138 Sentences With "minor chords" | Random Sentence Generator

It is slow-footed and ominous and settles into minor chords.

Each of those chords aren't regular major or minor chords either.

No wonder most of the new songs revolve around minor chords.

It begins as a somber ballad set to basic minor chords.

I also like minor chords, F chords and things like that.

Same for pop music, it has a certain amount of major and minor chords.

Manic blastbeats and tremolo-picked minor chords melt into feedback-drenched waves of discomfort.

But the music is ominous — all minor chords, twitchy percussion and detached keyboard tinkling.

Is it possible that Sheppard went with minor chords as a way to shave time off the tune?

"I think it comes from the playing of too many E minor chords over some modulated reverb" Raus writes.

They're basically doing similar things, like minor chords — except instead of being on a piano, it's on a guitar.

Major and minor chords are placed on the first and biggest button (where the high E string would be).

Guitars buzz in minor chords over a choppy beat, while O'Riordan's voice — the demo included vocal harmonies — holds stoic regret.

With its minor chords and some lonely guitar picking, it's a distant descendant of Tracy Chapman's "Fast Car," plaintively facing economics.

The production is downtempo and reticent: a few minor chords and a beat that's little more than some distant ticks and rustles.

The track itself sees the band inching back towards the minor chords and heavier riffs of their angsty middle period around the early 2000s.

At the Rio Olympics, many Americans complained that the version of "The Star-Spangled Banner" chosen, heavy on minor chords, was simply too sad.

Add some nice C-minor chords in there and maybe that emotional complexity is why the song is still the most streamed in its field.

They feature seventh extensions, common in soul (see: Marvin Gaye's "What's Going On") and less obviously "happy" or "sad" than natural major or minor chords.

And the cool is in languorous slow tempos, minor chords, ruthlessly laconic arrangements, guitar lines swathed in reverb and a voice that smolders a long time before it flares up.

" And to my ears, the use of the relative minor chords doesn't necessarily sound "sad"; I think it's also accurate to say those moments sound "noble" or "stately" or "stoic.

GIOVANNI RUSSONELLO "Take Shelter," from the Copenhagen-based duo of Carl Coleman and Dane Caspar Hesselager, oozes with minor chords that satisfyingly resolve while the subject matter wanders into unsettled terrain.

The musical language is steeped in older modal scales, however crucial passages and final phrases settle into diatonic harmony (major and minor chords), the newer language that was emerging in Schütz's time.

"Theme for Jimmy Greene" — written for the saxophonist, who lost a young daughter in the 2012 Sandy Hook massacre — starts with a couple of querying minor chords from the pianist Yonathan Avishai.

Dance-club mixmaster Danny Tenaglia offers a languid, eloquent, synth-orchestrated reading of Ono's 1981 single "Walking on Thin Ice," whose throbbing beat and minor chords fueled its mood of mystery and foreboding.

In this case, the song uses the chords A, B, C-sharp minor, and G-sharp minor, chords that could belong in three different keys (E, C-sharp minor, or G-sharp minor).

Specifically, DeBord said, this "Banner" segues several times to minor chords, which in the Western canon are considered melancholic, in places where major chords, which are heartier and more upbeat, are the norm.

They all start the same way: a few minor chords from a pipe organ, maybe a quick plug for Bromo-Seltzer or some other apothecary's helper no longer in circulation — and then the creak.

"Adore," the six-minute centerpiece of the album, could have been an uplifting ballad about doing the right things and cherishing the moment; instead, it struggles against minor chords and an insistent bass undertow.

Like Pokemon floating in special places, this world has orbs that show you the exact locations of major chords, minor chords and more, using the 3-D space tracking and augmented reality capabilities of Hololens.

Michael Kiwanuka's second album, "Love & Hate," is a sustained, stylized plunge into despair: plaints of isolation, doubt, lovelessness, racial injustice, longing, hopelessness and a certain resolve despite it all, often set to mournful minor chords.

Amazingly, it was only the second song ever written by teenage Rod Argent, but its distinctive syncopated rhythm, moody minor chords, cartwheeling bass and virtuosic electric piano solo vaulted it above more lightweight British Invasion fare.

The manipulative power of music has has a negative side, too: We make playlists to soundtrack our sadness; movies use it to scare us by tapping into a primal fear that minor chords cause in the brain; the CIA has weaponized it to torture detainees.

What "International" lacks, as the sequels did, was the original's sense of discovery, since the particular threats -- in this case, a weapon of unimaginable destructive power, and those pursuing it -- have always been secondary to the minor chords in this strange world, where alien entities reside among the unsuspecting human population.

"Whether or not we are musically literate, we hear major [chords] as happier and more optimistic, and minor [chords] as more sad and sorrowful, solemn, maybe introspective," Harding explained, noting that adding a minor sound has been used in dance music to make songs, which can be repetitive, feel less so.

With the lyrics, "It goes like this / the fourth, the fifth / the minor fall and the major lift," the chords actually progress to the fourth chord of the song's key, then the fifth, then one of its minor chords, then back to another major, all directly in line with the words.

Take his 2015 song "Other Guys," for example, where the line "I'm not like those other guys" stops sounding like a flip pickup line and starts being a statement of purpose, with the words "I think we should slow it down" registering, over Gothic, minor chords, like a gasp for air.

Having spent most of this year working on his forthcoming album with Doves—a process he describes as "ugly" and involving "a lot of pacing back and forth, and sitting in front of the keyboard playing minor chords for hours"—Adam is now in a position where he's doing music full-time for the first time in his life.

Unusually for Bartók, major and minor chords are used extensively in this piece.

"It's Raining Men" uses one minor chords, F minor, with the rest of notes in major chords.

Since Swiss music rarely uses minor chords, even Örgelis with 4 bass rows usually have no minor chords but majors and 7ths instead. The only other variety still being made in substantial numbers today is the Schwyzerörgeli with chromatic fingering, usually with a C system (C-Griff) treble side and Stradella bass fingering.

Albums like Dimension Hatröss are dominated by unexpected time signatures and guitarist Piggy's liberal use of dissonant, unconventional minor chords.

In consequence, minor chords set along Vogel's composition rules sound unfamiliar. They exhibit, however, a better congruency of harmonics than their classical variants. The left-hand of the two C minor chords in the adjoining figure is composed in the classical way, with the third being set in a high register. The consonance value for this chord is 4.33.

