is D-flat major. The C-sharp major scale is: Audio playback is not supported in your browser.
C-sharp minor is a minor scale based on C ... Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary.
The harmonic major scale has its own set of modes, distinct from the harmonic minor, melodic minor, and major modes, depending on which note serves as the tonic.Below are the mode names, their degrees, and the following seventh chords that can be built using each modal tonic or degree of the parent mode as the root: a major seventh chord, a half-diminished seventh chord, a minor seventh chord ...
The seventh scale degree is very often raised a half step to form a leading tone, making the dominant chord (V) a major chord (i.e. V major instead of v minor) and the subtonic chord (vii), a diminished chord (vii o, instead of ♭ VII). This version of minor scale is called the harmonic minor scale.
C ♯ (C-sharp) is a musical note lying a chromatic semitone above C and a diatonic semitone below D; it is the second semitone of the solfège. C-sharp is thus enharmonic to D ♭. It is the second semitone in the French solfège and is known there as do dièse. In some European notations, it is known as Cis.
Harmonic fragment scales form a rare exception to this issue. In tunings such as 1:1, 9:8, 5:4, 3:2, 7:4, 2:1, all the pitches are chosen from the harmonic series (divided by powers of 2 to reduce them to the same octave), so all the intervals are related to each other by simple numeric ratios. Pythagorean tuning
A musical passage notated as flats. The same passage notated as sharps, requiring fewer canceling natural signs. Sets of notes that involve pitch relationships — scales, key signatures, or intervals, [1] for example — can also be referred to as enharmonic (e.g., the keys of C ♯ major and D ♭ major contain identical pitches and are therefore enharmonic).
The predecessor of today's six-string classical guitar was the five-string baroque guitar tuned as the five high strings of a six-string guitar with the A raised one octave. High C – E-A-d-g-c' Standard tuning with the B tuned a half step higher to C to emulate a six-string bass guitar, minus the low B. This is an all fourths tuning.