Key signs in the trials of the Fa Major. Why quint and why a circle? Major gamas with two signs with the key
The first note of the first stage is the defining tonic. If you take a tonality to major, tonic will not be a note before. For clarity, it is possible to consider an example of a tonality. First stage - Solla, move from the notch salt in the designated order:
Salai-la - tone
La-si - tone
Si-up - halftone
Before-re-tone
Re-mi - tone
Mi-Fa # - Tone
Fa # - Salt - Haltone
So, you got a tonality of a major salt with one sign (diezer - #) with the key with the following sound: Solon - Si - up to - Re - Fa # - salt.
If you begin to build a tonality in this way, moving around the quints up, you will get another 6 tonalities:
1. D Major - 2 #
2. La Major - 3 #
3. Mi Major - 4 #
4. C Major - 5 #
5. Fa residence major - 6 #
6. DO- - 7 #
However, to determine the number of signs with the key in one or another tonality, it is not necessary to constantly build a source in accordance with the rule of seven steps, it is enough to remember the order of digesters that never change:
1. Fa #
2. up to #
3. Salt #
4. Re #
5. La #
6. MI #
7. SI #
So, if you take a tonality with three dees, it will be Fa #, up to # and salt #. If with two, then Fa # and up to #. Another important rule is that the tonic in the major Lada is considered as early as the notch after the last Dieza in the tonality. If you have three Diees - Fa #, up to # and salt #, then tonic will be a note, but a tonality, respectively,. Thus, when you need to determine the number of signs with a key of any tonality, it suffices to take the previous one in descending order in octave the dieza note and determine its sequence number in a row of digesters. For example, you are asked to determine the number of digesters in the tonality of Major. Previous note - Re #. In a number of dishs, it ranks fourth, it means that there are characters at the key four - re #, salt #, to # and Fa #.
Minor hand
If you have already figured out key signs of major tonalities, then with minor to figure it out much easier. There are parallel tonality. These are major and minor tonality with the same key signs. The distance between them is one small termination down from the tonic of minor tonality. In other words, to determine a parallel minor tonality, you need to fall from major tonic on three halftone down.Matching conformity between major and minor tonalities is not necessary, over time it is in itself perhaps in your head. But to learn the order of bemoley to determine the signs and their quantity with the key.
So, the order of bemoley looks like this:
1. S.
2. MI
3. LA.
4. REE
5. Sol
6. BE
7. F.
Bemoli are considered in the same way as a method of counting in major tonsalities, only the tonic rule is already another. A major tonic is not the following note, but the penultimate bembre of the resultant in the tonality. That is, if you take a tonality with four bembols (si, mi, la, re), then the third one (he is the penultimate) - la - and will be tonic. Thus, you get the tonality of the La Barol Major. Using the Rule of "Three Bemoley", get the FA minor tonic and the tronality of the F minor.
How to remember key signs in tonalities
How to remember the tonality and their key signs? Everyone remembered in different ways: Some try to remember the number of signs, others are trying to memorize the names of the tonalities with their key signs, others come up with something else. In fact, everything is much easier and remember you only need two things, the rest will be remembered automatically.
Key signs - what is it?
These are digests and bemps that are recorded on each note line next to the key and operate throughout the work or before their cancellation.
The order of digesters and the order of bemoley
Key signs are not randomly exposed, but in a certain order.
The order of digesters: fa, up, salt, re, la, mi, si.
The order of bemoley - reverse:si, mi, la, re, salt, up. This is how it looks in a note:
In these rows, in both cases, all seven main steps are used, all familiar well: up, re, mi, fa, salt, la, si - Only they are specifically located in a certain sequence. With these two orders, we will work in order to learn how to define key signs in a particular tonality easily and correctly. See again and remember order:
How many tonalities are used in music?
Total 30 tonalities are used in music - 15 major and 15 parallel minor. Parallel tonalities They are called such tones that have the same key characters, therefore, the same sound, but they differ in tonic and their LAD (remind you that tonic and the paw determines the name of the tonality).
Of these 30 tonalities:
2 without signs (it is to major and la minor - they simply remember them);
14 dieting (7 - major tonality and 7 - parallel to them minor tonality);
14 bags (also on 7 major and 7 minor).
Thus, it may take from 0 to 7 key signs (digesters or bemoles) to designate the tone. Remember that in to Major and La Minor there are no signs! Remember the fact that in Du-Dieza Major (and La Dieze Minor) and in the pre-Flat Major (and parallel to the Barleol Minor), respectively, 7 digesters and bemoles.
