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Symphony No. 2, Op. 132, Mysterious Mountain is a three-movement orchestral composition by the Armenian-American composer Alan Hovhaness. The symphony was commissioned by the conductor Leopold Stokowski and the Houston Symphony , and premiered live on NBC television in October 1955 on the Houston Symphony's first program with Stokowski as ...
Beethoven as portrayed by August von Kloeber in 1818. In 1820, when Beethoven wrote "Abendlied", he was 49 years old. 1820 was a year in which the sorrows of his life (deafness, illness, failure to find a marriage partner) [a] were augmented by the climactic phase of his legal confrontation with his sister-in-law Johanna van Beethoven over custody of his nephew (Johanna's son) Karl.
The harmonic major scale has its own set of modes, distinct from the harmonic minor, melodic minor, and major modes, depending on which note serves as the tonic.Below are the mode names, their degrees, and the following seventh chords that can be built using each modal tonic or degree of the parent mode as the root: a major seventh chord, a half-diminished seventh chord, a minor seventh chord ...
In the minor mode, a common borrowed chord from the parallel major key is the Picardy third. In the major mode, the most common examples of borrowed chords are those involving the ♭, also known as the lowered sixth scale degree. These chords are shown below, in the key of C major. [8]
The song survived until today under various names as a popular Montenegrin folk song under the name "O Bright Dawn of May" ("Oj svijetla majska zoro "). This version of the song has been one of the several versions proposed in 1993 during the first discussion on the official state anthem, however, on which there was no consensus because of the ...
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 ).
The Aeolian mode is the sixth mode of the major scale, that is, it is formed by starting on the sixth degree of the major scale. For example, if the Aeolian mode is used in its all-white-note pitch based on A, this would be an A-minor triad, which would be the submediant in the relative major key of C major.
The instrumentation consists of two alternating minor bass-chords, played at the very bottom of the pitch-range of an electric-guitar. The guitar is minor-open-tuned. For most of the song, the two bass-chords are played in descending order, but for the alternative sections, two different bass-chords are played in ascending order.