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| [[File:Classical spectacular07.jpg|thumb|right|300px|[[Musical instrument|Instruments]] and voices playing and singing different [[note]]s create chords.]]
| | Some person who wrote some article is [https://www.google.com/search?hl=en&gl=us&tbm=nws&q=called+Leland&btnI=lucky called Leland] but it's not this most masucline name around the world. To go to karaoke is the thing your boyfriend loves most of all. He will work as a cashier. His wife and him live back in Massachusetts and he is bound to have everything that he needs and wants there. He's not godd at design but consider want to check its website: http://prometeu.net<br><br>My weblog; [http://prometeu.net clash of clans gold glitch] |
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| :''This article describes pitch simultaneity and harmony in music. For other meanings of the word, see [[Chord (disambiguation)|Chord]].''
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| A '''chord''' in [[music]] is any [[harmony|harmonic]] set of two or more [[note (music)|notes]] that is heard as if sounding [[Simultaneity (music)|simultaneously]].<ref>Benward & Saker (2003). ''Music: In Theory and Practice, Vol. I'', p. 67&359. Seventh Edition. ISBN 978-0-07-294262-0."A ''chord'' is a harmonic unit with at least three different tones sounding simultaneously." "A combination of three or more pitches sounding at the same time."</ref><ref>{{cite book |title=Introducing Music |last=Károlyi |first=Otto |year=1965 |publisher=Penguin Books |page=63 |quote=Two or more notes sounding simultaneously are known as a ''chord''.}}</ref> These need not actually be played together: [[arpeggio]]s and broken chords may for many practical and theoretical purposes be understood as chords. Chords and [[Chord progression|sequences of chords]] are frequently used in modern Western, West African<ref>Mitchell, Barry (January 16, 2008). "[http://theoryofmusic.wordpress.com/2008/01/16/an-explanation-for-the-emergence-of-jazz-1956/ An explanation for the emergence of Jazz (1956)]", ''Theory of Music''.</ref> and Oceanian<ref>Linkels, Ad, ''The Real Music of Paradise"'', In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), ''World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific'', pp 218–229. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0</ref> music, whereas they are absent from the music of many other parts of the world.<ref name="Malm">Malm, William P. (1996). ''Music Cultures of the Pacific, the Near East, and Asia''. p.15. ISBN 0-13-182387-6. Third edition: "Indeed this harmonic orientation is one of the major differences between Western and much non-Western music."</ref>
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| The most frequently encountered chords are [[Triad (music)|triads]], so called because they consist of three distinct notes: further notes may be added to give [[seventh chord]]s, [[extended chord]]s, or [[added tone chord]]s. The most [[Common chord (music)|common chord]]s are the ''[[major chord|major]]'' and ''[[minor chord|minor]] [[Triad (music)|triads]]'' and then the ''[[augmented triad|augmented]]'' and ''[[diminished triad|diminished]] [[Triad (music)|triads]]''. The descriptions "major", "minor", "augmented" and "diminished" are sometimes referred to collectively as chordal '''"quality"'''. Chords are also commonly classed by their [[root (chord)|root]] note so, for instance, the chord '''C''' Major may be described as a triad of major quality built upon the note '''C'''. Chords may also be classified by [[inversion (music)|inversion]], the order in which their notes are stacked.
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| A series of chords is called a [[chord progression]]. Although any chord may in principle be followed by any other chord, certain patterns of chords have been accepted as establishing [[Key (music)|key]] in [[Common practice harmony|common-practice harmony]]. In order to describe this, chords are numbered, using [[Roman numerals]], upwards from the key-note<ref name="Schoenberg">Arnold Schoenberg, ''Structural Functions of Harmony'', Faber and Faber, 1983, p.1-2.</ref> ''(See [[diatonic function]])''. Common ways of [[#Notation|notating or representing chords]]<ref name="B&S">Benward & Saker (2003), p. 77.</ref> in western music other than conventional [[staff notation]] include [[Roman numerals#Music theory|Roman numerals]], [[figured bass]] (much used in the [[Baroque music|Baroque era]]), [[Macro analysis|macro symbols]] (sometimes used in modern [[musicology]]), and various systems of [[chord chart]]s typically found in the [[lead sheet]]s used in [[Chord names and symbols (popular music)|popular music]] to lay out the sequence of chords so that the musician may play accompaniment chords or improvise a solo.
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| [[Image:C triad.svg|thumb|right|200px|C Major triad represented in [[staff notation]].<br />{{Audio|Just major triad on C.mid|Play}} in [[just intonation]]<br />{{Audio|C major triad.mid|Play}} in [[Equal temperament]]<br />{{Audio|Quarter-comma meantone major chord on C.mid|Play}} in [[Meantone temperament|1/4-comma meantone]]<br />{{Audio|Young temperament major chord on C.mid|Play}} in [[Young temperament]]<br />{{Audio|Pythagorean major chord on C.mid|Play}} in [[Pythagorean tuning]] ]]
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| ==Definition and history==
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| {{Main|Harmony}}
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| [[File:Mussorgsky Pictures at an Exhibition, chords.PNG|300px|right|thumb|Mussorgsky's ''Pictures at an Exhibition'' "Promenade", is a piece showing an explicit chord progression.(Nattiez 1990, p. 218) {{audio|Mussorgsky Pictures at an Exhibition, chords.mid|Play}}]]
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| The English word ''chord'' derives from Middle English ''cord'', a shortening of ''accord''<ref>Merriam-Webster, Inc. (1995). "Chord", ''[http://www.merriam-webster.com/dictionary/chord Merriam-Webster's dictionary of English usage]'', p.243. ISBN 978-0-87779-132-4.</ref> in the original sense of "agreement" and later "harmonious sound".<ref>"[http://oxforddictionaries.com/definition/chord?rskey=UjcqH7&result=1#m_en_gb0146870 Chord]", ''Oxford Dictionaries''.</ref> A sequence of chords is known as a [[chord progression]] or harmonic progression. These are frequently used in Western music.<ref name="Malm" /> A chord progression "aims for a definite goal" of establishing (or contradicting) a [[tonality]] founded on a [[Key (music)|key]], root or [[Tonic (music)|tonic]] chord.<ref name="Schoenberg" /> The study of [[harmony]] involves chords and [[chord progression]]s, and the principles of connection that govern them.<ref>{{GroveOnline|Harmony|Dahlhaus, Car|24 February|2007}}</ref>
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| [[Otto Karolyi]]<ref>Károlyi, Otto, ''Introducing Music'', p. 63. England: Penguin Books.</ref> writes that "two or more notes sounded simultaneously are known as a chord" though, since instances of any given note in different octaves may be taken as the same note, it is more precise for the purposes of analysis to speak of distinct "pitch classes". Furthermore, as three notes are needed to define any [[Common chord (music)|common chord]], three is often taken as the minimum number of notes that form a definite chord. Hence [[Andrew Surmani]], for example, (2004, p. 72) states; "when three or more notes are sounded together, the combination is called a chord" and George T. Jones (1994, p. 43) agrees; "two tones sounding together are usually termed an ''[[interval (music)|interval]]'', while three or mores tones are called a ''chord''". According to Monath (1984, p. 37); "A chord is a combination of three or more tones sounded simultaneously" and the distances between the tones are called intervals. However sonorities of two pitches, or even single-note melodies, are commonly heard as "implying" chords.<ref>{{Cite journal| last = Schellenberg
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| | first = E. Glenn | last2 = Bigand | first2 = Emmanuel | last3 = Poulin-Charronnat | first3 = Benedicte | last4 = Garnier | first4 = Cecilia | last5 = Stevens | first5 = Catherine | title = Children's implicit knowledge of harmony in Western music | journal = Developmental Science | volume = 8 | issue = 8 | pages = 551–566 | date = Nov. | year = 2005 | doi = 10.1111/j.1467-7687.2005.00447.x | pmid = 16246247}}</ref>
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| Since a chord may be understood as such even when all its notes are not simultaneously audible, there has been some academic discussion regarding the point at which a group of notes may be called a ''chord''. [[Jean-Jacques Nattiez]] (1990, p. 218) explains that "we can encounter 'pure chords' in a musical work," such as in the "Promenade" of [[Modest Mussorgsky]]'s ''[[Pictures at an Exhibition]]'' but "often, we must go from a textual given to a more ''abstract'' representation of the chords being used" - as in Claude Debussy's ''[[Arabesques (Debussy)|Première Arabesque]]''.
