Key Relationships in Music

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LearnMusicTheory.net 3.3 Types of Key Relationships The following five types of key relationships are in order from closest relation to weakest relation. 1. Enharmonic Keys Enharmonic keys are spelled differently but sound the same, just like enharmonic notes. = C# major Db major 2. Parallel Keys Parallel keys share a tonic, but have different key signatures. One will be minor and one major. D minor is the parallel minor of D major. D major D minor 3. Relative Keys Relative keys share a key signature, but have different tonics. One will be minor and one major. Remember: Relatives "look alike" at a family reunion, and relative keys "look alike" in their signatures! E minor is the relative minor of G major. G major E minor 4. Closely-related Keys Any key will have 5 closely-related keys. A closely-related key is a key that differs from a given key by at most one sharp or flat. There are two easy ways to find closely related keys, as shown below. Given key: D major, 2 #s One less sharp: One more sharp: METHOD 1: Same key sig: Add and subtract one sharp/flat, and take the relative keys (minor/major) G major E minor B minor A major F# minor (also relative OR to D major) METHOD 2: Take all the major and minor triads in the given key (only) D major E minor F minor G major A major B minor X as tonic chords # (C# diminished for other keys. is not a key!) 5. Foreign Keys (or Distantly-related Keys) A foreign key is any key that is not enharmonic, parallel, relative, or closely-related. Below is one of many possible examples. E minor is the foreign to Bb major. Bb major E minor Copyright © 2010 by Mark Feezell. All Rights Reserved..

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Magnificat in D Major, BWV
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Symphony No. 5 in E minor, Op. 64 Pyotr Ilyich Tchaikovsky t should come as no surprise that Pyotr Ily- background to this piece, which involved Iich Tchaikovsky approached his Fifth Sym- resignation to fate, the designs of provi- phony from a position of extreme self-doubt, dence, murmurs of doubt, and similarly since that was nearly always his posture vis- dark thoughts. à-vis his incipient creations. In May 1888 he Critics blasted the symphony at its pre- confessed in a letter to his brother Modest miere, due in part to the composer’s limited that he feared his imagination had dried up, skill on the podium; and yet the audience that he had nothing more to express in mu- was enthusiastic. Predictably, Tchaikovsky sic. Still, there was a glimmer of optimism: “I decided the critics must be right. In Decem- am hoping to collect, little by little, material ber he wrote to von Meck: for a symphony,” he wrote. Tchaikovsky spent the summer of 1888 Having played my Symphony twice in Pe- at a vacation home he had built on a forest- tersburg and once in Prague, I have come ed hillside at Frolovskoe, not far from his to the conclusion that it is a failure. There home base in Moscow. The idyllic locale ap- is something repellent in it, some over- parently played a major role in his manag- exaggerated color, some insincerity of ing to complete this symphony in the span fabrication which the public instinctive- of four months. Tchaikovsky made a habit ly recognizes. It was clear to me that the of keeping his principal patron, Nadezhda applause and ovations referred not to von Meck, informed about his compositions this but to other works of mine, and that through detailed letters, and thanks to this the Symphony itself will never please ongoing correspondence a good deal of in- the public.
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