Major keys
minor keys
Parallel Keys
Enharmonic equal keys
Enharmonic equal keys - keys are the same in sound, but different in name.
Comments:
03/29/2015 at 14:02 Oleg said:
I did not see a table with all the characters in the key in all POSSIBLE keys. There is a table, but what you need is not!
04/05/2015 at 23:54 Svetlana said:
Hello. Write specifically what tone you are interested in, I will answer you.
01/21/2016 at 16:06 Julia said:
Keys are missing in the table - G-dur and e-moll
01/21/2016 at 16:17 Svetlana said:
Fixed, thanks!
02/19/2016 at 18:59 Maksim said:
I'm interested in C flat major. And could you make a separate article where different chords are built in different keys?
02/19/2016 at 22:25 Svetlana said:
Hello Maxim. There are seven flats in C-flat major. I recommend that you replace B major with the key, they are enharmonically equal, and there will be fewer signs - 5 sharps.
There are no plans to write such an article in the near future.
08/30/2017 at 04:52 I need to build a d7 with calls in 24 keys, and everywhere for some reason I find 30 keys on the Internet. Why? said:
I accidentally wrote my question in the name.
25.04.2018 at 14:25 Peter said:
Guys, in fact, all of the above is very useful, and it is necessary for practical application, I simply do not understand those who, due to insufficient understanding of the topic, leave bad reviews.
08.10.2018 at 17:36 Julia said:
Good afternoon,
the child was given a pre-task: signs in keys up to 3 with # and b.
Unfortunately, already the 4th solfeggio teacher in 3 years, the material is given in pieces. The daughter does not understand at all what it is and what they want from her.
Tell me please.
01/02/2019 at 21:33 morozalex2018 said:
G-dur and e-moll are in the table, look carefully
09.02.2019 at 09:16 Eve said:
Thank you! Very useful article, saved 👏🏻👍🏻
04/16/2019 at 19:33 Lida said:
What are the signs in F flat minor?
04/21/2019 at 23:48 Oleg said:
Useful advice
04/21/2019 at 23:49 Oleg said:
Useful information
04/21/2019 at 23:55 Oleg said:
Let's analyze the key in F flat minor. So, in the key of F minor - 4 flats, and in F flat minor there are 7 flats more, that is, 4 + 7 = 11b. Some may say that this cannot be. I answer - maybe! There are 4 double flats in F flat minor: -sibb, mibb, labb and rebb. As well as solb, dob and fab.
04/22/2019 at 00:05 Oleg said:
Keys with a large (more than six) number of key characters can be replaced with a key with fewer characters. The main thing is that the sum of the original and replaced signs is equal to 12, and also that they are opposite. For example, if you have 8 flats, then do: 12-8b= 4# (F flat major 8b. A E major - 4#). Such tonalities are called enharmonic equal, that is, equal in sound. But by name and by recording notes (scales) - they are different.
In musical practice, a large number of various musical modes are used. Of these, two modes are the most common and almost universal: these are major and minor. So there are three types of major and minor: natural, harmonic and melodic. Just don’t be afraid of this, everything is simple: the difference is only in the details (1-2 sounds), the rest is the same in them. Today in our field of vision there are three types of minor.
3 types of minor: the first is natural
natural minor- this is a simple gamma without any random signs, in the form in which it is. Only key characters are taken into account. The scale of this scale is the same when moving up and down. Nothing extra. The sound is simple, a little strict, sad.
Here, for example, is the scale of the natural in A minor:
3 types of minor: second - harmonic
harmonic minor- in it when moving up and down the seventh step rises (VII#). It rises not from the bay-floundering, but in order to sharpen its gravity in the first step (that is, in).
Let's look at the harmonic scale in A minor:
As a result, the seventh (introductory) step goes really well and naturally into the tonic, but between the sixth and seventh steps ( VI and VII#) a "hole" is formed - an increased second (uv2).
