D-flat minor

D♭ minor
Relative key F♭ major
enharmonic: E major
Parallel key D♭ major
Dominant key A♭ minor
enharmonic: G♯ minor
Subdominant G♭ minor
enharmonic: F♯ minor
Enharmonic C♯ minor
Component pitches
D♭, E♭, F♭, G♭, A♭, B, C♭

D♭ minor is a theoretical key based on D♭, consisting of the pitches D♭, E♭, F♭, G♭, A♭, B♭♭, C♭ and D♭. Its key signature has six flats and one double flat. Its relative major is F♭ major (usually replaced by E major), its parallel major is D♭ major, its direct enharmonic equivalent is C♯ minor, which is normally used.

The D♭ natural minor scale is:

{ \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \key des \minor \time 7/4 des4^\markup { Natural minor scale } es fes ges aes beses ces des ces beses aes ges fes es des2 } }

Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The D♭ harmonic minor and melodic minor scales are:

{ \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \key des \minor \time 7/4 des4^\markup { Harmonic minor scale } es fes ges aes beses c des c beses aes ges fes es des2 } }
{ \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \key des \minor \time 7/4 des4^\markup { Melodic minor scale (ascending and descending) } es fes ges aes bes c des ces! beses! aes ges fes es des2 } }

D♭ minor is usually notated as the enharmonic key of C♯ 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 very decisively in D♭ minor (although written with the five-flat key signature of the parallel major). Mahler's thematic motif "der kleine Appell" ("call to order") from his Fourth and Fifth Symphonies uses both notations: in his Symphony No. 4 (first movement) it is in D♭ minor, but in his Symphony No. 5 it is in C♯ minor. In the Adagio of his Symphony No. 9 a solo bassoon interpolation following the main theme appears first in D♭ minor, returning twice more notated in C♯ minor. Likewise, in the Adagio of Bruckner's Symphony No. 8, phrases that are tonally in D♭ minor are notated as C♯ minor.[2][3][4][5]

References

  1. ↑ Amy Beach & Betty Buchanan (2006). The Canticle of the Sun. A-R Editions, Inc. p. xiii. ISBN 0-89579-583-3.
  2. ↑ Ernst Levy (1985). A Theory of Harmony. SUNY Press. p. 62. ISBN 0-87395-993-0.
  3. ↑ James L. Zychowicz (2005). "Structural Considerations". Mahler's Fourth Symphony. Oxford University Press. p. 28. ISBN 0-19-816206-5.
  4. ↑ Eero Tarasti (1996). "Music history revisited". In Eero Tarasti; Paul Forsell; Richard Littlefield. Musical Semiotics in Growth. Indiana University Press. pp. 14&ndash, 15. ISBN 0-253-32949-3.
  5. ↑ Theodor W. Adorno (1992). Mahler: A Musical Physiognomy. Translated by Edmund Jephcott. University of Chicago Press. pp. 165&ndash, 166. ISBN 0-226-00769-3.

Scales and keys

Circle of fifths
FlatsSharps
MajorminorMajorminor
0CaCa
1FdGe
2B♭gDb
3E♭cAf♯
4A♭fEc♯
5D♭b♭Bg♯
6G♭e♭F♯d♯
7C♭a♭C♯a♯
8F♭d♭G♯e♯
The table indicates the number of sharps or flats in each scale. Minor scales are written in lower case.
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