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By contrast, minor mode compositions of the common practice period frequently raise the seventh scale degree by a semitone to strengthen the cadences, and in conjunction also raise the sixth scale degree by a semitone to avoid the awkward interval of an augmented second. This is particularly true of vocal music.
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In music, the subtonic is the degree of a musical scale which is a whole step below the tonic note. In a major key, it is a lowered, or flattened, seventh scale degree (♭). It appears as the seventh scale degree in the natural minor and descending melodic minor scales but not in the major scale.
[8] For example, in the key of A minor, the dominant (V) chord (the triad built on the 5th scale degree, E) is a minor triad in the natural minor scale. But when the seventh degree is raised from G ♮ to G ♯, the triad becomes a major triad. "In fact, it created even more tension than the major key V7.
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 diatonic harmony, the half-diminished seventh chord occurs naturally on the seventh scale degree of any major scale (for example, B ø 7 in C major) and is thus a leading-tone seventh chord in the major mode. [3] Similarly, the chord also occurs on the second degree of any natural minor scale (e.g., D ø 7 in C minor). It has been described ...
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When the Freygish scale is used in Klezmer music, the sixth degree may be left unflatted if it is melodically approached and left from above, [7] or the seventh degree may be raised as well. The Phrygian dominant scale is often used in jazz composition and improvisation over secondary dominants of minor chords in a major key, such as the VI 7 ...