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| [[File:Debussy Premiere Arabesque melody and chords.png|300px|left|thumb|Upper stave: [[Claude Debussy]]'s ''[[Arabesques (Debussy)|Première Arabesque.]]'' The chords on the lower stave are constructed from the notes in the actual piece, shown on the upper stave. {{audio|Debussy Premiere Arabesque melody and chords.mid|Play}}]]
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| In the [[medieval music|medieval]] era, early Christian [[hymn]]s featured [[organum]] (which used the simultaneous perfect intervals of a fourth, a fifth, and an octave<ref>Duarter, John (2008). ''Melody & Harmony for Guitarists'', p.49. ISBN 978-0-7866-7688-0.</ref>), with chord progressions and harmony an incidental result of the emphasis on melodic lines during the medieval and then [[Renaissance]] (15-17th centuries).<ref name="B&S">Benward & Saker (2003), p.185.</ref><ref name="B&S70">Benward & Saker (2003), p.70.</ref>
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| The [[Baroque]] period, the 17th and 18th centuries, began to feature the major and minor scale based tonal system and harmony, including chord progressions and [[circle progression]]s.<ref name="B&S"/> It was in the Baroque period that the accompaniment of melodies with chords was developed, as in [[figured bass]],<ref name="B&S70"/> and the familiar cadences (perfect authentic, etc.).<ref>Benward & Saker (2003), p.100.</ref> In the Renaissance, "certain dissonant sonorities that suggest the dominant seventh occurred with some frequency."<ref name="B&S201">Benward & Saker (2003), p.201.</ref> In the Baroque period the dominant seventh proper was introduced and it was in constant use in the Classical and Romantic periods.<ref name="B&S201"/> The [[leading-tone seventh chord|leading-tone seventh]] appeared in the Baroque period and remains in use.<ref>Benward & Saker (2003), p.220.</ref> [[Nondominant seventh chord]]s began to be used in the Baroque period, became frequent in the Classical period, gave way to [[Altered chord|altered dominants]] in the Romantic period, and underwent a resurgence in the Post-Romantic and [[Impressionist music|Impressionistic]] period.<ref>Benward & Saker (2003), p.231.</ref>
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| The [[Romantic period]], the 19th century, featured increased [[chromaticism]].<ref name="B&S"/> Secondary dominants began to be used in the Baroque, becoming very common in the Romantic period.<ref>Benward & Saker (2003), p.274.</ref> Many contemporary popular Western genres continue to be founded in simple diatonic harmony, though far from universally:<ref>Winston Harrison, ''The Rockmaster System: Relating Ongoing Chords to the Keyboard - Rock, Book 1'', Dellwin Publishing Co. 2005, p. 33 [http://books.google.co.uk/books?id=l0Vx5VB96FQC&pg=PA33&dq=diatonic+chords+popular+music&hl=en&ei=gDuoTYm6DMzQ4waPkuWzCg&sa=X&oi=book_result&ct=result&resnum=3&ved=0CDoQ6AEwAg#v=onepage&q&f=false]</ref> notable exceptions include the music of film scores, which often use chromatic, atonal or post-tonal harmony, and modern jazz (especially circa 1960), in which chords may include up to seven notes (and occasionally more).<ref>Pachet, François, ''Surprising Harmonies'', International Journal on ComputingAnticipatory Systems, 1999. [http://webcache.googleusercontent.com/scholar?q=cache:u5jIl2lKOC0J:scholar.google.com/+complex+chords+jazz&hl=en&as_sdt=0,5]</ref>
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| Triads consist of three notes; the "root" or "first" note, the "third" and the "fifth".<ref>Pen, Ronald (1992). ''Introduction to Music'', p.81. McGraw-Hill, ISBN 0-07-038068-6. "In each case the note that forms the foundation pitch is called the ''root'', the middle tone of the chord is designated the ''third'' (because it is separated by the interval of a third from the root), and the top tone is referred to as the ''fifth'' (because it is a fifth away from the root)."</ref> For example the '''C''' [[major scale]] consists of the notes '''C D E F G A B''': a triad can be constructed on any note of such a major scale, and all are minor or major except the triad on the seventh or [[leading-tone]], which is a diminished chord. A triad formed using the note '''C''' itself consists of '''C''' (the root note), '''E''' (the third note of the scale) and '''G''' (the fifth note of the scale). The interval from '''C''' to '''E''' is of four semitones, a [[major third]], and so this triad is called '''C''' Major. A triad formed upon the same scale but with '''D''' as the root note, '''D''' (root),''' F''' (third), '''A''' (fifth), on the other hand, has only three semitones between the root and third and is called '''D''' minor, a minor triad.
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| ==Notation==
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| [[Image:C triad.svg|thumb|right|200px|C Major triad represented in [[staff notation]].]]
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| Chords can be represented in various ways. The most common notation systems are:<ref name="B&S" />
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| # Plain [[staff notation]], used in [[classical music]] (see figure).
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| # [[Roman numerals#Music theory|Roman numerals]], commonly used in [[harmonic analysis (music)|harmonic analysis]] to denote the [[Scale (music)|scale step]] on which the chord is built.<ref name="Schoenberg" /> See: [[Roman numeral analysis]].
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| # [[Figured bass]], much used in the [[Baroque music|Baroque era]], uses numbers added to a bass line written on [[staff (music)]], to enable keyboard players to [[Improvised music|improvise]] chords with the right hand while playing the bass with their left.
