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Hot Sauce Committee Part Two is the eighth and final studio album by the American hip hop group Beastie Boys, released on May 3, 2011, through Capitol Records.The project was originally planned to be released in two parts, with Hot Sauce Committee, Pt. 1 originally planned for release in 2009.
r = root of the chord (while the root is widely used in classical music, pop music and rock music chord voicings, in jazz, the root is often omitted by the chord-playing performer(s)) ♭ 2 = minor second = 1 semitone (half step) above the root; 2 = major second = 2 semitones above root ♯ 2 = augmented second = 3 semitones above the root
Chords that may be derived from the B Hungarian minor scale are Bm(maj7), C ♯ 7 ♭ 5, Dmaj7 ♯ 5, E ♯ 6sus2 ♭ 5, F ♯ maj7, Gmaj7, G7, A ♯ m6 and more. This scale is obtainable from the double harmonic scale by starting from the fourth degree of that scale, so the C Hungarian minor scale is equivalent to the G double harmonic scale.
A contrafact is a musical composition built using the chord progression of a pre-existing song, but with a new melody and arrangement.Typically the original tune's progression and song form will be reused but occasionally just a section will be reused in the new composition.
A common voicing is the 1–5 perfect fifth (A), to which the octave can be added, 1-5-1 (B). A perfect fourth 5-1 (C) is also a power chord, as it implies the "missing" lower 1 pitch. Either or both of the pitches may be doubled an octave above or below (D is 5-1-5-1), which leads to another common variation, 5-1-5 (not shown).
Though power chords are not true chords per se, as the term "chord" is generally defined as three or more different pitch classes sounded simultaneously, and a power chord contains only two (the root, the fifth, and often a doubling of the root at the octave), power chords are still expressed using a version of chord notation.
The conventional tuning has an interval of 2 octaves between lowest and highest string. All-fifths tuning is a tuning in intervals of perfect fifths like that of a mandolin or a violin. It has a wide range. It was used by jazz guitarist Carl Kress in the form B ♭ '-F-c-g-d'-a'. [2]
The I–V–vi–IV progression is a common chord progression popular across several music genres. It uses the I, V, vi, and IV chords of the diatonic scale. For example, in the key of C major, this progression would be C–G–Am–F. [1] Rotations include: I–V–vi–IV: C–G–Am–F; V–vi–IV–I: G–Am–F–C