However, this has its own charm: after all, thanks to this increased second harmonic minor sounds like something in the Arabic (Eastern) way- very beautiful, elegant and very characteristic (that is, the harmonic minor is easily recognizable by ear).
3 types of minor: third - melodic
melodic minor is a minor in which when the gamma moves up, two steps rise at once - the sixth and seventh (VI# and VII#), but during the reverse (downward) movement, these increases are canceled, and played (or sung) in fact natural minor.
Here is an example of the melodic kind of the same in A minor:
Why was it necessary to raise these two steps? We have already dealt with the seventh - she wants to be closer to the tonic. But the sixth rises in order to close the “hole” (uv2) that was formed in the harmonic minor.
Why is it so important? Yes, because the minor is MELODIC, and according to strict rules, moves on in MELODIES are prohibited.
What gives an increase in the VI and VII steps? On the one hand, a more directed movement towards the tonic, on the other hand, this movement is softened.
Why then cancel these increases (alteration) when moving down? Everything is very simple here: if we play the scale from top to bottom, then when we return to the elevated seventh step, we will again want to return to the tonic, despite the fact that this is no longer necessary (we, having overcome the tension, have already conquered this peak (tonic) and go down, where you can relax). And one more thing: we just must not forget that we are in a minor, and these two girlfriends (elevated sixth and seventh steps) somehow add to the fun. This fun for the first time may be just right, but in the second - already too much.
The sound of a melodic minor fully justifies its name: it really sounds somehow special MELODIC, soft, lyrical and warm. This mode is often found in romances and songs (for example, about nature or in lullabies).
Repetition is the mother of learning
Oh, how I broke up here, how much I wrote about the melodic minor. I'll tell you a secret that most often you have to deal with the harmonic minor, so don't forget about the "lady seventh step" - sometimes she needs to "rise".
Let's repeat once again what is in music. It's a minor natural (simple, no bells and whistles) harmonic (with an increased seventh step - VII #) and melodic (in which, when moving up, you need to raise the sixth and seventh steps - VI # and VII #, and when moving down - just play natural minor). Here is a drawing to help you:
Now you know the rules, now I suggest watching a simply gorgeous video on the topic. After watching this short video lesson, you will once and for all learn to distinguish one type of minor from another (including by ear). The video suggests learning a song (in Ukrainian) - very interesting.
Three kinds of minor - other examples
What is it all of us a minor yes a minor? What? no others? Of course there is. Now let's look at examples of natural, harmonic and melodic minor in several other keys.
E minor- three types: in this example, changes in steps are highlighted in color (in accordance with the rules) - therefore I will not give unnecessary comments.
Key B minor with two sharps at the key, in the harmonic form - A-sharp appears, in the melodic form - G-sharp is also added to it, and then when the scale moves down, both increases are canceled (la becart, salt becar).
Key F-sharp minor : there are three signs in it with the key - fa, do and salt sharp. In the harmonic F-sharp minor, the seventh step rises (mi-sharp), and in the melodic one, the sixth and seventh steps rise (d-sharp and mi-sharp), with a downward movement of the scale, this alteration is canceled.
C-sharp minor in three types. At the key we have four sharps. In harmonic form - B-sharp, in melodic form - A-sharp and B-sharp in an upward movement, and natural C-sharp minor in a downward movement.
Key F minor. - flats in the amount of 4 pieces. In the harmonic F minor, the seventh step rises (mi-bekar), in the melodic one, the sixth (re-bekar) and seventh (mi-bekar) increase, when moving down, the increases, of course, are canceled.
Three kinds C minor. Tonality with three flats at the key (si, mi and la). The seventh step in the harmonic form is increased (si-becar), in the melodic form - in addition to the seventh, the sixth (la-becar) is also increased, in the downward movement of the melodic scale, these increases are canceled and the b-flat and a-flat return, which are in in kind.
Key G minor: here two flats are set at the key. In the harmonic G minor - F-sharp, in the melodic - in addition to F-sharp, there is also E-becar (increase of the VI degree), when moving down in the melodic G minor - the signs of natural minor (that is, F-becar and E -flat).
