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Though Mozart touched on various minor keys in his symphonies, G minor is the only minor key he used as a main key for his numbered symphonies (No. 25, and the famous No. 40). In the Classical period, symphonies in G minor almost always used four horns, two in G and two in B ♭ alto. [2]
The jazz minor scale or ascending melodic minor scale is a derivative of the melodic minor scale, except only the ascending form of the scale is used. As the name implies, it is primarily used in jazz [ citation needed ] , although it may be found in other types of music as well.
List of musical scales and modes Name Image Sound Degrees Intervals Integer notation # of pitch classes Lower tetrachord Upper tetrachord Use of key signature usual or unusual ; 15 equal temperament
Minor chords are noted with a dash after the number or a lowercase m; in the key of D, 1 is D major, and 4- or 4m would be G minor. Often in the NNS, songs in minor keys will be written in the 6- of the relative major key. So if the song was in G minor, the key would be listed as B ♭ major, and G minor chords would appear as 6-.
Notably, all altered tones mentioned above, along with the 3 and ♭ 7, are present in the melodic minor scale whose root is a half-step above the root of the alt chord (i.e., E ♭ melodic minor for D 7alt). In other words, the altered scale is the seventh mode of the jazz minor scale. This scale is commonly used to improvise over an altered ...
These chords are all borrowed from the key of E minor. Similarly, in minor keys, chords from the parallel major may also be "borrowed". For example, in E minor, the diatonic chord built on the fourth scale degree is IVm, or A minor. However, in practice, many songs in E minor will use IV (A major), which is borrowed from the key of E major.
Added tone chord; Altered chord; Approach chord; Chord names and symbols (popular music) Chromatic mediant; Common chord (music) Diatonic function; Eleventh chord
The progression is also used entirely with minor chords[i-v-vii-iv (g#, d#, f#, c#)] in the middle section of Chopin's etude op. 10 no. 12. However, using the same chord type (major or minor) on all four chords causes it to feel more like a sequence of descending fourths than a bona fide chord progression.