294 Sentences With "major chord" | Random Sentence Generator

It's amazing how much better a major chord will make you feel.

And then the piece, wholly unexpectedly, closes on a serene G major chord.

We need endorphin-heavy, heart-on-sleeve, major-chord, grin-inducing punk rock right now.

The music stopped abruptly—a major chord, dying away—and a door opened, hidden behind the whiteboard.

Sleep Good, a musician from Austin, Texas, took Nirvana's classic song, and remixed it all in a major chord.

Using D major chord as what's known as chord I, though, implies that the whole song is in D major (chord I is always the same as the song's key, because the chord built on the first note of the scale—that means the chord labelled IV is built on the fourth note, V on the fifth, etc).

Pick an uplifting, major chord progression, throw in some harmonies and with the added religious connotations, and a basic song becomes transcendent.

JON PARELES "Gloria" from the third Lumineers album, due in September, has the guitar-strumming, major-chord drive of other Lumineers songs.

A smile with an arc to a certain degree could get a major chord, for example, or visible teeth could increase the tempo.

I flag that information and get a happy green checkmark, a major chord, and a smooth hit of dopamine on solving a puzzle.

Even if many of their fans were still too young to be playing love games, this struck a major chord with adolescent angst. 1.

If heebie-jeebies are screeches and creaks, soft things are a major chord, resonant with well-being, reassurance, forgiveness, and even—what the hay—love.

It wraps around an E dominant seventh, a chord that's dissonant thanks to the inclusion of a tritone but cheery because it's still a major chord.

A musicologist could break down the reasons why "Semi-Charmed Life"'s verse-chorus-verse structure and G major chord progression evoke bright and shiny feelings.

Yet it wasn't until Joan Jett covered the single in the early '80s that it struck a major chord with American listeners and made her a household name.

The artist's repeated crooning of an eight-bar minor-key melody, which crests on a major chord before looping back to its beginning, remains modest in its expressive range.

Apple eventually registered a trademark for the sound in 2012, which described the sound as "a synthesizer playing a slightly flat, by approximately 30 cents, G Flat / F Sharp major chord."

" Alcoa: "I like Alcoa ... now remember, the major chord is up for these stocks but weaker China numbers have brought Alcoa down to a level that I think is really good to buy.

Around 5:30 in the morning, the sun began to rise, gradually filling the room with light as the "Sleep" orchestra played obvious music to match it: an increasingly loud, radiant major chord.

This whole sequence is actually very conventional and strong: the bass note E is supporting an E major chord, which is chord V (the fifth, or the 'dominant') of the home key, A minor.

"Time Does Not Bring Relief" is a droney, Minimalist instrumental built on echoing piano figures, a major chord with a recurring dissonance, quiet glitchy sounds and fleeting appearances from string-section lines and a drumbeat.

A minute before the end, he lands on a sort of jazzed-up F-major chord, which, after a brief move to a minor key, resolves itself back into F — a moment of deep structural satisfaction.

The producer also helped the Beatles with the song's iconic finale, a ringing 40-second chord, in which Martin on the harmonium and Lennon, Starr, and McCartney on three separate pianos struck an E-major chord simultaneously.

The alluring "Waterslide," by the San Diego band Chon — the second single from its coming second album "Homey" — juxtaposes the major-chord optimism of Sublime with guitar shredding once removed from technical heavy metal and clear jazz influences.

What makes it unlike any A-major chord in history is the noise that wells up within it: clanging bells, bellowing gongs, an upward-glissandoing horn, the sandy rattle of a geophone (a drum filled with lead pellets).

There's also the song's notable use of a Picardy third, which occurs when a major chord comes at the end of a musical section in a minor key (you can hear it at the end of certain "lullays").

Mr. Frisell has exerted his influence gently, funneling inspiration from 216s folk rock and 27s free jazz into a sound that's hearthlike and imperturbable, whether spinning through reverb-drenched runs or caressing its way through a slow, major-chord progression.

Once content to make greasy, direct and triumphant major-chord anthems about girls, drinking and other forms of escape, the band pushes deeper and wider, especially lyrically, in new songs, weighing what it means to have dedicated a life to such pursuits.

I'm convinced that the reason it struck such a major chord -- and why, as a person whose work centers on gender and film, I'm so excited about the sequel -- is because Elsa and Anna reflect the changing world of storytelling for children, especially girls.

A barred C major chord with guitar feedback completely ends the song.

This means that any major chord can be easily created using one finger, fretting all the strings at once.

Some sources notate slash chords with a horizontal line, although this is discouraged as this type of notation can also imply a polychord. While almost all pop and rock usages of slash chords are intended to be read as a chord with a bass note underneath it other than the root of the chord, in jazz and jazz fusion, sometimes a chord notated as F/A is intended to be read as a polychord; in this example, the polychord would be an F major chord (the notes F, A, and C) and an A major chord (the notes A, C, and E) played simultaneously. To avoid ambiguity in a jazz or fusion chart, some arrangers use the notation "bass" to indicate when the second note (after the slash) is a bass note. Thus, F/A bass indicates an F major chord with an A bass note, whereas F/A may indicate a polychord with an F major chord and an A major chord.

The goal of transformational theory is to change the focus from musical objects—such as the "C major chord" or "G major chord"—to relations between objects. Thus, instead of saying that a C major chord is followed by G major, a transformational theorist might say that the first chord has been "transformed" into the second by the "Dominant operation." (Symbolically, one might write "Dominant(C major) = G major.") While traditional musical set theory focuses on the makeup of musical objects, transformational theory focuses on the intervals or types of musical motion that can occur.

This refers to the fact that a power chord is neither major nor minor, as there is no third present. This gives the power chord a chameleon-like property; if played where a major chord might be expected, it can sound like a major chord, but when played where a minor chord might be expected, it sounds minor.

Marquis, G. Welton (1964). Twentieth Century Music Idioms. Englewood Cliffs, New Jersey: Prentice-Hall, Inc. . While a minor chord placed over a major chord of the same root (creating a tension of 9) is somewhat common, a major chord placed over a minor chord of the same root (creating a tension of 11) is not as commonplace.

However, it does occur in the tonic major (F major) beginning in bar 93. The move to a D-major chord in measure 107 corresponds to the similar passage in bar 49, but here the D-major chord functions as a V/ii, which initiates a circle-of-fifths progression (D–G–C–F), arriving on F in bar 112.

Initial eight harmonics on C, namely (C,C,G,C,E,G,B,C) Major open- tunings give a major chord with the open strings.

Open B Tuning is an open tuning for guitar. The open string notes in this tuning are B-F-B-F-B-D. It uses the three notes that form the triad of a B major chord: B, the root note; F, the perfect fifth; and D the major third. When the guitar is strummed without fretting any of the strings a B major chord is sounded.

The first movement, 107 bars long and in common time, begins with a strong triple- playing of a C major chord. In typical sonata form, the work presents its main theme, and develops upon it. Toward the middle section (bar 40), the work drops down in tone to a darker, more ominous version of the main theme, before picking back up to the light C major chord.

Some congueros like using the intervals of a major chord (e.g. F, A, C). Some players use the second inversion of a major chord (e.g. G, C, E); and some prefer a major second between the quinto and conga, with a perfect 4th descending to the tumba. Raul Rekow of Santana often plays five conga drums and tunes them to the opening phrase of a Latin tune.

Cross-note tunings include a minor third, so giving a minor chord with open strings. Fretting the minor-third string at the first fret produces a major-third, so allowing a one-finger fretting of a major chord. By contrast, it is more difficult to fret a minor chord using an open major-chord tuning. Cross-note E-minor was used by Bukka White and Skip James.

First theme of the first movement, played by the Seraphina Quartet. The opening theme of the quartet is purely pentatonic, played by the viola, with a rippling F major chord in the accompanying instruments. This same F major chord continues without harmonic change throughout the first 12 measures of the piece. The movement then goes into a bridge, developing harmonically, but still with the open, triadic sense of openness and simplicity.

Jazz Cultures. p.122. . This approach is found in instructional books including Jerry Bergonzi's Inside Improvisation series and characterized by the highly influential Play-A-Long series by Jamey Aebersold. There are differences of approach within the system. For example, Russell associated the C major chord with the lydian scale, while teachers including John Mehegan, David Baker, and Mark Levine teach the major scale as the best match for a C major chord.

Part B opens with a modulation into the enharmonic parallel major of D major. This section's theme is developed, and then Part A returns. The movement ends on a C major chord.

Jazz musician Stanley Jordan plays guitar in all-fourths tuning; he has stated that all-fourths tuning "simplifies the fingerboard, making it logical". : For all-fourths tuning, all twelve major chords (in the first or open positions) are generated by two chords, the open F major chord and the D major chord. The regularity of chord-patterns reduces the number of finger positions that need to be memorized. The left-handed involute of an all-fourths tuning is an all-fifths tuning.

The overtone sequence for a fundamental note is used by its open overtones-tunings. For many open-tunings, the open-string notes constitute a major chord, often a major triad that repeats its notes in different octaves. Of course, repeating notes (or pitch classes) strengthen such notes, often the root or third of the chord. In comparison with standard tuning, each major-chord open-string tuning reinforces different "overtones and can actually make the guitar sound louder and more resonant".

Jerkert 2010, p. 121: "Note, however, that the extra keys need not be found among the sharps and flats. On p. 20 in Barbieri's book, for example, an organ from the end of the 1400s is depicted with no extra black keys but with two E keys, one suitable for use in an E major chord, and another better fitted as the third in a C major chord" As an important device to compose, play and study enharmonic music,Rasch 2009, p.

The tonic note and major chord of the key play on when the bellows are pushed, and the dominant note and major chord when pulled (for instance, C major and G major respectively in the key of C).Savoy 1984, p. 2. Louisiana-constructed accordions are usually built in small backyard shops like Marc Savoy's Acadian brand and Larry Miller's Bon Cajun brand. Clarence " junior" Martin of Lafayette Louisiana is a Master Craftsman who also builds accordions in his shop.

An open C tuning Open C tuning is an open tuning for guitar. The open-string notes form a C major chord, which is the triad (C,E,G) having the root note C, the major third (C,E), and the perfect fifth (C,G). When the guitar is strummed without fretting any strings, a C-major chord is sounded. By barring all of the strings for one fret (from one to eleven), one finger suffices to fret the other eleven major-chords.

The song is about hope, that never dies, like a flame burning in the dark. The key is B minor (but it ends with a major chord) and the tempo is around 73 BPM.

Alpha chord as mistuned major chord . In music mistuning is most generally the action of incorrectly tuning or the state of being out of tune. Mistuning is also the displacement of a pitch a semitone away from its standard position in a stable tonal structure such as the most common perfect fourth or fifth, which mistuned in the opposite directions produce a tritone. A portion of the alpha chord:E-G-C-E, may be considered an E major chord: E-G-B-E, whose members are mistuned.

Accessed: 25 October 2019. Transformational theory is a branch of music theory developed by David Lewin in the 1980s, and formally introduced in his 1987 work, Generalized Musical Intervals and Transformations. The theory—which models musical transformations as elements of a mathematical group—can be used to analyze both tonal and atonal music. The goal of transformational theory is to change the focus from musical objects—such as the "C major chord" or "G major chord"—to relations between musical objects (related by transformation).

The result is lively, rapid music, which lends itself both as an accompaniment to other instruments and as a solo. Banjo, "standard roll patterns," on G major chord: (above), , , and .Hohwald, Geoff (1988). Banjo Primer, p.14. .

The most common slack-key tuning, called "taro patch," makes a G major chord. Starting from the standard EADGBE, the high and low E strings are lowered or "slacked" to D and the fifth string from A down to G, so the notes become DGDGBD. As the chart below shows, there are also major- chord tunings based on C, F, and D. Another important group of tunings, based on major-seventh chords, is called "wahine". G wahine, for example, starts with taro patch and lowers the third string from G to F, making DGDFBD.

"Hey Ya!" is a song in G major. Each cadential six-measure phrase is constructed using a change of meter on the fourth measure (effectively creating a song in 22/4) and uses a I–IV–V–V7/ii chord progression. G major and C major chords are played for one and two measures, respectively. André 3000 then uses a deceptive cadence after a measure of the dominant D major chord, leading into two measures of an E major chord (against a G note in the melody implying E minor).

Fifth (G), in red, of a C major chord (). Seventh (F) of a third inversion dominant seventh chord in C (G7) (). Dominant thirteenth extended chord: C E G B D F A . The upper structure or extensions, i.e.

All of the brass play the harmony during the fourth theme, now in G Major. In the coda, all the woodwinds play trills above the melodic brass. The piece concludes with the brass quietly playing a final G major chord.

Unisons, fourths, fifths, and octaves and their compound interval must be perfect (or, rarely, diminished or augmented). In Western music, a minor chord "sounds darker than a major chord".Kamien, Roger (2008). Music: An Appreciation, 6th Brief Edition, p. 46\. .

Third (E), in red, of a C major chord (). First inversion C major triad. The third is the bass. In music, the third factor of a chord is the note or pitch two scale degrees above the root or tonal center.

Toward the end of the video, the band plays in a small studio with a simple green backdrop and bright lights. The sound is typical of the 1990s pop music with synthesizers, keyboards, major chord progression, and a catchy chorus hook.

Stefani's vocal range covers nearly two octaves, from G3 to F5. The song uses two-measure phrases that, aside from the choruses, use a i–III–IV–VI chord progression. The B minor chord is held for 1⅓ of a beat, and a relative transformation is then used to produce a second-inversion D major chord, which is held for 1⅔ of a beat. In the second measure, a first-inversion E major chord with an added ninth precedes a G major major seventh chord; the chords are held for the same durations as the previous two.

To explain this resonance and strengthened sound, the example of the overtones on C has been used; and C's overtones is a standard example for explaining the sequence of overtones. The open-string notes form a C major chord, which is the triad (C,E,G) having the root note C, the major third (C,E), and the perfect fifth (C,G). When the guitar is strummed without fretting even one string, a C-major chord is sounded. By barring all of the strings for one fret (from one to eleven), one finger suffices to fret the other eleven major-chords.

The D is minor because to construct a triad over D using only the pitches available in the key of C major—i.e. no sharps, no flats—the triad must be minor—the individual notes D, F and A. The V/ii chord is composed of the pitches in a V chord in the key of ii (key of D minor). The pitches used in a V/ii in this example include the notes A, C# and E (creating an A major chord). In the key of D minor, an A major chord is the dominant chord.

He later revealed Wakeman is singing the notes to the rhyme which was placed "against the grain of what we were doing" to make it sound more intriguing. To close, Howe repeated his acoustic guitar introduction but ended on an E major chord.

The octave, major third and perfect fifth are the three notes present in a major chord. The characteristic sound that allows the listener to identify a particular instrument is largely due to the relative magnitude of the harmonics created by the instrument.

Fifth (G), in red, of a C major chord (). Second inversion C major triad. The fifth is the bass. In music, the fifth factor of a chord is the note or pitch that is the fifth scale degree, counting the root or tonal center.

The two movements are linked by an attacca direction: the second movement has an open ending on a G-major chord; the third movement follows immediately, and that chord becomes the submediant triad (with raised third) of the new movement's key of E-flat major.

