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A nonchord tone (NCT), nonharmonic tone, or embellishing tone is a note in a piece of music or song that is not part of the implied or expressed chord set out by the harmonic framework. In contrast, a chord tone is a note that is a part of the functional chord.
The harmonic minor scale (or Aeolian ♮7 scale) is a musical scale derived from the natural minor scale, with the minor seventh degree raised by one semitone to a major seventh, [2] [3] [4] creating an augmented second between the sixth and seventh degrees.
In music, a common tone is a pitch class that is a member of, or common to (shared by) two or more chords or sets. Typically, it refers to a note shared between two chords in a chord progression. According to H.E. Woodruff: Any tone contained in two successive chords is a common tone.
by the English name for their function: tonic, supertonic, mediant, subdominant, dominant, submediant, subtonic or leading note (leading tone in the United States), and tonic again. These names are derived from a scheme where the tonic note is the 'centre'.
The rest of the combination tones are octaves of 100 Hz so the 7:5 interval actually contains four notes: 100 Hz (and its octaves), 300 Hz, 500 Hz and 700 Hz. The lowest combination tone (100 Hz) is a seventeenth (two octaves and a major third) below the lower (actual sounding) note of the tritone.
In music, a minor seventh chord is a seventh chord composed of a root note, a minor third, a perfect fifth, and a minor seventh (1, ♭ 3, 5, ♭ 7). In other words, one could think of it as a minor triad with a minor seventh attached to it. [2] For example, the minor seventh chord built on A, commonly written as A− 7, has pitches A-C-E-G:
A common tone is a pitch class that is a member of, or common to, a musical scale and a transposition of that scale, as in modulation. [1] Six of seven possible common tones are shared by closely related keys , though keys may also be thought of as more or less closely related according to their number of common tones.
7 th: harmonic seventh, septimal minor seventh (‘the lost chord’) 2 · P 8 + m 7 ↓: 4 200 Hz: 968.8 ¢ Play ⓘ 8 th: third perfect octave: 3 · P 8 4 800 Hz: 0.0 ¢ Play ⓘ 9 th: Pythagorean major second harmonic ninth 3 · P 8 + M 2 5 400 Hz: 203.9 ¢ Play ⓘ 10 th: just major third: 3 · P 8 + M 3 6 000 Hz: 386.3 ¢ Play ⓘ 11 th ...
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