F-flat major: Difference between revisions

F-flat major
${ \magnifyStaff #3/2 \omit Score.TimeSignature \key fes \major s16 \clef F \key fes \major s^"" }$

Alternative notations
${ \magnifyStaff #3/2 \omit Score.TimeSignature \set Staff.keyAlterations = #`((6 . ,FLAT)(2 . ,FLAT)(5 . ,FLAT)(1 . ,FLAT)(4 . ,FLAT)(0 . ,FLAT)(3 . ,FLAT)(6 . ,DOUBLE-FLAT)) s^"" }$

${ \magnifyStaff #3/2 \omit Score.TimeSignature \set Staff.keyAlterations = #`((6 . ,DOUBLE-FLAT)(2 . ,FLAT)(5 . ,FLAT)(1 . ,FLAT)(4 . ,FLAT)(0 . ,FLAT)(3 . ,FLAT)) s^"" }$
Relative key	D-flat minor (theoretical); →enharmonic: C-sharp minor
Parallel key	F-flat minor (theoretical); →enharmonic: E minor
Dominant key	C-flat major
Subdominant	B-double flat major (theoretical); →enharmonic: A major
Enharmonic	E major
Component pitches
	F♭, G♭, A♭, B, C♭, D♭, E♭

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F-flat major (or the key of F-flat) is a theoretical key based on F♭, consisting of the pitches F♭, G♭, A♭, B double flat, C♭, D♭, and E♭. Its key signature has eight flats, requiring one double flat and six single flats.^[1]

The F-flat major scale is:

$\header { tagline = ##f } scale = \relative c' { \key fes \major \omit Score.TimeSignature fes ges aes beses ces des ees fes ees des ces beses aes ges fes2 \clef F \key fes \major } \score { { << \cadenzaOn \scale \context NoteNames \scale >> } \layout { } \midi { } }$

Its relative minor is D-flat minor, usually replaced by C-sharp minor (see reason below) and its parallel minor is F-flat minor, which is normally replaced by E minor, since F-flat minor's four double-flats make it generally impractical to use. Because of that, it is usually enharmonic to E major with four sharps.

The scale-degree chords of F-flat major are:

Music in F-flat major

Although F-flat major is usually notated as its enharmonic equivalent of E major, because E major has four sharps only as opposed to F-flat major's eight flats (including the B), F-flat major appears as a secondary key area in several works in flat keys. Part of Richard Strauss' Metamorphosen uses F-flat major, which one commentator has called "a bitter enharmonic parody" of the earlier manifestations of E major in the piece.^[2]

Beethoven also used F-flat major in his Piano Sonata No. 31, Op. 110. In the first movement's exposition, the transitional passage between the first and second subjects consists of arpeggiated figuration beginning in A-flat major and modulating to the dominant key of E-flat major. In the recapitulation, the key for this passage is changed to bring the second subject back in A-flat major: the transitional passage appears in a key that would theoretically be F-flat major, but which is notated in E major, presumably because Beethoven judged this easier to read – this key being a major third below the key of the earlier appearance of this passage. Likewise, the second movement (in A-flat major) of Beethoven's Piano Sonata No. 8 (Pathétique) contains six measures of what would theoretically be F-flat major, but notated as E major (keeping the 4-flat key signature of the movement, so every note in the passage has an accidental).

Another example of F-flat major being notated as E major can be found in the Adagio of Haydn's Trio No. 27 in A-flat major. The Finale of Bruckner's Symphony No. 4 employs enharmonic E for F-flat, but its coda employs F-flat directly, with a Phrygian cadence through F-flat onto the tonic.^[3]^[4]^[5]

An example of F-flat major being used directly is in Victor Ewald's Quintet No. 4 in A-flat major (Op. 8), where the entirety of the third movement is notated in this key.^[6]

The climax that occurs in the middle of Samuel Barber's Adagio for Strings resolves to F-flat major.^{[citation needed]} The final cadence of John Rutter's setting of Robert Herrick's poem "What Sweeter Music" is in F-flat major.^{[citation needed]}

