In Western music, the adjectives major and minor can describe a musical composition,movement, section, scale, key, chord, or interval.

Major and minor are frequently referred to in the titles of classical compositions, especially in reference to the key of a piece.

Contents

Intervals and chordsEdit

Major and minor third in a major chord: major third ‘M’ on bottom, minor third ‘m’ on top.  Play 

Relative tonic chords on C and A.  Play 

Parallel tonic chords on C

Major chord

Minor chord

The difference between the major and minor chord may be seen if they are drawn in chromatic circle.

With regard to intervals, the words major and minor just mean large and small, so a major third is a wider interval, and a minor third a relatively narrow one. The intervals of the second, third, sixth, and seventh (and compound intervals based on them) may be major or minor.

The other uses of major and minor, in general, refer to musical structures containing major thirds or minor thirds. A major scale is one whose third degree is a major third above thetonic, while a minor scale has a minor third degree. A major chord or major triad, similarly, contains a major third above theroot, whereas a minor chord or minor triad contains a minor third above the root. In Western music, a minor chord, in comparison, “sounds darker than a major 

https://en.m.wikipedia.org/wiki/Major_and_minor

The major scale or Ionian scale is one of the most commonly used musical scales, especially in Western music. It is one of the diatonic scales. Like many musical scales it is made up of seven notes: the eighth duplicates the first at double itsfrequency so that it is called a higher octave of the same note (from Latin “octavus”, the eighth).

The simplest major scale to write is C major, the only major scale to not require sharps or flats:

C-D-E-F-G-A-B-C ( C major scale )

The major scale had a central importance in European music, particularly in the common practice period and in popular music, owing to the large number of chords that can be formed from it.^{[citation needed]} In Carnatic music, it is known as Dheerasankarabharanam, and in Hindustani classical music it is known as Bilaval.

https://en.m.wikipedia.org/wiki/Diatonic_scale

F♯ major or F-sharp major is a major scale based on F♯, consisting of the pitches F♯, G♯,A♯, B, C♯, D♯, and E♯. Its key signature has six sharps.^[1]

F♯ major

Relative key	D♯ minor
Parallel key	F♯ minor
Dominant key	C♯ major
Subdominant	B major
Enharmonic	G♭ major
Component pitches
F♯, G♯, A♯, B, C♯, D♯, E♯, F♯

See also: F major and G-flat major

Its relative minor is D♯ minor (or enharmonically E♭ minor). Its parallel minor isF♯ minor. Its enharmonic equivalent is G♭major. In writing music for transposing instruments in B-flat or E-flat, it is preferable to use a G-flat rather than an F-sharp key signature. If F-sharp major must absolutely be used, one should take care that B-flat wind instruments be notated in A-flat major, rather than G-sharp major (or G instruments used instead, giving a transposed key of B major), and D-flat instruments in F major instead of E-sharp major, in order to avoid double sharps in key signatures.

https://en.m.wikipedia.org/wiki/F-sharp_major

Mirella Freni (Italian: [miˈrɛlːa ˈfreːni]; born Mirella Fregni on 27 February 1935) is an Italian opera soprano whose repertoire includes Verdi, Puccini, Mozart and Tchaikovsky.^[1] Freni was married for many years to the Bulgarian bass Nicolai Ghiaurov, with whom she performed and recorded.
https://en.m.wikipedia.org/wiki/Mirella_Freni

https://en.m.wikipedia.org/wiki/Mario_Lanza

Casa Ricordi is a publisher of primarily classical music and opera. Its classical repertoire represents one of the important sources in the world through its publishing of the work of the major 19th-century Italian composers such as Gioachino Rossini, Gaetano Donizetti, Vincenzo Bellini, Giuseppe Verdi, and, later in the century, Giacomo Puccini, composers with whom one or another of the Ricordi family came into close contact.
https://en.m.wikipedia.org/wiki/Casa_Ricordi

Giuseppe Di Stefano (24 July 1921 – 3 March 2008) was an Italian operatic tenor who sang professionally from the mid 1940s until the early 1990s. He was known as the “Golden voice” or “The most beautiful voice”, as the true successor of Beniamino Gigli. He was also known for his long-term performance and recording association with the soprano Maria Callas.
https://en.m.wikipedia.org/wiki/Giuseppe_Di_Stefano

Riccardo Muti (Italian: [rikˈkardo ˈmuːti]; born in Naples 28 July 1941) is an Italian conductor. He holds two music directorships: the Chicago Symphony Orchestra and the Orchestra Giovanile Luigi Cherubini. Previously he held posts at the Maggio Musicale in Florence, the Philharmonia Orchestra in London, the Philadelphia Orchestra, the Teatro alla Scala in Milan and the Salzburg Whitsun Festival. Muti has been a prolific recording artist and has received dozens of honors, titles, awards and prizes. He is particularly associated with the music of Giuseppe Verdi.
https://en.m.wikipedia.org/wiki/Riccardo_Muti

