Parallel keys of D major in B minor. What is tonality? Tonic and mode - two most important dimensions of tonality

Let's find out today what tonality is. To impatient readers I say right away: key- this is the assignment of the position of a musical scale to musical tones of a certain pitch, binding to a specific section of the musical scale. Then don’t be too lazy to figure it out thoroughly.

Word " key"You've probably already heard, right? Singers sometimes complain about inconvenient tonality, asking to raise or lower the pitch of the song. Well, someone may have heard this word from car drivers who use the tonality to describe the sound of a running engine. Let's say we pick up speed, and we immediately feel that the engine noise becomes more piercing - it changes its tone. Finally, I’ll name something that each of you has definitely encountered - a conversation in a raised voice (the person simply started yelling, changed the “tone” of his speech, and everyone immediately felt the effect).

Now let's return to our definition. So, we call tonality musical scale pitch . What frets are and their structure is described in detail in the article. Let me remind you that the most common modes in music are major and minor; they consist of seven degrees, the main of which is the first (the so-called tonic).

Tonic and mode - two most important dimensions of tonality

You’ve got an idea of ​​what tonality is, now let’s move on to the components of tonality. For any key, two properties are decisive - its tonic and its mode. I recommend remembering the following point:

This rule can be correlated, for example, with the name of tonalities, which appear in this form: F major, A flat major, B minor, C sharp minor, etc.. That is, the name of the tonality reflects that one of the sounds has become the center, tonic (first step) of one of the modes (major or minor).

Key signs in keys

The choice of one or another key for recording a piece of music determines which signs will be displayed at the key. The appearance of key signs - sharps and flats - is due to the fact that, based on a given tonic, a scale grows, which regulates the distance between degrees (distance in semitones and tones) and which causes some degrees to decrease, while others, on the contrary, increase.

For comparison, I offer you 7 major and 7 minor keys, the main steps of which are taken as the tonic (on the white keys). Compare, for example, the tones C major and C minor how many characters are there in D major and what are the key signs in in D minor etc.

So you see that the key signs in A major- these are three sharps (F, C and G), and in in A minor no signs; E major– a key with four sharps (F, C, G and D), and in in E minor only one sharp on the key. All this is because in minor, compared to major, low third, sixth and seventh degrees are a kind of indicators of the mode.

To remember what the key signs are in keys and never get confused by them, you need to master a couple of simple principles. Read more about this in the article. Read it and learn, for example, that sharps and flats in the key are not written haphazardly, but in a certain, easy-to-remember order, and also that this very order helps you instantly navigate the whole variety of tonalities...

Parallel and eponymous keys

It's time to find out what parallel tones are and what the same keys are. We have already encountered the keys of the same name, just when we were comparing major and minor keys.

Keys of the same name- these are tonalities in which the tonic is the same, but the mode is different. For example, B major and B minor, G major and G minor, etc.

Parallel keys- these are tonalities in which the same key signs, but different tonics. We also saw these: for example, the tonality C major without signs and La Minor too, or G major with one sharp and E minor also with one sharp, in F major one flat (B) and B in D minor also one sign - B-flat.

The same and parallel keys always exist in the “major-minor” pair. For any of the keys, you can name the same name and parallel major or minor. Everything is clear with the names of the same name, but now we’ll deal with the parallel ones.

How to find a parallel key?

The tonic of the parallel minor is located on the sixth degree of the major scale, and the tonic of the major scale of the same name is on the third degree of the minor scale. For example, we are looking for a parallel tonality for E major: sixth stage in E major- note C sharp, which means the tonality is parallel E major – C sharp minor. Another example: looking for a parallel for F minor– we count three steps and get parallel A-flat major.

There is another way to find a parallel key. The rule applies: the tonic of the parallel key is a minor third down (if we are looking for a parallel minor), or a minor third up (if we are looking for a parallel major). What a third is, how to construct it and all other issues related to intervals are discussed in the article.

Summarize

The article examined the questions: what is tonality, what are parallel and eponymous tonalities, what role do tonic and mode play, and how key signs appear in tonalities.

In conclusion, another interesting fact. There is one musical-psychological phenomenon - the so-called color hearing. What is color hearing? This is a form of absolute pitch where a person associates each key with a color. Composers N.A. had color hearing. Rimsky-Korsakov and A.N. Scriabin. Perhaps you too will discover this amazing ability in yourself.

