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Though Mozart touched on various minor keys in his symphonies, G minor is the only minor key he used as a main key for his numbered symphonies (No. 25, and the famous No. 40). In the Classical period, symphonies in G minor almost always used four horns, two in G and two in B ♭ alto. [2]
Chords that may be derived from the B Hungarian minor scale are Bm(maj7), C ♯ 7 ♭ 5, Dmaj7 ♯ 5, E ♯ 6sus2 ♭ 5, F ♯ maj7, Gmaj7, G7, A ♯ m6 and more. This scale is obtainable from the double harmonic scale by starting from the fourth degree of that scale, so the C Hungarian minor scale is equivalent to the G double harmonic scale. [7]
When a musical key or key signature is referred to in a language other than English, that language may use the usual notation used in English (namely the letters A to G, along with translations of the words sharp, flat, major and minor in that language): languages which use the English system include Irish, Welsh, Hindi, Japanese (based on katakana in iroha order), Korean (based on hangul in ...
Major and minor third in a major chord: major third 'M' on bottom, minor third 'm' on top. Major and minor may also refer to scales and chords that contain a major third or a minor third, respectively. A major scale is a scale in which the third scale degree (the mediant) is a major third above the tonic note.
These chords are all borrowed from the key of E minor. Similarly, in minor keys, chords from the parallel major may also be "borrowed". For example, in E minor, the diatonic chord built on the fourth scale degree is IVm, or A minor. However, in practice, many songs in E minor will use IV (A major), which is borrowed from the key of E major.
In the key of C major, these would be: D minor, E minor, F major, G major, A minor, and C minor. Despite being three sharps or flats away from the original key in the circle of fifths, parallel keys are also considered as closely related keys as the tonal center is the same, and this makes this key have an affinity with the original key.
A rock or pop guitarist or keyboardist might literally play the chords as indicated (e.g., the C major chord would be played by playing the notes C, E and G at the same time). In jazz , particularly for music from the 1940s bebop era or later, players typically have latitude to add in the sixth, seventh, and/or ninth of the chord.
The progression is also used entirely with minor chords[i-v-vii-iv (g#, d#, f#, c#)] in the middle section of Chopin's etude op. 10 no. 12. However, using the same chord type (major or minor) on all four chords causes it to feel more like a sequence of descending fourths than a bona fide chord progression.