How to define key signs in tonalities?
To determine the signs in all other tones, we will use the order of digesters or, if necessary, the order of bemoley. We will only navigate in major tonalities, that is, in order to identify key signs of minor tonality, you must first find the major major tonic parallel to it, Which is located on a small policy above the initial minor tonic.
To determine key signs in diezel major tonality, operate according to the rule: the last diezer on the note is below tonic. That is, we simply list all the digesons in order until we do before that on the note below the tonic.
For example, in order to identify key signs in SI Major, we list the dieza in order: Fa, up, salt, re, lands on a la, as for a note below C.
Signs of bramole major tonalities We define as follows: We list the order of bemoles and stop at the next Bemole after called tonic. That is, here is a rule: the latter bemole covers a major tonic (as if protects against wind) (that is, he is next after tonic). To find signs for a bramole minor tonality, you must first determine its parallel major.
Dieting or Bemoli?
The question that naturally may arise with you: "How to find out which of the diezing tonsities, and what are the chemicals"? Most major tones with tonic from the white keys (with the exception of up and the F) are dieting. Bimoline major tonality - those whose tonic make up the order of Bemoles (that is, the Si-Flat Major, Mi-Bf Major, etc.). This question will be considered in the article on the whole system of tonalities, called the Quart-Q Circle.
Qiling circle
Qiling circle (or quarto-quinting circle) - open two-sided sequence of tonalities, reflecting the degree of their kinship. It is clearly depicted in the form of a circle, from where and got its name.
In the sequence, major tonality are located in a pair with their parallel minor. When driving clockwise along the quint circle, the tonic of each subsequent major tonality is from the previous one (up) on the pure quint, and one dishes is added to the key when recording. When moving counterclockwise, the interval (ascending) is pure quart, and bempolines are added to the record.
Since Octave consists of 12 halftones, a quart - from 5, and the Quinta - out of 7, then 12 quarts or 12 quint make up a few octave and, therefore, thirteenth tonality, if you count in any direction by the quint circle, coincide with to major. Since 12 is moving simply from 5 and 7, then all the tonality can be obtained, considering any 12 consecutive in a row in a circle. It also follows from this that the tonality will eventually coincide if moving in opposite sides (for example, GES \u003d FIS). Therefore, only 5-7 steps are usually used in each direction, leaving a tonality with a large number of alteration signs only in theory.
For the first time, a quart co-quint circle was described in the book "The idea of \u200b\u200bgrammar Musician" in 1679. The author of Labor - Composer Nikolai Pavlovich Diletsky.
In all the tonalities of the quarto-quinto circle, such works are written as cycles from the 24-Prelude Chopin and Shostakovich. I. S. Bach showed the equality of all the tonalities by writing the famous "well-tempered key".
LAD. KEY. TONIC. SCALE. GAMMA. Tetrajord
LAD is a system of relationship between resistant and unstable steps.
There are 2 main Lada: major and minor.
- Major - LAD of a light, joyful, solid character.
- Minor - Wheel of sad, lyrical, soft character.
Key - This is the height of Lada.For example:
- Key To major.
- Key la Minor.
The name of the tonality determines its tonic.
Tonic - I, the stage of Lada, the most stable, the most important.For example:
- In tonality to major tonic - T..
- In the tonality of La Minor tonic - La..
The sound spell is the sequence of the tonality steps in the ascending movement (up) or in a downward movement (down).
The sound of the major and minor gamma begins and ends with tonic and forms the gamma.
Gamma is a source of 8 steps.
Half of the gamma forms a tetrajord.
Tetrajord is a source of 4 steps.
A certain distance is formed between the gamma steps: halftone or tone.
Semitone (P) - Distance between the two nearest keys:
. 
. . .
Tone (T) \u003d 2 halftone:
(Hence it means that semitone \u003d 1/2 tones, or 0.5 tones: n \u003d 1/2 t; N \u003d 0,5t)
The structure of Gamma. - This is a certain sequence of tones and halftone.
|
|
|
In any gamma there is sustainable Steps - I, III, V.
Unstable Steps - II, IV, VI, VII. Unstable steps are drawn into stable. At the same time II, IV, VI - down, and VII - up (when recording, they are painted, the arrow is indicated by the arrow).
Input Steps – II, VII. Introductory steps surround tonic.
Gamma with signs when
From the notes "to" a gamma forms on the white keys To major.
To build a major gamut from another note, you need signs - Dieza (#) or Bemoli ( b.).
