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B minor is a minor scale based on B, consisting of the pitches B, C ... Its relative major is D major and its parallel major is B major. The B natural minor scale is:
The A melodic minor scale, ascending and descending, on A. ... major: minor: Usual Neapolitan major scale: Neapolitan major scale on C. Play ...
In major keys, the chords iii and vi are often substituted for the I chord, to add interest. In the key of C major, the I major 7 chord is "C, E, G, B," the iii chord ("III–7" [11]) is E minor 7 ("E, G, B, D") and the vi minor 7 chord is A minor 7 ("A, C, E, G"). Both of the tonic substitute chords use notes from the tonic chord, which means ...
An A-minor scale has the same pitches as the C major scale, because the C major and A minor keys are relative major and minor keys. A minor chord has the root and the fifth of the corresponding major chord, but its first interval is a minor third rather than a major third:
In the minor mode, a common borrowed chord from the parallel major key is the Picardy third. In the major mode, the most common examples of borrowed chords are those involving the ♭, also known as the lowered sixth scale degree. These chords are shown below, in the key of C major. [8]
In jazz, the altered scale, altered dominant scale, or super-Locrian scale (Locrian ♭ 4 scale) is a seven-note scale that is a dominant scale where all non-essential tones have been altered. This means that it comprises the three irreducibly essential tones that define a dominant seventh chord , which are root, major third, and minor seventh ...
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For example, "A C major scale with an added D ♯ note, for instance, is a chromatically altered scale" while, "one bar of C maj7 moving to F maj7 in the next bar can be chromatically altered by adding the ii and V of F maj7 on the second two beats of bar" one. Techniques include the ii–V–I turnaround, as well as movement by half-step or ...