octatonic spelling

Does it matter if I spell an Octatonic scale (half step diminished C) C-C#-D#-E-F#-G-A-Bb-C

instead of the common

C-Dd-Eb-Fb-F#-G-A-Bb-C?

The main reason i chose this spelling is because I regard it with a C major "tonality" with the twist of this scale, and want to get the chord C-F#-Bb as a function of a sub-dominant with a diminished 7th.

for those of you unfamiliar with the subject: Octatonic Scales

Thanks

Dor

Well considering you're probably using 12tET and not Mozart or Telemann's approximated 55tET, it doesn't matter how you spell a note. D-sharp = E-flat.

There's a variety of ways to handle octatonic spelling and there isn't a single one which is universally accepted as the preferred method. It's not uncommon to find such things as C flats and D double flats in Scriabin's piano sonatas. And that hasn't stopped a multitude of pianists from recording his work. So really, do whatever you want. It hardly matters in a non-tonal context so long as you're consistent about it.

it is a partial tonal context (it's just a different form of tonality), but thanks :)

@charliep123: you might find that it does theoretically- wise matter how you spell, in contrary to the enharmonic approach.

Yeah, okay, if you want to spell a chord C, E-flat, G instead of C, D-sharp-G.

Play it on your piano though, it sounds the same. Therefore it doesn't really matter at all.

I'm having similar problems, especially in weighing horizontal consistency against vertical logic.

And I have another question. In octatonic mode, does the "flat in descending line, sharp in ascending line" rule still count?

i don't think so, i think this is treated like a regular scale which makes sense because you want to have a consistent "tonality" based on a mode rather then incidental "chromatic scale"-like progressions.

Spell it the way it makes more sense to you. In 12-TET it is the same, so spelling could only make things easier to read in the context. But from your information I personally don't see a serious reason to not spell it the usual way which saves one accidental.

Enharmonic spelling is all about voiceleading. You can spell a diminished 7th chord 4 ways to resolve to four different tonics even though it sounds the same on the piano. As far as the octatonic scale goes, I would find the harmonic implications (C Eb G, or D# F# A) and use sharps and flats depending on which is more prevalent in the piece.

In octatonic mode, does the "flat in descending line, sharp in ascending line" rule still count?

That's how I would do it, makes reading it easier I guess.