What are the signs in C minor? We master three types of minor. What are the signs in D minor harmonic

MI minor - a minor scale in which the tonic is the sound “MI” (a scale parallel to G major, with one sharp in the key).

The sounds that make up MI minor:

• MI, FA-sharp, SOL, A, SI, DO, RE, MI.

Key sign in the key of MI minor:

• F-sharp, written on the fifth line of the staff.

Gamma MI minor and its steps up:

• MI - I, F-sharp - II, G - III, A - IV, SI - V, DO - VI, D -VII, MI - I.

The scale of MI minor and its steps down:

• MI -I, RE -VII, DO - VI, SI - V, A - IV, G - III, F sharp - II, MI - I.

Tonic triad in MI minor:

• MI -I, SALT - III, SI - V.

25. Key of D minor

D minor - a minor scale in which the tonic is the sound “RE” (a mode parallel to FA major, with one flat in the key).

The sounds that make up D minor:

• RE, MI, FA, SOL, A, B-flat, DO, D.

Key sign in the key of D minor:

• B flat, written on the third line of the staff.

Scale D minor and its steps up:

• RE - I, MI - II, FA - III, G - IV, A - V, B-flat - VI, C -VII, RE - I.

D minor scale and its steps down:

• RE -I, DO -VII, B-flat - VI, A - V, G - IV, FA - III, MI - II, RE - I.

Tonic triad in D minor:

• RE -I, FA - III, LA - V.

26. Size 3/4

Size 3/4 - This is a three-beat measure in which each beat lasts a quarter. Each strong beat is followed by two weak ones.

Conducting scheme in 3/4: down - to the side - up.

27. Size 3/8

Size 3/8 - This is a three-beat measure in which each beat lasts one eighth. Each strong beat is followed by two weak ones.

Conducting scheme in 3/8: down - to the side - up.

28. Zatakt

Zatakt - it is an incomplete measure from which the melody begins. Melodies that have an upbeat always start on a downbeat.

The beats are a quarter note, an eighth note, two eighth notes.

29. Key of D major

D major- a major mode in which the tonic is the RE sound (a mode with two sharps in the key).

The sounds that make up D major: D, MI, F-sharp, G, A, B, C-sharp, D.

Key signs in the key of D major:

• FA-sharp, C-sharp.

D major scale and its degrees:

• RE -I, MI - II, FA-sharp - III, sol - IV, A - V, SI-VI, C-sharp - VII, (RE) - I.

Tonic triad in D major:

• RE-I, FA-sharp - III, A - V.

Introductory sounds in D major:

• C sharp - VII, MI - II.

30. League

If a league (arc) stands above or below two adjacent notes of the same height, then it connects these notes into one continuously stretching sound, increasing its duration.

If the league is above notes of different heights, then it indicates the need for a coherent, or smooth, execution of them, called legato.

31. Quarter with a dot in double time signature

A dot near a note increases its duration by half.

32. Fermata

Fermata - this is a sign that shows that this sound must be sustained a little longer than written. The fermata sign is indicated as a league above or below a point.

33. Intervals

Interval is a combination of two sounds.

If the sounds of an interval are taken separately (one after the other), then the interval is called melodic. If the sounds of an interval are taken simultaneously, then the interval is called harmonic. There are eight main names of intervals. Each interval contains a certain number of steps.

Interval names:

Melodic intervals from sound B up:

• DO-DO (prima), DO-RE (second), DO-MI (third), DO-FA (quart), DO-SOL (fifth), DO-LA (sexta), DO-SI (septima), DO -DO (octave).

Melodic intervals from sound to down:

• DO-DO (prima), DO-SI (second), DO-LA (third), DO-SOL (quart), DO-FA (fifth), DO-MI (sexta), DO-RE (septima), DO -DO (octave).

The harmonic intervals from sound C are the same, only their notes sound simultaneously.

34. The main steps of the mode and their names

The main degrees of the mode are the first degree (tonic), the fifth degree (dominant) and the fourth degree (subdominant).

The main steps in the key of C major:

• tonic - DO(I), dominant - SALT(V), subdominant - FA(IV).

