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Sixth chord

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	Sixth chord - Wikipedia, the free encyclopedia
		An added sixth chord built on C consists of the notes C, E, G, and the added sixth A. These are the same notes as those of an A minor seventh chord - whether such a chord should be regarded as an added sixth chord or a seventh depends on its context and harmonic function.
		According to the interval strengths of the added sixth chord the root of the strongest interval of the chord in first inversion (CEGA), the perfect fifth (C-G), is the bottom (C), the tonic.
		The Neapolitan sixth is the first inversion of a major triad built on the flattened supertonic (second degree of the scale) - a Neapolitan sixth in C major, therefore, consists of the notes D flat, F and A flat.
	en.wikipedia.org /wiki/Sixth_chord (486 words)

	Chord (music) - Wikipedia, the free encyclopedia
		Chords are also distinguished and notated by the scale degree of their root note or bass note.
		Seventh chords are constructed by adding a fourth note to a triad, at the interval of a third above the fifth of the chord.
		All pop-music chords are assumed to be in root position, with the root of the chord in the bass.
	en.wikipedia.org /wiki/Chord_(music) (3639 words)

	Augmented Sixth Chords
		The chord that resulted from this substitution contained the interval of the augmented sixth between scale degree #4, usually occurring in the soprano, and scale degree 6, the lowered sixth scale degree from the natural minor usually occurring in the bass.
		The resolution determines the identity of the chord, and the resolution determines whether the chord is spelled as a dominant 7th or a German 6/5.
		The note determining the functional identity of the chord is the seventh of the dominant 7th and the "root" of the German 6/5 (the note that usually appears in the soprano and forms the interval of the augmented sixth with the bass).
	www.utexas.edu /courses/mus612b/fmain/fdocs/notes/augsixth.html (2293 words)

	Added tone chord - Biocrawler (Site not responding. Last check: 2007-10-25)
		An added tone chord is a triadic chord with an extra "added" note, such as the added sixth.
		A suspended chord is a chord in which the third is replaced or accompanied by either a fourth or a major second, although the fourth is far more common.
		This type of sound is borrowed from the contrapuntal technique of suspension, where a note from a previous chord is carried over to the next chord, and then resolved down to the third or tonic, suspending a note from the previous chord.
	www.biocrawler.com /encyclopedia/Added_tone (275 words)

	An Introduction To Chords
		A major chord consists of a 'root' (the note on which the chord is based, usually also the lowest note of the chord), the note a 'major third' (four half-steps) higher than the root, and the note a 'minor third' (three half- steps) higher than the second note.
		C9 means to take a C major chord and add the ninth tone of the C-major scale to it, so C9 would be composed of c, e, g, c, and d, in that order (though on guitar the d might be added an octave lower (the second) instead).
		This "seventh chord as the dominant of a scale" is known as a "dominant seventh" or "major-minor seventh", and the term "seventh chord", if not modified somehow, almost always refers to this chord.
	www.radix.net /~dglenn/chords/chords.html (3231 words)

	MUS 112 Study Guide M
		While the seventh added to a triad has been considered a chord tone for the past few hundred years, the interval of the seventh is also remains a dissonance.
		When the seventh chord is repeated, the seventh may appear in another voice; the last seventh in the series resolves conventionally (descends a step).
		When the seventh chord is arpeggiated, the resolution of the seventh may be delayed, or even implied.
	spider.georgetowncollege.edu /music/burnette/MUS112/112m.htm (517 words)

	Classical New Jersey Society - In Other Words - A
		In pop music of the 30s and 40s an added sixth chord was a familiar sound accompanying and especially ending a ballad.
		Chords played one tone at a time, as if played on a harp, which is Arpa in Italian, thus Arp-eggiated.
		The distance from A-flat to F-sharp is the characteristic "augmented sixth".
	classicalnjsociety.org /IOW/IOW_A.htm (1987 words)

