Parallel major and minor keys table. Parallel tonality: what is it and how to find them? Explanations for fingerings

The minor scale has three main varieties: natural minor, harmonic minor and melodic minor.

Today we will talk about the features of each of the named frets and how to obtain them.

Natural minor – simple and strict

The natural minor is a scale built according to the formula “tone – semitone – 2 tones – semitone – 2 tones.” This is a common scheme for the structure of a minor scale, and in order to quickly obtain it, you just need to know the key signs in the desired key. There are no changed degrees in this type of minor; accordingly, there cannot be any random alteration signs in it.

The natural minor scale sounds simple, sad and a little strict. This is why the natural minor scale is so common in folk and medieval church music.

An example of a melody in this mode: "I'm sitting on a pebble" - a famous Russian folk song, in the recording below its key is natural E minor.

Harmonic minor – the heart of the East

In the harmonic minor, compared to the natural mode, the seventh degree is increased. If in a natural minor the seventh degree was a “pure”, “white” note, then it is raised with the help of a sharp, if it was flat, then with the help of a becar, but if it was a sharp, then a further increase in the degree is possible with the help of a double -sharp. Thus, this type of mode can always be recognized by the appearance of one random one.

For example, in the same A minor the seventh step is the sound G; in harmonic form there will be not just G, but G-sharp. Another example: C minor is a key with three flats in the key (B, E and A flat), the seventh step is the note B flat, we raise it with a bekar (B-bekar).

Due to the increase in the seventh degree (VII#) in the harmonic minor, the structure of the scale changes. The distance between the sixth and seventh steps becomes as much as one and a half steps. This ratio causes the appearance of new ones that were not there before. Such intervals include, for example, an increased second (between VI and VII#) or an increased fifth (between III and VII#).

The harmonic minor scale sounds intense and has a characteristic Arabic-Oriental flavor. However, despite this, it is the harmonic minor that is the most common of the three types of minor in European music - classical, folk or pop. It received its name “harmonic” because it manifests itself very well in chords, that is, in harmony.

An example of a melody in this mode is Russian folk "Song of the Bean"(the key is A minor, the type is harmonic, as the occasional G-sharp tells us).

A composer can use different types of minor in the same work, for example, alternating a natural minor with a harmonic one, as Mozart does in the main theme of his famous Symphonies No. 40:

Melodic minor – emotional and sensual

The melodic minor scale is different when moving up or down on it. If they go up, then they increase two levels at once - the sixth (VI#) and the seventh (VII#). If they play or sing downwards, then these changes are canceled, and an ordinary natural minor sounds.

For example, the A minor scale in a melodic ascending movement will represent a scale of the following notes: A, B, C, D, E, F-sharp (VI#), G-sharp (VII#), A. When moving downwards, these sharps will disappear, turning into G-bekar and F-bekar.

Or the C minor scale in a melodic ascending movement is: C, D, E-flat (in the key), F, G, A-becare (VI#), B-becare (VII#), C. The notes raised by the bekars will turn back into B-flat and A-flat when moving down.

From the name of this type of minor it is clear that it is intended to be used in beautiful melodies. Since the melodic minor sounds varied (different up and down), it is capable of reflecting the most subtle moods and experiences when it appears.

When the scale ascends, its last four sounds (for example, in A minor - E, F-sharp, G-sharp, A) coincide with the scale (A major in our case). Consequently, they can convey light shades, motives of hope, and warm feelings. Movement in the opposite direction along the sounds of the natural scale absorbs the rigor of the natural minor, and, perhaps, some kind of doom, and maybe also the strength and confidence of the sound.