The tritone scale, C D E G G() B,Busby, Paul. "Short Scales", Scored Changes: Tutorials. is enharmonically equivalent to the Petrushka chord, it means C Major chord ( C E G() ) + G Major chord's 2nd inversion ( D G B ).C–G is Tritone interval.

In the thirteenth bar, we see further development of the melody, using sweeping but short crescendos and decrescendos. The next four bars act as a bridge to the second section at bar 17, where a soaring tenor melody is accompanied by luscious harmonies in the right hand. This section continues until the 30th bar, when an A-major chord is played but then, when the pedal lifts, only the third C is heard, and the initial melody is repeated, using the right hand harmony from the ninth bar. The piece ends with three block chords, in a very powerful dominant cadence, with the concluding E-major chord, arpeggiated.

A melodic tone can often be harmonized in a variety of different ways. For example, an E might be harmonized with an E major chord (E – G - B). In this case, the melodic tone is acting as the root of the chord. That same E might be harmonized with a C major chord (C – E – G), making it the third of the chord. This concept extends to ninths (E would act as the 9th if harmonized with a Dm7 chord – D – F – A – C – E), fifths (E would act as 5 on an A augmented chord – A - C – E), and a wide array of other options.

The second exposition of the subject begins at measure 70 in the left hand, in C minor, then in the right hand in G minor at measure 78. The same 29 episodic measures as before are heard, but transposed, then extended by 26 measures of new development, always using numerous sequences. A full measure of rest (measure 140) precedes a cadence in F minor, then F major, of which the A transforms into the tonic of the key B minor for the postlude, then the dominant of the cadence in E minor, followed by an E major chord, and concluding without transition on an F major chord.

A barre chord ("E Major shape"), with the index finger used to bar the strings. Open E major chord, E major barre chord, then open E major chord. In music, a barre chord (also spelled bar chord or, rarely, barr chord) is a type of chord on a guitar or other stringed instrument, that the musician plays by using one or more fingers to press down multiple strings across a single fret of the fingerboard (like a bar pressing down the strings). Players often use this chording technique to play a chord that is not restricted by the tones of the guitar's open strings.

Oviedo is considered the first virtuoso of the tres due to his varied and complex style, which was imitated by many. Oviedo's preferred tuning was that of a D-major chord, A–D–F#, the same that Arsenio Rodríguez would use years later.Sublette (2004) p. 338.

The bridge section portrays a combination between the harmonies and the guitars, as the key changes. "One More Chance" ends with a brief pause of Madonna's solo vocals, couple of guitar chords and then it dissipates with a final strung of a major chord on the instrument.

Taking the upper portion (DEG) of the C mu chord and substituting this in place of the C triad in the original Am7 chord would give an A7sus4 chord: DEG with A in the bass.Howard Wright 2002-2007. "Steely Dan Mu Major Chord", Howard Wright's Home Page.

The piece then modulates through various related keys, with the subject being repeated in each of the four voices. The piece eventually ends up back in the home key. It ends with each voice stopping at a note and holding it until the end, forming a C-major chord.

One of the best selling albums from this label is Late Night Moods compilations. This series has been doing very well in Asia, and is recognized as a premier bossa nova chill album. ‘MAJOR CHORD RECORDS’ – Focuses on the adult contemporary sound and is targeted towards High Fidelity enthusiasts.

The theme is somewhat chromatic, with frequent accidentals. The third theme is mostly quarter and eighth notes with an irregular accompaniment. The exposition ends with a C major chord. The development and recapitulation follow, varying and combining these themes before restating them, as is normal in sonata form.

The song is a romantic ballad that proved to be extremely popular when it was released and has since been a wedding song staple of sorts. The song was composed in the key of B minor, though the chorus shifts to C major (the relative major chord to B-flat minor).

Lower chords should be described top-down instead of bottom-up. The principle of starting with the lowest note is not consequently observed in other situations, such as with inverted chords. A C major chord in its first inversion is not typically described as an E minor chord with altered fifth (Em+5).

Wayne is believed to have written "Sonny" when he was part of Woody Herman's band in 1946. The melodies of "Sonny" and "Solar" are the same. Davis altered the opening, major chord of Wayne's composition by making it minor. Davis died in 1991; the first two measures of the composition adorn his tombstone.

The harmony consists only of three chords: Cm, Fm and Gm and calls to mind a peaceful lullaby. The final movement Entrée et danse des bergers (Entrance and Dance of the Shepherds) is more rhythmically complex and changes meter several times. It ends unexpectedly on an E major chord with added sixth.

For example, if a folk guitar player wanted to play a song in the key of B Major, they could put a capo on the second fret of the instrument, and then play the song as if it were in the key of A Major, but with the capo the instrument would make the sounds of B Major. This is because with the capo barring the entire second fret, open chords would all sound two semitones (in other words, one tone) higher in pitch. For example, if a guitarist played an open A Major chord (a very common open chord), it would sound like a B Major chord. All of the other open chords would be similarly modified in pitch.

On the guitar and bass guitar this is accomplished with the right hand alternating between two or more strings, often the bottom two on the guitar. In the following example in the C major chord C is located on the fifth string while G is located on the adjacent sixth (lowest) string and in the F major chord F is located on the adjacent fourth string: Carter Family picking with alternate bass within and walking bass, in blue, between C and F major chords . Alternate bass lines are also used on the double bass in country music, bluegrass music and related genres. On the Stradella bass system commonly found on accordions, the left-hand bass- note buttons are arranged according to the circle of fifths.

Bridge chord on C . The Bridge chord is a bitonal chord named after its use in the music of composer Frank Bridge (1879–1941). It consists of a minor chord with the major chord a whole tone above (CEG & DFA),Payne, Anthony; Foreman, Lewis; and Bishop, John (1976). The Music of Frank Bridge, p. 42.

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) . 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.

This gives way to the final small section of the piece (m. 84–89), which is a mirror to the introduction of the piece (a1). The rising pentatonic figuration seen at the beginning appears here, this time in the tonic C major. The piece ends on a C major chord with an added scale degree 2.

Individual variations unfold, taking up characters of song, dance, capriccio and march. By the end, the ground bass is reduced to chant-like reminiscences; the orchestra leaves hints of an unmistakable D major chord, while the soloist is left undecided in a trill between the notes F-natural and G flat.Paul Kildea, ed. (2008). Britten on Music, p. 365.

Starting from a major chord, for example G major (G–B–D), there are twelve potential goals using a common-tone modulation: G minor, G minor, B major, B major, B minor, C major, C minor, D minor, D major, E major, E major, E minor.Kopp, David (2006). Chromatic Transformations in Nineteenth-Century Music, p. 50. Cambridge University Press. .

Cadd9 chord and two different voicings of the Mu chord on C: left, , . Notice the major second between the second and the third in all instances. A mu major chord or mu chord (signified by μ) is a particular voicing of an add 2 or "add 9" chord. It is formed by adding a 2nd to a major triad.

This same sample closes the song, but proceeds to become slowed down after a few seconds in. Interscope Records. December 11, 2001. The verses use a simple I-vi chord progression, alternating between a first inversion E major chord and a second inversion C# minor chord, played on the off-beats and switch to a IV-iii progression.

4–3 is a recommended fingering for a bass note and its corresponding major chord (e.g. C–CM–C–CM). For alternate bass with the root and fifth, 4–3–2–3 can be used for major chords (e.g. C–CM–G–CM), 4–2–3–2 for minor and other types of chords (e.g. C–C7–G–C7).

A notation for chord inversion often used in popular music is to write the name of a chord followed by a forward slash and then the name of the bass note. This is called a slash chord. For example, a C-major chord in first inversion (i.e., with E in the bass) would be notated as "C/E".

For example, the current chord is an E major and the next is an F major, the guitarist barres the open E major up two frets (two semitones) from the open position to produce a barred F major chord. Such chords are hard to play for beginners due to the pressing of multiple strings with a single finger.

Open D tuning. Open D tuning is an open tuning for the acoustic or electric guitar. The open string notes in this tuning are (from lowest to highest): D A D F A D. It uses the three notes that form the triad of a D major chord: D, the root note; A, the perfect fifth; and F, the major third. To tune a guitar from standard tuning to open D tuning, lower the 1st (high-E) string down a full step to D, 2nd (B) string down a full step to A, 3rd (G) string down a half step to F, and 6th (low-E) string down a full step to D. In this tuning, when the guitar is strummed without fretting any of the strings, a D major chord is sounded.

In general, uplifting trance is a style much lighter in tone than other trance genres (such as Goa). Instead of the darker tone of Goa, uplifting trance uses similar chord progressions as progressive trance, but tracks' chord progressions usually rest on a major chord, and the balance between major and minor chords in a progression will determine how "happy" or "sad" the progression sounds. The genre features longer major chord progressions in all elements (lead synth, bass, and treble). It also contains extended breakdowns and relegation of arpeggiation (the melodic part of the song, usually consisting of "Saw Synths/Square Lead" type sounds) to the background while bringing wash effects to the fore (the harmonic element of the music, or "background fill", usually consisting of synth choir/voice/string chord progressions).

Forward roll on G major chord in both standard notation and banjo tablature, accompaniment pattern characteristic of Scruggs styleDavis, Janet (2002). [Mel Bay's] Back-Up Banjo, p.54. . Emphasis original. . In bluegrass music, a banjo roll or roll is a pattern played by the banjo that uses a repeating eighth- note arpeggio – a broken chord – that by subdividing the beat 'keeps time'.

"Each ["standard"] roll pattern is a right hand fingering pattern, consisting of eight (eighth) notes, which can be played while holding any chord position with the left hand." Four different, "commonly used," "standard roll patterns," on G major chord: (above), , (or "alternating"Collins, Eddie (2007). Introduction to Bluegrass Banjo, p.21. .), and or "forward backward roll".Hohwald, Geoff (1988). Banjo Primer, p.14. .

In the last several minutes of the capriccio, which is around a total of 20 minutes, the orchestra rebuilds to several loud and powerful themes. The idea of a gypsy's pleasures in life is shown with the wondrous and lively ending sequence. After a short and powerful respite in B minor, the composition ends in a blaring E major chord.

The first aria, addressing the Trinity, "" (Holiest Trinity), is accompanied by a choir of three trumpets and basso continuo, a rare combination that expresses the idea of the words. The trumpet is a symbol of a ruler. The three trumpets sometimes play in unison, to further illustrate the Trinity. The theme is composed of the three notes of the major chord.

Wahine tunings have their own characteristic vamps (as in, for example, Raymond Kāne's "Punahele" or Gabby Pahinui's 1946 "Hula Medley") and require fretting one or two strings to form a major chord. A third significant group is Mauna Loa tunings, in which the highest pair of strings are a fifth apart: Gabby Pahinui often played in C Mauna Loa, CGEGAE.

11 According to Flack: "My classical background made it possible for me to try a number of things with [the song's arrangement]. I changed parts of the chord structure and chose to end on a major chord. [The song] wasn't written that way." The single appeared as the opening track of her Killing Me Softly album, issued in August 1973.

In music theory, a Neapolitan chord (or simply a "Neapolitan") is a major chord built on the lowered (flatted) second (supertonic) scale degree. In Schenkerian analysis, it is known as a Phrygian II,Oswald Jonas (1982). Introduction to the Theory of Heinrich Schenker (1934: Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers), Translated by John Rothgeb.: p.29n29. .

Liszt planned his choice of keys in a remarkably symmetrical fashion. Although the lassan's principal key is C-sharp minor (with the appropriate key signature used throughout) the work opens on the tonic major chord, C-sharp major. However, by bar 6, the minor tonality is established. This device provides a contrast which intensifies the generally dark and sombre character of the lassan.

Rather, it sets out to explore the key of E major using two types of contrast: chords vs. arpeggios and scales, and legato vs. staccato. After the opening E major chord, there is an ascending, legato arpeggio, which is met by a fast, downward scale, marked staccato. This pattern is repeated in the dominant, submediant, and finally the subdominant chords.

In a near-comical fortissimo flourish, a deliberately muddy fully voiced D major chord closes the first half of the work. #"Pause" ("Interlude"; B major): "Is it the echo of my love's pain? Or the prelude to new songs?" – the Miller, his heart too full to sing, hangs his lute on the wall with a green ribbon and reflects on the heavy burden of happiness.

The normal form of a set is that which is transposed so as to be most compact. For example, a second inversion major chord contains the pitch classes 7, 0, and 4. The normal form would then be 0, 4 and 7. Its (transposed) inversion, which happens to be the minor chord, contains the pitch classes 0, 3, and 7; and is the prime form.

The last four measures return to the initial Adagio tempo. Logically this ought to be faster than the preceding music, which was Adagio then Largamente molto (broadening — that is, slowing — a lot), but most conductors slow down. The strings play a version of the theme from bars 11–12 against a grand C major chord held by the brass and woodwinds. Lionel PikePike, Lionel.

Along with the major triad, the minor triad 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" but is still considered highly consonant, stable, or as not requiring resolution. Some minor chords with additional notes, such as the minor seventh chord, may also be called minor chords.

Whitwell, Tom (26 May 2005) "Tiny Music Makers: Pt 4: The Mac Startup Sound", Music Thing Reekes said, "The startup sound was done in my home studio on a Korg Wavestation. It's a C Major chord, played with both hands stretched out as wide as possible (with 3rd at the top, if I recall)." The sound in question is a slightly modified "Sandman" factory preset.

The song uses the droning major chord over most of its verse section, with a harmonic change occurring at the end. The bridge sections adopt a more varied chord progression, thereby departing from Indian musical form. Davies furthered the song's Indian mood in his style of singing. In Lavezzoli's description, his "nasal lead vocal" suggests an attempt to "sing a raga" over the droning guitars.

The movement's secondary theme returns in the piano before playing a chord progression heard in the first movement. A series of fast-paced octave scales crescendo into the same "grandioso" heard in the first movement. The rat-a-tat theme returns for the final time in the movement; pentatonic chord progressions and a final F Major 6 tremolo and F major chord finish the piece.

Having a moderate tempo with 110 beats per minute, the song is written in the key of C minor and follows the chord progression of Ab–Bb–Cm in the verses and Ab7–Bb–Cm–C–Bb–G in the song's chorus, with the C major chord being a picardy third (or a borrowed chord), as it's a parallel key. Mumba's vocals span from Eb3 to Bb4.

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 E 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 C13911 chord (C major chord with a minor 7th, minor 9th, augmented 11th, and major 13th): In relation to the root of C, the C (enharmonic with D) functions as the minor 9th, the F as the augmented 11th, and the A as the major 13th, respectively.

The incorporation of opinion, however, may be significant, as they serve as a glimpse into Bernstein's opinions about Mahler, a composer he championed throughout his career. A noteworthy aspect of this lecture is the first hearing of Charles Ives's The Unanswered Question. Bernstein moderates his interpretation over the music in order to depict the ultimate triumph of tonality, represented by a held G major chord in the strings, held "into eternity".