D minor in its three forms. Natural without any additional accidental (don't forget about the B-flat sign at the key). Harmonic D minor - with an elevated seventh (C-sharp). Melodic D minor - with the ascending movement of the B-becar and C-sharp scales (increased sixth and seventh steps), with the downward movement - the return of the natural look (C-becar and B flat).
Well, let's stop there. You can bookmark the page with these examples (for sure it will come in handy). I also recommend subscribing to updates.
The minor scale has three main varieties: natural minor, harmonic minor, and melodic minor.
About the features of each of these modes and how to get them, we will talk today.
Natural minor - simple and strict
Natural minor is a scale built according to the formula "tone - semitone - 2 tones - semitone - 2 tones". This is a common scheme for the structure of a minor scale, and in order to quickly get it, it is enough just to know the key signs in the desired key. There are no altered degrees in this type of minor, so there can be no accidental signs of alteration in it.
The natural minor scale sounds simple, sad and a bit strict. That is why natural minor is so common in folk and medieval church music.
An example of a melody in this mode: "I'm sitting on a stone" - a famous Russian folk song, in the recording below, its key is natural E minor.
Harmonic minor - the heart of the East
In the harmonic minor, the seventh step is raised compared to the natural form of the mode. If in the natural minor the seventh step was a “pure”, “white” note, then it rises with the help of a sharp, if it was a flat, then with the help of a becar, but if it was a sharp, then a further increase in the step is possible with the help of a double -sharp. Thus, this kind of mode can always be recognized by the appearance of one random.
For example, in the same A minor, the seventh step is the sound of G, in a harmonic form it will be not just G, but G-sharp. Another example: C minor is a key with three flats in the key (si, mi and la flat), the seventh step is the note si-flat, we raise it with a becar (si-becar).
Due to the increase of the seventh step (VII #), the structure of the scale changes in the harmonic minor. The distance between the sixth and seventh steps becomes as much as one and a half tones. This ratio causes the appearance of new ones that were not there before. Such intervals include, for example, an augmented second (between VI and VII#) or an augmented fifth (between III and VII#).
The harmonic minor scale sounds tense, has a characteristic Arabic-oriental flavor. However, despite this, it is the harmonic minor that is the most common of the three types of minor in European music - classical, folk or pop-pop. It got its name "harmonic" because it shows itself very well in chords, that is, in harmony.
An example of a melody in this mode is a Russian folk "Song of the Bean"(the key is in A minor, the appearance is harmonic, as a random G-sharp tells us).
The composer can use different types of minor in the same work, for example, alternate natural minor with harmonic, as Mozart does in main topic its famous Symphonies No. 40:
Melodic minor - emotional and sensual
The melodic minor scale is different when it is moved up or down. If they go up, then two steps are raised at once in it - the sixth (VI #) and the seventh (VII #). If they play or sing down, then these changes are canceled, and an ordinary natural minor sounds.
For example, the scale of A minor in a melodic ascending motion will be a scale of the following notes: la, si, do, re, mi, f-sharp (VI#), sol-sharp (VII#), la. When moving down, these sharps will disappear, turning into G-becar and F-becar.
Or the gamma in C minor in the melodic ascending movement is: C, D, E-flat (with key), F, G, A-becar (VI#), B-becar (VII#), C. Back-raised notes will turn back into B-flat and A-flat as you move down.
By the name of this type of minor, it is clear that it is intended to be used in beautiful melodies. Since the melodic minor sounds diverse (not equally up and down), it is able to reflect the most subtle moods and experiences when it appears.
When the scale ascends, its last four sounds (for example, in A minor - mi, f-sharp, sol-sharp, la) coincide with the scale (A major in our case). Therefore, they can convey light shades, motives of hope, warm feelings. Movement in reverse side according to the sounds of the natural scale, it absorbs both the severity of the natural minor, and, perhaps, some kind of doom, or maybe the fortress, the confidence of the sound.