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.

The music and lyrics, as well as the singing, belong to Shelley. The song uses the verse- chorus formal pattern and is in the key of E major. Both the verse and the chorus start with C# minor chords (sixth degree in E major, and relative minor key of E major), which "give [the song] a distinctly downbeat, edgy feel." The minor chords and the B-major-to-D-major move in the chorus are unusual for a 1970s punk song, yet they contribute to its ear-catching nature, along with the vocal melody.

The music is in a minor key, with sustained minor chords ending each phrase in the primary melody, while the melody line goes through a slow musical turn (turning of related notes) which ends each phrase, and emphasizes the ominous minor chords. Underneath the slow, paced melody, is a rhythmic, low "drum beat" in double-time, constantly, relentlessly pushing to follow along, but the melody continues its slow, deliberate pace above the drum beat. The instrumentation varies among versions. Rainwater's recording is acoustic with strings and backing vocals supporting the melody.

Unlike similar dramatic compositions in which a contrasting lyrical theme is usually introduced, leading to a final victorious apotheosis, the sonata ends with an accelerated tempo and huge final C minor chords, depicting the gravity of divine judgment.

Played in the key of D, the verses of the studio version alternates between D and A minor chords. The first chorus repeats an Em–G–D chord progression while the second chorus repeats a C–G–D progression.

The major-third intervals allow major chords and minor chords to be played with two–three consecutive fingers on two consecutive frets. Every major-thirds tuning is regular and repetitive, two properties that facilitate learning by beginners and improvisation by advanced guitarists.

Both the E major and E minor chords feature the ninth, making this song one of many Pink Floyd songs to feature a prominent E minor added ninth chord, "Em(add9)". Throughout most of the song, the bass line remains on E as a pedal point, creating a drone. A chord named "G#m/E" is more accurately called an E major seventh chord, "Emaj7", and a "Bm/E" is just as equally named an "E7sus2". In the instrumental interlude, however, the chords change completely to A minor and B minor chords, leaving the E bass drone for a time before returning to E major.

It occurs above the root of all major and minor chords (triads) and their extensions. Until the late 19th century, it was often referred to by one of its Greek names, diapente. Its inversion is the perfect fourth. The octave of the fifth is the twelfth.

Hal Leonard Corporation. 2001. Each of the two verses is followed by the chorus, where overdubbing is used on Stefani's vocals to produce first inversion and normal form E minor chords. Bounty Killer then toasts the bridge, and after a brief section sung by Stefani, the song closes by repeating the chorus twice.

The work is built over four modes: dorian, phrygian, lydian, and aeolian; and is notable for lacking dominant-like seventh chords, thus only using major and minor chords and their extensions (thus employing many added 9ths, 11ths, and 13ths). According to Reilly, these two factors give the work a modal and impressionistic flavor.

Spiral Array Model. Pitch class, major/minor chord, and major/minor key helices. The model as proposed covers basic pitches, major chords, minor chords, major keys and minor keys, represented on five concentric helices. Starting with a formulation of the pitch helix, inner helices are generated as convex combinations of points on outer ones.

It is not very likely that Vogel's notation for minor chords will win recognition. It would require that a C minor chord is denoted as Ug, as lower chord under g. A compromise notation could be to denote the Tristan chord as Gm/F, i.e., as a G-sharp minor chord with an F in the bass.

Typically, uppercase Roman numerals (such as I, IV, V) are used to represent major chords, while lowercase Roman numerals (such as ii, iii, vi) are used to represent minor chords (see Major and Minor below for alternative notations). However, some music theorists use upper-case Roman numerals for all chords, regardless of chord quality.Roger Sessions (1951). Harmonic Practice.

In 12-tone equal temperament (12-ET), the minor sixth is enharmonically equivalent to the augmented fifth. It occurs in first inversion major and dominant seventh chords and second inversion minor chords. It is equal to eight semitones, i.e. a ratio of 28/12:1 or simplified to 22/3:1 (about 1.587), or 800 cents.

Open D Tuning: Home Many new chord shapes and sounds are available with open D tuning. It can offer a strong compositional element that produces tonal qualities markedly different from standard tuning. The full range of major and minor chords, with all their extensions, are available to the player. Many well-known guitarists have used this tuning at some point in their career.

Acoustic guitar The guitar is not traditional in Irish music but has become widely accepted in modern sessions. These are usually strummed with a plectrum (pick) to provide backing for the melody players or, sometimes, a singer. Irish backing tends to use chord voicings up and down the neck, rather than basic first or second position "cowboy chords"; unlike those used in jazz, these chord voicings seldom involve barre fingerings and often employ one or more open strings in combination with strings stopped at the fifth or higher frets. Modal (root and fifth without the third, neither major nor minor) chords are used extensively alongside the usual major and minor chords, as are suspended and sometimes more exotic augmented chords; however, the major and minor seventh chords are less employed than in many other styles of music.

Journalist Nick Kent described "Panic" as a mandate for "rock terrorism". John Luerssen calls it a "commentary on the tepid state of pop music in 1986" and a "chiming guitar song," based around a rotation between the G major and E minor chords. Simon Goddard has said it mimics "Metal Guru" by the glam rock band T.Rex. Luerssen calls the song Marr's homage to the T.Rex song.

4 4 4 4 4 4 2\. } which enables one-finger minor chords. Like other cross-note tunings, it also allows major chords to be fretted with one adjacent finger. Many of the notes from the harmonic sequence for C appear in the new standard tuning (NST), which is used in Guitar Craft (a school of guitar playing founded by King Crimson's Robert Fripp).

Gershwin himself called this prelude in E-flat minor "Spanish", but modern ears may find the description puzzling. After a brief and dramatic introduction, the main theme is revealed: two melodies that together form a question-and-answer pair. This theme is used throughout to provide harmonic structure. The "question" is harmonized using E-flat minor chords, the "answer" by E-flat major chords.

But he was absurdly generous. He would take his last four bucks and split it with you." Egerton had also said "What struck me about Frank's playing was it reflected very reactionary tendencies -- all downstrokes, all six strings when he could. He didn't really play solos, per se, and there were open chords and minor chords, which was cool in the context of punk.

The second movement ends with a muted repetition of the beginning of the theme. The third movement, entitled Toccata, begins with a slow introduction, which grows to a high F sharp before cascading into the body of the movement. This Toccata consists mainly of stacked minor chords, but also has numerous references to the theme of the first movement. The entire sonata is approximately long.