The main steps in the key of A minor:

• tonic - LA (I), dominant - MI (V), subdominant - RE (IV).

35. Stable and unstable fret sounds

Sustainable(support) sounds- I, III and V stages.

Erratic sounds- VII, II, IV and VI stages.

Sustained sounds in C major:

• DO-MI-SOL.

The most stable sound in C major:

Unstable sounds in C major:

• SI-RE-FA-LA.

Surrounding stable sounds with unstable sounds in C major:

• SI-DO-RE, RE-MI-FA, FA-SO-LA.

The ascending gravity of the VII step is up a semitone:

• SI-DO.

Downward gravity of IV and VI stages:

• FA-MI, LA-SOL.

Double gravity stage II:

• RE-DO, RE-MI.

36. Size 4/4

Size 4/4- This is a four-beat measure in which each beat lasts a quarter. Consists of two simple measures of 2/4.

4/4 size designation:

• 4/4 or C.

Strong and weak beats in 4/4 time:

• the first is strong;
• the second is weak;
• the third is relatively strong;
• the fourth is weak.

Conducting scheme in 4/4:

• down - towards yourself - to the side - up.

37. Three types of minor mode

There are three types of minor scale: natural, harmonic, melodic.

Natural minor- minor, in which the degrees are not changed.

Harmonic minor- minor with an increased VII degree.

Melodic minor- minor with raised VI and VII degrees (in ascending order). In descending order, the melodic minor scale is played as a natural scale.

Scale A minor natural:

• LA - SI - DO - RE - MI - FA - SO - LA.

A minor harmonic scale:

• LA - SI - DO - RE - MI - FA - G-sharp - LA.

A minor melodic scale:

• A - SI - DO - RE - MI - FA-sharp - G-sharp - A.

38. Key of SI minor

SI minor - minor scale, in which the tonic is the sound “SI” (a scale parallel to D major, with two sharps in the key).

The sounds that make up SI minor: SI, C-sharp, D, MI, F-sharp, SOL, A, SI.

Key signs in the key of SI minor:

• FA-sharp, written on the fifth line of the staff;
• C sharp, written between the third and fourth lines.

Gamma SI minor natural:

• SI - I, C-sharp - II, RE - III, MI - IV, FA-sharp - V, GOL - VI, A-VII, SI - I.

Gamma SI minor harmonic:

• SI - I, C-sharp - II, RE - III, MI - IV, FA-sharp - V, GOL - VI, A-sharp -VII, SI - I.

Scale SI minor melodic:

• SI - I, C-sharp - II, RE - III, MI - IV, FA-sharp - V, G-sharp - VI, A-sharp - VII, SI - I.

Tonic triad in SI minor:

• SI -I, PE - III, FA-sharp - V.

Unstable sounds with resolution in harmonic SI minor:

• A-sharp - in SI, C-sharp - in SI, C-sharp - in D, MI - in D, SOL - in F-sharp.

39. Major and minor seconds

Second is an interval that contains two steps. The second is called big, if it is a whole tone. The second is called small, if it is a semitone. The major second is designated b.2, the minor second is designated m.2.

For example:

• The big second from the sound DO up is DO-RE. The small second from the sound DO up is DO-RE-flat.
• The major second from the sound DO down is DO-SI-flat. A small second from the sound DO down - DO-SI.

Major keys

Minor keys

Parallel keys

Enharmonically equal tonalities

Enharmonically equal tonalities are tonalities that are the same in sound, but different in name.

Comments:

03/29/2015 at 14:02 Oleg spoke out:

I did not see a table with all the signs in the key in all POSSIBLE keys. There is a table, but what is needed is not there!

04/05/2015 at 23:54 Svetlana spoke out:

Hello. Write specifically what tonality you are interested in, I will answer you.

01/21/2016 at 16:06 Julia spoke out:

Keys missing from the table are G-dur and e-moll

01/21/2016 at 16:17 Svetlana spoke out:

Fixed, thanks!

02/19/2016 at 18:59 Maksim spoke out:

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 spoke out:

Hello, Maxim. There are seven flats in C-flat major. I recommend that you replace it with the key of B major, they are enharmonically equal, and there will be fewer signs - 5 sharps.

