A major way. The main trolia Lada

Minor Lad (or simply in Minor) is called seven-sided switches, the stable sounds of which form small (minor) sober.

The word "minor" (IT. - Minore) literally means "smaller". This term is used in syllated notation, in the alphabet notation, the word "minor" is replaced by the word Moll (from lat. Molle, literally "soft").

The main characteristic feature of the Minor Lada is the interval of a small policy (m. 3) between the I and III steps, which, in fact, determines the specifics, that is, the minority of the joint sound, both themselves of the sustainable sounds and the Lada as a whole, with any order of execution of its steps .

In principle, the properties and names of the Lada steps in Minor will be the same as in major, change only - in some cases - the interval relationship between them and, accordingly, the nature of their sound.

The minor power (like major) has three main types: natural, harmonic and melodic minop.

The minor power is built as follows: Tone-halftone-tone-tone-halftone-tone.

Key

The altitude layout of the Lada, determined by the sound of tonic, is called a tonality. Lada accommodation on the same sounds, but in another Octave, no effect has no effect on the definition of the tonality, since neither the structure of the Lada itself, nor the name of his steps and their properties from this do not change.

The name of any tonality is determined by the name of the sound of the tonic itself (I level of the Lada), but since the tonality is always inextricably linked with any definite freak (major or minor), then an indication of the lade challenge is usually added to its name. Thus, the full name of the tonality, as a rule, contains two components: 1) Tonic name and 2) The name of the Lada, regardless of which system of designations - syllable or alphabet - use: to major (C-DUR), La Minor (A-Moll).

The names of major tonalities according to the alphabetic system are written from capital (capital) letters, and minor - from lowercase (small). Sometimes, for brevity, the words of DUR or MOLL are lowered in the alphabone system and then to the lade challenge indicates the writing of the first letter (capital or lowercase).

Parallel and Major and Minor Tonal Simony

Although historically both major seven-sided Lada - and Major, and Minor - developed completely independently, while at the same time their main specific signs, nevertheless there are some kind of relationship between them: the same number of steps, their similar functional importance, the same directions of the lade and etc. The gamma of some similar varieties of both beings (for example, a harmonic major and harmonic minor, or a melodic major and natural minora and, on the contrary, natural major and melodic minor), built from the same sound, will sound almost the same, distinguishing only the sound of the stage III - The main and only exact sign of one or another Lada.

Three types of major Lada

Most often, the music is recorded in the Major and Minor Lada. Both of these Lada have three types: natural, harmonic and melodic. The basis of all kinds is one. In the harmonic and melodic major or minor, certain steps (VI and VII) are changed. In Minor, they increase, and in the major they will fall.

Natural major.

Natural major - This is an ordinary major gamma with its key signs, if they, of course, are, and without any random alteration signs. Of the three types of major natural in the musical works are more often the rest.

The major gamma is based on a well-known formula from the sequence in the skewers of the whole tones and halftone: 1T-1T-0.5T-1T-1T-1T-0.5T.

Here are examples of several simple major gamps in kind: natural with (to major), gamma G (salt Major) in its natural form and the sound of the philantal f (Fa Major):

Harmonic major.

Harmonic major - This is a major with a reduced sixth step(VI) . This sixth stage decreases in order to be closer to the fifth. And the PLA acquires an oriental shade.

This is how the soundness of the harmonic major already shown earlier than the tonalities appeared: with (to major), G (salt Major) and F (tru major).

In C (to Major), a (la-bembol) appeared - a sign of changing the natural sixth stage, which became harmonic. In G (Major Salt), there was a sign (Mi-Bömbol), and in F (F-Major) - D.1 (re-bembol).

Melodic major.

As in the melodic minor, inmajor Two steps change immediately -VI and VII , only everything here is a smooth account on the contrary. First, these two sounds do not rise, as in Minor, andfall. Secondly, they are alternated they are not at rising movement, andwith downward.

It is curious that due to the decrease in the sixth stage between this step and other sounds, all interesting intervals can be formed - enlarged and reduced. It may be tritons or intervals characteristic - I recommend you to figure it out.

Melodic major - This is a major sound, in which the gamma of natural species is played with a rising movement, and two steps are decreased with a downward movement - the sixth and seventh (VIB and VIIB).

Moor examples of melodic major - tonality with (to major), G (salt major) and f (tru major):

In the melodic C (to the major) in the downward movement there are two "random" bembols - B (SI-BIMOL) and Oh (la-Bemol). In G (Salt Majer), F # (Fa res) is first canceled - the seventh step decreases, and then a bembol appears in front of a note e (mi) - the sixth stage falls. Two bemoles appear in the melodic F (Fa Major): EN (Mi-Bembol) and D.1 (re-Bembol).

So, there are three types of major. This is a natural (simple), harmonic (with a reduced sixth step) and melodic (in which when rising movement you need to play / sing a natural gamut, and when driving down - lower the seventh and sixth steps).

