Chord (music) - Knowledge

254: 324: 879: 5461: 5175: 2995: 775: 4609: 4697: 4650: 4482: 4103: 3833: 4349: 3941: 4568: 3776: 4525: 4299: 4062: 3981: 4248: 4016: 3883: 2556:. In the context of a specific section in a piece of music, dyads can be heard as chords if they contain the most important notes of a certain chord. For example, in a piece in C Major, after a section of tonic C Major chords, a dyad containing the notes B and D sounds to most listeners as a first inversion G Major chord. Other dyads are more ambiguous, an aspect that composers can use creatively. For example, a dyad with a perfect fifth has no third, so it does not sound major or minor; a composer who ends a section on a perfect fifth could subsequently add the missing third. Another example is a dyad outlining the 3650: 3603: 5046: 3564: 3524: 5387: 5349: 5081: 5011: 5431: 4152: 38: 622: 7168: 4727: 7668: 1105: 3342: 7026: 675: 667: 659: 3768: 7038: 2560:, such as the notes C and F# in C Major. This dyad could be heard as implying a D7 chord (resolving to G Major) or as implying a C diminished chord (resolving to Db Major). In unaccompanied duos for two instruments, such as flute duos, the only combinations of notes that are possible are dyads, which means that all of the chord progressions must be implied through dyads, as well as with arpeggios. 5572: 8055: 1063: 4178:

normally included in voicings. After the thirteenth, any notes added in thirds duplicate notes elsewhere in the chord; all seven notes of the scale are present in the chord, so adding more notes does not add new pitch classes. Such chords may be constructed only by using notes that lie outside the diatonic seven-note scale.

691:) use upper case Roman numerals for both major and minor triads. Some writers use upper-case Roman numerals to indicate the chord is diatonic in the major scale, and lower-case Roman numerals to indicate that the chord is diatonic in the minor scale. Diminished triads may be represented by lower-case Roman numerals with a 1067: 5176: 5205: 5514:

When a chord is analysed as "borrowed" from another key it may be shown by the Roman numeral corresponding with that key after a slash. For example, V/V (pronounced "five of five") indicates the dominant chord of the dominant key of the present home-key. The dominant key of C major is G major so this

2323:

In a pop or rock context, however, "C" and "Cm" would almost always be played as triads, with no sevenths. In pop and rock, in the relatively less common cases where songwriters wish a dominant seventh, major seventh, or minor seventh chord, they indicate this explicitly with the indications "C", "C"

5273:

compositions and improvisations, suspended seventh chords are often used in nontraditional ways: these often do not function as V chords and do not resolve from the fourth to the third. The lack of resolution gives the chord an ambiguous, static quality. Indeed, the third is often played on top of a

4766:

An added tone chord is a triad with an added, non-tertian note, such as an added sixth or a chord with an added second (ninth) or fourth (eleventh) or a combination of the three. These chords do not include "intervening" thirds as in an extended chord. Added chords can also have variations. Thus, m,

3237:

The notes of a chord form intervals with each of the other notes of the chord in combination. A 3-note chord has 3 of these harmonic intervals, a 4-note chord has 6, a 5-note chord has 10, a 6-note chord has 15. The absence, presence, and placement of certain key intervals plays a large part in the

5264:

In modern lay usage, the term is restricted to the displacement of the third only, and the dissonant second or fourth no longer must be held over (prepared) from the previous chord. Neither is it now obligatory for the displaced note to make an appearance at all, though in the majority of cases the

4382: 1087:

In the 2010s, some classical musicians who specialize in music from the Baroque era can still perform chords using figured bass notation; in many cases, however, the chord-playing performers read a fully notated accompaniment that has been prepared for the piece by the music publisher. Such a part,

4177:

typically use the third, seventh, and then the extensions such as the ninth and thirteenth, and in some cases the eleventh. The root is often omitted from chord voicings, as the bass player will play the root. The fifth is often omitted if it is a perfect fifth. Augmented and diminished fifths are

499:

Chords are also used for timbre effects. In organ registers, certain chords are activated by a single key so that playing a melody results in parallel voice leading. These voices, losing independence, are fused into one with a new timbre. The same effect is also used in synthesizers and orchestral

56:

is a group of two or more notes played simultaneously, typically consisting of a root note, a third, and a fifth. Chords are the building blocks of harmony and form the harmonic foundation of a piece of music. They can be major, minor, diminished, augmented, or extended, depending on the intervals

5226:

A suspended chord, or "sus chord", is a chord in which the third is replaced by either the second or the fourth. This produces two main chord types: the suspended second (sus2) and the suspended fourth (sus4). The chords, C and C, for example, consist of the notes C–D–G and C–F–G, respectively.

2280:

The basic function of chord symbols is to eliminate the need to write out sheet music. The modern jazz player has extensive knowledge of the chordal functions and can mostly play music by reading the chord symbols only. Advanced chords are common especially in modern jazz. Altered 9ths, 11ths and

3687:

above the root of the chord, the next natural step in composing tertian chords. The seventh chord built on the fifth step of the scale (the dominant seventh) is the only dominant seventh chord available in the major scale: it contains all three notes of the diminished triad of the seventh and is

4403:

The third and seventh of the chord are always determined by the symbols shown above. The root cannot be so altered without changing the name of the chord, while the third cannot be altered without altering the chord's quality. Nevertheless, the fifth, ninth, eleventh and thirteenth may all be

712:

instrument, I indicates the highest-pitched, thinnest string and IV indicates the lowest-pitched, thickest bass string). In some orchestral parts, chamber music and solo works for string instruments, the composer tells the performer which string to use with the Roman numeral. Alternately, the

3160:

can be decomposed into a series of (perfect or augmented) fourths. Quartal harmony normally works with a combination of perfect and augmented fourths. Diminished fourths are enharmonically equivalent to major thirds, so they are uncommon. For example, the chord C–F–B is a series of fourths,

526: 328: 3294:, giving their sound a characteristic high tension, and making the harmonic semitone likely to move in certain stereotypical ways to the following chord. A chord containing major sevenths but no minor seconds is much less harsh in sound than one containing minor seconds as well. 496:), in which chords may include up to seven notes (and occasionally more). When referring to chords that do not function as harmony, such as in atonal music, the term "sonority" is often used specifically to avoid any tonal implications of the word "chord". 5506:

major chord) would be borrowed, as this chord appears only in the key of C minor. Although borrowed chords could theoretically include chords taken from any key other than the home key, this is not how the term is used when a chord is described in formal

1522:(parenthesis) is used to indicate explicit chord alterations (e.g., A). The parenthesis is probably left from older days when jazz musicians weren't used to "altered chords". Albeit important, the parenthesis can be left unplayed (with no "musical harm"). 686:

indicate major triads (e.g., I, IV, V) while lower-case Roman numerals indicate minor triads (e.g., I for a major chord and i for a minor chord, or using the major key, ii, iii and vi representing typical diatonic minor triads); other writers (e.g.,

4610: 2986:

Further, a four-note chord can be inverted to four different positions by the same method as triadic inversion. For example, a G chord can be in root position (G as bass note); first inversion (B as bass note); second inversion (D as bass note); or

4818:(a tonic triad with the fifth doubled for the same purpose). In this case, the tonic note of the key is included in the chord, sometimes along with an optional fourth note, to create one of the following (illustrated here in the key of C major): 4411:(C) may have a minor ninth, a sharp ninth, a diminished fifth, or an augmented fifth. Some write this as C, which assumes also the minor ninth, diminished fifth and augmented fifth. The augmented ninth is often referred to in blues and jazz as a 4172:

or extensions, i.e., notes beyond the seventh, are shown here in red. This chord is just a theoretical illustration of this chord. In practice, a jazz pianist or jazz guitarist would not normally play the chord all in thirds as illustrated. Jazz

317:

chords. A simple example of two notes being interpreted as a chord is when the root and third are played but the fifth is omitted. In the key of C major, if the music stops on the two notes G and B, most listeners hear this as a G major chord.

