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The first sample (Violin G#2) is distributed across three different notes, G2, G#2, and A2. If the note G#2 is received the sampler will play back the Violin G#2 sample at its original pitch. If the note received is G2 the sampler will shift the sample down a semitone while the note A2 will play it back a semitone tone higher. If the next note ...
In this case, the chord is viewed as a C major seventh chord (CM 7) in which the third note is an augmented fifth from root (G ♯), rather than a perfect fifth from root (G). All chord names and symbols including altered fifths, i.e., augmented (♯ 5, +5, aug5) or diminished (♭ 5, o 5, dim5) fifths can be interpreted in a similar way.
Other chord qualities such as major sevenths, suspended chords, and dominant sevenths use familiar symbols: 4 Δ 7 5 sus 5 7 1 would stand for F Δ 7 G sus G 7 C in the key of C, or E ♭ Δ 7 F sus F 7 B ♭ in the key of B ♭. A 2 means "add 2" or "add 9". Chord inversions and chords with other altered bass notes are notated analogously to ...
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
In tonal music, chord progressions have the function of either establishing or otherwise contradicting a tonality, the technical name for what is commonly understood as the "key" of a song or piece. Chord progressions, such as the extremely common chord progression I-V-vi-IV, are usually expressed by Roman numerals in
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The most common chords are tertian, constructed using a sequence of major thirds (spanning 4 semitones) and/or minor thirds (3 semitones). Since there are 3 third intervals in a seventh chord (4 notes) and each can be major or minor, there are 7 possible permutations (the 8th one, consisted of four major thirds, results in a non-seventh augmented chord, since a major third equally divides the ...
This is an example of a suspended chord. In reference to chords and progressions for example, a phrase ending with the following cadence IV–V, a half cadence, does not have a high degree of resolution. However, if this cadence were changed to (IV–)V–I, an authentic cadence, it would resolve much more strongly by ending on the tonic I chord.