Piano Guidance
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What is F-sharp the same as?

Its relative minor is D-sharp minor (or enharmonically E-flat minor) and its parallel minor is F-sharp minor. Its direct enharmonic, G-flat major, contains the same number of flats in its key signature.

en.wikipedia.org - F-sharp major - Wikipedia
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Major scale based on F-sharp

F-sharp major (or the key of F♯) is a major scale based on F♯, consisting of the pitches F♯, G♯, A♯, B, C♯, D♯, and E♯. Its key signature has six sharps.[1]

The F-sharp major scale is:

Audio playback is not supported in your browser. You can download the audio file Its relative minor is D-sharp minor (or enharmonically E-flat minor) and its parallel minor is F-sharp minor. Its direct enharmonic, G-flat major, contains the same number of flats in its key signature.

Music in F-sharp major [ edit ]

F-sharp major is the key of the minuet in Haydn's "Farewell" Symphony, of Beethoven's Piano Sonata No. 24, Op. 78, Verdi's "Va, pensiero" from Nabucco, a part of Franz Liszt's Hungarian Rhapsody No. 2, Mahler's unfinished Tenth Symphony, Korngold's Symphony Op. 40, and Scriabin's Fourth Piano Sonata. The key was the favorite tonality of Olivier Messiaen, who used it repeatedly throughout his work to express his most exciting or transcendent moods, most notably in the Turangalîla-Symphonie. Like G-flat major, F-sharp major is rarely used in orchestral music, other than in passing. It is more common in piano music. Some examples include a Nocturne and the Barcarolle by Chopin, the sonatas of Alexander Scriabin and several pieces from Grieg's Lyric Pieces. Liszt was apparently fond of F-sharp major, having uplifting while meditative pieces like "Les jeux d'eaux à la villa d'este" from Anées de Pèlerinage III, S.163 and "Bénediction de Dieu dans la Solitude" from the set Harmonies Poétiques et Religieuses S.173 in this key. There's also a transition to an energetic passage in the Dante Sonata that is in F-sharp major. Despite the key rarely being used in orchestral music other than to modulate, it is not entirely uncommon in keyboard music. For orchestration of piano music, some theorists recommend transposing the music to F major or G major. If F-sharp major must absolutely be used, one should take care that B♭ wind instruments be notated in A-flat major, rather than G-sharp major (or E♮/B♮ instruments used instead, giving a transposed key of D major/G major).

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How do you tell if a note is sharp or flat?

These tell you to change the pitch of the original note. A sharp symbol looks like this: ♯ (similar to, but not the same as, the 'hashtag' symbol # on social media). A flat symbol looks like this:♭(similar to a lowercase b). Occasionally, notes can also be double-sharp or double-flat.

Sharp and flat notes are opposites, so the difference between them is very easy to understand: one goes up, the other down. When a note’s pitch is sharpened, it is raised by a semitone (or a half-step). Similarly, when a note’s pitch is flattened, it is lowered by a semitone. The easiest thing to understand different pitches is to look at a standard piano keyboard. Each key represents a semitone, with the lowest notes on the left of the piano and the highest on the right. So, when a note is sharpened, you move one key up to the right (black or white depending on which is closest) and when a note is flattened you move one key down to the left. Simple as that! When reading music on the page, sharp or flat notes are shown by symbols that are known as accidentals. These tell you to change the pitch of the original note. A sharp symbol looks like this: ♯ (similar to, but not the same as, the ‘hashtag’ symbol # on social media). A flat symbol looks like this:♭(similar to a lowercase b). Occasionally, notes can also be double-sharp or double-flat. The premise of these is the same but moves the pitch by two semitones (or a tone). So, if you have a G double sharp, raising this by a tone would make it an A. If you have a G double flat, this would become an F. On a piano keyboard, you would move two keys to the right (sharp) or left (flat).

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