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Third Inversion
The third Inverted chord, inversion of a seventh chord is the Voicing (music), voicing in which the seventh (chord), seventh of the chord is the bass note and the root (chord), root a Interval (music), major second above it. In the third inversion of a G-dominant seventh chord, the bass is F — the seventh of the chord — with the root, third, and fifth stacked above it (the root now shifted an octave higher), forming the intervals of a second, a fourth, and a sixth above the inverted bass of F, respectively. In figured bass, it is referred to as a chord. : According to ''The American History and Encyclopedia of Music:'' Note that any voicing above the bass is allowed. A third inversion chord must have the seventh chord factor in the bass, but it may have any arrangement of the root, third, and fifth above that, including doubled notes, compound intervals, and omission (F-G-B-D, F-B-D-G', F-G-B-D-G', etc.) See also *Figured bass *Root position *Inversion (music) *First inv ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Inverted Chord
In music theory, an inversion is a type of change to intervals, chords, voices (in counterpoint), and melodies. In each of these cases, "inversion" has a distinct but related meaning. The concept of inversion also plays an important role in musical set theory. Intervals An interval is inverted by raising or lowering either of the notes by one or more octaves so that the positions of the notes reverse (i.e. the higher note becomes the lower note and vice versa). For example, the inversion of an interval consisting of a C with an E above it (the third measure below) is an E with a C above it – to work this out, the C may be moved up, the E may be lowered, or both may be moved. : The tables to the right show the changes in interval quality and interval number under inversion. Thus, perfect intervals remain perfect, major intervals become minor and vice versa, and augmented intervals become diminished and vice versa. (Doubly diminished intervals become doubly aug ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Figured Bass
Figured bass is musical notation in which numerals and symbols appear above or below (or next to) a bass note. The numerals and symbols (often accidentals) indicate intervals, chords, and non-chord tones that a musician playing piano, harpsichord, organ, or lute (or other instruments capable of playing chords) should play in relation to the bass note. Figured bass is closely associated with basso continuo: a historically improvised accompaniment used in almost all genres of music in the Baroque period of Classical music ( 1600–1750), though rarely in modern music. Figured bass is also known as thoroughbass. Other systems for denoting or representing chords include plain staff notation, used in classical music; Roman numerals, commonly used in harmonic analysis; chord letters, sometimes used in modern musicology; the Nashville Number System; and various chord names and symbols used in jazz and popular music (e.g., C Major or simply C; D minor, Dm, or D−; G7, etc. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chord Factors
Chord may refer to: * Chord (music), an aggregate of musical pitches sounded simultaneously ** Guitar chord a chord played on a guitar, which has a particular tuning * Chord (geometry), a line segment joining two points on a curve * Chord (astronomy), a line crossing a foreground astronomical object during an occultation which gives an indication of the object's size and/or shape * Chord (graph theory), an edge joining two nonadjacent nodes in a cycle * Chord in truss construction – an outside member of a truss, as opposed to the inner "webbed members" * Chord (aeronautics), the distance between the front and back of a wing, measured in the direction of the normal airflow. The term chord was selected due to the curved nature of the wing's surface * Chord (peer-to-peer), a peer-to-peer protocol and algorithm for distributed hash tables (DHT) * Chord (concurrency), a concurrency construct in some object-oriented programming languages * In British railway terminology, a chord ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fourth Inversion
Inversions higher than the third require extended chords; the fourth inversion requires a ninth chord, the fifth an eleventh chord, etc. Fourth inversion The fourth inversion of a ninth chord is the voicing in which the ninth of the chord is the bass note and the root a minor seventh above it. In the fourth inversion of a G-dominant ninth, the bass is A — the ninth of the chord — with the third, fifth, seventh, and root stacked above it, forming the intervals of a second, a fourth, a sixth, and a seventh above the inverted bass of A, respectively. : Fifth inversion The fifth inversion of an eleventh chord is the voicing in which the eleventh of the chord is the bass note and the root a perfect fourth above it. In the fifth inversion of a G- dominant eleventh with eleventh, the bass is C — the eleventh of the chord — with the root, third, fifth, seventh, and ninth stacked above it, forming the intervals of a second, a fourth, a fifth, a sixth, and a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Second Inversion
