Half-diminished seventh chord

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Chord (music)

Chord (music)
This article describes pitch simultaneity and harmony in music. For other meanings of the word, see Chord. In music, a chord is any set of harmonically-related notes that is heard as if sounding simultaneously. A set of notes may be described as: Vertical or harmonic, if the notes sound simultaneously Horizontal, linear, or melodic if they sound successively. Thus, a chord is the harmonic combination of any group of notes. These need not actually be played together: arpeggios and broken chord figures may for many practical and theoretical purposes be understood as chords. Chords and sequences of chords are frequently used in Western music. This tendency is "one of the major differences between Western and much non-Western music"[1] The most frequently encountered chords in theory and music are triads. Triads are so called because they consist of three distinct notes: further notes may be added to give seventh chords, extended chords, or added tone chords. The notes forming a chord are often defined by a root note, and two or more intervals starting from it. So, for instance, the chord C Major may be described as a three-note chord built upon the note C. The term major is referred to as the chord (or chordal) quality. The chord quality is related with the quality of one or more of the intervals which define the chord (in this case the major third). Other chord qualities include minor, augmented, diminished, half-diminished, and dominant. There are five common ways of notating or representing chords as such:[2] plain staff notation, used in classical music (see figure), Roman numerals, commonly used in harmonic analysis,[3] figured bass, much used in the Baroque era, macro symbols, sometimes used in modern musicology, and various names and symbols used in jazz and popular music, typically inside lead sheets, fake books, or chord charts for guitarists.
Instruments and voices playing different notes create chords.

Chord (music)

C Major triad represented in staff notation. Play in just intonation Play in Equal temperament Play in Lucy tuning Play in 1/4-comma meantone Play in Young temperament Play in Pythagorean tuning

Definition and history

The English word "chord" derives from "cord", a Middle English shortening of "accord" in the sense of "in tune with one another". For a sound configuration to be recognized as a chord it must have a certain duration. Since a chord may be understood as such chord progression even when all its notes are not simultaneously audible there has been some academic discussion regarding the point at which a group of notes can be called a chord. Jean-Jacques Nattiez (1990, p.218) explains that "we can encounter 'pure chords' in a musical work," such as in the "Promenade" of Modest Mussorgsky's Pictures at an Exhibition but "often, we must go from a textual given to a more abstract representation of the chords being used" - as in Claude Debussy's Premire Arabesque. Early Christian harmony featured the perfect intervals of a fourth, a fifth, and an octave. In the 15th and 16th centuries, the major and minor triads became increasingly common, and were soon established as the default Upper stave: Claude Debussy's Premire Arabesque. The chords on the lower stave sonority for Western music. Such triads can are constructed from the notes in the actual piece, shown on the upper stave. be described as a series of three notes; the root note, the "third", and the "fifth" of the chord. As an example, the C major scale consists of the notes C D E F G A B C while the chord of C Major - the major triad formed using the note C as the root - consists of C itself (the root note of the scale), E (the third note of the scale) and G (the fifth note of the scale). This triad is major because the interval from C to E, of four semitones, is a major third. Using the same scale a chord may be constructed using the D as the root note; D (root), F (third), A (fifth). While there were four semitones between the root and third of the chord on C, in the D chord there are only 3
Mussorgsky's Pictures at an Exhibition "Promenade", a piece showing an explicit

Chord (music) semitones between the root and third (the outer notes are still a perfect fifth apart). Thus, while the C triad is major, the D triad is minor. A triad can be constructed on any note of the C major scale and all will be minor or major, with the exception of the triad on the leading-tone which is diminished. Taking any other major scale (Ionian mode), the first, fourth and fifth intervals, when used as roots, form major triads. Similarly, as any major scale can also yield a relative minor, in any natural minor scale (Aeolian mode) minor triads are found on the tonic, fourth and fifth degrees of the scale. Each seven-note diatonic scale can provide three major and three minor chords, both sets of three standing in the same I-IV-V relationship to one another. The seventh degree of the major (degree two of the relative minor) will result in a diminished chord. See Music and mathematics#Mathematics of musical scales. Four-note "seventh chords" were widely adopted A keyboard shows the different intervals between notes from the 17th century. The harmony of many contemporary popular Western genres continues to be founded in the use of triads and seventh chords, though far from universally. Notable exceptions include chromatic, atonal or post-tonal contemporary classical music (including the music of some film scores) and modern jazz (especially circa 1960), in which chords often include at least five notes, with seven (and occasionally more) being quite common. Polychords are formed by two or more chords superimposed. Often these may be analysed as extended chords but some examples lack the tertian sonority of triads (See: altered chord, secundal chord, quartal and quintal harmony and Tristan chord). A nonchord tone is a dissonant or unstable tone that lies outside the chord currently heard, though often resolving to a chord tone. A succession of chords is called a chord progression.

Chord characteristics
Every chord has certain characteristics, which include: Number of pitch classes (distinct notes without respect to octave) that constitute the chord. Scale degree of the root note Position or inversion of the chord General type of intervals it contains: for example seconds, thirds, or fourths

Number of distinct notes

Chords may be classified according to the number of notes they contain. More precisely, since instances of any given note in different octaves may be taken as the same note for the purposes of analysis, it is better to speak of the number of distinct pitch classes used in their construction. Three such pitch classes are needed to define any common chord, therefore the simultaneous sounding of two notes is sometimes classed as an interval rather than a chord. Hence Andrew Surmani (2004, p.72) states; "when three or more notes are sounded together, the combination is called a chord" and George T. Jones (1994, p.43) explains; "two tones sounding together are usually termed an interval, while three or mores tones are called a chord" while, according to Monath (1984, p.37); "A chord is a combination of three or more tones sounded simultaneously for which the distances (called intervals) between the tones are based on a particular formula."

Chord (music) Chords, however, are so well-established in Western music that sonorities of two pitches, or even single-note melodies, are commonly heard as "implying" chords, a psychoacoustic phenomenon resulting from a lifetime of exposure to the conventional harmonies of music so that the brain "completes" the chord.[4] Otto Karolyi[5] writes that "two or more notes sounded simultaneously are known as a chord." Two-note combinations, whether referred to as chords or intervals, are called dyads. Chords constructed of three notes of some underlying scale are described as triads. They may be understood to be constructed from a stack of two third intervals. Chords of four notes are known as tetrads, those containing five are called pentads and those using six are hexads. Sometimes the terms "trichord", "tetrachord", "pentachord" and "hexachord" are used, though these more usually refer to the pitch classes of any scale, not generally played simultaneously. Chords that may contain more than three notes include suspended chords, pedal point chords, dominant seventh chords and others termed extended chords, added tone chords, clusters, and polychords.

