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A-sharp minor
A-sharp minor
A-sharp minor
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A-sharp minor
{ \magnifyStaff #3/2 \omit Score.TimeSignature \key ais \minor s16 \clef F \key ais \minor s^"" }
Relative keyC-sharp major
Parallel keyA-sharp major
→enharmonic: B-flat major
Dominant keyE-sharp minor
→enharmonic: F minor
Subdominant keyD-sharp minor
Enharmonic keyB-flat minor
Component pitches
A♯, B♯, C♯, D♯, E♯, F♯, G♯

A-sharp minor is a minor musical scale based on A♯, consisting of the pitches A♯, B♯, C♯, D♯, E♯, F♯, and G♯. Its key signature has seven sharps.[1]

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.

The A-sharp natural minor scale is:

\header { tagline = ##f } scale = \relative a { \key ais \minor \omit Score.TimeSignature ais'^"A♯ natural minor scale" bis cis dis eis fis gis ais gis fis eis dis cis bis ais2 \clef F \key ais \minor } \score { { << \cadenzaOn \scale \context NoteNames \scale >> } \layout { } \midi { } }

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

\header { tagline = ##f } scale = \relative a { \key ais \minor \omit Score.TimeSignature ais'^"A♯ harmonic minor scale" bis cis dis eis fis gisis ais gisis! fis eis dis cis bis ais2 \clef F \key ais \minor } \score { { << \cadenzaOn \scale \context NoteNames \scale >> } \layout { } \midi { } }
\header { tagline = ##f } scale = \relative a {\accidentalStyle modern \key ais \minor \omit Score.TimeSignature ais'^"A♯ melodic minor scale (ascending and descending)" bis cis dis eis fisis gisis ais gis? fis? eis dis cis bis ais2 \clef F \key ais \minor } \score { { << \cadenzaOn \scale \context NoteNames \scale >> } \layout { } \midi { } }

In Christian Heinrich Rinck's 30 Preludes and Exercises in all major and minor keys, Op. 67, the 16th Prelude and Exercise and Max Reger's On the Theory of Modulation on pp. 46~50 are in A-sharp minor.[2] In Bach's Prelude and Fugue in C-sharp major, BWV 848, a brief section near the beginning of the piece modulates to A-sharp minor.

In tuning systems where the number of notes per octave is not a multiple of 12, notes such as A♯ and B♭ are not enharmonically equivalent, nor are the corresponding key signatures. For example, the key of A-sharp minor, with seven sharps, is equivalent to B-flat minor in 12-tone equal temperament, but in 19-tone equal temperament, it is equivalent to B-double flat minor instead, with 12 flats. Therefore, A-sharp minor with 7 sharps, which has been rarely used in the existing 12-tone temperament, may be absolutely necessary.

Scale degree chords

[edit]

The scale degree chords of A-sharp minor are:

References

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A-sharp minor

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from Grokipedia
A-sharp minor is a minor musical scale and key based on the note A♯, consisting of the pitches A♯, B♯, C♯, D♯, E♯, F♯, and G♯ in its natural form. Its key signature comprises seven sharps: F♯, C♯, G♯, D♯, A♯, E♯, and B♯. This scale serves as the relative minor of C♯ major, sharing the same key signature. A-sharp minor is enharmonically equivalent to B♭ minor, which employs a key signature of five flats (B♭, E♭, A♭, D♭, G♭) and is far more practical for notation and performance. The abundance of sharps in A♯ minor often necessitates double sharps (such as F𝄪 and G𝄪) in its harmonic and melodic variants, as well as in common chords like the dominant seventh, rendering it cumbersome and visually complex. Consequently, A♯ minor is among the least utilized keys in Western classical music, with composers overwhelmingly favoring the enharmonic B♭ minor for its simplicity. Despite its rarity, isolated examples exist, such as Johann Christian H. Rinck's Practical Organ School, Op. 55, No. 16, an exercise explicitly composed in . The key's theoretical structure highlights advanced concepts in , including enharmonic reinterpretation and the challenges of extreme key signatures on the circle of fifths.

