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Here, E played C, the front half of the F ♯ key played D, and the (less accessible) rear half played F ♯. The front half of the G ♯ key played E, and the rear half played G ♯. As with the short octave, the key labeled E played the lowest note C. Thus, playing the nominal sequence E F ♯ (front) G ♯ (front) F F ♯ (back) G G ♯ (back) A
Saville was born Philip Saffer on 28 October 1927 at Marylebone, London (in later life he gave his birth year as 1930, a date repeated in all his obituaries), [5] son of Louis Saffer (who later assumed the anglicized form of the family name, "Saville", chosen by his father, Joseph Saffer, a master tailor), a travelling salesman for a clothing company, and Sadie Kathleen (known as "Kay"), née ...
It moves from the original key to the destination key (usually a closely related key) by way of a chord both keys share. For example, G major and D major have 4 chords in common: G, Bm, D, Em. This can be easily determined by a chart similar to the one below, which compares chord qualities. The I chord in G major—a G major chord—is also the ...
A contrafact is a musical composition built using the chord progression of a pre-existing song, but with a new melody and arrangement. Typically the original tune's progression and song form will be reused but occasionally just a section will be reused in the new composition. The term comes from classical music and was first applied to jazz by ...
In fact, apart from Nos. 7 and 8, the first series (Op. 10) is made of couples of études in a major key and its relative minor (the major key either preceding the minor key or following it) with none of the tonalities occurring twice (except for C major, which appears in No. 1 and then in the only couple which is not major-minor, i.e. Nos. 7 ...
"Cirrus Minor" has an unusual chord sequence: E minor, E flat augmented, G major, C♯ minor 7, C major 7, C minor 7 and B 7. The chords are built around the chromatically descending bass line. The B 7, C major 7 and G major chords are the only chords which fit into the functional context of the E minor key.
Though creating or featuring chromaticism, the bass (if the roots of the chords), and often the melody, are pentatonic. [6] (major pentatonic on C: C, D, E, G, A) Contrastingly, Averill argues that the progression was used because of the potential it offered for chromatic pitch areas. [13]
She was a member of the National Youth Orchestra of Great Britain. [14] When she was 17, Abel switched from the violin to the viola following a recommendation from her music teacher. She then joined her music teacher at the Royal Academy of Music on Marylebone Road in London, where she won a scholarship. Before joining Escala, she was a member ...