Scale degree
In the key of C major the first degree of the scale, called the tonic, is the note C itself, so a C major chord, a triad built on the note C, may be called the C major scale play one chord of that key and notated in Roman numerals as I. The same C major chord can be found in other scales: it forms chord III in the key of A minor (A-B-C) and chord IV in the key of G major (G-A-B-C). This numbering lets us see the job a chord is doing in the current key and tonality. Many analysts use lower-case Roman numerals to indicate minor triads and upper-case for major ones, and "degree" and "plus" signs ( o and + ) to indicate diminished and augmented triads respectively. Otherwise all the numerals may be upper-case and the qualities of the chords inferred from the scale degree. Chords outside the scale can be indicated by placing a flat/sharp sign before the chord for example, the chord of E flat major in the key of C major is represented by III. The tonic of the scale may be indicated to the left (e.g. F:)or may be understood from a key signature or other contextual clues. Indications of inversions or added tones may be omitted if they are not relevant to the analysis. Roman numerals indicate the root of the chord as a scale degree within a particular major key as follows:
Roman numeral Scale degree I ii iii IV V vi viio/bVII leading tone/subtonic

tonic supertonic mediant subdominant dominant submediant

When a chord is analysed as "borrowed" from another key it may be shown by the Roman numeral corresponding with that key after a slash so, for example, V/V indicates the dominant chord of the dominant key of the present home-key. The dominant key of C major is G major so this secondary dominant will be the chord of the fifth degree of the G major scale, which is D major. If used, this chord will cause a modulation.

Chord (music)

Inversion
In the harmony of Western art music a chord is said to be in root position when the tonic note is the lowest in the chord, and the other notes are above it. When the lowest note is not the tonic, the chord is said to be inverted. Chords, having many constituent notes, can have many different inverted positions as shown below for the C major chord:

Fingering a second inversion C major chord on a guitar

Bass Note

Position

Order of notes

Notation

C E G

root position 1st inversion 2nd inversion

CEG EGC GCE

as G is a 5th above C and E is a 3rd above C as C is a 6th above E and G is a 3rd above E as E is a 6th above G and C is a 4th above G

Further, a four-note chord can be inverted to four different positions by the same method as triadic inversion.

Secundal, tertian, and quartal chords

Many chords are a sequence of ascending notes separated by intervals of roughly the same size. For example the C major triad's notes, C-E-G, are defined by a sequence of two intervals, the first (C-E) being a major third and the second (E-G) a minor third. Any such chord that can be decomposed into a series of (major or minor) thirds is called a tertian chord. Most common chords are tertian. A chord such as C-D-E, though, is a series of seconds, containing a major second (C-D) and a minor second (D-E). Any such chord that can be decomposed into a series of (major or minor) seconds is called tertian. The chord C-F-B, consists of a perfect fourth C-F and an augmented fourth (tritone) F-B. Any such chord that can be decomposed into a series of (perfect or augmented) fourths is called quartal. These terms can become ambiguous when dealing with non-diatonic scales such as the pentatonic or chromatic scales. The use of accidentals can also complicate the terminology. For example the chord B-E-A appears to be a series of diminished fourths (B-E and E-A) but is enharmonically equivalent to (and sonically indistinguishable from) the chord C-E-G, which is a series of major thirds (C-E and E-G). See also Mixed-interval chord.

Chord (music)

Triads
See also: Jazz and pop notation for triads Triads, also called triadic chords, are tertian chords (see above) with three notes. The four basic triads are described below.

Pitch constellations of triads

Component intervals

Example

Chord symbol

Audio

Major triad Minor triad

major third perfect fifth minor third perfect fifth

C-E-G C-E-G

C, CM, C, Cma, Cmaj play Cm, C-, Cmi, Cmin, play

Augmented triad major third augmented fifth C-E-G Diminished triad minor third diminished fifth C-E-G

C+, C+, Caug C, Cm(5), Cdim

play play

Seventh chords
See also: Jazz and pop notation for seventh chords Seventh chords are tertian chords (see above), constructed by adding a fourth note to a triad, at the interval of a third above the fifth of the chord. This creates the interval of a seventh above the root of the chord, the next natural step in composing tertian chords. The seventh chord on the fifth step of the scale (the dominant seventh) is the only one available in the major scale: it contains all three notes of the diminished triad of the seventh and is frequently used as a stronger substitute for it.

Pitch constellations of seventh chords.

There are various types of seventh chords depending on the quality of both the chord and the seventh added. In chord notation the chord type is sometimes superscripted and sometimes not (e.g. Dm7, Dm7, and Dm7 are all identical).

Chord (music)

Component intervals Third Fifth Seventh

Chord symbol

Notes

Audio

Diminished seventh

minor

diminished diminished Co7, Cdim7 diminished minor perfect perfect perfect perfect minor major minor major C7, Cm75, C7(5) Cm7, Cmin7, C7, C7 Cm(M7), C(j7), C7, CM7 C7, C7, Cdom7 CM7, Cmaj7, C7, C7, Cj7, C+7 C+7, Caug7, C7+, C7+5, C75 C+(M7), CM7+5, CM75, C+j7, C+7

C E G B

Play

Half-diminished seventh Minor seventh Minor major seventh Dominant seventh Major seventh Augmented seventh

minor minor minor major major major

C E G B C E G B C E G B C E G B CEGB C E G B C E G B

Play Play Play Play Play Play Play

augmented minor augmented major

Augmented major seventh major

Extended chords
See also Jazz and pop notation for extended chords Extended chords are triads with further tertian notes added beyond the seventh; the ninth, eleventh, and thirteenth chords. After the thirteenth any notes added in thirds will duplicate notes elsewhere in the chord: all seven notes of the scale are present in the chord and further added notes will not give new pitch classes. Such chords may be constructed only by using notes that lie outside the diatonic seven-note scale (See #Altered chords below).
Component notes (chord and interval) Chord symbol C9 C11 Audio

Dominant ninth Dominant eleventh

dominant seventh chord dominant seventh the third is usually omitted

major ninth -

Play Play

major ninth perfect eleventh -

Dominant thirteenth

dominant seventh major ninth perfect eleventh major thirteenth C13 the eleventh is usually omitted

Play

Other extended chords follow the same rules as shown above, so that for example Maj9, Maj11 and Maj13, shown above are with major sevenths rather than minor sevenths: similarly m9, m11 and m13 will have minor thirds and minor sevenths.

Altered chords
Although the third and seventh of the chord are always determined by the symbols shown above, the fifth, ninth, eleventh and thirteenth may all be chromatically altered by accidentals (the root cannot be so altered without changing the name of the chord, while the third cannot be altered without altering the chord's quality). These are noted alongside the element to be altered. Accidentals are most often used in conjunction with dominant seventh chords. "Altered" dominant seventh chords (C7alt) may have a flat ninth, a sharp ninth, a diminished fifth or an augmented fifth (see Levine's Jazz Theory). Some write this as C7+9, which assumes also the flat ninth, diminished fifth and augmented fifth (see Aebersold's Scale Syllabus). The augmented ninth is often referred to in blues and jazz as a blue note, being enharmonically equivalent to the flat third or tenth. When superscripted numerals are used the different numbers may be listed horizontally (as shown) or else vertically.