Scale and Notation

A-sharp minor scale

The A-sharp minor scale is a seven-note constructed with the tonic note A♯ as its starting point, following the characteristic of whole and half steps. In its form, the scale consists of the pitches A♯, B♯, C♯, D♯, E♯, F♯, G♯, and returns to A♯ an higher; this variant features lowered sixth (F♯) and seventh (G♯) degrees relative to the parallel , producing the interval sequence of whole, half, whole, whole, half, whole, whole steps (W-H-W-W-H-W-W). The harmonic minor variant modifies the natural scale by raising the seventh degree by a half step to G♯♯, yielding the pitches A♯, B♯, C♯, D♯, E♯, F♯, G♯♯, and A♯; this alteration creates a stronger leading tone (G♯♯) to facilitate the dominant chord's resolution back to the tonic. The ascending melodic further raises the sixth degree to F♯♯, resulting in A♯, B♯, C♯, D♯, E♯, F♯♯, G♯♯, and A♯, which provides a smoother ascent toward the tonic while descending typically reverts to the natural minor form. In notation, the A-sharp minor scale employs a key signature of seven sharps (F♯, C♯, G♯, D♯, A♯, E♯, B♯), where notes like E♯ (enharmonically F natural) and B♯ (enharmonically C natural) are written with sharps to maintain consistency with the sharp-based key, and double sharps such as F♯♯ (G natural) and G♯♯ (A natural) appear in the and melodic variants to preserve the scale's theoretical structure. This scale is enharmonically equivalent to the scale, which uses flats for the same pitches.

Enharmonic equivalents

A-sharp minor is enharmonically equivalent to , meaning both keys consist of the same pitches but are notated differently: A♯ minor uses A♯, B♯, C♯, D♯, E♯, F♯, G♯, while uses B♭, C, D♭, E♭, F, G♭, A♭. The of A-sharp minor includes seven sharps—F♯, C♯, G♯, D♯, A♯, E♯, B♯—which often results in awkward notation, such as double sharps (e.g., E♯ for F or B♯ for C) in melodic lines and chords, making it less practical for performers and engravers. In contrast, 's five-flat signature (B♭, E♭, A♭, D♭, G♭) offers simpler, more readable notation with fewer , leading to its historical and practical preference in most musical scores. A-sharp minor notation appears rarely, primarily in theoretical exercises or specific compositional contexts, such as modulations from adjacent sharp keys like E-sharp major (enharmonic to ) to emphasize without frequent accidentals. For instance, Johann Christian Heinrich Rinck composed Prelude No. 16 in A-sharp minor as part of his Practical Organ School, Op. 55, demonstrating its use in pedagogical organ literature.

Key Relationships

Relative and parallel keys

The relative major of A♯ minor is , which shares the same key signature of seven sharps (F♯, C♯, G♯, D♯, A♯, E♯, B♯). The scale consists of the notes C♯, D♯, E♯, F♯, G♯, A♯, B♯, and C♯. The parallel major of A♯ minor is , which also employs a key signature of seven sharps but features double sharps in its scale degrees to maintain the major quality. The scale comprises the notes A♯, B♯, C𝄪, D♯, E♯, F𝄪, G𝄪, and A♯. In A♯ minor compositions, modal mixture often involves borrowing chords from the relative major C♯ major, such as the major mediant or submediant, to introduce brighter harmonic colors while remaining within the shared key signature; this technique enhances expressiveness by blending minor-key melancholy with major-key resolution.

Position in the circle of fifths

A-sharp minor is situated at the seventh position clockwise from C major in the circle of fifths, following G-sharp minor in the sequence of sharp minor keys. It occupies the same position as its enharmonic equivalent B♭ minor in the flat progression, which follows F minor (4 flats) counterclockwise. This placement highlights its role in the ascending sharp-key cycle, where each step adds a sharp to the key signature, culminating in the most remote sharp position before wrapping around via enharmonic equivalents. As part of the sharp-key progression, A-sharp minor employs a of seven sharps (F♯, C♯, G♯, D♯, A♯, E♯, B♯), aligning it with , its relative major, in this extreme segment of the circle. Enharmonically equivalent to , which uses five flats (B♭, E♭, A♭, D♭, G♭) and occupies the fifth position in the counterclockwise flat sequence relative to , A-sharp minor's notation often shifts to the simpler flat equivalent in practice. The progression beyond this point typically reverts to flat keys, such as the enharmonic of with two sharps, emphasizing the circle's modular nature through enharmonic pairings. Modulation involving A-sharp minor is most straightforward to its relative major, , due to their shared and proximity in the circle, allowing seamless transitions via common tones or pivot chords without altering accidentals. Similarly, shifts to the dominant key of E-sharp major—enharmonically , located early in the clockwise sequence—facilitate harmonic resolution, as the dominant relationship spans a and leverages familiar terrain in the circle for smooth integration. This positioning underscores A-sharp minor's theoretical rarity, as its seven sharps render it cumbersome compared to the flat-side equivalent , leading composers to favor the latter for practicality in notation and performance.

