Piano Guidance
Piano Guidance
Photo: Max Vakhtbovych
C-flat major is the only major or minor key, other than theoretical keys, which has "flat" or "sharp" in its name, but whose tonic note is the enharmonic equivalent of a natural note (a white key on a keyboard instrument).
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Read More »Most composers prefer to use the enharmonic equivalent B major, since it only contains five sharps as opposed to C-flat major's seven flats. However, the middle section of Frédéric Chopin's Contredanse in G-flat major is written in C-flat major, as are the middle (Trio) sections of two of Ernesto Nazareth's Brazilian tangos for piano, "Chave de Ouro" and "Labirinto" (both with a home key of G-flat major), as well as the final half (last two themes) of William Bolcom's rag for piano, "Seabiscuits". There is a brief passage in the first movement, "Evocación", of Iberia by Isaac Albéniz which suggests the key of C-flat minor by adding the necessary three double-flats as accidentals. The surrounding passages are in C-flat major, with a 7-flat key signature. The movement is in sonata form, in the key of A-flat minor, so this places the second theme in the orthodox relative major key (and in the also-orthodox tonic major key of A-flat major when it reappears near the end of the piece). The slow movement of Ludwig van Beethoven's Piano Sonata No. 12 has a principal theme that modulates from A-flat minor to C-flat major, before moving to what would theoretically be C-flat minor, but is notated as B minor (every note in this passage requires an accidental, due to the key signature of seven flats). A few other works by Beethoven have significant passages in C-flat major, although they usually notate this with accidentals in some other key signature, because C-flat major's seven flats make it a difficult key to use; for example: C-flat major is used for Benjamin Britten's Interlude in C-flat major for harp, several of Max Reger's Canons in All Major and Minor Keys (Book 1 Nos. 62 and 63, and Book 2 No. 48), and No. 29 from the Thirty Preludes in All Major and Minor Keys by Christian Heinrich Rinck. In some scores, the C-flat major key signature in the bass clef is written with the flat for the F on the second line from the top. This can be seen, for example, in the Albéniz example given above: Iberia, 1st movement: "Evocación", about two-thirds of which is in 7 flats, and every bass-clef staff of which shows this variant. This is also seen in the second movement of the Beautiful Danube waltz in the Boosey & Hawkes concert band edition.
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