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Its relative major is C-sharp major (or enharmonically D-flat major). Its parallel major, A-sharp major, is usually replaced by B-flat major, since A-sharp major's three double-sharps make it impractical to use. The enharmonic equivalent of A-sharp minor is B-flat minor, [1] which only contains five flats and is often preferable to use.
1 sharp 16 G minor: 2 flats 17 A♭ major: 4 flats 18 Either G# minor: 5 sharps Alkan wrote a piece in A♭ minor, and Brahms a fugue in this key, but most composers have preferred G# minor. or A♭ minor: 7 flats 19 A major: 3 sharps 20 A minor: No sharps or flats 21 B♭ major: 2 flats 22 Either B♭ minor: 5 flats
No. 3 Molto allegro e vivace in A major ("Hunting Song") No. 4 Moderato in A major; No. 5 Poco agitato in F-sharp minor; No. 6 Andante sostenuto in G minor ("Venezianisches Gondellied" [Venetian Boat Song] No. 1) Book 2, Op. 30 (1833–1834) No. 1 Andante espressivo in E-flat major; No. 2 Allegro di molto in B-flat minor; No. 3 Adagio non ...
Jazz compositions in C-sharp minor (2 P) D. Jazz compositions in D major (3 P) Jazz compositions in D minor (10 P) Jazz compositions in D-flat major (8 P) E.
According to Skoryk, he chose this sequence after studying many Ukrainian folk songs. The opening theme is then repeated, this time with a more complex counter-melody in the accompaniment. [7] The eight-measure development is a series of rapid changes in minor keys: from C-sharp minor to G-sharp minor, B minor, and F-sharp minor.
Symphony in C-sharp minor (1902) Joseph Martin Kraus. Symphony in C-sharp minor, VB 140. Identified by musicologist Bertil H. van Boer in program notes for the Naxos recording as one of only two C-sharp minor symphonies written in the 18th century. Gustav Mahler. Symphony No. 5 (1902) - Mahler objected to this key assignment, preferring none at all
Op. Posth. 109, Song without words in D major for cello and piano (1845) (MWV Q 34) Op. Posth. 110, Piano Sextet in D major (1824) (MWV Q 16) Op. Posth. 111, Tu es Petrus in A major for five voices and orchestra (1827) (MWV A 4) Op. Posth. 112, 2 Sacred songs for voice and piano (1835) No. 1 "Doch der Herr, er leitet die Irrenden recht"
Major/minor compositions are musical compositions that begin in a major key and end in a minor key (generally the parallel minor), specifying the keynote (as C major/minor). This is a very unusual form in tonal music, [ 1 ] [ 2 ] although examples became more common in the nineteenth century. [ 3 ]