Major gamma with one sign when
If from the note "salt" to go up, observing the structure of the major gamut: T-T-0.5T-T-T-T-0.5T,
on the way only one sign - Fa # will meet.
It must be recorded with the key and observe throughout the music.
It turns out Gamma Sol Major- Gamma with one key sign - Fa #:
The "Fa" sheet is built by Gamma Fa Major - gamma with one bemolem with the key - si b.
Signs in the gamma appear in a certain order.
The order of digesters at the key: Fa # - # -Col # -R # -l # -m # # Si #.
The order of Bemoles with the key: Sib-Mib-Lyab-Ra-Solb-DB-Fib.
Major gamas with two signs with the key
Gamma is built from the note "re" D Major - Gamma S. two Diemes with the key - Fa # and up .
From notes "si b."Gamma is built S. b. major - Gamma with two bembols with the key - si b.and Mi. b.
Parallel tonality
Each major corresponds to his minorin which signs will be the same.
Tonality with identical key signs, but different tonic – parallel
.
To find from Major parallel to him Minor, you need to fall from tonic one step down (on It VI step ). For example, Salt Major. parallel minor, It is also one diezer - Fa #..
Fa Major. parallel re minor, It is also one BIMOL - SIB.
And vice versa: to find a parallel major from Minora, you need to rise from tonic one step up (on his stage III). For example, si Minora parallel D Major, it is also two deees - Fa # and up.
| | | Next Lecture \u003d\u003d\u003e | |
| | |
This lesson is rather designed for those who are already learning in a music school or even a school. From many years of practice, I can say that the quinting circle of the tonalities is the topic that is not absorbed by students, because of what problems arise with the development of the material and the execution of any work. Yes, yes, not knowing, in what a tonality we play, it is extremely difficult to navigate, and for some reason it is difficult to play it. Therefore, before performing some kind of play, it is necessary to determine which tonality it is written. Believe me - then you will analyze it much more quickly.
So, what a tonality was talked in detail in, and now I will explain to you the system on which they are located. If we speak in a simple language - there are some signs in every tonality, that is, playing a range or play, we will use the black keys. But what - the slim and logical system will help - the quinting circle of the tonalities.
In the study of the theory of music there are moments that need to be understood, and there is the information that you just need to get off like a rhyme. Here is the above rule in the picture you need to get off.
The order of joining key characters is always only like this:
Signs in any tonalities are joined only in this order. If you have noticed, then this is the same sequence that is read on both sides - in one direction - dishes, in the reverse - bemoli. Here it must be served in both directions. On the note, it looks like
The order of key signs in tonalitiesNow answer the first question - why the quint?
Here is the following rule that you just need to understand.
One dieza is added with each quint.
In the picture it looks like this:
We start from to the major (or La Minor, about it a little lower) and go clockwise.
We know that in to Major and La Minor there are no signs. This is an axiom that needs to be remembered. However, all beginners and so they know the major, because it is played only on the white keys, which is very convenient. So, to major. If we build Kwint from "to" up, then we get a bottle of salt. So, in the salt Major there will be one diezer. What? We look higher on the order of accession of dishes - the first diezer - Fa. So, in Sol Major - Fa Diez. And when we will play a gamut in a major major salt, in it in it and instead of the white key, we will play black.
Now we build quint from the salt up (we are in the tonality of salt Major stopped). It turns out notota re. Here in re major already two deees - what? We look at the order of digesters - the first two is Fa and before.
From the re-building one more quint, we get a note of la. Here in the la major already three Dieza - Fa, before, salt. They are the first three.
From la - another quint - it turns out notes. In Mi Majer, the first four Diees - Fa, up, salt, re.
From Mi - Quint Up and it turns out the NOT C - in SI Major 5 digesters - Fa, to, salt, re, la.
Quinta from SI - and the new Tonality of Fa Diez (why not F - read here) - Fa Rez Major - 6 dishes - fa, up, salt, re, la, mi.
And the last Quinta from Fiize - to Diez. So it turned out a tonality to the diezer of major - 7 digesters - Fa, up, salt, re, la, mi, si. About how. In fairness I want to say that the tonality with 7 dees in practice is rarely found, but they are.
The same thing will happen if we build quints in minor tonalities, taking a note for the original point - exactly there are 0 characters.
Build Quintu from la - it turns out the tonality of MINOR. In Minor, one diezer. What? We look at the order - the first diez.
From another Quinta and we will get STI Minor, in which there will be two deese - fa and up.
