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C-sharp major, the enharmonic equivalent to D-flat major, has seven sharps, whereas D-flat major only has five flats; thus D-flat major is often used as the parallel major for C-sharp minor. (The same enharmonic situation occurs with the keys of A-flat major and G-sharp minor , and to some extent, with the keys of G-flat major and F-sharp minor ).
After a glance at a Neapolitan harmony (B-flat major) and a cadence at bar 76 that brings the music to a complete halt for the first and only time, an ascending A minor arpeggio and a chromatic descent over two octaves follows, sort of a cadenza in tempo, leading to a final repetition of the A section. The piece concludes without an added postlude.
In the key of C major, these would be: D minor, E minor, F major, G major, A minor, and C minor. Despite being three sharps or flats away from the original key in the circle of fifths, parallel keys are also considered as closely related keys as the tonal center is the same, and this makes this key have an affinity with the original key.
Bach and Alkan chose C# major, but most composers have preferred Dâ™ major or Dâ™ major: 5 flats 4 C# minor: 4 sharps 5 D major: 2 sharps 6 D minor: 1 flat 7 Eâ™ major: 3 flats 8 Either D# minor: 6 sharps Most composers of sets of 24 pieces have preferred Eâ™ minor over D# minor. Bach, Lyapunov and Ponce are among the few who have used D#.
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).
Pages in category "Compositions in D-flat major" ... Piano Sonata in D-flat major, D 568 (Schubert) Piano Sonata No. 14 (Beethoven) Prelude, Op. 28, No. 15 (Chopin) R.
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