I wish you success in your further study of music. Leave your questions in the comments. Now I suggest you relax a little and watch a video from the film “Rewriting Beethoven” with the brilliant music of the composer’s 9th symphony, the tonality of which, by the way, is already familiar to you D minor.

“Rewriting Beethoven” – Symphony No. 9 (amazing music)

In musical practice, a large number of different musical modes are used. Of these, two modes are the most common and almost universal: major and minor. So, both major and minor come in three types: natural, harmonic and melodic. Just don’t be afraid of this, everything is simple: the difference is only in the details (1-2 sounds), the rest of them are the same. Today we have three types of minor in our field of vision.

3 types of minor: the first is natural

Natural minor- this is a simple scale without any random signs, in the form in which it is. Only key characters are taken into account. The scale of this scale is the same when moving both up and down. Nothing extra. The sound is simple, a little strict, sad.

Here, for example, is what the natural scale represents: A minor:

3 types of minor: the second is harmonic

Harmonic minor– in it when moving both up and down increases to the seventh level (VII#). It rises not suddenly, but in order to sharpen its gravity to the first stage (that is, in).

Let's look at the harmonic scale A minor:

As a result, the seventh (introductory) step actually transitions well and naturally into the tonic, but between the sixth and seventh steps ( VI and VII#) a “hole” is formed - an increased second (uv2).

However, this has its own charm: thanks to this increased second harmonic minor sounds something like an Arabic (Eastern) style– very beautiful, elegant and very characteristic (that is, the harmonic minor is easily recognizable by ear).

3 types of minor: third – melodic

Melodic minor is a minor in which When the gamma moves upward, two steps increase at once - the sixth and seventh (VI# and VII#), but during the reverse (downward) movement, these increases are canceled, and the actual natural minor is played (or sung).

Here is an example of the melodic appearance of the same A minor:

Why was it necessary to increase these two levels? We have already dealt with the seventh - she wants to be closer to the tonic. But the sixth is raised in order to close the “hole” (uv2) that was formed in the harmonic minor.

Why is this so important? Yes, because the minor is MELODIC, and according to strict rules, moves on in MELODY are prohibited.

What does an increase in levels VI and VII give? On the one hand, there is a more directed movement towards the tonic, on the other hand, this movement is softened.

Why then cancel these increases (alteration) when moving down? Everything is very simple here: if we play the scale from top to bottom, then when we return to the elevated seventh degree we will again want to return to the tonic, despite the fact that this is no longer necessary (we, having overcome the tension, have already conquered this peak (tonic) and go down, where you can relax). And one more thing: we just shouldn’t forget that we are in a minor, and these two girlfriends (elevated sixth and seventh degrees) somehow add fun. This gaiety may be just right the first time, but the second time it’s too much.

The sound of melodic minor fully lives up to its name: it really It sounds somehow special MELODIC, soft, lyrical and warm. This mode is often found in romances and songs (for example, about nature or in lullabies).

Repetition is the mother of learning

Oh, how much I have written about the melodic minor here. I’ll tell you a secret that most often you will have to deal with the harmonic minor, so don’t forget about “Mistress the seventh degree” - sometimes she needs to “step up”.

Let's repeat once again what they are in music. It's a minor natural (simple, without bells and whistles), harmonic (with an increased seventh level – VII#) and melodic (in which, when moving up, you need to raise the sixth and seventh degrees - VI# and VII#, and when moving down, just play a natural minor). Here's a drawing to help you:

Now you know the rules, now I suggest you watch a simply gorgeous video on the topic. After watching this short video lesson, you will once and for all learn to distinguish one type of minor from another (including by ear). The video asks you to learn a song (in Ukrainian) - it’s very interesting.

Three types of minor - other examples

What is this all we have? A minor and A minor? What? no others? Of course I have. Now let's look at examples of natural, harmonic and melodic minor in several other keys.

E minor– three types: in this example, changes in steps are highlighted in color (in accordance with the rules) – so I will not give unnecessary comments.

Key B minor with two sharps at the key, in the harmonic form - A-sharp appears, in the melodic form - G-sharp is also added to it, and then when the scale moves down, both increases are canceled (A bekar, G bekar).

