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G-flat major
{ \magnifyStaff #3/2 \omit Score.TimeSignature \key ges \major s16 \clef F \key ges \major s^"" }
Relative keyE-flat minor
Parallel keyG-flat minor
→enharmonic: F-sharp minor
Dominant keyD-flat major
Subdominant keyC-flat major
Enharmonic keyF-sharp major
Component pitches
G♭, A♭, B♭, C♭, D♭, E♭, F

G-flat major is a major scale based on G♭, consisting of the pitches G♭, A♭, B♭, C♭, D♭, E♭, and F. Its key signature has six flats.

Its relative minor is E-flat minor (or enharmonically D-sharp minor). Its parallel minor, G-flat minor, is usually replaced by F-sharp minor, since G-flat minor's two double-flats make it generally impractical to use. Its enharmonic equivalent, F-sharp major, contains six sharps.

The G-flat major scale is:

\header { tagline = ##f } scale = \relative f' { \key ges \major \omit Score.TimeSignature ges^"G♭ natural major scale" as bes ces des es f ges f es des ces bes as ges2 \clef F \key ges \major } \score { { << \cadenzaOn \scale \context NoteNames \scale >> } \layout { } \midi { } }

Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The G-flat harmonic major and melodic major scales are:

\header { tagline = ##f } scale = \relative f' { \key ges \major \omit Score.TimeSignature ges^"G♭ harmonic major scale" as bes ces des eses f ges f eses des ces bes as ges2 \clef F \key ges \major } \score { { << \cadenzaOn \scale \context NoteNames \scale >> } \layout { } \midi { } }
\header { tagline = ##f } scale = \relative f' { \key ges \major \omit Score.TimeSignature ges^"G♭ melodic major scale (ascending and descending)" as bes ces des es f ges fes eses des ces bes as ges2 \clef F \key ges \major } \score { { << \cadenzaOn \scale \context NoteNames \scale >> } \layout { } \midi { } }

Scale degree chords

[edit]

The scale degree chords of G-flat major are:

Characteristics

[edit]

Like F-sharp major, G-flat major is rarely chosen as the main key for orchestral works. It is more often used as a main key for piano works, such as the impromptus of Chopin and Schubert. It is the predominant key of Maurice Ravel's Introduction and Allegro for harp, flute, clarinet and string quartet, and is also used in the second movement "Le Gibet" of Ravel's famous Gaspard de la nuit.

A striking use of G-flat major can be found in the love duet "Tu l'as dit" that concludes the fourth act of Giacomo Meyerbeer's opera Les Huguenots.[citation needed]

When writing works in all 24 major and minor keys, Alkan, Rachmaninoff, Scriabin, Shchedrin and Winding used G-flat major over F-sharp major. Muzio Clementi chose F-sharp in his set for the prelude, but G-flat for the final "Grande Exercice" which modulates through all the keys.

Antonín Dvořák composed Humoresque No. 7 in G-flat major, while its middle section is in the parallel key (F-sharp minor, enharmonic equivalent to the theoretical G-flat minor).

Gustav Mahler was fond of using G-flat major in key passages of his symphonies. Examples include: the choral entry during the finale of his Second Symphony,[1] during the first movement of his Third Symphony,[2] the modulatory section of the Adagietto from his Fifth Symphony,[3] and during the Rondo–Finale of his Seventh Symphony.[4] Mahler's Tenth Symphony was composed in the enharmonic key of F-sharp major.

This key is more often found in piano music, as the use of all five black keys allows an easier conformity to the player's hands, despite the numerous flats. In particular, the black keys G♭, A♭, B♭, D♭, and E♭ correspond to the 5 notes of the G-flat pentatonic scale. Austrian composer Franz Schubert chose this key for his third impromptu from his first collection of impromptus (1827). Polish composer Frédéric Chopin wrote two études in the key of G-flat major: Étude Op. 10, No. 5 "Black Key" and Étude Op. 25, No. 9 "Butterfly" as well as a waltz in Op. 70. French composer Claude Debussy used this key for one of his most popular compositions, La fille aux cheveux de lin, the eighth prélude from his Préludes, Book I (1909–1910). The Flohwalzer can be played in G-flat major, or F-sharp major, for its easy fingering.

