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A-sharp Minor
A-sharp minor is a minor musical scale based on A, consisting of the pitches A, B, C, D, E, F, and G. Its key signature has seven sharps, while the direct enharmonic equivalent, B-flat minor, has five flats. Its relative major is C-sharp major (or enharmonically D-flat major), and its parallel major is A-sharp major, usually replaced by B-flat major, since A-sharp major's three double-sharps make it impractical to use. A-sharp minor is likely the least used minor key in music as it is not generally considered a practical key for composition. The enharmonic equivalent B-flat minor, which only contains five flats as opposed to A-sharp minor's seven sharps, is preferable to use. The A-sharp natural minor scale is: : Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The A-sharp harmonic minor and melodic minor scales are: : : In Christian Heinrich Rinck's 30 Preludes and Exercises in all major and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
C-sharp Major
C-sharp major (or the key of C-sharp) is a major scale based on C, consisting of the pitches C, D, E, F, G, A, and B. It is enharmonically equivalent to D-flat major. Its key signature has seven sharps. The C-sharp major scale is: : Its relative minor is A-sharp minor (or enharmonically B-flat minor) and its parallel minor is C-sharp minor. A harp tuned to C-sharp major has all its pedals in the bottom position. Because all the strings are then pinched and shortened, this is the least resonant key for the instrument. Compositions Most composers prefer to use the enharmonic equivalent D-flat major since it only contains five flats as opposed to C-sharp major's seven sharps. However, Johann Sebastian Bach chose C-sharp major for Prelude and Fugue No. 3 in both books of ''The Well-Tempered Clavier''. In Hungarian Rhapsody No. 6, Franz Liszt takes the unusual step of changing the key from D-flat major to C-sharp major near the start of the piece, and then back again to B ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Key Signature
In Western musical notation, a key signature is a set of sharp (), flat (), or rarely, natural () symbols placed on the staff at the beginning of a section of music. The initial key signature in a piece is placed immediately after the clef at the beginning of the first line. If the piece contains a section in a different key, the new key signature is placed at the beginning of that section. In a key signature, a sharp or flat symbol on a line or space of the staff indicates that the note represented by that line or space is to be played a semitone higher (sharp) or lower (flat) than it would otherwise be played. This applies through the end of the piece or until another key signature is indicated. Each symbol applies to all notes in the same pitch class—for example, a flat on the third line of the treble staff (as in the diagram) indicates that all notes appearing as Bs are played as B-flats. This convention was not universal until the late Baroque and early Classical peri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Prelude And Fugue In C-sharp Major, BWV 848
Prelude and Fugue in C sharp Major, BWV 848, is a keyboard composition written by Johann Sebastian Bach. It is the third prelude and fugue in the first book of ''The Well-Tempered Clavier'', a series of 48 preludes and fugues by the composer. Analysis Prelude The Prelude (music), prelude is a lively 2 part texture, using a series of broken chords which swap between the hands. It is in a fast 3/8 time signature and is made up largely of semiquavers. Later on in the piece, the semiquaver line splits between the hands before ending with a short codetta, Coda in an improvisatory manner. Fugue The three-voice fugue is unusually void of the commonly used fugal devices, such as Augmentation (music), augmentation, diminution, Melodic inversion, inversion, pedal point or stretti. The cheerful subject is characterised by descending broken 6ths in light Eighth note, quavers. One of the countersubjects is constructed with running legato semiquavers, whilst the other consists of longe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Christian Heinrich Rinck
Johann Christian Heinrich Rinck (18 February 1770 – 23 July 1846) was a German composer and organist of the late classical and early romantic eras. Life and career Rinck was born in Elgersburg (in present-day Thuringia), and died in Darmstadt, aged 76. He studied with Johann Christian Kittel (1732–1809), (a pupil of Johann Sebastian Bach), and eventually became Kantor at the music school in Darmstadt, where he was also a court organist from 1813. He composed prolifically, and an organ primer of his enjoyed wide popularity. Among his works is a set of Variations on ‘Ah! vous dirai-je, Maman’, Opus 90, published by Simrock in 1828. It is based on a tune made familiar by Mozart ( K. 265) (and generally associated with the words ''Twinkle Twinkle Little Star''). Notable students include composer Georg Vierling and Benedict Jucker (1811-1876). Works Piano works * XXX zweistimmige Übungen durch alle Tonarten (30 Exercices à deux parties dans tous les tons) op. 67. V ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melodic Minor Scale
In music theory, the minor scale is three scale patterns – the natural minor scale (or Aeolian mode), the harmonic minor scale, and the melodic minor scale (ascending or descending) – rather than just two as with the major scale, which also has a harmonic form but lacks a melodic form. In each of these scales, the first, third, and fifth scale degrees form a minor triad (rather than a major triad, as in a major scale). In some contexts, ''minor scale'' is used to refer to any heptatonic scale with this property (see Related modes below). Natural minor scale Relationship to relative major A natural minor scale (or Aeolian mode) is a diatonic scale that is built by starting on the sixth degree of its relative major scale. For instance, the A natural minor scale can be built by starting on the 6th degree of the C major scale: : Because of this, the key of A minor is called the ''relative minor'' of C major. Every major key has a relative minor, which starts on ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harmonic Minor Scale