Key F sharp minor : there are three signs in the key - F, C and G sharp. In a harmonic F-sharp minor, the seventh degree (E-sharp) is raised, and in a melodic scale, the sixth and seventh degrees (D-sharp and E-sharp) are raised; with a downward movement of the scale, this alteration is canceled.

C sharp minor in three types. The key has four sharps. In harmonic form - B-sharp, in melodic form - A-sharp and B-sharp in an ascending movement, and natural C-sharp minor in a descending movement.

Key F minor. – flats in the amount of 4 pieces. In the harmonic F minor the seventh degree (E-Bekar) is raised, in the melodic F minor the sixth (D-Bekar) and seventh (E-Bekar) are raised; when moving downwards, the increases are, of course, cancelled.

Three types C minor. A key with three flats in the key (B, E and A). The seventh degree in the harmonic form is increased (B-bekar), in the melodic form - in addition to the seventh, the sixth (A-bekar) is also increased; in the downward movement of the scale of the melodic form, these increases are canceled and B-flat and A-flat, which are in in its natural form.

Key G minor: here, at the key, two flats are set. In the harmonic G minor there is F-sharp, in the melodic - in addition to F-sharp, there is also E-bekar (increasing the VI degree), when moving down in melodic G minor - according to the rule, the signs of the natural minor are returned (that is, F-bekar and E -flat).

D minor in its three forms. Natural without any additional alteration (don’t forget just the B-flat sign in the key). Harmonic D minor – with a raised seventh (C sharp). Melodic D minor - with an ascending movement of the B-bekar and C-sharp scales (raised sixth and seventh degrees), with a downward movement - the return of the natural form (C-becar and B-flat).

Well, let's stop there. You can add a page with these examples to your bookmarks (it will probably come in handy). I also recommend subscribing to updates

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

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.

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

Today we will talk about the features of each of the named frets and how to obtain them.

Natural minor – simple and strict

The 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 obtain it, you just need to know the key signs in the desired key. There are no changed degrees in this type of minor; accordingly, there cannot be any random alteration signs in it.

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

An example of a melody in this mode: "I'm sitting on a pebble" - 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, compared to the natural mode, the seventh degree is increased. If in a natural minor the seventh degree was a “pure”, “white” note, then it is raised with the help of a sharp, if it was flat, then with the help of a becar, but if it was a sharp, then a further increase in the degree is possible with the help of a double -sharp. Thus, this type of mode can always be recognized by the appearance of one random one.

For example, in the same A minor the seventh step is the sound G; in harmonic form there will be not just G, but G-sharp. Another example: C minor is a key with three flats in the key (B, E and A flat), the seventh step is the note B flat, we raise it with a bekar (B-bekar).

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

The harmonic minor scale sounds intense and 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. It received its name “harmonic” because it manifests itself very well in chords, that is, in harmony.

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

A composer can use different types of minor in the same work, for example, alternating a natural minor with a harmonic one, 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 moving up or down on it. If they go up, then they increase two levels at once - the sixth (VI#) and the seventh (VII#). If they play or sing downwards, then these changes are canceled, and an ordinary natural minor sounds.

For example, the A minor scale in a melodic ascending movement will represent a scale of the following notes: A, B, C, D, E, F-sharp (VI#), G-sharp (VII#), A. When moving downwards, these sharps will disappear, turning into G-bekar and F-bekar.

Or the C minor scale in a melodic ascending movement is: C, D, E-flat (in the key), F, G, A-becare (VI#), B-becare (VII#), C. The notes raised by the bekars will turn back into B-flat and A-flat when moving down.

From 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 varied (different up and down), it is capable of reflecting the most subtle moods and experiences when it appears.

When the scale ascends, its last four sounds (for example, in A minor - E, F-sharp, G-sharp, A) coincide with the scale (A major in our case). Consequently, they can convey light shades, motives of hope, and warm feelings. Movement in the opposite direction along the sounds of the natural scale absorbs the rigor of the natural minor, and, perhaps, some kind of doom, and maybe also the strength and confidence of the sound.

