Universal key fractions (e.g. an A natural in the scale above becomes ) or, more commonly in written text, by inserting an accidental before the number (e.g. the same note becomes 5 or 4). In music theory aimed towards jazz and popular music, all triads are represented by upper case numerals, followed by a symbol to indicate if it is not a major chord (e.g. "m" for minor or "ø" for half-diminished): When representing the triads rooted in a minor key, accidentals are used to indicate the chromatic alteration from the assumed major key roots indicated by numerals that don't have accidentals:
Not a Second Time Lied von der Erde." Lennon, years later, remarked: "To this day, I have no idea what [Aeolian cadences] are. They sound like exotic birds." The actual meaning of the term "Aeolian cadence" is when a major key song resolves on the vi chord, which is the tonic chord of the relative minor key. The term derives from the fact that the Aeolian mode is rooted on the sixth step of the major scale. Dominic Pedler considers the "Aeolian cadence" moment to occur at the end of this line: (Am) "You hurt me then. You're back again. No/(Bm) no no/(D7) not