313:." According to Monath, "a chord is a combination of three or more tones sounded simultaneously", and the distances between the tones are called intervals. However, sonorities of two pitches, or even single-note melodies, are commonly heard as 244:. A sequence of chords is known as a chord progression or harmonic progression. These are frequently used in Western music. A chord progression "aims for a definite goal" of establishing (or contradicting) a tonality founded on a key, root or 4698: 4651: 4483: 4104: 3834: 4880:

The augmented sixth family of chords exhibits certain peculiarities. Since they are not based on triads, as are seventh chords and other sixth chords, they are not generally regarded as having roots (nor, therefore, inversions), although one

4350: 3942: 2828:

respectively. Otherwise, all the numerals may be upper-case and the qualities of the chords inferred from the scale degree. Chords outside the scale can be indicated by placing a flat/sharp sign before the chord—for example, the chord

2804:

of that key and notated in Roman numerals as I. The same C major chord can be found in other scales: it forms chord III in the key of A minor (A→B→C) and chord IV in the key of G major (G→A→B→C). This numbering indicates the chords's

4569: 3777: 57:

between the notes and their arrangement. Chords provide the harmonic support and coloration that accompany melodies and contribute to the overall sound and mood of a musical composition. For many practical and theoretical purposes,

4526: 4300: 4063: 5260:

by the eventual appearance of the displaced note. In traditional music theory, the inclusion of the third in either chord would negate the suspension, so such chords would be called added ninth and added eleventh chords instead.

3982: 4249: 4017: 3884: 1118:, music theorists and advanced university music students to analyze songs and pieces. Chord letters use upper-case and lower-case letters to indicate the roots of chords, followed by symbols that specify the chord quality. 4784:

above the root, common in popular music. For example, the chord C contains the notes C–E–G–A. The minor sixth chord (min or m, e.g., Cm) is a minor triad, still with a major 6. For example, the chord Cm contains the notes

327: 476:

in the Baroque, and they became common in the Romantic period. Many contemporary popular Western genres continue to rely on simple diatonic harmony, though far from universally: notable exceptions include the music of

3651: 5580: 3604: 1230:. For instance, C/F indicates that a C major triad should be played with an added F in the bass. In some genres of modern jazz, two chords with a slash between them may indicate an advanced chord type called a 679:, ...), the triads (three-note chords) that have these degrees as their roots are often identified by Roman numerals (e.g., I, IV, V, which in the key of C major would be the triads C major, F major, G major). 329: 5047: 3565: 3525: 402:(which used the simultaneous perfect intervals of a fourth, a fifth, and an octave), with chord progressions and harmony - an incidental result of the emphasis on melodic lines during the medieval and then 5388: 5350: 5082: 5012: 5432: 4780:

The major sixth chord (also called, sixth or added sixth with the chord notation 6, e.g., C) is by far the most common type of sixth chord of the first group. It comprises a major triad with the added

350:

Since a chord may be understood as such even when all its notes are not simultaneously audible, there has been some academic discussion regarding the point at which a group of notes may be called a

4365:

Other extended chords follow similar rules, so that for example maj, maj, and maj contain major seventh chords rather than dominant seventh chords, while m, m, and m contain minor seventh chords.

1510:) indicates a sus chord with the third omitted and the second (which may also be called the ninth) used instead. As with "sus4", a "sus2" chord can have other scale degrees added (e.g., A or A). 5581: 695:(e.g., vii indicates a diminished seventh chord built on the seventh scale degree; in the key of C major, this chord would be B diminished seventh, which consists of the notes B, D, F and A 135:. Although any chord may in principle be followed by any other chord, certain patterns of chords are more common in Western music, and some patterns have been accepted as establishing the 3695:

depending on the quality of both the chord and the seventh added. In chord notation the chord type is sometimes superscripted and sometimes not (e.g., Dm7, Dm, and D are all identical).

2312:

era or later, major and minor chords are typically realized as seventh chords even if only "C" or "Cm" appear in the chart. In jazz charts, seventh chords are often realized with upper

6726:

Schellenberg, E. Glenn; Bigand, Emmanuel; Poulin-Charronnat, Benedicte; Garnier, Cecilia; Stevens, Catherine (Nov 2005). "Children's implicit knowledge of harmony in Western music".

