C Major Scale and C Major / C Minor Arpeggios

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C major scale and C major / C minor arpeggios (Note: Press the damper pedal down for all arpeggios in this book.) (V7 chord fingering: RH = 1–2–3–5; LH = 5–3–2–1 for all V7 chords in this book) C major scale and root position primary chords (I, IV, V and V7) ( = 80) (C) (F) (G) (G7) C major one-octave arpeggio ( = 80) C minor one-octave arpeggio ( = 80) Review – Find the root position primary chords (I, IV, V and V7) as fast as you can with both hands together. Key of: C (Target Goal = 6 seconds) 2 G major scale and G major / G minor arpeggios G major scale and root position primary chords (I, IV, V and V7) ( = 80) (G) (C) (D) (D7) G major one-octave arpeggio ( = 80) G minor one-octave arpeggio ( = 80) Review – Find the root position primary chords (I, IV, V and V7) as fast as you can with both hands together. Key of: C, G (Target Goal = 12 seconds) 3 D major scale and D major / D minor arpeggios D major scale and root position primary chords (I, IV, V and V7) ( = 80) (D) (G) (A) (A7) D major one-octave arpeggio ( = 80) D minor one-octave arpeggio ( = 80) Review – Find the root position primary chords (I, IV, V and V7) as fast as you can with both hands together. Key of: C, G, D (Target Goal = 18 seconds) 4 FIND THE CHORDS Using your left hand, find the following blocked root position major, minor, seventh and minor seventh chords as fast as possible. For a minor seventh chord, find the minor chord and then add the seventh (the note three half steps above the fifth of the chord) OR find the seventh chord and then flat the third of the chord. Target Goal = 1 minute F F#m D7 B Eb7 Cm7 A Em Db7 Bbm7 Eb Dm Ab7 E7 Gb Bbm C Gm7 A7 Ebm Abm7 B7 E Bb7 Cb Gb7 Target Goal = 1 minute C7 Ebm7 F# Gm Bm7 Ab Dm7 G7 Fm7 Am G#m Cm Db A#m Fm G Em7 F7 F#m7 C#m Bm Abm Bb F#7 Am7 D 17.

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The Strategic Half-Diminished Seventh Chord and the Emblematic Tristan Chord: a Survey from Beethoven to Berg

International Journal ofMusicology 4 . 1995 139 Mark DeVoto (Medford, Massachusetts) The Strategic Half-diminished Seventh Chord and The Emblematic Tristan Chord: A Survey from Beethoven to Berg Zusammenfassung: Der strategische halbverminderte Septakkord und der em blematische Tristan-Akkord von Beethoven bis Berg im Oberblick. Der halb verminderte Septakkord tauchte im 19. Jahrhundert als bedeutende eigen standige Hannonie und als Angelpunkt bei der chromatischen Modulation auf, bekam aber eine besondere symbolische Bedeutung durch seine Verwendung als Motiv in Wagners Tristan und Isolde. Seit der Premiere der Oper im Jahre 1865 lafit sich fast 100 Jahre lang die besondere Entfaltung des sogenannten Tristan-Akkords in dramatischen Werken veifolgen, die ihn als Emblem fUr Liebe und Tod verwenden. In Alban Bergs Lyrischer Suite und Lulu erreicht der Tristan-Akkord vielleicht seine hOchste emblematische Ausdruckskraft nach Wagner. If Wagner's Tristan und Isolde in general, and its Prelude in particular, have stood for more than a century as the defining work that liberated tonal chro maticism from its diatonic foundations of the century before it, then there is a particular focus within the entire chromatic conception that is so well known that it even has a name: the Tristan chord. This is the chord that occurs on the downbeat of the second measure of the opera. Considered enharmonically, tills chord is of course a familiar structure, described in many textbooks as a half diminished seventh chord. It is so called because it can be partitioned into a diminished triad and a minor triad; our example shows it in comparison with a minor seventh chord and an ordinary diminished seventh chord.
Half-Diminished Seventh Chord Arpeggios Arranged for Bassoon by Robert D

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131 with G in the Bass, Shown Below in Example 4.9. As with the G Minor

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The Death and Resurrection of Function

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Chord Studies

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DESCRIPTION and STUDY GUIDE: Graduate Placement Examination

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MTO 22.2: Reenan, Types and Applications of P3,0 Seventh-Chord Transformations

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