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Page 1: Armonía - Acordes (Cifrado Americano)

PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information.PDF generated at: Wed, 29 Sep 2010 04:03:14 UTC

Half-diminished seventhchord

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ContentsArticles

Chord (music) 1Diminished seventh 17Half-diminished seventh chord 18

ReferencesArticle Sources and Contributors 22Image Sources, Licenses and Contributors 23

Article LicensesLicense 24

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Chord (music) 1

Chord (music)

Instruments and voices playing different notes create chords.

This article describes pitchsimultaneity and harmony in music.For other meanings of the word, seeChord.

In music, a chord is any set ofharmonically-related notes that is heard as ifsounding simultaneously. A set of notesmay be described as:

• Vertical or harmonic, if the notes soundsimultaneously

• Horizontal, linear, or melodic if theysound successively.

Thus, a chord is the harmonic combinationof any group of notes. These need notactually be played together: arpeggios and broken chord figures may for many practical and theoretical purposes beunderstood as chords.

Chords and sequences of chords are frequently used in Western music. This tendency is "one of the majordifferences between Western and much non-Western music"[1] The most frequently encountered chords in theoryand music are triads. Triads are so called because they consist of three distinct notes: further notes may be added togive seventh chords, extended chords, or added tone chords.

The notes forming a chord are often defined by a root note, and two or more intervals starting from it. So, forinstance, the chord C Major may be described as a three-note chord built upon the note C. The term major is referredto as the chord (or chordal) quality. The chord quality is related with the quality of one or more of the intervalswhich define the chord (in this case the major third). Other chord qualities include minor, augmented, diminished,half-diminished, and dominant.There are five common ways of notating or representing chords as such:[2] plain staff notation, used in classicalmusic (see figure), Roman numerals, commonly used in harmonic analysis,[3] figured bass, much used in theBaroque era, macro symbols, sometimes used in modern musicology, and various names and symbols used in jazzand popular music, typically inside lead sheets, fake books, or chord charts for guitarists.

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Chord (music) 2

C Major triad represented in staff notation.Play in just intonation

Play in Equal temperament Play in Lucy tuningPlay in 1/4-comma meantonePlay in Young temperamentPlay in Pythagorean tuning

Definition and history

Mussorgsky's Pictures at an Exhibition "Promenade", a piece showing an explicitchord progression

The English word "chord" derives from"cord", a Middle English shortening of"accord" in the sense of "in tune with oneanother". For a sound configuration to berecognized as a chord it must have a certainduration.Since a chord may be understood as sucheven when all its notes are notsimultaneously audible there has been someacademic discussion regarding the point at which a group of notes can 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 ModestMussorgsky's Pictures at an Exhibition but "often, we must go from a textual given to a more abstract representationof the chords being used" - as in Claude Debussy's Première Arabesque.

Upper stave: Claude Debussy's Première Arabesque. The chords on the lower staveare constructed from the notes in the actual piece, shown on the upper stave.

Early Christian harmony featured the perfectintervals of a fourth, a fifth, and an octave.In the 15th and 16th centuries, the major andminor triads became increasingly common,and were soon established as the defaultsonority for Western music. Such triads canbe described as a series of three notes; theroot note, the "third", and the "fifth" of the

chord. As an example, the C major scale consists of the notes C D E F G A B C while the chord of C Major - themajor triad formed using the note C as the root - consists of C itself (the root note of the scale), E (the third note ofthe scale) and G (the fifth note of the scale). This triad is major because the interval from C to E, of four semitones,is a major third. Using the same scale a chord may be constructed using the D as the root note; D (root), F (third), A(fifth). While there were four semitones between the root and third of the chord on C, in the D chord there are only 3

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Chord (music) 3

semitones between the root and third (the outer notes are still a perfect fifth apart). Thus, while the C triad is major,the D triad is minor. A triad can be constructed on any note of the C major scale and all will be minor or major, withthe exception of the triad on the leading-tone which is diminished.