With its beauty and flexibility, with its wide possibilities in conveying feelings, the melodic minor was very fond of composers, which is probably why it can be found so often in famous romances and songs. Let's take the song as an example "Moscow Nights" (music by V. Solovyov-Sedoy, lyrics by M. Matusovsky), where the melodic minor with raised steps sounds at the moment when the singer talks about his lyrical feelings (If you knew how dear to me ...):
Let's repeat again
So, there are 3 types of minor: the first is natural, the second is harmonic and the third is melodic:
- Natural minor can be obtained by constructing a scale using the formula “tone-semitone-tone-tone-semitone-tone-tone”;
- In the harmonic minor, the seventh degree (VII#) is raised;
- In the melodic minor, when moving up, the sixth and seventh steps (VI# and VII#) are raised, and when moving back, the natural minor is played.
To practice this theme and remember how the minor scale sounds in different types, we highly recommend watching this video by Anna Naumova (sing along with her):
Workout exercises
To reinforce the topic, let's do a couple of exercises. The task is this: write, speak or play on the piano the scales of 3 types of minor scales in E minor and G minor.
SHOW ANSWERS:
Gamma E minor is sharp, it has one F-sharp (parallel tonality of G major). There are no signs in the natural minor, except for the key ones. In the harmonic E minor, the seventh step rises - it will be a D-sharp sound. In the melodic E minor, the sixth and seventh steps rise in the ascending movement - the sounds of C-sharp and D-sharp, in the descending movement these rises are canceled.
The G minor gamma is flat, in its natural form there are only two key signs: B-flat and E-flat (parallel system - B-flat major). In the harmonic G minor, raising the seventh degree will lead to the appearance of a random sign - F sharp. In the melodic minor, when moving up, the elevated steps give the signs of E-becar and F-sharp, when moving down, everything is as in natural form.
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Minor scale table
For those who still find it difficult to immediately imagine minor scales in three varieties, we have prepared a hint table. It contains the name of the key and its letter designation, the image of key characters - sharps and flats in the right amount, and also called random characters that appear in the harmonic or melodic form of the scale. In total, fifteen minor keys are used in music:
How to use such a table? Consider the scales in B minor and F minor as an example. There are two in B minor: F-sharp and C-sharp, which means that the natural scale of this key will look like this: si, c-sharp, re, mi, f-sharp, sol, la, si. The harmonic B minor will include A-sharp. In the melodic B minor, two steps will already be changed - G-sharp and A-sharp.
In the F minor scale, as is clear from the table, there are four key signs: si, mi, la and d-flat. So the natural F minor scale is: fa, sol, a-flat, b-flat, do, d-flat, mi-flat, fa. In the harmonic F minor - mi-bekar, as an increase in the seventh step. In melodic F minor - D-becar and E-becar.
That's all for now! In future issues, you will learn that there are other types of minor scales, as well as what are the three types of major. Stay tuned, join our VKontakte group to keep up to date!
Fugue in D minor, composed by Johann Sebastian Bach at the beginning of the eighteenth century, entered the treasury of world classical music as one of the most popular and famous compositions. It is performed most often together with a toccata, sustained in the same key. Professional musicians and amateurs familiar with the basics understand the name. All other music lovers need an explanation of what “D minor” means, and in which opuses of the great master (as well as other composers) it occurs.
Is Bach the author?
For a long time - more than two and a half centuries - no one doubted that this fugue was written by Bach. Then, in the eighties of the last century, two books appeared in which, based on a detailed analysis of the style and the most frequently used by the composer musical techniques there are doubts about the authenticity of the officially recognized authorship. The presence of parallel octaves, a subdominant response, and some other moments characteristic of the work either do not occur in other works by Bach, or are extremely rare.
These features are understandable only to specialists who have deep knowledge of the theory, so there is no point in going into details. It remains only to believe Christoph Wolff (a supporter of the fact that Bach nevertheless wrote a toccata and fugue) or Peter Williams (an opponent of Bach's authorship). Besides brilliant composers often did something that surprised them, such is their nature that they do not obey the given algorithms. “Fuga in D minor” is an extraordinary work, unlike anything else. Paradoxically, in a sense, this speaks in favor of its authenticity. The tonality in which it is written provides rich opportunities for expressing emotions that overwhelm a talented soul.
