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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
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 ...
Twelve Variations for cello & piano in F major on Mozart's "Ein Mädchen oder Weibchen," Op. 66 (1796) Twelve Variations for cello & piano in G major on Handel's "See, the Conqu'ring Hero comes," WoO 45 (1796) Seven Variations for cello & piano in E flat major on Mozart's "Bei Männern," WoO 46 (1801) Karol Beffa "Marmor" for cello and piano
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]
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.
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.
In major keys, the chords iii and vi are often substituted for the I chord, to add interest. In the key of C major, the I major 7 chord is "C, E, G, B," the iii chord ("III–7" [11]) is E minor 7 ("E, G, B, D") and the vi minor 7 chord is A minor 7 ("A, C, E, G"). Both of the tonic substitute chords use notes from the tonic chord, which means ...
The parallel chord (but not the counter parallel chord) of a major chord will always be the minor chord whose root is a minor third down from the major chord's root, inversely the parallel chord of a minor chord will be the major chord whose root is a minor third up from the root of the minor chord. Thus, in a major key, where the dominant is a ...