With its beauty and flexibility, its wide possibilities for conveying feelings, the melodic minor is very much loved by composers, which is probably why it can be found so often in famous romances and songs. As an example, let us remind you of the song "Moscow Nights" (music by V. Solovyov-Sedoy, lyrics by M. Matusovsky), where a melodic minor with elevated degrees sounds at the moment when the singer talks about his lyrical feelings (If you knew how dear I am...):

Let's repeat it again

So, there are 3 types of minor: the first is natural, the second is harmonic and the third is melodic:

1. A natural minor can be obtained by constructing a scale using the formula “tone-semitone-tone-tone-semitone-tone-tone”;
2. In the harmonic minor scale the seventh degree (VII#) is raised;
3. In melodic minor, when moving up, the sixth and seventh degrees (VI# and VII#) are raised, and when moving back, a natural minor is played.

To practice this topic and remember how the minor scale sounds in different forms, we highly recommend watching this video by Anna Naumova (sing along with her):

Exercises for training

To reinforce the topic, let's do a couple of exercises. The task is this: write, speak or play on the piano scales of 3 types of minor scales in E minor and G minor.

SHOW ANSWERS:

The E minor scale is sharp, it has one F-sharp (parallel tonality of G major). In the natural minor there are no signs other than the key ones. In harmonic E minor, the seventh degree is raised - this will be a D-sharp sound. In melodic E minor, in an ascending movement, the sixth and seventh degrees - the sounds C-sharp and D-sharp - are raised; in a descending movement, these increases are canceled.

The G minor scale is flat, in its natural form there are only two key signs: B-flat and E-flat (parallel scale - B-flat major). In harmonic G minor, raising the seventh degree will lead to the appearance of a random sign - F sharp. In a melodic minor, when moving up, the raised steps give the signs E-becar and F-sharp, when moving down - everything is as in its natural form.

Table of minor scales

For those who still find it difficult to immediately imagine minor scales in three varieties, we have prepared a hint table. It contains the name of the key and its letter designation, an image of the key signs - sharps and flats in the required quantity, and also names the random signs that appear in the harmonic or melodic form of the scale. There are fifteen minor keys used in music:

How to use such a table? Let's look at the example of the B minor and F minor scales. There are two in B minor: F-sharp and C-sharp, which means the natural scale of this key will look like this: B, C-sharp, D, E, F-sharp, G, A, B. A harmonic B minor will include an A sharp. In melodic B minor, two degrees will already be changed - G-sharp and A-sharp.

In the F minor scale, as is clear from the table, there are four key signs: B, E, A and D-flat. This means that the natural F minor scale is: F, G, A-flat, B-flat, C, D-flat, E-flat, F. In harmonic F minor - E-bekar, like an increase in the seventh degree. In melodic F minor there are D-bekar and E-bekar.

That's all for now! In future issues, you will learn that there are other types of minor scales, as well as what the three types of major scales are. Follow the updates, join our VKontakte group to stay updated!

Leonid Gurulev, Dmitry Nizyaev

SUSTAINED SOUNDS.

While listening or performing a piece of music, you probably noted somewhere in your subconscious that the sounds of the melody are in a certain relationship with each other. If this ratio did not exist, then it would be possible to simply beat something obscene on the keys (strings, etc.), and the result would be a melody that would make those around you swoon. This relationship is expressed primarily in the fact that in the process of development of music (melody), some sounds, standing out from the general mass, acquire the character supporting sounds. The melody usually ends on one of these reference sounds.

Reference sounds are usually called stable sounds. This definition of reference sounds corresponds to their character, since the end of a melody on a reference sound gives the impression of stability and peace.

One of the most consistent sounds usually stands out more than others. He is like the main support. This sustained sound is called tonic. Listen here first example(I left it out on purpose tonic). You will immediately want to finish the melody, and I am sure that even if you did not know the melody, you would be able to hit the right note. Looking ahead, I will say that this feeling is called gravity sounds. Test yourself by listening second example .

In contrast to stable sounds, other sounds involved in the formation of a melody are called unstable. Unstable sounds are characterized by a state of gravitation (which I just talked about above), as if attraction, towards the nearest stable ones; they seem to strive to connect with these supports. I will give a musical example of this same song, “There was a birch tree in the field.” Steady sounds are marked with a ">".

