Music theory includes a huge variety of terminology. Tonality is a fundamental professional term. On this page you can find out what tonality is, how to determine it, what types there are, as well as interesting facts, exercises, and a way to change the tonality in a backing track.

Highlights

Imagine you decide to play a piece of music. You found the notes, and when analyzing the musical text, you noticed that after the key there are sharps or flats. We need to figure out what they mean. Key signs are alteration signs that remain throughout the entire performance of a musical composition. According to the rules, they are placed after the key, but before the size (See Figure No. 1), and are duplicated on each subsequent line. Key signs are necessary not only so as not to constantly write them down near the notes, which takes a lot of time, but also so that the musician can determine the key in which the piece is written.

Figure No. 1

The piano, like many other instruments, has a tempered tuning. In this system, the units of calculation can be taken as tone and semitone. By dividing into these units, each sound on the keyboard can form a tonality, either major or minor. This is how the modal formulas for major and minor were invented (See Figure 2).

Figure No. 2

It is by these scale formulas that one can build a tonality from any sound, either in major or minor. The sequential reproduction of notes according to these formulas is called a scale. Many musicians play scales in order to quickly navigate keys and key signs with them.

Tonality consists of two components: the name of the sound (for example, C) and the modal mood (major or minor). To build a scale, you need to select one of the sounds on the keyboard and play from it according to the formula, either major or minor.

Exercises for consolidation

1. Try playing a major scale from the sound “D”. Use the ratio of tones and semitones when playing. Check for correctness.
2. Try playing a minor scale from the sound "E". You must play according to the proposed formula.
3. Try playing scales from different sounds in different inclinations. First at a slow pace, then at a faster pace.

Varieties

Some tones may have a certain connection with each other. Then they can be included in the following classifications:

• Parallel tones. The peculiarity is the same number of key signs, but different modal inclination. In fact, the set of sounds is absolutely identical, the only difference is in the tonic sound. For example, the tonalities of C major and A minor are parallel, they have the same number of key signs, but different modal inclination and tonic sound. There is a parallel-variable mode, which is characterized by the fact that there are two parallel tonalities in the work, and their mode constantly changes, now to major, now to minor. This mode is typical for Russian folk music.
• The names of the same name have a common tonic sound, but at the same time different modal inclination and key signs. Example: D major (2 key marks), D minor (1 key sign).
• One-thirds have a common third (that is, the third sound in a triad); they are no longer united by the tonic, key signs, or mode. Typically, the one-third minor is located a minor second or semitone higher than the major. Accordingly, the one-third major in relation to the minor is located lower by a small second or semitone. An example is the tonalities of C major and C sharp minor; in the triads of these chords the sound “E” is the same.

Exercises for consolidation

Determine how the two tones relate to each other. Place the appropriate number next to the example:

1. Parallel
2. Same name
3. Single-faced

Questions:

• B-major and H-moll
• A-major and A-minor
• G-major and e-moll

Check your own knowledge.

Answers: 3, 2, 1.

Interesting facts

• As a musical term, it originated in the early 19th century. It was introduced by Alexandre Etienne Choron in his own writings.
• There is “color” hearing, which is characterized by the fact that a person associates a certain tonality with a specific color. The owners of this gift were Rimsky-Korsakov And Scriabin.
• In modern art there is atonal music, which does not take into account the principles of tonal stability.
• English terminology uses the following designation for parallel keys - relative keys. When literally translated, these are “related” or “related”. The same name is designated as parallel keys, which can be perceived as parallel. Often, when translating specific literature, translators make mistakes in this matter.
• The symbolism of classical music has assigned a certain meaning to certain keys. So Des-dur is true love, B-dur defines beautiful men, heroes, and e-moll is sorrow.

Key Chart

Sharp

Flat

How to determine the tonality of a piece

You can find out the main tonality for the composition using the plan below:

1. Look for key signs.
2. Find it in the table.
3. There can be two keys: major and minor. To determine which fret you need to look at what sound the piece ends with.

There are ways to simplify the search:

• For major in sharp keys: last sharp + m2 = name of the key. So, if the extreme key sign is C sharp, then it will be D major.
• For flat major keys: penultimate flat = desired key. So if there are three key signs, then the penultimate one will be E-flat - this will be the desired key.

You can use both standard methods and those given above. The main thing is to learn how to correctly determine the tonality and navigate it.

Exercises for consolidation

Determine the tonality by key signs.

Major

Minor

Answers: 1. D major 2. As major 3. C major

1. Cis minor 2. B minor 3. E minor

Circle of quarto-fifths

The quarto-fifth circle is a special diagrammatically presented information in which all keys are located at a distance of a perfect fifth clockwise, and at a distance of a perfect fourth counterclockwise.

