Salt sharp: gamuts and triads of the main stages

With a salt-sharp note in music, the same-named minor key is usually associated. This is due only to the fact that a similar major is a gamut that is not used because of its initial complexity in terms of key signs, which will be considered somewhat later.

Gamma in G Sharp Minor

With a minor scale everything is quite simple. According to the principle of determining the tonality (quinto-quart circle), it is a parallel minor to the G-scale scale and contains five key signs that extend to the whole gamut. These are sharp signs of fa / to / salt / re / la (standard sequence).

As it should be in this case, from the note of the sol-sharp, three major minor modes are built: natural, harmonic and melodic minor. In accordance with the rules of solfeggio and harmony of music, in the harmonic minor increased by a half tone is the seventh step (F # (F-sharp) to the same double-sharp (F ##)). In the melodic minor, when gamma is played up the sixth and seventh steps rise to a semitone (for me this is the usual sharp (E #), for fa - double (double) sharp (F ##)), and when passing the scale down, the enhancements are canceled by one-half.

Gamma in G sharp

With a major tonality, the situation is not so simple. The fact is that, as already mentioned above, this tonality in music is practically not used and is replaced by an anharmonic (equal in sounding).

In this case it is an ordinary A-flat major. In it and with signs everything is simpler.

But we will stop separately on the major scale, built from the note of the sharp-sharp. In principle, it can be compared to the usual G-major, in which all notes are raised by a half tone.

Following the rule of adding sharps or determining the tonality for signs with a key, one could define a sharp order in the following way: the usual order from fa to si, and then again a halftone increase, but already f-sharp. Thus, it turns out that the key should contain a fa-duplicate sharp.

It is clear that double-sharp sharps are used extremely rarely. Nevertheless, speaking of such a complex gamut, signs with a key can be constructed in this order: fa-duplicate-sharp, and then the usual sequence from note to note s. As you can see, there is a lot of trouble with signs. That's why it's much easier to use an anharmonic flat major, because in its sound the notes are sharp-sharp and a-flat are absolutely equivalent.

The same goes for the parallel mi-sharp minor. He meets practically only in the theoretical course of solfeggio.

Sobriety of the main steps

As for the main triadic scales that are built on the I, III and IV stages of the scale, for the minor, the tonic triad is a sequence of raised and pure notes: salt (G #) / pure c (H) / re (D #), subdominant - up to (C # ) / Pure mi (E) / salt (G #), dominant - re (D #) / fa (F ##) / la (A #).

For a major scale built from a sharp sharp tone, the tonic triad contains such notes with sharps raised to a halftone: salt (G #) / c (H #) / re (D #), subdominant - up to (C #) / mi (E #) / salt (G #), dominant - re (D #) / once again elevated fa (F ##) / la (A #).

The result

In conclusion, it remains to add that if there are difficulties with determining the signs in the key for such complex tonalities as a sharp sharp, do not get scared. You just need to apply a clear rule of following the sharps with the key one by one. That's all. And those who claim that they can not be kept with a double-sharp screw are wrong. Examples with the presence of such signs can be found simply a huge amount. Another thing is that such tonalities remain unclaimed and are almost never used in writing music.