... ‰ ™ ™ ™ œ. œ Abb maj.: I™ œ. œ b b 2 œ œ œ nœ œ 6$ — 5£ ‰ &Eb bmaj.:4 œIV œ œ V — I J Ab maj.: I 6$ — 5£ Eb maj...

...) harm-maj harm-min ← ← 1 3→ 3→ 5 notes (6–20...

...), 114. (Original given here as “maj 7”) 1 2 3 4 5 6 7 8 9 1011 121314 | Dmaj7 | C≥mi7 | Bmaj7 | B≤mi7 | A≤maj7 | Gmi7 | Fmaj7 Dmaj7 15 16 17 18 19 20 21 22 | E≤maj7 Cmaj7 Table 1 for chromatic third relationships involving major...

... of the following chapter (43). Since dominant seventh chords are presumably the most common in this repertoire, and dim7 is sometimes used in jazz and rock charts, it would make more sense to use an unmarked “7” for dominant sevenths and to symbolizemajor and minor sevenths with “M” or “maj” and “m” or “min...

... (reproduced as Example 6) tabulates “non- diatonic chord progressions in a large number of pieces by Schubert and Reviews    Roeder on Tymoczko 173 Schubert Chopin Root Motion Maj...

... that on the descending sixth degree the chord with the major sixth should be placed (Example 13).29 For Heinichen, this is unacceptable: he stresses that he “omitted the major sixth over the sixth scale degree because it adds a new ≥ that does not belong to the mode” (“die 6. maj. über die 6ta...

... a move of the comma con- ♭ sidered. This way we obtain the major triad E 0 maj. Finally, the last third ♭ contains another change by the same interval shifting the tone B 0 to C...