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"Cirrus Minor" has an unusual chord sequence: E minor, E flat augmented, G major, C♯ minor 7, C major 7, C minor 7 and B 7. The chords are built around the chromatically descending bass line. The B 7, C major 7 and G major chords are the only chords which fit into the functional context of the E minor key.
Italian "solfeggio" and English/French "solfège" derive from the names of two of the syllables used: sol and fa.[2] [3]The generic term "solmization", referring to any system of denoting pitches of a musical scale by syllables, including those used in India and Japan as well as solfège, comes from French solmisation, from the Latin solfège syllables sol and mi.
In the key of C major, these would be: D minor, E minor, F major, G major, A minor, and C minor. Despite being three sharps or flats away from the original key in the circle of fifths, parallel keys are also considered as closely related keys as the tonal center is the same, and this makes this key have an affinity with the original key.
Romance S.169, the theme of which is based on the song "O pourquoi donc" ("Why, oh Why"), is a piece of music written in 1848 by the Hungarian composer Franz Liszt during a visit to Moscow. It bears some resemblance to Chopin's Nocturne in E minor , [ 1 ] as both pieces commence with broken E-minor chords.
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. Borrowing from the parallel major in a minor key, however ...
Much of the classical guitar repertoire is in E minor, as this is a very natural key for the instrument. In standard tuning (E A D G B E), four of the instrument's six open (unfretted) strings are part of the tonic chord. The key of E minor is also popular in heavy metal music, as its tonic is the lowest note on a standard-tuned guitar.
In music, chromatic mediants are "altered mediant and submediant chords." [1] A chromatic mediant relationship defined conservatively is a relationship between two sections and/or chords whose roots are related by a major third or minor third, and contain one common tone (thereby sharing the same quality, i.e. major or minor).
F ♭ is a common enharmonic equivalent of E, but is not regarded as the same note. F ♭ is commonly found after E ♭ in the same measure in pieces where E ♭ is in the key signature, in order to represent a diatonic, rather than a chromatic semitone; writing an E ♭ with a following E ♮ is regarded as a chromatic alteration of one scale ...