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  2. Quartal and quintal harmony - Wikipedia

    en.wikipedia.org/wiki/Quartal_and_quintal_harmony

    Chords by perfect fourth are ambiguous in that, like all chords built by equidistant intervals (diminished seventh chords or augmented triads), any member can function as the root. The indifference of this rootless harmony to tonality places the burden of key verification upon the voice with the most active melodic line.

  3. Meine Seel erhebt den Herren, BWV 10 - Wikipedia

    en.wikipedia.org/wiki/Meine_Seel_erhebt_den...

    Bach's second year in Leipzig passed without composing a chorale cantata specifically for the fourth Sunday after Trinity. He composed one for this occasion in 1732, Ich ruf zu dir, Herr Jesu Christ, BWV 177, one of the later additions to the chorale cantata cycle. [52] Also for Trinity VI Bach composed a chorale cantata at a later date (BWV 9).

  4. Ballade No. 4 (Chopin) - Wikipedia

    en.wikipedia.org/wiki/Ballade_No._4_(Chopin)

    This is the mid-point of the structure [and] enables his reprise to begin in the unexpected key of D minor." [ 14 ] [ 15 ] This further variation of Theme I, Variation III, accomplishes the "canonic aspirations" of previous thematic material, revealing its dynamism and its progressively contrapuntal and polyphonic texture.

  5. Chord notation - Wikipedia

    en.wikipedia.org/wiki/Chord_notation

    This "sus" indication can be combined with any other notation. For example, the notation C 9sus4 refers to a ninth chord with the third replaced by the fourth: C–F–G–B ♭ –D. However, the major third can also be added as a tension above the fourth to "colorize" the chord: C–F–G–B ♭ –D–E.

  6. Chord progression - Wikipedia

    en.wikipedia.org/wiki/Chord_progression

    Funk emphasizes the groove and rhythm as the key element, so entire funk songs may be based on one chord. Some jazz-funk songs are based on a two-, three-, or four-chord vamp. Some punk and hardcore punk songs use only a few chords. On the other hand, bebop jazz songs may have 32-bar song forms with one or two chord changes every bar.

  7. Mystic chord - Wikipedia

    en.wikipedia.org/wiki/Mystic_chord

    In jazz music, on the other hand, such chords are extremely common, and in this setting the mystic chord can be viewed simply as a C 13 ♯ 11 chord with the fifth omitted. In the score to the right is an example of a Duke Ellington composition that uses a different voicing of this chord at the end of the second bar, played on E (E 13 ♯ 11 ).

  8. Roman numeral analysis - Wikipedia

    en.wikipedia.org/wiki/Roman_numeral_analysis

    D ♯ ø7 becomes VII ø7 (also VII m7b5, VII-7b5, or VII ø) In popular music and rock music, "borrowing" of chords from the parallel minor of a major key is commonly done. As such, in these genres, in the key of E major, chords such as D major (or ♭ VII), G major (♭ III) and C major (♭ VI) are commonly used. These chords are all ...

  9. Sunday (Chester Conn song) - Wikipedia

    en.wikipedia.org/wiki/Sunday_(Chester_Conn_song)

    Sunday" is a 1926 song written by Chester Conn, with lyrics by Jule Styne, Bennie Krueger, and Ned Miller, which has become a jazz standard recorded by many artists. The tune has been fitted out to various lyrics, but best known in the original version of British-American songwriter Jule Styne : "I'm blue every Monday, thinking over Sunday ...

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