Minor third

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Related to Minor third: Perfect fifth, Perfect fourth
References in periodicals archive ?
The Minor Third Communicates Sadness in Speech, Mirroring Its Use in Music.
For the Fixed Do singer in D-flat major, Do to Re is a half-step and Do to Mi is a minor third.
He next returned to Sion, the club he left his native country to join United under Kevin Keegan, and after coaching a minor third division outfit, he now looks after the under-16 team for Neuchatel Xamax, one of the Swiss teams already knocked out of the UEFA Cup earlier this season.
In conjunction with Owens & Minor Third Quarter 2001 financial results, you are invited to listen to its conference call that will be broadcast live over the Internet on Wednesday, October 17, 2001 at 8:30 a.
Although Polignac refers to his discovery as the "chromatico-diatonic" scale and uses the labels A, B, and C for its three collections (unlike all modern theorists), he clearly identifies the scale's main properties: its alternating half step, whole step construction, its symmetry around the minor third and tritone, its limitation to three distinct collections, and the range of triads and seventh chords that can be formed on each of the four nodes of the scale.
The ending oscillates on a Nielsenesque minor third as the enticing exhibition fades, and perhaps there could have been more of a sense of this in the performance.
All the music is relevant and if I was performing this music authentically it would all be either a semi-tone higher or a minor third lower and the instruments would be slightly different sounding.
There are four possibilities, all of them resulting in a single chromatic inflection: separation of the triads by a falling minor third (as at the magical first appearance of "Respice" of Spem in alium) or a falling major third (at "inter vestibulos" in In ieiunio et fletu); separation by a rising minor third (at "et nocte / et lacrimae" in Incipit lamentatio) or a rising major third (at the first "Peccavi" in Suscipe quaeso).
James gives us the musical cosmology of a seminal source, the Timaeus of Plato, almost word for word from Francis Cornford's confusing, outmoded, and unmusical interpretation (Plato's Cosmology, The Timaeus of Plato [New York: Humanities Press, 1952]); his introduction of the monochord is much too cursory and muddled for the uninitiated, mixing up the relationship of part to part and part to whole without explanation; Kepler's "Venus ratio" of 24:25, which is the semitonal difference between a major and a minor third, he calls "barely equivalent to the Pythagorean comma", too small by a factor of three.
He also demonstrates Skriabin's modal coloring, his use of octatonic scales and symmetry, as well as minor third and major third bass sequences, found in examples of music by Nikolai Rimsky-Korsakov that are most strikingly Skriabinesque (see examples 2-26 in vol.
At the end of the song the fatal road is indicated by a series of rising minor thirds, a sequential progression that has no foreseeable, functional conclusion.