What are the key signs in A major? How to remember key signs in keys

This is only due to the fact that a similar major is a scale that is not used due to its initial complexity in terms of key signs, which will be discussed a little later.

G-sharp minor scale

With the minor scale everything is quite simple. According to the principle of determining tonalities (the circle of fifths), it is a parallel minor to the B major scale and contains five key signs that extend across the entire scale. These are sharp marks fa/do/sol/d/a (standard sequence).

As expected in this case, three main minor modes are built from the note G-sharp: natural, harmonic and melodic minor. In accordance with the rules of solfeggio and music harmony, the seventh degree is raised by a semitone (F# (F-sharp) to the double-sharp of the same name (F##)). In a melodic minor, when playing a scale upward, the sixth and seventh degrees are raised by a semitone (for E this is a regular sharp (E#), for F - a double (double) sharp (F##)), and when passing a scale downward, the increases by a semitone are canceled.

G-sharp major scale

With a major key the situation is not so simple. The fact is that, as mentioned above, this one is practically not used and is replaced by an enharmonic one (equal in sound).

In this case it is a regular A-flat major. Everything is simpler in it and with signs.

But let us dwell specifically on the major scale, built from the note G-sharp. In principle, it can be compared to the usual G major, in which all notes are raised by a semitone.

Following the rule of adding sharps or determining the tonality by the signs at the key, it would be possible to determine the sharp order as follows: the usual order from F to B, and then again increasing by a semitone, but this time F-sharp. Thus, it turns out that the key must contain F-double-sharp.

It is clear that double-sharps are used extremely rarely in the key. Nevertheless, speaking about such a complex scale, the signs of the key can be constructed in the following order: F-double-sharp, and then the usual sequence from note C to note B. As you can see, there are quite a lot of problems with signs. That is why it is much easier to use an enharmonic flat major, because the notes G-sharp and A-flat are absolutely equivalent in sound.

The same goes for parallel E-sharp minor. It is found almost only in the theoretical solfeggio course.

Triads of the main stages

As for the main triads of scales, which are built on the I, III and IV degrees of the scale, for a minor the tonic triad is a sequence of raised and pure notes: salt (G#) / pure B (H) / D (D#), subdominant - C (C# )/pure E (E)/sol (G#), dominant - re (D#)/fa (F##)/A (A#).

For a major scale built from G-sharp, the tonic triad contains the following notes with sharps raised by half a tone: G (G#) / B (H#) / D (D#), subdominant - C (C#) / E (E#) / G (G#), dominant - D (D#) / once again raised F (F##) / A (A#).

Bottom line

In conclusion, it remains to add that if difficulties arise in identifying the signs in the key for such complex keys as G-sharp major, do not be alarmed. You just need to apply a clear rule of following the sharps in the key one after another. That's all. And those who claim that the key cannot contain double-sharps are wrong. Examples with the presence of such signs can be found simply great amount. Another thing is that such tonalities remain unclaimed and are almost never used when writing musical works.

It is known that there are 24 keys, according to the number of notes in the chromatic scale (12 major and 12 minor keys). Formally (by name) there are more of them, because all tonalities can be called enharmonic. For example, C sharp major can be written as D flat major, etc., or even D major can be thought of as C double sharp major, etc.

On Wikipedia you can find a separate article on each commonly used key, with examples of works of academic music in this key, as well as indicating the number of signs in a key parallel and enharmonically equal to the key.

The question arises as to how, in each specific case, it is more correct or convenient to name or write down the tonality with signs at the key. For example, the key of C-sharp major will have seven sharps in the key, and the key of D-flat major will have five flats.

Some keys are unusable due to too many characters in the key. For example, the key of D-sharp major should be written with nine signs in the key (two double-sharps, the rest sharps). Therefore, E-flat major is used instead (three flats in the key).

There is a list of used keys on Wikipedia, in almost every article on a specific key (there it is called “Neighboring keys”).

Keys with seven signs in the key are rarely used, because seven characters can always be replaced by five. For example, C sharp major (seven sharps in the key) can be written as D flat major (five flats in the key). Such keys (with seven signs) are used mainly only in special cycles for all keys, for example, “24 Preludes and Fugues”, etc.

Tones with six clefs are enharmonically equal. For example, E-flat minor (six flats) is enharmonically equal to D-sharp minor (six sharps). Taking into account these pairs of keys practically used in music, the result is 26, and taking into account keys with seven signs - 30.

The only well-used major key with the word "sharp" is F-sharp major (six sharps in the key). The only well-used minor key with the word "flat" is E-flat minor (six flats in the key). Those. Basically, minor keys are written with the word “sharp”, and major keys with the word “flat”.

