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Nashville System
The Nashville Number System is a method of transcribing music by denoting the scale degree on which a chord is built. It was developed by Neal Matthews in the late 1950s as a simplified system for the Jordanaires to use in the studio and further developed by Charlie McCoy. by Chas Williams — This book has been used by Belmont University, MTSU, ETSU, Lee University, Liberty University and many others to teach the NNS. It includes the CD "String Of Pearls and number charts of the songs by Nashville studio musicians and producers; also interactive charts of the songs. It resembles the Miller, Michael (2005). [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Transcription (music)
In music, transcription is the practice of Musical notation, notating a piece or a sound which was previously unnotated and/or unpopular as a written music, for example, a jazz improvisation or a video game soundtrack. When a musician is tasked with creating sheet music from a recording and they write down the notes that make up the piece in music notation, it is said that they created a ''musical transcription'' of that recording. Transcription may also mean rewriting a piece of music, either solo or Musical ensemble, ensemble, for another instrument or other instruments than which it was originally intended. The Beethoven Symphonies (Liszt), Beethoven Symphonies transcribed for solo piano by Franz Liszt are an example. Transcription in this sense is sometimes called ''arrangement'', although strictly speaking transcriptions are faithful adaptations, whereas arrangements change significant aspects of the original piece. Further examples of music transcription include Ethnomusico ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Solfège
In music, solfège (, ) or solfeggio (; ), also called sol-fa, solfa, solfeo, among many names, is a music education method used to teach aural skills, Pitch (music), pitch and sight-reading of Western classical music, Western music. Solfège is a form of solmization, though the two terms are sometimes used interchangeably. Syllables are assigned to the notes of the Scale (music), scale and enable the musician to Gordon music learning theory#Audiation, audiate, or mentally hear, the pitches of a piece of music being seen for the first time and then to sing them aloud. Through the Renaissance music, Renaissance (and much later in some shapenote publications) various interlocking 4, 5 and 6-note systems were employed to cover the octave. The tonic sol-fa method popularized the seven syllables commonly used in English-speaking countries: ''do'' (or ''doh'' in tonic sol-fa),''Oxford English Dictionary'' 2nd Ed. (1998) ''re'', ''mi'', ''fa'', ''so(l)'', ''la'', and ''ti'' (or ''si'') ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Augmented 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] |
Augmented Triad
Augment or augmentation may refer to: Language *Augment (Indo-European), a syllable added to the beginning of the word in certain Indo-European languages *Augment (Bantu languages), a morpheme that is prefixed to the noun class prefix of nouns in certain Bantu languages *Augment, a name sometimes given to the verbal ''ō-'' prefix in Nahuatl grammar Technology *Augmentation (obstetrics), the process by which the first and/or second stages of an already established labour is accelerated or potentiated by deliberate and artificial means *Augmentation (pharmacology), the combination of two or more drugs to achieve better treatment results *Augmented reality, a live view of a physical, real-world environment whose elements are ''augmented'' by computer-generated sensory input *Augmented cognition, a research field that aims at creating revolutionary human-computer interactions *Augment (Tymshare), a hypertext system derived from Douglas Engelbart's oN-Line System, renamed "Augment" b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diminished Major Seventh Chord
In music theory, a diminished major seventh chord is a seventh chord composed of a diminished triad and a major seventh.Jamini, Deborah. (2005). ''Harmony And Composition: Basics to Intermediate'', p.204. . Thus, it is composed of a root note, together with a minor third, a diminished fifth, and a major seventh above the root: (1, 3, 5, 7). For example, the diminished major seventh chord built on C, commonly written as CoM7, has pitches C–E–G–B: : Diminished major seventh chords are very dissonant, containing the dissonant intervals of the tritone and the major seventh. They are frequently encountered, especially in jazz, as a diminished seventh chord with an appoggiatura, especially when the melody has the leading note of the given chord: the ability to resolve this dissonance smoothly to a diatonic triad with the same root allows it to be used as a temporary tension before tonic resolution. It is nevertheless infrequently used as a chord in itself. The chord can be re ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Half-diminished Seventh Chord
In music theory, the half-diminished seventh chord (also known as a half-diminished chord or a minor seventh flat five chord) is a seventh chord composed of a root note, together with a minor third, a diminished fifth, and a minor seventh (1, 3, 5, 7). For example, the half-diminished seventh chord built on C, commonly written as Cm7(♭5), or C7, has pitches C–E–G–B: : It can be represented by the integer notation . The half-diminished seventh chord exists in root position and in three inversions. Note that the first inversion shares identity with a chord on the minor sixth: In diatonic harmony, the half-diminished seventh chord occurs naturally on the seventh scale degree of any major scale (for example, B7 in C major) and is thus a leading-tone seventh chord in the major mode.Benward & Saker (2003). ''Music: In Theory and Practice, Vol. I'', p. 217. . Similarly, the chord also occurs on the second degree of any natural minor scale (e.g., D7 in C minor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diminished Seventh Chord
