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The Elektra chord is a "complexly dissonant signature-chord" [1] and motivic elaboration used by composer Richard Strauss to represent the title character of his opera Elektra that is a "bitonal synthesis of E major and C-sharp major" and may be regarded as a polychord related to conventional chords with added thirds, [2] in this case an eleventh chord.
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 minor; generally, a power chord refers to a specific doubled-root, three-note voicing ...
Since blue notes are alternate inflections, strictly speaking there can be no one blues scale, [8] but the scale most commonly called "the blues scale" comprises the minor pentatonic scale and an additional flat 5th scale degree: C E ♭ F G ♭ G B ♭ C. [9] [10] [11]
A musical passage notated as flats. The same passage notated as sharps, requiring fewer canceling natural signs. Sets of notes that involve pitch relationships — scales, key signatures, or intervals, [1] for example — can also be referred to as enharmonic (e.g., the keys of C ♯ major and D ♭ major contain identical pitches and are therefore enharmonic).
The up and down arrows are written as a caret or a lower-case "v", usually in a sans-serif font. One arrow equals one step of 41-TET. In note names, the arrows come first, to facilitate chord naming. The many enharmonic equivalences allow great freedom of spelling. C, ^C, ^^C/vvC ♯ /vD ♭, vC ♯ /D ♭, C ♯ /^D ♭, ^C ♯ /^^D ♭ /vvD, vD,
The altered scale is made by the sequence: Half, Whole, Half, Whole, Whole, Whole, Whole. The abbreviation "alt" (for "altered") used in chord symbols enhances readability by reducing the number of characters otherwise needed to define the chord and avoids the confusion of multiple equivalent complex names.
F ♭ is a common enharmonic equivalent of E, but is not regarded as the same note. F ♭ is commonly found after E ♭ in the same measure in pieces where E ♭ is in the key signature , in order to represent a diatonic , rather than a chromatic semitone; writing an E ♭ with a following E ♮ is regarded as a chromatic alteration of one ...
The irregularity has a price. Chords cannot be shifted around the fretboard in the standard tuning E–A–D–G–B–E, which requires four chord-shapes for the major chords. There are separate chord-forms for chords having their root note on the third, fourth, fifth, and sixth strings. [2]