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Equivalent patterns in 4 4 and 3 4 [1] Play 4 4 ⓘ and Play 3 4 ⓘ Alberti bass patterns on V 7 Alberti bass in the opening of Thomas Attwood's (1765–1838) Sonatina in G Major [2] Play ⓘ Alberti bass in the opening of Muzio Clementi's Sonatina in G, Op. 36, No. 2 (1797) [3] Play ⓘ The opening of the 5th of Beethoven's Seven Variations on "God Save the King" WoO 78 (1804) introduces ...
An arpeggio (Italian: [arˈpeddʒo]) is a type of broken chord in which the notes that compose a chord are individually sounded in a progressive rising or descending order. Arpeggios on keyboard instruments may be called rolled chords .
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]
IV-V-I-vi chord progression in C major: 4: Major I–V–vi–IV: I–V–vi–IV chord progression in C: 4: Major I–IV ... 5–6 sequence: I–V ...
4-23: 0 5 7 t: Suspended So What chord: Play ... 6-27: 0 4 7 t 1 x 9 [7] Major Thirteenth flat ninth flat fifth chord [2] Play ...
Commonly used in electric guitar amplifier systems, less so in bass. Configured with all four speakers on the same panel or with the top two speakers angled upward. 4-track (or "four-track") A simple portable recording and mixing device widely used in the 1970s and 1980s which used compact cassettes. 5-string (or five-string)
octave above the treble staff, G 5 to G 6 [8] in altissimo Octave above the in alt octave, G 6 to G 7 in modo di In the art of, in the style of in stand An instruction to brass players to direct the bell of their instrument into the music stand, instead of up and toward the audience, thus muting the sound but without changing the timbre as a ...
The standard tuning, without the top E string attached. Alternative variants are easy from this tuning, but because several chords inherently omit the lowest string, it may leave some chords relatively thin or incomplete with the top string missing (the D chord, for instance, must be fretted 5-4-3-2-3 to include F#, the tone a major third above D).