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Aiolos ajándéka (Gift of Aiolos) for violin, viola da gamba (tuned 1/4 tone lower), harpsichord (upper manual tuned 1/4 tone lower) Clarence Barlow. Çoǧluotobüsişletmesi for four pianos. [3] "in which four of the 12 pitches of the chromatic scale are tuned a quarter tone flat" [4]...until' version 7 for guitar (1980). [5] Hans Barth
Approach chord; Chord names and symbols (popular music) Chromatic mediant; Common chord (music) Diatonic function; Eleventh chord; Extended chord; Jazz chord; Lead sheet; List of musical intervals; List of pitch intervals; List of musical scales and modes; List of set classes; Ninth chord; Open chord; Passing chord; Primary triad; Quartal chord ...
The following is a list of commonly used chord progressions ... for Jazz Guitar, ... List of musical scales and modes; Cadence (music) ...
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
Elektra chord.png 445 × 223; 5 KB I Found a New Baby 13th chord.png 519 × 170; 6 KB I'd Like to Teach the World to Sing secondary dominant.png 528 × 179; 6 KB
The I–V–vi–IV progression is a common chord progression popular across several music genres. It uses the I, V, vi, and IV chords of the diatonic scale. For example, in the key of C major, this progression would be C–G–Am–F. [1] Rotations include: I–V–vi–IV: C–G–Am–F; V–vi–IV–I: G–Am–F–C
Besides the dominant seventh chords discussed above, other seventh chords—especially minor seventh chords and major seventh chords—are used in guitar music. Minor seventh chords have the following fingerings in standard tuning: Dm7: [XX0211] Em7: [020000] Am7: [X02010] Bm7: [X20202] F ♯ m7: [202220] or ([XX2222] Also an A/F ♯ Chord)
The vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass ...
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