Now a little about the logic of “transitions” from one key to another based on the signs of the key and the like.

1) Parallel tonalities do not differ in signs.

2) The keys of the same name differ by three signs, and the major lies three signs “towards the sharps” from the minor. For example, E minor is one sharp, E major is four sharps. Or: F major - one flat, F minor - four flats. Or: D minor - one flat, D major - two sharps.

3) An “extra” sign at the key, appearing in the text as a random sign, may indicate the use of a certain modal scale. Sometimes such signs are even taken to the key (although this is perhaps a controversial way of recording music).

The Dorian mode is a step towards sharps from minor. For example, in Dorian E there will be an “extra” C-sharp, in Dorian D a B-becar will appear (the flat at the key has been “annihilated”), etc.

The Lydian mode is a step towards sharps from major. For example, in Lydian Fa there will be a si-bekar.

The Phrygian mode is a step towards flats from the minor. For example, E-flat will appear in Phrygian D.

The Mixolydian mode is a step towards flats from major. For example, in Mixolydian C a B flat will appear.

4) The “authentic” move while maintaining the inclination is a step towards the flats. For example, when moving from C major to F major, B flat appears (the same thing when moving from A minor to D minor). A “plagal” move while maintaining the inclination is a step towards the sharps.

5) A more than a second upward move while maintaining the inclination is a step of two signs towards the sharps (downwards - towards the flats). For example, when moving from G major to A major, two sharps are added, and when moving from G minor to A minor, two flats are removed.

6) A short-second upward move while maintaining the inclination is a step of seven characters towards the sharps (downwards - towards the flats). Hence, for example, the unusability of the key of D-sharp major (in D major there are already two sharps, and in D-sharp major there should be nine of them).

For the convenience of finding the number of accidental signs in keys with more than seven signs, it is useful to remember that the sum of signs (sharps and flats) in enharmonically equal keys is always equal to 12:
- F sharp major and G flat major - 6# + 6b
- C sharp major and D flat major - 7# + 5b
- C flat major and B major - 7b + 5#
- G sharp major and A flat major - 8# + 4b
- F flat major and E major - 8b + 4#

In general, the number of key signs and these signs themselves (sharps with flats) just need to be remembered and simply known. Sooner or later they are remembered automatically - whether you want it or not. And on initial stage You can use a variety of cheat sheets. One of these solfeggio cheat sheets is a tonality thermometer.

I’ve already talked about the tonality thermometer – you can read and see the gorgeous, colorful tonality thermometer. In the previous article, I talked about how, using this scheme, you can easily identify signs in keys of the same name (that is, those in which the tonic is the same, but the scale is different: for example, A major and A minor).

In addition, a thermometer is convenient in cases where you need to accurately and quickly determine how many digits one tonality is removed from another, how many digits the difference between two tonalities is.

Now I hasten to inform you that the thermometer found one more thing practical use . If this same thermometer is slightly modernized, it will become more visual and will begin to show not only how many signs are in, but also specifically, what signs are in this major and that minor. Now I'll explain everything.

An ordinary tonality thermometer: it will show a candy wrapper, but won’t give you candy...

In the picture you see the thermometer as it usually appears in the textbook: a “degree” scale with the number of signs, and next to it the keys are written (major and its parallel minor - after all, they have the same number of sharps or flats).

How to use such a thermometer? If you know, then there are no problems: just look at the number of characters and count in order exactly as much as you need. Let's say, in A major there are three signs - three sharps: it is immediately clear that in A major there are F, C and G sharps.

But if you have not yet memorized the rows of sharps and flats, then, needless to say, such a thermometer will not help you: it will show a candy wrapper (the number of characters), but will not give you candy (it will not name specific sharps and flats).

New tonality thermometer: handing out “candy” just like Grandfather Frost

To the scale with the number of characters, I decided to “attach” another scale, which would also name all the sharps and flats in their order. In the upper half of the degree scale, all sharps are highlighted in red - from 1 to 7 (F to sol re la mi si), in the lower half, all flats are highlighted in blue - also from 1 to 7 (si mi la re sol to fa) . In the center are “zero keys,” that is, keys without key signs - these, as you know, are C major and A minor.

How to use? Very simple! Find the desired key: for example, F-sharp major. Next, we count and name all the signs in a row, starting from zero, going up until we reach the mark that corresponds to the given key. That is, in this case, before we return our eyes to the already found F-sharp major, we will name all 6 of its sharps in order: F, C, G, D and A!

Or another example: you need to find signs in the key of A-flat major. We have this tonality among the “flat” ones - we find it and, starting from zero, going down, we call all of it flats, and there are 4 of them: B, E, A and D! Brilliant! =)

Yes, by the way, if you are already tired of using all sorts of cheat sheets, then you don’t have to use them, but read an article about how, after which you won’t forget the signs in keys, even if you deliberately try to get them out of your head! Good luck!