Leonid Gurulev, Dmitry Nytowyov

Sustainable sounds.

Listening or performing a musical work, you probably noted somewhere in the subconscious, that the sounds of the melodies are among themselves in a certain relation. If it were not for this ratio, it was possible to simply beat the keys (strings, etc.) something uncomfortable, and it would have turned out to be a melody from which Meli would (from the word Somote) others. This relationship is primarily expressed in the fact that in the process of music development (melody), some sounds, standing out from the total mass, acquire the character reference Sounds. The melody usually ends on one of these reference sounds.

Support sounds are called stable sounds. Such a definition of reference sounds corresponds to their character, as the end of the melody on the support sound produces the impression of stability, rest.

One of the most stable sounds is usually allocated more than others. It is like the main support. Such a steady sound is called tonic. Here are listening first example (I intentionally missed tonic). You immediately want to finish the melody, and, I am sure, even if they didn't know the melodies, you would have managed to put a note correctly. Run ahead, say that this feeling is called communication Sounds. Check yourself by listening the second example .

In contrast to stable sounds, other sounds involved in the formation of the melody are called unstable. The unstable sounds are typical of the state of gravity (what I just spoke above), as if attraction, to the closest steady, they seek to connect with these supports. I will give a tight example of the same songs "in the Birch field stood." Sustainable sounds are marked with "\u003e" sign.

The transition of unstable sound in steady called resolution.

From this one we can conclude that in the music of the relationship of sounds in height is subordinated to a certain pattern or system. This system is called LADA (LAD). The basis of a separate melody and the musical work as a whole is always a certain way, which is the organizing beginning of the high-dimensional ratio of sounds in music, gives jointly with other expressive means, a certain nature corresponding to its content.

For practical application (what the theory without practicing, right?) The stated material will lose any exercises that we studied in the guitar or piano lessons, and mentally note the steady and unstable sounds.

A major way. Gamma Natural Major. Major Lada. Names, Designations and Properties of Major Lada Stages

In folk music there are a variety of freedoms. In classical music (Russian and foreign), folk creativity was reflected in one way or another, and therefore, and inherent variety of frets, but still the most widespread use of Lada Ajora and Minor.

Major(Major, in the literal sense of the word, means b about lodine) is called a way, the stable sounds of which (in a sequential or simultaneous sound) form a large or major sober - consonance consisting of three sounds. Sounds of major sober are located in terms of colors: a large column - between the lower and middle sounds, and small - between the middle and the upper sounds. A pure quinta interval is formed between the extreme sounds of the sober.

For example:

A major sober, built on tonic, is called tonic sober.

Unstable sounds in such a rud are located between resistant.

A major man consists of seven sounds, or, as they are called, steps.

The consistent row of Lada sounds (ranging from tonic and to the tonic of the next octave) is called the oscillator of the Lada or gamut.

Sounds forming gamut are called steps, because the gamma itself is quite clearly associated with the staircase.

The gamma steps are denoted by Roman numbers:

They form a sequence of intervals of a second. The order of the steps and seconds is as follows: B.2, B.2, M.2, B.2, B.2, B.2, M.2 (that is, two tones, halftone, three tones, halftone).

Do you remember the piano keyboard? There is very clearly visible, where in the major gamma tone, and where halftone. Let's see more specifically.

This is where there are black keys between white, there is a tone, and where there is no - then there is a distance between the sounds equal to halfone. Why, asks, it is necessary to know? Here you try to play (clicking alternately) first from the note Before to note Before next octave (try to remember the hearing obtained). And then the same thing from all other notes, without resorting to the help of derivatives ("black") keys. It turns out something not that. In order to bring everything in an equally decent look, you need to withstand the scheme tone, tone, halftone, tone, tone, tone, halftone. Let's try to make a major gamut from the note. Recall that you must first build two tones. So, Re-Mi. - This is the tone. Very good. And here Mi-Fa... Stop! "Chernidka" keys between them are not observed. The distance between the sounds - Polton, and we need a tone. What to do? The answer is simple - upgrade a note F on the column up (we get Fa resid). Repeat: Re - Fa-Diez. That is, if we needed that there was an intermediate key between the steps, and the black between them did not turn out, then be the key to perform this intermediate role - and the stage "moves" to black. Further requires a halfway, and he himself turned out (between Fa resid and sol-Bekar just a distance of halfton), it turned out Re - Fa-Diez - Salt. Continuing strictly adhere to the scheme of the major speaker (once again remind: tone, tone, halftone, tone, tone, tone, halftone) Re-major gamut, sounding just like gamma sounded BEFORE:

The gamma with the stages mentioned above is called a genuine major range, and a way, expressed by this order, is a natural major major. Major may not only be natural, therefore such clarification is not suitable. In addition to digital designation, each level of Lada has an independent name:

I Step - Tonic (T),
Stage II - downward introductory sound
III Step - Mediant (average),
IV Step - subdominant (s),
V Step - Dominant (D),
VI Step - Submandiant (Lower Mediant),
VII Step - Ascending Sound.