The transition from unstable sound to stable sound is called resolution.

From the above we can conclude that in music the relationships of sounds in height are subject to a certain pattern or system. This system is called LADOM (lad). The basis of a separate melody and a piece of music as a whole is always a certain mode, which is the organizing principle of the pitch relationship of sounds in music and, together with other expressive means, gives a certain character corresponding to its content.

For practical application (what is theory without practice, right?) of the material presented, play any exercises that we studied in guitar or piano lessons, and mentally note stable and unstable sounds.

MAJOR MODE. GAMMA OF NATURAL MAJOR. STAGES OF A MAJOR MODE. NAMES, DESIGNATIONS AND PROPERTIES OF THE DEGREES OF THE MAJOR MODE

There are a variety of modes in folk music. Classical music (Russian and foreign) to one degree or another reflected folk art, and therefore the inherent diversity of modes, but still the major and minor modes were most widely used.

Major(major, in the literal sense of the word, means b O major) is called a mode, the stable sounds of which (in sequential or simultaneous sound) form a major or major triad - a consonance consisting of three sounds. The sounds of a major triad are arranged in thirds: the major third is between the lower and middle sounds, and the minor third is between the middle and upper sounds. Between the extreme sounds of a triad, an interval of a perfect fifth is formed.

For example:

A major triad built on the tonic is called a tonic triad.

Unstable sounds in this mode are located between stable ones.

The major mode consists of seven sounds, or, as they are commonly called, degrees.

A sequential series of sounds of a mode (starting from the tonic to the tonic of the next octave) is called a scale of a mode or scale.

The sounds that make up a scale are called steps because the scale itself is quite clearly associated with a ladder.

Scale levels are indicated by Roman numerals:

They form a sequence of second intervals. The order of steps and seconds is as follows: b.2, b.2, m.2, b.2, b.2, b.2, m.2 (that is, two tones, a semitone, three tones, a semitone).

Do you remember the piano keyboard? There you can clearly see where in the major scale there is a tone and where there is a semitone. Let's take a more specific look.

Where there are black keys between white ones, there is a tone, and where there are not, then the distance between the sounds is equal to a semitone. Why, one might ask, do you need to know this? Here you try to play (by pressing alternately) first from the note Before to note Before the next octave (try to remember the result by ear). And then the same from all other notes, without resorting to the help of derivative (“black”) keys. Something will turn out wrong. In order to bring everything into an equally decent form, you need to follow the scheme tone, tone, semitone, tone, tone, tone, semitone. Let's try to create a major scale from the note D. Remember that you first need to build two tones. So, Re-Mi- this is the tone. Very good. And here Mi-Fa... stop! There is no “black” key between them. The distance between sounds is half a tone, but we need a tone. What to do? The answer is simple - raise the note F up a semitone (we get F sharp). Let's repeat: Re - E - F sharp. That is, if we required that there be an intermediate key between the steps, but there was no black one between them, then let the white key perform this intermediate role - and the step itself “moves” to the black one. Next we need a semitone, and we got it ourselves (between F sharp And salt baker just the half-tone distance), it turned out Re - Mi - F sharp - Sol. Continuing to strictly adhere to the scheme of the major scale (let me remind you once again: tone, tone, semitone, tone, tone, tone, semitone) we get D major scale, sounding exactly the same as the scale from BEFORE:

A scale with the above order of degrees is called a natural major scale, and a scale expressed by this order is called a natural major scale. Major can be not only natural, so such a clarification is useful. In addition to the digital designation, each fret step has its own name:

Stage I - tonic (T),
Stage II - descending introductory sound,
III stage - mediant (middle),
IV stage - subdominant (S),
V stage - dominant (D),
VI stage - submediant (lower mediant),
VII stage - ascending introductory sound.