Chord (music)

Component notes

Chord symbol C7+5, C75 C7-9, C79 C7+9, C79

Audio

Seventh augmented fifth

dominant seventh dominant seventh dominant seventh

augmented fifth

Play

Seventh flat nine

minor ninth

Play

Seventh sharp nine

augmented ninth

Play

Seventh augmented eleventh dominant seventh Seventh flat thirteenth dominant seventh minor seventh

augmented eleventh C7+11, C711 minor thirteenth C7-13, C713 C, Cm75

Play

Play

Half-diminished seventh

diminished fifth

Play

Added tone chords

An added tone chord is a triad chord with an added, non-tertian note, such as the commonly added sixth as well as chords with an added second (ninth) or fourth (eleventh) or a combination of the three. These chords do not include "intervening" thirds as in an extended chord. Added chords can also have variations. Thus madd9, m4 and m6 are minor triads with extended notes. Added-sixth chords can be considered as belonging to either of two separate groups; chords that contain the sixth (from the root) as a chord membera note separated by the interval of a sixth from the chord's rootand inverted chords in which the interval of a sixth appears above a bass note that is not the root. The major sixth chord (also called, sixth or added sixth with the chord notation 6, e.g., "C6") is by far the most common type of sixth chord of the first group. It comprises a major triad with the added major sixth above the root, common in popular music[2] . For example, the chord C6 contains the notes C-E-G-A. The minor sixth chord (min6 or m6, e.g., "Cm6") is a minor triad with the same added note. For example, the chord Cmin6 contains the notes C-E-G-A. In chord notation, the sixth of either chord is always assumed to be a major sixth rather than a minor sixth, however a minor sixth interval may be indicated in the notation as, for example, "Cm(m6)", or Cmm6. The augmented sixth chord usually appears in chord notation as its enharmonic equivalent, the seventh chord. This chord contains two notes separated by the interval of an augmented sixth (or, by inversion, a diminished third, though this inversion is rare). The augmented sixth is generally used as a dissonant interval most commonly used in motion towards a dominant chord in root position (with the root doubled to create the octave to which the augmented sixth chord resolves) or to a tonic chord in second inversion (a tonic triad with the fifth doubled for the same purpose). In this case, the tonic note of the key is included in the chord, sometimes along with an optional fourth note, to create one of the following (illustrated here in the key of C major): Italian augmented sixth: A, C, F French augmented sixth: A, C, D, F German augmented sixth: A, C, E, F The augmented sixth family of chords exhibits certain peculiarities. Since they are not based on triads, as are seventh chords and other sixth chords, they are not generally regarded as having roots (nor, therefore, inversions), although one re-voicing of the notes is common (with the namesake interval inverted to create a diminished third). The second group of sixth chords includes inverted major and minor chords, which may be called sixth chords in that the six-three (6/3) and six-four (6/4) chords contain intervals of a sixth with the bass note, though this is not the root. Nowadays this is mostly for academic study or analysis (see figured bass) but the neapolitan sixth chord is an

Chord (music) important example; a major triad with a flat supertonic scale degree as its root that is called a "sixth" because it is almost always found in first inversion. Though a technically accurate Roman numeral analysis would be II, it is generally labelled N6. In C major, the chord is notated (from root position) D, F, A. Because it uses chromatically altered tones this chord is often grouped with the borrowed chords (see below) but the chord is not borrowed from the relative major or minor and it may appear in both major and minor keys.
Component notes (chord and interval) Chord symbol C2, Cadd9 C4, Cadd11 C6 C6/9 Audio

Add nine Major 4th

major triad major triad

major ninth perfect fourth major sixth major sixth

Play Play

Major sixth major triad Six-nine major triad

major ninth

Play

Suspended chords
A suspended chord, or "sus chord" (sometimes wrongly thought to mean sustained chord), is a chord in which the third is delayed by either of its dissonant neighbouring notes, forming intervals of a major second or (more commonly) a perfect fourth with the root. This results in two distinct chord types: the suspended second (sus2) and the suspended fourth (sus4). The chords, Csus2 and Csus4, for example, consist of the notes C D G and C F G, respectively. The name suspended derives from an early polyphonic technique developed during the common practice period, in which a stepwise melodic progress to a harmonically stable note in any particular part was often momentarily delayed or suspended by extending the duration of the previous note. The resulting unexpected dissonance could then be all the more satisfyingly resolved by the eventual appearance of the displaced note. In traditional music theory the inclusion of the third in either chord would negate the suspension, so such chords would be called added ninth and added eleventh chords instead. In modern layman usage the term is restricted to the displacement of the third only and the dissonant second or fourth no longer needs to be held over ("prepared") from the previous chord. Neither is it now obligatory for the displaced note to make an appearance at all though in the majority of cases the conventional stepwise resolution to the third is still observed. In post-bop and modal jazz compositions and improvisations suspended seventh chords are often used in nontraditional ways: these often do not function as V chords, and do not resolve from the fourth to the third. The lack of resolution gives the chord an ambiguous, static quality. Indeed, the third is often played on top of a sus4 chord. A good example is the jazz standard, "Maiden Voyage". Extended versions are also possible, such as the seventh suspended fourth which, with root C, contains the notes C F G B and is notated as C7sus4 play. Csus4 is sometimes written Csus since the sus4 is more common than the sus2.

Chord (music)

10

Notation
Chords can be represented in many and various different ways. The most common notation systems are:[2] 1. Plain staff notation, used in classical music (see figure). 2. Roman numerals, commonly used in harmonic analysis to denote the scale step upon which the chord is built.[3] 3. Figured bass, much used in the Baroque era, which uses numbers added to a bass line written on staff (music), to enable keyboard players to improvise chords with the right hand while playing the bass with their left. 4. Macro symbols, sometimes used in modern musicology, to denote chord root and quality.
C Major triad represented in staff notation.

5. Various chord names and symbols used in jazz and popular music, usually inside lead sheets, fake books, or chord charts, to quickly lay out the harmonic groundplan of a piece so that the musician may improvise, jam, or vamp on it.

