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A Major
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. The A major scale is: 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: 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 The scale degree chords of A major are: * Tonic – A major * Supertonic – B minor * Mediant – C-sharp minor * Subdominant – D major * Dominant – E major * Submediant – F-sharp minor * Leading-tone – G-sharp diminished History Although not as rare in the symphonic literature as sharper keys (those containing more than three sharps), symphonies in A major are less common tha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
F-sharp Minor
F-sharp minor is a minor scale based on F, consisting of the pitches F, G, A, B, C, D, and E. Its key signature has three sharps. Its relative major is A major and its parallel major is F-sharp major (or enharmonically G-flat major). The F-sharp natural minor scale is: Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The F-sharp harmonic minor and melodic minor scales are: Scale degree chords The scale degree chords of F-sharp minor are: * Tonic – F-sharp minor * Supertonic – G-sharp diminished * Mediant – A major * Subdominant – B minor * Dominant – C-sharp minor * Submediant – D major * Subtonic – E major Music in F-sharp minor Very few symphonies are written in this key, Haydn's " Farewell Symphony" being one famous example. George Frederick Bristow and Dora Pejačević wrote symphonies in this key. The few concertos written in this key are usually written for the composer ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melodic Minor Scale
A melody (), also tune, voice, or line, is a linear succession of musical tones that the listener perceives as a single entity. In its most literal sense, a melody is a combination of pitch and rhythm, while more figuratively, the term can include other musical elements such as tonal color. It is the foreground to the background accompaniment. A line or part need not be a foreground melody. Melodies often consist of one or more musical phrases or motifs, and are usually repeated throughout a composition in various forms. Melodies may also be described by their melodic motion or the pitches or the intervals between pitches (predominantly conjunct or disjunct or with further restrictions), pitch range, tension and release, continuity and coherence, cadence, and shape. Function and elements Johann Philipp Kirnberger argued: The Norwegian composer Marcus Paus has argued: Given the many and varied elements and styles of melody "many extant explanations f melod ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diminished Triad
In music theory, a diminished triad is a triad (music), triad consisting of two minor thirds above the root (chord), root. It is a Minor chord, minor triad with a lowered (flat (music), flattened) Fifth (chord), fifth. When using Chord names and symbols (popular music), chord symbols, it may be indicated by the symbols "dim", "", "m5", or "MI(5)". However, in most popular-music chord books, the symbol "dim" or "" represents a diminished seventh chord (a four-tone chord), which in some modern jazz books and music theory books is represented by the "dim7" or "7" symbols. For example, the diminished triad built on B, written as B, has pitches B-D-F: : The chord can be represented by the Pitch class#Integer notation, integer notation . In the common practice period, the diminished triad is considered Consonance and dissonance, dissonant because of the Tritone, diminished fifth (or tritone). Harmonic function In Major scale, major scales, a diminished triad occurs only on the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Leading-tone
In music theory, a leading tone (also called subsemitone or leading note in the UK) is a note or pitch which resolves or "leads" to a note one semitone higher or lower, being a lower and upper leading tone, respectively. Typically, leading tone refers to the seventh scale degree of a major scale (), a major seventh above the tonic. In the movable do solfège system, the leading tone is sung as ''si''. A leading-tone triad is a triad built on the seventh scale degree in a major key (vii in Roman numeral analysis), while a leading-tone seventh chord is a seventh chord built on the seventh scale degree (vii7). Walter Piston considers and notates vii as V, an incomplete dominant seventh chord. (For the Roman numeral notation of these chords, see Roman numeral analysis.) Note Seventh scale degree (or lower leading tone) Typically, when people speak of ''the'' leading tone, they mean the seventh scale degree () of the major scale, which has a strong affinity for and leads ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Submediant
In music, the submediant is the sixth degree () of a diatonic scale. The submediant ("lower mediant") is named thus because it is halfway between the tonic and the subdominant ("lower dominant") or because its position below the tonic is symmetrical to that of the mediant above. (See the figure in the Degree (music) article.) In the movable do solfège system, the submediant is sung as ''la'' in a major mode, ''le'' or ''lo'' in do-based minor and ''fa'' in la-based minor. It is occasionally called superdominant, as the degree above the dominant. This is its normal name (''sus-dominante'') in French. In Roman numeral analysis, the triad formed on the submediant is typically symbolized by "VI" if it is a major triad (the default in a minor mode) and by "vi" if it is a minor triad (the default in a major mode). The term ''submediant'' may also refer to a relationship of musical keys. For example, relative to the key of C major, the key of A minor is the submediant. In ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dominant (music)
In music Music is the arrangement of sound to create some combination of Musical form, form, harmony, melody, rhythm, or otherwise Musical expression, expressive content. Music is generally agreed to be a cultural universal that is present in all hum ..., the dominant is the fifth degree (music), scale degree () of the diatonic scale. It is called the ''dominant'' because it is second in importance to the first scale degree, the tonic (music), tonic. In the Solfège#Movable do solf%C3%A8ge, movable do solfège system, the dominant note is sung as "So(l)". The Triad (music), triad built on the dominant note is called the dominant chord. This chord is said to have dominant Function (music), function, which means that it creates an instability that requires the tonic (music), tonic for resolution (music), resolution. Dominant triads, Seventh chord, seventh chords, and Ninth chord, ninth chords typically have dominant function. Leading-tone triad, Leading-tone triads and Leadin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Subdominant