The tonic, subdominant and dominant are called the main degrees, the rest are called secondary degrees. Please remember these three numbers: I, IV and V - the main steps. Don’t be confused by the fact that they are arranged in the scale so whimsically, without visible symmetry. There are fundamental justifications for this, the nature of which you will learn from the lessons on harmony on our website.

The dominant (in translation - dominant) is located a perfect fifth above the tonic. Between them there is a third step, which is why it is called medianta (middle). The subdominant (lower dominant) is located a fifth below the tonic, which is where its name comes from, and the submediant is located between the subdominant and the tonic. Below is a diagram of the location of these steps:

The introductory sounds got their name due to their attraction to the tonic. The lower input sound gravitates in the ascending direction, and the upper one in the descending direction.

It was said above that in major there are three stable sounds - these are the I, III and V degrees. Their degree of stability is not the same. The first stage - tonic - is the main supporting sound and therefore the most stable. Stages III and V are less stable. II, IV, VI and VII degrees of the major mode are unstable. The degree of their instability varies. It depends: 1) on the distance between unstable and stable sounds; 2) on the degree of stability of the sound towards which gravity is directed. Less acute gravity is manifested at the stages: VI to V, II to III and IV to V.

For an example of gravity, let's listen to two options for resolving sounds. First- for major keys, and second for minors. We will study the minor in future lessons, but for now try to understand it by ear. Now, while doing practical lessons, try to find stable and unstable steps and their resolutions.

KEY. MAJOR KEYS SHARP AND FLATS. CIRCLE OF FIFTS. ENHARMONISM OF MAJOR KEYS

The natural major scale can be built from any degree (both basic and derivative) of the musical scale (provided it retains the system of degrees that we discussed above). This opportunity - to obtain the desired scale from any key - is the main property and main purpose of the “tempered scale”, in which all semitones in the octave are completely equal. The fact is that this system is artificial, obtained as a result of targeted calculations specifically for this purpose. Before this discovery, music used the so-called “natural” scale, which did not at all have the advantage of symmetry and reversibility. At the same time, musical science was simply incredibly complex and unsystematic, and boiled down to a set of personal opinions and feelings, akin to philosophy or psychology... In addition, under the conditions of a natural system, musicians did not have the physical ability to perform music so freely in any key, in which any pitch, because with an increase in the number of accidental signs, the sound became catastrophically false. Tempered (that is, “uniform”) tuning gave musicians the opportunity not to depend on the absolute pitch of sound, and to bring musical theory almost to the level of an exact science.

The absolute (that is, non-relative) height at which the tonic of a mode is located is called tonality. The name of the tonality comes from the name of the sound that serves as its tonic. The name of the key is made up of the designation of tonic and mode, that is, for example, the word major. For example: C major, G major, etc.

Major scale tonality built from sound before, called C major. Its peculiarity among other tonalities is that its scale consists precisely of the main steps of the musical scale, that is, simply, only the white keys of the piano. Let us recall the structure of the major scale (two tones, a semitone, three tones, a semitone).

