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Of Domenico Scarlatti's 555 keyboard sonatas, 151 are in minor keys, and with 32 sonatas, D minor is the most often chosen minor key.. The Art of Fugue by Johann Sebastian Bach is in D minor.
Relative tonic chords on C and A (Play ⓘ). Chromatic modulation in Bach's Du grosser Schmerzensmann, BWV 300, m. 5-6 (Play ⓘ with half cadence, Play ⓘ with PAC) transitions from FM to its relative minor dm through the inflection of C ♮ to C ♯ between the second and third chords. This modulation does not require a change of key signature.
In a minor key, the closely related keys are the parallel major, mediant or relative major, the subdominant, the minor dominant, the submediant, and the subtonic.In the key of A minor, when we translate them to keys, we get:
[12] In jazz, 7 ♯ 9 chords, along with 7 ♭ 9 chords, are often employed as the dominant chord in a minor ii–V–I turnaround. For example, a ii–V–I in C minor could be played as: Dm 7 ♭ 5 – G 7 ♯ 9 – Cm 7. The 7 ♯ 9 represents a major divergence from the world of tertian chord theory, where chords are stacks of major and ...
A typical sequence of a jazz or rock song in the key of C major might indicate a chord progression such as C – Am – Dm – G 7. This chord progression instructs the performer to play, in sequence, a C major triad, an A minor chord, a D minor chord, and a G dominant seventh chord.
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.
Palos of flamenco. The Andalusian cadence (diatonic phrygian tetrachord) is a term adopted from flamenco music for a chord progression comprising four chords descending stepwise – a iv–III–II–I progression with respect to the Phrygian mode or i–VII–VI–V progression with respect to the Aeolian mode (minor). [1]
A unique particularity of the minor chord is that this is the only chord of three notes in which the three notes have one harmonic – hearable and with a not too high row – in common (more or less exactly, depending on the tuning system used). This harmonic, common to the three notes, is situated 2 octaves above the high note of the chord.