![]() ![]() Another notable use is in the fourth movement of Samuel Barber's Piano Sonata the subject of the fugue begins with a minor major seventh chord presented as an arpeggio. The chord, initially sung by voices, also permeates the sound world of the opening movement of Luciano Berio's Sinfonia. ![]() The chord, which has Forte number 4-19, "may be regarded as the sonic emblem of music of the Second Viennese School because of its prevalence and multiple strategic functions." An example would be the chord that concludes the first movement of Alban Berg's Violin Concerto without resolving as Bach did, creating "an inconclusive final cadence" with "no decisive connotation of tonal closure". the melody instruments insist on B natural-the jarring leading tone-before eventually melting in a C minor cadence."īach St Matthew Passion closing bars Closing bars of the final chorus of Bach's St Matthew Passion John Eliot Gardiner hears this chord in context as an "unexpected and almost excruciating dissonance. The chord occurs on the first beat, but the sharp seventh (B natural) is resolved upwards to a C. However, a striking example may be found in the final bar of Bach's St Matthew Passion. ![]() This chord appears in classical music, but it is used more in the late Romantic period than in the Classical and Baroque periods. Traditionally, in classical and jazz contexts, when building a chord on the dominant of the minor tonality, this raised seventh is present, and so both of these chords have a strong pull to the tonic. This half step creates a pull ( leading tone) to the tonic that is useful in harmonic context and is not present in the natural minor scale. The harmonic minor scale has a raised seventh, creating a minor second (half step) between the seventh and the octave. Audio playback is not supported in your browser. ![]()
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