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| # [[Macro analysis|Macro symbols]], sometimes used in modern [[musicology]], to denote chord root and quality.
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| # Various [[Chord names and symbols (popular music)|chord names and symbols]] used in [[popular music]] [[lead sheet]]s, [[fake books]], and [[chord chart]]s, to quickly lay out the harmonic groundplan of a piece so that the musician may [[musical improvisation|improvise]], [[Jam (music)|jam]], or [[Vamp (music)|vamp]] on it.
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| ===Roman numerals===
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| {{Main|Roman numeral analysis}}
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| [[Image:Vi-ii-V-I in C.png|thumb|right|vi-ii-V-I in C<ref>William G Andrews and Molly Sclater (2000). ''Materials of Western Music Part 1'', p.227. ISBN 1-55122-034-2.</ref> {{audio|Vi-ii-V-I in C.mid|Play}}.]]
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| While [[scale degree]]s are typically represented with [[Arabic numeral]]s, the [[triad (music)|triad]]s that have these degrees as their roots are often identified by Roman numerals. In some conventions (as in this and related articles) upper-case Roman numerals indicate major triads while lower-case Roman numerals indicate minor triads: other writers, (e.g. Schoenberg) use upper case Roman numerals for both major and minor triads. Some writers use upper-case Roman numerals to indicate the chord is diatonic in the major scale, and lower-case Roman numerals to indicate that the chord is diatonic in the minor scale. Diminished triads may be represented by lower-case Roman numerals with a [[degree symbol]]. It should be noted that Roman numerals may also be used in notation for stringed instruments to indicate the [[Violin#Positions|position]] or string to be played.
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| ===Figured bass notation===
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| {{Main|Figured bass}}
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| [[Image:C with 64 figured bass.png|thumb|left]]
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| Figured bass or thoroughbass is a kind of [[musical notation]] used in almost all [[Baroque music]], though rarely in modern music, to indicate harmonies in relation to a conventionally written [[bass line]]. Figured bass is closely associated with [[Figured bass#Basso continuo|basso continuo]] [[accompaniment]]. Added numbers and [[Accidental (music)|accidental]]s beneath the staff indicate at the [[interval (music)|interval]]s to be played, the numbers stand for the number of [[Scale (music)|scale]] steps above the written note that the figured notes should be played.
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| In the illustration the bass note is a '''C''', and the numbers 4 and 6 indicate that notes a fourth and a sixth above, that is '''F''' and '''A''', should be played, giving the second inversion of the '''F''' major triad.
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| ===Macro analysis===
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| [[Image:Macro analysis chords on C.png|thumb|right|Macro analysis for triads on C.]]
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| {{Main|Macro analysis}}
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| Macro analysis uses upper-case and lower-case letters to indicate the roots of chords, followed by symbols that specify the chord quality.<ref name="B&S">Benward & Saker (2003). ''Music: In Theory and Practice'', Vol. I, p.74-75. Seventh Edition. ISBN 978-0-07-294262-0.</ref>
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| ===Tabular notation===
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| {{Main|Chord names and symbols (popular music)}}
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| In most [[List of popular music genres|genres]] of [[popular music]], including [[jazz]], [[pop music|pop]], and [[rock music|rock]], a chord name and the corresponding symbol are typically composed of one or more of the following parts:
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| # The [[root (chord)|root note]] (e.g. C).
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| # The [[Chord names and symbols (popular music)#Chord quality|chord quality]] (e.g. [[Major chord|major]], maj, or M).
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| # The [[Interval (music)#Number|number]] of an [[Interval (music)|interval]] (e.g. seventh, or 7), or less often its full [[Interval (music)#Interval number and quality|name or symbol]] (e.g. [[major seventh]], maj7, or M7).
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| # The [[Chord names and symbols (popular music)#Altered fifths|altered fifth]] (e.g. [[augmented fifth|sharp five]], or {{Music|#}}5).
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| # An additional interval number (e.g. add 13 or add13), in [[added tone chord]]s.
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| For instance, the name [[augmented seventh chord|C augmented seventh]], and the corresponding symbol Caug7, or C+7, are both composed of parts 1, 2, and 3.
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| None of these parts, except for the root, directly refer to the notes forming the chord, but to the intervals they form with respect to the root. For instance, Caug7 is formed by the notes C-E-G{{Music|#}}-B{{Music|b}}. However, its name and symbol refer only to the root note C, the [[Augmented fifth|augmented (fifth)]] interval from C to G{{Music|#}}, and the [[Minor seventh|(minor) seventh]] interval from C to B{{Music|b}}. The interval from C to E (a [[major third]]) sets the chord quality (major). A set of [[Chord names and symbols (popular music)#Rules to decode chord names and symbols|decoding rules]] is applied to deduce the missing information.
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| Chord qualities are related with the [[Interval (music)#Quality|qualities]] of the component [[Interval (music)|intervals]] that define the chord. The main chord qualities are:
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| :* [[Major chord|Major]], and [[Minor chord|minor]].
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| :* [[Augmented chord|Augmented]], [[diminished triad|diminished]], and [[half-diminished seventh chord|half-diminished]].
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| :* [[dominant chord|Dominant]].
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| Some of the symbols used for chord quality are similar to those used for [[Interval (music)#Shorthand notation|interval quality]]:
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| :* '''m''', or '''min''' for minor,
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| :* '''M''', '''maj''', or no symbol (see rule 2 [[Chord names and symbols (popular music)#Rules to decode chord names and symbols|below]]) for major,
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| :* '''aug''' for augmented,
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| :* '''dim''' for diminished.
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| In addition, however,
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| :* '''{{music|major}}''' is sometimes used for major,<ref name="ambiguous">
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| The symbol {{music|delta}} is ambiguous, as it is used by some as a synonym for M (e.g. C{{music|major}}=CM and C{{music|major}}7=CM7), and by others as a synonym of M7 (e.g. C{{music|major}}=CM7).
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| </ref> instead of the standard M, or maj,
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| :* '''−''' is sometimes used for minor, instead of the standard m or min,
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| :* '''+''', or '''aug''', is used for augmented ('''A''' is not used),
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| :* '''{{music|dim}}''', '''°''', '''dim''', is used for diminished ('''d''' is not used),
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| :* '''{{music|halfdim}}''', or '''<sup>Ø</sup>''' is used for half diminished,
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| :* '''dom''' is used for dominant.
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| ==Characteristics==
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| Every chord has certain characteristics, which include:
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| * Number of [[pitch class]]es (distinct notes without respect to octave) that constitute the chord.
