133 Sentences With "major chords" | Random Sentence Generator

G-major chords in the strings evoke heavenly radiance; D-flat-major chords in the brass signify warm, earthly power.

"Those C-major chords were, so, so …" he said, gesturing enthusiastically.

But the song's joyous major chords already sound as though she's busted loose.

The major chords, the marching rhythms, the simpering enforced jollity of it all.

The sound is cozy: major chords, a light beat like a cruising train.

We are influence by Venetians, who have more major chords, mandolins, violins and guitars.

She drowns every line and every hook in melancholy, flipping major chords into something mournful.

Where are the uplifting major chords, the screaming hooks and the paeans to fleeting teenage love?

But when "Don't Feel Like Dancing" finally bursts open about a minute in, the band's bouncing major chords reframe Ciolek's claims.

It's why the bread and butter of pop music, which is engineered to be upbeat and danceable, is highly consonant major chords.

CARAMANICA Perhaps it was inevitable that country would connect with electronic dance music; they share major chords and a foot-stomping beat.

In her video, directed by Aisha Taylor, she busks and lives the fantasy, but those big bad major chords contain something a little more sad.

And, as ever, the band's seemingly unassuming lo-fi major chords back it all up with enough of a careful grin to drag the viewer in.

It's still locked into major chords, and the group chant in the chorus sounds more like a Christmas Eve singalong than a plea for a happy home.

Specifically, DeBord said, this "Banner" segues several times to minor chords, which in the Western canon are considered melancholic, in places where major chords, which are heartier and more upbeat, are the norm.

Like Pokemon floating in special places, this world has orbs that show you the exact locations of major chords, minor chords and more, using the 3-D space tracking and augmented reality capabilities of Hololens.

If you read enough of the Very Short Introductions in a row, some of these facts, gleaned from different books, collide with one another and do interesting things—coalesce, contradict, form big, thudding major chords or eerie minor ones.

The verses have a smiley lilt over a snappy backbeat, and the chorus marches with pealing major chords as Aurora's voice multiplies all over the place: girl-group harmonies answered by oohs and oh-ohs and la-las and ya-yas.

One song, "Confusion," was written after the diagnosis: "We spent so long facing the days together/that I forgot how to be different from us," Ms. Deheza sings, over a synthetic backdrop of billowing major chords, but without the security of a drumbeat.

It's unexpected but not unprecedented to mint a pop hit with an old-school Broadway track (just ask Jay Z or Gwen Stefani), but doing it in a minor key, while the pop world lives for the bombast of major chords is a shocker.

In "Father's Child," he sings, "I've been searching for miles and miles/Looking for someone to walk with me," and an optimistic buildup toward the middle — with some rare major chords — hints that he'll find someone; instead, the song turns slow and pleading, leaving the search unfinished.

"Whether or not we are musically literate, we hear major [chords] as happier and more optimistic, and minor [chords] as more sad and sorrowful, solemn, maybe introspective," Harding explained, noting that adding a minor sound has been used in dance music to make songs, which can be repetitive, feel less so.

" Hints of disaster creep in, line by line: she hated (past tense) the number nine; her sister was out on the ice earlier, alone; he sings about "Good Heaven..." and the "Northern star..." In the third verse, the song erupts in a clash of major chords: "Baby you promised me you'd never leave / Then you died on the 25th day of December.

After a brief period of afterglow, the work ends with two emphatic F-major chords.

"It's Raining Men" uses one minor chords, F minor, with the rest of notes in major chords.

At measure 54, the movement modulates back into E major and the primary theme returns. The movement ends on three E major chords.

For example, the work closes with six D-flat major chords (Janáček's favourite chord), but with the added dissonance of an E-flat.

Along with the minor triad, the major triad is one of the basic building blocks of tonal music in the Western common practice period and Western pop, folk and rock music. It is considered consonant, stable, or not requiring resolution. In Western music, a minor chord "sounds darker than a major chord". Some major chords with additional notes, such as the major seventh chord, are also called major chords.

Major seventh chords are used in jazz and occasionally in rock music. In jazz, major chords may also have other chord tones added, such as the ninth and the thirteenth scale degrees.

Thrash metal in particular makes abundant use a muted low E string (or lower, if other tunings are used) as a pedal point. Other examples include The Supremes' "You Keep Me Hangin' On" (chorus: octave E's against A, G, and F major chords) and John Denver's "The Eagle And The Hawk" (intro: top two guitar strings, B & E, against B, A, G, F, and E major chords).Stephenson, Ken (2002). What to Listen for in Rock: A Stylistic Analysis, p. 77. .

They presuppose a Pythagorean division of the octave taking the Pythagorean comma (about an eighth of the tempered tone, actually closer to 24 cents, defined as the difference between seven octaves and 12 just-intonation fifths) as the basic interval. The Turkish systems have also been adopted by some Arab musicians. Ben Johnston created a system of notation for pieces in just intonation where the unmarked C, F, and G major chords are just major chords (4:5:6) and accidentals create just tuning in other keys.

The song was co-written by Mike Campbell, along with Petty and Jeff Lynne. It was a nod to Petty's musical roots, with the lyric "me and Del were singin' 'Little Runaway'" making reference to Del Shannon and "Runaway". The song uses E major as a tonic, but makes ample use of chords outside that key, such as A, D, G, and C major chords. Some passages (including the extended outro) use a pedal point of E in the bass, while changing chords from E major to C and D major chords above it.

The string layout is compressed to the central inch of the fingerboard to allow rapid rhythmical strumming. Recent musicians make more harmonic changes than in the past, but still use only major chords. The word zongora is also Hungarian for piano.

The major-third intervals allow major chords and minor chords to be played with two–three consecutive fingers on two consecutive frets. Every major-thirds tuning is regular and repetitive, two properties that facilitate learning by beginners and improvisation by advanced guitarists.

The tonic returns in measure 181, with a brief teaser of the staccato eighth-note theme, to be replaced by the sixteenth notes played by all instruments in the fortissimo dynamic. In the final three bars, all four instruments play a succession of tonic B major chords.

