What is a tonality? We master the three types of minor parallel tonality of the re-bimol major.

Barely the musician begins to learn a new musical work, first of all it determines the tonality. And no matter what tool the musician plays, engaged in vocals or just teaches the Solfeggio number. Without a clear understanding of the tonality, a new product is very difficult. And if it comes to harmony ... The ability to build chords is entirely based on the understanding of the tonality.

Key

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

• Tonality - Lada name.
• Tonality - Lada height.
• The tonality is the high-rise position of Lada ("elementary theory of music", promotional).
• The tonality (classical) is a centralized, functional-differentiable, based on a dictional two-rope major-mining system of chord type, in which the chord is the main object of development, and general patterns are determined by the principle of resolution ("Harmony in Western European music IX - the beginning of the 20th century ", L. Dyachkova).

The tonality is major and minor, it depends on the Lada, which underlies. Also, the tonality is parallel, the same name, as well as enharmonically equal. Let's try to figure out what all this means.

Parallel, single, enharmonic tonalness

The main criteria for which the tonality is determined is the way (major or minor), key (digesters or bempoli, their number) and tonic (the most steady sound of the tonality, stage I).

If we talk about parallel and the same tonalities, then there is always a bad way. That is, if the diagnostics are parallel - it is major and minor, if the same name is similar.

Parallel are called a major and minor tonality, which same key signs And different tonic. For example, it is to Major (C-DUR) and La Minor (A-Moll).

It can be seen that in a natural major and minor in these tonsalities, the same notes are used, but the stage and the steps and the way are different. Find parallel tonality easily, they are located at a distance of a small column. To find parallel Minor, It is necessary to build from the first stage a small turn down, and to find parallel Major, You need to build a small policy up.

It can also be remembered that the tonic parallel minor is located on the VI stage of the natural major, and the tonic parallel magazine is on the III stage of Minor.

Below is the table of parallel tonalities.

Major - La Minor

Dieuctive tonality

Barth tonality

The same name is the major and minor tonality, which different key signs and same tonic. For example, it is D Major (C-DUR) and D Minor (C-Moll).

You can even understand the essence of the same names of the same name, they have one name, one tonic. The diagnosis of the same name (in kind) is distinguished by III, VI and VII steps.

Annharmonically equal in tonalities are called tonality, whose sounds, all steps and consonances of which are equally equal, i.e. sounds the same, have the same height, and recorded in different ways.

For example, if you play a diez and re-fambra, they will sound the same, these sounds are enharmonically equal.

Examples of enharmonically equal tonalities

Theoretically, for any tonality, you can find an enharmonic substitution, however, in most cases it will turn out to be unprepared. The main goal of enharmonically equal tonalities is to simplify the life of the Contractor.

The main reasons for the replacement of the tonality are two:

• The tonality is replaced to reduce the number of characters. For example, in Du-Dieza Majer 7 digesters, and in the re-famber major 5 bemoley. The tonality with a smaller number of signs are simpler, convenient, therefore the re-bf Major is used more often.
• Those or other tonality are better suited for different types of tools. For example, for a group of string-brook tools (violin, alto, cello), the dizetic tonality is better suited, and the bramole tones are more comfortable for wind instruments.

There are 6 pairs of tonalities that are replaced by enharmonic, 3 major and 3 minor.

Examples of major tonalities

Examples of minor tonalities

If we talk about non-consistent enharmonic replacements, then you can bring such a tonality as a major (no signs) and Si-Dieza Major (12 dishes). It will be enharmonianly equal to the Major and the re-double-beam major (12 bemoley).

The tonality play an important role in the work of composers, for some, certain images are fixed, for example, from the times of I. S. Bach Si Minor is considered a "black" tonality, and in the work of N. A. Rimsky-Korsakov, the re-Barol Major is considered to be a tonality of love. It is surprising that the cycles of works written in all tones are created: 2 volumes of the well-tempered key I. S. Baha, 24 Preludes F. Chopin, 24 Preludes A. Scriabin, 24 Preludes and Fugu D. Shostakovich. And one of the collaborations of competent, successful execution of such works - knowledge of tonalities.

This article is devoted to an extremely important topic in music - tonality. You will learn what is a tonality that is parallel and the same tonality, and their alphabetic designations will also be considered.

What is a tonality?

The word itself suggests its value. It seems to asks the tone to a whole musical work. In essence, the tonality is the basis of the work. From it repel, creating one or another musical composition. This is a kind of start.

So, for example, there is a tonality to major. This means that Tonic, she is the first stage of Lada, is the sound "to". The main chord in this tonality consists of the sounds of up-Mi-salt. Such a chord is called "tonic sober."

In this regard, before disassembling and playing a musical work, the performer determines the main tonality, the lade challenge, looks at the number of key characters, mentally determines how its parallel tonality.

The same musical composition can be felt or played in completely different tonalities of the corresponding Lada. This is used, first of all, for the convenience of vocal performance.

The parallel tonality used in the work can give another color of the composition. For example, if the musical composition is written in the bright tonality of re Major, its parallel tonality is sad and tragic SI minor.

Literal signs of tonalities

Major is denoted by DUR, Minor has a Moll designation. Diez - IS, BIMOL - ES. Below is a list of some parallel tonalities and their letter notation.

• To major (no signs). Denotes C-DUR. Parallel tonality - La Minor (A-Moll).

• Fa Major is one BIMOL (SI). It has the designation F-DUR. Its parallel - re minor (D-Moll).
• Sol Major is one diezer (Fa). Denotes G-DUR. Tonality parallel to it - MINOR (E-Moll).
• Si-Barol Major - two bemoles (si, mi). It has the designation B-DUR. Its parallel - G-Moll Sol (G-Moll).
• D Major - Two Dieza (Fa, up). D-dur is denoted. Its parallel - SI Minor (H-Moll).

What is parallel tonality

These are the tonality of major and minor inclination that contain the same key signs, but they have different tonic.

The list above shows some tonality and parallel to them.

To find a parallel tonality for this major, you need from the specified fall on M.3 (small policy) down.

If you need to determine the parallel tonality to this minor, then it is necessary from the specified climb to B.3 (large in the lard) up.

The above list clearly demonstrates parallel tonality of major and minor chances up to two characters when the key.

Tonalness Simony

These are those who have the same tonic, but a different lade challenge and, accordingly, absolutely different signs with the key.

For example:

• C-DUR (no signs) - C-Moll (three bemoles).
• F-DUR (one bembol) - F-Moll (four bemoles).
• G-dur (one dishes) - G-Moll (two bemoles).

