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This "sus" indication can be combined with any other notation. For example, the notation C 9sus4 refers to a ninth chord with the third replaced by the fourth: C–F–G–B ♭ –D. However, the major third can also be added as a tension above the fourth to "colorize" the chord: C–F–G–B ♭ –D–E.
This key occurs more often in piano literature from the 18th century onwards. Domenico Scarlatti wrote just two keyboard sonatas in C-sharp minor, K. 246 and K. 247. After Beethoven's Piano Sonata No. 14 (Moonlight Sonata), the key became more frequent in the piano repertoire.
In music, a closely related key (or close key) is one sharing many common tones with an original key, as opposed to a distantly related key (or distant key). In music harmony , there are six of them: four of them share all the pitches except one with a key with which it is being compared, one of them shares all the pitches, and one shares the ...
Approach chord; Chord names and symbols (popular music) Chromatic mediant; Common chord (music) Diatonic function; Eleventh chord; Extended chord; Jazz chord; Lead sheet; List of musical intervals; List of pitch intervals; List of musical scales and modes; List of set classes; Ninth chord; Open chord; Passing chord; Primary triad; Quartal chord ...
Notes that are shown as sharp or flat in a key signature will be played that way in every octave—e.g., a key signature with a B ♭ indicates that every B is played as a B ♭. A key signature indicates the prevailing key of the music and eliminates the need to use accidentals for the notes that are always flat or sharp in that key. A key ...
I–V–vi–IV chord progression in C: 4 Major I–IV ... vii o 7 /V–V–I: 3: Major Andalusian cadence: iv–III ...
[1] [2] For example, G major and G minor have the same tonic (G) but have different modes, so G minor is the parallel minor of G major. This relationship is different from that of relative keys, a pair of major and minor scales that share the same notes but start on different tonics (e.g., G major and E minor).
In Hungarian Rhapsody No. 6, Franz Liszt takes the unusual step of changing the key from D-flat major to C-sharp major near the start of the piece, and then back again to B-flat minor. Maurice Ravel selected C-sharp major as the tonic key of "Ondine" from his piano suite Gaspard de la nuit.