Harmonic Structure

Diatonic chords

The diatonic chords of are derived by stacking thirds on each degree of the , which consists of the notes A♯, B♯, C♯, D♯, E♯, F♯, and G♯. These chords follow the standard pattern for natural keys: triads on i, iv, and v; a on ii°; and triads on III, VI, and VII. The Roman numeral notation reflects this structure, with lowercase for and superscript ° for diminished.
Scale DegreeRoman NumeralTriadNotes
1iA♯–C♯–E♯
2ii°B♯ diminishedB♯–D♯–F♯
3IIIC♯–E♯–G♯
4ivD♯–F♯–A♯
5vE♯–G♯–B♯
6VIF♯–A♯–C♯
7VIIG♯ majorG♯–B♯–D♯
Seventh chords in the natural extend these triads by adding another third on top, resulting in chords on i, iv, and v; a half-diminished seventh on ii°7; and chords on III7, VI7, and VII7.
Scale DegreeRoman NumeralSeventh ChordNotes
1i7A♯ minor seventhA♯–C♯–E♯–G♯
2ii°7B♯ half-diminished seventhB♯–D♯–F♯–A♯
3III7C♯ major seventhC♯–E♯–G♯–B♯
4iv7D♯ minor seventhD♯–F♯–A♯–C♯
5v7E♯ minor seventhE♯–G♯–B♯–D♯
6VI7F♯ major seventhF♯–A♯–C♯–E♯
7VII7G♯ major seventhG♯–B♯–D♯–F♯
In the harmonic minor form, the seventh scale degree is raised to G♯♯, altering the chords on v and vii to provide stronger resolution toward the tonic; this yields a major triad and dominant seventh on (E♯–G♯♯–B♯ and E♯–G♯♯–B♯–D♯, respectively) and a and fully diminished seventh on vii° (G♯♯–B♯–D♯ and G♯♯–B♯–D♯–F♯). The other diatonic chords remain unchanged from the natural minor. adjust accordingly, with indicating the major quality and vii° the diminished. Basic in these chords prioritizes smooth connections, such as retaining common tones between adjacent chords (e.g., shared pitches like C♯ in i and iv) and favoring stepwise motion in the outer voices to minimize leaps greater than a third.

Functional harmony and progressions

In A-sharp minor, functional harmony organizes the diatonic chords into roles that drive tonal progression and resolution, following established principles of minor-key where stability, tension, and release are balanced through specific chord relationships. The tonic function is primarily embodied by the i chord (A♯ minor), which establishes and reaffirms the key center, providing points of rest and closure in phrases. Additionally, the VI chord (F♯ major) often acts as a tonic substitute or prolongation, offering temporary stability while preserving the overall tonal framework, particularly in deceptive resolutions or extended tonic sections. The function, which prepares the dominant and creates departure from the tonic, is typically served by the iv chord (), introducing contrast and forward momentum through its minor quality and shared tones with the tonic. The VII chord (), diatonic to the , functions as a subdominant alternative or enhancement, providing coloristic effect and frequent resolution to the tonic or dominant, enriching the harmonic palette without altering the key. Dominant function generates tension leading back to the tonic, realized by the v chord (E♯ minor) from the natural minor or, more commonly, the V chord (E♯ major) from the harmonic minor, which incorporates the raised leading tone (G double sharp) for heightened pull toward resolution. Common progressions leverage these functions for structural coherence; for instance, i–iv–V–i (A♯m–D♯m–E♯–A♯m) traces a complete cycle from tonic through and dominant back to tonic, creating a balanced model ubiquitous in tonal . Similarly, i–VI–III–VII (A♯m–F♯–C♯–G♯) employs tonic prolongation, relative major substitute, and elements for a descending, introspective sequence that sustains minor-key mood without immediate resolution. Cadences in A-sharp minor reinforce these functions through conclusive or suspensive endings. The perfect cadence (V–i) delivers the strongest resolution, with the dominant's leading tone resolving to the tonic's root for full authentic closure. The plagal cadence (iv–i) offers a gentler, subdominant-led resolution, evoking a of grounded return. Half cadences, such as ii°–V, end on the dominant to heighten anticipation, leaving phrases incomplete and propelling continuation.