In music theory, the minor scale is three scale patterns – the natural minor scale (or Aeolian mode), the harmonic minor scale, and the melodic minor scale (ascending or descending) – rather than just two as with the major scale, which also has a harmonic form but lacks a melodic form. In each of these scales, the first, third, and fifth scale degrees form a minor triad (rather than a major triad, as in a major scale). In some contexts, ''minor scale'' is used to refer to any heptatonic scale with this property (see Related modes below). Natural minor scale Relationship to relative major A natural minor scale (or Aeolian mode) is a diatonic scale that is built by starting on the sixth degree of its relative major scale. For instance, the A natural minor scale can be built by starting on the 6th degree of the C major scale: : Because of this, the key of A minor is called the ''relative minor'' of C major. Every major key has a relative minor, which start ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Natural Minor Scale
In music theory, the minor scale is three scale patterns – the natural minor scale (or Aeolian mode), the harmonic minor scale, and the melodic minor scale (ascending or descending) – rather than just two as with the major scale, which also has a harmonic form but lacks a melodic form. In each of these scales, the first, third, and fifth scale degrees form a minor triad (rather than a major triad, as in a major scale). In some contexts, ''minor scale'' is used to refer to any heptatonic scale with this property (see Related modes below). Natural minor scale Relationship to relative major A natural minor scale (or Aeolian mode) is a diatonic scale that is built by starting on the sixth degree of its relative major scale. For instance, the A natural minor scale can be built by starting on the 6th degree of the C major scale: : Because of this, the key of A minor is called the ''relative minor'' of C major. Every major key has a relative minor, which starts on ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Double Sharp
In music, sharp, dièse (from French), or diesis (from Greek) means, "higher in pitch". More specifically, in musical notation, sharp means "higher in pitch by one semitone (half step)". Sharp is the opposite of flat, which is a lowering of pitch. A sharp symbol, , is used in key signatures or as an accidental. For instance, the music below has a key signature with three sharps (indicating either A major or F minor, the relative minor) and the note, A, has a sharp accidental. : Under twelve-tone equal temperament, B, for instance, sounds the same as, or is enharmonically equivalent to, C natural (C), and E is enharmonically equivalent to F. In other tuning systems, such enharmonic equivalences in general do not exist. To allow extended just intonation, composer Ben Johnston uses a sharp to indicate a note is raised 70.6 cents (ratio 25:24), or a flat to indicate a note is lowered 70.6 cents. In intonation, sharp can also mean "slightly higher in pitch" (by some unsp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Parallel Key
In music theory, a major scale and a minor scale that have the same tonic note are called parallel keys and are said to be in a parallel relationship. Forte, Allen (1979). ''Tonal Harmony'', p.9. 3rd edition. Holt, Rinehart, and Wilson. . "When a major and minor scale both begin with the same note ... they are called ''parallel''. Thus we say that the parallel major key of C minor is C major, the parallel minor of C major is C minor." The parallel minor or tonic minor of a particular major key is the minor key based on the same tonic; similarly the parallel major has the same tonic as the minor key. For example, G major and G minor have different modes but both have the same tonic, G; so G minor is said to be the parallel minor of G major. In contrast, a major scale and a minor scale that have the same key signature (and therefore different tonics) are called relative keys. A major scale can be transformed to its parallel minor by lowering the third, sixth, and seventh scale ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
D-flat Major
D-flat major (or the key of D-flat) is a major scale based on D, consisting of the pitches D, E, F, G, A, B and C. Its key signature has five flats. It is enharmonically equivalent to C-sharp major. The D-flat major scale is: : Its relative minor is B-flat minor. Its parallel minor, D-flat minor, is usually replaced by C-sharp minor, since D-flat minor features a B ( B-double-flat) in its key signature making it impractical to use. C-sharp major, the enharmonic equivalent to D-flat major, has a similar problem as it contains seven sharps. Therefore, D-flat major is often used as the parallel major for C-sharp minor. (The same enharmonic situation occurs with the keys of A-flat major and G-sharp minor). For example, in his Prelude No. 15 in D-flat major ("Raindrop"), Frédéric Chopin switches from D-flat major to C-sharp minor for the middle section in the parallel minor, while in his ''Fantaisie-Impromptu'' and Scherzo No. 3, primarily in C-sharp minor, he switche ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Relative Key
In music, relative keys are the major and minor scales that have the same key signatures ( enharmonically equivalent), meaning that they share all the same notes but are arranged in a different order of whole steps and half steps. A pair of major and minor scales sharing the same key signature are said to be in a relative relationship. The relative minor of a particular major key, or the relative major of a minor key, is the key which has the same key signature but a different tonic. (This is as opposed to ''parallel'' minor or major, which shares the same tonic.) For example, F major and D minor both have one flat in their key signature at B♭; therefore, D minor is the relative minor of F major, and conversely F major is the relative major of D minor. The tonic of the relative minor is the sixth scale degree of the major scale, while the tonic of the relative major is the third degree of the minor scale. The minor key starts three semitones below its relative major; for examp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Enharmonic
In modern musical notation and tuning, an enharmonic equivalent is a note, interval, or key signature that is equivalent to some other note, interval, or key signature but "spelled", or named differently. The enharmonic spelling of a written note, interval, or chord is an alternative way to write that note, interval, or chord. The term is derived from Latin ''enharmonicus'', from Late Latin ''enarmonius'', from Ancient Greek ἐναρμόνιος (''enarmónios''), from ἐν (''en'') and ἁρμονία (''harmonía''). Definition For example, in any twelve-tone equal temperament (the predominant system of musical tuning in Western music), the notes C and D are ''enharmonic'' (or ''enharmonically equivalent'') notes. Namely, they are the same key on a keyboard, and thus they are identical in pitch, although they have different names and different roles in harmony and chord progressions. Arbitrary amounts of accidentals can produce further enharmonic equivalents, such as B (me ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
