Contents Articles Altered chord
1
Approach chord
4
Augmented major seventh chord
6
Augmented seventh chord
8
Augmented sixth chord
10
Augmented triad
18
Borrowed chord
21
Chromatic mediant
23
Common chord (music)
24
Contrast chord
26
Diminished major seventh chord
28
Diminished seventh chord
29
Diminished triad
36
Dominant (music)
39
Dominant seventh chord
42
Dominant seventh flat five chord
49
Dominant seventh sharp ninth chord
51
Eleventh chord
56
Half-diminished seventh chord
59
Harmonic seventh chord
63
Heptatonic scale
65
Hexatonic scale
70
Leading-tone
73
Lydian chord
76
Major chord
77
Major scale
79
Major seventh chord
81
Mediant
84
Minor chord
86
Minor major seventh chord
89
Minor seventh chord
91
Mixed-interval chord
93
Monotonic scale
94
Neapolitan chord
95
Ninth chord
98
Nondominant seventh chord
102
Octatonic scale
104
Passing chord
110
Pentatonic scale
111
Polychord
118
Primary triad
120
Quartal and quintal harmony
121
Scale (music)
135
Secondary dominant
140
Secondary leading-tone chord
146
Secondary supertonic chord
148
Seven six chord
148
Sixth chord
150
Subdominant
153
Submediant
155
Subsidiary chord
158
Subtonic
159
Supertonic
160
Suspended chord
162
Synthetic chord
165
Tetratonic scale
166
Thirteenth
168
Tone cluster
173
Tonic (music)
189
Upper structure
190
References Article Sources and Contributors
193
Image Sources, Licenses and Contributors
196
Article Licenses License
204
Altered chord
1
Altered chord In music, an altered chord, an example of alteration (see below), is a chord with one or more diatonic notes replaced by, or altered to, a neighboring pitch in the chromatic scale. For example the chord progression on the left uses four unaltered chords:[1]
Unaltered chord progression.
Altered chord progression.
Play Wikipedia:Media helpFile:Altered Chord 2nd.ogg
Play Wikipedia:Media helpFile:Altered Chord 1st.ogg
The progression on the right uses an altered IV chord and is an alteration of the previous progression. The A♭ in the altered chord serves as a leading tone to G, which is the root of the next chord.
Jazz In jazz and jazz harmony, the term altered chord, notated as an alt chord (e.g. G7alt Play Wikipedia:Media helpFile:G7alt chord.mid), refers to a dominant chord, "in which neither the fifth nor the ninth appears unaltered".[3] – namely, where the 5th and the 9th are raised or lowered by a single semitone, or omitted. Altered chords are thus constructed using the following notes, some of which may be omitted: • • • • •
root 3 ♭5 and/or ♯5 ♭7 ♭9 and/or ♯9
G7alt chord. Play G7alt Wikipedia:Media helpFile:G7alt chord.mid
Altered chords may include both a flatted and sharped form of the altered fifth or ninth, e.g. G7♭5♯5♭9; however, it is more common to use only one such alteration per tone, e.g. G7♭5♭9, G7♭5♯9, G7♯5♭9, or G7♯5♯9. Altered chord on C with flat 5th, 7th, and 9th.
The choice of inversion, or the omission of certain tones within the Play Wikipedia:Media helpFile:Altered chord on chord (e.g. omitting the root, common in guitar harmony), can lead to C.mid many different possible colorings, substitutions, and enharmonic equivalents. Altered chords are ambiguous harmonically, and may play a variety of roles, depending on such factors as voicing, modulation, and voice leading.
Altered chord
2
The altered chord's harmony is built off the altered scale, which includes all the alterations shown in the chord elements above: • • • • • • •
root ♭9 (=♭2) ♯9 (=♯2 or ♭3) 3 ♯11 (=♯4 or ♭5) ♭13 (=♯5) ♭7
D♭7♯11 chord = G7alt chord Play Wikipedia:Media helpFile:Db7sharp11 and G7alt chords.mid
Altered chords can be analyzed as a kind of tritone substitution (♭5 substitution). Thus the alt chord on a given root is the same as the 7♯11 chord on the root a tritone away (e.g., G7alt is the same as D♭7♯11 Play Wikipedia:Media helpFile:Db7sharp11 chord.mid). Altered chords are commonly substituted for regular dominant V chords in ii-V-I progressions, most commonly in minor harmony leading to an i7 (tonic minor 7th) chord.
Tritone substitution and altered chord as, "nearly [2] identical" Play Wikipedia:Media helpFile:Tritone substitution and altered chord.mid.
More generally in jazz, the terms altered chord and altered tone also refer to the family of chords that involve ♭9 and ♭5 voicing, as well as to certain other chords with related ambiguous harmony. Thus the "7♭9 chord" (e.g. G7♭9) is used in the context of a dominant resolution to a major tonic, which is typically voiced with a ♮13 rather than the ♭13 of the alt chord. When voiced with a ♮13, jazz musicians typically play the half-step/whole-step diminished scale over the ♭9 chord (e.g. G, A♭, B♭, B, C♯, D, E, F over G7♭9). Note that in chord substitution and comping, a 7♭9 is often used to replace a diminished chord, for which it may be the more "correct" substitution due to its incorporation of an appropriate root tone. Thus, in a progression where a diminished chord is written in place of a G7 chord, i.e. where the dominant chord is replaced by an A♭-dim (A♭-C♭-E = G♯-B-D), D-dim (D-F-A♭), B-dim (B-D-F), or F-dim (F-A♭-C♭ = F-G♯-B)), a G7♭9 is often played instead. G7♭9 (G-B-D-F-♭A) contains the same notes as any of these diminished chords with an added G root.
Alteration In music, alteration, an example of chromaticism, is the use of a neighboring pitch in the chromatic scale in place of its diatonic neighbor such as in an altered chord. This should not be confused with borrowing (as in borrowed chord), in which pitches or chords from the parallel key are used in place of those of the original key. Altered notes may be used as leading tones to emphasize their diatonic neighbors. [4] Altered dominant chord in C major V-I Contrast with chord extension: "Whereas chord extension generally progression, unaltered dominant resolving to the involves adding notes that are logically implied, chord alteration tonic Wikipedia:Media helpFile:Progression with involves changing some of the typical notes. This is usually done on unaltered chord.ogg Altered dominant played dominant chords, and the four alterations that are commonly used are twice then resolved to the tonic Wikipedia:Media helpFile:Altered chord in progression.ogg. the ♭5, ♯5, ♭9 and ♯9. Using one (or more) of these notes in a resolving dominant chord greatly increases the bite in the chord and therefore the power of the resolution." "The more tension, the more powerful the resolution...we can pile that tension on to make the resolution really spectacular."[5]
Altered chord
3 The ♭9 chord is recommended for resolution to minor chords, for example VI7 to ii (G7♭9 to Cm7) in the I-vi-ii-V turnaround. The ♯9 chord is also known as the Purple Haze chord, is most often notated with the enharmonic equivalent ♭3, and is thus used with the blues. The 5 in a ♭5 chord is enharmonically equivalent to a ♯4 or ♯11, but the eleventh chord includes the ♮5 while in the flat chord it is replaced. The ♯5 chord is enharmonically equivalent to a ♭13, does not include the ♮5, and is more common than the ♭13 chord. Both the flat and sharp fifth resolve nicely to the natural ninth.[6]
Dominant seventh flat five chord on C (C7♭5). Play Wikipedia:Media helpFile:Dominant seventh flat five chord on C.mid
In jazz, chromatic alteration is either the addition of "notes which are not diatonic to the given scale" or "the expansion of any given [chord] progression by adding extra nondiatonic chords".[7] For example, "A C major scale with an added D♯ note, for instance, is a chromatically altered scale" while, "one bar of Cmaj7 moving to Fmaj7 in the next bar can be chromatically altered by adding the ii and V of Fmaj7 on the second two beats of bar" one. Techniques include the ii-V-I turnaround, as well as movement by half-step or minor third.[8]
Example of an altered chord progression in jazz Play Wikipedia:Media helpFile:Altered chord progression jazz.mid.
For example, an altered dominant or V chord may be G♭-B-D♯ (♭5 and ♯9).
Altered seventh chord An altered seventh chord is a seventh chord with one, or all,[10] of its factors raised or lowered by a semitone (altered), for example the augmented seventh chord (7+ or 7+5) featuring a raised fifth[11] (C7+5: CEG♯B♭). Most likely the fifth, then the ninth, then the thirteenth. In classical music, the raised fifth is more common than the lowered fifth, which in a dominant chord adds Phrygian flavor through the introduction of ♭ . (for example, in C the dominant is G, its fifth is D, the second scale degree)
Augmented seventh chord on C. Play Wikipedia:Media helpFile:Augmented seventh chord on C.mid
Sources [1] Erickson, Robert (1957). The Structure of Music: A Listener's Guide, p.86. New York: Noonday Press. ISBN 0-8371-8519-X (1977 edition). [2] Coker, Jerry (1997). Elements of the Jazz Language for the Developing Improvisor, p.81. ISBN 1-57623-875-X.
Altered dominant seventh chord arising from voice leading in Chopin's Sonata, Op. [9] 35. Play Wikipedia:Media helpFile:Chopin - Sonata, Op. 35, I augmented seventh chord.mid
Altered chord
4
[3] Sher (ed.). The New Real Book Volume Two. Sher Music Co., 1991, ISBN 0-9614701-7-8 [4] Erickson (1957), p.86. Subtitled "a study of music in terms of melody and counterpoint". [5] Baerman, Noah (1998). Complete Jazz Keyboard Method: Intermediate Jazz Keyboard, p.70. ISBN 0-88284-911-5. [6] Baerman (1998), p.71. [7] Arkin, Eddie (2004). Creative Chord Substitution for Jazz Guitar, p.42. ISBN 0-7579-2301-1.
The augmented fifth often appears in the soprano voice, as here in Franck's Symphonic Variations. Play Wikipedia:Media helpFile:Franck Symphonic Variations augmented seventh chord.mid
[8] Arkin (2004), p.43. [9] Aldwell, Edward; Schachter, Carl; and Cadwallader, Allen (2010). Harmony & Voice Leading, p.601. ISBN 9780495189756.
[10] Davis, Kenneth (2006). The Piano Professor Easy Piano Study, p.78. ISBN 9781430303343. [11] Christiansen, Mike (2004). Mel Bay's Complete Jazz Guitar Method, Volume 1, p.45. ISBN 9780786632633.
Approach chord In music, an approach chord (also chromatic approach chord and dominant approach chord) is a chord one half-step higher or lower than the goal, especially in the context of turnarounds and cycle-of-fourths progressions, for example the two bar 50s progression:[3] [1]
I-vi-ii-V turnaround in G
Play Wikipedia:Media helpFile:I-vi-ii-V turnaround in G.mid.
I-vi-ii-V turnaround with approach chords in G Play Wikipedia:Media helpFile:Approach chords in G.mid.
I-vi-ii-V turnaround in F
Play Wikipedia:Media helpFile:Turnaround in F.mid.
Approach chord
5
Approach chords in F
|G /
Em /
Play Wikipedia:Media helpFile:Approach chords in [2] F.mid.
|Am /
D7 /
||
may be filled in with approach chords: |G F9 Em Abm |Am D#7 D7 Gb7 || F9 being the half-step to Em, A♭m being the half-step to Am, D♯7 being the half-step to D7, and G♭7 being the half-step to G. G being I, Em being vi, Am being ii, and D7 being V7 (see ii-V-I turnaround and circle progression). An approach chord may also be the chord immediately preceding the target chord such as the subdominant (FMaj7) preceding the tonic (CMaj7) creating a strong cadence through the contrast of no more than two common tones:[4] FACE – CEGB. Approach chords may thus be a semitone or a fifth or fourth from their target.[5] Approach chords create the harmonic space of the modes in jazz rather than secondary dominants.[6]
Sources [1] [2] [3] [4] [5] [6]
Boyd, Bill (1997). Jazz Chord Progressions, p.43. ISBN 0-7935-7038-7. Fisher, Jody (2000). Jazz Skills: Filling the Gaps for the Serious Guitarist, p.30. ISBN 1-929395-10-8. Sokolow, Fred (2002). Jazzing It Up, p.11. ISBN 0-7935-9112-0. Felts, Randy (2002). Reharmonization Techniques, p.19. ISBN 0-634-01585-0. Grove, Dick (1989). Arranging Concepts Complete: The Ultimate Arranging Course for Today's Music, p.139. ISBN 0-88284-484-9. Pease, Ted (2003). Jazz Composition: Theory and Practice, p.68. ISBN 0-87639-001-7.
Augmented major seventh chord
6
Augmented major seventh chord augmented major seventh chord Component intervals from root major seventh augmented fifth major third root Forte number 4-19
In music, an augmented major seventh chord, augmented/major seventh chord, or major seventh sharp five chord (written as +M7, +Δ7, M7♯5, M7(♯5), M7/♯5, etc.) is a nondominant seventh chord comprising the root note, the note a major third above the root, the note an augmented fifth above the root, and the note a major seventh above the root: 1-3-♯5-7, and is associated with the augmented scale[2] (see jazz scale and chord-scale system). When used in jazz scores, a number of symbols can be used to represent this chord, including maj+7, and Δ+7.
Augmented major seventh chord on C play Wikipedia:Media helpFile:Augmented major seventh chord on C.mid.
This chord comes from the third mode of the both the harmonic minor and the melodic minor scales. For example, the third mode of the A minor melodic consists of C, D, E, F♯, G♯, A, and B. Therefore, the notes of the C maj7(♯5) chord are C, E, G♯, and B. As with dominant seventh chords, nondominant seventh chords including the augmented major seventh usually progress according to the circle, thus III+ resolves to vi or VI.[3] For example, C maj7(♯5) usually resolves to F. The chord can be represented by the integer notation {0, 4, 8, 11}.
Augmented major seventh chord table
III+
chord in C harmonic or ascending [1] melodic minor Play Wikipedia:Media helpFile:III+7M chord in C minor.mid.
Augmented major seventh chord
7
Chord
Root Major third Augmented fifth Major seventh
Cmaj7(♯5)
C
E
G♯
B
C♯maj7(♯5)
C♯
E♯ (F)
G (A)
B♯ (C)
D♭maj7(♯5)
D♭
F
A
C
Dmaj7(♯5)
D
F♯
A♯
C♯
D♯maj7(♯5)
D♯
F (G)
A (B)
C (D)
E♭maj7(♯5)
E♭
G
B
D
Emaj7(♯5)
E
G♯
B♯ (C)
D♯
Fmaj7(♯5)
F
A
C♯
E
F♯maj7(♯5)
F♯
A♯
C (D)
E♯ (F)
G♭maj7(♯5)
G♭
B♭
D
F
Gmaj7(♯5)
G
B
D♯
F♯
G♯maj7(♯5)
G♯
B♯ (C)
D (E)
F (G)
A♭maj7(♯5)
A♭
C
E
G
Amaj7(♯5)
A
C♯
E♯ (F)
G♯
A♯maj7(♯5)
A♯
C (D)
E (F♯)
G (A)
B♭maj7(♯5)
B♭
F♯
A
Bmaj7(♯5)
B
F (G)
A♯
D♯
Sources [1] Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.230. Seventh Edition. ISBN 978-0-07-294262-0. [2] Coker, Jerry (1976). The Jazz Idiom, p.66. ISBN 0-13-509851-3. [3] Benward & Saker (2003), p.232.
Augmented seventh chord
8
Augmented seventh chord
Play Wikipedia:Media helpFile:Augmented dominant seventh chord.mid
augmented seventh chord Component intervals from root minor seventh augmented fifth major third root Tuning 80:100:125:144
The augmented seventh chord Play Wikipedia:Media helpFile:Augmented seventh chord on C.mid, or seventh augmented fifth chord,[1] or seventh sharp five chord is a dominant seventh chord consisting of an augmented triad with a minor seventh. [2] Thus, it consists of a root, major third, augmented fifth, and the minor seventh.[3] Thus in the key of C major it would be C, E, G-sharp, and B-flat as in the figure. It may be notated with the chord symbols C+7, Caug7, or C7♯5, and can be represented by the integer notation {0, 4, 8, 10}. The root is the only optional note in an augmented seventh chord, the fifth being required because it is raised.[4] This alteration is useful in the major mode because the raised 5th creates a leading tone to the 3rd of the tonic triad. See also dominant. In rock parlance, the term Augmented seventh chord is sometimes confusingly and erroneously[citation needed] used to refer to the so-called "Hendrix chord", a 7♯9 chord which contains the interval of an augmented ninth but not an augmented fifth.[5] The augmented minor seventh chord may be considered an altered dominant seventh and may use the whole-tone scale, as may the dominant seventh flat five chord.[7] See chord scale system. One chord scale option for a C augmented dominant seventh chord (C E G♯ B♭ Play Wikipedia:Media helpFile:Augmented dominant seventh chord.mid) is the C whole tone [6] scale: C D E F♯ G♯ A♯/B♭ Play Wikipedia:Media helpFile:Whole tone scale on C.ogg
Augmented seventh chord
9
The augmented seventh chord normally resolves to the chord a perfect fourth above,[8] thus G7+5 resolves to a C major chord, for example.
Augmented seventh chord resolution in C major. Play Wikipedia:Media helpFile:Augmented seventh chord resolution in C major.mid
Augmented seventh chord table Chord
Root Major third Augmented fifth Minor seventh
Caug7
C
E
G♯
B♭
C♯aug7 C♯
E♯ (F)
G (A)
B
D♭aug7 D♭
F
A
C♭ (B)
Daug7
F♯
A♯
C
D♯aug7 D♯
F (G)
A (B)
C♯
E♭aug7 E♭
G
B
D♭
Eaug7
E
G♯
B♯ (C)
D
Faug7
F
A
C♯
E♭
F♯aug7 F♯
A♯
C (D)
E
G♭aug7 G♭
B♭
D
F♭ (E)
Gaug7
B
D♯
F
G♯aug7 G♯
B♯ (C)
D (E)
F♯
A♭aug7 A♭
C
E
G♭
Aaug7
C♯
E♯ (F)
G
A♯aug7 A♯
C (D)
E (F♯)
G♯
B♭aug7 B♭
D
F♯
A♭
Baug7
D♯
F (G)
A
D
G
A
B
Sources [1] Kroepel, Bob (1993). Mel Bay Creative Keyboard's Deluxe Encyclopedia of Piano Chords: A Complete Study of Chords and How to Use Them, p.15. ISBN 0-87166-579-4. [2] "The Dominant with a Raised 5th", Kostka, Stefan, and Dorothy Payne. 2004. Tonal Harmony with an Introduction to Twentieth-Century Music. 6th Ed. pp. 446-447. New York. ISBN 978-0-07-332713-6. [3] Garner, Robert (2007). Mel Bay presents Essential Music Theory for Electric Bass, p.69. ISBN 0-7866-7736-8. [4] Latarski, Don (1991). An Introduction to Chord Theory, p.29. ISBN 0-7692-0955-6. [5] Radio: "Shiver down the backbone - Jimi Hendrix comes to Radio 3" (http:/ / www. spectator. co. uk/ the-magazine/ arts/ 365466/ shiver-down-the-backbone. thtml), The Spectator, by Kate Chisholm, Wednesday, 21 November 2007 [6] Hatfield, Ken (2005). Jazz and the Classical Guitar Theory and Applications, p.121. ISBN 0-7866-7236-6. [7] Berle, Annie (1996). Contemporary Theory And Harmony, p.100. ISBN 0-8256-1499-6. [8] Bay, William (1994). Mel Bay Complete Jazz Sax Book, p.64. ISBN 0-7866-0229-5.
Augmented sixth chord
10
Augmented sixth chord In music theory, an augmented sixth chord contains the interval of an augmented sixth, usually above its bass tone. This chord has its origins in the Renaissance, further developed in the Baroque, and became a distinctive part of the musical style of the Classical and Romantic periods. The three more common types of augmented sixth chords as usually called Italian 6th, French 6th, and German 6th.
Resolution and chord construction The augmented sixth interval is typically between the sixth degree of the minor scale (henceforth ♭6) and the raised fourth degree (henceforth ♯4). With standard voice leading, the chord is followed directly or indirectly by some form of the dominant chord, in which both ♭6 and ♯4 have resolved to the fifth scale degree (henceforth 5). This tendency to resolve outwards to 5 is why the interval is spelled as an augmented sixth, rather than enharmonically as a minor seventh (♭6 and ♭5). Although augmented sixth chords are more common in the minor mode, they are also used in the major mode by borrowing ♭6 of the parallel minor scale.
The interval of an augmented sixth normally resolves outwards by semitone to an octave. Play Wikipedia:Media helpFile:Augmented sixth resolving to octave.ogg
The 3 most common augmented sixth chords in the tonalities of C major and C minor: Italian 6th, French 6th, and German 6th.
Double-diminished triad In music theory, the double-diminished triad is an archaic concept and term referring to a triad, or three note chord, which, already being minor, has its root raised a semitone, making it doubly diminished. However, this may be used as the derivation of the augmented sixth chord.[1] For example, F-A♭-C is a minor triad. F♯-A♭-C is a doubly diminished triad. Note that it is enharmonically equivalent to G♭-A♭-C (incomplete dominant seventh [missing E♭] or "backdoor" dominant-seventh substitute ♭VII). A♭-C-F♯ is an Italian augmented sixth chord.
Augmented sixth chord
11
Types There are three main types of augmented sixth chords, commonly known as Italian 6th, French 6th, and German 6th. Though each is named after a European nationality, theorists disagree on their precise origins and have struggled for centuries to define their roots, and fit them into conventional harmonic theory.[2]
Italian sixth The Italian sixth (It or It ) is derived from iv with an altered fourth scale degree, ♯4: ♭6—1—♯4; A♭—C—F♯ in C major and C minor. This is the only augmented sixth chord comprising just three distinct notes; in four-part writing, the tonic pitch is doubled.
The Italian sixth moving to V. Play Wikipedia:Media helpFile:Italian sixth moving to V.ogg
The second movement of Beethoven's piano sonata in F-sharp major, op. 78, begins with an Italian sixth chord. Play Wikipedia:Media helpFile:BeethovenOp78.mid
The Italian 6th is enharmonically equivalent to an incomplete dominant seventh.[3]
Augmented sixth chord
12
French sixth The French sixth (Fr
or Fr ) is similar to the Italian, but with an
additional tone, 2: ♭6—1—2—♯4; A♭—C—D—F♯ in C major and C minor. The notes of the French sixth chord are all contained within the same whole tone scale, lending a sonority common to French music in the 19th century (especially associated with Impressionist music).[4]
German sixth The German sixth (Gr
or Ger ) is also like the Italian, but with an
added tone ♭3: ♭6—1—♭3—♯4; A♭—C—E♭—F♯ in C major and C minor. In Classical music, however, it appears in much the same places as the other variants, though perhaps less used because of the contrapuntal difficulties outlined below. It appears frequently in the works of Beethoven.[5] The German sixth chord contains the same notes as a dominant seventh chord, though it functions differently.
The French sixth chord; the distinguishing tone is highlighted in blue. Play Wikipedia:Media helpFile:French sixth moving to V.ogg
It is more difficult to avoid parallel fifths when resolving a German sixth chord to the dominant, V. These parallel fifths, referred to as Mozart fifths, were occasionally accepted by common practice composers. There are two ways they can be avoided: 1. The ♭3 can move to either 1 or 2, thereby generating an Italian or French sixth, respectively, and eliminating the perfect fifth between ♭6 and ♭3.[6] 2. The chord can resolve to a "six-four" chord, functionally either as a cadential six-four intensification of V, or as the second inversion of I; the cadential six-four, in turn, resolves to a root-position V. This progression ensures that, in its voice leading, each pair of voices moves either by oblique motion or contrary motion and avoids parallel motion altogether. In minor modes, both 1 and ♭3 do not move during the resolution of the German sixth to the cadential six-four. In major modes, ♭3 can be enharmonically respelled as ♯2 if it resolves upwards to ♮3, similar in voice leading to the resolution of French sixth to the cadential six-four. This respelled chord is sometimes referred to as the English, Swiss or Alsatian sixth chord,[citation needed] or as a "'doubly augmented sixth chord"', as it contains two augmented intervals. However, other sources describe it as a German sixth.[7]
The German sixth is typically followed by a I
The German sixth; the distinguishing tone is highlighted in blue. Play Wikipedia:Media helpFile:German sixth moving to V.ogg
chord to avoid parallel fifths. Play Wikipedia:Media helpFile:GermanSixth64.mid
German sixth chord respelled with doubly augmented fourth (highlighted in blue) for voice-leading purposes. Also referred to as English, Swiss or Alsatian.
Augmented sixth chord
13
A German sixth chord from Michael Haydn's Requiem in C minor, first movement. (
Listen)
Other variants Other variants of augmented sixth chords are sometimes found in the repertoire, and are sometimes given whimsical geographical names. For example: 4—♭6—7—♯2; (F—A♭—B—D♯) is called by one source an Australian sixth. Such anomalies usually have alternative interpretations.
Standard harmonic function From the Baroque to the Romantic period, augmented sixth chords have had the same harmonic function: as a chromatically altered predominant chord (typically, an alteration of ii , IV , vi7 or their parallel equivalents in the minor mode) leading to a dominant chord. This movement to the dominant is heightened by the semitonal resolution of both ♭6 to 5 and ♯4 to 5; essentially, these two notes act as leading-tones. This characteristic has led many analysts to compare the voice leading of augmented sixth chords to the secondary dominant V of V because of the presence of ♯4, the leading-tone of V, in both chords. In the major mode, the chromatic voice leading is more pronounced because of the presence of two chromatically altered notes, ♭6, as well as ♯4, rather than just ♯4 in the minor mode.
Root position and inversion of augmented sixth chords Augmented sixth chords are occasionally used with a different chord member in the bass. Since there is no consensus among theorists that they are in root position in their normal form, the word "inversion" isn't necessarily accurate, but is found in some textbooks, nonetheless. Sometimes, "inverted" augmented sixth chords occur as a product of voice leading. Rousseau considered that the chord could not be inverted. 17th century instances of the augmented sixth with the sharp note in the bass are generally limited to German sources.[8]
Augmented sixth chord
14
Excerpt from Bach's Mass in B minor. At the end of the second measure, the augmented sixth is inverted to create a diminished third or tenth between the bass and the soprano (C♯—E♭); these two voices resolve inward to an octave Play Wikipedia:Media helpFile:Excerpt from Bach's Mass in B Minor.mid
Simon Sechter explains the chord of the French Sixth as being a chromatically altered version of a seventh chord on the second degree of the scale. The German Sixth is explained as a chromatically altered ninth chord on the same root, but with the root omitted.
Root positions of the augmented 6th chords in the tonality of C, according to Simon Sechter.
The tendency of the interval of the augmented sixth to resolve outwards is therefore explained by the fact that the A♭, being a dissonant note, a diminished fifth above the root (D), and flatted, must fall, whilst the F♯ being chromatically raised - must rise.
Extended functions In the late Romantic period and other musical traditions, especially jazz, other harmonic possibilities of augmented sixth variants and sonorities outside its function as a predominant were explored, exploiting their particular properties. An example of this is through the "reinterpretation" of the harmonic function of a chord: Since a chord could simultaneously have more than one enharmonic spelling with different functions (i.e., both predominant as a German sixth and dominant as a dominant seventh), its function could be reinterpreted mid-phrase. This heightens both chromaticism by making possible the tonicization of remote keys, and possible dissonances with the juxtaposition of remotely related keys.
Augmented sixth chord
15
Augmented sixth chords as altered dominant chords with flattened 2nd degree The augmented sixth chord may be built on notes other than ♭6. Tchaikovsky considered the augmented sixth chords as being altered dominants.[9] He described the augmented sixth chords as inversions of the diminished triad and of dominant and diminished seventh chords with the second degree chromatically lowered, and accordingly resolving into the tonic. He notes that, "some theorists insist upon [augmented sixth chord's] resolution not into the tonic but into the dominant triad, and regard them as being erected not on the altered 2-nd degree, but on the altered 6-th degree in major and on the natural 6-th degree in minor", yet calls this view, "fallacious", insisting that a, "chord of the augmented sixth on the 6-th degree is nothing else than a modulatory degression into the key of the dominant".
Augmented sixths as dominants in the tonality of C, according to Tchaikovsky. Notice the preluminary resolution to avoid parallel fifths in the last example.
An Italian sixth chord built on scale degree ♭2 preceded by a ♭II chord in root position. Here the Italian sixth chord functions as a substitute for the dominant, with which it shares the third and seventh. Schubert's A major sonata, D. 959. Play Wikipedia:Media helpFile:SchubertAug6.mid
Classical harmonic theory would notate the "tritone substitute" as an augmented sixth chord on ♭2. The Augmented sixth chord can either be the It+6 enharmonic to a dominant 7th chord without the 5th, Gr+6, enharmonically equivalent to a dominant 7th chord with the 5th, or Fr+6 enharmonically equivalent to the Lydian dominant without the 5th, all of which serve in a classical context as a substitute for the secondary dominant of V.[10][11]
Augmented sixth chord
16
Original dominant 7th-tonic progression Play Wikipedia:Media helpFile:Tritone substitutions V7-I.mid, tritone substitution (♭V7/V-I) Play Wikipedia:Media helpFile:Tritone substitutions bV7ofV-I.mid, augmented sixth chord (It6-I) Play Wikipedia:Media helpFile:Tritone substitutions It6-I.mid.
Enharmonicity to other chords Enharmonic equivalency of the French sixth The French sixth has two characteristics in common with the diminished seventh chord: 1. Both chords are constructed of two superimposed tritones; in the French sixth, between ♭6—2 (A♭—D) and 1—♯4 (C—F♯). Thus, both have inversional symmetry; 2. Both are enharmonically equivalent at the tritone; i.e., both chords transposed up or down a tritone will result in the same pitches as the original. As with the diminished seventh chord, the latter property allows the chord to be used in modulating to very remote keys. For instance: ♭6—1—2—♯4; (A♭—C—D—F♯ in C), could be interpreted identically in F♯ if reordered and respelled as D—F♯—G♯—B♯, i.e., the French sixth of the ♯IV key area, displaced an interval of a tritone relative to the tonic key, I.
Dominant functions
German sixth, A♭-C-D♯-F♯, and equivalent [12] dominant seventh, A♭-C-E♭-G♭ Play Wikipedia:Media helpFile:German sixth equals dominant seventh.mid
Irregular resolution through augmented sixth equivalence Play Wikipedia:Media helpFile:Irregular resolution through augmented [13] sixth equivalence.mid.
All variants of augmented sixth chords are closely related to the applied dominant V7 of ♭II; both Italian and German variants are enharmonically identical to dominant seventh chords. For example, in the key of C (I), the German sixth chord, A♭—C—E♭—F♯, could be reinterpreted as A♭—C—E♭—G♭, the applied dominant of D♭ (V/D♭).
Augmented sixth chord
Function In most occasions, the augmented 6th chords precede either the dominant, or the tonic in second inversion.[3] The augmented sixths can be treated as chromatically altered passing chords.[3]
Tristan chord Richard Wagner's Tristan chord (indicated below with Tr) from the opening of his opera, Tristan und Isolde, can be interpreted as a French sixth in the key of A minor (F-A-B-D♯) with an upwardly resolving long appoggiatura in the upper voice (G♯ to A). Note that the D♯ resolves downwards to D♮ instead of E:
References [1] [2] [3] [4]
Ernst Friedrich Richter (1912). Manual of Harmony, p.94. Theodore Baker. Offers a detailed explanation of augmented sixth chords as well as Neapolitan sixth chords. Rimsky, p. 121. Blatter, Alfred (2007). Revisiting Music Theory: a Guide to the Practice, p.144. ISBN 978-0-415-97440-0. "One may note that the French sixth contains the elements of a whole tone scale commonly associated with French impressionistic composers." [5] Notable examples include the themes of the slow movements (both in variation form) of the opp. 57 ("Appassionata") and 109 piano sonatas. [6] Beethoven frequently moves from one form of the chord to another in such a way, sometimes passing through all three. [7] Drabkin, William. Augmented sixth chord (http:/ / www. oxfordmusiconline. com/ subscriber/ article/ grove/ music/ 01517?). Grove Music Online (subscription needed). Accessed March 2012. [8] Ellis, Mark (2010). A Chord in Time: The Evolution of the Augmented Sixth from Monteverdi to Mahler, pp. 92-94. Farnham: Ashgate. ISBN 978-0-7546-6385-0. [9] Roberts, Peter Deane (1993). Modernism in Russian Piano Music: Skriabin, Prokofiev, and Their Russian Contemporaries, p.136. ISBN 0-253-34992-3. [10] Satyendra, Ramon. "Analyzing the Unity within Contrast: Chick Corea's Starlight", p.55. Cited in Stein. [11] Stein, Deborah (2005). Engaging Music: Essays in Music Analysis. New York: Oxford University Press. ISBN 0-19-517010-5. [12] Benward & Saker (2008). Music in Theory and Practice, Vol. II, p.222. ISBN 978-0-07-310188-0. [13] Owen, Harold (2000). Music Theory Resource Book, p.132. ISBN 0-19-511539-2.
Books • Rimsky-Korsakov, Nikolai (1886). Practical Treatise on Harmony (13th - 1924 ed.). St. Petersburg: A. Büttner.
17
Augmented triad
18
Augmented triad augmented triad Component intervals from root augmented fifth major third root Tuning 16:20:25
In music, an augmented triad is a triad, or chord, consisting of two major thirds (an augmented fifth). The term augmented triad arises from an augmented triad being considered a major chord whose top note (fifth) is raised, or augmented. It can be represented by the integer notation {0, 4, 8}. Augmented triad on C play Wikipedia:Media helpFile:Augmented triad on C.mid.
Harmonic considerations Whereas a major triad, such as C-E-G, contains a major third (C-E) then a minor third (E-G), with the interval of the fifth (C-G) being "perfect", the augmented triad sharpens that fifth (to an augmented fifth), becoming C-E-G♯. In other words the top note is raised a half step. If an octave from the root is added, the resulting chord (C-E-G♯-C) contains also a diminished fourth (G♯-C); this is the enharmonic equivalent of a major third, so the full-octave chord is, in effect, three major thirds.
♭III+ Play Wikipedia:Media helpFile:bIII+.mid Play Wikipedia:Media helpFile:bIII+ just.mid.
In just intonation, the interval between two major thirds and an octave, 2/(5/4)2, is 32/25, which is flatter by a septimal kleisma of size 225/224 than the septimal major third with ratio 9/7. While septimal ♭III+ as dominant substitute in ii-V-I turnaround Play Wikipedia:Media helpFile:bIII+ as dominant substitute.mid. meantone temperament tempers out the septimal kleisma, some other temperaments, for example miracle temperament, do so also, and in all of these temperaments the augmented triad may be identified with a circle of two major and one septimal major thirds, making up an octave.
Augmented triad
19
The augmented triad on the fifth scale degree may be used as a substitute dominant, and may also be considered as ♭III+,[1] for example in C: V+ = G-B-D♯, ♭III+ = E♭-G-B♮, and since in every key: D♯ = E♭, they are the same three pitches. Examples of popular music songs featuring the augmented chord include its introductory use in Chuck Berry's "School Days", Aaron Neville's "Tell It Like It Is", The Beatles' "Oh! Darling", after intros in Gene Pitney's "Town Without Pity", Beach Boys' "The Warmth of the Sun", Joe Cocker's "Delta Lady", at the end of the bridge in Patience and Prudence's "Tonight You Belong to Me", The Caravelles' "You Don't Have to Be a Baby to Cry", The Beatles' "From Me to You", The Dave Clark Five's "Glad All Over", and Martha and the Vandellas' "Dancing in the Street".[3] One of the few examples of an augmented chord on the opening downbeat is in the Carmen Lombardo song "Seems Like Old Times"; in "Barber Shop Memories"[4] the 4-part vocal score for the song (in the key of F) uses B♭ D F♯ to harmonize the downbeat as IV+ (the enharmonic equivalent of VI+). An augmented chord also harmonizes the opening downbeat of the chorus of the 1908 song "Shine On, Harvest Moon", heard at the beginning of the 1931 recording[5] by Ruth Etting.
Augmented chord from chromatic passing motion, ascending ("(Just Like) Starting Over") [2] and descending ("All My Loving"). Play ascending Wikipedia:Media helpFile:Augmented chord from chromatic passing motion ascending.mid and descending Wikipedia:Media helpFile:Augmented chord from chromatic passing motion descending.mid
Other examples of the augmented chord include its use as a chromatic passing function over the first degree, the fifth rising to ♯5 then 6 harmonized as IV, as in Jay and the Americans' "Some Enchanted Evening", Lesley Gore's "It's My Party" (I—I+—IV—iv) (see also minor major seventh chord), Herman's Hermits' "There's a Kind of Hush" (continues to ♭7 harmonized by Im7), by ii Roy Orbison's "Crying", followed by 6—♭6—5 motion in "Crying", The Guess Who's "Laughing", Dave Clark Five's "Because" (verse: I—I+—vi—Im7...ii and cadence on V+), The Monkees' "Tapioca Tundra" (I—I+—vi, and V+ after bridge). Though rare, the augmented chord occurs in rock music, "almost always as a linear embellishment linking an opening tonic chord with the next chord," for example John Lennon's "(Just Like) Starting Over" and the Beatles' "All My Loving". Thus with an opening tonic chord an augmented chord results from ascending or descending movement between the fifth and sixth degrees, such as in the chord progression I—I+—vi. This progression forms the verse for Oasis's 2005 single "Let There Be Love" (I-I+-vi-IV)
In tonal music The augmented triad differs from the other kinds of triad (the major triad, the minor triad, and the diminished triad) in that it does not naturally arise in a diatonic scale. Although it could be conceptualized as a triad built on the third degree of a harmonic minor scale or melodic minor scale, it virtually never occurs in this way (since any chord on the third degree is itself rare, usually being a new tonic). This rarity makes the augmented triad a special chord that touches on the atonal. Its uses to 'suspend' tonality are famous; for example, in Liszt's Faust Symphony and in Wagner's Siegfried Idyll. However, the augmented triad occurs in tonal music, with a perfectly tonal meaning, since at least Bach (see the first chord [m. 2] in the opening chorus to his cantata Ach Gott, vom Himmel sieh darein, BWV 2) and Haydn (see, for example, the Trio from Haydn's String Quartet Op. 54/2).[6] It results diatonically in minor mode from a dominant chord where the fifth (the second degree) is replaced by the third degree, as an anticipation of the resolution chord. Beethoven's 9th symphony features such a chord at key moments in the slow movement. Brahms's Tragic Overture also features the chord prominently (A-C♯-E♯), in alternation with the regular dominant (A-C♯-E). In this example one can also see other aspect of the appeal of the chord to composers: it is a 'conflation' of the fifth degree and the third degree, the usual
Augmented triad
20
contrasting keys of a piece in the minor mode. With the lead of Schubert (in his Wanderer Fantasy), Romantic composers started organizing many pieces by descending major thirds, which can be seen as a large-scale application of the augmented triad (although it probably arose from other lines of development not necessarily connected to the augmented triad). This kind of organization is common; in addition to Schubert, it is found in music of Liszt, Rimsky-Korsakov, Louis Vierne and Wagner, among others.
Augmented chord table Chord Root Major Third Augmented Fifth Caug
C
E
G♯
C♯aug C♯
E♯ (F)
G (A)
D♭aug D♭
F
A
Daug
F♯
A♯
D♯aug D♯
F (G)
A (B)
E♭aug E♭
G
B
Eaug
E
G♯
B♯ (C)
Faug
F
A
C♯
F♯aug F♯
A♯
C (D)
G♭aug G♭
B♭
D
Gaug
B
D♯
G♯aug G♯
B♯ (C)
D (E)
A♭aug A♭
C
E
Aaug
C♯
E♯ (F)
A♯aug A♯
C (D)
E (F♯)
B♭aug B♭
D
F♯
Baug
D♯
F (G)
D
G
A
B
Notes [1] [2] [3] [4] [5] [6]
Cho, Gene (1992). Theories and Practice of Harmonic Analysis, p.35. ISBN 0-7734-9917-2. Stephenson, Ken (2002). What to Listen for in Rock: A Stylistic Analysis, p.87. ISBN 978-0-300-09239-4. Everett, Walter (2009). The Foundations of Rock, p.196-97. ISBN 978-0-19-531023-8. Barber Shop Memories, Book 2, page 20, ISBN 0-7692-4389-4 "Shine On, Harvest Moon" (1931 recording), Etting, https:/ / www. youtube. com/ watch?v=dxoNi8mJ2Yk For further discussion, see Mark Ellis, A Chord in Time: The Evolution of the Augmented Sixth from Monteverdi to Mahler, Farnham: Ashgate 2010 p. 23 and pp 30-31.
Augmented triad
21
Further reading • Kroepel, Bob. Deluxe Encyclopedia of Piano Chords. Mel Bay, 1993. p. 12. ISBN 978-0-87166-579-9 • Mark Ellis, A Chord in Time: The Evolution of the Augmented Sixth from Monteverdi to Mahler, Farnham: Ashgate 2010 p. 23 and pp 30–31
Borrowed chord A borrowed chord (also called mode mixture and[1] modal interchange) is a chord borrowed from the parallel key (minor or major scale with the same tonic). Borrowed chords are typically used as "color chords", providing variety through contrasting scale forms, major and the three forms of minor.[2] Similarly chords may be borrowed from the parallel modes, the various modes beginning on the same tonic, for example Dorian or Phrygian.
A I chord, C major, followed by a ♭VII chord, B♭ major, borrowed from the parallel minor, C minor. Shown first in C major then minor.
Six chords borrowed from the parallel minor key are commonly found in the Baroque, Classical and Romantic eras (shown here in C major):
Diminished supertonic triad (iio): D Ø7 Half-diminished supertonic seventh (ii ): D "Flat three" (♭III): E♭ Minor subdominant (iv): F "Flat six" (♭VI): A♭ o7 Fully diminished leading-tone seventh (vii ): B
- F - A♭ - F - A♭ - C - G - B♭ - A♭ - C - C - E♭ - D - F - A♭
The following three chords are also found in Romantic era, albeit rarely:
Minor subdominant seventh (iv♭7): F ♭7 Major-minor subdominant seventh (IV ): F Dominant flat ninth (V♭9): G
- A♭ - C - A - C - B - D
- E♭ - E♭ - F - A♭
Borrowed chord
22
The major-minor subdominant seventh, which contains an A♮, is borrowed from the parallel ascending melodic minor scale. If the root of the borrowed chord is not in the original key, then the chord is named by the accidental. For instance, in a major key, a chord built on the parallel minor's sixth degree is a "flat six chord" written ♭VI. Chord progressions may be constructed with borrowed chords, including two progressions common in rock music, I - ♭VII - ♭VI - ♭VII, common everywhere, and I - ♭VI - IV, used a lot by bands including Genesis, I - ♭VII - ♭VI - ♭VII in C Play Wikipedia:Media helpFile:I bVII bVI bVII in C.mid. Yes and Nirvana. ♭VII is from Mixolydian and ♭VI is found in both Aeolian and Phrygian. The ♭VII-I cadence with ♭VII substituting for V is common, as well as ♭II-I, ♭III-I, and ♭VI-I.[3] In popular music, the major triad on the lowered third scale degree (♭III), the major triad on the lowered sixth scale degree (♭VI) and the major triad on the lowered seventh scale degree, or "flat seven" (♭VII, in C major: B♭, D, F) are common. For more examples of borrowed chords in popular music, see list of songs with chromatic harmony. A common borrowed chord from a parallel major key is the Picardy third. In major the typical chords borrowed from minor are iv, ♭VI, ♭VII, and in jazz, the iio.[4] The ♭VII is also known as the subtonic. The lowered-sixth occurs in many of the chords borrowed from minor and is a, "distinctive characteristic," of borrowed chords. Borrowed chords have typical inversions or common positions, for example iio6 and iiø , and progress in the same manner as the diatonic chords they replace except for ♭VI, which progresses to V(7).
"Backdoor progression ii-V" in C: ii-♭VII7-I Play Wikipedia:Media helpFile:Backdoor progression in C.mid. ♭VII7 is borrowed from the parallel minor rather than Mixolydian as ♭VII may be.
Sources [1] Romeo, Sheila (1999). Complete Rock Keyboard Method: Mastering Rock Keyboard, p.42. ISBN 0-88284-982-4. [2] Benward & Saker (2009). Music in Theory and Practice, Vol II, p.71. ISBN 978-0-07-310188-0. [3] Romeo (1999), p.43. [4] Schonbrun, Marc (2006). The Everything Music Theory Book, p.138. ISBN 1-59337-652-9.
External links • "Mode Mixture" (http://www.smu.edu/totw/modemix.htm), Robert J. Frank, Theory on the Web. • "Glossary: Terms Used in Writing Skills" (http://www.berklee.edu/core/glossary.html), Berklee. • Mike Campese. Guest Column: "Modal Interchange" (http://www.guitar9.com/columnist286.html), Guitar Nine Records. • "Altered Chords in Jazz: Modal Interchange - Altered Chords" (http://www.petethomas.co.uk/ jazz-altered-chords.html), Taming the Saxophone.
Chromatic mediant
23
Chromatic mediant In music, chromatic mediants, "are altered mediant and submediant chords." A chromatic mediant relationship is a relationship between two sections and/or chords whose roots are related by a major third or minor third, contain one common tone, or share the same quality, i.e. major or minor. For example, in the key of C major the diatonic mediant and submediant are E minor and A minor. Their parallel majors are E major and A major. The mediants of the parallel minor of C major (C minor) are Eb major and Ab major, and their parallel minors are Eb minor and Ab minor, totaling six chromatic mediants for that key. Thus an E major chord is one of six chromatic mediant chords in C major and the keys of C major and E major share a chromatic mediant relationship. Chromatic mediants in C major and a minor.
Chromatic mediants are usually in root position, may appear in either major or minor keys, usually provide color and interest while prolonging the tonic harmony, and proceed from and to the tonic, less often the dominant, sometimes are preceded or followed by their own secondary dominants, or sometimes create a complete modulation. Some chromatic mediants are equivalent to altered chords, for example ♭VI is also a borrowed chord from the parallel minor, VI is also a secondary dominant of ii (V/ii), and III is V/vi, with context and analysis revealing the distinction.[2]
Secondary dominant (V/ii resolving to ii) vs. chromatic mediant (VI progressing to I) Play Wikipedia:Media helpFile:Secondary dominant vs. chromatic mediant.mid. In C major: C-A-d vs. C-A-C.
Chromatic mediant
24
Chromatic mediant from Tchaikovsky's Chant sans paroles, op. 2, no. 3, mm. 43-45 Play Wikipedia:Media helpFile:Chromatic mediant from Tchaikovsky's Chant sans paroles mm. 43-45.mid. Note ♭VI in root position and the repeated return to I (D♭ and F, respectively), characteristic of chromatic mediant root movement.
Chromatic mediant chords were rarely used during the baroque and classical periods, though the chromatic mediant relationship was occasionally found between sections, but the chords and relationships became much more common during the romantic period.
Sources
Common chord (music) A common chord is a chord that is diatonic to more than one key or, in other words, is common to two keys.[1] A "common chord" may also be defined as a triadic chord[2] (ex., C-E-G) or as one of the most commonly used chords in a key (I-IV-V-vi-ii).[3] Common chords are frequently used in modulations, in a type of modulation known as common chord modulation or diatonic pivot chord modulation. It moves from the original key to the destination key (usually a closely related key) by way of a chord both keys share. For example, G major and D major share 4 chords in common: G, Bm, D, Em. This can be easily determined by a chart similar to the one below, which compares chord qualities. The I chord in G major—a G major chord—is also the IV chord in D major, so I in G major and IV in D major are aligned on the chart.
Common chord in the keys of G, D, and A major; as well as E, B, and F♯ minor.
Common chord (music)
25
C major: V
vi vii° I
ii iii IV
G major: I
ii iii
V vi vii°
D major: IV V vi
IV
vii° I
ii
iii
Any chord with the same root note and chord quality can be used as the "pivot chord." However, chords that are not generally found in the style of the piece (for example, major VII chords in a Bach-style chorale) are also not likely to be chosen as the pivot chord. The most common pivot chords are the predominant chords (ii and IV) in the new key. When analyzing a piece that uses this style of modulation, the common chord is labeled with its function in both the original and the destination keys, as it can be seen either way. A chord is common to, or shared by, six keys: three major keys, and three relative minor keys. For example, a C major chord is contained in F, C, and G major as well as D, A, and E minor.
Related keys The number of diatonically occurring chords that two keys share is a measure of how closely related they are. A closely related key can be defined as one that has many common chords. A relative major or minor key has all of its chords in common; a dominant or subdominant key has four in common. Less closely related keys have two or fewer chords in common. For example, C major and A minor have 7 common chords while C major and F♯ major have 0 common chords.
Sources [1] Benward & Saker (2003). Music in Theory and Practice Vol. I, p.244. ISBN 978-0-07-294262-0. [2] Johnson, Artemas Nixon (1854). Practical instructions in harmony, upon the Pestalozzian or inductive system, p.5. Ditson. [3] Hill, Brad (2001). The complete idiot's guide to playing piano, p.133&135. ISBN 978-0-02-864155-3.
Contrast chord
26
Contrast chord In music, a contrast chord is an auxiliary chord formed from one of the three primary triads and sharing its diatonic function. Leittonwechselklänge (German: "leading-tone contrast chords"), abbreviated Tl in major and tL in minor. If chords may be formed by raising (major) or lowering (minor) the fifth a whole step [ parallel or relative chords], they may also be formed by lowering (major) or raising (minor) the root a half-step to wechsel, the leading tone or leitton. These chords are Leittonwechselklänge (literally: "leading-tone changing sounds"), sometimes called gegenklang or "contrast chord". [1]
Contrast chord example Play Wikipedia:Media helpFile:Contrast chord example.mid: C major and E minor contrast through their respective notes C and B (in red and orange), each a half step apart or leading tones. The chords share two notes (in blue) however.
Leittonwechselklänge Mode
Key
Position
Major E minor
Tl
A minor
Sl
B minor
Dl
Minor Ab major tL Db major sL Eb major dL
Major Leittonwechselklänge, formed by lowering the root a half step.
Minor Leittonwechselklänge, formed by raising the root (US)/fifth (German) a half step.
Contrast chord
Sources [1] Gjerdingen, Robert O. (1990). "A Guide to the Terminology of German Harmony", Studies in the Origin of Harmonic Tonality by Dahlhaus, Carl, trans. Gjerdingen (1990). Princeton University Press. ISBN 0-691-09135-8.
External links • “A Guide to the Terminology of German Harmony” (http://faculty-web.at.northwestern.edu/music/ gjerdingen/Papers/PubPapers/GermanHarmony.pdf), in Studies on the Origin of Harmonic Tonality, pp. xi–xv (Princeton: Princeton Univ. Press, 1990). "Published Papers" (http://faculty-web.at.northwestern.edu/music/ gjerdingen/Papers/PubPapers/index.htm), Robert Gjerdingen.
27
Diminished major seventh chord
28
Diminished major seventh chord
Diminished major seventh chord. Play Wikipedia:Media helpFile:Diminished major seventh chord on C.mid
diminished major seventh Component intervals from root major seventh diminished fifth (tritone) minor third root Forte number 4-18
In music theory, a diminished major seventh chord is a chord composed of a diminished triad and a major seventh.[1] Thus it is composed of a root, minor third, diminished fifth (tritone) and major seventh. It is very dissonant, containing the dissonant intervals of the tritone and the major seventh. It is frequently encountered, especially in jazz, as a diminished seventh chord with an appoggiatura, especially when the melody has the leading note of the given chord: the ability to resolve this dissonance smoothly to a diatonic triad with the same root allows it to be used as a temporary tension before tonic resolution. However, it is infrequently used as a chord in itself. The chord can be represented by the integer notation {0, 3, 6, 11}.
Diminished major seventh chord table Chord
Root Minor third Diminished fifth Major seventh
Comaj7
C
E♭
G♭
B
C♯omaj7
C♯
E
G
B♯ (C)
D♭omaj7
D♭
F♭ (E)
Domaj7
D
F
A♭
C♯
D♯omaj7
D♯
F♯
A
C (D)
E♭omaj7
E♭
G♭
Eomaj7
E
G
B♭
D♯
Fomaj7
F
A♭
C♭ (B)
E
F♯omaj7
F♯
A
C
E♯ (F)
A
B
(G)
(A)
C
D
Diminished major seventh chord
29
G♭omaj7
G♭
B
(A)
D
(C)
Gomaj7
G
B♭
D♭
F♯
G♯omaj7
G♯
B
D
F (G)
A♭omaj7
A♭
C♭
Aomaj7
A
C
E♭
G♯
A♯omaj7
A♯
C♯
E
G (A)
B♭omaj7
B♭
D♭
F♭ (E)
A
Bomaj7
B
D
F
A♯
E
(D)
F
G
Sources [1] Jamini, Deborah. (2005). Harmony And Composition: Basics to Intermediate, p.204. ISBN 978-1-4120-3333-6.
Diminished seventh chord
A comparison of the diminished 7th Play Wikipedia:Media helpFile:Diminished [1] seventh chord on B.mid and dominant 7th (♭9) Play Wikipedia:Media helpFile:Dominant seventh minor ninth chord on G.mid chords.
Diminished seventh chord on C Play Wikipedia:Media helpFile:Diminished seventh chord on C.mid.
diminished seventh Component intervals from root diminished seventh diminished fifth (tritone) minor third root Tuning [2]
25:30:36:45
A diminished seventh chord is a four note chord that comprises a diminished triad plus the interval of a diminished seventh (alternatively regarded enharmonically as a major sixth) above the root. Thus it is (1, ♭3, ♭5, 7), or enharmonically (1, ♭3, ♭5, 6), of any minor scale; for example, C diminished-seventh would be (C, E♭, G♭, B ), or
Diminished seventh chord enharmonically (C, E♭, G♭, A). It occurs as a leading-tone seventh chord in harmonic minor and can be represented by the integer notation {0, 3, 6, 9}. Because of this it can also be viewed as four notes all stacked in intervals of a minor third. The diminished seventh contains two diminished fifths, which often resolve inwards.[3] In most sheet music books, Cdim or C° denotes a diminished seventh chord with root C; but it may also happen, mostly in modern jazz books and some music theory literature, that Cdim or C° or Cm(♭5) denotes a diminished triad, while Cdim7 or C°7 or Cm6(♭5) denotes a diminished seventh chord.
Uses The most common form of the diminished seventh chord is that rooted on the leading tone; for example, in the key of C, the chord (B, D, F, A♭). So its other constituents are the second, fourth, and flatted sixth (flat submediant) scale degrees. These notes occur naturally in the harmonic minor scale. But this chord also appears in major keys, especially after the time of Bach, where it is "borrowed" from the parallel minor. Fétis tuned the chord 10:12:14:17.[4] Seventh chords may also be rooted on other scale degrees, either as secondary function chords temporarily borrowed from other keys, or as Diminished seventh chord resolution: both appoggiatura chords: a chord rooted on the raised second scale degree diminished fifths tend to resolve inward, doubling (D♯-F♯-A-C in the key of C) acts as an appoggiatura to the tonic (C the third of the tonic chord major) chord, and one rooted on the raised sixth scale degree Play Wikipedia:Media helpFile:Diminished seventh chord resolution.mid. (A♯-C♯-E-G in C major) acts as an appoggiatura to the dominant (G major) chord. Because these chords have no leading tone in relation to the chords to which they resolve, they can not properly have "dominant" function. They are therefore referred to commonly as "non-dominant" diminished seventh chords or "common tone" diminished seventh chords. (See "common tone diminished seventh chord" below) In jazz, the diminished seventh chord is often based on the lowered third scale degree (the flat mediant) and acts as a passing chord between the mediant triad (or first-inversion tonic triad) and the supertonic triad: in C major, this would be the chord progression E minor - E♭ diminished - D minor. The chord, "plays no role in...jazz."[5] The passing chord is used widely in Brazilian music like Choro, Samba, and Bossa Nova The diminished seventh chord normally possesses a "dominant" function, and this is most straightforwardly shown when the root of a dominant seventh chord is omitted. The remaining third, fifth and seventh of that chord form a diminished triad (whose new root is the third of the former chord), to which a diminished seventh can be added. Thus in C (major or minor), a dominant seventh chord consisting of G, B, D, F can be replaced by a diminished seventh chord B, D, F, A♭. (In jazz harmony, a combination of the original chord with its substitute (with G in the bass and Ab simultaneously in an upper voice) yields the very common "7♭9" chord, which intensifies the dominant function of either a diminished seventh or dominant seventh chord.) Other transformations of this kind facilitate a variety of substitutions and modulations: any of the four notes in a diminished seventh chord are raised by a semi-tone, that raised note is then the flat-seventh of a half-diminished seventh chord. Similarly, if any of the four notes in the diminished seventh chord are lowered by a semi-tone, that lowered note is then the root of a dominant seventh chord. The diminished seventh chord comprises frequencies that are equally spaced when considered on a logarithmic axis, and thus divides the octave into four logarithmically equal portions, each being a minor third.
30
Diminished seventh chord
31
The diminished scale may be conceived of as two interlocking diminished seventh chords, which may be rearranged into the alpha chord.
Two diminished seventh chords in the octatonic scale (one red, one blue) may be rearranged into the alpha chord Play Wikipedia:Media helpFile:Alpha chord.mid.
Sharpened subdominant with diminished seventh
Sharpened subdominant with diminished seventh chord in C. Play Wikipedia:Media helpFile:Sharpened subdominant with diminished seventh chord in C.mid
The sharpened subdominant with added diminished seventh chord is another common use of the chord. It can be simply represented with the Roman notation ♯ivo7, but in classical music is more correctly represented as viio7/V, being a very common way for a composer to approach the dominant of any key. In the key of C, this is F♯dim7, which may be used for a strikingly fearful effect, as its root is a tritone (augmented fourth) from the tonic. It is also a common chord in jazz and ragtime music. A common traditional jazz or Dixieland progression in E♭ may go:
A♭ - A dim - B♭7, which is IV - ♯ivo7 - V7 Another common usage of ♯ivo7 is often found in Gospel music and jazz progressions such as in the song "I Got Rhythm". In C: Sharpened subdominant with diminished seventh chord progression in C Play Wikipedia:Media helpFile:Sharpened subdominant with diminished seventh chord progression in C.mid.
| C
C/E | F
F♯dim7 | C/G A7 | Dm7 G7 |
Diminished seventh chord
32
Supertonic diminished seventh chord One variant of the supertonic seventh chord is the supertonic diminished seventh[6] with the raised supertonic, which equals the lowered third through enharmonic equivalence (in C: D♯=E♭). It may be used as a dominant substitute.[7]
Supertonic diminished seventh chord in C Play Wikipedia:Media helpFile:Supertonic diminished seventh chord in C.mid.
♯IIo7 as dominant substitute with III-7 substituted for the tonic (I) chord (D♯-E) Play Wikipedia:Media helpFile:Sharp IIdim7 as dominant substitute with tonic chord substitution.mid.
Common-tone diminished seventh chord A diminished seventh chord may alternatively resolve to a major or major-minor seventh chord whose root is one of the notes of the diminished seventh chord, the most common being the raised supertonic seventh, which resolves to the tonic in major keys and the raised submediant, which resolves to dominant triad or seventh in major keys, with the altered tones resolving upward by half step.[8] Common-tone diminished seventh chord Play Wikipedia:Media helpFile:Common-tone diminished seventh chord.mid.
The diminished chord may also resolve through lowering two of the bottom three voices producing a supertonic seventh chord that may lead to a conventional dominant cadence.[9]
Diminished seventh chord to dominant cadence (bo-e7-A7-D) Play Wikipedia:Media helpFile:Diminished seventh to dominant cadence.mid.
Diminished seventh chord
33
Diminished seventh root Music theorists have struggled over the centuries to explain the meaning and function of diminished seventh chords. Currently, two approaches are generally used. The less complex method treats the leading tone as the root of the chord, and the other chord members as the third, fifth, and seventh of the chord, the same way other seventh chords are analyzed.
The other method is to analyze the chord as an "incomplete dominant ninth", that is a ninth chord with its root on the dominant, whose root is missing or implied. A vii°7 chord in the minor key (for example, in C minor, B♮, D, F, A♭) occurs naturally in the harmonic minor scale and is equivalent to the dominant 7(♭9) chord (G, B, D, F, A♭) without its root. Walter Piston has long been the champion of this analysis.[10] Jazz guitarist Sal Salvador, and other jazz theorists, also advocated this view, rewriting chord charts to reflect this and supplying the "missing" root as part of their bass lines.[11]
In Rameau's supposition the root of the dominant chord on B, left, is substituted producing a diminished seventh chord on C, right.
Diminished seventh chord incomplete ninth in C Play Wikipedia:Media helpFile:Diminished seventh chord incomplete ninth in C.mid.
The dominant ninth theory has been questioned by Heinrich Schenker. He explained that although there is a kinship between all univalent chords rising out of the fifth degree, the dominant ninth chord is not a real chord formation. Rameau explained the diminished seventh chord as a dominant seventh chord whose supposed fundamental bass is borrowed from the sixth degree in minor, raised a semitone producing a stack of minor thirds.[12] Thus in C the dominant seventh is G7 (G-B-D-F) and the sixth degree borrowed from minor produces A♭-B-D-F. He observed in his Treatise on Harmony that three minor thirds and an augmented second make up a chord where the augmented second is such that "the ear is not offended" by it. He may have been talking of the augmented second in quarter-comma meantone, a tuning he favored, which is close to the just septimal minor third of 7/6.
Inversions The fundamental tone or root of any diminished seventh chord, being composed of three stacked minor thirds, is ambiguous. For example, Cdim7 in root position: C + E♭ + G♭ + B (each has one and half interval), is just as easily viewed as an E♭dim7 in its third inversion: D (enharmonic equivalent of C) + E♭ + G♭ + B . It can also be viewed as a G♭dim7 in its second inversion: D + F (enharmonic equivalent of E♭) + G♭ + B . Delineating this chord in its last possibility, that of B dim7 in its first inversion, is very clumsy and not very useful as it requires the use a triple-flatted note, something that is hardly ever used in a musical score: D +F +A
(enharmonic equivalent of G♭) + B .
However, by enharmonically respelling the B to A, this can also be viewed as a first inversion Adim7 chord: C + E♭ + G♭ + A (enharmonic equivalent of B ). Other possibilities present themselves by respelling the various roots; for instance: C + E♭ + F♯ (enharmonic equivalent of G♭) + A (enharmonic equivalent of B ) (second inversion F♯dim7).
Diminished seventh chord
34
C + D♯ (enharmonic equivalent of E♭) + F♯ (enharmonic equivalent of G♭) + A (enharmonic equivalent of B ) (third inversion D♯dim7). B♯ (enharmonic equivalent of C) + D♯ (enharmonic equivalent of E♭) + F♯ (enharmonic equivalent of G♭) + A (enharmonic equivalent of B ) (root position B♯dim7). All of the chord's inversions have the same sound harmonically. Because of the chord's symmetrical nature (superimposing more minor thirds on top of the dim 7 produces no new notes), there are only three different diminished seventh chords possible. The diminished seventh chord can appear in first, second, or (least common) third inversion. Each inversion is enharmonic with another diminished seventh chord, and 19th-century composers in particular often make use of this enharmonic to use these chords for modulations. Percy Goetschius calls it the "enharmonic chord."[13] Using Piston's incomplete-ninth analysis, a single diminished seventh chord, without enharmonic change, is capable of the following analyses: V, V of ii, V of III (in min.), V of iii (in maj.), V of iv, V of V, V of VI (in min.), V of vi (in maj.), V of VII (in min.). Since the chord may be enharmonically written in four different ways without changing the sound, we may multiply the above by four, making a total of forty-eight possible interpretations.[14] More conservatively, each assumed root may be used as a dominant, tonic, or supertonic, giving twelve possibilities.[]
Diminished seventh chord on C, written four different ways enharmonically (all sounding the same).
