Parallel keys in D major in B minor. Tonality: definition, parallel, eponymous and enharmonic equal tonalities

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 keys 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 that obey the stable ones. Another mode has character, so there are varieties of modes - for example, major and minor.

Key- this is the height 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 what fret and at what height it is located. Examples of key names: C-MAJOR, D-MAJOR, MI-MAJOR or C-MINOR, D-MINOR, MI-MINOR. That is the name of the key conveys information about two important things - firstly, about what kind of tonic (or main sound) the tonality has, and, secondly, what kind of modal mood the tonality has (what character is it - major or minor).

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

For example, in the key of D MAJOR there are only two signs - two sharps (F-sharp and C-sharp), and in the key of LA MAJOR there are already three sharps (F, C and G). Or in the key of D MINOR - one flat (B-flat), and in F MINOR - as many as four flats (si, mi, la and re).

Now let's ask a question? Are all the keys really, really different and there are no scales that are similar to each other? And is there really a huge unbridgeable gulf 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 "parallelism" mean? Here are such well-known expressions to you as “parallel lines” or “parallel world”. Parallel is one that exists simultaneously with something and is similar to this 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, are similar to each other like two drops of water and do not intersect (they are related, but do not intersect - well, isn't it dramatic?). Remember, in geometry, parallel lines are denoted by two strokes (// like this), in music, too, such a designation will be acceptable.

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

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

Another example. The key of MI-FLAT MAJOR with three flats (si, mi, la) and the key of C MINOR also with the same three flats. Again we see parallel keys.

What then is the difference between these tonalities? And you yourself carefully look at the names (C MAJOR // A MINOR). What do you think? You see, after all, one key is major, and the second is minor. In the example with the second pair (MI-FLAT MAJOR // C MINOR), the same is true: one is major, the other is minor. This means that parallel keys have the opposite modal inclination, the opposite mode. One key will always be major, and the second - minor. That's right: opposites attract!

What else is different? The C-MAJOR scale starts with the note DO, that is, the note DO in it is the tonic. The A MINOR scale begins, as you understand, with the note LA, which is the tonic in this key. That is, what happens? The sounds in these keys are absolutely the same, but they have different supreme commanders, different tonics. Here is the second difference.

Let's draw some conclusions. So, parallel keys are two keys that have the same scale sounds, the same signs (sharps or flats), but the tonics differ and the mode is opposite (one is major, the other is minor).

More examples of parallel keys:

• D MAJOR // SI 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 - si and mi).

How to find parallel key?

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

Just imagine: C MAJOR and A MINOR are parallel keys. And now tell me: at what level BEFORE MAJOR is the “entrance to the parallel world”? Or, in other words, what degree of C MAJOR is the tonic of the 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 degree of the minor is the tonic of the parallel major?

The answers are simple. In the first case: the sixth degree is the tonic of the parallel minor. 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, to count six steps 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 formulate now RULE(but not final yet). So, to find the tonic of the parallel minor, it is enough to go down three steps from the first step of the original major key. To find the tonic of the parallel major, on the contrary, you need to go up three steps.

Check this rule with other examples. Do not forget that they have 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 of G MAJOR. This key contains one sharp (F-sharp), which means that there will also be one sharp in the parallel. We go down three steps from SOL: SOL, F-SHARP, MI. STOP! MI is just the note we need; this is the sixth step and this is the entrance to the parallel minor! This means that the key parallel to G MAJOR will be MI MINOR.

Another example. Let's find a parallel key for F MINOR. There are four flats in this key (si, mi, la and re-flat). We rise three steps up to open the door to the parallel major. Stepping: F, G, A-FLAT. STOP! A-FLAT - here it is the desired sound, here it is the cherished key! A FLAT MAJOR is the key that is parallel to F MINOR.

How to determine parallel tonality even faster?

How can you find the parallel major or minor even easier? And, especially, if we do not know what signs in general are there in this key? And let's find out again with examples!

We have just identified the following parallels: G MAJOR // E MINOR and F MINOR // A FLAT MAJOR. And now let's see what is the distance between the tonics of parallel keys. Distance in music is measured, and if you understand the topic well, 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 small third, because we go through three steps, and one and a half tones. Between FA and A-FLAT (up) is also a small third. And between the tonics of other parallel scales, there will also be an interval of a minor third.

It turns out the following RULE(simplified and final): to find a parallel key, you need to set aside a 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 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 small thirds. So, the small third from C-SHARP upwards is C-SHARP and MI, which means that MI MAJOR will be a parallel key. From B-FLAT it also builds a small third up, because we are looking for a parallel major, we get - D-FLAT MAJOR.

To find the parallel minor, we put the thirds down. So, a minor third from SI gives us G-SHARN MINOR, parallel to SI MAJOR. From F-SHARP, a small third down gives the sound D-SHARP and, accordingly, the system D-SHARP MINOR.