Roman numerals
While scale degrees are typically represented with Arabic numerals, often modified with a caret or circumflex, the triads that have these degrees as their roots are often identified by Roman numerals (see also diatonic functions). Since the 1970s, upper-case Roman numerals indicate major triads while lower-case Roman numerals indicate minor triads, as the following chart illustrates. Some writers, (e.g. Schoenberg) however, use upper case Roman numerals for both major and minor triads. Lower-case Roman numerals with a degree symbol indicate diminished triads. For example, in the major mode the triad on the seventh scale degree, the leading tone triad is diminished. Some writers use upper-case Roman numerals to indicate the chord is diatonic in the major scale, and lower-case Roman numerals to indicate that the chord is diatonic in the minor scale.
Roman numeral Scale degree (major mode) I ii iii IV V vi vii

tonic supertonic mediant subdominant dominant submediant leading tone

Roman numeral Scale degree (minor mode)

ii

()III

iv

()VI

()VII

vii

tonic supertonic mediant subdominant dominant submediant subtonic leading tone

Also:
Roman numeral Scale degree (major mode) I II III IV V VI VII

tonic supertonic mediant subdominant dominant submediant leading tone

Roman numeral Scale degree (minor mode)

ii

iii

iv

vi

vii

tonic supertonic mediant subdominant dominant submediant subtonic

Chord (music) In performance practice, individual strings of stringed instruments, such as the violin, are often denoted by Roman numerals, with higher numbers denoting lower strings. For example I signifies the E string on the violin and the A string on the viola and cello, these being the highest strings, respectively, on each instrument. They are also sometimes used to signify position. In this case, the number in Roman numerals corresponds with the position number. For example, III means third position and V means fifth.

11

Figured bass notation

Figured bass, or thoroughbass, is a kind of integer musical notation used to indicate intervals, chords, and nonchord tones, in relation to a bass note. Figured bass is closely associated with basso continuo, an accompaniment used in almost all genres of music in the Baroque period, though rarely in modern music. A part notated with figured bass consists of a bass-line notated with notes on a musical staff plus added numbers and accidentals beneath the staff to indicate at what intervals above the bass notes should be played, and therefore which inversions of which chords are to be played. The numbers indicate the number of scale steps above the given bass-line that a note should be played. For example:

Here, the bass note is a C, and the numbers 4 and 6 indicate that notes a fourth and a sixth above it should be played, that is an F and an A. In other words, the second inversion of an F major chord is to be played. In cases where the numbers 3 or 5 would normally be indicated, these are usually (though not always) left out, owing to the frequency these intervals occur. For example:

In this sequence, the first note has no numbers accompanying itboth the 3 and the 5 have been omitted. This means that notes a third above and a fifth above should be playedin other words, a root position chord. The next note has a 6, indicating a note a sixth above it should be played; the 3 has been omittedin other words, this chord is in first inversion. The third note has only a 7 accompanying it; here, as in the first note, both the 3 and the 5 have been omittedthe seven indicates the chord is a seventh chord. The whole sequence is equivalent to:

For further details, see the main article.

Macro analysis
In macro analysis, uppercase or lowercase letters are used to indicate the roots of chords, followed by symbols which specify the chord quality.[2]

Chord (music)

12

Triad

[2] Macro analysis symbols Root Chord quality Example

Major triad Minor triad

Uppercase Lowercase
+

C c C+ co

Augmented triad Uppercase Diminished triad Lowercase

Jazz and pop notation

In jazz and pop notation, a chord name and the corresponding symbol are typically composed of one or more of the following parts: 1. The root note (e.g. C). 2. The chord quality (e.g. major, maj, or M). 3. The number of an interval (e.g. seventh, or 7), or less often its full name or symbol (e.g. major seventh, maj7, or M7). 4. The altered fifth (e.g. sharp five, or 5). 5. An additional interval number (e.g. add 13 or add13), in added tone chords. For instance, the name C augmented seventh, and the corresponding symbol Caug7, or C+7, are both composed of parts 1, 2, and 3. Chord quality Chord qualities are related with the qualities of the component intervals which define the chord (see below). As explained below, they typically appear immediately after the root (e.g., in CmM7 m is the chord quality, and M is the quality of the additional M7 interval). The main chord qualities are: Major, and minor. Augmented, diminished, and half-diminished. Dominant, and suspended. Some of the symbols used for chord quality are similar to those used for interval quality. In addition, however, is sometimes used for major, instead of the standard M, or maj, is sometimes used for minor, instead of the standard m or min, +, or aug, is used for augmented (A is not used), o , , dim, is used for diminished (d is not used), , or is used for half diminished, dom is used for dominant. sus is used for suspended.

Major, minor, augmented, and diminished chords 3-note chords are called triads. There are four basic triads (major, minor, augmented, diminished), and they are all tertian, i.e. defined by the root, a third interval, and a fifth interval. Since most other chords are obtained by adding one or more note to these triads, the name and symbol of a chord is often built by just adding an interval number to the name and symbol of a triad. For instance, a C augmented seventh chord is a C augmented triad with an extra note defined by a minor seventh interval:
C+7 = C+ + m7

Chord (music)

13
augmentedchord augmentedtriad minor interval

In this case, the quality (minor, in the example) of the additional interval is omitted. Less often, the full name or symbol of the additional interval is provided. For instance, a C augmented major seventh chord is a C augmented triad with an extra note defined by a major seventh interval:
C+M7 augmentedchord = C+ augmentedtriad + M7 major interval

In both cases, the quality of the chord is the same as the quality of the basic triad it contains. This is not true for all chord qualities, as the chord qualities "half-diminished", "dominant", and "suspended" refer not only to the quality of the basic triad, but also to the quality of the additional intervals. Rules to decode chord names and symbols The amount of information provided in a chord name/symbol lean toward the minimum, to increase efficiency. However, it is often necessary to deduce from a chord name or symbol the component intervals which define the chord. The missing information is implied and must be deduced according to some conventional rules: 1. For triads, major or minor always refer to the third interval, while augmented and diminished always refer to the fifth. The same is true for the corresponding symbols (e.g., CM means CM3, and C+ means C+5). Thus, the terms third and fifth and the corresponding symbols 3 and 5 are typically omitted. This rule can be generalized,[6] as it holds for tetrads as well, provided the above mentioned qualities appear immediately after the root note. For instance, in the chord symbols CM and CM7, M refers to the interval M3, and 3 is omitted. When these qualities do not appear immediately after the root note, they should be considered interval qualities, rather than chord qualities. For instance, in Cm/M7 (minor-major seventh chord), m is the chord quality and M refers to the M7 interval. In some cases, the chord quality may refer not only to the basic triad (i.e., the third or fifth interval), but also to the following interval number. For instance, in CM7 M refers to both M3 and M7 (see specific rules below). 2. Without contrary information, a major third interval and a perfect fifth interval (major triad) are implied. For instance, a C chord is a C major triad (both the major third and the perfect fifth are implied). In Cm (C minor triad), a minor third is deduced according to rule 1, and a perfect fifth is implied according to this rule. This rule has one exception (see below). 3. When the fifth interval is diminished, the third must be minor, as a major third would produce a non-tertian chord.[7] This rule overrides rule 2. For instance, in Cdim7 a diminished fifth is deduced according to rule 1, and a minor third is implied according to this rule. 4. A plain 6 or sixth is equivalent to M6 or major sixth, and stands for an extra major sixth interval, added to the implied major triad. 5. A plain 7 or seventh is equivalent to dom7 or dominant seventh, and stands for an extra minor seventh interval, added to the implied major triad. 6. For sixth chord names or symbols composed only of root, quality and number (such as "C major sixth", or "CM6"): M, maj, or major stands for major-major (e.g. CM6 means CM/M6, or CM3/M6), m, min, or minor stands for minor-major (e.g. Cm6 means Cm/M6, or Cm3/M6). 7. For seventh chord names or symbols composed only of root, quality and number (such as "C major seventh", or "CM7"): M, maj, or major stands for major-major (e.g. CM7 means CM/M7, or CM3/M7), m, min, or minor stands for minor-minor (e.g. Cm7 means Cm/m7, or Cm3/m7),