Main triads in the key

Let's start with what a major and minor triad are and how they are built. Regardless of inclination, a triad is a chord consisting of three sounds, which are arranged in thirds. The major triad is designated as B 5 3, and consists of a major third and a minor. The minor triad is designated as M 5 3, and consists of a minor and major third.

Triads can be constructed from each note in a key.

The main triads in a key are those chords that indicate whether they are in a major or minor mood. On the first, fourth and fifth triads are built, corresponding to the modal inclination. That is, in major, major triads are built at these steps, and in minor, minor triads are built, respectively. The main triads for each stage have their own names or functions, as they are also called. So the tonic is located on the first stage, the subdominant on the fourth, and the dominant on the fifth. They are usually abbreviated as T, S and D.

Related keys

There is such a thing as tonal affinity. The greater the difference in signs, the further the relationship. Depending on the systems, there are 3 or 4 degrees. Let's consider the most popular system, which divides tones into 3 degrees of relationship.

Degree of relationship
Group
Sign difference
What keys	parallel	S, D and their parallels	S harmonics for major	Keys on b.2 ↓ and their parallels	Major Major– m2, m3, b3 ↓ and Minor ss harm. – on b2↓ and minor of the same name	Minor Minor– m2, m3, b3 ↓ and Major DD on b2 and major of the same name	For major uv1, uv2, uv4 and uv5, for minor the same intervals ↓.	Tritonanta and its parallel

First group divided into 3 categories:

1. This is a parallel tone. The difference in signs is 0. These keys are united by six common chords. Example: F major and D minor.
2. 4 keys. The difference between the main and final tonality is one sign. These are the tonalities of the subdominant and dominant, as well as parallel to S and D. Example, for the key of G major: S - C major, parallel S - A minor, D - D major, parallel D - B minor.
3. Considered only for major keys. A difference of 4 signs is a harmonic subdominant. Example for C major – the harmonic subdominant is F minor.

Second group kinship is divided into 2 subgroups:

1. 4 keys. The difference is two key signs. It is easy to find these keys from the main one; they are located a major second above and below + parallels to those found. Example: the main key is A major. Above and below the major second or tone of the key: B minor and G major. Parallels for the keys found: these are D major and E minor.
2. The difference of signs is from three to five. Finding the key will depend on whether the key is major or minor.

• Dur: 6 major and 2 minor: above and below on m2, m3 and b3; ss is harmonic, located on b2 below, as well as the minor of the same name. Example for G-dur: As-dur, B-dur, H-dur, Fis-dur, E-dur, Es-dur and f-moll and g-moll.
• Moll: 6 minor and 2 major: for minor second, minor third and b3 above and below; DD is a major second higher and the eponymous major.

Third group is divided into 2 groups:

1. 3 keys that do not have a single chord in common, the difference is 3-5 signs in the opposite direction. For a major, you need to find minors higher at the following intervals, and for a minor, majors at lv.1, lv.4 and lv.5 below.
2. Tritonanta and its parallel. The tritone is found from the original tonic, for C-dur - Fis-dur.

Depending on the degree of harmony, there are many methods of modulation.

How to change the key in backing tracks

It happens that the pitch is either too high for the voice or too low. In order for music to sound beautiful, it is necessary to use modern technologies and programs to make the backing track convenient, that is, to transpose it to the required interval lower or higher. Let's look at how to change the key in backing tracks or compositions. We will work in the Audacity program.

• Open the Audacity program

• Click on the “File” section. Select "Open..."

• Select the required audio recording
• Press CTRL+A to select the entire track.
• Click on the “Effects” section and select “Pitch Shift...”

• We set the number of semitones: when increasing, the value is above zero, when decreasing, the value is less than zero. You can choose a specific key.

• We save the result. Open the "File" section, select "Export Audio..."

We hope that the page was useful for reading and now you know what tonality is, understand their types and can transpose a piece of music using a special program. Read other articles on musical literacy and improve your own knowledge.

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:

Prima	- first,	indicated by number 1
Second	- second,	indicated by number 2
Third	- third,	indicated by number 3
Quart	- fourth,	indicated by the number 4
Quint	- fifth,	indicated by the number 5
Sixth	- sixth,	indicated by the number 6
Seventh	- seventh,	indicated by the number 7
Eighth	- eighth,	indicated by the number 8

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.

Scale E minor– one of the most popular scales on the guitar. Songs written based on this scale give off a homely warmth and evoke a feeling of comfort and coziness. This is what the E minor scale looks like on the fretboard:

Sounds included in the E minor scale

Guitar Neck Diagram

Names of notes included in the E minor scale

The sounds included in the E minor scale obey the following sequence: Mi(E) – Fa#(F#) – Sol(G) – A(A) – Si(H) – Do(C) – Re(D)

Practical instructions for quickly memorizing and subdividing scales!