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| * [[Degree (music)|Scale degree]] of the root note
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| * Position or inversion of the chord
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| * General type of [[interval (music)|intervals]] of which it appears constructed: for example seconds, thirds, or fourths
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| * Counts of each pitch class as occur between all [[combination]]s of notes which the chord contains
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| ===Number of notes===
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| Two-note combinations, whether referred to as chords or intervals, are called ''[[dyad (music)|dyads]]''. Chords constructed of three notes of some underlying [[musical scale|scale]] are described as [[Triad (music)|triad]]s. Chords of four notes are known as [[tetrad (music)|tetrads]], those containing five are called [[Pentachord|pentads]] and those using six are hexads. Sometimes the terms "[[trichord]]", "[[tetrachord]]", "[[pentachord]]" and "[[hexachord]]" are used, though these more usually refer to the pitch classes of any scale, not generally played simultaneously. Chords that may contain more than three notes include [[pedal point]] chords, [[dominant seventh chord]]s, extended chords, added tone chords, [[tone cluster|clusters]], and polychords.
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| [[Polychord]]s are formed by two or more chords superimposed.<ref>Haerle, Dan (1982). ''The Jazz Language: A Theory Text for Jazz Composition and Improvisation'', p.30. ISBN 978-0-7604-0014-2.</ref> Often these may be analysed as extended chords ''(See: [[tertian]], [[altered chord]], [[secundal|secundal chord]], [[quartal and quintal harmony]] and [[Tristan chord]])''. For example G<sup>7</sup>({{music|#}}11{{music|b}}9) (G-B-D-F-A{{music|b}}-C{{music|#}}) is formed from G major (G-B-D) and D{{music|b}} major (D{{music|b}}-F-A{{music|b}}).<ref>Policastro, Michael A. (1999). ''Understanding How to Build Guitar Chords and Arpeggios'', p.168. ISBN 978-0-7866-4443-8.</ref> A [[nonchord tone]] is a [[Consonance and dissonance|dissonant]] or unstable tone that lies outside the chord currently heard, though often [[resolution (music)|resolving]] to a chord tone.<ref>Benward & Saker (2003), p.92.</ref>
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| ===Scale degree===
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| [[File:C Major scale (up and down).svg|412px|right|thumb|C major scale {{Audio|C major scale.mid|play}}]]
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| In the key of '''C major''' the first degree of the scale, called the [[tonic (music)|tonic]], is the note '''C''' itself, so a '''C''' major chord, a triad built on the note '''C''', may be called the ''one chord'' of that key and notated in Roman numerals as '''I'''. The same '''C''' major chord can be found in other scales: it forms chord '''III''' in the key of '''A minor''' ('''A'''-''B''-'''C''') and chord '''IV''' in the key of '''G major''' ('''G'''''-A-B-'''''C'''). This numbering lets us see the job a chord is doing in the current key and tonality.
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| Many analysts use lower-case Roman numerals to indicate minor triads and upper-case for major ones, and "degree" and "plus" signs ( '''<sup>o</sup>''' and '''<sup>+</sup>''' ) to indicate diminished and augmented triads respectively. Otherwise all the numerals may be upper-case and the qualities of the chords inferred from the scale degree. Chords outside the scale can be indicated by placing a flat/sharp sign before the chord — for example, the chord of '''E''' flat major in the key of '''C''' major is represented by {{music|flat}}'''III'''. The tonic of the scale may be indicated to the left (e.g. '''F{{music|sharp}}:''')or may be understood from a key signature or other contextual clues. Indications of inversions or added tones may be omitted if they are not relevant to the analysis. Roman numerals indicate the root of the chord as a [[scale degree]] within a particular major [[key (music)|key]] as follows:
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| {| class="wikitable" style="margin:auto; text-align: center; width:85%"
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| |'''Roman numeral''' ||''' I '''|| '''ii''' || '''iii''' || '''IV''' || '''V''' || '''vi''' || '''vii'''<sup>o</sup>/bVII
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| |'''Scale degree''' || tonic || [[supertonic]] || [[mediant]] || [[subdominant]] || [[dominant (music)|dominant]] || [[submediant]] || leading tone/[[subtonic]]
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| |}
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| ===Inversion===
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| [[Image:Root position, first inversion, and second inversion C major chords.png|thumb|right|275px|Root position, first inversion, and second inversion C major chords {{audio|Major triad on C.mid|Play root position C major chord}}, {{audio|Major triad on C in first inversion.mid|Play first inversion C major chord}}, or {{audio|Major triad on C in second inversion.mid|Play second inversion C major chord}}. Chord roots (all the same) in red.]]
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| [[Image:Root position, first inversion, and second inversion chords over C bass.png|thumb|right|275px|Root position, first inversion, and second inversion chords over C bass {{audio|Major triad on C.mid|Play root position C major chord}}, {{audio|Minor triad on A in first inversion.mid|Play first inversion A minor chord}}, or {{audio|Major triad on F in second inversion.mid|Play second inversion F major chord}}. Chord roots in red.]]
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| {{Main|Inversion (music)}}
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| In the harmony of [[classical music|Western art music]] a chord is said to be in root position when the tonic note is the lowest in the chord, and the other notes are above it. When the lowest note is not the tonic, the chord is said to be inverted. Chords, having many constituent notes, can have many different inverted positions as shown below for the C major chord:
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| {| class="wikitable" style="text-align: center;"
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| !Bass note || Position || Order of notes || Notation
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| ! C
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| | root position || C E G || <math>{}^5_3</math> as G is a 5th above C and E is a 3rd above C
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| |-
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| ! E
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| | 1st inversion || E G C || <math>{}^6_3</math> as C is a 6th above E and G is a 3rd above E
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| |-
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| ! G
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| | 2nd inversion || G C E || <math>{}^6_4</math> as E is a 6th above G and C is a 4th above G
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| |}
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| Further, a four-note chord can be inverted to four different positions by the same method as triadic inversion. Where [[guitar chord]]s are concerned the term "inversion" is used slightly differently; to refer to stock fingering "shapes".<ref>[[Bert Weedon]], ''Play in a Day'', Faber Music Ltd, ISBN 0-571-52965-8, ''passim'' - among a wide range of other guitar tutors</ref>
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| ===Secundal, tertian, and quartal chords===
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| Many chords are a sequence of ascending notes separated by intervals of roughly the same size. For example the C [[major triad]]'s notes, C-E-G, are defined by a sequence of two intervals, the first (C-E) being a [[major third]] and the second (E-G) a [[minor third]]. Any such chord that can be decomposed into a series of (major or minor) thirds is called a tertian chord. Most common chords are tertian.
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| | |
| A chord such as C-D-E{{music|flat}}, though, is a series of seconds, containing a [[major second]] (C-D) and a [[minor second]] (D-E{{music|flat}}). Any such chord that can be decomposed into a series of (major or minor) seconds is called secundal.
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| [[Image:C-F-B synthetic chord.png|thumb|right|Quartal chord: C-F-B chord<ref>Dufrenne, Mikel (1989). ''The Phenomenology of Aesthetic Experience'', p.253. ISBN 0-8101-0591-8.</ref> {{audio|C-F-B synthetic chord.mid|Play}}.]]
