Parallel key of G major. Key: parallel key and the same name, their letter designations. B minor - mournful

Music theory includes huge amount various terminology. Tonality is a fundamental professional term. On this page you can find out what tonality is, how to determine it, what types there are, and also interesting facts, exercises, and a method for changing the key in a backing track.

Highlights

Imagine you decide to play a piece of music. You found the notes, and when analyzing the musical text, you noticed that after the key there are sharps or flats. We need to figure out what they mean. Key signs represent alteration signs that remain throughout the entire performance of a musical composition. According to the rules, they are placed after the key, but before the size (See Figure No. 1), and are duplicated on each subsequent line. Key signs are necessary not only so as not to constantly write them down near the notes, which takes a lot of time, but also so that the musician can determine the key in which the piece is written.

Figure No. 1

The piano, like many other instruments, has a tempered tuning. In this system, the units of calculation can be taken as tone and semitone. By dividing into these units, each sound on the keyboard can form a tonality, either major or minor. This is how the modal formulas for major and minor were invented (See Figure 2).

Figure No. 2

It is by these scale formulas that one can build a tonality from any sound, either in major or minor. The sequential reproduction of notes according to these formulas is called a scale. Many musicians play scales in order to quickly navigate keys and key signs with them.

Tonality consists of two components: the name of the sound (for example, C) and the modal mood (major or minor). To build a scale, you need to select one of the sounds on the keyboard and play from it according to the formula, either major or minor.

Exercises for consolidation

1. Try playing a major scale from the sound “D”. Use the ratio of tones and semitones when playing. Check for correctness.
2. Try playing a minor scale from the sound "E". You must play according to the proposed formula.
3. Try playing scales from different sounds in different moods. First at a slow pace, then at a faster pace.

Varieties

Some tones may have a certain connection with each other. Then they can be included in the following classifications:

• Parallel tones. The peculiarity is the same number of key signs, but different modal inclination. In fact, the set of sounds is absolutely identical, the only difference is in the tonic sound. For example, the tonalities of C major and A minor are parallel, they have the same number of key signs, but different modal inclination and tonic sound. There is a parallel-variable mode, which is characterized by the fact that there are two parallel tonalities in the work, and their mode constantly changes, now to major, now to minor. This mode is typical for Russian folk music.
• The names of the same name have a common tonic sound, but at the same time different modal inclination and key signs. Example: D major (2 key marks), D minor (1 key sign).
• One-thirds have a common third (that is, the third sound in a triad); they are no longer united by the tonic, key signs, or mode. Typically, the one-third minor is located a minor second or semitone higher than the major. Accordingly, the one-third major in relation to the minor is located lower by a small second or semitone. An example is the tonalities of C major and C sharp minor; in the triads of these chords the sound “E” is the same.

Exercises for consolidation

Determine how the two tones relate to each other. Place the appropriate number next to the example:

1. Parallel
2. Same name
3. Single-faced

Questions:

• B-major and H-moll
• A-major and A-minor
• G-major and e-moll

Check your own knowledge.

Answers: 3, 2, 1.

Interesting facts

• As a musical term, it originated in the early 19th century. It was introduced by Alexandre Etienne Choron in his own writings.
• There is “colored” hearing, which is characterized by the fact that a person a certain key associated with a specific color. The owners of this gift were Rimsky-Korsakov And Scriabin.
• IN contemporary art There is atonal music that does not take into account the principles of tonal stability.
• English terminology uses the following designation for parallel keys - relative keys. When literally translated, these are “related” or “related”. The same name is designated as parallel keys, which can be perceived as parallel. Often when translating specific literature translators make an error in this matter.
• The symbolism of classical music has assigned a certain meaning to certain keys. So Des-dur is true love, B-dur defines handsome men, heroes, and e-moll – sorrow.

Key Chart

Sharp

Flat

How to determine the tonality of a piece

You can find out the main tonality for the composition using the plan below:

1. Look for key signs.
2. Find it in the table.
3. There can be two keys: major and minor. To determine which fret you need to look at what sound the piece ends with.

