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Topic: Chord sequence

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Chord progression

Dominant seventh

Chord (music)

Three chord song

Augmented chord

Diminished chord

Diatonic functionality

Tonality

Modulation (music)

Twelve bar blues

Harmony

Key (music)

Scale (music)

Mathematics of musical scales

Musical notation

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	Chord (music) - Wikipedia, the free encyclopedia
		Chords constructed from seconds are secundal, and from fourths are quartal.
		Chords are also distinguished and notated by the scale degree, pitch, or note of their root and bass, although there are many different conventions for indicating the quality of the chord, and the inversion of the chord (determined by which note of the chord serves as the bass note); see Inverted triads below).
		A minor chord, such as the triad on D, has a smaller interval from root to third called a minor third, and the chord is D minor.
	en.wikipedia.org /wiki/Chord_(music) (2083 words)

	[No title]
		Chord memorization is tedious and frustrating for the students.
		If the player has three or four cards forming a chord, the chord sequence is placed on the table.
		If the player does not have a chord sequence, one card from hand is discarded face up on pile and play moves to next person.
	edweb.sdsu.edu /courses/edtec670/cardboard/Card/S/StrikeAChord.html (955 words)

	Terry's Banjo Chords Tutor Menu (Site not responding. Last check: 2007-10-22)
		Taking this V-I chord progression with an extended harmony on the V chord we learned in the extended harmony section that the chord could be played in upper and lower partials.
		This idea of splitting the chords was developed further by playing the first chord originally from major to minor (moving up and down from the major third to the minor third is a frequently used device in blues) and then the later development of substituting the diminished for the minor(which used the minor 3rd).
		When playing the tune Beaumont rag in C this last sequence is very suitable using forward roll on one chord and backward roll on the next one at the end of the tune.
	www.ukbanjo.com /chordp.htm (1039 words)

	[No title]
		A chord substitution rule is a kind of “rewriting rule”, which allows to transform any subsequence of chords into another subsequence of chords, which is harmonically equivalent.
		Jazz chord sequences are gathered in well known books, such as the Real Book (1981), the Fake book (1983), or the Charlie Parker Omnibook (1978) which contain about 2000 Jazz chord sequences composed in the 50s or the 60s.
		This description of the algebra of chord sequences raises a corresponding analysis problem: how to infer, from a given sequence and a rule set, a derivation tree that explains how the sequence may be derived from a basic, axiomatic sequence.
	www.ai.univ-paris8.fr /~jim99/actes_html/PachetJIM99.htm (5308 words)

	Chord progressions
		The circle of fifths can be used to create chord progressions by starting with any chord on the circle and moving in either direction using as many or as few consecutive chord roots as you like to produce a new chord sequence.
		For example, in the “B7-E7-A7-D7-G7-C” progression the “B7” is the “V” of the “E7” chord and the “E7” is the “V” of the “A7” chord.
		Similarly, the “A7” is the “V” of the “D7” chord and the “D7” is the “V” of the “G7” chord.
	www.easy-song-writing.com /articles/chordProgressions.asp (2945 words)

	SPEW: June 24, 1999: print my music far and wide
		The second sequence involved an explicit modulating chord, the b#m (that is, C minor), which is constructed to be diatonic with the previous A# chord.
		The 7 in the B chord is added for the latter half of it as a "flavor", not as functionality.
		Note, however, that not until the G chord is reached is it clear that a modulation away from E is occuring, since the c#m is not from F#, and the g#m is common to both E and F#.
	www.nothings.org /writing/spew/990624.html (3623 words)

	biology - Chord (music) (Site not responding. Last check: 2007-10-22)
		In music and music theory, a chord (from the middle English cord, short for accord) is three or more different notes or pitches sounding simultaneously, or nearly simultaneously, over a period of time.
		Played well, the chord progression should be harder for the untrained ear to separate out the chords from the rest of the song, quite opposite to the lead melody, which has the listener's total conscious attention.
		One of the reasons that listeners usually only remember the melody and not the chord progressions of a song (apart from the fact that the words of the song are sung to its melody) is that the chords comprise two or more simultaneous notes rather than one as in a melody.
	www.biologydaily.com /biology/Chord_(music) (2313 words)

	Music database
		Type the required sequence of notes in lower case; for major keys, give them as they would appear in the key of C, for minor keys, as they would appear in A minor.
		For options requiring a chord sequence (chords etc) the chord names are in capital letters, e.g.
		with "m" for minor and "7" for dominant seventh chords (that's all the choice at the moment).
	www.cs.nott.ac.uk /~ef/music/MusicBrowse.htm (582 words)

	Flat-5 Definition and Example
		The numbers come from the root-note of each chord, counting from the note that has the same name as the key, in this case, C. The Dm chord (root-note is D) is the 2 chord because, in the C scale, D is the second note.
		This sequence of chords is called "Harmonic Resolution." Once a key is established, the chords cause many listeners to feel that the chords must move, and in a particular direction.
		Whether the new chords are Major or minor will depend on the key of the song and whether we need a Major or minor third (or even a diminished chord) to comply with the "diatonic" notes ("in the scale based on the key").
	www.flat5.net /flat5def.htm (1324 words)