Diminished seventh chord's use in modulation. Play ninth chords Wikipedia:Media helpFile:Diminished seventh modulation.mid
Diminished seventh chord table Chord
Root Minor Third Diminished Fifth Diminished Seventh
Cdim7
C
E♭
G♭
B
C♯dim7 C♯
E
G
B♭
D♭dim7 D♭
F♭ (E)
A
Ddim7
F
A♭
C♭ (B)
D♯dim7 D♯
F♯
A
C
E♭dim7 E♭
G♭
B
Edim7
E
G
B♭
D♭
Fdim7
F
A♭
C♭ (B)
E
F♯dim7 F♯
A
C
E♭
G♭dim7 G♭
B
Gdim7
B♭
D♭
F♭ (E)
B
D
F
D
G
G♯dim7 G♯
(A)
D
(G)
(A)
(C)
C
D
F
(A)
(B♭)
(C)
(D)
(E♭)
Diminished seventh chord
35 A♭dim7 A♭
C♭ (B)
E
Adim7
C
E♭
G♭
A♯dim7 A♯
C♯
E
G
B♭dim7 B♭
D♭
F♭ (E)
A
Bdim7
D
F
A♭
A
B
(D)
G
(F)
(G)
References [1] Richard Lawn, Jeffrey L. Hellmer (1996). Jazz: Theory and Practice, p.124. ISBN 0-88284-722-8. [2] Shirlaw, Matthew (1900). The Theory of Harmony, p.86. ISBN 978-1-4510-1534-8. "g-b-d-f." [3] Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.219. Seventh Edition. ISBN 978-0-07-294262-0. [4] Fétis, François-Joseph and Arlin, Mary I. (1994). Esquisse de l'histoire de l'harmonie, p.139n9. ISBN 978-0-945193-51-7. [5] Tenzer, Michael and Roeder, John (2011). Analytical and Cross-Cultural Studies in World Music, p.157n10. ISBN 978-0-19-538458-1. [6] Kitson, C. H. (2006). Elementary Harmony, p.43. ISBN 1-4067-9372-8. [7] Coker, Jerry (1997). Elements of the Jazz Language for the Developing Improvisor, p.82. ISBN 1-57623-875-X. [8] Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.220-21. Seventh Edition. ISBN 978-0-07-294262-0. [9] Carrie Adelaide Alchin (1917). Applied Harmony, p.99. [10] Piston, Walter: "Harmony", pg. 191, Third Edition, W. W. Norton & Company, 1962 [11] Sal Salvador: "Chordal Enrichment & Chord Substitution: Jazz Guitar", Mel Bay, ISBN 0871665271 [12] Christensen, Thomas Street (2004). Rameau and Musical Thought in the Enlightenment, p.100. ISBN 978-0-521-61709-3. [13] Goetschius, Percy: "The Material Used in Musical Composition - A System of Harmony", pg. 159, G. Shirmer, Inc., 1913 [14] Piston, Walter: "Harmony", pg. 201, Third Edition, W. W. Norton & Company, 1962
Diminished triad
36
Diminished triad diminished triad Component intervals from root diminished fifth (tritone) minor third root Tuning [1]
45:54:64;
[2]
54:45=6:5 & 64:45
In music, a diminished triad ( Play Wikipedia:Media helpFile:Diminished triad on B.mid), also known as the minor flatted fifth, is a triad consisting of two minor thirds above the root — if built on C, a diminished triad would have a C, an E♭ and a G♭.[3] It resembles a minor triad with a lowered (flattened) fifth. It can be represented by the integer notation {0, 3, 6}. Diminished triad on B play Wikipedia:Media helpFile:Diminished triad on B.mid or Play just Wikipedia:Media helpFile:Diminished triad on B just.mid.
Dominant seventh and incomplete dominant seventh in C major: G7 and bo chords Play Wikipedia:Media helpFile:Incomplete dominant seventh chord in C major.mid.
In the common practice period, the diminished triad is considered dissonant, or unstable. It lacks tonal center or drive because the diminished fifth symmetrically divides the octave. A diminished triad occurs in a major scale only on the seventh scale degree; in the key of C, this is a B diminished triad (B, D, F). Since the triad is built on the seventh scale degree, it is also called the Diminished triad on C play Wikipedia:Media leading-tone triad. The leading-tone triad also occurs in the seventh helpFile:Diminished triad on C.mid. chord built on the fifth degree; in C, this is G dominant seventh (G, B, D, F). For this reason, it has dominant function. Unlike the dominant triad or dominant seventh, the leading-tone triad functions as a prolongational chord rather than a structural chord since the strong root motion by fifth is now absent.
Diminished triad
On the other hand, the diminished triad in a minor scale occurs on the second scale degree; in the key of C minor, this is the D diminished triad (D, F, A♭). This triad is consequently called the supertonic diminished triad. Like the supertonic triad found in a major key, the supertonic diminished triad has a predominant function, almost always resolving to a dominant functioning chord.
37
iio6 in C minor play Wikipedia:Media helpFile:iidim6 in C.mid: first inversion do chord.
In a twelve-tone equal tempered tuning, a diminished triad has 3 semitones between the third and fifth, 3 between the root and third, and 6 between the root and fifth. It is represented by the integer notation {0, 3, 6}. In just intonation, the diminished triad on vii is tuned 135:162:160. According to Sorge, the trumpet, in its overtone series on C, gives the diminished triad e-g-b♭ = 5:6:7 ("perfect diminished chord"[4]), but the 7 is too flat and 45:54:64 is preferred. Helmholtz describes the diminished triad as b1−d | f, giving a just minor third and Pythagorean minor third in the notation system used in On the Sensations of Tone as a Physiological Basis for the Theory of Music.[5] In some sheet music books [citation needed], Cdim or C° denotes a diminished seventh chord (a four note chord) with root C, and Cm-5 or Cm♭5 denotes a diminished triad with root C. However, in some modern jazz books and some music theory literature [citation needed], Cdim or C° denotes a diminished triad, while Cdim7 or C°7 denotes a diminished seventh chord. "In [rock and] pop music, the diminished triad nearly always appears on the second scale degree, forming a generally maudlin and dejected iio with its members, 2—4—♭6."[6] Songs that feature iio include Santo & Johnny's Sleep Walk, Jay and the Americans' "Cara Mia", and The Hollies' "The Air That I Breathe". Not so rare but rare enough so as to imply knowledge of and conscious avoidance on the part of rock musicians, examples of its use include Oasis' "Don't Look Back In Anger", David Bowie's "Space Oddity", and two in Paul Young's "Go Away".[7] The supertonic diminished triad and leading-tone diminished triad are usually found in first inversion (iio6 and viio6 respectively) since the spelling of the chord forms a diminished fifth with the bass. This differs from the fully diminished seventh chord, which commonly occurs in root position.[8] In both cases resolve the bass up and move the upper voices downwards in contrary motion. The popular music symbol for a diminished triad is a capital letter designating the root (as with a major chord) with MI(♭5) added.[9] For example BMI(♭5) (see also Chord names and symbols (jazz and pop music)).
Diminished triad substituting for dominant chord in Bach's Well-Tempered Clavier I, [10] Prelude in G Major. Play Wikipedia:Media helpFile:Bach - WTC I, Prelude in G Major diminished chord.mid or Play Wikipedia:Media helpFile:Bach_WTK1_P&F_No15_G-Dur_BWV860.ogg
Diminished chord table
Diminished triad
38
Chord Root Minor Third Diminished Fifth Cdim
C
E♭
G♭
C♯dim C♯
E
G
D♭dim D♭
F♭ (E)
A
Ddim
F
A♭
D♯dim D♯
F♯
A
E♭dim E♭
G♭
B
Edim
E
G
B♭
Fdim
F
A♭
C♭ (B)
F♯dim F♯
A
C
G♭dim G♭
B
Gdim
B♭
D♭
G♯dim G♯
B
D
A♭dim A♭
C♭ (B)
E
Adim
C
E♭
A♯dim A♯
C♯
E
B♭dim B♭
D♭
F♭ (E)
Bdim
D
F
D
G
A
B
(A)
D
(G)
(A)
(C)
(D)
Sources [1] Shirlaw, Matthew (2012). The Theory of Harmony, p.304. Forgotten Books. ISBN 978-1-4510-1534-8. [2] Partch, Harry (1979). Genesis of a Music, p.68-69. ISBN 978-0-306-80106-8. [3] Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.68. Seventh Edition. ISBN 978-0-07-294262-0. [4] Fétis, François-Joseph and Arlin, Mary I. (1994). Esquisse de l'histoire de l'harmonie, p.139n9. ISBN 978-0-945193-51-7. [5] Hermann von Helmholtz (1885). On the Sensations of Tone as a Physiological Basis for the Theory of Music, p.344. Longmans, Green. [6] Everett, Walter (2009). The Foundations of Rock, p.195. ISBN 978-0-19-531023-8. [7] Stephenson, Ken (2002). What to Listen for in Rock: A Stylistic Analysis, p.85. ISBN 978-0-300-09239-4. [8] Benward & Saker (2009). Music in Theory and Practice: Volume II, p.76. Eighth Edition. ISBN 978-0-07-310188-0. [9] Benward & Saker (2003), p.77. [10] Jonas, Oswald (1982). Introduction to the Theory of Heinrich Schenker (1934: Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers), p.25. Trans. John Rothgeb. ISBN 0-582-28227-6.
Dominant (music)
39
Dominant (music) In music, the dominant is the fifth scale degree of the diatonic scale, called "dominant" because it is next in importance to the tonic,[1] and a dominant chord is any chord built upon that pitch, using the notes of the same diatonic scale. The dominant function (diatonic function) has the role of creating instability that requires the tonic for resolution.
Tonic and dominant in C Play Wikipedia:Media helpFile:Dominant and tonic in C.mid. C major and G major chords.
In very much conventionally tonal music, harmonic analysis will reveal a broad prevalence of the primary (often triadic) harmonies: tonic, dominant, and subdominant (i.e., I and its chief auxiliaries a 5th removed), and especially the first two of these. —Berry (1976)[2] The scheme I-x-V-I symbolizes, though naturally in a very summarizing way, the harmonic The second to last chord in this example is built on the dominant (V) and found course of any composition of the here in the circle progression on C: I-IV-viio-iii-vi-ii-V-I Play Wikipedia:Media Classical period. This x, usually helpFile:Progression majeure en cercle.ogg appearing as a progression of chords, as a whole series, constitutes, as it were, the actual "music" within the scheme, which through the annexed formula V-I, is made into a unit, a group, or even a whole piece. —Rudolph Reti, (1962)[3] quoted in[4] For example, in the C major scale (white keys on a piano, starting with C), the dominant is the note G; and the dominant triad consists of the notes G, B, and D.
Dominant chords Triads In music theory, the dominant triad (3-note chord) is a major triad, symbolized by the Roman numeral V, if it is within the major diatonic scale (for example G-B-D in C major). It is, however, a minor triad, denoted v, if it
Chords with a dominant function: dominant (seventh, ninth, and flat ninth) and [5] leading-tone (diminished, half-diminished seventh, and diminished seventh). Play Wikipedia:Media helpFile:Dominant form chords.mid
Dominant (music)
40
is within the minor diatonic scale (for example G-B♭-D in C minor). In the minor scale, the dominant triad is often substituted with a major triad, by sharpening the second note, which is a minor third from the dominant note, into a major third, since the major third from the dominant is the leading tone for the minor scale. For instance, in G-B♭-D, the B♭ is sharpened to B natural (B♮), since B♮ is the leading tone for the C minor scale. See: harmonic minor scale.
Seventh chord A dominant seventh chord is a chord built upon the dominant of a major diatonic scale. It contains a major triad and a minor seventh of the root of the triad. An example is G7 in C major: G-B-D-F, with G being both the dominant of C major and the root of the major triad G-B-D, and F being the minor seventh of the root. In a general context, the dominant seventh is denoted V7. As defined by the 19th century musicologist Joseph Fétis the dominante was a seventh chord over the first note of a descending perfect fifth in the basse fondamentale or root progression, the common practice period dominant seventh he named the dominante tonique.[6]
Dominant chord in authentic cadence A cadential dominant chord followed by a tonic chord (the chord of the key of the piece) is denominated as authentic cadence. If the roots are in the bass and the tonic is in the highest voice, it is called a perfect authentic cadence. Dominant chord (V) in the ii-V-I cadence on C Play Wikipedia:Media helpFile:ii-V-I turnaround in C.mid
Dominant key The dominant key in a given musical composition is the key whose tonic is a perfect fifth above (or a perfect fourth below) the tonic of the main key of the piece. Put another way, the key whose tonic is the dominant scale degree in the main key. If, for example, a piece is written in the key of C major, then the key of C is the tonic key. The key of G major is the dominant key since it is based on the dominant note for the key of C major. With a key signature of one sharp, G major features one more sharp than C major. In sonata form in major keys, the second subject group is usually in the dominant key. Even with the widest roaming modulations in the development, the dominant key exerts influence and eventually forces a return to the tonic key.
The key immediately clockwise is the dominant key of the key immediately counterclockwise, and features either one more sharp or one less flat.
Dominant (music)
In tonal modulation The movement to the dominant was part of musical grammar, not an element of form. Almost all music in the eighteenth century went to the dominant: before 1750 it was not Modulation to the dominant in Haydn's Symphony in C Major, No. 97 (reduction). Play Wikipedia:Media helpFile:Dominant modulation Haydn Symphony in C Major No. something to be emphasized; 97.mid afterward, it was something that the composer could take advantage of. This means that every eighteenth century listener expected the movement to the dominant in the sense that [one] would have been puzzled if [one] did not get it; it was a necessary condition of intelligibility. —Charles Rosen (1972)[7] "Dominant" also refers to a relationship of musical keys. For example, relative to the key of C major, the key of G major is the dominant key. Music which modulates (changes key) often modulates into the dominant. Modulation into the dominant key often creates a sense of increased tension; as opposed to modulation into subdominant (fourth note of the scale), which creates a sense of musical relaxation. The vast majority of harmonies designated as "essential" in the basic frame of structure must be I and V–the latter, when tonal music is viewed in broadest terms, an auxiliary support and embellishment of the former, for which it is the principal medium of tonicization. —Berry (1976) The dominant chord itself is composed of the dominant (sol), the leading-tone (ti), and the supertonic (re) scale degrees. According to the rules of tonal resolution, both the leading-tone and the supertonic primarily resolve to the tonic. These two tones resolving to the tonic are strengthened by the dominant scale degree, which is a common tone between the tonic and dominant chords. The dominant may also be considered the result of a transformational operation applied to the tonic that most closely resembles the tonic by some clear-cut criteria such as common tones.[8]
In non-Western music The dominant is an important concept in Middle Eastern music. In the Persian Dastgah, Arabic maqam and the Turkish makam, scales are made up of trichords, tetrachords and pentachords (each called a jins in Arabic), with the tonic of a maqam being the lowest note of the lower jins and the dominant being that of the upper jins. The dominant of a maqam is not always the fifth, however; for example, in Kurd and Bayati, the dominant is the fourth, and in maqam Saba, the dominant is the minor third. A maqam may have more than one dominant.
41
Dominant (music)
42
Sources [1] [2] [3] [4] [5] [6]
Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.33. Seventh Edition. ISBN 978-0-07-294262-0. Berry, Wallace (1976/1987). Structural Functions in Music, p.62. ISBN 0-486-25384-8. Reti, Rudolph (1962). Tonality in Modern Music, p.28. Kostka & Payne (1995). Tonal Harmony, p.458. ISBN 0-07-035874-5. Berry, Wallace (1976/1987). Structural Functions in Music, p.54. ISBN 0-486-25384-8. Dahlhaus, Carl. Gjerdingen, Robert O. trans. (1990). Studies in the Origin of Harmonic Tonality, p.143. Princeton University Press. ISBN 0-691-09135-8. [7] Rosen, Charles (1972). The Classical Style. W.W. Norton & Company Inc. Cited in White, John D. (1976). The Analysis of Music, p.56. ISBN 0-13-033233-X. [8] Perle, George (1955). "Symmetrical Formations in the String Quartets of Béla Bartók", Music Review 16: 300-312. Cited in Wilson, Paul (1992). The Music of Béla Bartók, p.37-38. ISBN 0-300-05111-5.
Dominant seventh chord In music theory, a dominant seventh chord, or major minor seventh chord,[1] is a chord composed of a root, major third, perfect fifth, and minor seventh. It can be also viewed as a major triad with an additional minor seventh. It is denoted using popular music symbols by adding a superscript "7" after the letter designating the chord root.[2] The dominant seventh is found almost as often as the dominant triad.[3] In Roman numerals it is represented as V7. The chord can be represented by the integer notation {0, 4, 7, 10}.
Dominant seventh chord on C: C7 Play Wikipedia:Media helpFile:Dominant seventh chord on C.mid.
dominant seventh chord Component intervals from root minor seventh perfect fifth major third root Tuning [4]
20:25:30:36
Of all the seventh chords, perhaps the most important is the dominant seventh. It was the first seventh chord to appear regularly in classical music. The name comes from the fact that it occurs naturally in the seventh chord built upon the dominant (i.e. the fifth degree) of a given major diatonic scale. Take for example the C major scale (C, D, E, F, G, A, B, C):
The note G is the dominant degree of C major - its fifth note. When we arrange the notes of the C major scale in ascending pitch and use only these notes to build a seventh chord, and we start with G (not C), then the resulting
Dominant seventh chord
43
chord contains the four notes G-B-D-F and is called G dominant seventh (G7). The note F is a minor seventh from G, and it is also called the dominant seventh with respect to G. However, the 'dominant' seventh is used on notes other than the dominant, such as the subdominant. [citation needed]
Function The function of the dominant seventh chord is to drive to or resolve to the tonic note or chord. ...the demand of the V7 for resolution is, to our ears, almost inescapably compelling. The dominant seventh is, in fact, the central propulsive force in our music; it is unambiguous and unequivocal. —Goldman, (1965: 35)[6]
Dominant seventh resolving to tonic in C major (V -I). Play Wikipedia:Media helpFile:V7-I
resolution.mid This basic dominant seventh chord is useful to composers because it contains both a major triad and the interval of a tritone. The major triad confers a very "strong" sound. The tritone is created by the co-occurrence of the third degree and seventh degree (e.g., in the G7 chord, the acoustic distance between B and F is a tritone). In a diatonic context, the third of the chord is the leading-tone of the scale, which has a strong tendency to pull towards the tonal center, or root note, of the key (e.g., in C, the third of G7, B, is the leading tone of the key of C). The seventh of the chord acts as an upper leading-tone to the third Tritone resolution in Beethoven's Piano Sonata in of the scale (in C: the seventh of G7, F, is a half-step above and leads [5] B-flat major, Op. 22 (1800). down to E). This, in combination with the strength of root movement Play Wikipedia:Media helpFile:Beethoven by fifth, and the natural resolution of the dominant triad to the tonic Piano Sonata in B-flat major, Op. 22 - dominant triad (e.g., from GBD to CEG in the key of C major), creates a seventh.mid resolution with which to end a piece or a section of a piece. Because of this original usage, it also quickly became an easy way to trick the listener's ear with a deceptive cadence. The dominant seventh may work as part of a circle progression, preceded by the supertonic.
In rock and popular music songs following, "the blues harmonic pattern," IV and V are, "almost always," major minor seventh chords, or extensions, with the tonic most often being a major triad, for example Bill Haley and the Comets' "Rock Around The Clock" and Buster Brown's "Fanny Mae", while in Chuck Berry's "Back in the U.S.A." and Loggins and Messina's "Your Mama Don't Dance" the tonic is also a major minor seventh.[7] Used mostly in the first fifteen years of the rock era and now sounding somewhat, "retrospective," (Oasis' "Roll With It") other examples of tonic dominant seventh chords include Little Richard's "Lucille", the Beatles' "I Saw Her Standing There", Nilsson's "Coconut", Jim Croce's "You Don't Mess Around With Jim", and the Drifters' "On Broadway". Chuck Berry's "Rock And Roll Music" uses the dominant seventh on I, IV, and V.[8] See: Twelve-bar blues.
Dominant seventh chord
44
Chromatic seventh However, the most important use of the dominant seventh chord in musical composition is the way that the introduction of a non-diatonic dominant seventh chord (sometimes called a chromatic seventh), which is borrowed from another key, can allow the composer to modulate to that other key. This technique is extremely common, particularly since the classical period, and has led to further innovative uses of the dominant seventh chord such as secondary dominant (V7/V), extended dominant (V/V/V), and substitute dominant (♭V7/V) chords.
V of V in C, four-part harmony Play Wikipedia:Media helpFile:V of V in C four-part harmony.mid.
German sixth The dominant seventh is enharmonically equivalent to the German sixth, causing the chords to be spelled enharmonically, for example the German sixth G♭-B♭-D♭-E and the dominant seventh F♯-A♯-C♯-E.[9]
German sixth and equivalent dominant seventh Play Wikipedia:Media helpFile:German sixth equals dominant seventh.mid.
Harmonic seventh The dominant seventh is frequently used to approximate a Harmonic seventh chord, which is one possible just tuning, in the ratios 4:5:6:7[10] Play Wikipedia:Media helpFile:Harmonic seventh on C.mid, for the dominant seventh. Others include 20:25:30:36 Play Wikipedia:Media helpFile:Just dominant seventh chord on C.mid, found on I, and 36:45:54:64, found on V, used in 5-limit just tunings and scales.[11]
Just harmonic seventh chord on C Play just Wikipedia:Media helpFile:Harmonic seventh chord just on C.mid. 7th: 968.826 cents, a septimal quarter tone lower than B♭.
Dominant seventh chord
45
History
Dominant seventh (in blue) handled conservatively, "prepared and resolved as a suspension, clearly indicating its dissonant status," in the Baroque Period (1600–1750) and Monteverdi's "Lasciatemi Morire", Lamento [12] d'Arianna (1608). Play Wikipedia:Media helpFile:Monteverdi Lamento d'Arianna dominant seventh.mid
[13] Dominant seventh in Beethoven's Fifth Symphony (1804–08), last movement. Play Wikipedia:Media helpFile:Beethoven - Fifth Symphony - Last movement, dominant seventh.mid
Renaissance composers thought in terms of intervals rather than chords, "however, certain dissonant sonorities suggest that the dominant seventh chord occurred with some frequency." Monteverdi (usually credited as the first to use the V7 chord without preparation[14]) and other early baroque composers begin to treat the V7 as a chord as part of the introduction of functional harmony. The V7 was in constant use during the classical period, with similar treatment to that of the baroque. In the romantic period freer voice-leading was gradually developed, leading to the waning of functional use in the post-romantic and impressionistic periods including more dissonant dominant chords through higher extensions and lessened use of the major-minor chord's dominant function. 20th century music either consciously used functional harmony or was entirely free of V7 chords while jazz and popular musics continued to use functional harmony including V7 chords.
Dominant seventh chord
46
Dominant sevenths in Chopin's Mazurka in F Minor (1849), op. 68, no. 4, m. 1-4: "the seventh factor had by this time [Romantic Period (1825—1900)] achieved nearly consonant status." Play Wikipedia:Media helpFile:Chopin - Mazurka in F minor, op. 68, no. 4, m. 1-4, dominant sevenths.mid
However, according to Schenker, "'The dissonance is always passing, never a chord member (Zusammenklang),'"[15] and unprepared dominant seventh chords still originate in voice leading: 8 7 3 5 - 1 Today, the dominant seventh chord enjoys particular prominence in the music of barbershop quartets, with the Barbershop Harmony Society specifying that a song must use the chord type (built on any scale degree, not just the dominant) for 35 to 60 percent of its duration to be considered "true barbershop" (i.e. eligible for use in competitions). As barbershop singers strive to harmonize in just intonation to maximize the audibility of harmonic overtones, the practical sonority of the chord tends to be that of an harmonic seventh chord. This chord type has become so ingrained into the fabric of the artform that it is often referred to as the "barbershop seventh chord" by those who practice it.
Voice leading
Dominant seventh with root doubled and missing fifth resolving to I, in C Play Wikipedia:Media helpFile:Dominant seventh root doubled.mid.
Dominant seventh chord on C, played on guitar in open position Play Wikipedia:Media helpFile:Dominant seventh chord on C guitar.mid and as a barre chord Play Wikipedia:Media helpFile:Dominant seventh chord on C guitar barre.mid. For common practice voice leading, or "strict resolution" of the dominant seventh chord:
Dominant seventh tritone resolution in C Play Wikipedia:Media helpFile:Tritone resolution inward.ogg.
Dominant seventh chord
47
• In the V7-I resolution, the dominant, leading note, and supertonic resolve to the tonic, whereas the subdominant resolves to the mediant. • In the other resolutions, the dominant remains stationary, the leading note and supertonic resolve to the tonic, and the subdominant resolves to the mediant. • All four tones may be present, though the root may be doubled and the fifth omitted.[][16][17]
Dominant seventh tritone resolution in C, root of tonic chord tripled Play Wikipedia:Media helpFile:Dominant seventh tritone resolution chords.mid.
• The d5 resolves inwards and the A4 resolves outwards, meaning that the seventh resolves stepwise downwards while the third resolves (stepwise upwards) to the tonic though in such cases the root of the tonic chord may need to be tripled. • The root of the V7, when in the bass, resolves to the root of the I, in the bass. • In an incomplete V7, with a missing fifth, the doubled root remains stationary. • The "free resolution of the seventh" features the seventh in an inner voice moving stepwise upwards to the fifth of I
Dominant seventh and incomplete dominant seventh in C major: G7 and bo chords Play Wikipedia:Media helpFile:Incomplete dominant seventh chord in C major.mid.
Tuning Chord
Notation
Tonic seventh chord
C E G B♭
Harmonic seventh chord G B D F German sixth chord
A♭ C E♭ G
Dominant seventh chord G B D F
+
Seventh
Ratios
Greater just minor seventh
20:25:30:36
Harmonic seventh
4:5:6:7
♭ Harmonic seventh
4:5:6:7
Pythagorean minor seventh 36:45:54:64
Dominant seventh chord table Chord Root Major Third Perfect Fifth Minor Seventh C7
C
E
G
B♭
C♯7
C♯
E♯ (F)
G♯
B
D♭7
D♭
F
A♭
C♭ (B)
D7
D
F♯
A
C
D♯7
D♯
F (G)
A♯
C♯
E♭7
E♭
G
B♭
D♭
E7
E
G♯
B
D
F7
F
A
C
E♭
Dominant seventh chord
48
F♯7
F♯
A♯
C♯
E
G♭7
G♭
B♭
D♭
F♭ (E)
G7
G
B
D
F
G♯7
G♯
B♯ (C)
D♯
F♯
A♭7
A♭
C
E♭
G♭
A7
A
C♯
E
G
A♯7
A♯
C (D)
E♯ (F)
G♯
B♭7
B♭
D
F
A♭
B7
B
D♯
F♯
A
Notes [1] Also written major-minor seventh chord. [2] Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.77. Seventh Edition. ISBN 978-0-07-294262-0. [3] Benward & Saker (2003), p.199. [4] Shirlaw, Matthew (1900). The Theory of Harmony, p.86. ISBN 978-1-4510-1534-8. [5] Forte, Allen (1979). Tonal Harmony in Concept & Practice, p.145. Third edition. ISBN 0-03-020756-8. [6] Goldman, Richard Franco (1965), Harmony in Western Music, p.34-35. ISBN 0-214-66680-8. [7] Stephenson, Ken (2002). What to Listen for in Rock: A Stylistic Analysis, p.82. ISBN 978-0-300-09239-4. [8] Stephenson (2002), p.75. [9] Benward & Saker (2008). Music in Theory and Practice, Vol. II, p.222. ISBN 978-0-07-310188-0. [10] Benitez, J. M. (1988). Contemporary Music Review: Listening 2, p.34. ISBN 3-7186-4846-6. Cites Euler (1764). [11] Wright, David (2009). Mathematics and Music, p.140-41. ISBN 978-0-8218-4873-9. [12] Benward & Saker (2003), p.201. [13] Forte (1979), p.142. [14] Goldman (1965), p.39. [15] Schenker, Heinrich. Jahrbuch II, p. 24 cited in Jonas, Oswald (1982). Introduction to the Theory of Heinrich Schenker (1934: Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers), p. 20. Trans. John Rothgeb. ISBN 0-582-28227-6. [16] Benward & Saker (2003), p.202-204. [17] Benward & Saker (2008), p.343
Sources
Dominant seventh flat five chord
49
Dominant seventh flat five chord dominant seventh flat five chord Component intervals from root minor seventh diminished fifth (tritone) major third root Forte number 4-25
In music theory, the dominant seventh flat five chord is a seventh chord composed of a root note, together with a major third, a diminished fifth and a minor seventh from root (1, ♮3, ♭5 and ♭7). For example, the dominant seventh flat five built upon C (C7♭5) would be C-E-G♭-B♭. It can be represented by the integer notation {0, 4, 6, 10}. In diatonic harmony, the dominant seventh flat five chord does not naturally occur on any scale degree (as does, for example, the dominant seventh on the fifth scale degree: C7 in F major). Jazz musicians typically consider the dominant seventh flat five chord to be associated with or built from the seventh mode of the major scale, the Locrian mode. See: chord-scale system and dominant (music).
Dominant seventh flat five chord on C (C7♭5). Play Wikipedia:Media helpFile:Dominant seventh flat five chord on C.mid
The dominant seventh flat five may be considered an altered chord, created by diminishing the fifth of a dominant seventh chord, and may use the whole-tone scale,[1] as may the augmented minor seventh chord, or the Lydian ♭7 mode.[2] Lydian dominant scale on C
Play Wikipedia:Media helpFile:Lydian dominant C.mid. F♯ = G♭.
Similarly, a minor seventh flat five chord (m7♭5, also known as a half-diminished seventh chord) is constructed by diminishing the fifth of a minor seventh chord:[3] 1 ♭3 ♭5 ♭7 C E♭ G♭ B♭. The minor seventh flat five chord occurs in the diminished scale[4] on multiple scale degrees as well as on the seventh degree of the major scale (e.g., B-D-F-A in C major).
Half-diminished seventh chord on C (Cm7♭5). Play Wikipedia:Media helpFile:Half-diminished seventh chord on C.mid.
Dominant seventh flat five chord
50
Dominant seventh flat five chord table Chord
Root Major Third Diminished Fifth Minor Seventh
C7(♭5)
C
E
G♭
B♭
C♯7(♭5) C♯
E♯ (F)
G
B
D♭7(♭5) D♭
F
A
F♯
A♭
C
D♯7(♭5) D♯
F (G)
A
C♯
E♭7(♭5) E♭
G
B
D7(♭5)
D
(G)
(A)
C♭ (B)
D♭
E7(♭5)
E
G♯
B♭
D
F7(♭5)
F
A
C♭ (B)
E♭
F♯7(♭5) F♯
A♯
C
E
G♭7(♭5) G♭
B♭
D
B
D♭
F
G♯7(♭5) G♯
B♯ (C)
D
F♯
A♭7(♭5) A♭
C
E
C♯
E♭
G
A♯7(♭5) A♯
C (D)
E
G♯
B♭7(♭5) B♭
D
F♭ (E)
A♭
D♯
F
A
G7(♭5)
A7(♭5)
B7(♭5)
G
A
B
(C)
(D)
F♭ (E)
G♭
Sources [1] [2] [3] [4]
Manus and Hall (2008). Alfred's Basic Bass Scales & Modes/Alfred's Basic Bass Method, p.22/128. ISBN 0739055844/ISBN 0739055836. Berle, Annie (1996). Contemporary Theory And Harmony, p.100-101. ISBN 0-8256-1499-6. Morgen, Howard (1979). Concepts: Arranging for Fingerstyle Guitar, p.161. ISBN 0-7692-3075-X. Manus and Hall (2008), p.23/129.
Dominant seventh sharp ninth chord
51
Dominant seventh sharp ninth chord
Dominant 7♯9 chord, G7♯9:G B D F A♯ (A♯=B♭) .
Dominant 7♯9 chord Component intervals from root sharp ninth flat seventh perfect fifth major third root Tuning [1]
5-32 or 5-limit JI 160:200:240:288:375
In music, the dominant 7♯9 chord[2] ("dominant seven sharp nine" or "dominant seven sharp ninth") is a chord built by combining a dominant seventh with an augmented second. This chord is used in many forms of contemporary popular music, including jazz, funk, R&B, hip hop,[citation needed] rock and pop. As a dominant chord in diatonic harmony, it most commonly functions as a turnaround chord, returning to the tonic. However, the 7#9 is also frequently used in some styles as a tonic without the resolution typical of a dominant chord.[citation needed]
Name The chord is also sometimes colloquially known, among pop and rock guitarists, as the Hendrix chord or Purple Haze chord, nicknamed for guitarist Jimi Hendrix,[3][4] who showed a preference for the chord and did a great deal to popularize its use in mainstream rock music.[5] When used by the Beatles it has also been called the Gretty chord although this can refer to a distinct 6 string version.[6][7]
Spelling and notation
Dominant seventh sharp ninth chord
52
There are two main ways to spell the chord, depending on the musical style, kind of musical notation (score or chord symbols), and personal taste. One consists of a dominant seventh chord with an added minor third, placed one or more octaves over the major third;[8][9] the other consists of a dominant seventh chord with an added augmented ninth.[10] Only the second type of notation can be represented using the common chord symbol notation systems.
Dominant seventh raised ninth vs. dominant seventh split third chord. Play Wikipedia:Media helpFile:Dominant seventh raised ninth vs dominant seventh split third chord.mid
Sometimes, in publications which include both scores and chord symbols, the score is notated with a both natural and flattened third, while the chord symbol has the sharpened ninth.[8][9] Other more uncommon notations and names include major/minor or 7 (add min 3).[11] Kenn Stephenson says that in rock music the sharp ninth spelling is much more prevalent than the split third version.[12]
Nature of the chord The 7#9 is an altered chord, and it is one option when seeing the chord symbol G7alt. It is functionally a dominant chord, and thus "wants" to resolve to the tonic in diatonic harmony. Stuart Isacoff has called the chord "funky" or "bluesy", because of the tension "generated between the major third and the augmented ninth"; while Doug Munro deems it as "jazzy"[13] rather than bluesy. Eric Starr says that "the sharp nine tends to F7♯9, as an uncommon pentatonic scale on F.Wikipedia:No original research[citation be edgier, bluesier, and meaner sounding needed] [than the flat nine]."[14] While the dorian may be the scale most commonly used for the 7♯9, the mixed third allows flexibility including the use of mixolydian, aeolian, and other modes.[15] In jazz, 7♯9 chords, along with 7♭9 chords, are often employed as the dominant chord in a minor ii-V-I turnaround. For example, a ii V I in Cm could be played as: Dm7♭5 - G7♯9 - Cm7.
Scales Possible scales to use with a dominant 7 9# chord in Jazz harmony[16] Function
Scales
V in minor
Blues scale Dominant diminished scale Altered scale Dorian scale Minor pentatonic scale
Dominant seventh sharp ninth chord
53 V in minor
Blues scale Minor pentatonic scale Altered scale Aeolian scale
History Classical
Measures 1-3 and 41-42 of Debussy's Feuilles Mortes, from his second book of Préludes (1913).
The dominant 7♯9 chord appears in impressionist classical music. An example can be heard in Claude Debussy's Feuilles Mortes, from his second book of Préludes (1913). There, the unresolved, dissonant ninth chords (at least a, "C♯7with a "split third" and "added minor ninth"[17]) help create, according to Richard Bass, an "utterly sad, desolate character," throughout the piece.[18] This chord can also be found in serial music. For example, the Elektronische Musik vom Freitag aus Licht (1991–94) by Karlheinz Stockhausen, from an opera composed using formula technique, concludes on this chord.[19]
Jazz and blues
A usual clash between a flattened seventh degree (blue note) and a dominant seventh chord in a blues phrase. Note how G♮ is enharmonically equivalent to F (the [11] augmented ninth of E).
Dominant seventh sharp ninth chord
54
The dominant 7♯9 chord is normally found in blues contexts, because in a blues scale a minor third in the melody is usually played against a dominant seventh chord.[11] The chord was used in popular music as far back as the bebop era of the 1940s, and, in instances, it appears with some regularity in blues and rhythm-and-blues of the 1950s and 1960s.
Rock/pop Hendrix chord While this sonority has been previously used in jazz and related styles, one particular voicing of this chord is commonly nicknamed the "Hendrix Chord" among rock guitarists. This association is because it was a favorite of Jimi Hendrix, who did a great deal to popularize its use in mainstream rock music. The earliest recorded evidence of his use of the chord is on the Isley Brothers "Testify, Parts 1 and 2" (1964),[citation needed] one of his few recordings before the start of his solo career in 1966. The most notable Hendrix song that features the 7♯9 chord is "Purple Haze", while it is also implied in "Foxy Lady",[21][22] both coming from his 1967 album Are You Experienced?. When performing "Voodoo Child (Slight Return)" live Hendrix later used not only E7♯9, the sharpened ninth chord on the tonic, but also D7♯9 and C7♯9 chords, the subtonic and submediant.
E7♯9, in guitar chord chart format.
This harmonic device is one of many factors that, according to Gleebeek and Spairo, contribute to "the dirty, raw, metallic, angular sounds of [...] Hendrix songs". It is an example of how he would embellish chords "to add new colours to the music, often derived from his own roots in black music". "In essence," John Perry[23] writes, the Hendrix chord is "the whole of the blues scale condensed into a single chord." Other musicians
Hendrix chord E7♯9, as it may be played [20] on a guitar in an open position Play Wikipedia:Media helpFile:Hendrix chord guitar open.mid.
The chord was used by the Beatles in songs such as "The Word" and "Taxman".[24] McCartney called this a "great ham-fisted jazz chord" that was taught to them by Jim Gretty who worked at Hessey's music shop in Whitechapel, central Liverpool. George Harrison uses it as the penultimate chord of his solo on "Till There Was You". The chord (a D7#9) can also be heard in Pink Floyd's Shine On You Crazy Diamond,[citation before, and at the end of, the final guitar solo before the vocals first come in.
needed]
notably just
The chord is favored by Pixies lead guitarist Joey Santiago, with D7♯9, reminiscent of the opening to "A Hard Day's Night", opening and being called the "secret ingredient," to the song "Here Comes Your Man" and "brutally scraped" F7♯9 featured on the chorus to "Tame" against the three chord rhythm guitar part's D, C, and F chords.[25] Use as a primary or tonic chord in funk and disco music of the 1970s includes Heatwave's "Boogie Nights".
Dominant seventh sharp ninth chord
Notes [1] A just major third (5/4), perfect fifth (3/2), minor seventh (9/5), and augmented second (75/64). Many other just tunings are possible, with higher limits allowing overtone tunings using smaller whole-number ratios, such as 10:12:14:19 or 20:24:28:37. [2] Isacoff, Stuart (1987). The 20-Minute Chords & Harmony Workout, p.111. ISBN 978-0-943748-41-2. [3] Van Nuys, Calif: Alfred Publishing; New York: Penguin (2007). The Complete Idiot's Guide to Rock Guitar Songs, edited by Mike Sanders, Phil Kitchel, and Janette Lynn, p.58. ISBN 0-7390-4628-4. [4] Shapiro, Harry and Caesar Glebbeek (1995). Jimi Hendrix: Electric Gypsy, p.144. ISBN 0-312-13062-7. [5] " The 'Hendrix Chord' (http:/ / www. fender. com/ news/ index. php?display_article=500)", Fender.com. Accessed 29 February 2012. [6] Pedler, Dominic (2003). The Songwriting Secrets of the Beatles, p.437. Omnibus Press. London. ISBN 978-1-4234-1345-5. [7] " The Hendrix Chord (http:/ / web. me. com/ dompedler/ aeoliancadence. co. uk/ The_Hendrix_Chord_The_Purple_Haze_chord_coolest_chords_in_rock_and_pop. html)", Aeoliancadenece.co.uk. Accessed 28 February 2012. [8] Pease Pulling, pp. 33,76,77. [9] Waite, p. 53. [10] Valerio Bebop Jazz Piano, pp. 10,21. [11] Esterowitz, p. 68. [12] Stephenson, Ken (2002). What to Listen for in Rock: A Stylistic Analysis, p.84. ISBN 978-0-300-09239-4. [13] Munro, Doug (2001). Jazz Guitar: Bebop and Beyond, p.58. ISBN 0-7579-8281-6. [14] Eric Starr, Nelson Starr (2008). Everything Bass Guitar Book: From Lines and Licks to Chords and Charts - All You Need to Find Your Groove, unpaginated. ISBN 978-1-59869-483-3. [15] Gill, Danny (2001). Practice Trax for Guitar[sic], p.13. ISBN 0-634-02621-6. [16] Valerio, Post-Bop Piano. [17] Bass, Richard (Autumn, 1994). "Models of Octatonic and Whole-Tone Interaction: George Crumb and His Predecessors", p.161, Journal of Music Theory, Vol. 38, No. 2., pp. 155-186. . [18] Bruhn, Siglund (2007). Images and Ideas in Modern French Piano Music, p.172 and 174. ISBN 978-0-945193-95-1. [19] Jerome Kohl, "Der Aspekt der Harmonik in Licht", in Internationales Stockhausen-Symposion 2000: Licht: Musikwissenschaftliches Institut der Universität zu Köln, 19. bis 22. Oktober 2000: Tagungsbericht, edited by Imke Misch and Christoph von Blumröder, 116–32. Signale aus Köln: Musik der Zeit 10 (Münster: Lit-Verlag, 2004): p.120. ISBN 3-8258-7944-5. [20] Radio: "Shiver down the backbone - Jimi Hendrix comes to Radio 3" (http:/ / www. spectator. co. uk/ the-magazine/ arts/ 365466/ shiver-down-the-backbone. thtml), The Spectator, by Kate Chisholm, Wednesday, 21st November 2007 [21] Roby, Steven (2002). Black Gold: The Lost Archives of Jimi Hendrix, p.32. ISBN 0-8230-7854-X. [22] Perry, John (2004). Jimi Hendrix's Electric Ladyland, p.120-121. ISBN 0-8264-1571-7. [23] http:/ / toolserver. org/ %7Edispenser/ cgi-bin/ dab_solver. py?page=Dominant_seventh_sharp_ninth_chord& editintro=Template:Disambiguation_needed/ editintro& client=Template:Dn [24] Pedler (2003), p.440-441. [25] Sisario, Ben (2006). Doolittle, p.82 and 90. ISBN 0-8264-1774-4.
References Further reading • Hanford, John. "With the Power of Soul: Jimi Hendrix in Band of Gypsys" Ph.D. dissertation, University of Washington, 2003. • van der Bliek, Rob. "The Hendrix Chord: Blues, Flexible Pitch Relationships, and Self-standing Harmony," Popular Music 26:2 (May 2007), pp 343–364. • Ted Pose, Ken Pulling (2001). Michael Gold, ed. Modern Jazz Voicings (Paperback ed.). Berklee Press. ISBN 0-634-01443-9. • Waite, Brian (1987). Modern Jazz Piano: A study in harmony and improvisation (Hardback ed.). Wise Publications. ISBN 0-7119-08-41-9. • Valerio, John (2003). Bebop Jazz Piano. Hal Leonard. ISBN 0-634-03353-0. • Valerio, John (2005). Post-bop Jazz Piano. Hal Leonard. ISBN 0-634-06123-2. • Esterowitz, Michael (1987). How To Play From A Fake Book. Ekay Music. p. 168. ISBN 9780943748191.
55
Dominant seventh sharp ninth chord
56
External links Media related to Dominant seventh sharp ninth chord at Wikimedia Commons
Eleventh chord In music, an eleventh chord is a chord which contains the tertian extension of the eleventh. Typically found in jazz, an eleventh chord will also usually include the seventh and ninth along with elements of the basic triad structure. Variants include the dominant eleventh, minor eleventh, and the major eleventh chord. Symbols include: Caug11, C9(aug11), C9(+11), C9alt11, Cmin9(11), C-(9)(11).[3] The eleventh in an eleventh chord is, "almost always sharped, especially in jazz,"[4] at least in reference to the third, with CM11 (major eleventh): C-E-G-B-D-F♯, Cm11 (minor eleventh): C-E♭-G-B♭-D-F, and C11 (dominant eleventh): C-E-G-B♭-D-F♯. Eleventh chord on C, CMA11. Play Wikipedia:Media helpFile:Eleventh chord diatonic on C.mid
[Dominant] eleventh chord in F, on C (C11). "As [1] it appears in actual music": C, —, G, B♭, D, F. Play Wikipedia:Media helpFile:Eleventh chord without third on C.mid
Opening minor eleventh chord (Am7/D) from [2] Herbie Hancock's "Maiden Voyage". Play Wikipedia:Media helpFile:Minor eleventh chord Herbie Hancock Maiden Voyage.mid
Eleventh chord
Dominant eleventh chord on C, C11, with third. [5] V11 in F major. Play Wikipedia:Media helpFile:Eleventh chord C11 chord.mid
57 However, since the major diatonic eleventh would create a dissonant minor ninth interval with the third of the chord, including the third is a rare phenomenon, even in 20th-century classical music.[citation needed] Though rare, in rock and popular music, the third of the dominant eleventh ("as theoretically conceived": C, E, G, B♭, D, F play Wikipedia:Media helpFile:Dominant eleventh chord on C.mid), for example, is usually omitted. It may be notated in charts as, C11, or, more often, "descriptively," as Gm7/C. The fifth is also sometimes omitted, thus turning the chord into a suspended chord (C, B♭, D, F) an
Fsus4 with an added 6th). As the upper extensions (7th, 9th, 11th) constitute a triad, a dominant eleventh chord with the 3rd and 5th omitted is often notated as a triad with a bass note. So C-B♭-D-F is written as B♭/C, emphasizing the ambiguous dominant/subdominant character of this voicing. In the dominant eleventh, because this minor ninth interval between the third and the eleventh is more problematic to the ear and to voice leading than a major ninth would be, alterations to the third or eleventh scale degrees are a common solution. When the third is lowered, a minor eleventh chord is formed with a major ninth interval between the two notes in question (e.g. C, E♭, G, B♭, D, F) play Wikipedia:Media helpFile:Minor eleventh chord on C.mid. Similarly, the eleventh may be raised chromatically over a major triad (e.g. to F♯ in a C major chord) to imply the lydian dominant mode. A less common solution to the issue is to simply omit the third in the presence of the eleventh, resulting in a chord enharmonic to the suspended chord (sus4). This type of chord should be notated as such.[citation needed] In the common practice period, "the root, 7th, 9th, and 11th are the most common factors present in the V11 chord," with the 3rd and 5th, "typically omitted".[] The 11th is usually retained as a common tone when the, "V11 resolves to I or i". The suspended chord derived from the dominant eleventh chord (with the third omitted and the seventh flattened), is particularly useful in diatonic music when a composer or accompanist wishes to allow the tonic note of a key to be heard while also sounding the dominant of that key in the bass, but while not playing the second inversion of the triad on the tonic. Therefore, something similar to a perfect cadence may be attempted under a melody which does not leave the tonic note (e.g. a perfect cadence in F might require that the melody moves by step from E to F, or from G to F; whereas, if the first of the two notes is harmonized by an eleventh chord, the melody may remain on F, while the bass still plays the typical pattern of a perfect cadence i.e. dominant-tonic). This type of suspended chord also expands the versatility of the dominant pedal compositional technique.
Voice leading for dominant eleventh chords in the common practice period. Play Wikipedia:Media helpFile:Eleventh chord voice leading.mid
Eleventh chord
58
Fourth The fourth factor of a chord is the note or pitch four scale degrees above the root or tonal center. When the fourth is the bass note, or lowest note, of the expressed chord, the chord is in first inversion Play Wikipedia:Media helpFile:Suspended fourth chord on C in first inversion.mid. However, this is equivalent to a gapped ninth chord. Fourth (F), in red, of a C suspended fourth chord ( Play Wikipedia:Media helpFile:Fourth of a suspended fourth chord on C.mid).
Conventionally, the fourth is third in importance to the root, fifth, and third, being an added tone. It may be avoided as the root since that inversion may resembles a ninth chord on the fourth rather than a suspended chord on the original note. In jazz chords and theory, the fourth is required due to its being an added tone.
Third inversion C suspended fourth chord. The "fourth" is the bass. Quartal or gapped ninth chord on F.
The quality of the fourth may be determined by the scale or may be indicated. For example, in both a major and minor scale a diatonic fourth added to the tonic chord will be major (C-F-G) while one added to the subdominant chord will be major or minor (F-B-C or F-B♭-C), respectively. Suspended chord (sus2) and added tone chord (add9) both with D (ninth=second), distinguished [6] by the absence or presence of the third (E♭).
The fourth is octave equivalent to the eleventh. If one could cut out the note in between the fifth and the eleventh and then drop the eleventh down an octave to a fourth, one would have a fourth chord (CEGB♭D'F' – B♭D' = CEFG). The difference between sus4 and add11 is conventionally the absence or presence, respectively, of the third.
References [1] [2] [3] [4] [5] [6]
Stephenson, Ken (2002). What to Listen for in Rock: A Stylistic Analysis, p.87. ISBN 978-0-300-09239-4. Kernfeld, Barry (1997). What to Listen for in Jazz, p.68. ISBN 978-0-300-07259-4. Smith, Johnny (1980). Mel Bay's Complete Johnny Smith Approach to Guitar, p.231. ISBN 978-1-56222-239-0. Miller, Michael (2004). Complete Idiot's Guide to Solos and Improvisation, p.52. ISBN 978-1-59257-210-6. Kostka & Payne (1995). Tonal Harmony, p.431. Third Edition. ISBN 0-07-300056-6. Hawkins, Stan. "Prince- Harmonic Analysis of 'Anna Stesia'", p.329 and 334n7, Popular Music, Vol. 11, No. 3 (Oct., 1992), pp. 325-335.
Half-diminished seventh chord
59
Half-diminished seventh chord half-diminished seventh chord Component intervals from root minor seventh diminished fifth (tritone) minor third root Tuning [1]
5:6:7:9
[2]
or 25:30:36:45
In music theory, the half-diminished seventh chord, also known as a half-diminished chord or a minor seventh flat five (m7♭5), is composed by a root note, together with a minor third, a diminished fifth and a minor seventh from root. It can be created by taking the tonic, flattened third, flattened fifth and flattened seventh degrees of any major scale (1, ♭3, ♭5 and ♭7); for example, C half-diminished is (C E♭ G♭ B♭). Its consecutive intervals are minor 3rd, minor 3rd, major 3rd. In diatonic harmony, the half-diminished chord naturally occurs on the 7th scale degree of any major scale[3] (for example, Bø7 in C major). By the same virtue, it also occurs on the second degree of any natural minor scale (e.g. Dø7 in C minor). It occurs as a leading-tone seventh chord in major and can be represented by the integer notation {0, 3, 6, 10}. It has been described as a "considerable instability".[4]
Half-diminished seventh chord on C ( Play Wikipedia:Media helpFile:Half-diminished seventh chord on C.mid).
Chord symbols and terminology Half-diminished seventh chords are often symbolized as a circle with a diagonal line through it, as in Cø. It also can be represented as m7♭5, -7♭5, m7(♭5) etc.
Leading-tone seventh chord resolution in C
The terms and symbols for this chord break expectations that derive major: viiø7-I Play Wikipedia:Media helpFile:Leading-tone seventh chord resolution in from the usual system of chord nomenclature. Normally a symbol like C major.mid. "Bdim" indicates a diminished triad and "B7" indicates a major triad plus a minor seventh. Thus one would expect the term "Bdim7" to indicate a diminished triad plus a minor seventh. Instead, it means a diminished triad plus a diminished seventh. To make this distinction clear, the term "half-diminished" and the ø symbol (ø) were invented. Since the term dim7 (as in Bdim7) meant something else, the accurate but unwieldy term "minor seventh flat five" (as in Bø7))( Play Wikipedia:Media helpFile:Half diminished_seventh.mid) came to be used.[5] Despite the appearance of the word "diminished" in the name of this type of seventh chord, its sound differs considerably from that of a diminished seventh chord. In fact, the only sonic connection between the two chords is the single diminished triad found in the half-diminished seventh chord. As composer-theorist Milton Babbitt has astutely pointed out, the "half-diminished" seventh chord should be called the "one-third" diminished seventh chord. ... Whatever its deficiencies might be in the label
Half-diminished seventh chord department, however, the half-diminished seventh chord is in many respects the star of the seventh chord harmonic cast. Many songs in the classic American popular song repertoire reserve it for their most intensely expressive moments.[6] Jazz musicians typically consider the half-diminished chord as built from one of three scales: the seventh (Locrian mode) of the major scale, the sixth mode of the melodic minor scale (the latter scale is nearly identical to the Locrian mode, except that it has a natural 9 rather than a ♭9, giving it a somewhat more consonant quality), or the "half-whole" diminished scale (see octatonic scales.) See: chord-scale system. The "Tristan chord" is sometimes described as a half-diminished seventh chord; however, the term "Tristan chord" is typically reserved for a very specific harmonic function, especially determined by the order of the notes from bottom to top, and sometimes even the way the chord is spelled (e.g. is it G♭ or F♯?).
Function The half-diminished chord has three functions in contemporary harmony: predominant function, diminished, and dominant function. The vast majority of its occurrence is on the II chord in the minor mode, wherein it takes a predominant function, leading naturally to the dominant V chord. Not including the root motion, there is only a one note difference between a half diminished chord and a V chord with a 9th. Since it is built on the diatonic II chord of the minor scale, most of the time the II-V pattern resolves to a minor tonic (such as in the progression Dm7(♭5) G7(♭9) - Cm)., but there are instances where there is a major tonic resolution. Diminished chord function is rarer, but it still exists. Half-diminished chords can function in the same way as fully diminished chords do, such as in the chord progression Cmaj7 - C♯dim7 - Dm7, or Em7 - E♭dim7 - Dm7, where the diminished chord serves as a chromatic passing chord preceding a chord with a diatonic root. A typical example of this is when ♯IVm7(♭5) progresses to IVm7, such as in the Cole Porter song "Night and Day", where you have the progression F♯m7(♭5) - Fm7 - Em7 - E♭dim7 - Dm7 - G7 - Cmaj7. If analyzed in its predominant function, it wouldn't sufficiently explain how it functions preceding the Fm7 chord. In dominant function, the VII half diminished chord, like its fully diminished counterpart, can take the place of the dominant V chord at a point of cadential motion. This generally occurs in a major key, since the flattening of the sixth degree in the natural minor scale renders a dominant diminished seventh chord fully diminished if played within the scale. Indeed, the VII half diminished chord in a major key is identical to a dominant ninth chord (a dominant seventh with an added ninth) but with its root omitted. The dominant function of the half-diminished seventh chord may also occur in a secondary dominant context, i.e., as part of a progression where the chord performs the dominant function with respect to the overall key's dominant chord. In this scenario, the half-diminished seventh chord is built on the tritone of the overall key and is equivalent to a secondary dominant seventh chord with added ninth and omitted root. If written with respect to the overall key, this chord is styled "#ivø7," but in terms of its function in the progression, the styling "viiø7/V" is more descriptive. Examples of the #ivø7-to-V or viiø7/V-to-V transition include the half-line "know when to run" in the Kenny Rogers song "The Gambler",[citation needed] and measures 11-12 of Scott Joplin's "The Entertainer".[7]
60
Half-diminished seventh chord
61
Leading-tone with minor seventh The leading-tone diminished triad with minor seventh chord is represented with the Roman numeral notation viiø7. In the key of C, this is Bø7), the root of which is the leading-tone to the tonic.
Leading-tone seventh chord (bø7) in C major Play Wikipedia:Media helpFile:Leading-tone seventh chord in C major.mid.
Supertonic with minor seventh in minor One variant of the supertonic seventh chord is the supertonic half-diminished seventh (iiø7) in minor. It may be considered a minor seventh chord with a flatted fifth (e.g., ACE♭G rather than ACEG) and is used in the ii-V-I in minor.[8] For example, over the first three bars of the Ciaccona or Chaconne movement of J.S. Bach's Violin Partita No. 2 in D minor, the tonic in the first measure progresses to the iiø7 chord (here in third inversion: DGB♭E) for the first beat of the second measure, then to the dominant (here a V7 in first inversion: C#GAE) for the second and third beats of the second measure, and then back to the tonic for the first beat of the third measure.
Half-diminished seventh chord on supertonic in C minor Play Wikipedia:Media helpFile:Half-diminished seventh chord on supertonic in C minor.mid.
Sharpened supertonic with minor seventh One variant of the supertonic seventh chord is the supertonic half-diminished seventh (♯iiø7) with the raised supertonic, which equals the lowered third through enharmonic equivalence (in C: D♯=E♭).
Sharpened supertonic seventh chord (d♯ø7) in C major Play Wikipedia:Media helpFile:Half-diminished seventh chord on sharpened supertonic in C.mid.
D♯F♯A C♯ = F♯A C♯E♭ d♯ø7 = f♯mADDo7
Half-diminished seventh chord
62
Sharpened subdominant with minor seventh The sharpened subdominant diminished triad with minor seventh chord is represented with the Roman numeral notation ♯ivø7; the root of this chord is the raised subdominant (sharpened fourth). That root also serves as the leading tone to the dominant when used in the viiø7/V function described above; such a function is the diminished, secondary-dominant equivalent of a backdoor progression. For example, in the key of C major, the chord playing this role is F♯ø7.
Half-diminished seventh chord on sharpened subdominant (f♯ø7), viiø7/V, in C Play Wikipedia:Media helpFile:Half-diminished seventh chord on sharpened subdominant in C.mid.
Half-diminished seventh chord table Chord Cm7(♭5)
Root Minor Third Diminished Fifth Minor Seventh C
E♭
G♭
B♭
C♯m7(♭5) C♯
E
G
B
D♭m7(♭5) D♭
F♭ (E)
A
Dm7(♭5)
F
A♭
C
D♯m7(♭5) D♯
F♯
A
C♯
E♭m7(♭5) E♭
G♭
B
Em7(♭5)
E
G
B♭
D
Fm7(♭5)
F
A♭
C♭ (B)
E♭
F♯m7(♭5) F♯
A
C
E
G♭m7(♭5) G♭
B
Gm7(♭5)
B♭
D♭
F
G♯m7(♭5) G♯
B
D
F♯
A♭m7(♭5) A♭
C♭ (B)
E
Am7(♭5)
C
E♭
G
A♯m7(♭5) A♯
C♯
E
G♯
B♭m7(♭5) B♭
D♭
F♭ (E)
A♭
Bm7(♭5)
D
F
A
D
G
A
B
(A)
D
(G)
(A)
(C)
(D)
C♭ (B)
D♭
F♭ (E)
G♭
Half-diminished seventh chord
63
References [1] [2] [3] [4] [5]
Fétis, François-Joseph and Arlin, Mary I. (1994). Esquisse de l'histoire de l'harmonie, p.139n9. ISBN 9780945193517. Shirlaw, Matthew (2012). The Theory of Harmony, p.86. ISBN 9781451015348. Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.217. ISBN 978-0-07-294262-0. Henry, Earl and Rogers, Michael (2004). Tonality and Design in Music Theory, Vol. I, p.295. ISBN 0130811289. Mathieu, W.A. Harmonic Experience: Tonal Harmony from Its Natural Origins to Its Modern Expression (1997), pp. 371-372, Inner Traditions International, ISBN 0-89281-560-4 [6] Forte, Allen; Lalli, Richard; and Chapman, Gary (2001). Listening to Classic American Popular Songs, p.11. ISBN 0300083386. [7] http:/ / www. mfiles. co. uk/ scores/ The-Entertainer. pdf [8] Coker, Jerry (1984). Jerry Coker's Jazz Keyboard, p.23. ISBN 0769233236.
External links • Improvising Over Half Diminished Chords (http://www.jazzguitar.be/half_diminished_chords.html)
Harmonic seventh chord The harmonic seventh chord is a major triad plus the harmonic seventh interval (ratio of 7:4, about 968.826 cents[1]). This interval is somewhat narrower (about 48.77 cents, a septimal quarter tone) and is "sweeter in quality" than an "ordinary"[2] minor seventh, which has a just-intonation ratio of 9:5[3] (1017.596 cents), or an equal-temperament ratio of 1000 cents (25/6:1). Frequent use of this chord is one of the defining characteristics of blues and barbershop harmony; barbershoppers refer to it as "the barbershop seventh". Since barbershop music tends to be sung in just intonation, the barbershop seventh chord may be accurately termed a harmonic seventh chord. The harmonic seventh chord is also widely used in "blues flavored" music.[citation needed] As guitars, pianos, and other equal-temperament instruments cannot play this chord, it is frequently approximated by a dominant seventh chord. As a result it is often called a dominant seventh chord and written with the same symbols (such as the blues progression I7 - V7 - IV7). An often heard example of the harmonic seventh chord is the last word of the modern addition to the song "Happy Birthday to You", with the lyrics, "and many more!" The harmony on the word "more" is typically sung as a harmonic seventh chord.[4]
Harmonic seventh chord on C Play Wikipedia:Media helpFile:Harmonic seventh chord on C.mid tempered. 7th: 950 cents. See: three-quarter flat.
Just harmonic seventh chord on C Play just Wikipedia:Media helpFile:Harmonic seventh chord just on C.mid. 7th: 968.826 cents, a septimal quarter tone lower than B♭.
The alpha scale has, "excellent harmonic seventh chords...using the inversion of 7/4, i.e., 8/7."[5] Play Wikipedia:Media helpFile:Alpha scale harmonic seventh chord on C.mid. It is suggested that the harmonic seventh on the dominant not be used as a suspension, since this would create a mistuned fourth over the tonic.[6] The harmonic seventh of G, F +, is lower than the perfect fourth over C, F♮, by Archytas' comma (27.25 cents).
Harmonic seventh chord
64
Dominant seventh chord on C: C7 Play Wikipedia:Media helpFile:Dominant seventh chord on C.mid. 7th: 1000 cents. See: flat.