If you build a perfect fifth upward from the note C, and try to build a new major scale from the resulting fifth (note G), it turns out that the VII step (note F) must be raised by a semitone. Let us conclude that in the key of G-dur, i.e. G major, one key sign - F sharp. If now we want to play a piece in C major in this new key (well, for example, due to the fact that your voice is too low and uncomfortable to sing in C major), then, having rewritten all the notes of the song to the required number of lines higher, we will have to raise the FA note that appears in the notes by a semitone, otherwise it will sound like nonsense. It is precisely for this purpose that the concept of key signs exists. We just need to draw one sharp at the key - on the line where the note FA is written - and after that the whole song automatically appears in the correct scale for the tonic SA. Now we go further along the beaten path. From the note G we build a fifth upward (we get the note D), and from it we again build a major scale, although we don’t have to build it anymore, since we already know that we need to raise the seventh degree. The seventh degree is the note Do. Our collection of sharps in the key is gradually growing - in addition to F-sharp, C-sharp is also being added. These are the key signs of the key of D major. And this will continue until we use all 7 characters in the key. For training, those who wish (although I advise everyone) can perform an experiment of the same order. Those. (repeat) from note C we build a fifth upward, using the scheme: tone-tone, semitone, tone-tone-tone, semitone - we calculate the structure of the major scale. From the resulting note, we again build a fifth upward... and so on until we run out of money... oh, sharps. You should not be embarrassed when, when you next build a tonality, you discover that the sound of the tonic itself is on the black key. This will only mean that this sharp will be mentioned in the name of the key - "F sharp major" - everything else will work exactly the same. In principle, no one can forbid you to continue this construction AFTER the seventh sharp is written at the key. Music theory does not prohibit the existence of any tonality - even with a hundred signs. It’s just that the eighth character of the key will inevitably turn out to be “F” again - and all you have to do is replace the very first “F-sharp” with the sign “double-sharp”. With these experiments, you can get, for example, a major with 12 sharps - “B-sharp major”, and discover that this is nothing more than “C major” - the entire scale will again be on the white keys. Of course, all these “experiments” have only theoretical significance, since in practice no one would think of cluttering their notes with signs so much just to end up in C major again...

I bring to your attention a drawing to familiarize yourself with all these sharps, stable and unstable sounds in each key. Please remember that the order in which sharps “appear” is strictly regulated. Memorize: Fa-Do-Sol-Re-La-Mi-Si .

Let's go the other way. If from the note Before build a fifth, but downwards, we get a note F. From this note we will begin to build a major scale according to our scheme. And we will see that the fourth degree (that is, the note si) already needs to be lowered (try building it yourself), i.e. B-flat. Having built the gamma F major from tonic (note F) again we build a fifth down ( B-flat)... I recommend constructing all the tonalities in full for practice. And I’ll show you everything in a picture flat tonality. The order of appearance (location) of key flats is also strict. Please memorize: Si-Mi-La-Re-Sol-Do-Fa , that is, the order is reverse to sharps.

Now let’s pay attention to stable sounds (of any key to choose from). They form the major triad of the tonic (review question: what is the tonic?). Well, we have already touched a little on the vast topic of “Chords”. Let's not get ahead of ourselves, but please learn how to build tonic triads (in this case, major triads) from any note. By doing this, you will at the same time learn how to build, so to speak, the tonic chord - the main chord - of any key.

HARMONIC AND MELODIC MAJOR

In music you can often find the use of a major scale with a lower VI degree. This type of major scale is called harmonic major. By lowering the VI degree by a semitone, its gravity in the V degree becomes sharper and gives the major mode a unique sound. Try playing the scale, for example, C major with a reduced VI stage. First, I will help you. Let us calculate that the VI degree in a given key C major- this is a note La, which must be lowered by a semitone ( A-flat). That's all the wisdom. Do the same in other keys. When playing a scale, that is, an uninterrupted sequence of steps, you will immediately feel that at the end of the scale it begins to smell of some kind of exotic. The reason for this is the new interval formed when the VI stage is lowered: an increased second. The presence of such an unexpected interval gives the fret such an unusual coloring. Harmonic modes are inherent in many national cultures: Tatar, Japanese, and in general almost all Asian countries.

The melodic variety of the major mode is formed by lowering two degrees of the natural scale at once: VI and VII. Thanks to this, both of these notes (they are both unstable) acquire an increased inclination towards the lower stable one - towards the V degree. If you play or sing such a scale from top to bottom, you will feel how in its upper half a special melody, softness, length, and inextricable connection of the notes into one melodious melody has appeared. It is because of this effect that this mode is called “melodic”.

MINOR MODE. THE CONCEPT OF PARALLEL TONALS.

