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	Chord (music) - Wikipedia, the free encyclopedia (Site not responding. Last check: 2007-10-09)
		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)

	Sixth chord -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-09)
		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 (additional info and facts about Neapolitan sixth) 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.
	www.absoluteastronomy.com /encyclopedia/s/si/sixth_chord.htm (395 words)

	Chord (music)
		Chords are also said to have a function in their diatonic scale, which relates to the expected resolution of each chord within a key.
		When a chord progression resolves to a III or VI chord, it is called a Tonic Substitution, because the stable III or VI chord is being used as a substitute for the expected I chord.
		The five down a perfect fifth to the I chord and the VII chord up a minor second to the I chord, due to the expected resolution of the tritone, or the highly unstable diminished fifth which is present in a diatonic VII chord.
	www.brainyencyclopedia.com /encyclopedia/c/ch/chord__music_.html (1719 words)

	Augmented Sixth Chords
		The Italian Sixth is the simplest of the augmented sixth chords.
		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)

	Online Music Dictionary
		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.
		Common Chord: A chord composed of a root, third, and fifth.
	www.musicoutfitters.com /dictionary.htm (5465 words)

	The Dominant Seventh and Augmented Sixth Discords (Site not responding. Last check: 2007-10-09)
		It is possible for secondary dominants to resolve to non-diatonic chords, and for the secondary tonality of which this dominant is a diatonic chord to be extended.
		The augmented sixth is a chromatic chord, in that at least one of its tones must be foreign to the key signature.
		In jazz the process of substituting a dominant seventh chord for one whose root is a tritone away is known as tritone substitution.
	www.andymilne.dial.pipex.com /Discords.shtml (1383 words)

	Humdrum Toolkit Representation Reference - Functional Harmony
		Chords are labelled according to four attributes: (1) chord root, (2) chord type, (3) inversion, and (4) chord alterations.
		Chord roots are identified according to the diatonic scale degree.
		Diminished chords are indicated by the explicit addition of the small letter `o' -- for example, the diminished triad with a root on the leading tone is denoted as "viio." Augmented chords are indicated by the explicit addition of the plus sign (+) -- e.g.
	www.music-cog.ohio-state.edu /Humdrum/representations/harm.rep.html (1484 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.
	www.acousticguitar.com /lessons/Chord_Names2/1.html (562 words)

	biology - Chord (music)
		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)

	Dolmetsch Online - Music Theory Online - Chords in Detail
		The first and fourth are major seventh 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.
		the German augmented 6th chord is derived from the raised subdominant, whereas the Swiss augmented 6th chord is derived from the raised supertonic chord.
	www.dolmetsch.com /musictheory17.htm (2502 words)

	[No title]
		Thus E is the third and Bb the seventh in a C7 chord.
		In Gb7 (a chord with a root a tritone away), E (Fb) is the seventh and Bb is the third.
		Obviously for normal chord charts it doesnt matter at all but if you write band charts, or piano arrangements out, by the way you are notating things it is an augmented sixth chord in the case of Db7 as a sub for G7.
	www.justjazz.com /ed/tri.txt (1283 words)

	[No title] (Site not responding. Last check: 2007-10-09)
		These chords are rarer because when you start leaving out notes, they start looking like other chords.
		The thirteenth degree is equivalent to the sixth degree.
		Technically this latter chord is an added fourth chord, but the added fourth is not specified since it is implied by specifying the bass note.
	www.lava.net /~newsham/progs/chords.txt (551 words)

	MUS 212 Study Guide I
		Since the sound of a German sixth chord is enharmonic with that of a major-minor seventh chord, its use as a pivot is effective and often dramatic.
		The interval between the chord's raised fifth and its seventh is a d3.
		Although not an augmented sixth chord, the chord members are usually arranged so that the interval of the augmented 6th is displayed--the lower note of the interval usually found in an inner voice rather than in the lowest voice.
	spider.georgetowncollege.edu /music/burnette/Mus212/212i.htm (405 words)

