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Since the natural minor scale is built on the 6th degree of the major scale, the tonic of the relative minor is a major sixth above the tonic of the major scale. For instance, B minor is the relative minor of D major because the note B is a major sixth above D. As a result, the key signatures of B minor and D major both have two sharps (F ...
It is qualified as minor because it is the smaller of the two: the minor sixth spans eight semitones, the major sixth nine. For example, the interval from A to F is a minor sixth, as the note F lies eight semitones above A, and there are six staff positions from A to F. Diminished and augmented sixths span the same number of staff positions ...
The A melodic minor scale, ascending and descending, on A. ... Major: Minor: Usual Neapolitan major scale: Neapolitan major scale on C. Play ...
In music theory, the scale degree is the position of a particular note on a scale [1] relative to the tonic—the first and main note of the scale from which each octave is assumed to begin. Degrees are useful for indicating the size of intervals and chords and whether an interval is major or minor .
By contrast, minor mode compositions of the common practice period frequently raise the seventh scale degree by a semitone to strengthen the cadences, and in conjunction also raise the sixth scale degree by a semitone to avoid the awkward interval of an augmented second. This is particularly true of vocal music.
When the Freygish scale is used in Klezmer music, the sixth degree may be left unflatted if it is melodically approached and left from above, [7] or the seventh degree may be raised as well. The Phrygian dominant scale is often used in jazz composition and improvisation over secondary dominants of minor chords in a major key, such as the VI 7 ...
Just like the minor is to the major, the minor sixth can be considered to be similarly related to the dominant seventh. Unlike the major sixth chord which is often substituted for a major triad, the minor sixth is more versatile and plays a number of different harmonic roles due to its identity as an inversion of the half-diminished seventh ...
Chromatic submediants, like chromatic mediants, are chords whose roots are related by a major third or minor third, contain one common tone, and share the same quality, i.e. major or minor. They may be altered chords. Submediant chords may also appear as seventh chords: in major, as vi 7, or in minor as VI M7 or ♯ vi ø 7: [8]