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| The chord C-F-B, consists of a [[perfect fourth]] C-F and an augmented fourth ([[tritone]]) F-B. Any such chord that can be decomposed into a series of (perfect or augmented) fourths is called quartal.
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| | |
| These terms can become ambiguous when dealing with non-[[diatonic scale]]s such as the [[Pentatonic scale|pentatonic]] or [[chromatic scale]]s. The use of [[Accidental (music)|accidentals]] can also complicate the terminology. For example the chord B{{music|sharp}}-E-A{{music|flat}} appears to be a series of diminished fourths (B{{music|sharp}}-E and E-A{{music|flat}}) but is [[enharmonic equivalence|enharmonically equivalent]] to (and sonically indistinguishable from) the chord C-E-G{{music|sharp}}, which is a series of major thirds (C-E and E-G{{music|sharp}}).
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| | |
| See also [[Mixed-interval chord]].
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| | |
| ===Harmonic Content===
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| The notes of a chord form intervals with each of the other notes of the chord in [[combination]]. A 3-note chord has 3 of these [[Harmony|harmonic]] intervals, a 4-note chord has 6, a 5-note chord has 10, a 6-note chord has 15.<ref>Hanson, Howard. (1960) ''Harmonic Materials of Modern Music'', p.7ff. New York: Appleton-Century-Crofts. LOC 58-8138.</ref> The absence, presence, and placement of certain key intervals plays a large part in the sound of the chord, and sometimes of the selection of the chord which follows.
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| | |
| A chord containing [[tritone]]s is called [[Anhemitonic scale|tritonic]]; one without tritones is [[Anhemitonic scale|atritonic]]. Harmonic tritones are an important part of [[Dominant seventh chord|Dominant seventh]] chords, giving their sound a characteristic tension, and making the tritone interval likely to move in certain stereotypical ways to the following chord.<ref>Benjamin, Horvit, and Nelson (2008). ''Techniques and Materials of Music'', p.46-47. ISBN 0-495-50054-2.</ref>
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| A chord containing [[semitone]]s, whether appearing as [[Minor second]]s or [[Major seventh]]s, is called hemitonic; one without semitones is anhemitonic. Harmonic semitones are an important part of [[Major seventh chord|Major seventh]] chords, giving their sound a characteristic high tension, and making the harmonic semitone likely to move in certain stereotypical ways to the following chord.<ref>Benjamin, Horvit, and Nelson (2008). ''Techniques and Materials of Music'', p.48-49. ISBN 0-495-50054-2.</ref> A chord containing [[Major seventh]]s but no [[Minor second]]s is much less harsh in sound than one containing [[Minor second]]s as well.
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| Other chords of interest might include the
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| * [[Diminished chord]], which has many [[Minor third]]s and no [[Major third]]s, many [[Tritone]]s but no [[Perfect fifth]]s
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| * [[Augmented chord]], which has many [[Major third]]s and no [[Minor third]]s or [[Perfect fifth]]s
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| * [[Dominant seventh flat five chord]], which has many [[Major third]]s and [[Tritone]]s and no [[Minor third]]s or [[Perfect fifth]]s
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| ==Triads==
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| [[Image:Pitch constellation triads.svg|thumb|500px|[[Pitch constellation]]s of triads]]
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| {{Main|Triad (music)}}
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| {{See also|Chord names and symbols (jazz and pop music)#Triads|l1=Jazz and pop notation for triads}}
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| [[Triad (music)|Triad]]s, also called ''triadic chords'', are tertian chords (see above) with three notes. The four basic triads are described below.
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| | |
| {| class="wikitable" style="margin:left"
| |
| |-
| |
| ! rowspan=2|
| |
| ! colspan=2| Component [[Interval (music)|intervals]]
| |
| ! rowspan=2| [[#Notation|Chord symbol]]
| |
| ! rowspan=2| Notes
| |
| ! rowspan=2| Audio
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| |-
| |
| ! Third || Fifth
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| |-
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| !style="text-align: left"| [[Major triad]]
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| | [[major third|major]] || [[perfect fifth|perfect]] || C, CM, C{{music|major}}, Cma, Cmaj || C-E-G || {{Audio|Major triad on C.mid|play}}
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| |-
| |
| !style="text-align: left"| [[Minor triad]]
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| | [[minor third|minor]] || perfect || Cm, C-, Cmi, Cmin || C-E{{music|flat}}-G || {{Audio|Minor triad on C.mid|play}}
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| |-
| |
| !style="text-align: left"| [[Augmented triad]]
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| | major || [[augmented fifth|augmented]] || C+, C<sup>+</sup>, Caug || C-E-G{{music|sharp}} || {{Audio|Augmented triad on C.mid|play}}
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| |-
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| !style="text-align: left"| [[Diminished triad]]
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| | minor || [[diminished fifth|diminished]] || Cº, Cm({{music|flat}}5), Cdim || C-E{{music|flat}}-G{{music|flat}} || {{Audio|Diminished triad on C.mid|play}}
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| |}
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| | |
| ==Seventh chords==
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| [[Image:Sev chord.svg|thumb|500px|[[Pitch constellation]]s of seventh chords.]]
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| {{Main|Seventh chord}}
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| {{See also|Chord names and symbols (jazz and pop music)#Seventh chords|l1=Jazz and pop notation for seventh chords}}
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| Seventh chords are tertian chords (see above), constructed by adding a fourth note to a triad, at the interval of a third above the fifth of the chord. This creates the interval of a seventh above the root of the chord, the next natural step in composing tertian chords. The seventh chord on the fifth step of the scale (the dominant seventh) is the only one available in the major scale: it contains all three notes of the diminished triad of the seventh and is frequently used as a stronger substitute for it.
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| | |
| There are various [[Seventh chord#Types of seventh chords|types of seventh chords]] depending on the quality of both the chord and the seventh added. In chord notation the chord type is sometimes superscripted and sometimes not (e.g. ''Dm7'', ''Dm<sup>7</sup>'', and ''D<sup>m7</sup>'' are all identical).
