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"The Lost Chord" is a song composed by Arthur Sullivan in 1877 at the bedside of his brother Fred during Fred's last illness. The manuscript is dated 13 January 1877; Fred Sullivan died five days later. The lyric was written as a poem by Adelaide Anne Procter called "A Lost Chord", published in 1860 in The English Woman's Journal. [1]
A chord consisting of the root, third, fifth, and flatted seventh degrees of the scale. It is characteristic of barbershop arrangements. When used to lead to a chord whose root is a fifth below the root of the barbershop seventh chord, it is called a dominant seventh chord. Barbershoppers sometimes refer to this as the 'meat 'n' taters chord'.
1926 – Americana – "That Lost Barber Shop Chord" (lyrics by Ira Gershwin) 1930 – Nine-Fifteen Revue – "Toddlin' Along" (lyrics by Ira Gershwin) 1936 – The Show Is On – "By Strauss" (lyrics by Ira Gershwin). Revived in 1937
"That Lost Barber Shop Chord" (Words by Ira Gershwin, music by George Gershwin) "Blowing the Blues Away" (Words by Ira Gershwin, music by Philip Charig) "Dreaming" (Words by J. P. McEvoy, music by Henry Souvaine and Con Conrad) "The Promise in your Eyes" "Cavalier Americana" (Libretto by J. P. McEvoy, music by Henry Souvaine "(with apologies)"
The Dapper Dans barbershop quartet, at Disneyland's Main Street, USA WPA poster, 1936. Barbershop vocal harmony is a style of a cappella close harmony, or unaccompanied vocal music, characterized by consonant four-part chords for every melody note in a primarily homorhythmic texture.
The Lost Chord" is the title of an 1877 song composed by Arthur Sullivan. The phrase arises from musical sounds, in particular purely harmonic or nearly harmonic chords that were "lost" to music with the change to twelve-tone equal tempered tuning , not yet completed at the time that Sullivan wrote the song.
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This chord is often used on the tonic (written as I 7) and functions as a "fully resolved" final chord. [ 20 ] The twenty-first harmonic (470.78 cents) is the harmonic seventh of the dominant, and would then arise in chains of secondary dominants (known as the Ragtime progression ) in styles using harmonic sevenths, such as barbershop music.