Tonic, subdominant and dominant are called the main steps, the rest are by side steps. Please, please, these three rooms: I, IV and V are the main steps. Let you not bother you that they are located in the skews so so far, without visible symmetry. This is the fundamental justifications, the nature of which you will learn from the lessons on harmony on our website.

Dominant (translated - the dominant) is located a pure quint above Tonic. Between them is the third stage, so it is called the mediant (medium). The subdominant (Lower Dominant) is located quinte below the tonic, its name occurs, and the submediant is between the subdominant and tonic. Below is the location scheme of these steps:

Introductory sounds got their name due to their tonic. The lower introductory sound is in the upstream direction, and the upper - in the descending direction.

Above it was said that in Major, three stable sounds are I, III and V steps. The degree of sustainability of their unequal. The first step - tonic - is the main support sound and therefore most stable. III and V steps less stable. II, IV, VI and VII steps of major Lada are unstable. The degree of their instability is different. It depends: 1) from the distance between unstable and resistant sounds; 2) on the degree of sustainability of the sound, to which he was directed. A smaller sharpness is manifested in steps: VI to V, II to III and IV to V.

For an example, let's listen to two options for the resolution of sounds. First - for major tonalities, and second For minor. Minor we will still study in the following classes, but for now try to perceive on rumor. Now, engaged in practical lessons, try to find stable and unstable steps and their permissions.

KEY. Diematic and bramole dualities. Quint circle. Enginemonism of major tonalities

Natural major fluctuations can be built from any stage (both the main and derivative) of the musical skewness (provided that it is conserved in it the location of the steps we have considered above). This feature is to get the desired range from any key - is the main property, and the main purpose of the "templar structure", in which all halftone in octave is completely equal. The fact is that the system is an artificial, obtained as a result of targeted calculations specifically for this purpose. Prior to this discovery in music, the so-called "natural" sound series was used, which did not at all had the advantage of symmetry and reversibility. At the same time, the musical science was just incredibly difficult and unsystematic, and came down to the set of personal opinions and sensations, akin to philosophy or psychology ... In addition, in the conditions of natural building, the musicians did not have a physical ability to fulfill the music in any way, on what Height is height, because with an increase in the number of alteration signs, the sound became catastrophically fake. The temporary (i.e., "uniform"), the system gave musicians the opportunity to not depend on the absolute height of the sound, and lead musical theory to almost the level of accurate science.

Absolute (that is, irrelevant) height on which the Lada Tonic is called, is called a tonality. The name of the tonality comes from the name of the sound that serves in her tonic. The name of the tonality is made up of the designation of Tonic and Lada, that is, for example, the words of Major. For example: to major, salt Major, etc.

Major Lada Tonality Built by Sound before, Called to major. Its feature among other tonality is that its scout consists of just the main steps of the musical outer, that is, simply, only from the white keys piano. Recall the structure of the major Lada (two tones, halftone, three tones, halftone).

If you build from the notes to a clean quint up, and from the resulting quint (note salt) try to build a new major oscunction, it will turn out that the VII step (Note of the F) should be enhanced by halfon. We conclude that in the tonality of G-DUR, i.e. Sol Major, one key sign - Fa res. If now, the up-major play will want to play in this new tonality (well, for example, due to the fact that your voice is too low and uncomfortable to sing in to the major), then, by rewriting all the songs of the song on the right number of Lineshek above, we will have every The Note of the Fa, which comes in notes, raise on the halfon, otherwise the nonsense will sound. Just for this purpose and there is a concept of key characters. We only need to draw one dieze when the veneer is called - on the Lineshek, where the type notes are written - and after that, the whole song is automatically found in the correct way for tonic salt. Now we go further to the laughing path. From the notes of the salt building up the Quinta (we get a note re), and from it again we build a major sound order, although it is already possible and not to build, since we already know that it is necessary to increase the seventh step. Seventh Step - note before. The collection of dishes with the key with you is gradually growing - except for the pha deez, and before-diges are added. These are key signs of re-major. And so it will continue until we use all 7 characters with the key. For training, those who want (although I advise everyone) can be an experiment of the same order. Those. (Repeat) from the notes to build Quint Up, with the help of the scheme: tone tone, halftone, tone-tone, halftone - calculate the structure of the major gamma. From the received sheet, we again build a quint up ... and we continue until the money is run out ... oh, dieza. You will dismistently embarrass when with the next constructions of the tonality you will find that the sound of the tonic turned out to be on the black key. This will mean just that this dieze will be mentioned in the name of the tonality - "F-Diez Major" - everything else will work in the same way. In principle, no one can prohibit you to continue this construction and after the key will be written by the seventh diez. The theory of music does not prohibit exist with any tonalities - at least with hundreds of signs. Just an eighth mark with the key will inevitably be again "Fa" - and you will only have to replace the very first "F-Diez" sign "Dubl-Diez". With these experiments, you can get, for example, a major with 12 Diemes - "Si-Diem Major", and find that it is nothing more than "D-Major" - the whole gamma will be again on the white keys. Of course, all these "experiments" have only theoretical significance, as in practice it does not occur to anyone so climb their notes to the signs only in order to reveal again in a major ...