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| | |
| {| class="wikitable" style="margin:left"
| |
| |-
| |
| ! rowspan=2|
| |
| ! colspan=3| Component [[Interval (music)|intervals]]
| |
| ! rowspan=2| [[#Notation|Chord symbol]]
| |
| ! rowspan=2| Notes
| |
| ! rowspan=2| Audio
| |
| |-
| |
| ! Third || Fifth || Seventh
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| |-
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| !style="text-align: left"|[[Diminished seventh chord|Diminished seventh]]
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| | minor || diminished || [[diminished seventh|diminished]] || C<sup>o</sup>7, Cdim<sup>7</sup>|| C E{{music|b}} G{{music|b}} B{{music|bb}} || {{Audio|Diminished seventh chord on C.mid|Play}}
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| |-
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| !style="text-align: left"|[[Half-diminished seventh chord|Half-diminished seventh]]
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| | minor || diminished || [[minor seventh|minor]] || C<sup>ø</sup>7, Cm7<sup>{{music|flat}}5</sup>, {{nowrap|C−7<sup>({{music|flat}}5)</sup>}}|| C E{{music|b}} G{{music|b}} B{{music|b}} || {{Audio|Half-diminished seventh chord on C.mid|Play}}
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| |-
| |
| !style="text-align: left"|[[Minor seventh chord|Minor seventh]]
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| | minor || perfect || minor || Cm7, Cmin7, {{nowrap|C−7}}, C−<sup>7</sup>|| C E{{music|b}} G B{{music|b}} || {{Audio|Minor seventh chord on C.mid|Play}}
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| |-
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| !style="text-align: left"|[[Minor major seventh chord|Minor major seventh]]
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| | minor || perfect || [[major seventh|major]] || Cm(M7), {{nowrap|Cm maj7}}, {{nowrap|C−<sup>(j7)</sup>}}, {{nowrap|C−<sup>{{music|major}}7</sup>}}, {{nowrap|C−M7}}|| C E{{music|b}} G B || {{Audio|Minor major seventh chord on C.mid|Play}}
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| |-
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| !style="text-align: left"|[[Dominant seventh chord|Dominant seventh]]
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| | major || perfect || minor || C7, C<sup>7</sup>, Cdom7|| C E G B{{music|b}} || {{Audio|Dominant seventh chord on C.mid|Play}}
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| |-
| |
| !style="text-align: left"|[[Major seventh chord|Major seventh]]
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| | major || perfect || major || CM7, Cmaj7, C{{music|major}}7, C{{music|major}}<sup>7</sup>, C<sup>{{music|major}}7</sup>, C<sup>j7</sup>|| C E G B || {{Audio|Major seventh chord on C.mid|Play}}
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| |-
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| !style="text-align: left"|[[Augmented seventh chord|Augmented seventh]]
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| | major || augmented || minor || C+7, Caug7, C7+, C7+5, C7{{music|sharp}}5|| C E G{{music|#}} B{{music|b}} || {{Audio|Augmented seventh chord on C.mid|Play}}
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| |-
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| !style="text-align: left"|[[Augmented major seventh chord|Augmented major seventh]]
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| | major || augmented || major || C+(M7), CM7+5, CM7{{music|sharp}}5, C+<sup>j7</sup>, C+<sup>{{music|major}}7</sup>|| C E G{{music|#}} B || {{Audio|Augmented major seventh chord on C.mid|Play}}
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| |}
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| | |
| ==Extended chords==
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| {{Main|Extended chord}}
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| {{see also2|[[Chord names and symbols (jazz and pop music)#Extended tertian chords|Jazz and pop notation for extended chords]]}}
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| [[Image:Upper-structure triad.png|thumb|right|[[Dominant thirteenth chord|Dominant thirteenth]] extended chord: C E G B{{music|flat}} D F A {{Audio|Dominant thirteenth chord on C.mid|play}}. The [[upper structure]] or extensions, i.e. notes beyond the seventh, in red.]]
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| Extended chords are triads with further tertian notes added beyond the seventh; the ninth, eleventh, and thirteenth chords. After the thirteenth any notes added in thirds will duplicate notes elsewhere in the chord: all seven notes of the scale are present in the chord and further added notes will not give new pitch classes. Such chords may be constructed only by using notes that lie outside the diatonic seven-note scale (See [[#Altered chords]] below).
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| {| class="wikitable" style="margin:left"
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| |-
| |
| ! || colspan="4"| Components (chord and intervals)|| [[#Notation|Chord symbol]] || Audio
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| |-
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| !style="text-align: left"| [[Ninth chord#Dominant ninth|Dominant ninth]]
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| | dominant seventh chord || [[major ninth]] || - || - ||C9 || {{Audio|Dominant ninth chord on C.mid|Play}}
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| |-
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| !style="text-align: left"| [[Eleventh chord|Dominant eleventh]]
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| | dominant seventh chord<br /><small>(the third is usually omitted)</small> || major ninth || [[eleventh]] || - ||C11 || {{Audio|Dominant eleventh chord on C.mid|Play}}
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| |-
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| !style="text-align: left"| [[Thirteenth#Dominant thirteenth|Dominant thirteenth]]
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| | dominant seventh chord || major ninth || perfect eleventh<br /><small>(usually omitted)</small> ||[[thirteenth|major thirteenth]]||C13 || {{Audio|Dominant thirteenth chord on C.mid|Play}}
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| |}
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| Other extended chords follow similar rules, so that for example ''maj9'', ''maj11'', and ''maj13'' contain major seventh chords rather than dominant seventh chords, while ''min9'', ''min11'', and ''min13'' contain minor seventh chords.
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| ==Altered chords==
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| {{Main|Altered chord}}
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| [[Image:Altered chord on C.png|thumb|Altered chord on C with flat 5th, 7th, and 9th. {{Audio|Altered chord on C.mid|Play}}]]
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| Although the third and seventh of the chord are always determined by the symbols shown above, the fifth, ninth, eleventh and thirteenth may all be chromatically altered by accidentals (the root cannot be so altered without changing the name of the chord, while the third cannot be altered without altering the chord's quality). These are noted alongside the element to be altered. Accidentals are most often used in conjunction with dominant seventh chords. "Altered" dominant seventh chords (C<sup>7alt</sup>) may have a flat ninth, a sharp ninth, a diminished fifth or an augmented fifth (see Levine's ''Jazz Theory''). Some write this as C<sup>7+9</sup>, which assumes also the flat ninth, diminished fifth and augmented fifth (see Aebersold's ''Scale Syllabus''). The augmented ninth is often referred to in [[blues]] and [[jazz]] as a [[blue note]], being enharmonically equivalent to the flat third or tenth. When superscripted numerals are used the different numbers may be listed horizontally (as shown) or else vertically.