A little about solfeggio and scales
Quite a bit should delve into the theory, without this it is impossible. First, you need to remember that any harmonious sound is a combination of frequencies, among which the main one, which determines the position of the note, stands out. For example, "la 1" corresponds to air vibrations of 440 Hz.
The human ear distinguishes seven tones and five semitones in each scale, then everything starts again, already in a different octave. You can visually appreciate this by looking at the piano keyboard: white keys are tones, and black keys are semitones. It is clear that raising (major or “moll”) one tone by half is the same as lowering the next. In other words, D minor is identical to the term "d-moll".
A simple (though not always) exercise for students primary school music schools is such an important element of education as learning scales. It gives the main thing - remembering where the desired key is located on the keyboard, or which string of the harp (violin, cello, domra, etc.) creates the required sound. The same applies to the ascending scale on the guitar, sometimes for ease of reading it is written in Latin (H - semitone, Half) or Russian letters (T and P), for example, W-W-H-W-W-W-H (T-T-P-T-T-T-P), which it reads like this: “tone, tone, semitone, tone, tone, tone, semitone). This method of memorization makes it possible to master the most popular instrument for those who do not have the time or desire to study professionally at the conservatory, but want to play. The D minor scale sounds in the following sequence: re, mi, fa, sol, la, b-flat, do, re.
Works of this key
Music influences the human mind more than any other art form. unlike the major one, it creates a sad, thoughtful and even sometimes aggressive mood. This psychological feature perception was often used by composers of past centuries, and indeed contemporary works very often sustained in it. The blues is based on "downward" harmony, like many examples of rock. Of classical music sustained in the key of "D minor", in addition to Bach's fugue, the most famous works became his “Concerto No. 1 for clavier and orchestra” (BWV 1052), Mozart’s “Requiem”, Beethoven’s Ninth Symphony (widely known for “Ode to Joy” in its fourth movement). The twentieth century gave us Dvorak's Seventh Symphony, Rachmaninov's First, his own Fugue, Third Concerto and Etude-picture written in the same key, Prokofiev's Second Piano Sonata, Shostakovich's Piano Sonata and many other wonderful works.
In modern processing
Each composer has the right to choose what key he likes. In addition, the harmony of consonance corresponds to the emotional fullness of the work, its meaning and the most important task. Music can be optimistic-major, gloomy-minor or has all possible shades in between. The richness of the heritage of past centuries encourages many jazz and rock performers to create original arrangements of works by classical composers of past centuries. For example, famous band"Megadeth" began the song "Loved to Deth" with a quote performed on the piano, in which every enlightened music lover can easily guess Bach's "Fugue in D Minor". There are other examples of how sonatas, fugues and concertos in this key, used by today's musicians, are becoming especially in tune with our troubled times.
Giving variety to the musical sound is achieved in a large number of ways. Today we will analyze one of the most important - varieties of the major and minor series, in particular the harmonic minor and major. Let's start with the characteristics.
What is the harmonic minor?
One of the types of scale related to the minor scale. This is the definition of the concept in the subtitle. Its difference from natural sounding is an increase in the 7th step. The reason for this is in the presence of an imitation of the opening tone, which is typical only for natural major.
The harmonic minor is considered the most common type of the series of the same name in both classical and pop and popular music. In ascending order, its scale is constructed as follows: T - PT - T - T - PT - one and a half tones - PT.
Thus, it is precisely that augmented second (in other words, one and a half steps), which is noticeable between the sixth and seventh degrees, that gives the harmonic minor a specific color. From here, there is an interesting trend. In classical musical works of the 18th - early 20th centuries, which were created in a minor key, the transition of the melodic move to a one and a half tone is avoided. The exception will be those compositions to which the author seeks to give an oriental (oriental) flavor, sounding in the spirit of the "Russian East". Such a move for an increased second is more correctly called modalism.
