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G-sharp minor
G-sharp minor
G-sharp minor
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G-sharp minor
{ \magnifyStaff #3/2 \omit Score.TimeSignature \key b \major s8 \clef F \key b \major s^"" }
Relative keyB major
Parallel keyG-sharp major
→enharmonic: A-flat major
Dominant keyD-sharp minor
Subdominant keyC-sharp minor
Enharmonic keyA-flat minor
Component pitches
G♯, A♯, B, C♯, D♯, E, F♯

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

Its relative major is B major. Its parallel major, G-sharp major, is usually replaced by its enharmonic equivalent of A-flat major, since G-sharp major has an Fdouble sharp in its key signature, making it less convenient to use. A-flat minor, its enharmonic, has seven flats, whereas G-sharp minor only has five sharps; thus G-sharp minor is sometimes used as the parallel minor for A-flat major. (The same enharmonic situation occurs with the keys of D-flat major and C-sharp minor, and in some cases, with the keys of G-flat major and F-sharp minor).

The G-sharp natural minor scale is:

\header { tagline = ##f } scale = \relative a { \key gis \minor \omit Score.TimeSignature gis'^"G♯ natural minor scale" ais b cis dis e fis gis fis e dis cis b ais gis2 \clef F \key gis \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 G-sharp harmonic minor and melodic minor scales are:

\header { tagline = ##f } scale = \relative a { \key gis \minor \omit Score.TimeSignature gis'^"G♯ harmonic minor scale" ais b cis dis e fisis gis fisis! e dis cis b ais gis2 \clef F \key gis \minor } \score { { << \cadenzaOn \scale \context NoteNames \scale >> } \layout { } \midi { } }
\header { tagline = ##f } scale = \relative a { \accidentalStyle modern \key gis \minor \omit Score.TimeSignature gis'^"G♯ melodic minor scale (ascending and descending)" ais b cis dis eis fisis gis fis? e? dis cis b ais gis2 \clef F \key gis \minor } \score { { << \cadenzaOn \scale \context NoteNames \scale >> } \layout { } \midi { } }

Scale degree chords

[edit]

The scale degree chords of G-sharp minor are:

Music in G-sharp minor

[edit]
See also: List of symphonies in G-sharp minor

Despite the key rarely being used in orchestral music other than to modulate, it is more common in keyboard music, as in Piano Sonata No. 2 by Alexander Scriabin, who actually seemed to prefer writing in it. Dmitri Shostakovich used the key in the second movement of his 8th String Quartet, and the slow fourth movement of his 8th Symphony is also in this key. If G-sharp minor is used in orchestral music, composers generally write B♭ wind instruments in the enharmonic B-flat minor, rather than A-sharp minor to facilitate reading the music (or A instruments are used instead, giving a transposed key of B minor).

Few symphonies are written in G-sharp minor; among them are Nikolai Myaskovsky's 17th Symphony, Elliot Goldenthal's Symphony in G-sharp minor (2014) and an abandoned work of juvenilia by Marc Blitzstein.

The minuet from the Piano Sonata in E-flat major, Op. 44 ("The Farewell") by Jan Ladislav Dussek is in G-sharp minor.

Frédéric Chopin composed a Polonaise in G-sharp minor, Op. posth., in 1822. His Étude Op. 25 No. 6, the first mazurka from his Op. 33 and his 12th prelude from the 24 Preludes, Op. 28, are in G-sharp minor as well.

Modest Mussorgsky wrote the movements, "Il vecchio castello" (The Old Castle) and "Bydło" (Cattle), from Pictures at an Exhibition in G-sharp minor.

Liszt's "La campanella" from his Grandes études de Paganini is in G-sharp minor.

Alexander Scriabin's Second Piano Sonata "Sonata-Fantasy", Op. 19, is in G-sharp minor.

Maurice Ravel's "Scarbo" from Gaspard de la nuit (1908), is in G-sharp minor.