There are ways to simplify the search:

• For major in sharp keys: last sharp + m2 = name of the key. So, if the extreme key sign is C sharp, then it will be D major.
• For flat major keys: penultimate flat = desired key. So if there are three key signs, then the penultimate one will be E-flat - this will be the desired key.

You can use both standard methods and those given above. The main thing is to learn how to correctly determine the tonality and navigate it.

Exercises for consolidation

Determine the tonality by key signs.

Major

Minor

Answers: 1. D major 2. As major 3. C major

1. Cis minor 2. B minor 3. E minor

Circle of quarto-fifths

The quarto-fifth circle is a special diagrammatically presented information in which all keys are located at a distance of a perfect fifth clockwise, and at a distance of a perfect fourth counterclockwise.

Main triads in the key

Let's start with what a major and minor triad are and how they are built. Regardless of inclination, a triad is a chord consisting of three sounds, which are arranged in thirds. The major triad is designated as B 5 3, and consists of a major third and a minor. The minor triad is designated as M 5 3, and consists of a minor and major third.

Triads can be constructed from each note in a key.

The main triads in a key are those chords that indicate whether they are in a major or minor mood. On the first, fourth and fifth triads are built, corresponding to the modal inclination. That is, in major, major triads are built at these steps, and in minor, minor triads are built, respectively. The main triads for each degree have proper names or as they are also called functions. So the tonic is located on the first stage, the subdominant on the fourth, and the dominant on the fifth. They are usually abbreviated as T, S and D.

Related keys

There is such a thing as tonal affinity. The greater the difference in signs, the further the relationship. Depending on the systems, there are 3 or 4 degrees. Let's consider the most popular system, which divides tones into 3 degrees of relationship.

First group divided into 3 categories:

1. This is a parallel tone. The difference in signs is 0. These keys are united by six common chords. Example: F major and D minor.
2. 4 keys. The difference between the main and final tonality is one sign. These are the tonalities of the subdominant and dominant, as well as parallel to S and D. Example, for the key of G major: S - C major, parallel S - A minor, D - D major, parallel D - B minor.
3. Considered only for major keys. A difference of 4 signs is a harmonic subdominant. Example for C major – the harmonic subdominant is F minor.

Second group kinship is divided into 2 subgroups:

1. 4 keys. The difference is two key signs. It is easy to find these keys from the main one; they are located a major second above and below + parallels to those found. Example: the main key is A major. Above and below the major second or tone of the key: B minor and G major. Parallels for the keys found: these are D major and E minor.
2. The difference of signs is from three to five. Finding the key will depend on whether the key is major or minor.

• Dur: 6 major and 2 minor: above and below on m2, m3 and b3; ss is harmonic, located on b2 below, as well as the minor of the same name. Example for G-dur: As-dur, B-dur, H-dur, Fis-dur, E-dur, Es-dur and f-moll and g-moll.
• Moll: 6 minor and 2 major: for minor second, minor third and b3 above and below; DD is a major second higher and the eponymous major.

Third group is divided into 2 groups:

1. 3 keys that do not have a single chord in common, the difference is 3-5 signs in the opposite direction. For a major, you need to find minors higher at the following intervals, and for a minor, majors at lv.1, lv.4 and lv.5 below.
2. Tritonanta and its parallel. The tritone is found from the original tonic, for C-dur - Fis-dur.

Depending on the degree of harmony, there are many methods of modulation.

How to change the key in backing tracks

It happens that the pitch is either too high for the voice or too low. For music to sound beautiful, you need to use modern technologies and programs to make the backing track convenient, that is, transpose it to the required interval lower or higher. Let's look at how to change the key in backing tracks or compositions. We will work in the Audacity program.

• Open the Audacity program

• Click on the “File” section. Select "Open..."

• Select the required audio recording
• Use the CTRL+A key combination to select the entire track.
• Click on the “Effects” section and select “Pitch Shift...”

• We set the number of semitones: when increasing, the value is above zero, when decreasing, the value is less than zero. You can choose a specific key.