	Online Music Dictionary
		Augmented Sixth Chord: A chord which contains an augmented sixth above the bass, in addition to various other tones, which determine weather the chord is a German Sixth Chord, French Sixth Chord, Italian Sixth Chord, Neopolitan Sixth, or Doubly Augmented Sixth Chord.
		Borrowed Chord: Use of a chord in a key in which it is not diatonic, or the substitution of a chord from a different key into a work.
		Chord: A set of notes, usually three or four, played simultaniously--usually containing a root, and other tones which have a tonal relationship to that root.
	www.musicoutfitters.com /dictionary.htm (5490 words)

	Music Theory: Harmony: Other Chord Types
		Often, the names of these chords are derived from the classical theory, but classical musician often scoff at the notion of, for example, a "sus" chord, pointing out that a suspension, from which the abbreviation "sus" occurs, is a melodic device not a harmonic one.
		The sus chord actually implies the same scale as an ordinary dominant seventh chord, as will be seen later, but the notation suggests to the improvisor that the fourth should be emphasized rather than the third.
		This chord might also be notated m7b9, since this is the most straightforward way of representing the phrygian mode, but it is more often notated 7susb9, since the chord itself has a fourth rather than a third.
	www.outsideshore.com /school/music/almanac/html/Music_Theory/Harmony/Other_Chord_Types.htm (1266 words)

	FallNet - was expecting a free tea kettle from Granada TV. It did not materialise.
		The F chord seems as though it is occasionally some type of E chord, also (which makes for a standard 14V-V relationship between E, A, and B, but again, one that is turned dissonant by the counterpoint between the instruments playing different things and the slightly-dissonant augmentations of the chords).
		Added noises from a piano, prepared tapes, and hand claps begin in the second verse, but only pop up for single notes or single noises, and low in the mix such that their total effect creates a barely noticed ambiance throughout the song.
		A one chord foundation and a ridiculously quick, galloping rhythm is outlined by the bass riff (which features the dissonant jump from the major third to the blues-inflected minor-seventh, a similar minor dissonance to the diminished fifth riff in the preceding 'An Older Lover, Etc.").
	www.visi.com /fall/news/990110.html (5889 words)

	Lesson- 'What Chord Names Mean, Part 2'
		The reason behind all this bonehead theorizing is that once you understand how chords are put together and labeled, you’ll be quicker on the uptake when it’s time to interpret that string of chord symbols marching across the page of a transcription, songbook, or chart.
		Sixth chords are, relatively speaking, a piece of cake.
		Theory ideally follows practice, and in recent years guitar chord notation has caught up with what actually goes on in the real world, namely, that guitarists often abbreviate their chords by just pounding out the bottom two strings of the chord, or the root and fifth.
	acousticguitar.com /lessons/Chord_Names2/1.html (562 words)

	Added tone chord
		An added tone chord is a triadic chord with an extra "added" note, such as the added
		A suspended chord is a chord in which the
		However, in a suspended chord the added tone does not necessarily resolve.
	www.mp3.fm /Added_tone_chord.htm (202 words)

	Bassentials.com
		A C triad can be enhanced by adding a ninth (D), and is usually labeled a "C add9." It may also be written as a "C(9)." The parentheses indicate that there is no seventh in the chord.
		It is very similar to a "sus" chord except that an eleventh chord is supported by a ninth in the harmony and has a flatted seventh.
		Because of the presence of the flatted seventh in the chord, it is heard as a "dominant" chord, with the third being replaced by the fourth.
	www.bassentials.com /tnsns.html (717 words)

	Musikindo - Indonesian Music Sites
		Chords can be varied in many ways: you can add notes to an existing chord (e.g., the sixth), replace chord tones (e.g., use the fourth instead of the third), alter chord tones by flattening or raising them, and many combinations of the ones mentioned above.
		In traditional harmony, these chords are thought of as tension chords, meaning they have to be resolved into their corresponding tonic chord (down a fifth).
		It is regarded as part of the chord, not as an option (as, for example, are the ninth, eleventh and thirteenth).
	www.musikindo.com /indexx.php?do=lessons1 (843 words)

