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The A melodic minor scale, ascending and descending, on A. Play ... Neapolitan major scale on C. Play ...
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 ...
The major pentatonic scale may be thought of as a gapped or incomplete major scale, using scale tones 1, 2, 3, 5, and 6 of the major scale. [1] One construction takes five consecutive pitches from the circle of fifths ; [ 8 ] starting on C, these are C, G, D, A, and E. Rearranging the pitches to fit into one octave creates the major pentatonic ...
In this diatonic version of the circle, one of the fifths is not a true fifth: it is a tritone (or a diminished fifth), e.g. between F and B in the "natural" diatonic scale (i.e. without sharps or flats). Here is how the circle of fifths derives, through permutation from the diatonic major scale:
E major is a major scale based on E, consisting of the pitches E, F ♯, G ♯, A, B, C ♯, and D ♯. Its key signature has four sharps. Its relative minor is C-sharp minor and its parallel minor is E minor. Its enharmonic equivalent, F-flat major, has six flats and the double-flat B, which makes that key less convenient to use. The E major ...
Chromatic scale drawn as a circle The diatonic scale notes (above) and the non-scale chromatic notes (below) [2] The twelve notes of the octave—all the black and white keys in one octave on the piano—form the chromatic scale. The tones of the chromatic scale (unlike those of the major or minor scale) are all the same distance apart, one ...
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.
In the 17th century, descending bass lines found favour for "divisions on the ground", so that Pachelbel's canon contains very similar harmonizations of the descending major scale. At its simplest, this descending sequence may simply introduce an extra chord, either III or V, into the I–vi–IV–V type of sequence described above.