Shifting between bemols (flats) and diesis (sharps)in the key signature












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.
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  • 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
    8 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
    8 hours ago











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

    – Todd Wilcox
    8 hours ago











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

    – Zacky
    8 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
    8 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
    8 hours ago











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

    – Todd Wilcox
    8 hours ago











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

    – Zacky
    8 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 7 mins ago









user45266

3,3621733




3,3621733






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Check out our Code of Conduct.









asked 9 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
    8 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
    8 hours ago











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

    – Todd Wilcox
    8 hours ago











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

    – Zacky
    8 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
    8 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
    8 hours ago











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

    – Todd Wilcox
    8 hours ago











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

    – Zacky
    8 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
8 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
8 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
8 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
8 hours ago













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

– Todd Wilcox
8 hours ago





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

– Todd Wilcox
8 hours ago













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

– Zacky
8 hours ago





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

– Zacky
8 hours ago










3 Answers
3






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
    9 hours ago













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

    – badjohn
    7 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
    7 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
    7 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
    7 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































    0














    This is a consequence of the key signatures. Basically, what you're doing is changing the number of accidentals in the key signature by seven (some would argue that's an oxymoron, but you all know what I mean). It turns out that by doing this, you've transposed the song into the key a half-step up. If you want the same exact key, you can add or subtract 12, but that makes for some ugly key signatures.



    It's pretty intuitive; change the number of accidentals by seven, and you lower or raise every note by a half-step. That's the definition of how to transpose by a half-step!





    share























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      3 Answers
      3






      active

      oldest

      votes








      3 Answers
      3






      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
        9 hours ago













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

        – badjohn
        7 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
        7 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
        7 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
        7 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
        9 hours ago













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

        – badjohn
        7 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
        7 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
        7 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
        7 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 9 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
        9 hours ago













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

        – badjohn
        7 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
        7 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
        7 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
        7 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
        9 hours ago













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

        – badjohn
        7 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
        7 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
        7 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
        7 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
      9 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
      9 hours ago















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

      – badjohn
      7 hours ago





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

      – badjohn
      7 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
      7 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
      7 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
      7 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
      7 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
      7 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
      7 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 3 hours ago









          Albrecht HügliAlbrecht Hügli

          3,080220




          3,080220























              0














              This is a consequence of the key signatures. Basically, what you're doing is changing the number of accidentals in the key signature by seven (some would argue that's an oxymoron, but you all know what I mean). It turns out that by doing this, you've transposed the song into the key a half-step up. If you want the same exact key, you can add or subtract 12, but that makes for some ugly key signatures.



              It's pretty intuitive; change the number of accidentals by seven, and you lower or raise every note by a half-step. That's the definition of how to transpose by a half-step!





              share




























                0














                This is a consequence of the key signatures. Basically, what you're doing is changing the number of accidentals in the key signature by seven (some would argue that's an oxymoron, but you all know what I mean). It turns out that by doing this, you've transposed the song into the key a half-step up. If you want the same exact key, you can add or subtract 12, but that makes for some ugly key signatures.



                It's pretty intuitive; change the number of accidentals by seven, and you lower or raise every note by a half-step. That's the definition of how to transpose by a half-step!





                share


























                  0












                  0








                  0







                  This is a consequence of the key signatures. Basically, what you're doing is changing the number of accidentals in the key signature by seven (some would argue that's an oxymoron, but you all know what I mean). It turns out that by doing this, you've transposed the song into the key a half-step up. If you want the same exact key, you can add or subtract 12, but that makes for some ugly key signatures.



                  It's pretty intuitive; change the number of accidentals by seven, and you lower or raise every note by a half-step. That's the definition of how to transpose by a half-step!





                  share













                  This is a consequence of the key signatures. Basically, what you're doing is changing the number of accidentals in the key signature by seven (some would argue that's an oxymoron, but you all know what I mean). It turns out that by doing this, you've transposed the song into the key a half-step up. If you want the same exact key, you can add or subtract 12, but that makes for some ugly key signatures.



                  It's pretty intuitive; change the number of accidentals by seven, and you lower or raise every note by a half-step. That's the definition of how to transpose by a half-step!






                  share











                  share


                  share










                  answered 2 mins ago









                  user45266user45266

                  3,3621733




                  3,3621733






















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