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Minor major seventh chord. A minor major seventh chord, or minor/major seventh chord (also known as the Hitchcock Chord) is a seventh chord composed of a root, minor third, perfect fifth, and major seventh (1, ♭ 3, 5, and 7). It can be viewed as a minor triad with an additional major seventh.
The third defines the chord's quality as major or minor. The extended note defines the quality of the extended pitch, which may be major, minor, perfect, or augmented. The seventh factor helps to define the chord as an extended chord (and not an added note chord), and also adds to the texture. Any notes which happen to be altered, such as a ...
In music, chromatic mediants are "altered mediant and submediant chords." [1] A chromatic mediant relationship defined conservatively is a relationship between two sections and/or chords whose roots are related by a major third or minor third, and contain one common tone (thereby sharing the same quality, i.e. major or minor).
In the first movement, the strings modulate to a minor key, which returns to the major when the trumpets re-enter. In the middle movement of only six measures, the trumpets are silent, [3] with both the style and harmony being unsuitable for the instrument. [4] It is in a languid mood, set with sustained chords from the strings. [2]
The major line cliché moves from the fifth of the chord to the sixth, then back to the fifth. [16] Assuming the starting chord is the tonic, the simplest form of the major line cliché forms a I–I+–vi–I+ progression. The minor line cliché moves down from the root to the major seventh, to the minor seventh, and can continue until the fifth.
Antonio Vivaldi (engraving by François Morellon la Cave, from Michel-Charles Le Cène's edition of Vivaldi's Op. 8) The following is a list of compositions by the Italian Baroque composer Antonio Vivaldi (1678–1741).
The terms quartal and quintal imply a contrast, either compositional or perceptual, with traditional harmonic constructions based on thirds: listeners familiar with music of the common practice period are guided by tonalities constructed with familiar elements: the chords that make up major and minor scales, all in turn built from major and minor thirds.
Lydian chords may function as subdominants or substitutes for the tonic in major keys. [3] The compound interval of the augmented eleventh (enharmonically equivalent to ♯ 4, the characteristic interval of the Lydian mode) is used since the simple fourth usually only appears in suspended chords (which replace the third with a natural fourth, for example C sus4).
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