I bring to your attention a drawing to familiarize yourself with all these dees, resistant and unstable sounds in each tonality. Please remember that the order of "appearance" of digesters is strictly regulated. Learn by heart: F-du-salt-re-la-mi .

Let's go to the other side. If from the note Before Build Quintu, but already down, get a note F. From this note, we will begin to build a major gamut in our scheme. And see that the fourth step (that is, a note s.) It is already required to downgrade (try to build yourself), i.e. si-Bemol. Buing gamma Fa-major from tonic (note F) again we build quint down ( Si-Bemol) ... I recommend building everything completely tone for practice. And I will give you in the picture all blamle tonality. The procedure for the appearance (location) of key bemoles is also strict. Please remember by heart: Si-Mi-la-re-salt-to-fa , that is, order, reverse diesel.

And now pay attention to stable sounds (any tonality to choose from). They form major sober tonic (a question for repetition: what is tonic?). Well, we have already affected the extensive topic of "chords". We will not get ahead, but learn, please build tonic sober (in this case - major) from any note. By this, you at the same time learn how to build, so to speak, the chord of Tonic - the main chord is any tonality.

Harmonic and melodic major

In music, it is often possible to meet the use of a major with a reduced VI step. This type of major Lada is called harmonic major. From lowering the VI stage, it becomes sharper with its grave in the V stage and gives a kind of sound to a major Lada. Try to play the gamut, for example, D-Majorwith a reduced VI step. To begin with, I will help you. Calculated that the VI step in this tonality C-DUR - This is notota Lawhich should be reduced by halfon ( La Bemole). That's all the wisdom. In the same way, do in other tonalities. When playing a gamma, that is, the unintended sequence of steps, you will immediately feel that at the end of the gamma begins to smell some kind of exotic. The reason for this is a new interval formed by lowering the VI stage: an enlarged second. The presence of such an unexpected interval and gives Lada such an unusual color. Harmonic Lada is inherent in many national cultures: Tatar, Japanese, and in general almost all Asian countries.

The melodic variety of major Lada is formed by a decrease in two steps of the natural gamma: VI and VII. Due to this, both of these notes (they are both unstable) acquire a serious burden to the lower stable - to the V stage. If you lose the MLM, you will feed such a gamut from top to bottom, you will feel like a special melodiousness, softness, length, inseparable connenger of notes in one singer melody appeared in its upper half. It is because of this effect that such a way and got the name "melodic".

Minor way. Concept parallel tonality.

Minor (Minor, in the literal sense of the word, means smaller) is called way, the stable sounds of which (in a sequential or simultaneous sound) form small or minor triad. I propose to listen major and minor chords. Compare their sound and distinction. A major chord sounds more "cheerful", and minor more lyrically (remember the expression: "Minor mood"?). Interval composition of minor sober: m3 + b3 (small column + large term). We will not bother the building of Minor Lada, because you can do the concept parallel tonality.Take the usual tonality D-Major (Favorite tonality of novice musicians, because with a key there is no sign). Build from tonic (sound - Before) Down the small policy. We get a note La. As soon as I said, with either digesters nor bemoley. Like the keyboard (strings) from the note La Until the next note La up. So we got a gamut of natural minor. Now remember: parallel is called tonality having the same signs when the key. For each major, there is one and only one parallel minor - and vice versa. All tonality in the world, therefore, there are vapors of "Major-Minor", as if two gammas moving in parallel with the same keys, but with a lag behind the prison. Hence the name "parallel". In particular, parallel to the tonality for Pre-Majora is an La Minor (also the favorite tonality of beginners, because there is no key sign here) Tonic sober in La-Minor. From notes la small TRACTION, get a note Beforeand then even a big policy already from the notes Before, ultimately sound Mi.. So, the minor sober la in minor: La - up to.

Try to find yourself parallel tonality for all major wards that we passed above. The main thing to remember that 1. It is necessary to build from tonic (mainly stable sound) down the small termination to find a new tonic; 2. Key signs in parallel tonality remain the same.

Briefly, for training, let's see another example. Tonality - Fa-major. When the key is one sign ( si-Bemol). From notes F Build down a small policy - note Re. It means Re-minor is a parallel tonality Fa-major. and has a key sign - si-Bemol. Tonic sober B. Re-minor: Re - F - La.

So, in the parallel tons of natural soundouts, key signs are the same. We have already learned this. And what about harmonious Lad? Several otherwise. Harmonic Minor is different from a natural elevated VII step, which was caused by the need to exacerbate the upward introductory sound. If you look at or listen, then you will easily find that the harmonic major and the harmonic minor, built on the same keys, completely coincide in the upper half of the gamma - the same enlarged second on the VI level of the gamma. Just to get this interval in Major, you have to lower the VI step. But in Minor, this step is already low, but the VII step can be enhanced.