	Glossary of Music Terms for Hammered Dulcimer and Autoharp
		For example, the tones of the C major chord can be arranged into a root-position triad (C-E-G; the tone for which the chord is named is the lowest tone), first inversion (E-G-C; the third is the lowest tone), and second inversion: (G-C-E; the fifth is the lowest tone).
		It's considered a "major-minor" seventh chord because the triad is major (root-M3-5) topped by a minor seventh from the root; hence, the V7 chord in G major is D7 (D-F#-A-C).
		The suspended fourth chord (sus4) is root-4-5; Asus4 is spelled A-D-E. The suspended-second (sus2) is root-2-5; Gsus2 is spelled G-A-D. syncopation—often confused with the dotted rhythm.
	www.thedulcimerlady.com /glossary.htm (1541 words)

	CGR: Muahaha... I am awesome and you are not (AKA "Modulation via augmented sixth chords")
		The standard use an augmented sixth chord is to precede the dominant (V, in the Roman numeral system) in a chord progression.
		What happens is that you build an augmented sixth chord starting from the note that is a half-step above the 5th scale degree of your key, then when you add the augmented sixth above this lowest note, you'll get a note that is a half-step below the 5th scale degree.
		Example: In the key of C, a typical augmented sixth chord would include the notes Ab and F# moving outward to G and G (the 5th scale degree and the root of the dominant of the key).
	www.christianguitar.org /forums/showthread.php?t=79663 (1957 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)

	[No title] (Site not responding. Last check: 2007-10-09)
		The augmented sixth arises out of both mixture and chromaticism: most characteristically, the augmented sixth occurs between the lowered sixth degree of the scale and raised scale degree four.
		The French (Italian sixth plus an augmented fourth above the bass scale degree 2) moves directly to V. As with most of the chords that we know, the function of a particular chord hinges on the melodic tendencies of the bass voice and its position within a key.
		Because the majority of augmented sixth chords are built upon the lowered sixth degree in major, they often function as a chromatically altered II or IV chord.
	www.duke.edu /web/mus065/aug6.htm (352 words)

	MMC presents... Dansm's Guitar Chord Theory: Other Numbered Chords
		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.
	www.geocities.com /mike_mccracker/chords/number.htm (564 words)

	TonalityGUIDE: Augmented sixth chords (Site not responding. Last check: 2007-10-09)
		The augmented sixth, like most chromatic chords, usually leads to V. While the diminished seventh and secondary dominant are diatonic chords taken out of context, the augmented sixths does not have a direct diatonic origin.
		The effect in all three cases is of a strong tension (the dissonant augmented sixth) resolving onto the dominant (chord V).
		The German augmented sixth is enharmonically the same as a dominant seventh chord (it sounds the same but is 'spelt' differently).
	www.tonalityguide.com /xxaug6.php (407 words)

	Prokofiev's Harmonic Styles - 7 (Site not responding. Last check: 2007-10-09)
		The trait in question is the frequent use of augmented sixth chords and dominant seventh chords with the flatted fifth, by which Prokofiev attempts to create a sense of tonal ambiguity.
		Depending on the context, an augmented sixth chord can resolve either to a tonic a major sixth below the root of the chord, in which case the chord truly functions as an augmented sixth, or to a tonic a perfect fifth below the root, in which case it functions as a dominant:
		The first chord of this waltz is indeed a dominant seventh with a flatted fifth, creating a temporary sense of ambiguity, which is, however, resolved in the following measure as the flatted fifth ascends chromatically to the natural fifth of the chord.
	www3.baylor.edu /~Brian_Marks/Style07-valse.html (319 words)

	Music Terms - Get Ready - Austin Symphony
		The use of a sharp or flat to raise or lower a pitch from its natural state.
		A chord in which a note has been changed from its normal position, usually chromatically.
		A chord which contains an augmented sixth above the bass, in addition to various other tones, which determine whether the chord is a German Sixth Chord, French Sixth Chord, Italian Sixth Chord, Neopolitan Sixth Chord, or Doubly Augmented Sixth Chord.
	www.austinsymphony.org /music/index.asp?LT=A (560 words)

	ipedia.com: Augmented sixth chord Article (Site not responding. Last check: 2007-10-09)
		An augmented sixth chord is a chord which has the interval of an augmented sixth between its highest and lowest notes and also a major third above the lowest note.
		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.
		All augmented sixth chords have a flattened sub-mediant (sixth degree of the scale (A flat in C major, for example) and a raised fourth (F# in C).
	www.ipedia.com /augmented_sixth_chord.html (252 words)

