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In this section, the chords are mainly derived first from the key of E major and the E Mixolydian mode (E major and D major), followed again by the key of E major during the organ solo and vocal section before ending roughly in the key of G major (with a few chords borrowed from E major).
In the Mixolydian mode, the tonic, subdominant, and subtonic triads are all major, the mediant is diminished, and the remaining triads are minor. A classic Mixolydian chord progression is I-♭ VII-IV-V. [8] The Mixolydian mode is common in non-classical harmony, such as folk, jazz, funk, blues, and rock music.
Tonic seventh chord: G 7 (the dominant seventh chord in this mode is the seventh chord built on the tonic degree) Dominant triad : Dm Seventh chord on the dominant : Dm 7 (a minor seventh chord)
In the key of C major, these would be: D minor, E minor, F major, G major, A minor, and C minor. Despite being three sharps or flats away from the original key in the circle of fifths, parallel keys are also considered as closely related keys as the tonal center is the same, and this makes this key have an affinity with the original key.
Elsa Olivieri-Sangiacomo, composer's pupil and later his wife, studied gregorian chant.This made Respighi attracted by the mystic of the gradual.Quickly recognising the potential of melodies of this music, he tried to remodel them into the contemporary style for understanding of wider audience.
The harmonic major scale has its own set of modes, distinct from the harmonic minor, melodic minor, and major modes, depending on which note serves as the tonic.Below are the mode names, their degrees, and the following seventh chords that can be built using each modal tonic or degree of the parent mode as the root: a major seventh chord, a half-diminished seventh chord, a minor seventh chord ...
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
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.