F-flat major: Difference between revisions
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{{Short description|Major scale based on F-flat}} |
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{{Infobox musical scale |
{{Infobox musical scale |
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| name=F-flat major<br><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> |
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| relative=[[D-flat minor]] (theoretical)<br> |
| relative=[[D-flat minor]] (theoretical)<br>→[[Enharmonic key|enharmonic]]: [[C-sharp minor]] |
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| parallel=[[F-flat minor]] (theoretical)<br> |
| parallel=[[F-flat minor]] (theoretical)<br>→[[Enharmonic key|enharmonic]]: [[E minor]] |
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| dominant=[[C-flat major]] |
| dominant=[[C-flat major]] |
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| subdominant=[[B-double flat major]] (theoretical)<br> |
| subdominant=[[B-double flat major]] (theoretical)<br>→[[Enharmonic key|enharmonic]]: [[A major]] |
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| enharmonic=[[E major]] |
| enharmonic=[[E major]] |
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| first_pitch=F{{music|flat}} |
| first_pitch=F{{music|flat}} |
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| seventh_pitch=E{{music|flat}} |
| seventh_pitch=E{{music|flat}} |
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}} |
}} |
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'''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}}]], |
'''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> |
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The F-flat major scale is: |
The F-flat major scale is: |
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:<score sound |
:<score sound raw> |
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\header { tagline = ##f } |
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\override Score.TimeSignature #'stencil = ##f |
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\relative c' { |
scale = \relative c' { \key fes \major \omit Score.TimeSignature |
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fes ges aes beses ces des ees fes ees des ces beses aes ges fes2 \clef F \key fes \major } |
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\score { { << \cadenzaOn \scale \context NoteNames \scale >> } \layout { } \midi { } } |
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\clef bass \key fes \major |
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} } |
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</score> |
</score> |
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⚫ | 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 |
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⚫ | 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. |
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== Scale Degree Chords == |
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* [[Tonic (music)|'''Tonic''']] - F-flat major |
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The [[scale-degree]] chords of F-flat major are: |
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* |
* [[Tonic (music)|Tonic]] – F-flat major |
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* |
* [[Supertonic]] – [[G-flat minor]] |
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* [[ |
* [[Mediant]] – [[A-flat minor]] |
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* |
* [[Subdominant]] – [[B double flat major|B-double-flat major]] |
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* |
* [[Dominant (music)|Dominant]] – [[C-flat major]] |
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* [[Submediant]] – [[D-flat minor]] |
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* [[Leading-tone]] – [[Diminished triad|E-flat diminished]] |
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== Music in F-flat major == |
== Music in F-flat major == |
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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> |
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[[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). |
[[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). |
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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}} |
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}} |
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== See also == |
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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}} |
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* [[Key (music)]] |
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* [[Major and minor]] |
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* [[Chord (music)]] |
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* [[Chord notation]] |
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* [[Key signature#Double flats and sharps]] |
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==References== |
==References== |
Latest revision as of 07:56, 12 September 2024
Relative key | D-flat minor (theoretical) →enharmonic: C-sharp minor |
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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♭ |
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:
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:
- Tonic – F-flat major
- Supertonic – G-flat minor
- Mediant – A-flat minor
- Subdominant – B-double-flat major
- Dominant – C-flat major
- Submediant – D-flat minor
- Leading-tone – E-flat diminished
Music in F-flat major
[edit]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]
See also
[edit]References
[edit]- ^ 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.