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A "15" below indicates a two-octave shift. These numbers may also be used above the clef to indicate pitches one or two octaves higher. A treble clef with an eight below is the most common version, typically used in music for guitar or tenor voice. Sometimes a shift of one octave up is indicated by drawing two clefs instead of one. On a 5-line ...
The example shown here may at first be considered a mere elaboration of an F major chord, an arpeggiation in three voices, with passing notes (shown here in black notes without stem) in the two higher voices: it is an exemplification of the tonal space of F major. The chord labelled (V) at first merely is a "divider at the fifth".
In the case of a major C harmonica, this will be D, G, B, F, and A. This allows two things: Bending on the draw notes; An approximation of the blues scale, which consists of I, III ♭, IV, V ♭, V, VII ♭. If played on a C-keyed harp, this produces a blues scale in G: G, B ♭, C, D ♭, D, F. (This resembles the tuning of the bottleneck ...
The tritone substitution, an harmonic device common in jazz chord progressions where a dominant V chord is substituted with a bII7 chord (or a secondary dominant II7 chord with a bVI7 chord, etc.), whose common justification is the enharmonicity of the tritones of both chords (G7 has a B-F tritone whereas D♭7 has an enharmonic Cb-F tritone ...
Play inward ⓘ or outward ⓘ Regular resolution in F major Play ⓘ. One common tone, two notes move by half step motion, and one note moves by whole step motion. Resolution in Western tonal music theory is the move of a note or chord from dissonance (an unstable sound) to a consonance (a more final or stable sounding one).
Rather than providing the standard tonic C and dominant G 7 chords, the Melody Maker provides a G M7 chord (2–5 draw), a C 6 chord (1–4 blow), an Am or Am 7 chord (3–5 or 3–6 blow), a D chord (4–6 draw) and a C chord (6–10 blow). If we are in the key of G, then, the melody maker provides the I chord, the IV chord, the V chord and ...
The two most commonly barred notes are variations on the fingering shapes of A and E in first (open) position. The E-type barre chord is an E chord shape (022100) barred up and down the frets, transposing the chord. For example, the E chord barred one fret up becomes an F chord (133211).
The chord is an augmented sixth chord, specifically a French sixth chord, F–B–D ♯-A, with the note G ♯ heard as an appoggiatura resolving to A. (Theorists debate the root of French sixth chords.) The harmonic function as a predominant is intact, with the chord moving to V7.