Sibelius wrote the slow movement of his Third Symphony in G-sharp minor.

Beethoven wrote the sixth movement of his 14th String Quartet in G-sharp minor.

Bach also wrote the movements, "Prelude and Fugue No. 18", from both books of The Well-Tempered Clavier which is also in G-sharp minor; both movements from Book 1 end with a Picardy third, utilizing a B-sharp in the final G-sharp major chord.

See also

[edit]
Wikimedia Commons has media related to G-sharp minor.

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

G-sharp minor

View on Grokipedia
from Grokipedia
G-sharp minor is a minor musical scale and key based on the note G♯, comprising the pitches G♯, A♯, B, C♯, D♯, E, F♯, and G♯. Its key signature consists of five sharps: F♯, C♯, G♯, D♯, and A♯. As the relative minor of , it shares the same key signature with that major key, while serving as the parallel minor to . The scale's enharmonic equivalent is , which uses seven flats; the notation with five sharps is often preferred for its relative simplicity. In Western classical music, G-sharp minor is used to convey emotional depth. Notable compositions in this key are discussed in the dedicated section below.

Scale and key signature

Natural minor scale

The natural G-sharp minor scale consists of the pitches G♯, A♯, B, C♯, D♯, E, F♯, and G♯, used both in ascending and descending forms. It follows the standard natural minor interval pattern of whole, half, whole, whole, half, whole, whole steps between consecutive notes. On the piano keyboard, these pitches correspond to five black keys (G♯, A♯, C♯, D♯, F♯) and two white keys (B, E). The natural minor scale forms the basis of the G-sharp minor key, defining its core pitches without chromatic alterations. Its relative major is B major, which uses the same pitches and key signature.

Key signature

The key signature of G-sharp minor features five sharps: F♯, C♯, G♯, D♯, and A♯. These accidentals follow the standard order derived from the circle of fifths, progressing by perfect fifths: F♯ (first), C♯ (second), G♯ (third), D♯ (fourth), and A♯ (fifth). In the treble clef, the sharps are positioned at the locations corresponding to their natural pitches: F♯ on the top line, C♯ in the space above the middle line, G♯ on the second line from the bottom, D♯ on the fourth line from the bottom, and A♯ in the second space from the bottom. In the bass clef, they appear as F♯ on the fourth line from the bottom, C♯ in the second space from the bottom, G♯ on the bottom line, D♯ on the third line from the bottom, and A♯ in the first space from the bottom. This placement adheres to conventional notation practices, ensuring the accidentals align vertically and diagonally for clarity. G-sharp minor shares this identical key signature with its relative major, , which also employs the same five sharps to define its tonal center a minor third higher. The presence of five sharps introduces greater notational complexity compared to keys with fewer accidentals, complicating and transposition as performers must mentally apply multiple alterations to the natural notes on the staff.

Key relationships

Relative and parallel keys

The relative major of G-sharp minor is . These two keys share the same of five sharps (F♯, C♯, G♯, D♯, and A♯) and the same set of pitches, with B major starting on the third degree of the G-sharp minor scale. The relative major is structurally built on the —the third scale degree—of the minor scale, which in G-sharp minor is B. The parallel major of G-sharp minor is , which shares the same tonic note (G♯) but is in the major mode. To form from the G-sharp minor scale, the third (B to B♯), sixth (E to E♯), and seventh (F♯ to F𝄪) degrees are raised by a half step. has a theoretical key signature of eight sharps, often notated with seven accidentals consisting of one double sharp and six sharps (F𝄪, C♯, G♯, D♯, A♯, E♯, B♯), though it is rarely used in practice due to its complexity and is typically enharmonically equivalent to .