MIT Press. For example, the chord formed by pitches in the ratios 3:5:7 has a very similar pattern of intonation sensitivity to the just major chord, formed by 4:5:6—more similar than does the minor chord. The major or minor triad may be used to form the diatonic scale and the 3:5:7 triad may be used to form the Bohlen–Pierce scale.

Though the sonata is marked as being in A major, Beethoven does not write any cadences on the tonic key; the exposition and development do not include a single root position A major chord. The first tonic chord in root position appears towards the end of the recapitulation. It appears once more at the end of the recapitulation, but even then is blunted by the omission of the fifth scale degree.

The recapitulation is a key change from G major to C major, which is finished by a cadenza, which begins with a sudden A-flat major chord. The cadenza is very light and vibrant and it ends with a long trill and descending chromatic scale in the right hand. The first movement is about 10 minutes long and is one of Beethoven's longest movements from his early period.

In tonal music, a preparation is the consonant pitch or chord which precedes a dissonant nonharmonic tone. The move from a dissonance to a consonance constitutes a resolution. In the following example, the C major chord on the left is a preparation which precedes a nonharmonic tone that serves as an anticipation (center, marked in red) to the G major harmony on the right. This harmony resolves the preceding dissonance: Anticipation.

Songwriter and guitarist Jerry Cantrell was at first hesitant to present the song to the band, feeling that the song was too soft, but after a positive response from the band, they followed through and recorded it. The composition is written in A minor, utilizing Dorian mode, and is centered mainly around Ab minor - Gb major - Db major chord progression, with Layne Staley's and Jerry Cantrell's vocal parts intricately harmonizing.

The tonality of the piece is slightly ambiguous, as despite its ending on a D major chord, it never really settles in any one key. Byrd uses the Dorian mode whilst his Renaissance contemporaries generally avoided the use of Medieval modes either by sharpening leading tones or lowering the fourth in the Lydian mode. Byrd’s use of the Dorian mode can be seen in the very first phrase of the piece.

Along with the minor triad, the major triad is one of the basic building blocks of tonal music in the Western common practice period and Western pop, folk and rock music. It is considered consonant, stable, or not requiring resolution. In Western music, a minor chord "sounds darker than a major chord". Some major chords with additional notes, such as the major seventh chord, are also called major chords.

The movement ends in a quiet morendo. The second movement opens with an energetic string melody, which gives way to a Presto version of the main theme, complete with extremely rapid scale passages in the piano. The Maestoso is introduced by a full C major chord in the organ. Piano four-hands is heard at the beginning with the strings, now playing the C major evolution of the original theme.

The chord is a F-sharp major chord, and was produced by pitch-shifting the 840AV's sound. The Mac startup chime is now a registered trademark in the United States, and is featured in the 2008 Pixar film WALL-E when the titular robot character is fully recharged by solar panels as well as in the 2007 Brad Paisley song "Online".Apple Sound Designer on Iconic Startup Sound. Obama Pacman.

The voicing is associated with jazz-rock band Steely Dan. The mu major chord differs from a sus2 chord, as a sus2 chord does not contain a 3rd. "Inversions of the µ major may be formed in the usual manner with one caveat: the voicing of the second and third scale tones, which is the essence of the chord's appeal, should always occur as a whole tone dissonance."Becker and Fagen.

Messiaen's synesthesia caused a perception of colors associated with particular harmonies or musical scale degrees. For instance, when hearing a C-natural on the piano, the composer saw "white" before his eyes. In the opera, Messiaen underscores the final moments (Francis' death and ascent into heaven) on a C major chord structure, providing a musical burst of white light. It is unclear whether this final chord structure was coincidental or intentional.

For example, the C7 seventh chord combines the C-major chord {C, E, G} with B. In standard tuning, extending the root-bass C-major chord (C,E,G) to a C7 chord (C, E, G, B) would span six frets (3–8); such seventh chords "contain some pretty serious stretches in the left hand". An illustration shows this C7 voicing (C, E, G, B), which would be extremely difficult to play in standard tuning, besides the openly voiced C7-chord that is conventional in standard tuning: This open-position C7 chord is termed a second-inversion C7 drop 2 chord (C, G, B, E), because the second-highest note (C) in the second- inversion C7 chord (G, B, C, E) is lowered by an octave.The illustration designates B by its enharmonic equivalent, A. Guitar fretboards use (twelve- tone) equal-temperament tuning, in which B and A denote the same pitch. These notes represent distinct pitches in tuning systems that are not equally tempered.

Overtone tunings that are open tunings have been used in songs by folk musician Joni Mitchell and by rock guitarist Mick Ralphs of Bad Company; these open overtones-tunings select their open notes from the first six partials of their overtone sequence on C or G. For open tunings, the open strings and the frets are each associated with a major-chord, which is played by strumming the open strings or the strings after they have been barred at one fret with one finger, greatly simplifying major-chord playing. For each such open or barred chord, the overtones reinforce the bass note, increasing the guitar's volume of sound and resonance. In an open overtones-tuning, adjacent strings that differ by a third interval can be tuned in just intonation, resulting in greater consonance than thirds in equal temperament. Music theorist William Sethares has discussed an overtones tuning that uses six higher partials, from fourth to ninth, of the overtone sequence; his tuning is not an open tuning.

When spelling out the mode to use over this chord, instead of thinking of the chord as E minor 7 sharp 5 (E-F♯-G-A-B♯-C-D-E), think of it as E minor 7 add 6 (E-F♯-G-A-B-C- D-E). Otherwise, the E diminished scale might be a good choice (E-F♯-G-A-A♯-C-C♯-D♯-E) It is also important to note than in conventional music theory, there is no such thing as an E minor 7 sharp 5 chord. This chord (spelled E, G, C and D) is really a first inversion C major chord with an added 9th (the D), which could also be thought of as a C major chord with an E in the bass, or C/E. From here you could choose to use either a C Ionian or Lydian scale, which would correspond to an E Phrygian or E Aeolian respectively.

This long section begins to slowly pick up and results in the tumultuous, extremely chromatic and violent development. After reprising a portion of the slow section, a final quick, mocking fragment of the main theme is presented which ends in the only full statement of the key of the piece with a quiet, quick roll of the B major chord. The music is labeled as being in the key of B-flat major, and contains musical elements pointing to B-flat as a home note in the vein of the classical sonata form: a first theme centered on B-flat, a second theme whose iteration in the exposition is centered on A-flat and whose iteration in the recapitulation is centered on B-flat, and an ending that returns the tonal center to B-flat and concludes the piece with a B-flat major chord. However, this movement distinctively lacks the key signature of B-flat major.

An otonality is a collection of pitches which can be expressed in ratios, expressing their relationship to the fixed tone, that have equal denominators. For example, 1/1, 5/4, and 3/2 (just major chord) form an otonality because they can be written as 4/4, 5/4, 6/4. This in turn can be written as an extended ratio 4:5:6. Every otonality is therefore composed of members of a harmonic series.

In the late 19th century, Spanish guitars were introduced in the Hawaiian Islands by European sailors and Mexican "vaqueros". Hawaiians did not embrace the standard guitar tuning that had been in use upon their introduction. Rather, they re-tuned the guitars to make them sound a major chord when all six strings were strummed, now known as an "open tuning". The term for this is "slack-key" because certain strings were "slackened" to achieve it.

The first time, this leads without intermediate modulation to the trio, headed Maggiore, in C; after its return, the coda briefly quotes the C major tune before returning to E minor. Anton Schindler recalled that Beethoven would play the E-minor section furiously, before pausing at length on the E-major chord and giving a calmer account of the Maggiore.Behrend, p. 46 The third movement is in a lively sonata rondo form.

The lyrics celebrate how happy the singer is in the company of the beloved, but suffering equally whenever the two separate. Describing it by analogy as a musical "change from major to minor", Porter begins with an A major chord and ends with an A minor one, matching the mood of the music to the words. The Benny Goodman Quintet (vocal by Peggy Mann) enjoyed a hit record with the song in 1945.

The tuning is named for the base chord when played open, typically a major chord, and all similar chords in the chromatic scale are played by barring all strings across a single fret. Open tunings are common in blues and folk music. These tunings are frequently used in the playing of slide and lap-slide ("Hawaiian") guitars, and Hawaiian slack key music. Ry Cooder uses open tunings when he plays slide guitar.

Due to the major seventh interval between the root and seventh (C–B, an inverted minor second), this chord can sometimes sound dissonant, depending on the voicing used. For example, Bacharach and David's Raindrops Keep Fallin' on My Head opens with a major chord followed by a major seventh in the next measure. The major seventh is sometimes notated as 7 (a delta chord) or just a (which has the same meaning).

The resurrection is announced by the sopranos, first alone, then by a strong chord in the instruments which changes the E-flat they sing to D-sharp of a B major chord, in which the other voices join. After this surprise, the new text is sung to themes from the first section, concluded by "Credo". Another fugue expands the text "Et vitam venturi saeculi. (And the life of a world to come.) Amen".

For example, a sequence based on the three first notes of the turn theme is repeated eight times in a row starting in measure 47. Numerous dynamics are marked in the score: piano, forte, crescendo and decrescendo. This episode ends with the dynamic double forte decrescendo on a perfect cadence of G (D dominant seventh → G major), repeated twice identically. The G major chord becomes the dominant of the key of the second exposition.

It is suggested that the chord was conceived on or for use on keyboards. Mu chords, or portions thereof, may be used in chord substitution by replacing the major triad found in voicings of other chords. For example, an Am7 chord can be voiced as a C major triad (CEG) with an A in the bass. A C mu major chord can be voiced as a DEG triad with a C in the bass.

It entails moving from the third of a dominant chord, to the flat nine of a dominant chord, by skipping directly to the ninth, or by a diminished arpeggio (ascending: 3rd, 5th 7th, 9th). The chord often resolves to a major chord a perfect fourth away. For example, the third of a G7 chord is B, while the flat ninth is A. The chord resolves to C and the note A leads to G.

An energetic refrain is followed by a verse which features a wide range of birds including the bellbird, the golden oriole, the capercaillie and the black-throated diver amongst many others. That refrain-verse sequence is presented twice. After that comes a free meter section, then a chorus of bells before the refrain is stated one last time. The piece ends on an A Major chord, a key that Messiaen associated with joy.

Piano-vocal score (Hollywood, CA: Music Productions, 1959). Although Miss Toni Fisher does use the triplet in her performance on the record, she takes liberties with it and often uses some form of duple rhythm. She also deviates here and there from the notes as written, but well within the usual range employed by singers for expressive purposes. The main harmonic idea uses the tonic chord alternating with the Neapolitan chord (the flattened supertonic major chord).

The music of "Cowgirl in the Sand", like that of "Down by the River", is based on a chord progression from minor chord to major chord. Also like "Down by the River", the song features several guitar solos featuring what critic Toby Creswell describes as "distortion and chaos". Young plays a distorted guitar section after each of the three choruses. Williamson claims that the song includes "some of the most powerful and untamed lead guitar playing ever recorded".

Such a bass note is an additional note, coloring the chord above it. The name of such a chord is also notated as a slash chord. Examples with bass note in red: C major chord in root position close position (C), open position (C), first inversion (E), second inversion (G), and cluster on C (C). In pre-tonal theory (Early music), root notes were not considered and thus the bass was the most defining note of a sonority.

A quiet song, the Prophet-5 analog synthesiser provides the D major chord sequence: D, G, D, A, D, while the bass guitar plays the root notes and their octaves.Pink Floyd: The Wall (1980 Pink Floyd Music Publishers Ltd., London, England, [USA ]) for "Goodbye Cruel World" A similar bass riff was used in the earlier Pink Floyd songs "Careful with That Axe, Eugene" and the fade-out of "See Emily Play".Pink Floyd: Anthology songbook (1980 Warner Bros.

According to James Bennighof: "Replacing an expected final minor chord with a major chord in this way is a centuries-old technique—the raised third of the chord, in this case G rather than G natural, was first dubbed a 'Picardy third' (tierce de Picarde) in print by Jean-Jacques Rousseau in 1797 ... to express [the idea that] hopefulness might seem unremarkable, or even clichéd."James Bennighof, "The Words and Music of Joni Mitchell", Santa Barbara: Praeger, 2010.

The two chords that open and close Igor Stravinsky's Symphony of Psalms have distinctive sonorities arising out of the voicing of the notes. The first chord is sometimes called the Psalms chord. William W. Austin remarks: Some chord voicings devised by composers are so striking that they are instantly recognizable when heard. For example, The Unanswered Question by Charles Ives opens with strings playing a widely spaced G-major chord very softly, at the limits of audibility.

Lyrically the song talks about Madonna looking back on a good love affair. According to Alex Balk from The Awl, the lyrics were inspirational, especially the line "I learned to let go of the illusion that we can possess", which is answered by Madonna herself that "[She] remember, happiness". The song starts with a C major chord sequence and is used on the flattened seventh key of the sequence. But the actual key of the song is D major.

Carus published a recording titled Abendlied, a collection of sacred vocal music by Rheinberger, performed by the Vancouver Cantata Singers conducted by James Fankhauser. The music in F major is marked Andante molto. The text is mostly sung syllabically. The three upper voices begin with a F major chord, held for three beats on "Bleib" (Bide) and repeated for "bei" (with), changing to an A minor chord on "uns" (us), when the lower three voices begin a similar pattern.

In musical set theory there are twelve trichords given inversional equivalency, and, without inversional equivalency, nineteen trichords. These are numbered 1–12, with symmetrical trichords being unlettered and with uninverted and inverted nonsymmetrical trichords lettered A or B, respectively. They are often listed in prime form, but may exist in different voicings; different inversions at different transpositions. For example, the major chord, 3-11B (prime form: [0,4,7]), is an inversion of the minor chord, 3-11A (prime form: [0,3,7]).

C major chord with added sixth An added sixth chord ends songs including Hank Williams' "Hey Good Lookin'", Chuck Berry's "Rock and Roll Music", Sam Cooke's "You Send Me", and The Beatles' "She Loves You" (McCartney on 8, Harrison on 6, Lennon on 5). Though the added sixth chord is rarely found inverted, examples include The 5th Dimension's recorded version of "Stoned Soul Picnic" (on 5). Dominant seventh raised ninth vs dominant seventh split third chord.Stephenson (2002), p.84.

Lower-case letters may be placed after a chord symbol to indicate root position or inversion.. Hence, in the key of C major, a C-major chord in first inversion may be notated as Ib, indicating chord I, first inversion. (Less commonly, the root of the chord is named, followed by a lower-case letter: Cb). If no letter is added, the chord is assumed to be in root inversion, as though a had been inserted.

Example 1: Below, a common voicing used by jazz pianists is given for the chord C79 (C major chord with a minor 7th, and extended with an augmented 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 minor 7th of the C79 chord. In the upper stave the notes E, G, and B are given together: these form an E major triad.

If E were the bass it would be written C/E or C/E bass (making a major chord in first inversion), which is read "C slash E", "C over E" or C/E bass. Some chords may not otherwise be notated, such as A/A. Thus, a slash chord may also indicate the chord form or shape and an additional bass note. A/A (alternately notated as A Major/A bass) notated in regular notation (on top) and tabulature (below).