In the key of C major, C sharp is an accidental. One can often find examples of tonicization by looking for accidentals, as there are always accidentals involved in tonicization. However, it is important to note that the opposite is not true—just because there is an accidental does not mean that it is definitely a case of tonicization. Only major and minor chords may be tonicized.

After settling their contract status in 1998, the band signed a new deal with E Pluribus Unum Records, a subsidiary of Universal Records owned and led by Counting Crows' singer, Adam Duritz. The band entered the studio once again with producer Mike Denneen and produced the haunting Minor Chords and Major Themes, which featured the minor hit, "Everyone Can Fly". Minor Chords And Major Themes was a hit in Spain and led to the band's long-standing popularity in that country and appearance at the Benicassim Festival in 1999. In 2000, primary songwriters Gibbs and Hurley relocated to Los Angeles to pursue songwriting for film and TV. After writing for Josie and the Pussycats and a number of TV shows, Gibbs and Hurley recorded one final Gigolo Aunts album, Pacific Ocean Blues, (produced by Chris Horvath) accompanied by Skibic and Eltringham on most tracks and by Mark Rivers and Phil Hurley on others.

11 : In the heavy metal music mock documentary This is Spinal Tap, the fictional guitarist claims that he had his amplifiers modified so that the volume could be turned up to "11". 11th : Refers to chords containing the eleventh note of a scale, which is the fourth scale degree up an octave (e.g. an F note in a C minor chord). Elevenths are mostly used on minor chords, sus chords, and dominant chords.

The original recording, as with the rest of the Transformer album, was produced by David Bowie and Mick Ronson (who also wrote the string arrangement and played piano on the track). The song begins with a short introduction consisting of 2 minor chords. Its verse is a circle of fifths progression in Bb minor. The song then moves into the chorus, which is written in the parallel major key to the verse.

The café was renamed the Popcorn – after the James Brown hit "The Popcorn"—and DJ Gilbert Govaert began playing more early soul and other records from the 1960s to suit the dance style. According to Stanley: "The beat was slow and slightly rickety, martial drums rolled under melancholy minor chords—the Marvelettes' 'Please Mr Postman' (1961) would have been typical."Bob Stanley, "A voyage of discovery to Belgium's Popcorn clubs", Frieze, no. 147, May 2012 .

As a result, on the chorus of "Homecoming," Chris Martin sings about Kanye West returning to his hometown of Chicago, Illinois. Inspired by his worldwide arena tour with Irish rock band U2, West redesigned the song to perform as a stadium anthem. Accordingly, the new composition expresses soaring, infectious vocal melodies and hooks in addition to memorable singalong choruses. Meanwhile, the rhythmic piano accompaniment of the arrangement is laden with energetic minor chords.

The song opens with an introduction which consists of eight measures of instrumentals, followed by eight measures in which Akon sings "Woohoo, yeehoo". The introduction has been claimed to be similar to that in the 1986 song "Sweet Sweet Gwendoline" by German band Die Ärzte. Overdubbing is introduced in the middle of the first verse to produce a sequence of eighth note B minor chords from Stefani's vocals. Stefani's voice is overdubbed again when she sings the chorus twice.

Vogel claims that his formula entails also compositional consequences. If one wants a chord to be consonant, major chords should be composed such that thirds and sevenths are set in a high register. Minor chords, however, would have to be set the other way round, with thirds and sevenths being set in a low register. This is by no means compatible with the compositional practice of the last centuries (with perhaps the exception of the Tristan chord, see below).

Recording commenced in Nashville Recording Studios in Hollywood under a time-constrained schedule. Noreen was unable to create a guitar solo in time for recording, so Greene and Stone suggested that the signature "airport voice" be put in its place. Don Elliot, a program director for KBLA Radio, was brought in to record the voice on a Neumann microphone. The melodies were basic 1-4-5 chord progressions with some well-placed minor chords in the refrain and bridges.

A thirteenth chord (E 13, which also contains a flat 7th and a 9th) Funk uses the same richly colored extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, or dominant seventh chords with altered ninths. Some examples of chords used in funk are minor eleventh chords (e.g., F minor 11th); dominant seventh with added sharp ninth and a suspended fourth (e.g., C7 (#9) sus 4); dominant ninth chords (e.g.

"Clocks" is an alternative rock song that is viewed by some as featuring elements of psychedelic rock. It features a repeating piano melody and a minimalist, atmospheric soundscape of synthesizer pads, drums, electric guitar, and bass guitar. Martin applied an ostinato, with emphasis that imitates a three against two polyrhythm, as well as a descending scale on the piano chord progression, which switches from major to minor chords. The themes of the lyrics include contrast, contradictions and urgency.

Chords are inverted simply by raising one or two notes three strings. The raised notes are played with the same finger as the original notes. Thus, major and minor chords are played on two frets in M3 tuning even when they are inverted. In contrast, inversions of chords in standard tuning require three fingers on a span of four frets, in standard tuning, the shape of inversions depends on the involvement of the irregular major-third.

Three existing 1960s pop songs were re-arranged in styles appropriate to the game setting, with lyrics translated into German. "House of the Rising Sun" was reinterpreted as a Bavarian waltz, with accordion, clarinets, and brass band. The lyric "there Is a house In New Orleans" was changed to "There is a house in New Berlin". "Nowhere To Run", originally by Martha & The Vandellas was given a more sinister mood with minor chords and machine gun sound effects.

It features session player Jim Dickinson on piano, Richards on electric guitar and 12-string acoustic guitar, and Mick Taylor on acoustic guitar. Taylor uses Nashville tuning, in which the EADG strings of the acoustic guitar are strung one octave higher than in standard tuning. Ian Stewart was present at the session, but refused to perform the piano part on the track due to the prevalence of minor chords, which he disliked playing.Wyman 2002. p. 482.

Previn wrote a brief memoir of his early years in Hollywood, No Minor Chords, which was published in 1991, edited by Jacqueline Kennedy Onassis and dedicated to Heather. This marriage ended in divorce after 17 years. His fifth marriage, in 2002, was to the German violinist Anne-Sophie Mutter, for whom in the previous year he had composed his Violin Concerto. They announced their divorce in August 2006, but continued to work together in concerts afterwards.