• We save the result. Open the "File" section, select "Export Audio..."

We hope that the page was useful for reading and now you know what tonality is, understand their types and can transpose a piece of music using a special program. Read other articles related to musical literacy, and improve your own knowledge.

The last issue was devoted to consideration of such musical concepts like mode and tonality. Today we will continue to study this big topic and talk about what parallel tonalities are, but first we will very briefly repeat the previous material.

Fundamentals of mode and tonality in music

Lad- this is a specially selected group (gamma) of sounds, in which there are basic - stable steps and there are unstable ones, which are subordinate to the stable ones. The fret also has character, so there are varieties of frets - for example, major and minor.

Key– this is the altitude position of the fret, because a major or minor scale can be built, sung or played from absolutely any sound. This sound will be called tonic, and it is the most important sound of the tonality, the most stable and, accordingly, the first step of the mode.

Tones have names , by which we understand which fret is located and at what height. Examples of key names: C MAJOR, D MAJOR, E MAJOR or C MINOR, D MINOR, E MINOR. That is the name of the key conveys information about two important things - firstly, about what the tonality is (or main sound), and, secondly, what is the modal inclination of the key (what character is it - major or minor).

Finally, tonalities also differ from each other, that is, by the presence of any sharps or flats. These differences exist due to the fact that major and minor scales have a special structure in tones and semitones (read more in the previous article, that is). So, in order for the major to be a major, and the minor to be truly a minor, sometimes a certain number of modified steps (with sharps or flats) have to be added to the scale.

For example, in the key of D MAJOR there are only two marks - two sharps (F-sharp and C-sharp), and in the key of A MAJOR there are already three sharps (F, C and G). Or in the key of D MINOR there is one flat (B flat), and in F MINOR there are as many as four flats (B, E, A and D).

Now let's ask ourselves a question? Are all tonalities really, really different and there are no scales that are similar to each other? And is there really a huge insurmountable gap between major and minor? It turns out, no, they have connections and similarities, more on that later.

Parallel keys

What do the words “parallel” or “concurrency” mean? There are expressions that are well known to you, such as “parallel lines” or “ parallel world" Parallel is one that exists simultaneously with something and is similar to that something. And the word “parallel” is very similar to the word “pair”, that is, two objects, two things, or some other pair are always parallel to each other.

Parallel lines are two lines that are in the same plane, similar to each other like two peas in a pod and do not intersect (they are related, but do not intersect - isn’t that dramatic?). Remember, in geometry parallel lines are denoted by two strokes (// like this), in music this designation will also be acceptable.

So, parallel tonalities are two tonalities that are similar to each other. There is quite a lot in common between them, but there are also significant differences. What's in common? They have absolutely all sounds in common. Since the sounds are all the same, it means that all the signs - sharps and flats - must be the same. That’s right: parallel tonalities have the same signs.

For example, let’s take two keys C MAJOR and A MINOR - both there are no signs, all the sounds are the same, which means these keys are parallel.

Another example. The key is E-FLAT MAJOR with three flats (B, E, A) and the key of C MINOR is also with the same three flats. Again we see parallel tones.

What then is different between these tonalities? And you yourself look carefully at the names (C MAJOR // A MINOR). What do you think? You see, one key is major and the other is minor. In the example with the second pair (E-FLAT MAJOR // C MINOR) the same thing: one is major, the other is minor. This means that parallel keys have the opposite mode inclination, the opposite mode. One key will always be major and the other will always be minor. Here it is: opposites attract!

What else is different? The C MAJOR scale begins with the note C, that is, the note C in it is the tonic. The A MINOR scale begins, as you understand, with the note A, which is the tonic in this key. So what happens? The sounds in these keys are absolutely the same, but the supreme commanders in them are different, different tonics. Here's the second difference.

Let's draw some conclusions. So, parallel tonalities are two tonalities in which the sounds of the scale are the same, the signs are the same (sharps or flats), but the tonics are different and the mode is opposite (one is major, the other is minor).