To play E minor scale throughout the entire neck of the guitar, it is recommended to divide the scale into separate pieces. Each of these pieces must include three notes, and these notes must be on the same string. This is the shortest way to memorize scales. Three-note fingering is ideal for developing your playing speed and practicing your technique.

Just below you will find E minor scale for guitar, presented in the form of seven small bar diagrams. Each of these diagrams shows you the fingering patterns for each of the three-note positions.

E minor scale, divided into positions. In each of these positions three notes are played on each string

Position No. 1	Position No. 2
Position No. 3	Position No. 4
Position No. 5	Position No. 6
Position No. 7

Major key parallel to E minor

Please note that G major – major parallel to the E minor scale. This means that the sounds that make up the E minor scale are identical to the sounds that make up the G major scale.

Leonid Gurulev, Dmitry Nizyaev

SUSTAINED SOUNDS.

While listening or performing a piece of music, you probably noted somewhere in your subconscious that the sounds of the melody are in a certain relationship with each other. If this ratio did not exist, then it would be possible to simply beat something obscene on the keys (strings, etc.), and the result would be a melody that would make those around you swoon. This relationship is expressed primarily in the fact that in the process of development of music (melody), some sounds, standing out from the general mass, acquire the character supporting sounds. The melody usually ends on one of these reference sounds.

Reference sounds are usually called stable sounds. This definition of reference sounds corresponds to their character, since the end of a melody on a reference sound gives the impression of stability and peace.

One of the most consistent sounds usually stands out more than others. He is like the main support. This sustained sound is called tonic. Listen here first example(I left it out on purpose tonic). You will immediately want to finish the melody, and I am sure that even if you did not know the melody, you would be able to hit the right note. Looking ahead, I will say that this feeling is called gravity sounds. Test yourself by listening second example .

In contrast to stable sounds, other sounds involved in the formation of a melody are called unstable. Unstable sounds are characterized by a state of gravitation (which I just talked about above), as if attraction, towards the nearest stable ones; they seem to strive to connect with these supports. I will give a musical example of this same song, “There was a birch tree in the field.” Steady sounds are marked with a ">".

The transition from unstable sound to stable sound is called resolution.

From the above we can conclude that in music the relationships of sounds in height are subject to a certain pattern or system. This system is called LADOM (lad). The basis of a separate melody and a piece of music as a whole is always a certain mode, which is the organizing principle of the pitch relationship of sounds in music and, together with other expressive means, gives a certain character corresponding to its content.

For practical application (what is theory without practice, right?) of the material presented, play any exercises that we studied in guitar or piano lessons, and mentally note stable and unstable sounds.

MAJOR MODE. GAMMA OF NATURAL MAJOR. STAGES OF A MAJOR MODE. NAMES, DESIGNATIONS AND PROPERTIES OF THE DEGREES OF THE MAJOR MODE

There are a variety of modes in folk music. Classical music (Russian and foreign) to one degree or another reflected folk art, and therefore the inherent diversity of modes, but still the major and minor modes were most widely used.

Major(major, in the literal sense of the word, means b O major) is called a mode, the stable sounds of which (in sequential or simultaneous sound) form a major or major triad - a consonance consisting of three sounds. The sounds of a major triad are arranged in thirds: the major third is between the lower and middle sounds, and the minor third is between the middle and upper sounds. Between the extreme sounds of a triad, an interval of a perfect fifth is formed.

For example:

A major triad built on the tonic is called a tonic triad.

Unstable sounds in this mode are located between stable ones.

The major mode consists of seven sounds, or, as they are commonly called, degrees.

A sequential series of sounds of a mode (starting from the tonic to the tonic of the next octave) is called a scale of a mode or scale.

The sounds that make up a scale are called steps because the scale itself is quite clearly associated with a ladder.

Scale levels are indicated by Roman numerals:

They form a sequence of second intervals. The order of steps and seconds is as follows: b.2, b.2, m.2, b.2, b.2, b.2, m.2 (that is, two tones, a semitone, three tones, a semitone).

Do you remember the piano keyboard? There you can clearly see where in the major scale there is a tone and where there is a semitone. Let's take a more specific look.