4777:

chords and added sixth chords that contain a sixth from the root. The other group is inverted chords in which the interval of a sixth appears above a bass note that is not the root.

305:, for example, states, "When three or more notes are sounded together, the combination is called a chord." George T. Jones agrees: "Two tones sounding together are usually termed an 3259:, giving their sound a characteristic tension, and making the tritone interval likely to move in certain stereotypical ways to the following chord. Tritones are also present in 1044:

beneath the staff indicate the intervals above the bass note to play; that is, the numbers stand for the number of scale steps above the written note to play the figured notes.

1338:. In a lot of jazz styles, an unembellished major triad is rarely if ever played, but in a lead sheet the choice of which major quality chord to use is left to the performer. 2859:

may be omitted if they are not relevant to the analysis. Roman numeral analysis indicates the root of the chord as a scale degree within a particular major key as follows.

3683:

Seventh chords are tertian chords, constructed by adding a fourth note to a triad, at the interval of a third above the fifth of the chord. This creates the interval of a

708:

or string to play. In some string music, the string on which it is suggested that the performer play the note is indicated with a Roman numeral (e.g., on a four-string

5519:

is the chord of the fifth degree of the G major scale, which is D major (which can also be described as II relative to the key of C major, not to be confused with the

2599:

are used—though these more usually refer to the pitch classes of any scale, not generally played simultaneously. Chords that may contain more than three notes include

4926:

scale degree as its root that is called a "sixth" because it is almost always found in first inversion. Though a technically accurate Roman numeral analysis would be

5796: 4415:, being enharmonically equivalent to the minor third or tenth. When superscripted numerals are used the different numbers may be listed horizontally or vertically. 4131: 5486:

A borrowed chord is one from a different key than the home key, the key of the piece it is used in. The most common occurrence of this is where a chord from the

1500:

with the third omitted and the fourth used instead. Other notes may be added to a sus4 chord, indicated with the word "add" and the scale degree (e.g., A or A).

638:

The chord progression vi–ii–V–I in the key of C major. Using lead sheet chord names, these chords could be referred to as A minor, D minor, G major and C major.

3678: 7070: 5578: 3109:

Many chords are a sequence of notes separated by intervals of roughly the same size. Chords can be classified into different categories by this size:

1330:

indicates a major chord. In a jazz context, this typically indicates that the player should use any suitable chord of a major quality, for example a

2316:, such as the ninth, sharp eleventh, and thirteenth, even if the chart only indicates "A". In jazz, the root and fifth are often omitted from chord 2524: 3450: 6969: 6391: 4798:

usually appears in chord notation as its enharmonic equivalent, the seventh chord. This chord contains two notes separated by the interval of an

413:

period, the 17th and 18th centuries, began to feature the major and minor scale based tonal system and harmony, including chord progressions and

1407: 1192: 5227:

There is also a third type of suspended chord, in which both the second and fourth are present, for example the chord with the notes C–D–F–G.

5530:

Borrowed chords are widely used in Western popular music and rock music. For example, there are a number of songs in E major which use the

1148:, a chord name and the corresponding symbol are typically composed of one or more parts. In these genres, chord-playing musicians in the 5579: 4806:, though this inversion is rare). The augmented sixth is generally used as a dissonant interval most commonly used in motion towards a 5608:

individual notes to form the chord. It is, in effect, an arpeggio played by several instruments sequentially. This is also known as a

287:

writes that, "Two or more notes sounded simultaneously are known as a chord," though, since instances of any given note in different

7906: 7063: 1127: 585: 517: 7572: 6996: 6880: 6827: 6778: 6716: 6599: 6580: 6464: 6424: 6404: 6342: 6321: 5820:, p. 15, "Indeed, this harmonic orientation is one of the major differences between Western and much non-Western music." 5780: 2887:. Chords that have many constituent notes can have many different inverted positions as shown below for the C major chord: 5804: 3406: 433:

occurred with frequency. In the Baroque period, the dominant seventh proper was introduced and was in constant use in the

5281:

Extended versions are also possible, such as the seventh suspended fourth, which, with root C, contains the notes C–F–G–B

5208: 4730: 4385: 4155: 2305:

from a chord chart. Chord charts are used by horn players and other solo instruments to guide their solo improvisations.