Thus, the tonality is a peculiar beginning of any musical composition for both the composer and the performer. Transposing the melody, that is, the transition from one tonality to another, allows vocalists to freely perform absolutely all compositions. Such a transfer sometimes gives the work a completely new color. You can spend an interesting experiment, and try a musical writing written in a major tonality, to fulfill in the minor (a parallel tonality can be elected. Light and joyful mood at the same time will turn into sad and sad. In the twentieth century, the term "atonal music" appeared, that is, music that does not have a fixed tonality. But this is a completely different story ...

Actual

miscellanea
miscellanea

The theory of music includes a huge amount of diverse terminology. The tonality is a fundamental professional term. On this page, you can find out what is a tonality, how to determine which there are varieties, as well as interesting facts, exercises, and a way to change the tonality in the backing track.

Highlights

Imagine you decided to play a musical work. You found notes, and when parsing a tank text, noticed that after the key there are digesters or bempolines. You need to figure out what they mean. Key signs are an alteration signs that are preserved throughout the entire performance of the musical composition. According to the rules, they are set after the key, but before size (see Figure No. 1), and duplicate on each subsequent line. The key signs are needed not only in order to constantly not write them around the notes, which takes a lot of time, but also for the musician to determine the tonality in which the work is written.

Figure No. 1.

Piano, as well as many other tools, has a templar system. In this system, the calculus units can be taken tone and halftone. Thanks to the division of data from each sound on the keyboard, you can form a tonality, or a major or minor challenge. Thus were invented by the lade formulas of the Major and Minor (see Figure 2).

Figure No. 2.

It is for these formulas that can be built from any sound a tonality, or in Major, or in Minor. Sequential reproduction of notes according to these formulas is called a gamma. Many musicians play gamma in order to faster orientate in the tonalities and key signs with them.

The tonality consists of two components: the name of the sound (for example, to) and the lade challenge (major or minor). To build a gamut, you must select one of the sounds on the keyboard and play from it according to the formula or major, or minor.

Exercises for fixing

1. Try to play a major gamut from the sound "re". Use when playing the ratio of tones and halftone. Check out correctness.
2. Try to reproduce the minor gamut from the "Mi" sound. It is necessary to play on the proposed formula.
3. Try to play the gamma from different sounds in a variety of challenges. At first in slow pace, then in faster.

Varieties

Some tonality may have a certain connection between themselves. Then they can enter the following classifications:

• Parallel tonality. A feature is the same number of key characters, but a different lade challenge. In fact, the set of sounds is absolutely identical, the difference is only in the sound of tonic. For example, the tonality to major and la minor are parallel, they have the same number of key signs, but a different lade challenge and a tonic sound. There is a parallel-variable way, which is characterized by the fact that in the work there are two parallel tonality, and they are constantly changing the paws, then on Major, then in Minor. Such a way is characteristic of Russian folk music.
• The same tonic sounds have the same sound, but at the same time a variety of outdoor challenge and key signs. Example: D Major (2 key signs), re minor (1 key sign).
• One-stage has a common policy (that is, the third sound in the sober), no longer combines tonic, nor key signs, nor way. Usually, a single-stroke minor is located for a small second or halftone higher than the major. Accordingly, one-stage major in relation to the minora is located below at a small second or halftone. An example can serve as a tonality to major and pre-diez minor, the "Mi" sound coincides in the sober-breakdown chords.

Exercises for fixing

Determine how two tonality correlate together. Put the corresponding figure next to the example:

1. Parallel
2. The same name
3. One-stage

Questions:

• B-DUR and H-Moll
• A-DUR and A-Moll
• G-DUR and E-Moll

Check out your own knowledge.

Answers: 3, 2, 1.

Interesting Facts

• As a musical term originated at the beginning of the 19th century. He was introduced by Alexander Etienne Soron in his own writings.
• There is a "color" hearing, which is characterized by the fact that a person has a certain tonality associated with a specific color. Owners of this gift were Rimsky-Korsakov and Scriabin.
• In contemporary art, there is an atonal music that does not form the principles of tonal stability.
• English terminology uses the following designation for parallel tonalities - Relative Keys. Literally, these are "related" or "correlated". The same is indicated as Parallel Keys, which can be perceived as parallel. Often, when translating specific literature, translators admit an error in this matter.
• Symbols of classical music fastened a certain meaning for some tonalities. So DES-DUR is true love, B-DUR defines beautiful men, heroes, and E-Moll - sorrow.

Table tone

Diezny

Blamle

How to determine the tone of the work

You can find out the basic tonality for the composition using the plan below:

1. Look at key signs.
2. Find in the table.
3. These may be two tonality: major and minor. To determine which way it is necessary to see what sound the work ends.

There are methods that are simplifying:

• For a major in the dizard tonalities: the last dishes + m2 \u003d the name of the tonality. So, if the extreme key sign is pre-dace, then it will be re major.
• For bramole major tonalities: penultimate bemole \u003d desired tonality. So if, the key characters will be three, then the penultimate will be the Mi-Bömbol - this will be the desired tonality.

You can use both standard methods and above. The main thing to learn how to correctly determine the tonality and navigate it.

Exercises for fixing

Determine the key signs on key signs.

Major

Minor

Answers: 1. D Major 2. As Major 3. C Major

1. CIS MINOR 2. B MINOR 3. E MINOR

Quarto

A quart co-quinting circle is a special schematically outlined information in which all the kennels are located at a distance of clean quints clockwise, and for clean quartents counterclockwise.

Major Tonalness

Let's start with what is a major and minor sober, and how they are built. Regardless of the ignition, the soberness is a chord consisting of three sounds, which are located on the thurs. Major sober is denoted as b 5 3, and consists of a large terration and small. Minor sober is denoted as M 5 3, and consists of a small and large prison.

From each note in the tonality you can build a sober.

The main pathvars in tonality are chords that show a major or minor challenge. On the first, fourth and fifth, the trusnia, corresponding to the lade-mood. That is, major triumphs are built in Major on these steps, and in Minor, respectively, minor. The main sober for each stage have their own names or as they also call functions. So on the first stage there is a tonic, on the fourth subdominant, and on the fifth dominant. Usually abbreviated, they are denoted by T, S and D.

Related tonality

There is such a concept as a tonal relationship. The more difference of signs, the further kinship. Depending on systems, 3 or 4 degrees are distinguished. Consider the most popular system that divides the tonality of 3 degrees of kinship.