Where there are black keys between white ones, there is a tone, and where there are not, then the distance between the sounds is equal to a semitone. Why, one might ask, do you need to know this? Here you try to play (by pressing alternately) first from the note To to note To the next octave (try to remember the result by ear). And then the same from all other notes, without resorting to the help of derivative (“black”) keys. Something will turn out wrong. In order to bring everything into an equally decent form, you need to follow the scheme tone, tone, semitone, tone, tone, tone, semitone. Let's try to create a major scale from the note D. Remember that you first need to build two tones. So, Re-Mi- this is the tone. Very good. But Mi-Fa... stop! There is no “black” key between them. The distance between sounds is half a tone, but we need a tone. What to do? The answer is simple - raise the note F up a semitone (we get F sharp). Let's repeat: Re - E - F sharp. That is, if we required that there be an intermediate key between the steps, but there was no black one between them, then let the white key perform this intermediate role - and the step itself “moves” to the black one. Next we need a semitone, and we got it ourselves (between F sharp And salt baker just the distance of a semitone), it turned out Re - Mi - F sharp - Sol. Continuing to strictly adhere to the scheme of the major scale (let me remind you once again: tone, tone, semitone, tone, tone, tone, semitone) we get D major scale, sounding exactly the same as the scale from TO:

A scale with the above order of degrees is called a natural major scale, and a scale expressed by this order is called a natural major scale. Major can be not only natural, so such a clarification is useful. In addition to the digital designation, each fret step has its own name:

Stage I - tonic (T),
Stage II - descending introductory sound,
III stage - mediant (middle),
IV stage - subdominant (S),
V stage - dominant (D),
VI stage - submediant (lower mediant),
VII stage - ascending introductory sound.

The tonic, subdominant and dominant are called the main degrees, the rest are called secondary degrees. Please remember these three numbers: I, IV and V - the main steps. Don’t be confused by the fact that they are arranged in the scale so whimsically, without visible symmetry. There are fundamental justifications for this, the nature of which you will learn from the lessons on harmony on our website.

The dominant (in translation - dominant) is located a perfect fifth above the tonic. Between them there is a third step, which is why it is called medianta (middle). The subdominant (lower dominant) is located a fifth below the tonic, which is where its name comes from, and the submediant is located between the subdominant and the tonic. Below is a diagram of the location of these steps:

The introductory sounds got their name due to their attraction to the tonic. The lower input sound gravitates in the ascending direction, and the upper one in the descending direction.

It was said above that in major there are three stable sounds - these are the I, III and V degrees. Their degree of stability is not the same. The first stage - tonic - is the main supporting sound and therefore the most stable. Stages III and V are less stable. II, IV, VI and VII degrees of the major mode are unstable. The degree of their instability varies. It depends: 1) on the distance between unstable and stable sounds; 2) on the degree of stability of the sound towards which gravity is directed. Less acute gravity is manifested at the stages: VI to V, II to III and IV to V.

For an example of gravity, let's listen to two options for resolving sounds. First- for major keys, and second for minors. We will study the minor in future lessons, but for now try to understand it by ear. Now, while doing practical lessons, try to find stable and unstable steps and their resolutions.

KEY. MAJOR KEYS SHARP AND FLATS. CIRCLE OF FIFTS. ENHARMONISM OF MAJOR KEYS

The natural major scale can be built from any degree (both basic and derivative) of the musical scale (provided it retains the system of degrees that we discussed above). This opportunity - to obtain the desired scale from any key - is the main property and main purpose of the “tempered scale”, in which all semitones in the octave are completely equal. The fact is that this system is artificial, obtained as a result of targeted calculations specifically for this purpose. Before this discovery, music used the so-called “natural” scale, which did not at all have the advantage of symmetry and reversibility. At the same time, musical science was simply incredibly complex and unsystematic, and boiled down to a set of personal opinions and feelings, akin to philosophy or psychology... In addition, under the conditions of a natural system, musicians did not have the physical ability to perform music so freely in any key, in which any pitch, because with an increase in the number of accidental signs, the sound became catastrophically false. Tempered (that is, “uniform”) tuning gave musicians the opportunity not to depend on the absolute pitch of sound, and to bring musical theory almost to the level of an exact science.

The absolute (that is, non-relative) height at which the tonic of a mode is located is called tonality. The name of the tonality comes from the name of the sound that serves as its tonic. The name of the key is made up of the designation of tonic and mode, that is, for example, the word major. For example: C major, G major, etc.

Major scale tonality built from sound to, called C major. Its peculiarity among other keys is that its scale consists precisely of the main steps of the musical scale, that is, simply, only the white keys of the piano. Let us recall the structure of the major scale (two tones, a semitone, three tones, a semitone).