1528:

indicates that an additional interval number should be added to the chord. (e.g., C is a C 7th chord plus an added 13th).

1176:" of each chord from a song's chord progression by interpreting the written chord symbols appearing in the lead sheet or 625: 257: 7030: 5565: 3378: 7472: 7056: 4538: 1017:

1600–1750), though rarely in music from later than 1750, to indicate harmonies in relation to a conventionally written

5548:

VI chord (e.g., a C major chord used in an E major song). All of these chords are "borrowed" from the key of E minor.

1051:

is a C, and the numbers 4 and 6 indicate that notes a fourth and a sixth above (F and A) should be played, giving the

248:

chord. The study of harmony involves chords and chord progressions and the principles of connection that govern them.

7949: 6978: 6943: 6910: 6808: 6697: 6665: 6639: 6618: 6561: 6542: 6521: 6445: 6363: 6302: 6255: 3425: 6837:

Tanguiane, Andranick (1994). "A principle of correlativity of perception and its application to music recognition".

508:#5 the parallel parts of flutes, horn and celesta, being tuned as a chord, resemble the sound of an electric organ. 7389: 7299: 3385: 3324: 2812:

Many analysts use lower-case Roman numerals to indicate minor triads and upper-case numerals for major triads, and

2613:

are formed by two or more chords superimposed. Often these may be analysed as extended chords; examples include

7404: 4952:

but the chord is not borrowed from the relative major or minor and it may appear in both major and minor keys.

4408: 3363: 3359: 1195:(e.g., minor, aug or ). If no chord quality is specified, the chord is assumed to be a major triad by default. 7815: 7414: 7399: 4407:

These are noted alongside the altered element. Accidentals are most often used with dominant seventh chords.

4075: 3789: 3392: 3264: 2228: 1375: 1273: 1262:

Major and minor (a chord is "Major" by default and altered with added info: "C" = C major, "Cm" = c minor).

345:. The chords on the lower stave are constructed from the notes in the actual piece, shown in the upper stave. 5596:

technique in which a composition has separate instruments (or multiples of the same instrument) play single

6986: 5557: 1133: 109: 17: 4814:(with the root doubled to create the octave the augmented sixth chord resolves to) or to a tonic chord in 7643: 6964: 6386: 5460: 5275: 5204: 4726: 4381: 4151: 3157: 3091: 3074: 3020: 2994: 2626: 1104: 1066: 1062: 878: 774: 621: 525: 323: 253: 5248:

melodic progress to a harmonically stable note in any particular part was often momentarily delayed, or

3374: 3003:

are concerned, the term "inversion" is used slightly differently; to refer to stock fingering "shapes".

8019: 6276: 442: 7369: 7429: 7409: 7079: 5253: 3896: 3692: 2668: 2092: 546: 446: 364: 275: 592:, and chord charts, to quickly lay out the harmonic ground plan of a piece so that the musician may 291:

may be taken as the same note, it is more precise for the purposes of analysis to speak of distinct

7394: 5474: 3733: 3260: 2185: 1470:, which in jazz usually includes the dominant seventh and ninth as well, if it is a dominant chord. 1366: 434: 5523:

ii namely D minor.). If used for a significant duration, the use of the D major chord may cause a

7419: 7266: 7157: 7042: 5211: 4733: 4450: 4388: 4158: 4029: 3352: 1921: 713:

composer starts the note name with the string to use—e.g., "sul G" means "play on the G string".

628: 358:

explains that, "We can encounter 'pure chords' in a musical work", such as in the "Promenade" of

260: 187: 144: 6334:

Techniques and Materials of Music: From the Common Practice Period Through the Twentieth Century

5400: 8084: 7789: 7686: 7434: 7384: 5632: 5490:

key is used. Particularly good examples can be found throughout the works of composers such as

5241: 3954: 3256: 3214: 1791: 1435: 614: 542: 430: 183: 164: 65:

are not sounded simultaneously) may also be considered as chords in the right musical context.