First group divided into 3 categories:

1. This is a parallel tonality. The difference in signs is 0. Combines these tones of six common chords. Example: Fa Major and Re Minor.
2. 4 tonality. Between the main and ultimate tonality, the difference is one sign. These are the tonality of subdomiters and dominants, as well as parallel to S and D. Example, for a tonality of a car Major: S - to major, parallel S - la minor, D - D - D - Major parallel.
3. Considered only for major tonalities. The difference of 4 signs is a harmonic subdominant. Example for C-DUR - Harmonic subdominant is a F Minor.

Second group Rodance is divided into 2 subgroups:

1. 4 tonality. Difference in two key signs. Find these tones easily from the main they are located for a large second above and below + parallel found. Example: The main tonality is a major. Above and lower for a large second or tone of the tonality: SI Minor and salt Major. Parallels for found tonalities: This is re Major and Mi Minor.
2. The difference of signs from three to five. Finding the tonality will depend on the major or minor tonality.

• DUR: 6 major and 2 minor: higher and lower on m2, m3 and b3; SS Harmonic, Located on B2 below, as well as the Main Room. Example for G-DUR: AS-DUR, B-DUR, H-DUR, FIS-DUR, E-DUR, ES-DUR and F-Moll and G-Moll.
• Moll: 6 minor and 2 major: for a small second, small termination and B3 above and below; DD for a large second above and the same major.

Third group divided into 2 groups:

1. 3 tonality that do not have any general chord, the difference is 3-5 characters in the opposite direction. For Major, it is necessary to find minors higher on the following intervals, and for Minor Major on WC.1, Uv.4 and Uv.5 below.
2. Titonanta and her parallel. There is Triton from the initial tonic, for C-DUR - FIS-DUR.

Depending on the extent, the harmony distinguishes many modulation methods.

How to change the tonality in backing

It happens that the tonality is either too high for voice, either too low. In order for music beautifully sounded with the help of modern technologies and programs to make a minus one convenient, that is, transpose it on the necessary interval is lower or higher. We will analyze how to change the tonality in therests or compositions. We will work in the Audacity program.

• Open the Audacity program

• Click on the "File" section. Choose "open ..."

• Choose the necessary audio recording
• The combination of Ctrl + A keys highlight the entire track.
• Click on the section "Effects", choose "Change of tone height ..."

• Expose the number of halftone: with increasing the value above zero, the value is less than zero. You can choose a specific tonality.

• We maintain the result. Open the File section, select "Export Audio ..."

We hope that the page was useful for reading and now you know what is a tonality, we understand their views and can transpose a music work using a special program. Read other articles on musical literacy, and improve your own knowledge.

Semantic (Lado-Fonic) Unity

Multi-level units of classical harmony.

A.L.Ostrovsky. Methodology of the theory of music and solfeggio. L., 1970. p. 46-49.

N.L.Vashkevich. Expressive tonalities. Minor. (Manuscript) Tver, 1996.

The choice of tonality by the composer is the case is not accidental. To a large extent, it is associated with its expressive opportunities. Individual colorful properties of tonality are a fact. They are not always in unity with an emotional color of the musical work, however, are always present in its colorful-expressive subtext, as an emotional background.

Analyzing the figurative content of a large circle of major works, Belgian musicologist and composer Francois Auguste Gevart (1828-1908) presented his version of expressiveness. major tonalitiesdetecting a specific system of interaction. "Paint peculiar to a major ignition - he writes, - takes shades light and shiny in colors with dies, strict and dark in tones with bembols ...", essentially repeating the conclusion R. Shuman, made half a century earlier. And further. "Before - Salt - Relay Major, etc. - All lighter and lighter. Up - F - C-BImol - Mi-Bf Major, etc. - Everything is gloomy and gloomy. " "As soon as we come to the tone of Fa-Diez Major (6 digesters), climbing stops. The brilliance of the tones with Diemes, brought to stiffness, is suddenly erased and, by inconspicuous transfusion, the shades are identified with the gloomy paint tone of the salt-bembol major (6 bemoley), "which creates a closed circle:

To major

Solid, decisive

F Major Salt Major

Courageous Happy

Si-Fleol Major Re Major

Proud Brilliant

Mi-Bembol Major La Major

Majestic Glad

La-Flat Major Major

Noble Shining

Re-Flat Major C Major

Important mighty

Salu-Fleol Major Fa-Diez Major

Gloomy Hard

The conclusions of Gevarta are not inherent. And this is understandable; In one word, reflect emotional flavor of the tonality, inherent in her palette of shades, its distinctive nuance is impossible.

In addition, it is necessary to take into account the individual "hearing" of the tonality. For example, a re-fambling major in Tchaikovsky can be called confidently the tonality of love. This is the romance tonality "No, only the one who knew", the scene of letters Tatiana, p.p. (Love Topics) in Romeo and Juliet, and more ..

And however, "despite some naivety" (as Ostrovsky noted), for us, the characteristics of the tonalities of GEVART - value. Other sources we do not have.

In this regard, the list of names of the theoretics of the Tonal Characteristic, "whose works were Beethoven": Mattezon, L. Mitzler, Klinberger, Y.G. Zulzer, A. Khr.kh, Y.Y. Background Haynez, Khr.F. D.Shubart (reports Romain Rollan in the book. "Recent quartets of Beethoven." M., 1976, p.225). "The problem of the characteristics of the tonalities occupied Beethoven to the end of life."

The work of Gevarta "Guide to the instrumentation", where material is placed on the tonalities, translated into Russian P. Tchaikovsky. The interest of the Great Composer is talking about much.

"Expressiveness minor tonalities- he wrote Gevart, is less diverse, dark and not so defined. " Are the conclusions of Gevart? Doubt causes the fact that among the tonsities that have undoubtedly specific and bright emotional characteristics, minor, no less than major (enough to name Si Minor, to Minor, pre-Dieze Minor). Answer this question was the task of the joint coursework students of the i-th year T.O. Tver Muz.Thechilsi (1977-78 uch. Year) Bynkova Inna (Kalyazin), Dobryn Marina (Old Toropa), Zaitseva Tatyana (Konakovo), Corbitten Elena (Wedge), Shcherbakova Svetlana and Yakovleva Natalia (Vyshny Volochek). The operation was analyzed by the play of instrumental cycles, involving all 24 of the quinting circle, where the accident rate of the tone is minimal:

Bach Preludes and Fugues of HTK, I Tom

Chopin. Preludes. Op.28,

Chopin. Etudes. Op.10, 25,

Prokofiev. Peter's fleet. Op.22,

Shostakovich. 24 preludes and fugues. Op.87,

Shchedrin.24 Preludes and Fugues.

