Scales and Key Signatures

S

A key?

i dont know. ask google

Putting a capo on a guitar doesn't make it major or minor, but simply changes the length of the strings so that the same chords could be used in higher keys without changing the tuning.

To play a song in minor, you need to learn totally different chords. For example, (I'm using guitar terms, not normal music terms) the E chord is different from the Em chord. You didn't put a capo on to get it differently, but moved your fingers to different positions.

I hope this helps!! =)

The Keys of B-flat, E-Flat, A-Flat, D-Flat, G-Flat, C-Flat, and F-Flat major all contain the note E-flat.

F-flat major is a key which only exists in theory and not in practice, since there is a double flat in that scale (subdominant). The major scale with the most flats is C-flat major - with all seven flats.

Tone is the use of pitch in language to distinguish words.

Johann Gottfried Piefke

If you want the progression, E, A, B is right. That is a one, four, five progression, one of the most common blues progressions. You can fit other chords to fill in the key of E. F#min would work as a follow up chord. G#min would follow that if you like. Then A would fit. It depends on the feel. Major chords work too. "Smoke On The Water" is E, G, A, then E, G, A# A, then it repeats. It depends also on the arrangement. You may use E, followed by D, then A. If it sounds like what you were thinking, it's right.

No key has those specific flats and no others. Flats go in the order BEADGCF. A key with four flats would have B, E, A, and D flat.

The major II chord (whose root is the supertonic) is actually a temporary modulation to the key of the Dominant, and is called a secondary dominant.

Given your chords I'm assuming we are in C Major, which already has the major I, IV and V triads (the chords C, F and G). The two, three and six chords are normally all minor (IIm, IIIm and VIm or in C Major: Dm, Em and Am). In C Major, the minor two triad (IIm in jazz / ii in classical) consists of the notes D, F and A, but here the D major triad has an F# instead of the F natural as it's third.

One of the things that happened to music when harmony became part of it, about five centuries ago, was the ability to change keys. The Baroque and Classical mentality was to present a theme in the home key and then at some point modulate to the dominant and subdominant or to the relative minor or tonic minor and then eventually modulate back to the home key. Over time, the idea of modulating to a different key has been modified to just "borrowing" a chord or two from another key. That's basically what's happening when you use a Major II chord.

The raised F to F# in C Major is actually the proper Leading Tone of the key of G Major (it's "ti" note). If we were in the key of G major, that D triad (the V triad) would be the notes D, F# and A - the dominant chord. Notice also that G is the dominant of C major. So the D major triad in the key of C Major is the dominant of the dominant. We have temporarily modulated to the key of G major and used its dominant chord (the D major triad), which is usually followed by the G chord, making a proper V-I cadence in the key of G Major. The G chord is also the V chord in C Major and becomes the "pivot chord" to get back into the key of C Major. Because the modulation is so temporary, we don't usually perceive that we have gone to another key (even though we sort of did). The II Maj. Triad is frequently used in this manner as a secondary dominant and is notated as the V/V chord (read as "the five of five" chord - meaning the dominant chord of the dominant chord).

That same II Major chord can also be "borrowed" out of a key's relative minor. If we go to the relative minor of C, we end up in A minor, which has a minor V chord in the natural minor - in this case the D minor triad. However, if we use the harmonic version of the scale this gives us a Major V triad (the notes D, F# and A). When a II major triad goes to the V chord it is being used as a secondary dominant. When it goes to a different chord it has been borrowed from another key, but in both cases it is notated as if it was a secondary dominant as in: I - VIm - V/V - V - I.

As far as that goes, any chord in the scale can be approached by it's own secondary dominant: In C Major the A major triad would be the V/VI chord making a progression like: C - F - C - Em - E - Am - G - C possible, where E major is the secondary dominant of the Am (VIm) chord.

when you're smiling

Probably because there is an interval of an augmented second between the 6th and 7th scale degrees.

B major:

First inversion = D♯, F♯ and B

Second inversion = F♯, B and D♯

F♭ Major:

First inversion = A♭, C♭ and F♭

Second inversion = C♭, F♭ and A♭

N.B:

F♭ Major is enharmonic with E major.

pentatonic

In a melodic minor scale, the sixth and seventh degrees are sharpened. In real cases - we have to use the word 'raised' rather than 'sharpened' since sometimes we need to raise the sixth degree of a major scale which is already flat. In Ab minor for example - we use naturals to raise the sixth and seventh degrees ascending since those notes (F and G), are already flatted due to the key signature.

Depending on what scale you want to find, you would follow a series of half steps and whole steps from a tonic note upwards until you reach the tonic again.

For example: Given the knowledge that the major scale has 2 whole steps, 1 half step, 3 whole steps, and 1 half step, you can find any major scale from any given tonic.

It's not hard, actually. Dream up a song, and then work it out on a keyboard to see where you have to put the notes so that the last note of the song lands on G. I'm assuming that your song, like most, will end on the tonic, the note that names its scale. If it doesn't, then the answer is more complicated. Oh... Avoid B flat.

If a horn is pitched in F, then a horn player that plays the C scale on the horn is, when compared to a piano or flute or violin (which is made in concert pitch), actually playing the F scale. The horn overall is in the key of F. The same goes if it's pitched in B-flat or E-flat: the C scale will actually be the concert B-flat scale or concert E-flat scale.

I hope that helps. Let me know if anything needs further explanation. =)

The dominant of A major is the chord: E - G# - B

Because the subdominant seventh chord in any key introduces the flattened mediant in the original key, this new flat note becomes the subdominant note in the new key. One logical progression is:

C F7 Bâ™­

It stands to reason that this remains consistent through each of the twelve major keys - though the treatment of major chords in minor keys is different.

you mean E minor,

no I personally think E major is the saddest major key, and C minor the happiest minor key.

Firstly by remembering where C, E and G are?

It's D minor. You should visit the following website. => https://en.wikipedia.org/wiki/Cadence_%28music%29

The melody in this nocturne is entirely on the soprano part, i.e. for the right hand. The left hand part contains a bass line in strong beats and elaboration at the pulses.