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Like many musical scales, it is made up of seven notes: the eighth duplicates the first at double its frequency so that it is called a higher octave of the same note (from Latin "octavus", the eighth). The simplest major scale to write is C major, the only major scale not requiring sharps or flats:
Laub und Regen, duet for clarinet and viola, Nr. 40½; Hymnen, 4-channel electronic and concrete music (also version with soloists, and Third Region with orchestra), Nr. 22 (1966–67) In Freundschaft, for clarinet (and versions for most other instruments), Nr. 46 (1977) Inori, adorations for 1 or 2 soloists and large orchestra, Nr. 38 (1973–74)
The tones of the chromatic scale (unlike those of the major or minor scale) are all the same distance apart, one half step. The word chromatic comes from the Greek chroma, color; and the traditional function of the chromatic scale is to color or embellish the tones of the major and minor scales. It does not define a key, but it gives a sense of ...
24 Preludes and Scales piano 1855 C5* [y] [71] Charles-Valentin Alkan: 12 Études in all the minor keys, Op. 39 piano 1857 [aq] These complete the sequence that was started with the 12 Études in all the major keys, Op. 35. Études 4–7 comprise the Symphony for Solo Piano, and Études 8–10 make up the Concerto for Solo Piano. Carl Czerny
E-flat major was the second-flattest key Mozart used in his music. For him, E-flat major was associated with Freemasonry; "E-flat evoked stateliness and an almost religious character." [4] Edward Elgar wrote his Variation IX "Nimrod" from the Enigma Variations in E-flat major. Its strong, yet vulnerable character has led the piece to become a ...
Even so, the clarinet in B ♭ is still often used for music in D major, and it is perhaps the sharpest key that is practical for the instrument. There are composers however who, in writing a piece in D minor with B ♭ clarinets, will have them change to clarinets in A if the music switches to D major, two examples being Rachmaninoff 's Third ...
One of the most important subsets of the alpha collection, the alpha chord (Forte number: 4-17, pitch class prime form (0347)), such as E–G–C–E ♭; using the theorist Ernő Lendvai's terminology, [58] the C alpha chord may be considered a mistuned major chord or major/minor in first inversion (in this case, C major/minor).
3:5:7 s intonation sensitivity pattern is similar to 4:5:6 s (the just major chord), more similar than that of the minor chord. [6] This similarity suggests that our ears will also perceive 3:5:7 as consonant. The 3:5:7 chord may thus be considered the major triad of the BP scale.