Answers: C-SHARP MINOR // MI 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, everyone has a pair. That is, it turns out that in total there are 15 pairs of keys that have the same signs. Agree, 15 pairs are easier to remember than 30 individual scales?

Further - even harder! 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 “white crow” without signs. It seems that you can easily name these two clean tonalities without signs. Isn't it C MAJOR with A MINOR?

That is, now you 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 keys in a table for clarity. In this table of keys, it will immediately become clear who is parallel to whom, how many characters and which ones.

Table of parallel keys with their signs

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

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

Well, now we offer you to watch a hand-drawn animated film with amazing music by Mozart. Once Mozart looked out the window and saw that a military regiment was passing along the street. A real military regiment in brilliant 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" (the finale of the piano sonata No. 11) - a work known throughout the world.

W. A. ​​Mozart "Turkish March"

As soon as a musician begins to learn a new piece of music, the first thing he does is determine the key. And it doesn't matter what instrument the musician plays, does vocals or just learns the solfeggio number. Without a clear understanding of tonality, it is very difficult to learn a new piece. And when it comes to harmony... The ability to build chords is entirely based on an understanding of tonality.

Key

What is tonality? The definitions of this word are different, it depends on the stage of learning, and on the author of the textbook. The following definitions of the word "tonality" are possible:

• Tonality is the name of the mode.
• Tonality is the height of the fret.
• Tonality - the height position of the fret ("Elementary Theory of Music", Sposobin).
• Tonality (classical) is a centralized, functionally differentiated, basically diatonic two-mode major-minor chord-type system, in which the chord is the main object of development, and the general patterns are determined by the principle of gravity-resolution ("Harmony in Western European music of the 9th - early 20th centuries ", L. Dyachkova).

Keys are major and minor, it depends on the mode that underlies. Also, keys are parallel, of the same name, and also enharmonic equal. Let's try to figure out what it all means.

Parallel, eponymous, enharmonic equal keys

The main criteria by which tonality is determined are fret (major or minor), key (sharp or flat, their number) and tonic (the most stable sound of tonality, stage I).

If we talk about parallel and similar keys, then here the mode is always different. That is, if the keys are parallel, they are major and minor, if they are of the same name, it is similar.

Major and minor keys are called parallel, in which the same key characters and various tonics. For example, these are C major (C-dur) and A minor (A-moll).

You can see that in natural major and minor, the same notes are used in these keys, but the first degree and mode are different. Finding parallel keys is easy, they are located at a distance of a minor third. To find parallel minor, it is necessary to build a minor third down from the first step, and in order to find parallel Major, you need to build a small third upward.

You can also remember that the tonic of the parallel minor is on the VI degree of the natural major, and the tonic of the parallel major is on the III degree of the minor.

Below is a table of parallel keys.

C major - A minor

Sharp keys

Flat keys

The major and minor keys are called the same name, in which different key signs and the same tonic. For example, these are C-major (C-dur) and C-minor (c-moll).

You can even understand the essence of the keys of the same name from the name, they have one name, one tonic. The keys of the same name (in their natural form) differ in degrees III, VI and VII.

Enharmonic equal tonalities are called tonalities, the sounds of which, all steps and consonances of which are enharmonic equal, that is, they sound the same, have the same pitch, but are recorded differently.

For example, if you play C-sharp and D-flat, they sound the same, these sounds are enharmonic equal.

Examples of enharmonic equal keys

Theoretically, for any key, you can find an enharmonic replacement, however, in most cases, unused keys will turn out. The main goal of enharmonic equal keys is to simplify the life of the performer.

There are two main reasons for changing the tone:

• Keys are replaced to reduce the number of characters. For example, in C-sharp major there are 7 sharps, and in D-flat major there are 5 flats. Keys with fewer signs are simpler, more convenient, so D-flat major is more often used.
• For different types of instruments, certain keys are better suited. For example, for a group of bowed string instruments (violin, viola, cello), sharp keys are better suited, and flat keys are more convenient for wind instruments.

There are 6 pairs of keys that are replaced enharmonically, 3 major and 3 minor.

Examples of major keys

Examples of minor keys

If we talk about unused enharmonic substitutions, then we can cite as an example such a key as C major (no signs) and C-sharp major (12 sharps). It will be enharmonic equal to C major and D double flat major (12 flats).

Tonalities play an important role in the work of composers, certain images are assigned to some, for example, since the time of J. S. Bach, B minor has been considered a "black" key, and in the work of N. A. Rimsky-Korsakov, D flat major has been considered the key of love. It is surprising that cycles of works written in all keys are created: 2 volumes of the well-tempered clavier by J.S. Bach, 24 preludes by F. Chopin, 24 preludes by A. Scriabin, 24 preludes and fugues by D. Shostakovich. And one of the guarantees of a competent, successful performance of such works is knowledge of keys.

