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The D-flat [[natural minor scale]] is:
The D-flat [[natural minor scale]] is:


:<score sound="" raw="1" lang="lilypond">
:<score sound raw>
\header { tagline = ##f }
\header { tagline = ##f }
scale = \relative c' { \key des \minor \omit Score.TimeSignature
scale = \relative c' { \key des \minor \omit Score.TimeSignature
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Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The D-flat [[Harmonic minor scale|harmonic minor]] and [[Melodic minor scale|melodic minor scales]] are:
Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The D-flat [[Harmonic minor scale|harmonic minor]] and [[Melodic minor scale|melodic minor scales]] are:


:<score sound="" raw="1" lang="lilypond">
:<score sound raw>
\header { tagline = ##f }
\header { tagline = ##f }
scale = \relative c' { \key des \minor \omit Score.TimeSignature
scale = \relative c' { \key des \minor \omit Score.TimeSignature
Line 36: Line 36:
</score>
</score>


:<score sound="" raw="1" lang="lilypond">\header { tagline = ##f }
:<score sound raw>\header { tagline = ##f }
scale = \relative c' { \accidentalStyle modern \key des \minor \omit Score.TimeSignature
scale = \relative c' { \accidentalStyle modern \key des \minor \omit Score.TimeSignature
des^"Melodic minor scale" es fes ges aes bes c des ces? beses? aes ges fes es des2 }
des^"Melodic minor scale" es fes ges aes bes c des ces? beses? aes ges fes es des2 }
Line 42: Line 42:


D-flat minor is usually notated as the enharmonic key of [[C-sharp minor]], as in the second and third measures of [[Amy Beach]]'s ''[[Canticle of the Sun]]''.<ref>{{cite book|title=The Canticle of the Sun|author=Amy Beach|author2=Betty Buchanan|name-list-style=amp|date=2006|publisher=A-R Editions, Inc.|isbn=0-89579-583-3|page=xiii}}</ref> However, unusually, two of [[Giuseppe Verdi|Verdi]]'s most well-known operas, ''[[La traviata]]'' and ''[[Rigoletto]]'', both end in D-flat minor (although written with the five-flat key signature of the parallel major). [[Gustav Mahler|Mahler]]'s thematic motif "der kleine Appell" ("call to order") from his [[Symphony No. 4 (Mahler)|Fourth]] and [[Symphony No. 5 (Mahler)|Fifth Symphonies]] uses both notations: in his Symphony No. 4 (first movement) it is in D-flat minor, but in his Symphony No. 5 it is in C-sharp minor. In the Adagio of his [[Symphony No. 9 (Mahler)|Symphony No. 9]], a solo bassoon interpolation following the main theme appears first in D-flat minor, returning twice more notated in C-sharp minor. Likewise, in the Adagio of [[Anton Bruckner|Bruckner]]'s [[Symphony No. 8 (Bruckner)|Symphony No. 8]], phrases that are tonally in D-flat minor are notated as C-sharp minor.<ref>{{cite book|title=A Theory of Harmony|author=Ernst Levy|date=1985|publisher=SUNY Press|isbn=0-87395-993-0|page=62}}</ref><ref>{{cite book|chapter=Structural Considerations|title=Mahler's Fourth Symphony|author=James L. Zychowicz|date=2005|publisher=Oxford University Press|isbn=0-19-816206-5|page=28}}</ref><ref>{{cite book|title=Musical Semiotics in Growth|editor=Eero Tarasti|editor2=Paul Forsell|editor3=Richard Littlefield|pages=14&ndash;15|chapter=Music history revisited|author=Eero Tarasti|author-link=Eero Tarasti|date=1996|publisher=Indiana University Press|isbn=0-253-32949-3}}</ref><ref>{{cite book|title=Mahler: A Musical Physiognomy|url=https://archive.org/details/mahlermusicalphy0000ador|url-access=registration|author=Theodor W. Adorno|author-link=Theodor W. Adorno|translator=Edmund Jephcott|pages=[https://archive.org/details/mahlermusicalphy0000ador/page/165 165]&ndash;166|date=1992|publisher=University of Chicago Press|isbn=0-226-00769-3}}</ref>
D-flat minor is usually notated as the enharmonic key of [[C-sharp minor]], as in the second and third measures of [[Amy Beach]]'s ''[[Canticle of the Sun]]''.<ref>{{cite book|title=The Canticle of the Sun|author=Amy Beach|author2=Betty Buchanan|name-list-style=amp|date=2006|publisher=A-R Editions, Inc.|isbn=0-89579-583-3|page=xiii}}</ref> However, unusually, two of [[Giuseppe Verdi|Verdi]]'s most well-known operas, ''[[La traviata]]'' and ''[[Rigoletto]]'', both end in D-flat minor (although written with the five-flat key signature of the parallel major). [[Gustav Mahler|Mahler]]'s thematic motif "der kleine Appell" ("call to order") from his [[Symphony No. 4 (Mahler)|Fourth]] and [[Symphony No. 5 (Mahler)|Fifth Symphonies]] uses both notations: in his Symphony No. 4 (first movement) it is in D-flat minor, but in his Symphony No. 5 it is in C-sharp minor. In the Adagio of his [[Symphony No. 9 (Mahler)|Symphony No. 9]], a solo bassoon interpolation following the main theme appears first in D-flat minor, returning twice more notated in C-sharp minor. Likewise, in the Adagio of [[Anton Bruckner|Bruckner]]'s [[Symphony No. 8 (Bruckner)|Symphony No. 8]], phrases that are tonally in D-flat minor are notated as C-sharp minor.<ref>{{cite book|title=A Theory of Harmony|author=Ernst Levy|date=1985|publisher=SUNY Press|isbn=0-87395-993-0|page=62}}</ref><ref>{{cite book|chapter=Structural Considerations|title=Mahler's Fourth Symphony|author=James L. Zychowicz|date=2005|publisher=Oxford University Press|isbn=0-19-816206-5|page=28}}</ref><ref>{{cite book|title=Musical Semiotics in Growth|editor=Eero Tarasti|editor2=Paul Forsell|editor3=Richard Littlefield|pages=14&ndash;15|chapter=Music history revisited|author=Eero Tarasti|author-link=Eero Tarasti|date=1996|publisher=Indiana University Press|isbn=0-253-32949-3}}</ref><ref>{{cite book|title=Mahler: A Musical Physiognomy|url=https://archive.org/details/mahlermusicalphy0000ador|url-access=registration|author=Theodor W. Adorno|author-link=Theodor W. Adorno|translator=Edmund Jephcott|pages=[https://archive.org/details/mahlermusicalphy0000ador/page/165 165]&ndash;166|date=1992|publisher=University of Chicago Press|isbn=0-226-00769-3}}</ref>

However, D-flat minor is used on [[Max Reger]]'s ''On the Theory of Modulation'' on pp. 42–45, using the key signature.<ref>{{cite book |author=Max Reger |title=Supplement to the Theory of Modulation |publisher=C. F. Kahnt Nachfolger |year=1904 |location=Leipzig |pages=[https://archive.org/details/supplementtotheo00rege/page/42/mode/2up 42–45] |translator=John Bernhoff}}</ref>


== Scale degree chords ==
== Scale degree chords ==
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* [[Chord (music)]]
* [[Chord (music)]]
* [[Chord notation]]
* [[Chord notation]]
* [[Key signature#Double flats and sharps]]
* {{Section link|Key signature#Double flats and sharps}}


==References==
==References==

Latest revision as of 02:46, 25 November 2024

D-flat minor
{ \magnifyStaff #3/2 \omit Score.TimeSignature \key des \minor s16 \clef F \key des \minor s^"" }