Circle of fifths in 19 tone equal temperament Major chord on C in 19 equal temperament: All notes within 8 cents of just intonation (rather than 14 for 12 equal temperament). , , or . Because 19 is a prime number, repeating any fixed interval in this tuning system cycles through all possible notes; just as one may cycle through 12 EDO on the circle of fifths, since a fifth is 7 semitones, and number 7 does not divide 12 evenly (7 is coprime to 12).

A new phrase then begins with an ascending scale in the manuals leading up to a large D major chord. A new tempo is then introduced: Alla breve, and then a large phrase is introduced with a very polyphonic texture and a prominent tune. A section then starts with chords played in the manuals and the quavers played in the pedals. This continues for another long period of time until the left hand takes the tune and the right hand plays the quavers.

Oom-pah played by accordion on C major chord with alternate bass . In music, alternate bass is a performance technique on many instruments where the bass alternates between two notes, most often the root and the fifth of a triad or chord. The perfect fifth is often, but not always, played below the root, transposed down an octave creating a fourth interval. The alternation between the root note and the fifth scale degree below it creates the characteristic sound of the alternate bass.

These two themes also evoke the rising and moaning of the wind. The Erl-king, who is always heard pianissimo, does not sing melodies, but instead delivers insubstantial rising arpeggios that outline a single major chord (that of the home key) which sounds simultaneously on the piano in una corda tremolo. Only with his final threatening word, "Gewalt", does he depart from this chord. Loewe's implication is that the Erlking has no substance but merely exists in the child's feverish imagination.

"Believe in Life" consists of an intro, several verses and links, a bridge and a final outro. In total, 24 different chords are used in the tune, including various major- and minor chords as well as seventh chords. The song is basically structured in a simple Clapton-style acoustic track chord progression. The intro chord progression is played four times; it consists of an E7sus4 chord, followed by an E major chord, which is repeated again for the first section.

For example, the pitches C, E, and G are represented as the cartesian points P(0), P(1), and P(4) (see definitions in next section), which outline a triangle. The convex combination of these three points is a point inside the triangle, and represents their center of effect (ce). This interior point, CM(0), represents the C major chord in the spiral array model. Similarly, keys may be constructed by the centers of effect of their I, IV, and V chords.

Sutcliffe argues that the perfunctory major- key conclusion is not a "happy ending" but an "uneasy truce" that paves the way for the remainder of the quartet, the finale of which concludes in a minor key. The second movement continues the major-minor tussle that pervades the work as a whole. It is in double variation form, with the first theme in A major and the second theme in A minor. Again the movement ends abruptly, with an A-major chord.

All dyads within an octave on C. In music, a dyad (less commonly, diad) is a set of two notes or pitches that, in particular contexts, may imply a chord. Dyads can be classified by the interval between the notes. Take the notes For example, the interval between C and E is a major third, which can imply a C major chord, made up of the notes C, E and G.Young, Doug (2008). Mel Bay Presents Understanding DADGAD, p.53. .

Doggett notes that the track contains none of the "metallic theatrics" that are found on the rest of the album. Musically, the song opens with a repeating electric guitar riff from Ronson with an acoustic guitar from Bowie underneath it. O'Leary writes that apart from Ronson's electric guitar, the song is primarily acoustic. The chord structure is in the key of F with an A major chord "borrowed" from the D minor scale, similar to fellow album track "All the Madmen".

After the solo, the bridge features a F major, B flat major, A flat major chord progression, with Parker's vocals over the top. Another key change occurs, to E major, and the intro, chorus chord progression and strumming pattern is then transposed to the E major key, turning into a D flat major, B major, Eadd11 progression. The chorus comes back in, and the key changes back to F major, featuring the chorus repeated until the end of the song.

"Early Works: Tonality and Beyond", The Cambridge Companion to Berg, p. 81. Pople, Anthony, ed. . Works in the classical music era and later beginning in minor typically end in major, or at least on a major chord (such as a picardy third), but there are a few notable examples of works in D minor ending in much sharper keys. Two symphonies that begin in D minor and end in E major are Havergal Brian's Gothic Symphony and Carl Nielsen's Symphony No. 4 (The Inextinguishable).

In standard tuning, the closed-voicing root-bass C7 chord on frets 3–8 is difficult to play, and so an open voicing is conventional. Major-thirds tuning facilitates playing chords with closed voicings. In contrast, standard tuning would require more hand-stretching to play closed- voice seventh chords, and so standard tuning uses open voicings for many four- note chords, for example of dominant seventh chords. By definition, a dominant seventh is a four-note chord combining a major chord and a minor seventh.

The 240Z's sleek styling, modern engineering, relatively low price, and impressive performance struck a major chord with the public. Positive response from both buyers and the motoring press was immediate, and dealers soon had long waiting lists for the "Z". As a "halo" car, the 240Z broadened the acceptance of Japanese car-makers beyond their econobox image. Datsun's growing dealer network compared to limited production imported sports cars manufactured by Jaguar, BMW, Porsche, Alfa Romeo, and Fiat ensured both easy purchase and ready maintenance.

The fifth and final variation, the longest, caps the movement with a slower and more dramatic feel, nevertheless returning to the carefree F major. #Presto (A major, sonata form, about 10 minutes) #:The calm is broken by a crashing A major chord in the piano, ushering in the virtuosic and exuberant third movement, a 6/8 tarantella in sonata form. After moving through a series of slightly contrasting episodes, the theme returns for the last time, and the work ends jubilantly in a rush of A major.

This movement moves through three different sections, each in a different character. The first section begins with an E Major chord, the dominant of the key of the piece. The high pitched tremolo in the strings evoke a shimmering haze, introducing the M-voice. This is later juxtaposed by harp and percussion-the T-voice, which serves to outline the changes in harmony of the strings as the M-voice, while also serving as breaks and a release of tension in the seemingly eternal lines.

Another notable feature of Chopin's nocturnes is that all but three of the pieces end in a major key. This includes all of the nocturnes in minor keys, which, excluding No. 13 in C minor and No. 21 in C minor, end with Picardy Thirds. No. 9 in B major is Chopin's only nocturne in a major key that ends on a minor key (in this case, B minor), although some performers, such as Arthur Rubinstein, end the piece on a B major chord instead.

Apparition de l'église éternelle (Apparition of the eternal church) is a work for organ, written by the French composer Olivier Messiaen in 1932. The piece is in arc form, beginning in pianissimo (pp) and building up to a fortissimo (fff) climax featuring a C major chord, and then receding back to pianissimo. Richly colored chords alternate with open fifths, on top of a throbbing bass which repeats a simple rhythmic pattern. Programmatically, the piece describes the appearance of the eternal church, which then fades away.

Over the bridges, the new key is set fully in the minor mode, avoiding the Dorian inflections present in previous Harrison songs. These sections begin on an E minor chord, which, in Roman numeral analysis, represents a v minor in the tonic of A and an iv minor in the new key. At the end of each bridge, the return to the home key is effected via an E major chord, marking the only use of the expected G note in the A major scale.

Reinassence style belltowers are San Nazaro and Santa Maria in Organo. During the 17th century the Da Levo family and their students (one of whom was Pesenti) were casting diatonically tuned bells. Common arrangements were the major chord (doh-me- soh-doh', for example C E G C'), the Gloria (doh-ray-fah, for example C D F) or the subdominant (doh-far-doh', for example C F C'). Significant churches equipped installations were Madonna di Campagna, San Bernardino, San Nicolò all'Arena and the Cathedral.

Similar to their song "Tracy", the track begins with recorded a phone call (which can be heard throughout most of the song) between Stuart Braithwaite and friend David Jack, whilst an electronic drumbeat plays. At (0:18), they are joined by the sound of a Bontempi Organ playing an A♯ major chord, followed by a D minor chord, which is repeated all throughout the song. Layers of synth and a guitar riff play over the chords. A whooshing noise can be heard at various points.

Quite a few orchestra harmonicas are also designed to serve as both bass and chord harmonica, with bass notes next to chord groupings. There are also other chord harmonicas, such as the Chordomonica (which operates similar to a chromatic harmonica), and the junior chord harmonicas (which typically provide six chords). The Suzuki SSCH-56 Compact Chord harmonica is a 48-chord harmonica built in a 14-hole chromatic harmonica enclosure. The first three holes play a major chord on blow and draw, with and without the slide.

Oom-pah played by accordion on C major chord with alternate bass . Oom-pah, Oompah or Umpapa is the rhythmical sound of a deep brass instrument in a band, a form of background ostinato.Oompah, The Oxford Pocket Dictionary of Current English, 2008 The oom-pah sound is usually made by the tuba alternating between the root (tonic) of the chord and the 5th (dominant) — this sound is said to be the oom. The pah is played on the off-beats by higher-pitched instruments such as the clarinet, accordion or trombone.

The second is in A major and gentler, using no trumpets and drums. It is played on a three-time cadence and uses the highest and lowest string sections in a playful conversation, resulting in a triplet. It then enjoys long chains of suspensions on the phrase "thy salvation". The third movement begins with a radiant D major chord by the chorus and is a brief outburst of triumphalism with an extraordinary harmonic surprise, telling of the king's coronation with a crown of pure gold and ending in a B minor fugue.

Both of these thematic materials are played by different instruments and developed, with one section combining the triplet and pizzicato motifs with the opening theme. There is a stormy middle section reminiscent of Schubert's cello quintet. The entire movement has a key signature of D minor, but it ends on a D major chord. The third movement, marked Un poco allegretto, is in time and is loosely based on a minuet and trio form, finishing with a short coda the uses the material of the trio instead of that of the minuet.

Linear progressions may be incomplete (deceptive) when one of their tones is replaced by another, but nevertheless suggested by the harmony. In the example below, the first bars of Beethoven’s Sonata op. 109, the bass line descends from E3 to E2. F2 is replaced by B1 in order to mark the cadence, but it remains implicit in the B chord. In addition, the top voice answers the bass line by a voice exchange, E4–F4–G4 above G2–(F2)–E2, in bar 3, after a descending arpeggio of the E major chord.

This single chord has been widely commented on. It has been called "the most sickening chord in all opera", an "epoch-making dissonance with which Strauss takes Salome...to the depth of degradation", and "the quintessence of Decadence: here is ecstasy falling in upon itself, crumbling into the abyss". The chord is often described as polytonal, with a low A7 (a dominant seventh chord) merged with a higher F-sharp major chord. It forms part of a cadence in the key of C-sharp major and is approached and resolved from C–sharp major chords.

The root of a major chord in root position has greater pitch salience than other tones in that chord. Empirical research has confirmed the prediction that typical musical chords evoke pitch classes of low salience that are not notated; for example, the A-minor triad ACE evokes F and D.Parncutt, R., Sattmann, S., Gaich, A., & Seither-Preisler, A. (2019). Tone profiles of isolated musical chords: Psychoacoustic versus cognitive models. Music Perception, 36 (4), 406–430 Parncutt also considers how we perceive successions of sounds, such as chord progressions.

Through this the timpani plays the movement's main passacaglia idea, which bears a resemblance to the "invasion" theme from the Seventh Symphony. Finally the glockenspiel and celesta strike a single, sustained, C to close on an A major chord, thus ending the symphony in the major variant of the opening chord ("Picardy third") and with a similar orchestration. Although Shostakovich fashioned many of the symphony's motifs from all twelve notes of the Western chromatic scale, he does not exploit these tone rows for their structural implications as would be the case in twelve-tone music.

The beginning opens with an A major chord and continues in a typical polonaise rhythm. The key then changes into D major in the middle of the polonaise for a trio section, after which the opening is repeated with no changes except disregarding the repeat signs. The piece is almost entirely played forte or louder, which makes for a bombastic performance. During the September 1939 German invasion of Poland at the outset of World War II, Polskie Radio broadcast this piece daily as nationalistic protest, and to rally the Polish people.

For example, a C major chord would be preceded by Dm7 and G7. Since secondary dominant chords are often inserted between the chords of a progression rather than replacing one, this may be considered as 'addition' rather than 'substitution'. ii7-subV7-IM7-I6 progression . Chord quality alteration is when the quality of a chord is changed, and the new chord of similar root and construction, but with one pitch different, is substituted for the original chord, for example the minor sixth for the major seventh, or the major seventh for the minor.

The sonata is in three movements: The first movement opens with a series of ascending fourths in the right hand, followed by a quartet-like echoing of a phrase in different octaves. The second theme, in B major, is based on a descending run followed by an ascending chromatic run. The development is full of sixteenth- note arpeggios in the left hand, and sixteenth-note left-hand scales accompany the start of the recapitulation, but the movement ends quietly. The second movement is minuet-like; the main section ends on the tonic major chord.

The calm atmosphere is short-lived however, and dissonances begin to be piled up as the dynamic increases. A huge dissonant cluster chord miraculously resolves into an ethereal D major chord from the strings. This is the first sign that the note D will supplant C in the tonal battle. The calmness temporarily returns, and a brief trumpet chorale passage is sounded, also an idea to be presented again later. A large crescendo is built up and the music quickly gains intensity, culminating at the beginning of a section marked ‘Piu mosso’.

Already in basic guitar-playing, inversion is important for sevenths chords in standard tuning. It is also important for playing major chords. In standard tuning, chord inversion depends on the bass note's string, and so there are three different forms for the inversion of each major chord, depending on the position of the irregular major-thirds interval between the G and B strings. For example, if the note E (the open sixth string) is played over the A minor chord, then the chord would be [0 0 2 2 1 0].

The relationship of the minuet (in F-sharp major) and the trio (in F-sharp minor) continues the overall tension between major and minor. The minuet features a startling harmonic shift: its second half is suddenly interrupted by a fortissimo D-major chord, far remote from the home key, before a chromatic passage leads back to the dominant of C-sharp major. The trio is linked to the minuet by the rhythmic similarities of their opening motifs. The finale is a fugue that builds on motifs presented in the earlier three movements.

The first is the use of three voices or parts: the melodic line, the terce and the quint either through vocalization or instruments. The second is syncopation, where the music starts right after a beat while maintaining a consistent rhythm. The third is having the music played in different phrases, meaning that the entrance and exit of different musical themes are felt at different times throughout a song either through rhythm or instruments. The fourth is harmony, where a minor chord is used instead of a major chord.

London: British Broadcasting Corporation. At the end of his opera Don Giovanni, Mozart uses the switch from minor to major to considerable dramatic effect: "As the Don disappears, screaming in agony, the orchestra settles in on a chord of D major. The change of mode offers no consolation, though: it is more like the tierce de Picardie, the 'Picardy third' (a famous misnomer derived from tierce picarte, 'sharp third'), the major chord that was used to end solemn organ preludes and toccatas in the minor keys in days of old."Taruskin, R. (2010).

A minor triad can also be described by its intervals: it has as a minor third interval on the bottom and a major third on top or as a root note. By contrast, a major triad has a major third on the bottom and minor third on top. They both contain fifths, because a minor third (three semitones) plus a major third (four semitones) equals a perfect fifth (seven semitones). In Western classical music from 1600 to 1820 and in Western pop, folk and rock music, a major chord is usually played as a triad.

