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Dominant Seventh Sharp Ninth 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] |
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] |
Dominant Seventh Raised Ninth Vs Dominant Seventh Split Third Chord
Domination or dominant may refer to: Society * World domination, which is mainly a conspiracy theory * Colonialism in which one group (usually a nation) invades another region for material gain or to eliminate competition * Chauvinism in which a person or group consider themselves to be superior, and thus entitled to use force to dominate others * Sexual dominance involving individuals in a subset of BDSM behaviour * Hierarchy * Patriarchy Music * Dominant (music), a diatonic scale step and diatonic function in tonal music theory * Dominant seventh chord, a four-note chord consisting of a major triad and a minor seventh * ''Domination'' (Cannonball Adderley album), 1965 * ''Domination'' (Domino album), 2004 * ''Domination'' (Morbid Angel album), 1995 * ''Domination'' (Morifade album), 2004 * "Domination", a song by Band-Maid from ''World Domination'' * "Domination", a song by Pantera from ''Cowboys from Hell'' * "Domination", a song by Symphony X from ''Paradise Lost'' * ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ninth Chord
In music theory, a ninth chord is a chord that encompasses the interval of a ninth when arranged in close position with the root in the bass. Heinrich Schenker and also Nikolai Rimsky-Korsakov allowed the substitution of the dominant seventh, leading-tone, and leading tone half-diminished seventh chords, rejected the concept of a ninth chord on the basis that only that on the fifth scale degree (V9) was admitted and that inversion was not allowed of the ninth chord. Dominant ninth There is a difference between a major ninth chord and a dominant ninth chord. A dominant ninth is the combination of a dominant chord (with a minor seventh) and a major ninth. A major ninth chord (e.g., Cmaj9), as an extended chord, adds the major seventh along with the ninth to the major triad. Thus, a Cmaj9 consists of C, E, G, B and D. When the symbol "9" is not preceded by the word "major" or "maj" (e.g., C9), the chord is a dominant ninth. That is, the implied seventh chord is a domina ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Factor (chord)
In music, a factor or chord factor is a member or component of a chord (music), chord. These are named root (chord), root, third (chord), third, fifth (chord), fifth, sixth chord, sixth, seventh (chord), seventh, ninth (compound interval, compound 2nd), eleventh (compound 4th), thirteenth (compound 6th), and so on, for their generic interval (music), interval above the root. In harmony, the consonance and dissonance of a chord factor and a nonchord tone are distinguished, respectively.Ostransky, Leroy (1977). ''Understanding Jazz'', p. 91. . Chord factors are taken into consideration in voicing (music), voicing and voice leading. A chord contains exactly as many factors as it contains unique pitch names (octaves don't matter), while a voicing can have any number of voices that draw from and represent some or all the factors of a chord in various octaves. Thus, a chord with three unique pitch names always has three factors, even if some of those pitches are doubled or omitted in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Augmentation (music)
In Western music and music theory, augmentation (from Late Latin ''augmentare'', to increase) is the lengthening of a note or the widening of an interval. Augmentation is a compositional device where a melody, theme or motif is presented in longer note-values than were previously used. Augmentation is also the term for the proportional lengthening of the value of individual note-shapes in older notation by coloration, by use of a sign of proportion, or by a notational symbol such as the modern dot. A major or perfect interval that is widened by a chromatic semitone is an augmented interval, and the process may be called augmentation. Augmentation in composition A melody or series of notes is ''augmented'' if the lengths of the notes are prolonged; augmentation is thus the opposite of diminution, where note values are shortened. A melody originally consisting of four quavers (eighth notes) for example, is augmented if it later appears with four crotchets (quarter notes) instead. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diminution