A keyboard shows the different intervals between notes

Taking any other major scale (Ionian mode), the first,fourth and fifth intervals, when used as roots, formmajor triads. Similarly, as any major scale can alsoyield a relative minor, in any natural minor scale(Aeolian mode) minor triads are found on the tonic,fourth and fifth degrees of the scale. Each seven-notediatonic scale can provide three major and threeminor chords, both sets of three standing in the sameI-IV-V relationship to one another. The seventhdegree of the major (degree two of the relativeminor) will result in a diminished chord. See Musicand mathematics#Mathematics of musical scales.

Four-note "seventh chords" were widely adoptedfrom the 17th century. The harmony of manycontemporary popular Western genres continues tobe founded in the use of triads and seventh chords, though far from universally. Notable exceptions includechromatic, atonal or post-tonal contemporary classical music (including the music of some film scores) and modernjazz (especially circa 1960), in which chords often include at least five notes, with seven (and occasionally more)being quite common.Polychords are formed by two or more chords superimposed. Often these may be analysed as extended chords butsome examples lack the tertian sonority of triads (See: altered chord, secundal chord, quartal and quintal harmonyand Tristan chord). A nonchord tone is a dissonant or unstable tone that lies outside the chord currently heard,though often resolving to a chord tone. A succession of chords is called a chord progression.

Chord characteristicsEvery chord has certain characteristics, which include:• Number of pitch classes (distinct notes without respect to octave) that constitute the chord.• Scale degree of the root note• Position or inversion of the chord• General type of intervals it contains: for example seconds, thirds, or fourths

Number of distinct notesChords may be classified according to the number of notes they contain. More precisely, since instances of any givennote in different octaves may be taken as the same note for the purposes of analysis, it is better to speak of thenumber of distinct pitch classes used in their construction. Three such pitch classes are needed to define any commonchord, therefore the simultaneous sounding of two notes is sometimes classed as an interval rather than a chord.Hence Andrew Surmani (2004, p. 72) states; "when three or more notes are sounded together, the combination iscalled a chord" and George T. Jones (1994, p. 43) explains; "two tones sounding together are usually termed aninterval, while three or mores tones are called a chord" while, according to Monath (1984, p. 37); "A chord is acombination of three or more tones sounded simultaneously for which the distances (called intervals) between thetones are based on a particular formula."

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Chord (music) 4

Chords, however, are so well-established in Western music that sonorities of two pitches, or even single-notemelodies, are commonly heard as "implying" chords, a psychoacoustic phenomenon resulting from a lifetime ofexposure to the conventional harmonies of music so that the brain "completes" the chord.[4] Otto Karolyi[5] writesthat "two or more notes sounded simultaneously are known as a chord."Two-note combinations, whether referred to as chords or intervals, are called dyads. Chords constructed of threenotes of some underlying scale are described as triads. They may be understood to be constructed from a stack oftwo third intervals. Chords of four notes are known as tetrads, those containing five are called pentads and thoseusing six are hexads. Sometimes the terms "trichord", "tetrachord", "pentachord" and "hexachord" are used, thoughthese more usually refer to the pitch classes of any scale, not generally played simultaneously. Chords that maycontain more than three notes include suspended chords, pedal point chords, dominant seventh chords and otherstermed extended chords, added tone chords, clusters, and polychords.

Scale degree

C major scale play

In the key of C major the first degreeof the scale, called the tonic, is the noteC itself, so a C major chord, a triadbuilt on the note C, may be called theone chord of that key and notated inRoman numerals as I. The same Cmajor 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 keyof G major (G-A-B-C). This numbering lets us see the job a chord is doing in the current key and tonality.

