g to e造句

• Ellis-Bextor's vocals during the song incorporate the melisma technique and span from G to E.
• The remaining interval ( the diminished sixth from G to E ) is left badly out-of-tune, meaning that any music which combines those two notes is unplayable in this tuning.
• This means that the set has one major third or minor sixth ( i . e . from C to E, or E to C ), one minor third or major sixth ( i . e . from E to G, or G to E ), and one perfect fifth or perfect fourth ( i . e . from C to G, or G to C ).
• This final E chord represents a VI to the song's tonic G major, although Pedler argues that the preceding chord changes ( from F ( " them all " ) to E ( " Now they know " ) Em7 ( " takes to fill " ) C ( " love to turn you " ) and B ( " on " ) ) followed by the chromatic ascent, shift our sense of the tonic from G to E; creating a different feeling to the usual emotional uplift associated with a VI modulation.
• The keys of the six Partitas ( B-flat major, C minor, A minor, D major, G major, E minor ) seem to be an irregular sequence, but in fact they form a sequence of intervals going up and then down by increasing amounts : a second up ( B-flat to C ), a third down ( C to A ), a fourth up ( A to D ), a fifth down ( D to G ), and finally a sixth up ( G to E ).