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A chord is in close harmony (also called close position or close structure [1]) if its notes are arranged within a narrow range, usually with no more than an octave between the top and bottom notes. In contrast, a chord is in open harmony (also called open position or open structure [ 1 ] ) if there is more than an octave between the top and ...
Barbershop harmony is a style of unaccompanied vocal music characterized by consonant four-part chords for every melody note in a predominantly homophonic texture. Each of the four parts has its own role: the lead sings the melody, with the tenor harmonizing above the melody, the bass singing the lowest harmonizing notes, and the baritone completing the chord.
The added non-chord note, or auxiliary note, is typically one degree higher or lower than the principal note, and may be chromatically altered. An appoggiatura may be added to a melody in a vocal song or in an instrumental work. The term comes from the Italian verb appoggiare, "to lean upon". The appoggiatura is often used to express emotional ...
The vocal folds are commonly referred to as vocal cords, and less commonly as vocal flaps or vocal bands. The term vocal cords was coined by the French anatomist Antoine Ferrein in 1741. In his violin analogy of the human voice, he postulated that the moving air acted like a bow on cordes vocales. [43]
In a chord, a note that is duplicated in different octaves is said to be doubled. (The term magadization is also used [citation needed] for vocal doubling at the octave, especially in reference to early music.) Doubling may also refer to a note or a melodic phrase that is duplicated at the same pitch, but played by different instruments.
Parallel harmony is frequently used in house music and other electronic music genres. Historically, this resulted from producers sampling chords from soul or jazz and then playing them at different pitches, or using "chord memory" feature from classic polyphonic synthesizers.
That is, the voice that plays the leading tone must resolve up to the tonic, and if the chord is a dominant seventh chord, the subdominant should resolve to the mediant. Another concern of four-part writing is tessitura. Since the music is usually written for four-part choirs, each part should be able to be sung by the appropriate section of ...
The vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass ...