Search results
Results from the WOW.Com Content Network
Added tone chord; Altered chord; 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 ...
A minor triad has a minor third (m3) on the bottom, a major third (M3) on top, and a perfect fifth (P5) between the outer notes. In harmonic analysis and on lead sheets, a C minor chord can be notated as Cm, C−, Cmin, or simply the lowercase "c". A minor triad is represented by the integer notation {0, 3, 7}.
I–V–vi–IV chord progression in C: 4: Major I–IV ... Minor IV 7 –V 7 –iii 7 –vi: IV 7 –V 7 –iii 7 –vi in C: 4: Major
"Handog ng Pilipino sa Mundo" (lit. ' "The Gift of the Filipinos to the World" ' ), released in English as " A New and Better Way—The People's Anthem ," is a 1986 song recorded in Filipino by a supergroup composed of 15 Filipino artists.
"Magkaisa" (Tagalog for "unite") is a 1986 Filipino pop song by Virna Lisa (real name: Virna Lisa Loberiza) and composed by Tito Sotto. [1] [2] It is notable for being one of three iconic songs of the 1986 People Power Revolution, alongside Handog ng Pilipino sa Mundo [3] and the patriotic kundiman and protest anthem, Bayan Ko.
One of the last pieces he entered, likely around the time when moving to Bitterfeld (1735–1736), was a Suite by Petzold containing, together with eight other movements, the G major/G minor combined Minuet, otherwise only known as Nos. 4 and 5 of Anna Magdalena Bach's second notebook.
[7] For example, G major and D major have four triad chords in common: G major, B minor, D major and E minor. This can be easily determined by a chart similar to the one below, which compares triad qualities. The I chord in G major—a G major chord—is also the IV chord in D major, so I in G major and IV in D major are aligned on the chart.
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.