Existing keys of the minor
Let's see in what keys you can notice the harmonic minor:
- La Minor.
- E minor.
- B minor harmonic: the emergence of A-sharp.
- F-sharp: raising the seventh step while ascending.
- C-sharp: for harmonic form, C-sharp is added.
- F minor: the sound is characterized by an increase in E-bekar.
- C minor: rising B-backer with harmonic sound.
- G minor: in this form, F-sharp is exhibited.
- harmonic is a rise to sharp.
Harmonic major
Harmonic major is a variety of the eponymous scale. Her main distinguishing feature- reduced VI stage. This is what distinguishes the harmonic variety from the natural variety.
Let's look at the harmony of the harmonic major in the ascending trend: T - T - PT - T - PT - one and a half tone - PT. The sixth reduced step here has one feature: it helps to build intervals that will be identical to the minor. As an example: an incremental second at this stage.
Thus, we can say that the specific coloring of the harmonic major is the same oriental coloring. Gives it a second between the sixth and seventh degree, which is increased.
What can be a minor?
Initially, the sound was represented by only one natural minor. But over time, new "colors" were added to the fret in order to diversify it. This is how the harmonic and melodic minor appeared. Let's consider two types not presented by us.
Natural. This is the name of a simple gamma, as it is, without adding random signs and taking into account only the key ones. When moving up and down, the scale is the same. In general: a simple, sad, strict sound without unnecessary details.
Melodic. Its difference is that when moving up, two steps immediately become higher - the sixth and seventh, and when moving downward, in the opposite direction, they are canceled. That is, in the latter case, the performer plays or sings in an almost natural minor key. An increase in the sixth step is necessary here to cover the increased interval. It is characteristic of the harmonic variety. This is necessary because the minor is melodic, and in the melody the move to an increased second is prohibited.
An increase in the VI, VII steps gives a directed, but at the same time softened movement towards the tonic. I also wonder why this alteration is canceled when moving down? The simplest explanation is that raising the sixth and seventh steps adds some cheerfulness to the melody. But taking into account that the minor is still being performed, the repetition of such a frivolous note will already be superfluous.
What can be a major?
Just like minor, major can be natural, melodic and harmonic. Consider its unrepresented varieties.
Natural. This includes an ordinary gamma with key signs, if necessary. There are no random ones in natural major. It is the most common in musical works view from all three.
The sequence of tones of the scale here is observed as follows: T - T - PT - T - T - T - PT.
Melodic. As you remember, in the melodic minor, two steps were raised - the 6th and 7th. In major, they do not increase, but, on the contrary, decrease. And the VI and VII steps change already during the downward movement. That is, the rules for the melodic minor are exactly the opposite. This makes it easy to remember their differences and commonalities.
An interesting feature here is this: due to the decrease in the sixth step, both increased and decreased intervals are formed between sounds - characteristic tritones. But in general, with an upward movement, a natural major is played here, and with a downward movement, the sixth and seventh steps are lowered.
Parallel Keys
Two types of keys (major and minor) are considered parallel if they have the same alteration symbols at the key. Examples of this phenomenon:
- A minor and C major. The parallelism is that they do not have any signs with the key.
- E minor and U of such keys with the key of F-sharp.
If you are looking for a key parallel to major, then remember one fact. The tonic of the minor parallel to it will be lower by a minor third.
Note that for melodic and harmonic majors, all accidentals are random. For example, in the harmonic E minor, they are not taken out to the key, but are noted, where necessary, in the work itself.
So we have dismantled two harmonic types of the scale - major and minor. The first is characterized by an increased seventh step, the second - a reduced sixth. When listening to the game, performance, we will notice that such keys stand out from the background of others with their orientation, oriental style, which gives classical music some zest, originality of sound. In addition to harmonic, minor and major are characterized by a natural and melodic variety, which we also touched upon in this material.