31: 8089: 7942: 7587: 7542: 7516: 7424: 6728: 6629: 6435: 6332: 5910: 4795: 2308:

Interpretation of chord symbols depends on the genre of music being played. In jazz from the

1414:, which consists of only the root and fifth, possibly with the root doubled an octave higher. 1169: 593: 429:(perfect authentic, etc.). In the Renaissance, certain dissonant sonorities that suggest the 4914:, though this is not the root. Nowadays, this is mostly for academic study or analysis (see 1306:

indicates a minor chord. The "m" must be lowercase to distinguish it from the "M" for major.

1234:, which is the playing of two chords simultaneously. The correct notation of this should be 8039: 7810: 7794: 7628: 7292: 6649: 6396: 5636: 5287:

and is notated as C. C is sometimes written C since the sus4 is more common than the sus2.

4885:

of the notes is common (with the namesake interval inverted to create a diminished third).

4312: 3024: 1255: 378: 355: 298: 5651:

contains two occurrences of this "bell effect" in the middle section, as does the solo in

1199: 1022: 8: 7379: 7374: 7145: 6927: 4822: 4148:

chords. For example, a minor eleventh chord such as A consists of the notes A–C–E–G–B–D:

3994: 3846: 3399: 3291: 3134:

can be decomposed into a series of (major or minor) seconds. For example, the chord C–D–E

2883:), and the other notes are above it. When the lowest note is not the tonic, the chord is 2049: 1834: 1460:, which in jazz usually includes the dominant seventh as well, if it is a dominant chord. 1331: 458: 301:, three is often taken as the minimum number of notes that form a definite chord. Hence, 178:

Common ways of notating or representing chords in Western music (other than conventional

6822:. Lecture Notes in Artificial Intelligence. Vol. 746. Berlin-Heidelberg: Springer. 4215: 7865: 7830: 7784: 7150: 6854: 6500: 5524: 5516: 5257: 5249: 5232: 4932:

II, it is generally labelled N. In C major, the chord is notated (from root position) D

4856: 4839: 4752: 3744: 3684: 2672: 1637: 1041: 414: 148: 5686:

is a harmonic unit with at least three different tones sounding simultaneously." And

3189:. The use of accidentals can also complicate the terminology. For example, the chord B 7999: 7994: 7756: 7677: 7612: 6992: 6974: 6949: 6939: 6906: 6876: 6823: 6804: 6784: 6774: 6757: 6745: 6741: 6712: 6693: 6661: 6635: 6614: 6595: 6576: 6557: 6538: 6517: 6504: 6460: 6441: 6420: 6400: 6369: 6359: 6338: 6317: 6298: 6251: 5776: 5640: 4807: 3246: 2006: 1746: 688: 674: 666: 658: 359: 284: 124: 120: 4136:

Extended chords are triads with further tertian notes added beyond the seventh: the

37: 8079: 8034: 7935: 7825: 7761: 7714: 7499: 7346: 7115: 7100: 7090: 6916: 6846: 6737: 6492: 5871:, p. 26, "It is required of a chord that it consist of three different tones." 5617: 5508: 5094: 4989: 4919: 4815: 4803: 4719: 4455: 3624: 3616: 3471: 3301: 3182: 3166: 3097: 3084: 2962: 2856: 2821: 2806: 2748: 2366: 2143: 1618: 1539: 1477: 1362: 1269: 1088:

with fully written-out chords, is called a "realization" of the figured bass part.