The second inversion of a chord is the voicing of a triad, seventh chord, or ninth chord in which the fifth of the chord is the bass note. In this inversion, the bass note and the root of the chord are a fourth apart which traditionally qualifies as a dissonance. There is therefore a tendency for movement and resolution. In notation form, it is referred to with a c following the chord position (For e.g., Ic. Vc or IVc). In figured bass, a second-inversion triad is a chord (as in I), while a second-inversion seventh chord is a chord. Note that any voicing above the bass is allowed. A second inversion chord must have the fifth chord factor in the bass, but it may have any arrangement of the root and third above that, including doubled notes, compound intervals, and omission (G-C-E, G-C-E-G', G-E-G-C'-E', etc.) Examples In the second inversion of a C-major triad, the bass is G — the fifth of the triad — with the root and third stacked above it, forming the intervals ... [...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 thir ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Inversion (music)
In music theory, an inversion is a type of change to intervals, chords, voices (in counterpoint), and melodies. In each of these cases, "inversion" has a distinct but related meaning. The concept of inversion also plays an important role in musical set theory. Intervals An interval is inverted by raising or lowering either of the notes by one or more octaves so that the positions of the notes reverse (i.e. the higher note becomes the lower note and vice versa). For example, the inversion of an interval consisting of a C with an E above it (the third measure below) is an E with a C above it – to work this out, the C may be moved up, the E may be lowered, or both may be moved. : The tables to the right show the changes in interval quality and interval number under inversion. Thus, perfect intervals remain perfect, major intervals become minor and vice versa, and augmented intervals become diminished and vice versa. (Doubly diminished intervals become doubly augmen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Root Position
The root position of a chord is the voicing of a triad, seventh chord, or ninth chord in which the root of the chord is the bass note and the other chord factors are above it. In the root position, uninverted, of a C-major triad, the bass is C — the root of the triad — with the third and the fifth stacked above it, forming the intervals of a third and a fifth above the root of C, respectively. : In the root position of G-dominant seventh chord, the bass note is G, the root of the seventh chord. : In figured bass, a root-position triad has no symbol, while a root-position seventh chord is notated with a "7". According to ''The American History and Encyclopedia of Music:'' Note that any voicing above the bass is allowed. A root position, or uninverted, chord must have the root chord factor in the bass, but it may have any arrangement of the third and fifth above that, including doubled notes, compound intervals, and omission (E-G-C, E-G-C-G', E-C'-G'', etc.) See als ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chord Factor
In music, a factor or chord factor is a member or component of a chord. These are named root, third, fifth, sixth, seventh, ninth (compound 2nd), eleventh (compound 4th), thirteenth (compound 6th), and so on, for their generic 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 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 a particular voicing. For example, the figure to the right shows a four-note voicing of a C Major triad, which has three chord facto ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Seventh Chord
A seventh chord is a chord consisting of a triad plus a note forming an interval of a seventh above the chord's root. When not otherwise specified, a "seventh chord" usually means a dominant seventh chord: a major triad together with a minor seventh. However, a variety of sevenths may be added to a variety of triads, resulting in many different types of seventh chords. In its earliest usage, the seventh was introduced solely as an embellishing or nonchord tone. The seventh destabilized the triad, and allowed the composer to emphasize movement in a given direction. As time passed and the collective ear of the western world became more accustomed to dissonance, the seventh was allowed to become a part of the chord itself, and in some modern music, jazz in particular, nearly every chord is a seventh chord. Additionally, the general acceptance of equal temperament during the 19th century reduced the dissonance of some earlier forms of sevenths. Classification Most tex ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Figured Bass
Figured bass is musical notation in which numerals and symbols appear above or below (or next to) a bass note. The numerals and symbols (often accidentals) indicate intervals, chords, and non-chord tones that a musician playing piano, harpsichord, organ, or lute (or other instruments capable of playing chords) should play in relation to the bass note. Figured bass is closely associated with basso continuo: a historically improvised accompaniment used in almost all genres of music in the Baroque period of Classical music ( 1600–1750), though rarely in modern music. Figured bass is also known as thoroughbass. Other systems for denoting or representing chords include plain staff notation, used in classical music; Roman numerals, commonly used in harmonic analysis; chord letters, sometimes used in modern musicology; the Nashville Number System; and various chord names and symbols used in jazz and popular music (e.g., C Major or simply C; D minor, Dm, or D−; G7, etc. ... [...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 an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