If you build a perfect fifth upward from the note C, and try to build a new major scale from the resulting fifth (note G), it turns out that the VII step (note F) must be raised by a semitone. Let us conclude that in the key of G-dur, i.e. G major, one key sign - F sharp. If now we want to play a piece in C major in this new key (well, for example, due to the fact that your voice is too low and uncomfortable to sing in C major), then, having rewritten all the notes of the song to the required number of lines higher, we will have to raise the FA note that appears in the notes by a semitone, otherwise it will sound like nonsense. It is precisely for this purpose that the concept of key signs exists. We just need to draw one sharp at the key - on the line where the note FA is written - and after that the whole song automatically appears in the correct scale for the tonic SA. Now we go further along the beaten path. From the note G we build a fifth upward (we get the note D), and from it we again build a major scale, although we don’t have to build it anymore, since we already know that we need to raise the seventh degree. The seventh degree is the note Do. Our collection of sharps in the key is gradually growing - in addition to F-sharp, C-sharp is also being added. These are the key signs of the key of D major. And this will continue until we use all 7 characters in the key. For training, those who wish (although I advise everyone) can perform an experiment of the same order. Those. (repeat) from note C we build a fifth upward, using the scheme: tone-tone, semitone, tone-tone-tone, semitone - we calculate the structure of the major scale. From the resulting note we again build a fifth upward... and continue like this until the money runs out... oh, sharps. You should not be embarrassed when, during the next construction of the tonality, you discover that the sound of the tonic itself is on the black key. This will only mean that this sharp will be mentioned in the name of the key - "F sharp major" - everything else will work exactly the same. In principle, no one can forbid you to continue this construction AFTER the seventh sharp is written at the key. Music theory does not prohibit the existence of any tonality - even with a hundred signs. It’s just that the eighth character of the key will inevitably turn out to be “F” again - and all you have to do is replace the very first “F-sharp” with the sign “double-sharp”. With these experiments, you can get, for example, a major with 12 sharps - “B-sharp major”, and discover that this is nothing more than “C major” - the entire scale will again be on the white keys. Of course, all these “experiments” have only theoretical significance, since in practice no one would think of cluttering their notes with signs so much just to end up in C major again...

I bring to your attention a drawing to familiarize yourself with all these sharps, stable and unstable sounds in each key. Please remember that the order in which sharps “appear” is strictly regulated. Memorize: Fa-Do-Sol-Re-La-Mi-Si .

Let's go the other way. If from the note To build a fifth, but downwards, we get a note F. From this note we will begin to build a major scale according to our scheme. And we will see that the fourth degree (that is, the note si) already needs to be lowered (try building it yourself), i.e. B-flat. Having built the gamma F major from tonic (note F) again we build a fifth down ( B-flat)... I recommend constructing all the tonalities in full for practice. And I’ll show you everything in a picture flat tonality. The order of appearance (location) of key flats is also strict. Please memorize: Si-Mi-La-Re-Sol-Do-Fa , that is, the order is reverse to sharps.

Now let’s pay attention to stable sounds (of any key to choose from). They form the major triad of the tonic (review question: what is the tonic?). Well, we have already touched a little on the vast topic of “Chords”. Let's not get ahead of ourselves, but please learn how to build tonic triads (in this case, major triads) from any note. By doing this, you will at the same time learn how to build, so to speak, the tonic chord - the main chord - of any key.

HARMONIC AND MELODIC MAJOR

In music you can often find the use of a major scale with a lower VI degree. This type of major scale is called harmonic major. By lowering the VI degree by a semitone, its gravity in the V degree becomes sharper and gives the major mode a unique sound. Try playing the scale, for example, C major with a reduced VI stage. First, I will help you. Let us calculate that the VI degree in a given key C major- this is a note La, which must be lowered by a semitone ( A-flat). That's all the wisdom. Do the same in other keys. When playing a scale, that is, an uninterrupted sequence of steps, you will immediately feel that at the end of the scale it begins to smell of some kind of exotic. The reason for this is the new interval formed when the VI stage is lowered: an increased second. The presence of such an unexpected interval gives the fret such an unusual coloring. Harmonic modes are inherent in many national cultures: Tatar, Japanese, and in general almost all Asian countries.

The melodic variety of the major mode is formed by lowering two degrees of the natural scale at once: VI and VII. Thanks to this, both of these notes (they are both unstable) acquire an increased inclination towards the lower stable one - towards the V degree. If you play and sing such a scale from top to bottom, you will feel how in its upper half a special melody, softness, length, and inextricable connection of the notes into one melodious melody has appeared. It is because of this effect that this mode is called “melodic”.

MINOR MODE. THE CONCEPT OF PARALLEL TONALS.