Usage in Composition

Classical repertoire

A-sharp minor is exceptionally rare in classical music due to its key signature of seven sharps, which poses significant challenges for performers and engravers in terms of readability and execution. Composers overwhelmingly favor its enharmonic equivalent, —with five flats—for full-scale works. This preference underscores the key's limited but impactful appearances in the classical canon, often in Romantic-era compositions where conveys profound emotional intensity. For instance, Pyotr Ilyich Tchaikovsky's No. 1, Op. 23 (1874–1875) opens in , establishing a bold, turbulent atmosphere through its iconic horn theme and virtuosic demands, exemplifying the key's capacity for heroic struggle. Similarly, Frédéric Chopin's Piano Sonata No. 2, Op. 35 (1839), known as the "" sonata, centers its third movement in , using the key to evoke somber procession and existential dread in a march-like funeral . Chopin's Nocturne in B-flat minor, Op. 9 No. 1 (1830–1832) further illustrates the key's lyrical potential amid melancholy, with its flowing melody and subtle harmonic tensions creating an intimate, reflective mood. In the early , Sergei Rachmaninoff's Piano Sonata No. 2, Op. 36 (1913, revised 1931) employs B-flat minor to drive its dense, passionate structure, blending Russian Romanticism with modernist complexity in passages of stormy agitation. One rare example of a composition explicitly in A-sharp minor is Christian H. Rinck's Practical Organ School, Op. 55, No. 1, an exercise demonstrating the key's theoretical structure. The enharmonic B-flat minor often carries associations of darkness, pessimism, and mocking despair, aligning with A-sharp minor's potential for tension and introspection when notated explicitly—qualities heightened by the sharp-heavy signature's inherent awkwardness. These traits make the key suitable for dramatic modulations or fleeting sections in larger works, rather than sustained tonal centers, contributing to its enigmatic presence in classical . In modern music, the enharmonic equivalent is strongly preferred over A-sharp minor, primarily because its features only five flats rather than seven sharps, reducing notational complexity and aiding performers across genres like and . This practical choice facilitates easier reading and execution, especially for ensembles involving brass and woodwinds tuned in flat keys. For instance, the "Lover Man (Oh, Where Can You Be?)" by Jimmy Davis is composed in , exemplifying its use in 20th-century and ballads. Direct applications of A-sharp minor remain uncommon in 20th- and 21st-century genres due to these notational hurdles, though its enharmonic counterpart appears in for modal passages that evoke introspection and complexity. In film scores, is employed to heighten tension and emotional depth, often in suspenseful cues that dramatic scenes. Performers frequently A-sharp minor compositions to to mitigate technical difficulties, particularly on guitar—where sharp-heavy fingerings complicate barre chords—and wind instruments, where flat keys align better with and habits. This transposition preserves the harmonic essence while enhancing playability in live and recorded settings.

References

  1. https://www.dacapoalcoda.com/a-sharp-minor-scale
  2. https://www.circleoffifths.com/Music-Theory/A-Sharp-Minor-Scale.html
  3. https://piano-music-theory.com/2016/06/01/a-sharp-minor-and-b-flat-minor-scales/
  4. https://mymusictheory.com/scales-and-keys/minor-scales-with-7-sharps-flats/
  5. http://www.cisdur.de/e_aismoll.html
  6. https://muted.io/a-sharp-minor-scale/
  7. https://hellomusictheory.com/learn/a-sharp-minor-scale/
  8. https://www.musictheoryacademy.com/understanding-music/enharmonic-equivalents/
  9. https://www.piano-keyboard-guide.com/c-sharp-major-scale.html
  10. https://dsmusic.com.au/wp-content/uploads/2012/01/key_sig_worksheet.pdf
  11. https://www.auralwiz.com/a-sharp-major-scale.html
  12. https://openmusictheory.github.io/modalMixture.html
  13. https://www.libertyparkmusic.com/the-circle-of-fifths/
  14. https://www.musicnotes.com/blog/a-complete-guide-to-musical-modulation/
  15. https://www.musicca.com/keys
  16. https://piano-music-theory.com/2016/06/25/diatonic-chords-of-a-sharp-minor-scale/
  17. https://musictheory.pugetsound.edu/mt21c/DiatonicChordsInMinor.html
  18. https://musictheory.pugetsound.edu/mt21c/HarmonicFunction.html
  19. https://milnepublishing.geneseo.edu/fundamentals-function-form/chapter/22-phrases-cadences-and-harmonic-function/
  20. https://musictheory.pugetsound.edu/mt21c/AnalyzingAndWritingBorrowedChords.html
  21. https://archive.cbts.edu/Fulldisplay/9078SB/418827/RomanNumeralsMinorKey.pdf
  22. https://ledgernote.com/blog/interesting/musical-key-characteristics-emotions/
  23. https://www.jazzstandards.com/compositions-0/loverman.htm
  24. https://www.hoffmanacademy.com/blog/b-flat-minor-scale-piano
  25. https://music.stackexchange.com/questions/25576/are-minor-scales-meant-to-be-in-sharp-or-flat-keys
  26. https://blog.songtive.com/mastering-transposition-navigating-flat-and-sharp-keys/
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