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In music, chromatic mediants are "altered mediant and submediant chords." [1] A chromatic mediant relationship defined conservatively is a relationship between two sections and/or chords whose roots are related by a major third or minor third, and contain one common tone (thereby sharing the same quality, i.e. major or minor).
The parallel chord (but not the counter parallel chord) of a major chord will always be the minor chord whose root is a minor third down from the major chord's root, inversely the parallel chord of a minor chord will be the major chord whose root is a minor third up from the root of the minor chord. Thus, in a major key, where the dominant is a ...
A major scale can be transformed to its parallel minor by lowering the third, sixth, and seventh scale degrees, and a minor scale can be transformed to its parallel major by raising those same scale degrees. In the early nineteenth century, composers began to experiment with freely borrowing chords from the parallel key.
For example, the relative minor of C major is A minor, and in the key of A minor, the i, iv and v chords are A minor, D minor and E minor. In practice, in a minor key, the third of the dominant chord is often raised by one semitone to form a major chord (or a dominant seventh chord if the seventh is added).
I–V–vi–IV chord progression in C Play ⓘ. vi–IV–I–V chord progression in C Play ⓘ. The I–V–vi–IV progression, also known as the four-chord progression is a common chord progression popular across several genres of music. It uses the I, V, vi, and IV chords of a musical scale.
Scott Joplin's "The Entertainer" is written in C major. Many musicians have pointed out that every musical key conjures up specific feelings. [5] This idea is further explored in a radio program called The Signature Series. American popular songwriter Bob Dylan claimed the key of C major to "be the key of strength, but also the key of regret". [6]
Power chords are also referred to as fifth chords, indeterminate chords, or neutral chords [citation needed] (not to be confused with the quarter tone neutral chord, a stacking of two neutral thirds, e.g. C–E –G) since they are inherently neither major nor minor; generally, a power chord refers to a specific doubled-root, three-note voicing ...
So in the key of C, the Nashville Number System notation: 1 4 1 5 represents a four-bar phrase in which the band would play a C major chord (one bar), an F major chord (one bar), a C major chord (one bar), and a G major chord (one bar). Here is an example of how two four-bar phrases can be formed to create a section of a song.
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