This csárdás begins with a repeated F-sharp, essentially taking up where the first dance left off, before an ostinato accompaniment begins. An F-sharp major triad in the left hand is contrasted with a falling phrase beginning with an A natural in the right hand. The piece on the whole is written in B minor-major, with major and minor chords being struck simultaneously, a device Liszt came to use with increasing frequency.Walker, Man and Music, 359.

Musically, the song follows a twelve-bar blues structure in C minor, only with significantly different chord changes. A standard blues song in C minor would progress as C minor, F minor, C minor, G (major or minor), F minor, and back to C minor. "The Dogs of War", instead, progresses in this way: C minor, E flat minor, C minor, A flat seventh, F minor, and back to C minor. All minor chords include the seventh.

Vogel's consonance formula has only recently been tested empirically. Kaernbach suggests a simplified notation: writing always from left to right, using capital letters for the reference tones (avoiding confusions with the convention to use lowercase letters for minor chords), and using a triangular symbol (▲ und ▼) to denote upper and lower chords. The beginning of the prelude of Tristan and Isolde could then be denoted as D▼7 → E▲7.Christian Kaernbach: Honoring Martin Vogel – Champion of just intonation in music.

She reclaims her right to flirt, have fun, and find a lover who is more devoted than the previous one. Beyoncé goes out to celebrate with her friends in a club where she meets a new love interest. However, her former boyfriend is watching her, and she directs the song to him. She then sings the chorus, which uses minor chords and contains several hooks, "If you like it then you shoulda put a ring on it ... Oh oh oh".

The theme returns quickly and is passed between the instruments in a show of virtuosity for the soloist. After a final, powerful statement, the music comes to rest in D; the piano attempts to stray to the minor mode with G-minor chords and F-naturals, but the viola insists on rising to an F-sharp. Alone now, the viola rises by whole steps to A-sharp, which is sustained enharmonically to B-flat as the beginning of the next movement.

"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.

Its exaggerated staccato and duple meter resemble the scherzos of the Flute Quintet and the Sixth Symphony, respectively, while the pizzicato A-minor chords at the opening and close recall the scherzo movements of the string quartets by Debussy and Ravel . The finale is in sonata-allegro form like the opening movement, but with an expressionist tone. The first theme is dramatic, marked by contrasting textures, sharp dissonances, crescendos starting forte, irregular downbeats, and abrupt rests. The second theme is a grotesque march.

Major-thirds tunings require less hand-stretching than other tunings, because each M3 tuning packs the octave's twelve notes into four consecutive frets. The major- third intervals let the guitarist play major chords and minor chords with two–three consecutive fingers on two consecutive frets. Chord inversion is especially simple in major-thirds tuning. The guitarist can invert chords by raising one or two notes on three strings—playing the raised notes with the same finger as the original notes.

The Blues Encyclopedia, eds Edward Komara, Peter Lee, Taylor and Francis Group (2006), p.696 Both James' and Owens' styles featured haunting minor chords and droning strings which, in comparison to the music of many other blues musicians, ring with an ominous and eerie feel. The Bentonia school of guitar playing has strong associations with a guitar-tuning based on an open E minor chord. From the lowest (6th) string to the highest (1st), the tuning uses E-B- E-G-B-E.

Steele et. al. found that "listening to Mozart produced a 3-point increase relative to silence in one experiment and a 4-point decrease in the other experiment". In another study, the effect was replicated with the original Mozart music, but eliminated when the tempo was slowed down and major chords were replaced by minor chords. Another meta-analysis by Pietschnig, Voracek, and Formann (2010) combined results of 39 studies to answer the question as to whether or not the Mozart Effect exists.

The quadruple notations represents the prime decomposition of the numbers that are needed to describe the chord, limited to the first four prime numbers. Vogel adopts the harmonic dualism of Arthur von Oettingen, with major and minor chords being mirror images of each other. This view is complemented by a quantitative computation of consonance (or rather dissonance) values. C major and C minor chord with upper and lower reference tone For this purpose Vogel introduces virtual reference tones that are not necessarily part of the chord.

"Use Me" features hollow, electronic sounds, heavily multitracked vocals, metronomic rhythms, and an industrialized mix of guitar and percussion. Its lyrics blur expressions of sexual nerves with gentle dominance, as the narrator instructs his lover how she can toy with him. An atmospheric pop rock song, "Do You..." portrays a narcotic tryst and mixes amiable come-ons with drug imagery. The psychedelic title track incorporates synthesizer arpeggios, minor chords, oscillating blips, fuzzy guitar, and a bassline interpolation of Labi Siffre's 1975 song "I Got The".

" In later interviews, however, Joey stated that it was not the conflict that made him stop writing, but rather that he'd had "ideas on the backburner." Bassist Dee Dee Ramone claimed guitarist Johnny Ramone was the reason for much of the stress, alleging that Johnny did not want to do songs Joey wrote for multiple reasons: "Joey will present a great tune and Johnny won't do it because it's this or it's that. 'I'm not going to play minor chords. I'm not going to play lead.

As a flamenco player Haddad is noted for his rich chord voicings, with a clear Moorish and Arabic influence. He frequently uses sophisticated jazz chords and innovative extended voicings for major and minor chords, and often creates a mysterious and atmospheric Moorish ambiance to his compositions through a lush tapestry of flat ninth, minor major seventh and augmented chords. Additionally he often uses slash chords, gripping the bass string. His picados are typically heavily executed and crisp-sounding, and his rasqueados are cascading and dynamic.

Van Leer said he wished to write "happy" music and move from "our European minor chords". Rather than have the tour cancelled, van Leer decided to proceed, with Kemper having seven days to arrive from the US and learn the new material and Akkerman at home with illness. In the guitarist's absence, van Leer met Belgian guitarist Philip Catherine and the two played a jam session that van Leer enjoyed. Akkerman disliked a song that the group had rehearsed about him soon after, which led to van Leer asking him to leave the next day.

The Telegraph wrote: "With its bittersweet palette of major and minor chords, "Vincent"'s soothing melody is one of high emotion recollected in tranquillity". AllMusic retrospectively described the song as "McLean's paean to Van Gogh ... sympathiz[ing] with Van Gogh's suicide as a sane comment on an insane world." The site also said McLean performs "a particularly poignant rendition" of "Vincent" on the 2001 live album Starry, Starry Night. The song was a particular favorite of the rapper and actor Tupac Shakur, and was played to him in the hospital just before he died.