	Chromatic Chords
		This chord precedes a diatonic triad, and is its dominant, or its VIIo (the leading-tone triad, or VIIo7, the leading-tone seventh chord).
		This chord most often progresses to the dominant, or the cadential 6/4, and then V. It is theoretically possible to place an augmented sixth chord on other scale degrees, but this procedure is rare and limited to late 19th century music.
		The chord represents an chromatic modification of the the IV6 in the so-called "Phrygian" cadence.
	www.msu.edu /~bruce/chromatic.htm (1866 words)

	Dolmetsch Online - Music Theory Online - Chords in Detail
		The first and fourth are major seventh chords (also called 'Delta chords' or Δ chords'), the second, third and sixth are minor seventh chords, the fifth is a dominant seventh chord while the last, the seventh, is called a minor seventh flat five chord.
		Thus, a small a after the chord name denotes a chord in root position (although this is usually omitted), a small b indicates that the chord is in first position, a small c that the chord is a second inversion, and so on.
		A figure 2 is added to the end of the chord name, with a slash in the case of a power chord.
	www.dolmetsch.com /musictheory17.htm (2483 words)

	Complete List of Chord Patterns - Wikibooks, collection of open-content textbooks
		When a note is added to these chords in a manner that does not fit the tables above, it is often written "addX", where X is the number of the added note, e.g., add6 for an added sixth.
		The "added ninth" is more common, especially since it is rare that one wants to add a major second that is literally one whole tone away from the first (and possibly a third as well).
		Implied chords are also often used when there are constant chord changes throughout a section (several per measure), and marking each one would make little sense, so the "underlying" chord is chosen (usually a chord the others are temporarily centered around).
	en.wikibooks.org /wiki/Complete_List_of_Chord_Patterns (1473 words)

	Lesson- 'What Chord Names Mean'
		Any time you add a second, fourth, or sixth to some kind of seventh chord, it's called by its upper name: that is, ninth, 11th, or 13th.
		When added to a chord, ninths, 11ths, and 13ths are usually called upper extensions.
		Thirteenth and ninth chords can be substituted for regular dominant-seventh chords when you want to take things in a more jazz-inflected direction; try Example 4, the first four bars of a blues in A using A13 and D9.
	www.acousticguitar.com /lessons/Chord_Names2/3.html (406 words)

	BERKLEE \| Glossary
		The 7th of a chord is often considered a chord tone, rather than a tension.
		Adding a sharp nine tension to a dominant 7th chord is an example of such a mixture.
		Diminished seventh chord: a chord consisting of a root, minor third, diminished fifth and diminished seventh.
	www.berklee.edu /core/glossary.html (1538 words)

	Other Chromatic Chords
		All of the chords in this section were not randomly "invented" by theorists, but rather, came about by experimentation by composers who used these harmonies frequently and consistently enough for their inclusion in our discussion of tonal theory.
		These chords usually occur in root position and after a tonic triad (in major keys) and normally resolve back to tonic, to the dominant, or continue in root movement by successive thirds.
		When these chords are encountered, it is important to remember that music is an art, and it is often the moments when composers write passages "outside the norm" that music becomes it’s most expressive.
	www.smu.edu /totw/chromat.htm (912 words)

	Augmented sixth chord
		For example, an augmented sixth chord with an A flat in the bass consists of the notes (from the bottom up) A flat, C, F sharp.
		Walter Piston (1987) also defines the Swiss sixth, which is simply a German augmented sixth chord spelled with a raised second scale degree instead of a lowered third scale degree (i.e., D sharp instead of E flat in C major).
		These chords are unique in tertial harmony in that they contain intervals other than major and minor thirds.
	www.mp3.fm /Augmented_sixth_chord.htm (276 words)

	Dansm's Guitar Chord Theory: Other Numbered Chords (Site not responding. Last check: 2007-10-25)
		The lowest note played is the root note, so the root note of the chord 133xxx appears on the sixth string, and the root note of the chord x133xx appears on the fifth string.
		To create your own 5 chords, first figure out what the root note is. As an example, in the case of B5 the root note is B. Then, find out where that note is on the fretboard.
		Sixth chords are similar to major or minor chords because they contain a root, third, and fifth.
	scenicnewengland.net /guitar/chords/number.htm (564 words)

