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A major

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A major is a major scale based on A, with the pitches A, B, C♯, D, E, F♯, and G♯. Its key signature has three sharps. Its relative minor is F-sharp minor and its parallel minor is A minor.

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

The A major scale is:

\header { tagline = ##f } scale = \relative a { \key a \major \omit Score.TimeSignature a'^"A natural major scale" b cis d e fis gis a gis fis e d cis b a2 \clef F \key a \major } \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 harmonic major and melodic major scales are:

\header { tagline = ##f } scale = \relative a { \key a \major \omit Score.TimeSignature a'^"A harmonic major scale" b cis d e f gis a gis f! e d cis b a2 \clef F \key a \major } \score { { << \cadenzaOn \scale \context NoteNames \scale >> } \layout { } \midi { } }
\header { tagline = ##f } scale = \relative a { \key a \major \omit Score.TimeSignature a'^"A melodic major scale" b cis d e fis gis a g f e d cis b a2 \clef F \key a \major } \score { { << \cadenzaOn \scale \context NoteNames \scale >> } \layout { } \midi { } }

In the treble, alto, and bass clefs, the G♯ in the key signature is placed higher than C♯. However, in the tenor clef, it would require a ledger line and so G♯ is placed lower than C♯.

Scale degree chords

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History

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Although not as rare in the symphonic literature as sharper keys (those containing more than three sharps), symphonies in A major are less common than in keys with fewer sharps such as D major or G major. Beethoven's Symphony No. 7, Bruckner's Symphony No. 6 and Mendelssohn's Symphony No. 4 comprise a nearly complete list of symphonies in this key in the Romantic era. Mozart's Clarinet Concerto and Clarinet Quintet are both in A major, along with his 23rd Piano Concerto, and generally Mozart was more likely to use clarinets in A major than in any other key besides E-flat major.[1] Moreover, the climax part of Tchaikovsky's Violin Concerto is also in A major.

The key of A occurs frequently in chamber music and other music for strings, which favor sharp keys. Franz Schubert's Trout Quintet and Antonín Dvořák's Piano Quintet No. 2 are both in A major. Johannes Brahms, César Franck, and Gabriel Fauré wrote violin sonatas in A major. In connection to Beethoven's Kreutzer Sonata, Peter Cropper said that A major "is the fullest sounding key for the violin."[2]

According to Christian Friedrich Daniel Schubart, A major is a key suitable for "declarations of innocent love, ... hope of seeing one's beloved again when parting; youthful cheerfulness and trust in God."[3]

For orchestral works in A major, the timpani are typically set to A and E a fifth apart, rather than a fourth apart as for most other keys. Hector Berlioz complained about the custom of his day in which timpani tuned to A and E a fifth apart were notated C and G a fourth apart, a custom which survived as late as the music of Franz Berwald.[4]

Notable compositions in A major

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See also

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References

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  1. ↑ Mark Anson-Cartwright (2000). "Chromatic Features of E♭-Major Works of the Classical Period". Music Theory Spectrum. 22 (2): 178. JSTOR 745959.
  2. ↑ Peter Cropper, "Beethoven's Violin Sonata in A major, Op.47 'Kreutzer': First Movement", The Strad, March 2009, p. 64
  3. ↑ Rita Steblin (1996) A History of Key Characteristics in the Eighteenth and Early Nineteenth Centuries, University of Rochester Press, p. 123, ISBN 0835714187.
  4. ↑ Norman Del Mar (1981). Anatomy of the Orchestra, University of California Press, p. 349, ISBN 0520045009.
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