With its beauty and flexibility, its wide possibilities for conveying feelings, the melodic minor is very much loved by composers, which is probably why it can be found so often in famous romances and songs. As an example, let us remind you of the song "Moscow Nights" (music by V. Solovyov-Sedoy, lyrics by M. Matusovsky), where a melodic minor with elevated degrees sounds at the moment when the singer talks about his lyrical feelings (If you knew how dear I am...):

Let's repeat it again

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

1. A 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 melodic minor, when moving up, the sixth and seventh degrees (VI# and VII#) are raised, and when moving back, a natural minor is played.

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

Exercises for training

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

SHOW ANSWERS:

The E minor scale is sharp, it has one F-sharp (parallel tonality of G major). In the natural minor there are no signs other than the key ones. In harmonic E minor, the seventh degree is raised - this will be a D-sharp sound. In melodic E minor, in an ascending movement, the sixth and seventh degrees - the sounds C-sharp and D-sharp - are raised; in a descending movement, these increases are canceled.

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

Table of minor scales

For those who 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, an image of the key signs - sharps and flats in the required quantity, and also names the random signs that appear in the harmonic or melodic form of the scale. There are fifteen minor keys used in music:

How to use such a table? Let's look at the example of the B minor and F minor scales. There are two in B minor: F-sharp and C-sharp, which means the natural scale of this key will look like this: B, C-sharp, D, E, F-sharp, G, A, B. A harmonic B minor will include an A sharp. In melodic B minor, two degrees 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: B, E, A and D-flat. This means that the natural F minor scale is: F, G, A-flat, B-flat, C, D-flat, E-flat, F. In harmonic F minor - E-bekar, like an increase in the seventh degree. In melodic F minor there are D-bekar and E-bekar.

That's all for now! In future issues, you will learn that there are other types of minor scales, as well as what the three types of major scales are. Follow the updates, join our VKontakte group to stay updated!

It so happened that the most heartbreaking compositions were written in minor keys. It is believed that the major mode sounds cheerful, and the minor mode sounds sad. In that case, have a handkerchief ready: this entire lesson will be dedicated to “sad” minor modes. In it you will learn what these keys are, how they differ from major ones and how to play minor scales.

By the nature of the music, I think you will unmistakably distinguish between a cheerful, energetic major and a gentle, often sad, plaintive, and sometimes tragic minor. Remember the music and, and the differences between major and minor will become more than obvious to you.

I hope you haven't quit studying? I will remind you of the importance of these seemingly boring activities. Imagine that you stop moving and putting stress on your body, what will be the result? The body will become flabby, weak, and in places fat :-). It’s the same with your fingers: if you don’t train them every day, they will become weak and clumsy, and will not be able to play the pieces you love so much. So far you have only played major scales.

Let me tell you right away: minor scales are no smaller in size (and no less important) than major scales. They were just given such an unfair name.

Like major scales, minor scales are made up of eight notes, the first and last of which have the same name. But the order of intervals in them differs. The combination of tones and halftones in a minor scale is as follows:

Tone – Semitone – Tone – Tone – Semitone – Tone – Tone

Let me remind you that in major it is: Tone – Tone – Semitone – Tone – Tone – Tone – Semitone

It may look like a combination of intervals in a major scale, but in fact the tones and semitones are in a different order. The best way to feel this sonic difference is to play and listen to the major and minor scales one after the other.

As you probably noticed, the main difference between the major and minor modes lies in the third degree, the so-called third tone: in a minor key it is lowered, forming with the tonic (m.3).

Another difference is that in the major mode the composition of intervals is always constant, but in the minor mode it can change in the upper steps, which creates three different types of minor. Maybe it is precisely from this diversity of the minor that brilliant works are obtained?

So what are the different types, you ask?

There are three types of minor:

1. natural
2. harmonic
3. melodic.

Each type of minor is characterized by its own composition of intervals. Up to the fifth stage, they are the same in all three, but at the sixth and seventh steps variations arise.

Natural minor– Tone – Semitone – Tone – Tone – Semitone – Tone – Tone

Harmonic minor differs from the natural one by the raised seventh degree: raised by half a tone, it is moved towards the tonic. The interval between the sixth and seventh steps thereby becomes wider - it is now one and a half tones (called an increased second - uv.2), which gives the scale, especially in the downward movement, a peculiar “oriental” sound.