One contemporary usage, however, is that by Erik Satie in the third movement of "Embryons desséchés" ("Desiccated Embryos"), where the obbligato consists of around twenty F-major chords played at fortissimo (this is satirising Beethoven's symphonic style). The term is also used with an entirely different meaning, signifying a countermelody.

Many of the previous movements are quoted here from the introduction, the lion, the donkeys, hens, and kangaroos. The work ends with a series of six "Hee Haws" from the donkeys, as if to say that the donkey has the last laugh, before the final strong group of C major chords.

The opening section moves into a contrasting middle section in the same key signature, which flows back to the opening material in a transitional passage where the melody floats above seventeen consecutive bars of D-flat major chords. The reprise of the first section grows out of this, followed by a Picardy third ending.

The second movement has been associated with the imagery of Orpheus taming the Furies (represented, respectively, by the piano and unison strings) at the gates to Hades, a suggestion of Beethoven's 1859 biographer Adolf Bernhard Marx. The movement's quiet E minor ending leads without pause into the C major chords that open the finale.

Spiral Array Model. Pitch class, major/minor chord, and major/minor key helices. The model as proposed covers basic pitches, major chords, minor chords, major keys and minor keys, represented on five concentric helices. Starting with a formulation of the pitch helix, inner helices are generated as convex combinations of points on outer ones.

Typically, uppercase Roman numerals (such as I, IV, V) are used to represent major chords, while lowercase Roman numerals (such as ii, iii, vi) are used to represent minor chords (see Major and Minor below for alternative notations). However, some music theorists use upper-case Roman numerals for all chords, regardless of chord quality.Roger Sessions (1951). Harmonic Practice.

Rondeau – AllegroNMA V/14/6, p. 46 :The form of this movement is: A–B–A–C–A–B–A, a typical sonata-rondo form. The only minor difference to the standard sonata-allegro form is the third appearance of the "A" theme in the parallel minor. The concerto ends with three forte C major chords.

Individual tones, octave dyads, and major chords are quite high in tonalness. Multiplicity the number of tones a listener spontaneously hears in the sound. Intriguingly, for most chords the multiplicity values are less than the actual number of constituent tones – a prediction that has been validated empirically. Pitch salience is the clarity or prominence of a pitch sensation.

"Ask" is a song recorded by the English rock band the Smiths. It was released as a single on 20 October 1986 through Rough Trade Records. Credited to vocalist Morrissey and guitarist Johnny Marr, "Ask" is an upbeat, positive pop song built around major chords. Its lyrics discuss shyness and encourage the listeners to overcome their inhibitions.

4–3 is a recommended fingering for a bass note and its corresponding major chord (e.g. C–CM–C–CM). For alternate bass with the root and fifth, 4–3–2–3 can be used for major chords (e.g. C–CM–G–CM), 4–2–3–2 for minor and other types of chords (e.g. C–C7–G–C7).

James Webster, Haydn's 'Farewell' Symphony and the Idea of Classical Style, p. 267 The Fifth Symphony finale includes a very long coda, in which the main themes of the movement are played in temporally compressed form. Towards the end the tempo is increased to presto. The symphony ends with 29 bars of C major chords, played fortissimo.

The repetition of the major-thirds tuning enables notes and chords to be raised one octave by being vertically shifted by three strings. Notes and chords may be shifted diagonally in major-thirds tuning, by combining a vertical shift of one string with a horizontal shift of four frets: "Like all regular tunings, chords in the major third tuning can be moved across the fretboard (ascending or descending a major third for each string)...." In standard tuning, playing scales of one octave requires three patterns, which depend on the string of the root note. Chords cannot be shifted diagonally without changing finger-patterns. Standard tuning has four finger-patterns for musical intervals, four forms for basic major-chords, and three forms for the inversion of the basic major-chords.

In the standard guitar- tuning, one major-third interval is interjected amid four perfect-fourth intervals. A six-string guitar has five musical-intervals between its consecutive strings. In standard tuning, the intervals are four perfect- fourths and one major-third, the comparatively irregular interval for the (G,B) pair. Consequently, standard tuning requires four chord-shapes for the major chords.

One day, Michael overheard Nat teaching himself how to play major chords on the piano; Nat told his father that they were his "proud chords." After hearing the music of The Beatles, Nat became inspired and watched all the group's films including Help!. On the other hand. Alex discovered how to play the saxophone at the age of two and a half.

Liszt became a pioneer in building new chords. Until the end of the 19th century the triad remained the prime architectural element in chordal structure. Few composers seemed to question whether chords built by other means were possible. One advance Liszt made was the use of minor and major chords struck together, a device he used in works such as the Czárdás obstinée.

The song's lyrics center around a girl who lives a crazy life involving sex, drugs and alcohol. The song opens with bass riffs from Duff McKagan and then the guitar enters, playing major chords. The song has a string chorus and a guitar solo by Slash. The song's structure and sound is very similar to the opening track on Contraband, "Sucker Train Blues".

The tempo increases gradually, mimicking the high the narrator receives from the drug, until a frantic crescendo, punctuated by Cale's shrieking viola and the more punctuated guitar strumming of Reed and Morrison. Tucker's drumming becomes hurried and louder. The song then slows to the original tempo, and repeats the same pattern before ending. The song is based on D♭ and G♭ major chords.

Gottfried Weber's Versuch einer geordneten Theorie der Tonsetzkunst (Theory of Musical Composition) (1817–21) is often credited with popularizing the method. More precisely, he introduced the usage of large capital numerals for major chords, small capitals for minor, superscript o for diminished 5ths and dashed 7 for major sevenths – see hereby.Gottfried Weber, Versuch einer geordneten Theorie der Tonsetzkunst, 3d Edition, Mainz, Schott, 1830–1832, vol. 2, pp.

4 4 4 4 4 4 2\. } which enables one-finger minor chords. Like other cross-note tunings, it also allows major chords to be fretted with one adjacent finger. Many of the notes from the harmonic sequence for C appear in the new standard tuning (NST), which is used in Guitar Craft (a school of guitar playing founded by King Crimson's Robert Fripp).