ALF sold disks containing the data for songs, which could be played back using the MC16 or MC1 synthesizers. Many of the songs were entered by ALF's customers, and ALF paid a nominal licensing fee to them for the rights to distribute their work. ALF also sold a disk of "Basic Ear Training Skills" which drilled students in rudimentary skills such as identifying major, augmented, diminished, or minor chords. Due to the relatively poor tuning accuracy of the MC1, the Ear Training programs were only offered for the MC16.

"Circus Left Town" is written in a pop and rock music vein. It features styles of adult contemporary, adult rock and contemporary pop rock music. Although the whole song is based around an A-major-7-harmony and chords structure, Clapton uses a lot of minor chords to give the song the sad atmosphere and emotion the British composer went through when hearing about his son's death. For the recording, Clapton used a nylon string acoustic guitar he played with the Clawhammer technique, which he prefers to play on acoustic guitar.

In Kurenniemi's theory, both major and minor chords generate the same harmony, which in his view would explain their equal status in Western tonal music. His theory of harmonies abandons traditional scales and octave equivalence, elevating harmonies to the status of natural scales. Kurenniemi also assumes that rhythm follows the same proportions, only below the hearing threshold. Around the start of the 1990s, he wrote yet as unpublished articles concerning a theoretical concept on trivalent networks which he called the Graph Field Theory on space, time and matter.

Throughout the song, a distinctive 16th note guitar riff is played by Waddy Wachtel, progressing through C, D, and E-minor chords. During the bridge, the chords alternate twice between E-minor and C. Wachtel claimed that The Police's "Bring On the Night" was the inspiration for the riff. This claim is backed up in Andy Summers's memoir One Train Later, when he states that Nicks asked to meet him after a 1981 show in Los Angeles. As is typical of Nicks' songs, the lyrics are highly symbolic.

As a result of this structure, and one of the important properties leading to its selection, vertical neighbors are a music interval of a major third apart. Thus, a pitch class's nearest neighbors and itself form perfect fifth and major third intervals. # By taking every consecutive triads along the helix, and connecting their centers of effect, a second helix is formed inside the pitch helix, representing the major chords. # Similarly, by taking the proper minor triads and connecting their centers of effect, a third helix is formed, representing the minor chords.

In the intro, four bars set the rhythm, adorned by only a guitar pick-slide and audio effects. The verse adds Manson's vocals and a bass riff that uses flattened blue notes to give "Stupid Girl" a funky, unsettled feel. The eight-bar pre-chorus abruptly cuts in with minor chords, and sampled feedback replaces the bass, which drops out. This, coupled with Manson singing high in her range, creates tension and enables the presence of the bass to be felt when it re-enters on the chorus.

Uniquely among Mozart's concertos, the score does not direct the soloist to end the cadenza with a cadential trill. The omission of the customary trill is likely to have been deliberate, with Mozart choosing to have the cadenza connect directly to the coda without one. The conventional Mozartian coda concludes with an orchestral tutti and no written-out part for the soloist. In this movement, Mozart breaks with convention: the soloist interrupts the tutti with a virtuosic passage of sixteenth notes and accompanies the orchestra through to the final pianissimo C-minor chords.

Also, prosody can mean how the music supports the connotation, or emotive nature, of a song. Any musical work with a singer, regardless of the genre, requires its composer or songwriter to examine the interplay between the music and the words. For example, the mood of the music typically matches that of the lyrical content: for example, when the lyrics address a sad topic, the music would sound sad, perhaps using minor chords. Of course, composers might work differently, setting a textual mood against a contrasting musical mood.

Another important aspect of this style of playing is based on the chord shapes Django was forced to use due to his injury. Standard barre chords are not as common in gypsy jazz. Standard major and minor chords are almost never played, and are instead replaced by major 7th chords, major 6th chords, and 6/9 chords. Gypsy reharmonisation is often aimed at giving a minor feel even where a song is in a major key, for instance the substitution of a minor 6th chord for a dominant seventh.

It was from that experience that Reba began writing her first song. “Keep on Marching Home” was set to the minor chords popular in the folk music that she had begun listening to. Upon returning home, she played it for The Rambos’ producer, Bob MacKenzie, who was creative director of John T. Benson’s Heart Warming Records, the label The Rambos recorded for. MacKenzie was already aware of congregations organizing folk masses and had first explored this new form of gospel a year prior when he recorded The New Folk, a group formed by the Campus Crusade for Christ.

Pettersson's writing is very strenuous and often has many simultaneous polyphonic lines; earlier works are close to tonality in their melodic approach, later works less so. His symphonies all end on common chords—major or minor chords—but tonality, which depends on some sense, however attenuated, of tonal progression, is found mostly in slower sections: e.g., the openings and endings of his 6th and 7th symphonies, and the end of his 9th. The musical argument seems to be determined, in faster sections, by motivic requirements far more than by harmonic resolution, as exemplified by the study score of the 7th symphony, pp.2044.

Building on the contributions of Doc Watson and Clarence White, artists such as Norman Blake, Dan Crary, John Carlini, Mark O'Connor, Russ Barenberg, Larry Sparks, François Vola and Tony Rice further developed the art of flatpicking. Rice likely had the most profound impact on bluegrass guitar playing of anyone since his musical hero, Clarence White. Rice's tone, rhythm, phrasing, and improvisational skills have influenced an entire generation of bluegrass guitarists. Important elements Rice has used in his playing are jazz type chord substitutions, different from the straight major and minor chords common to bluegrass, and the use of the Dorian mode and the minor pentatonic "blues" scale in his lead playing.

Katie Hasty of Billboard commented: ""In Love with a Girl" opens with heavily distorted guitars as minor chords roll through, but be not deceived: Lyrically, the track is happy, with the 30-year-old songwriter heralding a girl that "understands." One flaw beleaguers DeGraw's normally dependable croon: the unnecessary presence of auto-tuning, which is mightily distracting. Beyond that, "Girl" is a rocking home run in the same ballpark as "I Don't Want to Be." The chorus is buoyant, backed with idyllic drum tracks alongside, driving each word-heavy verse, as DeGraw's snappy piano lines may have fans playing, heaven forbid, air piano."Billboard review.