Minor(minor, in the literal sense of the word, means smaller) is called a mode, the stable sounds of which (in sequential or simultaneous sound) form small or minor triad. I suggest you listen major And minor chords. Compare their sounds and differences by ear. A major chord sounds more “cheerful”, and a minor chord sounds more lyrical (remember the expression: “minor mood”?). Interval composition of a minor triad: m3+b3 (minor third + major third). Let's not bother with the structure of the minor scale, because we can get by with the concept parallel tones. Let's take for example the usual tonality C major(the favorite key of beginning musicians, because there is not a single sign on the key). Let's build from the tonic (sound - Before) down minor third. Let's get a note La. As I just said, in the key there are no sharps or flats. Let's run dashingly across the keyboard (strings) from the note La until the next note La up. So we got the natural minor scale. Now let's remember: tonalities that have the SAME signs on the key are called parallel. For each major there is one and only one parallel minor - and vice versa. All keys in the world, therefore, exist in pairs of “major-minor”, ​​like two scales moving in parallel along the same keys, but with a lag of a third. Hence the name "parallel". In particular, in parallel tonality for C major is La Minor(also a favorite key for beginners, since there is not a single key sign here) Tonic triad in A minor. From the note A upward we will build small third, we get a note Before, and then an even larger third from the note Before, will eventually sound Mi. So, the minor triad in A minor: A - Do - Mi.

Try to find parallel keys yourself for all the major modes that we went through above. The main thing to remember is that 1. you need to build from the tonic (the main stable sound) down the minor third to find a new tonic; 2. the key signs in the parallel key remain the same.

Briefly, for training, let's look at another example. Key - F major. At the key - one sign ( B-flat). From the notes F building down the minor third - note Re. Means, D minor is a parallel key F major and has a key sign - B-flat. Tonic triad in D minor: Re - Fa - La.

So, in parallel tonalities of the natural scale, the key signs are the same. We have already learned this. What about the harmonic mode? A little different. Harmonic the minor differs from the natural by the increased VII degree, which was caused by the need to sharpen the gravity of the ascending introductory sound. If you look closely or listen, you will easily find that the harmonic major and the harmonic minor, built from the same key, completely coincide in the upper half of the scale - the same increased second on the VI degree of the scale. It’s just that in order to get this interval in major, you have to lower the VI step. But in minor this level is already low, but the VII level can be increased.

Let's agree that the number of key signs for all keys must be remembered by heart. Based on this, let’s say in D minor (the key sign is B-flat) increased VII stage - C sharp.

You can see it visually in the picture above. Now let's listen (although you can play it yourself) how it will sound. a-moll And d-moll. If you pay a little more attention to viewing and listening, you can see that the dominant triad in a harmonic minor is major. I'm going to lose to you now three chords: Tonic, Subdominant, Dominant and Tonic in harmonic A minor. Do you hear? So study the structure of these three chords in all minor keys. This way you will achieve automatic identification of the main triads in any key. You and I already know how to construct major and minor triads; if you have forgotten, let’s repeat and clarify.

We build a tonic triad: we determine the mode (major, minor), and proceed from this. We build a major (minor) triad. Major: b.3 + m.3, minor - m.3 + b.3. Now we need to find the subdominant. From the tonic we build a fourth upward - we get the main sound, from which we will build a triad. IN F major- This B-flat. And from B-flat We are already building a major triad. We are now looking for a dominant. From the tonic - up a fifth. In the same key Dominant - Before. Well, what about the triad C major to build - this is no longer difficult for us. Parallel key F major - D minor. We build the tonic (T), subdominant (S) and dominant (D) in a minor key. Let me remind you that in harmonic and melodic minor the dominant is the major triad. Melodic minor differs from natural minor in that both VI and VII degrees are raised (play it on the piano or guitar, or at least in a MIDI editor). And in melodic major, on the contrary, a decrease in the same steps occurs.

Major and minor having the same tonic are called namesake(key of the same name C major - C minor, A major - A minor and so on.).