Let's agree that the number of key characters for all the tonalities should be remembered by heart. Based on this, let's say in re-minor (key sign - si-Bemol) Increased VII Step - Pre-dieze.

Above in the picture you can watch visually. And now let's listen (although you can lose it yourself), as it will sound. a-Moll and d-Moll. . If you take a little more attentive to viewing and listening, you can see that the sober dominant in the harmonic minor is a major. I'll lose you now three chord: Tonic, subdominant, Dominant and Tonic in Harmonic La-Minor. Hear? So work out the structure of these three chords in all minor tonalities. By this you will achieve the automatism of determining the main sober in any tone. We already know how to build major and minor sober sober, if you forgot - let's repeat and clarify.

We build a tonic sober: we determine the way (major, minor), from this and proceed. We build a major (minor) sober. Major: B.3 + M.3, Minor - M.3 + B.3. Now we need to find the subdominant. From tonic we build quarters up - we get the main sound, from which we will build sober. IN F-DUR- this is si-Bemol. And O. si-Bonole Already and build a major sober. We are looking for a dominant. From tonic - Quint up. In the same degree of dominant - Before. Well, and sober D-Major Build - this is not difficult for us. Parallel tonality Fa-Major - Re Minor. We are building in the minor tonality tonic (T), subdominant (S) and dominant (D). I remind you that in the harmonic and melodic minor of Dominant - a major sober. Melodic Minor differs from natural minor elevated and VI, and VII steps (lose on the piano or guitar, as a last resort in the MIDI editor). And in the melodic major happens, on the contrary, a decrease in the same steps.

Major and Minor, having the same tonic, are called the same name (Tonalness Simony Pre-Majer - D Minor, La Major - La-Minor etc.).

As it was already said, the expressive possibilities of music add up of the interaction of various funds that it has. Among them are great importance in the transfer of music of certain content and character. Remember, I brought an example of the sound of a major sober and minor. Let me remind you on the occasion that Major, so to speak, more vigor, and minor is more sad, dramatically, lyric. Therefore, you can experiment yourself - a major melody, played from the same key, but using a minor speaker (or vice versa), acquires a completely different color, although it remains with the same melody.

Floor is relationship system between resistant and unstable sounds. The way is the organizing start for sounds, thanks to which they are combined into a hierarchical and functionally interconnected system. Sound is also a system of sounds, but unlike Lada, the score does not determine how the sounds must interact with each other.

Two Lada are the greatest distribution in music - major and minor. These frets consist of seven diatonic Steps located in such a way that the interval of a large or small second is formed between adjacent steps. Diatonics can be interpreted as a transition from one stage to another.

Example 1. Translation before->re Diatonic is possible, since the transition from one neighboring stage to another occurs. Transition Si-Diez-\u003e Pre-Diez It is also possible, since the transition is carried out between different neighboring alterated (elevated or lowered) steps. Transition before->pre-dieze It is impossible in the diatonics, since the transition from one step into the same high level is carried out. Instead before->pre-diezein Diatonic, the transition should be indicated as before->re-Blam. Transition si-Diez-\u003e Re-Barol In Diatonika, also inappropriate, because at the same time the step is passed before,between S.and re. Therefore, instead si-Diez-\u003e Re-Barol Rub on the transition will be si-Diez-\u003e Pre-Diez.

Understanding the following steps in the diatonics makes it possible to correctly build the tonality that will be told now. That is, in one tonality the first side stage will be called pre-diezeman, and in another tonality - re-Bemolem.

The order of the seconds is precisely determines the ignition of Lada - a major or minor.

In the major Field of Seconds are located in the following sequence:

b.2, B.2, M.2, B.2, B.2, B.2, M.2

Remember this sequence is very simple. You can use the phrase "B-M-B-B-M" or look at the piano keyboard. White keys from one stage before To neighboring steps before just form this sequence: pre-Mi-Fa-Sol-La-Si-to. Four The first levels of Lada are the I-II-III-II-IV, the lower tetrajord, and the four top steps - the V-VI-VII-VIII - the upper tetrajord. The interval structure of these tetrachidges in natural major is identical and equal to the B-M. Interpretation of the 7-stage Lada as a sequence of two tetrachidges in modern theory is not used (considered obsolete), but thanks to them you can see curious moments. For example, the structure of the lower tetrachorrad sets the ignition of Lada (major or minor), and the upper structure is its appearance (natural, harmonic or melodic).

The high-rise position of the Lada is set tonality. The tonality is set as follows: first called Tonic Lada (the first stage of the Lada), and then its appearance, for example: up-major .

Fig. 1. Natural to Major

Natural minor legs differs from a major other sequence seconds:

b.2, M.2, B.2, B.2, M.2, B.2, B.2

White keys from stage laforming a minor way: la-si-re-Mi-Fa-Sol-la.