Gershwin himself called this prelude in E-flat minor "Spanish", but modern ears may find the description puzzling. After a brief and dramatic introduction, the main theme is revealed: two melodies that together form a question-and-answer pair. This theme is used throughout to provide harmonic structure. The "question" is harmonized using E-flat minor chords, the "answer" by E-flat major chords.

Ry Cooder plays slide guitar using an open tuning that allows major chords to be played by barring the strings anywhere along their length. In music, a guitar chord is a set of notes played on a guitar. A chord's notes are often played simultaneously, but they can be played sequentially in an arpeggio. The implementation of guitar chords depends on the guitar tuning.

Haydn’s final movement of the Oxford Symphony is centered on a feeling of tension and release. In order to convey this quality to the listener, Haydn wrote this sonata form movement slightly faster and shorter than the first movement of the symphony to create a climactic ending. The symphony, which began with three slow, soft G major chords ends with three loud, emphatic ones.

96-button Stradella bass layout on an accordion. C is in the middle of the root note row. The Stradella Bass System (sometimes called standard bass) is a buttonboard layout equipped on the bass side of many accordions, which uses columns of buttons arranged in a circle of fifths; this places the principal major chords of a key (I, IV and V) in three adjacent columns.

A wistful recollection of the melody from the preceding Larghetto appears and then diminuendos away. The movement's recapitulation starts with the main theme, followed in turn by the second and third themes. A 20-bar eighth-note passage leads into a quotation of the first movement's theme, bringing the piece full circle. A Presto coda follows, and the Serenade ends with three E major chords.

The fourth movement is an “exuberant and joyous barn dance,”Carter, p. 45 and functions as the finale of the complete set. This movement in particular captures the idiomatic sounds and styles of a fiddler and his or her accompanying harmonica or accordion player. With a tonal center on F, the primary harmonies used are F-major and B-flat major chords, the I and IV harmonies respectively.

"Cirrus Minor" has an unusual chord sequence: E minor, E flat augmented, G major, C# minor 7, C major 7, C minor 7 and B 7. The chords are built around the chromatically descending bass line. The B 7, C major 7 and G major chords are the only chords which fit into the functional context of the E minor key. This chord sequence gives the song a surreal atmosphere.

The fourth section of the piece repeats the theme from the first section and segues to the Friska of the piece, marked Allegro con Brio. This introduces the parallel major to A Minor (A Major) as the tonic and continues with lively variations on the first theme. The piece concludes with octaves ascending the keyboard in A Major arpeggios and is finished on four final A Major chords.

At the end of the coda, there is a surprise, which is when the dynamic changes from pp on the flute and strings only to ff all of a sudden by a huge crash on the whole orchestra, as the tempo abruptly changes from Poco Andante to Presto. A flurry of sforzandos appear, and the finale ends with three large E-flat major chords on the tutti, marked ff.

"Under the Bridge" is performed in 4/4 time in the key of E major. The intro changes between D and F major chords before the first verse moves into E. The bridge and ending modulate to A minor.Blood Sugar Sex Magik Guitar Recorded Versions, pp. 51–55 The song marked a shift in style for Kiedis, who had spent most of his career singing rapidly due to his limited range.

The first movement ends triumphantly and joyously with brass major chords at its close. The second movement is a quiet, dreamy movement with a memorable melody that is used effectively throughout. It closes peacefully and evokes a quiet day at sea. The finale sees the return of the mood of the opening movement, being heroic and seascape and opening with distant trumpet trills and a blustery, joyful melody from the timpani and horns.

In standard tuning, there is an interval of a major third between the second and third strings, and all the other intervals are fourths. The irregularity has a price. Chords cannot be shifted around the fretboard in the standard tuning E–A–D–G–B–E, which requires four chord-shapes for the major chords. There are separate chord- forms for chords having their root note on the third, fourth, fifth, and sixth strings.

Vogel claims that his formula entails also compositional consequences. If one wants a chord to be consonant, major chords should be composed such that thirds and sevenths are set in a high register. Minor chords, however, would have to be set the other way round, with thirds and sevenths being set in a low register. This is by no means compatible with the compositional practice of the last centuries (with perhaps the exception of the Tristan chord, see below).

She taught her system in cities all over the United States, with headquarters first in Omaha, Nebraska, then in Chicago, Illinois."Founder of Teaching System Transfers Work to Chicago" Musical Monitor & World (September 1914): 29, 31. Her "lightning style" was considered distinctive, and she promised that "All the major chords can be taught in ten minutes. In six months, pupils can play or write in any key.""She Teaches Music in Lightning Style" Star Press (April 7, 1912): 17.

First published in 1861 in Sullivan's collection Songs of the Backwoods, its nostalgic lyrics are about Irish emigrants living in Canada. This was an imagined setting, however, as Sullivan himself never lived in Canada, he did travel in North America fundraising for Irish nationalist causes. The tune accompanying it is a lively one in major chords, and this could easily be a drinking song.Ireland: A Reference Guide from the Renaissance to the Present By John P. McCarthy, p.

They wanted to dramatise the first lyrical phrase by incorporating major chords, but Lee said a first version of the track was put together some years prior, but never used. Lee described "Dog Years" as "a bit punky". "Limbo" is an instrumental track that was pieced together from different bits of ideas that the group had sketched out but remained unused. Lifeson picked "Resist" as one of his favourite tracks, and among the best Rush had ever recorded.

Beyoncé's vocal range spans around one and a half octaves in the song, from the low note of A3 to the high note of F5. "Crazy in Love" uses two major chords, B♭ and G, a minor third apart. One of the main vocal riffs uses the traditional cowbell rhythm often found in samba music. Lisa Verrico of The Times magazine, wrote that "Crazy in Love" makes use of big drums and bits of brass.

The rest of the notes are all Bagley's, including the four short repeated A-flat major chords that lead to a statement by the low brass that is now reminiscent of the national anthem. Unusually, Bagley's march does not incorporate either a breakstrain or a stinger however the exact repetition of the trio's melody at a chromatic mediant (A-flat Major/m.3 of Trio, then C Major/m.10 of Trio) is suggestive of a breakstrain.