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| | |
| {| class="wikitable" style="margin:left"
| |
| |-
| |
| ! || colspan="2"| Component notes || [[#Notation|Chord symbol]] || Audio
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| |-
| |
| !style="text-align: left"| [[Augmented seventh chord|Seventh augmented fifth]]
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| | [[dominant seventh]] || augmented fifth || C<sup>7+5</sup>, C<sup>7{{music|sharp}}5</sup> || {{Audio|Seventh augmented fifth chord on C.mid|Play}}
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| |-
| |
| !style="text-align: left"| [[Altered chord|Seventh flat ninth]]
| |
| | dominant seventh || minor ninth || C<sup>7-9</sup>, C<sup>7{{music|flat}}9</sup> || {{Audio|Seventh flat nine chord on C.mid|Play}}
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| |-
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| !style="text-align: left"| [[Dominant seventh sharp ninth chord|Seventh sharp ninth]]
| |
| | dominant seventh || augmented ninth || C<sup>7+9</sup>, C<sup>7{{music|sharp}}9</sup> || {{Audio|Seventh sharp nine chord on C.mid|Play}}
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| |-
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| !style="text-align: left"| [[Altered chord|Seventh augmented eleventh]]
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| | dominant seventh || augmented eleventh || C<sup>7+11</sup>, C<sup>7{{music|sharp}}11</sup> || {{Audio|Seventh augmented eleventh chord on C.mid|Play}}
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| |-
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| !style="text-align: left"| [[Altered chord|Seventh flat thirteenth]]
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| | dominant seventh || minor thirteenth || C<sup>7-13</sup>, C<sup>7{{music|flat}}13</sup> || {{Audio|Seventh flat thirteenth chord on C.mid|Play}}
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| |-
| |
| !style="text-align: left"| [[Half-diminished seventh chord|Half-diminished seventh]]
| |
| | minor seventh || diminished fifth || C<sup>ø</sup>, C<sup>m7{{music|flat}}5</sup> || {{Audio|Half-diminished seventh chord on C.mid|Play}}
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| |}
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| | |
| ==Added tone chords==
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| {{Main|Added tone chord}}
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| [[Image:Sus chord.png|thumb|250px|right|[[Suspended chord]] (sus2) and added tone chord ([[ninth|add9]]) both with D ([[octave equivalency|ninth=second]]), distinguished by the absence or presence of the third (E{{music|flat}}).<ref>Hawkins, Stan. "[[Prince (musician)|Prince]]- Harmonic Analysis of '[[Lovesexy|Anna Stesia]]'", p.329 and 334n7, ''Popular Music'', Vol. 11, No. 3 (Oct., 1992), pp. 325-335.</ref>]]
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| An added tone chord is a triad chord with an added, non-[[tertian]] note, such as the commonly added sixth as well as chords with an added second (ninth) or fourth (eleventh) or a combination of the three. These chords do not include "intervening" thirds as in an extended chord. Added chords can also have variations. Thus ''madd9'', ''m4'' and ''m6'' are minor triads with extended notes.
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| | |
| [[Sixth chord]]s can be considered as belonging to either of two separate groups; first inversion chords and added sixth chords: chords that contain the sixth (from the root) as a chord member—a note separated by the interval of a sixth from the chord's root—<ref>Miller, Michael (2005). ''The Complete Idiot's Guide to Music Theory'', p.119. ISBN 978-1-59257-437-7.</ref> and inverted chords in which the interval of a sixth appears above a bass note that is not the root.<ref>Piston, Walter (1987). ''Harmony'' (5th ed.), p.66. New York: W.W. Norton & Company. ISBN 0-393-95480-3.</ref>
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| The major sixth chord (also called, ''sixth'' or ''added sixth'' with the chord notation ''6'', e.g., "C6") is by far the most common type of sixth chord of the first group. It comprises a major triad with the added [[major sixth]] above the root, common in popular music.<ref name="B&S"/> For example, the chord C6 contains the notes C-E-G-A. The minor sixth chord (''min6'' or ''m6'', e.g., "Cm6") is a minor triad with the same added note. For example, the chord Cmin6 contains the notes C-E{{music|flat}}-G-A. In chord notation, the sixth of either chord is always assumed to be a major sixth rather than a [[minor sixth]], however a minor sixth interval may be indicated in the notation as, for example, "Cm(m6)", or Cm<sup>m6</sup>.
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| | |
| The [[augmented sixth chord]] usually appears in chord notation as its enharmonic equivalent, the seventh chord. This chord contains two notes separated by the interval of an augmented sixth (or, by inversion, a diminished third, though this inversion is rare). The augmented sixth is generally used as a dissonant interval most commonly used in motion towards a dominant chord in root position (with the root doubled to create the octave to which the augmented sixth chord resolves) or to a tonic chord in second inversion (a tonic triad with the fifth doubled for the same purpose). In this case, the tonic note of the key is included in the chord, sometimes along with an optional fourth note, to create one of the following (illustrated here in the key of C major):
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| * Italian augmented sixth: A{{music|flat}}, C, F{{music|sharp}}
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| * French augmented sixth: A{{music|flat}}, C, D, F{{music|sharp}}
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| * German augmented sixth: A{{music|flat}}, C, E{{music|flat}}, F{{music|sharp}}
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| | |
| The augmented sixth family of chords exhibits certain peculiarities. Since they are not based on triads, as are seventh chords and other sixth chords, they are not generally regarded as having roots (nor, therefore, inversions), although one [[chord voicing|re-voicing]] of the notes is common (with the namesake interval inverted to create a diminished third).
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| The second group of sixth chords includes inverted major and minor chords, which may be called ''sixth'' chords in that the ''six-three'' (6/3) and ''six-four'' (6/4) chords contain intervals of a sixth with the bass note, though this is not the root. Nowadays this is mostly for academic study or analysis (see figured bass) but the [[Neapolitan sixth|neapolitan sixth chord]] is an important example; a major triad with a flat supertonic scale degree as its root that is called a "sixth" because it is almost always found in first inversion. Though a technically accurate Roman numeral analysis would be ♭II, it is generally labelled N<sup>6</sup>. In C major, the chord is notated (from root position) D{{music|flat}}, F, A{{music|flat}}. Because it uses chromatically [[altered tone]]s this chord is often grouped with the borrowed chords (''see below'') but the chord is not borrowed from the relative major or minor and it may appear in both major and minor keys.
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| | |
| {| class="wikitable" style="margin:left"
| |
| |-
| |
| ! || colspan="3"| Component notes (chord and interval)|| [[#Notation|Chord symbol]] || Audio
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| |-
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| !style="text-align: left"| [[Added tone chord|Add nine]]
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| | major triad || major ninth || - || C2, C<sup>add9</sup> || {{Audio|Add9 chord on C.mid|Play}}
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| |-
| |
| !style="text-align: left"| [[Added tone chord|Add fourth]]
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| | major triad || [[perfect fourth]] || - ||C4, C<sup>add11</sup> || {{Audio|Add11 chord on C.mid|Play}}
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| |-
| |
| !style="text-align: left"| [[Sixth chord|Add sixth]]
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| | major triad || major sixth || - ||C6 || {{Audio|Add6 chord on C.mid|Play}}
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| |-
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| !style="text-align: left"| [[Ninth chord#6/9 chord|Six-nine]]
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| | major triad || major sixth || major ninth ||C6/9 ||
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| |-
| |
| !style="text-align: left"| [[Added tone chord|Mixed-third]]
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| | major triad || minor third || - || {{Audio|Two added chords with mixed thirds, thirds separated by octave right.mid|Play}} ||
| |
| |}
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| | |
| ==Suspended chords==
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| {{Main|Suspended chord}}
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| [[Image:Sus4 chord on C.png|thumb|Sus4 chord on C {{Audio|Sus4 chord on C.mid|play}}]]
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| A suspended chord, or "sus chord" (sometimes wrongly thought to mean ''sustained chord''), is a chord in which the ''third'' is replaced by either the "second" or the "fourth." This results in two main chord types: the ''suspended second'' (sus2) and the ''suspended fourth'' (sus4). The chords, '''C<sup>sus2</sup>''' and '''C<sup>sus4</sup>''', for example, consist of the notes ''C D G'' and ''C F G'', respectively. There is also a third type of suspended chord, in which both the second and fourth are present, for example the chord with the notes ''C D F G."
