To help the beginning solfeggio teacher. Visual aids

And if the solfeggio lessons themselves delight him, then homework, as a rule, baffles both the student and his parents. Delight gradually gives way to despondency: the child expected a continuous holiday from music lessons, but here - difficulties in the form of theoretical rules that are not very understandable, and homework, in comparison with which school mathematics seems like entertainment for youngsters. Children love music, but not practicing it.

It is natural and understandable for parents to want to help their child succeed as a musician. “Interested” mothers come with notebooks, write down the words of songs, rules, and are very worried about their kids, because in a week the children manage to completely forget everything that was discussed in the lesson.

Parents and grandparents are actually a great help to both the teacher and the little student. But help in preparing for a solfeggio lesson does not at all mean that mom, dad, grandparents (or all of them together), using a “call to a friend,” instead of their beloved offspring, build intervals, dominant seventh chords, or determine the tonality by the number of signs.

In the first years of education, the most important point is the parents’ interest in the child’s activities, the desire to make it easier for him to enter the difficult, tedious routine of daily work, without which the fate of any musician is unthinkable. Dear adults, as soon as you find the strength to delve into the essence of solfeggio, your child will stop shedding tears, and everything will go smoothly for him (and in a major way).

Solfeggio is a specific subject, its teaching differs significantly from the teaching of general education disciplines: good results can only be achieved if you understand this specificity.

The two main components of solfeggio are: singing from notes and recognition by ear– help to master two main skills:
- see the notes and understand what kind of music is recorded in them;
- hear the music and know how to write it down.

Where does solfeggio training begin? First, they teach you to read and write notes - there is no way without this, so mastering musical notation is the very first, very short stage. At this stage, your help will be very welcome and appropriate - a child in September is suddenly bombarded with a lot of information, and musical literacy is an area of ​​​​knowledge that the child has never encountered before. And if you unobtrusively ask him every day on which line the note sol or do is written (you don’t have to remember this yourself, check the answers according to the entry in his notebook, and even better if he checks it himself), you will “advance” very well. your future musician. Solfeggio lessons are held rarely, only once a week, so your questions will help him retain in his memory what was discussed in the last lesson, and what he will certainly be asked about in the next lesson.

In a solfeggio lesson, students gain knowledge and get acquainted with options for consolidating it in practice. Sounds very simple. In fact, the process goes something like this:

A new rule is being learned
then follow:
- written exercises to consolidate it;
- then the child must sing what he just wrote;

- then sing exercises for this rule;
- then the child solfegizes a “number” (an excerpt from a piece of music where this rule is applied) - sings and names each note;
- sometimes a number needs to be transposed (transferred to a different key);
- obligatory moment - auditory analysis - the teacher plays (intervals, chords, modes, etc.), and the student determines by ear which one is currently sounding;
- in the lesson there may also be a musical dictation (recording the listened melody with notes) on the topic being studied;
- and in conclusion - the housework is also given to compose a melody using the new rule.

Naturally, activities in the lesson take up only about 10% of the total required amount of work: there is no more time to do. The remaining 90% comes from home lessons - what you learn in class must be “digested” and practiced, that is, repeated dozens of times. It is impossible to do this in one sitting - you need daily, albeit short, exercises. If this does not happen, we get the “empty basket” effect: knowledge that has not been consolidated disappears.

The most common mistake students make in solfeggio homework is that, while carefully completing written assignments, they practically DO NOT SING at home. The songs and exercises assigned for homework (the so-called “numbers”), as well as intervals, keys, modes, and chords, are specially selected in accordance with the topic being studied and taking into account increasing complexity. It is through singing and listening to this material (and when a child sings, he also listens and remembers) that the child’s musical ear develops.

What kind of help does the child need? The most important thing that parents should do is to ensure that the written assignment is completed, but most importantly, LISTEN how a child solfèges, that is, sings, naming the notes. All!

Don’t force them to sing “under pressure”, but stimulate and interest the child, maybe sing with him at first. A solfeggio number or song must be sung for the lesson at least 10 times (this is not a lot, only 1-2 times daily).

You don’t know whether his voice hits the right note (“if he sings cleanly”)? You don't need to know this! let him test himself by pressing the appropriate key on the instrument.
- Remind him that the sound of the key and voice must match. Does not match? No big deal to begin with.

Convince your child and believe for yourself that even if not one, but three bears step on his ear, and they also roar in scary voices, then daily 5-10 minute solfege in combination with daily playing the instrument will make these bears jump off his ear one by one and leave to look for the ears of lazier children. The teacher is usually dissatisfied not with the fact that the child is out of tune, but with the fact that he does nothing to improve his hearing and voice, that is, he does not work at home. Teachers of music subjects know that time will pass (six months, a year, two, no more) - and the voice will sound in the best possible way; all you need is patience and daily work.

The main thing is for the little student to understand now that there is no way to live without singing, so that he gets used to performing the vocal part of the solfeggio assignment every day, so that he knows that adults will monitor both his daily classes and his grades in solfeggio, because his success , his musical development is very important for his parents. You don’t need any extra time to listen to your child sing: you can do the cleaning and listen to the harmonic C minor. Would you like to sing a solfeggio number (an excerpt from an opera) with your child while the dumplings are cooking.

The hardest thing for parents GET INTO into the child's work and REMEMBER that home solfeggio classes need to be supervised. And if mom and dad don’t care, if it doesn’t matter to them, believe me, the child doesn’t care either.

The child's life should be organized in such a way that the baby EVERY DAY 5-10 MINUTES studied solfeggio: he sang the exercise, built, played and sang intervals, chords and whatever else was assigned to him. And before this becomes a habit for the child, parents should control This process is especially important to monitor and support the little student at the initial stage. No excuses accepted: it's ONLY 5-10 MINUTES of work! Or better yet, 5-10 minutes of play. Daily instrument practice and solfeggio lessons should become part of a child’s flesh and blood, like washing his face in the morning, if he wants to become a musician (an amateur musician should practice in exactly the same way). With such an organization of homework, children quickly move on to working independently on solfeggio assignments. Remains with the parents first constant and then periodic control.

The laziness of the child (and most of all, YOURS) in ingraining and consolidating this habit will subsequently become a brake on his musical development, but you want him to be the best.

Teachers often have to observe gifted children who, at the initial stage, easily master playing an instrument, but at the same time are careless about solfeggio classes. At the same time, less capable guys who diligently practice solfeggio, play an instrument every day, and sing in a choir, as a rule, overtake their arrogant opponents in a couple of years.

