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More often, pieces in a minor mode that have A-flat's pitch as tonic are notated in the enharmonic key, G-sharp minor, because that key has just five sharps as opposed to the seven flats of A-flat minor. In some scores, the A-flat minor key signature in the bass clef is written with the flat for the F on the second line from the top. [nb 1]
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.
Its parallel minor, A-flat minor, is usually written instead as the enharmonic key of G-sharp minor, since A-flat minor, which contains seven flats, is not normally used. Its enharmonic, G-sharp major , with eight sharps , including the F , has a similar problem, and so A-flat major is often used as the parallel major for G-sharp minor.
A musical passage notated as flats. The same passage notated as sharps, requiring fewer canceling natural signs. Sets of notes that involve pitch relationships — scales, key signatures, or intervals, [1] for example — can also be referred to as enharmonic (e.g., the keys of C ♯ major and D ♭ major contain identical pitches and are therefore enharmonic).
For example, F major and D minor both have one flat in their key signature at B♭; therefore, D minor is the relative minor of F major, and conversely F major is the relative major of D minor. The tonic of the relative minor is the sixth scale degree of the major scale, while the tonic of the relative major is the third degree of the minor ...
B-flat minor is traditionally a 'dark' key. [ 1 ] The old valveless horn was barely capable of playing in B-flat minor: the only example found in 18th-century music is a modulation that occurs in the first minuet of Franz Krommer 's Concertino in D major , Op. 80.
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In Christian Heinrich Rinck's 30 Preludes and Exercises in all major and minor keys, Op. 67, the 16th Prelude and Exercise and Max Reger's On the Theory of Modulation on pp. 46~50 are in A-sharp minor. [2] In Bach's Prelude and Fugue in C-sharp major, BWV 848, a brief section near the beginning of the piece modulates to A-sharp minor.