From Si after 5 stages, the NOT Fa Diez is formed (be attentive - not Fa, but the Fa Diez). In Fa Diez Minor 3 Dieza - Fa, up, salt.
From Fa # Quinta - up to # Minor, in which there are already 4 Dieza.
From up to # 5 steps we skip - and get a new tonality with 5th Diemes - Sol # Minor.
From Sol # Quinta - Re # Minor - 6 dishes.
From Re # Quinta - la #. And in the lace # - 7 dishes.
Tonality with boilers
In this picture, we go counterclockwise.
One Barole is added with each quint built.
From to down Quintu - we get a note of fa. In the troton of F Major one fambra. What? We look at the order of bemoley. We see that this is a bimole.
From Fa Building down another Quint and we get a note of a bemole. In the tonality of C B major already two bemoles - si and mi.
From Si B, we build another Quint and get on a note by b. And in Mi B major already 3 Bemoles - SI, Mi, La. Etc.
If you understand this principle, then determine the number of signs in any tonality will not be difficult. Now it is clear why "Queint"? Because it is built by quints. Why a circle? Look carefully in the pictures above - we start with tonalities to major, and finish up to # Major or DB Major - not quite, of course, the circle, but still. The same with minor tonalities - starts from la, and finishes la # or Lyab Minor.
For the convenience of perception, I divided the tonality and separately showed the diezen and chemicals. In the textbooks theory, the quinting circle of the tonalities is presented in the form of such a picture.
All tonality - and with Diemes, and with bembols And finally, I suggest you to listen to Waltz before # Minor Frederic Chopin. A very famous work, beautiful, flight and in the magnificent design of Alexander Malkus.
In general, the number of key characters and actually these signs themselves (dishes with bembols) you just need to remember and just know. Sooner or later they are remembered automatically - you want it or do not want it. And at the initial stage you can use a variety of crib. One of these cribs on the Solfeggio is a thermometer of tonalities.
I have already told about the thermometer of the tonalities - read and watch the chic colorful thermometer of the tonalities can be. In the last article, I talked about how with the help of this scheme you can easily define signs in the same tonalities (that is, there are those in which the tonic is the same, and the way is different: for example, La Major and La-Minor).
In addition, the thermometer is comfortable in cases where you need to accurately and quickly determine: how many signs one tonality is removed from the other, for some signs there are two tonality.
Now I have a hurry to report that the thermometer was found one more practical use. If this most degrees to modernize a little, then it will become more visual and will show not only how many signs in, but also specifically, what signs are in Tom Major and in the city of Minor. Now I will explain everything.
The usual thermometer of the tonalities: will show a fantasy, but the candy will not give ...
In the picture you see a thermometer as it usually appears in the textbook: "degree" scale with the number of signs, and next to it is written in a tonality (major and parallel its minor - in them, after all, the same number of digesters or bemoles).
How to use such a thermometer? If you are known, then there are no problems: just see the number of signs and count in order exactly as much as you need. Let's say, in a major major, three signs are three deesa: it is immediately clear that in a la magnue Fa, up and salt diezer.
But if you have not remembered the ranks of the digesters and bemoles, the fact that you will not help you, such a thermometer will not help you: I will show a fantasy (number of characters), and the candy will not give it a candy (no specific dishes and bempoli call).
New thermometer of tone: distributes "candy" just like Grandfather Frost
I decided to "stick" another scale to the scale with the number of characters, which would also call all the digests and bempolines in order. In the upper half of the degree scales, all digesons are highlighted in red - from 1 to 7 (Fa to salt re lama), in the lower half, blue, all the bemps are highlighted - also from 1 to 7 (si la re salt to the Fa) . In the center - "zero tonality", that is, the tonality without key signs is, as you know, to major and la minor.
How to use? Very simple! Find the desired tonality: for example, F-Diez Major. Further count and call all signs in a row, starting from scratch, climbing up until it comes to a mark that corresponds to a given tonality. That is, in this case, before we returned with your eyes again, Fa-Diez Major, we will call all its 6 diezes in order: Fa, to, salt, re and la!
Or another example: you need to find signs in the tonality of a la-bf Major. We have this tonality among the "chemical" - we find it and, starting from zero, going down, call all her bemoli, and their 4: si, mi, la and re! Brilliant! \u003d)
Yes, by the way, if you have already been tired of using all sorts of cribs, you can not use them, but to read the article about that, after which signs in the tonalities do not forget, even if you specifically try to throw them out of your head! Good luck!