More examples of parallel tones:

• D MAJOR // B MINOR (both there and there are two sharps - F and C);
• A MAJOR // F SHARP MINOR (three sharps in each key);
• F MAJOR // D MINOR (one common flat – B flat);
• B FLAT MAJOR // G MINOR (two flats both there and here – B and E).

How to find a parallel key?

If you want to know how to determine parallel tonality, then let's find out the answer to this question experimentally. And then we will formulate a rule.

Just imagine: C MAJOR and A MINOR are parallel tonalities. Now tell me: at what level of C MAJOR is the “entrance to the parallel world” located? Or, in other words, which degree of C MAJOR is the tonic of parallel minor?

Now let's do it topsy-turvy. How to get out of the gloomy A MINOR into the parallel sunny and joyful C MAJOR? Where is the “portal” to go to the parallel world this time? In other words, which minor degree is the tonic of the parallel major?

The answers are simple. In the first case: the tonic of the parallel minor is the sixth degree. In the second case: the third degree can be considered the tonic of the parallel major. By the way, it is not at all necessary to get to the sixth degree of the major for a long time (that is, count six degrees from the first), it is enough to go down three steps from the tonic and we will get to this sixth degree in the same way.

Let's now formulate RULE(but not yet final). So, to find the tonic of a parallel minor, it is enough to go down three degrees from the first degree of the original major key. To find the tonic of a parallel major, on the contrary, you need to go up three degrees.

Check this rule with other examples. Don't forget that they contain signs. And when we go up or down the steps, we must pronounce these signs, that is, take them into account.

For example, let's find a parallel minor for the key G MAJOR. This key contains one sharp (F-sharp), which means that the parallel key will also have one sharp. We go down three steps from G: G, F-Sharp, MI. STOP! MI is exactly the note we need; This is the sixth degree and this is the entrance to the parallel minor! This means that the key parallel to G MAJOR will be E MINOR.

Another example. Let's find a parallel key for F MINOR. There are four flats in this key (B, E, A and D flat). We go up three steps to open the door to the parallel major. We walk: FA, G, A-FLAT. STOP! A-flat - this is the right sound, this is the treasured key! A-FLAT MAJOR is a key that is parallel to F MINOR.

How to determine parallel tonality even faster?

How can you find a parallel major or minor even easier? And, especially if we don’t know what signs there are in a given key? Let's find out again with examples!

We have just identified the following parallels: G MAJOR // E MINOR and F MINOR // A-FLAT MAJOR. Now let's see what the distance is between the tonics of parallel keys. Distance in music is measured, and if you have a good understanding of the topic, then you can easily understand that the interval we are interested in is a minor third.

Between the sounds SOL and MI (down) there is a minor third, because we go through three steps, and one and a half tones. Between FA and A-flat (up) there is also a minor third. And between the tonics of others parallel scales, there will also be a minor third interval.

It turns out the following RULE(simplified and final): to find a parallel key, we need to move the minor third from the tonic - up if we are looking for a parallel major, or down if we are looking for a parallel minor.

Let's practice (you can skip it if everything is clear)

Exercise: find parallel keys for C SHARP MINOR, B FLAT MINOR, B MAJOR, F SHARP MAJOR.

Solution: you need to build minor thirds. So, the minor third from C SHARP upward is C SHARP and E, which means E MAJOR will be a parallel key. From B-FLAT it also builds a minor third upward, because we are looking for a parallel major, and we get – D-FLAT MAJOR.

To find a parallel minor, move the thirds down. Thus, the minor third of SI gives us G SHARP MINOR, parallel to B MAJOR. From F-SHARP, the minor third down gives the sound D-SHARP and, accordingly, the scale D-SHARP MINOR.

Answers: C SHARP MINOR // E MAJOR; B-FLAT MINOR // D-FLAT MAJOR; B MAJOR // G SHARP MINOR; F SHARP MAJOR // D SHARP MINOR.

Are there many pairs of such keys?

In total, three dozen keys are used in music, half of them (15) are major, and the second half (another 15) are minor, and, you know, not a single key is alone, each one has a pair. That is, it turns out that there are a total of 15 pairs of tones that have the same signs. Do you agree that 15 pairs are easier to remember than 30 individual scales?

