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In the key of C major, the I major 7 chord is "C, E, G, B," the iii chord ("III–7" [11]) is E minor 7 ("E, G, B, D") and the vi minor 7 chord is A minor 7 ("A, C, E, G"). Both of the tonic substitute chords use notes from the tonic chord, which means that they usually support a melody originally designed for the tonic (I) chord.
The following is a list of commonly used chord progressions in music. Code Major: Major: Minor: Minor: Atonal: ... substitute: ii – ♭ III + –I: 3: Mix ...
Minor chords are noted with a dash after the number or a lowercase m; in the key of D, 1 is D major, and 4- or 4m would be G minor. Often in the NNS, songs in minor keys will be written in the 6- of the relative major key. So if the song was in G minor, the key would be listed as B ♭ major, and G minor chords would appear as 6-.
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 ...
A suspended chord (or sus chord) is a musical chord in which the (major or minor) third is omitted and replaced with a perfect fourth or a major second. [1] The lack of a minor or a major third in the chord creates an open sound, while the dissonance between the fourth and fifth or second and root creates tension.
Chord progressions may be constructed with borrowed chords, including two progressions common in rock music, I– ♭ VII– ♭ VI– ♭ VII, common everywhere, and I– ♭ VI–IV (Play ⓘ), used by bands like Genesis, Yes, and Nirvana. [1] ♭ VII is from Mixolydian and ♭ VI is found in both Aeolian and Phrygian. [1]
In music theory, a minor chord is a chord that has a root, a minor third, and a perfect fifth. [2] When a chord comprises only these three notes, it is called a minor triad . For example, the minor triad built on A, called an A minor triad, has pitches A–C–E:
Jazz pianist Barry Harris explained that bebop musicians would play a descending dominant seventh scale with an added half-step to keep all the chord tones on the beat. For example, for the chords "Dm7 ♭ 5 G7 ♭ 9, play down the B♭7 scale from its seventh to B" (B being the added half-step "bebop note" and third of the G7 ♭ 9