In our exchange rate work, the analysis was limited only to the first exhibited theme on a predetermined plan. All conclusions on emotionally-shaped content needed to confirm the analysis of the means of expressiveness, intonation features of the melody, the presence of visual moments in the music language. The appeal for help to the music general literature was mandatory.

The final stage of our analytical work was the statistical method of multi-stage generalization of all the results of the analysis of the pies of a specific tonality, the method of elementary arithmetic counting of repeating words of epithets and thereby detecting the dominant emotional characteristic of the tonality. We understand that it is not easy to describe the words of a complex-colorful flavor of the tonality at all, the more in a word, and therefore there were a lot of difficulties. Expressive qualities of individual tonalities (in Minor, Mi, to, Fa, C, Fa res) were found confident in others - with less unambiguous (re minor, cm-bemole, salt-diez).

Uncertainty originated with Re-Diez Minor. Its characteristic is conditional. Of the 8 analyzed works in a tonality with 6 signs in 7 composers, Mi-Bell Minor preferred. Re-Diez Minor, "very rare and inconvenient for execution" (according to the observation of J. Milstein), we had only one work (BACH HTC, FUG XIII), which did not give it the opportunity to give it a characteristic. As an exception in our methods, we offered to take advantage of the description of the re-diez of Minor I.Milstein as high tone . In this multi-valued definition and inconvenience for execution, psychological and physiological intensity of intonation for stringists and vocalists, and something elevated, and something tough.

Our conclusion: no doubt, minor tonality is like majority with specific individual expressive qualities.

In the example of Gevart, we offer the following, in our opinion an acceptable option for single characteristics of minor:

la Minor - Easy

minor - light

si minor - mournful

Fa-Dieze Minor - Excited

Up-Diez Minor - Elegy

Sol-Diez Minor -Napricated

Re-Diez - "High Tonalness"

Mi-B Flat Minor - Stern

c-bf

F Minor - sad

to minor - pathetic

Sol Minor - poetic

re minor - courageous

Having received an affirmative response to the first question (they have minor tonality with individual expressive qualities), we began to decide the second: is there any (like major tonalities) the system of interaction of expressive characteristics from minor tonalities?, And if there is it?

We will remind, by such a system in major tonalities, Gevarta was the location of them according to the quint circle, which detecting the natural enlightenment of their coloring when moving towards dieons and blackouts - to the bembols. Refusing to Minor in individual emotional-colorful properties, Gevart, naturally, could not see in minor tones any relationship of relationships, considering only the gradualness of emotional transitions: "Their expressive character does not represent, as in major colors, such a right gradiation" (5 , p.48).

Challenging Gevarta in the first, try to find a different answer and other.

In search of the system, various options for minor tonalities were trifted, comparing them with major, relationships with other elements of the musical system, namely - location

according to the quint circle (like a major),

for other intervals,

by chromatic range;

location by emotional characteristics (identity, contrast, gradually emotional transitions);

comparisons with parallel major tonalities,

with the same name

analysis of the flavor of the tonalities, based on the sound of their position on the steps of the skewness relative to the sound before.

Six exchange work - six opinions. Of all the two found laws found in the works of the Dobryn Marina and Bynkova Inna were promising.

First regularity.

Expressiveness of minor tonalities in direct dependence on the same name of major tonalities. Minor is softened, darkened (like the light and shadow) version of the same-name major.

Minor is the same as Major, "But only pale and foggy, like everyone in general" Minor "in relation to the" Major "to the same name.N. Rimsky Korsakov (SM.31).

To major solid, decisive

minor Patestical,

Si major mighty

minor mourner

C-bf Major proud

minor Sumaro

A major joyful

minor light,

Major Major Salt

minor poetic,

Fa-Diez Major Hard

minor excited

Major courageous

minor sad,

Mi major shining

minor light,

Mi-B Flat Major Majestic

minor is harsh

Re major brilliant (victory)

minor courageous.

In most comparisons, Major Minor, the relationship is obvious, but in some pairs not quite. For example, re major and minor (brilliant and courageous), Fa Major and Minor (courageous and sad). The reason may be in the inaccuracies of verbal characteristics of tonalities. Taking our approximation, it is impossible to completely rely on the characteristics, data and hevart. For example, the tonality of re Major Tchaikovsky characterized as solemn (5. p. 50). Such amendments almost exclude contradictions.

We do not compare a la-bf Major and Sol-Diez Minor, a re-bf Major and Diez Minor, because these pairs of the tonalities are variemented. Contradictions in their emotional characteristics are logical.

Second pattern.

The search for short verbal characteristics of the tonalities could not do not remind something related to the "mental effects" of Sarah Glover and John Kervena.

Recall, this is the name of the method (England.XIX century) Personification of the Lada steps, i.e. The verbal, gesturing (and at the same time and muscular, and spatial) characteristics of them, which is designed to provide a high effect ("mental effect"!) Wheeling rising hearing in a relative solminization system.

With relative solminization, students MU get acquainted from the I-th course and on the theory of music (mental effects - an indispensable possibility of explaining the theme "Warm and Fonic Functions of the Lada Steps"), and on Solfeggio from the first lessons. (About the relative solminization mentioned on page 8)

Let's compare the characteristics of the steps of Sarah Glover with our pairs of the same name, placing them on white-magglavichny to major:

major Lada B.

Minor "Mental Effects" Major

sI Minor - VII, C - Piercing, C Major -

Mournful sensitive - mighty

la Minor - VI, La - sad, in a major major -

Light plaintive - joyful

sol Minor - V, Sol - Majestic - Salt Major -

Poetic, bright - cheerful

f Minor V, Fa - Sad, Fa Major -

Sad inspiring fear - courageous

mi Minor - III, Mi - Smooth, Mi Major -

Light calm - shining

re Minor - II, Re - Mondering, Re Major -

Manly Full Hope - Brilliant (Victory)

to Minor - I, to - Durable, to Major -

Potetic decisive - solid, decisive

In most horizontals, the relationship of emotional characteristics (for some exceptions) is obvious.

Does not convince comparison of the IV stage and the Fa Major, the VI-th. and la major. But, we note, it is these steps (IV-I and VI-I) in the capacity as "heard Kerven", according to P. Veis (2, p.94), less convincing. (However, the authors of the system themselves "do not consider data to be the characteristics of the only possible" (p.94)).