In music, the subdominant is the fourth tonal degree () of the diatonic scale. It is so called because it is the same distance ''below'' the tonic as the dominant is ''above'' the tonicin other words, the tonic is the dominant of the subdominant. It also happens to be the note one step below the dominant. In the movable do solfège system, the subdominant note is sung as ''fa''. The triad built on the subdominant note is called the subdominant chord. In Roman numeral analysis In music theory, Roman numeral analysis is a type of Harmony, harmonic analysis in which chord (music), chords are represented by Roman numerals, which encode the chord's Degree (music), degree and Function_(music), harmonic function within a given ..., the subdominant chord is typically symbolized by the Roman numeral "IV" in a major key, indicating that the chord is a major triad. In a minor key, it is symbolized by "iv", indicating that the chord is a minor triad. These chords may also appear ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
C-sharp Minor
C-sharp minor is a minor scale based on C, with the pitches C, D, E, F, G, A, and B. Its key signature consists of four sharps. The C-sharp natural minor scale is: Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The C-sharp harmonic minor and melodic minor scales are: Its relative major is E major. Its parallel major, C-sharp major, is usually written instead as the enharmonic key of D-flat major, since C-sharp major’s key signature with seven sharps is not normally used. Its enharmonic equivalent, D-flat minor, having eight flats including the B, has a similar problem. Therefore, C-sharp minor is often used as the parallel minor for D-flat major. (The same enharmonic situation occurs with the keys of A-flat major and G-sharp minor, and in some cases, with the keys of G-flat major and F-sharp minor.) Scale degree chords The scale degree chords of C-sharp minor are: * Tonic – C-sharp min ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mediant
In music, the mediant (''Latin'': "being in the middle") is the third scale degree () of a diatonic scale, being the note halfway between the tonic and the dominant.Benward & Saker (2003), p.32. In the movable do solfège system, the mediant note is sung as ''mi''. While the fifth scale degree is almost always a perfect fifth, the mediant can be a major or minor third. Schenkerian analysts consider the ''mediant'' (third scale degree) as an expansion or extension of the tonic since they are both common tones of the tonic chord. Thus, the third degree of a tonic triad is also the mediant iii note; furthermore, the 5th degree of the submediant chord vi is also the mediant iii note. On the other hand, in German theory derived from Hugo Riemann the mediant in major is considered the dominant parallel, Dp, and in minor the tonic parallel, tP. In Roman numeral analysis, the mediant chord can take several forms. In major scales, the mediant chord is a minor triad and is symboli ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
B Minor
B minor is a minor scale based on B, consisting of the pitches B, C, D, E, F, G, and A. Its key signature has two sharps. Its relative major is D major and its parallel major is B major. The B natural minor scale is: Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The B harmonic minor and melodic minor scales are: Christian Friedrich Daniel Schubart (1739–1791) regarded B minor as a key expressing a quiet acceptance of fate and very gentle complaint, something commentators find to be in line with Bach's use of the key in his '' St John Passion''. By the end of the Baroque era, however, conventional academic views of B minor had shifted: Composer-theorist Francesco Galeazzi (1758–1819) opined that B minor was not suitable for music in good taste. Beethoven labelled a B-minor melodic idea in one of his sketchbooks as a "black key". Scale degree chords The scale degree chords of B minor are: * ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Supertonic
In music, the supertonic is the second degree () of a diatonic scale, one whole step above the tonic. In the movable do solfège system, the supertonic note is sung as ''re''. The triad built on the supertonic note is called the supertonic chord. In Roman numeral analysis, the supertonic chord is typically symbolized by the Roman numeral "ii" in a major key, indicating that the chord is a minor chord (in C: D–F–A). In a minor key, it is indicated by "ii," indicating that the chord is a diminished chord (in C: D–F–A). Because it is a diminished chord, it usually appears in first inversion (iio6) so that no note dissonates with the bass note. These chords may also appear as seventh chords: in major, as ii7 (in C: D–F–A–C), while in minor as ii7 (in C: D–F–A–C) or rarely ii7. They are the second-most common form of nondominant seventh chords. The supertonic chord normally functions as a predominant chord, a chord that resolves to a chord wit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tonic (music)
In music, the tonic is the first scale degree () of the diatonic scale (the first note of a scale) and the tonal center or final resolution tone that is commonly used in the final cadence in tonal (musical key-based) classical music, popular music, and traditional music. In the movable do solfège system, the tonic note is sung as ''do''. More generally, the tonic is the note upon which all other notes of a piece are hierarchically referenced. Scales are named after their tonics: for instance, the tonic of the C major scale is the note C. The triad formed on the tonic note, the tonic chord, is thus the most significant chord in these styles of music. In Roman numeral analysis, the tonic chord is typically symbolized by the Roman numeral "" if it is major and by "" if it is minor. These chords may also appear as seventh chords: in major, as M7, or in minor as 7 or rarely M7: The tonic is distinguished from the root, which is the reference note of a chord, rathe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