Further – even cooler! Of the 15 pairs, seven pairs are sharp (from 1 to 7 sharps), seven pairs are flat (from 1 to 7 flats), one pair is like “ white crow» without signs. It seems that you can easily name these two pure tonalities without signs yourself. Isn't this C MAJOR with A MINOR?

That is, you now need to remember not 30 scary tones with mysterious signs, and not even 15 slightly less frightening pairs, but just the magic code “1+7+7”. We will now place all these tones in a table for clarity. In this table of tonality it will immediately be clear who is parallel to whom, how many signs each has and which ones.

Table of parallel keys with their signs

You can download the same plate in a more convenient form as a cheat sheet in pdf format for printing -

That's all for now. In the following issues, you will learn what keys of the same name are, as well as how to quickly and forever remember the signs in keys, and what is the method for quickly identifying the signs if you have forgotten them.

Well, now we invite you to look at the hand-drawn animated film with amazing music by Mozart. One day Mozart looked out the window and saw a military regiment passing along the street. A real military regiment in shiny uniforms, with flutes and Turkish drums. The beauty and grandeur of this spectacle so shocked Mozart that on the same day he composed his famous “Turkish March” (finale of piano sonata No. 11) - a work known throughout the world.

W. A. ​​Mozart “Turkish March”

As soon as a musician begins to learn a new piece of music, the first thing he does is determine the tonality. And it doesn’t matter what instrument the musician plays, does vocals, or just learns a solfeggio number. Without clear understanding learning a new piece of tonality is very difficult. And when it comes to harmony... The ability to build chords is entirely based on an understanding of tonality.

Key

What is tonality? The definitions of this word vary, depending on the stage of learning and on the author of the textbook. The following definitions of the word “tonality” are possible:

• Tonality is the name of the mode.
• Key is the height of the fret.
• Tonality - the pitch position of the fret (" Elementary theory music", Sposobin).
• Tonality (classical) is a centralized, functionally differentiated, basically diatonic two-fret major-minor system of chord type, in which the chord is the main object of development, and the general patterns are determined by the principle of gravity-resolution (“Harmony in Western European music IX - early XX centuries ", L. Dyachkova).

There are major and minor keys, it depends on the underlying mode. Also, tonalities can be parallel, of the same name, and also enharmonically equal. Let's try to figure out what all this means.

Parallel, eponymous, enharmonically equal tonality

The main criteria by which tonality is determined are mode (major or minor), keys (sharps or flats, their number) and tonic (the most stable sound of the key, step I).

If we talk about parallel and identical tonalities, then the mode is always different. That is, if the keys are parallel, these are major and minor, if they are of the same name, it is the same.

Major and minor keys are called parallel in which identical key signs and various tonics. For example, this is C major (C-dur) and A minor (A-moll).

You can see that in natural major and minor the same notes are used in these keys, but the 1st degree and mode are different. It is easy to find parallel keys; they are located at a distance of a minor third. To find parallel minor, it is necessary to build the minor third down from the first step, and to find parallel major, you need to build a minor third upward.

You can also remember that the tonic of a parallel minor is located on the VI degree of natural major, and the tonic of a parallel major is on the III degree of a minor.

Below is a table of parallel keys.

C major - A minor

Sharp keys

Flat keys

The major and minor keys of the same name are called different key signs And identical tonics. For example, these are C major (C-dur) and C minor (C-moll).

You can understand the essence of the same tonalities even from the name; they have one name, one tonic. The tonalities of the same name (in their natural form) are distinguished by degrees III, VI and VII.

Enharmonically equal tonalities are tonalities whose sounds, all degrees and consonances of which are enharmonically equal, i.e., they sound the same, have the same pitch, but are written differently.

For example, if you play C sharp and D flat, they will sound the same, these sounds are enharmonically equal.