There are no immediate plans to write such an article.

08/30/2017 at 04:52 I need to build d7 with appeals in 24 keys, but for some reason I find 30 keys everywhere on the Internet. Why? spoke out:

I accidentally wrote my question in my name.

04/25/2018 at 14:25 Peter spoke out:

Guys, in fact, all of the above is very useful, and necessary for application in practice. I just don’t understand those who, due to insufficient understanding of the topic, leave bad reviews.

08.10.2018 at 17:36 Julia spoke out:

Good afternoon,

The child was given a pre-task: signs in keys up to 3 with # and b.

Unfortunately, this is already the 4th solfeggio teacher in 3 years, the material is given in pieces. My daughter doesn’t understand at all what it is and what they want from her.

Please tell me.

01/02/2019 at 21:33 morozalex2018 spoke out:

G-dur and e-moll are in the table, look carefully

02/09/2019 at 09:16 Eve spoke out:

Thank you! Very useful article, saved it👏🏻👍🏻

04/16/2019 at 19:33 Lida spoke out:

What are the signs in F flat minor?

04/21/2019 at 23:48 Oleg spoke out:

Useful advice

04/21/2019 at 23:49 Oleg spoke out:

Helpful information

04/21/2019 at 23:55 Oleg spoke out:

Let's look at the key of F flat minor. So, in the key of F minor there are 4 flats, and in F flat minor there are 7 more flats, that is, 4+7=11b. Some may say that this cannot happen. The answer is - maybe!! In F flat minor there are 4 double flats: these are -bbb, mibb, abb and rebb. And also saltb, dob and fab.

04/22/2019 at 00:05 Oleg spoke out:

Tonality with a large (more than six) number of key characters can be replaced by a tonality with a smaller number of characters. The main thing is that the sum of the original and replaced characters is equal to 12, and also that they are opposite. For example, if you have 8 flats, then we do: 12-8b = 4# (F flat major 8b. A E major - 4#). Such tonalities are called enharmonically equal, that is, equal in sound. But in terms of name and notation of notes (scales), they are different.

Today we’ll talk about how to build characteristic intervals in any key: major or minor. First you need to understand what characteristic intervals are in general, how they appear and at what stages they are built.

First of all, characteristic intervals are intervals, that is, combinations of two sounds in melody or harmony. There are different intervals: pure, small, large, etc. In this case, we will be interested in increased and decreased intervals, namely increased second and fifth, decreased seventh and fourth (there are only four of them, they are very easy to remember - lv 2, lv 5, um 7, um 4).

These intervals are called characteristic because they appear only in harmonic major or minor due to the increased and decreased degrees “characteristic” of these types of major and minor. What does this mean? As you know, in harmonic major the sixth degree is lowered, and in harmonic minor the seventh is raised.

So, in any of the four characteristic intervals, one of the sounds (lower or upper) will definitely be this “characteristic” step (VI low, if it is a major, or VII high, if we are in a minor).

How to construct characteristic intervals?

Now let's move directly to the question of how to construct characteristic intervals in minor or major. This is done very simply. First you need to imagine the desired key, write it if necessary, and calculate what sound is “characteristic” here. And then you can move in two ways.

First way comes from the following axiom: all four characteristic intervals revolve around the “characteristic step”. See how it works.

Example 1. Characteristic intervals in C major and C minor

Example 2. Characteristic intervals in F major and F minor

Example 3. Characteristic intervals in A major and A minor

In all these examples, we clearly see how all kinds of increased seconds with decreased fourths literally “revolve” around our magic step (I remind you that in major the “magic step” is the sixth, and in minor it is the seventh). In the first example, these steps are highlighted with a yellow marker.

Second way- also an option: simply construct the necessary intervals at the necessary steps, especially since we already know one sound. In this matter, this sign will help you a lot (it is recommended to sketch it in your notebook):

There is one secret with which this sign can be easily remembered. Keep it up: in major, all increased intervals are built on a lowered sixth degree; in minor, all decreased intervals are built on an elevated seventh!

