Gamma in F sharp minor: Varieties, signs, triads, parallel major

When studying solfeggio, students have to face a lot of scales. One of them is a F-sharp minor - and will be considered in our article. It is too complicated not because it contains only three characters with a key, unlike gamuts and sequences, which can have up to seven basic signs, not counting double-sharp and double-flat.

F-sharp minor: signs

Gamma is the most common minor sequence, and, as already mentioned, contains only three signs in the form of sharps: fa, before and salt.

On the basis of this, the entire sequence is constructed. It is designated as F # moll or fis-moll, which is accepted in the guitar score or chord fingerings.

Tonic is a note of fa #, subdominant - si, dominant - to #. On these three steps, the basic triads of the gamut are constructed, as will be discussed below.

Parallel major

Like all the others, Gamma F-sharp minor has a parallel major. This is A-major. The technique of determining parallel tonalities is very simple. So, for the minor, it follows from the last sign with the key to build a halftone up. In our case, it's a semitone from salt #, which gives a clean note to la.

Two methods can be used to determine the parallel minor. The first one involves constructing a small third down from the tonic (in this case, from the pure note la, we get the fa. The second method is to use the third key on the right to read the key.) This will be the desired minor corresponding to the major.

Many composers turned and turned to these keys. Among the Russian classics there are also many of them, because these keys have a very warm sound for human hearing.

Varieties of the minor scale

Like any other minor scale, the F-sharp minor has three main varieties: natural, harmonic and melodic.

The difference between these types of gamma sequences is that in natural minor in a forward and reverse order is played without changing the signs.

In the harmonic scale, in the construction of the direct and reverse sequences by a semitone, the seventh step is raised (for the gamma in the F-sharp minor we obtain mi).

As for the melodic minor, when playing the ascending gamma, the stages VI and VII are raised by a half-tone, and when the descending scale increases, the increase is canceled (in the range of the beacon). For a F # minor, these steps are steps.

Minor chords and triads: general principles of construction

If you look at the construction of a triad and chords, the general principle is that when creating a chord a note is added to the triad with a shift up or down. In the simplest case, it's a tonic, an octave higher. But, depending on the type of chord, the interval between the note from which the construction is made may be different.

In the case of the Gamma F-sharp minor, the tonic triad contains notes of #, #, and #. If it, for example, is built with the tonic of the first octave, adding a F sharp in the second octave and giving the simplest chord.

For a triad based on a subdominant, this will be a combination of notes of si-re-fa #, for the dominant - up to the # -mu # -sol #. Note: the triad on the V stage is always based on the harmonic minor, since it is this stage that is responsible for the sound of the dominant sound of the chord, and in it, as is known, the seventh stage is increased by one-half.

In general, for all minor triads, which are built up, there is a single rule. From the main note, a small third is first built, and from the next a large third. If you look at the construction of a triad down, it is easy to see that it represents one of the references (when each triad is built from each next note, with the previous one shifted by an octave higher).

So it turns out that the triad down from the F-sharp tonic gives a combination of # # to # -a, but only two octaves lower than the standard appeal up. When building down, a clean quarter down is first used, and then a large third is added to it.

Instead of an afterword

If you look at the very range of F-sharp minor, it is very popular among many composers and performers, only thanks to the fact that it corresponds to the parallel to it in A-majeur. This is especially evident among guitarists, since the L-major in fingering itself refers to the simplest chords and is taken with only three fingers on the second fret, with the second, third and fourth strings squeezed.

With the F-sharp minor, the situation is somewhat more complicated, because you need to master the barre method to extract the standard chord.

In pianists, this minor scale, even with speedy performance of special difficulties does not cause.

By using this key in conjunction with the parallel major, you can give a lot of examples, even rockers who perform music in the style of glam or soft metal, mostly refer to these gamuts and sequences based on them. In addition, both keys are suitable for both male and female voices. Not surprisingly, it is in these genres that the most compositions are found, based precisely on the standard "Italian square" (A-major-F minor, D-major, E-major) and its varieties.