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| Relative key | F♯ minor | |
|---|---|---|
| Parallel key | A minor | |
| Component pitches | ||
| A, B, C♯, D, E, F♯, G♯, A | ||
A major (or the key of A) 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. The key of A-major is the only key where a Neapolitan sixth chord on
requires both a flat and a natural accidental.
Although not as rare in the symphonic literature as sharper keys, examples of symphonies in A major are not as numerous as for 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, and generally Mozart was more likely to use clarinets in A major than in any other key besides E-flat major.[1]
In chamber music, A major occurs more often. Both Brahms and Franck wrote violin sonatas in A major.
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."
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.
See also: List of symphonies in A major
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| lower case letters are minor the table indicates the number of sharps or flats in each scale |
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