As has already been said, the expressive capabilities of music consist of the interaction of the various means at its disposal. Among them, harmony is of great importance in conveying certain content and character through music. Remember, I gave an example of the sound of a major triad and a minor one. Let me remind you, on occasion, that major is, so to speak, more cheerful, and minor is more sad, dramatic, and lyrical. Therefore - you can experiment yourself - a major melody played from the same key, but using a minor scale (or vice versa), takes on a completely different coloring, although it remains the same melody.

Today we will continue our conversation about music theory. You can read the beginning here. So, it's time to clarify the conversation about such a concept as parallel keys. You already have an idea of ​​what a scale is, and you also know such signs as sharp and flat. Let me remind you once again that scales are either major or minor. So, major and minor scales with the same set of sounds are called parallel tonalities. When designating a scale (key) on a musical staff, first write the treble clef (or, less commonly, the bass clef), and then write the signs (key signs). In one key, the signs can be either only sharps or only flats. In some keys, key signs are missing.

Let's look at parallel keys using the C major and A minor scales as an example.

As you may have noticed in the image, there are no key signs in these scales, that is, we have the same set of sounds in these keys. You can also see that the tonic (first scale degree) of parallel major is the third degree of parallel minor, and the tonic of parallel minor is the sixth degree of parallel major.

In relation to the guitar, it is not difficult to guess that for a major chord it is enough to move the tonic down three frets to find the tonic of the parallel minor.

Also in the picture you can see parallel tonalities that have key signs. This is F major with one flat key and the corresponding D minor. And also two keys with one sharp - G major and E minor.

There are 15 major and 15 minor keys in total. I'll explain how they are made. The maximum number of flats or sharps in a key can be 7. Plus one more major and minor key without key signs. I will give their parallel correspondence:

C major corresponds A minor
G major corresponds E minor
F major corresponds D minor
D major corresponds B minor
A major corresponds F sharp minor
E major corresponds C sharp minor
B major corresponds G sharp minor
G flat major corresponds E flat minor
D flat major corresponds B flat minor
A flat major corresponds F minor
E flat major corresponds C minor
B flat major corresponds G minor
F sharp major corresponds D sharp minor
C sharp major corresponds A sharp minor
C flat major corresponds A flat minor

I hope this article helped you understand the concept of parallel keys in music. Also, to fully understand this term, I advise you to read the article about

Today I will tell you how to put the Em chord (E minor) in five positions On guitar. Each position of the Em chord (E minor) is distinguished by its convenience, as well as the sound of the chord itself. For example: In the first and fourth positions, playing the Em chord (E minor) is much more convenient than in the third and fifth.

In any case, if you want to know and be able to play not only the Em chord (E minor), but also all major and minor chords, as well as play these chords on the guitar, then I advise you to get acquainted with.

The structure of the Em chord (E minor) on the guitar

If you look from the point of view music theory, then the Em chord (E minor) consists of minor E, G, B.

• Tonic or prima - E (E)
• Minor third - G (Salt)
• Perfect fifth - B (H) (B)

Explanations for fingerings

1. Forefinger.
2. Middle finger.
3. Ring finger.
4. Little finger.

Fingerings of the Em chord (E minor) in five positions on the guitar

first positions:

Chord: Em:1

• 6, 3, 2 and 1 strings are open.
• We pinch the 5th string with our middle finger at the 2nd fret.
• We pinch the 4th string with our ring finger at the 2nd fret.

Fingering of the chord Em (E minor) in second positions:

Chord: Em:2

• The 6th string doesn't sound.
• We pinch the 5th and 4th strings with the index finger on the 2nd fret using the barre technique.
• We pinch the 3rd string with our ring finger at the 4th fret.
• We pinch the 2nd string with our little finger at the 5th fret.
• We pinch 1 string with our middle finger at the 3rd fret.