105:47) and the Agnus Dei of the Roman Rite. The 8th section, a gigantic fortissimo section, never resolves itself - it cadences on its own dominant, G, and never resolves into the tonic, avoiding any sense of victory. This is reflective of the fact that Górecki never meant the Miserere to be triumphant, given the context that it was written in. The final and eleventh section, is quiet, yet 'błagalnie'; it returns to the A Aeolian mode after a shift in tonal center (to E in the 7th section, to C in the 8th), hammering out the same A minor chords only with slight shifts in the melodic line.

For "Move Your Body", Jefferson stated he wanted to have something on the track that would "drive the rack forward" and felt that a piano would do this. The song was developed with minor chords which Jefferson found easier to perform. Jefferson called two of his friends who were co-workers at the post office, Thomas Carr and Rudy Forbes, who went into the studio with him to make the record which Jefferson estimated had travel time, recording and mixing took about five or six hours. To play the piano intro, Jefferson recalled that he recorded the keyboards at about forty to forty-five beats per minute then sped it up.

Dominant chords are considered to sound unstable in a classical music harmony context, and so in a classical piece, these chords often resolve down a perfect fifth or up a perfect fourth (e.g. C7 tends to resolve onto chords based on F, such as F major or F minor). However, in a jazz context, particularly in music from the 1940s bebop era and later decades, dominant chords were no longer treated as "unstable" chords. Some bebop tunes use a dominant chord as the tonic chord and also use dominant chords for the chords that would typically be minor chords in a Classical piece or a swing arrangement.

The melody consists of rapid chromatic scale figures played by the outer right-hand fingers, accompanied by chord attacks. Like most of Chopin's other études, this work is in ternary form A–B–A. The harmonic scheme of the A section is relatively simple, with A minor, E major, A minor, but the chromatic scale and the exotic clash of its Cs with the A minor chords tend to veil the clarity of A minor and create a mysterious sound effect further increased by the Neapolitan chord, bar 15. The middle section brings a dramatic increase with the dynamic climax exactly in the center of the piece, bar 25.

A Forte number, "consists of two numbers separated by a hyphen....The first number is the cardinality of the set form...and the second number refers to the ordinal position..." Major and minor chords on C . In the 12-TET tuning system (or in any other system of tuning that splits the octave into twelve semitones), each pitch class may be denoted by an integer in the range from 0 to 11 (inclusive), and a pitch class set may be denoted by a set of these integers. The prime form of a pitch class set is the most compact (i.e., leftwards packed or smallest in lexicographic order) of either the normal form of a set or of its inversion.

Barbershop music features songs with understandable lyrics and easily singable melodies, whose tones clearly define a tonal center and imply major and minor chords and barbershop (dominant and secondary dominant) seventh chords that resolve primarily around the circle of fifths, while making frequent use of other resolutions. What sets barbershop apart from other musical styles is the predominant use of the dominant-type seventh chords. Barbershop music also features a balanced, symmetrical form and a standard meter. The basic song and its harmonization are embellished by the arranger to provide appropriate support of the song's theme and to close the song effectively.” So-called barbershop seventh chords should represent at least one third of the song’s duration.

The long verse is played with D minor and A minor chords. Where the album's main character, Pink's question about how he should fill out the gaps in his wall was of a rhetorical nature in "Empty Spaces", "What Shall We Do Now?" lists the diversions, possessions, and vices of a rock star ("Shall we buy a new guitar / Shall we drive a more powerful car / Shall we work straight through the night / Shall we get into fights / Leave the lights on / Drop bombs ....") in response. The two tracks are easily confused. The tape speed for "Empty Spaces" was sped up, to raise its key to E minor, with re-recorded vocals and guitar.

The second theme is in the piano, with a series of syncopated E-minor chords, and is followed by a developmental fugue for the winds and strings. The recapitulation has the first theme in its original key but the second now in D minor, and the movement closes with a short coda. The main theme of this movement anticipates the pitch material of the second and third movements, as its recurring thematic motto is the same as the first five notes of the tone-row used in the Passacaglia and Gigue.Frank W. Hoogerwerf, "Tonal and Referential Aspects of the Set in Stravinsky's Septet", Journal of Musicological Research 4, nos. 1–2 (1982): 69–84.

Funk originated in African-American communities in the mid-1960s when African-American musicians created a rhythmic, danceable new form of music through a mixture of soul music, jazz, and rhythm and blues (R&B;). Funk de- emphasizes melody and chord progressions and focuses on a strong rhythmic groove of a bass line played by an electric bassist and a drum part played by a drummer. Like much of African-inspired music, funk typically consists of a complex groove with rhythm instruments playing interlocking grooves. Funk uses the same richly colored extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, or dominant seventh chords with altered ninths.

Use of the terms quartal and quintal arises from a contrast, compositional or perceptual, with traditional tertian harmonic constructions. Listeners familiar with music of the European common practice period perceive tonal music as that which uses major and minor chords and scales, wherein both the major third and minor third constitute the basic structural elements of the harmony. Regarding chords built from perfect fourths alone, composer Vincent Persichetti writes that: Quintal harmony (the harmonic layering of fifths specifically) is a lesser-used term, and since the fifth is the inversion or complement of the fourth, it is usually considered indistinct from quartal harmony. Because of this relationship, any quartal chord can be rewritten as a quintal chord by changing the order of its pitches.

In the philosophy of music, scholars have argued whether instrumental music such as symphonies are simply abstract arrangements and patterns of musical pitches ("absolute music"), or whether instrumental music depicts emotional tableaux and moods ("program music"). Despite the assertions of philosophers advocating the "absolute music" argument, the typical symphony-goer does interpret the notes and chords of the orchestra emotionally; the opening of a Romantic-era symphony, in which minor chords thunder over low bass notes is often interpreted by layman listeners as an expression of sadness in music. Also called "abstract music", absolute music is music that is not explicitly "about" anything, non-representational or non- objective. Absolute music has no references to stories or images or any other kind of extramusical idea.

This section begins with Howe introducing a new musical theme in 3/4 meter- an intricate folk- influenced polyphonic guitar part featuring a melody on the low strings punctuated by strummed chords on the off beats. Wakeman enters with a Mini- moog line, a variation of sorts to the opening "Cord Of Life" Minimoog melody. The melody and lyrical structure is very similar to that of "Cord of Life", with some variations, including a brief bass interlude by Chris Squire, and a synthesizer solo by Rick Wakeman (another variation on the "Cord Of Life" theme, this time in a minor key). The last stanza again consists of lines from "Cord of Life", now sung at a different tempo and against primarily minor chords.