How to help a child learning solfeggio? At first, you literally need to do everything playfully, as solfeggio teachers do in their lessons. The subject of solfeggio, of course, is very difficult for a child, but he does not need to know about it at all. On the day of the solfeggio lesson, be sure to ask what happened during the lesson, let him tell you and show you, sing and clap, then teach you or his dolls. And the next day he will do the same thing again... and the day after tomorrow... Then there will be a new task - and all over again... everyday painstaking work, not always attractive to children with its monotony and endless repetitions. Well, this is the path of a musician. Good luck to your baby on this journey.

Hello everyone, dear vocalists!

Today we will go through the basics of solfeggio, find out what it is and how to study it step by step correctly and competently. The textbook will not be useful yet, all the most important things are in this article. So

Solfeggio is a discipline that is designed to develop an ear for music, and studies notes, octaves, keys, durations, intervals, etc... This allows you to train your ear with musical dictations, analyses, solfeggio, etc.

1. The first thing you need to know is, of course, the notes (there are only 7 of them) and their symbols.

1st - BEFORE (C)

5th - SALT (G)

7th - SI (H, can also sign B)

Example on piano keys.

If you don't have a piano, you can download an app to your phone or computer to practice solfeggio.

Here is an example in a music book in treble clef, in the first octave.

What is an octave?

An octave is a musical interval consisting of 8 steps! Example:

Do, re, mi, fa, salt, la, si, do. Also, do not forget about such a concept as scale.

A scale is a series of sounds arranged in ascending and descending order in solfeggio. Vocals for beginners are possible without this knowledge, but they will be useful to you in the future.

Octaves on the musical instrument piano.

You should know how many octaves, notes, keys there are and their names:

• Subcontra octave (this octave is incomplete, starts with “A” and has only 3 notes)
• Contractave
• Major octave
• Small octave
• First octave
• Second octave
• Third octave
• Fourth octave
• Fifth octave (has only one note “C”)

There are 88 keys on the piano - 52 white and 36 black.

Keys

The key determines the arrangement of notes on the stave in solfeggio. Vocals for beginners do not require knowledge of the keys, but if you want to sing from notes, this will be useful.

There are 3 of them in total:

• The treble clef is the most common and popular clef. It comes from the note “sol” of the first octave. It is drawn on the second line of the staff.
• The bass clef is the second most common clef after the treble clef! It is drawn on the fourth line of the staff and surrounds the line on which the note “F” of the small octave is written.
• Alto - denotes the note “C” of the first octave. It is drawn on the middle line of the staff.

Alteration

Raising or lowering the pitch of a note.

Let's find out what signs there are with the key:

• sharp - raising by a semitone,
• flat - lowered by a semitone,
• bekar - canceling signs at the key.

Alteration signs are divided into 2 types:

• key ones - are written next to the key and are valid until new ones appear.
• random - placed before the note.

Tone and semitone.

A semitone is a smaller distance. That is, 2 adjacent keys, including black ones. A tone is 2 semitones.

Intervals

Interval - 2 sounds, which can be the same note, or two different ones.

The bottom sound of an interval is its base, and the top sound is its top.

Intervals are divided into 2 types:

• melodic - notes that are taken sequentially,
• harmonious - the same note played at the same time.

So, let’s look at what interval sizes exist:

• Prima (1)
• Second (2)
• Third (3)
• Quart (4)
• Quinta (5)
• Sexta (6)
• Septima (7)
• Octave (8)

Also, the size of the interval is the number of semitones and tones in it. Thus, the following intervals are formed between the steps: Pure prima (0 semitones)

• Minor second (1 semitone)
• Major second (2 semitones)
• Minor third (3 semitones)
• Major third (4 semitones)
• Perfect quart (5 semitones)
• Augmented fourth (6 semitones)
• Perfect fifth (7 semitones)
• Diminished fifth (6 semitones)
• Minor sixth (8 semitones)
• Major sixth (9 semitones)
• Minor seventh (10 semitones)
• Major seventh (11 semitones)
• Pure octave (12 semitones)

Duration

If we listen to songs, we notice by ear that notes and pauses have different durations. Some sound longer, some faster... In order to understand the durations, we need a 60-beat metronome.

So, let's look at the names and designations:

• a whole note is the longest. Rhythmically consists of 4 metronome beats.
• A half note is 2 times shorter than a whole note. Therefore, it sounds rhythmically on 2 metronome beats.
• quarter note - goes rhythmically to each beat of the metronome.
• eighth note - accelerated in rhythm by 2 times compared to a quarter note. Therefore, there are 2 eighth notes per beat of the metronome!
• A sixteenth note is naturally still 2 times faster than an eighth note. Therefore, for one metronome beat, 4 sixteenth notes can pass.

Here, our dear readers, are the basics that you must know for a solfeggio vocalist. Vocals for beginners are possible without this, but for those who want to sing with pure intonation and feel the rhythm of the songs, this will definitely come in handy.

If you've read this far, then you clearly have a serious approach to vocals. And we have a serious approach to learning:

A unique technique that has shown its effectiveness on hundreds of students.

Exercises that will allow you to sing both high and low notes in a month, and in two months to perform and earn money with vocals.

Teachers who cannot imagine their lives without the progress of their students.

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I wish you success in studying the material! You will definitely succeed!

We talk about the most convenient approach for guitarists to the development of musical ear, the so-called “solfeggio with moving C”, and its practical application in improvisation and note reading.

The article will be of interest to all non-classical musicians - jazz, rock and pop musicians.

If you have never thought about developing your ear for music and are not at all familiar with solfeggio, we recommend reading What is solfeggio and why is it needed?

1. 2. 3. 4. 5. 6. 7.

"Classical" solfeggio and guitar

The average guitarist spends much less time developing his ear for music than he does on technical exercises.
Meanwhile, a developed ear for music is what distinguishes a musician from a non-musician. It is impossible to improvise clearly and clearly express your musical ideas without pulling your ears along with your fingers.

One thing always stops me - the excess of information inherent in the traditional system of teaching solfeggio, and the lack of understanding of how all this ponderous theoretical component can be applied in everyday musical practice.

We guitarists think in fingerings. When changing the key, for example, from B major to A flat major, I won’t realize that B major has 5 sharps and A flat major has 4 flats - I’ll just move my hand to the desired position and change the a fingering picture of the world in your head. It’s not that this knowledge is not necessary or important - not at all, but on the guitar you somehow don’t feel the primacy of this knowledge.

Why do we associate solfeggio with the piano?

About 150 years ago in Russia, any more or less educated person, and even more so a musician, almost necessarily mastered the piano in a course of study. This is how the “classical” system of teaching solfeggio appeared, with its strict connection to the piano.

It is natural for a pianist to visualize the relationships between sounds using the piano keyboard. It is clear: the keyboard is in front of your eyes, how many “black keys in what key” are memorized - on the piano, willy-nilly, you will begin to think harmoniously.