Many analysts use lower-case Roman numerals to indicate minor triads and upper-case for major ones, and "degree"and "plus" signs ( o and + ) to indicate diminished and augmented triads respectively. Otherwise all the numerals maybe upper-case and the qualities of the chords inferred from the scale degree. Chords outside the scale can beindicated by placing a flat/sharp sign before the chord — for example, the chord of E flat major in the key of Cmajor is represented by ♭III. The tonic of the scale may be indicated to the left (e.g. F♯:)or may be understood froma key signature or other contextual clues. Indications of inversions or added tones may be omitted if they are notrelevant to the analysis. Roman numerals indicate the root of the chord as a scale degree within a particular majorkey as follows:

Romannumeral

I ii iii IV V vi viio/bVII

Scale degree tonic supertonic mediant subdominant dominant submediant leadingtone/subtonic

When a chord is analysed as "borrowed" from another key it may be shown by the Roman numeral correspondingwith that key after a slash so, for example, V/V indicates the dominant chord of the dominant key of the presenthome-key. The dominant key of C major is G major so this secondary dominant will be the chord of the fifth degreeof the G major scale, which is D major. If used, this chord will cause a modulation.

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Chord (music) 5

Inversion

Fingering a second inversion C major chord on a guitar

In the harmony of Western art music a chord is said to be in rootposition when the tonic note is the lowest in the chord, and theother notes are above it. When the lowest note is not the tonic, thechord is said to be inverted. Chords, having many constituentnotes, can have many different inverted positions as shown belowfor the C major chord:

Bass Note Position Order of notes Notation

C root position C E G as G is a 5th above C and E is a 3rd above C

E 1st inversion E G C as C is a 6th above E and G is a 3rd above E

G 2nd inversion G C E as E is a 6th above G and C is a 4th above G

Further, a four-note chord can be inverted to four different positions by the same method as triadic inversion.

Secundal, tertian, and quartal chordsMany chords are a sequence of ascending notes separated by intervals of roughly the same size. For example the Cmajor triad's notes, C-E-G, are defined by a sequence of two intervals, the first (C-E) being a major third and thesecond (E-G) a minor third. Any such chord that can be decomposed into a series of (major or minor) thirds is calleda tertian chord. Most common chords are tertian.A chord such as C-D-E♭, though, is a series of seconds, containing a major second (C-D) and a minor second (D-E♭).Any such chord that can be decomposed into a series of (major or minor) seconds is called tertian.The chord C-F-B, consists of a perfect fourth C-F and an augmented fourth (tritone) F-B. Any such chord that can bedecomposed into a series of (perfect or augmented) fourths is called quartal.These terms can become ambiguous when dealing with non-diatonic scales such as the pentatonic or chromaticscales. The use of accidentals can also complicate the terminology. For example the chord B♯-E-A♭ appears to be aseries of diminished fourths (B♯-E and E-A♭) but is enharmonically equivalent to (and sonically indistinguishablefrom) the chord C-E-G♯, which is a series of major thirds (C-E and E-G♯).See also Mixed-interval chord.

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Chord (music) 6

Triads

Pitch constellations of triads

See also: Jazz and pop notationfor triads

Triads, also called triadic chords, aretertian chords (see above) with threenotes. The four basic triads aredescribed below.

Component intervals Example Chord symbol Audio

Major triad major third perfect fifth C-E-G C, CM, CΔ, Cma, Cmaj play

Minor triad minorthird

perfect fifth C-E♭-G Cm, C-, Cmi, Cmin, play

Augmented triad major third augmented fifth C-E-G♯ C+, C+, Caug play

Diminished triad minorthird

diminished fifth C-E♭-G♭ Cº, Cm(♭5), Cdim play

Seventh chords

Pitch constellations of seventh chords.

See also: Jazz and pop notationfor seventh chords

Seventh chords are tertian chords (seeabove), constructed by adding a fourthnote to a triad, at the interval of a thirdabove the fifth of the chord. Thiscreates the interval of a seventh abovethe root of the chord, the next naturalstep in composing tertian chords. Theseventh chord on the fifth step of thescale (the dominant seventh) is theonly one available in the major scale: itcontains all three notes of thediminished triad of the seventh and isfrequently used as a stronger substitutefor it.There are various types of seventhchords depending on the quality of both the chord and the seventh added. In chord notation the chord type issometimes superscripted and sometimes not (e.g. Dm7, Dm7, and Dm7 are all identical).