The diminished seventh chord is a four-note chord (a seventh chord) composed of a root note, together with a minor third, a diminished fifth, and a diminished seventh above the root: (1, 3, 5, 7). For example, the diminished seventh chord built on C, commonly written as C7, has pitches C–E–G–B (A): : As such, a diminished seventh chord comprises a diminished triad plus a diminished seventh. Because of this, it can also be viewed as four notes all stacked in intervals of a minor third and can be represented by the integer notation . Since a diminished seventh interval is enharmonically equivalent to a major sixth, the chord is enharmonically equivalent to (1, 3, 5, 6). The diminished seventh chord occurs as a leading-tone seventh chord in the harmonic minor scale. It typically has dominant function and contains two diminished fifths, which often resolve inwards. In most sheet music books, the notation Cdim or C denotes a diminished seventh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diminished Triad
In music theory, a diminished triad (also known as the minor flatted fifth) is a triad consisting of two minor thirds above the root. It is a minor triad with a lowered ( flattened) fifth. When using chord symbols, it may be indicated by the symbols "dim", "", "m5", or "MI(5)". However, in most popular-music chord books, the symbol "dim" and "" represents a diminished seventh chord (a four-tone chord), which in some modern jazz books and music theory books is represented by the "dim7" or "7" symbols. For example, the diminished triad built on C, written as C, has pitches C–E–G: : The chord can be represented by the integer notation . In the common practice period, the diminished triad is considered dissonant because of the diminished fifth (or tritone). Harmonic function In major scales, a diminished triad occurs only on the seventh scale degree. For instance, in the key of C, this is a B diminished triad (B, D, F). Since the triad is built on the seventh scale de ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Major Seventh Chord
In music, a major seventh chord is a seventh chord in which the third is a major third above the root and the seventh is a major seventh above the root. The major seventh chord, sometimes also called a ''Delta chord'', can be written as maj7, M7, , ⑦, etc. The "7" doesn't have to be superscripted, but if it is, then any alterations, added tones, or omissions are usually also superscripted. For example, the major seventh chord built on C, commonly written as Cmaj7, has pitches C–E–G–B: : It can be represented by the integer notation . According to Forte, the major seventh chord is exemplified by IV7, which originates melodically. Forte, Allen (1979). ''Tonal Harmony in Concept & Practice'', p. 150. . : The just major seventh chord is tuned in the ratios 8:10:12:15, as a just major chord is tuned 4:5:6 and a just major seventh is tuned 15:8. The minor-minor sixth chord (minor triad with an added minor sixth) is an inversion of this chord. Examples In 1888, the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dominant Seventh Chord
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 natural ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Minor Chord
In music theory, a minor chord is a chord that has a root, a minor third, and a perfect fifth. When a chord comprises only these three notes, it is called a minor triad. For example, the minor triad built on C, called a C minor triad, has pitches C–E–G: In harmonic analysis and on lead sheets, a C minor chord can be notated as Cm, C−, Cmin, or simply the lowercase "c". A minor triad is represented by the integer notation . A minor triad can also be described by its intervals: the interval between the bottom and middle notes is a minor third, and the interval between the middle and top notes is a major third. 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). Chords that are constructed of consecutive (or "stacked") thirds are called ''tertian.'' In Western classical music from 1600 to 182 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
First Inversion
The first inversion of a chord is the voicing of a triad, seventh chord, or ninth chord in which the third of the chord is the bass note and the root a sixth above it.Walter Piston, ''Harmony'', fifth edition, revised and expanded by Mark DeVoto (New York: W. W. Norton, 1987): p. 66. . In the first inversion of a C-major triad, the bass is E — the third of the triad — with the fifth and the root stacked above it (the root now shifted an octave higher), forming the intervals of a minor third and a minor sixth above the inverted bass of E, respectively. : In the first inversion of G-dominant seventh chord, the bass note is B, the third of the seventh chord. : In figured bass, a first-inversion triad is a chord (not to be confused with an added sixth chord), while a first-inversion seventh chord is a chord. According to ''The American History and Encyclopedia of Music:'' Note that any voicing above the bass is allowed. A first inversion chord must have the third ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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