According to the music website AllMusic, the title is written in a blues, rock and pop music vein. It features styles of album rock, hard rock, modern blues, blues rock, contemporary pop rock as well as adult contemporary music. The song is written in the key of D major and features a chord progression consisting of mostly major-chords as well as seventh chords. Only one minor chord, in this case an A minor chord was used in the song.

A bass drum kick on every beat provides the musical foundation until the first chorus, when Adam Clayton's bass guitar enters. In contrast to the violent nature of the verses, the emergence of major chords creates a feeling of hope during Bono's "How long, how long must we sing this song?" refrain. During the chorus, the Edge's backing vocals further develop this tread, using a harmonic imitative echo. The snare drum is absent from this section, and the guitar parts are muted.

From an early age, she has also had a special love for pretty-sounding pop music. In a 1998 interview, she stated, "I just always liked pop music and really good melodies and major chords. That's just the type of music that comes naturally to me". In a 1993 interview in Melody Maker magazine, Hatfield stated that her enthusiasm for the music of the pop group Wilson Phillips apparently led, at least in part, to the breakup of the Blake Babies.

Jazz musician Stanley Jordan plays guitar in all-fourths tuning; he has stated that all-fourths tuning "simplifies the fingerboard, making it logical". : For all-fourths tuning, all twelve major chords (in the first or open positions) are generated by two chords, the open F major chord and the D major chord. The regularity of chord-patterns reduces the number of finger positions that need to be memorized. The left-handed involute of an all-fourths tuning is an all-fifths tuning.

"You Sexy Thing" has a simple structure, with most of the song alternating between two major chords (F and Bb). It has a chorus-verse form. One of the song's most memorable aspects is its distinctive six note riff which is repeated intermittently throughout, played on a mildly overdriven electric guitar on a high treble setting and with noticeable vibrato. In addition to a traditional rock drum kit, the song uses hand drums, played in a style reminiscent of tabla.

Major-thirds tunings require less hand-stretching than other tunings, because each M3 tuning packs the octave's twelve notes into four consecutive frets. The major- third intervals let the guitarist play major chords and minor chords with two–three consecutive fingers on two consecutive frets. Chord inversion is especially simple in major-thirds tuning. The guitarist can invert chords by raising one or two notes on three strings—playing the raised notes with the same finger as the original notes.

Jason Lipshutz of Billboard characterized "Style" as a pop rock song, while the Los Angeles Timess Mikael Wood and The Observers Kitty Empire described the track's style as "funk-pop". Times Sam Lansky categorized "Style" as 1970s-styled disco, and Rolling Stone Rob Sheffield noted the song's 1980s synth-pop sound. The refrain's first half is built on D and G major chords that create a relatively radiant atmosphere. The second half incorporates a B minor chord that evokes a glimpse of sorrow.

Steele et. al. found that "listening to Mozart produced a 3-point increase relative to silence in one experiment and a 4-point decrease in the other experiment". In another study, the effect was replicated with the original Mozart music, but eliminated when the tempo was slowed down and major chords were replaced by minor chords. Another meta-analysis by Pietschnig, Voracek, and Formann (2010) combined results of 39 studies to answer the question as to whether or not the Mozart Effect exists.

An open C tuning Open C tuning is an open tuning for guitar. The open-string notes form a C major chord, which is the triad (C,E,G) having the root note C, the major third (C,E), and the perfect fifth (C,G). When the guitar is strummed without fretting any strings, a C-major chord is sounded. By barring all of the strings for one fret (from one to eleven), one finger suffices to fret the other eleven major-chords.

The movement ends with two E major chords. The second movement is often marked Larghetto, but the indication is missing from the autograph. The opening theme is played by the winds at the beginning of the movement but by the piano in the recapitulation. The development, after spending one bar on a German augmented sixth chord with a root of C, abruptly goes into the distant key of E minor for one bar, and four bars later, ends up back in the home B major.

It is not until some time of cadenza-like material has passed that the third appearance of A is heard. After many bars of piano, the movement ends on two tutti E major chords. The finale of the piece was rewritten by a person other than Mozart, but since the autograph is accessible, the attempted forgery was discovered and corrected. This piece was allegedly the inspiration for the Quintet in E for Piano and Winds, Op. 16 by Ludwig van Beethoven, who composed this tribute in 1796.

Be they in major key or minor key, such I-IV-V chord-progressions are extended over twelve bars in popular music—especially in jazz, blues, and rock music. For example, a twelve-bar blues progression of chords in the key of E has three sets of four bars: :E-E-E-E7 :A-A-E-E :B7-A-E-B7; this progression is simplified by playing the sevenths as major chords. The twelve-bar blues structure is used by McCartney's "3 Legs", which was noted earlier.

"Sonny Landreth, Keith Richards and other open-G masters often lower the second string slightly so the major third is in tune with the overtone series. This adjustment dials out the dissonance, and makes those big one-finger major-chords come alive." Repetitive open-tunings are used for two non-Spanish classical-guitars. For the English guitar the open chord is C major (C-E-G-C-E-G); for the Russian guitar which has seven strings, G major (G-B-D-G-B-D-G).

The half-sung and half-shouted bridge in "53rd and 3rd" are performed by Dee Dee, whose voice is described by author Cyrus Patell as what "breaks the deliberate aural monotony of the song and emphasizes the violence of the lyric."Patell 2011, pp. 132–133. "Let's Dance" is a cover version of the hit song by Chris Montez, featuring Leon playing Radio City's large Wurlitzer pipe organ. "I Don't Want to Walk Around with You" consists of two lyric lines and three major chords.

The last movement, in the home key of C major, brings the springlike mood back full force, in the form of an energetic finale. The opening immediately sets a cheerful mood with trills and light-hearted melodies. There is, however, still a darker side which clashes with the happy mood in the exciting development, which leads to the vibrant recapitulation and coda. The ending bars are an impressive climax, with the viola and cello playing rapid notes in their lowest registers while the violins hammer out C major chords above.

Steve Lieberman was born on June 21, 1958 in Brooklyn, NY to a working-class Jewish family. At the time of his bar-mitzvah in 1971, Lieberman, already an observant Jew, acquired a bass guitar to fill a vacancy in his junior high school jazz band. He picked up the instrument and started playing it upside-down and backwards. After passing the jazz band audition, he had developed a crude system of chords for the bass; when properly distorted, they mimicked the major chords of the 6 string guitar.

