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In tonal music, chord progressions have the function of either establishing or otherwise contradicting a tonality, the technical name for what is commonly understood as the "key" of a song or piece. Chord progressions, such as the extremely common chord progression I-V-vi-IV, are usually expressed by Roman numerals in
In mathematics, a harmonic progression (or harmonic sequence) is a progression formed by taking the reciprocals of an arithmetic progression, which is also known as an arithmetic sequence. Equivalently, a sequence is a harmonic progression when each term is the harmonic mean of the neighboring terms.
The English word chord derives from Middle English cord, a back-formation of accord [5] in the original sense of agreement and later, harmonious sound. [6] A sequence of chords is known as a chord progression or harmonic progression. These are frequently used in Western music. [7]
In music theory, Roman numeral analysis is a type of harmonic analysis in which chords are represented by Roman numerals, which encode the chord's degree and harmonic function within a given musical key. Specific notation conventions vary: some theorists use uppercase numerals (e.g.
A chord chart. Play ⓘ. A chord chart (or chart) is a form of musical notation that describes the basic harmonic and rhythmic information for a song or tune. It is the most common form of notation used by professional session musicians playing jazz or popular music.
A harmonic cadence is a progression of two or more chords that concludes a phrase, section, or piece of music. [3] A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. [ 4 ]
According to Riemann the chord is derived through Leittonwechselklänge (German, literally: "leading-tone changing sounds"), sometimes called gegenklang or "contrast chord", abbreviated Tl in major and tL in minor, [6] or, in German literature, abbreviated Tg in major and tG in minor (standing for "Gegenklang" or "Gegenparallel") [citation needed].
Chromaticism from "linear considerations" [voice leading], borrowed chords, and extended chords from the ending of Alexander Scriabin's Preludes, Op. 48, No. 4; "though most vertical sonorities include the seventh, ninth, eleventh, and thirteenth, the basic harmonic progressions are strongly anchored to the concept of root movement by fifths".