John Rutter has chosen G-flat major for a number of his compositions, including "Mary's Lullaby" and "What sweeter music".[5] In a charity interview[6] he explained several of the reasons that drew him to this key. In many soprano voices there is a break round about E (a tenth above middle C) with the result that it is not their best note, bypassed in the key of G-flat major. It is thus, he claims, a very vocal key. Additionally, writing for strings, there are no open strings in this key, so that vibrato can be used on any note, making it a warm and expressive key. He also cites its facility on a piano keyboard.

References

[edit]
[edit]
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G-flat major

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from Grokipedia
G-flat major is a major scale and key in music theory, based on the note G♭. Its key signature has six flats. The relative minor of G-flat major is E♭ minor, which shares the same key signature, and G-flat major is enharmonically equivalent to , meaning they contain the same pitches but are notated differently. This key appears in various classical compositions. Notable examples include Frédéric Chopin's Étude Op. 25, No. 9 (""); Franz Schubert's in G-flat major, D. 899, No. 3 (Op. 90, No. 3); Sergei Rachmaninoff's Prelude in G-flat major, Op. 23, No. 10; and Maurice Ravel's Introduction and Allegro for , , , and .

Fundamentals

Key Signature

The key signature of G-flat major consists of six flats: B♭, E♭, A♭, D♭, G♭, and C♭. These accidentals are added in a fixed order derived from the circle of fifths, progressing counterclockwise from the key of F major: first B♭ for F major, then E♭ for B♭ major, A♭ for E♭ major, D♭ for A♭ major, G♭ for D♭ major, and finally C♭ for G-flat major. This sequential addition ensures that each new flat lowers the fifth scale degree of the previous key, maintaining diatonic consistency across related tonalities. In notation, the key signature is positioned immediately to the right of the clef at the beginning of the staff, with the flat symbols aligned vertically in their specific locations corresponding to the notes they alter. In the treble clef, B♭ appears on the middle line, E♭ in the space immediately above, A♭ on the line above that, D♭ in the subsequent space, G♭ on the next line, and C♭ in the space above. In the bass clef, the flats are placed on: B♭ on the second line from the bottom, E♭ in the third space from the bottom, A♭ on the top line, D♭ on the third line from the bottom, G♭ on the bottom line, and C♭ in the second space from the bottom. This placement adheres to standard conventions established in Western music notation, with each flat positioned on the line or space of the note it affects. Unlike sharp-based keys, the G-flat major signature contains no sharps, relying entirely on flats to define its tonal center, which visually clusters the accidentals toward the upper portion of the staff in both clefs. This flat-exclusive notation contrasts with enharmonically equivalent keys that employ sharps, highlighting the systematic duality in key representation. G-flat major is enharmonically equivalent to . Historically, the six-flat signature is preferred over the six-sharp alternative for in contexts like orchestral writing for transposing instruments in flat keys (e.g., clarinets in B♭), where it reduces ledger lines and accidentals during modulations to nearby flat tonalities, a practice rooted in 19th-century conventions.

Scale Construction

The G-flat major scale is constructed by starting on the root note G♭ and following the standard interval pattern of whole step, whole step, half step, whole step, whole step, whole step, half step (W-W-H-W-W-W-H), where a whole step spans two half steps and a half step spans one half step on the . This pattern ensures the scale's characteristic major tonality, defined by the specific placement of half steps between the third and fourth degrees and between the seventh and eighth degrees, creating a bright and resolved sound distinct from minor scales. The ascending natural G-flat major scale consists of the following pitches, corresponding to its scale degrees: From the root, these degrees form the intervals of , (whole step), , (half step from third), , , (whole step from sixth), and (half step from seventh), with the major seconds providing stepwise motion and the minor seconds (half steps) delineating the scale's structural pivots to reinforce the major key's stability and hierarchy. The represents the primary form used in tonal music, while variants such as the harmonic major (lowering the sixth degree) or melodic major exist in advanced contexts but are less common than the standard pattern.

