Music and Time Annotation << Back Extended Functional Key of the Major-Minor Scale in the Songs of F. Liszt M.L. Novikova Franz Liszt’s vocal work covers various genres. The songs of the composer are of the greatest value. They became a transitional stage in the development of the late romantic key, going from the extended major-minor key to the chromatic key of the 20th century. The widening of tonality in Liszt’s songs is indicated by an intense internal complication of functionality. This leads to an increase in finely differentiated harmonic relationships within each vocal miniature. The task of this work is based on tracing the system of functional connections, their richness and reorganization of the tonal system. Of particular importance is polyfunctionality, considered not as a simple sum of sound elements, but as a sound system that belongs to different functions and gives consonance a new quality. In Liszt’s songs, the expanded functional tonality of the major-minor scale is multifaceted. This type is associated with the use of traditional chord structures (triads and seventh chords of the main degrees), normative functional turns, as well as chords and turns characteristic of the major-minor system. The logic of the modulation movement is determined by using the tonal ratios inherent in the specified structure. The use of the extended tonality of the major-minor scale is associated with the colorfulness of the poetic texts used by Liszt and the desire to embody the whole range of shades, feelings and moods in the harmonic structures carefully chosen by the composer. Keywords: Franz Liszt, late romantic harmony, extended functional tonality, major-minor, harmonic system functions. Pp. 10-17.