Simels, Steve. “Flash and the Pan: Two Rock-’N’-Roll Oddballs Drop Their Aliases” Stereo Review, 1979. But Simels gives up trying to pigeonhole the record with, “Let’s just say that it’s excellent music and let it go at that.” Jon Pareles, writing for Creem says Flash and the Pan’s songs are “incorrigibly catchy” but he earlier notes the detachment of the vocal style and the insincerity of lyrics; like Simels, he counters his own criticism, saying, “[If] You want sincerity, go watch Merv Griffin.” Pareles, Jon. “Flash and the Pan” Creem 11 (1979): 55. Simon Frith in Melody Maker factors the experience of Vanda & Young into the album’s “pop mastery, [which is] evident in the hooks, the minor chords, the insidious orchestrations”.

Three of the added strings are doubling the standard strings at the unison, and three are an octave higher. 13th : Refers to chords containing the thirteenth note of a scale, which is the sixth scale degree up an octave (e.g. an A note added to a C7 chord). Thirteenths are mostly used on dominant chords and major chords, and to a lesser degree, minor chords. The thirteenth may be flattened by one semitone to give a flat 13 chord (e.g. D7 with flat 13 would add a Bb to the basic D, F#A, C notes). Flat 13 chords are an altered dominant. 33 1/3 : A vinyl record designed to be played at 33 1/3 rpm (rotations per minute).

Washington reset the melody to minor chords, and in the process changed it somewhat—Dylan liked this version and used it as the model for "Masters of War."] Washington's role in the song's transmission is acknowledged in Bob Dylan by Greil Marcus: Writings 1968–2010 (Public Affairs, 2010, p. 410). Washington taught Joan Baez "There But For Fortune" by Phil Ochs, which provided Baez with her first appearance on the singles chart. (You can tell she learned it from him because he had made a lyric change; where Ochs had written "whose face is growing pale", Jackie, being black, had substituted "whose life has grown stale"—which is how Baez sings it.) Originally managed by Manny Greenhill, Joan Baez's manager, Washington later did his own bookings.

Funk is a music genre that originated in Black African American communities in the mid-1960s when musicians created a rhythmic, danceable new form of music through a mixture of soul, jazz, and rhythm and blues (R&B;). Funk de- emphasizes melody and chord progressions and focuses on a strong rhythmic groove of a bassline played by an electric bassist and a drum part played by a drummer, often at slower tempos than other popular music. Like much of African-inspired music, funk typically consists of a complex groove with rhythm instruments playing interlocking grooves that create a "hypnotic" and "danceable" feel. Funk uses the same richly colored extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, or dominant seventh chords with altered ninths and thirteenths.

According to Ernst the major and minor thirds contain "latent" tendencies towards the perfect fourth and whole tone, respectively, and thus establish tonality. However, Carl contests Kurth's position, holding that this drive is in fact created through or with harmonic function, a root progression in another voice by a whole-tone or fifth, or melodically (monophonically) by the context of the scale. For example, the leading tone of alternating C chord and F minor chords is either the note E leading to F (if F is tonic), or A leading to G (if C is tonic). In works from the 14th- and 15th-century Western tradition, the leading tone is created by the progression from imperfect to perfect consonances, such as a major third to a perfect fifth or minor third to a unison.

The song was composed by McGuinn and Clark in early 1964 at a time when the pair were performing as a duo at The Troubadour and other folk clubs in and around Los Angeles. Critic Matthew Greenwald has described "You Showed Me" as "a minor-key romantic ballad", while also commenting that "the song has a near-Beach Boys feel and ends up being an effervescent piece of moody pop." Music historian Richie Unterberger has remarked that "You Showed Me", like many of the songs that Clark had a hand in writing during the 1960s, contains a mix of major and minor chords arranged in unexpected progressions. He also stated that the song recounts the tale of a lover who is being tutored in the ways of love by a more experienced partner.

C major diatonic scale . Locrian mode on C . The major and minor chords are both given Forte number 3-11, indicating that it is the eleventh in Forte's ordering of pitch class sets with three pitches. In contrast, the Viennese trichord, with pitch classes 0, 1, and 6, is given Forte number 3-5, indicating that it is the fifth in Forte's ordering of pitch class sets with three pitches. The normal form of the diatonic scale, such as C major; 0, 2, 4, 5, 7, 9, and 11; is 11, 0, 2, 4, 5, 7, and 9; while its prime form is 0, 1, 3, 5, 6, 8, and 10; and its Forte number is 7-35, indicating that it is the thirty-fifth of the seven-member pitch class sets.

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).

Sometimes, especially in blues music, musicians will take chords which are normally minor chords and make them major. The most popular example is the I–VI–ii–V–I progression; normally, the vi chord would be a minor chord (or m7, m6, m6 etc.) but here the major third makes it a secondary dominant leading to ii, i.e. V/ii. Take the example in C major: C–A–Dm–G(7). The third of the VI chord (in this case, C) allows for chromatic movement from C (the root of I) to C (the third of VI) to D (the root of ii). Similar chromaticism and harmonic interest can be achieved by the use of a secondary dominant of V, for example V7/V–V7–I (that is, II7–V7–I), instead of ii–V–I.

The verse begins with two repeated phrases, each consisting of a shift from the i minor (Am) chord to a IV (D7), emphasising the Dorian mode, followed by ♭VII (G), V7 (E7) and i minor chords. The verse continues with a minor iv (Dm) chord for two bars before shifting to V7 (E7), after which a ♭9 (F natural) melody note results in what musicologist Dominic Pedler terms the "dark drama" of an E7♭9 chord and an example of the Beatles' employment of an "exotic intensifier". There then follows a chromatically descending bass line over the i minor chord, leading to VI (F7) and the transition into the 4/4 chorus. The latter presents as a heavy rock 12-bar blues but is abbreviated to 10 bars since the V chord functions as a re-transition to the verse.