In the harmonic minor scale, the composition of the intervals is as follows: Tone - Semitone - Tone - Tone - Semitone - One and a half tone - Semitone

Another type of minor is melodic minor, also known as jazz minor (found in most jazz music). Of course, long before the advent of jazz music, composers such as Bach and Mozart used this type of minor as the basis of their works.

In both jazz and classical music (and in other styles too), the melodic minor is distinguished by the fact that it has two degrees raised - the sixth and seventh. As a result, the order of intervals in the melodic minor scale becomes as follows:

Tone – Semitone – Tone – Tone – Tone – Tone – Semitone.

I like to call this scale a fickle scale because it can't decide whether to sound major or minor. Look again at the order of the intervals in it. Please note that the first four intervals are the same as in the minor scale, and the last four intervals are the same as in the major scale.

Now let's touch on the question of how to determine the number of key signs in a particular minor key.

Parallel keys

And here the concept emerges parallel keys.

Major and minor keys with the same number of signs (or without them, as in the case of C major and A minor) are called parallel.

They are always spaced apart by a minor third - the minor scale will always be built on the sixth degree of the major scale.

The tonics of parallel keys are different, and the composition of the intervals is different, but the ratio of white and black keys is always the same. This once again proves that music is a realm of strict mathematical laws, and, having understood them, you can move in it easily and freely.

Understanding the relationship between parallel keys is not so difficult: play the C major scale, and then the same one, but not from the first step, but from the sixth, and stop at the sixth at the top - you have played nothing more than a “natural minor” scale in the key of A minor.

In front of you list of parallel keys with their Latin designations and the number of key characters.

• C major/A minor - C-dur/a-moll
• G major/E minor - G-dur/e-moll (1 sharp)
• D major/B minor - D-dur/H-moll (2 sharps)
• A major/F-diee minor - A-dur/f:-moll (3 sharps)
• E major/C sharp minor - E major/cis minor (4 sharps)
• B major/G sharp minor - H-dur/gis-moll (5 sharps)
• F-sharp major/D-sharp minor - Fis-dur/dis-moll (6 sharps)
• F major D minor - F-dur/d-moIl (1 flat)
• B-flat major/G minor - B-dur/g-moll (2 flats)
• E-flat major/C minor - E-dur/c-moll (3 flats)
• A-flat major/F minor - As-dur/F-moll (4 flats)
• D-flat major/B-flat minor - Des-dur/b-moll (5 flats)
• G-flat major/E-flat minor - Ges-dur/es-moll (6 flats)

Well, now you have an idea about the minor scale, and now all this knowledge can be put into practice. And we must start, of course, with scales. Below is a table of all existing major and parallel minor scales with all the fingerings (finger numbers). Take your time, don't rush.

Let me remind you how to play scales:

1. Play slowly with each hand a scale of 4 octaves up and down. Note that in the sheet music app, finger numbers are given at the top and bottom of the notes. Those numbers that are above the notes belong to the right hand, below - to the left.
2. Note that the Melodic Minor, unlike the other two types of minor scale, will not be built the same way when moving up and down. This is due to the fact that in a downward movement, a sudden transition from major (with which the intervals of melodic minor coincide from the first degree to the fourth) to minor will not sound pleasant. And to solve this problem, the downward movement uses a natural minor - the seventh and sixth degrees return to the original position of the minor scale.
3. Connect with both hands.
4. Gradually increase the tempo of playing scales, but at the same time ensure that the playing is even and rhythmic.

In fact, a composer is not required to use all the notes from any scale in his melody. The composer's scale is a menu from which you can select notes.

The major and minor scales are without a doubt the most popular, but they are not the only scales that exist in music. Don't be afraid, experiment a little with the order of alternating intervals in the major and minor scales. Replace a tone somewhere with a semitone (and vice versa) and listen to what happens.

What will happen is that you will create a new scale: neither major nor minor. Some of these scales will sound great, others will sound terrible, and others will sound very exotic. Creating new scales is not only allowed, but even recommended. Fresh new scales give life to fresh new melodies and harmonies.

People have been experimenting with interval ratios since the dawn of music. And although most experimental scales have not gained the same popularity as major and minor, some musical styles use these inventions as the basis of melodies.

And finally, I’ll give you some interesting music in minor keys