Enharmonic Spelling

Hi all,

I'm not exactly a beginner, but I am largely self taught and I always find myself having the same problem when writing scores.

Is there a simple rule to follow when writing in any given key, as to which enharmonic spellings I should use?

For example: I'm writing something in E minor, I want a B flat, should I write a B flat or an A sharp.  My thinking is that since E minor is a 1 Sharp key, then I should use sharps.  If I want a C sharp, should I write a C sharp or a D flat? 

Then to further complicate the situation, when do I need to use double sharps or flats, not just in the key of E minor, but in all keys?

I suspect it's a complicated subject with no single golden rule of thumb.  I have tried to read up about it but I just find myself getting more and more confused with the whole thing.

Thanks for any help on this subject I really appreciate it.

Mark

It's based on 1. the style of music, then 2. the direction of the music, then 3. the tonality of the music, if applicable.
1. If it's atonal music, it mostly doesn't matter unless...
2. ...the music direction tells you where you're going. If you need to end up on an A with a chromatic leading tone, then it makes sense to use G# as opposed to Ab because moving up in the scale. Common practice. Don't use double sharps/flats unless you have to for voice leading purposes. 
3. Tonal music is different. Everything is based on keys and scales, meaning you HAVE to use certain spellings of notes based on the relative scale. In E minor, your chord spelling HAS TO BE E, G, B, because those are the three notes in E MINOR that make that triad. 
So for your A#/Bb question, what's the context? You said it's in E minor, implying it's TONAL music, so if it's a bv chord or something like it, then Bb would be acceptable. If it's a leading tone to the dominant of B, then you HAVE to use A# because it's a note lower in the scale you're using.

Hi Monarcheon,

Thanks for you reply.  My music is tonal although I used E minor just as an example.  I've written many pieces and they rarely stay in one key for long and are often discordant in places.  I use Sibelius which I love, but I do often write without being at my piano (which would automatically input the correct spellings for any given key, but my sofa doesn't have the same capability), so when I'm notating and get into a flow, I hear the tone I want, but often don't know exactly what to call it, so although the music sounds fine, the score looks a mess and I want to be able to present a readable score as well as the music.  Does that help explain the problem a bit better?

I am agree with Monarcheon here, and here's why:

En harmonics affect the architectonic relationship that individual harmonies have. Certain harmonies are classified as "Vagrant". Meaning, they have no clear interpretation in music. That is mainly due because of they construction and their function. A German augment 6th can also be used a artificial  dominant of the Nepolian region. That is to say it is V/bII6 leading to bII6. That same chord can also function as diminished 7th chord on A, if you lower the Ab to A natural and respell the F# to Gb.  

Therefore, in the key in the key of e minor, the tone B-flat/A-sharp is not general used in that minor, unless there is a harmony that does use it. Meaning, that tone is not a diatonic tone but would be a chromatic one.

Thanks Kvothe,

I think the trick is to try and write as intuitively as possible, always with an eye on ease of reading.  I've never been very good at sitting down and reading a lot of dry theory books, it just doesn't tend to stick in my brain.  However, I feel a bit more confident that I am doing things more or less correctly and I'm sure that, as whenever I have posted scores before, there are always plenty of people who will let me know when I've made a mistake, (which is always appreciated).

Thanks again and kind regards

Mark

Hi @Mark101

If you are in a tonal environment there's a "rule" that can help.

A given scale, whatever it is, HAS 7 different notes. I mean, all of the 7 tones must be in the scale.

For example: G major is simple: G - A  - B - C - D - E - F#

G# major = G# - A# - B# - C# - D# - E# - F##  (you shouldn't change E# for F or F## for G because you would have repeated name of notes and other lacking).

When you are working with chords, it depends what you want.

For example: Emaj7 = E  - G# - B - D#

If you want this chord: E - G# - Bb - D#  then you have flattened the 5th = Emaj7(b5)..... It means that your 5th is now b5

But that's different from Emaj7 (lidyan).... Here you have a #4 (#11) but it does not replace the 5th because it's the 4th what you have risen up. = E - G# - A# - (B) - D#.... You can use the B if you want in this chord, together with A#.

Another example is the dim7 chords. = 1 - b3 - b5 - bb7

So  Ddim7 = D - F - Ab - Cb....... And not D - F - Ab - B.

1 hour ago, Mark101 said:

Thanks Kvothe,

I think the trick is to try and write as intuitively as possible, always with an eye on ease of reading.  I've never been very good at sitting down and reading a lot of dry theory books, it just doesn't tend to stick in my brain.  However, I feel a bit more confident that I am doing things more or less correctly and I'm sure that, as whenever I have posted scores before, there are always plenty of people who will let me know when I've made a mistake, (which is always appreciated).

Thanks again and kind regards

Mark

You are welcome. I'm glad I could help you. Tonal writing can be tricky, but remember scales have certain chromatic alternations to them, just as chromatic harmonies do, If you remember that, then you are rather set. A tonal writing has it is own set of rules.  

 

Hi Luis,

Thanks for you help, as always it very useful and much appreciated.

I realise much of what you said about not repeating a name in any given scale, and also about the priorities used in chords (well a little less lol, but nonetheless, I think I understand it in principle).

My confusion comes mostly when writing tonally, on the occasions (which are many) that I want a note for a melody or harmony that's not one of the 7 regular notes of that scale.  Often my music contains dissonances for example, or chromatic melodies or harmonies, and I'm never sure of how to spell those notes that are outside of the 7 named notes of any scale.

Does that make sense? lol

What I think I'm understanding at the moment is that direction and function of the said note is important in deciding its spelling in these cases.  Is that right?

I would say double sharps for sharp keys, double flats for flat keys, chromaticism is a toss-up and depends on which way the line us going, and it also depends on how much of a challenge you want to give the player.

Hi Youngc,

I never really like using double sharps or flats, but I know that on the occasions where it applies, it is wrong not to use them.  I think I have learned much from this thread and I really appreciate it, so thanks to all who have given time to answer.

Last night I also learned another very useful thing.  After rummaging around the various features available in Sib 7.5, there is actually a plug-in that will do the job.  In the drop down menu of the note input tab, plug-ins "simplify accidentals".  This plug-in does what it says on the tin.  It will change all accidentals in a selected passage to fall in line with the most conventional spelling for any given key.

I know there's no substitute for actually knowing the theory, but this really does take the hard work out of writing when I'm not at the piano.