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Chord (music) 7

Component intervals Chord symbol Notes Audio

Third Fifth Seventh

Diminished seventh minor diminished diminished Co7, Cdim7 C E♭ G♭ B Play

Half-diminished seventh minor diminished minor Cø7, Cm7♭5, C−7(♭5) C E♭ G♭ B♭ Play

Minor seventh minor perfect minor Cm7, Cmin7, C−7, C−7 C E♭ G B♭ Play

Minor major seventh minor perfect major Cm(M7), C−(j7), C−Δ7, C−M7 C E♭ G B Play

Dominant seventh major perfect minor C7, C7, Cdom7 C E G B♭ Play

Major seventh major perfect major CM7, Cmaj7, CΔ7, CΔ7, Cj7, C+7 C E G B Play

Augmented seventh major augmented minor C+7, Caug7, C7+, C7+5, C7♯5 C E G♯ B♭ Play

Augmented major seventh major augmented major C+(M7), CM7+5, CM7♯5, C+j7,CΔ+7

C E G♯ B Play

Extended chordsSee also Jazz and pop notation for extended chords

Extended chords are triads with further tertian notes added beyond the seventh; the ninth, eleventh, and thirteenthchords. After the thirteenth any notes added in thirds will duplicate notes elsewhere in the chord: all seven notes ofthe scale are present in the chord and further added notes will not give new pitch classes. Such chords may beconstructed only by using notes that lie outside the diatonic seven-note scale (See #Altered chords below).

Component notes (chord and interval) Chordsymbol

Audio

Dominant ninth dominant seventh chord major ninth - - C9 Play

Dominant eleventh dominant sevenththe third is usually omitted

major ninth perfect eleventh - C11 Play

Dominant thirteenth dominant sevenththe eleventh is usually omitted

major ninth perfect eleventh major thirteenth C13 Play

Other extended chords follow the same rules as shown above, so that for example Maj9, Maj11 and Maj13, shownabove are with major sevenths rather than minor sevenths: similarly m9, m11 and m13 will have minor thirds andminor sevenths.

Altered chordsAlthough 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 withoutchanging the name of the chord, while the third cannot be altered without altering the chord's quality). These arenoted alongside the element to be altered. Accidentals are most often used in conjunction with dominant seventhchords. "Altered" dominant seventh chords (C7alt) may have a flat ninth, a sharp ninth, a diminished fifth or anaugmented fifth (see Levine's Jazz Theory). Some write this as C7+9, which assumes also the flat ninth, diminishedfifth and augmented fifth (see Aebersold's Scale Syllabus). The augmented ninth is often referred to in blues and jazzas a blue note, being enharmonically equivalent to the flat third or tenth. When superscripted numerals are used thedifferent numbers may be listed horizontally (as shown) or else vertically.

