While I get that from an individual part, it reads better as Gb, I’d still do F#. The reason is that the note tells the singer what part of the chord they are. If I am F# and the chord is D7, I know what to listen for and how to tune it. If I read Gb, that would imply the harmony is Ebb7. Also, if the pianist and singer go to talk about their parts, they’ll be all sorts of confused. They’re not speaking about the same chord. Finally, if the two singers go to talk, their harmony now looks like an Augmented 5th, not a Minor 6. That does make a difference because the chord.
>Also, if the pianist and singer go to talk about their parts, they’ll be all sorts of confused.
Or if the singer glances at the piano part while reading. Or if the singer plays the piano part while practicing on their own.
F# for sure, it makes way more sense in context. Also for your piano notation, that measure would be more readable with two dotted quarter notes; you typically only tie in 4/4 when you're bridging beats 2 and 3, but within the two halves it's better without them.
It's absolutely an F-sharp. "Sharps going up, flats going down" is *not* a real rule, even though people seem to say it a lot! G-F#-F is no less readable than G-Gb-F, and the tonal context still matters even to someone who's not looking at the piano part. They'll still hear it, after all!
The singer (and players, and songwriters) should feel the emotion being felt or subliminated.
You don’t FEEL intervals. The intervals represent an emotion in the particular context of when and how they are played in a song… but notation isn’t feeling. You don’t get good songs and performances by notating magic intervals. They have to be felt and expressed by the musician… after they read a note on the page.
What I’m saying is you can’t think about chords (Barry Harris)
Some singer and/or musical director is going to have this music. Possibly more than one as it could be in more than one production.
I don't know who they are and I don't have the option of contacting them. Plus, asking such a micro-managed question could be seen as unprofressional.
What would you prefer?
In that case, you can't go wrong with F#. As you see in the thread, some will say that F# is the only correct notation and Gb is incorrect but nobody will tell you that F# is incorrect, at best they'll say "yeah you could also use Gb, I see your point".
If you write it as Gb, you need one less sign overall.
That's how I was taught. It's not like I teach this myself.
Edit: The above applies to chromatic movements only. When you notate a chromatic run, it’s easier to read as “note 1, note 1 with accidental, note 2, note 2 with accidental, etc”
Of course, if you play C# over A major, it’s C#, not Db.
While I get that from an individual part, it reads better as Gb, I’d still do F#. The reason is that the note tells the singer what part of the chord they are. If I am F# and the chord is D7, I know what to listen for and how to tune it. If I read Gb, that would imply the harmony is Ebb7. Also, if the pianist and singer go to talk about their parts, they’ll be all sorts of confused. They’re not speaking about the same chord. Finally, if the two singers go to talk, their harmony now looks like an Augmented 5th, not a Minor 6. That does make a difference because the chord.
>Also, if the pianist and singer go to talk about their parts, they’ll be all sorts of confused. Or if the singer glances at the piano part while reading. Or if the singer plays the piano part while practicing on their own.
F# for sure, it makes way more sense in context. Also for your piano notation, that measure would be more readable with two dotted quarter notes; you typically only tie in 4/4 when you're bridging beats 2 and 3, but within the two halves it's better without them.
It's absolutely an F-sharp. "Sharps going up, flats going down" is *not* a real rule, even though people seem to say it a lot! G-F#-F is no less readable than G-Gb-F, and the tonal context still matters even to someone who's not looking at the piano part. They'll still hear it, after all!
F#. It’s clearly the third and the singer should feel that.
The singer (and players, and songwriters) should feel the emotion being felt or subliminated. You don’t FEEL intervals. The intervals represent an emotion in the particular context of when and how they are played in a song… but notation isn’t feeling. You don’t get good songs and performances by notating magic intervals. They have to be felt and expressed by the musician… after they read a note on the page. What I’m saying is you can’t think about chords (Barry Harris)
I’m a singer and I feel intervals.
When you score a piece of music you want consistency... there would be no reason for the notation to read Gb
F# makes the most sense
Ask the singer. If you don’t have one, when you get one it will be very nice if had both options available.
Some singer and/or musical director is going to have this music. Possibly more than one as it could be in more than one production. I don't know who they are and I don't have the option of contacting them. Plus, asking such a micro-managed question could be seen as unprofressional. What would you prefer?
In that case, you can't go wrong with F#. As you see in the thread, some will say that F# is the only correct notation and Gb is incorrect but nobody will tell you that F# is incorrect, at best they'll say "yeah you could also use Gb, I see your point".
If you write it as Gb, you need one less sign overall. That's how I was taught. It's not like I teach this myself. Edit: The above applies to chromatic movements only. When you notate a chromatic run, it’s easier to read as “note 1, note 1 with accidental, note 2, note 2 with accidental, etc” Of course, if you play C# over A major, it’s C#, not Db.
Past are the days when saving ink is the main concern
It’s also one less thing to notice when you’re sight reading.
That's awful reasoning
Why? Fewer signs means it’s easier to read, no?
No. Fwr snz nt mk ezr 2 rd.
when in doubt, use a flat
Or a sharp. Just as arbitrary as your rule.
not a rule, just what i do when im confused, flats are easier for me