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Compositions using the octatonic scale: Radiohead "Just" (1995). Jonny Greenwood plays a series of OCT02 scales on the guitar during the intro (0:06-0:16) and each chorus (0:55-1:05, 1:44-1:55, 2:47-3:09) [1] Béla Bartók; Harvest Song (Ara táskor) Violin Duo # 33. Frederic Chopin; Ballade No. 1 in G Minor, Op. 23 : (bars 130-132)
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
Many simple traditional music, folk music and rock and roll songs use only these three chord types (e.g. The Troggs' "Wild Thing", which uses I, IV and V chords). The same major scale also has three minor chords, the supertonic chord (ii), mediant chord (iii), and submediant chord (vi), respectively.
Guitar and bass tab is used in pop, rock, folk, and country music lead sheets, fake books, and songbooks, and it also appears in instructional books and websites. Tab may be given as the only notation (as with chord tab in songbooks that only include lyrics and chords), or, as with guitar solo transcriptions, tab and standard notation may be ...
A common type of three-chord song is the simple twelve-bar blues used in blues and rock and roll. Typically, the three chords used are the chords on the tonic, subdominant, and dominant (scale degrees I, IV and V): in the key of C, these would be the C, F and G chords. Sometimes the V 7 chord is used instead of V, for greater tension.
A minor seventh would be added to the dominant "V" chord to increase tension before resolution (V 7 –i). [2] The roots of the chords belong to a modern phrygian tetrachord (the equivalent of a Greek Dorian tetrachord, [10] the latter mentioned above), that is to be found as the upper tetrachord of a natural minor scale (for A minor, they are: A G F E).
Alternative variants are easy from this tuning, but because several chords inherently omit the lowest string, it may leave some chords relatively thin or incomplete with the top string missing (the D chord, for instance, must be fretted 5-4-3-2-3 to include F♯, the tone a major third above D). Baroque guitar standard tuning – a–D–g–b–e
In jazz music, on the other hand, such chords are extremely common, and in this setting the mystic chord can be viewed simply as a C 13 ♯ 11 chord with the fifth omitted. In the score to the right is an example of a Duke Ellington composition that uses a different voicing of this chord at the end of the second bar, played on E (E 13 ♯ 11).
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