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Approach chord; Chord names and symbols (popular music) Chromatic mediant; Common chord (music) Diatonic function; Eleventh chord; Extended chord; Jazz chord; Lead sheet; List of musical intervals; List of pitch intervals; List of musical scales and modes; List of set classes; Ninth chord; Open chord; Passing chord; Primary triad; Quartal chord ...
Illustration of the weeping by the rivers of Babylon from Chludov Psalter (9th century). The song is based on the Biblical Psalm 137:1–4, a hymn expressing the lamentations of the Jewish people in exile following the Babylonian conquest of Jerusalem in 586 BC: [1] Previously the Kingdom of Israel, after being united under Kings David and Solomon, had been split in two, with the Kingdom of ...
Only the piano part (written 1930–31) was completed, yet it is one of Sorabji's longest piano compositions of all [6] and has been described as self-sufficient. [7] Roberge's catalogue renames it to Symphony No. 0 for Piano Solo (see the section on the piano symphonies for the full details of the item). [8]
A chord is several notes sounded simultaneously. Two-note chords are called dyads, three-note chords built by using the interval of a third are called triads. Arpeggiated chord A chord with notes played in rapid succession, usually ascending, each note being sustained as the others are played. It is also called a broken chord, a rolled chord ...
You Can Play These Songs with Chords is an early (1996–97) demo from the rock band Death Cab for Cutie, which at the time consisted entirely of founder Ben Gibbard.This demo was originally released on cassette by Elsinor Records.
Triads (or any other tertian chords) are built by superimposing every other note of a diatonic scale (e.g., standard major or minor scale). For example, a C major triad uses the notes C–E–G. This spells a triad by skipping over D and F. While the interval from each note to the one above it is a third, the quality of those thirds varies ...
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 ...
For an overview of such resources used by Bach, see individual composition articles, and overviews in, e.g., Chorale cantata (Bach)#Bach's chorale cantatas, List of chorale harmonisations by Johann Sebastian Bach#Chorale harmonisations in various collections and List of organ compositions by Johann Sebastian Bach#Chorale Preludes. 10 BD