28

No, and for at least three reasons: Assuming "chord" to be a tonal entity, we can explain anything as having alterations, omissions, and extensions. With add11, ♭13, no5, etc., we can make sense of any combination of tones. We can understand harmonies as combinations of chords; such polychords allow any and all possibilities. We have systems of ...


26

The 'add' modifier is used if a note above the 7th is added to a triad, and if the lower tensions are not part of the chord. That's why there's a difference between a C9 and a C(add9) chord. The first has a (flat) 7th, the other one doesn't: C9 = C E G Bb D C(add9) = C E G D Another usage is to add notes that would otherwise replace another note, as is ...


19

I think the confusion here is that it doesn't matter what order the notes are in. Think of a piano for second...you can pick any D, any F# and any A anywhere on the piano regardless of what order or how much space is in between the notes and you will still have a D major triad. You can also pick 2 or 3 of any notes and you would still have a D triad. Same ...


19

iii is used, I'm not sure where you heard that it wasn't really used much. Sure, you could argue that it's used less than other diatonic chords, (Em in the chart for chords, according to this site), but it's nowhere near the point where people would hear it and go, "Whoa! What's that chord?". In popular music especially, it's often kind of a substitute for ...


17

"If I skip any note, its gonna make it another chord..." No. First: despite the 'pile of 3rds' method of constructing chords in our textbooks, in a 13th chord the 5th may be omitted, the 9th is often omitted and the 11th is ALWAYS omitted. (OK, ALWAYS is just asking for people to come up with exceptions. But it's near enough, and we're talking about the ...


16

Anything over a 7th must contain that 7th, be it major 7th or minor (b) seventh. It's been well established that the 5th (perfect) can be dispensed with, as its sound is contained in the root note. For me, 9ths must have 1,3,7 and 9 - although if there's an instrument playing the root, such as a bass, it can be pared down to 3,7 and 9. Often in jazz, a four ...


15

Kostka/Payne is one source that explains the iii chord is used relatively infrequently. But they don't simply say it isn't used. You can account for iii's use (or any other diatonic chord) through various harmonic sequences. The "falling thirds" harmonic sequence (a.k.a. Pachelbel's Canon) is one good example of iii in classical music: [I V][vi iii]... ...


14

To answer the question of whether the C chord is "really" V of V, you need to remember one simple fact about music. When you listen to music, you hear it progressing in time. Therefore, analysing any chord in terms of "what comes after it" by looking at the score is just an intellectual exercise, if it has no relationship to what the music actually sounds ...


13

You wouldn't be able to play the D and the F# at the same time because they are on the same string. The only way to play both notes would be to play the D on the 5th fret of the A string, resulting in this chord: This is far more difficult to play and the sound of the chord is arguably very similar.


13

An awful lot of guitar tutors , books and sites seem to feel that every guitar chord must be played in root position. In fairness, it is the most solid sound of a chord, in comparison to the 1st and 2nd (and 3rd) inversions. The open G shape, and open E shape chords automatically give root positions, and A shape and C shape give root if played from 5th ...


13

mode = set of notes + tonic Modes sound different, because each scale degree's distance to the tonic i.e. home note is different. The home note is in a different location relative to the other notes of the scale. The tonic is your zero-point, your viewpoint, where you place your camera: depending on where it is, everything around you is in a relatively ...


12

I see at least two reasons: Tonal music is really built on the contrast of consonance and dissonance; the inherent tension and release of that dichotomy is what moves tonal music forward. Your second progression only uses consonant major and minor triads, and so it lacks much tension. But your first progression includes a dissonant seventh chord that brings ...


11

You could ask the same about the A note. All three are just passing notes, passing from one 'good' note to another 'good' note. I call them stepping stone notes. They come on unstressed parts of the bar. The stressed points usually being beats 1 and 3. Here the A is & of 1, Gb & of 3 and E & of 4, all weak points where almost any note will not ...


11

"Dominant seventh" is a shorthand for what others call a "major-minor seventh," meaning a major triad with a minor seventh on top. If we take all notes of a major scale and create seventh chords on top of them using only the notes of that major scale, only one of these seventh chords will be a major-minor ("dominant") seventh: that built on scale-degree 5 ...