Chord (music) +, aug, or augmented stands for augmented-minor (e.g. C+7 means C+/m7, or C+5/m7), o, dim, or diminished stands for diminished-diminished (e.g. Co7 means Co/o7, or Co5/o7), , or half-diminished stands for diminished-minor (e.g. C7 means Co/m7, or Co5/m7). 8. In added tone chords, the seventh is often implied (i.e. F13 means F713, while Gmaj9 means Gmaj79). Examples The table shows the application of these generic and specific rules to interpret some of the main chord symbols. The same rules apply for the analysis of chord names. A limited amount of information is explicitly provided in the chord symbol (boldface font in the column labeled "Component intervals"), and can be interpreted with rule 1. The rest is implied (plain font), and can be deduced by applying the other rules. The "Analysis of symbol parts" is performed by applying rule 1.
Chord Symbol Short C CM Cm C+ Co C6 CM6 Cm6 C7 CM7 Cm7 C+7 Co7 C C7 Cdom7 Cmaj7 Cmin7 Caug7 Cdim7 Cmaj Cmin Caug Cdim Long Analysis of symbol parts Root C C C C C C C C C C C C C C C min maj min aug dim dim dim 7 7 maj min maj min aug dim 6 6 6 7 7 7 7 7 Component intervals Added Major triad Chord name

14

Third Fifth Added Third Fifth maj3 maj3 min3 maj3 min3 maj3 maj3 min3 maj3 maj3 min3 maj3 min3 min3 min3 min3 perf5 perf5 perf5 aug5 dim5

Minor triad Augmented triad Diminished triad Major sixth chord

perf5 maj6 perf5 maj6 perf5 maj6 perf5 min7 perf5 maj7 perf5 min7 aug5 min7 dim5 dim7 dim5 min7 dim5 min7 perf5 maj7

Minor sixth chord Dominant seventh chord Major seventh chord Minor seventh chord Augmented seventh chord Diminished seventh chord Half-diminished seventh chord

C CmM7 Cminmaj7 Cm/M7 Cmin/maj7 Cm(M7) Cmin(maj7)

Minor-major seventh chord

Borrowed chords
A borrowed chord is one that is taken from a different key to that of the piece it is used in (called "home key"). The most common occurrence of this is where a chord from the parallel major or minor key is used. Particularly good examples can be found throughout the works of composers such as Schubert. For instance, for a composer working in the C major key, a major III chord would be borrowed, as this appears only in the C minor key. Although borrowed chords could theoretically include chords taken from any key other than the home key, this is not how the term is used when a chord is described in formal musical analysis.

Chord (music)

15

Progression
Whenever different chords are played in sequence they can be described as a chord progression (or harmonic progression). Chord progressions are frequently used in Western music.[1] A chord progression "aims for a definite goal" of establishing (or contradicting) a tonality founded on a key, root or tonic chord.[3]
IV-V-I progression in C Play

The study of harmony involves chords and chord progressions, and the principles of connection that govern them.[8]

See also
Chord bible Elektra chord Chord factor Guitar chord Harmonized scale Homophony Mystic chord Open chord Petrushka chord Prolongation Psalms chord Spider chord Subsidiary chord

References
[1] Malm, William P. (1996). Music Cultures of the Pacific, the Near East, and Asia. p.15. ISBN 0-13-182387-6. Third edition. "Homophonic texture...is more common in Western music, where tunes are often built on chords (harmonies) that move in progressions. Indeed this harmonic orientation is one of the major differences between Western and much non-Western music." [2] Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.77. Seventh Edition. ISBN 978-0-07-294262-0. [3] Arnold Schoenberg. Structural Functions of Harmony. Faber and Faber, 1983, p.1-2. [4] Schellenberg, E. Glenn; Bigand, Emmanuel; Poulin-Charronnat, Benedicte; Garnier, Cecilia; Stevens, Catherine (Nov.). "Children's implicit knowledge of harmony in Western music". Developmental Science 8 (8): 551566. doi:10.1111/j.1467-7687.2005.00447.x. PMID16246247. [5] Krolyi, Otto, Introducing Music, p.63. England: Penguin Books. [6] General rule 1 achieves consistency in the interpretation of symbols such as CM7, Cm6, and Caug7. Some musicians legitimately prefer to think that, in CM7, the interval quality M refers to the seventh, rather than to both the third and seventh. However, this approach is inconsistent, as a similar interpretation is impossible for Cm6 and Caug7, where m cannot possibly refer to the sixth, which is major by definition, and aug cannot refer to the seventh, which is minor. Both approaches reveal only one of the intervals (M3 or M7), and require other rules to complete the task. Whatever is the decoding method, the result is the same (e.g., CM7 is always conventionally decoded as C-E-G-B, implying M3, P5, M7). The advantage of rule 1 is that it has no exceptions, which makes it the simplest possible approach to decode chord quality. According to the two approaches, some may format CM7 as CM7 (general rule 1), and others as CM7 (alternative approach). Fortunately, even CM7 becomes compatible with rule 1 if it is considered an abbreviation of CMM7, in which the first M is omitted. The omitted M is the chord quality and is deduced according to rule 2 (see above), consistently with the interpretation of the plain symbol C, which by the same rule stands for CM. [7] The diminished fifth spans 6 semitones, thus it may be decomposed into a sequence of two minor thirds each spanning 3 semitones (m3 + m3), compatible with the definition of tertian chord. If a major third were used (4 semitones), a major second (2 semitones) would be

Chord (music)
necessary to reach the diminished fifth (4 + 2 = 6 semitones), but this sequence (M3 + M2) would not meet the definition of tertian chord. [8] Dahlhaus, Car. "Harmony", Grove Music Online, ed. L. Macy (accessed 24 February 2007), grovemusic.com (http:/ / www. grovemusic. com/ ) (subscription access).

