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The major axis is the chord between the two vertices: the longest chord of an ellipse, the shortest chord between the branches of a hyperbola. Its half-length is the semi-major axis ( a ). When an ellipse or hyperbola are in standard position as in the equations below, with foci on the x -axis and center at the origin, the vertices of the conic ...
The semi-major axis (major semiaxis) is the longest semidiameter or one half of the major axis, and thus runs from the centre, through a focus, and to the perimeter. The semi-minor axis (minor semiaxis) of an ellipse or hyperbola is a line segment that is at right angles with the semi-major axis and has one end at the center of the conic section.
For instance, in the symbol Cm 7 (C minor seventh chord) C is the root and m is the chord quality. When the terms minor, major, augmented, diminished, or the corresponding symbols do not appear immediately after the root note, or at the beginning of the name or symbol, they should be considered interval qualities, rather
Major and minor third in a major chord: major third 'M' on bottom, minor third 'm' on top. Major and minor may also refer to scales and chords that contain a major third or a minor third, respectively. A major scale is a scale in which the third scale degree (the mediant) is a major third above the tonic note.
For example, the relative minor of C major is A minor, and in the key of A minor, the i, iv and v chords are A minor, D minor and E minor. In practice, in a minor key, the third of the dominant chord is often raised by one semitone to form a major chord (or a dominant seventh chord if the seventh is added).
An A-minor scale has the same pitches as the C major scale, because the C major and A minor keys are relative major and minor keys. A minor chord has the root and the fifth of the corresponding major chord, but its first interval is a minor third rather than a major third:
More tunings of the minor chord are also available in various equal temperaments other than 12-TET. Rather than directly from the harmonic series, Sorge derived the minor chord from joining two major triads; for example the A minor triad being the confluence of the F and C major triads. [13] A–C–E = F–A–C–E–G. Given justly tuned ...
For example, in the key of C major, the chord playing this role is F ♯ ø 7. The half-diminished seventh chord may also be enharmonically interpreted as an augmented sixth chord. The minor seventh interval (between root and seventh degree, i.e.: { C B ♭} in { C E ♭ G ♭ B ♭} ) is enharmonically equivalent to an augmented sixth { C E ...