How can this secret help us? Firstly, we already know at what level two of the four intervals are constructed (either a pair of diminished ones - a fourth and a seventh, or a pair of increased ones - a fifth and a second).

Secondly, having constructed this pair of intervals (for example, both increased), we almost automatically obtain a second pair of characteristic intervals (both decreased) - we just need to “turn upside down” what we have built.

Why is that? Yes, because some intervals simply turn into others according to the principle of mirror reflection: a second turns into a seventh, a fourth into a fifth, decreased intervals when converted become increased and vice versa... Don’t believe me? See for yourself!

Example 4. Characteristic intervals in D major and D minor

Example 5. Characteristic intervals in G major and G minor

How are characteristic intervals resolved in major and minor?

The characteristic intervals of consonance are unstable and require correct resolution into stable tonic consonances. A simple rule applies here: with resolution to tonic, increased intervals The values ​​need to be increased, and the decreases need to be decreased.

In this case, any unstable sound simply transforms into the nearest stable one. And in the pair of intervals uv 5 - um 4, it is generally necessary to resolve only one sound (an “interesting” step), since the second sound in these intervals is a stable third step, which remains in place. And our “interesting” steps are always resolved in the same way: a lower sixth tends to the fifth, and an elevated seventh to the first.

The conversation about these cool intervals can, of course, continue endlessly, but we will stop there now. I’ll just add a couple more words: do not confuse characteristic intervals with tritones. Yes, indeed, a second pair of tritones appears in harmonic modes (one pair of uv 4 with mind 5 is also in diatonic modes), however, we consider the tritones separately. You can read more about newts.

I wish you success in learning music! Make it a rule: if you like the material, share it with a friend using the social buttons!

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 most often performed together with a toccata 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 appears.

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 stylistics and the musical techniques most often used by the composer, doubts were expressed about the authenticity of the officially recognized authorship. The presence of parallel octaves, a subdominant response and some other aspects characteristic of the work are either not found in other works by Bach or are extremely rare.

These features are understandable only to specialists with deep knowledge of theory, so there is no point in going into details. All that remains is to believe Christoph Wolf (a supporter of the fact that Bach nevertheless wrote the toccata and fugue) or Peter Williams (an opponent of Bach’s authorship). In addition, brilliant composers often created something that surprised themselves; such is their nature that they do not obey given algorithms. “Fugue 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

You should delve a little deeper into the theory; without this, it’s impossible. Firstly, we need to remember that any harmonious sound is a set of frequencies, among which the main one stands out, determining the position of the note. For example, “A 1” corresponds to air vibrations at 440 Hz.

The human ear distinguishes seven tones and five semitones in each scale, then everything starts again, in a different octave. This can be visually assessed by looking at the piano keyboard: the white keys are tones, and the black keys are halftones. It is clear that raising (major or “moll”) one tone by half is the same as lowering the next one. In other words, D minor is identical to the term “D minor”.

A simple (though not always) exercise for primary school students in 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 reads like this: “tone, tone, semitone, tone, tone, tone, semitone). This method of memorization gives the opportunity to master the most popular instrument for those who do not have the time or desire to study professionally at a conservatory, but want to play. The D minor scale sounds in the following sequence: D, E, F, G, A, B-flat, C, D.

Works of this key

Music influences human consciousness more than any other form of art. Unlike the major key, it creates a sad, thoughtful and even sometimes aggressive mood. This psychological feature of perception was often used by composers of past centuries, and modern works are very often based on it. Blues is based on falling harmony, as are many examples of rock. Among classical music in the key of D minor, in addition to Bach’s fugue, the most famous works were his “Concerto No. 1 for Clavier and Orchestra” (BWV 1052), Mozart’s “Requiem”, Beethoven’s Ninth Symphony (widely known for “Ode joy" in its fourth part). The twentieth century gave us Dvorak's Seventh Symphony, Rachmaninoff's First, his Fugue, Third Concerto and Etude-Painting written in the same key, Prokofiev's Second Piano Sonata, Shostakovich's Piano Sonata and many other wonderful works.