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Chord (music) 8

Component notes Chordsymbol

Audio

Seventh augmented fifth dominantseventh

augmented fifth C7+5, C7♯5 Play

Seventh flat nine dominantseventh

minor ninth C7-9, C7♭9 Play

Seventh sharp nine dominantseventh

augmented ninth C7+9, C7♯9 Play

Seventh augmented eleventh dominantseventh

augmented eleventh C7+11, C7♯11 Play

Seventh flat thirteenth dominantseventh

minor thirteenth C7-13, C7♭13 Play

Half-diminished seventh minor seventh diminished fifth Cø, Cm7♭5 Play

Added tone chordsAn added tone chord is a triad chord with an added, non-tertian note, such as the commonly added sixth as well aschords 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 areminor triads with extended notes.Added-sixth chords can be considered as belonging to either of two separate groups; 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—and invertedchords in which the interval of a sixth appears above a bass note that is not the root.The major sixth chord (also called, sixth or added sixth with the chord notation 6, e.g., "C6") is by far the mostcommon 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[2] . For example, the chord C6 contains the notes C-E-G-A. The minor sixth chord (min6or m6, e.g., "Cm6") is a minor triad with the same added note. For example, the chord Cmin6 contains the notesC-E♭-G-A. In chord notation, the sixth of either chord is always assumed to be a major sixth rather than a minorsixth, however a minor sixth interval may be indicated in the notation as, for example, "Cm(m6)", or Cmm6.The augmented sixth chord usually appears in chord notation as its enharmonic equivalent, the seventh chord. Thischord 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 inmotion towards a dominant chord in root position (with the root doubled to create the octave to which the augmentedsixth chord resolves) or to a tonic chord in second inversion (a tonic triad with the fifth doubled for the samepurpose). In this case, the tonic note of the key is included in the chord, sometimes along with an optional fourthnote, to create one of the following (illustrated here in the key of C major):• Italian augmented sixth: A♭, C, F♯• French augmented sixth: A♭, C, D, F♯• German augmented sixth: A♭, C, E♭, F♯The augmented sixth family of chords exhibits certain peculiarities. Since they are not based on triads, as are seventhchords and other sixth chords, they are not generally regarded as having roots (nor, therefore, inversions), althoughone re-voicing of the notes is common (with the namesake interval inverted to create a diminished third).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 chord is an

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Chord (music) 9

important example; a major triad with a flat supertonic scale degree as its root that is called a "sixth" because it isalmost always found in first inversion. Though a technically accurate Roman numeral analysis would be ♭II, it isgenerally labelled N6. In C major, the chord is notated (from root position) D♭, F, A♭. Because it uses chromaticallyaltered tones this chord is often grouped with the borrowed chords (see below) but the chord is not borrowed fromthe relative major or minor and it may appear in both major and minor keys.

Component notes (chord and interval) Chordsymbol

Audio

Add nine major triad major ninth - C2, Cadd9 Play

Major 4th major triad perfectfourth

- C4, Cadd11 Play

Major sixth major triad major sixth - C6 Play

Six-nine major triad major sixth major ninth C6/9

Suspended chordsA suspended chord, or "sus chord" (sometimes wrongly thought to mean sustained chord), is a chord in which thethird is delayed by either of its dissonant neighbouring notes, forming intervals of a major second or (morecommonly) a perfect fourth with the root. This results in two distinct chord types: the suspended second (sus2) andthe suspended fourth (sus4). The chords, Csus2 and Csus4, for example, consist of the notes C D G and C F G,respectively.The name suspended derives from an early polyphonic technique developed during the common practice period, inwhich a stepwise melodic progress to a harmonically stable note in any particular part was often momentarilydelayed or suspended by extending the duration of the previous note. The resulting unexpected dissonance couldthen be all the more satisfyingly resolved by the eventual appearance of the displaced note. In traditional musictheory the inclusion of the third in either chord would negate the suspension, so such chords would be called addedninth and added eleventh chords instead.In modern layman usage the term is restricted to the displacement of the third only and the dissonant second orfourth no longer needs to be held over ("prepared") from the previous chord. Neither is it now obligatory for thedisplaced note to make an appearance at all though in the majority of cases the conventional stepwise resolution tothe third is still observed. In post-bop and modal jazz compositions and improvisations suspended seventh chords areoften used in nontraditional ways: these often do not function as V chords, and do not resolve from the fourth to thethird. The lack of resolution gives the chord an ambiguous, static quality. Indeed, the third is often played on top of asus4 chord. A good example is the jazz standard, "Maiden Voyage".Extended versions are also possible, such as the seventh suspended fourth which, with root C, contains the notes C FG B♭ and is notated as C7sus4 play. Csus4 is sometimes written Csus since the sus4 is more common than the sus2.

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Chord (music) 10

Notation

C Major triad represented in staff notation.