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| | |
| The name ''[[suspension (music)|suspended]]'' derives from an early [[polyphonic]] technique developed during the [[common practice period]], in which a stepwise melodic progress to a harmonically stable note in any particular part was often momentarily delayed or ''suspended'' by extending the duration of the previous note. The resulting unexpected dissonance could then be all the more satisfyingly resolved by the eventual appearance of the displaced note. In traditional music theory the inclusion of the ''third'' in either chord would negate the suspension, so such chords would be called ''added ninth'' and ''added eleventh'' chords instead.
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| | |
| In modern layman usage the term is restricted to the displacement of the ''third'' only and the dissonant ''second'' or ''fourth'' no longer needs to be held over ("prepared") from the previous chord. Neither is it now obligatory for the displaced note to make an appearance at all though in the majority of cases the conventional stepwise resolution to the ''third'' is still observed. In [[post-bop]] and [[modal jazz]] compositions and improvisations suspended seventh chords are often used in nontraditional ways: these often do not function as '''V''' chords, and do not resolve from the fourth to the third. The lack of resolution gives the chord an ambiguous, static quality. Indeed, the third is often played on top of a sus4 chord. A good example is the jazz standard, "[[Maiden Voyage (composition)|Maiden Voyage]]".
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| | |
| Extended versions are also possible, such as the ''seventh suspended fourth'', which, with root ''C'', contains the notes ''C F G B{{music|flat}}'' and is notated as '''C7<sup>sus4</sup>''' {{Audio|7sus4 chord on C.mid|play}}. '''C<sup>sus4</sup>''' is sometimes written '''C<sup>sus</sup>''' since the sus4 is more common than the sus2.
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| | |
| {| class="wikitable" style="margin:left"
| |
| |-
| |
| ! || colspan="3"| Component notes (chord and interval)|| [[#Notation|Chord symbol]] || Audio
| |
| |-
| |
| !style="text-align: left"| [[Suspended chord|Sus2]]
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| | Open fifth || major second || - || Csus2 || {{Audio|Sus2 chord on C.mid|Play}}
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| |-
| |
| !style="text-align: left"| [[Suspended chord|Sus4]]
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| | Open fifth || perfect fourth || - ||Csus4 || {{Audio|Sus4 chord on C.mid|Play}}
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| |-
| |
| !style="text-align: left"| [[Suspended chord#Jazz sus chord|Jazz sus]]
| |
| | Open fifth || m7, P4, M9 || - ||C9sus4 || {{Audio|Jazz sus chord.mid|Play}}
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| |}
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| | |
| ==Borrowed chords==
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| {{Main|Borrowed chord}}
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| [[Image:Borrowed chords 1b.gif|thumb|300px|right|Borrowed chords from the parallel minor key are commonly found in the Baroque, Classical and Romantic eras.]]
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| A [[borrowed chord]] is one that is taken from a different [[Tonality|key]] to that of the piece it is used in (called "home key"). The most common occurrence of this is where a chord from the [[Parallel key|parallel major or minor]] key is used. Particularly good examples can be found throughout the works of composers such as [[Schubert]].
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| | |
| For instance, for a composer working in the C major key, a major {{music|flat}}III chord would be borrowed, as this appears only in the C minor key. Although borrowed chords could theoretically include chords taken from any key other than the home key, this is not how the term is used when a chord is described in formal [[musical analysis]].
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| | |
| When a chord is analysed as "borrowed" from another key it may be shown by the Roman numeral corresponding with that key after a slash so, for example, '''V/V''' indicates the dominant chord of the dominant key of the present home-key. The dominant key of '''C''' major is ''' G''' major so this [[secondary dominant]] will be the chord of the fifth degree of the '''G''' major scale, which is '''D''' major. If used, this chord will cause a [[Modulation (music)|modulation]].
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| ==See also==
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| * [[Chord bible]]
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| * [[Elektra chord]]
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| * [[Factor (chord)]]
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| * [[Harmonization]]
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| * [[Homophony]]
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| * [[Mystic chord]]
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| * [[Open chord]]
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| * [[Petrushka chord]]
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| * [[Prolongation]]
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| * [[Psalms chord]]
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| * [[Spider chord]]
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| * [[Subsidiary chord]]
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| * [[Traditional sub-Saharan African harmony|Span process]]
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| ==References==
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| {{reflist|colwidth=30em}}
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| ==Sources==
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| * Grout, Donald Jay (1960). ''A History Of Western Music''. Norton Publishing.
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| * Dahlhaus, Carl. Gjerdingen, Robert O. trans. (1990). ''Studies in the Origin of Harmonic Tonality'', p. 67. Princeton University Press. ISBN 0-691-09135-8.
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| * Goldman (1965). Cited in Nattiez (1990).
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| * Jones, George T. (1994). HarperCollins ''College Outline Music Theory''. ISBN 0-06-467168-2.
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| * Nattiez, Jean-Jacques (1990). ''Music and Discourse: Toward a Semiology of Music'' (''Musicologie générale et sémiologue'', 1987). Translated by Carolyn Abbate (1990). ISBN 0-691-02714-5.
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| * Norman Monath, Norman (1984). ''How To Play Popular Piano In 10 Easy Lessons''. Fireside Books. ISBN 0-671-53067-4.
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| * Stanley Sadie and John Tyrrell, eds. (2001). ''The New Grove Dictionary of Music and Musicians''. ISBN 1-56159-239-0.
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| * Surmani, Andrew (2004). ''Essentials of Music Theory: A Complete Self-Study Course for All Musicians''. ISBN 0-7390-3635-1.
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| ==Further reading==
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| * {{Cite book| title = Music Fundamentals | first = Rod| last = Schejtman | publisher = The Piano Encyclopedia | year = 2008 | isbn = 978-987-25216-2-2 | url = http://www.pianoencyclopedia.com}}
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| * {{Cite book|last=Persichetti |first=Vincent |authorlink=Vincent Persichetti |title=Twentieth-century Harmony: Creative Aspects and Practice |year=1961 |publisher=W. W. Norton |location=New York |isbn=0-393-09539-8 |oclc=398434}}
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| * Benward, Bruce & Saker, Marilyn (2002). ''Music in Theory and Practice, Volumes I & II'' (7th ed.). New York: McGraw Hill. ISBN 0-07-294262-2.
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| ==External links==
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| * {{Wikiquote-inline}}
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| * {{Commons category-inline|Chords}}
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| {{Consonance and dissonance|state=autocollapse}}
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| {{Chords|state=expanded}}
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| {{harmony}}
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| {{DEFAULTSORT:Chord (Music)}}
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| [[Category:Chords|*]]
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| [[Category:Harmony]]
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