However, times have changed. There are only a few guitarists who begin their acquaintance with the guitar through the piano. Now the piano is more of a barrier for many. Nobody studies hearing; it seems unbearable.

Is it possible to develop hearing in any other way?

Yes.
Our usual “piano” solfeggio is by no means the only way to a developed ear for music. Solfaging, i.e. singing melodies by notes as a method of developing musical ear appeared long before keyboard instruments became widespread.

In general, there are quite a decent number of solfeggio systems. And they are no less “classic”. In modern European music, as opposed to “piano” solfeggio, the so-called “solfege with moving C” is used, or Movable Do System, as this method is called at Berklee College of Music (USA).

What is “solfeggio with moving C”?

The idea behind the moving do system is extremely simple:

Regardless of what key you are in now, we will call the first degree of the scale, i.e. tonic - “Do”, second - “D”, etc.

The tonality has changed, and so has our Do:

Thus, we perceive the melody not as a set of specific notes on the piano, but as movement along the steps of a scale (scale). Willy-nilly, we will thereby correlate each note of the melody with the tonic.

By the way, our traditional system is called “solfeggio with fixed Do”, fixed Do system.

Nobody claims that the system with mobile Do is somehow better. And it has its drawbacks, which are discussed below - it’s just that its feature that you can abstract from the piano suits the modern guitarist perfectly. After all, in order to hear any step in the scale, it is not at all necessary to know what specific note it is - it is important to be able to correlate it with the tonic.

The fact that Do is the first step (and not, say, A) has been written in our subconscious since elementary school. It is much more difficult for us to perceive “F# - A# - C# is a tonic major triad in the key of F sharp major” than to simply say that “this is C – E – G in the key of F sharp major.” It is easier to concentrate on learning the relationships between degrees (notes, sounds). But this is why solfeggio was invented, this is the development of musical ear.

Having remembered how the relationship between, for example, the 6th degree (A) and the tonic (C) in the key of C major sounds, you can easily extend this skill to all other major keys, because the relationship between the degrees of scales of major keys is the same. And having heard a similar attitude in the key of F sharp major, you will confidently say that this sounds like the 6th degree, i.e. A, key F-sharp major. What has been said is true for minor and any other keys. Solfeggio with moving C gives a confident sense of scale.

Ease of transposition. Having learned a melody in one key, you can easily transfer it to any other - we are dealing with scale degrees, not notes.

Ease of fret changing. Once you are confident in hearing one mode, you will be confident in hearing the other as you work through the changes in the relationships between the degrees.

Improvisation in harmony. What does it take to improvise confidently? Be able to build melodies in your head and not go out of tune. What is tonality?

Key = Tonic + Mode

The tonic will be given to you (for example, by the bass player, if he is adequate), we can hear the degrees of the mode - that’s freedom of improvisation.

By the way, many people call solfeggio with moving C this way - improvisational solfeggio.

Additional benefits for guitarists

Let's return to fingerings.
Here, for example, is one of the basic fingerings of the major scale with the tonic on the 6th, 4th and 1st strings. Let's put the scale degrees on this fingering:

It is suitable for any major scale and will not change at all for C major, nor for B-flat major, nor for G major (except, of course, that it will begin with the corresponding fret on the fretboard):

Where the tonic (C) is is always clear, and where is which level, too. Why not a piano?
Having worked through the remaining fingerings in this way, we will connect visual perception with auditory perception. This is extra first plus for guitarists. As a result, we get a conscious game.

Second plus, as a consequence of the first, is reading notes. We have worked out the fingering-visual and auditory components, where is which step in the fingering and how it is connected to the tonic - why not start reading notes?

There is, however, a small nuance: with a system with a moving C, you will not be able to read the notation “as it is written”; you will have to learn to perceive musical notation from the point of view of the tonic and degrees. This is actually not difficult and is quickly mastered, but it still has its place. And this first minus.

For example, “Chizhik-fawn”:

Second minus. What if the music is atonal? If it is impossible to understand what tonic is?
True, this phenomenon is rare and is located in the universe of avant-garde music. But even there you can get out of it by, for example, mistaking the first degree of the chord you are currently playing for the tonic. If at all you play chords in this case... and on the guitar...

Pavel Tyukavin

Guitar, improvisation, solfeggio teacher

Music is a synthesis of the rational and the emotional. Like any other science, it has basic concepts that every musician should be familiar with. If you are just beginning to understand the wonderful world of sounds and melodies, then this page is for you. After reading it, you will be able to understand the basics of musical notation. Music notation will become clear, and you will be able to play simple and perhaps complex pieces.

What does musical notation consist of?

What, what is our musical notation made of? From:

• Music staff;
• Note;
• Durations;
• Signs of alteration;
• Keys;
• Size.

Let's take a closer look at each of these points to better understand musical notation.

Staff

The staff of music is the basic element of musical language. It contains five lines and four spaces between them. It is worth considering that each of these spaces and lines corresponds to a specific piano key (or other musical instrument).

If we consider notation of notes for a piano, then it usually consists of two staves; it is called a large staff. The upper staff is used to record music played by the right hand. The lower staff represents the musical notation for the left hand. They are usually combined with a special curly brace.

Example of a large staff

The staff has several main components, namely clefs, time signatures, measures and bar lines.

Keys

The clef is a musical sign that appears at the beginning of the staff and thereby opens the recording. There are several varieties, the most common being violin and bass, so they need to be considered in more detail.

The treble clef usually appears at the beginning of the top staff. The central part of the sign wraps around the second line, which is why it is usually called the Sol key. If you don’t yet know what names the notes have and where they are located, we suggest you read the article “Learning notes together. You will find a lot of useful information in it.

Treble clef example

The bass clef is a musical symbol that opens the lower staff; the starting point of the symbol covers the fourth line, on which the note “F” is located, therefore this clef is called the “F” clef.

Bass clef example

Duration and size

Sounds in musical works must be maintained in a certain rhythmic pattern, otherwise the work will not be similar to itself. A system of durations is used to indicate the amount of time. The most common durations are:

• Whole;
• Half;
• Quarter;
• Eighth;
• Sixteenth;
• Thirty-second.

Whole note is a white, unfilled circle. Usually the duration is maintained during the count: one, two, three, four.

Half It is an unpainted head with a stem. She counts on the count: one, two.

Quarter It is a painted head with a stem. It is considered at once.

Eighth It is a painted head with a stem and a single tail. The score is half less than a quarter.

Sixteenth It is a painted head with a double tail. The count is half under eighth.

Thirty-second It is a painted head with a triple tail. The count is half under a sixteenth.

It is worth noting that a note of longer duration can be quantitatively equal to another. That is, a whole is equal to two halves, four quarters and eight eighths, etc. It turns out to be a kind of arithmetic progression. Let's look at an example.

