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Major/minor compositions are musical compositions that begin in a major key and end in a minor key (generally the parallel minor), specifying the keynote (as C major/minor). This is a very unusual form in tonal music, [ 1 ] [ 2 ] although examples became more common in the nineteenth century. [ 3 ]
Tonality is the arrangement of pitches and / or chords of a musical work in a hierarchy of perceived relations, stabilities, attractions, and directionality.. In this hierarchy, the single pitch or the root of a triad with the greatest stability in a melody or in its harmony is called the tonic.
The key may be in the major or minor mode, though musicians assume major when this is not specified; for example "This piece is in C" implies that the key of the piece is C major. Popular songs and classical music from the common practice period are usually in one key. Longer pieces in the classical repertoire may have sections in contrasting keys.
Starting from a major chord, for example G major (G–B–D), there are twelve potential goals using a common-tone modulation: G minor, G ♯ minor, B ♭ major, B major, B minor, C major, C minor, D minor, D major, E ♭ major, E major, E minor. [14] Thus common-tone modulations are convenient for modulation by diatonic or chromatic third.
Because of the compromises (and wolf intervals) forced on meantone tunings by the one-dimensional piano-style keyboard, well temperaments and eventually equal temperament became more popular. Using standard interval names, twelve fifths equal six octaves plus one augmented seventh; seven octaves are equal to eleven fifths plus one diminished sixth.
Dynamic Tonality solves [9] the "cumbersome" problem cited by Isacoff [4]: 18,104,196 by generating a keyboard that is (a) isomorphic with its temperament [7] (in every octave, key, and tuning), and yet is (b) tiny (the size of the keyboards on squeezeboxes such as concertinas, bandoneons, and bayans). The creators of dynamic tonality could ...
Though the blues scale has "an inherent minor tonality, it is commonly 'forced' over major-key chord changes, resulting in a distinctively dissonant conflict of tonalities". [4] A similar conflict occurs between the notes of the minor scale and the minor blues scale, as heard in songs such as "Why Don't You Do Right?", "Happy" and "Sweet About Me".
111 Canons in all major and minor tonalities: Book I: Two-Part Canons (63) piano 1895 [be] [109] Book I: There are 2 successive canons for each key, except B and b (3 each), and f# (4). Also, e♭ appears in different places in the sequence, for a total of 4 canons. 111 Canons in all major and minor tonalities: Book II: Three-Part Canons (48 ...
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