G-sharp: scales and triads of the main steps

2024 Author: Leah Sherlock | [email protected]. Last modified: 2023-12-17 05:25

G-sharp in music is usually associated with the minor key of the same name. This is due only to the fact that a similar major is a scale that is not used due to its initial complexity in terms of key characters, which will be discussed a little later.

G-sharp minor scale

With a minor scale, everything is quite simple. According to the principle of defining keys (quinto-quart circle), it is a parallel minor to the scale of B major and contains five key signs that extend to the entire scale. These are sharp characters in F/C/S/D/A (standard sequence).

As it should be in this case, three main minor modes are built from the G-sharp note: natural, harmonic and melodic minor. In accordance with the rules of solfeggio and harmony of music, in the harmonic minor, the seventh step is raised by half a tone (F (F-sharp) to the double-sharp of the same name (F)). In the melodic minor, when the scale is played up by half a step, the sixth and seventh steps rise (for mi it is a regular sharp (E), for fa it is a double (double) sharp (F)), and when the scale goes down, it rises by half a tonecancelled.

G-sharp major scale

It's not so easy with the major key. The fact is that, as mentioned above, this tonality is practically not used in music and is replaced by an enharmonic one (equal in sound).

In this case it is the usual A-flat major. Everything is simpler in it and with signs.

But let's dwell separately on the major scale, built from the note G-sharp. In principle, it can be compared with the usual G major, in which all notes are raised by half a step.

Following the rule of adding sharps or determining the key by signs at the key, one could define the sharp order as follows: the usual order is from F to B, and then again rising by a semitone, but already F-sharp. Thus, it turns out that the key should contain F-double-sharp.

It is clear that double-sharp keys are rarely used. Nevertheless, speaking of such a complex scale, the signs at the key can be built in the following order: f-double-sharp, and then the usual sequence from note to note si. As you can see, there are a lot of troubles with signs. That is why it is much easier to use the enharmonic flat major, because the notes G-sharp and A-flat are absolutely equivalent in their sound.

The same goes for the parallel E-sharp minor. It is found almost exclusively in the theoretical solfeggio course.

Triads of main steps

As for the main triads of scales that are built on I, III and IVsteps of the scale, for a minor, a tonic triad is a sequence of elevated and pure notes: s alt (G) / pure si (H) / re (D), subdominant - do (C) / pure mi (E) / s alt (G), dominant – re (D)/fa (F)/la (A).

For a major scale built from G-sharp, the tonic triad contains the following notes raised by half a tone with sharps: s alt (G)/si (H)/re (D), subdominant - to (C)/mi (E) / s alt (G), dominant - re (D) / once again increased F (F) / la (A).

Result

In conclusion, it remains to add that if there are difficulties with the definition of signs in the key for such complex keys as G-sharp major, do not be afraid. You just need to apply a clear rule for following sharps in the key one after the other. Only and everything. And those who claim that double sharps cannot be contained in the key are wrong. There are just a huge number of examples with the presence of such signs. Another thing is that such keys remain unclaimed and are almost never used when writing musical works.