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List of musical chords Name Chord on C Sound # of p.c.-Forte # ... 0 8 e 4 9: Atonal Half-diminished seventh chord ... Text is available under the Creative Commons ...
Slash notation in 4/4 with a slash on each beat under a i7 iv7-V7 chord progression in B ♭ minor. Slash notation is a form of purposefully vague musical notation which indicates or requires that an accompaniment player or players improvise their own rhythm pattern or comp according to the chord symbol given above the staff.
"Under the Water" is a song written in 1990 by Owen Bolwell and Stanley Paulzen, produced by Siew for Australian singer-songwriter Merril Bainbridge's first album, The Garden (1995). The song is about a lover who drowned. [2] The song was released as the album's second single in July 1995 in Australia and February 1997 in the United States.
Common chords are frequently used in modulations, in a type of modulation known as common chord modulation or diatonic pivot chord modulation. It moves from the original key to the destination key (usually a closely related key) by way of a chord both keys share. For example, G major and D major have 4 chords in common: G, Bm, D, Em.
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-.
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.
In contrast, in the chord-scale system, a different scale is used for each chord in the progression (for example mixolydian scales on A, E, and D for chords A 7, E 7, and D 7, respectively). [5] Improvisation approaches may be mixed, such as using "the blues approach" for a section of a progression and using the chord-scale system for the rest. [6]
More modern sounding than "tertial chords" (built from thirds), it is useful in comping; since the structure of quartal harmony is usually vague, many roots may be applied to the So What chord and it may work well in various contexts including, "a major scale context; a Mixolydian mode context; or a minor context". [3]