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'@@ -1,10 +1,10 @@ {{see also|E major}} {{Infobox musical scale -| name=F{{music|flat}} major<!--Don't put unicode.--> +| name=F-flat major<!--Don't put unicode.--> | image_name = Db minor key signature.png -| relative=[[D-flat minor|D{{music|flat}} minor]]<br>enharmonic: [[C-sharp minor|C{{music|sharp}}&nbsp;minor]] -| parallel=F{{music|b}} minor<br>enharmonic: [[E minor|E&nbsp;minor]] -| dominant=[[C-flat major|C{{music|flat}} major]]<br>enharmonic: [[B major|B&nbsp;major]] -| subdominant=B{{music|doubleflat}} major<br>enharmonic: [[A major|A&nbsp;major]] +| relative=[[D-flat minor]]<br>enharmonic: [[C-sharp minor]] +| parallel=F-flat minor<br>enharmonic: [[E minor]] +| dominant=[[C-flat major]]<br>enharmonic: [[B major]] +| subdominant=B-double flat major<br>enharmonic: [[A major]] | enharmonic=[[E major]] | first_pitch=F{{music|flat}} @@ -16,7 +16,7 @@ | seventh_pitch=E{{music|flat}} }} -'''F{{music|b}} major''' (or the '''key of F{{music|b}}''') 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 six [[Flat (music)|flats]] and one double flat.<ref>{{cite book|title=The Road to Music|author=Nicolas Slonimsky|pages=16|location=New York|date=1960|publisher=Dodd, Mead, &amp; 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|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 six [[Flat (music)|flats]] and one double flat.<ref>{{cite book|title=The Road to Music|author=Nicolas Slonimsky|pages=16|location=New York|date=1960|publisher=Dodd, Mead, &amp; Co.}}</ref> -The F{{music|flat}} major scale is: +The F-flat major scale is: :<score vorbis="1" lang="lilypond"> { \override Score.TimeSignature #'stencil = ##f @@ -25,16 +25,10 @@ } } </score> -Its [[relative key|relative minor]] is [[D-flat minor|D{{music|flat}} minor]], usually replaced by [[C-sharp minor|C{{music|sharp}} minor]] (see reason below) and its [[parallel key|parallel minor]] is F{{music|flat}} minor, usually replaced by [[E minor]], since F{{music|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, usually 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{{music|flat}} major == -Although F{{music|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{{music|b}} major's eight flats (including the B{{music|bb}}), part of [[Richard Strauss]]' ''[[Metamorphosen]]'' uses F{{music|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|pages=237|date=1998|publisher=Duke University Press|isbn=0-8223-2114-9}}</ref> +== 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}}), 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|pages=237|date=1998|publisher=Duke University Press|isbn=0-8223-2114-9}}</ref> -[[Ludwig van Beethoven|Beethoven]] also used F{{music|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|A{{music|flat}} major]] and [[Modulation (music)|modulating]] to the [[Dominant (music)|dominant]] key of [[E-flat major|E{{music|flat}} major]]. In the [[Recapitulation (music)|recapitulation]], the key for this passage is changed to bring the second subject back in A{{music|flat}} major: the transitional passage appears in a key that would theoretically be F{{music|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. - -Another example of F{{music|flat}} major being notated as E major can be found in the ''Adagio'' of [[Joseph Haydn|Haydn]]'s [[List of piano trios by Joseph Haydn|Trio No. 27 in A{{music|b}} major]]. The Finale of [[Anton Bruckner|Bruckner]]'s [[Symphony No. 4 (Bruckner)|Symphony No. 4]] employs enharmonic E for F{{music|flat}}, but its [[Coda (music)|coda]] employs F{{music|flat}} directly, with a [[phrygian cadence]] through F{{music|flat}} onto the tonic.<ref>{{cite web|author=Donald Betts|date=2005|url=http://innig.net./music/betts-innervoice/|work=The Inner Voice|title=Beethoven’s Piano Sonata Opus 110}}</ref><ref>{{cite book|title=Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata|author=James Arnold Hepokoski and Warren Darcy|pages=326|date=2006|publisher=Oxford University Press|isbn=0-19-514640-9}}</ref><ref>{{cite book|title=Bruckner's Symphonies: Analysis, Reception and Cultural Politics|author=Julian Horton|pages=127|date=2004|publisher=Cambridge University Press|isbn=0-521-82354-4}}</ref> - -An example of F{{music|flat}} major being used directly is in [[Victor Ewald]]'s Quintet No. 4 in A{{music|b}} major (Op. 8), where the entirety of the third movement is notated in this key.<ref>{{cite web |url=http://www.enspub.com/pages/sku93503.htm |title=Ewald: Quintet No 4 in Ab, op 8 |author=<!--Staff writer(s); no by-line.--> |website=Ensemble Publications |publisher=Ensemble Publications |access-date=1 June 2016}}</ref> - -The climax that occurs in the middle of [[Samuel Barber]]'s ''[[Adagio for Strings]]'' resolves to F{{music|flat}} major. +[[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. ==References== '