In modern processing

Every composer has the right to choose which tonality he likes. In addition, the harmony of consonance corresponds to the emotional fullness of the work, its meaning and ultimate task. Music can be optimistic major, gloomy minor, or all possible shades in between. The rich heritage of past centuries encourages many jazzmen and rock performers to create original arrangements of works by classical composers of past centuries. For example, the famous group “Megadeth” began the song “Loved to Deth” with a quote performed on the piano, in which every enlightened music lover can easily guess “Fugu in D minor” by Bach. There are other examples of how sonatas, fugues and concertos of this key, used by modern musicians, become especially in tune with our troubled times.

The minor scale is constructed as follows: tone-semitone, tone-tone-semitone, tone-tone. If we arrange the notes in this way, then they will more often produce sad music or generally cheerful music, but with sadness. Memorize the order of tones and semitones in a minor key, like a tongue twister: “Tone-semitone, tone-tone-semitone, tone-tone.”

​ ​ Distances between sounds of the D minor scale.

In a minor key, the semitones are located between the II and III degrees and between the V and VI degrees.

In minor, the stable steps are the same as in major – I, III and V.

​ ​
Semitones in the C major and F major scales.

Since the stable steps in minor are the same as in major, the gravity of unstable steps into stable ones will look the same.

​ ​ Gamma in D minor with indication of gravity (“with arrows”).

Types of minor

There are three types of minor: natural, harmonic and melodic.

Natural minor– the most common, basic type of minor scale. We looked at it above. In ancient times, this was the only type of minor, and the word “natural” was simply not needed. Nowadays the natural minor is not so common. Russian musicians especially love it, and music in natural minor is often associated with images of Rus'.

​

D minor natural scale.

Georgy Sviridov. Poem in memory of Sergei Yeseninin, Part 3, “In that land...” (fragment). Written in F minor natural. You can listen to it in its entirety.

State Academic Russian Choir of the USSR, Moscow Philharmonic Symphony Orchestra conducted by Evgeniy Svetlanov, Alexey Maslennikov (tenor), 1957.

IN harmonic minorThe seventh degree rises by half a tone. For this, the sign is used - sharp or bekar (and sometimes double-sharp). To understand which sign is required, you should look at the signs on the key.

Option 1. There is no sign on the key relating to the seventh step. Then a sharp is placed next to the seventh degree.

​

Option 2. At the key there is a flat, which refers to the seventh degree. Then, to raise this note by half a tone, you need to cancel the flat. The flat is canceled with the help of a becar.

​

Option 3. The key has a sharp that belongs to the seventh degree. To make a “sharp” note even higher, you need a double-sharp sign.

​

And so, again. There is no sign - set sharp. When the key is flat, we set the bekar. The key has a sharp - put a double-sharp.

The sign of the seventh harmonic degree is placed before the note, and not at the key. Its main purpose is to make chords brighter dominant function(what is this - see, and). In music, everything related to chords is usually called harmony. Accordingly, this type of minor is called harmonic.

By raising the seventh degree in a harmonic minor, an augmented second is formed. It is located between stages VI and VII. The augmented second covers two adjacent degrees and three semitones. By itself, it sounds exactly like a minor third (see enharmonically equal intervals). However, inside a piece of music it cannot be confused with anything else. It gives the melodies either an oriental flavor or a special soulfulness, as, for example, in some of the later works of W. A. ​​Mozart.

​

D minor harmonic scale.

W. A. ​​Mozart, string quartet in D minor, KV 421, I Movement (fragment). You can listen to it in its entirety. At the beginning of Part I of the quartet there is a descending progression through the sounds of the harmonic minor scale with an increased second.

Performed by the Budapest String Quartet, 1953.

Melodic minor. In melodic minor, the sixth and seventh degrees are raised by half a tone. This makes the upper half of the scale sound like a major scale. As a rule, the melodic minor scale is sung only up, and the natural goes down.

​

Gamma D minor melodic.

P.I. Tchaikovsky. Symphony No. 4, Second movement. The famous oboe theme sounds in B-flat minor melodic, and only where the melody goes down the scale does a natural minor sound. You can listen to it in its entirety.

Performed by the Leningrad Philharmonic Orchestra conducted by Evgeny Mravinsky.