Barbershop seventh barbershop seventh chord. A chord consisting of the root, third, fifth, and flatted seventh degrees of the scale. It is characteristic of barbershop arrangements. When used to lead to a chord whose root is a fifth below the root of the barbershop seventh chord, it is called a dominant seventh chord. Barbershoppers sometimes refer to this as the 'meat 'n' taters chord.' In the nineteenth and early twentieth centuries, these chords were sometimes called 'minors.' [as in minor seventh chord]" —Averill 2003[7]
Successive seventh chords: secondary dominant. V7/V-V7-I (G7-C7-F). Note the chromatic voice leading (B♮-B♭-A), and that the F in the first chord is 27.26 cents lower than the F in the third chord. Play Wikipedia:Media helpFile:Barbershop secondary dominant.mid
The barbershop seventh is the name commonly given by practitioners of barbershop music to the seventh of and the major-minor seventh or dominant seventh chord, when it is used in a barbershop arrangement or performance. "Society arrangers believe that a song should contain anywhere from 35 to 60 percent dominant seventh chords to sound 'barbershop'--and when they do, barbershoppers speak of being in 'seventh heaven.'"[8] Barbershop music features both major-minor seventh chords with dominant function (resolving down a perfect fifth), often in chains (secondary dominants), and nondominant major-minor seventh chords.[9] Beginning in the 1940s, barbershop revival singers "have self-consciously tuned their dominant seventh and tonic chord in just intonation to maximize the overlap of common tones, resulting in a ringing sound rich in harmonics" called 'extended sound', 'expanded sound', 'fortified sound', "the voice of the angels".[10] The first positive mention of such practice appears to be Reagan, 'Molly' (1944). "Mechanics of Barbershop Harmony", Harmonizer. The example of a dominant chord tuned to 100, 125, 150, and 175 Hz, or the 4th, 5th, 6th, and 7th harmonics of a 25 Hz fundamental is given, making the seventh of the chord a "harmonic seventh". There's a chord in a barbershop that makes the nerve ends tingle....We might all our chord a Super-Seventh!...The notes of our chord have the exact frequency ratios 4-5-6-7. With these ratios, overtones reinforce overtones. There's a minimum of dissonance and a distinctive ringing sound. How can you detect this chord? It's easy. You can't mistake it, for the signs are clear; the overtones will ring in your ears; you'll experience a spinal shiver; bumps will stand out on your arms; you'll rise a trifle in your seat." —Art Merill It is normally voiced with the lowest note (the bass) on a root or a fifth, and its close harmony sound is one of the hallmarks of barbershop music. When tuned in just intonation (as in barbershop singing), this chord is called a harmonic seventh chord.
Harmonic seventh chord
Sources [1] Bosanquet, Robert Holford Macdowall (1876). An elementary treatise on musical intervals and temperament, pp. 41-42. Diapason Press; Houten, The Netherlands. ISBN 90-70907-12-7. [2] "On Certain Novel Aspects of Harmony", p.119. Eustace J. Breakspeare. Proceedings of the Musical Association, 13th Sess., (1886 - 1887), pp. 113-131. Published by: Oxford University Press on behalf of the Royal Musical Association. [3] "The Heritage of Greece in Music", p.89. Wilfrid Perrett. Proceedings of the Musical Association, 58th Sess., (1931 - 1932), pp. 85-103. Published by: Oxford University Press on behalf of the Royal Musical Association. [4] Mathieu, W.A. Harmonic Experience. Inner Traditions International; Rochester, Vermont; 1997. ISBN 0-89281-560-4, pg. 126 [5] Carlos, Wendy (1989–96). "Three Asymmetric Divisions of the Octave" (http:/ / www. wendycarlos. com/ resources/ pitch. html), WendyCarlos.com. [6] Robert Halford, Macdowall Bosanquet, Rudolf Rasch (1876). An elementary treatise on musical intervals and temperament, p.42. [7] Averill, Gage (2003). Four Parts, No Waiting: a Social History of American Barbershop Harmony, p.205. ISBN 0-19-511672-0. [8] Averill (2003), p.163. [9] McNeil, W. K. (2005). Encyclopedia Of American Gospel Music, p.26. ISBN 9780415941792. [10] Averill (2003), p.164.
Heptatonic scale A heptatonic scale is a musical scale with seven pitches per octave. Among the most famous of these are the major scale, C D E F G A B C; the melodic minor scale, C D E♭ F G A B C ascending, C B♭ A♭ G F E♭ D C descending; the harmonic minor scale, C D E♭ F G A♭ B C; and a scale variously known as the Byzantine, Hungarian,[1] gypsy, or Egyptian scale, C D E♭ F♯ G A♭ B C. South Indian (Carnatic music) classical theory postulates seventy-two melakarta, seven-tone scale types, whereas Hindustani classical music postulates twelve or ten (depending on the theorist) seven-tone scale types collectively called thaat. Most heptatonic scales of Western, Hungarian, Arabian, Greek, and Indian musics can be analyzed as juxtaposition of tetrachords.[2] All heptatonic scales have all intervals present in their Interval vector analysis,[3] and thus all heptatonic scales are both hemitonic and tritonic. There is a special affinity for heptatonic scales in the Western Key signature system.
Diatonic scale Any 7-note scale constructed sequentially using only whole tones and half tones, repeating at the octave, having a tonal center, and comprising only one tritone interval between any two scale members. There are seven such scales, and they are commonly known as the modes of the Major scale (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian).
Melodic minor scale In traditional classical theory the melodic minor scale has two forms, as noted above, an ascending form and a descending form. Although each of these forms of itself comprises seven pitches, together they Melodic minor scale (ascending) on A. comprise nine, which might seem to call into question the scale’s status Play Wikipedia:Media helpFile:Amoll melod as a heptatonic scale. In certain twentieth-century music, however, it auf.mid became common systematically to use the ascending form for both ascending and descending passages. Such a use has been notably ascribed to the works of Béla Bartók and to bop and post-bop jazz practice. The traditional descending form of the melodic minor scale is equivalent to the natural minor scale in both pitch collection (which is diatonic) and tonal center.
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Heptatonic scale
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Harmonic minor scale The harmonic minor scale is so called because in tonal music of the common practice period (from approximately 1600 to approximately 1900) chords or harmonies are derived from it more than from the Harmonic minor scale on A. natural minor scale or the melodic minor scale. The augmented second Play Wikipedia:Media helpFile:Amoll harm.mid between its sixth degree and its raised seventh degree (the "leading tone"), traditionally considered undesirable in melodic progression, is avoided by placing these pitches in different voices in adjacent chords, as in this progression: F A♭ D, F G B, F A♭ C (ii°b–V7d–iv in C minor). The A♭ in the middle voice does not ascend to B, and the B in the upper voice does not descend to A♭.
Heptatonia Prima and Secunda The rather unwieldy name of Heptatonia Prima and Heptatonia Secunda are given to the various seven-note scales which can be formed using tones and semitones but without two semi-tones appearing in succession. Some are more theoretical than others. They are Heptatonia Prima Beginning on keynote A and working up the notes of the 'natural minor' scale (A, B, C, D, E, F, G, A), the seven modes are: • Aeolian mode (natural minor) t-s-t-t-s-t-t
Aeolian mode C. Play Wikipedia:Media helpFile:Aeolian mode C.mid
• Locrian mode s-t-t-s-t-t-t
Locrian mode C. Play Wikipedia:Media helpFile:Locrian mode C.mid
• Ionian Mode (major) t-t-s-t-t-t-s
Ionian mode C. Play Wikipedia:Media helpFile:Ionian mode C.mid
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• Dorian Mode t-s-t-t-t-s-t
Dorian mode C. Play Wikipedia:Media helpFile:Dorian mode C.mid
• Phrygian Mode s-t-t-t-s-t-t
Phrygian mode C. Play Wikipedia:Media helpFile:Phrygian mode C.mid
• Lydian Mode t-t-t-s-t-t-s
Lydian mode C. Play Wikipedia:Media helpFile:Lydian mode C midi.mid
• Mixolydian Mode t-t-s-t-t-s-t It may be noted that the Dorian is exactly the same descending as ascending. The less common series is Mixolydian mode C. Play Wikipedia:Media helpFile:Mixolydian mode C.mid
Heptatonia Secunda
The difference between this and the diatonic modes is that they have two and three tones between each semitone, while these latter modes have one and four. These are sometimes called modes of the melodic ascending minor since that is the most commonly used scale of this type, but other modes can be produced by starting on the different scale notes in turn. Thus starting on keynote A as above and following the notes of the ascending melodic minor (A, B, C, D, E, F♯, G♯) yields these seven modes: • 'Melodic ascending minor' t-s-t-t-t-t-s • 'Phrygian raised sixth' s-t-t-t-t-s-t combines the Phrygian flat second and Dorian raised sixth • 'Lydian raised fifth' t-t-t-t-s-t-s combines the Lydian fourth with a raised fifth
Ascending melodic minor scale on A. Play Wikipedia:Media helpFile:Amoll melod auf.mid
• 'Acoustic' or 'Lydian Dominant' Scale t-t-t-s-t-s-t So-called because close to the scale built on natural overtones and combines Lydian raised fourth with Myxolydian (Dominant) flat seventh Acoustic scale on C. Play Wikipedia:Media helpFile:Lydian dominant C.mid
• 'Major minor' scale t-t-s-t-s-t-t Like natural minor (aeolian) but with a major third
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• 'Half diminished scale' or 'Locrian sharp 2' scale t-s-t-s-t-t-t This is like the Locrian with a raised second
Half diminished scale on C. Play Wikipedia:Media helpFile:Half diminished scale C.mid
• 'Altered scale' s-t-s-t-t-t-t Like Locrian with diminished fourth These modes are more awkward to use than those of the diatonic scales due to the four tones in a row yielding augmented intervals on one hand while the one tone between two semitones gives rise to Altered scale on C. Play Wikipedia:Media helpFile:Altered scale on C.mid diminished intervals on the other. For example, the last two modes listed above both have 'Locrian' diminished triads built on their tonics given them unstable tonality while the third mode not only has an augmented fourth a la the Lydian mode but also an augmented fifth making the dominant and subdominant unusable.
Heptatonia Tertia The last group of seven note tone/semitone scales are known as Heptatonia Tertia and consist of scales with two adjacent semitones which amounts to a whole-tone scale but with an additional note somewhere in its sequence e.g. B C D E F♯ G♯ A♯. Neapolitan major scale on C. Play Wikipedia:Media helpFile:Neapolitan major scale on C.mid
Other Heptatonic scales If the interval of the augmented second is used, many other scales become possible. These include Gypsy I-bII-III-IV-V-bVI-VII Hungarian I-II-bIII-#IV-V-bVI-VII The scales are symmetrical about the tonic and dominant respectively and the names are sometimes used interchangeably.
Phrygian Major or Dominant Harmonic Minor I-bII-III-IV-V-bVI-bVII This differs from the Phrygian in having a major third. It may also be considered to be built on the dominant of the harmonic minor scale.
Hungarian Gypsy scale.
Phrygian dominant scale. Play Wikipedia:Media helpFile:Phrygian dominant scale on C.mid
Heptatonic scale
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Verdi's Scala Enigmatica I-bII-III-#IV-#V-#VI-VII i.e. G Ab B C♯ D♯ E♯ F♯ which is similar to the Heptonia Tertia mentioned above differing only in that the second degree here is flattened.
Melakarta
Enigmatic scale on C. Play Wikipedia:Media helpFile:Enigmatic scale on C.mid
The postulated number of melakarta derives from arithmetical calculation and not from Carnatic practice, which employs far fewer scale forms. Seven-pitch melakarta are considered subsets of a twelve-pitch scale roughly analogous to the Western chromatic scale. The first and fifth melakarta tones, corresponding to the first and seventh chromatic tones, are invariable in inflection, and the fourth melakarta tone, corresponding to the fifth or sixth chromatic tone, is allowed one of two inflections only, a natural (shuddah) position and a raised (tivra) position. Thus the number of possible forms is equal to twice the square of the number of ways a two-membered subset can be extracted from a four-membered set:
Thaat Hindustani heptatonic theory additionally stipulates that the second, third, sixth and seventh degrees of heptatonic scale forms (septak) are also allowed only two inflections each, in this case, one natural position, and one lowered (komal) position. Arithmetically this produces 25, or thirty-two, possibilities, but Hindustani theory, in contradistinction to Carnatic theory, excludes scale forms not commonly used.
Chinese Gongche notation Gongche notation heptatonic scale gets a do,re,mi,(between fa and fa♯),sol,la,(between ti♭ and ti) heptatonic scale.
References [1] The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London, 2001) [2] Dupre, Marcel (1962). Cours Complet d'Improvisation a l'Orgue, v.2, p. 35, trans. John Fenstermaker. Paris: Alphonse Leduc. ASIN: B0006CNH8E. [3] Hanson, Howard. (1960) Harmonic Materials of Modern Music, p.362 ff. New York: Appleton-Century-Crofts. LOC 58-8138.
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Hexatonic scale In music and music theory, a hexatonic scale is a scale with six pitches or notes per octave. Famous examples include the whole tone scale, C D E F♯ G♯ A♯ C; the augmented scale, C D♯ E G A♭ B C; the Prometheus scale, C D E F♯ A B♭ C; and what some jazz theoristsWikipedia:Avoid weasel words call the "blues scale", C E♭ F G♭ G B♭ C.
Whole tone scale The whole tone scale is a series of whole tones. It has two non-enharmonically equivalent positions: C D E F♯ G♯ A♯ C and D♭ E♭ F G A B D♭. It is primarily associated with the French impressionist composer Claude Debussy, who used it in such pieces of his as Voiles and Le vent dans la plaine, both from his first book of piano Préludes. This whole-tone scale has appeared occasionally and sporadically in jazz at least since Bix Beiderbecke's impressionistic piano piece In a Mist. Bop pianist Thelonious Monk often interpolated whole-tone scale flourishes into his improvisations and compositions.
Whole tone scale
Play Wikipedia:Media helpFile:Whole tone scale on C.ogg.
Augmented scale The augmented scale, also known in jazz theory as the symmetrical augmented scale,[1] is so called because it can be thought of as an interlocking combination of two augmented triads an augmented second or minor third apart: C E G♯ and E♭ G B. It may also be called the "minor-third half-step scale" due to the series of intervals produced.
Augmented scale
Play Wikipedia:Media helpFile:Augmented scale on C.mid.
It made one of its most celebrated early appearances in Franz Liszt's Faust Symphony (Eine Faust Symphonie). Another famous use of the augmented scale (in jazz) is in Oliver Nelson's solo on "Stolen Moments". It is also prevalent in 20th century compositions by Alberto Ginastera, Almeida Prado, Béla Bartók, Milton Babbitt, and Arnold Schoenberg, by saxophonists John Coltrane and Oliver Nelson in the late 50s and early 60s, and bandleader Michael Brecker. Alternating E major and C minor triads form the augmented scale in the opening bars of the Finale in Shostakovich's Second Piano Trio.[citation needed]
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Prometheus scale The Prometheus scale is so called because of its prominent use in Alexander Scriabin's symphonic poem Prometheus: The Poem of Fire. Scriabin himself called this set of pitches, voiced as the simultaneity (in ascending order) C F♯ B♭ E A D the "mystic chord". Others have referred to it as the "Promethean chord".
Prometheus scale
Play Wikipedia:Media helpFile:Prometheus scale on C.mid.
Blues scale Since blue notes are alternate inflections, strictly speaking there can be no one blues scale,[2] but the scale most commonly called "the blues scale" comprises a flatted seventh blue note, a flatted third blue note, and a flatted fifth blue note along with other pitches derived from the minor pentatonic scale: C E♭ F F♯ G B♭ C[3][4][5].
Most common "blues scale"
Play Wikipedia:Media helpFile:Blues scale common.mid.
Tritone scale The tritone scale, C D♭ E G♭ G(♮) B♭,[6] is enharmonically equivalent to the Petrushka chord, C C♯ E F♯ G A♯.
Tritone scale on C
Play Wikipedia:Media helpFile:Tritone scale on C.mid.
The two-semitone tritone scale, C D♭ D F♯ G A♭, is a symmetric scale consisting of a repeated pattern of two semitones followed by a major third now used for improvisation and may substitute for any mode of the jazz minor scale.[7] The scale originated in Nicolas Slonimsky's book Thesaurus of Scales and Melodic Patterns through the, "equal division of one octave into two parts," creating a tritone, and the, "interpolation of two notes," adding two
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consequent semitones after the two resulting notes.
Two-semitone tritone scale on C
Play Wikipedia:Media helpFile:Two-semitone tritone scale on C.mid.
Sources [1] Workman, Josh. Advanced: " Secrets of the symmetrical augmented scale (http:/ / www. guitarplayer. com/ article/ secrets-of-the-symmetrical-augmented-scale/ 6542)", Guitar Player 41.7 (July 2007): p108(2). [2] J. Bradford Robinson/Barry Kernfeld. "Blue Note", The New Grove Dictionary of Jazz, Second Edition, London (2002) [3] Ferguson, Jim (2000). All Blues Scale for Jazz Guitar: Solos, Grooves & Patterns, p.6. ISBN 0-7866-5213-6. [4] Arnold, Bruce (2002). The Essentials: Chord Charts, Scales and Lead Patterns for Guitar, p.8. ISBN 1-890944-94-7. [5] Harrison, Mark (2003). Blues Piano: Hal Leonard Keyboard Style Series, p.8. ISBN 0-634-06169-0. [6] Busby, Paul. "Short Scales" (http:/ / google. com/ search?q=cache:mGLnCz772wwJ:www. scoredchanges. com/ how-to/ shorties. pdf+ "C+ Db+ E+ Gb+ G+ Bb"& cd=1& hl=en& ct=clnk& gl=us), Scored Changes: Tutorials (http:/ / www. scoredchanges. com/ tutorials. htm). [7] Dziuba, Mark (2000). The Ultimate Guitar Scale Bible, p.129. ISBN 1-929395-09-4.
External links • A model for hexatonic scales in 96-EDO (http://www.96edo.com/Microhexatonic.html), 96edo.com. • Detailed Examination of Hexatonic Scales Originating in the Natural Scale (http://www.academia.edu/ 2627765/The_European_Folk_Music_Scale_A_New_Theory)
Leading-tone
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Leading-tone In music theory, a leading-note (also subsemitone, and called the leading-tone in the US) is a note or pitch which resolves or "leads" to a note one semitone higher or lower, being a lower and upper leading-tone, respectively.
Seventh scale degree, or leading-tone, leading to the first scale degree, or tonic, in C major Play EQ Wikipedia:Media helpFile:EQ leading-tone.mid Play Just Wikipedia:Media helpFile:Just leading-tone.mid.
Tonic and leading tone chords in C Play Wikipedia:Media helpFile:Leading tone and tonic in C.mid. C major and B diminished (b°) chords. Play just leading tone chord Wikipedia:Media helpFile:Diminished triad on B just.mid
Dominant seventh and incomplete dominant seventh in C major: G7 and b° chords Play Wikipedia:Media helpFile:Incomplete dominant seventh chord in C major.mid.
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Tritone resolution inward and outwards Play inward Wikipedia:Media helpFile:Tritone resolution inward.ogg Play outwards Wikipedia:Media helpFile:Tritone resolution outwards.mid. Both notes resolve by half step.
Tritone substitution, ii-subV-I on C, creates an upper leading-note (D♭, which leads down to C) play Wikipedia:Media helpFile:Tritone substitution ii-subV-I.ogg
Leading tone in V-I progression Leading tone repeats four times over dominant (V) chord which then moves to the tonic (I) as the leading tone resolves upwards to the tonic
Problems playing this file? See media help.
Cadence featuring an upper leading tone from a well known 16th-century lamentation, the debate over which was documented in Rome c.1540 (Berger 1987, 148). Play upper-leading tone trill Wikipedia:Media helpFile:Escribano - Lamentation, upper leading-tone cadence.mid Play diatonic trill Wikipedia:Media helpFile:Escribano - Lamentation, upper leading-tone cadence diatonic.mid
Generally, the leading tone is the seventh scale degree of the diatonic scale, with a strong affinity for and leading melodically to the tonic (Benward & Saker 2003, 203). For example, in the C major scale (white keys on a piano, starting on C), the leading note is the note B; and the leading note chord uses the notes B, D, and F: a diminished triad. In music theory, the leading note triad is symbolized by the Roman numeral vii°. By contrast, an upper leading-tone (Berger 1987, 148; Coker 1991, 50), which leads down, may be found as the seventh of the dominant seventh chord, which leads to the third of the tonic chord (in C: F of a G7 chord lead to E of a CM chord). The upper leading-tone may also be found above the tonic, on D♭ or C♯ in C.
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According to Ernst Kurth (1913) the major and minor thirds contain "latent" tendencies towards the perfect fourth and whole-tone, respectively, and thus establish tonality. However, Carl Dahlhaus (1990) shows that this drive is in fact created through or with harmonic Seventh chord resolution from Scott Joplin's "Maple Leaf Rag" (Benward & Saker function, a root progression in another 2003, 203) Play Wikipedia:Media helpFile:Maple Leaf Rag seventh chord voice by a whole-tone or fifth, or resolution.mid. Note that the seventh resolves down by half step. melodically (monophonically) by the context of the scale. For example, the leading note of alternating C chord and F minor chords is either the note E leading to F, if F is tonic, or A♭ leading to G, if C is tonic. In works from the 14th and 15th century Western tradition, the leading-note is created by the progression from imperfect to perfect dissonances, such as a major third to a perfect fifth or minor third to a unison. The same pitch outside of the imperfect consonance is not a leading note. As a diatonic function the leading-note is the seventh scale degree of any diatonic scale when the distance between it and the tonic is a single semitone. In diatonic scales where there is a whole tone between the seventh scale degree and the tonic, such as the Mixolydian mode, the seventh degree is called instead, the subtonic. The leading-tone seventh chords are viiø7 and viio7,(Benward & Saker 2003, 219) in major and in minor.
Sources • Benward, Bruce, and Marilyn Nadine Saker (2003). Music: In Theory and Practice, Vol. I, seventh edition. Boston: McGraw-Hill. ISBN 978-0-07-294262-0. • Berger, Karol (1987). Musica Ficta: Theories of Accidental Inflections in Vocal Polyphony from Marchetto da Padova to Gioseffo Zarlino. Cambridge and New York: Cambridge University Press. ISBN 0-521-32871-3 (cloth); ISBN 0-521-54338-X (pbk).
Leading-tone seventh chord in C major: viiø7 Play Wikipedia:Media helpFile:Leading-tone seventh chord in C major.mid.
• Coker, Jerry (1991). Elements of the Jazz Language for the Developing Improvisor. Miami, Fla.: CCP/Belwin, Inc. ISBN 1-57623-875-X. • Dahlhaus, Carl (1990). Studies in the Origin of Harmonic Tonality, trans. Robert O. Gjerdingen, pp.184-85. Princeton: Princeton University Press. ISBN 0-691-09135-8.
Leading-tone seventh chord in C minor: viio7 Play Wikipedia:Media helpFile:Leading-tone seventh chord in C minor.mid.
• Kurth, Ernst (1913). Die Voraussetzungen der theoretischen Harmonik und der tonalen Darstellungssysteme, pp. 119ff. Bern: Akademische Buchhandlung M. Drechsel. Unaltered reprint edition, with an afterword by Carl DahlhausMunich: E. Katzbichler, 1973. ISBN 3-87397-014-7.
• Stainer, John, and William Alexander Barrett (eds.) (1876). A Dictionary of Musical Terms. London: Novello, Ewer and Co. New and revised edition, London: Novello & Co, 1898.
Lydian chord
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Lydian chord In jazz music, the lydian chord is the maj7♯ 11 chord,[1] or ♯11 chord, the chord found on the first degree of the lydian mode, the sharp eleventh being a compound augmented fourth. It is described as "beautiful" and "modern sounding." The 7#11 chord generally resolves down by half step while the enharmonically equivalent 7(♭5) generally resolves up a fourth to the tonic[2] being a dominant chord (♯11=♯4=♭5, see octave equivalency).
Lydian chord on C Play Wikipedia:Media helpFile:Lydian chord on C.mid.
Major 7(♯11) may also refer to the Lydian augmented chord, an augmented seventh chord with augmented fourth appearing in the Lydian augmented scale helpFile:Major seventh sharp eleventh chord on C.mid.[3]
Play Wikipedia:Media
In a chord chart the notation, "Lydian" indicates a major family chord with an added augmented eleventh, including maj7♯11, add9(♯11), and 6(♯11).
Harmonic function Lydian chords may function as subdominants or substitutes for the tonic in major keys.[4] Lydian (CΔ♯11): r 3 5 7 (9) ♯11 (6)) • The Lydian chord has a peculiarity, in that placing the root both above and below the augmented eleventh creates an unpleasant dissonance of a tritone.[citation needed] • The interval of the sixth is used even though it is described after other compound intervals, and perhaps should also be a compound Lydian chord: CMA13(sharp11) interval (i.e., 13th).Wikipedia:Vagueness However, convention in Play Wikipedia:Media helpFile:Thirteenth chord Jazz dictates that when describing the major sixth, the simple CMA13(sharp11).mid. interval, i.e., 6 is almost invariably used instead of the compound interval, i.e., 13.[citation needed] This helps avoid confusion with the dominant thirteenth.Wikipedia:Vagueness However, this trend has been almost reversed in more recent evolutions of jazz.Wikipedia:Please clarify[citation needed]
The dominant 7th ♯11 or Lydian dominant (C7♯11) comprises the notes: r 3 (5) ♭7 (9) ♯11 (13) Basing this chord on the pitch C results in the pitches: C E G B♭ D F♯ A The same chord type may also be voiced: C E B♭ F♯ A D F♯ This voicing omits the perfect fifth (G) and raises the major ninth (D) by an octave. The augmented eleventh (F♯) is also played twice in two different registers. This is known as "doubling".
Sources
Thirteenth chord: C13(sharp11) Play Wikipedia:Media helpFile:Thirteenth chord [5] C13(sharp11).mid.
Lydian chord [1] [2] [3] [4] [5]
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Juergensen, Chris (2006). The Infinite Guitar, p.50. ISBN 1-4116-9007-9. Juergensen (2006), p.51. Munro, Doug (2002). Jazz Guitar: Bebop and Beyond, p.39. ISBN 978-0-7579-8281-1. Miller, Scott (2002). Mel Bay Getting Into Jazz Fusion Guitar, p.44. ISBN 0-7866-6248-4. Benward & Saker (2009). Music in Theory and Practice: Volume II, p.185. Eighth Edition. ISBN 978-0-07-310188-0.
Major chord major triad Component intervals from root perfect fifth major third root Tuning 4:5:6
In music theory, a major chord ( Play Wikipedia:Media helpFile:C major triad.mid) is a chord having a root, a major third, and a perfect fifth.[1] When a chord has these three notes alone, it is called a major triad. Some major triads with additional notes, such as the major seventh chord, may also be called major chords. A major triad can also be described as a major third interval with a minor third interval on top or as a root note, a note 4 semitones higher than the root, and a note 7 semitones higher than the root.
The just major triad is composed of three tones in simple, whole number ratios.
Major and minor third in a major chord: major third on bottom, minor third on top Play Wikipedia:Media helpFile:Major and minor thirds.mid.
A minor chord ( play Wikipedia:Media helpFile:Minor triad on C.mid) differs from a major chord in having a minor third above the root instead of a major third. It can also be described as a minor third with a major third on
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top, in contrast to a major chord, which has a major third with a minor third on top. They both contain fifths, because a major third (4 semitones) plus a minor third (3 semitones) equals a fifth (7 semitones). An augmented chord is like a major chord, but with a raised fifth. triad on C.mid
play Wikipedia:Media helpFile:Augmented
An example of a major chord is the C major chord, which consists of the notes C, E and G.
A C major chord in its root position, first inversion, and second inversion, respectively. position Wikipedia:Media helpFile:Major_triad_on_C.mid
Play in root
In just intonation a major chord is tuned to the frequency ratio 4:5:6 ( play Wikipedia:Media helpFile:Just major triad on C.mid). This may be found on I, IV, V, ♭VI, ♭III, and VI.[2] In equal temperament it has 4 semitones between the root and third, 3 between the third and fifth, and 7 between the root and fifth. It is represented by the integer notation (0, 4, 7). In equal temperament, the fifth is only two cents narrower than the just perfect fifth, but the major third is noticeably different at about 14 cents wider. The major chord, along with the minor chord, is one of the basic building blocks of tonal music and the common practice period. It is considered consonant, stable, or not requiring resolution. In Western music, a minor chord, in comparison, "sounds darker than a major chord."[3]
Major chord table Chord Root Major third Perfect fifth C
C
E
G
C♯
C♯
E♯ (F)
G♯
D♭
D♭
F
A♭
D
D
F♯
A
D♯
D♯
F (G)
A♯
E♭
E♭
G
B♭
E
E
G♯
B
F
F
A
C
F♯
F♯
A♯
C♯
G♭
G♭
B♭
D♭
G
G
B
D
G♯
G♯
B♯ (C)
D♯
A♭
A♭
C
E♭
A
A
C♯
E
A♯
A♯
C (D)
E♯ (F)
B♭
B♭
D
F
B
B
D♯
F♯
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Sources [1] Miller, Michael. The Complete Idiot's Guide to Music Theory, 2nd ed (http:/ / books. google. com/ books?id=sTMbuSQdqPMC), p.113. [Indianapolis, IN]: Alpha, 2005. ISBN 1-59257-437-8. [2] Wright, David (2009). Mathematics and Music, p.140-41. ISBN 978-0-8218-4873-9. [3] Kamien, Roger (2008). Music: An Appreciation, 6th Brief Edition, p.46. ISBN 978-0-07-340134-8.
Major scale The major scale or Ionian scale is one of the most commonly used scales. 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 its frequency 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 not to require sharps or flats: C-D-E-F-G-A-B-C ( C major scale Wikipedia:Media helpFile:C major scale.ogg) 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. In Hindustani classical music it is known as Bilaval.
Major scales
Structure A major scale is a diatonic scale. The sequence of intervals between the notes of a major scale is: • whole, whole, half, whole, whole, whole, half where "whole" stands for a whole tone (a red u-shaped curve in the figure), and "half" stands for a semitone (a red broken line in the figure).
The pattern of whole and half steps characteristic of a major scale
A major scale may be seen as two identical tetrachords separated by a whole tone. Each tetrachord consists of two whole tones followed by a semitone: • whole, whole, half.
Scale degrees
• 1st – Tonic- key note • 2nd – Supertonic • 3rd – Mediant • 4th – Subdominant • 5th – Dominant • 6th – Submediant
Major scale • 7th – Leading tone • 8th – Tonic ( or Octave)
The circle of fifths The circle of fifths, first described in 1728 by Johann David Heinichen in his book Der General-bass, has been used ever since as a means of illustrating the relative harmonic distance between musical keys.[1]
The numbers inside the circle show the number of sharps or flats in the key signature, with the sharp keys going clockwise, and the flat keys counterclockwise from C major (which has no sharps or flats.) The circular arrangement depends on enharmonic relationships in the circle, usually reckoned at six sharps or flats for the major keys of F♯ = G♭ and D♯ = E♭ for minor keys. Seven sharps or flats make major keys (C♯ major or C♭ major) that may be more conveniently spelled with five flats or sharps (as D♭ major or B major).
References [1] Drabkin, William. 2001. "Circle of Fifths". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
Further reading • Bower, Michael. 2007. " All about Key Signatures (http://www.empire.k12.ca.us/capistrano/Mike/ capmusic/Key Signatures/key_signatures.htm)". Modesto, CA: Capistrano School (K–12) website. (Accessed 17 March 2010) • Jones, George Thaddeus. 1974. Music Theory: The Fundamental Concepts of Tonal Music Including Notation, Terminology, and Harmony. Barnes & Noble Outline Series 137. New York, Hagerstown, San Francisco, London: Barnes & Noble. ISBN 9780064601375. • Kennedy, Michael. 1994. "Key-Signature". Oxford Dictionary of Music, second edition, associate editor, Joyce Bourne. Oxford and New York: Oxford University Press. ISBN 0-19-869162-9.
80
Major scale
81
• Yamaguchi, Masaya. 2006. The Complete Thesaurus of Musical Scales, revised edition. New York: Masaya Music Services. ISBN 0-9676353-0-6.
External links • Listen to and download harmonised Major scale piano MP3s (http://www.youraccompanist.com/index. php?option=com_content&task=view&id=62&Itemid=104) • The major scale for guitar (http://www.jazzguitar.be/music-theory.html) in one position, with derivation
Major seventh chord major seventh chord Component intervals from root major seventh perfect fifth major third root Tuning [1]
8:10:12:18
In music, a major seventh chord is a seventh chord where the "third" note is a major third above the root, and the "seventh" note is a major seventh above the root (a fifth above the third note) play Wikipedia:Media helpFile:Major seventh chord on C.mid. The major seventh chord, sometimes also called a Delta chord, can be written as maj7, M7, Δ, ⑦ etc. It can be represented by the integer notation {0, 4, 7, 11}. In the case where the seventh note is a minor seventh above the root, it is instead called a dominant seventh chord.
Major seventh chord on C Play Wikipedia:Media helpFile:Major seventh [2] chord on C.mid. I7 in C major.
Examples of tonic major seventh chords include Bread's "Make It With You", America's "Tin Man", Blood Sweat & Tears' "You've Made Me So Very Happy", third and main part of Paul McCartney and Wings' "Band On The Run", Carly Simon's "The Right Thing To Do", Rupert Holmes' Him and, most famously, Chicago's "Colour My World".[3] Moving in the seventies to replace the prominence of the dominant seventh as a stable tonic more common in the first fifteen years of the rock era, the major seventh was common in all styles, "pervading soul, country rock, soft rock, MOR (middle-of-the-road styles), jazz rock, funk, and disco." "In soul and disco, a tonic minor seventh harmony often alternated with a dominant seventh or dominant ninth chord on ['Lady Marmalade' & 'Le Freak']...In other styles, major seventh and minor seventh chords generally mix (usually with eleventh chords...) to create a diatonic composite in either major or minor mode....The most famous major seventh chord in the history of music, [is] the one that opens...'Colour My World', even though the song departs from the usual pattern described above by 'colouring' the harmonic succession with several chromatic chords. Still, seven of that song's fourteen chords, including the tonic, are major sevenths or ninths, demonstrating the primacy of that chord type."
Major seventh chord
82
According to Forte, the major seventh chord is exemplified by IV7, which originates melodically.[] The just major seventh chord is tuned in the ratios 8:10:12:15, as a just major chord is tuned 4:5:6 and a just major seventh is tuned 15:8. Play Wikipedia:Media helpFile:Just major seventh chord on C.mid
Melodic origin of IV7. Play Wikipedia:Media helpFile:Melodic origin of major seventh chord.mid
major/major seventh chord Component intervals from root major seventh perfect fifth major third root Tuning 8:10:12:15
Pieces which feature prominent major seventh chords include: Chick Corea's "Litha", Joe Henderson's "Inner Urge", John Lennon's "Imagine", Freddie Hubbard's "Little Sunflower", Carole King's "It's Too Late", Michel Legrand's "Watch What Happens", Antonio Jobim's "Dindi", Red Hot Chili Peppers' Under The Bridge, and Tadd Dameron's "Lady Bird".[4] Major seventh chord on F Play Wikipedia:Media helpFile:Major seventh chord on F.mid. IV7 in C major.
Major/major seventh chord table
Major seventh chord
83
Chord
Root Major Third Perfect Fifth Major Seventh
Cmaj7
C
E
G
B
C♯maj7 C♯
E♯ (F)
G♯
B♯ (C)
D♭maj7 D♭
F
A♭
C
Dmaj7
F♯
A
C♯
D♯maj7 D♯
F (G)
A♯
C (D)
E♭maj7 E♭
G
B♭
D
Emaj7
E
G♯
B
D♯
Fmaj7
F
A
C
E
F♯maj7 F♯
A♯
C♯
E♯ (F)
G♭maj7 G♭
B♭
D♭
F
Gmaj7
B
D
F♯
G♯maj7 G♯
B♯ (C)
D♯
F (G)
A♭maj7 A♭
C
E♭
G
Amaj7
C♯
E
G♯
A♯maj7 A♯
C (D)
E♯ (F)
G (A)
B♭maj7 B♭
D
F
A
Bmaj7
D♯
F♯
A♯
D
G
A
B
Sources [1] Shirlaw, Matthew (1900). The Theory of Harmony, p.86. ISBN 978-1-4510-1534-8. [2] Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.229. Seventh Edition. ISBN 978-0-07-294262-0. [3] Stephenson, Ken (2002). What to Listen for in Rock: A Stylistic Analysis, p.83. ISBN 978-0-300-09239-4. "...the most famous major seventh chord in the history of music, the one that opens Chicago's 'Colour My World'..." [4] Radley, Roberta (2011). The "Real Easy" Ear Training Book, pages unmarked. ISBN 9781457101427.
Mediant
84
Mediant In music, the mediant (Latin: to be in the middle[3]) is the third scale degree of the diatonic scale, being the note halfway between the tonic and the dominant.[4] Similarly, the submediant is halfway between the tonic and subdominant.[5] The fifth note is almost always a perfect fifth, while the third note can equally be a minor or major third. In Roman numeral analysis, the mediant chord can take several forms. In major scales, the mediant chord is minor and is noted with the Roman numeral iii. In a natural minor scale, the mediant occurs as a major chord, noted with the Roman numeral III. In harmonic minor scales and ascending melodic minor scales, the seventh scale degree is raised by a half-step from a subtonic to a leading tone, creating an augmented mediant chord, noted with the Roman numeral (♭)III+. For example, in the C major scale (white keys on a piano, starting on C), the mediant is the note E; and the mediant chord is E-minor consisting of the notes E, G, and B. Therefore, Em is the iii chord in the C major scale. Also, in the A natural minor scale (same white keys, but now starting on A), the mediant is the note C; and the mediant chord is C (or C-major) consisting of the notes C, E, and G. Therefore, C is the III chord in the A (natural) minor scale. However, if the harmonic minor scale is used, G would be raised to G♯, changing the C chord to Caug, consisting of the notes C, E, and G♯. Therefore, Caug is the III+ chord in the A harmonic minor scale.
Tonic and mediant (dominant parallel or tonic counter parallel) in C major: CM and Em chords Play Wikipedia:Media helpFile:Tonic counter parallel in C major.mid.
Minor seventh chord on e Play Wikipedia:Media helpFile:Minor seventh chord on e iii7 in C.mid. iii7 or mediant seventh chord in C major.
"Mediant" also refers to a relationship of musical keys. For example, relative to the key of A (natural) minor, the key of C major is the mediant, and often serves as a mid-way point between I and V (hence the name). Tonicization or modulation to the mediant is quite common in pieces written in the minor mode, and usually serves as the second theme group in sonata forms, since it is very easy to tonicize III in minor (no need to alter notes). Tonicization of III in major is quite rare in classical harmony, compared with, say, modulation to the V in major, but mediant tonicization in major is an important feature of late romantic music. In German theory derived from Hugo Riemann the mediant in major is considered the dominant parallel, Dp, and in minor the tonic parallel, tP.
♭III+
Play Wikipedia:Media helpFile:bIII+.mid.
♭III+ as dominant substitute Play Wikipedia:Media helpFile:bIII+ as dominant substitute.mid.
Sources [1] Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.230. Seventh Edition. ISBN 978-0-07-294262-0. [2] MacDowell, Edward A. (2008 edition). The Music-Lover's Handbook, p.167. ISBN 1-4437-8087-1. [3] "Mediant" (http:/ / www. merriam-webster. com/ dictionary/ mediant), Merriam-Webster.com.
Mediant
85 [4] Benward & Saker (2003), p.32. [5] Benward & Saker (2003), p.33.
III+
chord in C harmonic or ascending [1] melodic minor Play Wikipedia:Media helpFile:III+7M chord in C minor.mid.
"1. Tonic, 2. Mediant, i.e., half-way to dominant, 3. Dominant, 4.Sub-Mediant, i.e., half-way to [2] sub-dominant, 5. Sub-Dominant."
Minor chord
86
Minor chord minor triad Component intervals from root perfect fifth minor third root Tuning [1]
10:12:15
In music theory, a minor chord ( play D minor chord Wikipedia:Media helpFile:D minor triad.mid) is a chord having a root, a minor third, and a perfect fifth.[2] When a chord has these three notes alone, it is called a minor triad. Some minor triads with additional notes, such as the minor seventh chord, may also be called minor chords. Minor chord on C play Wikipedia:Media helpFile:Minor chord on C.mid.
Minor and major third in a minor chord: minor third on bottom, major third on top Play Wikipedia:Media helpFile:Minor and major thirds.mid.
A minor triad can also be described as a minor third interval with a major third interval on top or as a root note, a note 3 semitones higher than the root, and a note 7 semitones higher than the root. Hence it can be represented by the integer notation {0, 3, 7}. A major chord ( play Wikipedia:Media helpFile:Major triad on C.mid) differs from a minor chord in having a major third above the root instead of a minor third. It can also be described as a major third with a minor third on top, in contrast to a minor chord, which has a minor third with a major third on top. They both contain fifths, because a major third (4 semitones) plus a minor third (3 semitones) equals a fifth (7 semitones). A diminished chord is a minor chord with a lowered fifth. C.mid
play Wikipedia:Media helpFile:Diminished triad on
An example of a minor chord is the C minor chord, which consists of the notes C (root), E♭ (minor third) and G (perfect fifth): Play C minor chord in root position Wikipedia:Media helpFile:Minor_triad_on_C.mid.
Minor chord
87
An A minor chord (consisting of notes A, C, E) in its root position, first inversion, and second inversion, respectively Play A minor chord and inversions Wikipedia:Media helpFile:Minor_triad_inversions_A.mid
The minor chord, along with the major chord, is one of the basic building blocks of tonal music and the common practice period. In Western music, a minor chord, in comparison, "sounds darker than a major chord"[3] but is still considered highly consonant, stable, or as not requiring resolution.
Acoustic consonance of the minor chord A unique particularity of the minor chord is that this is the only chord of three notes in which the three notes have one harmonic - hearable and with a not too high row - in common (more or less exactly, depending on the tuning system used) : This harmonic, common to the three notes, is situated 2 octaves above the high note of the chord : This is the harmonic of row 6 of the fundamental of the chord, the one of row 5 of middle note, the one of row 4 of the high note: In the example do, mi
, sol : a sol, 2 octaves above.
Demonstration : • • • •
Minor third = 6/5 = 12/10 Major third = 5/4 = 15/12 So the ratios of Minor chord : 10:12:15 And the explication of the unique harmonic in common, between the three notes, is verified by : 10*6 = 12*5 = 15*4
Just intonation
An illustration of the harmonic series as musical notation. The numbers above the harmonic indicate the number of cents it deviates from equal temperament. Red notes are sharp. Blue notes are flat.
In just intonation, a minor chord is often (but not exclusively) tuned in the frequency ratio 10:12:15 ( play Wikipedia:Media helpFile:Just minor triad on C.mid).[4] This is the first occurrence of a minor triad in the harmonic series (if on C: E-G-B).[5] This may be found on iii, vi, ♭vi, ♭iii, and vii.[6] In 12-TET, or twelve-tone equal temperament (now the most common tuning system in the West), a minor chord has 3 semitones between the root and third, 4 between the third and fifth, and 7 between the root and fifth. It is represented by the integer notation 0,3,7. The 12-TET fifth (700 cents) is only two cents narrower than the just perfect fifth (3:2, 701.9 cents), but the 12-TET minor third (300 cents) is noticeably (about 16 cents) narrower than the just minor third (6:5, 315.6 cents). The 12-TET minor third (300 cents) more closely approximates the 19-limit (Limit (music)) minor third 16:19 Play Wikipedia:Media helpFile:19th harmonic on C.mid (297.5 cents, the nineteenth harmonic) with only 2 cents
Minor chord
88
error.[7] Ellis proposes that the conflict between mathematicians and physicists on one hand and practicing musicians on the other regarding the supposed inferiority of the minor chord and scale to the major may be explained due to physicists' comparison of just minor and major triads, in which case minor comes out the loser, versus the musicians' comparison of the equal tempered triads, in which case minor comes out the winner since the ET major third is 14 cents sharp from the just major third while the ET minor third closely approximates the consonant 19:16 minor third, which many find pleasing.[8] Other just minor chord tunings include the supertonic triad in just intonation (27:32:40) the false minor triad,[9] Play Wikipedia:Media helpFile:Supertonic minor triad on C.mid, 16:19:24[10] Play Wikipedia:Media helpFile:19th harmonic minor triad on C.mid, 12:14:18 (6:7:9)[11][12] Play Wikipedia:Media helpFile:Septimal minor triad on C.mid (Septimal minor third), and the Pythagorean minor triad (54:64:81) Play Wikipedia:Media helpFile:Pythagorean minor triad on C.mid. More tunings of the minor chord are also available in various equal temperaments other than 12-TET. Rather than directly from the harmonic series, Sorge derived the minor chord from joining two major triads; for example the A minor triad being the confluence of the F and C major triads.[13] A-C-E= f-A-C-E-g. Given justly tuned major triads this produces a justly tuned minor triad: 10:12:15 on 8/5.
Minor chord table Chord Root Minor Third Perfect Fifth Cm
C
E♭
G
C♯m
C♯
E
G♯
D♭m
D♭
F♭ (E)
A♭
Dm
D
F
A
D♯m
D♯
F♯
A♯
E♭m
E♭
G♭
B♭
Em
E
G
B
E♯m
E♯
G♯
B♯
Fm
F
A♭
C
F♯m
F♯
A
C♯
G♭m
G♭
B
Gm
G
B♭
D
G♯m
G♯
B
D♯
A♭m
A♭
C♭ (B)
E♭
Am
A
C
E
A♯m
A♯
C♯
E♯ (F)
B♭m
B♭
D♭
F
Bm
B
D
F♯
(A)
D♭
Minor chord
89
References [1] Shirlaw, Matthew (). The Theory of Harmony, p.81. ISBN 978-1-4510-1534-8. "20:24:30" [2] Miller, Michael. The Complete Idiot's Guide to Music Theory, 2nd ed (http:/ / books. google. com/ books?id=sTMbuSQdqPMC), p. 114. [Indianapolis, IN]: Alpha, 2005. ISBN 1-59257-437-8. [3] Kamien, Roger (2008). Music: An Appreciation, 6th Brief Edition, p.46. ISBN 978-0-07-340134-8. [4] Johnston, Ben and Gilmore, Bob (2006). "A Notation System for Extended Just Intonation" (2003), "Maximum clarity" and Other Writings on Music, p.78. ISBN 978-0-252-03098-7. D-, F, A (10/9-4/3-5/3). [5] Hauptmann, Moritz (1888). The Nature of Harmony and Metre, p.15. Swan Sonnenschein [6] Wright, David (2009). Mathematics and Music, p.140-41. ISBN 978-0-8218-4873-9. [7] Alexander J. Ellis (translating Hermann Helmholtz): On the Sensations of Tone as a Physiological Basis for the Theory of Music, page 455. Dover Publications, Inc., New York, 1954. [8] Ellis (1954), p.298. In the 16th through 18th centuries, prior to 12-TET, the minor third in meantone temperament was 310 cents and much rougher than the 300 cent ET minor third. [9] Shirlaw (), p.375. [10] Ruland, Heiner (1992). Expanding Tonal Awareness, p.39. ISBN 978-1-85584-170-3. [11] Hermann von Helmholtz (1885). On the sensations of tone as a physiological basis for the theory of music, p.468. Longmans, Green. [12] William Smythe Babcock Mathews (1805). Music: A Monthly Magazine Devoted to the Art, Science, Technic and Literature of Music, Volume 7, Volume 7, p.608. W.S.B. Mathews. "The tones re, fa, and la, as given on the accordion, are vibrationally 6:7:9. This is not a minor triad, nor anything very near it although its fifth is just the same as in the minor and the major, and the ratio 6:9 being simply 2:3." [13] Lester, Joel (1994). Compositional theory in the eighteenth century, p.194. ISBN 978-0-674-15523-7.
Minor major seventh chord
i
Minor major seventh chord on C. in C harmonic or ascending melodic [1] minor.
minor/major seventh chord Component intervals from root major seventh perfect fifth minor third root Tuning 40:48:60:75
A minor major seventh chord, or minor/major seventh chord play Wikipedia:Media helpFile:Minor major seventh chord on C.mid (written as mM7, mΔ7, -Δ7, mM7, m/M7, m(M7), minmaj7, m⑦,m(♮7), etc.), is a naturally occurring diatonic nondominant seventh chord in the harmonic minor scale. The chord is built on a root, and above that the intervals of a minor third, a major third above that note and above that a major third (see infobox). It can also be viewed as taking a minor triad and adding a major seventh. The traditional numerical notation is based on the degrees of the major diatonic scale, and by this notation a minor major seventh chord is degrees 1, ♭3, 5, 7 of the
Minor major seventh chord
90
major scale. For instance, the CmM7 chord consists of the notes C, E♭, G, and B. The chord can be represented by the integer notation {0, 3, 7, 11}. The chord occurs on the tonic when harmonizing the harmonic minor scale in seventh chords. The harmonic minor scale contains a raised seventh, creating a minor second interval between the seventh and the octave of the tonic. This half step creates a pull (leading tone) to the tonic that is useful in harmonic context and is not present in the natural minor scale (also known as the Aeolian mode). Traditionally, in classical and jazz contexts, when building a chord on the dominant of the minor tonality, this raised seventh is present, and so both of these chords have a strong pull to the tonic. The raised seventh, in conjunction with the minor third, creates the dissonant sonority of an augmented triad within the chord. The minor major seventh chord is most often used in jazz, typically functioning as a minor tonic. Jazz musicians usually improvise with the melodic minor scale over this chord; the harmonic minor scale is also used. Additionally, Bernard Herrmann's use of this chord – most notoriously in his score for Psycho – has earned it the nickname, "The Hitchcock Chord".[2] In flamenco, guitarists often use this chord as an ♭III+ Play Wikipedia:Media abstract chord to create atmosphere and it gives a Moorish feel with the helpFile:bIII+.mid. Augmented triad in the minor tension between the minor and major. This chord also appears in major seventh chord. classical music, but it is used more in the late Romantic period than in the Classical and Baroque periods. One notable use is in the fourth movement of Samuel Barber's piano sonata; the subject of the fugue begins with a minor major seventh chord and the chord is heard many times throughout the fugue.[citation needed] The chord, infrequent in rock and popular music, is, "virtually always found on the fourth scale degree in the major mode", thus making the seventh of the chord the third of the scale and perhaps explaining the rarity of the chord, given the "propensity of the third scale degree to be lowered as a blues alteration."[3] In C: F, A♭, C, E. Examples occur in Lesley Gore's "It's My Party" (see also augmented triad), the Chiffons' "One Fine Day", Mariah Carey's "Vision Of Love", Pink Floyd's Us and Them, Toni Braxton's "I Don't Want To", and The Beatles' "Magical Mystery Tour".
Minor major seventh chord on IV in C: F, A♭, C, E. Play Wikipedia:Media helpFile:Minor major seventh chord on IV in C.mid
Minor major seventh chord table Chord Root Minor Third Perfect Fifth Major Seventh E♭
G
B
C♯mM7 C♯
E
G♯
B♯ (C)
D♭mM7 D♭
F♭ (E)
A♭
C
F
A
C♯
D♯mM7 D♯
F♯
A♯
C (D)
E♭mM7 E♭
G♭
B♭
D
CmM7
DmM7
C
D
EmM7
E
G
B
D♯
FmM7
F
A♭
C
E
Minor major seventh chord
91 F♯mM7 F♯
A
C♯
E♯ (F)
G♭mM7 G♭
B
D♭
F
B♭
D
F♯
G♯mM7 G♯
B
D♯
F (G)
A♭mM7 A♭
C♭ (B)
E♭
G
C
E
G♯
A♯mM7 A♯
C♯
E♯ (F)
G (A)
B♭mM7 B♭
D♭
F
A
D
F♯
A♯
GmM7
AmM7
BmM7
G
A
B
(A)
Sources [1] Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.230. Seventh Edition. ISBN 978-0-07-294262-0. [2] Brown, Royal (1994). Overtones and Undertones: Reading Film Music, chapter 6. ISBN 0-520-08544-2. cited in Sullivan, Jack (2006). Hitchcock's Music, p. 285. ISBN 0-300-11050-2. Cooper, David (2005). Bernard Herrmann's The ghost and Mrs. Muir: a film score guide, p. 167. ISBN 0-8108-5679-4. and Donnelly, Kevin (2005). The Spectre of Sound: Music in Film and Television, p. 108. ISBN 1-84457-025-8. [3] Stephenson, Ken (2002). What to Listen for in Rock: A Stylistic Analysis, p. 87. ISBN 978-0-300-09239-4.
Minor seventh chord In music, a minor seventh chord is any nondominant seventh chord where the "third" note is a minor third above the root.
[1] Minor-minor (i7) seventh chord on C Play Wikipedia:Media helpFile:Minor seventh chord on C.mid.
Most typically, minor seventh chord refers to where the "seventh" note is a minor seventh above the root (a fifth above the third note). This is more precisely known as a minor/minor seventh chord, and it can be represented as either as m7 or -7, or in integer notation, {0, 3, 7, 10}. ii7-V7-I progression in C In a natural minor scale, this chord is on the tonic, subdominant, and Play Wikipedia:Media helpFile:ii7-V7-I turnaround in C.mid. dominant degrees. In a harmonic minor scale, this chord is on the subdominant degrees. In an ascending melodic minor scale, this chord is on the supertonic degree. In a major scale, this chord is on the second (supertonic seventh), third (mediant) or sixth (submediant)[2] degrees. For instance the ii7 in the ii-V-I turnaround. Example of tonic minor seventh chords include LaBelle's "Lady Marmalade", Chic's "Le Freak", and the Eagles' "One Of These Nights".[3]
Minor seventh chord
92 minor/minor seventh chord Component intervals from root minor seventh perfect fifth minor third root Tuning [4]
10:12:15:18
When the seventh note is a major seventh above the root, it is called a minor/major seventh chord. Its harmonic function is similar to that of a "normal" minor seventh, as is the minor seven flat five or half-diminished chord – but in each case, the altered tone (seventh or fifth, respectively) creates a different feel which is exploited in modulations and to utilize leading-tones.
Minor/minor seventh chord table Chord Root Minor third Perfect fifth Minor seventh Cm7
C
E♭
G
B♭
C♯m7 C♯
E
G♯
B
D♭m7 D♭
F♭ (E)
A♭
C♭ (B)
Dm7
F
A
C
D♯m7 D♯
F♯
A♯
C♯
E♭m7 E♭
G♭
B♭
D♭
Em7
E
G
B
D
Fm7
F
A♭
C
E♭
F♯m7 F♯
A
C♯
E
G♭m7 G♭
B
D♭
F♭ (E)
Gm7
B♭
D
F
G♯m7 G♯
B
D♯
F♯
A♭m7 A♭
C♭ (B)
E♭
G♭
Am7
C
E
G
A♯m7 A♯
C♯
E♯ (F)
G♯
B♭m7 B♭
D♭
F
A♭
Bm7
D
F♯
A
D
G
A
B
(A)
The just minor seventh chord is tuned in the ratios 10:12:15:18.[5] Play Wikipedia:Media helpFile:Just minor seventh chord on C.mid This may be found on iii, vi, and vii.[6] Another tuning may be in the ratios 48:40:32:27.[7] Play Wikipedia:Media helpFile:Other just minor seventh chord on C.mid
Minor seventh chord
Sources [1] [2] [3] [4] [5] [6] [7]
Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.230. Seventh Edition. ISBN 978-0-07-294262-0. Benward & Saker (2003), p.229. Stephenson, Ken (2002). What to Listen for in Rock: A Stylistic Analysis, p.83. ISBN 978-0-300-09239-4. Shirlaw, Matthew (1900). The Theory of Harmony, p.86. ISBN 978-1-4510-1534-8. David Wright (2009). Mathematics and Music, p.141. ISBN 978-0-8218-4873-9. Wright, David (2009). Mathematics and Music, p.140-41. ISBN 978-0-8218-4873-9. François-Joseph Fétis and Mary I. Arlin (1994). Esquisse de l'histoire de l'harmonie, p.97n55. ISBN 0-945193-51-3.
Mixed-interval chord In music a mixed-interval chord is a chord not characterized by one consistent interval. Chords characterized by one consistent interval, or primarily but with alterations, are equal-interval chords. Mixed interval chords "lend themselves particularly" to atonal music since they tend to be dissonant.[1] Equal-interval chords are often of indeterminate root and mixed-interval chords are also often best characterized by their interval content. Interval cycles: C1–C4 and C6; feature equal-intervals. "Equal-interval chords are often altered to make them 'impure' as in the case of quartal and quintal chords with tritones, chords based on seconds with varying intervals between the seconds."
References [1] Reisberg (1975), p.362.
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Monotonic scale
Monotonic scale A monotonic scale is a musical scale consisting of only one note in the octave. Having a deliberate fixed note, the monotonic is still a musical form rather than a total absence of melody. The monotonic stands in contrast to more common musical scales, such as the pentatonic (five notes) and modern, common Western heptatonic and chromatic scales.
Liturgical usage Early Christian liturgical recitation may have been monotonic. Charles William Pearce speculated that monotony might have been an intermediary step between spoken recitation of the Psalter and melodic singing: Congregational—rather than solo—recitation of the Psalter was a distinctive feature of early Christian worship. Naturally, the first step in the history of collective Psalter-recitation would be the saying of the words by each individual member of the community or congregation in his or her ordinary conversational voice: something entirely different to the singing worship of the persecutors whether Jewish or Roman. The next step, as a deliverance from such an inevitable vocal chaos, would be the introduction of a monotonic recitation i.e. the adoption of some note of fixed pitch upon which both men and women could recite collectively, with an octave or some other concordant interval between them.... The melodic structure of a "Gregorian" Psalm "Tone" of early date conveys the strongest possible suggestion—if not actual evidence—of such a system of monotonic recitation having been tried and improved upon, because apparently it did not meet the necessities of community or congregational recitation. Reading between the lines, it can easily be seen that the love of variety, the craving for melody however simple, the desire not to unduly wear out the voice by continually singing upon only one note, led to the "inflection" of the monotonic recitation as a necessary vocal relief. Such inflection was easily obtained by causing the voice at the middle and end of every psalm-verse to wander away from the monotone to some adjacent scale-degree.[1] The Annotated Book of Common Prayer similarly notes that (according to Saint Augustine) Saint Athanasius discouraged variance in note in liturgical recitation, but that eventual modulation of the note led to the development of plainsong.[2] In Māori Christian services in Auckland, New Zealand, the Ten Commandments and the Psalms are sung in a responsorial style called waiata (the Māori word for song), with monotonic chanting alternating between the minister and the congregation. Some of the congregation may sing at the interval of a third above the others, and sometimes a few of the women will add a fourth below, producing a constant second-inversion triad. The end of each phrase is marked by a descending glissando.[3]
Art music Monotonic passages are also used in art music for stylistic effect. In Schubert's Death and the Maiden, the character of Death generally employs monotonic recitation, described by one scholar as depicting "an inanimate being incapable of the lyricism of the living." In La gazza ladra (1817), Rossini represents Ninetta's simplicity and innocence with an almost monotone declamation at "A mio nome deh consegna questo anello",[4] whereas in the Wolf's Glen scene of Der Freischütz (1821), Weber characterizes the powers of evil by having the invisible spirits sing in monotone, and denies song entirely to Samiel and, finally, also to Max as he succumbs to Samiel's power.[5]
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Monotonic scale
95
References [1] [2] [3] [4]
Citation on p. 119–20. John Henry Blunt (ed.), Digitized reprint by Forgotten Books. ISBN 978-1-4400-9198-8. Mervyn McLean (1969) "An Analysis of 651 Maori Scales", Yearbook of the International Folk Music Council 1:123–64. Citation on p. 161 Philip Gossett (2001) "Rossini, Gioachino, §3: From Tancredi to La gazza ladra", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers). [5] Philipp Spitta, Joachim Veit, Thomas Bauman, Patricia Lewy Gidwitz, John Warrack, and Michael C. Tusa (2001), "Weber: (9) Carl Maria (Friedrich Ernst) von Weber", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers).
This article quotes content from The Musical Quarterly, Volume 6 (1920) edited Oscar George Theodore Sonneck, a work in the public domain.
Neapolitan chord In music theory, a Neapolitan chord (or simply a "Neapolitan") is a major chord built on the lowered second (supertonic) scale degree. It most commonly occurs in first inversion so that it is notated either as ♭II6 or N6 and normally referred to as a Neapolitan sixth chord. In C, a Neapolitan sixth chord in first inversion contains an interval of a sixth between F and D♭. In Schenkerian analysis, it is known as Phrygian II.[1]
In C major Play Wikipedia:Media helpFile:Neapolitan sixth.mid.
In doing roman numeral analysis, it is sometimes indicated by an "N" rather than a "♭II".
Origin of the name Especially in its most common occurrence (as a triad in first inversion), the chord is known as the "Neapolitan sixth": In C minor
• The interval between the bass note and the root of the chord is a minor sixth. For example, in the key of C major or C minor the chord consists of D♭ (the root note), F (the third of the triad), and A♭ (the fifth of the triad) – with the F in the bass, to make it a ♭II6 or N6 rather than a root-position ♭II. The interval of a minor sixth is between F and D♭. • The chord is called "Neapolitan" because it is associated with the Neapolitan School, which included Alessandro Scarlatti, Pergolesi, Paisiello, Cimarosa, and other important 18th-century composers of Italian opera; but it seems already to have been an established if infrequent harmonic practice by the end of the 17th century, used by Carissimi, Corelli, and Purcell. It was also a favorite idiom among composers in the Classical period, especially Beethoven, who extended its use in root-position and second-inversion chords also (examples include the opening of the String Quartet op. 95, the second movement of the Hammerklavier Sonata, and near the beginning and again in the recapitulation of the first movement of the Moonlight Sonata).[2]
Neapolitan chord
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Harmonic function
IV-V-I
IV-V-I progression without Neapolitan
Problems playing this file? See media help.
In tonal harmony, the function of the Neapolitan chord is to prepare the dominant, substituting for the IV or ii (particularly ii6) chord. For example, it often precedes an authentic cadence, where it functions as a subdominant (IV). In such circumstances, the Neapolitan sixth is a chromatic alteration of the subdominant, and it has an immediately recognizable and poignant sound. For example, in C major, the IV (subdominant) triad in root position contains the notes F, A, and C. By lowering the A by a semitone to A♭ and raising the C by a semitone to D♭, the Neapolitan sixth chord F-A♭-D♭ is formed. In C minor, the resemblance between the subdominant (F-A♭-C) and the Neapolitan (F-A♭-D♭) is even stronger, since only one note differs by a half-step. (The Neapolitan is also only a half-step away from the diminished supertonic triad in minor in first inversion, F-A♭-D, and thus lies chromatically between the two primary subdominant function chords.)
♭II6-V
-I
Play Wikipedia:Media helpFile:Neapolitan V I.mid.
♭II6-V-I ♭II6-V-I
Problems playing this file? See media help.
The Neapolitan sixth chord is particularly common in minor keys. As a simple alteration of the subdominant triad (iv) of the minor mode, it provides contrast as a major chord compared to the minor subdominant or the diminished supertonic triad. The most common variation on the Neapolitan chord is the Neapolitan major seventh, which adds a major seventh to the chord (this also happens to be the tonic).
Neapolitan chord
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Further harmonic contexts A common use of the Neapolitan chord is in tonicizations and modulations to different keys. It is the most common means of modulating down a semitone, which is usually done by using the I chord in a major key as a Neapolitan chord (or a flattened major supertonic chord in the new key, a semitone below the original).
♭II6-V
-i
Play Wikipedia:Media helpFile:Neapolitan V i in C minor.mid.
Occasionally, a minor 7th or augmented 6th is added to the Neapolitan chord, which turns it into a potential secondary dominant that can allow tonicization or modulation to the ♭V/♯IV key area relative to the primary tonic. Whether the added note were notated as a minor 7th or augmented 6th largely depends on how the chord resolves. For example, in C major or C minor, the Neapolitan chord with an augmented 6th (B-natural added to D♭ major chord) very likely resolves in C major or minor, or possibly into some other closely related key such as F minor. However, if the extra note is considered an added seventh (C♭), this is the best notation if the music is to lead into G♭ major or minor. (If the composer chose to lead into F♯ major or minor, very likely the Neapolitan chord is notated enharmonically based on C♯ (for example: C♯-E♯-G♯-B), although composers vary in their practice on such enharmonic niceties.) Another such use of the Neapolitan is along with the German augmented sixth chord, which can serve as a pivot chord to tonicize the Neapolitan as a tonic. Play Wikipedia:Media helpFile:German sixth Neapolitan V7 I.mid In C major/minor, the German augmented sixth chord is an enharmonic A♭7 chord, which could lead as a secondary dominant to D♭, the Neapolitan key area. As the dominant to ♭II, the A♭7 chord can then be respelled as a German augmented sixth, resolving back to the home key of C major/minor. In rock and popular music, examples of its use, notated as N and without "traditional functional connotations," include Fleetwood Mac's "Save Me", Journey's "Who's Crying Now", and The Rolling Stones' "Mother's Little Helper".[3] The Neapolitan sixth also figures prominently, with its traditional function, in the main title music by Harry Gregson-Williams and John Powell for the 1998 movie Antz.[citation needed] For more examples of Neapolitan Chords in popular music, see List of songs with chromatic harmony.