Size

Music notation for beginners also includes the concept of meter.

The size is always indicated by a fraction: the numerator is the amount of duration in a measure (more about this concept below), the denominator is an indication of the duration. Typically, the time signature is placed once for the entire work and is located after the key and key signs (more about key signs below).

There are several most common sizes:

To better understand this material, explanations in a specific size are necessary. Let's take one of the most popular sizes, namely 4/4.

In this size, the unit chosen is a quarter, which is indicated in the denominator of the fraction. In total, a bar should contain the number of notes that will give a total of four quarter notes.

Note: many people at the beginning of learning think that if the time is 4/4, then you can only use quarters and there should be four of them. No, the durations can be very varied, the main thing is that their sum in a measure does not exceed 4/4.

Bars and barlines

Tact interacts directly with size. Many people are interested in what measures are needed for, because they could simply write the durations in the required order. But everything is more complicated. The fact is that rhythm in music is achieved by alternating strong and weak beats, which is called meter. If there is no constant pulsation, then the entire melodic structure will fall apart.

As for bars and bar lines specifically, everything is much simpler here. One measure includes the total number of durations assigned in the size. Bar lines separate one bar from another. There are several types of bar lines, the two most common are:

• The interbar bar is used between measures.
• The double barline is used at the end of the piece and closes it.

Alteration marks and tonality (key signs)

If you imagine a piano keyboard, you can see that in addition to white keys, there are also black ones. Black keys represent chromatic sounds, that is, they are either a decrease or a rise in the fundamental tone. This effect can be achieved using alteration signs.

At this point in time, the most common accidentals are sharp, flat and becar.

The first symbol raises the note by a semitone, the second symbol lowers the note by a semitone, and the third cancels the alteration. A note with signs is read. This symbol is valid only within one measure.

For example:

Explanation: G-sharp, salt-bekar, salt| G-flat, G-flat||.

If accidental signs are valid only for one measure, then there are key signs that remain rising or falling throughout the entire piece.

Key signs are assigned on the music lines immediately after the key. Depending on the key signs, you can determine the tonality of the work. It must be remembered that they go in a certain unchanging sequence, which cannot be violated when recording notes in key. There are sharp and flat keys. Consider the position first in sharp and then in flat keys.

IN sharp the following sounds increase (one sound, one tone):

1. Salt

IN flat The following sounds are reduced (one sound, one tone):

1. Salt

Now that the order of indicating the key signs is remembered, you can move on to studying the main tonalities. But what is tonality?

Key plays an important role in the work; it allows you to reflect the nature of the music, making it either simple or difficult to perceive. Any tonality consists of two characteristics: tone and inclination. IN musical notation for beginners tone is the main sound from which the scale will be built. Mood is the nature of the music; sometimes it’s major and sometimes it’s minor. Roughly speaking, major is joy, and minor is sadness. Determining inclination for a beginning musician is quite difficult at first, especially if you are not familiar with elementary structural units such as intervals. So let's not get ahead of ourselves just yet. Let’s figure out the tonalities using a convenient table.

Sharp keys

Key (Major and minor)	Key signs
C major and A minor
G major and E minor
D major and B minor
A major and F sharp minor
E major and C sharp minor
B major and G sharp minor
F sharp major and D sharp minor
C-sharp major and A-sharp minor

Solfeggio. All rules for solfeggio

1.Names of sounds.

do, re, mi, fa, sol, la, si

Names of white piano keys

White key between two black ones - D

Two white keys to the right of re - mi, fa.

Two white keys to the right of F (between three black ones) - G, A

Two white keys to the right of A (after three black ones) - B, C.

Octave names

Octave called a group of sounds from before until every next before.

The octave that is in the middle of the piano keyboard is called first.

Octaves that are above (to the right) of the first octave are called: second octave, third octave, fourth octave.

Octaves that are lower (to the left) of the first are called: small octave, large octave, contra-octave, sub-contra-octave.

Placing notes on a staff.

Notes are signs for recording music. A staff, or stave, is a line of five lines on which notes are placed. The staff lines are counted from bottom to top. Notes are located on lines, between lines, under the first line, above the fifth line, on the lower additional lines, on the upper additional lines.

Treble clef

A treble clef is a sign that indicates that the G sound of the first octave is written on the second line of the staff.

The notes of the first octave in the treble clef are written like this:

do - on the first additional line, re - under the first line, mi - on the first line, fa - between the first and second lines, salt - on the second line, la - between the second and third lines, si - on the third line.

Musical notation for the duration of sounds

The duration of a sound is indicated by different types of notes.

A white note (circle) without a stick is a whole note.

A white note (circle) with a stick is a half note.

Black note (circle) with stick - quarter note

A black note with a stick and a tail is an eighth note.

The main division of sound duration:

A whole is divided into 2 halves, a half is divided into 2 quarters, a quarter is divided into 2 eighths

The direction of the sticks of notes on the staff: up to the third line, the sticks are written up, above the third line - down.

6.Size 2/4- This is a two-beat measure in which each beat lasts a quarter, the first beat is strong, the second is weak.

Conducting scheme in 2/4: down, up.

7. Eighth notes in two beats.

Durations that are performed 2 times faster than quarter notes are called eighth notes. One quarter equals two eighths.

Dividing the first beat of a measure into two equal parts: two eighths, a quarter

Dividing the second beat of a measure into two equal parts: a quarter, two eighths

Dividing the first and second beats of a measure into two equal parts: two eighth notes, two eighth notes.

Recording a song with and without words.

If a song is written without words, the two eighth notes that make up a quarter note are joined by an edge.

If a song is recorded with words, then every eighth, which falls on one syllable of the text, is written separately.

Major and minor. Tonic.

Major and minor are the most common modes in music. The major mode corresponds to vigorous, cheerful melodies and bright melodies. Sad, melancholy melodies correspond to the minor scale. The main, supporting sound of the mode is called the tonic. The tonic most often ends the melody.

Scale C major.

Scales are the sounds of a scale located in pitch up or down from the tonic to its octave repetition. The sounds that make up a scale are called degrees. The full scale consists of eight steps. The eighth degree of the scale is a repetition of the first. The steps are designated by Roman numerals: I, II, III, IV, V, VI, VII. The name of the scale is given by its main tone, that is, the tonic. In C major, the tonic is the C sound.

Degrees of the C major scale: C-I, D-II, E-III, F-IV, G-V, A-VI, B-VII, C-again I

Tonic triad.

In addition to the tonic (first degree), the supporting sounds of the mode also include the third and fifth degrees. The first, third and fifth degrees form a tonic triad. Tonic triad in C major: C-I, E-III, G-V.

12. Introductory sounds- sounds surrounding the tonic (VII and II stages).

Introductory sounds in C major: si - re.