Minor(minor, in the literal sense of the word, means smaller) is called a mode, the stable sounds of which (in sequential or simultaneous sound) form small or minor triad. I suggest you listen major And minor chords. Compare their sounds and differences by ear. A major chord sounds more “cheerful”, and a minor chord sounds more lyrical (remember the expression: “minor mood”?). Interval composition of a minor triad: m3+b3 (minor third + major third). Let's not bother with the structure of the minor scale, because we can get by with the concept parallel tones. Let's take for example the usual tonality C major(the favorite key of beginning musicians, because there is not a single sign on the key). Let's build from the tonic (sound - To) down minor third. Let's get a note La. As I just said, in the key there are no sharps or flats. Let's run dashingly across the keyboard (strings) from the note La until the next note La up. So we got the natural minor scale. Now let's remember: tonalities that have the SAME signs on the key are called parallel. For each major there is one and only one parallel minor - and vice versa. All keys in the world, therefore, exist in pairs of “major-minor”, ​​like two scales moving in parallel along the same keys, but with a lag of a third. Hence the name "parallel". In particular, in parallel tonality for C major is A minor(also a favorite key for beginners, since there is not a single key sign here) Tonic triad in A minor. From the note A upward we will build small third, we get a note To, and then an even larger third from the note To, will eventually sound Mi. So, the minor triad in A minor: A - Do - Mi.

Try to find parallel keys yourself for all the major modes that we went through above. The main thing to remember is that 1. you need to build from the tonic (the main stable sound) down the minor third to find a new tonic; 2. the key signs in the parallel key remain the same.

Briefly, for training, let's look at another example. Key - F major. At the key - one sign ( B-flat). From the notes F building down the minor third - note Re. Means, D minor is a parallel key F major and has a key sign - B-flat. Tonic triad in D minor: Re - Fa - La.

So, in parallel tonalities of the natural scale, the key signs are the same. We have already learned this. What about the harmonic mode? A little different. Harmonic the minor differs from the natural by the increased VII degree, which was caused by the need to sharpen the gravity of the ascending introductory sound. If you look closely or listen, you will easily find that the harmonic major and the harmonic minor, built from the same key, completely coincide in the upper half of the scale - the same increased second on the VI degree of the scale. It’s just that in order to get this interval in major, you have to lower the VI step. But in minor this level is already low, but the VII level can be increased.

Let's agree that the number of key signs for all keys must be remembered by heart. Based on this, let’s say in D minor (the key sign is B-flat) increased VII stage - C sharp.

You can see it visually in the picture above. Now let's listen (although you can play it yourself) how it will sound. a-moll And d-moll. If you pay a little more attention to viewing and listening, you can see that the dominant triad in a harmonic minor is major. I'm going to lose to you now three chords: Tonic, Subdominant, Dominant and Tonic in harmonic A minor. Do you hear? So study the structure of these three chords in all minor keys. This way you will achieve automatic identification of the main triads in any key. You and I already know how to construct major and minor triads; if you have forgotten, let’s repeat and clarify.

We build a tonic triad: we determine the mode (major, minor), and proceed from this. We build a major (minor) triad. Major: b.3 + m.3, minor - m.3 + b.3. Now we need to find the subdominant. From the tonic we build a fourth upward - we get the main sound, from which we will build a triad. IN F major- This B-flat. And from B-flat We are already building a major triad. We are now looking for a dominant. From the tonic - up a fifth. In the same key Dominant - To. Well, what about the triad C major to build - this is no longer difficult for us. Parallel key F major - D minor. We build the tonic (T), subdominant (S) and dominant (D) in a minor key. Let me remind you that in harmonic and melodic minor the dominant is the major triad. Melodic minor differs from natural minor in that both the VI and VII steps are raised (play it on the piano or guitar, or at least in a MIDI editor). And in melodic major, on the contrary, a decrease in the same steps occurs.

Major and minor having the same tonic are called namesake(key of the same name C major - C minor, A major - A minor etc.).

As has already been said, the expressive capabilities of music consist of the interaction of the various means at its disposal. Among them, harmony is of great importance in conveying certain content and character through music. Remember, I gave an example of the sound of a major triad and a minor one. Let me remind you, on occasion, that major is, so to speak, more cheerful, and minor is more sad, dramatic, and lyrical. Therefore - you can experiment yourself - a major melody played from the same key, but using a minor scale (or vice versa), takes on a completely different coloring, although it remains the same melody.

The last issue was devoted to the consideration of such musical concepts as mode and tonality. Today we will continue to study this big topic and talk about what parallel tonalities are, but first we will very briefly repeat the previous material.

Fundamentals of mode and tonality in music

Lad- this is a specially selected group (gamma) of sounds, in which there are basic - stable steps and there are unstable ones, which are subordinate to the stable ones. The fret also has character, so there are varieties of frets - for example, major and minor.

Key– this is the altitude position of the fret, because a major or minor scale can be built, sung or played from absolutely any sound. This sound will be called tonic, and it is the most important sound of the tonality, the most stable and, accordingly, the first step of the mode.

Tones have names , by which we understand which fret is located and at what height. Examples of key names: C MAJOR, D MAJOR, E MAJOR or C MINOR, D MINOR, E MINOR. That is the name of the key conveys information about two important things - firstly, about what the tonality is (or the main sound), and, secondly, what the modal inclination is (what character is it - major or minor).

