A-sharp minor

{{Short description|Minor scale based on A-sharp}}

{{See also|B-flat minor}}

{{Infobox musical scale

| name=A-sharp minor{ \magnifyStaff #3/2 \omit Score.TimeSignature \key ais \minor s16 \clef F \key ais \minor s^"" }

| relative=C-sharp major

| parallel=A-sharp major (theoretical)
→enharmonic: B-flat major

| enharmonic=B-flat minor

| dominant=E-sharp minor (theoretical)
→enharmonic: F minor

| subdominant=D-sharp minor

| first_pitch=A{{music|sharp}}

| second_pitch=B{{music|sharp}}

| third_pitch=C{{music|sharp}}

| fourth_pitch=D{{music|sharp}}

| fifth_pitch=E{{music|sharp}}

| sixth_pitch=F{{music|sharp}}

| seventh_pitch=G{{music|sharp}}

}}

A-sharp minor is a minor musical scale based on A♯ (musical note), consisting of the pitches A{{music|sharp}}, B♯ (musical note), C♯ (musical note), D♯ (musical note), E♯ (musical note), F♯ (musical note), and G♯ (musical note). Its key signature has seven sharps.{{Cite book |last=Pilhofer |first=Michael |title=Music Theory For Dummies |last2=Day |first2=Holly |date=February 25, 2011 |publisher=Wiley |isbn=9781118054444 |pages=144}}

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, which only contains five flats and is often preferable to use.

The A-sharp natural minor scale is:

{{block indent|

\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:

{{block indent|

\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 { } }

}}

{{block indent|

\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.{{cite book |author=Max Reger |title=Supplement to the Theory of Modulation |publisher=C. F. Kahnt Nachfolger |year=1904 |location=Leipzig |pages=[https://archive.org/details/supplementtotheo00rege/page/46/mode/2up 46–50] |translator=John Bernhoff}} 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.