Enharmonic equivalent

The enharmonic equivalent of G-sharp minor is , which employs a of seven flats (B♭, E♭, A♭, D♭, G♭, C♭, F♭) in contrast to the five sharps (F♯, C♯, G♯, D♯, A♯) of G-sharp minor. Both keys generate the same sequence of pitches—G♯/A♭, A♯/B♭, B/C♭, C♯/D♭, D♯/E♭, E/F♭, F♯/G♭—differing only in their notational representation. In practice, composers select G-sharp minor over when working within sharp-key frameworks, such as sequences related to its relative major , to maintain consistency with fewer accidentals overall. , however, is often preferred in flat-key contexts or for instruments requiring transposition, like those in B♭, where the additional flats align more readily with the prevailing notation and reduce the need for frequent accidentals in performance. Composers frequently switch between these enharmonic notations mid-piece for notational convenience, such as respelling chords to avoid double sharps (e.g., F𝄪 in G-sharp minor contexts) or to simplify readability during modulations, a technique exemplified in Chopin's flexible approach to enharmonic respelling.

Characteristics

Affective qualities

In the tradition of 18th- and 19th-century key affect theory, sharp minor keys were associated with unease and lamentation, as described by theorists like Christian Schubart in his Ideen zu einer Ästhetik der Tonkunst (1806). Similarly, Hugo Riemann later attributed to G-sharp minor an "impulsive power" within a "sphere of super-sensual presentation of ideal feelings," blending sober views of everyday life with noble inspiration. Modern perceptions of G-sharp minor often emphasize tension and introspection, stemming from its relative rarity compared to flat-key equivalents like . The key's five-sharp signature, particularly with double-sharps in the harmonic and melodic minor scales, contributes to an awkwardness in notation that can heighten a dramatic or exotic quality in performance. In , these multiple sharps may subtly enhance dissonant tensions, amplifying the key's intensely emotional and mysterious aura akin to G minor's associations with discontent and gnashing intensity.

Notation and usage

In the harmonic minor scale of G-sharp minor, the seventh scale degree is raised by a from F-sharp to F-double-sharp, providing a leading tone that resolves strongly to the tonic G-sharp and facilitating dominant-to-tonic cadences. This alteration introduces double-sharps into the notation, particularly evident in the raised seventh's role within diatonic harmonies. The melodic in G-sharp minor modifies the natural minor form for ascending lines by raising both the sixth degree to E-sharp and the seventh to F-double-sharp, enhancing smoothness and avoiding the augmented second interval between the sixth and seventh degrees present in the harmonic minor. On descent, it reverts to the (G-sharp, A-sharp, B, C-sharp, D-sharp, E, F-sharp), aligning with the stepwise motion typical of descending melodies. The abundance of in G-sharp minor—five sharps in the plus frequent double-sharps in the and melodic variants—creates significant notation challenges, increasing the risk of reading errors and complicating score preparation. In orchestral and band contexts, composers often prefer the enharmonic to sidestep these double-sharps, even though it requires a seven-flat , as the simpler accidental notation aids performers across instrument sections. While G-sharp minor sees limited overall use due to its relative inaccessibility compared to keys with fewer accidentals, it appears more frequently in string music, where transposition to this key can leverage open-string positions for resonance and efficient fingering on instruments like the violin.