	Song Titles (Site not responding. Last check: 2007-10-22)
		This means that once the nashville chord sequence has been identified for a particular piece of music, that music may be performed in any key and by any instrument of any pitch providing the root chord is identified as numeric symbol ‘1’ for that instrument and piece of music.
		A study of the previous example of a chord progression in ‘Eb’ shows that the root chord (chord #1) is in fact ‘Eb’.
		This is because the 7th interval of the scale of ‘G’ is ‘F#’ and the numeric prefix is for this to be flat 'b', which results in a chord of ‘F’ and because of the suffix '7', it is also a dominant 7th.
	www.midnitesun.co.uk /otherhtm/nashville.htm (512 words)

	Basic chord progressions (illustrated on Guitar)_@TheCipher.com
		There are two versions of this chart: a small view encompassing the entire sequence, and a two page large view dividing the sequence into two halves (slightly larger than half) ”I through V” and “ IV through I”.
		This sequence of chords constitutes the greater pallet of triads of Major.
		When studying four-part harmony, triads are often played using inverted voicings (where the third or fifth of the chord is lowest or in the bass, rather than the root) and with one of their tones doubled, e.g.
	www.thecipher.com /chord-progressions.html (1923 words)

	Bontempi MRS 52/D (Site not responding. Last check: 2007-10-22)
		Strange is that when chord notes are held by "chord memory" (with all keys released), it doesn't prevent the delay of a delayed main voice vibrato despite the held chord notes are still played with their vibrato; instead it simply stops the vibrato and then fades it in when the first key is pressed again.
		When "chord memory" is off, the accompaniment falls silent by releasing the chord keys, which makes it possible to play with rhythms in interesting ways.
		Chords are normally entered stepwise by playing a chord (or no chord for pause) and simultaneously pressing "half" or "whole" for 1/2 or 1 bar long chord.
	users.informatik.haw-hamburg.de /~windle_c/TableHooters/Bontempi_MRS52D.html (1609 words)

	cp4 (Site not responding. Last check: 2007-10-22)
		Chord "(1)" is the first chord in the progression.
		Chord "(2)" is the second chord in the progression.
		Chord "(3)" is the third chord in the progression.
	otto.cmr.fsu.edu /memt/video/cp4.html (222 words)

	Harmony browser (Site not responding. Last check: 2007-10-22)
		Tri marks all chords, that could be tritone substitutes (their bass note is at a tritone interval from the selected chord).
		The default is, that on chord lasts one bar, but you may change this in the settings menu in the harmony browser.
		It assumes, that the 4 notes with the largest sum of length are the chords present in the song and changes them to the 4 notes from the first chord of your chord selection.
	www.jazzware.com /docs/html/jazz57.html (999 words)

	Home Recording dot com BBS - what key would this be?
		Am-Dm-Em is the usual "three chord" sequence for Am, but you can also use C (the relative major of Am) F (ditto of Dm) and G (ditto of Em).
		If we were notating that chord in music theory it would be V#3, to indicate that the third is raised from what it normally would be in that key, which is A natural minor, which has no sharps or flats.
		The E chord is the one that presents the soloing "problem," and there are several options for it, especially if you wanted to get jazzier.
	homerecording.com /bbs/showthread.php?t=159909 (2090 words)

	BBC - Radio 2 - Sold on Song - Songwriting Guides - Writing a song
		The melody and chord sequence in a song complement each other, often using the same notes to create a harmonious and musically pleasing effect.
		This sequence is usually repeated several times; sometimes a different sequence is used within the chorus and even another for the middle 8.
		Don't be afraid to use a famous chord sequence as the basis for your song.
	www.bbc.co.uk /radio2/soldonsong/guide/song_harmony.shtml (764 words)

	basictheory1
		If we want to play a chord that is harmonic to, and follows the tone direction of each note in a scale (or melody or musical passage), all we have to do is write the scale out (or know it by heart) and use the scale's notes to derive the harmonic chords.
		Now for the chord harmonic and tonal to the note D, we would STILL build the D chord on the notes in C MAJOR scale, but use the note D as note number 1 for the D chord we need: So our D scale would be D, E, F, G, A, B, C, D.
		For Minor scales, the chords I, IV and V are minor and the rest are major except the VII is half diminished again.
	www.homestead.com /dennysguitars/basictheory1.html (5964 words)

	Chord Sequence Maker download page (Site not responding. Last check: 2007-10-22)
		ChordSequenceMaker is a tool for creating and transforming jazz chord sequences using chord substitution rules.
		The tool is based on an explicit representation of chord substitutions, seen as a primary notion for creating and understanding tonal (jazz in particular) chord sequences.
		Sequences are then realized in real time using a case-based system.
	music.csl.sony.fr /ChordSequenceMaker (202 words)