The ascending leading sound in C major is B.

Descending opening sound in C major - D.

The transition of the ascending introductory sound to the tonic: si turns into do.

The transition of the descending introductory sound to the tonic: D turns into Do.

Semitone and tone.

A semitone is the distance between two closest sounds. Two semitones make up a whole tone.

Tones and semitones in the C major scale:

before-re- tone, re-mi- tone, mi-fa- semitone, beans- tone, sol-la- tone, la-si- tone, si-do- semitone.

And here there are musical audio dictations for 1st grade solfeggio in C major.

Sharp, flat, becar.

The signs of increasing and decreasing individual sounds are called alteration signs, or chromatic signs.

Sharp is a sign of raising the sound by a semitone: #

Flat - a sign of lowering the sound by a semitone: b

Bekar is a sign that cancels the effect of a sharp or flat.

Names of black piano keys

The black key between C and D is C sharp or D flat

The black key between D and E is D sharp or E flat

The black key between F and G is F sharp or G flat

Black key between G and A - G sharp or A flat

The black key between A and B is A sharp or B flat

Sharps or flats placed near the key are called key accidentals. Key characters are maintained throughout the melody.

A sharp or flat that comes before a note is called a non-key or accidental accidental. Random characters are stored only in this measure.

Key of G major

G major is a major scale in which the tonic is the sound G (a scale with one sharp in the key).

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

The key sign in the key of G major is F sharp.

G major scale and its degrees: G-I, A - II, B - III, C - IV, D - V, E - VI, F-sharp - VII, (G) - I.

Tonic triad in G major: G-I, B - III, D - V

Introductory sounds in G major: F sharp - VII, A - II

Key of F major

F major is a major scale in which the tonic is the sound F (a scale with one flat in the key).

The sounds that make up F major: F, G, A, B-flat, C, D, E, (F).

The key sign in the key of F major is B flat.

F major scale and its degrees: F-I, G-II, A - III, B-flat - IV, C-V, D - VI, E - VII, (F) - I.

Tonic triad in F major: F-I, A - III, C - V

Introductory sounds in F major: E - VII, G - II

Transposition

Transposition is the transfer of a melody from one key to another. In this case, in the melody with the original key the numbers of the steps are put down, the numbers of the steps are signed under the new staff, then the notes of the melody are assigned above the numbers of the steps in the new key.

Pause.

A pause is a break in sound (a sign of silence).

A whole pause, equal in duration to a whole note, is written as a black rectangle under the fourth line.

A half rest, equal in duration to a half note, is written as a black rectangle on the third line.

A quarter rest, equal in duration to a quarter note, is written as a sign resembling a zigzag.

The eighth rest, equal in duration to the eighth note, is written as a sign resembling the number four.

Musical phrase.

Phrases are parts into which a melody is divided.

Rhythmic stops or pauses in the melody (called caesuras) indicate the end of musical phrases. Any repetition in the melody - exact or with some changes - creates the feeling of the beginning of a new musical phrase. The end of a phrase is indicated by a "daw" or "comma".

Reprise.

A reprise is a sign of repetition; these are two points - above the second and above the third rulers near two vertical lines.

22. Bass clef is a sign that indicates that the F sound of the small octave is written on the fourth line of the staff.

According to the location of the note F, other notes are located on the fourth line, for example, the note up to the major octave is written on the second additional line from the bottom, and the note up to the small octave is written between the second and third lines.

The key is A minor.

A minor is a minor scale in which the tonic is the sound A. This is a scale parallel to C major.

Major and minor keys with the same key signs are called parallel. The tonic of a parallel minor key is the sixth degree of a major key.

A minor scale and its degrees:

la-I, si - II, do - III, re - IV, mi - V, fa - VI, sol - VII, (la) - I.

Tonic triad in A minor: A - I, C - III, E - V

Key of E minor

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

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

The key sign in the key of E minor: F sharp, is written on the fifth line of the staff.

Gamma E minor and its steps up: E - I, F sharp - II, G - III, A - IV, B - V,

do - VI, re -VII, mi - I.

Gamma E minor and its steps down: E -I, D -VII, C - VI, B - V, A - IV, G - III,

F sharp - II, E - I

Tonic triad in E minor: E -I, G - III, B - V.

Key of D minor

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

The sounds that make up D minor: D, E, F, G, A, B-flat, C, D.

The key sign in the key of D minor: B-flat, is written on the third line of the staff.

Gamma D minor and its steps up: D - I, E - II, F - III, G - IV, A - V,

B flat - VI, C -VII, D - I.

Gamma D minor and its steps down: D -I, C -VII, B-flat - VI, A - V,

sol - IV, fa - III, mi - II, re - I

Tonic triad in D minor: D -I, F - III, A - V.

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.

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.

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.

Key of D major

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

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

Key signs in the key of D major: F-sharp, C-sharp.

Gamma D major and its degrees: D -I, E - II, F-sharp - III, G - IV, A - V, B-VI, C-sharp - VII, (D) - I.

Tonic triad in D major: D-I, F-sharp - III, A - V

Introductory sounds in D major: C sharp - VII, E - II

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.

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.

Intervals

An 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:

Prima is the first, indicated by the number 1

The second is the second, indicated by the number 2

Third - third, indicated by the number 3

A quart is a fourth, indicated by the number 4.

Fifth - fifth, indicated by the number 5

Sexta - sixth, indicated by the number 6

Septima - the seventh, designated by the number 7

Eighth - eighth, indicated by the number 8

Melodic intervals from sound to 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 to are the same, only their notes sound simultaneously

Size 4/4

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

Size designation 4/4: 4/4 or C

Strong and weak beats in a 4/4 measure: the first is strong, the second is weak, the third is relatively strong, the fourth is weak.

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

Three types of minor modes.

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

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

Harmonic minor is a minor with a raised VII degree.

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

The scale of A minor is natural: la - si - do - re - mi - fa - sol - la.

A minor harmonic scale - A - B - C - D - E - F - G-sharp - A.

A minor melodic scale: A - B - Do - Re - E - F-sharp - G-sharp - A.

The key is B minor.

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

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

Key signs in the key of B minor: F-sharp, written on the fifth line of the staff and C-sharp, written between the third and fourth lines.

B minor natural scale: B - I, C sharp - II, D - III, E - IV, F sharp - V,

G - VI, A -VII, B - I.

B minor harmonic scale: B - I, C sharp - II, D - III, E - IV, F sharp - V,

G - VI, A-sharp -VII, B - I.

B minor melodic scale: B - I, C-sharp - II, D - III, E - IV, F-sharp - V,

G-sharp - VI, A-sharp -VII, B - I.

Tonic triad in B minor: B -I, D - III, F sharp - V.