11

It's common to omit some notes when forming a chord (for various reasons; depends on the instrument and the composer). The aforementioned chord is a Fm7 (no5), which means that you play the notes that form the Fm7 chord (F A♭ C E♭), but you omit the 5th (C), thus getting Fm7 (no 5) or the notes F A♭ E♭. One of the most common chord ...


11

We can give it the label 'secondary dominant' or 'V of V' and pass on. But that's too simplistic, and reinforces a mind-set of chords being 'allowed'. Playing ANY chord is 'acceptable'. There's no requirement to stick close to the diatonic scale (and except in the most simplistic music of 300 years ago composers never have). A piece in G major will ...


11

The standard tuning of the bass strings are the same as the bottom four of standard guitar tuning - E, A, D, G - but one octave lower. The tones of chords are the same between the instruments except they sound one octave lower on bass. So A2 E3 A3 C#4 on guitar will sound A1 E2 A2 C#3 on bass guitar, and the fretting can be the same. In terms of how to ...


11

You can ask the Greek or look up the theories of Boethius, Glarean, Caspar Printz, Ernst Kurth etc ... The answers will be more traditional than opinion based. But did you look up wikipedia under characteristics / qualities of intervals? I did and couldn’t find much information. The key words are psycological effects of harmonical intervals The idea that ...


11

Stand in your kitchen and look around you. Now stand on your head in your kitchen, so that you are upside down. Do things look the same? (Or if you're not so good at gymnastics, lie on your back and try the same experiment!) The things in the room are all in the same positions relative to each other; nothing has moved. But the world looks very different ...


10

As iii is diatonic in a major key I’m sure it’s used all the time. I flipped open a song book and the first song was “she loves you” by the Beatles. Key of G, verse has two B minor chords. “Got to get you into my life” and “I feel fine” by the Beatles also in G have B minor. “I guess that’s why they call it the blues” - Elton John. In C, has E-7.


10

You write an augmented 6th chord on the flattened supertonic by applying the same Italian/French/German formula to the flattened supertonic as the conventional Italian/French/German Augmented 6ths do to the flattened submediant. For example, in C Minor, the German Augmented 6th on the flattened supertonic is D♭ - F - A♭ - B, while the regular old ...


10

An E9 would have an F♯ in it. An E7♯9 doesn't have a G in it, it has an F𝄪 (double sharp) rather than a G. While those are enharmonic equivalents, they are very different in connotation. When double sharps are introduced, there are some lines of thought where it's better to write an enharmonic equivalent that may be less accurate that go into ...


9

Conventionally, the most often skipped notes in any remotely extended chord are the 5th and any degrees above the 7th that aren't included in the chord name. For example, V13 chords in classical music almost never contain the 9th or the 11th. One major exception to these conventions is the 11th chord, where the 11th and the 3rd often are assigned notes a ...


9

Bassically, the bass guitar wasn't designed or expected to have chords played on it. The notes are low, and even playing a simple triad often doesn't sound good. Muddy describes it well. So, using a guitar and a bass, it's best to stick to one note on the bass, and the chord, or the rest of it, on the guitar. Thus, the bass could play one of the triad notes ...


9

Yes, you're right that in many genres of music pianists and guitarists have to spontaneously come up with parts based only on chord symbols (and hopefully also listening to other members of the band). This is called comping. Bass players typically also have to do this too; even if the bassline is written out in that piece that isn't always the case (and if ...


9

V sus 4 is very similar to I sus 2, just the bass note is different. You can think of Vsus4 and Isus2 as being inversions of each other.


9

That chart seems to be using a jazz chord convention mixed with Roman numerals for roots on scale degrees. In that system: plain 7 means dominant seventh chord where the triad is major and the seventh is understood to be a minor seventh. -7 or m7 means minor seventh chord where the triad is minor and the seventh is minor. M7 means major seventh chord ...


8

When I learned at school how to write strict four-part harmony I was taught never to use the iii chord (one of many rules were were given) and it is probably this 'rule' that is behind the notion that the iii chord isn't used. No, there are plenty of places where the iii chord is used. Having said that, it is generally true that it is rather less common ...


8

If I'm understanding the question correctly, it sounds like you are describing what is called appropriately enough, "Chord Melody" which is a popular method to harmonize a melody line often seen in jazz arrangements, but can be used in almost any style of popular music. I'm guessing you got your hands on some of those kind of arrangements, but I can assure ...


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