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Augmented Minor Seventh Chord
The augmented seventh chord, or seventh augmented fifth chord, or seventh sharp five chord is a seventh chord composed of a root, major third, augmented fifth, and minor seventh (1, 3, 5, 7).Garner, Robert (2007). ''Mel Bay Presents Essential Music Theory for Electric Bass'', p. 69. . It can be viewed as an augmented triad with a minor seventh. When using popular-music symbols, it is denoted by +7, aug7, or 75. For example, the augmented seventh chord built on C, written as C+7, has pitches C–E–G–B: : The chord can be represented by the integer notation . Use The root is the only optional note in an augmented seventh chord, the fifth being required because it is raised. This alteration is useful in the major mode because the raised 5th creates a leading tone to the 3rd of the tonic triad. See also dominant. In rock parlance, the term ''augmented seventh chord'' is sometimes confusingly and erroneously used to refer to the so-called "Hendrix chord", a 79 chord which ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Root (chord)
In music theory, the concept of root is the idea that a chord can be represented and named by one of its notes. It is linked to harmonic thinking—the idea that vertical aggregates of notes can form a single unit, a chord. It is in this sense that one speaks of a "C chord" or a "chord on C"—a chord built from C and of which the note (or pitch) C is the root. When a chord is referred to in Classical music or popular music without a reference to what type of chord it is (either major or minor, in most cases), it is assumed a major triad, which for C contains the notes C, E and G. The root need not be the bass note, the lowest note of the chord: the concept of root is linked to that of the inversion of chords, which is derived from the notion of invertible counterpoint. In this concept, chords can be inverted while still retaining their root. In tertian harmonic theory, wherein chords can be considered stacks of third intervals (e.g. in common practice tonality), the root ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rock Music
Rock music is a broad genre of popular music that originated as " rock and roll" in the United States in the late 1940s and early 1950s, developing into a range of different styles in the mid-1960s and later, particularly in the United States and United Kingdom.W. E. Studwell and D. F. Lonergan, ''The Classic Rock and Roll Reader: Rock Music from its Beginnings to the mid-1970s'' (Abingdon: Routledge, 1999), p.xi It has its roots in 1940s and 1950s rock and roll, a style that drew directly from the blues and rhythm and blues genres of African-American music and from country music. Rock also drew strongly from a number of other genres such as electric blues and folk, and incorporated influences from jazz, classical, and other musical styles. For instrumentation, rock has centered on the electric guitar, usually as part of a rock group with electric bass guitar, drums, and one or more singers. Usually, rock is song-based music with a time signature using a verse–chorus form, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chord-scale System
The chord-scale system is a method of matching, from a list of possible chords, a list of possible scales.Mervyn Cooke, David Horn (2003). '' The Cambridge companion to jazz'', p.266. . The system has been widely used since the 1970s and is "generally accepted in the jazz world today". However, the majority of older players used the chord tone/chord arpeggio method. The system is an example of the difference between the treatment of dissonance in jazz and classical harmony: "Classical treats all notes that don't belong to the chord...as potential dissonances to be resolved...Non-classical harmony just tells you which note in the scale to otentially avoid..., meaning that all the others are okay". The chord-scale system may be compared with other common methods of improvisation, first, the older traditional chord tone/chord arpeggio method, and where one scale on one root note is used throughout all chords in a progression (for example the blues scale on A for all chords of t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dominant Seventh Flat Five Chord
In music theory, the dominant seventh flat five chord is a seventh chord composed of a root note, together with a major third, a diminished fifth, and a minor seventh above the root (1, 3, 5 and 7). For example, the dominant seventh flat five chord built on C, commonly written as C75, is composed of the pitches C–E–G–B: : It can be represented by the integer notation . This chord is enharmonically equivalent to its own second inversion. That is, it has the same notes as the dominant seventh flat five chord a tritone away (although they may be spelled differently), so for instance, F75 and C75 are enharmonically equivalent. Because of this property, it readily functions as a pivot chord. It is also frequently encountered in tritone substitutions. In this sense, there are only six "unique" dominant seventh flat five chords. In diatonic harmony, the dominant seventh flat five chord does not naturally occur on any scale degree (as does, for example, the dominant seve ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dominant Seventh
In music theory, a dominant seventh chord, or major minor seventh chord, is a seventh chord, usually built on the fifth degree of the major scale, and composed of a root, major third, perfect fifth, and minor seventh. Thus it is a major triad together with a minor seventh, denoted by the letter name of the chord root and a superscript "7". An example is the dominant seventh chord built on G, written as G7, having pitches G–B–D–F: : Dominant seventh chords contain a strong dissonance – a tritone between the chord's third and seventh. Dominant seventh chords are often built on the fifth scale degree (or dominant) of a key. For instance, in the C major scale, G is the fifth note of the scale, and the seventh chord built on G is the dominant seventh chord, G7 (shown above). In this chord, F is a minor seventh above G. In Roman numeral analysis, G7 would be represented as V7 in the key of C major. Similarly, this chord also occurs on the seventh degree of any natu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Altered Chord
