How to build characteristic intervals in any key? Inversion of triads and seventh chords using the example of the tonic, subdominant and dominant. What are the signs in C 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.

Today you can find a large amount of educational literature, which covers almost everything. If you decide to play classical music, then you will have to learn the theory. This is necessary in order to navigate well, be able to improvise and come up with music.

If you have complete ignorance of music theory, it is best to start learning with intervals. Only after studying this section can you begin to study tonalities. There are 24 tones in total. Two of these keys do not have signs at the key, and the rest are characterized by the presence of sharps or flats.

What are the signs in D minor?

D minor can be called one of the light keys, since it contains only 1 key sign - B-flat. It should also be remembered that all natural minor keys can acquire temporary signs. For example, in a harmonic minor scale the 7th degree of the scale will rise. If you project this rule onto the key of D minor, you will get the note C sharp. There is also a melodic type of minor scale. It will sound like a major scale, but with minor changes. In a melodic minor, when moving up, the 6th and 7th degrees will rise, and downwards you will need to play or sing a natural minor (in writing, the signs of raising or lowering notes are canceled by the bekar).

Circle of fifths, or how to learn to improvise

Determining the names of keys by the signs at the key is taught in music schools. You can learn the tonalities and key signs in them yourself, using the image of the circle of fifths. It depicts tones depending on the degree of relationship. For example, at the top point of the circle there are keys without signs, then there are keys with 1, 2, 3, etc. signs at the key. Sharp keys will be indicated on the right, and flat keys on the left. If you remember the circle of fifths, then you can easily select an accompaniment to the melody, improvise, and also understand the key, which has a large number of signs in the key.

How to determine the tonality of a work by key signs

When learning an unfamiliar piece, you first need to determine the key in which it is written. To do this, you should pay attention to the signs on the key. It is also necessary to take into account the ending of the work, since the same key signs can be present in two keys - major or parallel minor. Only by taking these two factors into account will you be able to accurately determine the tonality of the piece.

It should be noted,

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.

Minor: Minor is a sad theme in music. Minor linear algebra Minor station of the Tashkent metro Minor Jewish surname: Shlomo Zalkind Minor (1826 1900) Rabbi Minor, Lazar Solomonovich (1855 1942) ... ... Wikipedia

Matrix minor- A is the determinant of a matrix whose elements are in a given rectangular matrix of order k (which is also called the order of this minor) at the intersection of rows with numbers and columns with numbers. If the numbers of the marked lines match the numbers... ... Wikipedia

MINOR- (from Italian minore). See Mineur. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. MINOR lat. minor, it. minore, French mineur. In music, the tone is sad and quiet. Explanation of 25,000 foreign words included in the used... Dictionary of foreign words of the Russian language

Minor (fish)- Minor Scientific classification ... Wikipedia

Minor (surname)- Minor is a Jewish surname. Minor, Solomon Alekseevich (1826 1900) rabbi of Moscow Minor, Lazar Solomonovich (1855 1942) prominent Russian neurologist Minor, Osip Solomonovich (1861 1934) Russian politician, lawyer, socialist revolutionary ... Wikipedia

minor- a, m. mineur, it. minore. 1. A musical mode whose chord is built on a minor third. BAS 1. And these hellish sonatas, And all the adagios, stocata, Allegro, menue, major; And more barbaric minor, which pulls at the soul. A. I. Klushin (1763 1804). // Music... Historical Dictionary of Gallicisms of the Russian Language

Minor- an old Socialist Revolutionary, one of the founders of the Socialist Revolutionary Party. During the days of Kerenskyism, Minor joined Chernov’s group, which was tossing between the coalition and a purely socialist ministry. In the later created Council of the Republic, Minor headed the Socialist Revolutionary faction and... ... 1000 biographies

Minor- Minor. MINOR (Italian minore, from Latin minor smaller) (musical), a mode based on a small (minor) triad, giving it a specific “gloomy” coloring (as opposed to major). ... Illustrated Encyclopedic Dictionary

Minor (musical)- Minor (Italian minore, from Latin minor smaller; also moll, from Latin mollis soft), a mode based on a small (minor) triad with its inherent coloring (inclination). The structure of the minor mode (a minor, or A minor): M. (like a triad, not ... ... Great Soviet Encyclopedia

MINOR- MINOR, minor, husband. (Italian minore from Latin minor minor). 1. A musical mode, the scale of which is built a minor third down from the major scale (with an increase of the seventh degree by a semitone in the so-called harmonic minor scale, and in the melodic minor scale... ... Ushakov's Explanatory Dictionary

minor- estate, harmony, mood, determinant Dictionary of Russian synonyms. minor noun, number of synonyms: 4 estate (21) mode ... Synonym dictionary

Books

• String Quartet in G minor, op. 10, C. Debussy. C. Debussy, String Quartet in G minor, op. 10, Sheet music, For 2 violins, viola and cello Publication type: Sheet music... Buy for 554 RUR
• Piano Quintet in C minor, A. Borodin. Piano Quintet in C minor, Sheet music, For 2 violins, viola, cello and piano Publication type: Sheet music…

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!