But the problem arises. In the relative solminization of syllables to, re, mi, etc. - These are not specific sounds with a fixed frequency, as in absolute solumization, and the name of the Lada steps: before (durable, decisive) is the 1st stage and in F-DUR, and DES-DUR, and in C-DUR. Do we have the right to relate the tonality of the quint circle with steps only to the major? Can a major, not any other tonality, determine their expressive qualities? We want my opinion on this occasion to express the words I. Milstein. Having in view of the value to the major in the HTC Baha, he writes that this "tonality as an organizing center, such as an unshakable and solid stronghold, extremely clear in its simplicity. Just like all the colors of the spectrum collected together give colorless white color, and C-DURA tonality, combining elements of other tonalities, to a certain extent it has a neutrallessless-light character "(4, p.33-34) . Roman Corsakov even more specifically: C DUR is a white tonality (see below, p. 30).

The expressiveness of the tonalities in direct connection with the colorful and phonic qualities of the steps to the major.

Major has a center of a tonal organization in classical music, where the stage and tonality form an inseparable mutually definitive Lado-Fonic unity.

"The fact that C-dur is felt like a center and the basis, as if confirming our conclusions Ernst. Kurt in "Romantic Harmony" (3, p.280) is a consequence of two reasons. First, the C-DUR sphere is in the historical meaning of the birthplace and the beginning of further harmonic development into the dieting and the bramoles. (...) C-DUR at all times means - and it is much more substantial than historical development, the basis and central source point of the earliest music. This provision is strengthened and determines not only the nature of the C-DUR itself, but at the same time, the character of all other tonalities. E-DUR, for example, perceived depending on how it originally stands out on the background of C-DUR. Therefore, the absolute nature of the tonality determined by the attitude towards C-DUR is due to the nature of music, but historical and pedagogical sources. "

Seven steps to Major are only seven pairs of the same names closest to the major tonalities. And what about the rest of the "black" diezel and chemical tonalties? What is their expressive nature?

The path is already there. Again to the major, to the steps of it, but now to an allyed. Alteration has a wide sphere of expressive opportunities. With the general tension of the sound, the alteration forms two intonational contrast spheres: an increase in alteration (ascending input) is an area of \u200b\u200bemotional expressive intonations, bright hard paints; Lowing (downward input) is an area of \u200b\u200bemotional-shadow intonations, darkened paints. Expression of the color of the tonalities on an alterated steps and the cause of the emotional polarity of the diezen and the bomults in the same altitude position of them

tonic on steps to major, but no longer natural, and an alterated.

Minor Assistance Alterated Major

si-Fleol Minor - SI-B Flat Major -

Gloomy - proud

La La-Flat Major -

Noble

sol-Diez Minor - Salt

Tense

Salt-Bar Major Salt -

Gloomy

fa-Diez Minor - Fa-Diez Major -

Excited - hard

mi-B Flat Minor Mi-B Flat Major -

Stern - Majestic

re-Diez Minor - Re

High tone.

diez Minor - before

Elegiac

In these comparisons, it does not justify, at first glance, only up-Diez Minor. In his flavor (in relation to Minourire, pathetic) in accordance with the promotion alteration should be expected to be an emotional clarification. However, I will notify, in our preliminary analytical conclusions, the Diez Minor was characterized as an elevated elegic. Flaving to Diez Minora is the sound of the 1st part of the Moon Sonatas Beethoven, Borodin's romance "for the coast of fragile ...". These amendments restore equilibrium.

Such our conclusions.

Coloring the tonalities on chromatic steps to the major in direct dependence on the type of alteration, which increases (enhancing expression, brightness, rigidity) or lowering (darkening, thickening of paints).

On this exchange work of our students ended. But its final material about expressiveness of the tonalities completely unexpectedly provided the opportunity at the new level to consider semantic Trestvoy (major and minor) and Tonya (Essentially, separately taken tones in a chromatic sound).

Tonality, sober, tone -

Semantic (Lado-Fonic) Unity

Our conclusion (about direct link expressiveness of tonalities with colorful and phonic qualities of steps to the major) discovered the unity of two units - tonality, tone, By combining substantially two independent systems: to major (its natural and alterated steps) and the system of the kvintovy circle. In our association, another link lacks quite obviously - chord.

Related phenomenon (but not the same thing) noted S.S. Grigoriev in his study "Theoretical Current of Harmony" (M., 1981). Tone, chord, tonality Presented by Grigoriev as three multi-level units of classical harmony, which are carriers of lade and fondic functions (p.164-168). In the Triad Grigoriev, these "units of classical harmony" are functionally independent of each other; But our triad is a qualitatively different phenomenon, it is elementary, we have the units of harmony - composite elements of the Lado-tonality: the tone is the I-I stage of Lada, the chord is a tonic sober.

We will try to find objective lyase-phonic characteristics accords (Major and Minor sober as tonic).

One of the few sources where the information we need, bright and accurate lyase-phonic characteristics of chords (acute problem in the teaching of harmony and solfeggio in the school) is the work mentioned above S. Grigoriev. We use the research material. Do our characteristics fit the tone-consonant tone in the Lado-Fonic Triad?

Diatonic to major:

Tonic (tonic sober) - center of attraction, peace, balance (2, p.131-132); "The logical conclusion from the preceding defunctional movementthe ultimate goal and resolution of its contradictions "(p.142). The reference, stability, strength, hardness - general characteristics and tonic sober, and tonality to major Gevarta, and the 1st stage of Major Kervena.

Dominant - Chord approval of tonic as a support, center of lade. "Dominanta is the centripetal force inside the lade-functional system" (p.138), "concentration of lade-functional speakers." "Bright, Majestic" (Kerven)V.- I step is a direct characteristic of the chord dwith his sound majority, with an active quart concrete in the bass when resolving in T and ascending half-removal intonation of the input tone, intonation of approval, generalizations, creation.

The epithet of Gevarta "Cheerful" (Salt Major) clearly does not reach the color of D5 / 3. But in relation to the tonality, agree with it is difficult: it is too rustled for "Sol Major of Light, Joyful, Victory" (N. Eskin. Luz. Life No. 8, 1994, p.23).

Subdominant, according to Riemann, - Chord conflict. In certain metro farmers, S challenges the function of provisions (2, p.138) in tonic. "S-centrifugal force inside the lad-functional system." In counterweight "effective" d, S. - Accord "Counteractions" (p.139), independent, proud chord. Gevarta Fa Major - courageous. According to the characterization of P.Mironositsky (follower Kervena, the author of the textbook "Sheet-letters", see about it 1, p.103-104) IV-I step - "no matter how heavy sound."