Fingering of the chord Em (E minor) in thirds positions:

Chord: Em:3

• The 6th string doesn't sound.
• We pinch the 5th string with our little finger at the 7th fret.
• We pinch the 4th string with our middle finger at the 5th fret.
• We pinch the 3rd string with our index finger at the 4th fret.
• We pinch the 2nd string with our ring finger at the 5th fret.

Fingering of the chord Em (E minor) in fourth positions:

Chord: Em:4

• The 6th string doesn't sound.
• We hold the 5th, 4th, 3rd, 2nd and 1st finger on the 7th fret using the barre technique.
• We pinch the 4th string with our ring finger at the 9th fret.
• We pinch the 3rd string with our little finger at the 9th fret.
• We pinch the 2nd string with our middle finger at the 8th fret.

Fingering of the chord Em (E minor) fifth positions:

Chord: Em:5

• We pinch the 6th string with our ring finger at the 12th fret.
• We pinch the 5th string with our middle finger at the 10th fret.
• We pinch the 4th and 3rd strings with our index finger at the 9th fret.
• We pinch strings 2 and 1 with our little finger at the 12th fret.

This article is devoted to an extremely important topic in music - tonality. You will learn what a tonality is, what parallel and eponymous tonalities are, and their letter designations will also be considered.

What is tonality?

The word itself suggests its meaning. It seems to set the tone for an entire piece of music. In fact, tonality is the basis of the work. They start from it, creating this or that musical composition. This is a kind of beginning.

So, for example, there is the key of C major. This means that the tonic, which is also the first degree of the mode, is the sound “C”. The main chord in this key consists of the sounds do-mi-sol. This chord is called the “tonic triad.”

In this regard, before disassembling and playing a piece of music, the performer determines the main tonality, modal inclination, looks at the number of key signs, and mentally determines what its parallel tonality is.

The same musical composition can be sung or played in completely different keys of the corresponding scale. This is used primarily for the convenience of vocal performance.

The parallel tonality used in the work can give a different color to the composition. So, for example, if a musical composition is written in the bright key of D major, then its parallel key is the sad and tragic B minor.

Letter designations of keys

Major is denoted by dur, minor is denoted by moll. Sharp - is, flat - es. Below is a list of some parallel keys and their letter symbols.

• C major (no signs). Designated C-dur. The parallel key is A minor (a-moll).

• F major - one flat (B). Designated F-dur. Its parallel is D minor (d-moll).
• G major - one sharp (F). Designated G-dur. The tonality parallel to it is E minor (e-moll).
• B-flat major - two flats (B, E). Designated B-dur. Its parallel is G minor (g minor).
• D major - two sharps (F, C). Designated D-dur. Its parallel is B minor (h-moll).

What are parallel tones?

These are major and minor tones that contain the same key signs, but they have different tonics.

The list above shows some keys and their parallels.

To find a parallel key to a given major one, you need to go down m.3 (minor third) from the given one.

If you need to determine a parallel tonality to a given minor, then you need to go up from the indicated one to b.3 (major third).

The above list clearly demonstrates the parallel tonalities of the major and minor moods up to two signs per key.

Keys of the same name

These are those that have the same tonic, but different modal inclination and, accordingly, completely different signs at the key.

For example:

• C-dur (no signs) - C-minor (three flats).
• F-dur (one flat) - F-minor (four flats).
• G-dur (one sharp) - g-moll (two flats).

Thus, tonality is a kind of beginning of any musical composition for both the composer and the performer. Transposing a melody, that is, moving from one key to another, allows vocalists to freely perform absolutely all compositions. Such a transfer sometimes gives the work a completely new coloring. You can conduct an interesting experiment and try to perform a musical composition written in a major key in a minor key (a parallel key can also be chosen). A bright and joyful mood will turn into a sad and sorrowful one. In the twentieth century, the term “atonal music” appeared, that is, music that does not have a set tonality. But that's a completely different story...

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