Finally, tonalities also differ from each other, that is, by the presence of any sharps or flats. These differences exist due to the fact that major and minor scales have a special structure in tones and semitones (read more in the previous article, that is). So, in order for the major to be a major, and the minor to be truly a minor, sometimes a certain number of modified steps (with sharps or flats) have to be added to the scale.

For example, in the key of D MAJOR there are only two marks - two sharps (F-sharp and C-sharp), and in the key of A MAJOR there are already three sharps (F, C and G). Or in the key of D MINOR there is one flat (B flat), and in F MINOR there are as many as four flats (B, E, A and D).

Now let's ask ourselves a question? Are all tonalities really, really different and there are no scales that are similar to each other? And is there really a huge insurmountable gap between major and minor? It turns out, no, they have connections and similarities, more on that later.

Parallel keys

What do the words “parallel” or “concurrency” mean? There are such well-known expressions as “parallel lines” or “parallel world”. Parallel is one that exists simultaneously with something and is similar to that something. And the word “parallel” is very similar to the word “pair”, that is, two objects, two things, or some other pair are always parallel to each other.

Parallel lines are two lines that are in the same plane, similar to each other like two peas in a pod and do not intersect (they are related, but do not intersect - isn’t that dramatic?). Remember, in geometry parallel lines are denoted by two strokes (// like this), in music this designation will also be acceptable.

So, parallel tonalities are two tonalities that are similar to each other. There is quite a lot in common between them, but there are also significant differences. What's in common? They have absolutely all sounds in common. Since the sounds are all the same, it means that all the signs - sharps and flats - must be the same. That’s right: parallel tonalities have the same signs.

For example, let’s take two keys C MAJOR and A MINOR - both there are no signs, all the sounds are the same, which means these keys are parallel.

Another example. The key is E-FLAT MAJOR with three flats (B, E, A) and the key of C MINOR is also with the same three flats. Again we see parallel tones.

What then is different between these tonalities? And you yourself look carefully at the names (C MAJOR // A MINOR). What do you think? You see, one key is major and the other is minor. In the example with the second pair (E-FLAT MAJOR // C MINOR) the same thing: one is major, the other is minor. This means that parallel keys have the opposite mode inclination, the opposite mode. One key will always be major and the other will always be minor. Here it is: opposites attract!

What else is different? The C MAJOR scale begins with the note C, that is, the note C in it is the tonic. The A MINOR scale begins, as you understand, with the note A, which is the tonic in this key. So what happens? The sounds in these keys are absolutely the same, but the supreme commanders in them are different, different tonics. Here's the second difference.

Let's draw some conclusions. So, parallel tonalities are two tonalities in which the sounds of the scale are the same, the signs are the same (sharps or flats), but the tonics are different and the mode is opposite (one is major, the other is minor).

More examples of parallel tones:

• D MAJOR // B MINOR (both there and there are two sharps - F and C);
• A MAJOR // F SHARP MINOR (three sharps in each key);
• F MAJOR // D MINOR (one common flat – B flat);
• B FLAT MAJOR // G MINOR (two flats both there and here – B and E).

How to find a parallel key?

If you want to know how to determine parallel tonality, then let's find out the answer to this question experimentally. And then we will formulate a rule.

Just imagine: C MAJOR and A MINOR are parallel tonalities. Now tell me: at what level of C MAJOR is the “entrance to the parallel world” located? Or, in other words, which degree of C MAJOR is the tonic of parallel minor?

Now let's do it topsy-turvy. How to get out of the gloomy A MINOR into the parallel sunny and joyful C MAJOR? Where is the “portal” to go to the parallel world this time? In other words, which minor degree is the tonic of the parallel major?

The answers are simple. In the first case: the tonic of the parallel minor is the sixth degree. In the second case: the third degree can be considered the tonic of the parallel major. By the way, it is not at all necessary to get to the sixth degree of the major for a long time (that is, count six degrees from the first), it is enough to go down three steps from the tonic and we will get to this sixth degree in the same way.

Let's now formulate RULE(but not yet final). So, to find the tonic of a parallel minor, it is enough to go down three degrees from the first degree of the original major key. To find the tonic of a parallel major, on the contrary, you need to go up three degrees.

Check this rule with other examples. Don't forget that they contain signs. And when we go up or down the steps, we must pronounce these signs, that is, take them into account.

For example, let's find a parallel minor for the key G MAJOR. This key contains one sharp (F-sharp), which means that the parallel key will also have one sharp. We go down three steps from G: G, F-Sharp, MI. STOP! MI is exactly the note we need; This is the sixth degree and this is the entrance to the parallel minor! This means that the key parallel to G MAJOR will be E MINOR.