In each regular tuning, the musical intervals are the same for each pair of consecutive strings. Other regular tunings include all-fourths, augmented- fourths, and all-fifths tunings. For each regular tuning, chord patterns may be moved around the fretboard, a property that simplifies beginners' learning of chords and advanced players' improvisation. In contrast, chords cannot be shifted around the fretboard in standard tuning, which requires four chord- shapes for the major chords: There are separate fingerings for chords having root notes on one of the four strings three–six.

The exposition ends with a largely stepwise figure in the treble clef in a high register, while the left hand moves in an octave- outlining accompaniment in eighth notes. The development section opens with a statement of this final figure, except with alterations from the major subdominant to the minor, which fluidly modulates to E major. Directly after, the exposition's first subject is composed in fugato and features an incredible display of musical development. The fugato ends with a section featuring non-fugal imitation between registers, eventually resounding in repeated D-major chords.

This single chord has been widely commented on. It has been called "the most sickening chord in all opera", an "epoch-making dissonance with which Strauss takes Salome...to the depth of degradation", and "the quintessence of Decadence: here is ecstasy falling in upon itself, crumbling into the abyss". The chord is often described as polytonal, with a low A7 (a dominant seventh chord) merged with a higher F-sharp major chord. It forms part of a cadence in the key of C-sharp major and is approached and resolved from C–sharp major chords.

The same applies to Em, Am, and Dm. The minor chord shape is easier to play with the left hand, while major chords are easier to play with the right hand. There is a row for every possible musical interval, not just fifths, fourths, and octaves but also whole tones, minor thirds, etc. The Array system can be thought of not only as being based on the circle of fifths, but as being based on rows of whole tones. Each whole-tone row is separated by a fifth/fourth.

"Hey Ya!" is a song in G major. Each cadential six-measure phrase is constructed using a change of meter on the fourth measure (effectively creating a song in 22/4) and uses a I–IV–V–V7/ii chord progression. G major and C major chords are played for one and two measures, respectively. André 3000 then uses a deceptive cadence after a measure of the dominant D major chord, leading into two measures of an E major chord (against a G note in the melody implying E minor).

As a result of this structure, and one of the important properties leading to its selection, vertical neighbors are a music interval of a major third apart. Thus, a pitch class's nearest neighbors and itself form perfect fifth and major third intervals. # By taking every consecutive triads along the helix, and connecting their centers of effect, a second helix is formed inside the pitch helix, representing the major chords. # Similarly, by taking the proper minor triads and connecting their centers of effect, a third helix is formed, representing the minor chords.

Already in basic guitar-playing, inversion is important for sevenths chords in standard tuning. It is also important for playing major chords. In standard tuning, chord inversion depends on the bass note's string, and so there are three different forms for the inversion of each major chord, depending on the position of the irregular major-thirds interval between the G and B strings. For example, if the note E (the open sixth string) is played over the A minor chord, then the chord would be [0 0 2 2 1 0].

The second bridge back to the verse is in the key of G major (Chords B minor to G major, "She was glad about it...") It reached on the U.S. Billboard Hot 100 and on the British singles chart. The accompanying music video was directed by avant-garde filmmaker Jim Blashfield, who cites the style of Terry Gilliam as one of his major influences. The song was featured in the 1989 film Look Who's Talking, in the 2005 films Bewitched and Sky High, and the 2016 film Storks.

At the start of verse 11, it returns to the first tempo, but this time un poco animato. The tempo winds down to Piu Lento at the beginning of verse 20, before slowing down to Largo for the final 9 bars. The work either begins on the dominant of D Dorian or on the tonic A Mixolydian, with an unexpected progression of four major chords, which is an unusual chord progression for this time period. This composition arguably concludes in D Major with a cadence that spans three bars.

8–9 minutes Opening of the Marche funèbre The third movement, titled Marche funèbre, is a "stark juxtaposition of funeral march and pastoral trio".Boczkowska (2012), p. 217 The movement is in B minor and time with the trio in the relative major of D. The tempo designation, Lento, was not added until after the sonata's publication in 1840. The movement opens with a melody consisting of just a repeated B for almost three measures accompanied by alternating B (without the third) and G major chords that ring like a funereal bell.

The recapitulation features an abridged version of the first subject, working around to C minor for the transition section. In the second subject group, the consoling second theme is omitted, and instead the first theme repeats, with a reappearance of the stormy climactic build that was previously heard in the exposition, but this time in B major. However, this time the excitement is cut short by a deceptive cadence. A brief closing section, made of G-flat major chords played by the whole orchestra and the piano, is heard.

In the score for The Big Sleep, Steiner uses musical thematic characterization for the characters in the film. The theme for Philip Marlowe (Humphrey Bogart) is beguiling and ironic, with a playful grace note at the end of the motif, portrayed mixed between major and minor. At the end of the film, his theme is played fully in major chords and finishes by abruptly ending the chord as the film terminates (this was an unusual film music practice in Hollywood at the time). According to Christopher Palmer, the love theme for Bogart's Philip and Lauren Bacall's Vivian is one of Steiner's strongest themes.

To explain this resonance and strengthened sound, the example of the overtones on C has been used; and C's overtones is a standard example for explaining the sequence of overtones. The open-string notes form a C major chord, which is the triad (C,E,G) having the root note C, the major third (C,E), and the perfect fifth (C,G). When the guitar is strummed without fretting even one string, a C-major chord is sounded. By barring all of the strings for one fret (from one to eleven), one finger suffices to fret the other eleven major-chords.

Although attributed to Stravinsky, the chord (or, more precisely, two simultaneous major chords set a tritone apart, specifically F and B major) was present much earlier in Franz Liszt's Malédiction Concerto.Walser, Robert (1998). Keeping Time : Readings in Jazz History, p.215. (Although the exact date of the composition remains unknown, it is estimated by Humphrey Searle to be from about 1840; the composition is believed to have originated from one of Liszt's early works, performed in 1827.) Maurice Ravel uses this chord in his piano work Jeux d'eau to create flourishing, water-like sounds that characterize the piece.