Voice leading Because of its close relationship to the subdominant, the Neapolitan sixth resolves to the dominant using similar voice-leading. In the present example of a C major/minor tonic, the D♭ generally moves down by step to the leading tone B-natural (creating the expressive melodic interval of a diminished third, one of the few places this interval is accepted in traditional voice-leading), while the F in the bass moves up by step to the dominant root G. The fifth of the chord (A♭) usually resolves down a semitone to G as well. In four-part harmony, the bass note F is generally doubled, and this doubled F either resolves down to D or remains as the seventh F of the G-major dominant seventh chord. In summary, the conventional resolution is for all upper voices to move down against a rising bass. Care must be taken to avoid consecutive fifths when moving from the Neapolitan to the cadential 6 4. The simplest solution is to avoid placing the fifth of the chord in the soprano voice. If the root or (doubled) third is in the soprano voice, all upper parts simply resolve down by step while the bass rises. According to some theorists, however, such an unusual consecutive fifth (with both parts descending a semitone) is allowable in chromatic harmony, so long as it does not involve the bass voice. (The same allowance is often made more explicitly for the German augmented sixth, except in that case it may involve the bass – or must, if the chord is in its usual root position.)
Neapolitan chord
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Inversions The flattened major supertonic chord is sometimes used in root position (in which case there may be even more concessions regarding consecutive fifths, similar to those just discussed). The use of a root position Neapolitan chord may be appealing to composers who wish for the chord to resolve outwards to the dominant in first inversion; the flattened supertonic moves to the leading tone and the flattened submediant may move down to the dominant or up to the leading tone. Although the flattened submediant moves similarly to the flattened supertonic, the transition from a root position Neapolitan chord to a first inversion dominant has more outward motion than the first inversion, whose notes all move towards tonic. An example of a flattened major supertonic chord occurs in the second to last bar of Chopin's Prelude in C minor, Op. 28, No. 20. In very rare cases, the chord occurs in second inversion; for example, in Handel's Messiah, in the aria Rejoice greatly.
Notes [1] Jonas, Oswald(1982). Introduction to the Theory of Heinrich Schenker (1934: Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers), p.29n29. Trans. John Rothgeb. ISBN 0-582-28227-6. [2] William Drabkin: 'Neapolitan sixth chord', Grove Music Online (http:/ / www. grovemusic. com) ed. L. Macy (Accessed 8 June 2007). [3] Stephenson, Ken (2002). What to Listen for in Rock: A Stylistic Analysis, p.90. ISBN 978-0-300-09239-4.
Ninth chord A ninth chord is a chord that encompasses the interval of a ninth when arranged in close position with the root in the bass.[1]
Dominant ninth
Voice leading for dominant ninth chords in the common practice period. Play Wikipedia:Media helpFile:Ninth chord voice leading.mid
Ninth (C9) vs added-ninth chord (C(add9)), distinguished, in academic textbooks and jazz & rock sheet music, by the presence or [2] absence of a seventh. Play Wikipedia:Media helpFile:Ninth vs added-ninth chord.mid
Dominant ninth chord in four-part [3] writing Play Wikipedia:Media helpFile:Dominant ninth chord on C 4 voice.mid.
A dominant ninth is a dominant chord with a ninth. A ninth chord, as an extended chord, typically includes the seventh along with the basic triad structure. Thus, a Cmaj9 consists of C E G B and D play Wikipedia:Media helpFile:Maj ninth chord on C.mid. When the symbol "9" is not preceded by the word "major" or "maj", the implied seventh chord is a dominant seventh—e.g. a C9 consists of C E G B♭ and D play Wikipedia:Media helpFile:Dominant ninth chord on C.mid, and would usually be expected to resolve to an F major chord (the implied key, C being the dominant of F). The ninth is commonly chromatically altered by half-step either up or down to create more tension and dissonance. Fétis tuned the chord 4:5:6:7:9.[4]
Ninth chord
99
In the common practice period, "the root, 3rd, 7th, and 9th are the most common factors present in the V9 chord," with the 5th, "typically omitted".[] The 9th and 7th usually resolve downward to the 5th and 3rd of I. Example of tonic dominant ninth chords include Wild Cherry's "Play That Funky Music".[5]
Dominant minor ninth Dominant minor ninth Component intervals from root minor ninth minor seventh perfect fifth major third root Tuning 8:10:12:14:17
Dominant minor ninth chord on C Play Wikipedia:Media helpFile:Dominant minor ninth chord on C.mid
A dominant minor ninth chord' consists of a major third, perfect fifth, minor seventh, and minor ninth. In C: G B D F A♭. Fétis tuned the chord 8:10:12:14:17. In notation for jazz and popular music, this chord is often denoted e.g. C7b9.
Minor ninth Minor ninth Component intervals from root major ninth minor seventh perfect fifth minor third root
Ninth chord
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C minor 9th chord Play Wikipedia:Media helpFile:Ninth chord CMI9 chord.mid
The minor ninth chord is played with the third and seventh both flattened, or lowered a semitone. The formula is 1, ♭3, 5, ♭7, 9. This chord is written as Cm9. This chord has a more "bluesy" sound and fits very well with the dominant 9th.
Major ninth Major ninth Component intervals from root major ninth major seventh perfect fifth major third root
Cmaj9 chord. Play Wikipedia:Media helpFile:Ninth chord CMA9 chord.mid
The major ninth chord is played with the third and seventh both major. The formula is 1, 3, 5, 7, 9. This chord is written as Cmaj9.
Ninth chord
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6/9 chord
Tonic minor 6/9 chord on C, featuring the raised sixth degree of the ascending [6] melodic minor. Play Wikipedia:Media helpFile:Minor 6-9 chord on C.mid
The 6/9 chord is a pentad in which a major triad is extended with a sixth and 9th above the root, but no seventh, thus: C6/9 is C,E,G,A,D. It is not a tense chord requiring resolution, and is considered a substitute for the tonic in jazz. Its constituent notes are those of the pentatonic scale.[7] Heinrich Schenker, though he allowed the substitution of the dominant seventh, leading-tone, and leading tone half-diminished seventh chords, rejected the concept of a ninth chord on the basis that only that on the fifth scale degree (V9) was admitted and that inversion was not allowed of the ninth chord.[8]
Second
Suspended chord (sus2) and added tone chord (add9) both with D (ninth=second), distinguished by the [9] absence or presence of the third (E♭).
Ninth (D), in red, of a C added ninth chord ( Play Wikipedia:Media helpFile:Ninth of an added ninth chord on C.mid).
In music, the second factor of a chord is the note or pitch two scale degrees above the root or tonal center. When the second is the bass note, or lowest note, of the expressed chord, the chord is in third inversion Play Wikipedia:Media helpFile:Added ninth chord on C in third inversion.mid. However, this is equivalent to a gapped eleventh chord. Conventionally, the second is third in importance to the root, fifth, and third, being an added tone. It is generally not allowed as the root since that inversion resembles an eleventh chord on the second rather than an added tone chord on the original note. In jazz chords and theory, the second is required due to its being an added tone. The quality of the second may be determined by the scale or may be indicated. For example, in both a major and minor scale a diatonic second added to the tonic chord will be major (C-D-E-G or C-D-E♭-G) while one added to the dominant chord will be major or minor (G-A-B-D or G-A♭-B♭-D), respectively. The second is octave equivalent to the ninth. If one could cut out the note in between the fifth and the ninth and then drop the ninth down an octave to a second, one would have a second chord (CEGB♭D' – B♭ = CDEG). The difference between sus2 and add9 is conventionally the absence or presence, respectively, of the third.
Ninth chord
102
Added ninth An added ninth chord is a major triad with an added ninth. Thus, Cadd9 consists of C E G and D. (The D, which might be called an added second, is two fifths up from the root.) Added ninth chords differ from other ninth chords because the seventh is not included.
Sources [1] [2] [3] [4] [5] [6] [7] [8] [9]
Sadie, Stanley, ed. (1980). "Ninth chord", p.252, The New Grove Dictionary of Music and Musicians, vol. 13. ISBN 1-56159-174-2. Stephenson, Ken (2002). What to Listen for in Rock: A Stylistic Analysis, p.85. ISBN 978-0-300-09239-4. Benward & Saker (2009), p.179. Fétis, François-Joseph and Arlin, Mary I. (1994). Esquisse de l'histoire de l'harmonie, p.139n9. ISBN 978-0-945193-51-7. Stephenson, Ken (2002). What to Listen for in Rock: A Stylistic Analysis, p.83. ISBN 978-0-300-09239-4. Berg, Shelly (2005). Alfred's Essentials of Jazz Theory, Book 3, p.90. ISBN 978-0-7390-3089-9. Jazz Lessons (http:/ / www. jazclass. aust. com/ lessons/ jt/ jt20. htm#01) Schenker, Heinrich (1980). Harmony, p.190. ISBN 978-0-226-73734-8. Hawkins, Stan. "Prince- Harmonic Analysis of 'Anna Stesia'", p.329 and 334n7, Popular Music, Vol. 11, No. 3 (Oct., 1992), pp. 325-335.
Nondominant seventh chord In music theory, a nondominant seventh chord is a chord which is a diatonic chord that is a seventh chord but that does not possess dominant function and thus is not a dominant seventh chord. Since the V and viio chords are the dominant function chords, the "major minor seventh" V7 and "half-diminished seventh" viiø7 are the dominant seventh chords. Since the nondominant function chords are I, i, ii, iio, iii, III, IV, iv, vi, and VI, the nondominant seventh chord qualities include the augmented major seventh chord, major seventh chord, minor major seventh chord, minor seventh chord, and major minor seventh chords that do not possess dominant function, such as, in melodic minor, IV .
Dominant seventh (V7) and incomplete dominant seventh (viio) in C major: G7 and bo chords Play Wikipedia:Media helpFile:Incomplete dominant seventh chord in C major.mid.
To analyze seventh chords indicate the quality of the triad; major: I, minor: ii, half-diminished: viiø, or augmented: III+; and the quality of the seventh; same: 7, or different: or . In macro analysis indicate the root and chord quality, and add 7, thus a seventh chord on ii in C major (minor minor seventh) would be d7. As with dominant seventh chords, nondominant seventh chords usually progress according to the circle progression, thus III+ resolves to vi
III+ chord in C harmonic or ascending [1] melodic minor Play Wikipedia:Media helpFile:III+7M chord in C minor.mid.
or VI,[3] for example. When possible, as in circle progressions, resolve the seventh of nondominant seventh chords down by step to the third of the following chord.[]
Nondominant seventh chord
Major seventh chord on F Play Wikipedia:Media helpFile:Major seventh [2] chord on F.mid. IV7 in C major.
i
Minor major seventh chord on C. in C melodic or ascending melodic minor.
Minor-minor (i7) seventh chord on C Play Wikipedia:Media helpFile:Minor seventh chord on C.mid.
Nondominant seventh chord resolution along a circle progression, the seventh resolves down by step to the third of the next chord: I7-IV Play Wikipedia:Media helpFile:Nondominant seventh chord resolution.mid. B resolves to A.
103
Nondominant seventh chord
ii7-V7-I turnaround in C
104
Play Wikipedia:Media helpFile:ii7-V7-I turnaround in C.mid.
Sources [1] Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.230. Seventh Edition. ISBN 978-0-07-294262-0. [2] Benward & Saker (2003), p.229. [3] Benward & Saker (2003), p.232.
Octatonic scale An octatonic scale is any eight-note musical scale. Among the most famous of these is a scale in which the notes ascend in alternating intervals of a whole step and a half step, creating a symmetric scale. In classical theory, in contradistinction to jazz theory, this scale is commonly simply called the octatonic scale, although there are forty-two other non-enharmonically equivalent, non-transpositionally Octatonic scales on C Play Wikipedia:Media helpFile:Octatonic scales on C.mid. equivalent eight-tone sets possible. In jazz theory this scale is more particularly called the diminished scale (Campbell 2001, p. 126), or symmetric diminished scale (Hatfield 2005, p. 125), because it can be conceived as a combination of two interlocking diminished seventh chords, just as the augmented scale can be conceived as a combination of two interlocking augmented triads. The earliest systematic treatment of the octatonic scale was Edmond de Polignac's unpublished treatise, "Etude sur les successions alternantes de tons et demi-tons (Et sur la gamme dite majeure-mineure)" from c. 1879 (Kahan 2009), which preceded Vito Frazzi's Scale alternate per pianoforte of 1930 by a full half-century (Sanguinetti 1993). The term octatonic pitch collection was first introduced into English by Arthur Berger in 1963 (Van den Toorn 1983).
Construction and enumeration The twelve tones of the chromatic scale are covered by three disjoint diminished seventh chords. The notes from exactly two such seventh-chords combination form an octatonic collection. Because there are exactly three ways to select two from three, there are exactly three octatonic scales in the 12-tone system. Octatonic scales are modes of limited transposition, specifically, second modes, according to Olivier Messiaen. Each octatonic scale has exactly two modes: the first begins its ascent with a whole step between its first two notes, while the second begins its ascent with a half step (semitone).
Octatonic scale
105
Each of the three distinct scales can form differently named scales with the same sequence of tones by starting at a different point in the scale. With alternative starting points listed in parentheses, the three are: • E♭ diminished (F♯/G♭, A, C diminished): E♭, F, F♯, G♯, A, B, C, D, E♭ • D diminished (F, A♭, B diminished): D, E, F, G, A♭, B♭, B, C♯, D • D♭ diminished (E, G, B♭ diminished): D♭, E♭, E, F♯, G, A, B♭, C, D♭
Diminished scales on E♭, D, and D♭, ascending.
It may also be represented as 0134679t or labeled as set class 8-28 (Schuijer 2008, p. 109).
Properties Among the collection's remarkable features is that it is the only collection that can be disassembled into four transpositionally-related pitch pairs in six different ways, each of which features a different interval class (Cohn). For example: • • • • • •
semitone: (C, C♯), (D♯, E) (F♯, G), (A, B♭) whole step: (C♯, D♯), (E, F♯), (G, A), (B♭, C) minor third:(C, E♭), (F♯, A), (C♯, E), (G, B♭) major third:(C, E), (F♯, B♭), (E♭, G), (A, C♯) perfect fourth: (C♯, F♯), (B♭, E♭), (G, C), (E, A) tritone: (C, F♯), (E♭, A), (C♯, G), (E, B♭)
Another remarkable feature of the diminished scale is that it contains the first four notes of four minor scales separated by minor thirds. For Example: C, D, E♭, F and (enharmonically) F♯, G♯, A, B. Also E♭, F, G♭, A♭, and A, B, C, D. The scale "allows familiar harmonic and linear configurations such as triads and modal tetrachords to be juxtaposed unusually but within a rational framework" though the relation of the diatonic scale to the melodic and harmonic surface is thus generally oblique (Pople 1991, 2).
Octatonic scale
History Joseph Schillinger suggests that the scale was formulated already by Persian traditional music in the 7th century AD, where it was called "Zar ef Kend", meaning "string of pearls", the idea being that the two different sizes of intervals were like two different sizes of pearls (see Joseph Schillinger, The Schillinger System of Musical Composition, Vol 1). Octatonic scales first occurred in Western music as byproducts of a series of minor-third transpositions. Agmon locates one in the music of Scarlatti, from the 1730s. Langlé's 1797 harmony treatise contains a sequential progression with a descending octatonic bass, supporting harmonies that use all and only the notes of an octatonic scale (p. 72, ex. 25.2). The question of when Western composers first began to select octatonic scales as primary compositional material is difficult to determine. One strong candidate is a recurring theme in Franz Liszt's Feux Follets, the fifth of his first book of Études d'exécution transcendente (composed 1826, and twice revised). See descending arpeggiated figures of bars 7 and 8, 10 and 11, 43, 45 through 48, 122, and 124 through 126. In turn, all three distinct octatonic scales are used, respectively containing all, and only, the notes of each of these scales. Liszt was to become an idol of the Russian school, and starting with Glinka's opera Ruslan and Lyudmila (first performed 1842) the diminished scale was often used by Russian composers to evoke scenes of magic and exotic mystery. Still, Nikolai Rimsky-Korsakov claimed the diminished scale as "his discovery" in his My Musical Life (van den Toorn 1983). He certainly used the scale extensively in his opera Kashchey the Immortal, which premiered in 1902. Following that, the scale was extensively used by his student Igor Stravinsky, particularly in his Russian period ballets Petrushka and The Rite of Spring dating from 1911 and 1913 respectively. Van den Toorn catalogues many octatonic moments in Stravinsky's music, although Tymoczko argues that many of them are byproducts of other syntactic concerns. The scale also may be found with some frequency in music of Claude Debussy, Maurice Ravel, Alexander Scriabin and Béla Bartók. In Bartók's Bagatelles, Improvisations, Fourth Quartet, Cantata Profana, and Improvisations, the octatonic is used with the diatonic, whole tone, and other "abstract pitch formations" (Antokoletz 1984) all "entwined...in a very complex mixture." Mikrokosmos 99, 101, and 109 are octatonic pieces, as is no. 33 of the Forty-Four Duos for two violins. "In each piece, changes of motive and phrase correspond to changes from one of the three octatonic scales to another, and one can easily select a single central and referential form of 8-28 in the context of each complete piece." However, even his larger pieces also feature "sections that are intelligible as 'octatonic music'" (Wilson 1992, p. 26–27). Twentieth-century composers who used octatonic collections include Samuel Barber, Béla Bartók, Ernest Bloch, Benjamin Britten, Julian Cochran, George Crumb, Claude Debussy, Irving Fine, Ross Lee Finney, Alberto Ginastera, John Harbison, Aram Khatchaturian, Witold Lutosławski, Olivier Messiaen, Darius Milhaud, Henri Dutilleux, Robert Morris, Carl Orff, Jean Papineau-Couture, Krzysztof Penderecki, Francis Poulenc, Sergei Prokofiev, Maurice Ravel, Alexander Scriabin, Dmitri Shostakovich, Igor Stravinsky, Toru Takemitsu, Joan Tower (Alegant 2010, 109), Robert Xavier Rodriguez, and Frank Zappa (Clement 2009, 214). Other composers include Jennifer Higdon.[citation needed] Also Willem Pijper (Chan 2005, 52). The Progressive Metal band Dream Theater also made use of the octatonic scale in their 2005 song "Octavarium".[citation needed] In the 1920s Heinrich Schenker criticized the use of the octatonic scale, specifically Stravinsky's Concerto for Piano and Wind Instruments, for the oblique relation between the diatonic scale and the harmonic and melodic surface (Pople 1991, 2).
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Octatonic scale
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Harmonic implications Jazz Both the half-whole diminished and its partner mode, the whole-half diminished (with a tone rather than a semitone beginning the pattern) are commonly used in jazz improvisation, frequently under different names. The whole-half diminished scale is commonly used in conjunction with diminished harmony (e.g., the "C dim7" chord) while the half-whole scale is used in dominant harmony (e.g., with a "G7♭9" chord).
Petrushka chord Igor Stravinsky's ballet Petrushka is characterized by the so-called Petrushka chord, which combines major triads transpositionally related by a tritone. Taruskin's ascription of explanatory power to the chord's status as an octatonic subset has been challenged by Tymoczko.
Bitonality In both of the short works by Bartók mentioned above ("Diminished Fifth" and "Harvest Song") the octatonic collection is partitioned into two (symmetrical) four-note segments (4-10 or 0235) of the natural minor scales a tritone apart. Paul Wilson argues against viewing this as bitonality since "the larger octatonic collection embraces and supports both supposed tonalities." (Wilson 1992, p. 27)
Petrushka chord in piano during the second tableau of Petrushka(Taruskin 1987, 269) ( Play Wikipedia:Media helpFile:Petrushka chord Second Tableau.mid)
Triads As mentioned above in the context of Stravinsky's Petrushka chord, both the C major and F♯ major triads are obtainable from a single permutation of the diminished scale. In fact a unique aspect of the diminished scale when compared to all other octotonic scales is the presence of four major and four minor triads. If one takes the D♭ diminished scale as outlined above, one can produce the following triads: • • • • • • • •
C major (C E G) C minor (C E♭ G) E♭ major (E♭ G B♭) E♭ minor (E♭ G♭ B♭) F♯ major (F♯ A♯ C♯) F♯ minor (F♯ A C♯) A major (A C♯ E) A minor (A C E)
The D♭ whole/half (and the C half whole) diminished scale supports two diminished triads, C, E♭, G♭, and D♭, F♭, A (or G), both of which can be inverted three times to produce four diminished triads as well. • • • •
C dim (C E♭ G♭) Eb dim (E♭ G♭ B ) G♭ dim (G♭ B C) B dim (B C E♭)
and • D♭ dim (D♭ F♭ A ) • F♭ dim (F♭ A (G) B♭)
Octatonic scale • G dim (A (G) B♭ D♭) • B♭ dim (B♭ D♭ F♭) This is of particular interest to jazz musicians as it facilitates the creation of chord voicings, especially polychords (e.g. C/G♭ or A/E♭) as expressing a dominant function on B7, F7, A♭7 and C♭7, and upper structure voicings on dominant seventh chords. The sequence of triads given above is an instance of the neo-Riemannian PR cycle, alternating parallels and relatives.
Alpha chord The alpha-chord collection is, "a vertically organized statement of the octatonic scale as two diminished seventh chords," such as: C♯–E–G–B♭–C–E♭–F♯–A. (Wilson 1992, p. 7) One of the most important subsets of the alpha collection, the alpha chord (such as E–G–C–E♭; using the theorist Ernő Lendvaï's terminology, the C Two diminished seventh chords in the octatonic scale (one red, one blue) may be rearranged as the alpha chord Play Wikipedia:Media helpFile:Alpha chord.mid. alpha chord) may be considered a mistuned major chord or major/minor in first inversion (in this case, C major/minor). (Wilson 1992, p. 9) The number of semitones in the interval array of the alpha chord corresponds to the Fibonacci sequence.(Slayton 2010, p.15)
Sources • Agmon, Eytan (1990). "Equal Divisions of the Octave in a Scarlatti Sonata." In Theory Only 11/5. • Alegant, Brian (2010). The Twelve-Tone Music of Luigi Dallapiccola. ISBN 978-1-58046-325-6. • Antokoletz, Elliott (1984). The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century Music. Berkeley and Los Angeles: University of California Press. Cited in Wilson directly above. ISBN 0-520-06747-9. • Baur, Steven (1999). "Ravel's 'Russian' Period: Octatonicism in His Early Works, 1893–1908." Journal of the American Musicological Society 52.1 • Berger, Arthur (1963). "Problems of Pitch Organization in Stravinsky". Perspectives of New Music II/I (Autumn/Winter). • Campbell, Gary (2001). Triad Pairs for Jazz: Practice and Application for the Jazz Improvisor. ISBN 0-7579-0357-6. • Chan, Hing-yan (2005). New Music in China and the C.C. Liu Collection at the University of Hong Kong. ISBN 9789622097728. • Cohn, Richard (1991). "Bartók's Octatonic Strategies.: A Motivic Approach." "Journal of the American Musicological Society 44. • Frazzi, Vito (1930). Scale alternate per pianoforte con diteggiature di Ernesto Consolo (Forlivesi). • Hatfield, Ken (2005). Mel Bay Jazz and the Classical Guitar Theory and Applications. ISBN 0-7866-7236-6. • Kahan, Sylvia (2009). In Search of New Scales: Prince Edmond de Polignac, Octatonic Explorer. Rochester, NY: University of Rochester Press. ISBN 978-1-58046-305-8. • Keeling, Andrew (2007). King Crimson: Red: An Analysis by Andrew Keeling [1]. • Langlé, Honoré François Marie (1797). Traité d'harmonie et de modulation. Paris: Boyer.
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Octatonic scale • Pople, Anthony (1991). Berg: Violin Concerto. ISBN 0-521-39976-9. • Sanguinetti, Giorgio (1993). "Il primo studio teorico sulle scale octatoniche: Le 'scale alternate' di Vito Frazzi." Studi Musicali 22.2 • Schuijer, Michiel (2008). Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts. ISBN 978-1-58046-270-9. • Slayton, Michael K. (2010). Women of Influence in Contemporary Music: Nine American Composers. ISBN 9780810877481. • Taruskin, Richard (Spring, 1987). "Chez Pétrouchka- Harmony and Tonality "chez" Stravinsky", 19th-Century Music, Vol. 10, No. 3, Special Issue: Resolutions I., pp. 265–286. • Tymoczko, Dmitri (2002). "Stravinsky and the Octatonic: A Reconsideration" Music Theory Spectrum 24.1 • Van den Toorn, Pieter (1983). The Music of Igor Stravinsky. New Haven: Yale University Press. • Wollner, Fritz (1924) "7 mysteries of Stravinsky in Progression" 1924 German international school of music study. • Wilson, Paul (1992). The Music of Béla Bartók. ISBN 0-300-05111-5. • Lendvaï, Ernő (1971). Béla Bartók: An Analysis of his Music. introd. by Alan Bush. London: Kahn & Averill. ISBN 0-900707-04-6. OCLC 240301 [2]. Cited in Wilson (1992).
Further reading • Taruskin, Richard (Spring 1985). "Chernomor to Kashchei: Harmonic Sorcery; or Stravinsky's 'Angle'", Journal of the American Musicological Society 38:1, p. 74–142.
References [1] http:/ / www. songsouponsea. com/ Keeling/ Keeling-Red. html [2] http:/ / www. worldcat. org/ oclc/ 240301
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Passing chord
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Passing chord In music, a passing chord is, "a nondiatonic chord that connects, or passes between, the notes of two diatonic chords."[3] "Any chord that moves between one diatonic chord and another one nearby may be loosely termed a passing chord. A diatonic passing chord may be inserted into a pre-existing progression that moves by a major or minor third in order to create more movement."[4] "'Inbetween chords' that help you get from one chord to another are called passing chords."[5] For example in the chord progression:
Passing chord in B♭ from across the circle of fifths (tritone, see also tritone substitution): B♮7 Play Wikipedia:Media helpFile:Passing chord [1] in Bb.mid.
The circle of fifths drawn within the chromatic [2] circle as a star dodecagon.
|Cmaj7
|Em7
|Dm7
|G7
|
the diatonic passing chord (Dm7) may be inserted: |Cmaj7 Dm7 |Em7
|Dm7
|G7
|
or the chromatic passing chord (Ebm7) may be inserted: |Cmaj7
|Em7 Ebm7 |Dm7
|G7
|
A chromatic passing chord is, "a chord that is not in the harmonized scale".[6] Passing chords may be consonant or dissonant[7] and may include flat fifth substitution, scalewise substitution, dominant minor substitution, approach chords, and bass-line-directed substitution.
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Sources [1] Shanaphy and Knowlton (1990). The Do It Yourself Handbook for Keyboard Playing, p.68. ISBNhttps://www.youtube.com/watch?v=1zy2UYLnbe0 0-943748-00-3. [2] McCartin, Brian J. (1998). "Prelude to Musical Geometry", p. 364. The College Mathematics Journal 29, no. 5 (November): 354–70. (abstract) (JSTOR). [3] Wyatt and Schroeder (2002). Hal Leonard Pocket Music Theory: A Comprehensive and Convenient Source for All Musicians, p.144. ISBN 0-634-04771-X. [4] Rawlins and Bahha (2005). Jazzology: The Encyclopedia of Jazz Theory for All Musicians, p.104. ISBN 0-634-08678-2. [5] Sokolow, Fred (2002). Jazzing It Up, p.9. ISBN 0-7935-9112-0. [6] Berle, Arnie (1995). Understanding Chord Progressions for Guitar: Compact Music Guides Series, p.34. ISBN 0-8256-1488-0. [7] Alfred White, William (1911). Harmony and Ear-Training, p.158. Silver, Burdett & Company.
Pentatonic scale A pentatonic scale is a musical scale or mode with five notes per octave in contrast to a heptatonic (seven note) scale such as the major scale and minor scale. Pentatonic scales are very common and are found all over the world. They are divided into those with semitones (hemitonic) and those without (anhemitonic).
The first two phrases of the melody from Stephen Foster's "Oh! Susanna" are based on the [1] major pentatonic scale Play Wikipedia:Media helpFile:'Oh, Susanna' pentatonic melody.mid.
Pervasiveness Examples of use of pentatonic scales Pentatonic scale in Ravel's Ma Mère l'Oye III. "Laideronnette, Impératrice des Pagodes", include Celtic folk music, Hungarian m.9-13. Play Wikipedia:Media helpFile:Ravel Ma Mere l'Oye Laideronnette folk music, West African music, Imperatricedes Pagodes m.9-13.mid Presumably D♯ minor pentatonic. African-American spirituals, Gospel music, American folk music, Jazz, American blues music, rock music, Sami joik singing, children's song, the music of ancient Greece[3][4] and the Greek traditional music and songs [2] Pentatonic scale in Debussy's Voiles, Preludes, Book I, no. 2, mm.43-45. from Epirus, Northwest Greece, music Play Wikipedia:Media helpFile:Debussy Voiles, Preludes, Book I, no. 2, mm.43-45.mid of Southern Albania, folk songs of peoples of the Middle Volga area (such as the Mari, the Chuvash and Tatars), the tuning of the Ethiopian krar and the Indonesian gamelan, Philippine kulintang, Native American music, melodies of Korea, Laos, Thailand, Malaysia, Japan, China and Vietnam (including the folk music of these countries), the Andean music, the Afro-Caribbean tradition, Polish highlanders from the Tatra Mountains, and Western Impressionistic composers such as French composer Claude Debussy.[citation needed] Examples of its use include Chopin's Etude in G-flat major, op. 10, no. 5, the "Black Key" etude, in the major pentatonic.
Types of pentatonic scales
Pentatonic scale
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Hemitonic and anhemitonic Ethnomusicology commonly classifies pentatonic scales as either hemitonic or anhemitonic. Hemitonic scales contain one [5] [6] or more semitones and anhemitonic scales Minyō scale on D, equivalent to yo scale on D, with brackets on fourths Play Wikipedia:Media helpFile:Min'yō scale.mid. do not contain semitones. For example, in Japanese music the anhemitonic yo scale is contrasted with the hemitonic in scale. Hemitonic pentatonic scales are also called "ditonic scales", because the largest interval in them is the ditone (e.g., in the scale [7] Miyako-bushi scale on D, equivalent to in scale on D, with brackets on fourths C–E–F–G–B–C, the interval found between Play Wikipedia:Media helpFile:Miyako-bushi scale.mid. C–E and G–B).[8] This should not be confused with the identical term also used by ethnomusicologists to describe a scale including only two notes.
Major pentatonic scale Anhemitonic pentatonic scales can be constructed in many ways. The major pentatonic scale may be thought of as a gapped or incomplete major scale.[9] However, the pentatonic scale has a unique character and is therefore complete in terms of tonality. One construction takes five consecutive pitches from the circle of fifths;[10] starting on C, these are C, G, D, A, and E. Transposing the pitches to fit into one octave rearranges the pitches into the major pentatonic scale: C, D, E, G, A. play Wikipedia:Media helpFile:PentMajor.mid
Another construction works backward: It omits two pitches from a diatonic scale. If we were to begin with a C major scale, for example, we might omit the fourth and the seventh scale degrees, F and B. The remaining notes, C, D, E, G, and A, are transpositionally equivalent to the black keys on a piano keyboard: G-flat, A-flat, B-flat, D-flat, and E-flat.
Omitting the third and seventh degrees of the C major scale obtains the notes for another transpositionally equivalent anhemitonic pentatonic scale: {F,G,A,C,D}. Omitting the first and fourth degrees of the C major scale gives a third anhemitonic pentatonic scale: {G,A,B,D,E}.
Pentatonic scale
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Minor pentatonic scale Although various hemitonic pentatonic scales might be called minor, the term is most commonly applied to the relative minor pentatonic derived from the major pentatonic, using scale tones 1, 3, 4, 5, and 7 of the natural minor scale. It may also be considered a gapped blues scale.[11] The C minor pentatonic is C, E-flat, F, G, B-flat. The A minor pentatonic, the relative minor of C, comprises the same tones as the C major pentatonic, starting on A, giving A, C, D, E, G. This minor pentatonic contains all three tones of an A minor triad. play Wikipedia:Media helpFile:PentMinor.mid
Because of their simplicity, pentatonic scales are often used to introduce children to music.
Five black-key pentatonic scales of the piano The five pentatonic scales found by running up the black keys on the piano are:
Mode number
Name(s)
Black notes
Ratios (Just)
White key transposition
1
Minor Pentatonic
E♭-G♭-A♭-B♭-D♭-E♭ 30:36:40:45:54:60 A C D E G A
2
Major Pentatonic
G♭-A♭-B♭-D♭-E♭-G♭ 24:27:30:36:40:48 C D E G A C
3
Egyptian, Suspended
A♭-B♭-D♭-E♭-G♭-A♭ 24:27:32:36:40:48 D E G A C D
4
Blues Minor, Man Gong
B♭-D♭-E♭-G♭-A♭-B♭ 15:18:20:24:27:30 E G A C D E
5
Blues Major, Ritusen, yo scale D♭-E♭-G♭-A♭-B♭-D♭ 24:27:32:36:40:48 G A C D E G
(A minor seventh can be 7:4, 16:9, or 9:5; a major sixth can be 27:16 or 5:3. Both were chosen to minimize ratio parts.) Ricker assigned the major pentatonic scale mode I while Gilchrist assigned it mode III.[12]
Pythagorean tuning Ben Johnston gives the following Pythagorean tuning for the minor pentatonic scale:[13]
Pentatonic scale
Note Solfege
A
C
D
E
G
A
Ratio
1/1
32/27
4/3
3/2
16/9
2/1
Natural
54
64
72
81
96
108
4 Wikipedia:Media helpFile:Just perfect fourth on C.mid
5 Wikipedia:Media helpFile:Just perfect fifth on C.mid
Audio
Step
114
1 Wikipedia:Media 3 Wikipedia:Media helpFile:Unison on helpFile:Pythagorean C.mid minor third on C.mid
7 Wikipedia:Media helpFile:Lesser just minor seventh on C.mid
8 Wikipedia:Media helpFile:Perfect octave on C.mid
Name
m3
T
T
m3
T
Ratio
32/27
9/8
9/8
32/27
9/8
Play Wikipedia:Media helpFile:A minor pentatonic scale Pythagorean.mid Naturals in that table are not the alphabetic series A to G without sharps and flats: Naturals are reciprocals of terms in the Harmonic series (mathematics), which are in practice multiples of a Fundamental frequency. This may be derived by proceeding with the principle that historically gives the Pythagorean diatonic and chromatic scales, stacking perfect fifths with 3:2 frequency proportions (C-G-D-A-E). Considering the anhemitonic scale as a subset of a just diatonic scale, it is tuned thus; 20:24:27:30:36 (A-C-D-E-G = 5/3-1/1-9/8-5/4-3/2). Assigning precise frequency proportions to the pentatonic scales of most cultures is problematic as tuning may be variable.
For example, the slendro anhemitonic scale and its modes of Java and Bali are said to approach, very roughly, an [16] equally-tempered five note scale, but, in fact, their tunings vary dramatically from gamelan to gamelan.[17]
Just pentatonic tuning of Lou Harrison's [14] "American gamelan", Old Granddad. This gives the proportions 24:27:30:36:40. Play Wikipedia:Media helpFile:Lou Harrison Old Granddad pentatonic tuning.mid
[15] Slendro approximated in Western notation. Play Wikipedia:Media helpFile:Slendro on C.mid
Specially trained musicians among the Gogo people of Tanzania sing the fourth through ninth (and occasionally tenth) harmonics above a fundamental, which corresponds to the frequency proportions 4:5:6:7:8:9.[citation needed] Up to eight, this is an octaval scale of five notes (8 is the same note an octave higher as 4), while nine is a major second above eight, and a major ninth above four. The 6:7:8 bit includes two septimal ratios rarely found on western staves (septimal minor third & septimal whole tone). Composer Lou Harrison has been one of the most recent proponents and developers of new pentatonic scales based on historical models. Harrison and William Colvig tuned the slendro scale of the gamelan Si Betty to overtones 16:19:21:24:28.[18] (1/1-19/16-21/16-3/2-7/4) They tuned the Mills gamelan so that the intervals between scale steps are 8:7-7:6-9:8-8:7-7:6.[19] (1/1-8/7-4/3-3/2-12/7-2/1 = 42:48:56:63:72)
Pentatonic scale
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Further pentatonic musical traditions The major pentatonic scale is the basic scale of the music of China and the music of Mongolia. The fundamental tones (without meri or kari techniques) rendered by the 5 holes of the Japanese shakuhachi flute play a minor pentatonic scale. The Yo scale used in Japanese shomyo Buddhist chants and gagaku imperial court music is an anhemitonic pentatonic scale[20] shown below, which is the fourth mode of the major pentatonic scale. play Wikipedia:Media helpFile:Yo scale on D.mid
In Javanese gamelan music, the slendro scale is pentatonic, with roughly equally spaced intervals ( MIDI sample Wikipedia:Media helpFile:Gamelan.mid). Another scale, pelog, has seven tones, but is generally played using one of several pentatonic subsets (known as pathets), which are roughly analogous to different keys or modes. In Scottish music, the pentatonic scale is very common. The Great Highland bagpipe scale is considered three interlaced pentatonic scales.[21] This is especially true for Piobaireachd which typically uses one of the pentatonic scales out of the nine possible notes. It also features in Irish traditional music, either purely or almost so. The minor pentatonic is used in Appalachian folk music. Blackfoot music most often uses anhemitonic tetratonic or pentatonic scales.[22] In Andean music, the pentatonic scale is used substantially minor, sometimes major, and seldom in scale. In the most ancient genres of Andean music being performed without string instruments (only with winds and percussion), pentatonic melody is often leaded with parallel fifths and fourths, so formally this music is hexatonic. Hear example: Pacha Siku Wikipedia:Media helpFile:Antara.mid. Jazz music commonly uses both the major and the minor pentatonic scales. For example, jazz pianists Art Tatum, Chick Corea and Herbie Hancock, blues, and rock. Pentatonic scales are useful for improvisors in modern jazz, pop, and rock contexts because they work well over several chords diatonic to the same key, often better than the parent scale. For example, the blues scale is predominantly derived from the minor pentatonic scale, a very popular scale for improvisation in the realm of blues and rock alike. Rock guitar solo almost all over B minor pentatonic Wikipedia:Media helpFile:Slow solo 20110108.ogg For instance, over a C major triad (C, E, G) in the key of C major, the note F can be perceived as dissonant as it is a half step above the major third (E) of the chord. It is for this reason commonly avoided. Using the major pentatonic scale is an easy way out of this problem. The scale tones 1, 2, 3, 5, 6 (from the major pentatonic) are either major triad tones (1, 3, 5) or common consonant extensions (2, 6) of major triads. For the corresponding relative minor pentatonic, scale tones 1, ♭3, 4, 5, ♭7 work the same way, either as minor triad tones (1, ♭3, 5) or as common extensions (4, ♭7), as they all avoid being a half step from a chord tone. U.S. military cadences, or "jodies," which keep soldiers in step while marching or running, also typically use pentatonic scales. Hymns and other religious music sometimes use the pentatonic scale. For example, the melody of the hymn "Amazing Grace",[23] one of the most famous pieces in religious music. The common pentatonic major and minor scales (C-D-E-G-A and C-E♭-F-G-B♭, respectively) are useful in modal composing, as both scales allow a melody to be modally ambiguous between their respective major (Ionian, Lydian, Mixolydian) and minor (Aeolian, Phrygian, Dorian) modes (Locrian excluded). With either modal or non-modal writing, however, the harmonization of a pentatonic melody does not necessarily have to be derived from only the pentatonic pitches.
Pentatonic scale
Use in education The pentatonic scale plays a significant role in music education, particularly in Orff-based, Kodály-based, and Waldorf methodologies at the primary/elementary level. The Orff system places a heavy emphasis on developing creativity through improvisation in children, largely through use of the pentatonic scale. Orff instruments, such as xylophones, bells and other metallophones, use wooden bars, metal bars or bells which can be removed by the teacher leaving only those corresponding to the pentatonic scale, which Carl Orff himself believed to be children's native tonality. Children begin improvising using only these bars, and over time, more bars are added at the teacher's discretion until the complete diatonic scale is being used. Orff believed that the use of the pentatonic scale at such a young age was appropriate to the development of each child, since the nature of the scale meant that it was impossible for the child to make any real harmonic mistakes. In Waldorf education, pentatonic music is considered to be appropriate for young children due to its simplicity and unselfconscious openness of expression. Pentatonic music centered around intervals of the fifth is often sung and played in early childhood; progressively smaller intervals are emphasized within primarily pentatonic as children progress through the early school years. At around nine years of age the music begins to center around first folk music using a six-tone scale, and then the modern diatonic scales, with the goal of reflecting the children's developmental progress in their musical experience. Pentatonic instruments used include lyres, pentatonic flutes, and tone bars; special instruments have been designed and built for the Waldorf curriculum.[24]
Further reading • from the Eighteenth Century to Debussy [25] by Jeremy Day-O'Connell (University of Rochester Press 2007) – the first comprehensive account of the increasing use of the pentatonic scale in 19th century Western art music, including a catalogue of over 400 musical examples. • Trần Văn Khê "Le pentatonique est-il universel? Quelques reflexions sur le pentatonisme", The World of Music 19, nos. 1–2:85–91 (1977). English translation p. 76–84 • Kurt Reinhard, "On the problem of pre-pentatonic scales: particularly the third-second nucleus", Journal of the International Folk Music Council 10 (1958). • Yamaguchi, Masaya (New York: Charles Colin, 2002; Masaya Music, Revised 2006). Pentatonicism in Jazz: Creative Aspects and Practice. ISBN 0-9676353-1-4 • Jeff Burns, Pentatonic Scales for the Jazz-Rock Keyboardist (1997).
References [1] Bruce Benward and Marilyn Nadine Saker (2003), Music: In Theory and Practice, seventh edition (Boston: McGraw Hill), vol. I, p.37. ISBN 978-0-07-294262-0. [2] Bruce Benward and Marilyn Nadine Saker (2009), Music in Theory and Practice, eighth edition (Boston: McGraw Hill): vol. II, p.245. ISBN 978-0-07-310188-0. [3] M. L. West, "Ancient Greek Music", Clarendon Press, 1994,. [4] Anastasios-Phoibos Christides, A History of Ancient Greek: From the Beginnings to Late Antiquity, revised and expanded translation of the Greek text edition (Cambridge and New York: Cambridge University Press, 2007), . [5] Susan Miyo Asai (1999). Nōmai Dance Drama, p.126. ISBN 978-0-313-30698-3. [6] Minoru Miki, Marty Regan, Philip Flavin (2008). Composing for Japanese instruments, p.2. ISBN 978-1-58046-273-0. [7] Titon, Jeff Todd (1996). Worlds of Music: An Introduction to the Music of the World's Peoples, p.373. ISBN 0-02-872612-X. [8] Anon. (2001) "Ditonus", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers; Bence Szabolcsi (1943), "Five-Tone Scales and Civilization", Acta Musicologica 15, Fasc. 1/4 (January–December): pp.24–34, citation on p.25. [9] Benward & Saker (2003), p.36. [10] Cooper, Paul. 1973. Perspectives in Music Theory: An Historical-Analytical Approach, p.18. New York: Dodd, Mead. ISBN 0-396-06752-2. [11] Khan, Steve (2002). Pentatonic Khancepts, p.12. ISBN 978-0-7579-9447-0. [12] Ricker, Ramon (1983). Pentatonic Scales for Jazz Improvisation, p.2. ISBN 978-0-7692-3072-6. Cites Gilchrist, Annie G. (Dec. 1911). "Note on the Modal System of Gaelic Tunes", Journal of the Folk Song Society, pp.150-153.
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Pentatonic scale [13] (Spring - Summer, 1964). "Scalar Order as a Compositional Resource", p.64, Source: Perspectives of New Music, Vol. 2, No. 2, pp. 56-76. (http:/ / www. jstor. org/ stable/ 832482). Accessed 01/04/2009 02:05. [14] Leta E. Miller and Fredric Lieberman (Summer 1999). "Lou Harrison and the American Gamelan", p.158, American Music, Vol. 17, No. 2, pp.146-178. [15] "The representations of slendro and pelog tuning systems in Western notation shown above should not be regarded in any sense as absolute. Not only is it difficult to convey non-Western scales with Western notation..." Lindsay, Jennifer (1992). Javanese Gamelan, p.39-41. ISBN 0-19-588582-1. [16] Lindsay (1992), p.38-39: "Slendro is made up of five equal, or relatively equal, intervals". [17] "...in general, no two gamelan sets will have exactly the same tuning, either in pitch or in interval structure. There are no Javanese standard forms of these two tuning systems." Lindsay (1992), p.39-41. [18] Miller & Lieberman (1999), p.159. [19] Miller & Lieberman (1999), p.161. [20] Japanese Music, Cross-Cultural Communication: World Music, University of Wisconsin – Green Bay (http:/ / web. archive. org/ web/ 20080313144427/ http:/ / www. uwgb. edu/ ogradyt/ world/ japan. htm). [21] Cannon, Roderick D. (2008) The Highland Bagpipe and its Music. Pub. Birlinn Ltd. ISBN 1841586668 [22] Nettl, Bruno (1989). Blackfoot Musical Thought: Comparative Perspectives, p.43. Ohio: The Kent State University Press. ISBN 0-87338-370-2. [23] Turner, Steve (2002). Amazing Grace: The Story of America's Most Beloved Song, p.122. HarperCollins. ISBN 0-06-000219-0. [24] Andrea Intveen, Musical Instruments in Anthroposophical Music Therapy with Reference to Rudolf Steiner’s Model of the Threefold Human Being (https:/ / voices. no/ index. php/ voices/ article/ viewArticle/ 547/ 408) [25] http:/ / www. urpress. com/ store/ viewItem. asp?idProduct=10903''Pentatonicism
External links • Pentatonic Scales for Guitar- A brief introduction (http://robsilverguitars.blogspot.co.uk/2012/06/ pentatonic-scales-for-guitar-brief.html) • Guitar Lessons of the Pentatonic & Blues Scale (http://www.blueslessons.net/index. php?option=com_content&task=view&id=133&Itemid=84) • Alternative uses for the pentatonic scale (http://www.jazzguitar.be/jazz_guitar_lesson_pentatonic_scale.html) • Video: How to Play Pentatonic Panflute (http://panflute.net/fpipe/) by Brad White • Printable pentatonic scale shapes for guitar (http://www.guitaristhelp.net/Scales_pentatonic.gif) • Pentatonic Minor - Learning The Five Scale Positions for guitar (http://www.theorylessons.com/pentpos.html) • Detailed Examination of pentatonic scales in Southern Appalachian folksongs (http://home.earthlink.net/ ~llywarch/scl01.html.htm) • Discussing theory and use of pentatonic scale on guitar (http://www.pentatonicbluesscale.com/) • Pentatonic music of Aka Pygmies (Central Africa) (http://www.pygmies.org/aka/music-dance.asp) with photos and soundscapes • The Power of the Pentatonic Scale (http://www.worldsciencefestival.com/2cf) on World Science Festival
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Polychord In music and music theory, a bichord or polychord consists of two or more chords, one on top of the other.[2][3][4] In shorthand they are written with the top chord above a line and the bottom chord below,[5] for example F above C:
.
The use of polychords may suggest bitonality or polytonality. Harmonic parallelism may suggest bichords.
[1] Bitonal polychord: F major on top of C major. Play Wikipedia:Media helpFile:Polychord C major and F major.mid
Examples may be found in Igor Stravinsky's Petrushka, p. 15, and Rite of Spring, "Dance of the Adolescents" (1921) [6] (see Petrushka chord). They may also be found in the song "Point of No Return" from Andrew Lloyd Webber's The Phantom of the Opera, including chords such as E♭m over Fm.
[7]
Polychords: Em, EbM, EbM, and DM over Dm.
Play Wikipedia:Media helpFile:Polychords various over Dm.mid
In the polychords in the image above, the 1st, "might well suggest," a thirteenth chord, the 2nd may suggest a, "d minor ninth chord with upper extensions," but the octave separation of the 3rd makes the suggestion of, "two independent triads with their a m9 apart," even more likely, and the 4th is a, "split-third chord." Extended chords contain more than one triad, and so can be regarded as a type of polychord:
[8]
Separate chords within an extended chord.
Play Wikipedia:Media helpFile:Thirteenth-polychord.mid
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For example G7(♯11♭9) (G-B-D-F-A♭-C♯) is formed from G major (G-B-D) and D♭ major (D♭-F-A♭), or
. (C♯=D♭)
The Lydian augmented scale, "has a polychord sound built in,"[9] created by superimposing the Caug and the Emaj ( Play Wikipedia:Media helpFile:Augmented major seventh chord on C.mid) and/or F♯dim ( Play Wikipedia:Media helpFile:Lydian augmented polychord on C.mid) triads that exist in the scale, this being, "a very common practice for most bop and post-bop players [such as McCoy Tyner]."[10]
G7(♯11♭9) vs
chord.
Play Wikipedia:Media helpFile:G7(sharp11b9) vs Db over G chord.mid
Examples of extended chords include the Elektra chord.
Source [1] Pen, Ronald (1992). Introduction to Music, p.242. ISBN 0-07-038068-6. [2] Haerle, Dan (1982). The Jazz Language: A Theory Text for Jazz Composition and Improvisation, p.30. ISBN 978-0-7604-0014-2. "The term polychord literally means many (poly) chords. In actual practice, a polychord is usually a combination of only two chords which creates a more complex sound." [3] Guy Capuzzo, Tom Dempsey (2006). Theory for the Contemporary Guitarist, p.76. ISBN 978-0-7390-3838-3. "A bichord (other-wise known as a polychord) consists of two triads played together." [4] Edward Shanaphy, Joseph Knowlton (1990). The Do It Yourself Handbook for Keyboard Playing, p.62. ISBN 978-0-943748-00-9. "A polychord is nothing more than the playing of two chords at the same time." [5] Policastro, Michael A. (1999). Understanding How to Build Guitar Chords and Arpeggios, p.168. ISBN 978-0-7866-4443-8. [6] Reisberg, Horace (1975). "The Vertical Dimension in Twentieth Century Music", Aspects of Twentieth-Century Music, p.336. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5. [7] Kostka & Payne (1995). Tonal Harmony, p.494. Third Edition. ISBN 0-07-035874-5. [8] Marquis, G. Welton (1964). Twentieth Century Music Idioms. Englewood Cliffs, New Jersey: Prentice-Hall, Inc. [9] Munro, Doug (2002). Jazz Guitar: Bebop and Beyond, p.36. ISBN 978-0-7579-8281-1. [10] Munro (2002), p.38.
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Primary triad In music, a primary triad is a one of the three triads, or three note chords built from major or minor thirds, most important in tonal and diatonic music, as opposed to an auxiliary triad or secondary triad. Each triad found in a diatonic key corresponds to a particular diatonic function. Functional harmony tends to rely heavily on the primary triads: triads built on the tonic, subdominant, and dominant degrees.[1] The roots of these triads begin on the first, fourth, and fifth degrees Primary triads in C Play Wikipedia:Media (respectively) of the diatonic scale, otherwise symbolized: I, IV, and V helpFile:Primary triads in C.mid. (again, respectively). Primary triads, "express function clearly and unambiguously." The other triads of the diatonic key include the supertonic, mediant, sub-mediant, and leading-tone, whose roots begin on the second, third, sixth, and seventh degrees (respectively) of the diatonic scale, otherwise symbolized: ii, iii, vi, and viio (again, respectively). They function as auxiliary or supportive triads to the primary triads. In C major these are: • • • • • •
IC VG IV F vi Am iii Em ii Dm
Diatonic functions in hierarchical order in C
• viio Bdim In a minor key triads i and iv are minor chords, but in chord V the leading note is generally raised to form a major chord.[2] For example, in A minor the primary triads are Am, Dm and E. Chord v (minor) in a minor key may be considered a primary triad, but its use is rare in common practice harmony. Auxiliary chords may be considered parallel and contrast chords derived from the primary triads. For example the supertonic, ii, is the subdominant parallel, relative of IV (in C: a d minor chord is the subdominant parallel, the subdominant is an F major chord). Being a parallel chord in a major key it is derived through raising the fifth a major second (C of F-A-C rises to D --> F-A-D, an inversion of D-F-A). Alternatively, secondary triads may be considered ii, iii, and vi.[3] In C major these are: • ii Dm • iii Em • vi Am In A minor these are: • iio Bdim • III C • VI F
Sources
Subdominant and subdominant parallel in C major: FM (IV) and Dm (ii) chords Play Wikipedia:Media helpFile:Subdominant parallel in C major.mid.
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[1] Harrison, Daniel (1994). Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of its Precedents, p.45. ISBN 0-226-31808-7. Cited in Deborah Rifkin. "A Theory of Motives for Prokofiev's Music", p.274, Music Theory Spectrum, Vol. 26, No. 2 (Autumn, 2004), pp. 265-289. University of California Press on behalf of the Society for Music Theory [2] Eric Taylor (2009). Music Theory in Practice Grade 4, p.22. ISBN 978-1-86096-945-4. ABRSM [3] Lancaster & Renfrow (2008). Alfred's Group Piano for Adults: Student Book 2, p.77. ISBN 0-7390-4925-9.
Quartal and quintal harmony In music, quartal harmony is the building of harmonic structures with a distinct preference for the intervals of the perfect fourth, the augmented fourth and the diminished fourth. Quintal harmony is harmonic structure preferring the perfect fifth, the augmented fifth and the diminished fifth.
Four note quartal chord Play Wikipedia:Media helpFile:Quarten Tastenbild for wikipedia.mid.
Use of the terms quartal and quintal arises from a contrast, compositional or perceptual, with traditional tertian harmonic constructions. Listeners familiar with music of the (European) common practice period perceive tonal music as that which uses major and minor chords and scales, wherein both the major third and minor third constitute the basic structural elements of the harmony.
Quartal chord on A equals thirteenth chord on B♭, distinguished by
the arrangement of chord factors Play Wikipedia:Media Quintal harmony (the harmonic layering of fifths helpFile:Quartal chord on A equals thirteenth chord on Bb.mid specifically) is a lesser-used term, and since the fifth is (Benward and Saker 2009, 279). the inversion or complement of the fourth, it is usually considered indistinct from quartal harmony. Indeed, a circle of fifths can be arranged in fourths (G→C→F→B♭ etc. are fifths when played downwards and fourths when played upwards); this is the reason that modern theoreticians may speak of a "circle of fourths".
Analysis Definition The concept of quartal harmony outlines a formal harmonic structure based on the use of the interval of a perfect fourth to form chords. The fourth, thus, substitutes for the third as used in chords based on major and minor thirds. Although the fourth replaces the third in chords, quartal harmony rarely replaces tertian harmony in full works. Instead, the two types of harmony are found side-by-side. Since the distance between the lower and the higher notes of a stack of two perfect fourths is a minor seventh and this interval inverts to a major second, quartal harmony necessarily also includes these intervals. Whether one hears these chords and intervals as consonant or dissonant is a matter of personal interpretation.[citation needed]
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Analytical difficulties A quartal chord composed of the notes C – F – B♭ may be regarded using traditional theory as a C dominant seventh chord (with an omitted fifth) in the midst of a 4–3 suspension, or as C7sus4 (see suspended chord), where the fourth does not require resolution. Fsus4, a suspended second-inversion chord, would also be a plausible label. Extending quartal chords to four or more notes generates still more possibilities of a similar nature. The four-note chord C – F – B♭ – E♭ can be interpreted as a C minor chord with a minor seventh and embellishing fourth (Cm7add4 or Cm11), or as an inversion of an E-flat major chord with a second-suspension and embellishing sixth—E♭sus2(add6), among other interpretations.
One possible interpretation of a quartal chord: fourth suspension, resolving to dominant seventh and tonic 6/4 chord Play Wikipedia:Media helpFile:C7SUS4 C7 F-C for wikipedia.mid
The question of which strategy of analysis is advisable is hard to answer since it is refined by the particular details: given one interpretation, and the progression of harmony through the preceding and following chords, and the overall musical development, is there a Traditional resolution of suspensions to a major triad and to a minor comprehensible and audibly functional meaning to the triad Play Wikipedia:Media helpFile:Sus To Minor Or Major for interpretation? It is important to question whether these wikipedia.mid suspensions, chromatic chords and altered chords are resolved as part of the functional harmony or whether they remain non-functional and unresolved.
History In the Middle Ages, simultaneous notes a fourth apart were heard as a consonance. During the common practice period (between about 1600 and 1900), this interval came to be heard either as a dissonance (when appearing as a suspension requiring resolution in the voice leading) or as a consonance (when the tonic of the chord appears in parts higher than the fifth of the chord). In the later 19th century, during the breakdown of tonality in classical music, all intervallic relationships were once again reassessed. Quartal harmony was developed in the early 20th century as a result of this breakdown and reevaluation of tonality. Jazz and rock of the 1960s frequently used quartal harmony.[citation needed]
Precursors
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The Tristan chord is made up of the notes F♮, B♮, D♯ and G♯ and is the very first chord heard in Wagner's opera Tristan und Isolde. The bottom two notes make up an augmented fourth; the upper two make up a perfect fourth. This layering of fourths in this context has been seen as highly The Tristan chord Play Wikipedia:Media helpFile:Wagner Tristan opening significant. The chord had been found (orchestral).ogg in earlier works (Vogel 1962, 12; Nattiez 1990, Wikipedia:Citing sources) (notably Beethoven's Piano Sonata No. 18) but Wagner's use was significant, first because it is seen as moving away from traditional tonal harmony and even towards atonality, and second because with this chord Wagner actually provoked the sound or structure of musical harmony to become more predominant than its function, a notion which was soon after to be explored by Debussy and others (Erickson 1975,Wikipedia:Citing sources). Beethoven's use of the chord is of short duration and it resolves in the accepted manner; whereas Wagner's use lasts much longer and resolves in a highly unorthodox manner for the time. Despite the layering of fourths, it is rare to find musicologists identifying this chord as "quartal harmony" or even as "proto-quartal harmony", since Wagner's musical language is still essentially built on thirds, and even an ordinary dominant seventh chord can be laid out as augmented fourth plus perfect fourth (F-B-D-G). Wagner's unusual chord is really a device to draw the listener into the musical-dramatic argument with which the composer in presenting us. However, fourths become important later in the opera, especially in the melodic development. At the beginning of the 20th century, fourth-based chords finally became an important element of harmony. Scriabin used a self-developed system of transposition using fourth-chords, like his Mystic chord in his Piano Sonata No. 6. Scriabin wrote this chord in his sketches alongside other quartal passages and more traditional tertian passages, often passing between systems, for example widening the six-note quartal sonority (C – F♯ – B♭ – E – A – D) into a seven-note chord (C – F♯ – B♭ – E – A – D – G). Scriabin's sketches for his unfinished work Mysterium show that he intended to develop the Mystic chord into a huge chord incorporating all twelve notes of the chromatic scale (Morrison 1998, 316).
The Mystic chord Play Wikipedia:Media helpFile:Mystic Chord for wikipedia.mid
Measures 24 to 27 from Mussorgsky's The Hut on Fowl's Legs Play Wikipedia:Media helpFile:Baba Yaga Quarten for wikipedia.mid
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Quartal harmony in "Laideronnette" from Ravel's Ma mère l'oye. The top line uses the pentatonic scale (Benward & Saker 2003, 37) Play Wikipedia:Media helpFile:Ravel Ma Mere l'Oye Laideronnette.mid
In the 1897 work Paul Dukas's The Sorcerer's Apprentice, we hear a rising repetition in fourths, as the tireless work of out-of-control walking brooms causes the water level in the house to "rise and rise". Quartal harmony in Ravel's Sonatine and Ma mère l'oye would follow a few years later.
20th- and 21st-century classical music Composers who use the techniques of quartal harmony include Claude Debussy, Francis Poulenc, Alexander Scriabin, Alban Berg, Leonard Bernstein, Arnold Schoenberg, Igor Stravinsky, and Anton Webern. (Herder 1987, 78) Schoenberg Arnold Schoenberg's Chamber Symphony Op. 9 (1906) displays quartal harmony. The work begins not from tonal harmony, but instead begins with a fictitious tonal-centre: the first measures construct a five-part fourth chord with the notes C – F – B♭ – E♭ – A♭ distributed over several instruments. The composer then picks out this vertical quartal harmony in a horizontal sequence of fourths from the horns, eventually leading to a passage of triadic quartal harmony (i.e., chords of three notes, each layer a fourth apart).[citation needed]
Six-note horizontal fourth chord in Arnold Schoenberg's Chamber Symphony Op. 9
Vertical quartal-harmony in the opening measures of Arnold Schoenberg's Chamber Symphony Op. 9 Play Wikipedia:Media helpFile:SchoenbergOp9.mid
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Schoenberg was also one of the first to write on the theoretical consequences of this harmonic innovation. In his Theory of Harmony (Harmonielehre) of 1911 he wrote: "The construction of chords by superimposing fourths can lead to a chord that contains all the twelve notes of the chromatic scale; hence, such construction does manifest a possibility for dealing systematically with those harmonic phenomena that already exist in the works of some of us: seven, eight, nine, ten, eleven, and twelve-part chords... But the quartal construction makes possible, as I said, accommodation of all phenomena of harmony" (Schoenberg 1978, 406–407). Other examples of quartal harmony appear in Schoenberg's String Quartet No. 1.
Quartal chord from Schoenberg's String Quartet No. 1 Play Wikipedia:Media helpFile:Schoenberg string quartet quartal chord.mid Quartal harmony from Schoenberg's String Quartet No. 1 Play Wikipedia:Media helpFile:Schoenberg string quartet exc. quartal chord.mid
Webern, Ives, and Bartók For Anton Webern, the importance of quartal harmony lay in the possibility of building new sounds. In 1912, he wrote, "With alteration the fourth-chord never need belong to tonal harmony, but can be free of all tonal relationships."Wikipedia:Quotations After hearing Schoenberg's Chamber Symphony, Webern wrote "You must write something like that, too!" (The Path to the New Music, p.48. "So was mußt du auch machen!"Wikipedia:Citing sources#What information to include) Shortly after, he wrote his Four Pieces for Violin and Piano Op. 7, using quartal harmony as a formal principle, which was also used in later works.[citation needed] Uninfluenced by the theoretical and practical work of the Second Viennese School, the American Charles Ives meanwhile wrote in 1906 a song called "The Cage" (No. 64 of his collection, 114 songs), in which the piano part contained four-part fourth chords accompanying a vocal line which moves in whole tones.[citation needed] Other 20th-century composers, like Béla Bartók with his piano work Mikrokosmos and Music for Strings, Percussion and Celesta, as well as Paul Hindemith, Carl Orff and Igor Stravinsky, employed quartal harmony in their work. These composers joined Romantic elements with Baroque music, folk songs and their peculiar rhythm and harmony with the open harmony of fourths and fifths.[citation needed]
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Fourths in Béla Bartók's Mikrokosmos V, No. 131, Fourths (Quartes) Play Wikipedia:Media helpFile:Bartok Mikrokosmos Quartes for wikipedia.mid
Hindemith Hindemith constructed large parts of his symphonic work Symphony: Mathis der Maler by means of fourth and fifth intervals. These steps are a restructuring of fourth chords (C – D – G becomes the fourth chord D – G – C), or other mixtures of fourths and fifths (D♯ – A♯ – D♯ – G♯ – C♯ in measure 3 of the example). Hindemith was, however, not a proponent of an explicit quartal harmony. In his 1937 writing Unterweisung im Tonsatz (The Craft of Musical Composition, Hindemith 1937), he wrote that "notes have a family of relationships, that are the bindings of tonality, in which the ranking of intervals is unambiguous," so much so, indeed, that in the art of triadic composition "...the musician is bound by this, as the painter to his primary colours, the architect to the three dimensions." He lined up the harmonic and melodic aspects of music in a row in which the octave ranks first, then the fifth and the third, and then the fourth. "The strongest and most unique harmonic interval after the octave is the fifth, the prettiest nevertheless is the third by right of the chordal effects of its Combination tones."