Fig. 2. Natural La-Minor

The varieties of natural Lada are harmonic and melodic frets (Fig. 3 and 4).

Harmonic major - lowered the VI step. The sound of the top tetrachorrad acquires an oriental shade.

Melodic major - lowered the VI and VII steps. The decrease in these steps leads to the fact that the upper tetrajord of the major becomes minor (it has the structure of the upper tetrachord of natural minor) and acquires a melodic sound.

Fig. 3. Types of major wards

Harmonic Minor - increased the VII step. The increase in the VII stage leads to the emergence of an oriental shade in the upper tetrachord and the strengthening of this stage to the tonic. The upper tetrajord in the harmonic minor sounds more intensely, compared to his sound in a natural minor.

Melodic minor - increased VI and VII steps. Increasing the VI stage allows you to smooth out the transition from V to a higher level VII (increased second) and gives the top tetragraduate to the singer.

Fig. 4. Types of minor logs

Lada's steps have their own names, and some and alphabetic designation. The sequence numbers of the steps are denoted by Roman numbers:

I Step - Tonic, T (Main Note)
II Step - Downward Introductory Sound (allowed in tonic by lowering)
III Stage - Mediant or Upper Mediant (from Latin Media - average because there is in the middle between i and V steps above Tonic)
IV Stage - Subdomiton, S (Latin SUB Prefix Indicates)
V Step - Dominant, D (from Latin "dominant"). This sound is the highest.
VI Step - Submandiant or Lower Mediant (located in the middle between IV and I steps and is located below tonic)
VII Stage - Ascending Sound (allowed in tonic by increasing)

According to the functionality of the Lada stage is divided into main and side. I, IV and V are the main steps of Lada, and II, III, VI and VII - side. The main chords of Lada are being built from the main stages, which will be described further. Now just remember them.

Fig. 5. The main and side steps of Lada

Each level of Lada is characterized by a sustainability. It can be said that the unstable sound is comma in the sentence, and the stable point. The instability of the sound on the hearing is expressed in the fact that when it appears, the tension occurs, which I want to eliminate the game of sustainable sound. Unstable sounds are characteristic of stable sounds, just as items on the surface of the Earth are attracted to the globe. The transition of unstable sound in steady called resolution.

Fig. 6. Sustainable and unstable Lada steps

Stability and instability of steps are different. The most stable step is the stage of the Lada (tonic). Steps III and V are significantly less resistance. Unstable steps II, IV, VI and VII. The degree of fragments of unstable steps to stable is different. It depends on:

• sustainable Sound Resistance
• the interval formed between unstable and stable sound. Halftone appears stronger than tone.

In the case of a natural major, the situation is as follows:

• VII -\u003e I - the strongest gravity, because the stage I (tonic) is the most stable sound in the Lade, and the halftone
• -\u003e i is stronger II -\u003e iii, since the stage I stage is stable iii
• halftone IV-\u003e III stronger than tone IV-\u003e V
• VI is allowed only in V, as VII - an unstable step

II and IV steps have two permissions, VI and VII steps one by one (Fig. 6). Knowing the relationship between resistant and unstable steps allows you to play the simplest motifs (the minimum possible meaning of the melody fragment): the unstable sound is played first, and then it is allowed in a steady sound.

In the Lada system, the sound acquires new characteristics - the degree of sustainability and functionality. Floor himself enters the system of building, and the system is to the system of the skewness (Fig. 7).

Fig. 7. The relationship between the sound and the surrounding systems

Intervals and Lad

The interval consists of two steps, therefore the stability of the interval will depend on the stability of the steps of it. Tritons posses the greatest instability and voltage in sound. In natural major and minor freaks, there are two: a reduced quinta of the VII-IV stage and an increased quarto of the IV-VII stage. The VII-IV interval is permitted to a large term I-III, and the IV-VII interval is in a small session III-I.

Intervals can be built either from a given noteeither in a given tonality. On the previous page, all simple intervals built from stage were considered. before. In natural pre-major no steps that correspond to the black keys, so in this tonality impossible (without the use of chromatis - elevated or lowered steps) to build intervals from the stage before,in which the black key enters. But this does not mean that, for example, with a small second in kind to-major there. Such an interval exists and is built on stage III and VII: mi-Fa, sI-BE. Construction of intervals without relatively to the tonality is an exercise. Practical benefits gives the ability to build intervals in tonality. If chromatizms cannot be used, the construction of the interval in the tonality can be performed only using diatonic steps.

In music, as already mentioned, everything is relative. A new environment can make supplements and adjustments. To date, you know that the intervals may exist in the system of outer (they can be constructed from any stage of the outer) or in the Lada system in one or another tonality (the intervals are built on diatonic steps). In the system of sounded, the main characteristic of the harmonic interval is the nature of its sound (consonating and dissonating intervals). In the Lada system, the intervals acquire a new important property - functionality.