Chords can be represented in many and various different ways.The most common notation systems are:[2]

1. Plain staff notation, used in classical music (see figure).2. Roman numerals, commonly used in harmonic analysis to

denote the scale step upon which the chord is built.[3]

3. Figured bass, much used in the Baroque era, which usesnumbers added to a bass line written on staff (music), to enablekeyboard players to improvise chords with the right hand whileplaying the bass with their left.

4. Macro symbols, sometimes used in modern musicology, todenote chord root and quality.

5. Various chord names and symbols used in jazz and popularmusic, usually inside lead sheets, fake books, or chord charts, to quickly lay out the harmonic groundplan of apiece so that the musician may improvise, jam, or vamp on it.

Roman numeralsWhile scale degrees are typically represented with Arabic numerals, often modified with a caret or circumflex, thetriads that have these degrees as their roots are often identified by Roman numerals (see also diatonic functions).Since the 1970s, upper-case Roman numerals indicate major triads while lower-case Roman numerals indicate minortriads, as the following chart illustrates. Some writers, (e.g. Schoenberg) however, use upper case Roman numeralsfor both major and minor triads. Lower-case Roman numerals with a degree symbol indicate diminished triads. Forexample, in the major mode the triad on the seventh scale degree, the leading tone triad is diminished. Some writersuse upper-case Roman numerals to indicate the chord is diatonic in the major scale, and lower-case Roman numeralsto indicate that the chord is diatonic in the minor scale.

Romannumeral

I ii iii IV V vi vii°

Scale degree(major mode)

tonic supertonic mediant subdominant dominant submediant leading tone

Romannumeral

i ii° (♭)III iv v (♭)VI (♭)VII vii°

Scale degree(minor mode)

tonic supertonic mediant subdominant dominant submediant subtonic leading tone

Also:

Romannumeral

I II III IV V VI VII

Scale degree(major mode)

tonic supertonic mediant subdominant dominant submediant leading tone

Romannumeral

i ii iii iv v vi vii

Scale degree(minor mode)

tonic supertonic mediant subdominant dominant submediant subtonic

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Chord (music) 11

In performance practice, individual strings of stringed instruments, such as the violin, are often denoted by Romannumerals, with higher numbers denoting lower strings. For example I signifies the E string on the violin and the Astring on the viola and cello, these being the highest strings, respectively, on each instrument. They are alsosometimes used to signify position. In this case, the number in Roman numerals corresponds with the positionnumber. For example, III means third position and V means fifth.

Figured bass notationFigured bass, or thoroughbass, is a kind of integer musical notation used to indicate intervals, chords, and nonchordtones, in relation to a bass note. Figured bass is closely associated with basso continuo, an accompaniment used inalmost all genres of music in the Baroque period, though rarely in modern music.A part notated with figured bass consists of a bass-line notated with notes on a musical staff plus added numbers andaccidentals beneath the staff to indicate at what intervals above the bass notes should be played, and therefore whichinversions of which chords are to be played. The numbers indicate the number of scale steps above the givenbass-line that a note should be played. For example:

Here, the bass note is a C, and the numbers 4 and 6 indicate that notes a fourth and a sixth above it should be played,that is an F and an A. In other words, the second inversion of an F major chord is to be played.In cases where the numbers 3 or 5 would normally be indicated, these are usually (though not always) left out, owingto the frequency these intervals occur. For example:

In this sequence, the first note has no numbers accompanying it—both the 3 and the 5 have been omitted. Thismeans that notes a third above and a fifth above should be played—in other words, a root position chord. The nextnote has a 6, indicating a note a sixth above it should be played; the 3 has been omitted—in other words, this chord isin first inversion. The third note has only a 7 accompanying it; here, as in the first note, both the 3 and the 5 havebeen omitted—the seven indicates the chord is a seventh chord. The whole sequence is equivalent to:

For further details, see the main article.