Fourth and fifth writing in the second movement of Paul Hindemith's Mathis der Maler
Others In his Theory of Harmony (Schoenberg 1978, 407): "Besides myself my students Dr. Anton Webern and Alban Berg have written these harmonies (fourth chords), but also the Hungarian Béla Bartók or the Viennese Franz Schreker, who both go a similar way to Debussy, Dukas and perhaps also Puccini, are not far off. British composer Michael Tippett also employed quartal harmonies extensively in works from his middle period. Examples are his Piano Concerto and the opera The Midsummer Marriage. An almost constant quartal harmony is used by Bertold Hummel in his Second Symphony of 1966. A similarly obvious example is the work of Mieczysław Weinberg. Hermann Schroeder alternated in his works using fragments of Gregorian Chant between quintal and quartal harmony. Also the Polish composer Witold Lutosławski devised a use that allows many harmonic combinations to be applied to a single part, having several combinations that may be tried against it, like fourths with
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whole tones, tritones with semitones, or other possibilities.[citation needed] In the first movement of Olivier Messiaen's Turangalîla-Symphonie, a six-note combination is constructed in pieces from fourths and tritones, much like in the music of Schoenberg and Scriabin. Much of Messiaen's work applies quartal harmony, moderated by his development of what he called "Modes of limited transposition".[citation needed] A preference for quartal harmony is present in the works of Leo Brouwer (10 Etudes for Guitar), Robert Delanoff (Zwiegespräche für Orgel), Ivan Vïshnegradsky, Tōru Takemitsu (Cross Hatch) and Hanns Eisler (Hollywood-Elegy). In the 1960s, the use of tone clusters juxtaposing minor and major seconds pushed aside quartal harmony somewhat. The orchestral work of György Ligeti, Atmosphères of 1961, makes extensive use of such sounds.[citation needed] The works of the Filipino composer Elisio Pajaro (1915–1984) are characterised by quartal and quintal harmonies, as well as by dissonant counterpoint and polychords (Kasilag 2001). As a transition to the history of jazz, George Gershwin may be mentioned. In the first movement of his Concerto in F altered fourth chords descend chromatically in the right hand with a chromatic scale leading upward in the left hand.
Jazz The style of jazz, having an eclectic harmonic orbit, was in its early days overtaken (until perhaps the Swing of the 1930s) by the vocabulary of 19th century European music. Important influences come thereby from opera, operetta, military bands as well as from the piano music of Classical and Romantic composers, and even that of the Impressionists. Jazz musicians had a clear interest in harmonic richness of colour, for which quartal harmony provided possibilities, as used by pianists and arrangers like Jelly Roll Morton, Duke Ellington, Art Tatum, Bill Evans (Hester 2000, 199) Milt Buckner (Hester 2000, 199) Chick Corea (Herder 1987, 78; Scivales 2005, 203) Herbie Hancock (Herder 1987, 78; Scivales 2005, 203) and especially McCoy Tyner (Herder 1987, 78; Scivales 2005, 205). Nevertheless, the older jazz usually handled fourths in the customary manner (as a suspension needing resolution).[citation needed] Bebop brought an aesthetic change to modern jazz: the chords which before had a relative identity (as major and minor, dominant, etc.) gave way to block transpositions, with a fleeting, smooth flowing tonality, having the colours of chords blurred and strongly ambiguous. A prevalent example for this is the beloved ii-V-I cadence of modern jazz.[citation needed]
The ii–V–I cadence Play Wikipedia:Media helpFile:II V9 I.MID; the fourth-suspension or sus chord Play Wikipedia:Media helpFile:II V9sus I.MID
In the figure to the right, a traditional cadence is contrasted with a cadence where a substitution has been made in one of the inner voices. The inner voice still exhibits normal voice leading but within the extended harmony of jazz. The multiplicity of possibilities available can be used as a framework for improvisation. In addition, compositions of this time often had a frantic tempo, allowing more leeway in the harmony of fleeting chords (because they are not sounding for very long). Quartal harmony was employed throughout the jazz of the 1940s.[citation needed] The hard bop of the 1950s made new applications of quartal harmony accessible to jazz.[citation needed] Quintet writing in which two brass instruments (commonly trumpet and
A typical hard bop brass part, from Horace Silver's "Señor Blues"
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saxophone) may proceed in fourths, while the piano (as a uniquely harmonic instrument) lays down chords, but sparsely, only hinting at the intended harmony. This style of writing, in contrast with that of the previous decade, preferred a moderate tempo. Thin-sounding unison bebop horn sections occur frequently, but these are balanced by bouts of very refined polyphony such as is found in cool jazz. On his watershed record Kind of Blue, Miles Davis with pianist Bill Evans used a chord consisting of three perfect fourth intervals and a major third on the composition "So What". This particular voicing is sometimes referred to as a So What chord, and can be analyzed (without regard for added sixths, ninths, etc.) as a minor seventh with the root on the bottom, or as a major seventh with the third on the bottom (Levine 1989, 97). From the outset of the 1960s, the employment of quartal possibilities had become so The "So What" chord uses three intervals of a fourth. familiar that the musician now felt the fourth chord existed as a separate entity, self standing and free of any need to resolve. The pioneering of quartal writing in later jazz and rock, like the pianist McCoy Tyner's work with saxophonist John Coltrane's "classic quartet", was influential throughout this epoch. Oliver Nelson was also known for his use of fourth chord voicings (Corozine 2002, 12). Floyd claims that the "foundation of 'modern quartal harmony'" began in the era when the Charlie Parker–influenced John Coltrane added classically trained pianists Bill Evans and McCoy Tyner to his ensemble (Floyd 2004, 4). Jazz guitarists cited as using chord voicings using quartal harmony include Johnny Smith, Tal Farlow, Chuck Wayne, Barney Kessel, Joe Pass, Jimmy Raney, Wes Montgomery, however all in a traditional manner, as major 9th, 13th and minor 11th chords (Floyd 2004, 4) (an octave and fourth equals an 11th). Jazz guitarists cited as using modern quartal harmony include Jim Hall (especially Sonny Rollins's The Bridge), George Benson ("Skydive"), Pat Martino, Jack Wilkins ("Windows"), Joe Diorio, Howard Roberts ("Impressions"), Kenny Burrell ("So What"), Wes Montgomery ("Little Sunflower"), Henry Johnson, Russell Malone, Jimmy Bruno, Howard Alden, Paul Bollenback, Mark Whitfield, and Rodney Jones (Floyd 2004, 4). Quartal harmony was also explored as a possibility under new experimental scale models as they were "discovered" by jazz.[citation needed] Musicians began to work extensively with the so-called church modes of old European music, and they became firmly situated in their compositional process. Jazz was well-suited to incorporate the medieval use of fourths to thicken lines into its improvisation. The pianists Herbie Hancock, and Chick Corea are two musicians well known for their modal experimentation. Around this time, a style known as free jazz also came into being, in which quartal harmony had extensive use due to the wandering nature of its harmony.
Fourths in Herbie Hancock's "Maiden Voyage"[citation needed]
Between these intensive experiments with quartal harmony, the search for new applications for it in jazz was quickly exhausted. Around 1970, quartal harmony had become part of the canon of everyday practice.[citation needed] In jazz, the way chords were built from a scale came to be called voicing, and specifically quartal harmony was referred to as fourth voicing.
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ii-V-I turnaround with fourth voicings: all chords are in fourth voicings Play Wikipedia:Media helpFile:Quartal voicings.mid; They are often ambiguous as, for example, the Dm11 and G9sus chords are here voiced identically and will thus be distinguished for the listener by the root movement of the bassist (Boyd 1997, 94)
Thus when the m11 and the dominant 7th sus (9sus above) chords in quartal voicings are used together they tend to "blend into one overall sound" sometimes referred to as modal voicings, and both may be applied where the m11 chord is called for during extended periods such as the entire chorus (Boyd 1997, 95).
Rock music Quartal and quintal harmony have been used by Robert Fripp, the rhythm guitarist of King Crimson. Fripp dislikes minor thirds and especially major thirds in equal temperament tuning, which is used by non-experimental guitars. Of course, just intonation's perfect octaves, perfect fifths, and perfect fourths are well approximated in equal temperament tuning, and perfect fifths and octaves are highly consonant intervals. Fripp builds chords using perfect fifths, fourths, and octaves in his new standard tuning (NST), a regular tuning having perfect fifths between its successive open-strings. (Mulhern 1986, [1] )Wikipedia:Citing sources Tarkus by Emerson, Lake & Palmer uses quartal harmony (Macon 1997, p. 55).
Disliking the sound of thirds (in equal-temperament tuning), Robert Fripp builds chords with perfect intervals in his new standard tuning.
Examples of quartal pieces Classical • William Albright Sonata for Alto Saxophone and Piano (Lewis 1985, 443) • Alban Berg Sonata for Piano, op. 1 (Lambert 1996, 118) Wozzeck (Lambert 1996, 118; Reisberg 1975, 344–46) • Carlos Chávez Sinfonía de Antígona (Symphony No. 1), uses quartal harmony throughout (Orbón 1987, 83) Sinfonía india (Symphony No. 2), the A-minor Sonora melody beginning in b. 183 is accompanied by quartal harmonies (Leyva 2010, 56) • Aaron Copland
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Of Mice and Men (Bick 2005, 446, 448, 451) • Claude Debussy "La cathédrale engloutie", beginning and ending (Reisberg 1975, 343–44) • Norman Dello Joio Suite
for
Piano[citation
needed]
Parallel fourths evoking organum in Debussy's "The Sunken Cathedral" opening (Reisberg 1975, 343–44). Play Wikipedia:Media helpFile:Debussy - The Sunken Cathedral opening parallel fourths.mid
• Caspar Diethelm Piano Sonata (Kroeger 1969)
No.
7
• Alberto Ginastera 12 American Preludes, Prelude #7[citation needed] • Carlos Guastavino "Donde habite el olvido" (Kulp 2006, 207) • Walter Hartley Bacchanalia for Band (Spieth 1978) • Charles Ives "The Cage" (1906) (Carr 1989, 135; Lambert 1990, 44; Lambert 1996, 118; Murphy 2008, 179, 181, 183, 185–86, 190–91; Reisberg 1975, 344–45; Scott 1994, 458) Central Park in the Dark (Scott 1994, 458) "Harpalus" (Scott 1994, 458) Psalm 24, verse 5 (Lambert 1990, 67; Scott 1994, 458) Psalm 90 (Scott 1994, 458) "Walking" (Scott 1994, 458) • Aram Khachaturian Toccata[citation needed] • Benjamin Lees String Quartet No. 2, Adagio (Cowell 1956, 243) • Darius Milhaud Sonatina for flute & piano, Op. 76 (Cardew-Fanning n.d.) • Walter Piston Clarinet Concerto (Archibald 1969, 825) Ricercare for Orchestra (Archibald 1969, 825) • Maurice Ravel Ma mère l'oye : "Mouvt de Marche" of "Laideronnette" (Murphy, Melcher, and Warch 1973,Wikipedia:Citing sources) • Ned Rorem King Midas, cantata (Sjoerdsma 1972) • Erik Satie
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Le fils des étoiles (Carpenter n.d.; Reisberg 1975, 347) • Arnold Schoenberg The Book of the Hanging Gardens (Domek 1979, 112–13, 117) Chamber Symphony, Op. 9 (Reisberg 1975, 344–45; Sanderson n.d.), slow section (Rubin 2005), b. 1–3 (Lambert 1990, 68)
Six-note horizontal fourth chord in Arnold Schoenberg's Chamber Symphony Op. 9
Wind Quintet, op. 26 (Corson and Christensen 1984) • Cyril Scott Diatonic Study (1914) (Stein 1979, 18) • Nikos Skalkottas Suite No. 3 for Piano (Dickinson 1963) • Stephen Sondheim Piano Sonata (Swayne 2002, 285–87, 290) • Karlheinz Stockhausen Klavierstück IX (Reisberg 1975, 349–50) • Howard Swanson "Saw a Grave" (Moe 1981–82, 70) • Anton Webern Variations for Piano, Op. 27 (Reisberg 1975, 348)
Jazz • Miles Davis Kind of Blue (Josh n.d.)
Folk On her 1968 debut album Song to a Seagull, Joni Mitchell used quartal and quintal harmony in "Dawntreader", and she used quintal harmony in Seagull (Whitesell 2008, 131 and 202–203).
Rock • Emerson, Lake & Palmer Tarkus (Macon 1997, p. 55) • Frank Zappa "Zoot Allures"[citation needed] • XTC "Rook" (composed by Andy Partridge, from the album Nonsuch) (Anon. n.d.)
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References This article incorporates information from the equivalent article on the German Wikipedia. • Anon. (n.d. ) "Rook [2]", ChalkHills.org. Analysis and guitar tab. • Archibald, Bruce (1969). "Variations for Cello and Orchestra (1966) by Walter Piston; Concerto for Clarinet and Orchestra (1967) by Walter Piston; Ricercare for Orchestra (1967) by Walter Piston". Notes, second series 25, no. 4 (June): 824–26. • Benward, Bruce, and Nadine Saker (2009). Music in Theory and Practice, Vol. II. ISBN 978-0-07-310188-0.Wikipedia:Citing sources#What information to include • Bick, Sally (2005). "Of Mice and Men: Copland, Hollywood, and American Musical Modernism". American Music 23, no. 4 (Winter): 426–72. • Boyd, Bill (1997). Jazz Chord Progressions.Wikipedia:Citing sources#What information to include ISBN 0-7935-7038-7. • Cardew-Fanning, Neil. "Sonatina for flute & piano, Op. 76 [3]", AllMusic.com. • Carpenter, Alexander (n.d.). "Le fils des étoiles, Chaldean pastoral, 3 preludes for piano [4]", AllMusic.com. • Carr, Cassandra I. (1989). "Charles Ives’s Humor as Reflected in His Songs". American Music 7, no. 2 (Summer): 123–39. • Corozine, Vince (2002). Arranging Music for the Real World: Classical and Commercial Aspects. Pacific, MO: Mel Bay. ISBN 0-7866-4961-5. OCLC 50470629 [5]. • Corson, Langdon, and Roy Christensen (1984). Arnold Schoenberg's Woodwind Quintet, op. 26: Background and Analysis. Nashville: Gasparo Co. • Cowell, Henry (1956). "Current Chronicle: United States: New York" The Musical Quarterly 42, no. 2 (April): 240–44. • Dickinson, Peter (1963). "Suite for Piano No 3 by Nikos Skalkottas". The Musical Times 104, no. 1443 (May): 357. • Domek, Richard C. (1979). "Some Aspects of Organization in Schoenberg's Book of the Hanging Gardens, opus 15". College Music Symposium 19, no. 2 (Fall): 111–28. • Erickson, Robert (1975). Sound Structure in Music. Oakland, California: University of California Press. ISBN 0-520-02376-5. • Floyd, Tom (2004). Quartal Harmony & Voicings for Guitar.Wikipedia:Citing sources#What information to include ISBN 0-7866-6811-3 • Herder, Ronald (1987). 1000 Keyboard Ideas.Wikipedia:Citing sources#What information to include ISBN 0-943748-48-8. • Hindemith, Paul (1937). Unterweisung im Tonsatz.Wikipedia:Citing sources#What information to include • Hester, Karlton E. (2000). From Africa to Afrocentric Innovations Some Call "Jazz": The Creation of Free, Fusion and Reconstructive Modern Styles (1950–2000)Wikipedia:Citing sources#What information to include. ISBN 1-58684-054-1. • Josh (n.d.) "4th Chords and Quartal Harmony [6]", FretterVerse.com. • Kasilag, Lucrecia R. (2001). "Pajaro, Eliseo (Morales)". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers. • Kostka, Stefan, Dorothy Payne, and Byron Almén (2013). Tonal Harmony with an Introduction to Twentieth-Century Music (seventh ed.). New York: McGraw-Hill. pp. 38–53. ISBN 978-0-07-131828-0. • Kroeger, Karl (1969). "Caspar Diethelm: Klaviersonate VII". Notes, second series 26, no. 2 (December): 363. • Kulp, Jonathan (2006). "Carlos Guastavino: A Re-Evaluation of His Harmonic Language". Latin American Music Review / Revista de Música Latinoamericana 27, no. 2 (Autumn-Winter): 196–219. • Lambert, J. Philip (1990). "Interval Cycles as Compositional Resources in the Music of Charles Ives". Music Theory Spectrum 12, no. 1 (Spring): 43–82.
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Further reading • Baker, David N. (1983). Jazz Improvisation. Bloomington: Frangipani. ISBN 0-89917-397-7. • Persichetti, Vincent (1961). Twentieth-century Harmony: Creative Aspects and Practice. New York: W. W. Norton. ISBN 0-393-09539-8. OCLC 398434 [10]. • Rosenthal, David H. (1993). Hard Bop, Jazz and Black Music 1955–1965. New York: Oxford University Press. ISBN 0-19-508556-6.
External links • Quartalharmony with notes and listening examples [7] • Quartal voicing for the guitar [11] • Program notes for Arnold Schoenberg's Chamber Symphony for 15 Solo Instruments op. 9 [12]
References [1] [2] [3] [4] [5] [6] [7] [8]
http:/ / www. mulhern. com/ articles/ Fripp. html http:/ / chalkhills. org/ reelbyreal/ s_Rook. html http:/ / www. allmusic. com/ work/ sonatina-for-flute--piano-op-76-c50158/ description http:/ / www. allmusic. com/ work/ le-fils-des-toiles-chaldean-pastoral-3-preludes-for-piano-c18057/ description
http:/ / www. worldcat. org/ oclc/ 50470629 http:/ / fretterverse. com/ 2010/ 06/ 30/ 4th-chords-and-quartal-harmony/ http:/ / www. d. umn. edu/ ~jrubin1/ JHR%20Quartal%201. htm http:/ / www. allmusic. com/ album/ arnold-schoenberg-verklrte-nacht-chamber-symphony-variations-5-pieces-6-songs-erwartung-w68725/ review [9] http:/ / books. google. ca/ books?id=xSmJbcWcYA0C& lpg=PP1& dq=Joni%20Mitchell& pg=PP1#v=onepage& q& f=true [10] http:/ / www. worldcat. org/ oclc/ 398434 [11] http:/ / www. guitarsessions. com/ aug04/ jazz. html [12] http:/ / www. schoenberg. at/ 6_archiv/ music/ works/ op/ compositions_op9_notes_e. htm
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Scale (music)
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Scale (music) In music, a scale is any set of musical notes ordered by fundamental frequency or pitch. A scale ordered by increasing pitch is an ascending scale, while descending scales are ordered by decreasing pitch. Some scales contain different pitches when ascending than when descending (for instance, see Chromatic scale and Melodic minor scale).
Ascending and descending chromatic scale Play Wikipedia:Media helpFile:ChromaticScaleUpDown.ogg
Pattern of intervals in the C-major scale Play Wikipedia:Media helpFile:Ionian mode C.mid
Often, especially in the context of the common practice period, part or all of a musical work including melody and/or harmony, is built using the notes of a single scale, which can be conveniently represented on a staff with a standard key signature.[1] Due to the principle of octave equivalence, scales are generally considered to span a single octave, with higher or lower octaves simply repeating the pattern. A musical scale represents a division of the octave space into a certain number of scale steps, a scale step being the recognizable distance (or interval) between two successive notes of the scale.[2] A measure of the width of each scale step provides a method to classify scales. For instance, in a chromatic scale each scale step represents a semitone interval, while a major scale is defined by the interval pattern T–T–S–T–T–T–S, where T stands for whole tone (an interval spanning two semitones), and S stands for semitone. Based on their interval patterns, scales are divided into categories including diatonic, chromatic, major, minor, and others. A specific scale is defined by its characteristic interval pattern and by a special note, known as its first degree (or tonic). The tonic of a scale is the note selected as the beginning of the octave, and therefore as the beginning of the adopted interval pattern. Typically, the name of the scale specifies both its tonic and its interval pattern. For example, C-major indicates a major scale in which C is the tonic.
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Background Scales, steps, and intervals Scales are typically listed from low to high. Most scales are octave-repeating, meaning their pattern of notes is the same in every octave (the Bohlen–Pierce scale is one exception). An octave-repeating scale can be represented as a circular arrangement of pitch classes, ordered by increasing (or decreasing) pitch class. For instance, the increasing C major scale is C–D–E–F–G–A–B–[C], with the bracket indicating that the last note is an octave higher than the first note, and the decreasing C major scale is C–B–A–G–F–E–D–[C], with the bracket indicating an octave lower than the first note in the scale. The distance between two successive notes in a scale is called a scale step. Diatonic scale in the chromatic circle
The notes of a scale are numbered by their steps from the root of the scale. For example, in a C major scale the first note is C, the second D, the third E and so on. Two notes can also be numbered in relation to each other: C and E create an interval of a third (in this case a major third); D and F also create a third (in this case a minor third).
Scales and pitch A single scale can be manifested at many different pitch levels. For example, a C major scale can be started at C4 (middle C; see scientific pitch notation) and ascending an octave to C5; or it could be started at C6, ascending an octave to C7. As long as all the notes can be played, the octave they take on can be altered.
Types of scale Scales may be described according to the intervals they contain: • for example: diatonic, chromatic, whole tone or by the number of different pitch classes they contain: • • • •
Octatonic (8 tones per octave): used in jazz and modern classical music Heptatonic (7 tones per octave): the most common modern Western scale Hexatonic (6 tones per octave): common in Western folk music Pentatonic (5 tones per octave): common in folk music, especially in oriental music; also known as the "black note" scale • Tetratonic (4 tones), tritonic (3 tones), and ditonic (2 tones): generally limited to prehistoric ("primitive") music • Monotonic (1 tone): limited use in liturgy, and for effect in modern art music[citation needed] "The number of the notes that make up a scale as well as the quality of the intervals between successive notes of the scale help to give the music of a culture area its peculiar sound quality."[3] "The pitch distances or intervals among the notes of a scale tell us more about the sound of the music than does the mere number of tones."[4]
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Harmonic content The notes of a scale form intervals with each of the other notes of the chord in combination. A 5-note scale has 10 of these harmonic intervals, a 6-note scale has 15, a 7-note scale has 21, an 8-note chord has 28.[5] Though the scale is not a chord, and might never be heard more than one note at a time, still the absence, presence, and placement of certain key intervals plays a large part in the sound of the scale, the natural movement of melody within the scale, and the selection of chords taken naturally from the scale.[6] A musical scale containing tritones is called tritonic; one without tritones is atritonic. A scale or chord containing semitones is called hemitonic; one without semitones is anhemitonic. The significance of these categories lies in their bases of semitones and tritones being the severest of dissonances, avoidance of which is often desirable. The most used scales across the planet are anhemitonic.
Scales in composition Scales can be abstracted from performance or composition. They are also often used precompositionally to guide or limit a composition. Explicit instruction in scales has been part of compositional training for many centuries. One or more scales may be used in a composition, such as in Claude Debussy's L'Isle Joyeuse.[7] To the right, the first scale is a whole tone scale, while the second and third scales are diatonic scales. All three are used in the opening pages of Debussy's piece.
Western music Scales in traditional Western music generally consist of seven notes and repeat at the octave. Notes in the commonly used scales (see just below) are separated by whole and half step intervals of tones and semitones. The harmonic minor scale includes a three-semitone step; the pentatonic includes two of these.
The lydian mode Play Wikipedia:Media helpFile:Lydian mode A.mid, middle, functions as an intermediary between the whole tone scale Play Wikipedia:Media helpFile:Whole tone scale on A.mid, top, and the major scale Play Wikipedia:Media helpFile:A major scale.mid, bottom.
Western music in the Medieval and Renaissance periods (1100–1600) tends to use the white-note diatonic scale C–D–E–F–G–A–B. Accidentals are rare, and somewhat unsystematically used, often to avoid the tritone. Music of the common practice periods (1600–1900) uses three types of scale: • The diatonic scale (seven notes)—this includes the major scale and the natural minor • The melodic and harmonic minor scales (seven notes) These scales are used in all of their transpositions. The music of this period introduces modulation, which involves systematic changes from one scale to another. Modulation occurs in relatively conventionalized ways. For example, major-mode pieces typically begin in a "tonic" diatonic scale and modulate to the "dominant" scale a fifth above. In the 19th century (to a certain extent), but more in the 20th century, additional types of scales were explored: • The chromatic scale (twelve notes) • The whole tone scale (six notes) • The pentatonic scale (five notes) • The octatonic or diminished scales (eight notes) A large variety of other scales exists, some of the more common being: • The Phrygian dominant scales (actually, a mode of the harmonic minor scale) • The Arabic scales
Scale (music) • The Hungarian minor scale • The Byzantine Music scales (called echoi) • The Persian scale Scales such as the pentatonic scale may be considered gapped relative to the diatonic scale. An auxiliary scale is a scale other than the primary or original scale. See: modulation (music) and Auxiliary diminished scale.
Naming the notes of a scale In many musical circumstances, a specific note of the scale will be chosen as the tonic—the central and most stable note of the scale, also known as the root note. Relative to a choice of tonic, the notes of a scale are often labeled with numbers recording how many scale steps above the tonic they are. For example, the notes of the C major scale (C, D, E, F, G, A, B) can be labeled {1, 2, 3, 4, 5, 6, 7}, reflecting the choice of C as tonic. The expression scale degree refers to these numerical labels. Such labeling requires the choice of a "first" note; hence scale-degree labels are not intrinsic to the scale itself, but rather to its modes. For example, if we choose A as tonic, then we can label the notes of the C major scale using A = 1, B = 2, C = 3, and so on. When we do so, we create a new scale called the A minor scale. See the Note article for how the notes are customarily named in different countries. The scale degrees of a heptatonic (7-note) scale can also be named using the terms tonic, supertonic, mediant, subdominant, dominant, submediant, subtonic. If the subtonic is a semitone away from the tonic, then it is usually called the leading-tone (or leading-note); otherwise the leading-tone refers to the raised subtonic. Also commonly used is the (movable do) solfège naming convention in which each scale degree is denoted by a syllable. In the major scale, the solfege syllables are: Do, Re, Mi, Fa, So (or Sol), La, Ti (or Si), Do (or Ut). In naming the notes of a scale, it is customary that each scale degree be assigned its own letter name: for example, the A major scale is written A–B–C♯–D–E–F♯–G♯ rather than A–B–D♭–D–E–E –G♯. However, it is impossible to do this with scales containing more than seven notes. Scales may also be identified by using a binary system of twelve zeros or ones to represent each of the twelve notes of a chromatic scale. It is assumed that the scale is tuned using 12-tone equal temperament (so that, for instance, C♯ is the same as D♭), and that the tonic is in the leftmost position. For example the binary number 101011010101, equivalent to the decimal number 2773, would represent any major scale (such as C–D–E–F–G–A–B). This system includes scales from 100000000000 (2048) to 111111111111 (4095), providing a total of 2048 possible species, but only 352 unique scales containing from 1 to 12 notes.[8] Scales may also be shown as semitones (or fret positions) from the tonic. For instance, 0 2 4 5 7 9 11 denotes any major scale such as C–D–E–F–G–A–B, in which the first degree is, obviously, 0 semitones from the tonic (and therefore coincides with it), the second is 2 semitones from the tonic, the third is 4 semitones from the tonic, and so on. Again, this implies that the notes are drawn from a chromatic scale tuned with 12-tone equal temperament.
Scalar transposition Composers often transform musical patterns by moving every note in the pattern by a constant number of scale steps: thus, in the C major scale, the pattern C–D–E might be shifted up, or transposed, a single scale step to become D–E–F. This process is called "scalar transposition" and can often be found in musical sequences. Since the steps of a scale can have various sizes, this process introduces subtle melodic and harmonic variation into the music. This variation is what gives scalar music much of its complexity.
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Scale (music)
Jazz and blues Through the introduction of blue notes, jazz and blues employ scale intervals smaller than a semitone. The blue note is an interval that is technically neither major nor minor but "in the middle", giving it a characteristic flavour. For instance, in the key of E, the blue note would be either a note between G and G♯ or a note moving between both. In blues a pentatonic scale is often used. In jazz many different modes and scales are used, often within the same piece of music. Chromatic scales are common, especially in modern jazz.
Non-Western scales In Western music, scale notes are often separated by equally tempered tones or semitones, creating 12 pitches per octave. Many other musical traditions use scales that include other intervals or a different number of pitches. These scales originate within the derivation of the harmonic series. Musical intervals are complementary values of the harmonic overtones series.[9] Many musical scales in the world are based on this system, except most of the musical scales from Indonesia and the Indochina Peninsulae, which are based on inharmonic resonance of the dominant metalophone and xylophone instruments. A common scale in Eastern music is the pentatonic scale, consisting of five tones. In the Middle Eastern Hejaz scale, there are some intervals of three semitones. Gamelan music uses a small variety of scales including Pélog and Sléndro, none including equally tempered nor harmonic intervals. Indian classical music uses a moveable seven-note scale. Indian Rāgas often use intervals smaller than a semitone.[10] Arabic music maqamat may use quarter tone intervals.[11] In both rāgas and maqamat, the distance between a note and an inflection (e.g., śruti) of that same note may be less than a semitone.
Microtonal scales The term microtonal music usually refers to music with roots in traditional Western music that uses non-standard scales or scale intervals. Mexican composer Julián Carrillo created in the late 19th century microtonal scales which he called "Sonido 13", The composer Harry Partch made custom musical instruments to play compositions that employed a 43-note scale system, and the American jazz vibraphonist Emil Richards experimented with such scales in his Microtonal Blues Band in the 1970s. Easley Blackwood has written compositions in all equal-tempered scales from 13 to 24 notes. Erv Wilson introduced concepts such as Combination Product Sets (Hexany), Moments of Symmetry and golden horagrams, used by many modern composers.Wikipedia:Avoid weasel words Microtonal scales are also used in traditional Indian Raga music, which has a variety of modes which are used not only as modes or scales but also as defining elements of the song, or raga.
References [1] Benward, Bruce and Saker, Marilyn Nadine (2003). Music: In Theory and Practice, seventh edition: vol. 1, p.25. Boston: McGraw-Hill. ISBN 978-0-07-294262-0. [2] Hewitt, Michael (2013). Musical Scales of the World, pp. 2–3. The Note Tree. ISBN 978-0-9575470-0-1. [3] Nzewi, Meki and Nzewi, Odyke (2007). A Contemporary Study of Musical Arts, p.34. ISBN 978-1-920051-62-4. [4] Nettl, Bruno and Myers, Helen (1976). Folk Music in the United States, p.39. ISBN 978-0-8143-1557-6. [5] Hanson, Howard. (1960) Harmonic Materials of Modern Music, p.7ff. New York: Appleton-Century-Crofts. LOC 58-8138. [6] Hanson, Howard. (1960) Harmonic Materials of Modern Music, p.7ff. New York: Appleton-Century-Crofts. LOC 58-8138. [7] Dmitri Tymoczko, "Scale Networks and Debussy", Journal of Music Theory 48, no. 2 (Fall 2004): 219–94; citation on 254–64 [8] Duncan, Andrew. "Combinatorial Music Theory" (http:/ / www. andrewduncan. ws/ cmt/ index. html), Journal of the Audio Engineering Society, vol. 39, pp. 427–448. (1991 June). AndrewDuncan.ws. [9] Explanation of the origin of musical scales clarified by a string division method (http:/ / www. furious. com/ perfect/ experimentalstringinstruments. html) by Yuri Landman on furious.com [10] Burns, Edward M. 1998. "Intervals, Scales, and Tuning.", p.247. In The Psychology of Music, second edition, edited by Diana Deutsch, 215–64. New York: Academic Press. ISBN 0-12-213564-4. [11] Zonis [Mahler], Ella. 1973. Classical Persian Music: An Introduction. Cambridge, MA: Harvard University Press.
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Further reading • Yamaguchi, Masaya. 2006. The Complete Thesaurus of Musical Scales, revised edition. New York: Masaya Music Services. ISBN 0-9676353-0-6.
External links • • • • •
Octave Frequency Sweep, Consonance & Dissonance (http://www.youtube.com/watch?v=lsapaauFoUQ) WolframTones—hear and play musical scales (http://tones.wolfram.com/generate/advanced.html?pitch) Visual representation of scales from WolframTones (http://8.brm.sk/Scales_Chords.pdf) ScaleCoding (http://www.lucytune.com/new_to_lt/pitch_05.html) Database in .xls and FileMaker formats of all 2048 possible unique scales in 12 tone equal temperament + meantone alternatives. (http://www.harmonics.com/scales/index.html) • Barbieri, Patrizio. Enharmonic instruments and music, 1470–1900 (http://www.patriziobarbieri.it/1.htm). (2008) Latina, Il Levante Libreria Editrice • Java applet that lists all N-note scales, and lets you see & hear them in standard musical notation (http://www. punosmusic.com/pages/scale/) • Scale Finder (http://www.scales-chords.com/scalefinder.php) This online tool helps you find a scale to fit a chord progression or some notes that are part of a scale. • Musical Scale Finder (http://www.gootar.com/folder/scales.html) Scale generator finder, over two thousand printable scales.
Secondary dominant Secondary dominant (also applied dominant or artificial dominant) is an analytical label for a specific harmonic device, prevalent in the tonal idiom of Western music beginning in the common practice period. It refers to a dominant seventh chord set to resolve to a degree that is not the tonic, with V7/V, the dominant of the dominant, "being the most frequently encountered".[2] The chord to which a secondary dominant progresses can be thought of as a briefly tonicized chord or pitch (tonicizations longer than a phrase are modulations). The secondary dominant terminology is still usually applied even if the chord resolution is nonfunctional (for example if V/ii is not followed by ii).[3]
Definition and notation
The circle of fifths: the dominant or secondary dominant will always be found immediately clockwise of the tonic or tonicized chord and functionally resolves counterclockwise to that chord. For example, in C: V is G and resolves to C, V/V is D and resolves to G.
The regular major scale contains seven basic chords, designated with Roman numerals in ascending order. Since the seventh degree is a diminished triad, it is not considered tonal and therefore, classical theory sees only the first six chords as eligible for an applied dominant. For instance, in the key of C major, those six chords would be:
Secondary dominant
[1] V of V in C, four-part harmony Play Wikipedia:Media helpFile:V of V in C four-part harmony.mid.
V of V in C, realized on guitar. Play Wikipedia:Media helpFile:V of V in C guitar.mid
Of these chords, V (G major) is said to be the dominant of C major (the dominant of any key is the chord whose root is a fifth above the tonic). However, each of the chords from ii through vi also has its own dominant. For example, vi (A minor) has an E major triad as its dominant. These extra dominant chords are not part of the key of C major as such because they include notes that are not part of the C major scale. Instead, they are the secondary dominants. Below is an illustration of the secondary dominant chords for C major. Each chord is accompanied by its standard number in harmonic notation. In this notation, a secondary dominant is usually labeled with the formula "V of ..."; thus "V of ii" stands for the dominant of the ii chord, "V of iii" for the dominant of iii, and so on. A shorter notation, used below, is "V/ii", "V/iii", etc. The secondary dominants are connected with lines to their corresponding tonic chords.
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Secondary dominant
Note that of the above, V/IV is the same as I. However, as will become clear shortly, they are significantly different. Like most chords, secondary dominants can be classified by whether they contain certain additional notes outside the basic triad; for details, see Figured bass. A dominant seventh chord (notation: V7) is one that contains the note that is a minor seventh above the root, and a dominant ninth chord (notation: V9) contains the note a ninth above the root. For instance, V7/IV, although it is a C chord, is distinct from regular C major because it also contains the note B flat, which is a minor seventh above the root of C, and not part of the C major scale. To illustrate, here are the secondary dominants of C major, given as dominant seventh chords. They are shown leading into their respective tonics, as given in the second inversion.
Chromatic mediants, for example vi is also a secondary dominant of ii (V/ii) and III is V/vi, are distinguished from secondary dominants with context and analysis revealing the distinction.[4]
Normal sequencing or cadence When used in music, a secondary dominant is very often (though not Secondary dominant (V/ii resolving to ii) vs. inevitably) directly followed by the chord of which it is the dominant. chromatic mediant (VI progressing to I) Thus V/ii is normally followed by ii, V/vi by vi, and so on. This is Play Wikipedia:Media helpFile:Secondary similar to the general pattern of music wherein the simple chord V is dominant vs. chromatic mediant.mid. In C major: C-A-d vs. C-A-C. often followed by I. The tonic is said to "resolve" the slight dissonance created by the dominant. Indeed, the sequence V/X + X, where X is some basic chord, is thought of by some musicians as a tiny modulation, acting as a miniature dominant-tonic sequence in the key of X.
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History The concept of the secondary dominant was not widely recognized in writings on music theory prior to the 20th century.[citation needed] Before this time, in music of Bach, Mozart, Beethoven, and Brahms, a secondary dominant, along with its chord of resolution, was considered to be a modulation. Because the effect of modulation was so short, and did not sound like a real arrival of a new key, the two chords had a Secondary dominants in Beethoven's Symphony special name—"transient modulation"—that is, a modulation in which [5] [citation needed] No. 1, introduction. Play Wikipedia:Media the new key is not established. Since this was a rather helpFile:Beethoven - Symphony No. 1, self-contradictory description, theorists in the early 1900s, such as introduction secondary dominants.mid Hugo Riemann (who used the term "Zwischendominante"—"intermediary dominant", still the usual German term for a secondary dominant), searched for a better description of the phenomenon. One method of signifying these chords at the time (used by both Riemann and Ernst Kurth) was by placing the chord symbol in parentheses, thereby indicating that the chord functions only in relation to the chord immediately following it—for example, (VII) V.[citation needed] In the English-speaking world, the analysis "V7 of IV" was first used by Walter Piston in 1933,[citation needed] in a monograph entitled Principles of Harmonic Analysis.[6] (Notably, Piston's analytical symbol always used the word "of"—e.g. "V7 of IV" rather than the virgule "V7/IV.) In his 1941 book Harmony[7] Piston used the term "secondary dominant" for the first time.Wikipedia:Vagueness At around the same time (1946–48), Arnold Schoenberg created the expression "artificial dominant" to describe the same phenomenon, in his posthumously published book Structural Functions of Harmony.[8]
Mozart example In the Fifth edition of Harmony by Walter Piston and Mark DeVoto, a passage from the last movement of Mozart's Piano Sonata K. 283 in G major serves as one illustration of secondary dominants. Below, the harmony alone is first given, labeled both for the literal names of the chords and for their chord number in the key of G major.
It can be seen that this passage has three secondary dominants, each one followed (as expected) by the chord of which it is the dominant. The final four bars form a back-cycle, ending in a standard dominant-tonic cadence, which concludes the phrase. The lines drawn below the diagram show each instance in which a dominant is followed by its corresponding tonic. The harmony is distributed more subtly between the notes, and goes faster, in Mozart's original:
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The secondary dominants here create a rapidly descending chromatic harmony, an effective lead-up to the tonic cadence at the end of the phrase. There are many similar passages in Mozart's music.
Use in jazz In jazz harmony, a secondary dominant is any Dominant chord (major-minor 7th chord) which occurs on a weak beat and resolves downward by a perfect 5th. Thus, a chord is a secondary dominant when it is functioning as the dominant of some harmonic element other Bop cliche arpeggio upwards from third to ninth: than the key's tonic, and promptly resolves to that element. This is [9] A7♭9 (V/ii) Play Wikipedia:Media slightly different from the traditional use of the term, where a helpFile:Bop V of II cliche arpeggio.mid. secondary dominant does not have to be a 7th chord, occur on a weak beat, or resolve downward. If a non-diatonic dominant chord is used on a strong beat, it is considered an extended dominant. If it doesn't resolve downward, it may be a borrowed chord. Secondary dominants are used in jazz harmony in the Bebop blues and other blues progression variations, as are sub V and turnarounds.
Popular music Examples include II7 (V7/V) in Bob Dylan's "Don't Think Twice, It's All Right" and III7 (V7/vi) in Betty Everett's "The Shoop Shoop Song (It's in His Kiss)".[10] For more examples of Secondary Dominants used in popular music, see list of songs with chromatic harmony.
Extended dominant An extended dominant is a non-diatonic secondary dominant seventh chord that resolves downwards to another dominant chord. A series of extended dominant chords continues to resolve downwards by perfect fifths until they reach the tonic chord. [11] Diatonic I-vi-ii-V turnaround in C Play Wikipedia:Media helpFile:I-vi-ii-V turnaround in C.mid.
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Non-diatonic I-VI-II-V-I progression Play Wikipedia:Media helpFile:I-VI-II-V progression in C.mid.
[12] Submediant in chain of fifths Play Wikipedia:Media helpFile:Submediant in chain of fifths bass movement.mid.
Extended dominant relationship in Schubert's German Dance Play Wikipedia:Media helpFile:Schubert - German Dance extended dominant relationship.mid.
Though typically used in jazz, extended dominants have been used in other contexts as well.
Further reading • Nettles, Barrie & Graf, Richard (1997). The Chord Scale Theory and Jazz Harmony. Advance Music, ISBN 3-89221-056-X • Thompson, David M. (1980). A History of Harmonic Theory in the United States. Kent, Ohio: The Kent State University Press.
References [1] [2] [3] [4] [5] [6] [7] [8]
Benward & Saker (2003), p.269. Kostka, Stefan and Dorothy Payne (2003). Tonal Harmony, p.250. McGraw-Hill. ISBN 0-07-285260-7. Rawlins, Robert and Nor Eddine Bahha (2005). Jazzology: The Encyclopedia of Jazz Theory for All Musicians, p.59. ISBN 0-634-08678-2. Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.201-204. Seventh Edition. ISBN 978-0-07-294262-0. White, John D. (1976). The Analysis of Music, p.5. ISBN 0-13-033233-X. Walter Piston, Principles of Harmonic Analysis (Boston: E. C. Schirmer, 1933). Walter Piston, Harmony (New York: W. W. Norton & Company, Inc., 1941). Arnold Schoenberg, Structural Functions of Harmony, edited by Humphrey Searle (New York: W. W. Norton & Company, Inc., 1954): 15–29, 197.
[9] Spitzer, (2001). Jazz Theory Handbook, p.62. ISBN 0-7866-5328-0. [10] Everett, Walter (2009). The Foundations of Rock, p.198. ISBN 978-0-19-531023-8. Everett notates major-minor sevenths Xm7. [11] Boyd, Bill (1997). Jazz Chord Progressions, p.43. ISBN 0-7935-7038-7.
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[12] William G Andrews and Molly Sclater (2000). Materials of Western Music Part 1, p.226. ISBN 1-55122-034-2.
External links • Secondary dominant construction drill (http://jan.ucc.nau.edu/~tas3/harm2/7ths/SecFuncb.html) in Javascript • The Jazz Resource (http://www.thejazzresource.com/secondary_dominant_chords.html) secondary dominant chords in jazz • Gary Ewer's free lesson on Secondary Dominants (http://www.musictheory.halifax.ns.ca/ 26secondarydominants.html)
Secondary leading-tone chord In music theory, a secondary leading-tone chord or secondary diminished seventh, as in seventh scale degree[3] or leading-tone, is a secondary chord but rather than being a dominant it is a leading-tone seventh chord or triad, which are similar in function to dominant chords. Also similar to secondary dominant chords they are altered chords. In contrast to secondary dominant chords they do not move in circle progressions but rather resolve up by half step. Fully diminished seventh chords are more common than half-diminished seventh chords and one may also find diminished triads [without sevenths]. Secondary leading-tone chords may resolve to either a major or minor diatonic triad:[] In major keys: ii, iii, IV, V, vi In minor keys: III, iv, V, VI For example viiø7/V or viio7/iv. Especially in four-part writing, the seventh should resolve downwards by step and if possible the lower tritone should resolve appropriately, inwards if a diminished fifth and outwards if an augmented fourth.[4]
Secondary leading-tone chord: viio7/V - V in C major Play Wikipedia:Media helpFile:Secondary leading-tone chord.mid. This may also be considered an altered IV7 (FACE [1] becomes F♯ACE♭).
In harmonic analysis secondary sevenths are expressed in the following format: Progression with added diminished seventh chords, creating momentum between two chords [2] a major second apart. Play Wikipedia:Media helpFile:Added diminished seventh chord.mid
Secondary leading-tone chord
Chord progression (without added diminished seventh chords). Play Wikipedia:Media helpFile:Added diminished seventh chord original.mid
Example from "Easy Living". Play Wikipedia:Media helpFile:Easy Living diminished seventh chord harmonization.mid
where x = the correct inversion symbol [ figured bass], and y = the root of the chord of resolution as a roman numeral.
Sources [1] [2] [3] [4]
Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.270. ISBN 978-0-07-294262-0. Richard Lawn, Jeffrey L. Hellmer (1996). Jazz: Theory and Practice, p.97-98. ISBN 978-0-88284-722-1. Blatter, Alfred (2007). Revisiting Music Theory: A Guide to the Practice, p.132. ISBN 0-415-97440-2. Benward & Saker (2003), p.272
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Secondary supertonic chord
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Secondary supertonic chord In music theory, the secondary supertonic chord or secondary second, is a secondary chord, but rather than being on the dominant it is on the supertonic scale degree and rather than tonicizing a degree other than the tonic, as does a secondary dominant, it creates a temporary dominant.[1] Thus the progression
-
-
.
Examples include ii7/III (F♯min.7, in C major).[2] Secondary supertonic chord: ii7/V - V/V [- V] in C major (a7 - D7 [- G]) Play Wikipedia:Media helpFile:Secondary supertonic chord.mid.
Sources
[1] Blatter, Alfred (2007). Revisiting Music Theory: A Guide to the Practice, p.133. ISBN 0-415-97440-2. [2] Russo, William (1973). Composing for the Jazz Orchestra, p.80. ISBN 978-0-226-73209-1.
Seven six chord In music, a seven six chord is a chord containing both factors a sixth and a seventh above the root, making it both an added chord and a seventh chord. However, the term may mean the first inversion of an added ninth chord (E-G-C-D).[1] It can be written as 7/6 and 7,6.[2] It can be represented by the integer notation {0, 4, 7, 9, t}.
seven six chord Component intervals from root minor seventh major sixth perfect fifth major third root Tuning 12:15:18:20:21
Seven six chord on C (C7/6). Play Wikipedia:Media helpFile:Seven six chord on C.mid
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Six seven chord table Chord Root Major Third Perfect Fifth Major Sixth Minor Seventh C7/6
C
E
G
A
B♭
C♯7/6 C♯
E♯ (F)
G♯
A♯
B
D♭7/6 D♭
F
A♭
B♭
C♭
D7/6
F♯
A
B
C
D♯7/6 D♯
F
A♯
B♯ (C)
C♯
E♭7/6 E♭
G
B♭
C
D♭
E7/6
E
G♯
B
C♯
D
F7/6
F
A
C
D
E♭
F♯7/6 F♯
A♯
C♯
D♯
E
G♭7/6 G♭
B♭
D♭
E♭
F♭ (E)
G7/6
B
D
E
F
G♯7/6 G♯
B♯ (C)
D♯
E♯ (F)
F♯ (G♭)
A♭7/6 A♭
C
E♭
F
G♭
A7/6
C♯
E
F♯
G
A♯7/6 A♯
C (D)
E♯ (F)
F (G)
G♯
B♭7/6 B♭
D
F
G
A♭
B7/6
D♯
F♯
G♯
A
D
G
A
B
Sources [1] François-Joseph Fétis, Mary I. Arlin (1994). Esquisse de l'histoire de l'harmonie, p.130. ISBN 978-0-945193-51-7. [2] Kroepel, Bob (1993). Deluxe Encyclopedia of Piano Chords, p.19. ISBN 978-0-87166-579-9.
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Sixth chord The term sixth chord refers to two different kinds of chord, the first in classical music and the second in modern popular music.[1][2] The original meaning of the term is a chord in first inversion, in other words with its third in the bass and its root a sixth above it. This is how the term is still used in classical music today, and in this sense it is also called a chord of the sixth.[3]
'Sixth' chords over C bass: Play first inversion A minor chord Wikipedia:Media helpFile:Minor triad on A in first inversion.mid or Play C major Add6 chord Wikipedia:Media helpFile:Add6 chord on C.mid. Chord roots in red.
In modern popular music, a sixth chord is any triad with an added sixth above the root as a chord factor.[4] This was traditionally (and in classical music is still today) called an added sixth chord or triad with added sixth[5] since Jean-Philippe Rameau (sixte ajoutée) in the 18th century. It is not common to designate chord inversions in popular music, so there is no need for a term designating the first inversion of a chord, and so the term sixth chord can be used in popular music as a short way of saying added sixth chord. When not otherwise specified, it usually means a major triad with an added major sixth interval (a major sixth chord). However, a minor triad is also used, together with the same interval, resulting in a minor sixth chord (also known as minor major sixth).
History In early music, what is today called a sixth chord or first inversion in classical music was considered an autonomous harmonic entity with the root named by the bass, while it was later simply considered an inversion of a chord with the bass being the third (not the root) and the root being the sixth (not the bass). In jazz, this form is referred to as a major sixth chord.
Open sixth, first inversion, and added sixth chords. Play Wikipedia:Media helpFile:First inversion and sixth chords.mid
Alternatively, rather than as a six three chord, the note a may be analyzed as a suspension or appoggiatura, "first resolved and later...retained as a part of the chord, no resolution taking place.":[6]
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Resolved appoggiatura and sixth chord: unresolved appoggiatura with the chord. Play Wikipedia:Media helpFile:Resolved appoggiatura and sixth chord.mid
The dominant chord's fifth may be substituted by the chord's sixth, analyzed as its thirteenth:[7]
Dominant chord with sixth substituted for fifth Play Wikipedia:Media helpFile:Dominant sixth chord.mid.
In popular music What in popular music is called a sixth chord was traditionally called an "added sixth chord". As the name suggests, this is a triad with an added sixth interval. It is generally built on the sub-dominant note (fourth scale degree), although it can be built on any note. Typically, the triad is a major triad and the additional sixth interval is major (major sixth chord). For example, a major sixth chord built on C C Major chord with added sixth (denoted by C6, or CM6) consists of the notes C, E, G, and the added major sixth A Play Wikipedia:Media helpFile:Add6 chord on C.mid. These are the same notes as those of an A minor seventh chord - whether such a chord should be regarded as an added sixth chord or a seventh depends on its context and harmonic function. To explain the analyses as added sixth chords, against common practice period theory,[8] provides the example of the final tonic chord of some popular music being traditionally analyzable as a "submediant six-five chord" (added sixth chords by popular terminology), or a first inversion seventh chord (possibly the dominant of the mediant V/iii). According to the interval strengths of the added sixth chord the root of the strongest interval of the chord in first inversion (CEGA), the perfect fifth (C-G), is the bottom (C), the tonic. In jazz, the minor sixth chord (sometimes: minor major sixth, or minor/major sixth) Play Wikipedia:Media helpFile:Minor major sixth chord on C.mid is frequently used. It is unlike the major sixth chord, which is often substituted for a major triad; the minor sixth plays a number of different harmonic roles. The chord consists of a minor triad with a tone added a major sixth above the root; thus in C, it would contain the notes C, E♭, G, and A. This chord might be notated
C minor chord with added major sixth
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Cm6, Cm/M6, Cmin/maj6, Cmin(maj6), etc. Note that Cm6 has the same notes as F9 with the root omitted, i.e. the notes F (omitted), A, E♭, C, and G. These notes form a tetrad with several enharmonic equivalents: C/E♭/G/A might be written as Cm6, F9, F9 (no root), Am7♭5, B7♭9, or B-alt. Many jazz chord charts use these chord notations indiscriminately, particularly in the choice of minor sixth versus dominant ninth chords. Thus, in some cases when a Cm6 is indicated, the F9 is in fact a better harmonic choice, i.e. closer to the composer's harmonic intent; or vice versa. Analysis of the movement of the root, in the presence of dominant-functioning harmonies, will generally indicate which enharmonic chord is the appropriate notation choice. In some cases, the harmony is ambiguous. The notes are those of the half-diminished seventh chord: for example C E♭ G♭ B♭ being both the C half-diminished seventh / Cm7(♭5), and E♭m6.
Special kinds of sixth chords The Neapolitan sixth is the first inversion of a major triad built on the flattened supertonic (second degree of the scale) - a Neapolitan sixth in C major, therefore, consists of the notes F, A♭ and D♭. Neapolitan sixth chord preceding authentic cadence (V-I) Wikipedia:Media helpFile:Neapolitan V I.ogg There are a number of augmented sixth chords. Each of them has a major third and augmented sixth above the bass. When these are the only three notes present, the chord is an Italian sixth Italian sixth moving to V. Wikipedia:Media helpFile:Italian sixth moving to V.ogg; when an augmented fourth is added above the bass, the chord is a French sixth French sixth moving to V. Wikipedia:Media helpFile:French sixth moving to V.ogg; while adding a perfect fifth above the bass of an Italian sixth makes it a German sixth German sixth moving to V Wikipedia:Media helpFile:German sixth moving to V.ogg (the etymology of all these names is unclear). All usually have the flattened sub-mediant (sixth degree of the scale, A flat in C major, for example) as the bass note -in this case, they tend to resolve to the dominant.
Sixth, sixth chord, and added sixth In music, the sixth factor of a chord is the note or pitch six scale degrees above the root or tonal center (see sixth chord). When the sixth is the bass note, or lowest note, of the expressed chord, the chord is in third inversion Play Wikipedia:Media helpFile:Added sixth chord on C in third inversion.mid. However, this is equivalent to a seventh chord. Conventionally, the sixth is third in importance to the root, fifth, and third, being an added tone. It is generally not allowed as the root since that inversion resembles a seventh chord on the sixth rather than an added tone on the original note. In jazz chords and theory, the sixth is required due to its being an added tone.
Sixth (A), in red, of a C added sixth chord ( Play Wikipedia:Media helpFile:Sixth of an added sixth chord on C.mid).
The quality of the sixth may be determined by the scale or may be indicated. For example, in a major scale a diatonic sixth added to the tonic chord will be major (C-E-G-A) while in minor it will be minor (C-E♭-G-A♭). Third inversion C added sixth chord. The "sixth" is the bass. Am7 chord.
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The sixth is octave equivalent to the thirteenth. If one could cut out the notes in between the fifth and the thirteenth and then drop the thirteenth down an octave to a sixth, one would have an added sixth chord (CEGB♭D'F'A' – B♭D'F' = CEGA).
References [1] Music: The Listener's Art (http:/ / www. archive. org/ stream/ musicthelistener008986mbp/ musicthelistener008986mbp_djvu. txt), p. 113
Dominant thirteenth extended chord: C E G B♭ D F A play Wikipedia:Media helpFile:Dominant thirteenth chord on C.mid. The upper structure or extensions, i.e. notes beyond the seventh, in red.
[2] Keith Wyatt and Carl Schroeder (1998). Harmony and Theory: A Comprehensive Source for All Musicians (http:/ / books. google. com/ books?id=n9hjNpuVdUAC& pg=PA82& lpg=PA82& dq="called+ a+ sixth+ chord& source=bl& ots=qzXoslbHUW& sig=mnDF2X40JipYLEC2EjrMU-tzg9s& hl=en& ei=phnDSt7PDIiL4QbzydzTDQ& sa=X& oi=book_result& ct=result& resnum=1#v=onepage& q="called a sixth chord& f=false), p. 82. ISBN 0-7935-7991-0. [3] Piston, Walter (1987). Harmony, p. 66. ISBN 0-393-95480-3. [4] Miller, Michael (2005). The Complete Idiot's Guide to Music Theory, p.119. ISBN 978-1-59257-437-7. [5] Piston, p. 359 [6] Miller, Horace Alden (1930). New Harmonic Devices, p.51. [7] Miller (1930), p.52. [8] Cope (1997). Techniques of the Contemporary Composer, p.40-41. New York, New York: Schirmer Books. ISBN 0-02-864737-8.
Subdominant In music, the subdominant is the technical name for the fourth tonal degree of the diatonic scale. It is so called because it is the same distance "below" the tonic as the dominant is above the tonic - in other words, the tonic is the dominant of the subdominant.[2] It also happens to be the note immediately "below" the dominant.[3] In the C major scale (white keys on a piano, starting on C), the subdominant is the note F; and the subdominant chord uses the notes F, A, and C. In music theory, Roman numerals are used to symbolize the subdominant chord as 'IV' if it is within the major mode (because it is a major triad, for example F-A-C in C major) or 'iv' if it is within the minor mode (because it is a minor triad, for example F-A♭-C in C minor).
Tonic and subdominant in C Play Wikipedia:Media helpFile:Subdominant and tonic in C.mid. C major and F major chords.
In very much conventionally tonal music, harmonic analysis will reveal a broad prevalence of the primary (often triadic) harmonies: tonic, dominant, and subdominant (i.e., I and its chief auxiliaries a 5th removed), and especially the first two of these. —Berry (1976)[4] Subdominant (IV) in IV-V-I progression, in C Because ii6, ii6 Play Wikipedia:Media helpFile:IV-V-I in C.mid 5, and neapolitan sixth chords contain the fourth scale degree in the bass, they are also considered subdominant harmonies because they substitute for the same harmonic purpose as chords built on the fourth scale degree.
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Major seventh chord on F. Play Wikipedia:Media helpFile:Major seventh chord on F.mid IV7 [1] M, or subdominant seventh in C major.
A cadential subdominant chord followed by a tonic chord (the chord of the key of the piece) produces the so-called "plagal" (or "Amen") cadence. "Subdominant" also refers to a relationship of musical keys. For Subdominant (IV) in I-IV-I progression, in C example, relative to the key of C major, the key of F major is the Play Wikipedia:Media helpFile:I-IV-I in C.mid subdominant. Music which modulates (changes key) often modulates into the subdominant when the leading tone is lowered by a half step to the subtonic (B to B♭ in the key of C). Modulation into the subdominant key often creates a sense of musical relaxation; as opposed to modulation into dominant (fifth note of the scale), which increases tension. In sonata form, the subdominant key plays a subordinate though still crucial role: typically, in the recapitulation, there is a section written in the subdominant key, occurring at the point corresponding to the location in the exposition where the music modulated into the dominant key. The use of the subdominant in this location often serves as a way of keeping the rest of recapitulation in the tonic. As with other chords which may or tend to precede the dominant the subdominant diatonic function acts as a dominant preparation or predominant. In theories after Hugo Riemann it is considered to balance the dominant around the tonic (being as far below the tonic as the dominant is above).
Sources [1] Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.229. Seventh Edition. ISBN 978-0-07-294262-0. [2] Jonas, Oswald (1982). Introduction to the Theory of Heinrich Schenker (1934: Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers), p.22. Trans. John Rothgeb. ISBN 0-582-28227-6. "subdominant [literally, lower dominant]" emphasis original. [3] "Subdominant" (http:/ / dictionary. reference. com/ search?q=subdominant), Dictionary.com. [4] Berry, Wallace (1976/1987). Structural Functions in Music, p.62. ISBN 0-486-25384-8.
The circle of fifths drawn within the chromatic [5] circle as a star dodecagram. In C, the tonic would be on the top with subdominant and dominant at the bottom both equidistant to the tonic.
[5] McCartin, Brian J. (1998). "Prelude to Musical Geometry". The College Mathematics Journal 29, no. 5 (November): 354–70. (abstract) (http:/ / www. maa. org/ pubs/ cmj_Nov98. html) (JSTOR) (http:/ / links. jstor. org/ sici?sici=0746-8342(199811)29:52. 0. CO;2-Q), p. 364.
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Submediant In music, the submediant is the sixth scale degree of the diatonic scale, the 'lower mediant' halfway between the tonic and the subdominant or 'lower dominant'.[2] It is also the third factor of the subdominant (IV) triad. It is occasionally called superdominant, [citation needed] being above the dominant. In music theory, the submediant chord is symbolized by the Roman numeral VI if it is major or vi if it is minor. For example, in the C major scale (white keys on a piano, starting on C), the submediant is the note A; and the submediant chord is A-minor consisting of the notes A, C, and E. Therefore, Am is the vi chord in the C major scale. Since the submediant is minor it may provide contrast with major chords, frequently in a sequence of descending thirds (I, vi, IV, ii | V in root position or first inversion). Further, in the A natural minor scale (same white keys, now starting on A), the submediant is the note F; and the submediant chord is F (or F-major) consisting of the notes F, A, and C. Therefore, F is the VI chord in the A (natural) minor scale.
Tonic and submediant (tonic parallel) in C major: CM and Am chords Play Wikipedia:Media helpFile:Tonic parallel in C major.mid.
Tonic and submediant in C minor: Cm and A♭M chords Play Wikipedia:Media helpFile:Submediant in C minor.mid.
Minor seventh chord on a Play Wikipedia:Media helpFile:Minor seventh chord on a vi7 in C.mid. vi7 or submediant seventh chord in C major.
Chord progression from the tonic to supertonic, resolving to the dominant Play Wikipedia:Media helpFile:Descending thirds from mediant progression.mid.
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Wagner - Tannhauser, Zu dir wall'ich Play Wikipedia:Media helpFile:Wagner Tannhauser, Zu dir wall'ich.mid.
vi in I-vi-IV-V-I (50s progression) on C, play Wikipedia:Media helpFile:50s progression in C.mid
Chromatic mediants in C major and a minor.
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"1. Tonic, 2. Mediant, i.e., half-way to dominant, 3. Dominant, 4.Sub-Mediant, i.e., half-way to [1] sub-dominant, 5. Sub-Dominant."
The submediant is also in the same relationship to the supertonic as the supertonic is to the dominant, resulting in a descending series of perfect fifths known as an extended dominant relationship.[12] See: predominant and circle progression.
Submediant in chain of fifths Play Wikipedia:Media helpFile:Submediant in chain of fifths bass movement.mid.
The submediant is usually preceded by the mediant, tonic, or dominant and succeeded by supertonic, dominant, or subdominant.[4] The submediant function is easily explained in reference to jazz music, where it is used in the "ice cream change" or "Blues for Alice" progression, which moves from the tonic through the submediant on the way to the ubiquitous ii-V-I Jazz sequence (part of the cycle of fifths). The progression's consistency is amplified by the submediant's fifth-relationship above the supertonic. This submediant role—in which it essentially extends from the tonic as a way of passing to a subdominant (IV) or supertonic (II) harmony, is as common in popular and classical music as it is in jazz, or any other musical language related to Western European tonality.
Submediant voice leading: the third may be [3] doubled Play Wikipedia:Media helpFile:Submediant voice leading.mid.