Examples of enharmonically equal keys

Theoretically, an enharmonic replacement can be found for any key, although in most cases the result will be unused keys. The main goal of enharmonically equal tonalities is to simplify the life of the performer.

There are two main reasons for changing the key:

• Tonalities are replaced to reduce the number of characters. For example, in C sharp major there are 7 sharps, and in D flat major there are 5 flats. Keys with fewer signs are simpler and more convenient, so D-flat major is more often used.
• For various types instruments are better suited to certain tonalities. For example, for a group string instruments(violin, viola, cello) are better suited sharp keys, and flat tones are more convenient for wind instruments.

There are 6 pairs of keys that change enharmonically, 3 major and 3 minor.

Examples of major keys

Examples of minor keys

If we talk about infrequent enharmonic substitutions, we can cite as an example such keys as C major (no signs) and B sharp major (12 sharps). It will be enharmonically equal to C major and D double-flat major (12 flats).

Tonalities play an important role in the work of composers, some are assigned certain images, for example, since the time of J. S. Bach, B minor has been considered the “black” key, and in the work of N. A. Rimsky-Korsakov, D-flat major is considered the tonality of love. It is surprising that cycles of works written in all keys are being created: 2 volumes of well-tempered clavier by J. S. Bach, 24 preludes by F. Chopin, 24 preludes by A. Scriabin, 24 preludes and fugues by D. Shostakovich. And one of the keys to competent, successful performance of such works is knowledge of keys.

It so happened that the most heartbreaking compositions were written in minor keys. It is believed that the major mode sounds cheerful, and the minor mode sounds sad. In that case, have a handkerchief ready: this entire lesson will be dedicated to “sad” minor modes. In it you will learn what these keys are, how they differ from major ones and how to play minor scales.

By the nature of the music, I think you will unmistakably distinguish between a cheerful, energetic major and a gentle, often sad, plaintive, and sometimes tragic minor. Remember the music and, and the differences between major and minor will become more than obvious to you.

I hope you haven't quit studying? I will remind you of the importance of these seemingly boring activities. Imagine that you stop moving and putting stress on your body, what will be the result? The body will become flabby, weak, and in some places fat :-). It’s the same with your fingers: if you don’t train them every day, they will become weak and clumsy, and will not be able to play the pieces you love so much. So far you have only played major scales.

Let me tell you right away: minor scales are no smaller in size (and no less important) than major scales. They were just given such an unfair name.

Like major scales, minor scales are made up of eight notes, the first and last of which have the same name. But the order of intervals in them differs. The combination of tones and halftones in a minor scale is as follows:

Tone – Semitone – Tone – Tone – Semitone – Tone – Tone

Let me remind you that in major it is: Tone – Tone – Semitone – Tone – Tone – Tone – Semitone

It may look like a combination of intervals in a major scale, but in fact the tones and semitones are in a different order. The best way to feel this sound difference - play and listen to the major and minor scales one after the other.

As you probably noticed, the main difference between the major and minor modes lies in the third degree, the so-called third tone: in a minor key it is lowered, forming with the tonic (m.3).

Another difference is that in the major mode the composition of intervals is always constant, but in the minor mode it can change in the upper steps, which creates three different types of minor. Maybe it is precisely from this diversity of the minor that brilliant works are obtained?

So what are these different types, you ask?

There are three types of minor:

1. natural
2. harmonic
3. melodic.

Each type of minor is characterized by its own composition of intervals. Up to the fifth stage, they are the same in all three, but at the sixth and seventh steps variations arise.

Natural minor– Tone – Semitone – Tone – Tone – Semitone – Tone – Tone

Harmonic minor differs from the natural one by the raised seventh degree: raised by half a tone, it is moved towards the tonic. The interval between the sixth and seventh steps thereby becomes wider - it is now one and a half tones (called an increased second - uv.2), which gives the scale, especially in the downward movement, a peculiar “oriental” sound.

In the harmonic minor scale, the composition of the intervals is as follows: Tone - Semitone - Tone - Tone - Semitone - One and a half tone - Semitone

Another type of minor is melodic minor, also known as jazz minor (found in most jazz musical works). Of course, long before the appearance jazz music composers such as Bach and Mozart used this type of minor as the basis of their works.

