For example, even though the leading note for the harmonic C minor scale is " B natural ", it is written as " 5 ".
12.
In a minor key triads i and iv are minor chords, but in chord V the leading note is generally raised to form a major chord.
13.
The new sharp is placed on the new key's leading note ( seventh degree ) for major keys or supertonic ( second degree ) for minor keys.
14.
In this central part the melody is inverted with some resulting conflict between natural and flattened leading notes, and the canon is interrupted by both a false start and a tenor interlude.
15.
A leading note on the subject published in 1980 in the " University of Pennsylvania Law Review " titled " The Chinese Wall Defense to Law-Firm Disqualification " perpetuated the use of the term.
16.
A consequence of this was that the interval between the minor mode's already lowered third degree ( mediant ) and the newly raised seventh degree ( leading note ), previously a perfect fifth, had now been " augmented " by a semitone.
17.
It is frequently encountered, especially in jazz, as a diminished seventh chord with an appoggiatura, especially when the melody has the leading note of the given chord : the ability to resolve this dissonance smoothly to a diatonic triad with the same root allows it to be used as a temporary tension before tonic resolution.
18.
Later examples include a slide on the foot joint to change the lower leading note from flat to sharp as required and on a further set an on / off mechanism is fitted to control the drones with the two regulators fitted neatly to the top of the common stock and the addition of key in " e " to increase the compass of the chanter in the second octave.
19.
Philip Radcliffe ( 1965, p . 114 ) says that the three-note gesture shares with the opening of the first movement the unusual feature of beginning on the leading note of the scale . Daniel Chua ( 1995, p . 113 ) points out that this creates rhythmic ambivalence , especially when the two motives combine in bar 5 : In this way, as the two patterns interlock a gentle tension is induced by the differing rhythmic currents and admits the possibility of two contradictory metrical interpretations .
20.
At the point where Beethoven introduces a diminution of the subject's rising figure the piece comes to rest on the dominant seventh, which resolves enharmonically onto a G minor chord in second inversion, leading into a reprise of the " arioso dolente " in G minor marked " ermattet " ( exhausted ) . contrasts the perceived " earthly pain " of the lament with the " consolation and inward strength " of the fugue which } } points out had not reached a conclusion . } } finds that G minor, the tonality of the leading note, gives the arioso a flattened quality befitting exhaustion, and Tovey describes the broken rhythm of this second arioso as being " through sobs " } }.
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