When Apple discovered this, he refused to change it, using various claims in order to keep the new sound intact. He is also the creator of the iconic (or "earconic", as he calls it) "bong" startup chime in most Macintoshes since the Quadra 840AV. A slightly lower-pitched version of this chime is in all PCI- based Power Macs until the iMac G3. The Macintosh LC, LC II, and Macintosh Classic II do not use the Reekes chime, instead using an F major chord that just produces a "ding" sound.

Walter Becker explained that the use of the chord developed from trying to enrich the sound of a major chord without making it into a "jazz chord". Usage of the chord itself had been present for decades in jazz music from bebop to free jazz, and was especially present in the jazz-funk era from the late '60s to the early '80s. Notable users are vibes player/composer Roy Ayers, pianist/composer Herbie Hancock and composer Yoko Kanno. The chord/voicing technique was the same, just not named as such.

Nikolai Myaskovsky composed his Symphony No. 22 in B minor in 1941. Its official name is Symphonic Ballad (or Ballade), and it lasts about 35–40 minutes in performance. The symphony is in one movement in three sections: #Lento. Allegro non troppo in B minorKeys from score #Andante con duolo in B minor #Allegro energico, ma non troppo vivo in B minor The first section begins with a slow introduction which acts as a section-connecting and recurring motive, in B minor but with a tendency to slip to a G major chord.

This instrumentation is soon reversed and earlier themes from the scherzo become further developed. The transition back to the scherzo develops and rhythmically diminishes the opening motif of the scherzo and is the most chromatic, rhythmically complex, loud, and dramatic section of the movement. The scherzo is repeated almost entirely, however, the section immediately preceding the tonic pedal is omitted and replaced with a climactic dominant chord in a very high register in the strings, ending with a tierce de picardie on C major with three loud declamations of the tonic major chord.

107–110 Two years later, after witnessing the horrors of Belsen, Britten composed The Holy Sonnets of John Donne, a work whose bleakness was not matched until his final tenor and piano cycle a quarter of a century later. Britten's technique in this cycle ranges from atonality in the first song to firm tonality later, with a resolute B major chord at the climax of "Death, be not proud". Nocturne (1958) is the last of the orchestral cycles. As in the Serenade, Britten set words by a range of poets, who here include Shakespeare, Coleridge, Keats, Shelley, Tennyson and Wilfred Owen.

D Major/F(alternately notated D Major/F bass) notated in regular notation (on top) and tabulature (below) for a six-string guitar. . In music, especially modern popular music a slash chord or slashed chord, also compound chord, is a chord whose bass note or inversion is indicated by the addition of a slash and the letter of the bass note after the root note letter. It does not indicate "or". For example, a C major chord (C) in second inversion is written C/G or C/G bass, which reads "C slash G", "C over G" or "C over a G bass".

The verses are composed of four barre chords (D5-E5-C5-G5) and one major chord (E) and use two distinctive guitar techniques: sliding and string muting. The song's chorus is repetitive, rearranging three of the five verse chords, and focusing largely on sliding. The lyrics, written solely by Love, narrate themes common in Hole songs from this period and also use vast amounts of religious imagery, similar to that in "Turpentine". The first verse explores religious decay and the chorus questions conventional religious ideals as well as lashing out at an unnamed person in the narrator's life.

For example, VII is a major chord built on the seventh scale degree, indicated by capital Roman numerals for seven. There are common subsets including i–VII–VI, i–iv–v and blues minor pentatonic derived chord sequences such as I–III–IV, I–IV, VII (The verse of "I'm Your Man").Richard Middleton, Studying Popular Music (Milton Keynes and Philadelphia: Open University Press, 1990), p. 198\. . All these lack perfect cadences (V–I) and may be thought of as derived from rewrite rules using recursive fourth structures (repeated progression by perfect fourth, see circle progression).

C subminor, C minor, C major, C supermajor (topped by A) in 31 equal temperament Usual chords like the major chord are rendered nicely in 31-ET because the third and the fifth are very well approximated. Also, it is possible to play subminor chords (where the first third is subminor) and supermajor chords (where the first third is supermajor). C major seventh and G minor, twice in 31 equal temperament, then twice in 12 equal temperament It is also possible to render nicely the harmonic seventh chord. For example on C with C–E–G–A.

The beta chord (β chord) is a five-note chord, formed from the first five notes of the alpha chord (integers: 0,3,6,9,11 ; notes: C, E, G, B, C). The beta chord can also occur in its reduced form, that is, limited to the characteristic tones (C, E, G, C and C, G, C). Forte number: 5-31B. The beta chord may be created from a diminished seventh chord by adding a diminished octave. It may be created from a major chord by adding the sharpened root (solfege: in C, di is C: C, E, G, C) .

In the case of "Ticket to Ride", the section consists of a repeated refrain similar to the last line of the chorus ("My baby don't care"), played over a constant A major chord and set to the double-time rhythm used in the bridge. Lennon said this closing section was one of his "favourite bits" in the song. He also claimed that "Ticket to Ride" was the first heavy metal record ever made. According to MacDonald, the track's heavy sound may have been influenced by Lennon and George Harrison's first encounter with LSD, the precise date for which varies among Beatles biographers.

Thus, the word "red" corresponded to the tonic, or octave note (Do), yellow was the major third or mediant note (Mi) (and the fourth note, Fa), green was the perfect fifth or dominant note (So), and so on. The first four notes of the song thus formed a major chord, do-mi-so-do (red-yellow-green-red), a playful variant on the exercise of singing scales, similar to the Rodgers and Hammerstein song "Do- Re-Mi" from The Sound of Music. The Shermans thus compare colors to musical notes, stating in the lyric that "Color has its harmony".

A vibrating string generates a sequence of harmonics, each of which represents an equilibrium for the string.: When an open-note C-string is struck, its overtones sequence begins with the notes (C,C,G,C,E,G,B,C). The root note is associated with a sequence of intervals, beginning with the unison interval (C,C), the octave interval (C,C), the perfect fifth (C,G), the perfect fourth (G,C), and the major third (C,E); in particular, this sequence of intervals contains the thirds of the C-major chord {(C,E),(E,G)}.

"Hands, Eyes, and Heart" begins in C minor and ends in the relative major of E-flat major. The text is a list of commands. The speaker implores her hands to "give him all the measure of my love", her eyes to "be deep pools of truth", and her heart to "in his keeping, be at rest and live". Thus, the musical structure begins with a simple melody we can call A, then elaborates on it in the next command (A′), and next elaborates on the melody further (A″), and finally concludes on an E major chord.

When the fifth is the bass note, or lowest note, of the expressed chord, the chord is in second inversion . Conventionally, the fifth is second in importance to the root, with the fifth being perfect in all primary triads (I, IV, V and i, iv, v). In jazz chords and theory however, the fifth is often omitted, or assumed, in preference for the chord quality determining third and chord extensions and additions. The fifth in a major and minor chord is perfect (G in C). When the fifth of a major chord is raised it is an augmented chord (G in C) .

The material is always growing and proliferating into polyphonic lines, canons, inversions and retrogrades which representing cells dividing, multiplying and grouping. Eventually a central climax is reached after graphical ‘contractions’ from the orchestra; this represents the moment of birth and brings about a sense of release. The second half of the work symbolises the rapid development of the newborn and suggests the sequence of an intermezzo, scherzo and finale. After a long oboe melody, there is a quiet fugue before a triumphant and energetic conclusion. The work ends triadically (an unusual occurrence in Simpson’s music) on a resounding D major chord.

The title of the song "Tintin in Tibet" refers to Tintin in Tibet, the twentieth volume of the comics series The Adventures of Tintin by Belgian cartoonist Hergé. A copy of Tintin in Tibet owned by Castrée previously appeared in the cover art of A Crow Looked at Me. Thematically similar to A Crow Looked at Me, the song details Elverum's memories of Castrée before her illness. It opens with a major chord. The song along with others on the album incorporates multiple tempo and instrument changes such as the transition from guitar chords to melodic riffs played on a classical guitar.

Instead, the B minor leads to an F major chord, while Waters's bass stays on B, resulting in an unusual dissonance as a transition to the key of E minor for "Breathe (Reprise)". Pink Floyd performed the song live from 1972 to 1975, and after the departure of Waters, from 1987 to 1994. Waters began performing the song in his solo concerts, singing the verses himself, beginning in 1999 with In the Flesh and again with The Dark Side of the Moon Live from 2006 to 2008. Nick Mason made a number of guest appearances on the latter tour.

Letter notation is the most common way of indicating chords for accompaniment, such as guitar chords, for example B7. The bass note may be specified after a /, for example C/G is a C major chord with a G bass. Where a capo is indicated, there is little standardisation. For example, after capo 3, most music sheets will write A to indicate a C chord, that is, they give the chord shape rather than its pitch, but some specify it as C, others give two lines, either the C on top and the A on the bottom or vice versa.

As with all her compositions on Let England Shake, Harvey's main instrument on "The Words That Maketh Murder" is an autoharp. Its main underlying minor chord (Em) is prominent throughout the song, while the chord progression in the verses consists of a further three chords (A-G-F#/D) reverting to the minor chord. The chorus uses a contrasting major chord (G) as well as a flat chord (B♭) and another minor chord (Dm) and, like the song's final refrain, finishes on a standard chord (C). A saxophone and trombone, played by Harvey, are also featured during the chorus.

Ives uses chromaticism, placed distantly below the main themes, to make it sound like a vague recollection of the events rather than a vivid depiction. The piece builds to a dynamic high before rapidly receding, perhaps to signify the fate of the regiment at Fort Wagner. From a full, rich C-major chord at measure 63 (rehearsal letter H), the music falls into minor disarray and, for the last minutes, it can be heard as a solemn memorial to those lost or the crushed hopes of hundreds of black soldiers who had come to fight for the freedom of other blacks.

This moves quickly to an idea constructed in triplets. Tonally, this passage is in C minor, and the final progression ends with an alternation between B-diminished and A major. The piano plays a broken A major chord, followed by a broken A minor chord that is used to make a transition to E major. The section in the relative major begins with a theme clearly composed from the theme of the piano's accompaniment, in this case stated by the violin and viola moving in unison over a piano accompaniment based on the previous broken chordal figure.

At 4:30, the song fades back in for a reprise of the bridge, with an extremely flanged guitar playing the G minor, C major chord progression in the key of G minor. The drums and bass soon follow the guitar, with the bass playing the vocal melody from the lyric "In all of the universe, there is nobody for me" using the G minor scale. The drums slowly start building and the song eventually comes to a crescendo with layered guitar overdubs and synths. The song then suddenly stops with a soft synth fading out a second after the band do.

The Saratovskaya garmonika, named after the Russian city of Saratov, is a colorful variant on the standard one row push–pull diatonic button accordion. The chief distinguishing characteristic of this little folk accordion is that it plays the tonic scale (and major chord) on the bellows draw and the dominant on the bellows press, the reverse of a standard diatonic box. Another curious feature is the addition of two bells on the top of the instrument which are struck with tiny metal hammers attached to the bass and chord buttons for rhythmic accompaniment. They add a fun accent on dance tunes.

Lyrical references in this passage include Scaramouche, the fandango, Galileo Galilei, Figaro, Beelzebub and Bismillah, as rival factions fight over the narrator's soul, some wishing to "let [him] go" and "spare him his life from this monstrosity", while others sending him "thunderbolts and lightning,/very, very fright'ning [him]". According to Freddie Mercury: The Definitive Biography by Lesley-Ann Jones' theory: It is also a figurative representation of the four members, Mercury, May, Taylor and Deacon respectively. The section concludes with a full choral treatment of the lyric "Beelzebub has a devil put aside for me!", on a block B major chord.

Depending on which of those two values is smaller, the chord is then labeled as "Oberklang" or "Unterklang" ("upper chord", if reference to the lower reference note, or "lower chord", if referenced to the upper reference note). The C major chord c’-e’-g’ could, for instance, be referenced to C. All three notes of the triad can be represented as integer multiples of the frequency of this reference tone (4, 5, and 6). The prime decomposition yields 2·2,5,2·3. Applying the weights suggested by Vogel one obtains a so-called consonance value of (1+1+5+1+3)/3 = 11/3 = 3.67. The same chord may also be referenced to b’’’’: this upper reference tone has 15 times the frequency of c’, 12 times the frequency of e’ and ten times the frequency of g’. The prime decomposition yields3·5,2·2·3,2·5. The consonance value computes to (3+5+1+1+3+1+5)/3 = 19/3 = 6,33. As the consonance value for the lower reference tone is better (smaller), the c major chord c’-e’-g’ is defined to be an upper chord referenced to C. The consonance value of the c minor chord c’-es’-g’ is identical. It is, however, reference to the upper reference tone of this chord, g’’’.

Upper chords are marked by an "O" (Oberklang) and are denoted from left to right, lower chords are marked by a "U" (Unterklang) and are denoted from right to left. The C major chord is denoted as cO, the C minor chord is denoted as Ug. Additional symbols for additional notes (7 for adding an upper or lower seventh) are added to the left or to the right, depending on whether it is an upper or a lower chord. The C7 chord depicted above would be denoted as cO7. In addition to the calculation of consonance values for single chords, Vogel suggests a computation of the consonance of chord transitions.

Partch said that his 1931 coinage of "otonality" and "utonality" was "hastened" by having read Henry Cowell's discussion of undertones in New Musical Resources (1930). The 5-limit otonality is simply a just major chord, and the 5-limit utonality is a just minor chord. Thus otonality and utonality can be viewed as extensions of major and minor tonality respectively. However, whereas standard music theory views a minor chord as being built up from the root with a minor third and a perfect fifth, a utonality is viewed as descending from what's normally considered the "fifth" of the chord, so the correspondence is not perfect.

A grand piano in EMI's Studio Two, where the closing piano chord was recorded on 22 February 1967 Following the final orchestral crescendo, the song ends with one of the most famous final chords in music history. Overdubbed in place of the vocal experiment from 10 February, this chord was added during a session at EMI's Studio Two on 22 February. Lennon, McCartney, Starr and Evans shared three different pianos, with Martin on a harmonium, and all played an E-major chord simultaneously. The chord was made to ring out for over forty seconds by increasing the recording sound level as the vibration faded out.

The alpha chord (α 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 . One of the most important subsets of the alpha collection, the alpha chord (Forte number: 4-17, pitch class prime form (0347)), such as E–G–C–E ; using the theorist Ernő Lendvai's terminology, the C alpha chord) may be considered a mistuned major chord or major/minor in first inversion (in this case, C major/minor) . The number of semitones in the interval array of the alpha chord corresponds to the Fibonacci sequence .

There is only one unimorphic planar (as opposed to linear) system available on a lead instrument at this time, and that is the system used for organizing the Array mbira. Because the Array system is isomorphic, any given chord, scale, or song, no matter how complex, can be played in any one of the 12 keys immediately after the player learns to play it in one key. Because it is unimorphic, common chords tend to fall close together. In the key of C, for example, the F and G major chords can be played by moving the C major chord shape one octave group to the left or right.

