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{{Short description|Tonality}}
{{Short description|Major scale based on F-flat}}
{{Infobox musical scale
{{Infobox musical scale
| name=F-flat major<br><score>\new Staff \with{ \magnifyStaff #3/2 \omit TimeSignature } { \time 1/8 \key fes \major s16 \clef F \key fes \major s16 }</score><br>{{nobold|(Alternative notation)}}<score>\new Staff \with{ \magnifyStaff #3/2 \omit TimeSignature } { \time 1/8 \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]]
| enharmonic=[[E major]]
| first_pitch=F{{music|flat}}
| first_pitch=F{{music|flat}}
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| seventh_pitch=E{{music|flat}}
| 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|doubleflat}}, [[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:
The F-flat major scale is:
:<score sound="1"> {
:<score sound raw>
\header { tagline = ##f }
\override Score.TimeSignature #'stencil = ##f
\relative c' {
scale = \relative c' { \key fes \major \omit Score.TimeSignature
\key fes \major \time 7/4 fes4 ges aes beses ces des ees fes ees des ces beses aes ges fes2
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 { } }
\clef F \key fes \major
} }
</score>
</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.


⚫
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.
== Scale degree chords ==

* [[Tonic (music)|'''Tonic''']] - F-flat major
* '''[[Supertonic]]''' - [[G-flat minor]]
The [[scale-degree]] chords of F-flat major are:
* '''[[Mediant]]''' - [[A-flat minor]]
* [[Tonic (music)|Tonic]] – F-flat major
* '''[[Subdominant]]''' - [[B double flat major|B-double-flat major]]
* [[Supertonic]] – [[G-flat minor]]
* [[Dominant (music)|'''Dominant''']] - [[C-flat major]]
* [[Mediant]] – [[A-flat minor]]
* '''[[Submediant]]''' - [[D-flat minor]]
* [[Subdominant]] – [[B double flat major|B-double-flat major]]
* '''[[Leading-tone]]''' - [[Diminished triad|E-flat diminished]]
* [[Dominant (music)|Dominant]] – [[C-flat major]]
* [[Submediant]] – [[D-flat minor]]
* [[Leading-tone]] – [[Diminished triad|E-flat diminished]]


== Music in F-flat major ==
== 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).
[[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 49: 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}}
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==
==References==

Latest revision as of 07:56, 12 September 2024

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 keyD-flat minor (theoretical)
→enharmonic: C-sharp minor
Parallel keyF-flat minor (theoretical)
→enharmonic: E minor
Dominant keyC-flat major
SubdominantB-double flat major (theoretical)
→enharmonic: A major
EnharmonicE major
Component pitches
F♭, G♭, A♭, Bdouble flat, 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:

\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

[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 Bdouble flat), 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]
  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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