16

Grout, Donald Jay (1960). A History Of Western Music. Norton Publishing. Dahlhaus, Carl. Gjerdingen, Robert O. trans. (1990). Studies in the Origin of Harmonic Tonality, p.67. Princeton University Press. ISBN 0-691-09135-8. Goldman (1965). Cited in Nattiez (1990). Jones, George T. (1994). HarperCollins College Outline Music Theory. ISBN 0-06-467168-2. Nattiez, Jean-Jacques (1990). Music and Discourse: Toward a Semiology of Music (Musicologie gnrale et smiologue, 1987). Translated by Carolyn Abbate (1990). ISBN 0-691-02714-5. Norman Monath, Norman (1984). How To Play Popular Piano In 10 Easy Lessons. Fireside Books. ISBN 0-671-53067-4. Stanley Sadie and John Tyrrell, eds. (2001). The New Grove Dictionary of Music and Musicians. ISBN 1-56159-239-0. Surmani, Andrew (2004). Essentials of Music Theory: A Complete Self-Study Course for All Musicians. ISBN 0-7390-3635-1.

Further reading
Schejtman, Rod (2008). Music Fundamentals (http://www.pianoencyclopedia.com). The Piano Encyclopedia. ISBN978-987-25216-2-2. Persichetti, Vincent (1961). Twentieth-century Harmony: Creative Aspects and Practice. New York: W. W. Norton. ISBN0-393-09539-8. OCLC398434. Benward, Bruce & Saker, Marilyn (2002). Music in Theory and Practice, Volumes I & II (7th ed.). New York: McGraw Hill. ISBN 0-07-294262-2. Piston, Walter (1987). Harmony (5th ed.). New York: W.W. Norton & Company. ISBN 0-393-95480-3.

External links
Piano Chord Dictionary (http://www.pianochorddictionary.com/) Online browser able to show any chord (and inversion) as played on the piano. Music Fundamentals eBook (http://pianoencyclopedia.com/blog/2008/10/05/ the-piano-lesson-report-one-is-released/) An eBook that explains how to build any chord by using music intervals. Available for free. Morphogenesis of chords and scales (http://www.lamadeguido.com/morphogenesis.htm) Chords and scales classification Chord Identifier (http://www.scales-chords.com/chordid.php) Online tool for searching chords that have a specific set of notes (useful for fitting chords to a scale, melody or riff). Decoding the Circle of Vths (http://www.mdecks.com/graphs/mcircle.php) Advanced online tool for analyzing and searching structures and substructures over the circle of Vths.

Diminished seventh

17

Diminished seventh
diminished seventh Inverse Name Other names Abbreviation Size Semitones Interval class Just interval Cents Equal temperament 24 tone equal temperament Just intonation 900 900 925 or 947 9 3 128:75 or 216:125 d7 augmented second

In classical music from Western culture, a diminished seventh (play) is an interval produced by diminishing a minor seventh by a chromatic semitone. For instance, the interval from A to G is a minor seventh, ten semitones wide, and both the intervals from A to G, and from A to G are diminished sevenths, spanning nine semitones. The diminished seventh is enharmonically equivalent to a major sixth. Its inversion is the augmented second.
Diminished seventh Play

The diminished seventh is used quite readily in the minor key, where it is present in the harmonic minor scale between the seventh scale step and the sixth scale step in the octave above. In an equal tempered tuning, a diminished seventh is equal to nine semitones, a ratio of 29/12:1 (approximately 1.682), or 900 cents. There is no standard just tuning of this interval, but one possibility, assuming the flat submediant is a perfect (5:4) major third below the octave, and the leading tone to be 15:16, would lead to an interval of 128:75, about 925 cents; another interval is 216:125, which is three minor thirds.

See also
Diminished seventh chord

Half-diminished seventh chord

18

Half-diminished seventh chord

half-diminished seventh chord Component intervals from root minor seventh diminished fifth (tritone) minor third root

In music theory, the half-diminished seventh chord (also known as a minor seventh flat five) is created by taking the root, minor third, diminished fifth and minor seventh (1, 3, 5 and 7) of any major scale; for example, C half-diminished would be (C E G B). In diatonic harmony, the half-diminished chord naturally occurs on the 7th scale degree[1] (for example, Bm7(5) in C major). By the same virtue, it also occurs on the second degree of natural minor (e.g. Dm7 (5) in C minor). It occurs as a leading-tone seventh chord in major[1] and can be represented by the integer notation {0, 3, 6, 10}. Half-diminished seventh chords are often symbolized as a circle with a diagonal line through it, as in C. It also can be represented as m75, -75, m7(5) etc.

Half-diminished seventh chord on C (Play).

The terms and symbols for this chord break the expectations derivable from the usual system of chord nomenclature. Normally a symbol like "Bdim" indicates a diminished triad and "B7" indicates a major triad plus a minor seventh. Thus one would expect the term "Bdim7" to indicate a diminished triad plus a minor seventh. Instead, it means a Leading-tone seventh chord resolution in C diminished triad plus a diminished seventh. To make this distinction major: vii7-I Play. clear, the term "half-diminished" and the symbol () were invented. Since the term dim7 (as in Bdim7) meant something else, the accurate but unwieldy term "minor seventh flat five" (as in Bm7(5))(Play) came to be used.[2] "Despite the appearance of the word 'diminished' in the name of this type of seventh chord, its sound differs considerably from that of a diminished seventh chord. In fact, the only sonic connection between the two chords is the single diminished triad found in the half-diminished seventh chord. As composer-theorist Milton Babbitt has astutely pointed out, the 'half-diminished' seventh chord should be called the 'one-third' diminished seventh chord....Whatever its deficiencies might be in the label department, however, the half-diminished seventh chord is in many respects the star of the seventh chord harmonic cast. Many songs in the classic American popular song repertoire reserve it for their most intensely expressive moments"[3] . Jazz musicians typically consider the half-diminished chord to be built from one of three scales: the seventh (Locrian mode) of the major scale, the sixth mode of the melodic minor scale (the latter scale is nearly identical to the Locrian mode, except that it has a natural 9 rather than a 9, giving it a somewhat more consonant quality), or the "half-whole" diminished scale (see octatonic scales.) See: chord-scale system. The "Tristan chord" is sometimes described as a half-diminished seventh chord; however, the term "Tristan chord" is typically reserved for a very specific harmonic function, especially determined by the order of the notes from bottom

Half-diminished seventh chord to top, and sometimes even the way the chord is spelled (e.g. is it G or F?).