This means that any major chord can be easily created using one finger, fretting all the strings at once (also known as barring); for example, fretting all the strings at the second fret will produce an E major, at the third fret an F major, and so on up the neck. Open D tuning is very popular with slide guitar (or 'bottleneck') players, as it allows them to play complete chords using the slide. This tuning is also used in regular (non- slide) guitar playing. The full and vibrant sound it produces - particularly on an acoustic guitar - also makes it ideal for fingerstyle playing.

The crotales then always enter 2 bars before each harp entrance in this entire section. Bass pizzicato is then added to the T voice below, so that the T voices frame the M voices. The section consists of a series of suspensions, where the T voices provide the resolutions, and as a whole, is a gradual descent of five octaves, beginning on an E Major chord that seems almost too high for the human ear, and ending on one that’s almost too low to be audible. The second section is where the piece really seems to begin, while the first section acts more as an introduction.

The final cadence is delayed for several bars before the material from the opening bar resurfaces as the movement's closing theme, accompanied by a tonic pedal over forte dominant chords. Felix Salzer says the following about this opening, "[It is] one of the most fascinating substitutions of the entire literature...The whole passage appears as a most imaginative prolongation of interruption, the post- interruption phrase starting with a B-Major chord boldly substituting for the tonic. In addition, this post-interruption phrase introduces a very interesting melodic parallelism in form of an augmentation of the end of the pre-interruption phrase one step higher."Salzer, Felix, Structural Hearing, p.

The piece is notated in 3/4 time with the main theme repeated three times in the work as well as in the introduction and the coda. The "sadly poignant", "graceful, wistful" and tenderly nostalgic mood is partly dictated by this main theme, which starts with the melody note A harmonised against a G major chord thus creating a dissonance. In the next measure the theme is set against a different harmony before Joplin creates variations. There are variants of the theme in the "haunting" B minor key of the D strain and in the E strain's D major key which "brightens the mood".Berlin (1996), p. 148.

Mellers points out that the song's mood of isolation is intensified by the "bare, open fifths" played by the piano and by the silences incorporated into the sad melody. He also notes that the pain communicated by the song is enhanced by the dissonances in the music, particularly the use of semitone intervals. According to Mellers, the portion of the third verse in which Lennon sings that "You're just a human/a victim of the insane" is effectively intensified by the contrasting semitones of F♯ against F and by harmonizing F with a dominant seventh chord on C instead of with a D major chord.

The first eight-measure verse begins with McCartney singing "I'm fixing a hole where the rain gets in". The word "fixing" here is sung to a piano F major chord but on "hole" to a C augmented chord (which includes a G/A note that is a III (3rd) note in the thus predicted F minor scale) pivoting towards the Fm pentatonic minor scale on the more negative mood of "rain gets in". The Fm key melody in the verse is tinged both by blues flat 7th, and Dorian mode raised 6th notes. The harpsichord repeats the descending chromatic line in the F minor key in swing beat.

The sound of the instrument's tremolo being switched off after the introduction can be heard. The quick transition from G chord to a flat-III (B) is unusual, especially as its F-natural note is melodically sustained against the following D-Major chord (with its concomitant F) creating "the most bluesy moment of the entire song." The verse opens with three repetitions of a simple four note motif ("Though you've gone away this morning, you'll be back again tonight") during which the chords mirror the lyrics in shifting from ii (Am chord) on "gone away" to IV (C chord) on "back again" to the tonic (G chord) on "tonight."Dominic Pedler.

A given major chord may be voiced in many ways. For example, the notes of a C major triad, C–E–G, may be arranged in many different vertical orders and the chord will still be a C major triad. However, if the lowest note (i.e. the bass note) is not the root of the chord, then the chord is said to be in an inversion: it is in root position if the lowest note is the root of the chord, it is in first inversion if the lowest note is its third, and it is in second inversion if the lowest note is its fifth.

Composer Charles Ives chose the four-note chord above (C–D–G–A) as good possibility for a "fundamental" chord in the quarter-tone scale, akin not to the tonic but to the major chord of traditional tonality.Boatwright, Howard (1965). "Ives' Quarter-Tone Impressions", Perspectives of New Music 3, no. 2 (Spring-Summer): pp. 22–31; citations on pp. 27–28; reprinted in Perspectives on American Composers, edited by Benjamin Boretz and Edward T. Cone, pp. 3–12, New York: W. W. Norton, 1971, citation on pp. 8–9. "These two chords outlined above might be termed major and minor." or The "subminor seventh": =, 19 quarter tones.

The first symphony (D major) in the set has been particularly popular, seeing a continuous performance and publication tradition all the way through the 19th century, which makes it the earliest such symphony. Some of its more unusual features have been taken as characteristic of Bach's style:Richard Crocker, A History of Musical Style the work, although it is in D major, begins on a D major chord, which then turns into a D dominant-seventh chord, outlining G major. In fact, there is no cadence on D major (D major is not "confirmed" as the key of the piece) until the beginning of the recapitulation, quite late in the piece.

As the result of that, the "808-style" kick-drum's pronounce pitched components with a power of 37 Hz and 74 Hz fill that help void with a 'D' note. According to Senior, "the problem is that this only really supports the D‑major chord, destabilizing the home chord of F# minor (by implying that it's actually part of a D‑major 7th chord) and clashing nastily with the A‑major." He further stated that although might not be as apparent on small speakers, it still represents "weakness" for him. The section of the song at 3:12 has four bars without the kick-drum and four without it.

A subsidiary theme follows on woodwinds and is accompanied by a chugging rhythm on strings. The two themes are subsequently developed and eventually combined. However, a mournful bassoon then winds down the previous activity and there is a thought-provoking reappearance of the melancholic oboe theme from the first movement, as if to remind us again of the pains of war. After the meditation, there is a resumption of the threatening poundings of timpani and brass, this time accentuated with "wrong notes", and the symphony ends with a sardonic cry from high brass, juxtaposing F major with D major before the ultimate E-flat major chord.

The quartet's opening sighing motives become developed in an E minor passage that incorporates a triplet figure on the second beat of the measure, and eventually the previous B major idea is restated identically in G major. The second theme from the exposition is then treated in imitative (almost canonic) counterpoint in C minor. After the beginning of the third contrapuntal treatment of this theme, a dominant pedal is sustained in octaves on G. This resolves unexpectedly to an A major chord that is quickly brought down to C minor by the opening sighing motive in the piano. The sighing motive indicates the beginning of the recapitulation.

Following the third modulation, the four brass ensembles, specified by Berlioz to be placed at the corners of the stage but more commonly deployed throughout the hall, first appear with a fortissimo E-flat major chord, later joined by 16 timpani, two bass drums, and four tam- tams. The loud flourish is followed by the choral entry, "Tuba mirum", a powerful unison statement by the chorus basses at the top of their register, followed by the rest of the choir. There is a recapitulation of the fanfare, heralding the coming of the Last Judgment ("Judex ergo") by the full choir in canon at the octave. The choir whispers with woodwinds and strings to end the movement.

While the orchestra restates the first theme, the piano, that on the other occasion had an accompaniment role, now plays the march-like theme that had been halfly presented in the development, thus making a considerable readjustment in the exposition, as the main theme, the arpeggios in the piano serve as an accompaniment. This is followed by a piano-solo which continues the first theme and leads into a descending chromatic passage to a pianississimo A major chord. Then the second theme is heard played with a horn solo. The entrance of the piano reverts the key back into C minor, with triplet passages played over a mysterious theme played by the orchestra.

Claire Lobenfeld of Stereogum gave the song a positive review, commenting that the song is "the most pop we've ever heard from the band" and comparing it to other 1990s alternative rock acts such as Lit and Foo Fighters. Consequence of Sound described the song as "a sweeping rock anthem". Chris Martins of Spin magazine compared it to the band's hit 1994 song "Closer", while referring to it as "a surprisingly poppy, powered by major chord riffage and an upbeat backing track". He also stated that the track "swerves in and out of fiery punk passages that offset the catchier songwriting quite nicely" and that it "finds NIN veering into non-traditional territory".

The album includes one of the group's best-known songs: a cover of Neil Young's "Only Love Can Break Your Heart". The cover quite differs from the original in that the original's mostly major chord progression is turned here into mostly minor, which emphasises a more melancholic feel. It is also arranged in 4/4 (as opposed to the original's waltz time), with a driving piano-bass-drum section. Andrew Weatherall later remixed the song to further emphasise the dub bassline; this remix was featured on both releases of the single and on the compilation Casino Classics (on American and European versions of the single, a Flowered Up remix is erroneously featured instead of the Andrew Weatherall mix).

The sixth and final quartet of the set, in D major, is numbered III/49 in the Hoboken-Verzeichnis catalogue. Its movements are: #Allegro #Poco adagio #Menuetto: Allegretto #Finale: Allegro con spirito Haydn's choice of D major for this quartet, with the second movement in D minor, optimises the use of open strings and allows for the work to be the loudest and most grandiose of the set. The first movement opens peculiarly: the first violin starts on an E, and proceeds to play a four-measure phrase that concludes with a D major chord. The use of a closing phrase to start the movement is the first of a number of unsettling incidents in the movement.

Although the concerts received unfavourable reviews in the British music press, Harrison lauded the band as "the American Beatles". In late August, the Byrds' Jim (later Roger) McGuinn and David Crosby met up with the Beatles in Los Angeles, where they discussed with Lennon and Harrison the music of Indian sitarist Ravi Shankar and American Indo-jazz pioneer John Coltrane. The meeting led to Harrison introducing the sitar on Lennon's song "Norwegian Wood", and to Crosby and McGuinn incorporating Indian influences into the Byrds' "Why" and "Eight Miles High". Harrison likened "If I Needed Someone" to "a million other songs" that are based on a guitarist's finger movements around the D major chord.

The Songwriting Secrets of the Beatles. Music Sales Ltd. Omnibus Press. London 2010 p 126 Pedler's discussion with musical experts about the comparison between this Beatles song and Mahler's "Song of the Earth" revealed that none found anything relevant, except perhaps that Mahler's Farewell movement involves various shades of a C major chord and ends after a flute B-A drop (the A chord being a VI in the chord of C) with the "final sonority" of a C6 (where the C, E and G notes are from the trombones and lower strings and the A from oboe and flute,Dominic Pedler. The Songwriting Secrets of the Beatles. Music Sales Ltd. Omnibus Press. London 2010 pp.

After the fugue concludes, the piece's themes are all recapitulated in G major, initially begun by a unison orchestra before dividing across echo between orchestra and solo quartet. With the Welsh theme repeating a succession of three times before striking a momentous ƒƒƒ, on which the orchestra is in unison again (see Polyphony), it is this time echoed by the solo quartet, a change from the rest of the piece. The Welsh theme appears in all its splendour in a triumphant coda for the fifth and final time, before ending with a ternary perfect cadence followed by a G major chord in which the whole orchestra plays pizzicato, except for the double basses, who play with their bows.

The CAGED system is an acronym for the chords C, A, G, E, and D. This acronym is shorthand for the use of barre chords that can be played anywhere on the fret board as described above. Some guitar instructors use it to teach students the open chords that can work as barre chords across the fret board. By replacing the nut with a full barre, a player can use the chord shapes for C, A, G, E, and D anywhere on the fret board to play any major chord in any key. This system also provides a way to remember scale shapes, though some debate the usefulness of this teaching method due to potential technical problems.

The boogie groove is often used in rock and roll and country music. A simple rhythm guitar or accompaniment boogie pattern, sometimes called country boogie, is as follows: simple rhythm guitar boogie pattern on a D major chord The "B" and "C" notes are played by stretching the fourth finger from the "A" two and three frets up to "B" and "C" respectively on the same string. This pattern is an elaboration or decoration of the chord or level and is the same on all the primary triads (I, IV, V), although the dominant, or any chord, may include the seventh on the third beat (see also, degree (music)). A simple lead guitar boogie pattern is as follows:Burrows (1995), p.43.

In Vogel's Tonnetz this chord appears to be the dual counterpiece of a major seventh chord. This interpretation is strengthened by the observation that this G-sharp minor chord with an added lower seventh (E-sharp or F is a seventh below the reference of this G-sharp minor chord, the D-sharp) resolves in an E major chord with an added upper seventh (see also the adjoining animated figure). In addition, Wagner's way to set this chord is compatible with this view, with the third (B) and the seventh (F or E-sharp) set in a low register. In Vogel's notation one would note this chord as 7Ud, as the reference note of the G-sharp minor chord is the D-sharp.

The thunderous piano chord that concludes the track and the album was produced by recording Lennon, Starr, McCartney and Evans simultaneously sounding an E major chord on three separate pianos; Martin then augmented the sound with a harmonium. Riley characterises the song as a "postlude to the Pepper fantasy ... that sets all the other songs in perspective", while shattering the illusion of "Pepperland" by introducing the "parallel universe of everyday life". MacDonald describes the track as "a song not of disillusionment with life itself, but of disenchantment with the limits of mundane perception". As "A Day in the Life" ends, a 15-kilohertz high-frequency tone is heard; it was added at Lennon's suggestion with the intention that it would annoy dogs.

At this point, the song could have gone to an E major chord, which would complete a plagal cadence, or a V-IV-I turnaround. Instead, the chorus alternates between G and A major chords, with the vocal harmonies on the G featuring the major seventh, F♯. The G to A progression leads back to the A–A♯–B riff of the next verse. Over the B power chord, lead guitarist Elliot Easton plays a trill between the notes D and D♯, respectively the minor and major thirds of the B chord, which reinforces the ambivalence of the song's key. During the second and third verses, a call and response effect is created between Ric Ocasek's vocals and Easton's lead guitar fills.

The vamp or turnaround (a repeated figure, usually at the end of a verse) is descended from the hula tradition, and other harmonic and structural features are descended from hīmeni and from the hula kui encouraged by King David Kalakaua. Tatar, "The Technique" and "The Chant Tradition" sections of "Slack Key Guitar" in Hawaiian Music and Musicians Nearly all slack key requires retuning the guitar strings from the standard EADGBE, and this usually means lowering or "slacking" three or more strings. The result is most often a major chord, although it can also be a major seventh chord, a sixth, or (rarely) a minor. There are examples of slack key played in standard tuning, but the overwhelming majority of recorded examples use altered tunings.

Author Kenneth Womack describes "Here, There and Everywhere" as a romantic ballad "about living in the here and now" and "fully experiencing the conscious moment". The verse is based on an ascending major chord sequence, while the middle eight (being 4 bars in fact), which modulates to the relative major of the tonic – if it had been minor, creates a telling contrast. The introduction beginning "To lead a better life" opens in the key of G and involves a I–iii–III–ii–V7 chord progression. The III (B chord) on "I need my love to be here" (arpeggiated in the melody line) is a dissonant substitute for the more predictable VI (E7) that would normally lead to the ii (Am) chord.

Then Roger Waters takes over the lead vocal. The piano becomes staccato, as the lyric takes on a warning tone, with Waters singing "If you should go skating/On the thin ice of modern life...." As the lyrics end, the diatonic sense of C Major is abandoned, as the melody heard earlier (E, D, F, E, and A) becomes stripped to a simple power chord riff, played loud by distorted guitars, with brief soloing. The song ends on a sustained C Major chord, but through crossfading with the next song on the album, "Another Brick in the Wall, Part 1", a D minor chord is interpolated, contributing to uneasiness intimated by the lyrics.Pink Floyd: The Wall (1980 Pink Floyd Music Publishers Ltd.

