Enharmonic

Enharmonic is called in music compositional practice to reinterpret tones than other sounds when they are in the same stage mood the same height, but different names ( and different meaning ) have. For example one can consider a Fis as Ges or His as C - on a keyboard such sounds are both on the same key. Thus, the musical context and function of the tones can change, for example, the change to a different key ( modulation ) bring about. The term is limited to be equated with the term enharmonic (see below), which occupies a much larger field of meaning.

The twelve semitones of the ascending chromatically enriched C major scale are enharmonically changed in the second staff, the one above the other tones denote the same Tonort ( see below) and sound in the same mood gleichstufiger:

Here are the different names for the twelve notes of the equal -step scale; Naturals are highlighted:

Strictly speaking, in many moods, the enharmonic of the above tones without audible " skidding " is not possible. For example, a display in just intonation, meantone temperament is lower than its enharmonic confounded counterpart, the id. In contrast, the Pythagorean Dis is higher than the id. If you play a piece with enharmonic confusion on a mean- tuned harpsichord, the enharmonic change can not be performed. The claim that such an intonation by the composer or artist may still be so intended, is doubted by some,.

History of enharmonic and the enharmonic change

Enharmonic was in the ancient music theory in addition to diatonic and chromatic a name for a type of scale formation. In music theory, the Renaissance, the term has resumed and used differently. Therefore, in the music of the 16th century we find two meanings.

• On the one hand were meant by enharmonic tones tones of different height, for example, in the nineteen -stage mood at Guillaume Costeley.
• On the other hand, there were designated as equally- According moods the same time an enharmonic, each with the same Tonorten.

Towards the end of the 17th century allowed the well-tempered tunings all enharmonic changes on each same Tonorten. With the possibility - beyond the limitations of the mean moods addition - also C sharp and D, and D sharp, F, and ice cream, and Ges F sharp, G sharp and As, B and C as well as Ais and His enharmonically not only melodic, but also in to use harmonic context, were now all keys and their chords circle of fifths even for a piece of music available. The recitatives of the late Baroque are downright characterized by their intensive use enharmonic progressions. As an important element of the modulation using the enharmonic change the Diminished seventh chord was discovered, the four tones are each a sounding minor third apart and can reinterpret diverse.

Whether an enharmonic change could be carried out, so depended on the tuning system used. The closer came the well- tempered tuning and finally the equal temperament tuning, the more numerous and the hearing is tolerable enharmonic confusion could use.

In the music of the Romantic tonality became more and more extended and began during the 19th century, with some composers dissolve. The enharmonic played a determining role, such as Franz Schubert, Franz Liszt, Richard Wagner and continuing into the 20th century, for example, Gabriel Fauré, Claude Debussy, Alexander Scriabin, Max Reger and the early Arnold Schoenberg, which for example the enharmonic reinterpretation of altered chords almost limitless modulations and not necessarily tied to a fundamental harmony enabled.

In the further development towards atonality (especially in the twelve-tone and serial composition of their following manner ) the enharmonic but lost much of their former functional importance. In enharmonic changes it was often only a pragmatic as possible notation and less a harmonic reinterpretation of a sound. Consequently, new, twelve-stage notation systems have been invented and partially used in practice, which contained no enharmonic tones more.

Typical examples of the enharmonic: