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Mozart's only composition in this key is the second movement to his Piano Concerto No. 23 in A major. [ 3 ] 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.
Famous pieces in the key of F minor include Beethoven's Appassionata Sonata, Chopin's Piano Concerto No. 2, Ballade No. 4, Haydn's Symphony No. 49, La Passione and Tchaikovsky’s Symphony No. 4. Glenn Gould once said if he could be any key, he would be F minor, because "it's rather dour, halfway between complex and stable, between upright and ...
A chord chart. Play ⓘ. A chord chart (or chart) is a form of musical notation that describes the basic harmonic and rhythmic information for a song or tune. It is the most common form of notation used by professional session musicians playing jazz or popular music.
The progression is also used entirely with minor chords[i-v-vii-iv (g#, d#, f#, c#)] in the middle section of Chopin's etude op. 10 no. 12. However, using the same chord type (major or minor) on all four chords causes it to feel more like a sequence of descending fourths than a bona fide chord progression.
A unique particularity of the minor chord is that this is the only chord of three notes in which the three notes have one harmonic – hearable and with a not too high row – in common (more or less exactly, depending on the tuning system used). This harmonic, common to the three notes, is situated 2 octaves above the high note of the chord.
[3] For example, the first movement of Mozart's Piano Sonata No. 7, K. 309, modulates only to closely related keys (the dominant, supertonic, and submediant). [4] Given a major key tonic (I), the related keys are: ii (supertonic, [5] the relative minor of the subdominant) iii (mediant, [5] the relative minor of the dominant)
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.
In a minor key, where the dominant may be a minor chord, the dominant parallel will be the major chord a minor third above the (minor) dominant. Dr. Riemann...sets himself to demonstrate that every chord within the key-system has, and must have, either a Tonic, Dominant or Subdominant function or significance.
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