Harps labeled G through B start (on hole 1 blow) below middle C, while Harps labeled D through F start above middle C (C4). Here is the layout for a standard diatonic harmonica, labeled C, starting on middle C (C4). ::300px Although there are three octaves between 1 and 10 "blow", there is only one full major scale available on the harmonica, between holes 4 and 7. The lower holes are designed around the tonic (C major) and dominant (G major) chords, allowing a player to play these chords underneath a melody by blocking or unblocking the lower holes with the tongue.

Indie pop borrows heavily from Western pop song conventions and structures with extensive use of, for example, major chords, hooks, common time and a "consistent and noticeable rhythmic element" i.e. the beat. Indie pop was an unprecedented contrast from the gritty and serious tones of previous underground rock styles, as well as being a departure from the glamour of contemporary pop music. Distinguished from the angst and abrasiveness of its indie rock counterpart, the majority of indie pop borrows not only the stripped-down quality of punk, but also "the sweetness and catchiness of mainstream pop".

In order to complete this opening passage there is a downwards scale from E-flat to C and then leave the opening in a state of resolution, there is a final four note pattern, B-natural–C–D and finally to G, the dominant. This is then repeated an octave lower. Throughout this, the left hand is playing short, staccato accompanying quarter notes whereas the right, which was discussed above, is playing eighth note tuplet. After the opening passage is complete, there is a series of broken C major chords one octave above from where the opening passage ended.

There is only one unimorphic planar (as opposed to linear) system available on a lead instrument at this time, and that is the system used for organizing the Array mbira. Because the Array system is isomorphic, any given chord, scale, or song, no matter how complex, can be played in any one of the 12 keys immediately after the player learns to play it in one key. Because it is unimorphic, common chords tend to fall close together. In the key of C, for example, the F and G major chords can be played by moving the C major chord shape one octave group to the left or right.

The overture, in D major and common time, is in a modified sonata form in which the development is but a very short transition section connecting the exposition with the recapitulation. Other conventional hallmarks of the sonata form are apparent: the exposition modulates from the tonic (D major) to the dominant (A major), while the recapitulation is centred on the tonic. The overture concludes with a coda ending in D major chords. These chords, soft and tentative, turn out not to be a resolution of the overture in the tonic but chords in the dominant of G minor, which is the home key of the scene that immediately follows.

Los Saicos, el punk que (dicen) nació en Perú Consultado el 14 de julio de 2016 The melody is repetitive and composed of four stanzas. Its harmonic structure comprises three simple major chords: A, D, and E. The instrumentation is influenced by the surf rock of Dick Dale (which was very popular at the time) and its duration is only 2:53.Los Saicos, el punk que (dicen) nació en Perú Consultado el 14 de julio de 2016 In 1965, the song was recorded by the label Dis-Perú in Peru and was published the same year. It was re-released by Electro-Harmonix some years later.

The early makers including Eichhorn (Schwyz) and Nussbaumer (Bachenbülach) experimented with different arrangements and numbers of buttons. The typical Schwyzerörgeli today has 18 bass buttons arranged in two rows (one for bass notes and one for major chords), and 31 treble buttons on the RH arranged in 3 rows with a fingering similar to the 'club' system. The basses progress in 4ths like the Stradella system seen on chromatic and piano accordions, but in the opposite direction. Some Schwyzerörgelis have fewer buttons in the upper/inside row on the RH much like the club models, or more buttons - sometimes an extra row on the outside - and fewer or more basses.

1967 trade ad for the single "White Rabbit" is one of Grace Slick's earliest songs, written during December 1965 or January 1966. It uses imagery found in the fantasy works of Lewis Carroll—1865's Alice's Adventures in Wonderland and its 1871 sequel Through the Looking-Glass—such as changing size after taking pills or drinking an unknown liquid. Slick wrote the lyrics first, then composed the music at the piano, moving between minor and major chords for the verses and chorus. She said that the music was heavily influenced by Miles Davis' Sketches of Spain, particularly Davis' treatment of the Concierto de Aranjuez.

After the chorus, it switches back to the key of A major and there is a short arpeggio from C major to D major chords to connect to the next verse. The second verse is half the length of the first one, and a short guitar solo in the A major scale comes in on the words "float away". The chorus, connecting guitar lick, pre-chorus, chorus format comes in at this point and then a bridge occurs. The bridge switches to the key of G major again and features the chords F major, G major, A major and B major played at a slower tempo.

These same diminished chords intentionally found their way onto the row of major chords. And as pointed out earlier in this article, not all of the chord buttons had their own track assignments. In a very unusual move, A-major utilizes the same soundtrack as B-flat-diminished, G-diminished, and E-diminished, while E-major shares space with F-diminished and D-diminished, thereby making it impossible to play in the keys of A or E, at least with left-hand accompaniment. Apparently, this was done to save space on the disc, further explaining the lack of dominant seventh chords or any chords in the keys of E-flat, A-flat, D-flat, B and F-sharp.

The opening bars of the Hammerklavier sonata The first movement opens with a series of fortissimo B-major chords, which form much of the basis of the first subject. After the first subject is spun out for a while, the opening set of fortissimo chords are stated again, this time followed by a similar rhythm on the unexpected chord of D major. This ushers in the more lyrical second subject in the submediant (that is, a minor third below the tonic), G major. A third and final musical subject appears after this, which exemplifies the fundamental opposition of B and B in this movement through its chromatic alterations of the third scale degree.

His version of the traditional English nonsense song "Nottamun Town" was the tune and arrangement used by Bob Dylan as the basis for "Masters of War", . [Clinton Heylin in Revolution In the Air (2009) rejects this idea as "patently absurd" (p. 116), but Jackie Washington, including "Nottamun Town", was released in December 1962, and The Freewheelin' Bob Dylan, with "Masters of War", was released 27 May 1963; Dylan loved Washington's rendition, repeatedly requested he perform it, and asked Vanguard Records to give him a copy of Washington's debut album; Jean Ritchie, whose version Heylin and others give as Dylan's source, sings the song in a minor key but plays the accompaniment in major chords.

