|
Added Note Chord
An added tone chord, or added note chord, is a non-tertian chord composed of a triad and an extra "added" note. Any tone that is not a seventh factor is commonly categorized as an added tone. It can be outside the tertian sequence of ascending thirds from the root, such as the added sixth or fourth, or it can be in a chord that doesn't consist of a continuous stack of thirds, such as the added thirteenth (six thirds from the root, but the chord doesn't have the previous tertian notes – the seventh, ninth or eleventh). The concept of added tones is convenient in that all notes may be related to familiar chords.Jones, George (1994). ''HarperCollins College Outline Music Theory'', p.50. . Inversions of added tone chords where the added tone is the bass note are usually simply notated as slash chords instead of added-tone chords. For example, instead of Cadd2/D, just C/D is used. An added tone such as fourth voiced below the root may suggest polytonality. The practice of addi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sus Chord
A suspended chord (or sus chord) is a musical chord in which the (major or minor) third is omitted and replaced with a perfect fourth or a major second. The lack of a minor or a major third in the chord creates an open sound, while the dissonance between the fourth and fifth or second and root creates tension. When using popular-music symbols, they are indicated by the symbols "sus4" and "sus2". For example, the suspended fourth and second chords built on C (C–E–G), written as Csus4 and Csus2, have pitches C–F–G and C–D–G, respectively. Suspended fourth and second chords can be represented by the integer notation and , respectively. Analysis The term is borrowed from the contrapuntal technique of ''suspension'', where a note from a previous chord is carried over to the next chord, and then resolved down to the third or tonic, ''suspending'' a note from the previous chord. However, in modern usage the term concerns only the notes played at a given time – the susp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Third (chord)
In music, the third factor of a chord is the note or pitch two scale degrees above the root or tonal center. When the third is the bass note, or lowest note, of the expressed triad, the chord is in first inversion. Use Conventionally, the third is third in importance to the root and fifth, with the third in all primary triads (I, IV, V and i, iv, v) being either major or minor. In jazz chords and theory, the third is required due to it determining chord quality. The third in both major and augmented chords is major (E in C) and the third in both minor and diminished chords is minor (E in C). Tenth In music and music theory, a tenth is the note ten scale degrees from the root of a chord and also the interval between the root and the tenth. Since there are only seven degrees in a diatonic scale the tenth degree is the same as the mediant and the interval of a tenth is a compound third. See also * List of third intervals Third interval may refer to one of the followin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Rolling Stones
The Rolling Stones are an English rock band formed in London in 1962. Active for six decades, they are one of the most popular and enduring bands of the rock era. In the early 1960s, the Rolling Stones pioneered the gritty, rhythmically driven sound that came to define hard rock. Their first stable line-up consisted of vocalist Mick Jagger, multi-instrumentalist Brian Jones, guitarist Keith Richards, bassist Bill Wyman, and drummer Charlie Watts. During their formative years, Jones was the primary leader: he assembled the band, named it, and drove their sound and image. After Andrew Loog Oldham became the group's manager in 1963, he encouraged them to write their own songs. Jagger and Richards became the primary creative force behind the band, alienating Jones, who had developed a drug addiction that interfered with his ability to contribute meaningfully. Rooted in blues and early rock and roll, the Rolling Stones started out playing covers and were at the forefront ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Boogie Nights (song)
"Boogie Nights" is a 1977 single by international funk- disco group Heatwave. It was written by keyboardist Rod Temperton and was included on Heatwave's debut album, '' Too Hot to Handle''. Harpist Carla Skanger (a pseudonym of Sheila Bromberg of the London Symphony Orchestra) played harp and American actor and singer Clarke Peters performed backing vocals on the recording. History The song became one of the best-known disco songs by a British group and charted at #2 on the UK Singles Chart. In the US, "Boogie Nights" also peaked at #2 on the ''Billboard'' Hot 100 behind " You Light Up My Life" by Debby Boone. It appeared on US ''Billboard'' R&B and dance charts during 1977. "Boogie Nights" reached #1 in New Zealand. The single was certified platinum by the Recording Industry Association of America (RIAA). In the United Kingdom, the song was #2, and entered on March 5, 1977, only behind Leo Sayer with "When I Need You". "Boogie Nights" has been covered many times by arti ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Purple Haze
"Purple Haze" is a song written by Jimi Hendrix and released as the second single by the Jimi Hendrix Experience on March 17, 1967. The song features his inventive guitar playing, which uses the signature Hendrix chord and a mix of blues and Eastern modalities, shaped by novel sound processing techniques. Because of ambiguities in the lyrics, listeners often interpret the song as referring to a psychedelic experience, although Hendrix described it as a love song. "Purple Haze" is one of Hendrix's best-known songs and appears on many Hendrix compilation albums. The song featured regularly in concerts and each of Hendrix's group configurations issued live recordings. It was inducted into the Grammy Hall of Fame and is included on lists of the greatest guitar songs, including at number two by ''Rolling Stone'' and number one by ''Q'' magazine. Background and recording By January 5, 1967, the Jimi Hendrix Experience's first single, "Hey Joe", backed with " Stone Free", had peaked ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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] |
Rock And Roll Music (song)
"Rock and Roll Music" is a song written and recorded (in May 1957) by Chuck Berry. It has been widely covered and is one of Berry's most popular and enduring compositions. "Rock and Roll Music" was a record chart hit for Berry, reaching the top 10 in the United States. The Beatles' 1964 recording topped singles charts in Europe and in Australia, and the Beach Boys had a U.S. top 10 hit with the song in 1976. Original song The sessions for "Rock and Roll Music" took place in May 1957 in Chicago. The session was produced by Leonard Chess and Phil Chess. Backing Berry were Lafayette Leake (piano), Willie Dixon (bass), and Fred Below (drums). Chess records issued the song as a single in September 1957 on both the 45 and 78 rpm formats. It reached number six on ''Billboard (magazine), Billboard'' magazine's Hot R&B/Hip-Hop Songs, R&B Singles chart and number eight on Hot 100 chart before the year's end. In 2004, ''Rolling Stone'' magazine ranked Berry's version number 128 on its ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