In musicologist Walter Everett's description, this is achieved through the use of "ill-behaved tones" and "wrong-mode" chords. From the verse's opening A major chord, the melody moves to a ii minor voicing, rendered as B minor 7/11 through the inclusion of a low-register E note. In his lyrics, Harrison acknowledges the apparent awkwardness of such a change, singing "You may think the chords are going wrong" and, in the final verse, that the harmony "might be a little dark and out of key". Musicologist Alan Pollack considers the song's music and lyrical message to be "uncannily in tune" with one another, and that this effect is accentuated by surprising and irregular phrase-lengths in the verses.

"Sunshine Life for Me (Sail Away Raymond)" is in 4/4 time and in the musical key of E. Rather than using formal chord changes, the melody is established through a modal riff over a constant E major chord."'Sunshine Life for Me (Sail Away Raymond)' (by George Harrison)", in Ringo Starr Ringo: Sheet Music for Piano, Vocal & Guitar, Charles Hansen (New York, NY, 1973). Harrison biographer Simon Leng considers the song to be "musically an homage to the spirit" of "Rag Mama Rag" by the Band, who epitomised the counterculture's embracing of pastoral values in the late 1960s.John Harris, "Into the Woods", Mojo, December 2003, p. 92.Romanowski & George-Warren, p. 50. Having spent time with the group in Woodstock in late 1968,Helm, p. 178.

Diminished chords and augmented chords cannot be tonicized because they do not represent stable key areas in Western music. For example, a B minor chord (B, D, F#) occurring in any of its closely related keys may be tonicized with an F# major chord (V/V) because B minor also represents a key area—the key of B minor. However, a B diminished chord (B, D, F) may not be tonicized because "B diminished" could not be a stable key area; there is no key area in Western classical music that has B, D, & F—the pitches that make up the B diminished chord—as the first, third and fifth scale degrees, respectively. This holds true of all diminished and augmented chords.

The verse (for example "Always, no sometimes ...") starts with an F major chord in the key of B (or E chord in the key of A) (V), which progresses to G minor, the submediant, a deceptive cadence. According to musicologist Alan Pollack, the "approach-avoidance tactic" (i.e., the deceptive cadence) is encountered in the verse, as the leading-tone, A, appearing on the words "Always know", "I know when", "I think I know – I mean" and "I think I disagree", never resolves into a I chord (A in A key) directly as expected. Instead, at the end of the verse, the leading note, harmonised as part of the dominant chord, resolves to the prevailing tonic (B) at the end of the verse, after tonicising the subdominant (IV) E chord, on "disagree".

Like most fiddle tunes, "Blackberry Blossom" has an A part and a B part. In Arthur Smith's 1935 version, the A part is in the key of G major, with C and D chords in the second half of the part; the B part introduces an E major chord, making for a rather unusual mood shift. Later recorded versions changed the harmonic structure of this tune radically, introducing additional chord changes (substitutions based on the melody line) in the A part, and alternating E minor and B7 in the B part. The key of E minor is the relative minor of the key of G major - it uses the same sharps and flats but its modal center is E rather than G. This makes for a more "standard" harmonic structure.

Often, when verse and chorus use the same harmonic structure, the pre-chorus introduces a new harmonic pattern or harmony that prepares the verse chords to transition into the chorus. For example, if a song is set in C Major, and the songwriter aims to get to a chorus that focuses on the dominant chord (G Major) being tonicized (treated like a "home key" for a short period), a chord progression could be used for the pre-chorus that gets the listener ready to hear the chorus' chord (G Major) as an arrival key. One widely used way to accomplish this is to precede the G Major chord with its own ii–V7 chords. In the key given, ii of G Major would be an A minor chord.

He played in a classical manner, usually finger picking the strings in an ascending/descending arpeggio or waltz pattern, with an alternating bass line picked by the thumb. Initially Okudzhava was taught three basic chords, and towards the end of his life he claimed to know a total of seven. Many of Okudzhava's songs are in the key of C minor (with downtuning B flat or A minor), centering on the C minor chord (X00X011, thickest to thinnest string), then progressing to a D 7 (00X0433), then either an E-flat minor (X55X566) or C major (55X5555). In addition to the aforementioned chords, the E-flat major chord (X55X567) was often featured in songs in a major key, usually C major (with downtuning B-flat or A major).

Harrison uses a capo on the guitar's seventh fret, thereby transposing the D major chord shape to sound as A major. The Mixolydian melody in the verses comprises the notes A, G, B, C and D, partly mirroring the riff, and is delivered in the same syncopated phrasing. On the fifth bar of each verse, a B melody-note sounds over a VII triad – a chord that musicologist Dominic Pedler terms a G/A "slash" polychord, similar to that used at the start of "A Hard Day's Night". The implied drone, or pedal point, in A continues under this new chord, aided by the arpeggiated bass line remaining in A. The verses retain an ascendant melodic quality due to the syncopated delivery, the three-part harmonies in the vocal arrangement, and the constant bass figure.

According to Rodriguez, "I Want to Tell You" is an early example of Harrison "matching the music to the message", as aspects of the song's rhythm, harmony and structure combine to convey the difficulties in achieving meaningful communication. As in his 1965 composition "Think for Yourself", Harrison's choice of chords reflects his interest in harmonic expressivity. The verse opens with a harmonious E-A-B-C#-E melody- note progression over an A major chord, after which the melody begins a harsh ascent with a move to the II7 (B7) chord. Further to the off-kilter quality of the opening riff, musicologist Alan Pollack identifies this chord change as part of the disorientating characteristics of the verses, due to the change occurring midway through the fourth bar, rather than at the start of the measure.

Fétis saw tonalité moderne as the historically evolving phenomenon with three stages: tonality of ordre transitonique ("transitonic order"), of ordre pluritonique ("pluritonic order") and, finally, ordre omnitonique ("omnitonic order"). The "transitonic" phase of tonality he connected with the late Monteverdi. He described his earliest example of tonalité moderne thus: "In the passage quoted here from Monteverdi's madrigal (Cruda amarilli, mm. 9–19 and 24–30), one sees a tonality determined by the accord parfait [root position major chord] on the tonic, by the sixth chord assigned to the chords on the third and seventh degrees of the scale, by the optional choice of the accord parfait or the sixth chord on the sixth degree, and finally, by the accord parfait and, above all, by the unprepared seventh chord (with major third) on the dominant" .

The song was initially composed in C, but was played in F on Rubber Soul (with a capo on the fifth fret). The verse opens with an F major chord ("Michelle" – melody note C) then the second chord (on "ma belle" – melody note D) is a B79 (on the original demo in C, the second chord is a F79). McCartney called this second chord 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 and which George Harrison uses (as a G79) (see Dominant seventh sharp ninth chord) as the penultimate chord of his solo on "Till There Was You". After the E6 (of "these are words") there follows an ascent involving different inversions of the D dim chord.

"The Guitar Player" by V.A. Tropinin (1823) > The Russian guitar is traditionally played without a pick, using fingers for > either strumming or picking. The open G tuning allows major chords to be > played with only one finger of the fretting hand (the left hand for right- > handed guitars), as barre chords. The A-major chord can be played most > easily as a barré on the second fret, the B major as a barré on the fourth, > C major on the fifth, D major on the seventh, and so on (although other, > more involved major shapes are employed as well for a variation in voicing). > A fair amount of open-G chord shapes use six or five strings, and so these > shapes require the player to mute or not play particular strings.

An example of an added tone chord may be found in Igor Stravinsky's Symphony of Psalms while an added tone (G) chord with mixed thirds, a major third and minor third, by William Schuman. An added tone, such as that added a perfect fifth below the root, may suggest polytonality and the practice of adding tones may have led to superimposing chords and tonalities though added tone chords have most often been used as more intense substitutes for traditional chords. For instance a minor chord that includes a major second interval while still retaining its minor third holds a great deal more dramatic tension due to the very close intervals of the major second and minor third. A major chord with an added major second sounds very distinct from its basic triad counterpart.

Author Robert Rodriguez writes that the content of the five loops has continued to invite debate among commentators, however, and that the manipulation applied to each of the recordings has made them impossible to decipher with authority. Based on the most widely held views, he says that, aside from McCartney's laughter and the B major chord, the sounds were two loops of sitar passages, both reversed and sped up, and a loop of Mellotron string and brass voicings. In their book Recording the Beatles, Kevin Ryan and Brian Kehew list two loops of sitar recordings yet, rather than Mellotron, list a mandolin or acoustic guitar, treated with tape echo. Rather than revert to standard practice by having a guitar solo in the middle of the song, the track includes what McCartney described as a "tape solo".

Most of the harmonic content of the song revolves around a two-chord alternation which music theorists may regard as an L (leading tone) transformation, in which the root of the major chord is lowered by a half-step to form a second inversion minor chord on the third scale degree, a slight tonicization of B major, but resolving back to D minor by having the same A, a perfect fourth down from D. This stepwise motion between B and A highlights this chord change. The song is in verse-chorus form with a bridge before the fourth and final chorus. The song features sparse instrumentation, primarily a minimal beat produced by drum machine. A guitar plays the song's riff, a six-note pattern as Stefani repeats "this my shit" during the chorus, and a brass section joins during the second chorus.

The instrument was used to mimic a saxophone, which underscores the guitar throughout the track. Bowie composed the riff, while Scott used the ARP located at Trident to find the right sound and Ronson played the notes. The backing vocals move from the left channel in the first verse to the right in the second. According to biographer Peter Doggett, while other rock songs such as the Rolling Stones' "Brown Sugar" and the Kinks' "All Day and All of the Night" use a standard three-chord structure that is spaced "two and three semitones apart" (such as E-G-A or A-G-C), "Suffragette City" uses tighter, two-semitone gaps (F-G-A), which "leaves the ear to expect a softer A minor as the root of the song, only for a decisive A major chord to appear instead".

Górecki himself recalled that, at the premiere, he sat next to a "prominent French musician" (Górecki did not name names, though it was probably Pierre Boulez), who, after hearing the twenty-one repetitions of an A-major chord at the end of the symphony, loudly exclaimed "Merde!" The symphony was first recorded in Poland in 1978 by the soprano Stefania Woytowicz. It was deemed a masterpiece by Polish critics, although, during the late 1970s and early 1980s, recordings and performances of the work were widely criticised by the press outside Poland. The symphony drew hostility from critics who felt that Górecki had moved too far away from the established avant-garde style and was, according to Dietmar Polaczek (writing for Österreichische Musikzeitschrift), "simply adding to the decadent trash that encircled the true pinnacles of avant-gardism".

Unlike many other of Alkan's pieces, such as the Op. 33 Grand Sonate and the Op. 39 set of etudes in all the minor keys, these 49 pieces do not focus mainly on virtuosity and transcendentalism and instead contain more of Alkan's sentimental and evocative writing. Alkan's innovation is also vividly present in the pieces. The 45th piece, Les Diablotins, features wrenched cluster chords and the 48th piece, En Songe, is a dreamy and quiet piece all except for the very final chord, which is a sudden F major chord with the dynamic ff. The 39th piece, Héraclite et Démocrite, features two sharply contrasting themes for the respective philosophers, and at some passages Alkan overlaps the themes to create a solemn and sad theme in the left hand and a bouncy and joyous theme in the right.

Gandharva was partly recorded in Grace Cathedral in San Francisco and included musical contributions from Gerry Mulligan, Bud Shank, Mike Bloomfield and Ronnie Montrose. The album was marketed as "the score to a non-existent film" and reflected Hindu mythological themes. According to authors Trevor Pinch and Frank Trocco, the technique used on the Wild Sanctuary track "Spaced"—whereby a single note appears to approach listeners from a distance before resolving in a dramatic chord—was "copied by a famous Marin County film company" to introduce its cinema presentations. In Krause's 1998 autobiography, Into a Wild Sanctuary: A Life in Music & Natural Sound, he says that this well-known sound logo begins on the same first note (a G pedal tone) as "Spaced", splits into an eight-tone glissando with four notes rising and four descending, and ends on the same open (D Major) chord.

2nd tonal area, D major (bars 24–57): This is signified by a two-bar-long lyrical melody first stated in the viola, then passing through the cello and second violin, then cello again. A long V of D (bars 32–37) is unexpectedly resolved to A major, which is simply a deceptive V-VI cadence (VI of D major would be B, here enharmonically respelled as A). The A-major chord is also V of the Neapolitan (II in D major would be E, enharmonically respelled as D). This V-I motion of the Neapolitan is explicitly stated by the quartet in unison in bar 39. Bars 40–43 return to the lyrical nature of the second theme and solidify D major. A modified counterstatement of this entire gesture occurs, landing us on an even more explicit use of the Neapolitan, again enharmonically respelled as D, in bars 49–50.

The first of these tracks was entitled 'And You Will', which would later form the musical template for 'Mojo Pin'. The piece began as a finger-style improvisation. Lucas describes the first phrasing of the song as "a questioning motif based on a diminished chord to a definitive answering motif in A-minor". Lucas refers to the structure of this instrumental as "four stop-and-start cluster-bursts of 16th-note chords that ascend skyward, then dip down back into minor key hell, and finally resolve in a grand, fermata’d D-major chord, bringing sweet relief". As a keeper of journals, Buckley’s lyrics stemmed long before his collaboration with Lucas. According to collection of diary entries and notes released by Buckley’s estate in the book 'His Own Voice', the lyrics which partnered with the 'And You Will' instrumental, date back to November 22, 1989.

Illustration 1 - Sequence of notes: The sequence of a raga Kadanakutoohalam is C D F A B E G C - C B A G F E D C. Even though it is using the same notes as C major, a major chord like C-E-G will not sound as appropriate in a melharmonic context as E-G-C. D-F-A would work very well but in the case of E-G-B, an inversion (B-E-G) could be a good option. F-A-C, G-B-D and A-C-E would also be non-appropriate. Illustration 2 - Hierarchy of notes: Arabhi uses a simple sequence: C D F G A C - C B A G F E D C. But B and E are employed only fleetingly in this raga, which eliminates several chord options including C-E-G (in any permutation).

Whereas the finale symbolizes a cheerful man: > I have tried to sketch a man who storms thoughtlessly forward in the belief > that the whole world belongs to him, that fried pigeons will fly into his > mouth without work or bother. There is, though, a moment in which something > scares him, and he gasps all at once for breath in rough syncopations: but > this is soon forgotten, and even if the music turns to minor, his cheery, > rather superficial nature still asserts itself. Progressive tonality is demonstrated in the symphony; the first three movements are in descending thirds: B minor, G major, and E-flat minor, and the final movement springs out the D major chord. The second symphony, as in the first, still belongs to the tradition of Brahms and Dvořák, but more compact and concentrated with a simple but powerful finishing by an A major march.

