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G♯ (G-sharp) or sol dièse is the ninth semitone of the solfège.In the German pitch nomenclature, it is known as gis. [1]It lies a chromatic semitone above G and a diatonic semitone below A, thus being enharmonic to la bémol or A ♭ (A-flat).
Although the enharmonic key of A-flat major is preferred because A-flat major has only four flats as opposed to G-sharp major's eight sharps (including the F), G-sharp major appears as a secondary key area in several works in sharp keys, most notably in the Prelude and Fugue in C-sharp major from Johann Sebastian Bach's The Well-Tempered Clavier, Book 1.
In time (i.e. the performer should return to the stable tempo, such as after an accelerando or ritardando); also may be found in combination with other terms such as a tempo giusto (in strict time) or a tempo di menuetto (at the speed of a minuet) ab (Ger.) off, organ stops or mutes abafando (Port.) muffled, muted abandon or avec (Fr.)
G-sharp, G ♯ or G# may refer to: G-sharp minor, a musical key; G-sharp major, a musical key; G♯ (musical note) Granville Sharp, an eighteenth-century abolitionist; G-sharp guitar, designed by Øivin Fjeld
In this example sound, a common element, is excluded, while gesture, a less common element, is given primacy. However Nattiez goes on to say that despite special cases where sound is not immediately obvious (because it is heard in the mind): "sound is a minimal condition of the musical fact". [22]
The G-Sharp is tuned accordingly, and the standard tuning is identical to putting a capo on the 4th fret on a regular guitar: G#-D#-B-F#-C#-G# As G# and A♭ is the same musical note it would be correct to say that it is an A-flat instrument, but naming his guitar and his company Fjeld chose to ignore this fact, and it is not mentioned anywhere.
(The same enharmonic situation occurs with the keys of D-flat major and C-sharp minor, and in some cases, with the keys of G-flat major and F-sharp minor). The G-sharp natural minor scale is: Audio playback is not supported in your browser.
With this chord, Wagner actually provoked the sound or structure of musical harmony to become more predominant than its function, a notion that was soon explored by Debussy and others. In the words of Robert Erickson, "The Tristan chord is, among other things, an identifiable sound, an entity beyond its functional qualities in a tonal ...