Harmony

Diatonic chords

The diatonic chords of G-sharp minor are derived from the natural minor scale, which consists of the pitches G♯, A♯, B, C♯, D♯, E, and F♯. These chords are constructed by stacking alternate notes (thirds) from the scale, forming triads on each degree. The basic diatonic triads, using , are as follows:
DegreeRoman NumeralChord NameNotes
IiG♯ minorG♯–B–D♯
IIii°A♯ diminishedA♯–C♯–E
IIIIIIB–D♯–F♯
IVivC♯ minorC♯–E–G♯
VvD♯–F♯–A♯
VIVIE–G♯–B
VIIVIIF♯ majorF♯–A♯–C♯
These triads follow the standard pattern for natural minor keys: minor, diminished, major, minor, minor, major, major. Diatonic seventh chords extend the triads by adding a fourth note, a seventh above the , also drawn from the scale. Their qualities in G-sharp natural minor are:
DegreeRoman NumeralChord NameNotes
Ii7G♯ minor seventhG♯–B–D♯–F♯
IIiiø7A♯ half-diminished seventhA♯–C♯–E–G♯
IIIIII7B–D♯–F♯–A♯
IViv7C♯ minor seventhC♯–E–G♯–B
Vv7D♯ minor seventhD♯–F♯–A♯–C♯
VIVI7E–G♯–B–D♯
VIIVII7F♯ dominant seventhF♯–A♯–C♯–E
This yields the pattern minor seventh, half-diminished seventh, , , , , and dominant seventh. In , these chords serve key harmonic functions: the tonic (i or i7) establishes the home key; the (iv or iv7) provides movement away from the tonic; and the dominant (v or v7 in natural minor, or VII or VII7) creates tension, though the latter often leads back to the tonic. To strengthen the dominant function, particularly for cadences, composers frequently alter the v chord using the harmonic minor scale, raising the seventh degree (F♯ to F𝄪). This transforms the V triad into D♯ major (D♯–F𝄪–A♯) and the V7 into D♯ dominant seventh (D♯–F𝄪–A♯–C♯), introducing a leading tone (F𝄪) that resolves powerfully to the tonic G♯.

Common progressions

In G-sharp minor, standard harmonic progressions often follow patterns derived from the natural and harmonic minor scales, providing structural foundation for phrases and sections. A common tonic-subdominant return is the i–iv–i progression, where the tonic G-sharp minor chord alternates with the subdominant C-sharp minor for a sense of resolution and emotional depth. Another frequent sequence is the i–VI–III–VII cycle, utilizing the major mediant (B major, the relative major) and subtonic (F-sharp major) for a descending bass line that creates a melancholic flow, as seen in numerous minor-key compositions. Variations like i–v–VI–III incorporate the minor dominant (D-sharp minor) before shifting to the relative major and submediant, offering a smoother, less tense motion suitable for extended harmonic development. The dominant function plays a crucial role in strengthening resolutions, typically employing the harmonic minor scale to form the major V chord (D-sharp major) with its raised leading tone (F-double sharp), which resolves convincingly to the tonic i. This V–i motion provides tension and release, contrasting with the weaker minor v chord from the natural minor scale. Modulations from G-sharp minor commonly target closely related keys to maintain tonal coherence. The relative major (B major, functioning as III) is approached via pivot chords like the shared VI or i in G-sharp minor, allowing a brightening effect without abrupt shifts. Transition to the parallel major (G-sharp major) often occurs by raising the third (B to B-sharp) in the tonic chord, typically prepared by the dominant V. For smoother resolutions in complex passages, enharmonic reinterpretation to A-flat minor facilitates modulation, treating ambiguous chords like the augmented sixth as pivots. Cadences in G-sharp minor reinforce phrase endings with established harmonic conventions. The perfect cadence (V–i) uses the major dominant for a strong, conclusive arrival, enhanced by the leading tone's pull. Plagal cadences (iv–i) offer a gentler resolution from the subdominant C-sharp minor, evoking a sense of calm affirmation. Deceptive cadences (V–VI) subvert expectations by leading to the submediant E major instead of the tonic, creating surprise and prolonging tension.