CharacteristicIV- I step in "mental effects", - "Sad, inspiring fear"(According to P.Vesis (SM.1, from 94), is not a convincing definition), - does not give the expected parallels with the flavor of the Fa Major. But these are accurate sound epithets. minor harmonic subdominant and its projections - fa Minor sad.

TrvokviaVI-y I.IIIStages - Mediants, - middle, intermediate both by sound composition from T to S and D, and functionally: VI-I - softS. (Lightweight Minor), sad, miserableVI-I "mental effects"; III-I - soft D (light minor, smooth, calmIII- I step. Side-talking opposite in the lade tilt to tonic. "Romantic Tantsness", "Gentle and Transparent Paints Mediant", "Reflected Light", "Clean Paints of Major or Minor Sober" (2, p.147-148) - these thin figurative characteristics Only a part of addressed to chords III and VI -y steps in the "theoretical course of harmony" S.S. Grigoriev.

TriadII.Stagenot having common sounds with tonic (as opposed to the "soft" mediant VI-th) - as if "Hard" subdominant, active and efficient chordin s group. Harmony II.-y steps that prompts full hopes (by Kerven) - this "Mougin" re minor.

"Brilliant" re Major is a direct analogy of major harmony onII.Stages,analogy chordDD. That is how it sounds in Cadans DD - D7 - T, strengthening it, forming as far as the authentic turnover is twice.

Majoro-minor of the same name:

Simonyna Minor tonic -softened shadow variant of major sober. Panthetic to Minor.

Natural (minor)d. Minor of the same name is dominant, deprived of the "primary sign" (input tone) and losing sharpness to 5/3, losing tensions, brightness and solemnity of major sober, leaving only enlightenment, softness, poetry. Poetic salt Minor!

Medians of the same name to Minor. MajorVI-I (VI - Low), - solemn chord softened by a harsh colors of subdominant sound. La Flat Major Noble!TriadIIIStep (III - Low) - a major chord with a quinting caster to Minor. Mi-Flat Major Majestic!

VII- I'm natural (Minor of the same name) - Major sober with the colors of the Archaici of the harsh natural minor (C-bf Major proud!), The basis of the Frigian turnover in the bass - the descending movement with the explicit semantics of the tragic

Neapolitan Accord (by nature may be the second stage of the Frigian Lada of the same name, may be inventory S), - elevated harmony with a harsh Frigian flavor. Re-Flat Major Gevarta has an important. For Russian composers this the tonality of serious tone and deep feelings.

To major parallel association (to Major La Minor):

Shining Mijor - Direct illustration IIImajor major (garmD. Parallel Minor, - bright, majestic).

To major-minor in the chromatic systemSubmitted by side d (for example, a dur, h dur), side s (Hmoll, Bmoll), etc. and everywhere we will find convincing sound-colorful parallels.

This review gives us the right to make the next conclusions.

Each row of our triads, each sound level demonstrates the unity of interdependent lado-functional and semantic qualities of the elements of the triad tone, sober, tonality.

Each sober (major or minor), every single sound (as tonic) has individual colorful properties. Sober, the tone is carriers of the color of their tonality and are able to maintain it (relatively speaking) in any context of the chromatic system.

This is confirmed by the fact that two elements of our triad - consonance and tonality - in the theory of music are often elementary identifies. For Kurt, for example, chord and tonality were sometimes synonymous. "The absolute action of the chord, he writes, is determined by the originality of character tonalnessWith the most distinct expression in the titric chord representing it "(3, p.280). Analyzing the harmonic fabric, he often calls a tonality, hanging it inherent in her sound flavor, and what is important, these harmonically sound paints are specific and independent of the context, from the defafectional conditions and the main tonality of the work. For example, I read about a major in Loengrine: "The flowing enlightenness of the tonality A DUR, and in particular, its tonic sober, acquires a leitmotive value in the music of the work ..." (3, p.95); Or: "... A light chord E DUR appears, and then chord with more matte, twilight color - AS DUR. Consonance act as symbols of clarity and soft dreaminess ... "(3, p.262). Indeed, the tonality represented by even its tonic is a steady musical paint. Tonic sober, for example, Fa Major "courageous" will save the color of its tonality in a different context: and being D5/3 to the SI-B Flat Major, and s in to Major, and the III is a major in a re-fambra major, and N5 / 3 In Mi Major.

On the other hand, the shades of his color can not change. GEVART wrote about this: "The psychological impression done on us tone is not absolutely; It is subject to laws similar to those that exist in the paints. How white color seems white after black, so exactly the dizard tone salt Major will be dim after Mi Major or Si Major "(15, p.48)

Of course, the fondic unity of consonant-tonality is most convincingly and clearly in to the major, the initial initial tonality that has taken upon itself the mission of consolidation for other tonsalities of a certain coloristic person. It is convincingly in close to to the major tonalities. However, with removal by 4 or more signs, phonic ratios, harmonic paints are becoming more complex. And however, unity is not violated. In the shining major major, for example, bright D5 / 3 is a mighty Si Major, solid proud s (as we characterized it) - Joyful L major, light minor VI-I - Elegy to dieze Minor, active II-I step - agitated Fa-Diez Minor, III-I am a stressful Sol-Dieze Minor. This is the palette of a major with a gamut of only this tonality of characteristic hard unique colors of complex shades. Simple tonality - simple pure paints (3, p.283), distant multi-rigid tonality - complex paints, unusual shades. According to Shuman, "less complex feelings require for their expression and simpler tonalities; More complex are better stacked in unusual, with which the rumor is less common. "(6, p. 26).

On the Fonic Personification Tonein the "Theoretical course of harmony" S.S. Grigoriev is only a few words: "The phonic functions of a separate tone are more uncertain and ephemeral than its lade functions" (2, p.167). As far as it is true, to doubt us forcing the presence of specific emotional characteristics of steps in "mental effects". But the color of the tone is much more complicated, richer. Triad, - tone, chord, tonality is a system based on the unity of interdependent Lado-functional and semantic qualities. Lado-Fonic Unity tone-Accord-Tonality- self-correcting system . In each element, the triads are explicitly or potentially present the colorful properties of all three. "The smallest unit of a ladhotonal organization - tone -" absorbed "(chord), -we quote Stepan Stepanovich Grigoriev - and the greatest - tonality - ultimately turns out to be an integral projection of the most important properties of consonance "(2, p.164).

