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In guitar music, like rock, a "5" indicates a power chord, which consists of only the root and fifth, possibly with the root doubled an octave higher. 6 indicates a sixth chord. There are no rules if the 6 replaces the 5th or not. 7 indicates a dominant seventh chord. However, if Maj7, M7 or Δ 7 is indicated, this is a major 7th chord (e.g., G ...
"Burning Up" / "Physical Attraction" debuted on Billboard ' s Dance Club Songs charts at number 66 the week of April 9, 1983, peaking at number three one month later. [40] [41] By September 1983, according to a Warner Bros. Records advertisement in Radio & Records, the "Burning Up" / "Physical Attraction" 12" single had sold more than 150,000 ...
In music theory, chord substitution is the technique of using a chord in place of another in a progression of chords, or a chord progression. Much of the European classical repertoire and the vast majority of blues, jazz and rock music songs are based on chord progressions. "A chord substitution occurs when a chord is replaced by another that ...
The highest voice is the first voice or voice 1. The second-highest voice is voice 2, etc. This nomenclature doesn't provide a term for more than one voice on the same pitch. A dropped voicing lowers one or more voices by an octave relative to the default state. Dropping the first voice is undefined—a drop-1 voicing would still have all ...
A rock or pop guitarist or keyboardist might literally play the chords as indicated (e.g., the C major chord would be played by playing the notes C, E and G at the same time). In jazz, particularly for music from the 1940s bebop era or later, players typically have latitude to add in the sixth, seventh, and/or ninth of the chord. Jazz chord ...
"Blue" is a song released in 1958 by Bill Mack, an American songwriter-country artist and country radio disc jockey. It has since been covered by several artists, in particular by country singer LeAnn Rimes, whose 1996 version became a hit.
Traditional sub-Saharan African harmony is a music theory of harmony in sub-Saharan African music based on the principles of homophonic parallelism (chords based around a leading melody that follow its rhythm and contour), homophonic polyphony (independent parts moving together), counter-melody (secondary melody) and ostinato-variation (variations based on a repeated theme).
The terms quartal and quintal imply a contrast, either compositional or perceptual, with traditional harmonic constructions based on thirds: listeners familiar with music of the common practice period are guided by tonalities constructed with familiar elements: the chords that make up major and minor scales, all in turn built from major and minor thirds.