Harmonic Structure

Diatonic Chords

The diatonic chords in G-flat major are the triads constructed by stacking thirds on each degree of the G-flat major scale, which consists of the notes G♭, A♭, B♭, C♭, D♭, E♭, and F. These chords form the foundational harmonic vocabulary of the key, following the standard pattern for major keys: major triads on the tonic (I), subdominant (IV), and dominant (V) degrees; minor triads on the supertonic (ii), mediant (iii), and submediant (vi) degrees; and a diminished triad on the leading tone (vii°). This results in three major chords, three minor chords, and one diminished chord. The following table enumerates the diatonic triads, including their Roman numeral notation, chord quality, and constituent notes (, third, fifth):
Roman NumeralChord QualityNotes
IMajorG♭–B♭–D♭
iiMinorA♭–C♭–E♭
iiiMinorB♭–D♭–F
IVMajorC♭–E♭–G♭
VMajorD♭–F–A♭
viMinorE♭–G♭–B♭
vii°DiminishedF–A♭–C♭
These note spellings adhere to the key's enharmonic conventions, such as using C♭ instead of B for the fourth scale degree to maintain diatonic consistency. Each diatonic triad can appear in three inversions: root position (root in the bass), first inversion (third in the bass), and second inversion (fifth in the bass). Inversions are notated using symbols—5/3 (or simply the root position, often unfigured), 6/3 for first inversion, and 6/4 for second inversion—allowing for varied bass lines while preserving the chord's identity. For example, the I chord (G♭–B♭–D♭) in first inversion places B♭ in the bass, facilitating smoother connections in four-voice textures where the root is typically doubled in root position but adjusted in inversions to avoid parallel fifths or octaves. Voice leading for these diatonic triads emphasizes contrary motion, retention of common tones, and stepwise movement between non-common tones to ensure smooth transitions, particularly in root position where the complete triad is voiced with the root doubled. In G-flat major, this applies specifically to the chords' intervals, such as the half-step leading tone resolution in vii° (F to G♭) or the whole-step shifts in minor triads like ii (A♭ to B♭). Inversions enhance voice leading by permitting bass motion by step, as seen when progressing from IV^6 (E♭ in bass) to I, where the bass ascends stepwise from E♭ to G♭ while upper voices adjust minimally.

Common Progressions

In G-flat major, one of the most fundamental chord progressions is the I-IV-V-I sequence, consisting of the chords , , , and returning to , which provides a strong sense of resolution through its cyclic reinforcement of the tonic and dominant functions. Another prevalent progression is the ii-V-I, formed by , , and , commonly used in and classical contexts to approach the tonic via the and dominant. The I-vi-IV-V progression, exemplified by , , , and , offers a versatile pattern that builds emotional arc through alternation between major and minor sonorities. Diatonic chords in G-flat major fulfill specific functional roles within these progressions: the tonic function is served by the I (G♭ major) and vi (E♭ minor) chords, establishing stability and resolution; the subdominant function is handled by the IV (C♭ major) and ii (A♭ minor) chords, creating forward momentum and preparation for the dominant; and the dominant function is embodied by the V (D♭ major) and vii° (F diminished) chords, generating tension that seeks release back to the tonic. Cadences in G-flat major employ these progressions to delineate phrases: a perfect cadence features the V-I motion from to , delivering the strongest sense of closure; a plagal cadence uses IV-I, progressing from to for a gentler, hymn-like resolution; and a half cadence ends on the dominant V () or a ii-V approach like to , leaving phrases open and anticipatory. The flat structure of G-flat major, with its six-flat , enhances resolution and tension in these progressions by emphasizing half-step relationships among the lowered scale degrees (such as between F and G♭ or B♭♭ and C♭), which promote efficient and harmonic pull without requiring frequent accidentals.

Characteristics

Tonal Qualities

G-flat major is often perceived as possessing a warm and rich tonal quality, attributed to its key signature featuring six flats, which in historical tuning systems like quarter-comma allow for purer thirds within its diatonic framework. In such temperaments, the from G♭ to B♭ aligns with the ratio of , resulting in a more consonant and sonorous sound compared to the wider thirds found in sharper keys under the same tuning. This acoustic property contributes to a sense of fullness and euphony, evoking a "dark yet bright" character where the flat-oriented pitches provide depth and warmth, while the mode imparts underlying brightness. The abundance of flat notes in the scale—G♭, A♭, B♭, C♭, D♭, E♭—further enhances this richness, as these pitches facilitate smoother harmonic resolutions and a velvety timbre in performance, particularly on instruments sensitive to intonation variations. In Western music theory, G-flat major is associated with lyrical and introspective moods, expressing softness coupled with richness, as noted in early 19th-century characterizations that highlight its capacity for tender, reflective expression. This stems from the scale's interval structure, including multiple minor thirds in its diatonic triads (such as the supertonic A♭ minor and submediant E♭ minor), which introduce subtle emotional nuance without overt dissonance. A key element influencing the resolution feel in G-flat major is its leading tone, F , which stands out as the sole note amid the prevailing flats, creating a heightened sense of tension and pull toward the tonic G♭ through the ascent. This diatonic leading tone, functioning as the raised seventh degree, provides a poignant and inevitable resolution, reinforcing the key's quality by evoking a gentle yet insistent forward momentum in progressions.