Although folk rock mainly grew out of a mix of American folk revival and British Invasion influences, there were also a few examples of proto-folk rock that were important in the development of the genre. Of these secondary influences, Unterberger has cited the self-penned, folk-influenced material of San Francisco's the Beau Brummels as arguably the most important. Despite their Beatlesque image, the band's use of minor chords, haunting harmonies, and folky acoustic guitar playing—as heard on their debut single "Laugh, Laugh"—was stylistically very similar to the later folk rock of the Byrds. Released in December 1964, "Laugh, Laugh" peaked at number 15 on the Billboard Hot 100 in early 1965, while its similarly folk-flavored follow-up, "Just a Little", did even better, reaching number 8 on the U.S. singles chart.

Various popular idioms of the twentieth century break down the standardized chord progressions of the common-practice period. While these later styles incorporate many elements of the tonal vocabulary (such as major and minor chords), the function of these elements is not necessarily rooted in classical models of counterpoint and harmonic function. For example, in common-practice harmony, a major triad built on the fifth degree of the scale (V) is unlikely to progress directly to a root position triad built on the fourth degree of the scale (IV), but the reverse of this progression (IV–V) is quite common. By contrast, the V–IV progression is readily acceptable by many other standards; for example, this transition is essential to the "shuffle" blues progression's last line (V–IV–I–I), which has become the orthodox ending for blues progressions at the expense of the original last line (V–V–I–I) .

While still considering it a blues rock effort, Tom Moon likens the music to a collaboration between the art rock band the Velvet Underground and the Stax house band. Jagger echoes these sentiments in a 1995 interview for Rolling Stone, regarding it as a stylistically diverse work and milestone for him that "finally laid to rest the ghost of having to do these very nice and interesting, no doubt, but still, cover versions of old R&B; songs – which we didn't really feel we were doing justice, to be perfectly honest". Along with their 1967 follow-up, Between the Buttons, Aftermath is cited by Malvinni as part of the Rolling Stones' pop-rock period as it features a chordal range more diverse and inclusive of minor chords than their blues-based recordings. According to Kevin Courrier, the Stones use "softly intricate" arrangements that lend the record a "seductive ambience" similar to Rubber Soul, particularly on "Lady Jane", "I Am Waiting", "Under My Thumb" and "Out of Time".

Tuned to open Chords, Smith endeavored to bring steel guitar up to the level of his classical piano teaching and purchased the first mechanical pitch changing patent but was cheated out of the design the next year. Giving up on mechanical devices he then spent the rest of his life trying to accomplish a tuning that would give a player the ability to do major/9ths/7ths/4ths/6ths and minor chords with a flat pick. His intent was to make it easier for beginners to play guitar without the difficult left hand manipulations but the idea did not catch on. Professionals, however, such as Rusty Young with Poco, David Lindley, Arlen Roth, Steve Fishel, Roy Clark, Troy Klontz with Brooks and Dunn, Jeff Peterson with Clint Black, Howard Leesea of Heart, Brian Jones with the early Rolling Stones (later Rolling Stones videos as well), Patrick Arbuthnot of British country rockers The Rockingbirds, Jimmy Page and many many others used the Melobar as an open tuning lead instrument putting it on stage for the last thirty years.

Demanding to know 'why are you standing over there with your clothes on?' on sultry track Skin, the Barbadian clearly means business." Ryan Dombell of Pitchfork Media concurred with Stern with regard to "Skin" being the singer's most mature song to date, writing "Skin' is her sexiest song yet, a haunted, near-dubstep stunner that wouldn't sound totally out of place on Massive Attack's Mezzanine." Ryan Burleson of Consequence of Sound commented that Rihanna's combines different emotions in the song to increase the level of provocativeness, writing "For its part, the Soundz-produced 'Skin' combines these emotions into a five-minute space-hop excursion into the boudoir, driving deep into the id with an austere, though undeniably potent amount of minor chords and bass." Andy Kellman of AllMusic chose "Skin" as one of the highlights on Loud, writing, "One song that sounds nothing like anything else in Rihanna's past is 'Skin,' a contender for anti-gravity slow jam of 2010 - a match for Trey Songz's 'Red Lipstick' and Usher's 'Mars vs Venus.

The consonance and dissonance of different intervals plays an important role in establishing the tonality of a piece or section in common practice music and popular music. For example, for a simple folk music song in the key of C Major, almost all of the triadic chords in the song will be Major or minor chords which are stable and consonant (e.g., in the key of C Major, commonly- used chords include D minor, F Major, G Major, etc.). The most commonly used dissonant chord in a pop song context is the dominant seventh chord built on the fifth scale degree; in the key of C Major, this would be a G dominant seventh chord, or G7 chord, which contains the pitches G, B, D and F. This dominant seventh chord contains a dissonant tritone interval between the notes B and F. In pop music, the listener will expect this tritone to be resolved to a consonant, stable chord (in this case, typically a C Major cadence (coming to rest point) or a deceptive cadence to an A minor chord).

" After recording in Berlin was finished, the recordings were then sent to Quirk Out producer Hugh Jones to mix in London, where the band spent a long period whilst "things were patched up," including several re-recordings; however, as Ensign were "pretty panicked" about the relationship between the band and Hiller breaking down, and at that point the album having been unfinished, electronic producer John Robie aided to help finish the album, although the band saw his production style, which was more pop-orientated as opposed to Hiller's avant-gatrde approach, as differing negatively from the band's method. Hopper recalled "John Robie was a big flashy, Arthur Baker-style producer; it was all beats and polished sounds. I was resistant to it, I respected him as a producer but I didn’t think he was suitable for Stump. If you listen to Stump songs they are very simple chords, they’re not sophisticated, they’re not like listening to a Cole Porter song or something like that, they are just major and minor chords usually.

The fifth of the chord is often omitted as well, if it is a perfect fifth above the root (as is the case in regular major chords and minor chords. The altered extensions played by a jazz guitarist or jazz pianist on an altered dominant chord on G might include (at the discretion of the performer) a flatted ninth A (a ninth scale degree flattened by one semitone); a sharp eleventh C (an eleventh scale degree raised by one semitone) and a flattened thirteenth E (a thirteenth scale degree lowered by one semitone). If the chordal playing musician were to omit the root and fifth of the dominant seventh chord (the G and D) and keep the third (B) and flatted seventh (F), and add the altered tones just listed (A, C and E), the resulting chord would be the pitches B, C, E, F, A, which is a much different-sounding chord than the standard G7 played by a pop musician (G, B, D, F). In Classical harmony and in pop music, chord voicings often double the root to emphasize the foundation of the chord progression.