Another example. Let's find a parallel key for F MINOR. There are four flats in this key (B, E, A and D flat). We go up three steps to open the door to the parallel major. We walk: FA, G, A-FLAT. STOP! A-flat - this is the right sound, this is the treasured key! A-FLAT MAJOR is a key that is parallel to F MINOR.

How to determine parallel tonality even faster?

How can you find a parallel major or minor even easier? And, especially if we don’t know what signs there are in a given key? Let's find out again with examples!

We have just identified the following parallels: G MAJOR // E MINOR and F MINOR // A-FLAT MAJOR. Now let's see what the distance is between the tonics of parallel keys. Distance in music is measured, and if you have a good understanding of the topic, then you can easily figure out that the interval we are interested in is a minor third.

Between the sounds SOL and MI (down) there is a minor third, because we go through three steps, and one and a half tones. Between FA and A-flat (up) there is also a minor third. And between the tonics of other parallel scales, there will also be an interval of minor third.

It turns out the following RULE(simplified and final): to find a parallel key, we need to move the minor third from the tonic - up if we are looking for a parallel major, or down if we are looking for a parallel minor.

Let's practice (you can skip it if everything is clear)

Exercise: find parallel keys for C SHARP MINOR, B FLAT MINOR, B MAJOR, F SHARP MAJOR.

Solution: you need to build minor thirds. So, the minor third from C SHARP upward is C SHARP and E, which means E MAJOR will be a parallel key. From B-FLAT it also builds a minor third upward, because we are looking for a parallel major, and we get – D-FLAT MAJOR.

To find a parallel minor, move the thirds down. Thus, the minor third of SI gives us G SHARP MINOR, parallel to B MAJOR. From F-SHARP, the minor third down gives the sound D-SHARP and, accordingly, the scale D-SHARP MINOR.

Answers: C SHARP MINOR // E MAJOR; B-FLAT MINOR // D-FLAT MAJOR; B MAJOR // G SHARP MINOR; F SHARP MAJOR // D SHARP MINOR.

Are there many pairs of such keys?

In total, three dozen keys are used in music, half of them (15) are major, and the second half (another 15) are minor, and, you know, not a single key is alone, each one has a pair. That is, it turns out that there are a total of 15 pairs of tones that have the same signs. Do you agree that 15 pairs are easier to remember than 30 individual scales?

Further – even cooler! Of the 15 pairs, seven pairs are sharp (from 1 to 7 sharps), seven pairs are flat (from 1 to 7 flats), one pair is like a “black sheep” without signs. It seems that you can easily name these two pure tonalities without signs yourself. Isn't this C MAJOR with A MINOR?

That is, you now need to remember not 30 scary keys with mysterious signs, and not even 15 slightly less frightening pairs, but just the magic code “1+7+7”. We will now place all these tones in a table for clarity. In this table of tonality it will immediately be clear who is parallel to whom, how many signs each has and which ones.

Table of parallel tones with their signs

PARALLEL TONES		THEIR SIGNS
MAJOR	MINOR	HOW MANY SIGNS	WHAT SIGNS
TONALS WITHOUT SIGNS (1//1)
C major	A minor	no signs	no signs
KEYS WITH SHARES (7//7)
G major	E minor	1 sharp	F
D major	B minor	2 sharps	fa to
A major	F sharp minor	3 sharps	fa to sol
E major	C sharp minor	4 sharps	fa to sol re
B major	G sharp minor	5 sharps	fa do sol re la
F sharp major	D sharp minor	6 sharps	fa do sol re la mi
C sharp major	A-sharp minor	7 sharps	fa do sol re la mi si
KEYS WITH FLATS (7//7)
F major	D minor	1 flat	si
B flat major	G minor	2 flats	si mi
E flat major	C minor	3 flats	si mi la
A flat major	F minor	4 flats	si mi la re
D flat major	B flat minor	5 flats	si mi la re sol
G flat major	E-flat minor	6 flats	si mi la re sol do
C flat major	A-flat minor	7 flats	si mi la re sol do fa

You can download the same plate in a more convenient form as a cheat sheet in pdf format for printing -

That's all for now. In the following issues, you will learn what keys of the same name are, as well as how to quickly and forever remember the signs in keys, and what is the method for quickly identifying the signs if you have forgotten them.

Well, now we invite you to watch a hand-drawn animated film with amazing music by Mozart. One day Mozart looked out the window and saw a military regiment passing along the street. A real military regiment in shiny uniforms, with flutes and Turkish drums. The beauty and grandeur of this spectacle so shocked Mozart that on the same day he composed his famous “Turkish March” (finale of piano sonata No. 11) - a work known throughout the world.

W. A. ​​Mozart “Turkish March”