Instrument Suitability

G-flat major is particularly well-suited to , where its scale aligns closely with the instrument's , promoting smoother fingering patterns. The ascending scale from G♭ to E♭ incorporates six notes that primarily utilize the raised (G♭, A♭, B♭, D♭, E♭, with C♭ as B natural on a white key), allowing pianists to maintain a compact hand position without excessive stretching between white keys. This configuration reduces finger independence demands compared to sharp-key scales, making it accessible for intermediate players and beneficial for technical exercises focused on black-key dexterity. For string instruments, G-flat major presents challenges due to its six-flat , which requires frequent use of flat fingerings in lower positions, often resulting in cramped hand placements on the . Violinists and cellists, for instance, may need to employ half-position shifts to accommodate the flattened notes, potentially disrupting intonation and bow control, though the key can still yield a warm, resonant tone when executed precisely. Wind instruments experience mixed suitability in G-flat major; woodwinds must navigate numerous flat fingerings, which can complicate rapid passages but ultimately support a smooth, mellow characteristic of flat keys. instruments, conversely, find the key more accommodating, as their construction favors flat signatures for optimal combinations and airflow, enabling bold, projecting statements without excessive strain. In orchestral settings, G-flat major remains relatively rare owing to transposition complexities for instruments like horns and trumpets, where the six-flat structure translates to parts laden with , increasing reading demands and potential for errors during . However, it proves effective for sections, leveraging their affinity for flat keys to deliver powerful, unified fanfares.

Usage in Music

Historical Development

The use of G-flat major remained rare during the era, primarily due to the limitations of meantone and other unequal temperaments prevalent at the time, which made keys with multiple —whether sharps or —challenging to intone accurately on keyboard and instruments. Johann Sebastian Bach included a prelude and fugue in the enharmonically equivalent (BWV 858) in the first book of (1722), showcasing the key's potential within , though it was conventionally notated in sharps to suit players and avoid excessive that could complicate reading. This preference for sharp notation reflected broader historical conventions in orchestral and , where ascending the circle of fifths favored sharps over for practical reasons in . The Romantic era marked a significant surge in the adoption of G-flat major, particularly in piano repertoire, as equal temperament became standard and composers exploited the key's all-black-key scale on the piano for its fluid, expressive qualities and technical ease in evoking intimacy and lyricism. Frédéric Chopin frequently employed it, as seen in his in C-sharp minor, Op. 66 (1835), which modulates prominently to G-flat major, and the Étude Op. 25, No. 9 ("Butterfly," 1836–1837), valued for its delicate, fluttering character. Similarly, Franz Schubert utilized the key in his Impromptu No. 3 in , D. 899 (1827), a serene, song-like piece that highlights the era's emphasis on emotional depth through flat keys on the piano. This shift toward flat notation in the stemmed from the piano's prominence and composers' desire to emphasize the key's soft, enveloping sonority over the brighter associated with . In the , G-flat major found renewed application in impressionist and late Romantic works for its coloristic and atmospheric effects, often to evoke dreamlike or transcendent qualities. composed his Introduction et Allegro for harp, flute, clarinet, and (1905) entirely in G-flat major, leveraging the key's harmonic warmth and resonance to enhance the harp's idiomatic glissandi and modal inflections. similarly incorporated it for dramatic intensity, as in the finale of his No. 2 ("," 1887–1894), where a prolonged buildup resolves to G-flat major, representing the furthest flat key and symbolizing spiritual elevation amid orchestral splendor. By the late 20th and early 21st centuries up to 2025, G-flat major has appeared occasionally in and scores to impart an exotic or sophisticated flavor, though it remains niche compared to more common flat keys like E-flat or B-flat. Its use in contemporary scoring is sporadic, often for underscoring moments of mystery or , but without dominating major soundtracks due to the preference for versatile, transposable keys in modular composition practices.