An altered chord is a chord that replaces one or more notes from the diatonic scale with a neighboring pitch from the chromatic scale. By the broadest definition, any chord with a non-diatonic chord tone is an altered chord. The simplest example of altered chords is the use of borrowed chords, chords borrowed from the parallel key, and the most common is the use of secondary dominants. As Alfred Blatter explains, "An altered chord occurs when one of the standard, functional chords is given another quality by the modification of one or more components of the chord." For example, altered notes may be used as leading tones to emphasize their diatonic neighbors. Contrast this with chord extensions: In jazz harmony, chromatic alteration is either the addition of notes not in the scale or expansion of a hordprogression by adding extra non-diatonic chords.Arkin, Eddie (2004). ''Creative Chord Substitution for Jazz Guitar'', p. 42. . For example, "A C major scale with an added D ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ken Hatfield (musician)
Kenneth David Hatfield (born November 18, 1952) is an American jazz guitarist, who is also a composer, arranger, producer, and educator. Biography Born Kenneth David Hatfield in Portsmouth, Virginia, Hatfield grew up in Norfolk, Virginia and began his formal guitar instruction with John Griggs at the Griggs School of Music in 1967. At the Griggs School Hatfield was introduced to the classical and jazz guitarists of the time such as Andrés Segovia, Wes Montgomery, Django Reinhardt and Johnny Smith. As a teenager growing up in the Tidewater, Virginia area, Hatfield met and played professionally with some of the area's most popular jazz musicians, including Joe Jones, Jimmy Barbour, and Philippe Fields. After graduating from Lake Taylor High School in Norfolk in 1971, Hatfield attended the Berklee College of Music in Boston, where he established himself as a leading student. He joined the faculty after his first year and remained an adjunct professor for the next two year ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Whole Tone Scale
In music, a whole-tone scale is a scale in which each note is separated from its neighbors by the interval of a whole tone. In twelve-tone equal temperament, there are only two complementary whole-tone scales, both six-note or '' hexatonic'' scales. A single whole-tone scale can also be thought of as a "six-tone equal temperament". : : The whole-tone scale has no leading tone and because all tones are the same distance apart, "no single tone stands out, ndthe scale creates a blurred, indistinct effect". This effect is especially emphasised by the fact that triads built on such scale tones are all augmented triads. Indeed, all six tones of a whole-tone scale can be played simply with two augmented triads whose roots are a major second apart. Since they are symmetrical, whole-tone scales do not give a strong impression of the tonic or tonality. The composer Olivier Messiaen called the whole-tone scale his first mode of limited transposition. The composer and m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chord-scale System
The chord-scale system is a method of matching, from a list of possible chords, a list of possible scales.Mervyn Cooke, David Horn (2003). '' The Cambridge companion to jazz'', p.266. . The system has been widely used since the 1970s and is "generally accepted in the jazz world today". However, the majority of older players used the chord tone/chord arpeggio method. The system is an example of the difference between the treatment of dissonance in jazz and classical harmony: "Classical treats all notes that don't belong to the chord...as potential dissonances to be resolved...Non-classical harmony just tells you which note in the scale to otentially avoid..., meaning that all the others are okay". The chord-scale system may be compared with other common methods of improvisation, first, the older traditional chord tone/chord arpeggio method, and where one scale on one root note is used throughout all chords in a progression (for example the blues scale on A for all chords of t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Spectator
''The Spectator'' is a weekly British magazine on politics, culture, and current affairs. It was first published in July 1828, making it the oldest surviving weekly magazine in the world. It is owned by Frederick Barclay, who also owns ''The Daily Telegraph'' newspaper, via Press Holdings. Its principal subject areas are politics and culture. It is politically conservative. Alongside columns and features on current affairs, the magazine also contains arts pages on books, music, opera, film and TV reviews. Editorship of ''The Spectator'' has often been a step on the ladder to high office in the Conservative Party in the United Kingdom. Past editors include Boris Johnson (1999–2005) and other former cabinet members Ian Gilmour (1954–1959), Iain Macleod (1963–1965), and Nigel Lawson (1966–1970). Since 2009, the magazine's editor has been journalist Fraser Nelson. ''The Spectator Australia'' offers 12 pages on Australian politics and affairs as well as the full UK maga ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ninth
In music, a ninth is a compound interval consisting of an octave plus a second. Like the second, the interval of a ninth is classified as a dissonance in common practice tonality. Since a ninth is an octave larger than a second, its sonority level is considered less dense. Major ninth A major ninth is a compound musical interval spanning 14 semitones, or an octave plus 2 semitones. If transposed into a single octave, it becomes a major second or minor seventh. The major ninth is somewhat dissonant in sound. Transposition Some common transposing instruments sound a major ninth lower than written. These include the tenor saxophone, the bass clarinet, the baritone/ euphonium when written in treble clef, and the trombone when written in treble clef (British brass band music). When baritone/euphonium or trombone parts are written in bass clef or tenor clef they sound as written. Minor ninth A minor ninth (m9 or -9) is a compound musical interval spanning 13 semiton ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hendrix Chord
In music, the dominant 79 chord ("dominant seven sharp nine" or "dominant seven sharp ninth") is a chord built by combining a dominant seventh, which includes a major third above the root, with an augmented second, which is the same pitch, albeit given a different note name, as the minor third degree above the root. This chord is used in many forms of contemporary popular music, including jazz, funk, R&B, rock and pop. As a dominant chord in diatonic harmony, it most commonly functions as a turnaround chord, returning to the tonic. The chord is also sometimes colloquially known, among pop and rock guitarists, as the "Hendrix chord" or "Purple Haze chord", nicknamed for guitarist Jimi Hendrix,Shapiro, Harry and Caesar Glebbeek (1995). ''Jimi Hendrix: Electric Gypsy'', p.144. . who showed a preference for the chord and did a great deal to popularize its use in mainstream rock music. [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