The form of the musical work is done like an important dialog between the orchestra and solo instrument, respecting the following pattern: A-B1-C-B2. „A” and „C” being conducted by the orchestra, while the "B" noted moments are for the soloist, accompanied by the orchestra. (The recording for "Teleenciclopedia" show has only the „B2” section.) Harmonically and melodically, the scores distinguish itself by the modulation richness (Romantic style), chromatic passages, the contrast between melodic fragments build exclusively with jumps and gradually went. The best part remembered by the audience is the introductory piano section, composed on an unusual chord progression (D major chord - E\flat Chord with additional sixth as musical delay of the fifth, demanding to adapt the version of major tonality, the bass being I-II6-5 în D major, with a Neapolitan sixth for the second step of the chord progression.

The augmented fifth only began to make an appearance at the beginning of the common practice period of music as a consequence of composers seeking to strengthen the normally weak seventh degree when composing music in minor modes. This was achieved by chromatically raising the seventh degree (or subtonic) to match that of the unstable seventh degree (or leading tone) of the major mode (an increasingly widespread practice that led to the creation of a modified version of the minor scale known as the harmonic minor scale). A consequence of this was that the interval between the minor mode's already lowered third degree (mediant) and the newly raised seventh degree (leading note), previously a perfect fifth, had now been "augmented" by a semitone. Another result of this practice was the appearance of the first augmented triads, built on the same (mediant) degree, in place of the naturally occurring major chord.

With directions such as furiosamente ("furiously"), violente ("violent"), mordento ("biting"), and salvaggio ("wild"), Ginastera left no doubt as how to play the third dance, Danza del gaucho matrero ("Dance of the Outlaw Cowboy"), should be performed. Ginastera makes use of gratuitous dissonance in this piece, opening it with a 12-tone ostinato and frequently using minor seconds to harmonize otherwise simple melodies. The structure is an approximate rondo (ABACDACD), and the thematic material alternates between chromatic passages (sections A and B) and highly tonal, melodic passages (C and D). The jubilant sound of the C section is achieved by harmonising every single melody note with a major chord, even if they are totally foreign to the tonic key. The D section, by contrast, does not use a single accidental; here, jubilance is expressed through the use of brisk tempo, strong rhythm, fortissimo, and a simple, majestic chord progression.

The music quietly subsides into a tranquillo section in which the inversion of the violin theme (first stated in measures 21–22 from the exposition) is sequenced across the strings while the piano continues to develop its initial theme. The violin and cello eventually sustain the tonic C for a great amount of time while the piano and viola begin to lean toward the tonic major in a continuing I – iv progression. All instruments continue to die down as the piano plays one last descending chromatic scale, the violin and viola combine the piano's initial theme with the quarter note rhythm of the violin theme, and the cello sustains a low C. As the piano and strings reach their final notes, a C major chord stated pianissimo is held briefly, shining out of the mist. Two sudden forte C major chords complete this quartet.

The first theme clearly represents the wind, with sad extended chords superimposed by languid chromatics. The second theme is in D major (the relative key to B minor), and features sweeps for the left hand while the right performs the melody in octaves (quoting the Allegretto of Beethoven's Seventh Symphony) with tremolos played within. Then the first theme returns fiercely with tremolos instead of chords for the left hand. Surprisingly, after chilling chromatic scales deep in the bass register, the piece ends with one final light ascending chromatic scale and a B major chord. Kaikhosru Shapurji Sorabji wrote of this piece in 1932 that it was > familiar ... — too familiar one is tempted to say, for most people think of > Alkan, indeed only know him, as the composer of ‘Le Vent’, as they know only > the Sibelius of the ‘Valse Triste’ or ‘Finlandia’; the great master of ‘Le > festin d'Ésope’ and the Fourth Symphony respectively being completely a > terra incognita.

In the single climax chord of "eyes", divided sopranos, altos and tenors sing a tone cluster filling in all diatonic notes between A5 and E4, while the basses support with the submediant, a G-flat major chord (see Figure 1). This gradually deflates to measure 41, back to the "night", the chord composed of another A-flat mixolydian scale and the bass on supertonic of the relative major. Measure 42 relays the most notable melodic line, with a D5 down to C5 to A4 and up to B4, a common melodic sequence used in more popular music, such as in the pieces "Starlight Sequence" from Andrew Lloyd Webber's Starlight Express and "Once Upon A Dream" from Frank Wildhorn's Jekyll and Hyde. In measures 47-48, Whitacre musically paints the text, "fills you from within", by starting the basses on an E3 and the sopranos on a D4, with the choir gradually filling every note between the two, literally filling from within.

The main section of "Don't Leave Me Now", recorded with synthesizer bass, organ, piano, and a delay-treated guitar, does not adhere to one single key, but rather cycles slowly through four dissonant and seemingly-unrelated chords, for two measures of each: An E augmented chord, followed by a D flat major seventh chord, a B flat dominant seventh chord with a suspended second, followed by a G Major chord, which, after one bar, augments its fifth, before returning to the beginning of the progression. The first three chords all sustain the notes G♯/A♭ and C, and this interval is then lowered chromatically by one semitone for the conclusion on G Major. Furthermore, the roots of this chord progression (E, D♭, B♭, and G) outline the intervals of a diminished seventh chord. The roots relate to each other as a pair of tritones - the E and B♭ form one tritone, and the D♭ and G form the other.

St Petersburg Russian horn band in 2008 In 1751, Prince Narishkin, Master of the Hunt to Empress Elizabeth of Russia, had a set of sixteen carefully tuned metal horns made to ensure that his huntsmen would sound a harmonious D-major chord while signalling to each other. He then got the idea of enlisting a Bohemian horn-player, J. A. Mareš, who was in service with the Imperial court in St. Peterburg to organize these new horns into a band. Maresch had made a second set of thirty-two (or perhaps thirty-seven) horns, each capable of playing a different, single note—the second harmonic of the instrument—from a C-major scale covering several octaves. (Later the size of the band was increased to sixty horns encompassing five octaves.) The instruments were straight or slightly curved horns made of copper or brass, had a wide conical bore, and were played with a cupped trumpet-type mouthpiece.

For example, in C major or C minor, the Neapolitan chord with an augmented sixth (B 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 would be 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 () In C major/minor, the German augmented sixth chord is an enharmonic A7 chord, which could lead as a secondary dominant to D, the Neapolitan key area.

Mark Lentczner created the software that plays the arpeggiated chord in the Macintosh II. Variations of this sound were deployed until Jim Reekes created the startup chime in the Quadra 700 through the Quadra 800.Whitwell, Tom (May 26, 2005) "Tiny Music Makers: Pt 4: The Mac Startup Sound", Music Thing Reekes said, "The startup sound was done in my home studio on a Korg Wavestation EX. It's a C major chord, played with both hands stretched out as wide as possible (with 3rd at the top, if I recall)." He created the sound as he was annoyed with the tri- tone startup chimes because they were too associated with the death chimes and the computer crashes. He recalls that Apple did not give him permission to change the sound but that he secretly snuck the sound into the computers with the help of engineers who were in charge of the ROM chips.

" Indeed, "...the double 'ta-ta-ta-Taaa' is an open-ended beginning, not a closed and self-sufficient unit (misunderstanding of this opening was nurtured by a nineteenth-century performance tradition in which the first five measures were read as a slow, portentous exordium, the main tempo being attacked only after the second hold.)" He notes that the "opening [is] so dramatic" due to the "violence of the contrast between the urgency in the eighth notes and the ominous freezing of motion in the unmeasured long notes." He states that "...the music starts with a wild outburst of energy but immediately crashes into a wall." Steinberg also asserts that "...[s]econds later, Beethoven jolts us with another such sudden halt. The music draws up to a half-cadence on a G major chord, short and crisp in the whole orchestra, except for the first violins, who hang on to their high G for an unmeasured length of time.

Slack-key guitar (kī ho`alu in Hawaiian) is a fingerpicked playing style, named for the fact that the strings are most often "slacked" or loosened to create an open (unfingered) chord, either a major chord (the most common is G, which is called "taro patch" tuning) or a major 7th (called a "wahine" tuning). A tuning might be invented to play a particular song or facilitate a particular effect, and as late as the 1960s they were often treated as family secrets and passed from generation to generation. By the time of the Hawaiian Renaissance, though, the example of players such as Auntie Alice Namakelua, Leonard Kwan, Raymond Kane, and Keola Beamer had encouraged the sharing of the tunings and techniques and probably saved the style from extinction. Playing techniques include "hammering-on", "pulling-off", "chimes" (harmonics), and "slides," and these effects frequently mimic the falsettos and vocal breaks common in Hawaiian singing.

This hit a major chord with the midwest culture/mindset and would in the 1980s allow MSB to set attendance records at the Cleveland Agora and Richfield Coliseum that are still standing to this day. In essence, the title 'Greatest Hints' was the band's way of poking fun at their inability to reach their musical career goals despite the fact that on the last album, Cabin Fever, they worked with legendary producer Robert John Mutt Lange who would go on to produce AC/DC, Billy Ocean, Foreigner, Shania Twain, and Def Leppard to name but a few. Finally, the name is also a play on the music industry standard of bands having greatest hits albums after producing several studio albums. The band to this point had already produced three studio albums, You Break It... You Bought It (1975), Ladies' Choice (1976), and Cabin Fever (1978), along with the live Stagepass (1977) album.

In the 2000s, outside of professional Baroque ensembles that specialize in the performance practice of the Baroque era, the most common use of figured bass notation is to indicate the inversion in a harmonic analysis or composer's sketch context, however, often without the staff notation, using letter note names followed with the figure. For instance, if a piano piece had a C major triad in the right hand (C–E–G), with the bass note a G with the left hand, this would be a second inversion C major chord, which would be written G. If this same C major triad had an E in the bass, it would be a first inversion chord, which would be written E or E (this is different from the jazz notation, where a C means the major sixth chord C–E–G–A, i.e., a C major with an added 6th degree). The symbols can also be used with Roman numerals in analyzing functional harmony, a usage called figured Roman; see chord symbol.

Previously, Scruggs had performed something similar, called "Bluegrass Breakdown" with Bill Monroe, but Monroe had denied him songwriting credit for it. Later, Scruggs changed the song, adding a minor chord, thus creating "Foggy Mountain Breakdown" The song contains a musical oddity — Flatt plays an E major chord against Scruggs's E minor. When asked about the dissonance years later, Scruggs said he had tried to get Flatt to consistently play a minor there to no avail; he said he eventually became used to the sound and even fond of it. The song won a Grammy and became an anthem for many banjo players to attempt to master. The band routinely tuned its instruments a half-step higher than standard tuning in those days to get more brightness or pop to the sound, returning to standard pitch in the 1960s. The popularity of Foggy Mountain Breakdown resurged years later when it was featured in the 1967 film Bonnie and Clyde, which introduced the song to a younger generation of fans.

In a 2017 article for Newsweek, Tim de Lisle cited Chris Smith's recollection of he and fellow art student Freddie Mercury "writ[ing] little bits of songs which we linked together, like 'A Day in the Life'", as evidence to show that "No Pepper, no 'Bohemian Rhapsody'." James A. Moorer has said that both "A Day in the Life" and a fugue in B minor by Bach were his sources of inspiration for Deep Note, the audio trademark he created for the THX film company. The song's final chord inspired Apple sound designer Jim Reekes in creating the start-up chime of the Apple Macintosh featured on Macintosh Quadra computers. Reekes said he used "a C Major chord, played with both hands stretched out as wide as possible", played on a Korg Wavestation EX.Whitwell, Tom (26 May 2005) "Tiny Music Makers: Pt 4: The Mac Startup Sound", Music Thing "A Day in the Life" appears on many top songs lists. It placed twelfth on CBC's 50 Tracks, the second highest Beatles song on the list after "In My Life".

3:5:7's intonation sensitivity pattern is similar to 4:5:6's (the just major chord), more similar than that of the minor chord.Mathews; Pierce (1989). pp. 165–166. This similarity suggests that our ears will also perceive 3:5:7 as harmonic. The 3:5:7 chord may thus be considered the major triad of the BP scale. It is approximated by an interval of 6 equal-tempered BP semitones () on bottom and an interval of 4 equal-tempered semitones on top (semitones: 0,6,10; ). A minor triad is thus 6 semitones on top and 4 semitones on bottom (0,4,10; ). 5:7:9 is the first inversion of the major triad (0,4,7; ).Mathews; Pierce (1989). p. 169. A study of chromatic triads formed from arbitrary combinations of the 13 tones of the chromatic scale among twelve musicians and twelve untrained listeners found 0,1,2 (semitones) to be the most dissonant chord () but 0,11,13 () was considered the most consonant by the trained subjects and 0,7,10 () was judged most consonant by the untrained subjects.

The harmonic seventh arises from the harmonic series as the interval between the fourth harmonic (second octave of the fundamental) and the seventh harmonic; in that octave, harmonics 4, 5, 6, and 7 constitute a purely consonant major chord with added seventh (root position). Use of the seventh harmonic in the prologue to Britten's Serenade for tenor, horn and strings . When played on the natural horn, as a compromise the note is often adjusted to 16:9 of the root (for C maj7, the substituted note is B, 996.09 cents), but some pieces call for the pure harmonic seventh, including Britten's Serenade for tenor, horn and strings.Fauvel, John; Flood, Raymond; and Wilson, Robin J. (2006). Music and Mathematics, p. 21-22. . Composer Ben Johnston uses a small "7" as an accidental to indicate a note is lowered 49 cents (1018 − 969 = 49), or an upside-down "7" to indicate a note is raised 49 cents. Thus, in C major, "the seventh partial," or harmonic seventh, is notated as note with "7" written above the flat.See page 193 in Inverse, septimal major second on B7 .

The major third may be derived from the harmonic series as the interval between the fourth and fifth harmonics. The major scale is so named because of the presence of this interval between its tonic and mediant (1st and 3rd) scale degrees. The major chord also takes its name from the presence of this interval built on the chord's root (provided that the interval of a perfect fifth from the root is also present or implied). A major third is slightly different in different musical tunings: in just intonation corresponds to a pitch ratio of 5:4 () (fifth harmonic in relation to the fourth) or 386.31 cents; in equal temperament, a major third is equal to four semitones, a ratio of 21/3:1 (about 1.2599) or 400 cents, 13.69 cents wider than the 5:4 ratio. The older concept of a ditone (two 9:8 major seconds) made a dissonantly wide major third with the ratio 81:64 (408 cents) (). The septimal major third is 9:7 (435 cents), the undecimal major third is 14:11 (418 cents), and the tridecimal major third is 13:10.

To play a low G, one must be playing in C minor (with A) and close the flattener valve simultaneously. When playing on the high E jet, closing the sharpener valve produces an F. With change-valves, the diatonic hydraulophone is polyphonic in the same sense as a so-called "chromatic harmonica" – you can play chords and move all members of a chord down one semitone or up one semitone together, but the function of the valves is usually not separated to work on a per-note basis, so for example, you can play an A-minor chord, and flex the entire chord down to A-flat minor, but you can't easily play an A major chord without the use of polyphonic embouchure to bend only the middle note to a C (which requires more skill than the average hydraulist has). Thus the "diatonic" hydraulophone is called "diatonic" conservatively to "under promise and over-deliver". Finally, on the right, the additional extended range comes from the two octave-change valves (all notes can be shifted as many as two octaves down, or one octave up).