III: the first appearance of the Arioso section is in A-flat minor (despite being notated with only 6, not 7, flats), and this includes a significant modulation to its relative major key of C-flat major 81a ( Les Adieux): several bars into the slow introduction to the first movement III: the section containing a prominent horn solo before the final return of a variant of the first theme, back in B-flat major 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: 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). The slow movement of Ludwig van Beethoven's Piano Sonata No. 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 surrounding passages are in C-flat major, with a 7-flat key signature. 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. 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". 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. Harp parts can also be written in A-flat minor when the rest of the orchestra is notated in G-sharp minor. Sometimes harp parts are also written in G-flat major when the rest of the orchestra is notated in F-sharp major. In Reinhold Glière's Harp Concerto in E-flat major, the middle movement is a set of variations in C-flat major. In Claude Debussy's Sonata for Flute, Viola and Harp, the second movement has a middle section in B major, for which the harp part is notated in C-flat major with seven flats. In Arnold Bax's symphonic poem Tintagel, the key is B major and again the harp part is always notated in C-flat major but in this case the harp's key signature contains only 6 flats, and the necessary F ♭s are notated with accidentals. This use of C-flat major in harp parts when the rest of the orchestra is playing in B major is not exceptional: it is standard practice in orchestral music written in B major for harp parts to be notated in C-flat major. Thus, in Richard Strauss's Ein Heldenleben, the first cue for the harps is written in C-flat major even though the rest of the orchestra, having previously played in E-flat major, retains a 3-flat key signature and is now playing in B major, marked with the necessary sharps and naturals as accidentals. ( July 2021) ( Learn how and when to remove this template message)Ĭ-flat major is the home key of the harp, with all its pedals in the top position, and it is considered the most resonant key for the instrument. Unsourced material may be challenged and removed. Please help improve this section by adding citations to reliable sources.
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