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F-sharp minor is sometimes used as the parallel minor of G-flat major, especially since G-flat major's real parallel minor, G-flat minor, would have nine flats including two double-flats. For example, in the middle section of his seventh Humoresque in G-flat major , Antonín Dvořák switches from G-flat major to F-sharp minor for the middle ...
F Sharp notes. F ♯ (F-sharp; also known as fa dièse or fi) is the seventh semitone of the solfège. It lies a chromatic semitone above F and a diatonic semitone below G, thus being enharmonic to sol bémol or G ♭ (G-flat) in 12 equal temperament. However, in other temperaments, such as quarter-comma meantone, it is not the same as G ♭.
In music, the mystic chord or Prometheus chord is a six-note synthetic chord and its associated scale, or pitch collection; which loosely serves as the harmonic and melodic basis for some of the later pieces by Russian composer Alexander Scriabin. Scriabin, however, did not use the chord directly but rather derived material from its transpositions.
The seventh scale degree is very often raised a half step to form a leading tone, making the dominant chord (V) a major chord (i.e. V major instead of v minor) and the subtonic chord (vii), a diminished chord (vii o, instead of ♭ VII). This version of minor scale is called the harmonic minor scale.
the ascending melodic minor scale or jazz minor scale (also known as the Ionian ♭ 3 or Dorian ♮ 7): this form of the scale is also the 5th mode of the acoustic scale. the descending melodic minor scale: this form is identical to the natural minor scale . The ascending and descending forms of the A melodic minor scale are shown below:
Although E-sharp minor is usually notated as F minor, it could be used on a local level, such as bars 17 to 22 in Johann Sebastian Bach's The Well-Tempered Clavier, Book 1, Prelude and Fugue No. 3 in C-sharp major. (E-sharp minor is the mediant minor key of C-sharp major.) The scale-degree chords of E-sharp minor are: Tonic – E-sharp minor
This scale's ♯ 4th and 6th notes have minor or major (dominant) chord, while the root only has a major (dominant) chord (distinction from the half-whole diminished scale that the root, ♭ 3rd, ♯ 4th, and 6th notes have full diminished, half diminished, minor, and dominant chords built from that scale). The 5th mode, Jazz minor flat 5, also ...
The augmented scale, also known in jazz theory as the symmetrical augmented scale, [3] is so called because it can be thought of as an interlocking combination of two augmented triads an augmented second or minor third apart: C E G ♯ and E ♭ G B. It may also be called the "minor-third half-step scale", owing to the series of intervals ...
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