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In music, harmonization is the chordal accompaniment to a line or melody: "Using chords and melodies together, making harmony by stacking scale tones as triads". [2] A harmonized scale can be created by using each note of a musical scale as a root note for a chord and then by taking other tones within the scale building the rest of a chord. [3]
When a musical key or key signature is referred to in a language other than English, that language may use the usual notation used in English (namely the letters A to G, along with translations of the words sharp, flat, major and minor in that language): languages which use the English system include Irish, Welsh, Hindi, Japanese (based on katakana in iroha order), Korean (based on hangul in ...
Minor chords are noted with a dash after the number or a lowercase m; in the key of D, 1 is D major, and 4- or 4m would be G minor. Often in the NNS, songs in minor keys will be written in the 6- of the relative major key. So if the song was in G minor, the key would be listed as B ♭ major, and G minor chords would appear as 6-.
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For expediency, musicians may use the abbreviation "alt"—as in C 7alt —to describe the family of dominant chords with altered tones (including the ♭ 5, ♯ 5, ♭ 9, ♯ 9, ♯ 11, or ♭ 13). Notably, all altered tones mentioned above, along with the 3 and ♭ 7, are present in the melodic minor scale whose root is a half-step above the ...
[3] [unreliable source] [2] Sixteen artists collaborated to compile the album, which was released on October 5, 2010, by Reimagine Music. [4] [5] The first eleven songs of the compilation appeared on Dylan's Bringing It All Back Home. The twelfth song was released only as a single, while the final four songs appeared on Dylan's official ...
The tonic, subdominant, and dominant chords, in root position, each followed by its parallel. The parallel is formed by raising the fifth a whole tone.. The minor tonic, subdominant, dominant, and their parallels, created by lowering the fifth (German)/root (US) a whole tone.
Precisely because of this equidistancy, the roots of these three chords can produce a destabilizing effect; if C, A ♭ and E appear as the tonic pitches of three key areas on a larger level, the identity of the composition's tonal center can only be determined by the closure of the composition.