Unstable sounds with resolution in harmonic B minor:

A-sharp - in B, C-sharp - in B, C-sharp - in D, E - in D, G - in F-sharp.

Major and minor seconds.

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

Major second from sound up - do-re. Small second from the sound C up - C-D-flat.

The major second from the sound to down is C-flat. Small second from the sound to down - do-si.

And here there are musical audio dictations for 3rd grade solfeggio - in B minor

Seconds in a major scale.

In the major mode the following seconds are formed: minor seconds on the III and VII degrees; major seconds at steps I, II, IV, V, VI.

Major seconds in the key of C major: do-re, re-mi, fa-sol, sol-la, la-si. Small seconds in the key of C major: E-F, B-Do.

Major and minor thirds.

A third is an interval that contains three steps. A third is called major if it is two tones. A third is called minor if it is one and a half steps. The major third is designated b.3, the minor third is designated m.3.

The major third is up from the sound to: do-mi, the minor third is up from the sound to: do-mi-flat.

Major third down from the sound to: C-A-flat, minor third down from the sound to: C-A.

Thirds in a major mode

In the major mode the following thirds are formed:

major thirds - on steps I, IV, V;

minor thirds - on the II, III, VI, VII steps.

Major thirds in the key of C major: C-E (on I), F-A (on IV), G-B (on V)

Minor thirds in the key of C major: D-F (on II), E-G (on III), A-Do (on VI), Si-D (on VII)

A. One-third keys

One-third tones are pairs (major and minor) of keys that have the same third degree (third tones), for example, D major and D-sharp minor (they have one third tone - F-sharp).

114. MELISMAS
Melismas are melodic figures that decorate individual sounds of a melody.

A short grace note (a small crossed out note before the main note) is performed before the main note, without changing its rhythm, without moving it from its place, or moving it by a quarter of the duration of the main note. Example - B(flat)-A.

A long grace note (a small uncrossed note before the main note) is performed at the expense of the main note, the grace note is placed in the place of the main note, this main note moves from its place and becomes shorter due to the grace note. Example - B(flat)-A.

Mordent (similar to a lying zigzag) - performed using the main note. There is a simple -la-si (flat)-la, a crossed -la-sol (sharp)-la and a double - la-si (flat)-la-si (flat)-la. The crossed out signifies a downward movement - la -sol (sharp) -la, la -sol (sharp) -la -sol (sharp) -la. An additional sharp, flat or becar refers to an auxiliary sound.

Gruppetto (lying inverted s). Gruppetto can be simple - A-B (flat) - A-G (sharp) - A, B (flat) - A-G (sharp) - A and crossed - A-G (sharp) - A - B (flat) - A, G(sharp)-A-B(flat)-A. An additional sharp, flat or becar refers to the first auxiliary sound.

Trill - indicated by tr with a wavy line. Consists of small durations (for example, 32). Example - re-mi-re-mi, re-mi-re-mi, re-mi-re-mi, re-mi-re-mi-re - the last group may contain not 4, but 5 notes (written as a quintuplet ).

Acciacatura - an example is the sol-si-do-mi chord, where the note b breaks off immediately after playing the chord, and the notes sol-do-mi continue to sound.

Shleifer - example - melody -mi-re-do, where the first note (mi) remains to sound during the passage of the notes re-do.
115. DESIGNATIONS FOR DYNAMIC SHADES
One of the most important conditions for the expressive performance of music is dynamic shades or nuances.
Dynamic tones are changes in sound volume during the performance of a piece of music.
Table of basic dynamic shades

116. ITALIAN NOTATIONS FOR TEMPO AND NATURE OF PERFORMANCE

Tempo is the speed at which music is performed.
Tempo is related to the nature of the piece. The tempo is always indicated at the beginning of the piece. The tempo designation is often given in Italian.

Very slow pace
Largo (largo) - wide Lento (lento) - slowly Adagio (adagio) - slowly Grave (grave) - heavy, important

Slow pace
Larghetto (larghetto) - somewhat faster than Largo Andante (andante) - slowly, calmly Sostenuto (sostenuto) - restrained

Moderate pace
Moderate (moderate) - moderately
Andantino (andantino) - somewhat sooner than Andante.
Allegretto (allegretto) - somewhat slower than Allegro.

Fast pace
Allegro (allegro) - soon Vivo (vivo) - live Vivace (vivache) - live Presto (presto) - very soon

Additional words for tempo symbols
piu mosso (piu mosso) - more mobile, meno mosso (meno mosso) - less mobile, non troppo (non troppo) - not too much, molto (molto) - very, assai (assai) - very, very, con moto (con moto) - with mobility, accelerando (accelerando) - accelerating, ritenuto (ritenuto) - restraining, ritardando (ritardando) - delaying, rallentando (rallentando) - slowing down

terms characterizing musical emotionality:

* abbandono (abbandono) - ease
* abbandonamente (abbandonamente) - at ease
* accarezzevole (akcarezzevole) - affectionately
* affettuoso (affettuoso) - heartily
* agitato (agitato) - excitedly, excitedly
* amabile (ampabile) - nice
* alla (alla) – in kind, in spirit
* alla marcia (alla marchya) - in the spirit of a march
* alla polacca (alla polyakka) - in the spirit of Polish
* amoroso (amaroso) - lovingly
* animato (animato) - enthusiastically, animatedly
* appassionato (appassionato) - passionately
* ardente (ardente) – with heat
* brillante (brilliant) - brilliant
* buffo (buffo) - comically
* burlesco (burlesco) - comically
* cantabile (cantabile) - melodiously
* capriccioso (capriccioso) - capriciously
* con amore (con amore) - with love
* con anima (con anima) – with enthusiasm, with animation
* con bravura (con bravura) - brilliantly
* con brio (con brio) - with fervor
* con calore (con calore) - with heat
* con dolcezza (con dolchezza) – gently, softly
* con dolore (con dolore) - with sadness
* con espressione (con espressione) – with expression
* con forza (con forza) - with force
* con fuoco (con fuoko) - with fire
* con grazia (con grace) - with grace
* con malinconia (con malinconia) - melancholic
* con moto (con motto) - movably
* con passione (con passione) - with passion
* con spirito (con spirito) - with enthusiasm
* con tenerezza (con tenerezza) - with tenderness
* con vigore (con vigore) - courageously
* deciso (dechizo) - decisively
* dolce (dolce) - tenderly
* dolcissimo (dolcissimo) – very tender
* dolente (dolente) – sad, pitiful
* doloroso (doloroso) – sad, sad
* elegante (elegante) – elegant, beautiful
* elegaco (elejyako) – plaintively, sad
* energico (energy) - energetically
* eroico (eroiko) - heroically
* espressivo (espressivo) - expressively
* flebile (phlebile) - plaintively
* feroce (feroche) - wildly
* festivo (festivo) - festive
* fiero (fiero) - wildly
* fresco (fresco) - fresh
* funebre (funebre) - funeral
* furioso (furioso) - furiously
* giocoso (dzhyokozo) – playfully, playfully
* gioioso (gioyoso) joyfully, cheerfully
* grandioso (grandioso) - magnificent, magnificent
* grazioso (gracifully) - gracefully
* guerriero (guerriero) - militantly
* imperioso (imperioso) - imperative
* impetuoso (impetuoso) - rapidly, violently
* innocente (innocente) – innocently, simply
* lagrimoso (lagrimoso) - deplorable
* languido (languido) – with exhaustion, powerless
* lamentabile (lamentabile) - plaintively
* leggiero (degyero) - easy
* leggierissimo (leggerissimo) very easy
* lugubre (lyugubre) - gloomy
* lusingando (lyuzingando) - flattering
* maestoso (maestoso) – solemnly, majestically
* malinconico (malinconico) - melancholy
* marcato (marcato) - emphasizing
* marciale (marciale) - marching
* marziale (martiale) militantly
* mesto (mesto) - sad
* misterioso (mysterioso) - mysteriously
* parlando (parlyando) - recitative
* pastorale (pastoral) - pastorally
* patetico (patetico) - passionately
* pesante (pesante) – heavy, ponderous
* piangendo (piandzhendo) - deplorable
* pomposo (pomposo) - magnificent, with shine
* quieto (kito) - calmly
* recitando (recitando) - telling
* religioso (religioso) - reverently
* rigoroso (rigoroso) – strictly, precisely
* risoluto (risoluto) - decisively
* rustico (rustic) – in a rustic style
* scherzando (scherzando) - playfully
* scherzoso (scherzoso) - playfully
* semplice (sample) - simple
* sensibile (sensibile) - sensitive
* serioso (seriously) - seriously
* soave (soave) - friendly
* soavemente (soavemente) - friendly
* sonore (sonore) - sonorous
* spianato (drunk) - with simplicity
* spirituoso (spirituoso) - spiritually
* strepitoso (strepitozo) – noisy, stormy
* teneramente (teneramente) - gently
* tranquillo (tranquille) - calmly
* vigoroso (vigorozo) - strong, cheerful

Some terms often found in music literature:

* a capella (a cappella) – in choir, without instrumental accompaniment
* a due (or a 2) (a duet) – two people perform the same part
* ad libitum (ad libitum) - optional: an indication that allows the performer to freely vary the tempo or phrasing, as well as skip or play part of a passage (or other fragment of musical text); abbreviated ad. lib.
* arco (arco) - literally “bow”: an indication coll arco for performers on string instruments - play with a bow, not pizzicato
* attacca (attack) – transition to the next part without interruption
* a tempo (a tempo) – return to the original tempo after changing it.
* basso continuo (basso continuo) (also general bass, digital bass) - “continuous, general bass”: a tradition of Baroque music, according to which the lower voice in the ensemble was performed by a melodic instrument of the appropriate range (viola da gamba, cello, bassoon ), while another instrument (keyboard or lute) duplicated this line along with chords, which were indicated in the notes by conventional digital notation, implying an element of improvisation
* basso ostinato (basso ostinato) - literally “constant bass”: a short musical phrase in the bass, repeated throughout the entire composition or any section of it, with free variation of the upper voices; in early music this technique is especially typical for the chaconne and passacaglia.
* ben (ben) - good
* blue note (English) - in jazz, the performance of the third or seventh degree in a major scale with a slight decrease (the term is associated with the blues genre)
* coda (code) conclusion
* col (col) - with
* come (come) - like
* con (kon) - with
* da capo (yes capo) – “from the beginning”; an instruction requiring a fragment or an entire part of a work to be repeated from the beginning; abbreviated as D.C.
* dal segno (dal senyo) – “starting from the sign”; an instruction instructing to repeat a fragment from a sign; abbreviated as D.S.
* diminuendo (diminuendo) – dynamic indication, similar to decrescendo
* divisi (divisions) – division (homogeneous instruments or voices perform different parts)
* e, ed (uh, ed) - and
* fine (fine) – end (traditional designation in the score)
* forte (forte) – designation of expressiveness: loud; abbreviated
* ma (ma) - but
* mezza voce (mezza voce) - in a low voice
* mezzo forte (mezzo forte) - not very loud
* molto (molto) – very; tempo designation: molto adagio – tempo designation: very slow
* non (non) - not
* non troppo (non troppo) – not too much; allegro ma non troppo – tempo designation: not too fast
* obligato (obbligato) – 1) in music of the 17th and 18th centuries. the term refers to those instrument parts in a piece that cannot be omitted and must be performed; 2) fully written accompaniment in a musical work for voice or solo instrument and clavier
* opus (opus) (Latin opus, “work”; abbreviated as op.): the designation has been used by composers since the Baroque era and usually refers to the serial number of a given work in the list (most often chronological) of the works of a given author
* ostinato (ostinato) – multiple repetition of a melodic or rhythmic figure, harmonic turn, individual sound (especially often in bass voices)
* poi (poi) - then
* perpetuum mobile (Latin for “perpetual motion”): a piece built on continuous fast rhythmic movement from beginning to end
* pianissimo (pianissimo) – very quiet; abbreviated: pp
* piano (piano) – quiet; abbreviated: p
* piu (piu) – more; piu allegro – tempo designation: faster
* pizzicato (pizzicato) - plucking: a way of playing stringed instruments by plucking the strings with your fingers
* portamento (portamento) - a sliding transition from one sound to another, used in singing and playing strings
* portato (portato) - a method of sound production, between legato and staccato
* quasi (kuazi) – as if
* rallentando (rallentando) – designation of tempo: gradually slowing down
* recitative (abbreviated recit.) (recitative) - recitative
* ripieno (ripieno) - in the instrumental music of the Baroque era, the designation of the playing of the entire orchestra; same as tutti
* ritardando (ritardando) – tempo designation: gradually slowing down
* ritenuto (ritenuto) - designation of tempo: gradually reducing the tempo, but over a shorter period than ritardando
* rubato (rubato) - a flexible interpretation of the tempo-rhythmic side of the work, deviations from a uniform tempo in order to achieve greater expressiveness
* scherzando (scherzando) – playfully
* segue (segue) – the same as the previous one
* senza (senza) - without
* simile (simile) - the same as the previous one
* solo (solo) - one
* soli (salt) – plural of solo, i.e. more than one soloist
* sostenuto (sostenuto) – designation of expressiveness: restrained; sometimes the designation can also refer to tempo
* sotto voce (sotto voche) – designation of expressiveness: “in a low voice”, muffled
* staccato (staccato) - abruptly: a manner of sound production in which each sound is, as it were, separated by a pause from the other; the opposite method of sound production is legato, coherently. Staccato is indicated by a dot above the note
* stile rappresentativo (style rappresentativo) - opera style of the early 17th century, the main principle of which is that the musical principle should be subordinated to the expression of dramatic ideas or reflect the content of the text
* sforzando (sforzando) – sudden emphasis on a sound or chord; abbreviated sf
* segue (segue) - continue as before: an instruction that, firstly, replaces the attacca instruction (i.e., it orders the next part to be performed without interruption), and, secondly, it orders the performance to continue in the same manner as earlier (in this case the designation sempre is more often used)
* semibreve (semibreve) – whole note
* tace (tache) - be silent
* tacet (taches) - silent
* tutti (tutti) – everything (for example, the whole orchestra)
* tenuto (tenuto) – sustained: the designation prescribes maintaining the full duration of the note; sometimes this means a slight excess of duration
* unisono (unison) - in unison
* voce (voche) - voice
* voci (vochi) – voices