Macro analysisIn macro analysis, uppercase or lowercase letters are used to indicate the roots of chords, followed by symbols whichspecify the chord quality.[2]

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Chord (music) 12

Triad Macro analysis symbols[2]

Root Chord quality Example

Major triad Uppercase C

Minor triad Lowercase c

Augmented triad Uppercase + C+

Diminished triad Lowercase o co

Jazz and pop notationIn jazz and pop notation, a chord name and the corresponding symbol are typically composed of one or more of thefollowing parts:1. The root note (e.g. C).2. The chord quality (e.g. major, maj, or M).3. The number of an interval (e.g. seventh, or 7), or less often its full name or symbol (e.g. major seventh, maj7, or

M7).4. The altered fifth (e.g. sharp five, or ♯5).5. An additional interval number (e.g. add 13 or add13), in added tone chords.For instance, the name C augmented seventh, and the corresponding symbol Caug7, or C+7, are both composed ofparts 1, 2, and 3.Chord quality

Chord qualities are related with the qualities of the component intervals which define the chord (see below).As explained below, they typically appear immediately after the root (e.g., in CmM7 m is the chord quality, andM is the quality of the additional M7 interval). The main chord qualities are:• Major, and minor.• Augmented, diminished, and half-diminished.• Dominant, and suspended.Some of the symbols used for chord quality are similar to those used for interval quality. In addition, however,• Δ is sometimes used for major, instead of the standard M, or maj,• − is sometimes used for minor, instead of the standard m or min,• +, or aug, is used for augmented (A is not used),• o, °, dim, is used for diminished (d is not used),• ø, or Ø is used for half diminished,• dom is used for dominant.• sus is used for suspended.

Major, minor, augmented, and diminished chords

3-note chords are called triads. There are four basic triads (major, minor, augmented, diminished), and theyare all tertian, i.e. defined by the root, a third interval, and a fifth interval. Since most other chords are obtainedby adding one or more note to these triads, the name and symbol of a chord is often built by just adding aninterval number to the name and symbol of a triad. For instance, a C augmented seventh chord is a Caugmented triad with an extra note defined by a minor seventh interval:

C+7 = C+ + m7

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Chord (music) 13

augmentedchord augmentedtriad minorinterval

In this case, the quality (minor, in the example) of the additional interval is omitted. Less often, the full nameor symbol of the additional interval is provided. For instance, a C augmented major seventh chord is a Caugmented triad with an extra note defined by a major seventh interval:

C+M7 = C+ + M7

augmentedchord augmentedtriad majorinterval

In both cases, the quality of the chord is the same as the quality of the basic triad it contains. This is not truefor all chord qualities, as the chord qualities "half-diminished", "dominant", and "suspended" refer not only tothe quality of the basic triad, but also to the quality of the additional intervals.

Rules to decode chord names and symbols

The amount of information provided in a chord name/symbol lean toward the minimum, to increase efficiency.However, it is often necessary to deduce from a chord name or symbol the component intervals which definethe chord. The missing information is implied and must be deduced according to some conventional rules:

1. For triads, major or minor always refer to the third interval, while augmented and diminished always refer to thefifth. The same is true for the corresponding symbols (e.g., CM means CM3, and C+ means C+5). Thus, the termsthird and fifth and the corresponding symbols 3 and 5 are typically omitted.This rule can be generalized,[6] as it holds for tetrads as well, provided the above mentioned qualities appearimmediately after the root note. For instance, in the chord symbols CM and CM7, M refers to the interval M3, and3 is omitted. When these qualities do not appear immediately after the root note, they should be consideredinterval qualities, rather than chord qualities. For instance, in Cm/M7 (minor-major seventh chord), m is the chordquality and M refers to the M7 interval. In some cases, the chord quality may refer not only to the basic triad (i.e.,the third or fifth interval), but also to the following interval number. For instance, in CM7 M refers to both M3and M7 (see specific rules below).

2. Without contrary information, a major third interval and a perfect fifth interval (major triad) are implied. Forinstance, a C chord is a C major triad (both the major third and the perfect fifth are implied). In Cm (C minortriad), a minor third is deduced according to rule 1, and a perfect fifth is implied according to this rule. This rulehas one exception (see below).