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

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

What are the signs in D minor?

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

Circle of fifths, or how to learn to improvise

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

How to determine the tonality of a work by key signs

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

It should be noted,

How to remember key signs in keys

How to remember keys and their key signs? Everyone remembers differently: some try to remember the number of signs, others try to memorize the names of keys with their key signs, others come up with something else. In fact, everything is much simpler and you only need to remember two things, the rest will be remembered automatically.

Key signs - what are they?

These are sharps and flats, which are written on each line of notes next to the key and remain in effect throughout the entire piece or until they are canceled.

The order of sharps and the order of flats

Key signs are not displayed randomly, but in a certain order.

Sharp order: fa, do, sol, re, la, mi, si.

The order of the flats is reversed:si, mi, la, re, salt, do, fa. Here's what it looks like in musical notation:

In these rows, in both cases, all seven basic steps are used, which are well known to everyone: do, re, mi, fa, sol, la, si– only they are specially arranged in a certain sequence. We will work with these two orders in order to learn how to identify key signs in a particular key easily and correctly. Look again and remember the order:

How many keys are used in music?

Total 30 keys are used in music– 15 major and 15 parallel minor ones. Parallel keys These keys are called those that have the same key signs, therefore, the same scale, but differ in their tonic and their mode (let me remind you that the tonic and mode determine the name of the tonality).

Of these 30 keys:

2 without signs (this is C major and A minor - we just remember them);

14 sharps (7 major keys and 7 parallel minor keys);

14 flats (also 7 major and 7 minor).

Thus, to indicate the key, you may need from 0 to 7 key signs (sharps or flats). Remember that there are no signs in C major and A minor! Remember also that in C-sharp major (and A-sharp minor) and in C-flat major (and parallel A-flat minor), there are 7 sharps and flats, respectively.

How to determine key signs in keys?

To determine the signs in all other keys, we will use the order of sharps that we already know or, if necessary, the order of flats. We will focus only on major keys, that is, in order to determine the key signs of a minor key, you must first find a major tonic parallel to it, which is located a minor third above the original minor tonic.

In order to determine key signs in a sharp major key, we act according to the rule: The last sharp is a note below the tonic. That is, we simply list all the sharps in order until we get to the one that is one note lower than the tonic.

For example, in order to determine the key signs in B major, we list the sharps in order: F, C, G, D, A - we stop at A, since A is a note lower than B.

Signs of flat major keys we define it as follows: we list the order of the flats and stop at the next flat after we have named the tonic. That is, the rule here is: the last flat covers the major tonic (as if protecting from the wind)(that is, it is next after the tonic). To find the signs for a flat minor key, you must first determine its parallel major key.

Sharps or flats?

A question that may naturally arise in your mind is: “How do you know which keys are sharp and which are flat?” Most major keys with tonics from the white keys (with the exception of C and F) are sharp. Flat major keys are those whose tonics are in the flat order (i.e. B-flat major, E-flat major, etc.). This issue will be discussed in more detail in an article devoted to a whole system of tonalities, called the circle of quarto-fifths.

Circle of fifths

Circle of fifths (or circle of quarto-fifths)- an open two-way sequence of tonalities, reflecting the degree of their relationship. It is clearly depicted in the form of a circle, which is where it got its name.

The sequence consists of major keys paired with their parallel minor keys. When moving clockwise along the circle of fifths, the tonic of each subsequent major key is spaced from the previous one (up) by a perfect fifth, and in the notation at the key one sharp is added. When moving counterclockwise, the interval (ascending) is a perfect fourth, and flats are added to the notations.

Since an octave consists of 12 semitones, a fourth - of 5, and a fifth - of 7, then 12 quarts or 12 fifths make up several octaves and therefore thirteenth keys, if counted in any direction on the circle of fifths, coincide with C major. Since 12 is coprime with 5 and 7, all keys can be obtained by considering any 12 consecutive ones in a circle. It also follows that the tones will eventually coincide if you move in opposite directions (for example, Ges = Fis). Therefore, they usually use only 5-7 steps in each direction, leaving tonalities with a large number of accidentals only in theory.

The circle of fourths and fifths was first described in the book “The Idea of ​​Musician Grammar” in 1679. The author of the work is composer Nikolai Pavlovich Diletsky.

Such works as cycles of 24 preludes by Chopin and Shostakovich were written in all keys of the quarto-fifth circle. J. S. Bach showed the equality of all tonalities by writing the famous “Well-Tempered Clavier.”