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That is, a song or other vocal or instrumental piece can be in the key of C major or A minor, but a song or some other piece cannot be in the key of B diminished or F augmented (although songs or other pieces might include these triads within the triad progression, typically in a temporary, passing role). Three of these four kinds of triads are ...
Sebes (Fast Dance) The movements contrast in tempo. The first movement contains a cadenza for clarinet and the last one for violin. The piece features examples of alternate or dual-thirds (C and C ♯ in an A triad): [1] This mixed thirds structure may be thought of as bitonal in that the major and minor third of a triad are used.
Major/minor compositions are musical compositions that begin in a major key and end in a minor key (generally the parallel minor), specifying the keynote (as C major/minor). This is a very unusual form in tonal music, [ 1 ] [ 2 ] although examples became more common in the nineteenth century. [ 3 ]
Minor major seventh chord. A minor major seventh chord, or minor/major seventh chord (also known as the Hitchcock Chord) is a seventh chord composed of a root, minor third, perfect fifth, and major seventh (1, ♭ 3, 5, and 7). It can be viewed as a minor triad with an additional major seventh.
A Picardy third, (/ ˈ p ɪ k ər d i /; French: tierce picarde) also known as a Picardy cadence or Tierce de Picardie, is a major chord of the tonic at the end of a musical section that is either modal or in a minor key. This is achieved by raising the third of the expected minor triad by a semitone to create a major triad, as a form of ...
Thus, C major and E minor triads are close by virtue of requiring only a single semitonal shift to move from one to the other. Motion between proximate harmonies is described by simple transformations. For example, motion between a C major and E minor triad, in either direction, is executed by an "L" transformation.
A minor triad has a minor third (m3) on the bottom, a major third (M3) on top, and a perfect fifth (P5) between the outer notes. In harmonic analysis and on lead sheets, a C minor chord can be notated as Cm, C−, Cmin, or simply the lowercase "c". A minor triad is represented by the integer notation {0, 3, 7}.
A dominant seventh chord always consist of a major triad with an added minor seventh above the root. To achieve this in minor keys, the seventh scale degree must be raised to create a major triad on the dominant. [15] David Cope [16] considers key, consonance and dissonance (relaxation and tension, respectively), and hierarchical relationships ...