Allan Holdsworth (6 August 1946 – 15 April 2017)[1] was a British guitarist and composer. He released twelve studio albums as a solo artist and played a variety of musical styles in a career spanning more than four decades, but is best known for his work in jazz fusion.
Holdsworth was known for his advanced knowledge of music, through which he incorporated a vast array of complex chord progressions and intricate solos; the latter comprising myriad scale forms often derived from those such as the diminished, augmented, whole tone, chromatic and altered scales, among others, resulting in an unpredictable and “outside” sound. His unique legato soloing technique stemmed from his original desire to play the saxophone. Having been unable to afford one, he strove to use the guitar to create similarly smooth lines of notes. He also become associated with playing an early form of guitar synthesizer called the SynthAxe, a company he endorsed in the 1980s.
Holdsworth was cited as an influence by a host of rock, metal and jazz guitarists such as Eddie Van Halen,[2] Joe Satriani,[3] Greg Howe,[4] Shawn Lane,[5] Richie Kotzen,[6] John Petrucci,[7] Alex Lifeson,[8] Kurt Rosenwinkel,[9] Yngwie Malmsteen,[10] Michael Romeo,[11] Ty Tabor,[12] and Tom Morello.[13] Frank Zappa once lauded him as “one of the most interesting guys on guitar on the planet”,[14] while Robben Ford has said: “I think Allan Holdsworth is the John Coltrane of the guitar. I don’t think anyone can do as much with the guitar as Allan Holdsworth can.”[15]

Source: Allan Holdsworth – Wikipedia

This article is about legato in music. For other uses, see Legato (disambiguation).

In music performance and notation, legato [leˈɡaːto] (Italian for “tied together”; French lié; German gebunden) indicates that musical notes are played or sung smoothly and connected. That is, the player makes a transition from note to note with no intervening silence. Legato technique is required for slurred performance, but unlike slurring (as that term is interpreted for some instruments), legato does not forbid rearticulation. Standard notation indicates legato either with the word legato, or by a slur (a curved line) under notes that form one legato group. Legato, like staccato, is a kind of articulation. There is an intermediate articulation called either mezzo staccato or non-legato (sometimes referred to as “portato”).

Source: Legato – Wikipedia

In modern musical notation and tuning, an enharmonic equivalent is a note, interval, or key signature that is equivalent to some other note, interval, or key signature but “spelled”, or named differently. Thus, the enharmonic spelling of a written note, interval, or chord is an alternative way to write that note, interval, or chord. For example, in twelve-tone equal temperament (the currently predominant system of musical tuning in Western music), the notes C♯ and D♭ are enharmonic (or enharmonically equivalent) notes. Namely, they are the same key on a keyboard, and thus they are identical in pitch, although they have different names and different roles in harmony and chord progressions.

Source: Enharmonic – Wikipedia

In music theory, the concept of root is the idea that a chord can be represented and named by one of its notes. It is linked to harmonic thinking—to the idea that vertical aggregates of notes can form a single unit, a chord. It is in this sense that one speaks of a “C chord” or a “chord on C”—a chord built from “C” and of which the note (or pitch) “C” is the root. When a chord is referred to in Classical music or popular music without a reference to what type of chord it is (either major or minor, in most cases), it is assumed a major triad, which for C contains the notes C, E and G. The root needs not be the bass note, the lowest note of the chord: the concept of root is linked to that of the inversion of chords, which is derived from the notion of invertible counterpoint. In this concept, chords can be inverted while still retaining their root.
In tertian harmonic theory, that is in a theory where chords can be considered stacks of third intervals (e.g. in common practice tonality), the root of a chord is the note on which the subsequent thirds are stacked. For instance, the root of a triad such as C Major is C, independently of the vertical order in which the three notes (C, E and G) are presented. A triad can be in three possible positions, a “root position” with the root in the bass (i.e., with the root as the lowest note, thus C, E, G or C, G, E, from lowest to highest notes), a first inversion, e.g. E, C, G or E, G, C (i.e., with the note which is a third interval above the root, E, as the lowest note) and a second inversion, e.g. G, C, E or G, E, C, in which the note that is a fifth interval above the root (G ) is the lowest note.
Regardless of whether a chord is in root position or in an inversion, the root remains the same in all three cases. Four-note seventh chords have four possible positions. That is, the chord can be played with the root as the bass note, the note a third above the root as the bass note (first inversion), the note a fifth above the root as the bass note (second inversion), or the note a seventh above the root as the bass note (third inversion). Five-note ninth chords know five positions, etc., but the root position always is that of the stack of thirds, and the root is the lowest note of this stack (see also Factor (chord)).

Source: Root (chord) – Wikipedia