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B minor is a minor scale based on B, ... The scale degree chords of B minor are: ... Violin Concerto No. 2 in B Minor, Op. 32; Alban Berg. Piano sonata, ...
One simple chord substitute for IV is the "ii" chord, a minor chord built on the second scale degree. In the key of C major, the "ii" chord is "D minor", which is the notes "D, F, and A". As there are two shared notes between the IV and "ii" chords, a melody that works well over IV is likely to be supported by the "ii" chord.
In jazz music, on the other hand, such chords are extremely common, and in this setting the mystic chord can be viewed simply as a C 13 ♯ 11 chord with the fifth omitted. In the score to the right is an example of a Duke Ellington composition that uses a different voicing of this chord at the end of the second bar, played on E (E 13 ♯ 11).
Sheila Romeo explains that "[i]n theory, any chord from any mode of the scale of the piece is a potential modal interchange or borrowed chord. Some are used more frequently than others, while some almost never occur." [1] In the minor mode, a common borrowed chord from the parallel major key is the Picardy third.
List of musical scales and modes Name Image Sound Degrees Intervals Integer notation # of pitch classes Lower tetrachord Upper tetrachord Use of key signature usual or unusual ; 15 equal temperament
In contrast, in the chord-scale system, a different scale is used for each chord in the progression (for example mixolydian scales on A, E, and D for chords A 7, E 7, and D 7, respectively). [5] Improvisation approaches may be mixed, such as using "the blues approach" for a section of a progression and using the chord-scale system for the rest. [6]
The Neapolitan sixth chord is an idiom specific to classical music. Other music traditions often feature ♭ II harmonies (ex. C major chord in the keys of B major or B minor), but usually in root position. These are sometimes referred to as "Neapolitan" chords, but these rarely follow the classical voice-leading and chord functions described ...
A minor seventh would be added to the dominant "V" chord to increase tension before resolution (V 7 –i). [2] The roots of the chords belong to a modern phrygian tetrachord (the equivalent of a Greek Dorian tetrachord, [10] the latter mentioned above), that is to be found as the upper tetrachord of a natural minor scale (for A minor, they are: A G F E).
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