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In Baroque music, G major was regarded as the "key of benediction". [1] Of Domenico Scarlatti's 555 keyboard sonatas, G major is the home key for 69, or about 12.4%, sonatas. In the music of Johann Sebastian Bach, "G major is often a key of 6 8 chain rhythms", according to Alfred Einstein, [2] although Bach also used the key for some 4
A chord is a line drawn between two points on the circumference of a circle. Look at the centre point of this line. For a circle of radius r, each half will be so the chord will be . The line of chords scale represents each of these values linearly on a scale running from 0 to 60.
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]
In popular music and rock music, "borrowing" of chords from the parallel minor of a major key is commonly done. As such, in these genres, in the key of E major, chords such as D major (or ♭ VII), G major (♭ III) and C major (♭ VI) are commonly used. These chords are all borrowed from the key of E minor.
The blues scale is so named for its use of blue notes. Since blue notes are alternate inflections, strictly speaking there can be no one blues scale, [8] but the scale most commonly called "the blues scale" comprises the minor pentatonic scale and an additional flat 5th scale degree: C E ♭ F G ♭ G B ♭ C. [9] [10] [11]
The bass note may be specified after a /, for example C/G is a C major chord with a G bass. Where a capo is indicated, there is little standardisation. For example, after capo 3 , most music sheets will write A to indicate a C chord, that is, they give the chord shape rather than its pitch, but some specify it as C, others give two lines ...
Mussorgsky (completed by Stravinsky) – Khovanshchina (E-g ♯) The key scheme in the opera is constructed mostly on a sharp-flat principle; thus the opening, reaching G ♯ major, is the sharpest music in the whole opera, and many portentions or descriptions of disaster in the opera are written in six or seven flats or even beyond.
Cello Concerto No. 3 in G major, G. 480; Cello Concerto No. 4 in C major, G. 481; Cello Concerto No. 5 in E-flat major, G. 474; Cello Concerto No. 6 in A major, G 475; Cello Concerto No. 7 in D major, G. 476; Cello Concerto No. 8 in D major, G. 478; Cello Concerto No. 9 in B-flat major, G. 482; Cello Concerto in B-flat major (arr. F ...