Alternative notation
{ \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^"" }
Relative keyF-flat major (theoretical)
→enharmonic: E major
Parallel keyD-flat major
Dominant keyA-flat minor
SubdominantG-flat minor (theoretical)
→enharmonic: F-sharp minor
EnharmonicC-sharp minor
Component pitches
D♭, E♭, F♭, G♭, A♭, Bdouble flat, C♭

D-flat minor is a theoretical key based on D♭, consisting of the pitches D♭, E♭, F♭, G♭, A♭, Bdouble flat, and C♭. Its key signature has eight flats, requiring one double flat and six single flats. Its relative major is F-flat major, which is usually replaced by E major. Its parallel major is D-flat major. Its direct enharmonic equivalent, C-sharp minor, is normally used.

The D-flat natural minor scale is:

\header { tagline = ##f } scale = \relative c' { \key des \minor \omit Score.TimeSignature des^"Natural minor scale" es fes ges aes beses ces des ces beses aes ges fes es des2 \clef F \key des \minor } \score { { << \cadenzaOn \scale \context NoteNames \scale >> } \layout { } \midi { } }

Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The D-flat harmonic minor and melodic minor scales are:

\header { tagline = ##f } scale = \relative c' { \key des \minor \omit Score.TimeSignature des^"Harmonic minor scale" es fes ges aes beses c des c beses aes ges fes es des2 } \score { { << \cadenzaOn \scale \context NoteNames \scale >> } \layout { } \midi { } }
\header { tagline = ##f } scale = \relative c' { \accidentalStyle modern \key des \minor \omit Score.TimeSignature des^"Melodic minor scale" es fes ges aes bes c des ces? beses? aes ges fes es des2 } \score { { << \cadenzaOn \scale \context NoteNames \scale >> } \layout { } \midi { } }

D-flat minor is usually notated as the enharmonic key of C-sharp minor, as in the second and third measures of Amy Beach's Canticle of the Sun.[1] However, unusually, two of Verdi's most well-known operas, La traviata and Rigoletto, both end in D-flat minor (although written with the five-flat key signature of the parallel major). Mahler's thematic motif "der kleine Appell" ("call to order") from his Fourth and Fifth Symphonies uses both notations: in his Symphony No. 4 (first movement) it is in D-flat minor, but in his Symphony No. 5 it is in C-sharp minor. In the Adagio of his Symphony No. 9, a solo bassoon interpolation following the main theme appears first in D-flat minor, returning twice more notated in C-sharp minor. Likewise, in the Adagio of Bruckner's Symphony No. 8, phrases that are tonally in D-flat minor are notated as C-sharp minor.[2][3][4][5]

However, D-flat minor is used on Max Reger's On the Theory of Modulation on pp. 42–45, using the key signature.[6]

Scale degree chords

[edit]

The scale-degree chords of D-flat minor are:

See also

[edit]

References

[edit]
  1. ^ Amy Beach & Betty Buchanan (2006). The Canticle of the Sun. A-R Editions, Inc. p. xiii. ISBN 0-89579-583-3.
  2. ^ Ernst Levy (1985). A Theory of Harmony. SUNY Press. p. 62. ISBN 0-87395-993-0.
  3. ^ James L. Zychowicz (2005). "Structural Considerations". Mahler's Fourth Symphony. Oxford University Press. p. 28. ISBN 0-19-816206-5.
  4. ^ Eero Tarasti (1996). "Music history revisited". In Eero Tarasti; Paul Forsell; Richard Littlefield (eds.). Musical Semiotics in Growth. Indiana University Press. pp. 14–15. ISBN 0-253-32949-3.
  5. ^ Theodor W. Adorno (1992). Mahler: A Musical Physiognomy. Translated by Edmund Jephcott. University of Chicago Press. pp. 165–166. ISBN 0-226-00769-3.
  6. ^ Max Reger (1904). Supplement to the Theory of Modulation. Translated by John Bernhoff. Leipzig: C. F. Kahnt Nachfolger. pp. 42–45.
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