1052: 1010: 800: 709: 564: 454: 97: 85: 30:

This article is about pitch simultaneity and harmony in music. For other uses, see

5770: 5690:, p. 359 "A combination of three or more pitches sounding at the same time." 3459:, are tertian chords with three notes. The four basic triads are described below. 1480:, which in jazz usually includes the dominant seventh, ninth and eleventh as well. 8074: 8004: 7776: 7648: 7592: 7552: 7526: 7467: 7351: 7341: 7285: 6932: 6870: 6532: 6353: 5362: 5324: 5245: 5197: 5119: 4799: 4774: 4744: 4174: 4169: 3767: 3585: 3577: 3318: 3186: 2988: 2938: 2825: 2317: 1879: 1628: 1349: 1265: 1173: 1157: 1153: 965: 781: 535:

Chords can be represented in various ways. The most common notation systems are:

473: 465: 449:

in the Baroque period. They became frequent in the Classical period, gave way to

341: 6676: 4892:

major and minor chords, which may be called sixth chords in that the six-three (

3327:, which has many major thirds and tritones and no minor thirds or perfect fifths 1258:

of the component intervals that define the chord. The main chord qualities are:

704:

Roman numerals can also be used in stringed instrument notation to indicate the

8014: 7916: 7911: 7751: 7746: 7653: 7457: 7444: 7197: 7135: 6796: 6657: 5478: 5466: 5453: 5030: 4949: 4889: 4261: 4125: 3178: 3162: 3116:

can be decomposed into a series of (major or minor) thirds. For example, the C

3080: 2868: 2852: 2684: 2494: 2464: 2449: 2359: 2348: 2333: 2313: 2282: 1613: 1561:

The table below lists common chord types, their symbols, and their components.

1467: 1279: 1149: 738: 648: 559:, much used in the Baroque era, uses numbers added to a bass line written on a 438: 391: 373: 336: 302: 229: 179: 152: 101: 62: 6496: 6267: 3238:

sound of the chord, and sometimes of the selection of the chord that follows.

2552:

Two-note combinations, whether referred to as chords or intervals, are called

8068: 8044: 8029: 8009: 7969: 7820: 7766: 7738: 7694: 7667: 7607: 7602: 7562: 7361: 7323: 7253: 7248: 7202: 7125: 6960: 6898: 6788: 6437:

The Rockmaster System: Relating Ongoing Chords to the Keyboard – Rock, Book 1

6382: 5694:, p. 63 notes "Two or more notes sounding simultaneously are known as a 5556:"Bell effect" redirects here. For the effect of the bell on instruments, see 5470: 4882: 4811: 4495: 4374: 3907: 3800: 3672: 3507: 3444: 3313: 3279: 3101: 2914: 2875: 2848: 2792: 2664: 2630: 2618: 2564: 2539: 2509: 2479: 2434: 2409: 2404: 2294: 1647: 1642: 1623: 1443: 1394:

is the minor or major quality of the chord and is rarely written as a number.

1165: 1097: 1081: 1025: 756: 692: 683: 578: 570: 560: 550: 450: 418: 245: 195: 172: 93: 89: 77: 7048: 6483:

Hawkins, Stan (October 1992). "Prince- Harmonic Analysis of 'Anna Stesia'".

6373: 4398:

An altered chord on C with a diminished fifth and a minor seventh and ninth.

8024: 7974: 7870: 7724: 7597: 7582: 7567: 7547: 7521: 7488: 7238: 7233: 7120: 6749: 6180: 6168: 5652: 5648: 5597: 5487: 5252:, by extending the duration of the previous note. The resulting unexpected 4945: 4915: 3275: 3145: 3141: 3120:(C–E–G) is defined by a sequence of two intervals, the first (C–E) being a 3050: 3046: 3000: 2774: 2671:

or unstable tone that lies outside the chord currently heard, though often

2604: 2424: 2419: 2352: 1598: 1593: 1205:

Additional musical symbols or abbreviations for special alterations (e.g.,

1185: 1115: 1071:

If no numbers are written beneath a bass note, the figure is assumed to be

722: 644: 601: 574: 556: 469: 422: 191: 160: 132: 105: 81: 6953: 6801:

Essentials of Music Theory: A Complete Self-Study Course for All Musicians

6725: 5916: 647:

are typically represented in musical analysis or musicology articles with

445:

appeared in the Baroque period and remains in use. Composers began to use

7885: 7880: 7855: 7850: 7709: 7577: 7557: 7511: 7452: 7336: 7331: 7212: 7207: 7192: 7187: 7140: 6866: 5593: 5561: 5059: 4781: 4770: 4223: 3542: 3537: 3502: 3497: 3309: 3305: 3125: 3121: 3117: 3067: 3063: 2797: 2738: 2600: 2373: 2341: 2286: 1964: 1703: 1633: 1608: 1603: 1457: 1421: 1411: 1406:

is the (perfect) fifth of the chord and is only written as a number when

1226: 1056: 1029: 705: 597: 403: 293: 203: 156: 136: 6858: 7979: 7875: 7719: 7699: 7462: 7095: 6457:

The Jazz Language: A Theory Text for Jazz Composition and Improvisation

5644: 5520: 5270: 5237: 4923: 4330: 4145: 2758: 2718: 2708: 2499: 2469: 2454: 2290: 1145: 1033: 652: 486: 478: 270: 199: 140: 6248:

Four Parts, No Waiting:A Social History of American Barbershop Quartet

7860: 7483: 6850: 5628: 4911: 4412: 2880: 2610: 2603:

chords, dominant seventh chords, extended chords, added tone chords,

2544: 2529: 2514: 2484: 2298: 2297:) to improvise a chordal accompaniment and to play improvised solos. 1497: 1379: 1335: 1231: 1221: 1177: 1141: 1048: 1018: 589: 482: 73: 41: 5265:

conventional stepwise resolution to the third is still observed. In

3341: 2369:

it is constructed from—for example, seconds, thirds, or fourths, and

2281:

5ths are not common in pop music. In jazz, a chord chart is used by

7901: 7728: 7633: 7130: 7002: 5542:

VII chord (e.g., a D major chord used in an E major song) and the

5494:. For instance, for a composer working in the C major key, a major 5491: 5266: 4277: 4141: 3321:, which has many major thirds and no minor thirds or perfect fifths 3271: 3131: 3040: 3012: 2778: 2622: 2439: 2302: 1080:, which calls for a third and a fifth above the bass note (i.e., a 168: 69: 58: 2841:

III. The tonic of the scale may be indicated to the left (e.g., "F

567:

chords with the right hand while playing the bass with their left.

7984: 7958: 7704: 7638: 7243: 7105: 7025: 5605: 3242: 3217:

to (and sonically indistinguishable from) the tertian chord C–E–G

3170: 3113: 3057: 3016: 2787: 2728: 2614: 2557: 2320:, except when there is a diminished fifth or an augmented fifth. 682:

In some conventions (as in this and related articles) upper-case

426: 410: 399: 215: 7217: 7182: 7037: 5536:

III chord (e.g., a G major chord used in an E major song), the

1588: 288: 96:

above the root note. Chords with more than three notes include

5978: 5976: 1400:

is mostly used as an extra note in a chord (e.g., add4, sus4).

1388:

is mostly used as an extra note in a chord (e.g., add2, sus2).

279:"Promenade", is a piece showing an explicit chord progression. 80:, so called because they consist of three distinct notes: the 6084: 6072: 5951: 5949: 5571: 4748: 4137: 2309: 1220:

An added slash "/" and an upper case letter indicates that a

1161: 501: 128: 49: 8054: 5752: 5750: 5748: 5746: 5744: 123:. One example of a widely used chord progression in Western 6012: 6000: 5988: 5973: 5961: 5934: 5731: 5729: 5727: 5624: 4755:), distinguished by the absence or presence of the third (E 3201:

appears to be quartal, as a series of diminished fourths (B

1486:

indicates a triad with the addition of the sixth and ninth.

1137: 1037: 395: 113: 76:

or "home key"), the most frequently encountered chords are

7927: 6330: 6228: 6192: 6186: 6174: 6120: 5946: 2336:, every chord has certain characteristics, which include: 1410:(e.g., F7). In guitar music, like rock, a "5" indicates a 453:

in the Romantic period, and underwent a resurgence in the

7277: 6331:

Benjamin, T.; Horvit, M.; Nelson, R.; Koozin, T. (2014).

6108: 6036: 5741: 5210: