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Great Mass in C minor, K. 427 (417a) Piano Concerto No. 24, K. 491) Maurerische Trauermusik K. 477 (479a) Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte, K. 517; Adagio and Fugue in C minor. K. 546; Wind Serenade in C minor. K. 388 (384a) Fantasy in C minor for violin and piano, K. 396 (385f) Piano Sonata in C minor, K. 457 ...
The progression is also used entirely with minor chords[i-v-vii-iv (g#, d#, f#, c#)] in the middle section of Chopin's etude op. 10 no. 12. However, using the same chord type (major or minor) on all four chords causes it to feel more like a sequence of descending fourths than a bona fide chord progression.
The ukulele (/ ˌ juː k ə ˈ l eɪ l i / yoo-kə-LAY-lee; from Hawaiian: ʻukulele [ˈʔukuˈlɛlɛ]), also called a uke, is a member of the lute family of instruments. The ukulele is of Portuguese origin and was popularized in Hawaii. The tone and volume of the instrument vary with size and construction. Ukuleles commonly come in four sizes ...
Piano Trio in C minor, MWV Q3 (Mendelssohn) Piano Trio No. 1 (Shostakovich) Piano Trio No. 2 (Mendelssohn) Piano Trio No. 3 (Brahms) Piano Trios, Op. 1 (Beethoven) Polonaises Op. 40 (Chopin) Pomp and Circumstance Marches; Popoli di Tessaglia! Prelude and Fugue in C minor, BWV 546; Prelude and Fugue in C minor, BWV 847; Prelude and Fugue in C ...
In the third section (second subject), the clarinet and violin 1 introduce the second main theme which is initially in the relative key, E ♭ major, and then in the tonic major, C major, finally back to C minor. Second exposition: The piano enters with an ascending scale motif. The structure of the exposition in the piano solo is similar to ...
Dominant seventh chord on C: C 7 Play ⓘ.. Jazz harmony is the theory and practice of how chords are used in jazz music. Jazz bears certain similarities to other practices in the tradition of Western harmony, such as many chord progressions, and the incorporation of the major and minor scales as a basis for chordal construction.
In a jazz band, these chord changes are usually played in the key of B ♭ [7] with various chord substitutions.Here is a typical form for the A section with various common substitutions, including bVII 7 in place of the minor iv chord; the addition of a ii–V progression (Fm 7 –B ♭ 7) that briefly tonicizes the IV chord, E ♭; using iii in place of I in bar 7 (the end of the first A ...
In jazz music, on the other hand, such chords are extremely common, and in this setting the mystic chord can be viewed simply as a C 13 ♯ 11 chord with the fifth omitted. In the score to the right is an example of a Duke Ellington composition that uses a different voicing of this chord at the end of the second bar, played on E (E 13 ♯ 11).