19

Function
It is described as a, "considerable instability"[4] . The half-diminished chord has three functions in contemporary harmony: predominant function, diminished, and dominant function. The vast majority of its occurrence is on the II chord in the minor mode, wherein it takes a predominant function, leading naturally to the dominant V chord. Not including the root motion, there is only a one note difference between a half diminished chord and a V chord with a 9th. Since it is built on the diatonic II chord of the minor scale, most of the time the II-V pattern resolves to a minor tonic (such as in the progression Dm7(5) G7(9) - Cm)., but there are instances where there is a major tonic resolution. Diminished chord function is rarer, but it still exists. Half-diminished chords can function in the same way as fully diminished chords do, such as in the chord progression Cmaj7 - Cdim7 - Dm7, or Em7 - Edim7 - Dm7, where the diminished chord serves as a chromatic passing chord preceding a chord with a diatonic root. A typical example of this is when IVm7(5) progresses to IVm7, such as in the Cole Porter song "Night and Day", where you have the progression Fm7(5) - Fm7 - Em7 - Edim7 - Dm7 - G7 - Cmaj7. If it was analyzed in its predominant function, it wouldn't be a sufficient explanation to how it functions preceding the Fm7 chord. In dominant function, the VII half diminished chord, like its fully diminished counterpart, can take the place of the dominant V chord at a point of cadential motion. This generally occurs in a major key, since the flattening of the sixth degree in the natural minor scale would render a dominant diminished seventh chord fully diminished if played within the scale. Indeed, the VII half diminished chord in a major key is identical to a dominant ninth chord (a dominant seventh with an added ninth) but with its root omitted. The dominant function of the half-diminished seventh chord may also occur in a secondary dominant context, i.e., as part of a progression in which the chord performs the dominant function with respect to the overall key's dominant chord. In this scenario, the half-diminished seventh chord is built on the tritone of the overall key and is equivalent to a secondary dominant seventh chord with added ninth and omitted root. If written with respect to the overall key, this chord would be styled "#iv", but in terms of its function in the progression, the styling "vii/V" is more descriptive. Examples of the #iv-to-V or vii/V-to-V transition include the half-line "know when to run" in the Kenny Rogers song "The Gambler" and the opening bars of the Super Mario Bros. theme.

Leading-tone with minor seventh

The leading-tone diminished triad with minor seventh chord is represented with the Roman numeral notation vii7. In the key of C, this is Bdim7, the root of which is the leading-tone to the tonic.[1]

Leading-tone seventh chord (b7) in C major Play.

Half-diminished seventh chord

20

Supertonic with minor seventh in minor

One variant of the supertonic seventh chord is the supertonic half-diminished seventh (ii7) in minor. It may be considered a minor seventh chord with a flatted fifth and is used in the ii-V-I in minor[5] .

Half-diminished seventh chord on supertonic in C minor Play.

DFA()C --> DFAC

Sharpened supertonic with minor seventh

One variant of the supertonic seventh chord is the supertonic half-diminished seventh (ii7) with the raised supertonic, which equals the lowered third through enharmonic equivalence (in C: D=E).

Sharpened supertonic seventh chord (d7) in C major Play.

DFA C = FA CE d7 = fmADDo7

Sharpened subdominant with minor seventh

The sharpened subdominant diminished triad with minor seventh chord is represented with the Roman numeral notation iv7. In the key of C, this is fdim7, the root of which is the raised subdominant, or the leading-tone to the dominant (vii7/V).

Half-diminished seventh chord on sharpened subdominant (f7), vii7/V, in C Play.

Half-diminished seventh chord table

Half-diminished seventh chord

21

Chord

Root

Minor Third

Diminished Fifth

Minor Seventh

Cm7(5)

E E F (E) F F G G A A B B B C (B) C C D D (A)

G G A A A B B C (B) C D D D E E E F (E) F (D) (C) (A) (G)

B B C (B) C C D D E E F (E) F F G G G A A

Cm7(5) C Dm7(5) D Dm7(5) D

Dm7(5) D Em7(5) E Em7(5) Fm7(5) E F

Fm7(5) F Gm7(5) G Gm7(5) G

Gm7(5) G Am7(5) A Am7(5) A

Am7(5) A Bm7(5) B Bm7(5) B

See also
Bar-line shift

External links
Improvising Over Half Diminished Chords [6]

References
[1] Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.217. ISBN 978-0-07-294262-0. [2] Mathieu, W.A. Harmonic Experience: Tonal Harmony from Its Natural Origins to Its Modern Expression (1997), pp. 371-372, Inner Traditions International, ISBN 0-89281-560-4 [3] Forte, Allen; Lalli, Richard; and Chapman, Gary (2001). Listening to Classic American Popular Songs, p.11. ISBN 0300083386. [4] Henry, Earl and Rogers, Michael (2004). Tonality and Design in Music Theory, Vol. I, p.295. ISBN 0130811289. [5] Coker, Jerry (1984). Jerry Coker's Jazz Keyboard, p.23. ISBN 0769233236. [6] http:/ / www. jazzguitar. be/ half_diminished_chords. html

Article Sources and Contributors

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Article Sources and Contributors