Both vi6 and iii6 are weak and rarely independent, being either linear chords or with the third or sixth scale degree as a nonharmonic tone.[5] "Submediant" also refers to a relationship of musical keys. For example, relative to the key of C major, the key of A major (or A minor) is the submediant. Modulation (change of key) to the submediant is relatively rare, compared with, for instance, modulation to the dominant, and gives a feeling of relaxation. Susan McClary says that modulation to the lowered submediant (in C: A♭) represents a dream-like state of escape. In German theory derived from Hugo Riemann the submediant in major is considered the tonic parallel (US relative), Tp, and the minor the subdominant parallel, sP. Chromatic submediants are, like all chromatic mediants, chords whose roots are related by a major third or minor third, contain one common tone, and share the same quality, i.e. major or minor. They may be altered chords.
Submediant
158 In rock and popular music, VI in minor often uses the chromatically lowered fifth scale degree as its seventh, VI7, for example as in Eric Clapton's clearly minor mode "I Shot The Sheriff".[6]
Sources VI7 in C minor. Play Wikipedia:Media helpFile:VI7 in C minor.mid
[1] MacDowell, Edward A. (2008 edition). The Music-Lover's Handbook, p.167. ISBN 1-4437-8087-1. [2] Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.33. Seventh
Edition. ISBN 978-0-07-294262-0. [3] Chadwick, G.H. (2009). Harmony - A Course Of Study, p.36. ISBN 1-4446-4428-9. [4] Benjamin, Horvit, and Nelson (2007). Techniques and Materials of Music: From the Common Practice Period Through the Twentieth Century, p.100. ISBN 0-495-18977-4. [5] Benjamin, et al. (2007), p.101. [6] Stephenson, Ken (2002). What to Listen for in Rock: A Stylistic Analysis, p.89. ISBN 978-0-300-09239-4.
Subsidiary chord In music and musical analysis, a subsidiary chord is an elaboration of a principal harmonic chord in a chord progression. If the principal chord (X) is partially replaced by the subsidiary (Y), there are three possible positions - beginning, middle, and end - for the subsidiary:[1] X–Y Y–X X–Y–X
Tonic and tonic parallel in C major: CM and Am chords Play Wikipedia:Media helpFile:Tonic parallel in C major.mid.
For example, a subsidiary chord in a modulation. A subsidiary chord may be a chord with related function and/or sharing pitches, for example in E major, C♯m (C♯-E-G♯) as a subsidiary for E (E-G♯-B), which share two of three pitches and are related as tonic parallel (vi) and tonic (I).
Further reading
[2] Modulation with subsidiary chord (in blue). Play Wikipedia:Media helpFile:Modulation with subsidiary chord.mid
• Van der Merwe (2005), p. 428.
Sources [1] Van der Merwe, Peter (2005). Roots of the Classical: The Popular Origins of Western Music, p.501. ISBN 0-19-816647-8. [2] Becker, Julius (1845). A concise treatise on harmony, p.17. Ewer & Co.
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Subtonic In music, the subtonic is the scale degree below the tonic or, more specifically, the flattened seventh (♭VII): the lowered or minor seventh degree of the scale, a whole step below the tonic, as opposed to the leading tone, which is only a half step below the tonic.[1] The distinction between leading tone and subtonic has been made by theorists since at least the second quarter of the 20th century.[2] The subtonic appears in three forms: as the scale degree, ♭
,
melodically and as the chord ♭VII in both ♭VII-I cadence and in modulations harmonically.[3] The word is also used as an English translation of subtonium, the Latin term used in Gregorian chant theory for the similar usage of a tone one whole step below the mode final in the Dorian, Phrygian, and Mixolydian modes.[4]
Tonic and subtonic in C Play Wikipedia:Media helpFile:Subtonic and tonic in C.mid. C major and B♭ major chords.
For example, in the A minor scale (white keys on a piano, starting on A), the subtonic is the note G (in C major this would be B♭); and the subtonic triad consists of the notes G, B, and D (in C: B♭-D-F). In "'Backdoor' ii-V" in C: ii-♭VII7-I music theory, the subtonic chord is symbolized with the Roman Play Wikipedia:Media helpFile:Backdoor numeral ♭VII for a major triad built on the note, or ♭vii for a minor progression in C.mid triad; in a minor key, the flat symbol is sometimes omitted by some theorists because the subtonic note appears in the natural minor scale, but the flat symbol is usually used for the major scale because the subtonic is a non-scale note. In jazz, the flattened seventh is also used as a substitute for the dominant, V, especially in the Backdoor cadence,[5] ii-♭VII7-I, where the subtonic is used for the dominant seventh. ♭VII is in this case a pivot chord borrowed from the parallel minor (its dominant seventh). V7 and ♭VII7, the subtonic seventh chord, have two common tones, in C: GBDF and B♭DFA♭.
A I chord, C major, followed by a ♭VII chord, B♭ major, borrowed from the parallel minor, C minor, with the key signature of C major followed by C minor shown.
However, while, "the leading-tone/tonic relationship is axiomatic to the definition of common practice tonality," especially cadences and modulations, in popular music and rock a diatonic scalic leading tone (i.e., ♮ - ) is often absent.[6] In popular music, rather than "departures" or "aberrant," the "use of the 'flattened' diatonic seventh scale degree...should not even be viewed as departures".[7]
Sources [1] Bruce Benward and Marilyn Nadine Saker, Music: In Theory and Practice, vol. 1, seventh edition (Boston: McGraw-Hill, 2003), p. 33. ISBN 978-0-07-294262-0. [2] Donald Tweedy, Manual of Harmonic Technique Based on the Practice of J. S. Bach (Philadelphia: Oliver Ditson Company, 1928), p. 7. [3] Allan Moore, "The So-Called 'Flattened Seventh' in Rock", p. 185, Popular Music, Vol. 14, No. 2 (May, 1995), pp. 185-201. [4] Julian Rushton, "Subtonic", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001); Harold C. Powers, "Subtonium", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001) [5] Jerry Coker, Elements of the Jazz Language for the Developing Improvisor (Miami: CCP/Belwin, Inc, 1991), p. 82. ISBN 1-57623-875-X. [6] Moore (1995), p.187. [7] Moore (1995), p.186.
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Further reading • Stell, Jason Travis. 2006. "The Flat-7th Degree in Tonal Music". PhD diss. Princeton: Princeton University.
Supertonic In music or music theory, the supertonic is the second degree or note of a diatonic scale, one step above the tonic.[1] In music theory, the supertonic chord may be symbolized by the Roman numeral ii in a major scale, indicating that the chord is a minor chord (for example, D-F-A in C major), or iio in a natural minor scale, indicating that the chord is a diminished chord (for example, D-F-A♭ in C natural minor), if in second inversion a six-four chord (A♭-D-F), and if the third is raised an augmented sixth chord (A♭-F♯). If in major or minor, through the lowering of the second scale degree (also the sixth in major), the chord is major (D♭-F-A♭) then it is a Neapolitan 6th chord, N6 or ♭II6. The supertonic may be raised as part of the common-tone diminished seventh chord, ♯iio7.
Tonic and supertonic in C Play Wikipedia:Media helpFile:Supertonic and tonic in C.mid. C major and D minor chords.
Supertonic (ii) in ii-V-I progression on C, found at the end of the circle progression Play Wikipedia:Media helpFile:Ii-V-I turnaround in C.mid
Minor seventh chord on d, ii7 or supertonic seventh chord in C. Play Wikipedia:Media helpFile:Minor seventh chord on d ii7 in C.mid
Supertonic
161 One variant of the supertonic seventh chord is the supertonic diminished seventh[2] with the raised supertonic, which equals the lowered third through enharmonic equivalence (in C: D♯=E♭).
The similarity between the subdominant and supertonic chords is easily seen and heard through the supertonic seventh chord, ii7, Play Wikipedia:Media helpFile:Subdominant and supertonic similarity.mid.
The French sixth chord; distinguishing tone highlighted in blue. Play Wikipedia:Media helpFile:French sixth moving to V.ogg
In C Major: A Neapolitan sixth chord in first inversion contains an interval of a sixth between F and D♭ ( Play Wikipedia:Media helpFile:Neapolitan sixth.mid).
Pre-dominant (sometimes called "sub-dominant") chords are chords which distinguish chord V as a goal of motion (as opposed to it acting as an embellishing chord within a phrase) they create gravity and harmonic motion towards dominant harmony, and form a fundamental aspect of western tonal music. The supertonic chord is known as a pre-dominant chord, as it is one of the unique chords which has a natural tendency to gravitate towards chord V and strengthen V as a goal of motion. The supertonic chord lies a fifth above chord V. Descending fifths are a strong basis for harmonic motion and harmonic motion through intervals of fifths is a natural way for chords to progress to one another; the supertonic is one of the strongest pre-dominants and approaches chord V from above through a descending 5th. It is preferable to avoid chord two in root position in the minor mode due to the harsh quality of its diminished intervals, ii6 is a much nicer alternative. This is less of an issue if the chord contains a chordal seventh; indeed, root-position diminished seventh chords are quite common. Adding a chordal seventh to the supertonic (minor or diminished) does nothing to interfere with its pre-dominant qualities, but rather intensifies their pre-dominant function and also increases harmonic intensity and motion towards dominant harmony. Supertonic seventh chords are such intense pre-dominant chords because they outline the leading note contained in chord V with a dissonance. "Supertonic" also refers to a relationship of musical keys. For example, relative to the key of C major, the key of D major (or D minor) is the supertonic. Modulation (change of key) to the supertonic is relatively common (by far the most common modulation in modern popular music), [citation needed] though in classical music it is more common to modulate to the dominant or other keys. In German theory derived from Hugo Riemann, the supertonic is considered the subdominant parallel: Sp/T in major though sP/T in minor (A♭M).
Sources [1] Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.32. Seventh Edition. ISBN 978-0-07-294262-0. [2] Kitson, C. H. (2006). Elementary Harmony, p.43. ISBN 1-4067-9372-8.
Common-tone diminished seventh chord Play Wikipedia:Media helpFile:Common-tone diminished seventh chord.mid.
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Supertonic diminished seventh chord in C Play Wikipedia:Media helpFile:Supertonic diminished seventh chord in C.mid.
Suspended chord suspended fourth chord Component intervals from root perfect fifth perfect fourth root Tuning 6:8:9
Sus4 chord on C play Wikipedia:Media helpFile:Sus4 chord on C.mid
suspended second chord Component intervals from root perfect fifth major second root Tuning 8:9:12
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A suspended chord (sus chord) is a musical chord in which the (major or minor) third is omitted, replaced usually with either a perfect fourth ( play Wikipedia:Media helpFile:Sus4 chord on C.mid) or a major second ( play Wikipedia:Media helpFile:Sus2 chord on C.mid), although the fourth is far more common. The lack of a minor Suspended chord (sus2) and added tone chord (add9) both with D (ninth=second), [1] or a major third in the chord creates an distinguished by the absence or presence of the third (E♭). open sound, while the tension between the fourth and fifth or second and root creates dissonance.
Analysis The term is borrowed from the contrapuntal technique of suspension, where a note from a previous chord is carried over to the next chord, and then resolved down to the third or tonic, suspending a note from the previous chord. However, in modern usage, the term concerns only the notes played at a given time; in a suspended chord the added tone does not necessarily resolve, and is not necessarily "prepared" (i.e., held over) from the prior chord. As such, in C-F-G, F would resolve to E, but in rock and popular music, "the term is used to indicate only the harmonic structure, with no implications about what comes before or after," though preparation of the fourth occurs about half the time and traditional resolution of the fourth occurs usually. In modern jazz, a third can be added to the chord voicing, as long as it is above the fourth. Each suspended chord has two inversions. Suspended second chords are inversions of suspended fourth chords, and vice versa. For example, Gsus2 (G-A-D) is the first inversion of Dsus4 (D-G-A) which is the second inversion of Gsus2 (G-A-D). The sus2 and sus4 chords both have an inversion that creates a quartal chord with two stacked perfect fourths. Suspended fourth and second chords can be represented, in integer notation, as {0, 5, 7} and {0, 2, 7} respectively. The second inversion (quartal chord) is {0, 5, 10}. Sevenths on suspended chords are "virtually always minor sevenths", while the 9sus chord is similar to an eleventh chord and may be notated as such. For example C9sus (C, F, G, B♭, D) may be notated C11 (C, —, G, B♭, D, F).
C9sus. Play Wikipedia:Media helpFile:Eleventh chord without third on C.mid
Suspended chord
Jazz sus chord A jazz sus chord or dominant 9sus4 chord is a seventh chord on the fifth scale degree of the key with a suspended fourth and an added ninth. Functionally, it can be written as V9sus4 or V7sus9. You can have the third with a sus chord, the third being generally voiced above the fourth, though this is not absolutely necessary. An example of having the third with a sus chord would be to have the root doubled below middle C (C4), using G2 and G3, played with the left hand, and using the right hand (from the bottom up) middle C (suspended 4th), F, A, and B (the third).[2] The dominant 9sus4 has a perfect fourth rather than a major third and Dominant seventh with added 4th, also written as is called a sus4 chord rather than an 11th, though it may also be called a slash chord, followed by the tonic major a slash chord (G9sus 4 = F/G).[3] [G9sus4 = GCDFA = F/G = GFAC] seventh chord. Play Wikipedia:Media It may even be written Dm7/G, which shows the merging of ii7 and helpFile:Jazz sus chord.mid V7. Chord factors include 1-♭7-9-11 or 1-4-♭7-9, not 1-4-5 (a sus4 chord with no third). Although the suspended fourth is not always resolved down to a third, the note is still not usually notated as an eleventh because of the chord's function as a cadence point. On guitar: -X-1-2-3-X-3-
-1-3-3-X-3-X-
-1-1-1-1-1-X-
Examples in popular music Suspended chords are commonly found in folk music and popular music. An example can be found in the piece "One Short Day", part of the Wicked musical by Stephen Schwartz, which starts with a descending arpeggio of a suspended chord.[citation needed] In rock, the verse of The Who song "Pinball Wizard" is a sequence of suspended fourth chords resolving to their major counterparts (Bsus4-B-Asus4-A etc.).[citation needed] Another example is John Lennon's "Happy Xmas (War Is Over)", where the sequence is of majors progressing to suspended second, then fourth, then back to the original (A-Asus2-Asus4-A).[citation needed] In pop/synth-pop, Erasure's "A Little Respect" employs major to suspended changes in much of the song's harmonization.[citation needed] Another example with major to suspended progression is Johnny Thunders' "You Can't Put Your Arms Around a Memory".[citation needed] The last chord of the first bridge of The Police's "Every Breath You Take" is an unresolved suspended chord, the introduction and chorus of Shocking Blue's "Venus" each contain an unresolved suspended chord, and the introduction of Chicago's "Make Me Smile" has two different suspended chords without traditional resolution.
164
Suspended chord
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References [1] Printed in Middleton, Richard (2000). Reading Pop: Approaches to Textual Analysis in Popular Music, p.58-70. ISBN 9780198166115. [2] The Jazz Piano Book by Mark Levine - p. 24 "A persistent myth about sus chords is that 'the fourth takes the place of the third."' [3] "(A9sus 4 = G/A)."
Synthetic chord In music theory and harmonic analysis, a synthetic chord is a made-up or non-traditional (synthetic) chord (collection of pitches) which cannot be analyzed in terms of traditional harmonic structures,WP:Cleanup such as the triad or seventh chord. This title is applied to a group of notes, usually a scale-like succession of pitches, with a fixed progression of tones and semitones. This scale can obviously be transposed to any pitch, and depending on its intervallic makeup, will have a fixed number of possible transpositions. Furthermore, the sintetakkord can be used either vertically or horizontally; Roslavets' music is not concerned with the order of the pitches, but rather with the whole 'field' thus created, so that the system is less oriented toward themes and more toward harmonic fields. [See: Josef Matthias Hauer]
C-F-B chord, according to Schoenberg a, "synthetic chord which differs considerably from [1] the original scale harmonies" Play Wikipedia:Media helpFile:C-F-B synthetic chord.mid. See: quartal and quintal harmony.
—Sitsky (1994), [2] However, synthetic chords originated not with Roslavets but with musicologist Sabaneev and his study of composer Scriabin's Prometheus published in 1910.[3][4] See: Mystic chord. C-E-G, major triad Play Wikipedia:Media helpFile:Major triad on C.mid, a traditional chord.
Prometheus scale on C, whole tone scale with one degree altered chromatically Play Wikipedia:Media helpFile:Prometheus scale on C.mid.
For example, if a composer uses a synthetic scale as the basis for a passage of music and constructs chords from its tones, in much the same way that a tonal composer may use a major or minor scale's notes to build harmonies, then the resulting chords may be synthetic chords and referred to as such. Some synthetic chords may be analyzed as traditional chords, WP:Cleanup including the Prometheus chord, which may be analyzed as an altered dominant chord.
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An example of a synthetic chord would be the repeated chord in the first act of Puccini's Turandot at the beginning of the text passage "Non indugiare, se chiami appare...".[citation needed]
Sources [1] Brelet, Gisele (1947). Esthetique et creation musicale, p.60. cited in Dufrenne, Mikel (1989). The Phenomenology of Aesthetic Experience, p.253. ISBN 0-8101-0591-8. [2] Sitsky, Larry (1994). Music of the Repressed Russian Avant-Garde, 1900-1929, p.42. ISBN 978-0-313-26709-3. [3] (2000). "Nikolai Roslavets and His Viola Sonatas", Journal of the American Viola Society, Volume 16, p.16-17. University of Michigan. [4] Hakobian, Levon (1998). Music of the Soviet Age, 1917-1987, p.26-7. ISBN 978-91-972133-4-9.
Tetratonic scale A tetratonic scale is a musical scale or mode with four notes per octave. This is in contrast to a heptatonic (seven-note) scale such as the major scale and minor scale, or a dodecatonic (chromatic 12-note ) scale, both common in modern Western music. Tetratonic scales are not common in modern art music, and are generally associated with primitive music.[1]
Example tetratonic scale. Play Wikipedia:Media helpFile:Tetratonic scale on A.mid
Distribution American Indian music Tetratonic scales were common among the Plains Indians, though less common than the pentatonic scale. Amongst the Arapaho, Blackfoot, Crow, Omaha, Kiowa, Pawnee, and Sioux, as well as some Plateau tribes, especially the Flathead, the tetratonic and pentatonic scales used are anhemitonic (that is, they do not include semitones).[2] Tetratonic scales have also been noted among the music of the Creek Indians, and in the Great Basin region among the Washo, Ute, Paiute, and Shoshone.[3] In the Southwest, the Navajo people also largely used the pentatonic and tetratonic, occasionally also tritonic scales.[4]
Inuit Tetratonic music was known among the Inuit, including the Greenlandic peoples.[5]
Maori A 1969 study by ethnomusicologist Mervyn McLean noted that tetratonic scales were the second-most common type among the Maori tribes surveyed, accounting for 31% of scales used. The most common were tritonic (3-note) scales at 47%, while the third-most was ditonic (two-note) scales at 17%.
Oceania Tetratonic music was noted as common in Polynesia and Melanesia.[6] On Guadalcanal in particular, anhemitonic pentatonic and tetratonic scales are the predominant types, although the minor second does nevertheless occasionally appear as a melodic interval. The most often used melodic intervals, however, are the major second, minor third, perfect fourth, perfect fifth, and octave.[7]
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Africa The main instrument in the Lobi area of Ghana is the xylophone, some of which are tuned to a tetratonic scale.[8] In eastern Uganda, the Gwere use for their six-string harp (called tongoli) a tetratonic scale in which all the intervals are nearly equal, which to Western ears sounds like a chain of minor thirds.[9]
India Tetratonic, as well as tritonic scales, were commonly used by the tribal peoples of India, such as the Juang and Bhuyan of Orissa state.
Russia The music of the Volga-Finnic Cheremis (Mari people) of central Russia was primarily pentatonic, but used tetratonic scales 20% of the time.
Western Europe The second-earliest scales of Scandinavian, German, English, and Scottish folk music are believed to have been pentatonic, themselves developed from an earlier tetratonic scale.Wikipedia:Verifiability Tetratonic scales, along with pentatonic scales, account for 54% of songs in the traditional joik repertoire of the European Arctic Sami people, where the singing range extends to a tenth or eleventh.[10] The predominant style of traditional music from the Peloponnese region of Greece is a mixture of Christian, Albanian, and Vlach. It employs tetratonic, pentachordal, and pentatonic scales, around the notes of which microtonal ornamentation (stolidia/psevtikes) occurs.[11]
Art music A rare example of an art-music composition based entirely on a tetratonic scale is the early minimalist work Reed Phase (1966), by Steve Reich, which is based entirely on a single five-note cell, or "basic unit", repeated continually throughout the entire work. Because the note A occurs twice in this pattern, there are only four pitches in all.
Basic five-note unit of Reed Phase, by Steve Reich
References [1] (Reprinted, New York: Courier Dover Publications, 1991, ISBN 978-0-486-26885-9). [2] Bruno Nettl, Victoria Lindsay Levine, and Elaine Keillor (2001), "Amerindian Music", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers, §2(ii). [3] Bruno Nettl, Victoria Lindsay Levine, and Elaine Keillor (2001), "Amerindian Music", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers, §2(v). [4] . Citation on 305. [5] Thomas F. Johnston (1976), Eskimo Music by Region: A Comparative Circumpolar Study (Mercury Series, Canadian Ethnology Service Paper 32), Ottowa: National Museums of Canada, pp. 150, 161 (http:/ / books. google. com/ books?id=ISDaAAAAMAAJ& dq=tetratonic+ siberia& q=tetratonic). [6] Citation on p. 146. [7] Citation on p. 491. [8] J. H. Kwabena Nketia (2001) "Ghana, Republic of [formerly Gold Coast]", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers. [9] Sue Carole DeVale (2001) "Harp, §III: Africa", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell, London: Macmillan Publishers. [10] Citation on p. 52.
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[11] Sotirios Chianis and Rudolph M. Brandl (2001) "Greece, §IV: Traditional Music", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell, London: Macmillan Publishers.
Further reading • Bartha, Dénes. 1963. "Le développement de la résonance dans les musiques évoluées: Occident au XXe siècle—La musique de Bartók". In La résonance dans les échelles musicales, edited by Édith Weber, 279–90. Colloques Internationaux du CNRS 516. Paris: Centre National de la Recherche Scientifique. • Griffiths, Paul. 2001. "Dusapin, Pascal". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers. • Ho, Allan B. 2001. "Lee, Dai-Keong". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers. • Nettl, Bruno (1956). Music in primitive culture (http://books.google.com/books?id=ujXaAAAAMAAJ). Harvard University Press. • Ramón y Rivera, Luis Felipe. 1969. "Formaciones Escalísticas en la Etnomúsica Latinoamericana". Yearbook of the International Folk Music Council 1:200–25. • Roberts, Shawn M. 2010. "Aztec Musical Styles in Carlos Chávez's Xochipilli: An Imagined Aztec Music and Lou Harrison's The Song of Quetzalcóatl: A Parallel and Comparative Study". DMA thesis. Morgantown: West Virginia University. • Ulveling, Paul. 2001. "Cigrang, Edmond". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
Thirteenth In music or music theory, a thirteenth is the interval between the sixth and first scale degrees when the sixth is transposed up an octave, creating a compound sixth, or thirteenth. The thirteenth (an octave plus a sixth) is most commonly major Play Wikipedia:Media helpFile:Major thirteenth on F.mid or minor Play Wikipedia:Media helpFile:Minor thirteenth on F.mid.
Compound interval of a major thirteenth from F to D in the next octave up
Minor thirteenth: F to Db
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A thirteenth chord is the stacking of six (major or minor) thirds, the last being above the 11th of an eleventh chord.[1] Thus a thirteenth chord is a tertian (built from thirds) chord containing the interval of a thirteenth, and is an extended chord if it includes the ninth and/or the eleventh. "The jazzy thirteenth is a very versatile chord and is used in many genres."[2] Since 13th chords tend to become unclear or confused Dominant thirteenth extended chord: C E G B♭ D with other chords when inverted they are generally found in root F A play Wikipedia:Media helpFile:Dominant position.[3] For example, depending on voicing, a major triad with an thirteenth chord on C.mid. The upper structure or extensions, i.e. notes beyond the seventh, in red. added major sixth is usually called a sixth chord Play Wikipedia:Media helpFile:Add6 chord on C.mid, because the sixth serves as a substitution for the major seventh, thus considered a chord tone in such context. However, Walter Piston, writing in 1952, considered that, "a true thirteenth chord, arrived at by superposition of thirds, is a rare phenomenon even in 20th-century music."[4] This may be due to four part writing, instrument limitations, and voice leading and stylistic considerations. For example, "to make the chord more playable [on guitar], thirteenth chords often omit the fifth and the ninth."[5]
Dominant thirteenth Most commonly 13th chords serve a dominant function (V13),[6] whether they have the exact intervals of a dominant thirteenth or not. Typically, a dominant chord anticipating a major resolution will feature a natural 13, while a dominant chord anticipating a minor resolution will feature a flat 13. Since thirteenth chords contain more than four notes, in four-voice writing the root, third, seventh, and thirteenth are most often included, excluding the fifth, ninth, and eleventh Play Wikipedia:Media helpFile:Dominant thirteenth chord on C four voices.mid. The third indicates the quality of the chord as major or minor, the seventh is important for the quality as a dominant chord, while the thirteenth is necessary in a thirteenth chord.
Dominant thirteenth chord in four-part writing Play Wikipedia:Media helpFile:Dominant thirteenth chord on C 4 voice.mid.
[7] Dominant thirteenth chord in Claude Debussy's Prélude à l'après-midi d'un faune (1894) Play Wikipedia:Media helpFile:Prelude to the Afternoon of a Faun dominant thirteenth chord.mid
In modern pop/jazz harmony, after the dominant thirteenth, a thirteenth chord (usually notated as X13, e.g. C13) contains an implied flatted seventh interval. Thus, a C13 consists of C E G B♭ and A. The underlying harmony during a thirteenth chord is usually Mixolydian or Lydian dominant (see chord-scale system). A thirteenth chord does not imply the quality of the ninth or eleventh scale degrees. In general, what gives a thirteenth chord its
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characteristic sound is the dissonance between the flat seventh and the thirteenth, an interval of a major seventh. In the common practice period the "most common" pitches present in V13 chord are the root, 3rd, 7th, and 13th; with the 5th, 9th, and 11th "typically omitted".[] The 13th is most often in the soprano, or highest voice, and usually resolves down by a 3rd to the tonic I or i. If the V13 is followed by a I9 the 13th may resolve to the 9th.
Other thirteenth chords
Voice leading for dominant thirteenth chords in the common practice period. Play Wikipedia:Media helpFile:Thirteenth chord voice leading.mid
These voice leading guidelines may not be followed after the common practice period in techniques such as parallel harmony and in the following example:
13th chords may less often be built on degrees other than the dominant, such as the tonic or subdominant. While the dominant thirteenth is the most common thirteenth chord, the major thirteenth is also fairly common.[8] A major thirteenth chord (containing a major seventh) will nearly always feature a chromatically raised eleventh (C E G B D F♯ A) (see lydian mode), except for cases when the eleventh is omitted altogether. "It is customary to omit the eleventh on dominant or major thirteenth chords because the eleventh conflicts with the third," in these chords by a semitone.
Inversions Generally found in root position, the inversion of a complete thirteenth chord including all seven notes, itself, "a rare phenomenon", is a theoretic impossible since a new thirteenth chord with a different root is produced, for example C major 13 (C-E-G-B-D-F-A) becomes e13 (E-G-B-D-F-A-C) then G13 (G-B-D-F-A-C-E), and so on, when inverted.[9]
Gallery
CM13, first inversion = e13(♭9), 2nd inversion = G13... ( Play Wikipedia:Media helpFile:Thirteenth chord inversions.mid). Eventually seven chords along a ladder of thirds.
Given the number of notes that may be included, there are a great variety of thirteenth chords. The following chords are notated below lead sheet symbols:
Thirteenth chord based on minor [10] triad
Thirteenth chord with flat [11] ninth
[3]
[4]
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[12]
[6]
[7]
Dominant thirteenth: four-voice version. "This disposition is typical."
[]
Bass note: C or [13] alternatively G.
"Thirteenth chord inversion with no fifth or ninth and the flatted seventh [14] in the bass."
A thirteenth chord "collapsed" into one octave results in a dissonant, seemingly secundal tone cluster.
A dominant thirteenth in F minor.
Different voicing [8] for guitar.
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Debussy's Pelléas et Mélisande motif, at Mélisande's entrance and later when Golaud asks if she ever loved Pelléas, features, in addition to the already usual ninth, a thirteenth inverted to a "warm" close-position [15] fourth. Play Wikipedia:Media helpFile:Thirteenth chord Pelléas et Mélisande motif.mid
Sources [1] Benward & Saker (2009), p.360. [2] Capone, Phil (2006). Guitar Chord Bible: Over 500 Illustrated Chords for Rock, Blues, Soul, Country, Jazz, and Classical, p.48. ISBN 0-7858-2083-3. [3] Benward & Saker (2009). Music in Theory and Practice: Volume II, p.179. Eighth Edition. ISBN 978-0-07-310188-0. [4] Walter Piston (Jul., 1952). Untitled review of Harmonic practice by Roger Sessions, p.463, The Musical Quarterly, Vol. 38, No. 3, pp. 457-468. [5] Capone (2006), p.66. [6] Benward & Saker (2009), p.180. [7] Cope, David (2000). New Directions in Music, p.6. ISBN 1-57766-108-7. [8] Hal Leonard Corp. (2003). Picture Chord Encyclopedia: Photos, Diagrams and Music Notation for Over 1,600 Keyboard Chords, p.10. ISBN 0-634-05828-2. [9] Cooper, Paul (1975). Perspectives in Music Theory, p.228. ISBN 0-396-06752-2. [10] Benward & Saker (2009), p.360. [11] Capone, Phil (2006). Guitar Chord Bible: Over 500 Illustrated Chords for Rock, Blues, Soul, Country, Jazz, and Classical, p.48. ISBN 0-7858-2083-3. [12] Capone (2006), p.66. [13] Cox, Felix (Autumn, 2005). "'A Faltering Step in a Basically Right Direction': Richard Rodgers and All Points West", p.360, American Music, Vol. 23, No. 3, pp. 355-376. [14] Walter Everett (Autumn, 2004). "A Royal Scam: The Abstruse and Ironic Bop-Rock Harmony of Steely Dan", p.205, Music Theory Spectrum, Vol. 26, No. 2, pp. 201-235. [15] Nichols, Roger (1989). Claude Debussy: Pelléas et Mélisande, p.105. ISBN 0-521-31446-1.
Tone cluster
Tone cluster A tone cluster is a musical chord comprising at least three adjacent tones in a scale. Prototypical tone clusters are based on the chromatic scale and are separated by semitones. For instance, three adjacent piano keys Example of piano tone clusters. The clusters in the upper staff—C♯ D♯ F♯ G♯—are four (such as C, C♯, and D) struck successive black keys. The last two bars, played with overlapping hands, are a denser simultaneously produce a tone cluster. cluster. Variants of the tone cluster include chords comprising adjacent tones separated diatonically, pentatonically, or microtonally. On the piano, such clusters often involve the simultaneous striking of neighboring white or black keys. The early years of the twentieth century saw tone clusters elevated to central roles in pioneering works by ragtime artists Jelly Roll Morton and Scott Joplin. In the 1910s, two classical avant-gardists, composer-pianists Leo Ornstein and Henry Cowell, were recognized as making the first extensive explorations of the tone cluster. During the same period, Charles Ives employed them in several compositions that were not publicly performed until the late 1920s or 1930s. Composers such as Béla Bartók and, later, Lou Harrison and Karlheinz Stockhausen became proponents of the tone cluster, which feature in the work of many 21st-century classical composers. Tone clusters play a significant role, as well, in the work of free jazz musicians such as Cecil Taylor and Matthew Shipp. In most Western music, tone clusters tend to be heard as dissonant. Clusters may be performed with almost any individual instrument on which three or more notes can be played simultaneously, as well as by most groups of instruments or voices. Keyboard instruments are particularly suited to the performance of tone clusters because it is relatively easy to play multiple notes in unison on them.
Music theory and classification Prototypical tone clusters are chords of three or more adjacent notes on a chromatic scale, that is, three or more adjacent pitches each separated by only a semitone. Three-note stacks based on diatonic and pentatonic scales are also, strictly speaking, tone clusters. However, these stacks involve intervals between notes greater than the half-tone gaps of the chromatic kind. This can readily be seen on a keyboard, where the pitch of each key is separated from the next by one semitone (visualizing the black keys as extending to the edge of the keyboard): Diatonic scales—conventionally played on the white The modern keyboard is designed for playing diatonic scales on the white keys and pentatonic scales on the black keys. Chromatic scales keys—contain only two semitone intervals; the rest are involve both. Three immediately adjacent keys produce a basic full tones. In Western musical traditions, pentatonic chromatic tone cluster. scales—conventionally played on the black keys—are built entirely from intervals larger than a semitone. Commentators thus tend to identify diatonic and pentatonic stacks as "tone clusters" only when they consist of four
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Tone cluster or more successive notes in the scale.[1] In standard Western classical music practice, all tone clusters are classifiable as secundal chords—that is, they are constructed from minor seconds (intervals of one semitone), major seconds (intervals of two semitones), or, in the case of certain pentatonic clusters, augmented seconds (intervals of three semitones). Stacks of adjacent microtonal pitches also constitute tone clusters.[2] In tone clusters, the notes are sounded fully and in unison, distinguishing them from ornamented figures involving acciaccaturas and the like. Their effect also tends to be different: where ornamentation is used to draw attention to the harmony or the relationship between harmony and melody, tone clusters are for the most part employed as independent sounds. While, by definition, the A thirteenth chord "collapsed" into one octave notes that form a cluster must sound at the same time, there is no results in a dissonant tone cluster ( requirement that they must all begin sounding at the same moment. For listen Wikipedia:Media helpFile:Thirteenth [3] example, in R. Murray Schafer's choral Epitaph for Moonlight (1968), chord collapsed.mid). a tone cluster is constructed by dividing each choir section (soprano/alto/tenor/bass) into four parts. Each of the sixteen parts enters separately, humming a note one semitone lower than the note hummed by the previous part, until all sixteen are contributing to the cluster.[4] Tone clusters have generally been thought of as dissonant musical textures, and even defined as such.[5] As noted by Alan Belkin, however, instrumental timbre can have a significant impact on their effect: "Clusters are quite aggressive on the organ, but soften enormously when played by strings (possibly because slight, continuous fluctuations of pitch in the latter provide some inner mobility)." In his first published work on the topic, Henry Cowell observed that a tone cluster is "more pleasing" and "acceptable to the ear if its outer limits form a consonant interval."[6] Tone clusters also lend themselves to use in a percussive manner. Historically, they were sometimes discussed with a hint of disdain. One 1969 textbook defines the tone cluster as "an extra-harmonic clump of notes."[7]
Notation and execution In his 1917 piece The Tides of Manaunaun, Cowell introduced a new notation for tone clusters on the piano and other keyboard instruments. In this notation, only the top and bottom notes of a cluster, connected by a single line or a pair of lines, are represented.[8] This developed into the solid-bar style seen in the image on the right. Here, the first chord—stretching two octaves from D2 to D4—is a diatonic (so-called white-note) cluster, indicated by the natural sign below the staff. The second is a pentatonic (so-called black-note) cluster, indicated by the An example of Henry Cowell's notation of tone flat sign; a sharp sign would be required if the notes showing the limit clusters for piano of the cluster were spelled as sharps. A chromatic cluster—black and white keys together—is shown in this method by a solid bar with no sign at all.[9] In scoring the large, dense clusters of the solo organ work Volumina in the early 1960s, György Ligeti, using graphical notation, blocked in whole sections of the keyboard.[10] The performance of keyboard tone clusters is widely considered an "extended technique"—large clusters require unusual playing methods often involving the fist, the flat of the hand, or the forearm. Thelonious Monk and Karlheinz Stockhausen each performed clusters with their elbows; Stockhausen developed a method for playing cluster glissandi with special gloves.[11] Don Pullen would play moving clusters by rolling the backs of his hands over the keyboard.[12] Boards of various dimension are sometimes employed, as in the Concord Sonata (ca. 1904–19) of Charles Ives; they can be weighted down to execute clusters of long duration.[13] Several of Lou
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Tone cluster Harrison's scores call for the use of an "octave bar", crafted to facilitate high-speed keyboard cluster performance.[14] Designed by Harrison with his partner William Colvig, the octave bar is a flat wooden device approximately two inches high with a grip on top and sponge rubber on the bottom, with which the player strikes the keys. Its length spans an octave on a grand piano. The sponge rubber bottom is sculpted so that its ends are slightly lower than its center, making the outer tones of the octave sound with greater force than the intermediary pitches. The pianist can thus rush headlong through fearfully rapid passages, precisely spanning an octave at each blow.
Use in Western music Before the 1900s The earliest example of tone clusters in a Western music composition thus far identified is in the Allegro movement of Heinrich Biber's Battalia à 10 (1673) for string ensemble, which calls for several diatonic clusters.[15] An orchestral diatonic cluster occurs also in the representation of chaos in the opening of Jean-Féry Rebel's 1737–38 ballet Les Elémens.[16] From the next century-and-a-half, only a few more examples have been identified, none calling for more than a fleeting instance of the form. These are mostly in French programmatic compositions for the harpsichord or piano that represent cannon fire with clusters, for example in works by François Dandrieu (Les Caractères de la guerre, 1724), Michel Corrette (La Victoire d'un combat naval, remportée par une frégate contre plusieurs corsaires réunis, 1780), Claude-Bénigne Balbastre (March des Marseillois, 1793), Pierre Antoine César (La Battaille de Gemmap, ou la prise de Mons, ca. 1794), Bernard Viguerie (La Bataille de Maringo, pièce militaire et hitorique, for piano trio, 1800), and Jacques-Marie Beauvarlet-Charpentier (Battaille d'Austerlitz, 1805).[17] The next known composition after Charpentier's to feature several clusters—though not, in this case, specifically notated—is the solo piano piece Battle of Manassas, written in 1861 by "Blind Tom" Bethune and published in 1866. The score instructs the pianist to represent cannon fire at various points by striking "with the flat of the hand, as many notes as possible, and with as much force as possible, at the bass of the piano."[18] In 1887, Giuseppe Verdi became the first notable composer in the Western tradition to write an unmistakable chromatic cluster: the storm music with which Otello opens includes an organ cluster (C, C♯, D) that also has the longest notated duration of any scored musical texture known.[19] Still, it was not before the second decade of the twentieth century that tone clusters assumed a recognized place in Western classical music practice.
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In classical music of the early 1900s "Around 1910," Harold C. Schoenberg writes, "Percy Grainger was causing a stir by the near–tone clusters in such works as his Gumsuckers March."[20] In 1911, what appears to be the first published classical composition to thoroughly integrate true tone clusters was issued: Tintamarre (The Clangor of Bells), by Canadian composer J. Humfrey Anger (1862–1913).[21] Within a few years, the radical composer-pianist Leo Ornstein became one of the most famous figures in classical music on both sides of the Atlantic for his performances of cutting-edge work. In 1914, Ornstein debuted several of his own solo piano compositions: Wild Men's Dance (aka Danse Sauvage; ca. 1913–14), Impressions of the Thames (ca. 1913–14), and Impressions of Notre Dame (ca. 1913–14) were the first works to explore the tone cluster in depth ever heard by a substantial audience. Wild Men's Dance, in particular, was constructed almost entirely out of clusters ( listen Wikipedia:Media helpFile:Ornstein-Wild Mens Dance.ogg).[22] In 1918, critic Charles L. Buchanan described Ornstein's innovation: "[He] gives us masses of shrill, hard dissonances, chords consisting of anywhere from eight to a dozen notes made up of half tones heaped one upon another."[23]
Leo Ornstein was the first composer to be widely known for using tone clusters—though the term itself was not yet used to describe the radical aspect of his work.
Clusters were also beginning to appear in more pieces by European composers. Isaac Albéniz's use of them in Iberia (1905–8) may have influenced Gabriel Fauré's subsequent piano writing.[24] Joseph Horowitz has suggested that the "dissonant star clusters" in its third and fourth books were particularly compelling to Olivier Messiaen, who called Iberia "the wonder of the piano."[25] The Thomas de Hartmann score for Wassily Kandinsky's stage show The Yellow Sound (1909) employs a chromatic cluster at two climactic points.[26] Alban Berg's Four Pieces for clarinet and piano (1913) calls for clusters along with other avant-garde keyboard techniques.[27] Claude Debussy's 1915 arrangement for solo piano of his Six Epigraphes Antiques (1914), originally a set of piano duets, includes tone clusters in the fifth piece, Pour l'Egyptienne.[28] Richard Strauss's An Alpine Symphony (1915) "starts and ends with the setting sun—a B flat minor chord cluster slowly built down."[29] Though much of his work was made public only years later, Charles Ives had been exploring the possibilities of the tone cluster—which he referred to as the "group chord"—for some time. In 1906–7, Ives composed his first mature piece to extensively feature tone clusters, Scherzo: Over the Pavements.[30] Orchestrated for a nine-piece ensemble, it includes both black- and white-note clusters for the piano.[31] Revised in 1913, it would not be recorded and published until the 1950s and would have to wait until 1963 to receive its first public performance. During the same period that Ornstein was introducing tone clusters to the concert stage, Ives was developing a piece with what would become the most famous set of clusters: in the second movement, "Hawthorne," of the Concord Sonata (ca. 1904–15, publ. 1920, prem. 1928, rev. 1947), mammoth piano chords require a wooden bar almost fifteen inches long to play.[32] The gentle clusters produced by the felt- or flannel-covered bar represent the sound of far-off church bells ( listen Wikipedia:Media helpFile:Ives-Concord Sonata M2.ogg).[33] Later in the movement, there are a series of five-note diatonic clusters for the right hand. In his notes to the score, Ives indicates that "these group-chords...may, if the player feels like it, be hit with the clenched fist."[34] Between 1911 and 1913, Ives also wrote ensemble pieces with tone clusters such as his Second String Quartet and the orchestral Decoration Day and Fourth of July, though none of these would be publicly performed before the 1930s.[35]
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In the work of Henry Cowell In June 1913, a sixteen-year-old Californian with no formal musical training wrote a solo piano piece, Adventures in Harmony, employing "primitive tone clusters."[36] Henry Cowell would soon emerge as the seminal figure in promoting the cluster harmonic technique. Ornstein abandoned the concert stage in the early 1920s and, anyway, clusters had served him as practical harmonic devices, not as part of a larger theoretical mission. In the case of Ives, clusters comprised a relatively small part of his compositional output, much of which went unheard for years. For the intellectually ambitious Cowell—who heard Ornstein perform in New York in 1916—clusters were crucial to the future of music. He set out to explore their "overall, cumulative, and often programmatic effects."[37]
As a composer, performer, and theorist, Henry Cowell was largely responsible for establishing the tone cluster in the lexicon of modern classical music.
Dynamic Motion (1916) for solo piano, written when Cowell was nineteen, has been described as "probably the first piece anywhere using secundal chords independently for musical extension and variation."[38] Though that is not quite accurate, it does appear to be the first piece to employ chromatic clusters in such a manner. A solo piano piece Cowell wrote the following year, The Tides of Manaunaun (1917), would prove to be his most popular work and the composition most responsible for establishing the tone cluster as a significant element in Western classical music ( listen Wikipedia:Media helpFile:Cowell-Tides of Manaunaun.ogg). (Cowell's early piano works are often erroneously dated; in the two cases above, as 1914 and 1912, respectively.[39]) Assumed by some to involve an essentially random—or, more kindly, aleatoric—pianistic approach, Cowell would explain that precision is required in the writing and performance of tone clusters no less than with any other musical feature: Tone clusters...on the piano [are] whole scales of tones used as chords, or at least three contiguous tones along a scale being used as a chord. And, at times, if these chords exceed the number of tones that you have fingers on your hand, it may be necessary to play these either with the flat of the hand or sometimes with the full forearm. This is not done from the standpoint of trying to devise a new piano technique, although it actually amounts to that, but rather because this is the only practicable method of playing such large chords. It should be obvious that these chords are exact and that one practices diligently in order to play them with the desired tone quality and to have them absolutely precise in nature.[40] Historian and critic Kyle Gann describes the broad range of ways in which Cowell constructed (and thus performed) his clusters and used them as musical textures, "sometimes with a top note brought out melodically, sometimes accompanying a left-hand melody in parallel." Beginning in 1921, with an article serialized in The Freeman, an Irish cultural journal, Cowell popularized the term tone cluster.[41] While he did not coin the phrase, as is often claimed, he appears to have been the first to use it with its current meaning.[42] During the 1920s and 1930s, Cowell toured widely through North America and Europe, playing his own experimental works, many built around tone clusters. In addition to The Tides of Manaunaun, Dynamic Motion, and its five "encores"—What's This (1917), Amiable Conversation (1917), Advertisement (1917), Antinomy (1917, rev. 1959; frequently misspelled "Antimony"), and Time Table (1917)—these include The Voice of Lir (1920), Exultation (1921), The Harp of Life (1924), Snows of Fujiyama (1924), Lilt of the Reel (1930), and Deep Color (1938). Tiger (1930) has a chord of 53 notes, probably the largest ever written for a single instrument until 1969.[43] Along with Ives, Cowell wrote some of the first large-ensemble pieces to make extensive use of clusters. The Birth of Motion (ca. 1920), his earliest such effort, combines orchestral clusters with glissando.[44] "Tone Cluster," the second movement of Cowell's Concerto for Piano and Orchestra (1928, prem. 1978), employs a wide
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variety of clusters for the piano and each instrumental group ( listen Wikipedia:Media helpFile:Cowell-Piano Concerto M1.ogg).[45] From a quarter-century later, his Symphony No. 11 (1953) features a sliding chromatic cluster played by muted violins.[46] In his theoretical work New Musical Resources (1930), a major influence on the classical avant-garde for many decades, Cowell argued that clusters should not be employed simply for color: In harmony it is often better for the sake of consistency to maintain a whole succession of clusters, once they are begun; since one alone, or even two, may be heard as a mere effect, rather than as an independent and significant procedure, carried with musical logic to its inevitable conclusion.[47]
In later classical music In 1922, composer Dane Rudhyar, a friend of Cowell's, declared approvingly that the development of the tone cluster "imperilled [the] existence" of "the musical unit, the note."[48] While that threat was not to be realized, clusters began to appear in the works of a growing number of composers. Already, Aaron Copland had written his Three Moods (aka Trois Esquisses; 1920–21) for piano—its name an apparent homage to a piece of Leo Ornstein's—which includes a triple-forte cluster.[49] The most renowned composer to be directly inspired by Cowell's demonstrations of his tone cluster pieces was Béla Bartók, who requested Cowell's permission to employ the method.[50] Bartók's First Piano Concerto, Piano Sonata, and Out of Doors (all 1926), his first significant works after three years in which he produced little, extensively feature tone clusters.[51]
Béla Bartók and Henry Cowell met in December 1923. Early the next year, the Hungarian composer wrote Cowell to ask whether he might adopt tone clusters without causing offense.
In the 1930s, Cowell's student Lou Harrison utilized keyboard clusters in several works such as his Prelude for Grandpiano (1937).[52] At least as far back as 1942, John Cage, who also studied under Cowell, began writing piano pieces with cluster chords; In the Name of the Holocaust, from December of that year, includes chromatic, diatonic, and pentatonic clusters.[53] Olivier Messiaen's Vingt regards sur l'enfant Jésus (1944), often described as the most important solo piano piece of the first half of the twentieth century, employs clusters throughout.[54] They would feature in numerous subsequent piano works, by a range of composers. Karlheinz Stockhausen's Klavierstück X (1961) makes bold, rhetorical use of chromatic clusters, scaled in seven degrees of width, from three to thirty-six semitones, as well as ascending and descending cluster arpeggios and cluster glissandi.[55] Written two decades later, his Klavierstück XIII employs many of the same techniques, along with clusters that call for the pianist to sit down on the keyboard.[56] George Crumb's Apparitions, Elegiac Songs, and Vocalises for Soprano and Amplified Piano (1979), a setting of verse by Walt Whitman, is filled with clusters, including an enormous one that introduces three of its sections.[57] The piano part of the second movement of Joseph Schwantner's song cycle Magabunda (1983) has perhaps the single largest chord ever written for an individual instrument: all 88 notes on the keyboard.[58] While tone clusters are conventionally associated with the piano, and the solo piano repertoire in particular, they have also assumed important roles in compositions for chamber groups and larger ensembles. Robert Reigle identifies Croatian composer Josip Slavenski's organ-and-violin Sonata Religiosa (1925), with its sustained chromatic clusters, as "a missing link between Ives and [György] Ligeti." Bartók employs both diatonic and chromatic clusters in his Fourth String Quartet (1928).[59] The sound mass technique in such works as Ruth Crawford Seeger's String Quartet (1931) and Iannis Xenakis's Metastaseis (1955) is an elaboration of the tone cluster. In one of the most famous pieces associated with the sound mass aesthetic, Krzysztof Penderecki's Threnody to the Victims of Hiroshima (1959), for fifty-two string instruments, the quarter-tone clusters "see[m] to have
Tone cluster abstracted and intensified the features that define shrieks of terror and keening cries of sorrow."[60] Clusters appear in two sections of the electronic music of Stockhausen's Kontakte (1958–60)—first as "hammering points...very difficult to synthesize", according to Robin Maconie, then as glissandi.[61] In 1961, Ligeti wrote perhaps the largest cluster chord ever—in the orchestral Atmosphères, every note in the chromatic scale over a range of five octaves is played at once (quietly). Ligeti's organ works make extensive use of clusters. Volumina (1961–62), graphically notated, consists of static and mobile cluster masses, and calls on many advanced cluster-playing techniques.[62] The eighth movement of Messiaen's oratorio La Transfiguration de Notre Seigneur Jésus-Christ (1965–69) features "a shimmering halo of tone-cluster glissandi" in the strings, evoking the "bright cloud" to which the narrative refers ( listen Wikipedia:Media helpFile:Messiaen-Transfiguration M8.ogg).[63] Orchestral clusters are employed throughout Stockhausen's Fresco (1969) and Trans (1971).[64] In Morton Feldman's Rothko Chapel (1971), "Wordless vocal tone clusters seep out through the skeletal arrangements of viola, celeste, and percussion." Aldo Clementi's chamber ensemble piece Ceremonial (1973) evokes both Verdi and Ives, combining the original extended-duration and mass cluster concepts: a weighted wooden board placed on an electric harmonium maintains a tone cluster throughout the work. Judith Bingham's Prague (1995) gives a brass band the opportunity to create tone clusters. Keyboard clusters are set against orchestral forces in piano concertos such as Einojuhani Rautavaara's first (1969) and Esa-Pekka Salonen's (2007), the latter suggestive of Messiaen.[65] The choral compositions of Eric Whitacre often employ clusters. Three composers who made frequent use of tone clusters for a wide variety of ensembles are Giacinto Scelsi, Alfred Schnittke—both of whom often worked with them in microtonal contexts—and Lou Harrison. Scelsi employed them for much of his career, including in his last large-scale work, Pfhat (1974), which premiered in 1986.[66] They are found in works of Schnittke's ranging from the Quintet for Piano and Strings (1972–76), where "microtonal strings fin[d] tone clusters between the cracks of the piano keys," to the choral Psalms of Repentance (1988). Harrison's many pieces featuring clusters include Pacifika Rondo (1963), Concerto for Organ with Percussion (1973), Piano Concerto (1983–85), Three Songs for male chorus (1985), Grand Duo (1988), and Rhymes with Silver (1996).[67]
In jazz Tone clusters have been employed by jazz artists in a variety of styles, since the very beginning of the form. Around the turn of the twentieth century, Storyville pianist Jelly Roll Morton began performing a ragtime adaptation of a French quadrille, introducing large chromatic tone clusters played by his left forearm. The growling effect led Morton to dub the piece his "Tiger Rag" ( listen Wikipedia:Media helpFile:Morton-Tiger Rag.ogg).[68] In 1909, Scott Joplin's deliberately experimental "Wall Street Rag" included a section prominently featuring notated tone clusters—apparently the first published work in the history of Western music with a cluster sequence.[69] The fourth of Artie Matthews's Pastime Rags (1913–20) features dissonant right-hand clusters.[70] Thelonious Monk, in pieces such as "Introspection" (1946) and "Off Minor" (1947), uses clusters as dramatic figures within the central improvisation and to accent the Scott Joplin wrote the first known published tension at its conclusion.[71] They are heard on Art Tatum's "Mr. composition to include a musical sequence built Freddy Blues" (1950), undergirding the cross-rhythms.[72] By 1953, around specifically notated tone clusters. Dave Brubeck was employing piano tone clusters and dissonance in a manner anticipating the style free jazz pioneer Cecil Taylor would soon develop. The approach of hard bop pianist Horace Silver is an even clearer antecedent to Taylor's use of clusters.[73] During the same era, clusters appear as punctuation marks in the lead lines of Herbie Nichols.[74] In "The Gig" (1955), described by Francis Davis as
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Tone cluster Nichols's masterpiece, "clashing notes and tone clusters depic[t] a pickup band at odds with itself about what to play."[75] Recorded examples of Duke Ellington's piano cluster work include "Summertime" (1961) and ...And His Mother Called Him Bill (1967). In jazz, as in classical music, tone clusters have not been restricted to the keyboard. In the 1930s, the Jimmie Lunceford Orchestra's "Stratosphere" included ensemble clusters among an array of progressive elements.[76] The Stan Kenton Orchestra's April 1947 recording of "If I Could Be With You One Hour Tonight," arranged by Pete Rugolo, features a dramatic four-note trombone cluster at the end of the second chorus. As described by critic Fred Kaplan, a 1950 performance by the Duke Ellington Orchestra features arrangements with the collective "blowing rich, dark, tone clusters that evoke Ravel." In the early 1960s, arrangements by Bob Brookmeyer and Gerry Mulligan for Mulligan's Concert Jazz Band employed tone clusters in a dense style bringing to mind both Ellington and Ravel. Eric Dolphy's bass clarinet solos would often feature "microtonal clusters summoned by frantic overblowing."[77] Critic Robert Palmer called the "tart tone cluster" that "pierces a song's surfaces and penetrates to its heart" a specialty of guitarist Jim Hall's.[78] Clusters are especially prevalent in the realm of free jazz. Cecil Taylor has used them extensively as part of his improvisational method since the mid-1950s.[79] Like much of his musical vocabulary, his clusters operate "on a continuum somewhere between melody and percussion."[80] One of Taylor's primary purposes in adopting clusters was to avoid the dominance of any specific pitch.[81] Leading free jazz composer, bandleader, and pianist Sun Ra often used them to rearrange the musical furniture, as described by scholar John F. Szwed: When he sensed that [a] piece needed an introduction or an ending, a new direction or fresh material, he would call for a space chord, a collectively improvised tone cluster at high volume which "would suggest a new melody, maybe a rhythm." It was a pianistically conceived device which created another context for the music, a new mood, opening up fresh tonal areas.[82] As free jazz spread in the 1960s, so did the use of tone clusters. In comparison with what John Litweiler describes as Taylor's "endless forms and contrasts," the solos of Muhal Richard Abrams employ tone clusters in a similarly free, but more lyrical, flowing context.[83] Guitarist Sonny Sharrock made them a central part of his improvisations; in Palmer's description, he executed "glass-shattering tone clusters that sounded like someone was ripping the pickups out of the guitar without having bothered to unplug it from its overdriven amplifier."[84] Pianist Marilyn Crispell has been another major free jazz proponent of the tone cluster, frequently in collaboration with Anthony Braxton, who played with Abrams early in his career.[85] Since the 1990s, Matthew Shipp has built on Taylor's innovations with the form.[86] European free jazz pianists who have contributed to the development of the tone cluster palette include Gunter Hampel and Alexander von Schlippenbach. Don Pullen, who bridged free and mainstream jazz, "had a technique of rolling his wrists as he improvised—the outside edges of his hands became scarred from it—to create moving tone clusters," writes critic Ben Ratliff. "Building up from arpeggios, he could create eddies of noise on the keyboard...like concise Cecil Taylor outbursts." In the description of Joachim Berendt, Pullen "uniquely melodized cluster playing and made it tonal. He phrases impulsively raw clusters with his right hand and yet embeds them in clear, harmonically functional tonal chords simultaneously played with the left hand."[87] John Medeski employs tone clusters as keyboardist for Medeski, Martin, and Wood, which mixes free jazz elements into its soul jazz/jam band style.[88]
In popular music Like jazz, rock and roll has made use of tone clusters since its birth, if characteristically in a less deliberate manner—most famously, Jerry Lee Lewis's live-performance piano technique of the 1950s, involving fists, feet, and derrière.[89] Since the 1960s, much drone music, which crosses the lines between rock, electronic, and experimental music, has been based on tone clusters. On The Velvet Underground's "Sister Ray," recorded in September 1967, organist John Cale uses tone clusters within the context of a drone; the song is apparently the closest approximation on record of the band's early live sound.[90] Around the same time, Doors keyboardist Ray Manzarek began
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Tone cluster introducing clusters into his solos during live performances of the band's hit "Light My Fire."[91] Kraftwerk's self-titled 1970 debut album employs organ clusters to add variety to its repeated tape sequences.[92] In 1971, critic Ed Ward lauded the "tone-cluster vocal harmonies" created by Jefferson Airplane's three lead singers, Grace Slick, Marty Balin, and Paul Kantner.[93] Tangerine Dream's 1972 double album Zeit is replete with clusters performed on synthesizer.[94] In later rock practice, the D add9 chord characteristic of jangle pop involves a three-note set separated by major seconds (D, E, F♯), the sort of guitar cluster that may be characterized as a harp effect.[95] The sound of tone clusters played on the organ became a convention in radio drama for dreams. Clusters are often used in the scoring of horror and science-fiction films.[96] For a 2004 production of the play Tone Clusters by Joyce Carol Oates, composer Jay Clarke—a member of the indie rock bands Dolorean and The Standard—employed clusters to "subtly build the tension", in contrast to what he perceived in the cluster pieces by Cowell and Ives suggested by Oates: “Some of it was like music to murder somebody to; it was like horror-movie music”.
Use in other music In traditional Japanese gagaku, the imperial court music, a tone cluster performed on shō (a type of mouth organ) is generally employed as a harmonic matrix.[97] Yoritsune Matsudaira, active from the late 1920s to the early 2000s, merged gagaku's harmonies and tonalities with avant-garde Western techniques. Much of his work is built on the shō's ten traditional cluster formations.[98] Lou Harrison's Pacifika Rondo, which mixes Eastern and Western instrumentation and styles, mirrors the gagaku approach—sustained organ clusters emulate the sound and function of the shō.[99] Traditional Korean court and aristocratic music employs passages of simultaneous ornamentation on multiple instruments, creating dissonant clusters; this technique is reflected in the work of twentieth-century Korean German composer Isang Yun.[100] Several East Asian free reed instruments, including the shō, were modeled on the sheng, an ancient Chinese folk instrument later incorporated into more formal musical contexts. Wubaduhesheng, one of the traditional chord formations played on the sheng, involves a three-pitch cluster.[101] Malayan folk musicians employ an indigenous mouth organ that, like the shō and sheng, produces tone clusters.[102] The characteristic musical form played on the bin-baja, a strummed harp of central India's Pardhan people, has been described as a "rhythmic ostinato on a tone cluster."[103]
Notes [1] [2] [3] [4] [5] [6] [7] [8]
See Nicholls (1991), p. 155. Jones (2008), p. 91; Wilkins (2006), p. 145; Norman (2004), p. 47. Cope (2001), p. 6, fig. 1.17. Swift (1972), pp. 511–12. See, e.g., Seachrist (2003), p. 215, n. 15: "A 'tone cluster' is a dissonant group of tones lying close together...." Cowell (1921), pp. 112, 113. Ostransky (1969), p. 208. The score of The Tides of Manaunaun is reprinted in American Piano Classics: 39 Works by Gottschalk, Griffes, Gershwin, Copland, and Others, ed. Joseph Smith (Mineola, N.Y.: Courier Dover, 2001; ISBN 0-486-41377-2), pp. 43 et seq. [9] Hicks (2002), p. 103. [10] Griffiths (1995), p. 137. [11] Cooke (1998), p. 205. [12] Ratliff (2002), p. 205. [13] Hinson and Roberts (2006), p. 624. [14] Miller and Lieberman (2004), p. 135. [15] "Earliest Usages: 1. Pitch" in [16] Henck (2004), pp. 52–54. [17] Henck (2004), pp. 32–40. [18] Quoted in Altman (2004), p. 47.
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Tone cluster [19] Kimbell (1991), p. 606; "Earliest Usages: 1. Pitch" and "Duration and Rhythm: 2. Longest notated duration, including ties" in Extremes of Conventional Music Notation (http:/ / www. informatics. indiana. edu/ donbyrd/ CMNExtremes. htm). [20] Schoenberg (1987), p. 419. [21] For a discussion of the piece, see The score (http:/ / www. collectionscanada. ca/ obj/ m5/ f2/ csm456. pdf) of Tintamarre and its publication record (http:/ / amicus. collectionscanada. ca/ m5-bin/ Main/ ItemDisplay?l=0& ID=24441& v=1& lvl=1& coll=15& rt=1& itm=15687551all=1& dt=AN+ 15687551& spi=-) are also available online via Library and Archives Canada/Bibliothèque et Archives Canada. See also Keillor (2000) and The early performance history of Tintamarre has not been established. [22] See Broyles (2004), p. 78, for premiere of these works. The piano music for Ornstein's Sonata for Violin and Piano, op. 31 (1915; not 1913 as is often erroneously given), also employs tone clusters, though not to the extent of Wild Men's Dance. Three Moods (ca. 1914) for solo piano has been said to contain clusters (Pollack [2000], p. 44); perusal online of the published score, however, does not reveal any. Ornstein's solo piano piece Suicide in an Airplane (n.d.), which makes incontrovertible use of tone clusters in one extended passage, is often erroneously dated "1913" or "ca. 1913"; in fact, it is undated and there is no record of its existence before 1919 (Anderson [2002]). [23] Quoted in Chase (1992), p. 450. [24] Nectoux (2004), p. 171. [25] Horowitz (2010), p. 18. [26] Finney (1967), p. 74. [27] Pino (1998), p. 258. [28] Hinson (1990), pp. 43–44. [29] W.S.M. (1958), p. 63. [30] Thomas B. Holmes notes that the song Majority (aka The Masses), written by Ives in 1888 at the age of fourteen, incorporates tone clusters in the piano accompaniment. He correctly describes this as "a rebellious act for a beginning composer." He errs in calling it "probably the first documented use of a tone cluster in a score" (Electronic and Experimental Music: Pioneers in Technology and Composition [New York and London: Routledge, 2002 (1985); ISBN 0-415-93643-8], p. 35). Swafford (1998) observes that Ives chose to begin his 114 Songs (publ. 1922) with the work (pp. 227, 271, 325). And he too miscredits Ives with the "invention of the tone cluster" (p. 231). On the other hand, he valuably points to Ives's awareness that "tone clusters...had been there since time immemorial when large groups sang. The mistakes were part of the music" (p. 98). [31] Nicholls (1991), p. 57. [32] Reed (2005), p. 59; Swafford (1998), p. 262. The "Hawthorne" movement was based on the unfinished Hawthorne Concerto of 1910, from which it was recomposed largely in 1911–12. See Ives (1947), p. iii. [33] Shreffler (1991), p. 3; Hitchcock (2004), p. 2. [34] Ives (1947), p. 73. Ives's orthography was not consistent. When the term "group chord" is introduced earlier in the notes, it appears without a hyphen. [35] Swafford (1998), pp. 251, 252, 472, for descriptions; Sinclair (1999), passim, for proper dating of Scherzo: Over the Pavements, Concord Sonata, and other named pieces: Second String Quartet (1911–13, prem. 1946, publ. 1954); Decoration Day (ca. 1912–13, rev. ca. 1923–24, prem. 1931, publ. 1962); Fourth of July (ca. 1911–13, rev. ca. 1931, publ./prem. 1932). [36] Nicholls (1991), p. 134. [37] Broyles (2004), p. 342, n. 10. [38] Bartók et al. (1963), p. 14 (unpaginated). [39] Correct dating of Cowell's early works is per Hicks (2002), pp. 80, 85. Correct dating of Cowell's work in general is per the standard catalogue, Lichtenwanger (1986). [40] Cowell (1993), 12:16–13:14. [41] Hicks (2002), pp. 106–8. [42] See Seachrist (2003), p. 215, n. 15, for an example of a claim that the "term was invented by Henry Cowell." Tone cluster had been used with a different meaning since at least 1910 by music theorist and educator Percy Goetschius: referring to an example of three-part counterpoint, "there is some good chord-form at almost every accent, some harmonic tone-cluster towards which the parts unanimously lead" (Exercises in Elementary Counterpoint, 5th ed. [New York: G. Schirmer], p. 111). See also his correspondence, "Schoenberg's 'Harmony,'" in The New Music Review and Church Music Review, vol. 14, no. 168 (November 1915), p. 404: "I have regretted that I did not, in revising my 'Material,' lay still greater stress upon the accidental tone-clusters such as you illustrate"; "in Ex. 318, No. 5, you will find the Mozart tone-cluster which you give in your Ex. 11." [43] "Other: 1. Vertical extremes" in Extremes of Conventional Music Notation (http:/ / www. informatics. indiana. edu/ donbyrd/ CMNExtremes. htm). [44] Yunwha Rao (2004), p. 245. [45] Zwenzner (2001), p. 13. [46] Yunwha Rao (2004), p. 138. [47] Quoted in Gann (1997), p. 174. [48] Quoted in Hicks (2002), p. 108. [49] Pollack (2000), p. 44. [50] Stevens (1993), p. 67. [51] Steinberg (2000), p. 37; Satola (2005), pp. 85–86; Lampert and Somfai (1984), p. 60.