	Rothstein's Response to Rothgeb's Tristan Chord Essay
		Along with Deryck Cooke, I hear the ascending sixth A3-F4, in upbeat-to-downbeat-rhythm, as an arpeggiation from the fifth to the third of a D-minor triad, which proves to be IV of A minor (3); the other two ascending sixths, in mm.
		It is a simple matter to substitute the first chord in Example 1f, IV, for the tonic triad in Examples 1a-1e; the progression from level to level remains essentially the same.
		(6) In both operas, the pre-dominant chord used is generally an augmented-sixth chord of some kind; the minor third from ^#7 to ^2 is expressed as a leap, not a slide.
	www.societymusictheory.org /mto/issues/mto.95.1.3/mto.95.1.3.rothstein.html (2411 words)

	The Neapolitan-Sixth: A "Chromaticized" II Chord (Site not responding. Last check: 2007-10-09)
		In minor mode, a II chord in first inversion sometimes appears NOT with diatonic scale degree 2 in the melody, BUT WITH chromaticized (lowered) scale degree 2 ("flat" 2 in some keys (c-minor, g-minor, etc.) "natural" 2 in keys like c# minor, f# minor, etc.).
		In root position, the Neapolitan chord is a major triad whose root is lowered scale degree 2 ("flat" 2 or "nat." 2) Because of its distinctive position a semitone above the tonic, the Neapolitan chord is sometimes called Phrygian II.
		The Neapolitan sixth chord most frequently appears in first inversion as part of an intensified cadential progression.
	www.duke.edu /web/mus065/n6th.htm (458 words)

	CGR: Augmented 6th chords
		The whole point is that the interval of an augmented sixth, for which the chord is named, resolves outward by contrary half-step motion to an octave on the root of a V chord.
		You should note that the interval of an augmented sixth is enharmonically equivalent to that of a minor seventh.
		In fact, one form of the augmented sixth chord (the so-called German form) is actually enharmonically equivalent to a dominant seventh form of chord.
	www.christianguitar.org /forums/showthread.php?t=86236 (1101 words)

	[No title] (Site not responding. Last check: 2007-10-09)
		Someone has mentioned that sixth chords as for example F6, are not technically a part of traditional harmony.
		Cadences are chord progressions which establish a scale.
		Let's take the major C scale (which else?) C D E F G A B A chord you can begin with is the C major chord, i.e.the I: So three notes of the seven are established.
	www.roughstock.com /cowpie/resources/SixthChords.txt (574 words)

	[No title] (Site not responding. Last check: 2007-10-09)
		The learner will be able to describe the position occupied by borrowed chords in a chord progression.
		The learner will be able to identify the enharmonic German sixth chord and describe the circumstances under which it can exist.
		The learner will be able to describe the position of an augmented sixth chord in a harmonic progression.
	www.kckcc.cc.ks.us /syllabi/doc/MUSC0213.DOC (2364 words)

	Augmented Sixth Chord Tutorial
		These two leading tones are never used together in the 16th century, but could definitely, according to W. Francis McBeth be a predecessor to the two leading tones to the dominant found in all augmented sixth chords.
		Later composers chose to use the augmented sixth resolution to V instead of I, because as theory progressed, the ornamentation or strengthening of the chords that resolved to V became preferred over the ornamentation or strengthening of the sonorities that resolved to tonic.
		Each of the three augmented sixth chords begins with determining the two leading tones to the dominant (the sharp-4th scale degree and the flat-6th scale degree).
	www.samford.edu /~rdremley/Tutorials/augmented6th/aug6th.html (435 words)

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