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A candidate key is a minimal superkey, [1] i.e., a superkey that doesn't contain a smaller one. Therefore, a relation can have multiple candidate keys, each with a different number of attributes. [2] Specific candidate keys are sometimes called primary keys, secondary keys or alternate keys.
A secondary chord is an analytical label for a specific harmonic device that is prevalent in the tonal idiom of Western music beginning in the common practice period: the use of diatonic functions for tonicization. Secondary chords are a type of altered or borrowed chord, chords that are not part of the music piece's key.
V of V in C, four-part harmony Secondary leading-tone chord: vii o 7 /V - V in C major. This may also be considered an altered IV 7 (FACE becomes F ♯ ACE ♭). [1]In music, tonicization is the treatment of a pitch other than the overall tonic (the "home note" of a piece) as a temporary tonic in a composition.
The term is most widely used [4] as an analytical convenience to denote a portion of a movement identified as an example of classical tonal sonata form.The exposition typically establishes the music's tonic key, and then modulates to, and ends in, the dominant. [5]
Key coloration is the difference between the intervals of different keys in a single non-equal tempered tuning, and the overall sound and "feel" of the key created by the tuning of its intervals. Historical irregular musical temperaments usually have the narrowest fifths between the diatonic notes ("naturals") producing purer thirds , and wider ...
In database design, a composite key is a candidate key that consists of two or more attributes, [1] [2] [3] (table columns) that together uniquely identify an entity occurrence (table row). A compound key is a composite key for which each attribute that makes up the key is a foreign key in its own right.
A foreign key is a set of attributes in a table that refers to the primary key of another table, linking these two tables. In the context of relational databases, a foreign key is subject to an inclusion dependency constraint that the tuples consisting of the foreign key attributes in one relation, R, must also exist in some other (not necessarily distinct) relation, S; furthermore that those ...
David Cope [8] describes three forms of chromaticism: modulation, borrowed chords from secondary keys, and chromatic chords such as augmented sixth chords. The chromatic expansion of tonality which characterizes much of nineteenth century music is illustrated in miniature by the substitution of a chromatic harmony for an expected diatonic harmony.