Chord (music) Source: http://en.wikipedia.org/w/index.php?oldid=387392180 Contributors: ACA, AaronS, Adw2000, Ajrdileva, AllAroundGeek, Altenmann, Andeggs, Andre Engels, Andy M. Wang, Andycjp, Apeloverage, ArloLeach, Ary29, Ash.furrow, AstroNox, Azer Red, B, Bapho, Bassbonerocks, Bdesham, Beekum, Bfinn, Bgbq, Black Stripe, Blehfu, Blotwell, Bobo192, Brand s, Camembert, Can't sleep, clown will eat me, Carlco, Che2007, Chris 73, Chrishomingtang, Cielomobile, Closedmouth, Clq, D.keenan, DCGeist, DMacks, David Kernow, David Shay, DePiep, Debresser, Deltabeignet, Denelson83, Di gama, Dobsonaa29, Driftwoodzebulin, Drs 29, Drufin, Duo Gravis, Dwo, Dysprosia, Dzhim, Easymusiclessons, Ebelular, El C, Es330td, EscapingLife, Fabrictramp, Fivetilkeys, Gaius Cornelius, Garzo, GreyCat, Guitar chords, Haham hanuka, Haza-w, Helix84, Hyacinth, ILike2BeAnonymous, Imroy, Indon, Iridescent, Iyb, JNShutt, JackLumber, Jafeluv, Jaxl, Jcsutton, Jdavidb, Jellypuzzle, Jerome Charles Potts, Jh51681, Jmui, Joelr31, JonLS, Jskell, Just plain Bill, Keegscee, Kgentes, Kilmer-san, Kostisl, Kpufferfish, Krash, Lavdal, LeaveSleaves, Living under a rock, Lrpelkey, Luqui, Luthier67, Lyricsp, M7, Maestro.gandhi, Martin451, Matiashf, Maxim, Mboverload, McSush, Mdebets, MidoriKid, MissAlyx, Missmarple, Mitch Ames, Modulatum, MoraSique, Mr.Z-man, Muffin, Musicindia1, Mylemans, Mtze, Nathanael Bar-Aur L., Ninly, Noetica, Nuffink, Obscurans, Ojigiri, Oldjasd5150, Pale blue dot, PancakesMan, Paolo.dL, Phe, Philip Trueman, Pjvpjv, Pladask, Polyvios, RandomStringOfCharacters, Red Rooster 69, Reddevil 221, Redheylin, Reflex Reaction, Restre419, Richfife, Rigaudon, Rocastelo, Rory737-800, Rosarino, Rosier, ST47, Sam Hocevar, Sarindam7, SchfiftyThree, SchuminWeb, Sethoeph, SharkD, Sidasta, SkyCaptain, Sluffs, Some jerk on the Internet, Spettro9, Spiffy sperry, Splitpeasoup, Stephen Burnett, Steve Bob, Steve carlson, Stevec71, Steveprimatic, Strumr91, Synchronism, T prev, TUF-KAT, Tbird1965, Tee Owe, Telso, TenPoundHammer, The Anome, The Rumour, The Thing That Should Not Be, Themfromspace, Tijuana Brass, Tjic, Tnfros, TobyRush, Tombomp, TomyDuby, Tony1, TreasuryTag, Trweiss, Twunchy, Tymoczko, Underwater, VegitaU, Wahoofive, Wavelength, Weedwhacker128, Wegsjac, West.andrew.g, Wfructose, Woodstone, Yahya Abdal-Aziz, Yeanold Viskersenn, Yms, Yovi, Zagoury, Zfr, Zundark, , 351 anonymous edits Diminished seventh Source: http://en.wikipedia.org/w/index.php?oldid=378489573 Contributors: After Midnight, Avitya, Blehfu, Decltype, Dizzymontega, Dpotter, Gene Ward Smith, Hyacinth, Jafeluv, Koavf, Malcohol, Mange01, NYArtsnWords, Neparis, Nereocystis, Noetica, Oeuftete88, Paolo.dL, Pfly, Rainwarrior, Roivas, Salamurai, Tim Barber, Tjako, Wahoofive, , 17 anonymous edits Half-diminished seventh chord Source: http://en.wikipedia.org/w/index.php?oldid=374241904 Contributors: Andeggs, Celtic Minstrel, DChapii, David Kernow, Eep, GTBacchus, Havic5, Hotdogjuicer, Hyacinth, Iketchupmyeggs, JMyrleFuller, JohnI, Kpufferfish, Leif edling, Nkocharh, Octurion, Pfly, Prof.rick, Richman271, Rictus, Scheater5, Show no mercy, 19 anonymous edits

Image Sources, Licenses and Contributors

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Image Sources, Licenses and Contributors

File:Classical spectacular07.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Classical_spectacular07.jpg License: unknown Contributors: Ejdzej, Fir0002, Yann Image:C triad.svg Source: http://en.wikipedia.org/w/index.php?title=File:C_triad.svg License: Public Domain Contributors: User:McSush File:Mussorgsky Pictures at an Exhibition, chords.PNG Source: http://en.wikipedia.org/w/index.php?title=File:Mussorgsky_Pictures_at_an_Exhibition,_chords.PNG License: GNU Free Documentation License Contributors: User:Hyacinth File:Debussy Premiere Arabesque melody and chords.PNG Source: http://en.wikipedia.org/w/index.php?title=File:Debussy_Premiere_Arabesque_melody_and_chords.PNG License: unknown Contributors: User:Hyacinth Image:PianoDiagram.gif Source: http://en.wikipedia.org/w/index.php?title=File:PianoDiagram.gif License: GNU Free Documentation License Contributors: Aotake, Hyacinth, Tlogmer, TommyBee File:C Major scale (up and down).svg Source: http://en.wikipedia.org/w/index.php?title=File:C_Major_scale_(up_and_down).svg License: Public Domain Contributors: User:Bdesham Image:Frets, guitar neck, C-major chord.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Frets,_guitar_neck,_C-major_chord.jpg License: Public Domain Contributors: AVM, Arent, Netosku, Red Rooster, Rottweiler, 1 anonymous edits Image:Pitch constellation triads.svg Source: http://en.wikipedia.org/w/index.php?title=File:Pitch_constellation_triads.svg License: Creative Commons Attribution-Sharealike 3.0 Contributors: User:Tcolgan001 Image:Sev chord.svg Source: http://en.wikipedia.org/w/index.php?title=File:Sev_chord.svg License: GNU Free Documentation License Contributors: User:Tcolgan001 File:Doubleflat.svg Source: http://en.wikipedia.org/w/index.php?title=File:Doubleflat.svg License: Public Domain Contributors: Aotake, Spiritia Image:C with 64 figured bass.png Source: http://en.wikipedia.org/w/index.php?title=File:C_with_64_figured_bass.png License: GNU Free Documentation License Contributors: Camembert Image:CBG with - 6 7 figured bass.png Source: http://en.wikipedia.org/w/index.php?title=File:CBG_with_-_6_7_figured_bass.png License: GNU Free Documentation License Contributors: Camembert Image:Chords C-B63-G7.png Source: http://en.wikipedia.org/w/index.php?title=File:Chords_C-B63-G7.png License: GNU Free Documentation License Contributors: Camemvert Image:IV-V-I in C.png Source: http://en.wikipedia.org/w/index.php?title=File:IV-V-I_in_C.png License: GNU Free Documentation License Contributors: Hyacinth Image:Diminished seventh on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Diminished_seventh_on_C.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Half-diminished seventh chord on C.png Source: http://en.wikipedia.org/w/index.php?title=File:Half-diminished_seventh_chord_on_C.png License: unknown Contributors: Hyacinth Image:Leading-tone seventh chord resolution in C major.png Source: http://en.wikipedia.org/w/index.php?title=File:Leading-tone_seventh_chord_resolution_in_C_major.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Leading-tone seventh chord in C major.png Source: http://en.wikipedia.org/w/index.php?title=File:Leading-tone_seventh_chord_in_C_major.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Half-diminished seventh chord on supertonic in C minor.png Source: http://en.wikipedia.org/w/index.php?title=File:Half-diminished_seventh_chord_on_supertonic_in_C_minor.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Half-diminished seventh chord on sharpened supertonic in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Half-diminished_seventh_chord_on_sharpened_supertonic_in_C.png License: GNU Free Documentation License Contributors: User:Hyacinth Image:Half-diminished seventh chord on sharpened subdominant in C.png Source: http://en.wikipedia.org/w/index.php?title=File:Half-diminished_seventh_chord_on_sharpened_subdominant_in_C.png License: GNU Free Documentation License Contributors: User:Hyacinth

License

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License
Creative Commons Attribution-Share Alike 3.0 Unported http:/ / creativecommons. org/ licenses/ by-sa/ 3. 0/