In Figure 8. Two intervals are shown - pure quartes and pure quint. Sustainable lights of Lada are highlighted in green.

Fig. 8. Intervals from the stage of natural major Lada (D Major)

Both of these intervals are included in one group - the intervals of the perfect Connce and for this reason it is impossible to determine which of these intervals is melodious. Than the intervals built from the stage before,differ from the same intervals built from the foot re? Nothing, if you do not take into account the interval of incoming frequencies in them.

If you consider these intervals in the Lada system, it is correct to say that they are built not from the stage before,and from the I-th stage of Lada. The pure quint is formed by stable stakes of Lada - I and V, and the net quart is stable and unstable - I and IV. In the Lada system, the intervals formed by stable steps sounds, respectively, less voltage. Pure quint from stage I sounds more steady (less stressful) clean quarts. That is, the system of Lada allowed to see the difference between the intervals under consideration.

In fig. 9. The same intervals are shown, but built from the II level of Lada.

Fig. 9. Intervals of the second stage of natural major Lada (D Major)

Now the quinta is formed by unstable steps II and IV, and a steady step (V) is included in the quart. Now the quart sounds stable quint.

The functionality of the intervals is clearly demonstrated by the example of a small and large prison. In the system of sounded, these intervals refer to a imperfect consonance, that is, according to the degree of calautes, they are inferior to pure quarts and quint. However, in the Lada system, these intervals determine the type of sober: if the first interval in the soberly is a large prison, then a major sound is obtained, if the first interval is a small column, then the minor sound is obtained. Net quartes are not used in sober, and pure quinta does not affect the type of chord. The question arises, what characterization has a greater priority in the Lada system - the degree of fraud or functionality? In the Lada system, the functionality of the interval has greater importance.

The relationship of tonalities

From 12 chromatic octave steps, you can build a large number of major and minor tonalities in practice are limited to 15 major and 15 minor tonalities, guided by the principle of rationality. Why complicate something, if the same can be done just? No one prohibits, for example, to use the tonality of C-di-major (Fig. 10).

Fig. 10. Si-Diez Major Tonality

Try to play this gamut (crossbars in front of steps - double diges - an increase of 1 tone). Not so easy? And in fact it is the tonality of pre-major . There are no signs in Du-major with the key, and in the tonality of the Si-Diez major there will be twelve.

How to learn how to build any tonality without their memorization? First, you need to remember the order of signs when the key. Dieza are followed in this order: Fa-Du-salt-re-Mi-si. Bemoli follow in that order: Si-Mi-La-re-salt-to-Fa. Secondly, it is necessary to remember the tone structure of major and minor lads. Thirdly, you need to remember that major and minor paws are the frets consisting of seven diatonic steps.

Example 2. It is required to build the tonality of Mi-major and define signs for it. Recall that major fluent has the Tone structure of "B-M-B-BT". After that, we begin the construction of a Mi-major tonality from the notes of Mi:

In the tonality of Mi-major four Dieza: Fa, up, salt, re.

Example 3. It is required to build the tonality of Mi-minor and define signs for it. Recall that the Minor Flood has the tone structure of "B-M-B-M-BB." After that, we begin the construction of a Mi-major tonality from the notes of Mi:

In the tonality of Mi-minor one sign - F-Diez. Why is a phase, and not a salt-boar? Because in the latter case, the following will be:

That is, instead of seven steps, six steps are used, and the mining fluent should consist of 7 steps. In addition, in Diatonic, the transition from the passage of the stage is invalid, and in this example the stage is skipped f.

Example 4. It is required to build a ph-major tonality and define signs for it.

In the troton of the F-Major One Sign - si-Bemol

15 major tonalities - also a lot. Why do you need so many major tonalities? From the point of view of constructing, all major freedoms are the same and have the same interval composition (B.2, B.2, M.2, B.2, B.2, B.2, M.2). But in terms of the nature of the sound, one major leg is different from another major Lada. Check it simply using the formula to determine the frequencies of the steps in a uniform templar strictly f \u003d 440 * 2 I / 12. Let's determine which frequency range is enclosed in one tone between the steps of the first octave la and si before and re. In the first case 440 * 2 0/12 - 440 * 2 1/12 \u003d 53,8833 Hz, and in the second 440 * 2 -9/12 - 440 * 2 -7/12 \u003d 32,0392 Hz. The difference is visible to the naked eye. In practice, this means that the song in one major tonality will sound more fun and brighter than in another major tonality. The same can be said about any tonalities. The transition to another tonality during transposition does not change the harmony, but leads to a change in the color and nature of the sound of the composition. You can check this by comparing the MIDI file sound in different tones.

We continue our cycle of articles on the theory of music, and today it will be discussed that it is a way, tonality and intervals in music.

In the last article, we have studied a music letter and saw how general music looks like in writing, and what a note for which sound is answered. To make it easier for you to involve in this lesson, let's remember with you what the sound looks like:

What you see in the picture above is Gamma to Major. About why it is called it is "to major" it will be a little later. And now we will talk about the gamma.