	Dolmetsch Online - Music Theory Online - Chords & Cadences
		The most 'stable' chord will be the tonic chord and so any sequence ending with the tonic chord will seem to have reached a 'completion' while those ending on other chords will seem still to be unresolved.
		There is a second sequence of chords that incorporates both the features we mentioned above and this uses a dominant 7th in place of the dominant chord above.
		The plagal or church cadence replaces the dominant, or dominant 7th chord, with a subdominant chord, that is a chord on the 4th.
	www.dolmetsch.com /musictheory22.htm (1977 words)

	lesson 8 (Site not responding. Last check: 2007-10-22)
		This is because the seventh is not part of the scale of the chord note but is part of the scale of the chord note which is a 5th lower.
		The raw material is the arpeggiated chord and the associated decoration but much of the creativity and excitement comes from putting them into a continuity which forms a recognisable rising and falling shape.
		With a succession of 7th chords remember the ear will be ‘expecting’ to move down a 5th, so if the progression is building up tension by delaying resolution to a tonic with another 7th, the important distinction will again be the new 7th.
	www.meister.u-net.com /dixie/lesson8.htm (3590 words)

	My OS X Programming Blog
		For each chord in a sequence (e.g., Dm7), find the set of scales (e.g., C major, F major, and Bb major) that may be played over it.
		The first step in generating a walking bassline from a given chord sequence might be to analyze the tonality of each chord.
		Also reading A Meta-Level Architecture for Analysing Jazz Chord Sequences and Representing Knowledge Used by Jazz Musicians, both by Pachet, helps a little, where it was said that there are meta-rules and rule packs.
	members.shaw.ca /akochoi/2004/01-25 (875 words)

	Dylan bob "What can i" Guitar chords (Site not responding. Last check: 2007-10-22)
		Chord sequence 2 Dbm B A Abm ????????????????????
		Use Chord sequence 1 You have laid down you....
		Interlude Chord sequence 1 You have given all there i...
	www.fretplay.com /tabs/d/dylan_bob/what_can_i-crd.shtml (331 words)

	* I need a new chord sequence* - Musician Forums
		I have a band and we have wrote maybe 25 songs, but in the past three months i've had writters block does any one have a good chord sequence i will give you credit, when i play at gigs.
		4th, 6th (minor chord), 9th (sus4 chord if you want to stay in key, but major chord works also), 6th (minor chord again).
		This is different from the standard T shape of 1 3 4 5 (not necessarily in that order), but still sounds pretty cool and actually kinda sets up a mysterious vibe due to changing between major and minor chords the whole time.
	www.musicianforums.com /forums/showthread.php?t=23742 (208 words)

	Frankie Spetich's Music (Site not responding. Last check: 2007-10-22)
		The color-codes assigned to the BASS, CHORD, and "rest" are distinctive for a reason.
		They provide a visual cue of which button to strike, and in which sequence.
		Not all FRAMES will show the same sequence, so be prepared to implement what you see.
	www.frankie-spetich.com /page_8.html (341 words)

	I Got Rhythm
		Standards that are used for jazz often have a 32 bar sequence with an AABA form.
		The chord changes are of course subject to regional/stylistic variations.
		This can have the same melodic effect as a suspended 4th on each chord - the G of the Am7 resolves to the F# of the D7.
	www.petethomas.co.uk /jazz-i-got-rhythm.html (308 words)

	Jazz-Primer (Site not responding. Last check: 2007-10-22)
		By adding an additional note to the previous chord fill we produce a very melodic chord sequence.
		Using a Gm7 run leading to the chord sequence is also very effective.
		Both the 6th string and the 2nd string tones are leading to the tonic chord.
	jazz-primer.com /Skill5.html (95 words)

	Missing Time chord sequence (Site not responding. Last check: 2007-10-22)
		I'd swear the first chord is A min Maj 7, but Fred plays a descending run down the C# harmonic minor scale.
		C# isn't a chord tone of A minMaj7.
		It almost seems that it's just one chord and the keyboard plaer is just changing voicings and tensions, or maybe 2 alternating chords.
	www.tandjent.com /meshforum/viewtopic.php?t=473 (1416 words)

	Circle Progressions : Lesson by Rich Scott
		This series of chords demonstrates the strong tendency or pull of the "V" (dominant) to "I" (tonic) chord.
		The possible progression combinations that can be created using the circle of fifths are almost endless and are found in classical music as well as in jazz and popular songs.
		This lesson is an excerpt from Chord Progressions For Songwriters © 2003 by Richard J. Scott, available on-line from Amazon and Barnes & Noble.
	www.guitarnoise.com /article.php?id=347 (3122 words)

	Jazz books - Improv Lessons on CD
		Technique exercise: Chromatic Seconds in the upper register
		B7 alt play along for V7 Altered Chord
		Chord Study - Just Friends C, Bb and Eb
	www.beecroft.de /Jazz_Books/Jazz_Books_LessonCD.html (124 words)

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