References

^ Nicolas Slonimsky (1960). The Road to Music. New York: Dodd, Mead, & Co. p. 16.
^ Bryan Randolph Gilliam (1998). Richard Strauss: New Perspectives on the Composer and His Work. Duke University Press. p. 237. ISBN 0-8223-2114-9.
^ Donald Betts (2005). "Beethoven's Piano Sonata Opus 110". The Inner Voice.
^ James Arnold Hepokoski; Warren Darcy (2006). Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. Oxford University Press. p. 326. ISBN 0-19-514640-9.
^ Julian Horton (2004). Bruckner's Symphonies: Analysis, Reception and Cultural Politics. Cambridge University Press. p. 127. ISBN 0-521-82354-4.
^ "Ewald: Quintet No 4 in Ab, op 8". Ensemble Publications. Retrieved 1 June 2016.

[1] Nicolas Slonimsky (1960). The Road to Music. New York: Dodd, Mead, & Co. p. 16.

[2] Bryan Randolph Gilliam (1998). Richard Strauss: New Perspectives on the Composer and His Work. Duke University Press. p. 237. ISBN 0-8223-2114-9.

[3] Donald Betts (2005). "Beethoven's Piano Sonata Opus 110". The Inner Voice.

[4] James Arnold Hepokoski; Warren Darcy (2006). Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. Oxford University Press. p. 326. ISBN 0-19-514640-9.

[5] Julian Horton (2004). Bruckner's Symphonies: Analysis, Reception and Cultural Politics. Cambridge University Press. p. 127. ISBN 0-521-82354-4.

[6] "Ewald: Quintet No 4 in Ab, op 8". Ensemble Publications. Retrieved 1 June 2016.