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Tone cluster [52] Miller and Lieberman (2004), pp. 10, 135. [53] Salzman (1996), p. 3 (unpaginated). [54] Meister (2006), p. 131–32. [55] Harvey (1975), p. 43; Henck (1980), p. 17; Maconie (2005), p. 217. [56] Rigoni (2001), p. 53. [57] Kramer (2000), p. 137. [58] "Other: 1. Vertical extremes" in Extremes of Conventional Music Notation (http:/ / www. informatics. indiana. edu/ donbyrd/ CMNExtremes. htm). [59] See also Robin Stowell, "Extending the Technical and Expressive Frontiers," in The Cambridge Companion to the String Quartet, ed. Stowell (Cambridge: Cambridge University Press, 2003; ISBN 0-521-80194-X), pp. 149–73; p. 162. [60] Hogan (2003), p. 179. [61] Maconie (2005), p. 217. [62] Steinitz (2003), pp. 124–26; Herchenröder (2002), p. 303. [63] Smither (2000), p. 674. [64] Maconie (2005), p. 338. [65] Tommasini (2007). [66] Halbreich (1988), pp. 9, 11 (unpaginated). [67] Miller and Lieberman (2004), pp. 10, 99, 135, 155. [68] Lomax (2001), pp. 66–69; Spaeth (1948), p. 420. [69] See Floyd (1995), p. 72; Berlin (1994), p. 187. [70] Magee (1998), p. 402. [71] Meadows (2003), ch. 10. [72] Harrison (1997), p. 315. [73] Hazell (1997); Litweiler (1990), p. 202. See also Watrous (1989). [74] Litweiler (1990), p. 23. [75] Davis (2004), p. 78. [76] Determeyer (2006), p. 78. [77] Weinstein (1993), p. 84. [78] Palmer (1986). [79] Litweiler (1990), p. 202. See also Anderson (2006), pp. 57–58. [80] Pareles (1988). [81] Anderson (2006), p. 111. [82] Szwed (1998), p. 214. [83] Litweiler (1990), p. 182. [84] Palmer (1991). [85] Enstice and Stockhouse (2004), p. 81. [86] Weinstein (1996). [87] Berendt (1992), p. 287. [88] Pareles (2000). [89] Tyler (2008), p. 76; Morrison (1998), p. 95. [90] Schwartz (1996), pp. 97, 94. [91] Hicks (1999), p. 88. [92] Bussy (2004), p. 31. [93] Quoted in Brackett (2002), p. 217. [94] Patterson (2001), p. 505. [95] Rooksby (2003), pp 18–19, 96. [96] For a discussion of the use of tone clusters in film scoring, see David Huckvale, "Twins of Evil: An Investigation into the Aesthetics of Film Music," Popular Music, vol. 9, no. 1 (January 1990), pp. 1–35. For descriptions of their role in three individual films, see Shuhei Hosokawa, "Atomic Overtones and Primitive Undertones: Akira Ifukube's Sound Design for Godzilla," in Off the Planet: Music, Sound and Science Fiction Cinema, ed. Philip Hayward (Eastleigh, UK: John Libbey Publ., 2004; ISBN 0-86196-644-9), pp. 42–60; n. 21, p. 60; for To the Devil a Daughter, David Huckvale, Hammer Film Scores and the Musical Avant-Garde (Jefferson, N.C.: McFarland, 2008; ISBN 978-0-7864-3456-5), pp. 179–81 ; and, for Close Encounters, Neil Lerner, "Nostalgia, Masculinist Discourse, and Authoritarianism in John Williams' Scores for Star Wars and Close Encounters of the Third Kind," in Off the Planet, pp. 96–107; 105–6. [97] Malm (2000), pp. 116–17. [98] Herd (2008), pp. 373–74. [99] Miller and Lieberman (2004), p. 155. [100] Howard (2006), p. 152. [101] Wang (2005), p. 65. [102] Musical Courier 164 (1962), p. 12.
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Tone cluster [103] Knight (1985).
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• Hicks, Michael (2002). Henry Cowell, Bohemian. Urbana: University of Illinois Press. ISBN 0-252-02751-5 • Hinson, Maurice (1990). The Pianist's Guide to Transcriptions, Arrangements, and Paraphrases. Bloomington and Indianapolis: Indiana University Press. ISBN 0-253-21456-4 • Hinson, Maurice, and Wesley Roberts (2006). The Piano in Chamber Ensemble: An Annotated Guide. Bloomington and Indianapolis: Indiana University Press. ISBN 0-253-34696-7 • Hitchcock, H. Wiley (2004). Liner notes to Charles Ives: Piano Sonata No. 2 'Concord' (Naxos 8.559221). • Hogan, Patrick Colm (2003). Cognitive Science, Literature, and the Arts: A Guide for Humanists. New York and London: Routledge. ISBN 0-415-94244-6 • Horowitz, Joseph (2010). Program notes to performance of Albéniz's Iberia by Pedro Carboné, University of Chicago, Mandel Hall, March 5 (available online (http://docs.google.com/viewer?a=v& q=cache:jMhVwMdPDjQJ:www.post-classicalensemble.org/docs/March-BFFprogram.pdf+Albéniz+Iberia+ cluster&hl=en&gl=us&pid=bl& srcid=ADGEESjTHG55r5rvhjhgjhurwVr0GNGXaGkWcBbE1OQMm84oUliuoKrb4TYhG0WB9kCsnGeAOagJSqbnF6yU0R9Y sig=AHIEtbRqITi1ttWsj0RJrNatkJs4be7fNQ)). • Howard, Keith (2006). Perspectives on Korean Music, Vol. 2—Creating Korean Music: Tradition, Innovation and the Discourse of Identity. Farnham, Surrey: Ashgate. ISBN 0-7546-5729-9 • Ives, Charles (1947). "Piano Sonata No. 2, 'Concord, Mass., 1840–1860'", 2d ed. New York and London: Associated Music Publishers. • Jones, Pamela (2008). Alcides Lanza: Portrait of a Composer. Montreal and Kingston, Ontario: McGill-Queen's University Press. ISBN 0-7735-3264-1 • Keillor, Elaine (2000). Liner notes to Canadians at the Keyboard (Carleton Sound 1008) (available online (http:// www.carleton.ca/carletonsound/cscd1008.html)). • Kimbell, David (1991). Italian Opera. Cambridge, New York, and Melbourne: Cambridge University Press. ISBN 0-521-46643-1 • Knight, Roderic (1985). "The Harp in India Today", Ethnomusicology, vol. 29, no. 1 (winter), pp. 9–28. • Kramer, Lawrence (2000). Walt Whitman and Modern Music: War, Desire, and the Trials of Nationhood. New York: Garland/Taylor & Francis. ISBN 0-8153-3154-1 • Lampert, Vera, and László Somfai (1984 [1980]). "Béla Bartók", in The New Grove Modern Masters: Bartók, Stravinsky, Hindemith. New York: W. W. Norton. ISBN 0-393-31592-4
Tone cluster • Lichtenwanger, William (1986). The Music of Henry Cowell: A Descriptive Catalogue. Brooklyn, N.Y.: Brooklyn College Institute for Studies in American Music. ISBN 0-914678-26-4 • Litweiler, John (1990 [1984]). The Freedom Principle: Jazz After 1958. New York: Da Capo. ISBN 0-306-80377-1 • Lomax, Alan (2001 [1950]). Mister Jelly Roll: The Fortunes of Jelly Roll Morton, New Orleans Creole and "Inventor of Jazz". Berkeley and Los Angeles: University of California Press. ISBN 0-520-22530-9 • Maconie, Robin (2005). Other Planets: The Music of Karlheinz Stockhausen. Lanham, Md., Toronto, and Oxford: Scarecrow Press. ISBN 0-8108-5356-6 • Magee, Jeffrey (1998). "Ragtime and Early Jazz", in The Cambridge History of American Music, ed. David Nicholls. Cambridge, New York, and Melbourne: Cambridge University Press. ISBN 0-521-45429-8 • Malm, William P. (2000 [1959]). Traditional Japanese Music and Musical Instruments. New York and London: Kodansha. ISBN 4-7700-2395-2 • Meadows, Eddie S. (2003). Bebop to Cool: Context, Ideology, and Musical Identity. Westport, Conn.: Greenwood. ISBN 0-313-30071-2 • Meister, Barbara (2006). Music Musique: French and American Piano Composition in the Jazz Age. Bloomington and Indianapolis: Indiana University Press. ISBN 0-253-34608-8 • Miller, Leta E., and Frederic Lieberman (2004 [1998]). Composing a World: Lou Harrison, Musical Wayfarer. Urbana and Chicago: University of Illinois Press. ISBN 0-252-07188-3 • Morrison, Craig (1998 [1996]). Go Cat Go!: Rockabilly Music and Its Makers. Urbana and Chicago: University of Illinois Press. ISBN 0-252-06538-7 • Nectoux, Jean-Michel (2004). Gabriel Fauré: A Musical Life, trans. Roger Nichols. Cambridge: Cambridge University Press. ISBN 0-521-61695-6 • Nicholls, David (1991 [1990]). American Experimental Music 1890–1940. Cambridge, New York, and Melbourne: Cambridge University Press. ISBN 0-521-42464-X • Norman, Katharine (2004). Sounding Art: Eight Literary Excursions through Electronic Music. Farnham, Surrey: Ashgate. ISBN 0-7546-0426-8 • Ostransky, Leroy (1969). The World of Music. Englewood Cliffs, N.J.: Prentice-Hall. • Palmer, Robert (1986). "Jazz: Jim Hall Trio in Village", The New York Times, September 4 (available online (http://www.nytimes.com/1986/09/04/arts/jazz-jim-hall-trio-in-village.html)). • Palmer, Robert (1991). "Ask the Ages: Sonny Sharrock", Rolling Stone, September 19 (available online (http:// www.rollingstone.com/reviews/album/214413/review/5944125?utm_source=Rhapsody& utm_medium=CDreview)). • Pareles, Jon (1988). "Jazz: Cecil Taylor Quintet", The New York Times, February 7 (available online (http:// www.nytimes.com/1988/02/07/arts/jazz-cecil-taylor-quintet.html)). • Pareles, Jon (2000). "Jazz Review: Trio Toys with Textures and Melts Down Idioms", The New York Times, April 15 (available online (http://www.nytimes.com/2000/04/15/arts/ jazz-review-trio-toys-with-textures-and-melts-down-idioms.html)). • Patterson, Archie (2001). "Zeit", in All Music Guide to Electronica: The Definitive Guide to Electronic Music, ed. Vladimir Bogdanov et al. San Francisco: Backbeat. ISBN 0-87930-628-9 • Pino, David (1998 [1980]). The Clarinet and Clarinet Playing. Mineola, N.Y.: Dover. ISBN 0-486-40270-3 • Pollack, Howard (2000 [1999]). Aaron Copland: The Life and Work of an Uncommon Man. Urbana and Chicago: University of Illinois Press. ISBN 0-252-06900-5 • Ratliff, Ben (2002). Jazz: A Critic's Guide to the 100 Most Important Recordings. New York: Times Books/Henry Holt. ISBN 0-8050-7068-0 • Reed, Alice S. (2005). Charles Edward Ives and His Piano Sonata No. 2 "Concord, Mass. 1840-1860". Victoria, Canada: Trafford. ISBN 1-4120-4474-X
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Tone cluster • Rigoni, Michel (2001). Le rêve de Lucifer de Karlheinz Stockhausen. [France]: Éditions tum-Michel de Maule. ISBN 2-87623-103-4 • Rooksby, Rikky (2003). Chord Master: How to Choose and Play the Right Guitar Chords. San Francisco: Backbeat. ISBN 0-87930-766-8 • Salzman, Eric (1996). Liner notes to John Cage...In Memoriam (Troy 197 [Albany Records]). • Satola, Mark (2005). "Piano Sonata, Sz. 80 (1926)", in All Music Guide to Classical Music: The Definitive Guide to Classical Music, ed. Chris Woodstra, Gerald Brennan, and Allen Schrott. San Francisco: Backbeat. ISBN 0-87930-865-6 • Schoenberg, Harold C. (1987). The Great Pianists: From Mozart to the Present. New York: Simon & Schuster/Fireside. ISBN 0-671-63837-8 • Schwartz, Jeff (1996). "'Sister Ray': Some Pleasures of a Musical Text", in The Velvet Underground Companion: Four Decades of Commentary, ed. Albin Zak III. New York: Schirmer (1997). ISBN 0-02-864627-4 • Seachrist, Denise A. (2003). The Musical World of Halim El-Dabh. Kent, Ohio: Kent State University Press. ISBN 0-87338-752-X • Shreffler, Anne (1991). Liner notes to Ives & Copland Sonatas (Cedille 90000 005). • Sinclair, James B. (1999). A Descriptive Catalogue of the Music of Charles Ives. New Haven and London: Yale University Press (available online (http://hdl.handle.net/10079/fa/music.mss.0014.1)). ISBN 0-300-07601-0 • Smither, Howard E. (2000). A History of the Oratorio, Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries. Chapel Hill and London: University of North Carolina Press. ISBN 0-8078-2511-5 • Spaeth, Sigmund Gottfried (1948). A History of Popular Music in America. New York: Random House. • Steinberg, Michael (2000). The Concerto: A Listener's Guide. New York and Oxford: Oxford University Press. ISBN 0-19-513931-3 • Steinitz, Richard (2003). György Ligeti: Music of the Imagination. Boston: Northeastern University Press. ISBN 1-55553-551-8 • Stevens, Halsey (1993). The Life and Music of Béla Bartók, 3d ed. Oxford and New York: Oxford University Press. ISBN 0-19-816349-5 • Swafford, Jan (1998 [1996]). Charles Ives: A Life with Music. New York and London: W. W. Norton. ISBN 0-393-31719-6 • Swift, Richard (1972). "Threnody/Epitaph for Moonlight, by R. Murray Schafer", Notes, 2d series, v.2, no. 3 (March). ISSN 00274380 • Szwed, John F. (1998 [1997]). Space Is the Place: The Lives and Times of Sun Ra. New York: Da Capo. ISBN 0-306-80855-2 • Tommasini, Anthony (2007). "A Conductor’s Concerto, Influenced and Inspired", The New York Times, February 3 (available online (http://www.nytimes.com/2007/02/03/arts/03phil.html?ex=1187582400& en=7ed6e346fcaa320a&ei=5070)). • Tyler, Don (2008). Music of the Postwar Era. Westport, Conn.: Greenwood. ISBN 978-0-313-34191-5 • Wang Zheng-Ting (2005). "How to Improve the Sheng as a Concert Instrument?" Chime, nos. 16–17 (December), pp. 57–71. ISSN 09267263 • Watrous, Peter (1989). "Sounds Around Town," The New York Times, September 1 (available online (http:// www.nytimes.com/1989/09/01/arts/sounds-around-town-102889.html)). • Weinstein, Norman C. (1993). A Night in Tunisia: Imaginings of Africa in Jazz. Milwaukee: Hal Leonard. ISBN 0-87910-167-9 • Weinstein, Norman C. (1996). "Pianist/Composer Matthew Shipp Gives Jazz a Geological Swing", Boston Phoenix, July 11–18 (available online (http://bostonphoenix.com/alt1/archive/music/reviews/07-11-96/ MATTHEW_SHIPP.html)). • Wilkins, Margaret Lucy (2006). Creative Music Composition: The Young Composer's Voice. Boca Raton, Fla.: CRC Press. ISBN 0-415-97467-4
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Tone cluster • W.S.M. (1958). "Strauss, Richard. Alpine Symphony, Op. 64. Saxon State Orchestra, Dresden conducted by Karl Böhin. D.G.G. DGM18476" [review], Gramophone, December. • Yunwha Rao, Nancy (2004). "Henry Cowell and His Chinese Music Heritage: Theory of Sliding Tone and His Orchestral Work of 1953–1965", in Locating East Asia in Western Art Music, ed. Yayoi Uno Everett and Frederick Lau. Middletown, Conn.: Wesleyan University Press. ISBN 0-8195-6661-6 • Zwenzner, Michael (2001). Liner notes to American Piano Concertos: Henry Cowell, trans. Steven Lindberg (col legno 07989).
External links • Leo Ornstein Scores (http://www.poonhill.com/list_of_works.htm) several scores, including Wild Men's Dance, featuring tone clusters • "New Growth from New Soil" (http://etd.lib.fsu.edu/theses/available/etd-04142005-124248/unrestricted/ StallingsThesis.pdf) 2004–5 master's thesis on Cowell with detailed consideration of his use of tone clusters (though both The Tides of Manaunaun and Dynamic Motion are misdated); by Stephanie N. Stallings
Listening • American Mavericks: Program 1—The Meaning of Maverick (http://musicmavericks.publicradio.org/ programs/program1.html) three works by Cowell on demand, including Concerto for Piano and Orchestra—its second movement is titled "Tone Cluster," though all three movements feature them • Art of the States: Henry Cowell (http://artofthestates.org/cgi-bin/composer.pl?comp=117) six works by the composer, including The Tides of Manaunaun and The Harp of Life, with their chromatic and diatonic clusters, and Exultation, which features pentatonic clusters • Art of the States: John Cage (http://artofthestates.org/cgi-bin/composer.pl?comp=1) three works by the composer, including In the Name of the Holocaust • John Cage—In The Name Of The Holocaust (http://www.youtube.com/watch?v=q865x7K_QP4) video of performance by Margaret Leng Tan • Ornstein Piano Music (http://www.hyperion-records.co.uk/al.asp?al=CDA67320) Marc-André Hamelin's performance of Suicide in an Airplane from Leo Ornstein: Piano Music (Hyperion 67320)
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Tonic (music)
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Tonic (music) In music, the tonic is the first scale degree of a diatonic scale and the tonal center or final resolution tone.[4] The triad formed on the tonic note, the tonic chord, is thus the most significant chord. More generally, the tonic is the pitch upon which all other pitches of a piece are hierarchically referenced. Scales are named after their tonics, thus the tonic of the scale of C is the note C. In very much conventionally tonal music, harmonic analysis will reveal a broad prevalence of the primary (often triadic) harmonies: tonic, dominant, and subdominant (i.e., I and its chief auxiliaries a 5th removed), and especially the first two of these.
Tonic (I) in ii-V-I turnaround on C, found at the end of the circle progression Play Wikipedia:Media helpFile:Ii-V-I turnaround in C.mid
Major seventh chord on C Play Wikipedia:Media helpFile:Major seventh chord on C.mid. I7 or tonic seventh chord in C [1] major.
—Berry (1976)[5] The tonic is often confused with the root, which is the reference note of a chord, rather than that of the scale. It is also represented with the Roman numeral I.
Importance and function In western European tonal music of the 18th and 19th centuries, the tonic center was the most important of all the different tone centers which a composer used in a piece of music, with most pieces beginning and ending on the tonic, usually modulating to the dominant (the fifth above the tonic, or the fourth note down from the tonic) in between. Two parallel keys have the same tonic. For example, in both C major and C minor, the tonic is C. However, relative keys (two different scales that share a key signature) have different tonics. For example, C major and A minor share a key signature that
Minor-minor (i7) seventh chord on C in natural [2] minor. Play Wikipedia:Media helpFile:Minor seventh chord on C.mid
i
Minor major seventh chord on C. in C harmonic or ascending melodic minor. Play Wikipedia:Media helpFile:Minor major seventh chord on C.mid
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feature no sharps or flats, despite having different tonic pitches (C and A, respectively). Tonic may be reserved exclusively for use in tonal contexts while tonal center and/or pitch center may be used in post- and atonal music: "For purposes of non-tonal centric music, it might be a good idea to have the term 'tone center' refer to the more general class of which 'tonics' (or tone centers in tonal contexts) could be regarded as a subclass."[6] Thus a pitch center may function referentially or contextually in an atonal context, often acting as axis or line of symmetry in an interval cycle. Pitch centricity was coined by Arthur Berger in his "Problems of Pitch Organization in Stravinsky".
Tonic minor 6/9 chord on C, featuring the raised [3] sixth degree of the ascending melodic minor. Play Wikipedia:Media helpFile:Minor 6-9 chord on C.mid
The tonic diatonic function includes four separate activities or roles as the principal goal tone, initiating event, generator of other tones, and the stable center neutralizing the tension between dominant and subdominant.
References [1] Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.229. Seventh Edition. ISBN 978-0-07-294262-0. [2] Benward & Saker (2003), p.230. [3] Berg, Shelly (2005). Alfred's Essentials of Jazz Theory, Book 3, p.90. ISBN 978-0-7390-3089-9. [4] Benward & Saker (2003), p.33. [5] Berry, Wallace (1976/1987). Structural Functions in Music, p.62. ISBN 0-486-25384-8. [6] Berger (1963), p. 12. cited in Swift, Richard. " A Tonal Analog: The Tone-Centered Music of George Perle (http:/ / www. jstor. org/ stable/ 832876)", p.258. Perspectives of New Music, Vol. 21, No. 1/2, (Autumn, 1982 - Summer, 1983), pp. 257-284.
Upper structure In jazz music, the term upper structure or upper structure triad refers to a voicing approach developed by jazz pianists and arrangers defined by the sounding of a major or minor triad in the uppermost pitches of a more complex harmony.[1]
Examples Example 1: Below, a common voicing used by jazz pianists is given for the chord C7♯9 (C major chord with a flat 7th, and extended with a sharpened 9th). In the lower-stave the notes E♮ and B♭ are given. These form a tritone which defines the dominant sound, and are the major 3rd and flattened 7th of the C7♯9 chord. In the upper-stave the notes E♭, G, and B♭ are given together: these form an E♭ major triad.
Upper structure
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Play Wikipedia:Media helpFile:Upper structure triad 1.mid
This E♭ major triad is what would be called the upper structure. Considered in relation to the root C, the notes of this E♭ major triad function, respectively, as the sharpened ninth (actually a flattened tenth, enharmonically equal to the sharpened ninth which forms the root of the Eb major chord), fifth, and seventh in relation to that root. (Note: the root C is omitted here, and is often done so by jazz pianists for ease of playing, or because a bass player is present.) Example 2: The following example illustrates the notes of an F♯ minor triad functioning as part of a C13♭9♯11 chord (C major chord with a flat 7th, flatted ninth, sharpened 11th, and 13th):
Play Wikipedia:Media helpFile:Upper structure triad 2.mid
In relation to the root of C, the C♯ (enharmonic with D♭) functions as a flattened ninth, the F-sharp functions as a sharpened eleventh, and the A functions as the thirteenth.
Application Determining which upper structure(s) can be juxtaposed on top of a chord is achieved by considering the relationship between a particular chord and the scale it implies. An example follows: The chord C13♭9♯11 contains the following notes, from the root upwards: C, E, G, B♭, D♭, F♯, A The following octatonic scale contains all of these pitches, and fits or matches up with the C13♭9♯11 chord: C, D♭, D♯, E, F♯, G, A, B♭, C Choosing from the available pitches given by this octatonic scale, we can construct a number of major, and minor triads: E♭ major [E♭-G-B♭], E♭ minor [E♭-G♭-B♭], G♭ major [G♭-B♭-D♭], F♯ minor [F♯-A-C♯], A major [A-C♯-E], A minor [A-C-E]] Juxtaposing any of these triads over the original C13♭9♯11 chord will provide a potential upper structure that agrees with this chord type and the related scale.
Upper structure
Shorthand notation Common jazz parlance refers to upper structures by way of the interval between the root of the bottom chord and the root of the triad juxtaposed above it.[2] For instance, in example one above (C7♯9) the triad of E-flat major is a (compound) minor 3rd away from C (root of the bottom chord). Thus, this upper structure can be called upper structure flat three, or US♭III for short. Example two (C13♭9♯11) is called upper structure sharp four minor, and can be written shorthand as US♯iv. Other possible upper structures are: USII - e.g. D major over C7, resulting in C13♯11 US♭V - e.g. G♭ major over C7, resulting in C7♭9♯11 US♭VI - e.g. A♭ major over C7, resulting in C7♯9♭13 USVI - e.g. A major over C7, resulting in C13♭9 USi - e.g. C minor over C7, resulting in C7♯9 US♭ii - e.g. D♭ minor over C7, resulting in C7♭9 ♭13 US♭iii - e.g. E♭ minor over C7, resulting in C7♯9♯11
Recordings A quintessential example of a pianist using upper structures is Bill Evans's playing on 'Blue in Green', from Miles Davis's Kind of Blue.[citation needed]
External links • UST Jazz Piano Chord Voicings Vol. 1 to 9 Demo Pages [3]
Sources [1] Ellenberger, Kurt. Materials and Concepts in Jazz Improvisation, p.20. [2] "The Jazz Piano Book". Mark Levine. (1989). Petaluma, CA: Chapter Fourteen - Upper Structures pages 109-124 [3] http:/ / www. mdecks. com/ IMAGES/ ust/ ustvol1demo. html
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Article Sources and Contributors
Article Sources and Contributors Altered chord Source: http://en.wikipedia.org/w/index.php?oldid=581147751 Contributors: AlexPlank, Another Stickler, Aristitleism, AshishG, Camembert, Colonies Chris, David Kernow, Gutworth, HGB, Hyacinth, Ish ishwar, Koyaanis Qatsi, Kpufferfish, MusicMaker5376, Nate Biggs, Ninly, Nummer29, Paolo.dL, Pkirlin, Polyfructol, Redheylin, Rictus, Rigadoun, Spedunkler, Spinality, Sstteevvee, Tomas e, Vicki Rosenzweig, 9 anonymous edits Approach chord Source: http://en.wikipedia.org/w/index.php?oldid=546265903 Contributors: Dbolton, Hyacinth, JoeB335, Mahlerlover1, Shadowjams Augmented major seventh chord Source: http://en.wikipedia.org/w/index.php?oldid=520867770 Contributors: Andeggs, Hyacinth, Jobnikon, Kpufferfish, Paolo.dL, Thecarofmiki, Yilloslime, 6 anonymous edits Augmented seventh chord Source: http://en.wikipedia.org/w/index.php?oldid=569935160 Contributors: DannyMuse, Dl2000, Hyacinth, Joel7687, Kpufferfish, Lainagier, LindsayH, Mahlerlover1, Paolo.dL, Woohookitty, Zundark, 5 anonymous edits Augmented sixth chord Source: http://en.wikipedia.org/w/index.php?oldid=568452303 Contributors: Al Pereira, Andeggs, Avoided, Basemetal, BassHistory, Bgwhite, Billygard, Blehfu, CDJones, CPGACoast, Camembert, Celtic Minstrel, Chris the speller, Composerstallings, Damirgraffiti, David Kernow, DavidRF, Dazzlester, Deon, Discospinster, Dmr2, Fauban, FraKctured, Frank Zamjatin, Futterer, Gaius Cornelius, Gidip, Gmeyerowitz, Googoo0202, Graham87, Gwalla, Hyacinth, Icairns, Infrogmation, Jafeluv, Jasper Deng, Jrgsf, Justlettersandnumbers, K. Lastochka, Killervogel5, LachlanA, Lprcycle, Maestro.gandhi, Mark Arsten, Markmusic009, McFarvanagh, Melesse, Mscuthbert, Natedean, NickGavelan, Noetica, Ormaaj, Orphan Wiki, Panyd, Pfly, R'n'B, Rainwarrior, Realillusions, Redheylin, Rigadoun, Rigaudon, Rjwilmsi, Rmsydiaha, Roastytoast, Skizzaltix, SolfegeNut, Sparafucil, The Thing That Should Not Be, TheScotch, Tony1, Volunteer Sibelius Salesman, Wahoofive, Woohookitty, Yahya Abdal-Aziz, Yuanyelele, 95 anonymous edits Augmented triad Source: http://en.wikipedia.org/w/index.php?oldid=584265996 Contributors: Az29, Camembert, Cburnett, Feline Hymnic, GSlicer, Gene Ward Smith, Gerda Arendt, Gongshow, Grafen, Grebbsy, GregorB, Gunnar boe, Helder.wiki, Hyacinth, Jafeluv, Kpufferfish, Mahlerlover1, Markmusic009, Mee Merone, Mgclapé, Neo-Jay, Noetica, PhnomPencil, Queenmomcat, Rigaudon, Tjako, Zumwanda, Zundark, 35 anonymous edits Borrowed chord Source: http://en.wikipedia.org/w/index.php?oldid=550800711 Contributors: ACSE, Ampasternock, Atomota, Bandcoach, Blehfu, CPGACoast, David Kernow, Downdog, Fatjeff13, Fyrael, Hyacinth, Living under a rock, Mild Bill Hiccup, Rigadoun, Rigaudon, RobertStar20, Scheater5, SlubGlub, Volunteer Sibelius Salesman, Wahoofive, 9 anonymous edits Chromatic mediant Source: http://en.wikipedia.org/w/index.php?oldid=544818341 Contributors: Canis Lupus, Composerjude, Hyacinth, Sabbetius, 2 anonymous edits Common chord (music) Source: http://en.wikipedia.org/w/index.php?oldid=561410637 Contributors: Hyacinth, Noetica, Redheylin, Rigadoun, SchreiberBike, WillowW, 3 anonymous edits Contrast chord Source: http://en.wikipedia.org/w/index.php?oldid=520238940 Contributors: Hyacinth, Kleinzach Diminished major seventh chord Source: http://en.wikipedia.org/w/index.php?oldid=520868485 Contributors: Bearcat, Double sharp, Hyacinth, Lanthanum-138, Pepper, 1 anonymous edits Diminished seventh chord Source: http://en.wikipedia.org/w/index.php?oldid=584266088 Contributors: Double sharp, Feline Hymnic, GCarty, Gene Ward Smith, Georgia guy, Hyacinth, Jafeluv, Kpufferfish, Lanthanum-138, Mange01, Melalawi, Mephiston999, Noetica, PaulusE, PhnomPencil, Pi.1415926535, Reject 666 6, Rjwilmsi, Roivas, S ried, Samahri, Superlocrian, T@nn, Zimmermanstein, 31 anonymous edits Diminished triad Source: http://en.wikipedia.org/w/index.php?oldid=582795818 Contributors: Andeggs, Bennylin, Camembert, Cburnett, Chris the speller, ChrisGualtieri, DH85868993, David Kernow, Devin.chaloux, Eliptis, Evanreyes, Georgia guy, Glogger, GoingBatty, HGB, Hao2lian, Hearfourmewesique, Hyacinth, Jafeluv, Julian Mendez, Kpufferfish, Mange01, Mapsax, Mgclapé, MrFizyx, Oedalis, Pfly, Qjkelly, Rigadoun, Rigaudon, Salsa Shark, Tjako, Trobert, Whpq, Zundark, 에멜무지로, 32 anonymous edits Dominant (music) Source: http://en.wikipedia.org/w/index.php?oldid=576302860 Contributors: Antandrus, Aranel, Arthena, Avitya, Avjoska, BiT, Camembert, Canthusus, CountMacula, Dan Polansky, Dbolton, Devin.chaloux, Eranb, Fæ, HorsePunchKid, Hyacinth, Ignatzmice, Jan D. Berends, Karada, LudwigVan, Luna Santin, Mahlerlover1, MapsMan, Martin451, Merphant, Mikaey, Mindspillage, Muffin,
[email protected], Paolo.dL, Phlake, Ramix, Rheostatik, Rigaudon, Schizodelight, Sfan00 IMG, Shwong1990, Spada2, Spencerk, Tabletop, Vinculon, Wahoofive, Wlodzimierz, Zoicon5, 42 anonymous edits Dominant seventh chord Source: http://en.wikipedia.org/w/index.php?oldid=582966349 Contributors: Aaaardy, Bdiscoe, Bizebee, Callanecc, Decumanus, Eeekster, Georgia guy, GreenAsJade, Gregory of nyssa, Hyacinth, Jafeluv, Jncraton, John of Reading, Kpufferfish, Lockesdonkey, Mophoplz, Nielsed, Pandabear555, Paolo.dL, Psyche825, Rigadoun, Spundun, Timhowardriley, し ま で ん, 20 anonymous edits Dominant seventh flat five chord Source: http://en.wikipedia.org/w/index.php?oldid=536899003 Contributors: Hyacinth, Kpufferfish, Paolo.dL, 1 anonymous edits Dominant seventh sharp ninth chord Source: http://en.wikipedia.org/w/index.php?oldid=583140007 Contributors: Andrewa, Aquaade, BRtkk, Bgoins43, Biglovinb, Bliek, Bumm13, CPGACoast, CloudNine, Cnwb, Cresix, DannyMuse, Dave.Dunford, Deltabeignet, Drew Von Buseck, Dserafin, Fauban, FloatDownstream, Funkendub, Furrykef, Gegege13, GoingBatty, Headbomb, Hmains, Hyacinth, Inasilentway, JFdove, JMyrleFuller, Jaksmata, Jerome Kohl, Jochim Schiller, KCMO, Keilana, Koavf, Lemuellio, Magioladitis, McTavidge, Mclay1, Melty girl, Michael Barera, Modular, MorphismOfDoom, Nantucketnoon, Nick123, Osprey39, Outriggr, Quentin X, Quentin mcalmott, Red Slash, Remcee, Rewarded Wolf, Rjwilmsi, Rothorpe, SchfiftyThree, Squandermania, Swamp Ig, TheHawk269, Thebanjohype, Tkgd2007, Tomasrojo, Torc2, Yilloslime, ÄDA - DÄP, 92 anonymous edits Eleventh chord Source: http://en.wikipedia.org/w/index.php?oldid=580460486 Contributors: Colinbaldwin, Gaius Cornelius, Hyacinth, Lanthanum-138, MamaJohnny, Phoniker, SlubGlub, WikHead, 3 anonymous edits Half-diminished seventh chord Source: http://en.wikipedia.org/w/index.php?oldid=561256468 Contributors: Andeggs, Antediluvian67, Celtic Minstrel, DChapii, David Kernow, Eep², Fauban, GTBacchus, Havic5, Hotdogjuicer, Hyacinth, Iketchupmyeggs, JMyrleFuller, JohnI, Kpufferfish, Ninly, Nkocharh, Octurion, Paolo.dL, Pfly, Prof.rick, Richman271, Rictus, Saatwik Katiha, Scheater5, Show no mercy, This, that and the other, 33 anonymous edits Harmonic seventh chord Source: http://en.wikipedia.org/w/index.php?oldid=556272873 Contributors: Bearcat, Georgia guy, Hyacinth, Jafeluv, Splitpeasoup, 6 anonymous edits Heptatonic scale Source: http://en.wikipedia.org/w/index.php?oldid=577008131 Contributors: ABehrens, Aathrey, Andeggs, Barak Sh, Carabinieri, Crazy Guitar, DannyMuse, Darkwind, Diannaa, DougsTech, ERcheck, Feline Hymnic, Hnjang810, Hyacinth, Joemaffei, Keenan Pepper, Kpufferfish, Ksyrie, Kukini, Mandarax, MatthewVanitas, Maurice Carbonaro, Michael Hardy, MrDarcy, MusicMaker5376, Noetica, Ornette, Rigadoun, S.dedalus, Sergei semenovich, Simonxag, TheScotch, Wahoofive, Yed79, 46 anonymous edits Hexatonic scale Source: http://en.wikipedia.org/w/index.php?oldid=565960513 Contributors: Acousticsoftombak, Andeggs, Beachboynicolas, Bernsteinp, Brianga, Can't sleep, clown will eat me, Celtic Minstrel, Chochopk, Crazy Guitar, Dbarclaymoore, Dominant7flat9, Fankhauserg, Feline Hymnic, Hearfourmewesique, Hyacinth, Iurigaspar, Japanese Searobin, Joanne McAllister, Jtkinnyc, KATANAGOD, Kelleyarau, Longhair, M.J.E., Magasjukur, NapoliRoma, NickJamesC, OddMNilsen, Raboof, Rigadoun, S.dedalus, Splitpeasoup, Tabletop, TheScotch, Wahoofive, Willy on Wheels (on wheels), Winkelschleifer, Δ, 48 anonymous edits Leading-tone Source: http://en.wikipedia.org/w/index.php?oldid=556852033 Contributors: Arthena, CXCV, Dysprosia, FraKctured, Georgia guy, Glogger, Hyacinth, J.F.Quackenbush, Jacj, Jafeluv, Janus303, Jerome Kohl, Josh Cherry, MegX, Pkirlin, Quesoman87, Rdb, Rigadoun, Viriditas, Wahoofive, Zoicon5, Zundark, 17 anonymous edits Lydian chord Source: http://en.wikipedia.org/w/index.php?oldid=578845336 Contributors: ChrisGualtieri, DYang5648, Fraggle81, Hyacinth, Jfran23, LODAHarvey, Lizia7, Mahlerlover1, Petrb, Steafen, Stykkis, William Avery, 3 anonymous edits Major chord Source: http://en.wikipedia.org/w/index.php?oldid=580589615 Contributors: Aiueorder, Andeggs, Arthena, Barista, BenFrantzDale, Bgwhite, Camembert, D6, David Kernow, Evanreyes, Ferbess, Gareth Griffith-Jones, Gringer, Heiko, Helder.wiki, Hyacinth, Jeff Dahl, Jtir, Kenrick95, Kpufferfish, Longhair, Philip Trueman, Rigadoun, Soulkeeper, Tangoman.fr, Tjako, Tscottp, Unimaginable666, 에멜무지로, 24 anonymous edits Major scale Source: http://en.wikipedia.org/w/index.php?oldid=574353432 Contributors: 28421u2232nfenfcenc, AVand, Adambro, Alphachimp, Angelicpanda, Anonymous Dissident, Antandrus, AugPi, Bdesham, Beetstra, Berekella, Bobby122, Bobo192, Bongwarrior, Breno, Brian787, Brockmvendors, BrownHairedGirl, Bryan Derksen, Bucketshred, CRGreathouse, Cahill1, Cheergurl167, Chris Capoccia, Chris Wood, Chrisswan23, Ciphers, Conversion script, CountMacula, Cralize, DChapii, Damicatz, DannyMuse, Deconstructhis, Deltabeignet, Double sharp, DragonofFire, Dysprosia, Eky-w-, El C, Fauban, Feline Hymnic, Filu, FordPrefect42, Garzo, Georgia guy, Gerbrant, Graham87, Hadal, Hyacinth, IW.HG, Icairns, Inner Earth, Jerome Kohl,
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Article Sources and Contributors Johnleemk, JonasHö, Jtxx000, Just plain Bill, Karkhaz, Keenan Pepper, Kelleyarau, Kleinzach, Krovisser, Kyz, Langren82, MER-C, Mage, MapsMan, Mate2code, Mathprog777, McSush, Merphant, Michael Angelkovich, Michael Devore, Mikebeatham, Minkus, Mizukahosen, Mohanr, Mscuthbert, Natedean, Neil9999, Nepenthes, Neurovelho, Nikai, Noetica, ONEder Boy, Oleg Alexandrov, Omicronpersei8, Ortonmc, OutOfTimer, Paolo.dL, Pete.Hurd, Pyre, Radon210, Rigadoun, RobertG, Roger Davies, Romainbehar, Romanm, Ronaldm, Rubinkumar, Scalelore, Sfiller, Shadowjams, Skusek, Slightsmile, SlubGlub, Sodium, Sotakeit, SteinbDJ, Sum0, Suprasanna, TYLER, Tarquin, The Transhumanist (AWB), Tide rolls, Tomaradze, Ultraviolet scissor flame, Unreal7, Utcursch, Vegaswikian, Venice85, Wahoofive, Waterfallsrus, Wyvern642, Yakudza, 343 anonymous edits Major seventh chord Source: http://en.wikipedia.org/w/index.php?oldid=578436591 Contributors: Access Denied, Andeggs, Chesemonkyloma, Christopher Parham, Fauban, FrigidNinja, Hyacinth, Kpufferfish, Mwasheim, Spettro9, Widr, 32 anonymous edits Mediant Source: http://en.wikipedia.org/w/index.php?oldid=564017042 Contributors: Aaronloughlin, Apus, Arthena, CXCV, Champaign, Charles Matthews, Chris Capoccia, Ddxc, FraKctured, Hyacinth, Icairns, MegX, Michael Hardy, MightyWarrior, Rigadoun, Sameboat, Schizodelight, Sjforman, Viames, Wahoofive, 21 anonymous edits Minor chord Source: http://en.wikipedia.org/w/index.php?oldid=580125287 Contributors: Aiueorder, Andeggs, Another Stickler, BenFrantzDale, Camembert, D6, DChapii, David Kernow, Fibonacci, Huw Powell, Hyacinth, Jtir, Kpufferfish, LilHelpa, Miss Madeline, Panterdjuret, PhnomPencil, Queenmomcat, RandyKaelber, Revolver, Rigadoun, Rigaudon, Sietse Snel, SkyCaptain, Tangoman.fr, Tjako, Tscottp, 에멜무지로, 21 anonymous edits Minor major seventh chord Source: http://en.wikipedia.org/w/index.php?oldid=581254998 Contributors: Avalon, Avitya, CPGACoast, Danger, Dr. Blofeld, Dulciepercy, Fauban, Fratrep, Georgia guy, Hyacinth, Ixfd64, Jafeluv, John of Reading, Kpufferfish, Lainagier, Matt Adore, Mild Bill Hiccup, Paolo.dL, Pearle, Peterdjones, Rich Farmbrough, Rictus, Scheater5, ShelfSkewed, 28 anonymous edits Minor seventh chord Source: http://en.wikipedia.org/w/index.php?oldid=578436891 Contributors: Georgia guy, Gottmilk, Hoo man, Hyacinth, Kpufferfish, Nigel Napalm, Spinality, TFJamMan, 7 anonymous edits Mixed-interval chord Source: http://en.wikipedia.org/w/index.php?oldid=579560681 Contributors: Avocado, Beobach972, Fraggle81, HGB, Hyacinth, Jonnabuz, Mahlerlover1, S.dedalus, Wahoofive, 1 anonymous edits Monotonic scale Source: http://en.wikipedia.org/w/index.php?oldid=551681877 Contributors: Alex299006, Biruitorul, Hyacinth, Jerome Kohl, MatthewVanitas Neapolitan chord Source: http://en.wikipedia.org/w/index.php?oldid=562513639 Contributors: Ampasternock, Antandrus, Avinesh, Bcrowell, Blehfu, Chinasaur, Chris the speller, Ckerr, CyborgTosser, Dmr2, Double sharp, FordPrefect42, Gpjordan42, Graham87, Hyacinth, Japanese Searobin, Jeffrey Blinks, Jzmckay, Ken Gallager, Klausthemusician, Lunakeet, M.J.E., Mandojack, MatrixFrog, Missmarple, Ninly, Noetica, OboeCrack, Rigadoun, Rjwilmsi, RobertG, Sabbetius, Schnolle, Scottbmurphy, Sergeyy, Sfan00 IMG, Srnec, Stev17, TimNelson, Timneu22, Tony1, TotalFailure, Woohookitty, Zoicon5, 31 anonymous edits Ninth chord Source: http://en.wikipedia.org/w/index.php?oldid=565769010 Contributors: DannyMuse, E1r2i3c1, Fauban, Hyacinth, InnocuousPseudonym, MorphismOfDoom, Swfarnsworth, Tremolo, 7 anonymous edits Nondominant seventh chord Source: http://en.wikipedia.org/w/index.php?oldid=503460845 Contributors: CPGACoast, DannyMuse, Hyacinth, 1 anonymous edits Octatonic scale Source: http://en.wikipedia.org/w/index.php?oldid=584859783 Contributors: Al Pereira, Americanoperastudies, Andeggs, Antandrus, Blehfu, Bobo192, BrianHayesMusic, Brndnbrndn, Bucketshred, Cc21002, Cherkash, ChrisGualtieri, Dave Bass, Dcattell, Delirium, Dissolve, Double sharp, Dr McV, El C, Emre D., FayssalF, Feline Hymnic, Gaius Cornelius, Ggklein, Giggidy, Glenn Magus Harvey, Hyacinth, Impy4ever, JosephGroot, Justlettersandnumbers, Keenan Pepper, Ken Gallager, Khazar2, Kiefer.Wolfowitz, LilHelpa, MER-C, Mboverload, Michael Bednarek, Oliphaunt, Oliverdl, Oxymoron83, Prof.rick, PuzzletChung, Rainwarrior, Reconsider the static, Redheylin, Richard Cohn, Rigadoun, S.dedalus, Schlafwachstoerungen, SecretTheatre, Shafticus, Spamguy, Special-T, Taylordonaldson, TheScotch, Tomaxer, Whig, WikHead, Wikipeditor, 83 anonymous edits Passing chord Source: http://en.wikipedia.org/w/index.php?oldid=580726874 Contributors: Adavidb, Hyacinth, Mandarax, Weedwhacker128, 1 anonymous edits Pentatonic scale Source: http://en.wikipedia.org/w/index.php?oldid=583911849 Contributors: A. Parrot, Abbabash, Ace Class Shadow, Ahoerstemeier, Alan Peakall, Ameobea, Andeggs, Andres, AndyNewton, Andycjp, Anicholo, Anthiety, Apengineering, Arthena, AstroHurricane001, Atilano I, Basemetal, Bdudman, BoydellandBrewer, Brumleygap, Bucketsofg, CLW, Camembert, Captain panda, Carlsmith, Charlesjustice, ChrisGualtieri, ChrisHodgesUK, Christyfisher, Ctone36, DVD R W, Dardanos, David Souther, David.Monniaux, Deceptionpassfoundation, Deltabeignet, Derumi, Dimitrii, Double sharp, Ds13, Dsw4, Dysprosia, Edwatson1971, Elert, Elroch, Everyking, Fdssdf, Feanaro, Feline Hymnic, Ff1959, Fibonacci, Figma, Fladrif, FordPrefect42, Fraggle81, Gaius Cornelius, Garkbit, Garrettk, Garyzx, George Leung, Gerbrant, Gernreich, Glogger, Graham87, Grstain, Guitaristhelp, Ha Hyun Joon, Hairy Dude, Halcatalyst, Hbent, Heavynash, Hgilbert, Hrdinský, Hyacinth, Ihartnyc, Insanity Incarnate, Ixkeys, J. Marshall Bevil, Ph.D., J.delanoy, JackofOz, Jakew, Jaxl, Jbenhill, Jcw69, Jerome Kohl, Jjveloria, Jmlk17, Joey-das-WBF, Jongleur100, Jptwo, Just plain Bill, Kaneyboi-12, Keenan Pepper, L Kensington, Latebird, LeaveSleaves, Leon math, LilHelpa, Lswartz, Lunisneko, Lwyx, MJHAT, Macedonian, Magister Mathematicae, Malangali, Malo, Matthew hk, MatthewVanitas, MementoVivere, Mendaliv, Merphant, Midwestmax, Minimac, Miquonranger03, Mishka.medvezhonok, Miss Madeline, Missmarple, Mllefifi, Mussapedia, Möchtegern, NYArtsnWords, Neonkick, Nikai, Noetica, Normanmargolus, OldSpot61, Oliphaunt, OllieFury, Omicronpersei8, Opus33, P1h3r1e3d13, PJM, PanLover, Patriarch, Peterdjones, Philip Trueman, Pigman, Pinethicket, Plasticup, Qwfp, RJSchmitt, Raoul NK, Rcaetano, Redheylin, Rheostatik, Rigadoun, Rigaudon, Ringurrangu, Robertgreer, Ronhjones, Rune.welsh, Sam, Scalelore, ShelfSkewed, Shmacka, Sigurd Dragon Slayer, Sketchee, Skusek, Sluzzelin, Stephen Burnett, Tarquin, The Thing That Should Not Be, TheScotch, TheSeanWilson, Thine Antique Pen, Tolly4bolly, Tomaxer, Topbanana, Turangalila, Ufwuct, Unimath, Unyoyega, Viames, Vpadmana, W123, Wahoofive, Watergoose, Weedwhacker128, Why Not A Duck, Zundark, 432 anonymous edits Polychord Source: http://en.wikipedia.org/w/index.php?oldid=551835423 Contributors: Allen3, Bfinn, David Kernow, Gurch, Hearfourmewesique, HexaChord, Hyacinth, Khazar, Merovingian, S.dedalus, Stephenchou0722, Theelf29, 9 anonymous edits Primary triad Source: http://en.wikipedia.org/w/index.php?oldid=580608674 Contributors: Adavidb, Hyacinth, Kleinzach, Mahlerlover1, TudorTulok, 4 anonymous edits Quartal and quintal harmony Source: http://en.wikipedia.org/w/index.php?oldid=573110944 Contributors: 4twenty42o, Allansteel, Annelid, Basemetal, Ben Tibbetts, Biologos, Blehfu, Bobblehead, Boris Fernbacher, Bucketshred, Chris83, ChrisGualtieri, CommonsDelinker, David Kernow, Deeperknowledge22, Dratman, Dwadrum, Ed g2s, El C, Ergative rlt, Eric Wester, Feline Hymnic, Flyte35, Gaius Cornelius, Graham87, GuillaumeTell, Hyacinth, Impy4ever, J.Gowers, JackofOz, Jafeluv, Jashiin, Jerome Kohl, John, Jubileeclipman, Keenan Pepper, Keesiewonder, Ken Gallager, Kiefer.Wolfowitz, Kisch, Lagringa, Lanthanum-138, Leonardo Teixeira de Oliveira, LilHelpa, MER-C, Mahlerlover1, MarkBuckles, MatthewVanitas, Mboverload, MegX, Melesse, Mild Bill Hiccup, Ninly, Ntsimp, PKT, Pfistermeister, PhilKnight, Porsenna1, Quantpole, R Lowry, Rainwarrior, Redheylin, Rholton, Richman271, Rigaudon, Riggr Mortis, Rjwilmsi, S.dedalus, Sluzzelin, Snader, Squandermania, Stratford15, Stusutcliffe, TarisWerewolf, Taylordonaldson, Tropylium, TruthbringerToronto, Tsongur, Violncello, Wahoofive, Witchwooder, Woohookitty, Ynhockey, Zoicon5, 60 anonymous edits Scale (music) Source: http://en.wikipedia.org/w/index.php?oldid=583905683 Contributors: -- April, 48states, 81403sk, Abanima, Abeg92, Aerist, AliaGemma, Anaxial, Andeggs, Andre Engels, Andrea105, Andres, AndrewGastler, AndrewWTaylor, Androl, Another Stickler, Anskas, Antandrus, AstroHurricane001, Avoided, Backfromquadrangle, Badseed, Balster neb, BigFatBuddha, Blue bear sd, Bobet, Bookandcoffee, Bradfordalderman, Btcurrell, Burn, Camembert, Celtic Minstrel, Cgettel, Christian75, Chrumps, Commator, Common Man, Coolalgie, Cooltae, Dan100, Delicious carbuncle, Dicklyon, Discospinster, Dpotter, E Wing, EPM, Ed g2s, EdChem, Elocutus, Emmagcohen, Enchanter, Epbr123, Erget2005, Eritain, EryZ, Explicit, FayssalF, Fede.Campana, Feline Hymnic, Ferdinand Pienaar, FinalRapture, Flubeca, FordPrefect42, Fram, Frank Zamjatin, Fratrep, Frze, Furrykef, Fursday, Garzo, Gilliam, Glenn, Guaka, Gwalla, Hairy Dude, Hikitsurisan, Hmains, Hobartimus, Houtlijm, Hubbadubbadoobadubba, Hyacinth, Hyteqsystems, IGGR, II MusLiM HyBRiD II, Icairns, Insanity Incarnate, Inter16, Invent2HelpAll, Iste Praetor, J.F.Quackenbush, Jakew, Jenks24, Jerome Kohl, Jillzilla, Jim1138, Jimp, Jnestorius, John254, Jonadin93, Jonargue, Josieandthepussycats, Jozyaltidore101, Jptwo, Junglecat, Just plain Bill, Justlettersandnumbers, Karl E. V. Palmen, Karl Palmen, Karol Langner, Kbdank71, Keenan Pepper, Keyplyr, Killiondude, Kjlewis, Leonardo bachtiar, Loginnigol, Look Busy, Loonatyk, Lugia2453, Luigifan, MC Scared of Bees, MER-C, MJHAT, Magnus Manske, Mahlerlover1, Mate2code, Matt Deres, MatthewVanitas, Meepster, Mentroiez, Merphant, Michael Bednarek, Michael Hardy, Mifter, Miguel, Mild Bill Hiccup, Mindspillage, Mion, Missmarple, Mr Stephen, Mr. Lefty, Musiphil, NHRHS2010, Nakon, Nathanael Bar-Aur L., Nealmcb, Nezonis, Nihil, Nikai, Njarl, No-Bullet, Noah Salzman, Noblegoose, Noetica, Nomenclator, Numbo3, ONEder Boy, Oblivious, Outdepth, Ozzykhan, PS4FA, Pallekar, Paolo.dL, PeterisP, Pgan002, Pigman, Pinethicket, Piuskerala, Pol098, Prsephone1674, PuzzletChung, Qutezuce, Rabidsnakemonkey, Rainwarrior, Raoul NK, Redheylin, Richardj311, Richfife, Rigaudon, Rivertorch, Roberta F., Robertinventor, Rror, SBN4004, SDC, Sault, Scalelore, Shirt58, Shoeofdeath, Skusek, Sljaxon, Spada2, Stephen Burnett, Styrofoam1994, Suisui, Svick, Tarquin, Tassedethe, Tempodivalse, The Black Notes, The Thing That Should Not Be, The Transhumanist (AWB), Thenthorn, Thincat, Tide rolls, Timneu22, Timrem, Tnfros, Tosar, Txebixev, Tymoczko, Uranium grenade, User At Work, Utcursch, V44sandy, Versus22, Vervin, Viames, Wahoofive, Wavelength, Who, Widr, Wiki alf, Wikihelpdesk, Wipfeln, Woodshed, Woodstone, Wordie, Xic667, Yala0, Yamamoto Ichiro, Zoicon5, 398 anonymous edits Secondary dominant Source: http://en.wikipedia.org/w/index.php?oldid=559343586 Contributors: Ampasternock, Bdesham, Bradfordalderman, Camembert, Chuck38, Composer333, Cspeer, David Kernow, Dbolton, Dr-t, Dysprosia, Fugueman, Grafen, GreyCat, Hearfourmewesique, Hyacinth, J04n, Jaxelrod, Jerome Kohl, Jimfbleak, Luv4dakop, Mahlerlover1, Materialscientist, Mgclapé, Opus33, Richman271, Rigadoun, Schutz, Shoemaker's Holiday, Skipfree, Starwiz, Stratford15, Tafkam, Tastemyhouse, Tgies, That Guy, From That Show!, The wisher, TudorTulok, Violncello, Wareh, X!, Zoicon5, 46 anonymous edits
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Article Sources and Contributors Secondary leading-tone chord Source: http://en.wikipedia.org/w/index.php?oldid=573412478 Contributors: Hyacinth, 3 anonymous edits Secondary supertonic chord Source: http://en.wikipedia.org/w/index.php?oldid=559343200 Contributors: Hyacinth Seven six chord Source: http://en.wikipedia.org/w/index.php?oldid=520868505 Contributors: Hyacinth Sixth chord Source: http://en.wikipedia.org/w/index.php?oldid=540846202 Contributors: AstroPig7, CPGACoast, Cbare, Chinasaur, Chochopk, DavidRF, Espoo, Gaius Cornelius, Gingermint, Hyacinth, Japanese Searobin, Koro Neil, Lpgeffen, P0mbal, Paolo.dL, Peterdjones, Rigadoun, RoadTrain, SirWraith, Spinality, Tevildo, Therealdantheman, Titoxd, Tomcool, Trev M, 15 anonymous edits Subdominant Source: http://en.wikipedia.org/w/index.php?oldid=556851982 Contributors: Al Silonov, Arthena, Avitya, Avjoska, Billbc, Camembert, Chris Capoccia, CountMacula, Dbolton, Eranb, Georgia guy, Hermione1980, Hyacinth, KenFehling, Laudaka, MightyWarrior, Muffin, Opus33, Rigadoun, Rocketrod1960, ST47, Schizodelight, Thegreenj, Tim Starling, TotalFailure, Viames, Wikidan81, Woohookitty, Zoicon5, 22 anonymous edits Submediant Source: http://en.wikipedia.org/w/index.php?oldid=556852010 Contributors: Aclamicela, Arthena, Avitya, CXCV, Champaign, Chris Capoccia, DavidRF, Georgia guy, Hyacinth, Jafeluv, Jonadin93, Lanthanum-138, MegX, Purplebackpack89, Rachel1, Rigadoun, Schizodelight, SlubGlub, TheParanoidOne, Viames, Wahoofive, Zxjams, 18 anonymous edits Subsidiary chord Source: http://en.wikipedia.org/w/index.php?oldid=542649761 Contributors: Hyacinth, Kleinzach, Lainagier, 2 anonymous edits Subtonic Source: http://en.wikipedia.org/w/index.php?oldid=567441667 Contributors: Arthena, Baltro, Bib-lost, BobbyBoykin, Canthusus, Chris Capoccia, ChrisGualtieri, Glenn Magus Harvey, Gregory dj, Hyacinth, Jazz+, Jerome Kohl, Levidaviscolorado, Mahlerlover1, Matt Hellige, Missmarple, Paul Foxworthy, Petitprince, Pkirlin, Rigadoun, Schizodelight, SteinbDJ, TheParanoidOne, Txebixev, Wahoofive, 12 anonymous edits Supertonic Source: http://en.wikipedia.org/w/index.php?oldid=556851955 Contributors: 75th Trombone, Adj08, Arthena, Bdesham, Bielle, CXCV, Chicagosage, Chris Capoccia, DChapii, DavidConrad, Factotum, Fauban, Fede.Campana, Fretsource, Georgia guy, GiantBucket, Hyacinth, Icairns, Obelix83, PhnomPencil, Red Slash, Rigadoun, Schizodelight, Schnolle, Sluzzelin, Squandermania, Viames, Wahoofive, 에멜무지로, 34 anonymous edits Suspended chord Source: http://en.wikipedia.org/w/index.php?oldid=578260542 Contributors: APenella, Adavidb, AstroHurricane001, AtypicalIC, Chris Capoccia, ChrisGualtieri, Davehi1, Dickdock, GoingBatty, Hahampuusi, Hearfourmewesique, Hschroy, Hyacinth, Jafeluv, Jagun, Jevansen, Justlettersandnumbers, Kpufferfish, Mad Bill, Neil9999, Nutshack1, Oolong, Pete Hobbs, Rainwarrior, Rigadoun, Riqiv23, Rodri316, Satori, Scenicmusic, Se24xxx, Silversatellite, SlubGlub, Stebbins, Tassedethe, Tjako, Trev M, Trisweb, Uisqebaugh, Wareh, Woohookitty, 20 anonymous edits Synthetic chord Source: http://en.wikipedia.org/w/index.php?oldid=560420351 Contributors: Hyacinth, Kleinzach, Lainagier, M.J.E., Mahlerlover1, MegA, S.dedalus, Shape84 Tetratonic scale Source: http://en.wikipedia.org/w/index.php?oldid=549844440 Contributors: Alex299006, Hyacinth, Jerome Kohl, Magioladitis, MatthewVanitas Thirteenth Source: http://en.wikipedia.org/w/index.php?oldid=577661238 Contributors: Adavidb, Amber388, Andeggs, Andres, Andycjp, Avitya, Blehfu, CardinalDan, Carlco, Cote d'Azur, Cruccone, Dave.Dunford, David Kernow, Grafen, Hearfourmewesique, Hyacinth, MakeRocketGoNow, R'n'B, Redheylin, RenamedUser01302013, Rigadoun, ShelfSkewed, Steadinan, Svpagliuca, Theelf29, Wahoofive, Werieth, Wikidan81, ТимофейЛееСуда, 30 anonymous edits Tone cluster Source: http://en.wikipedia.org/w/index.php?oldid=577516915 Contributors: A4, Alton, Avitya, BD2412, Badagnani, Bhuston, Brian G. Wilson, Burgulization, Calliopejen1, Camembert, Christian75, Christopherjfoster, Conrad.Irwin, DCGeist, Danny, David Kernow, DavidRF, Dgw, DonAByrd, Double sharp, Dpotter, Dysprosia, Esprit15d, GeorgesSimenon, Gurch, Hearfourmewesique, Helge Skjeveland, Hyacinth, J Milburn, Jeroent, Jerome Kohl, Jlhughes, Koavf, Kropotkine 113, Logixoul, M.J.E., Mandarax, Moreschi, Mr0t1633, Nehrams2020, Notreallydavid, Pgeisler21, PhnomPencil, PuzzletChung, Quibik, Rainwarrior, Richard cocks, Richman271, Rigadoun, Rjwilmsi, RobertKennesy, Rockivist, S.dedalus, SexyBern, Squandermania, Squids and Chips, Tassedethe, Tjako, Toccata quarta, Tomwsulcer, Tony1, TrbleClef, Twisted86, Ugajin, Upholder, Wahoofive, Warut, 35 anonymous edits Tonic (music) Source: http://en.wikipedia.org/w/index.php?oldid=556851947 Contributors: Adambiswanger1, Alton, Arthena, Avitya, BiT, Camembert, Chris Capoccia, ChrisGualtieri, Cmdrjameson, Cobain, CountMacula, Devin.chaloux, Dthem 2000, Dysprosia, Eky-w-, Fauban, Fjarlq, Georgia guy, Goregore, Hyacinth, Ioscius, Jaknouse, Jauhienij, Javit, Karl E. V. Palmen, Karl Palmen, Keegscee, L Kensington, Laurel Bush, Looxix, Mahlerlover1, Makemi, Matt314, Merphant, Missmarple, Muffin, OktoberStorm, Pasky, PaulEGirard, Pr0t0type, Random account 47, Rigadoun, Rigaudon, Schnolle, SeanAhern, Spettro9, Stephenchou0722, StradivariusTV, WadeSimMiser, Wst, Zanaq, 54 anonymous edits Upper structure Source: http://en.wikipedia.org/w/index.php?oldid=572331904 Contributors: Ajrdileva, Atpal, Dr McV, Etalmor, Guy Hatton, Hearfourmewesique, Hyacinth, Ifnord, JeLuF, Paolo.dL, Pauljhenning, SimonP, Zundark, 15 anonymous edits
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Image Sources, Licenses and Contributors
Image Sources, Licenses and Contributors file:Unaltered chord progression.PNG Source: http://en.wikipedia.org/w/index.php?title=File:Unaltered_chord_progression.PNG License: GNU Free Documentation License Contributors: Hyacinth (talk) File:Loudspeaker.svg Source: http://en.wikipedia.org/w/index.php?title=File:Loudspeaker.svg License: Public Domain Contributors: Bayo, Frank C. Müller, Gmaxwell, Gnosygnu, Husky, Iamunknown, Mirithing, Myself488, Nethac DIU, Nixón, Omegatron, Rocket000, Shanmugamp7, Snow Blizzard, The Evil IP address, Túrelio, Wouterhagens, 28 anonymous edits file:Altered chord progression.PNG Source: http://en.wikipedia.org/w/index.php?title=File:Altered_chord_progression.PNG License: GNU Free Documentation License Contributors: User:sreejithk2000 Image:G7alt chord.png Source: http://en.wikipedia.org/w/index.php?title=File:G7alt_chord.png License: GNU Free Documentation License Contributors: User:Ronhjones Image:Altered chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Altered_chord_on_C.png License: GNU Free Documentation License Contributors: Hyacinth Image:Db7sharp11 chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Db7sharp11_chord.png License: GNU Free Documentation License Contributors: Hyacinth Image:Tritone substitution and altered chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Tritone_substitution_and_altered_chord.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Doubleflat.svg Source: http://en.wikipedia.org/w/index.php?title=File:Doubleflat.svg License: Public Domain Contributors: Aotake, Hyacinth, Spiritia Image:Altered dominant chord C major.PNG Source: http://en.wikipedia.org/w/index.php?title=File:Altered_dominant_chord_C_major.PNG License: GNU Free Documentation License Contributors: Hyacinth at en.wikipedia Image:Dominant seventh flat five chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Dominant_seventh_flat_five_chord_on_C.png License: GNU Free Documentation License Contributors: Hyacinth (talk). Original uploader was Hyacinth at en.wikipedia Image:Altered chord progression jazz.png Source: http://en.wikipedia.org/w/index.php?title=File:Altered_chord_progression_jazz.png License: GNU Free Documentation License Contributors: Hyacinth Image:Augmented dominant seventh chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Augmented_dominant_seventh_chord.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) using Sibelius 5. Image:Chopin - Sonata, Op. 35, I augmented seventh chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Chopin_-_Sonata,_Op._35,_I_augmented_seventh_chord.png License: Public Domain Contributors: Hyacinth Image:Franck - Symphonic Variations augmented seventh chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Franck_-_Symphonic_Variations_augmented_seventh_chord.png License: Public Domain Contributors: Hyacinth File:Scale_deg_2.svg Source: http://en.wikipedia.org/w/index.php?title=File:Scale_deg_2.svg License: Creative Commons Attribution-ShareAlike 3.0 Unported Contributors: Mscuthbert File:I-vi-ii-V turnaround in G.png Source: http://en.wikipedia.org/w/index.php?title=File:I-vi-ii-V_turnaround_in_G.png License: GNU Free Documentation License Contributors: Original uploader was Hyacinth at en.wikipedia File:Approach chords in G.png Source: http://en.wikipedia.org/w/index.php?title=File:Approach_chords_in_G.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Turnaround in F.png Source: http://en.wikipedia.org/w/index.php?title=File:Turnaround_in_F.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 07:17, 12 December 2010 using Sibelius 5. File:Approach chords in F.png Source: http://en.wikipedia.org/w/index.php?title=File:Approach_chords_in_F.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Augmented major seventh chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Augmented_major_seventh_chord_on_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) using Sibelius. File:III+7M chord in C minor.png Source: http://en.wikipedia.org/w/index.php?title=File:III+7M_chord_in_C_minor.png License: GNU Free Documentation License Contributors: Hyacinth File:DoubleSharp.svg Source: http://en.wikipedia.org/w/index.php?title=File:DoubleSharp.svg License: GNU Free Documentation License Contributors: っ File:Augmented dominant seventh chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Augmented_dominant_seventh_chord.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) using Sibelius 5. File:Chord-scale C+7 and C whole tone.png Source: http://en.wikipedia.org/w/index.php?title=File:Chord-scale_C+7_and_C_whole_tone.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 20:29, 10 July 2009 using Sibelius 5. File:Augmented seventh chord resolution in C major.png Source: http://en.wikipedia.org/w/index.php?title=File:Augmented_seventh_chord_resolution_in_C_major.png License: GNU Free Documentation License Contributors: Hyacinth File:Aug6interval.png Source: http://en.wikipedia.org/w/index.php?title=File:Aug6interval.png License: Public Domain Contributors: Original uploader was Wahoofive at en.wikipedia File:Most common augmented sixth chords.png Source: http://en.wikipedia.org/w/index.php?title=File:Most_common_augmented_sixth_chords.png License: Creative Commons Attribution-Sharealike 3.0 Contributors: User:Fauban File:ItalianSixth.png Source: http://en.wikipedia.org/w/index.php?title=File:ItalianSixth.png License: Public Domain Contributors: Fuebar, Hyacinth, Wahoofive File:BeethovenOp78.png Source: http://en.wikipedia.org/w/index.php?title=File:BeethovenOp78.png License: Public Domain Contributors: Fuebar, Hyacinth, Wahoofive File:FrenchSixth.png Source: http://en.wikipedia.org/w/index.php?title=File:FrenchSixth.png License: Public Domain Contributors: User:Wahoofive File:GermanSixth.png Source: http://en.wikipedia.org/w/index.php?title=File:GermanSixth.png License: Public domain Contributors: User:Ronhjones File:GermanSixth64.png Source: http://en.wikipedia.org/w/index.php?title=File:GermanSixth64.png License: Public domain Contributors: User:Ronhjones File:DoublyAugmentedFourth.png Source: http://en.wikipedia.org/w/index.php?title=File:DoublyAugmentedFourth.png License: Public Domain Contributors: Fuebar, Wahoofive File:M Haydn - German sixth chord.jpg Source: http://en.wikipedia.org/w/index.php?title=File:M_Haydn_-_German_sixth_chord.jpg License: Public Domain Contributors: Michael Haydn. Original uploader was FraKctured at en.wikipedia. Later version(s) were uploaded by Jovianeye at en.wikipedia. File:Excerpt from Bach's Mass in B Minor.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Excerpt_from_Bach's_Mass_in_B_Minor.jpg License: Public Domain Contributors: Original uploader was Wahoofive at en.wikipedia. Later version(s) were uploaded by Jovianeye at en.wikipedia. File:Augmented 6th cord roots according to Simon Sechter.png Source: http://en.wikipedia.org/w/index.php?title=File:Augmented_6th_cord_roots_according_to_Simon_Sechter.png License: Creative Commons Attribution-Sharealike 3.0 Contributors: User:Fauban File:Aug 6ths Tchaikovsky.png Source: http://en.wikipedia.org/w/index.php?title=File:Aug_6ths_Tchaikovsky.png License: Creative Commons Attribution-Sharealike 3.0 Contributors: Fauban File:SchubertAug6.png Source: http://en.wikipedia.org/w/index.php?title=File:SchubertAug6.png License: Public Domain Contributors: User:Magnus Manske File:Tritone substitutions.png Source: http://en.wikipedia.org/w/index.php?title=File:Tritone_substitutions.png License: GNU Free Documentation License Contributors: Alex299006, Hyacinth, Matanya, Mgclapé File:German sixth equals dominant seventh.png Source: http://en.wikipedia.org/w/index.php?title=File:German_sixth_equals_dominant_seventh.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Irregular resolution through augmented sixth equivalence.png Source: http://en.wikipedia.org/w/index.php?title=File:Irregular_resolution_through_augmented_sixth_equivalence.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) using Sibelius 5. File:Tristanchord.png Source: http://en.wikipedia.org/w/index.php?title=File:Tristanchord.png License: Public Domain Contributors: Fuebar, Wahoofive Image:Augmented triad on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Augmented_triad_on_C.png License: GNU Free Documentation License Contributors: User:SreeBot Image:bIII+.png Source: http://en.wikipedia.org/w/index.php?title=File:BIII+.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:bIII+ as dominant substitute.png Source: http://en.wikipedia.org/w/index.php?title=File:BIII+_as_dominant_substitute.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Augmented chord from chromatic passing motion.png Source: http://en.wikipedia.org/w/index.php?title=File:Augmented_chord_from_chromatic_passing_motion.png License: GNU Free Documentation License Contributors: User:Hyacinth File:BVII borrowed chord in C major.png Source: http://en.wikipedia.org/w/index.php?title=File:BVII_borrowed_chord_in_C_major.png License: GNU Free Documentation License Contributors: Hyacinth
