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List of musical chords Name Chord on C Sound # of p.c.-Forte # ... 4-25: 0 4 6 t: Diminished ... 0 4 7 e 2 5: Major Major seventh chord ...
Backdoor compared with the dominant (front door) in the chromatic circle: they share two tones and are transpositionally equivalent. In jazz and jazz harmony, the chord progression from iv 7 to ♭ VII 7 to I (the tonic or "home" chord) has been nicknamed the backdoor progression [1] [2] or the backdoor ii-V, as described by jazz theorist and author Jerry Coker.
There are few keys in which one may play the progression with open chords on the guitar, so it is often portrayed with barre chords ("Lay Lady Lay"). The use of the flattened seventh may lend this progression a bluesy feel or sound, and the whole tone descent may be reminiscent of the ninth and tenth chords of the twelve bar blues (V–IV).
These chords stand in the same relationship to one another (in the relative minor key) as do the three major chords, so that they may be viewed as the first (i), fourth (iv) and fifth (v) degrees of the relative minor key. For example, the relative minor of C major is A minor, and in the key of A minor, the i, iv and v chords are A minor, D ...
For expediency, musicians may use the abbreviation "alt"—as in C 7alt —to describe the family of dominant chords with altered tones (including the ♭ 5, ♯ 5, ♭ 9, ♯ 9, ♯ 11, or ♭ 13). Notably, all altered tones mentioned above, along with the 3 and ♭ 7, are present in the melodic minor scale whose root is a half-step above the ...
Most commonly, power chords (e.g., C–G–C) are expressed using a "5" (e.g., C 5). Power chords are also referred to as fifth chords, indeterminate chords, or neutral chords [citation needed] (not to be confused with the quarter tone neutral chord, a stacking of two neutral thirds, e.g. C–E –G) since they are inherently neither major nor ...
The most common chords are tertian, constructed using a sequence of major thirds (spanning 4 semitones) and/or minor thirds (3 semitones). Since there are 3 third intervals in a seventh chord (4 notes) and each can be major or minor, there are 7 possible permutations (the 8th one, consisted of four major thirds, results in a non-seventh augmented chord, since a major third equally divides the ...
In bar 4, instead of the simple V–I root motion in the original blues, the ii chord of the B ♭ 7 (Cm) is included so that the measure is even more directed toward the following downbeat with the B ♭ 7. In bars 8–10, instead of leading back to the tonic with the standard V–IV–I (blues cadence), a series of applied ii–V–I ...