D-flat minor: Difference between revisions
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{{Infobox musical scale |
{{Infobox musical scale |
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| name=D-flat minor<score>{ \new Staff \with{ \magnifyStaff #3/2 } << \time 2/16 \override Score.TimeSignature #'stencil = ##f { \clef treble \key des \minor s16 \clef bass \key des \minor s16 } >> }</score> |
| name=D-flat minor<score>{ \new Staff \with{ \magnifyStaff #3/2 } << \time 2/16 \override Score.TimeSignature #'stencil = ##f { \clef treble \key des \minor s16 \clef bass \key des \minor s16 } >> }</score> |
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| relative=[[F-flat major]] (theoretical)<br> |
| relative=[[F-flat major]] (theoretical)<br>enharmonic: [[E major]] |
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| parallel=[[D-flat major]] |
| parallel=[[D-flat major]] |
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| dominant=[[A-flat minor]]<br> |
| dominant=[[A-flat minor]]<br>enharmonic: [[G-sharp minor]] |
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| subdominant=G-flat minor (theoretical)<br> |
| subdominant=G-flat minor (theoretical)<br>enharmonic: [[F-sharp minor]] |
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| enharmonic=[[C-sharp minor]] |
| enharmonic=[[C-sharp minor]] |
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| first_pitch=D{{music|flat}} |
| first_pitch=D{{music|flat}} |
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} } |
} } |
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</score> |
</score> |
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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=14–15|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]–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=14–15|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]–166|date=1992|publisher=University of Chicago Press|isbn=0-226-00769-3}}</ref> |
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==References== |
==References== |
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Revision as of 01:14, 5 May 2022
| Relative key | F-flat major (theoretical) enharmonic: E major |
|---|---|
| Parallel key | D-flat major |
| Dominant key | A-flat minor enharmonic: G-sharp minor |
| Subdominant | G-flat minor (theoretical) enharmonic: F-sharp minor |
| Enharmonic | C-sharp minor |
| Component pitches | |
D♭, E♭, F♭, G♭, A♭, B , C♭ | |
D-flat minor is a theoretical key based on D♭, consisting of the pitches D♭, E♭, F♭, G♭, A♭, B♭♭, and C♭. Its key signature has six flats and one double flat. Its relative major is F-flat major, which is usually replaced by E major. Its parallel major is D-flat major, and its direct enharmonic equivalent, C-sharp minor, is normally used.
The D-flat natural minor scale is:
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:
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]
References
- ^ Amy Beach & Betty Buchanan (2006). The Canticle of the Sun. A-R Editions, Inc. p. xiii. ISBN 0-89579-583-3.
- ^ Ernst Levy (1985). A Theory of Harmony. SUNY Press. p. 62. ISBN 0-87395-993-0.
- ^ James L. Zychowicz (2005). "Structural Considerations". Mahler's Fourth Symphony. Oxford University Press. p. 28. ISBN 0-19-816206-5.
- ^ 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.
- ^ Theodor W. Adorno (1992). Mahler: A Musical Physiognomy. Translated by Edmund Jephcott. University of Chicago Press. pp. 165–166. ISBN 0-226-00769-3.