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@@ Line 1: / Line 1: @@
+{{Short description|Major scale based on F-flat}}
 {{Infobox musical scale
-| name=F-flat major<br><score>{ \new Staff \with{ \magnifyStaff #3/2 } << \time 2/16 \override Score.TimeSignature #'stencil = ##f { \clef treble \key fes \major s16 \clef bass \key fes \major s16 } >> }</score><br>{{nobold|(Alternative notation)}}<score>{ \new Staff \with{ \magnifyStaff #3/2 } << \time 2/16 \override Score.TimeSignature #'stencil = ##f { \clef treble \set Staff.keyAlterations = #`((6 . ,FLAT)(2 . ,FLAT)(5 . ,FLAT)(1 . ,FLAT)(4 . ,FLAT)(0 . ,FLAT)(3 . ,FLAT)(6 . ,DOUBLE-FLAT)) s16  ^\markup "" } >> }</score>
+| name=F-flat major<br><score>{ \magnifyStaff #3/2 \omit Score.TimeSignature \key fes \major s16 \clef F \key fes \major s^"" }</score><br>{{nobold|Alternative notations}}<score>{ \magnifyStaff #3/2 \omit Score.TimeSignature \set Staff.keyAlterations = #`((6 . ,FLAT)(2 . ,FLAT)(5 . ,FLAT)(1 . ,FLAT)(4 . ,FLAT)(0 . ,FLAT)(3 . ,FLAT)(6 . ,DOUBLE-FLAT)) s^"" }</score><br><score>{ \magnifyStaff #3/2 \omit Score.TimeSignature \set Staff.keyAlterations = #`((6 . ,DOUBLE-FLAT)(2 . ,FLAT)(5 . ,FLAT)(1 . ,FLAT)(4 . ,FLAT)(0 . ,FLAT)(3 . ,FLAT)) s^"" }</score>
-| relative=[[D-flat minor]] (theoretical)<br>{{nowrap|→enharmonic: [[C-sharp minor]]}}
+| relative=[[D-flat minor]] (theoretical)<br>→[[Enharmonic key|enharmonic]]: [[C-sharp minor]]
-| parallel=[[F-flat minor]] (theoretical)<br>{{nowrap|→enharmonic: [[E minor]]}}
+| parallel=[[F-flat minor]] (theoretical)<br>→[[Enharmonic key|enharmonic]]: [[E minor]]
-| dominant=[[C-flat major]]<br>{{nowrap|enharmonic: [[B major]]}}
+| dominant=[[C-flat major]]
-| subdominant=[[B-double flat major]] (theoretical)<br>{{nowrap|→enharmonic: [[A major]]}}
+| subdominant=[[B-double flat major]] (theoretical)<br>→[[Enharmonic key|enharmonic]]: [[A major]]
 | enharmonic=[[E major]]
 | first_pitch=F{{music|flat}}
@@ Line 14: / Line 15: @@
 | seventh_pitch=E{{music|flat}}
 }}
-'''F-flat major''' (or the '''key of F-flat''') is a [[theoretical key]] based on [[F♭ (musical note)|F{{music|flat}}]], consisting of the pitches F{{music|b}}, [[G♭ (musical note)|G{{music|b}}]], [[A♭ (musical note)|A{{music|b}}]], [[B-double flat|B]]{{music|bb}}, [[C♭ (musical note)|C{{music|b}}]], [[D♭ (musical note)|D{{music|b}}]], and [[E♭ (musical note)|E{{music|b}}]]. Its [[key signature]] has one [[Double-flat|double flat]] and six [[Flat (music)|flats]].<ref>{{cite book|title=The Road to Music|author=[[Nicolas Slonimsky]]|page=16|location=New York|date=1960|publisher=Dodd, Mead, & Co.}}</ref>
+'''F-flat major''' (or the '''key of F-flat''') is a [[theoretical key]] based on [[F♭ (musical note)|F{{music|flat}}]], consisting of the pitches F{{music|b}}, [[G♭ (musical note)|G{{music|b}}]], [[A♭ (musical note)|A{{music|b}}]], B double flat, [[C♭ (musical note)|C{{music|b}}]], [[D♭ (musical note)|D{{music|b}}]], and [[E♭ (musical note)|E{{music|b}}]]. Its [[key signature]] has eight [[Flat (music)|flats]], requiring one [[double flat]] and six single flats.<ref>{{cite book|title=The Road to Music|author=[[Nicolas Slonimsky]]|page=16|location=New York|date=1960|publisher=Dodd, Mead, & Co.}}</ref>
+The F-flat major scale is:
-== Scale Degree Chords ==
+:<score sound raw>
+\header { tagline = ##f }
+scale = \relative c' { \key fes \major \omit Score.TimeSignature
+  fes ges aes beses ces des ees fes ees des ces beses aes ges fes2 \clef F \key fes \major }
+\score { { << \cadenzaOn \scale \context NoteNames \scale >> } \layout { } \midi { } }
+</score>
+Its [[relative key|relative minor]] is [[D-flat minor]], usually replaced by [[C-sharp minor]] (see reason below) and its [[parallel key|parallel minor]] is F-flat minor, which is normally replaced by [[E minor]], since F-flat minor's four double-flats make it generally impractical to use. Because of that, it is usually enharmonic to [[E major]] with four sharps.
-* [[Tonic (music)|'''Tonic''']] - F-flat major
-* '''[[Supertonic]]''' - [[G-flat minor]]
-* '''[[Mediant]]''' - [[A-flat minor]]
-* '''[[Subdominant]]''' - [[B double flat major]]
-* [[Dominant (music)|'''Dominant''']] - [[C-flat major]]
-* '''[[Submediant]]''' - [[D-flat minor]]
-* '''[[Leading-tone]]''' - [[Diminished triad|E-flat diminished]]
