Solfeggio. All rules for solfeggio in music school - II. What is tonality in music, learn to identify and change tonalities B minor parallel tonality

Today we will continue our conversation about music theory. You can read the beginning here. So, it's time to clarify the conversation about such a concept as parallel keys. You already have an idea of ​​what a scale is, and you also know such signs as sharp and flat. Let me remind you once again that scales are either major or minor. So, major and minor scales with the same set of sounds are called parallel tonalities. When designating a scale (key) on a musical staff, first write the treble clef (or, less commonly, the bass clef), and then write the signs (key signs). In one key, the signs can be either only sharps or only flats. In some keys, key signs are missing.

Let's look at parallel keys using the C major and A minor scales as an example.

As you may have noticed in the image, there are no key signs in these scales, that is, we have the same set of sounds in these keys. You can also see that the tonic (first scale degree) of parallel major is the third degree of parallel minor, and the tonic of parallel minor is the sixth degree of parallel major.

In relation to the guitar, it is not difficult to guess that for a major chord it is enough to move the tonic down three frets to find the tonic of the parallel minor.

Also in the picture you can see parallel tonalities that have key signs. This is F major with one flat key and the corresponding D minor. And also two keys with one sharp - G major and E minor.

There are 15 major and 15 minor keys in total. I'll explain how they are made. The maximum number of flats or sharps in a key can be 7. Plus one more major and minor key without key signs. I will give their parallel correspondence:

C major corresponds A minor
G major corresponds E minor
F major corresponds D minor
D major corresponds B minor
A major corresponds F sharp minor
E major corresponds C sharp minor
B major corresponds G sharp minor
G flat major corresponds E flat minor
D flat major corresponds B flat minor
A flat major corresponds F minor
E flat major corresponds C minor
B flat major corresponds G minor
F sharp major corresponds D sharp minor
C sharp major corresponds A sharp minor
C flat major corresponds A flat minor

I hope this article helped you understand the concept of parallel keys in music. Also, to fully understand this term, I advise you to read the article about

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 expressions that are well known to you, such 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 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 steps.

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 understand 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 tones 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 keys with their signs

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”

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!

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.

This article is devoted to an extremely important topic in music - tonality. You will learn what a tonality is, what parallel and eponymous tonalities are, and their letter designations will also be considered.

What is tonality?

The word itself suggests its meaning. It seems to set the tone for an entire piece of music. In fact, tonality is the basis of the work. They start from it, creating this or that musical composition. This is a kind of beginning.

So, for example, there is the key of C major. This means that the tonic, which is also the first degree of the mode, is the sound “C”. The main chord in this key consists of the sounds do-mi-sol. This chord is called the “tonic triad.”

In this regard, before disassembling and playing a piece of music, the performer determines the main tonality, modal inclination, looks at the number of key signs, and mentally determines what its parallel tonality is.

The same musical composition can be sung or played in completely different keys of the corresponding scale. This is used primarily for the convenience of vocal performance.

The parallel tonality used in the work can give a different color to the composition. So, for example, if a musical composition is written in the bright key of D major, then its parallel key is the sad and tragic B minor.

Letter designations of keys

Major is denoted by dur, minor is denoted by moll. Sharp - is, flat - es. Below is a list of some parallel keys and their letter symbols.

• C major (no signs). Designated C-dur. The parallel key is A minor (a-moll).

• F major - one flat (B). Designated F-dur. Its parallel is D minor (d-moll).
• G major - one sharp (F). Designated G-dur. The tonality parallel to it is E minor (e-moll).
• B-flat major - two flats (B, E). Designated B-dur. Its parallel is G minor (g minor).
• D major - two sharps (F, C). Designated D-dur. Its parallel is B minor (h-moll).

What are parallel tones?

These are major and minor tones that contain the same key signs, but they have different tonics.

The list above shows some keys and their parallels.

To find a parallel key to a given major one, you need to go down m.3 (minor third) from the given one.

If you need to determine a parallel tonality to a given minor, then you need to go up from the indicated one to b.3 (major third).

The above list clearly demonstrates the parallel tonalities of the major and minor moods up to two signs per key.

Keys of the same name

These are those that have the same tonic, but different modal inclination and, accordingly, completely different signs at the key.

For example:

• C-dur (no signs) - C-minor (three flats).
• F-dur (one flat) - F-minor (four flats).
• G-dur (one sharp) - g-moll (two flats).

Thus, tonality is a kind of beginning of any musical composition for both the composer and the performer. Transposing a melody, that is, moving from one key to another, allows vocalists to freely perform absolutely all compositions. Such a transfer sometimes gives the work a completely new coloring. You can conduct an interesting experiment and try to perform a musical composition written in a major key in a minor key (a parallel key can also be chosen). A bright and joyful mood will turn into a sad and sorrowful one. In the twentieth century, the term “atonal music” appeared, that is, music that does not have a set tonality. But that's a completely different story...

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