Notable Compositions

One of the most celebrated works in G-flat major from the Romantic era is Franz Schubert's in G-flat major, Op. 90 No. 3, D. 899, composed in 1827. This piece exemplifies the key's lyrical potential through its flowing triplet and singing , creating a sense of gentle propulsion ideal for the piano's resonant qualities. The work's structure builds from a serene exposition to a more animated middle section before returning to tranquil repose, highlighting G-flat major's warm, enveloping tonality that enhances expressive intimacy. Frédéric Chopin's No. 3 in G-flat major, Op. 51, from 1842, further demonstrates the key's affinity for poetic piano writing. Its opening features a delicate, arpeggiated texture that supports a soaring line, evolving into intricate that underscores the composer's mastery of subtle emotional depth. Chopin's choice of G-flat major here allows for fluid pedaling and harmonic richness, evoking a dreamlike flow that aligns with the key's inherent warmth to convey and grace. Similarly, his Étude Op. 25 No. 9 in G-flat major, nicknamed "," captures lightness and agility with rapid right-hand figurations mimicking fluttering wings, showcasing technical elegance suited to the key's smooth black-key patterns on the keyboard. In the late Romantic period, Antonín Dvořák's No. 7 in G-flat major, Op. 101b, originally for from 1894 and later widely transcribed for , embodies playful charm with its syncopated rhythms and folk-inspired melody. The key's tonal brightness facilitates the piece's whimsical character, making it a staple in concert repertoires for its accessible yet sophisticated appeal. Transitioning to the , Maurice Ravel's Introduction et allegro, M. 46, composed in 1905 for , , , and , opens in G-flat major to evoke a shimmering, impressionistic atmosphere. The 's cascading glissandi and the ensemble's interwoven textures exploit the key's harmonic flexibility, blending modal influences with lush sonorities to create an aura of refined elegance. This work's use of G-flat major underscores its suitability for , where the key's five flats align naturally with the instrument's pedal configurations for seamless execution. Sergei Rachmaninoff's Prelude in G-flat major, Op. 23 No. 10, from 1903, offers a contemplative contrast with its broad, chorale-like phrases and dense chordal writing. The key's resonant depth amplifies the prelude's meditative quality, building to passionate climaxes that reflect Rachmaninoff's idiomatic style. Claude Debussy's "La fille aux cheveux de lin" from Préludes, Book 1 (1910), in G-flat major, portrays delicate serenity through parallel harmonies and subtle pedaling, leveraging the key's soft to evoke imagery.

Key Relationships

Enharmonic Equivalents

G-flat major is enharmonically equivalent to , meaning both keys consist of the same set of pitches but are notated differently. The scale degrees in G-flat major are G♭, A♭, B♭, C♭, D♭, E♭, F, and G♭, while in they are F♯, G♯, A♯, B, C♯, D♯, E♯, and F♯, with each pair of notes (such as G♭ and F♯, or E♭ and D♯) representing identical pitches. The for G-flat major features six flats (B♭, E♭, A♭, D♭, G♭, C♭), whereas uses six sharps (F♯, C♯, G♯, D♯, A♯, E♯). The choice between and notation depends on the musical context, with G-flat often preferred in flat-key environments or for descending melodic lines to align with the prevailing , while F-sharp is favored in sharp-key contexts or ascending lines for similar reasons. This selection aids in maintaining consistency with surrounding harmonies and reduces for performers. In modulations, enharmonic respelling—such as shifting from G-flat major to G-flat minor (respelled as )—can clarify tonal relationships and provide stylistic contrast without altering the pitches. In tuning, there is no audible difference between the two keys, as the pitches are identical, though the notation influences transposition practices by dictating how intervals are spelled and performed across instruments.

Relative and Parallel Keys

The relative minor of G-flat major is , which shares the same of six flats (B♭, E♭, A♭, D♭, G♭, C♭) and is built starting on the sixth scale degree, E♭. This relationship allows for seamless interchange of diatonic chords between the two keys, facilitating modulations or modal shifts within a composition. The parallel minor of G-flat major is G-flat minor, formed by flattening the third (B♭♭), sixth (E♭♭), and seventh (A♭♭) degrees relative to the while retaining the same tonic. Due to the resulting double flats, which complicate notation, G-flat minor is typically enharmonically spelled as , using six sharps (F♯, C♯, G♯, D♯, A♯, E♯) for practicality in reading and performance. Modulations from G-flat major often target closely related keys for structural coherence, such as the dominant key of , which features five flats in its , or the subdominant key of , with seven flats. These shifts exploit the circle of fifths progression, where the dominant provides tension resolution and the offers preparatory expansion. Functional interactions between G-flat major and its parallel frequently involve modal mixture, where chords like the flat (E♭ major) or flat (A♭ major) are borrowed from G-flat to add chromatic tension and expressive color without fully departing the major mode. This borrowing enhances harmonic variety while maintaining tonal center stability.