Colorful sound palette Mi., for example, is even and calm (by Kerven) the sound of the III-th stage to the major; "Clean", "delicate and transparent paints" of meditative sober, special light-shadow "romantic" coloring of the sober terrestrial ratio in Lada. In the color palette of the sound of the Pereliva of the paints of Mijora Minor, - from bright to shining

12 sounds of chromatic gamma - 12 unique colorful inflorescences. AND each of the 12 sounds (even taken separately, outside the context, a single sound) is a significant element of the semantic dictionary.

"Favorite sound of romantics, - read Kurt, is FIS, as it stands in the zenith of the circle of the tonalities, whose backs are towers over C DUR. As a result, romance is particularly often used by chord D dur, in which FIS as a terrent tone has the greatest voltage force and is highlighted in an extraordinary brightness. (...)

The sounds of CIS and H also attract an excited sound imagination of romantics with their large tonal bundle from the middle - C DUR. The same applies to the corresponding chords. So in the "Rosevomliebesgarten" PFCner sound FIS with its intensive, characteristic of him one color acquires even a leitmotive value (the expansion of spring) "(3, p.174).

Examples are closer to us.

Sound salt, cheerful, poetic, ringing in the upper vice in the songwritten theme of the refregnation of the final of the 21st Sonatas Beethoven "Aurora" - a bright colorful touch in the overall picture of the life-affirming sound, the poetry of the morning of life (Aurora Goddess Morning Dawn).

In Borodin in the romance "Fake note" pedal in medium votes (the same "West key") - the sound of the Fa, the sound of courageous grief, sadness, - psychological subtext of drama, bitterness, offense, offended feelings.

In the romance of Tchaikovsky "Night" on the words of Ratgauz, the same sound of the Fa in the tonic authority (deaf dimensional strikes) is no longer just sadness. This is a sound, "inspiring fear", it is a Nabath, - the foreman of the tragedy, death.

The tragic aspect of the Vi-th Symphony of Tchaikovsky becomes absolute in the code of the final. Its sound is a mournful intermittent breath of the chorated against the background of an almost naturalistic depicted rhythm of the death beat of the heart. And all this in the sorrowful tragic tone of SO sound.

About Kwintov Kroge

The contrast of the phoniasis of the tonalities (as well as their lade functions) is laid in the difference in the quint relationship of their tonic: Kwint Up - dominant brightness, quint down - the masculinity of the plaid sound. I expressed this idea R. Shuman, divided it to EN KORT ("Extraly intensive enlightenment in the transition to high diezen tones, the opposite internal dynamic process during the descent to the chemical tones" (3, p.280)), tried to practically realize this idea F. GEVART. "The crumpled quint circle - wrote Schuman, - gives the best idea of \u200b\u200bincreasing and fall: the so-called Triton, the middle of the octave, that is, FIS is, as it were, the highest point, the climax, from which - through the threaded tonality - there is a fall again to the idle-minded C-DUR "(6, p.299).

However, there is actually a closure, "invisible overflow," the words of Gevarta, - "identifying" the paints of FIS and GES DUR (5, p.48) is not and cannot be. The concept of "circle" in relation to the tonalities remains conditional. FIS and GES DUR - Different Tonality.

For vocalists, for example, the chemical tonality is psychologically less difficult than the dieting, tough by flavor and requiring voltages in sound recovery. In Strings (violinists), the difference in the sound of these tonalities is due to the applicature (psycho-physiological factors), "close", "compressed", that is, with an approach of hand to the threshold of the grid in the chemical, and, on the contrary, with "stretching" in the diezer .

There is no major tone of Gevarta (contrary to his words) and that "right graduality" in the change in the paints. (Does not fit into this series of "cheerful" salt Major, "brilliant" re and others). Moreover, it is not, gradually in the epithets, and in our minor tonalities, although the dependence of the flavor of the minor from the same name Major naturally suggests it (!!! too much a circle of analyzed cyclic works; besides there was no and could not be in students The I-th year of the proper analysis skills for such work).

Two main reasons for unconvincing the results of the work of GEVART (and ours too).

Firstly. Characterized by the words thin, barely caught emotionally colorful flavor of the tonality is very difficult, and in one word is generally impossible

Secondly. We missed the tonal symbolism factor in the formation of expressive qualities of the tonality (Kurt 3, p.281; in Grigoriev 2, p.337-339). Probably, cases of discrepancies of emotional characteristics with intended due to T-D and T-S defunctional ratios, the facts of violation of the gradual increase and the decline in emotional expression are due to the tone symbolism. It is a consequence of preference by composers to individual tonsalities to express certain emotionally-shaped situations, in connection with which a stable semantics was entrenched for some tonalities. We are talking, for example, about SI Minor, which started with the Bach (Mass Hmoll) acquired the value of the sorrowful, tragic; About the victorious re Major, speaking at the same time in the figurative contrast to Si Minor, and others.

A certain value here may have a factor of convenience of individual tonalities for tools - winds, strings. For a violin, for example, this is the tonality of open strings: G, D, A, E. They give a timber sound suction due to resonation of open strings, but the main thing is the convenience of the game double notes and chords. Perhaps, not without these reasons, the discharge of the tonality of serious courageous sound, which is elected Bach for the famous Chacon from the second partitions for the famous Solo, being elected.

We complete our narration with the beautiful words expressed by Henry Negauz, in words invariably supporting us throughout work on the topic:

"It seems to me that the tonality in which those or other works are written are far from random, that they are historically justified, naturally developed, obeying hidden aesthetic laws, acquired their symbolism, their meaning, expression, their meaning, their own orientation.

(On the art of the piano game. M., 1961.c.220)

Mi Minor -minorlad, in which tonic is the sound "mi" (PLA, parallel salt of the maghor, with one diezer in the key).

Sounds of which consists of Minor:

• Mi, pha deyz, salt, la, si, up, re, mi.

Keymark in the tonality of MINOR:

• Fa resist, written on the fifth line of the note.

Gamma Mi Minor and her steps up:

• Mi - I, phase - II, salt - III, la - IV, C - V, to - Vi, Re -Vii, Mi - I.

Gamma Mi Minor and her steps down:

• Mi -i, re -vii, to - Vi, C - V, la - IV, salt - III, Fa residence - II, Mi - I.

Tonic sober in Minor:

• Mi -i, salt - III, SI - V.

25. The tonality of re minor

Re minor -minorlad, in which tonic is the sound "re" (paws, parallel in the Major, with one bemolem in the veneer).