+The [[scale-degree]] chords of F-flat major are:
+* [[Tonic (music)|Tonic]] – F-flat major
+* [[Supertonic]] – [[G-flat minor]]
+* [[Mediant]] – [[A-flat minor]]
+* [[Subdominant]] – [[B double flat major|B-double-flat major]]
+* [[Dominant (music)|Dominant]] – [[C-flat major]]
-The F-flat major scale is:
+* [[Submediant]] – [[D-flat minor]]
-:<score sound="1">  {
+* [[Leading-tone]] – [[Diminished triad|E-flat diminished]]
-\override Score.TimeSignature #'stencil = ##f
-\relative c' {
-  \clef treble \key fes \major \time 7/4 fes4 ges aes beses ces des ees fes ees des ces beses aes ges fes2
-  \clef bass \key fes \major
-} }
-</score>
-Its [[relative key|relative minor]] is [[D-flat minor]], usually replaced by [[C-sharp minor]] (see reason below) and its [[parallel key|parallel minor]] is F-flat minor, which is normally replaced by [[E minor]], since F-flat minor's four double-flats make it generally impractical to use. Because of that, it is usually enharmonic to [[E major]] with 4 sharps.
 == Music in F-flat major ==
-Although F-flat major is usually notated as its [[enharmonic]] equivalent of [[E major]], because E major has four [[Sharp (music)|sharps]] only as opposed to F-flat major's eight flats (including the B{{music|bb}}), F-flat major appears as a secondary key area in several works in flat keys. Part of [[Richard Strauss]]' ''[[Metamorphosen]]'' uses F-flat major, which one commentator has called "a bitter enharmonic parody" of the earlier manifestations of E major in the piece.<ref>{{cite book|title=Richard Strauss: New Perspectives on the Composer and His Work|author=Bryan Randolph Gilliam|page=237|date=1998|publisher=Duke University Press|isbn=0-8223-2114-9}}</ref>
+Although F-flat major is usually notated as its [[enharmonic equivalence|enharmonic]] equivalent of [[E major]], because E major has four [[Sharp (music)|sharps]] only as opposed to F-flat major's eight flats (including the B{{music|bb}}), F-flat major appears as a secondary key area in several works in flat keys. Part of [[Richard Strauss]]' ''[[Metamorphosen]]'' uses F-flat major, which one commentator has called "a bitter enharmonic parody" of the earlier manifestations of E major in the piece.<ref>{{cite book|title=Richard Strauss: New Perspectives on the Composer and His Work|author=Bryan Randolph Gilliam|page=237|date=1998|publisher=Duke University Press|isbn=0-8223-2114-9}}</ref>
 [[Ludwig van Beethoven|Beethoven]] also used F-flat major in his [[Piano Sonata No. 31 (Beethoven)|Piano Sonata No. 31]], Op. 110. In the first movement's [[Exposition (music)|exposition]], the transitional passage between the first and second [[Subject (music)|subjects]] consists of [[Arpeggio|arpeggiated]] [[Figure (music)|figuration]] beginning in [[A-flat major]] and [[Modulation (music)|modulating]] to the [[Dominant (music)|dominant]] key of [[E-flat major]].  In the [[Recapitulation (music)|recapitulation]], the key for this passage is changed to bring the second subject back in A-flat major: the transitional passage appears in a key that would theoretically be F-flat major, but which is notated in E major, presumably because Beethoven judged this easier to read – this key being a major third below the key of the earlier appearance of this passage. Likewise, the second movement (in A-flat major) of Beethoven's  [[Piano Sonata No. 8 (Beethoven)|Piano Sonata No. 8]] (Pathétique) contains six measures of what would theoretically be F-flat major, but notated as E major (keeping the 4-flat key signature of the movement, so every note in the passage has an accidental).
@@ Line 52: / Line 47: @@
 The climax that occurs in the middle of [[Samuel Barber]]'s ''[[Adagio for Strings]]'' resolves to F-flat major.{{citation needed|date=November 2021}} The final cadence of [[John Rutter]]'s setting of [[Robert Herrick (poet)|Robert Herrick]]'s poem "What Sweeter Music" is in F-flat major.{{citation needed|date=December 2021}}
+== See also ==
-In Bach's Prelude and Fugue in E-flat minor, a brief section in bar 26 of the piece modulates to F-flat major.{{citation needed|date=November 2022}}
+* [[Key (music)]]
+* [[Major and minor]]
+* [[Chord (music)]]
+* [[Chord notation]]
+* [[Key signature#Double flats and sharps]]
 ==References==