. Common keys (24):

C major - A minor
Major and parallel minor keys with sharps:
G major - E minor
D major - B minor
A major - F sharp minor
E major - C sharp minor
B major - G sharp minor
F sharp major - D sharp minor
C-sharp major - A-sharp minor

Major and parallel minor keys with flats:
F major - D minor
B flat major - G minor
E-flat major - C minor
A-flat major - F minor
D-flat major - B-flat minor
G-flat major - E-flat minor
C-flat major - A-flat minor

Why is it believed that there are 24 tonalities and not 30? Due to enharmonic equality (keyboard matching):
Enharmonically equal major keys:
B major and C flat major
F sharp major and G flat major
C sharp major and D flat major

Enharmonically equal minor keys:
G sharp minor and A flat minor
D sharp minor and E flat minor
A sharp minor and B flat minor
30- 6=24.

1. The order of appearance of sharps is: fa-do-sol-re-la-mi-si.
2. The order of appearance of flats is: B-E-LA-D-S-DO-F.
3.There is a new sign in sharp majors appears at the VII stage(for example, in G major there is F-sharp on the VII step, In D major there is C-sharp on the VII step).
4. In flat majors there is a new sign appears at the IV stage(for example, in F major, B-flat on the IV step, In B-flat major, E-flat on the IV step).
5. In sharp minors, a new sign appears of the 2nd degree (three degrees lower than in sharp majors).
6. In flat minors, a new sign appears on the VI degree (three degrees higher than in flat minors).

7. Frets. IN natural major high III, VI and VII steps. do-re-mi-fa-sol-la-si-do
8. B natural minor low III, VI and VII stages. do-re-mi-flat-fa-sol-la-flat-b-flat-do
9. B harmonic major(unlike natural) lowered VI stage. do-re-mi-fa-sol-la-flat-si-do
10.B harmonic minor(as opposed to natural) increased VII stage. do-re-mi-flat-fa-sol-la-flat-si-bekar-do
11. B melodic major(unlike natural) lowered VI and VII stages. do-re-mi-fa-sol-a-flat-b-flat-do
12.V melodic minor(as opposed to natural) increased levels VI and VII. do-re-mi-flat-fa-sol-la-bekar-si-bekar-do.

13. Intervals. Part 1. There are 7 clean notes on white keys (do-do, re-re, etc.). In all cases, the second note will repeat the first (E-sharp-E-sharp, E-flat-E-flat).
m.2. There are only 2 small seconds on the white keys (mi-fa, si-do).
14. Minor second from E-sharp: E-sharp-F-sharp.
15. Small second from B-sharp: B-sharp-to-sharp
16. Minor second from E-flat: E-flat-F-flat
17. Minor second from B-flat: B-flat-to-flat
18. Small seconds in all other cases
a) if you build from a note without a sign, then the second one will be with a sign (up - with a flat: G-A-Flat, down - with a sharp: B-A-Sharp)
b) if you build from a note with a sign, then the second one will be without a sign (F-sharp-G, D-flat-C), or with a double sign (G-sharp-F-double-sharp, D-flat-E-double -flat).

19.Intervals. b.2. There are only 5 major seconds on the white keys: do-re, re-mi, fa-sol, sol-la, la-si.
20. If you build from a note with a sign, then the second note will have the same sign: up: C-sharp-D-sharp, down: B-flat-A-flat.
21. All other cases of major seconds: E-F-sharp, B-do-sharp, E-flat-F, B-flat-C, E-sharp-F-double-sharp, B-sharp-C-double- sharp,

F-flat-E-double-flat, C-flat-B-double-flat.

22.Intervals. part 4. There are 6 clean fourths on white keys: do-fa, d-sol, mi-la, sol-do, la-re, si-mi.
Intervals. Part 5. There are 6 perfect fifths on white keys: C-G, D-LA, E-B, F-Do, G-D, A-mi.
23.Pure fourths and perfect fifths (the rule is the same as in major seconds): If you build from a note with a sign, then the second note will have the same sign: up: part 4

C-sharp-F-sharp, down part 5 B-flat-E-flat.
24. All other cases of Part 4: F-B-flat, F-sharp-B, F-flat-B-double-flat.
All other cases of part 5: B-F-sharp, B-flat-F, B-sharp-F-double-sharp.

25. Intervals. m.7. There are 5 small sevenths on white keys (like b.2): re-do, mi-re, sol-fa, la-sol, si-la. m.7 is the appeal of b.2. This can be used if you need to build m.7. For example, build m.7 down from D: build up b.2 - D-mi, move E down an octave and get m.7.
If you build m.7 from a note with a sign, then the second note will have the same sign: up: D-sharp-to-sharp, down: A-flat-B-flat. (Rule as in b.2)
Other cases of small sevenths: C-B-flat, C-sharp-B, F-E-flat, F-sharp-E.

26. Intervals. b.7. There are 2 major sevenths on white keys (like m.2): do-si, fa-mi. b.7 is an appeal to m.2. This can be used if you need to build b.7. For example, to build b.7 up from G: we build down m.2 - G-F-sharp, move F-sharp up an octave and get B.7.
b.7 in all other cases
a) if you build from a note without a sign, then the second one will be with a sign (up - with a sharp: A-G-Sharp, down - with a flat: D-E-Flat)
b) if you build from a note with a sign, then the second one will be without a sign (up: A-flat-G, down: D-sharp-E), or with a double sign (up: G-sharp-F-double-sharp, D -flat-E-double-flat).
27. Intervals. part 8. There are 7 pure octaves on the white keys (as well as pure primes). to 1-to 2, etc.). In all cases, the second note will repeat the first one through an octave (E-sharp-E-sharp, E-flat-E-flat).