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1 day ago · In a few organ compositions, the fermatas occur in different measures for the right and left hands and for the feet, which would make holding them impractical. "In the older music the sign for the fermata is used, as frequently by Bach, merely as indicating the end of the piece, after a Da Capo, when modern composers usually write the word 'fine.'
1 day ago · The early music sequencers were sound producing devices such as automatic musical instruments, music boxes, mechanical organs, player pianos, and Orchestrions. Player pianos, for example, had much in common with contemporary sequencers.
1 day ago · While the Hammond organ was designed to be a lower-cost alternative to a pipe organ for church music, musicians soon discovered that the Hammond was an excellent instrument for blues and jazz; indeed, an entire genre of music developed built around this instrument, known as the organ trio (typically Hammond organ, drums, and a third instrument ...
1 day ago · Music therapy. The Native American flute is still used today in Music Therapy settings. Known as Ojibwe music, usage of the flute is extremely beneficial for hospice, cancer, and cardiac patients to assist in managing anxiety, restlessness, fear, and pain. Flutes can provide a source of rehabilitation and encourage a sense of accomplishment.
1 day ago · Venison originally meant the meat of a game animal but now refers primarily to the meat of elk or deer (or antelope in South Africa). Venison can be used to refer to any part of the animal, so long as it can be consumed, including the internal organs.
- Triads and Inversions
- Applying Chords
- Seventh Chords
- Other Chords
The triadis a class of chords, specifically three-note chords formed by this formula: 1-3-5 or root, third, fifth. In this example they are constructed of two consecutive thirds. There are four kinds: The major is very consonant; the minor is a bit less so but still consonant for most purposes. The augmented is very dissonant and the diminished is extremelydissonant as it contains a tritone (augmented fourth or, in this case, diminished fifth). The major and minor triads may have their third omitted, although this is uncommon. If the third of a major or minor chord is omitted, the result is a fifth chord, which is often called a power chordwhen played on an overdriven guitar.
If we look at a C major triad or three-voice chord it is based on combining a root voice (C) with two other voices at slightly different intervals of a third (E, a major third from C and G, a minor third from E). If we compare the key of C major to the C major chord using the names do, re, mi, fa, so, la, si, to represent the scale degrees 1, 2, 3, 4, 5, 6, 7, the C major chord is constructed from the notes do, mi, and so. This same relationship is true for all major triads in all corresponding major keys. These three notes (the root, major third and perfect fifth) can be structured or 'voiced', C-E-G, E-G-C or G-C-E. No matter what order the three notes (called voices) are in they still create a C major chord. It does not matter if the voices are the singers in a choir or the instruments of an orchestra, if the notes are all either C, E, or G we simply have a gigantic sounding C chord. The two consecutive intervals produced by these voicings would be: 1. C E G = major third, minor...
All chords are made up of interlocking or overlapping intervals. An interval may be defined as the distance between two notes. The names of the chords are derived from the intervals that they are built from.In order of smallest to largest the ascending intervals (and distance in semitones) within the octave from a middle C would be as follows: The dreaded tritone, six semitones up from the root (and six down from the octave), is harmonically bewildering, being neither fish nor fowl, exactly halfway from nowhere; one interval with two names (enharmonic in 12-tone equal temperament), the augmented 4th and the diminished 5th. Likewise, the enharmonic augmented 5th and minor 6th are eight semitones up from the root. By observing that 2nds, 3rds, 6ths and 7ths are always either major or minor and 4ths and 5ths are always perfect, augmented (raised) or diminished(lowered) it becomes evident that major chords have a major 3rd, minor chords have a minor third. By altering or manipulating th...
The easiest way to apply a triad, or indeed any chord, is to pick one on a polyphonic instrument (such as a piano) and play its three notes simultaneously. This is often how chords occur in actual music: an instrument plays all the notes in the chord at the same time. However, there are other possibilities. The simplest is to arpeggiate the chord, that is, to play its notes one at a time in any order, especially in a ascending or descending order. Often melody can be written around the chord, using notes in the chord as well as the diatonic and chromatic passing notes between the chord tones. When this is done while there is no accompaniment actually playing a chord, the chord is implied.
Triads are often extended with some form of the seventh to form a seventh chord. When a chord is referred to as simply a seventh chord, usually the dominant seventh is meant, which is a major triad with a minor seventh, for instance, C-E-G-B♭. It is called the dominant seventh because the V chord, or "dominant chord" in the Latin naming system, is the only major chord in the major scale that can naturally contain a minor seventh. Because all sevenths are dissonant intervals, any seventh chord is dissonant, in other words, a seventh chord is more tense than a major or minor chord. However, a few styles of music, such as jazz, make heavy use of seventh chords and may treat them as rather consonant.
Some chords are defined by the relation to the key rather than by any inherent characteristics. The Neapolitan chord, for example, is an ordinary major chord, but its root is the lowered supertonic of the corresponding key, so the Neapolitan of C major is a D♭ major chord. Additionally, the Neapolitan is usually found in first inversion. A borrowed chord is one from the parallel major or minor key. In C major, the parallel key is C minor and borrowed chords include E♭ major, B♭ major, and F minor.