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Dulaney was born on December 20, 1983, in Maywood, Illinois, as Todd Anthony Dulaney, to Thomas and Tommye Dulaney. [1] [2] [3] He was athletic as a youth playing sports in particular baseball, where he would play at a local community college, Wabash Valley College, getting drafted by the New York Mets in the 2002 MLB June Amateur Draft as a 32nd round selection.
For instance, the notation C/E bass indicates a C major triad in first inversion i.e. a C major triad with an E in the bass. Likewise the notation C/G bass indicates that a C major chord with a G in the bass (second inversion). See figured bass for alternate method of notating specific notes in the bass.
In major keys, the chords iii and vi are often substituted for the I chord, to add interest. In the key of C major, the I major 7 chord is "C, E, G, B," the iii chord ("III–7" [11]) is E minor 7 ("E, G, B, D") and the vi minor 7 chord is A minor 7 ("A, C, E, G"). Both of the tonic substitute chords use notes from the tonic chord, which means ...
F major is the home key of the English horn, the basset horn, the horn in F, the trumpet in F and the bass Wagner tuba. Thus, music in F major for these transposing instruments is written in C major. These instruments sound a perfect fifth lower than written, with the exception of the trumpet in F which sounds a fourth higher.
Often in the NNS, songs in minor keys will be written in the 6- of the relative major key. So if the song was in G minor, the key would be listed as B ♭ major, and G minor chords would appear as 6-. If a chord root is not in the scale, the symbols ♭ or ♯ can be added. In the key of C major, an E ♭ triad would be notated as ♭ 3.
However, if the lowest note (i.e. the bass note) is not the root of the chord, then the chord is said to be an inversion: it is in root position if the lowest note is the root of the chord, it is in first inversion if the lowest note is its third, and it is in second inversion if the lowest note is its fifth. These inversions of a C major triad ...
Inverted seventh chords are similarly denoted by one or two Arabic numerals describing the most characteristic intervals, namely the interval of a second between the 7th and the root: V 7 is the dominant 7th (e.g. G–B–D–F); V 6 5 is its first inversion (B–D–F–G); V 4 3 its second inversion (D–F–G–B); and V 4
For example, the supertonic, ii, is the subdominant parallel, relative of IV (in C: a d minor chord is the subdominant parallel, the subdominant is an F major chord). Being a parallel chord in a major key it is derived through raising the fifth a major second (C of F–A–C rises to D → F–A–D, an inversion of D–F–A).