Notable compositions

Classical works

One of the earliest prominent examples of G-sharp minor in the classical repertoire is Johann Sebastian Bach's Prelude and Fugue in G-sharp minor, BWV 887, from , Book 2, composed around 1742. This work exemplifies contrapuntal mastery, with the prelude featuring flowing arpeggios and the fugue exploring intricate subject entries in five voices. Frédéric Chopin's Prelude in G-sharp minor, Op. 28, No. 12 (1836–1839), features a lyrical over a repetitive , highlighting emotional depth in the Romantic style. His Étude Op. 25, No. 6, composed in 1841, is a technical study in G-sharp minor renowned for its focus on rapid thirds, demanding exceptional finger independence and evenness. His in G-sharp minor, Op. posth. (B. 6), written in 1824 and published posthumously, evokes Polish nationalistic fervor through its rhythmic drive and melodic contours derived from folk traditions. Alexander Scriabin's Piano Sonata No. 2, Op. 19 (Sonata-Fantasy), completed in 1897, unfolds in G-sharp minor in two movements played continuously, structured as a sonata-fantasy, conveying depth through lyrical themes and atmospheric transitions. Ignacy Jan Paderewski's Polish Fantasy, Op. 19, for and , composed in 1893, highlights virtuosic demands on the soloist with its elaborate passages and integration of Polish dance elements like the . Sergei Rachmaninoff's Prelude in G-sharp minor, Op. 32, No. 12, from , delivers turbulent drama through its allegro tempo, surging dynamics, and contrasting melodic lines. G-sharp minor remains relatively rare in the classical repertoire, often appearing in expressive or transitional passages rather than extended movements, as evidenced by the limited number of full-scale symphonic works in the key. In popular music, G-sharp minor has been employed in various hit songs across genres like synth-pop, alternative rock, and R&B, leveraging its tense and introspective tonality to enhance emotional depth and rhythmic drive. Lady Gaga's "Poker Face" (2008), a synth-pop anthem from the album The Fame, is composed in G-sharp minor, utilizing its minor scale to underpin the track's pulsating electronic rhythm and themes of deception and allure. Similarly, Pitbull featuring Kesha's "Timber" (2013), a country-pop fusion single from , draws on G-sharp minor's structure for its upbeat yet edgy vibe, blending folk-inspired hooks with electronic elements to create an infectious, danceable energy. The ' "Snow (Hey Oh)" (2006), an track from , exemplifies G-sharp minor in melodic rock contexts, where the key supports soaring guitar riffs and introspective lyrics about personal renewal, contributing to its anthemic quality. Rihanna's "What Now" (2012), an R&B ballad from Unapologetic, uses G-sharp minor to convey vulnerability and emotional turmoil, with its slow tempo and layered vocals amplifying the key's melancholic resonance. Ellie Goulding's "Lights" (2010), an hit from her debut album, employs G-sharp minor for its ethereal and atmosphere, driving the song's luminous synths and themes of guidance amid darkness. In broader trends, G-sharp minor's dark and urgent tonality makes it suitable for both introspective s and high-energy tracks, though it is sometimes notated enharmonically as in flat-oriented genres like to simplify reading for performers accustomed to fewer accidentals.