In Western music and music theory, diminution (from Medieval Latin ''diminutio'', alteration of Latin ''deminutio'', decrease) has four distinct meanings. Diminution may be a form of embellishment in which a long note is divided into a series of shorter, usually melodic, values (also called " coloration"; Ger. ''Kolorieren''). Diminution may also be the compositional device where a melody, theme or motif is presented in shorter note-values than were previously used. Diminution is also the term for the proportional shortening of the value of individual note-shapes in mensural notation, either by coloration or by a sign of proportion. A minor or perfect interval that is narrowed by a chromatic semitone is a diminished interval, and the process may be referred to as diminution (this, too, was sometimes referred to as " coloration"). Diminution as embellishment Diminution is a form of embellishment or melodic variation in which a long note or a series of long notes is divided ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diminished Third
In classical music from Western culture, a diminished third () is the musical interval produced by narrowing a minor third by a chromatic semitone.Benward & Saker (2003). ''Music: In Theory and Practice, Vol. I'', p.54. . For instance, the interval from A to C is a minor third, three semitones wide, and both the intervals from A to C, and from A to C are diminished thirds, two semitones wide. Being diminished, it is considered a dissonant interval. In equal temperament a diminished third is enharmonic with the major second, both having a value of 200 cents. However, in meantone tunings with fifths flatter than the 700 cents of equal temperament, the diminished third is wider than the major second. In 19 equal temperament it is in fact enharmonically equivalent to an augmented second, both having a value of 252.6 cents. In 31 equal temperament it has a more typical value of 232.3 cents. In a twelve-note keyboard tuned in a meantone tuning from E to G, the dimininished third a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Minor 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 semitone ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Major Seventh
In music from Western culture, a seventh is a musical interval encompassing seven staff positions (see Interval number for more details), and the major seventh is one of two commonly occurring sevenths. It is qualified as ''major'' because it is the larger of the two. The major seventh spans eleven semitones, its smaller counterpart being the minor seventh, spanning ten semitones. For example, the interval from C to B is a major seventh, as the note B lies eleven semitones above C, and there are seven staff positions from C to B. Diminished and augmented sevenths span the same number of staff positions, but consist of a different number of semitones (nine and twelve). The easiest way to locate and identify the major seventh is from the octave rather than the unison, and it is suggested that one sings the octave first.Keith Wyatt, Carl Schroeder, Joe Elliott (2005). ''Ear Training for the Contemporary Musician'', p.69. . For example, the most commonly cited example of a melod ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Augmented Third
In classical music from Western culture, an augmented third () is an interval of five semitones. It may be produced by widening a major third by a chromatic semitone.Benward & Saker (2003). ''Music: In Theory and Practice, Vol. I'', p.54. . For instance, the interval from C to E is a major third, four semitones wide, and both the intervals from C to E, and from C to E are augmented thirds, spanning five semitones. Being augmented, it is considered a dissonant interval.Benward & Saker (2003), p.92. Its inversion is the diminished sixth, and its enharmonic equivalent is the perfect fourth A fourth is a musical interval encompassing four staff positions in the music notation of Western culture, and a perfect fourth () is the fourth spanning five semitones (half steps, or half tones). For example, the ascending interval from C to .... The just augmented third, E, is 456.99 cents or 125:96. The Pythagorean augmented third, E, is 521.51 cents or 177147:131072, eleven just perf ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Augmented 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 semitone ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Minor Seventh
In music theory, a minor seventh is one of two musical intervals that span seven staff positions. It is ''minor'' because it is the smaller of the two sevenths, spanning ten semitones. The major seventh spans eleven. For example, the interval from A to G is a minor seventh, as the note G lies ten semitones above A, and there are seven staff positions from A to G. Diminished and augmented sevenths span the same number of staff positions, but consist of a different number of semitones (nine and twelve, respectively). Minor seventh intervals rarely feature in melodies (and especially in their openings) but occur more often than major sevenths. The best-known example, in part due to its frequent use in theory classes, is found between the first two words of the phrase "There's a place for us" in the song " Somewhere" in ''West Side Story''.Neely, Blake (2009). ''Piano For Dummies'', p.201. . Another well-known example occurs between the first two notes of the introduction to the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