The minor scale has three main varieties: natural minor, harmonic minor, and melodic minor.

About the features of each of these modes and how to get them, we will talk today.

Natural minor - simple and strict

Natural minor is a scale built according to the formula "tone - semitone - 2 tones - semitone - 2 tones". This is a common scheme for the structure of a minor scale, and in order to quickly get it, it is enough just to know the key signs in the desired key. There are no altered degrees in this type of minor, so there can be no accidental signs of alteration in it.

The natural minor scale sounds simple, sad and a bit strict. That is why natural minor is so common in folk and medieval church music.

An example of a melody in this mode: "I'm sitting on a stone" - a famous Russian folk song, in the recording below, its key is natural E minor.

Harmonic minor - the heart of the East

In the harmonic minor, the seventh step is raised compared to the natural form of the mode. If in the natural minor the seventh step was a “pure”, “white” note, then it rises with the help of a sharp, if it was a flat, then with the help of a becar, but if it was a sharp, then a further increase in the step is possible with the help of a double -sharp. Thus, this kind of mode can always be recognized by the appearance of one random.

For example, in the same A minor, the seventh step is the sound of G, in a harmonic form it will be not just G, but G-sharp. Another example: C minor is a key with three flats in the key (si, mi and la flat), the seventh step is the note si-flat, we raise it with a becar (si-becar).

Due to the increase of the seventh degree (VII #), the structure of the scale changes in the harmonic minor. The distance between the sixth and seventh steps becomes as much as one and a half tones. This ratio causes the appearance of new ones that were not there before. Such intervals include, for example, an augmented second (between VI and VII#) or an augmented fifth (between III and VII#).

The harmonic minor scale sounds tense, has a characteristic Arabic-oriental flavor. However, despite this, it is the harmonic minor that is the most common of the three types of minor in European music - classical, folk or pop-popular. It got its name "harmonic" because it shows itself very well in chords, that is, in harmony.

An example of a melody in this mode is a Russian folk "Song of the Bean"(the key is in A minor, the appearance is harmonic, as a random G-sharp tells us).

The composer can use different types of minor in the same work, for example, alternate natural minor with harmonic, as Mozart does in the main theme of his famous Symphonies No. 40:

Melodic minor - emotional and sensual

The melodic minor scale is different when it is moved up or down. If they go up, then two steps are raised at once in it - the sixth (VI #) and the seventh (VII #). If they play or sing down, then these changes are canceled, and an ordinary natural minor sounds.

For example, the scale of A minor in a melodic ascending motion will be a scale of the following notes: la, si, do, re, mi, f-sharp (VI#), sol-sharp (VII#), la. When moving down, these sharps will disappear, turning into G-becar and F-becar.

Or the gamma in C minor in the melodic ascending movement is: C, D, E-flat (with key), F, G, A-becar (VI#), B-becar (VII#), C. Back-raised notes will turn back into B-flat and A-flat as you move down.

By the name of this type of minor, it is clear that it is intended to be used in beautiful melodies. Since the melodic minor sounds diverse (not equally up and down), it is able to reflect the most subtle moods and experiences when it appears.

When the scale ascends, its last four sounds (for example, in A minor - mi, f-sharp, sol-sharp, la) coincide with the scale (A major in our case). Therefore, they can convey light shades, motives of hope, warm feelings. Movement in the opposite direction along the sounds of the natural scale absorbs both the severity of the natural minor, and, perhaps, some kind of doom, or maybe the fortress, the confidence of the sound.

With its beauty and flexibility, its wide possibilities in conveying feelings, the melodic minor was very fond of composers, which is probably why it can be found so often in famous romances and songs. Let's take the song as an example "Moscow Nights" (music by V. Solovyov-Sedoy, lyrics by M. Matusovsky), where the melodic minor with raised steps sounds at the moment when the singer talks about his lyrical feelings (If you knew how dear to me ...):

Let's repeat again

So, there are 3 types of minor: the first is natural, the second is harmonic and the third is melodic:

1. Natural minor can be obtained by constructing a scale using the formula “tone-semitone-tone-tone-semitone-tone-tone”;
2. In the harmonic minor, the seventh degree (VII#) is raised;
3. In the melodic minor, when moving up, the sixth and seventh steps (VI# and VII#) are raised, and when moving back, the natural minor is played.

To work on this theme and remember how the minor scale sounds in different forms, we highly recommend watching this video by Anna Naumova (sing along with her):

Workout Exercises

To reinforce the topic, let's do a couple of exercises. The task is this: write, speak or play on the piano the scales of 3 types of minor scales in E minor and G minor.