References

  1. https://www.musictheoryacademy.com/understanding-music/enharmonic-equivalents/
  2. https://www.hoffmanacademy.com/blog/g-sharp-minor-scale-piano
  3. https://muted.io/g-sharp-minor-scale/
  4. https://appliedguitartheory.com/scale/g-sharp-minor-scale/
  5. https://www.youtube.com/watch?v=46wyCY-MVtw
  6. https://musictheory.pugetsound.edu/mt21c/MajorKeySignatures.html
  7. https://www.musictheory.net/lessons/25
  8. https://mymusictheory.com/more-music-theory-topics/key-signatures-chart/
  9. https://www.earmaster.com/music-theory-online/ch04/chapter-4-7.html
  10. https://www.hooktheory.com/cheat-sheet/key/b/major
  11. https://www.dacapoalcoda.com/b-major-key-signature
  12. https://music.stackexchange.com/questions/50562/why-are-accidentals-not-just-indicated-next-to-the-note-in-sheet-music-to-make-s
  13. https://forum.pianoworld.com/ubbthreads.php/topics/3084120/trouble-remembering-the-key-signature-while-sight-reading.html
  14. https://www.mymusictheory.com/scales-and-keys/scales-and-keys-with-5-sharps-flats/
  15. https://musictheory.pugetsound.edu/mt21c/MinorKeySignatures.html
  16. http://eweb.furman.edu/~dkoppelman/fu/Theory/112/112A/part-writing.pdf
  17. https://viva.pressbooks.pub/openmusictheory/chapter/minor-scales/
  18. https://www.learnjazzstandards.com/blog/parallel-minor-and-relative-minor/
  19. https://piano-music-theory.com/2016/06/01/g-sharp-minor-and-a-flat-minor-scales/
  20. https://myweb.fsu.edu/nrogers/Handouts/Enharmonicism_Handout.pdf
  21. https://www.jstor.org/stable/40244377
  22. https://scholarworks.umass.edu/bitstreams/598c349d-c43c-47a9-aad9-04ad0b4a7ba6/download
  23. https://ledgernote.com/blog/interesting/musical-key-characteristics-emotions/
  24. https://www.quora.com/Why-do-most-composers-prefer-G-sharp-minor-rather-than-A-flat-minor
  25. https://pulse.berklee.edu/scales/g-sharp-harmonic-minor-scale.html
  26. https://music.stackexchange.com/questions/87/purpose-of-double-sharps-and-double-flats
  27. https://www.auralwiz.com/g-sharp-melodic-minor-scale.html
  28. https://www.berklee.edu/berklee-today/fall-2004/writing-for-harp
  29. https://music.stackexchange.com/questions/17046/why-is-music-for-strings-more-likely-to-be-in-keys-with-sharps
  30. https://pulse.berklee.edu/scales/g-sharp-minor-scale.html
  31. https://www.teoria.com/en/reference/s/7th-minor.php
  32. https://www.studybass.com/lessons/harmony/v-chords-in-minor-keys/
  33. https://www.jeffreypepperrodgers.com/blog/songwriting-lesson-chord-progressions-in-minor-keys
  34. https://www.hooktheory.com/theorytab/common-chord-progressions
  35. https://musictheory.pugetsound.edu/mt21c/cadences.html
  36. https://musictheory.pugetsound.edu/mt21c/ModulationsWithDiatonicPivotChords.html
  37. https://www.artofcomposing.com/the-art-of-modulation-part-2-common-chord-modulation
  38. https://www.beyondmusictheory.org/types-of-modulation
  39. https://milnepublishing.geneseo.edu/fundamentals-function-form/chapter/22-phrases-cadences-and-harmonic-function/
  40. https://imslp.org/wiki/Prelude_and_Fugue_in_G-sharp_minor%2C_BWV_887_%28Bach%2C_Johann_Sebastian%29
  41. https://imslp.org/wiki/Preludes%2C_Op.28_%28Chopin%2C_Fr%25C3%25A9d%25C3%25A9ric%29
  42. https://imslp.org/wiki/Polonaise_in_G-sharp_minor%2C_B.6_%28Chopin%2C_Fr%25C3%25A9d%25C3%25A9ric%29
  43. https://imslp.org/wiki/Piano_Sonata_No.2%2C_Op.19_%28Scriabin%2C_Aleksandr%29
  44. https://imslp.org/wiki/Polish_Fantasy%2C_Op.19_%28Paderewski%2C_Ignacy_Jan%29
  45. https://imslp.org/wiki/13_Preludes%2C_Op.32_%28Rachmaninoff%2C_Sergei%29
  46. https://www.hooktheory.com/theorytab/view/lady-gaga/poker-face
  47. https://www.musicnotes.com/sheetmusic/pitbull-feat-kesha/timber/MN0126812
  48. https://www.musicnotes.com/sheetmusic/red-hot-chili-peppers/snow-hey-oh/MN0159863
  49. https://www.musicnotes.com/sheetmusic/ellie-goulding/lights/MN0100834
  50. https://www.hooktheory.com/cheat-sheet/key/G-sharp/Minor
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