	Lessons
		C major chord has notes C, E and G and is written as C. A minor chord is just a major chord with a b3, so its notes are 1,b3 and 5.
		A (dominant) seventh chord is just a major chord with the b7 note of a major scale added to it, so it's notes are 1,3,5 and b7.
		A minor seventh chord is just a minor chord with the b7th note of the major scale added to it, so it's notes are 1, b3, 5, and b7.
	www.justjazz.com /Lessons/lessons.html (1440 words)

	Guitar Nine Records - Guest Column: The ii - V - I Chord Progression
		For example, a dominant chord with, let's say, a #9 and a #5 on the top comes only from the altered scale - the soloist is pretty much stuck with the altered scale as choice to improvise with.
		Voice leading is sheer perfection; the minor seventh of the Dmin7 chord gets lowered to the major 3rd of the G7 chord, while the minor third of the same Dmin7 chord stays where it is and becomes the minor seventh of the G7 chord.
		The root on the Ab chord is on the fourth string so it is probably safe to leave in when playing with a bassist because it is in a high enough register.
	www.guitar9.com /columnist227.html (717 words)

	CMS 2005 National Conference - Abstracts (Site not responding. Last check: 2007-10-25)
		An apparently unintended by-product of this technology, however, was a musical device that has proven to be the harp’s most idiomatic: effortless glissandos of every description, facilitated by the copious availability of enharmonic equivalents.
		These 'enharmonic,' or 'chordal' glissandos often featured such novel -- but altogether diatonic -- harmonies as the added sixth chord and the pentatonic scale (i.e., the triad plus sixth and ninth).
		In this paper, I explain the role that harp builders, harp composers, and harp virtuosos played in the development of additive harmony by considering the theory and practice of the chordal glissando and its apparent influence on the pianistic habits of Chopin, Kalkbrenner, Thalberg, and Liszt.
	www.music.org /html/2005abstracts/day-oconnell_j.html (193 words)

	lesson 5
		In describing chords we have previously noted the relationship of an individual pitch to a root.
		Therefore to construct an added sixth chord, we start with the major chard and add to it a note which is a 6th from the root.
		Chords may be embellished and substituted to add INTEREST and avoid MONOTONY but the basic pattern of chard movement to and from the sound centre and the basic tendency to move down a 5th remain fundamental.
	www.themeister.co.uk /dixie/lesson5.htm (3942 words)

	Chord Camp #8 (Site not responding. Last check: 2007-10-25)
		The fifth chord is an A7, of course.
		And the sixth chord is, the same thing it was the first time, an A13.
		The seventh chord from the top (the one at the very bottom) is an A7 (A, C#, E, and G).
	www.daddydoodle.com /cc8.html (535 words)

	Journal of Seventeenth-Century Music \| Vol. 10 No. 1 \| A Schenkerian Look at Lully, Gregory Proctor
		3.7 In later styles such as Bach’s, it is easy to accept the implication of a II chord, a seventh chord, or an added sixth chord, but in seventeenth-century style, saturated as it is with triads and with few seventh chords, it is harder to make such assumptions.
		The F chord marked with the asterisk cannot easily be assumed to have a d'' in it.
		A dance is added to the end of the scene in the source—dramatically part of the next scene, but since no speaking character has entered, only dancers, the scene change is not labeled until after the dance.
	sscm-jscm.press.uiuc.edu /jscm/v10/no1/proctor.html (9282 words)

	[No title] (Site not responding. Last check: 2007-10-25)
		After this, the chord progression could end in the Imaj chord, leading to the beginning of a new section, or could continue with a V7-Imaj progression, with a similar effect.
		Of course, the minor subdominant chord could be used as a stand-alone chord.
		The minor subdominant could also be coloured by an added sixth, as described in the previous part.
	www.guitarpress.com /h4.html (165 words)

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