Gamma - This is a sound step, the steps of which are at a distance of one tone or in halftone apart. Usually the gamma play musicians for warming up and for the development of the movies of the fingers.

The steps of the gamma from the first and to the seventh are numbered by Roman numbers.

Each stage of Lada has its name:

• I Step - Tonic (T)
• Stage II - Downward Introductory Sound
• III Step - Mediant (Medium)
• IV Stage - Subdominant (S)
• V Stage - Dominant (D)
• VI Step - Submediatage (Lower Mediant)
• VII Step - Ascending Sound

You will probably understand that the music notes are in a certain relationship between themselves. Therefore, it is impossible to simply hit the guitar strings or collapse on the piano keys so that the melody cares is causing. And above all, this ratio is expressed in the fact that there are sounds in music that seemed to be distinguished from the total mass of notes. Such sounds are called sustainable And often completing the melody.

But among sustainable sounds there is your leader - tonic. It is the main support of the whole melody. On the example below you can listen to the melody without tonic:

It seems that something is missing, right? I want to finish the melody.

And, of course, in contrast to sustainable sounds there are and Unstable.Unstable to stable sounds, seek to connect with them. And the transition of unstable sound in steady is resolution.

So, we understand that there is a certain pattern that music is being built. And this pattern is called lada.Floor always lies at the heart of any musical composition and it is he organizes all the sounds in music, gives the melody character.

To continue our story about Ladakh, we need to distract a little and tell you about intervals.

- This is a simultaneous or consistent combination of sounds. The simultaneous interval is called harmonic, and consistent - melodic. The bottom sound of the interval is its base, and the top is the top. On the example, the left interval is harmonious, and the right is melodic.

Melodic intervals can be as rising (that is, it is read up from below) and downwards (that is, on the contrary). The harmonic intervals are read only from the bottom up.

The intervals that are formed within the same octave are called simple. And all of them eight:

1. Prima
2. Second
3. Third
4. Quart
5. Quint
6. Sixth
7. Seventh
8. Octave

But all simple intervals are also divided. We remember that the distance between adjacent steps can be tone or halftone. It follows that some intervals can be two types:

1. Pure Prima - 0 Tones
2. Small Second - 1/2 Tone
3. Large second - 1 tone
4. Small Tone - 1 and 1/2 Tone
5. Large Tone - 2 Tones
6. Pure Quart - 2 and 1/2 Tone
7. Increased quart - 3 tones
8. Reduced Quinta - 3 Tones
9. Pure Quinta - 3 and 1/2 Tone
10. Small sext - 4 tones
11. Large sext - 3 and 1/2 tone
12. Small septim - 5 tones
13. Big Septim - 5 and 1/2 Tone
14. Clean octave - 6 tones

We will not more overload you in detail on intervals. We only note that the intervals are divided into consonating and dissonant. Connce is a merging, consonant sound. The dissonance is a sharp, not merging sound, well, or simply "unpleasant."

Consonating intervals:

1. Very perfect Connce:

• Pure Prima
• Pure Octave

2. Perfect Connce:

• Pure Quarta
• Perfect fifth

3. Imperfect Connce:

• Small terration
• Large TRACE
• Small sect
• Large sect

Dysmonizing intervals include all others.

Now let's go back to Ladam. Lada is different, but we will analyze the most basic: major and minor.

(In the literal translation - larger way) is a way, stable sounds in which the major (large) sober, that is, consonance, which consists of three sounds. The sounds of major sober are located in terms: between the lower and middle sounds are large, and between the middle and the top is small. Between the upper and the bottom, a clean quint is formed. A major sober, which is built on Tonic (that is, on the first stage of Lada) is a tonic sober.

In such a Lada, unstable sounds are between resistant. A major field consists of seven steps, and the sequential sound of Lada is the gamma that we talked above.

In Major Lada, the intervals between the steps are located in this way: tone, tone, halftone, tone, tone, tone, halftone.

Minor hand (Little way) is a way, the steady sounds of which form minor sober. Minor sober consists of a small terration between the lower and medium steps, and the large between the middle and the top.

In Minor Lada, the intervals are located so: tone, halftone, tone, tone, halftone, tone, tone.

For rumor minor and majorload, it is quite easy to distinguish from each other. If the melody sounds fun and energetically, then it is a major way, well, if you hear a sad and smooth melody, then this is a minor way.

Key - This is the height on which Lada Tonic is located. The name of the tonality corresponds to the name of her Lada, for example: to major, re minor, etc.

Suppose you decided to sing a particular song, but it turned out to you too low for your voice. Therefore, we need to rewrite the melody in a higher tonality. To do this, rewrite all the notes on the desired number of tones above. But it is worth considering that there are tonality, and go beyond their limits - is equivalent to the creation of dissonance. If you are interested in how to transfer a melody from one tonality to another - write about it in the comments, and we will analyze this topic in detail in the next article.