The sounds of which are re minor:

• Re, mi, fa, salt, la, c-bemol, up

Keymark in the tonality of re minor:

• SI-BIMOL, written on the third line of the Mot.

Gamma Re Minor and her steps up:

• Re - I, Mi - II, F - III, Salt - IV, La - V, Si-Bembol - VI, to -vii, Re - I.

Gamma Re Minor and her steps down:

• Re -i, up to -vii, c-bembol - Vi, la - V, salt - IV, F - III, MI - II, RE - I.

Tonic sober in re minora:

• Re -i, fa - III, la - V.

26. Size 3/4.

Size 3/4 -this is a threedole beat, in which each share lasts a quarter. There are two weaknesses for each strong fraction.

Conducting scheme for 3/4: down - to the side - up.

27. Size 3/8.

Size 3/8 -this is a three-dollar tact in which each share lasts one eighth. There are two weaknesses for each strong fraction.

Conducting scheme for 3/8: down - to the side - up.

28. UATTA

Uctat -this is an incomplete clock from which the melody begins. Melodies in which there are applications always begin with a weak share of the tact.

Uctats are a quarter, the eighth, the two eighth.

29. D Major Tonality

D Major - A major way, in which the tonic is the sound of re (PLA with two dees in the vein).

The sounds from which re-major is: re, mi, phase, salt, la, si, pre-diezer, re.

Key signs in the tronality of re Major:

• Fa reshey, pre-diez.

Gamma D Major and her steps:

• Re -i, mi - II, phase - III, salt - IV, la - V, SI-VI, pre-diez - VII, (RE) - I.

Tonic sober in P. Majer:

• Re-I, Fa-Diez - III, La - V.

Introductory sounds in P. Major:

• Pre-Diez - VII, MI - II.

30. Liga

If the league (arc) is standing above or under two adjacent notes of the same height, then it binds these notes into one continuously stretching sound, increasing its duration.

If the League is above notes of different heights, it means the need for a connected, or smooth, their execution, called legato.

31. Quarter with a twilight point

The point near the note increases its duration half.

32. Farmata

Fermat -this is a sign that shows that this sound must be kept somewhat longer than what is written. Farmat sign is denoted as a league over or under a point.

33. Intervals

Interval The combination of two sounds is called.

If the sounds of the interval are taken separately (one by one), the interval is called melodic. If the sounds of the interval are taken at the same time, the interval is called harmonic. The main names of the intervals are eight. Each interval contains a certain number of steps.

Interval names:

Melodic sound intervals up to up:

• Up to (Prima), pre-re (second), up to-mi, pre-fo (quart), pre-salt (quint), pre-la (sext), up-s (septim), up to -Od (octave).

Melodic intervals from sound to down:

• Up to (Prima), up-s (second), pre-la (TERRATION), pre-salt (quart), pre-Fa (Quint), up to-mi (sext), pre-re (septim), to -Od (octave).

Harmonic intervals from sound to the same, only their notes sound at the same time.

34. The main steps of Lada and their names

The main steps of Lada are the first stage (tonic), the fifth stage (dominant) and the fourth stage (subdominant).

The main steps in the tonality to major:

• tonic - to (i), Dominant - Salt (V), subdominant - Fa (IV).

The main steps in the tonality of La Minor:

• tonic - la (i), dominant - mi (V), subdominant - RE (IV).

35. Sustainable and unstable Lada sounds

Sustainable(reference) sounds- I, III and V steps.

Unstable sounds - VII, II, IV and VI steps.

Sustainable sounds in to major:

• Du-Mi-salt.

The most stable sound in to the major:

Unstable sounds in Major:

• Si-Re-Fa la.

Surroundings of stable sounds with unstable sounds in to major:

• Si-up, re-Mi-Fa, Fa-Sol-la.

Rising grade VII step on the column up:

• Si-to.

Downward grade IV and VI steps:

• Fa-mi, la-salt.

Double stage II:

• Re-, re-mi.

36. Size 4/4

Size 4/4. - This is a four-dollar tact in which each share lasts a quarter. Consists of two simple clocks of 2/4.

4/4 size designation:

• 4/4 or C.

Strong and weak stakes in Tact on 4/4:

• the first is strong;
• the second is weak;
• the third is relatively strong;
• the fourth is weak.

4/4 conducting scheme:

• down - to yourself - to the side - up.

37. Three types of minor Lada

Minor Radium is three types: natural, harmonic, melodic.

Natural Minor - Minor, in which the steps are not changed.

Harmonic Minor. - Minor with an increased VII step.

Melodic minor - Minor with elevated VI and VII steps (in the upstream). In the descending order, the gamma melodic minor is performed as natural.

Gamma La Minor Natural:

• La - Si - Do - Re - Fa - Sol.

Gamma La Minor Harmonic:

• La - Si - to - Re - Fa - Sol-Dieza.

Gamma la minor melodic:

• La - Si - up to - Re - Fa-Diez - Sol-Dieza.

38. The tonality of C Minor

Si minor -minorlad, in which tonic is the sound "SI" (PLA, parallel to the magazine, with two dees in the vein).

The sounds from which the SI minor is: si, pre-dieza, re, mi, phase, salt, la, si.

Key signs in the tonality of C Minor:

• Fa resist, recorded on the fifth line of the notch mill;
• Diez, written between the third and fourth lines.

Gamma Si Minor Natural:

• C - I, pre-diez - II, re - III, Mi - IV, phase - V, salt - VI, La -vii, C - I.

Gamma SI Minor Harmonic:

• C - I, pre-dieza - II, re - III, Mi - IV, Fa resoz - V, salt - VI, La Diez -vii, C - I.

Gamma C Minor Melodic:

• C - I, pre-diez - II, Re - III, Mi - IV, Fa resheth - V, Sol-Diez - VI, La Diez -vii, C - I.

Tonic sober in the SI Minor:

• Si -i, Re - III, Fa residence - V.

Unstable sounds with a resolution of harmonic SI Minor:

• La diges - in si, pre-dieza - in si, pre-dieza - in re, mi - in re, salt - in Fa-Diez.

39. Big and Small Seconds

Second- This is the interval that contains two steps. Second called largeif it is a whole tone. Second called malayaif it is half a stone. A large second is denoted by b.2, the small second is indicated by M.2.

For example:

• A large second from sound to up - up to-re. Small second from sound to up - pre-re-bf.
• A large second from sound to down - up-c-bembre. Small second from sound to down - up to-si.