Both in jazz and classical music(and in other styles too) the melodic minor differs in that it has two degrees raised - the sixth and seventh. As a result, the order of intervals in the melodic minor scale becomes as follows:

Tone – Semitone – Tone – Tone – Tone – Tone – Semitone.

I like to call this scale a fickle scale because it can't decide whether to sound major or minor. Look again at the order of the intervals in it. Please note that the first four intervals are the same as in the minor scale, and the last four intervals are the same as in the major scale.

Now let's touch on the question of how to determine the number of key signs in a particular minor key.

Parallel keys

And here the concept emerges parallel keys.

Major and minor keys with the same number of signs (or without them, as in the case of C major and A minor) are called parallel.

They are always spaced apart by a minor third - the minor scale will always be built on the sixth degree of the major scale.

The tonics of parallel keys are different, and the composition of the intervals is different, but the ratio of white and black keys is always the same. This once again proves that music is a realm of strict mathematical laws, and, having understood them, you can move in it easily and freely.

Understanding the relationship between parallel keys is not so difficult: play the C major scale, and then the same one, but not from the first step, but from the sixth, and stop at the sixth at the top - you have played nothing more than a “natural minor” scale in the key of A minor.

In front of you list of parallel keys with their Latin designations and the number of key characters.

• C major/A minor - C-dur/a-moll
• G major/E minor - G-dur/e-moll (1 sharp)
• D major/B minor - D-dur/H-moll (2 sharps)
• A major/F-diee minor - A-dur/f:-moll (3 sharps)
• E major/C sharp minor - E major/cis minor (4 sharps)
• B major/G sharp minor - H-dur/gis-moll (5 sharps)
• F-sharp major/D-sharp minor - Fis-dur/dis-moll (6 sharps)
• F major D minor - F-dur/d-moIl (1 flat)
• B-flat major/G minor - B-dur/g-moll (2 flats)
• E-flat major/C minor - E-dur/c-moll (3 flats)
• A-flat major/F minor - As-dur/F-moll (4 flats)
• D-flat major/B-flat minor - Des-dur/b-moll (5 flats)
• G-flat major/E-flat minor - Ges-dur/es-moll (6 flats)

Well, now you have an idea about the minor scale, and now all this knowledge can be put into practice. And we must start, of course, with scales. Below is a table of all existing major and parallel minor scales with all the fingerings (finger numbers). Take your time, don't rush.

Let me remind you how to play scales:

1. Play slowly with each hand a scale of 4 octaves up and down. Note that in the sheet music app, finger numbers are given at the top and bottom of the notes. Those numbers that are above the notes refer to right hand, below - to the left.
2. Note that Melodic minor, unlike the other two types minor scale, when moving up and down it will be built differently. This is due to the fact that in a descending movement the sudden transition from major (with which the intervals melodic minor coincide from the first degree to the fourth) in minor will not sound very pleasant. And to solve this problem, the downward movement uses a natural minor - the seventh and sixth degrees return to the original position of the minor scale.
3. Connect with both hands.
4. Gradually increase the tempo of playing scales, but at the same time make sure that the playing is even and rhythmic.

In fact, a composer is not required to use all the notes from any scale in his melody. The composer's scale is a menu from which you can select notes.

The major and minor scales are without a doubt the most popular, but they are not the only scales that exist in music. Don't be afraid, experiment a little with the order of alternating intervals in the major and minor scales. Replace a tone somewhere with a semitone (and vice versa) and listen to what happens.

What will happen is that you will create a new scale: neither major nor minor. Some of these scales will sound great, others will sound terrible, and others will sound very exotic. Creating new scales is not only allowed, but even recommended. Fresh new scales give life to fresh new melodies and harmonies.

People have been experimenting with interval ratios since the dawn of music. And although most experimental scales have not gained such popularity as major and minor, in some musical styles these inventions are used as the basis of melodies.

And finally, I’ll give you a little interesting music in minor keys