References

  1. https://musictheory.pugetsound.edu/mt21c/MajorKeySignatures.html
  2. https://mathcs.holycross.edu/~groberts/Courses/MA110/Handouts/CircleofFifths.pdf
  3. https://www.cs.cmu.edu/afs/cs/user/jxu/quake/jrs/public/53studies.html
  4. https://imslp.org/wiki/4_Impromptus%2C_D.899_%28Schubert%2C_Franz%29
  5. https://imslp.org/wiki/10_Preludes%2C_Op.23_%28Rachmaninoff%2C_Sergei%29
  6. https://imslp.org/wiki/Introduction_et_allegro,_M.46_(Ravel,_Maurice)
  7. https://www.circleoffifths.com/page-14/G-Flat-Major-Scale.html
  8. https://www.earmaster.com/music-theory-online/ch04/chapter-4-7.html
  9. https://mymusictheory.com/more-music-theory-topics/key-signatures-chart/
  10. https://www.piano-lessons-info.com/key-signatures-bass-clef.html
  11. https://mymusictheory.com/scales-and-keys/major-scales-with-6-sharps-flats/
  12. http://musictheorysite.com/major-scales/
  13. https://www.musictheory.education/music-theory-level-8/ch-8-16-the-g-flat-major-scale
  14. https://www.musiccrashcourses.com/lessons/intervals_maj_min.html
  15. https://muted.io/g-flat-major-scale/
  16. https://milnepublishing.geneseo.edu/fundamentals-function-form/chapter/13-triads/
  17. https://musictheory.pugetsound.edu/mt21c/DiatonicChordsInMajor.html
  18. https://musictheory.pugetsound.edu/mt21c/VoiceLeadingTriads.html
  19. https://www.musictheory.net/lessons/57
  20. https://online.berklee.edu/takenote/common-chord-progressions-and-how-to-make-them-your-own/
  21. https://blog.native-instruments.com/major-chord-progressions/
  22. https://musictheory.pugetsound.edu/mt21c/HarmonicFunction.html
  23. https://musictheory.pugetsound.edu/mt21c/cadences.html
  24. https://musictheory.pugetsound.edu/mt21c/RomanNumeralChordSymbols.html
  25. https://www.hpschd.nu/tech/tmp/mean.html
  26. https://muhi.uniarts.fi/romantiikan-savellajeista/
  27. https://www.hearandplay.com/main/beginners-guide-to-learning-black-key-major-scales
  28. https://imslp.org/wiki/Prelude_and_Fugue_in_F-sharp_major%2C_BWV_858_%28Bach%2C_Johann_Sebastian%29
  29. https://interlude.hk/feel-key-f-sharp-major-g-flat-major/
  30. https://interlude.hk/on-my-music-desk-franz-schubert-impromptu-in-g-flat-d899-3/
  31. https://kennethwoods.net/blog1/2006/03/21/movement-5-auferstehen-part-ii/
  32. https://www.hooktheory.com/blog/cinematic-chord-progressions/
  33. https://www.hyperion-records.co.uk/dw.asp?dc=W6421_GBAJY9720306
  34. https://www.pianistmagazine.com/blogs/learn-schubert-impromptu-op-90-no-3/
  35. https://www.hyperion-records.co.uk/dw.asp?dc=W3384_GBAJY0437210
  36. https://www.hyperion-records.co.uk/dw.asp?dc=W6689_67700
  37. https://piano-music-theory.com/2016/05/31/f-sharp-major-and-g-flat-major-scales/
  38. https://music.stackexchange.com/questions/4817/f-major-vs-gb-major
  39. https://jameshawken.com/blog/blog/is-it-an-f-sharp-or-a-g-flat
  40. https://www.musictheoryacademy.com/understanding-music/enharmonic-equivalents/
  41. https://musictheory.pugetsound.edu/mt21c/MinorKeySignatures.html
  42. https://www.learnjazzstandards.com/blog/parallel-minor-and-relative-minor/
  43. https://audiblegenius.com/blog/f-minor-chord-scale-chords-in-the-key-of-f-sharp-minor
  44. https://www.dacapoalcoda.com/d-flat-major-key-signature
  45. https://www.dacapoalcoda.com/c-flat-major-key-signature
  46. https://musictheory.pugetsound.edu/mt21c/ModeMixtureSection.html
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