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Image Sources, Licenses and Contributors Image:Borrowed chords 1b.gif Source: http://en.wikipedia.org/w/index.php?title=File:Borrowed_chords_1b.gif License: Public Domain Contributors: Downdog, Hyacinth Image:Borrowed chords 2.gif Source: http://en.wikipedia.org/w/index.php?title=File:Borrowed_chords_2.gif License: Public Domain Contributors: Downdog, Hyacinth File:I bVII bVI bVII in C.png Source: http://en.wikipedia.org/w/index.php?title=File:I_bVII_bVI_bVII_in_C.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Backdoor progression in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Backdoor_progression_in_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 12:09, 12 December 2010 using Sibelius and Preview. Image:Chromatic mediants in C major and a minor.png Source: http://en.wikipedia.org/w/index.php?title=File:Chromatic_mediants_in_C_major_and_a_minor.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Secondary dominant vs. chromatic mediant.png Source: http://en.wikipedia.org/w/index.php?title=File:Secondary_dominant_vs._chromatic_mediant.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Chromatic mediant from Tchaikovsky's Chant sans paroles mm. 43-45.png Source: http://en.wikipedia.org/w/index.php?title=File:Chromatic_mediant_from_Tchaikovsky's_Chant_sans_paroles_mm._43-45.png License: Public Domain Contributors: Hyacinth (talk) File:Common chord in G, D, and A.png Source: http://en.wikipedia.org/w/index.php?title=File:Common_chord_in_G,_D,_and_A.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Contrast chord example.png Source: http://en.wikipedia.org/w/index.php?title=File:Contrast_chord_example.png License: GNU Free Documentation License Contributors: Hyacinth, Magog the Ogre Image:Major Leittonwechselklänge.png Source: http://en.wikipedia.org/w/index.php?title=File:Major_Leittonwechselklänge.png License: GNU Free Documentation License Contributors: Hyacinth Image:Minor Leittonwechselklänge.png Source: http://en.wikipedia.org/w/index.php?title=File:Minor_Leittonwechselklänge.png License: GNU Free Documentation License Contributors: Hyacinth, Magog the Ogre File:Diminished major seventh chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Diminished_major_seventh_chord_on_C.png License: GNU Free Documentation License Contributors: Hyacinth Image:Diminished seventh chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Diminished_seventh_chord_on_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) using Sibelius. Image:Diminished7thandMinor9thComparison.png Source: http://en.wikipedia.org/w/index.php?title=File:Diminished7thandMinor9thComparison.png License: Creative Commons Attribution 2.5 Contributors: User:718 Bot Image:Diminished seventh chord resolution.png Source: http://en.wikipedia.org/w/index.php?title=File:Diminished_seventh_chord_resolution.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) using Sibelius 5. Image:Alpha chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Alpha_chord.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 22:58, 3 May 2010 using Sibelius 5. Image:Sharpened subdominant with diminished seventh chord in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Sharpened_subdominant_with_diminished_seventh_chord_in_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) using Sibelius 5. Image:Sharpened subdominant with diminished seventh chord progression in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Sharpened_subdominant_with_diminished_seventh_chord_progression_in_C.png License: GNU Free Documentation License Contributors: Hyacinth (talk) Image:Supertonic diminished seventh chord in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Supertonic_diminished_seventh_chord_in_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) using Sibelius 5. Image:Sharp IIdim7 as dominant substitute with tonic chord substitution.png Source: http://en.wikipedia.org/w/index.php?title=File:Sharp_IIdim7_as_dominant_substitute_with_tonic_chord_substitution.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Common-tone diminished seventh chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Common-tone_diminished_seventh_chord.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Diminished seventh to dominant cadence.png Source: http://en.wikipedia.org/w/index.php?title=File:Diminished_seventh_to_dominant_cadence.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) using Sibelius 5. Image:Diminished seventh chord on C supposed root.png Source: http://en.wikipedia.org/w/index.php?title=File:Diminished_seventh_chord_on_C_supposed_root.png License: GNU Free Documentation License Contributors: Hyacinth Image:Diminished seventh chord incomplete ninth in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Diminished_seventh_chord_incomplete_ninth_in_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) using Sibelius 5. File:Llpd-3.svg Source: http://en.wikipedia.org/w/index.php?title=File:Llpd-3.svg License: Public Domain Contributors: Papy77 Image:Diminished seventh chord on C enharmonic.png Source: http://en.wikipedia.org/w/index.php?title=File:Diminished_seventh_chord_on_C_enharmonic.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) using Sibelius 5. Image:Diminished seventh modulation.png Source: http://en.wikipedia.org/w/index.php?title=File:Diminished_seventh_modulation.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) using Sibelius 5. Image:Diminished triad on B.png Source: http://en.wikipedia.org/w/index.php?title=File:Diminished_triad_on_B.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) using Sibelius. Image:Incomplete dominant seventh chord in C major.png Source: http://en.wikipedia.org/w/index.php?title=File:Incomplete_dominant_seventh_chord_in_C_major.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Diminished triad on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Diminished_triad_on_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) using Sibelius. Image:iidim6 in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Iidim6_in_C.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Bach - WTC I, Prelude in G Major diminished chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Bach_-_WTC_I,_Prelude_in_G_Major_diminished_chord.png License: Public Domain Contributors: Hyacinth Image:Dominant and tonic in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Dominant_and_tonic_in_C.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Progresión quintas.png Source: http://en.wikipedia.org/w/index.php?title=File:Progresión_quintas.png License: GNU Free Documentation License Contributors: Hyacinth Image:Dominant form chords.png Source: http://en.wikipedia.org/w/index.php?title=File:Dominant_form_chords.png License: Creative Commons Attribution-Sharealike 3.0 Contributors: User:Hyacinth File:Ii-V-I turnaround in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Ii-V-I_turnaround_in_C.png License: GNU Free Documentation License Contributors: Hyacinth File:Circle of fifths deluxe 4.svg Source: http://en.wikipedia.org/w/index.php?title=File:Circle_of_fifths_deluxe_4.svg License: GNU Free Documentation License Contributors: Just plain Bill Image:Dominant modulation Haydn Symphony in C Major No. 97.png Source: http://en.wikipedia.org/w/index.php?title=File:Dominant_modulation_Haydn_Symphony_in_C_Major_No._97.png License: Public Domain Contributors: User:Hyacinth File:Dominant seventh chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Dominant_seventh_chord_on_C.png License: GNU Free Documentation License Contributors: A1, Alex299006, Foroa, Hyacinth File:Dominant seventh in C major.png Source: http://en.wikipedia.org/w/index.php?title=File:Dominant_seventh_in_C_major.png License: GNU Free Documentation License Contributors: Created by User:Hyacinth 04:06, 7 December 2010 using Sibelius. File:V7-I resolution.png Source: http://en.wikipedia.org/w/index.php?title=File:V7-I_resolution.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Beethoven - Piano Sonata in B-flat major, Op. 22 - dominant seventh.png Source: http://en.wikipedia.org/w/index.php?title=File:Beethoven_-_Piano_Sonata_in_B-flat_major,_Op._22_-_dominant_seventh.png License: Public Domain Contributors: User:Hyacinth
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Image Sources, Licenses and Contributors File:V of V in C four-part harmony.png Source: http://en.wikipedia.org/w/index.php?title=File:V_of_V_in_C_four-part_harmony.png License: Creative Commons Attribution-Sharealike 3.0 Contributors: Hyacinth File:Harmonic seventh chord just on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Harmonic_seventh_chord_just_on_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 02:38, 29 November 2010 in Sibelius. File:Monteverdi Lamento d'Arianna dominant seventh.png Source: http://en.wikipedia.org/w/index.php?title=File:Monteverdi_Lamento_d'Arianna_dominant_seventh.png License: Public Domain Contributors: FurMe is an idiot File:Beethoven - Fifth Symphony - Last movement, dominant seventh.png Source: http://en.wikipedia.org/w/index.php?title=File:Beethoven_-_Fifth_Symphony_-_Last_movement,_dominant_seventh.png License: Public Domain Contributors: User:Hyacinth File:Chopin - Mazurka in F minor, op. 68, no. 4, m. 1-4, dominant sevenths.png Source: http://en.wikipedia.org/w/index.php?title=File:Chopin_-_Mazurka_in_F_minor,_op._68,_no._4,_m._1-4,_dominant_sevenths.png License: unknown Contributors: Created by Hyacinth (talk) 03:22, 13 January 2012 (UTC) using Sibelius 5. File:Dominant seventh root doubled.png Source: http://en.wikipedia.org/w/index.php?title=File:Dominant_seventh_root_doubled.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Dominant seventh tritone resolution.png Source: http://en.wikipedia.org/w/index.php?title=File:Dominant_seventh_tritone_resolution.png License: GNU Free Documentation License Contributors: Hyacinth (talk). Original uploader was Hyacinth at en.wikipedia File:Dominant seventh tritone resolution chords.png Source: http://en.wikipedia.org/w/index.php?title=File:Dominant_seventh_tritone_resolution_chords.png License: GNU Free Documentation License Contributors: Hyacinth (talk). Original uploader was Hyacinth at en.wikipedia File:Incomplete dominant seventh chord in C major.png Source: http://en.wikipedia.org/w/index.php?title=File:Incomplete_dominant_seventh_chord_in_C_major.png License: GNU Free Documentation License Contributors: User:Hyacinth file:Dominant seventh chord on C guitar.png Source: http://en.wikipedia.org/w/index.php?title=File:Dominant_seventh_chord_on_C_guitar.png License: Creative Commons Attribution-Sharealike 3.0 Contributors: Hyacinth file:Dominant seventh chord on C guitar barre.png Source: http://en.wikipedia.org/w/index.php?title=File:Dominant_seventh_chord_on_C_guitar_barre.png License: Creative Commons Attribution-Sharealike 3.0 Contributors: Hyacinth File:7 rightside up.png Source: http://en.wikipedia.org/w/index.php?title=File:7_rightside_up.png License: Public Domain Contributors: User:SreeBot File:Dominant seventh flat five chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Dominant_seventh_flat_five_chord_on_C.png License: GNU Free Documentation License Contributors: Hyacinth (talk). Original uploader was Hyacinth at en.wikipedia File:Lydian dominant C.png Source: http://en.wikipedia.org/w/index.php?title=File:Lydian_dominant_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 06:03, 30 July 2008 in Sibelius. File:Half-diminished seventh chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Half-diminished_seventh_chord_on_C.png License: GNU Free Documentation License Contributors: Hyacinth File:Hendrix chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Hendrix_chord.png License: GNU Free Documentation License Contributors: Hyacinth File:Dominant seventh raised ninth vs dominant seventh split third chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Dominant_seventh_raised_ninth_vs_dominant_seventh_split_third_chord.png License: GNU Free Documentation License Contributors: Original uploader was Hyacinth at en.wikipedia File:Hendrix chord scale.png Source: http://en.wikipedia.org/w/index.php?title=File:Hendrix_chord_scale.png License: GNU Free Documentation License Contributors: Hyacinth File:Debussy -- Preludes Book II No2 -- mm1 - 3 and 41 - 42.png Source: http://en.wikipedia.org/w/index.php?title=File:Debussy_--_Preludes_Book_II_No2_--_mm1_-_3_and_41_-_42.png License: unknown Contributors: Debussy, Durand et cie. (Life time: 1862-1918) File:Dominant sharp ninth chord in blues.png Source: http://en.wikipedia.org/w/index.php?title=File:Dominant_sharp_ninth_chord_in_blues.png License: Creative Commons Attribution-Sharealike 3.0 Contributors: Fauban File:Hendrix Chord.svg Source: http://en.wikipedia.org/w/index.php?title=File:Hendrix_Chord.svg License: Creative Commons Attribution-Share Alike Contributors: Drew Von Buseck File:Hendrix chord guitar open.png Source: http://en.wikipedia.org/w/index.php?title=File:Hendrix_chord_guitar_open.png License: GNU Free Documentation License Contributors: Hyacinth file:Commons-logo.svg Source: http://en.wikipedia.org/w/index.php?title=File:Commons-logo.svg License: logo Contributors: Anomie Image:Eleventh_chord.gif Source: http://en.wikipedia.org/w/index.php?title=File:Eleventh_chord.gif License: Public Domain Contributors: Unknown (probably en:User:Wahoofive) Image:Eleventh chord without third on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Eleventh_chord_without_third_on_C.png License: GNU Free Documentation License Contributors: Hyacinth Image:Minor eleventh chord Herbie Hancock Maiden Voyage.png Source: http://en.wikipedia.org/w/index.php?title=File:Minor_eleventh_chord_Herbie_Hancock_Maiden_Voyage.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Eleventh chord C11 chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Eleventh_chord_C11_chord.png License: GNU Free Documentation License Contributors: Hyacinth Image:Eleventh chord voice leading.png Source: http://en.wikipedia.org/w/index.php?title=File:Eleventh_chord_voice_leading.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 23:15, 6 July 2009 using Sibelius 5. Image:Fourth of a suspended fourth chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Fourth_of_a_suspended_fourth_chord_on_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 17:31, 4 July 2010 using Sibelius 5. Image:Suspended fourth chord on C in first inversion.png Source: http://en.wikipedia.org/w/index.php?title=File:Suspended_fourth_chord_on_C_in_first_inversion.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 17:32, 4 July 2010 using Sibelius 5. Image:Sus chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Sus_chord.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 05:43, 7 December 2010 using Sibelius 5. Image:Half-diminished seventh chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Half-diminished_seventh_chord_on_C.png License: GNU Free Documentation License Contributors: Hyacinth Image:Leading-tone seventh chord resolution in C major.png Source: http://en.wikipedia.org/w/index.php?title=File:Leading-tone_seventh_chord_resolution_in_C_major.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 03:39, 23 May 2010 using Sibelius 5. Image:Leading-tone seventh chord in C major.png Source: http://en.wikipedia.org/w/index.php?title=File:Leading-tone_seventh_chord_in_C_major.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Half-diminished seventh chord on supertonic in C minor.png Source: http://en.wikipedia.org/w/index.php?title=File:Half-diminished_seventh_chord_on_supertonic_in_C_minor.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 17:35, 7 March 2011 (UTC) using Sibelius 5. Image:Half-diminished seventh chord on sharpened supertonic in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Half-diminished_seventh_chord_on_sharpened_supertonic_in_C.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Half-diminished seventh chord on sharpened subdominant in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Half-diminished_seventh_chord_on_sharpened_subdominant_in_C.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Harmonic seventh chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Harmonic_seventh_chord_on_C.png License: GNU Free Documentation License Contributors: Hyacinth Image:Barbershop secondary dominant.png Source: http://en.wikipedia.org/w/index.php?title=File:Barbershop_secondary_dominant.png License: Creative Commons Attribution-Sharealike 3.0 Contributors: User:Hyacinth Image:Amoll.melod.auf.png Source: http://en.wikipedia.org/w/index.php?title=File:Amoll.melod.auf.png License: Public Domain Contributors: Alex299006, Axelrose, Cdang, Feijoo, Jochen Burghardt, Mezzofortist, Red devil 666 Image:Amoll.harm.png Source: http://en.wikipedia.org/w/index.php?title=File:Amoll.harm.png License: Public Domain Contributors: Alex299006, Axelrose, Cdang, Feijoo, Jochen Burghardt, Mezzofortist, Red devil 666
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Image Sources, Licenses and Contributors Image:Aeolian mode C.png Source: http://en.wikipedia.org/w/index.php?title=File:Aeolian_mode_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 04:52, 6 December 2010 in Sibelius. Image:Locrian mode C.png Source: http://en.wikipedia.org/w/index.php?title=File:Locrian_mode_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 16:50, 30 July 2008 in Sibelius. Image:Ionian mode C.png Source: http://en.wikipedia.org/w/index.php?title=File:Ionian_mode_C.png License: GNU Free Documentation License Contributors: Created by User:Hyacinth in Sibelius. Image:Dorian mode C.png Source: http://en.wikipedia.org/w/index.php?title=File:Dorian_mode_C.png License: GNU Free Documentation License Contributors: Created by User:Hyacinth 03:26, 19 April 2011 in Sibelius. Image:Phrygian mode C.png Source: http://en.wikipedia.org/w/index.php?title=File:Phrygian_mode_C.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Lydian mode C.png Source: http://en.wikipedia.org/w/index.php?title=File:Lydian_mode_C.png License: GNU Free Documentation License Contributors: Hyacinth (talk). Original uploader was Hyacinth at en.wikipedia Image:Mixolydian mode C.png Source: http://en.wikipedia.org/w/index.php?title=File:Mixolydian_mode_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 19:39, 31 July 2008 in Sibelius. Image:Lydian dominant C.png Source: http://en.wikipedia.org/w/index.php?title=File:Lydian_dominant_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 06:03, 30 July 2008 in Sibelius. Image:Half diminished scale C.png Source: http://en.wikipedia.org/w/index.php?title=File:Half_diminished_scale_C.png License: GNU Free Documentation License Contributors: Created Hyacinth (talk) 16:55, 30 July 2008 in Sibelius 5. Image:C altered scale flats.png Source: http://en.wikipedia.org/w/index.php?title=File:C_altered_scale_flats.png License: Creative Commons Attribution-ShareAlike 3.0 Unported Contributors: Hyacinth. Original uploader was Hyacinth at en.wikipedia Image:Neapolitan major scale on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Neapolitan_major_scale_on_C.png License: GNU Free Documentation License Contributors: Hyacinth (talk) Image:Gypsy Minor Scale.png Source: http://en.wikipedia.org/w/index.php?title=File:Gypsy_Minor_Scale.png License: Public Domain Contributors: TarisWerewolf (talk)TarisWerewolf. Original uploader was TarisWerewolf at en.wikipedia. Later version(s) were uploaded by Hyacinth at en.wikipedia. Image:C Phrygian dominant scale.svg Source: http://en.wikipedia.org/w/index.php?title=File:C_Phrygian_dominant_scale.svg License: Public Domain Contributors: User:Bdesham Image:Enigmatic scale on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Enigmatic_scale_on_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 05:11, 30 June 2009 using Sibelius 5. File:Whole tone scale on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Whole_tone_scale_on_C.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Augmented scale.png Source: http://en.wikipedia.org/w/index.php?title=File:Augmented_scale.png License: Creative Commons Attribution-ShareAlike 3.0 Unported Contributors: Original uploader was Hyacinth at en.wikipedia File:Prometheus scale on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Prometheus_scale_on_C.png License: Public Domain Contributors: Created by User:Hyacinth using Sibelius. File:Blues scale common.png Source: http://en.wikipedia.org/w/index.php?title=File:Blues_scale_common.png License: Creative Commons Attribution-ShareAlike 3.0 Unported Contributors: Original uploader was Hyacinth at en.wikipedia File:Tritone scale on C (extra).png Source: http://en.wikipedia.org/w/index.php?title=File:Tritone_scale_on_C_(extra).png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) using Sibelius 5. File:Two-semitone tritone scale on C (1).png Source: http://en.wikipedia.org/w/index.php?title=File:Two-semitone_tritone_scale_on_C_(1).png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk)16:00, 7 July 2009 using Sibelius 5. Image:Just leading-tone.png Source: http://en.wikipedia.org/w/index.php?title=File:Just_leading-tone.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Leading tone and tonic in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Leading_tone_and_tonic_in_C.png License: GNU Free Documentation License Contributors: Hyacinth (talk) Image:Dominant seventh tritone resolution.png Source: http://en.wikipedia.org/w/index.php?title=File:Dominant_seventh_tritone_resolution.png License: GNU Free Documentation License Contributors: Hyacinth (talk). Original uploader was Hyacinth at en.wikipedia Image:Tritone substitution ii-subV-I.png Source: http://en.wikipedia.org/w/index.php?title=File:Tritone_substitution_ii-subV-I.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Gnome-mime-sound-openclipart.svg Source: http://en.wikipedia.org/w/index.php?title=File:Gnome-mime-sound-openclipart.svg License: unknown Contributors: User:Eubulides Image:Escribano - Lamentation, upper leading-tone cadence.png Source: http://en.wikipedia.org/w/index.php?title=File:Escribano_-_Lamentation,_upper_leading-tone_cadence.png License: unknown Contributors: User:SreeBot Image:Maple Leaf Rag seventh chord resolution.png Source: http://en.wikipedia.org/w/index.php?title=File:Maple_Leaf_Rag_seventh_chord_resolution.png License: unknown Contributors: User:SreeBot Image:Leading-tone seventh chord in C minor.png Source: http://en.wikipedia.org/w/index.php?title=File:Leading-tone_seventh_chord_in_C_minor.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Lydian chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Lydian_chord_on_C.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Thirteenth chord CMA13(sharp11).png Source: http://en.wikipedia.org/w/index.php?title=File:Thirteenth_chord_CMA13(sharp11).png License: GNU Free Documentation License Contributors: Denniss, Hyacinth File:Thirteenth chord C13(sharp11).png Source: http://en.wikipedia.org/w/index.php?title=File:Thirteenth_chord_C13(sharp11).png License: GNU Free Documentation License Contributors: Hyacinth Image:Major triad.svg Source: http://en.wikipedia.org/w/index.php?title=File:Major_triad.svg License: Creative Commons Attribution-Share Alike Contributors: Jeff Dahl File:Major and minor thirds.png Source: http://en.wikipedia.org/w/index.php?title=File:Major_and_minor_thirds.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 19:03, 1 April 2010 using Sibelius 5. Image:Major chord root and inversions.svg Source: http://en.wikipedia.org/w/index.php?title=File:Major_chord_root_and_inversions.svg License: Public Domain Contributors: Gringer (talk) Image:MajorScales.svg Source: http://en.wikipedia.org/w/index.php?title=File:MajorScales.svg License: Creative Commons Attribution-Sharealike 3.0 Contributors: Albuseer, Jtxx000, Zfish118, Zigger, 2 anonymous edits Image:C major scale.png Source: http://en.wikipedia.org/w/index.php?title=File:C_major_scale.png License: unknown Contributors: っ Image:C Major scale (up and down).svg Source: http://en.wikipedia.org/w/index.php?title=File:C_Major_scale_(up_and_down).svg License: Public Domain Contributors: User:Bdesham Image:Circle of fifths deluxe 4.svg Source: http://en.wikipedia.org/w/index.php?title=File:Circle_of_fifths_deluxe_4.svg License: GNU Free Documentation License Contributors: Just plain Bill File:Major seventh chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Major_seventh_chord_on_C.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Melodic origin of major seventh chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Melodic_origin_of_major_seventh_chord.png License: GNU Free Documentation License Contributors: Hyacinth File:Major seventh chord on F.png Source: http://en.wikipedia.org/w/index.php?title=File:Major_seventh_chord_on_F.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 02:58, 29 November 2010 using Sibelius. Image:Tonic counter parallel in C major.png Source: http://en.wikipedia.org/w/index.php?title=File:Tonic_counter_parallel_in_C_major.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Minor seventh chord on e iii7 in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Minor_seventh_chord_on_e_iii7_in_C.png License: GNU Free Documentation License Contributors: Hyacinth
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Image Sources, Licenses and Contributors Image:III+7M chord in C minor.png Source: http://en.wikipedia.org/w/index.php?title=File:III+7M_chord_in_C_minor.png License: GNU Free Documentation License Contributors: Hyacinth Image:Sub-Mediant, i.e., half-way to sub-dominant.png Source: http://en.wikipedia.org/w/index.php?title=File:Sub-Mediant,_i.e.,_half-way_to_sub-dominant.png License: Public Domain Contributors: Kc kennylau, 1 anonymous edits Image:Minor chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Minor_chord_on_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) using Sibelius 5. Image:Minor and major thirds.png Source: http://en.wikipedia.org/w/index.php?title=File:Minor_and_major_thirds.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) using Sibelius 5. Image:Minor chord root and inversions.PNG Source: http://en.wikipedia.org/w/index.php?title=File:Minor_chord_root_and_inversions.PNG License: GNU Free Documentation License Contributors: Hyacinth. Original uploader was Hyacinth at en.wikipedia Image:Harmonic Series.png Source: http://en.wikipedia.org/w/index.php?title=File:Harmonic_Series.png License: GNU Free Documentation License Contributors: User:MusicMaker5376 at English Wikipedia. File:Minor major seventh chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Minor_major_seventh_chord_on_C.png License: GNU Free Documentation License Contributors: Hyacinth File:bIII+.png Source: http://en.wikipedia.org/w/index.php?title=File:BIII+.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Minor major seventh chord on IV in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Minor_major_seventh_chord_on_IV_in_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 11:18, 1 July 2011 (UTC) using Sibelius 5. Image:Minor seventh chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Minor_seventh_chord_on_C.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:ii7-V7-I turnaround in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Ii7-V7-I_turnaround_in_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 00:48, 27 June 2010 using Sibelius 5. Image:Interval cycles C1-C4 and C6.PNG Source: http://en.wikipedia.org/w/index.php?title=File:Interval_cycles_C1-C4_and_C6.PNG License: GNU Free Documentation License Contributors: Original uploader was Bdesham at en.wikipedia Image:Acorde de sexta napolitana.png Source: http://en.wikipedia.org/w/index.php?title=File:Acorde_de_sexta_napolitana.png License: Creative Commons Attribution-Share Alike Contributors: Alex299006, Hyacinth, OboeCrack, Railwayfan2005, Santosga Image:Neapolitan sixth in C minor.png Source: http://en.wikipedia.org/w/index.php?title=File:Neapolitan_sixth_in_C_minor.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:IV-V-I in C.png Source: http://en.wikipedia.org/w/index.php?title=File:IV-V-I_in_C.png License: GNU Free Documentation License Contributors: Hyacinth Image:Neapolitan V I.png Source: http://en.wikipedia.org/w/index.php?title=File:Neapolitan_V_I.png License: GNU Free Documentation License Contributors: Hyacinth at en.wikipedia Image:Neapolitan V i in C minor.png Source: http://en.wikipedia.org/w/index.php?title=File:Neapolitan_V_i_in_C_minor.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Ninth chord voice leading.png Source: http://en.wikipedia.org/w/index.php?title=File:Ninth_chord_voice_leading.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 00:29, 8 July 2009 using Sibelius 5. Image:Ninth vs added-ninth chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Ninth_vs_added-ninth_chord.png License: GNU Free Documentation License Contributors: Guybrush Threepwood, Hyacinth Image:Dominant ninth chord on C 4 voice.png Source: http://en.wikipedia.org/w/index.php?title=File:Dominant_ninth_chord_on_C_4_voice.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Dominant minor ninth chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Dominant_minor_ninth_chord_on_C.png License: GNU Free Documentation License Contributors: Hyacinth Image:Ninth chord CMI9 chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Ninth_chord_CMI9_chord.png License: GNU Free Documentation License Contributors: Hyacinth File:Ninth chord.gif Source: http://en.wikipedia.org/w/index.php?title=File:Ninth_chord.gif License: Public Domain Contributors: Hyacinth, Sakurambo, Wahoofive Image:Minor 6-9 chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Minor_6-9_chord_on_C.png License: GNU Free Documentation License Contributors: Hyacinth Image:Ninth of an added ninth chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Ninth_of_an_added_ninth_chord_on_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 16:45, 4 July 2010 using Sibelius 5. Image:Major seventh chord on F.png Source: http://en.wikipedia.org/w/index.php?title=File:Major_seventh_chord_on_F.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 02:58, 29 November 2010 using Sibelius. Image:Minor major seventh chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Minor_major_seventh_chord_on_C.png License: GNU Free Documentation License Contributors: Hyacinth Image:Nondominant seventh chord resolution.png Source: http://en.wikipedia.org/w/index.php?title=File:Nondominant_seventh_chord_resolution.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 00:51, 27 June 2010 using Sibelius 5. Image:Octatonic scales on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Octatonic_scales_on_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 05:12, 7 December 2010 using Sibelius 5. Image:Diminished scales on Db, D, and Eb.PNG Source: http://en.wikipedia.org/w/index.php?title=File:Diminished_scales_on_Db,_D,_and_Eb.PNG License: GNU Free Documentation License Contributors: Original uploader was Hyacinth at en.wikipedia File:Petrushka chord Second Tableau.png Source: http://en.wikipedia.org/w/index.php?title=File:Petrushka_chord_Second_Tableau.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Passing chord in Bb.png Source: http://en.wikipedia.org/w/index.php?title=File:Passing_chord_in_Bb.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Pitch class space star.svg Source: http://en.wikipedia.org/w/index.php?title=File:Pitch_class_space_star.svg License: Public Domain Contributors: derivative work: Just plain Bill (talk) Pitch_class_space.svg: David Eppstein Image:'Oh, Susanna' pentatonic melody.png Source: http://en.wikipedia.org/w/index.php?title=File:'Oh,_Susanna'_pentatonic_melody.png License: Public Domain Contributors: Hyacinth at en.wikipedia Image:Ravel Ma Mere l'Oye Laideronnette Imperatricedes Pagodes m.9-13.png Source: http://en.wikipedia.org/w/index.php?title=File:Ravel_Ma_Mere_l'Oye_Laideronnette_Imperatricedes_Pagodes_m.9-13.png License: Public Domain Contributors: Created by Hyacinth (talk) 18:38, 11 December 2011 (UTC) using Sibelius.Originally by Maurice Ravel (1875–1937). Image:Debussy Voiles, Preludes, Book I, no. 2, mm.43-45.png Source: http://en.wikipedia.org/w/index.php?title=File:Debussy_Voiles,_Preludes,_Book_I,_no._2,_mm.43-45.png License: Public Domain Contributors: Claude DebussyCreated by Hyacinth (talk) 14:42, 15 December 2011 (UTC) using Sibelius 5. File:Min'yō scale.png Source: http://en.wikipedia.org/w/index.php?title=File:Min'yō_scale.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 13:13, 21 June 2009 using Sibelius 5. Image:Miyako-bushi scale.png Source: http://en.wikipedia.org/w/index.php?title=File:Miyako-bushi_scale.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 13:26, 21 June 2009 using Sibelius 5. Image:C major pentatonic scale.PNG Source: http://en.wikipedia.org/w/index.php?title=File:C_major_pentatonic_scale.PNG License: GNU Free Documentation License Contributors: Alex299006, Aotake, Chrupoš, Conscious, Doodledoo, Gerbrant, Hyacinth, Joey-das-WBF, Paulo Cesar-1 Image:Gb major pentatonic scale.PNG Source: http://en.wikipedia.org/w/index.php?title=File:Gb_major_pentatonic_scale.PNG License: GNU Free Documentation License Contributors: Original uploader was Hyacinth at en.wikipedia Image:A minor pentatonic scale.png Source: http://en.wikipedia.org/w/index.php?title=File:A_minor_pentatonic_scale.png License: Creative Commons Attribution-Sharealike 3.0 Contributors: Hyacinth Image:Piano-keyboard.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Piano-keyboard.jpg License: Public Domain Contributors: Aotake, Biopresto, Emc2, Juliancolton, 2 anonymous edits
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Image Sources, Licenses and Contributors Image:Lou Harrison - Old Granddad pentatonic tuning.png Source: http://en.wikipedia.org/w/index.php?title=File:Lou_Harrison_-_Old_Granddad_pentatonic_tuning.png License: Creative Commons Attribution-Sharealike 3.0 Contributors: Hyacinth Image:Slendro on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Slendro_on_C.png License: Creative Commons Attribution-Sharealike 3.0 Contributors: Hyacinth Image:D Yo scale.svg Source: http://en.wikipedia.org/w/index.php?title=File:D_Yo_scale.svg License: Public Domain Contributors: Joey-das-WBF Image:Polychord C major and F major.png Source: http://en.wikipedia.org/w/index.php?title=File:Polychord_C_major_and_F_major.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 01:44, 7 July 2009 using Sibelius 5. Image:Polychords various over Dm.png Source: http://en.wikipedia.org/w/index.php?title=File:Polychords_various_over_Dm.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Thirteenth-polychord.PNG Source: http://en.wikipedia.org/w/index.php?title=File:Thirteenth-polychord.PNG License: GNU Free Documentation License Contributors: Hyacinth (talk). Original uploader was Hyacinth at en.wikipedia Image:G7(sharp11b9) vs Db over G chord.png Source: http://en.wikipedia.org/w/index.php?title=File:G7(sharp11b9)_vs_Db_over_G_chord.png License: GNU Free Documentation License Contributors: User:Ronhjones File:Primary triads in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Primary_triads_in_C.png License: GNU Free Documentation License Contributors: Hyacinth (talk) using Sibelius 5. File:Diatonic functions in hierarchical order.png Source: http://en.wikipedia.org/w/index.php?title=File:Diatonic_functions_in_hierarchical_order.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Subdominant parallel in C major.png Source: http://en.wikipedia.org/w/index.php?title=File:Subdominant_parallel_in_C_major.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 04:05, 1 May 2010 using Sibelius 5. Image:Quarten Tastenbild for wikipedia.png Source: http://en.wikipedia.org/w/index.php?title=File:Quarten_Tastenbild_for_wikipedia.png License: GNU General Public License Contributors: User:Boris Fernbacher2 Image:Quartal chord on A equals thirteenth chord on Bb.png Source: http://en.wikipedia.org/w/index.php?title=File:Quartal_chord_on_A_equals_thirteenth_chord_on_Bb.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Sus dom tonic.png Source: http://en.wikipedia.org/w/index.php?title=File:Sus_dom_tonic.png License: GNU Free Documentation License Contributors: Foroa, Hyacinth, JuTa, 1 anonymous edits Image:Sus to minor or major.png Source: http://en.wikipedia.org/w/index.php?title=File:Sus_to_minor_or_major.png License: GNU Free Documentation License Contributors: Hyacinth Image:TristanChord.svg Source: http://en.wikipedia.org/w/index.php?title=File:TristanChord.svg License: Public Domain Contributors: Romainbehar Image:Mysticchord.png Source: http://en.wikipedia.org/w/index.php?title=File:Mysticchord.png License: GNU Free Documentation License Contributors: User:Camembert Image:Baby Yaga for wikipedia.png Source: http://en.wikipedia.org/w/index.php?title=File:Baby_Yaga_for_wikipedia.png License: GNU Free Documentation License Contributors: User:Boris Fernbacher2 Image:Ravel Ma Mere l'Oye Laideronnette.PNG Source: http://en.wikipedia.org/w/index.php?title=File:Ravel_Ma_Mere_l'Oye_Laideronnette.PNG License: unknown Contributors: Created by Hyacinth (talk) 18:39, 14 July 2005 using Sibelius 5. Image:Schönberg Kammersymhonie 9 for wikipedia.png Source: http://en.wikipedia.org/w/index.php?title=File:Schönberg_Kammersymhonie_9_for_wikipedia.png License: GNU General Public License Contributors: User:Boris Fernbacher2 Image:SchoenbergOp9.png Source: http://en.wikipedia.org/w/index.php?title=File:SchoenbergOp9.png License: GNU Free Documentation License Contributors: User:Rainwarrior Image:Schoenberg string quartet quartal chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Schoenberg_string_quartet_quartal_chord.png License: GNU Free Documentation License Contributors: Schoenberg Image:Schoenberg string quartet exc. quartal chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Schoenberg_string_quartet_exc._quartal_chord.png License: unknown Contributors: User:Hyacinth Image:Bartok Mikrokosmos Quartes for wikipedia.png Source: http://en.wikipedia.org/w/index.php?title=File:Bartok_Mikrokosmos_Quartes_for_wikipedia.png License: GNU Free Documentation License Contributors: Rainwarrior Image:MathisMvmt2.png Source: http://en.wikipedia.org/w/index.php?title=File:MathisMvmt2.png License: GNU Free Documentation License Contributors: User:Rainwarrior Image:II V I for wikipedia.png Source: http://en.wikipedia.org/w/index.php?title=File:II_V_I_for_wikipedia.png License: GNU Free Documentation License Contributors: User:Boris Fernbacher2 Image:SenorBlues.png Source: http://en.wikipedia.org/w/index.php?title=File:SenorBlues.png License: GNU Free Documentation License Contributors: Ilmari Karonen File:So What chord.png Source: http://en.wikipedia.org/w/index.php?title=File:So_What_chord.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 02:38, 31 July 2008 using Sibelius and Preview. Image:Maiden Voyage2.png Source: http://en.wikipedia.org/w/index.php?title=File:Maiden_Voyage2.png License: GNU Free Documentation License Contributors: Original by Boris Fernbacher, translation by Rainwarrior. "Maiden Voyage" originally composed by Herbie Hancock, 1965. Image:Quartal voicings.png Source: http://en.wikipedia.org/w/index.php?title=File:Quartal_voicings.png License: GNU Free Documentation License Contributors: User:Hyacinth image:Robert Fripp.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Robert_Fripp.jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors: Sean Coon from Greensboro, USA File:Debussy - The Sunken Cathedral opening parallel fourths.png Source: http://en.wikipedia.org/w/index.php?title=File:Debussy_-_The_Sunken_Cathedral_opening_parallel_fourths.png License: Public Domain Contributors: Hyacinth File:Schönberg Kammersymhonie 9 for wikipedia.png Source: http://en.wikipedia.org/w/index.php?title=File:Schönberg_Kammersymhonie_9_for_wikipedia.png License: GNU General Public License Contributors: User:Boris Fernbacher2 File:Chromatic scale full octave ascending and descending on C.PNG Source: http://en.wikipedia.org/w/index.php?title=File:Chromatic_scale_full_octave_ascending_and_descending_on_C.PNG License: GNU Free Documentation License Contributors: Alex299006, Be-Drei, Chrupoš, Conscious, Hyacinth, Luckas Blade, Mikhail Ryazanov, Santosga, 1 anonymous edits File:C major scale.png Source: http://en.wikipedia.org/w/index.php?title=File:C_major_scale.png License: unknown Contributors: っ File:Major scale in the chromatic circle.png Source: http://en.wikipedia.org/w/index.php?title=File:Major_scale_in_the_chromatic_circle.png License: Creative Commons Attribution-Sharealike 3.0 Contributors: Hyacinth File:Whole tone, lydian, and major scales.PNG Source: http://en.wikipedia.org/w/index.php?title=File:Whole_tone,_lydian,_and_major_scales.PNG License: GNU Free Documentation License Contributors: Alex299006, Cdang, Feijoo, Hyacinth, Maksim Image:Circle of fifths.svg Source: http://en.wikipedia.org/w/index.php?title=File:Circle_of_fifths.svg License: GNU Free Documentation License Contributors: Mysid, Andeggs Image:V of V in C four-part harmony.png Source: http://en.wikipedia.org/w/index.php?title=File:V_of_V_in_C_four-part_harmony.png License: Creative Commons Attribution-Sharealike 3.0 Contributors: Hyacinth Image:V of V in C guitar.png Source: http://en.wikipedia.org/w/index.php?title=File:V_of_V_in_C_guitar.png License: Creative Commons Attribution-Sharealike 3.0 Contributors: Hyacinth Image:SixBasicChordsInCMajor.PNG Source: http://en.wikipedia.org/w/index.php?title=File:SixBasicChordsInCMajor.PNG License: Public Domain Contributors: Opus33. Original uploader was Opus33 at en.wikipedia. Later version(s) were uploaded by Hyacinth at en.wikipedia. Image:Secondary Dominant Chords In C Major.svg Source: http://en.wikipedia.org/w/index.php?title=File:Secondary_Dominant_Chords_In_C_Major.svg License: Creative Commons Attribution-Sharealike 3.0 Contributors: User:NikNaks93 Image:SecondaryDominantSeventhChordsInCMajor.PNG Source: http://en.wikipedia.org/w/index.php?title=File:SecondaryDominantSeventhChordsInCMajor.PNG License: Public Domain Contributors: Original uploader was Opus33 at en.wikipedia. Later version(s) were uploaded by Hyacinth at en.wikipedia. Image:Beethoven - Symphony No. 1, introduction secondary dominants.png Source: http://en.wikipedia.org/w/index.php?title=File:Beethoven_-_Symphony_No._1,_introduction_secondary_dominants.png License: Public Domain Contributors: Hyacinth Image:HarmonicProgressionFromMozartPianoSonataK283 3rdMvt.PNG Source: http://en.wikipedia.org/w/index.php?title=File:HarmonicProgressionFromMozartPianoSonataK283_3rdMvt.PNG License: Public Domain Contributors: Original uploader was Opus33 at en.wikipedia. Later version(s) were uploaded by Hyacinth at en.wikipedia.
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Image Sources, Licenses and Contributors Image:MozartPianoSonataK283 3rdMvtM247.PNG Source: http://en.wikipedia.org/w/index.php?title=File:MozartPianoSonataK283_3rdMvtM247.PNG License: Public Domain Contributors: Original uploader was Opus33 at en.wikipedia. Later version(s) were uploaded by Hyacinth at en.wikipedia. Image:Bop V of II cliche arpeggio.png Source: http://en.wikipedia.org/w/index.php?title=File:Bop_V_of_II_cliche_arpeggio.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:I-vi-ii-V turnaround in C.png Source: http://en.wikipedia.org/w/index.php?title=File:I-vi-ii-V_turnaround_in_C.png License: GNU Free Documentation License Contributors: Original uploader was Hyacinth at en.wikipedia Image:I-VI-II-V progression in C.png Source: http://en.wikipedia.org/w/index.php?title=File:I-VI-II-V_progression_in_C.png License: GNU Free Documentation License Contributors: Hyacinth Image:Submediant in chain of fifths.png Source: http://en.wikipedia.org/w/index.php?title=File:Submediant_in_chain_of_fifths.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Schubert - German Dance extended dominant relationship.png Source: http://en.wikipedia.org/w/index.php?title=File:Schubert_-_German_Dance_extended_dominant_relationship.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Secondary leading-tone chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Secondary_leading-tone_chord.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Added diminished seventh chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Added_diminished_seventh_chord.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) using Sibelius 5. File:Added diminished seventh chord original.png Source: http://en.wikipedia.org/w/index.php?title=File:Added_diminished_seventh_chord_original.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Easy Living diminished seventh chord harmonization.png Source: http://en.wikipedia.org/w/index.php?title=File:Easy_Living_diminished_seventh_chord_harmonization.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Secondary supertonic chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Secondary_supertonic_chord.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Seven six chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Seven_six_chord_on_C.png License: GNU Free Documentation License Contributors: Hyacinth Image:'Sixth' chords over C bass.png Source: http://en.wikipedia.org/w/index.php?title=File:'Sixth'_chords_over_C_bass.png License: GNU Free Documentation License Contributors: Hyacinth at en.wikipedia Image:First inversion and sixth chords.png Source: http://en.wikipedia.org/w/index.php?title=File:First_inversion_and_sixth_chords.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 20:24, 15 February 2010 using Sibelius 5. Image:Resolved appoggiatura and sixth chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Resolved_appoggiatura_and_sixth_chord.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 20:18, 15 February 2010 using Sibelius 5. Image:Dominant sixth chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Dominant_sixth_chord.png License: GNU Free Documentation License Contributors: Hyacinth Image:Add6 chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Add6_chord_on_C.png License: GNU Free Documentation License Contributors: Hyacinth, Jafeluv Image:Minor major sixth chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Minor_major_sixth_chord_on_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 05:51, 6 May 2010 using Sibelius 5. Image:Sixth of an added sixth chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Sixth_of_an_added_sixth_chord_on_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 19:05, 23 November 2010 using Sibelius 5. Image:Added sixth chord on C in third inversion.png Source: http://en.wikipedia.org/w/index.php?title=File:Added_sixth_chord_on_C_in_third_inversion.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 16:09, 4 July 2010 using Sibelius 5. Image:Upper-structure triad.png Source: http://en.wikipedia.org/w/index.php?title=File:Upper-structure_triad.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 05:18, 1 December 2010 in Sibelius. Image:Subdominant and tonic in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Subdominant_and_tonic_in_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 03:26, 22 May 2010 using Sibelius 5. Image:I-IV-I in C.png Source: http://en.wikipedia.org/w/index.php?title=File:I-IV-I_in_C.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Pitch class space star.svg Source: http://en.wikipedia.org/w/index.php?title=File:Pitch_class_space_star.svg License: Public Domain Contributors: derivative work: Just plain Bill (talk) Pitch_class_space.svg: David Eppstein Image:Tonic parallel in C major.png Source: http://en.wikipedia.org/w/index.php?title=File:Tonic_parallel_in_C_major.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Submediant in C minor.png Source: http://en.wikipedia.org/w/index.php?title=File:Submediant_in_C_minor.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Minor seventh chord on a vi7 in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Minor_seventh_chord_on_a_vi7_in_C.png License: GNU Free Documentation License Contributors: Hyacinth Image:Descending thirds from mediant progression.png Source: http://en.wikipedia.org/w/index.php?title=File:Descending_thirds_from_mediant_progression.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Wagner - Tannhauser, Zu dir wall'ich.png Source: http://en.wikipedia.org/w/index.php?title=File:Wagner_-_Tannhauser,_Zu_dir_wall'ich.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:50s progression in C.png Source: http://en.wikipedia.org/w/index.php?title=File:50s_progression_in_C.png License: GNU Free Documentation License Contributors: Hyacinth Image:Submediant voice leading.png Source: http://en.wikipedia.org/w/index.php?title=File:Submediant_voice_leading.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:VI7 in C minor.png Source: http://en.wikipedia.org/w/index.php?title=File:VI7_in_C_minor.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Tonic parallel in C major.png Source: http://en.wikipedia.org/w/index.php?title=File:Tonic_parallel_in_C_major.png License: GNU Free Documentation License Contributors: User:Hyacinth File:Modulation with subsidiary chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Modulation_with_subsidiary_chord.png License: GNU Free Documentation License Contributors: Hyacinth Image:Subtonic and tonic in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Subtonic_and_tonic_in_C.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Supertonic and tonic in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Supertonic_and_tonic_in_C.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Ii-V-I turnaround in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Ii-V-I_turnaround_in_C.png License: GNU Free Documentation License Contributors: Hyacinth Image:Minor seventh chord on d ii7 in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Minor_seventh_chord_on_d_ii7_in_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 07:24, 14 August 2011 (UTC) using Sibelius 5. Image:Subdominant and supertonic similarity.png Source: http://en.wikipedia.org/w/index.php?title=File:Subdominant_and_supertonic_similarity.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:FrenchSixth.png Source: http://en.wikipedia.org/w/index.php?title=File:FrenchSixth.png License: Public Domain Contributors: User:Wahoofive Image:Sus4 chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Sus4_chord_on_C.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 19:23, 23 November 2010 using Sibelius 5. Image:Jazz sus chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Jazz_sus_chord.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 02:48, 8 July 2009 using Sibelius 5. File:C-F-B synthetic chord.png Source: http://en.wikipedia.org/w/index.php?title=File:C-F-B_synthetic_chord.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 21:54, 15 November 2010 using Sibelius 5.
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Image Sources, Licenses and Contributors File:C triad.svg Source: http://en.wikipedia.org/w/index.php?title=File:C_triad.svg License: Public Domain Contributors: C_triad.png: Original uploader was Bryan Derksen at en.wikipedia Later version(s) were uploaded by Mütze at en.wikipedia. derivative work: McSush (talk) Image:Tetratonic scale on A.png Source: http://en.wikipedia.org/w/index.php?title=File:Tetratonic_scale_on_A.png License: Creative Commons Attribution-Sharealike 3.0 Contributors: Hyacinth Image:Reed Phase png.png Source: http://en.wikipedia.org/w/index.php?title=File:Reed_Phase_png.png License: Public Domain Contributors: Sylenius Image:Major thirteenth on F.png Source: http://en.wikipedia.org/w/index.php?title=File:Major_thirteenth_on_F.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Minor thirteenth on F.png Source: http://en.wikipedia.org/w/index.php?title=File:Minor_thirteenth_on_F.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Dominant thirteenth chord on C 4 voice.png Source: http://en.wikipedia.org/w/index.php?title=File:Dominant_thirteenth_chord_on_C_4_voice.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Prelude to the Afternoon of a Faun dominant thirteenth chord.png Source: http://en.wikipedia.org/w/index.php?title=File:Prelude_to_the_Afternoon_of_a_Faun_dominant_thirteenth_chord.png License: Public Domain Contributors: User:Hyacinth Image:Thirteenth chord voice leading.png Source: http://en.wikipedia.org/w/index.php?title=File:Thirteenth_chord_voice_leading.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 21:56, 5 July 2009 using Sibelius 5. File:Thirteenth chord inversions.png Source: http://en.wikipedia.org/w/index.php?title=File:Thirteenth_chord_inversions.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Thirteenth chord Cm13.png Source: http://en.wikipedia.org/w/index.php?title=File:Thirteenth_chord_Cm13.png License: GNU Free Documentation License Contributors: Hyacinth Image:Thirteenth chord C13+11b9.png Source: http://en.wikipedia.org/w/index.php?title=File:Thirteenth_chord_C13+11b9.png License: GNU Free Documentation License Contributors: Hyacinth Image:Thirteenth chord CMA7(add13).png Source: http://en.wikipedia.org/w/index.php?title=File:Thirteenth_chord_CMA7(add13).png License: GNU Free Documentation License Contributors: Hyacinth File:Thirteenth chord CMA13.png Source: http://en.wikipedia.org/w/index.php?title=File:Thirteenth_chord_CMA13.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 05:14, 3 July 2011 using Sibelius 5. File:Thirteenth chord C13.png Source: http://en.wikipedia.org/w/index.php?title=File:Thirteenth_chord_C13.png License: GNU Free Documentation License Contributors: Hyacinth File:Thirteenth chord CMI7(add13).png Source: http://en.wikipedia.org/w/index.php?title=File:Thirteenth_chord_CMI7(add13).png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 05:17, 3 July 2011 using Sibelius 5. File:Thirteenth chord CMI13.png Source: http://en.wikipedia.org/w/index.php?title=File:Thirteenth_chord_CMI13.png License: GNU Free Documentation License Contributors: Hyacinth File:Thirteenth chord C13sus.png Source: http://en.wikipedia.org/w/index.php?title=File:Thirteenth_chord_C13sus.png License: GNU Free Documentation License Contributors: Hyacinth File:Thirteenth chord C13(b5).png Source: http://en.wikipedia.org/w/index.php?title=File:Thirteenth_chord_C13(b5).png License: GNU Free Documentation License Contributors: Hyacinth File:Thirteenth chord C13(b9).png Source: http://en.wikipedia.org/w/index.php?title=File:Thirteenth_chord_C13(b9).png License: GNU Free Documentation License Contributors: Hyacinth Image:Thirteenth chord Cm13(+11).png Source: http://en.wikipedia.org/w/index.php?title=File:Thirteenth_chord_Cm13(+11).png License: GNU Free Documentation License Contributors: Hyacinth Image:Thirteenth chord C13b9.png Source: http://en.wikipedia.org/w/index.php?title=File:Thirteenth_chord_C13b9.png License: GNU Free Documentation License Contributors: Hyacinth Image:Thirteenth chord C13 guitar.png Source: http://en.wikipedia.org/w/index.php?title=File:Thirteenth_chord_C13_guitar.png License: GNU Free Documentation License Contributors: Hyacinth Image:Thirteenth chord C13 guitar b.png Source: http://en.wikipedia.org/w/index.php?title=File:Thirteenth_chord_C13_guitar_b.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Dominant thirteenth chord on C 4 voice 2.png Source: http://en.wikipedia.org/w/index.php?title=File:Dominant_thirteenth_chord_on_C_4_voice_2.png License: GNU Free Documentation License Contributors: Hyacinth Image:Thirteenth chord collapsed.png Source: http://en.wikipedia.org/w/index.php?title=File:Thirteenth_chord_collapsed.png License: GNU Free Documentation License Contributors: Denniss, Hyacinth Image:Dominant thirteenth chord on C m13.png Source: http://en.wikipedia.org/w/index.php?title=File:Dominant_thirteenth_chord_on_C_m13.png License: GNU Free Documentation License Contributors: Created by Hyacinth (talk) 10:23, 3 July 2011 (UTC) using Sibelius 5. Image:Thirteenth chord Pelléas et Mélisande motif.png Source: http://en.wikipedia.org/w/index.php?title=File:Thirteenth_chord_Pelléas_et_Mélisande_motif.png License: unknown Contributors: User:Hyacinth File:Tone cluster.JPG Source: http://en.wikipedia.org/w/index.php?title=File:Tone_cluster.JPG License: unknown Contributors: Bkell, DCGeist, Jlhughes, 1 anonymous edits File:Piano-keyboard.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Piano-keyboard.jpg License: Public Domain Contributors: Aotake, Biopresto, Emc2, Juliancolton, 2 anonymous edits File:Thirteenth chord collapsed.png Source: http://en.wikipedia.org/w/index.php?title=File:Thirteenth_chord_collapsed.png License: GNU Free Documentation License Contributors: Denniss, Hyacinth File:Cowell tone clusters.png Source: http://en.wikipedia.org/w/index.php?title=File:Cowell_tone_clusters.png License: Public Domain Contributors: Original uploader was Jlhughes at en.wikipedia. Later version(s) were uploaded by Tjako at en.wikipedia. File:Leo Ornstein as a young man.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Leo_Ornstein_as_a_young_man.jpg License: Public Domain Contributors: Apeda Studio File:Henry Cowell as a young man.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Henry_Cowell_as_a_young_man.jpg License: Public Domain Contributors: Original uploader was DCGeist at en.wikipedia File:Bartók Béla 1927.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Bartók_Béla_1927.jpg License: anonymous-EU Contributors: 555, Geofrog, Iamunknown, Infrogmation, Juiced lemon, Kompozitor, KovacsUr, Serinde, Xaosflux File:Scott Joplin.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Scott_Joplin.jpg License: Public Domain Contributors: Michael Barera Image:Major seventh chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Major_seventh_chord_on_C.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Upper structure triad 1.png Source: http://en.wikipedia.org/w/index.php?title=File:Upper_structure_triad_1.png License: Public Domain Contributors: Atpal Image:Upper structure triad 2.png Source: http://en.wikipedia.org/w/index.php?title=File:Upper_structure_triad_2.png License: Public Domain Contributors: Atpal
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License
License Creative Commons Attribution-Share Alike 3.0 //creativecommons.org/licenses/by-sa/3.0/
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