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The scale degree chords of B-flat major are: Tonic – B-flat major; Supertonic – C minor; Mediant – D minor; Subdominant – E-flat major; Dominant – F major; Submediant – G minor; Leading-tone – A diminished
The numbers do not change when transposing the composition into another key. They are relative to the new Tonic. The only required knowledge is the major scale for the given key. Unless otherwise noted, all numbers represent major chords, and each chord should be played for one measure. So in the key of C, the Nashville Number System notation:
In the first two bars, it uses a four-note sequence which drops by a third every half-bar. This period ends with a perfect cadence in dominant key of F major. The second period uses a fantasia style and alternates between chords and scale progressions. The coda in bar 20 uses an extended arpeggio in the tonic that confirms the key of B-flat major.
Thus, in the multiplication example above from Hanson, "p@m" or "p/m" ("perfect 5th at major 3rd", e.g.: { C E G B }) also means "perfect fifth, superimposed upon perfect fifth rotated 1/3 of the circumference of the Circle of Halfsteps". A conversion table of intervals to angular measure (taken as negative numbers for clockwise rotation) follows:
The irregular major third breaks the fingering patterns of scales and chords, so that guitarists have to memorize multiple chord shapes for each chord. Scales and chords are simplified by major thirds tuning and all-fourths tuning, which are regular tunings maintaining the same musical interval between consecutive open string notes. [3]
When used with chord symbols, the Roman numerals represent the root of a triad built on the associated scale step. In music theory based on the practices of the common practice period and its derivations the chord numerals are often written in upper case for chords in the major family, and in lower case for chords in the minor family, with the usual "m" or "—" minor chord quality suffix ...
In contrast, in the chord-scale system, a different scale is used for each chord in the progression (for example mixolydian scales on A, E, and D for chords A 7, E 7, and D 7, respectively). [5] Improvisation approaches may be mixed, such as using "the blues approach" for a section of a progression and using the chord-scale system for the rest. [6]
"b–a–c–h is beginning and end of all music" (Max Reger 1912) In music, the BACH motif is the motif, a succession of notes important or characteristic to a piece, B flat, A, C, B natural. In German musical nomenclature, in which the note B natural is named H and the B flat named B, it forms Johann Sebastian Bach's family name.