SHOW ANSWERS:

Gamma E minor is sharp, it has one F-sharp (parallel tonality of G major). There are no signs in the natural minor, except for the key ones. In the harmonic E minor, the seventh step rises - it will be a D-sharp sound. In the melodic E minor, the sixth and seventh steps rise in the ascending movement - the sounds of C-sharp and D-sharp, in the descending movement these rises are canceled.

The G minor gamma is flat, in its natural form there are only two key signs: B-flat and E-flat (parallel system - B-flat major). In the harmonic G minor, raising the seventh degree will lead to the appearance of a random sign - F sharp. In the melodic minor, when moving up, the elevated steps give the signs of E-becar and F-sharp, when moving down, everything is as in natural form.

Minor scale table

For those who still find it difficult to immediately imagine minor scales in three varieties, we have prepared a hint table. It contains the name of the key and its letter designation, the image of the key characters - sharps and flats in the right amount, and also names random characters that appear in the harmonic or melodic form of the scale. In total, fifteen minor keys are used in music:

How to use such a table? Consider the scales in B minor and F minor as an example. There are two in B minor: F-sharp and C-sharp, which means that the natural scale of this key will look like this: si, c-sharp, re, mi, f-sharp, sol, la, si. The harmonic B minor will include A-sharp. In the melodic B minor, two steps will already be changed - G-sharp and A-sharp.

In the F minor scale, as is clear from the table, there are four key signs: si, mi, la and d-flat. So the natural F minor scale is: fa, sol, a-flat, b-flat, do, d-flat, mi-flat, fa. In the harmonic F minor - mi-bekar, as an increase in the seventh step. In melodic F minor - D-becar and E-becar.

That's all for now! In future issues, you will learn that there are other types of minor scales, as well as what are the three types of major. Stay tuned, join our VKontakte group to keep up to date!

Gamma E-minor One of the most popular scales on the guitar. Songs written on the basis of this scale give away the warmth of home 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

The names of the 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) - La (A) - Si (H) - Do (C) - Re (D)

Practical instructions for quick memorization and scale splitting!

In order to play scale E-minor 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 training your technique.

Below you will find scale E-minor for guitar, presented as seven small fingerboard diagrams. Each such diagram shows you the fingerings for each of the three-note positions.

Gamma E-minor, crushed by positions. In each of these positions, three notes are played on each of the strings.

Major key parallel to E minor

Pay attention to what 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.

Greetings to all readers of our music blog! I have already said more than once in my articles that it is important for a good musician to have not only the technique of playing, but also to know the theoretical foundations of music. We already had an introductory article about. I highly recommend you read it carefully. And today the object of our conversation is signs in.
I want to remind you that the keys in music are major and minor. Major keys can be figuratively described as bright and positive, while minor keys are gloomy and sad. Each key has its own characteristic features in the form of a set of sharps or flats. They are called signs of tonality. Also, they can also be called key signs in keys or signs with a key in keys, because before writing any notes and signs, you need to depict a treble or bass clef.

According to the presence of key signs, tonality can be divided into three groups: without signs, with sharps in the key, with flats in the key. It does not happen in music that sharps and flats at the same time will be signs in the same key.

And now I give you a list of keys and their corresponding key signs.

Tonality table

So, having carefully considered this list, it is necessary to note several important points.
In turn, one sharp or flat is added to the keys. Their addition is strictly stipulated. For sharps, the sequence is as follows: fa, do, sol, re, la, mi, si. And nothing else.
For flats, the chain looks like this: si, mi, la, re, sol, do, fa. Note that it is the reverse of the sharp sequence.

You probably noted the fact that the same number of characters have two tonalities. They're called . There is a separate detailed article about this on our website. I advise you to read it.

Definition of signs of tonality

Now comes the important point. We need to learn how to determine by the name of the tonality what key signs it has and how many of them. First of all, you need to remember that the signs are determined by major keys. This means that for minor keys, you will first have to find a parallel major key, and then proceed according to the general scheme.

If the name of a major (except for F major) does not mention signs at all, or only sharp is present (for example, F sharp major), then these are major keys with sharp signs. For F major, you need to remember that B flat is with the key. Next, we begin to list the sequence of sharps, which was defined above in the text. We need to stop the enumeration when the next note with a sharp is a note lower than the tonic of our major.

• For example, you need to determine the keys of A major. We list the sharp notes: F, C, G. G is one note lower than the tonic of A, therefore, the key of A major has three sharps (F, C, G).

For major flat keys, the rule is slightly different. We list the sequence of flats up to the note that follows the name of the tonic.

• For example, we have the key of A-flat major. We begin to list the flats: si, mi, la, re. Re is the next note after the name of the tonic (la). Therefore, there are four flats in the key of A-flat major.

fifth circle

Quint circle of keys- this is a graphic representation of the connections of different keys and the signs corresponding to them. It can be said that everything that I explained to you before is clearly present in this diagram.