All the chords are major chords or seventh chords, and all the musical letters of the alphabet (A, B, C, D, E, F and G) are used. The song ends using a Shepard tone, with a chord progression built on ascending and descending lines in the bass and strings, repeated as the song fades. Musicologist Alan W. Pollack analyses: "The chord progression of the outro itself is a harmonic Moebius strip with scales in bassline and top voice that move in contrary motion." The bassline descends stepwise A, G, F, E, D, C, and B, while the strings part rises A, B, C, D, E, F, G: this sequence repeats as the song fades, with the strings rising higher on each iteration.

At this point, the song could have gone to an E major chord, which would complete a plagal cadence, or a V-IV-I turnaround. Instead, the chorus alternates between G and A major chords, with the vocal harmonies on the G featuring the major seventh, F♯. The G to A progression leads back to the A–A♯–B riff of the next verse. Over the B power chord, lead guitarist Elliot Easton plays a trill between the notes D and D♯, respectively the minor and major thirds of the B chord, which reinforces the ambivalence of the song's key. During the second and third verses, a call and response effect is created between Ric Ocasek's vocals and Easton's lead guitar fills.

On the guitar and bass guitar this is accomplished with the right hand alternating between two or more strings, often the bottom two on the guitar. In the following example in the C major chord C is located on the fifth string while G is located on the adjacent sixth (lowest) string and in the F major chord F is located on the adjacent fourth string: Carter Family picking with alternate bass within and walking bass, in blue, between C and F major chords . Alternate bass lines are also used on the double bass in country music, bluegrass music and related genres. On the Stradella bass system commonly found on accordions, the left-hand bass- note buttons are arranged according to the circle of fifths.

Sanctus (Holy), in contrast with other compositions of mass and Requiem where it is often illustrated with great vocal and instrumental forces (particularly Verdi's Requiem), is here expressed in extremely simple form. The sopranos sing softly in a very simple rising and falling melody of only three notes, which the male voices repeat, accompanied by arpeggios on the harp and a dreamy rising melody in the violins (sometimes just a solo violin). The pattern appears several times, with the melodies increasing in ambitus, and the volume reaching forte on "" (the highest). The orchestra changes tone, the dreamy accompaniment is replaced by firm and powerful major chords with a horn fanfare marked forte, and the male voices declare "" (praise in the highest).

Three of the added strings are doubling the standard strings at the unison, and three are an octave higher. 13th : Refers to chords containing the thirteenth note of a scale, which is the sixth scale degree up an octave (e.g. an A note added to a C7 chord). Thirteenths are mostly used on dominant chords and major chords, and to a lesser degree, minor chords. The thirteenth may be flattened by one semitone to give a flat 13 chord (e.g. D7 with flat 13 would add a Bb to the basic D, F#A, C notes). Flat 13 chords are an altered dominant. 33 1/3 : A vinyl record designed to be played at 33 1/3 rpm (rotations per minute).

The form of this movement is ABCB1A1DXA2, with A being the glowing melody and X a reminiscence of the symphony's introduction. The BCB1 component can be considered a ternary episode. B suggests a sonata transition, while the C material arrives with the weight of a sonata second subject. In a purported sonata allegro scheme, the B1 section would inaugurate the development, given its more active texture and return to the main key of C. The A theme is developed next, with canonic imitations in E-flat major, after which surface the mysterious B-major chords of section D. These two sections (D and X) shatter the proposed sonata scheme, and in place of a recapitulation, the movement closes with another reprise of the lyrical A theme.

Later in the development, a seemingly new tune, which is actually an inversion of part of the second theme, is introduced. In the climax of the development, Chopin combines three elements at once: the motifs from the Grave introduction and the main theme in the bass and treble respectively, with crotchet triplets in the middle. In the recapitulation, the principal section containing the main theme does not return, possibly inspired by the older binary sonata form typical of Domenico Scarlatti's keyboard sonatas;Leikin (1994), p. 187 instead, only the lyrical second theme returns in the tonic's parallel major of B. The movement is closed with a brilliant 12-bar coda, marked stretto and ending in three B-flat major chords marked fff (fortississimo).

The final section of the development begins with a chromatic alteration of D to D. The music progresses to the alien key of B major, in which the third and first subjects of the exposition are played. The retransition is brought about by a sequence of rising intervals that get progressively higher, until the first theme is stated again in the home key of B, signalling the beginning of the recapitulation. In keeping with Beethoven's exploration of the potentials of sonata form, the recapitulation avoids a full harmonic return to B major until long after the return to the first theme. The coda repetitively cites motives from the opening statement over a shimmering pedal point and disappears into pianississimo until two fortissimo B major chords conclude the movement.

"Letter to God" was written solely by Perry in 2002–03 as a ballad. The song was composed in tuning half a step down (E♭-A♭-D♭-G♭-B♭-E♭) and in its original form, which was twelve seconds longer than the final version, had heavy emphasis on piano, with the opening chords (Am-G-Dm-Am) being strummed on guitar in the background. The opening of the song also used the same chords as the verse, including the revert to the minor chord, and for the chorus, the structure alternated to different, mostly major chords (C-Bm-F-C), and also the bass began being played. The bridge, which emphasised the drums, featured a further change (Bb-F-C) and ended with an outro based on the opening.

"California Girls" begins with an orchestral prelude and contains a similar chord sequence and call-and-response vocal lines as Wilson's previous song "Don't Hurt My Little Sister" from The Beach Boys Today!. According to writer Maury Dean, "Musically, 'California Girls' is an adventure in chromatics; any garage band trying to follow their bizarre VII tidal wave of dipping and swooping chromatic major chords will have to buy the sheet music, or hire Sherlock Holmes to find the missing chords." Musicologist Walter Everett identifies the use of VII — IV in the chorus to suggest a chromaticized major key with minor pentatonic inflections. Music theorist Daniel Harrison compared the song to Wilson's later "God Only Knows", as both songs avoid a root-position tonic and suppress a cadential drive.

"The Guitar Player" by V.A. Tropinin (1823) > The Russian guitar is traditionally played without a pick, using fingers for > either strumming or picking. The open G tuning allows major chords to be > played with only one finger of the fretting hand (the left hand for right- > handed guitars), as barre chords. The A-major chord can be played most > easily as a barré on the second fret, the B major as a barré on the fourth, > C major on the fifth, D major on the seventh, and so on (although other, > more involved major shapes are employed as well for a variation in voicing). > A fair amount of open-G chord shapes use six or five strings, and so these > shapes require the player to mute or not play particular strings.

"In the City" borrowed its title from an obscure Who song of the same name, which was released in 1966 as the B-side of the "I'm a Boy" single (and which can now be found as a bonus track on most CD re-issues of their 1966 album A Quick One). The Sex Pistols' single "Holidays in the Sun", released six months after The Jam's "In the City", took its descending introductory chord pattern from the latter. Though "Holidays" intro is C,B,A,G and played with empty chords, the "In the City" intro is C,G,D,G and played with major chords; the similarity is rhythmic but generally superficial./tabs.ultimate-guitar.com Lyrically, the song is a celebration of youth in the big city, and of what Paul Weller called the "young idea", reflecting Weller's optimism for the punk movement.

Ry Cooder uses open tunings when he plays slide guitar. Open tunings improve the intonation of major chords by reducing the error of third intervals in equal temperaments. For example, in the open-G overtones tuning G-G-D-G-B-D, the (G,B) interval is a major third, and of course each successive pair of notes on the G- and B-strings is also a major third; similarly, the open-string minor-third (B,D) induces minor thirds among all the frets of the B-D strings. The thirds of equal temperament have audible deviations from the thirds of just intonation: Equal temperaments is used in modern music because it facilitates music in all keys, while (on a piano and other instruments) just intonation provided better-sounding major-third intervals for only a subset of keys.

As throughout the song, only major chords are used in this portion: F7 for four bars, and one bar each of A7, G7, C7 and B7. The bridge remains on the B chord for its entirety and takes the form of a "rave-up". The section begins with repetitions of the main riff and ends with a blues-inflected guitar solo accompanied by wordless harmony singing. A 12-note rising guitar scale sounds on the second beat of each bar, starting with a mid-range B note and climbing over an octave to F. In Everett's view, the intensity of the bridge – the bass pedal, rising scale, guitar solos, cymbal playing, and increased attack on the vocalised "aah"s – conveys the realisation that the singer is being used by the female day- tripper and "express a gradually-arising, yet sudden sensation of, enlightenment".

Following that is The Love Room, which has a sound similar to that of The Rose Room with its bass rich drum beat, but has a bit of a darker, minor sound compared to the light, major chords ever-present in The Rose Room and Remembrance. The fourth track, Summer Lightning, is aptly named, for its dreamy bongo-esque drum beat and light dreamy instrumental noise about it. La Telecabine has a light sound that escalates to a pounding drum beat with dreamy instrumentals, and calming down as the song ends and transfers to Mr. Gone. Heavy Weather and Subway Freedom share the same vibe of an African-sounding bongo drum and a light instrumental tone that swiftly transitions to a louder, richer, and bass-enhanced sound, then calms down similar to Remembrance and Summer Lightning.

For instance, in a duo for saxophone and bass, the saxophonist might comp during the bass solo by playing guide tones. For example, during the standard jazz chord progression ii7/V7/I/VI7 (in the key of C Major, this would be Dm7/G7/C/A7), a horn player might play the guide tones, in whole notes, C (minor 7th of d minor), B (third of G7), A (sixth of C; sixths are added to major chords and dominant seventh chords in jazz even when not specified) and G (minor 7th of A7). This is only one possible guide tone sequence. A second guide tone sequence (in whole notes) might be F (minor third of d minor), E (sixth of G7), D (ninth of C Major; as with sixths, ninths are often added to chord voicings even when not indicated), C# (major third of A7).

The music quietly subsides into a tranquillo section in which the inversion of the violin theme (first stated in measures 21–22 from the exposition) is sequenced across the strings while the piano continues to develop its initial theme. The violin and cello eventually sustain the tonic C for a great amount of time while the piano and viola begin to lean toward the tonic major in a continuing I – iv progression. All instruments continue to die down as the piano plays one last descending chromatic scale, the violin and viola combine the piano's initial theme with the quarter note rhythm of the violin theme, and the cello sustains a low C. As the piano and strings reach their final notes, a C major chord stated pianissimo is held briefly, shining out of the mist. Two sudden forte C major chords complete this quartet.

The use of G minor comes to something unusual: it acts like a "closely related key" of A major. The closely related keys come from the chords of a diatonic scale, and in the original "tonic" key of A major, the "actual" closely related keys follow as: :ii: Supertonic, B minor :iii: Mediant, C minor :IV: Subdominant, D major :V: Dominant, E major :vi: Submediant, F minor The arioso ends with repeated G major chords of increasing strength, repeating the sudden minor-to-major device that concluded the scherzo – now a second fugue emerges with the subject of the first inverted, marked wieder auflebend (again reviving; poi a poi di nuovo vivente – little by little with renewed vigour – in the traditional Italian). There are many performance instructions in this passage that begin poi a poi and nach und nach (little by little). Initially the pianist is instructed to play una corda (that is to use the soft pedal); ascribes an unreal, illusory quality to it.

The fifth of the chord is often omitted as well, if it is a perfect fifth above the root (as is the case in regular major chords and minor chords. The altered extensions played by a jazz guitarist or jazz pianist on an altered dominant chord on G might include (at the discretion of the performer) a flatted ninth A (a ninth scale degree flattened by one semitone); a sharp eleventh C (an eleventh scale degree raised by one semitone) and a flattened thirteenth E (a thirteenth scale degree lowered by one semitone). If the chordal playing musician were to omit the root and fifth of the dominant seventh chord (the G and D) and keep the third (B) and flatted seventh (F), and add the altered tones just listed (A, C and E), the resulting chord would be the pitches B, C, E, F, A, which is a much different-sounding chord than the standard G7 played by a pop musician (G, B, D, F). In Classical harmony and in pop music, chord voicings often double the root to emphasize the foundation of the chord progression.