3. When the fifth interval is diminished, the third must be minor, as a major third would produce a non-tertianchord.[7] This rule overrides rule 2. For instance, in Cdim7 a diminished fifth is deduced according to rule 1, and aminor third is implied according to this rule.

4. A plain 6 or sixth is equivalent to M6 or major sixth, and stands for an extra major sixth interval, added to theimplied major triad.

5. A plain 7 or seventh is equivalent to dom7 or dominant seventh, and stands for an extra minor seventh interval,added to the implied major triad.

6. For sixth chord names or symbols composed only of root, quality and number (such as "C major sixth", or"CM6"):

• M, maj, or major stands for major-major (e.g. CM6 means CM/M6, or CM3/M6),• m, min, or minor stands for minor-major (e.g. Cm6 means Cm/M6, or Cm3/M6).

7. For seventh chord names or symbols composed only of root, quality and number (such as "C major seventh", or"CM7"):

• M, maj, or major stands for major-major (e.g. CM7 means CM/M7, or CM3/M7),• m, min, or minor stands for minor-minor (e.g. Cm7 means Cm/m7, or Cm3/m7),

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Chord (music) 14

• +, aug, or augmented stands for augmented-minor (e.g. C+7 means C+/m7, or C+5/m7),• o, dim, or diminished stands for diminished-diminished (e.g. Co7 means Co/o7, or Co5/o7),• ø, or half-diminished stands for diminished-minor (e.g. Cø7 means Co/m7, or Co5/m7).

8. In added tone chords, the seventh is often implied (i.e. F13 means F713, while Gmaj9 means Gmaj79).Examples

The table shows the application of these generic and specific rules to interpret some of the main chordsymbols. The same rules apply for the analysis of chord names. A limited amount of information is explicitlyprovided in the chord symbol (boldface font in the column labeled "Component intervals"), and can beinterpreted with rule 1. The rest is implied (plain font), and can be deduced by applying the other rules. The"Analysis of symbol parts" is performed by applying rule 1.

Chord Symbol Analysis of symbol parts Component intervals Chord name

Short Long Root Third Fifth Added Third Fifth Added

C C maj3 perf5 Major triad

CM Cmaj C maj maj3 perf5

Cm Cmin C min min3 perf5 Minor triad

C+ Caug C aug maj3 aug5 Augmented triad

Co Cdim C dim min3 dim5 Diminished triad

C6 C 6 maj3 perf5 maj6 Major sixth chord

CM6 C maj 6 maj3 perf5 maj6

Cm6 C min 6 min3 perf5 maj6 Minor sixth chord

C7 Cdom7 C 7 maj3 perf5 min7 Dominant seventh chord

CM7 Cmaj7 C maj 7 maj3 perf5 maj7 Major seventh chord

Cm7 Cmin7 C min 7 min3 perf5 min7 Minor seventh chord

C+7 Caug7 C aug 7 maj3 aug5 min7 Augmented seventh chord

Co7 Cdim7 C dim 7 min3 dim5 dim7 Diminished seventh chord

Cø C dim min3 dim5 min7 Half-diminished seventh chord

Cø7 C dim 7 min3 dim5 min7

CmM7

Cm/M7Cm(M7)

Cminmaj7

Cmin/maj7Cmin(maj7)

C min 7 min3 perf5 maj7 Minor-major seventh chord

Borrowed chordsA borrowed chord is one that is taken from a different key to that of the piece it is used in (called "home key"). Themost common occurrence of this is where a chord from the parallel major or minor key is used. Particularly goodexamples can be found throughout the works of composers such as Schubert.For instance, for a composer working in the C major key, a major ♭III chord would be borrowed, as this appears onlyin the C minor key.Although borrowed chords could theoretically include chords taken from any key other than the home key, this is nothow the term is used when a chord is described in formal musical analysis.

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Chord (music) 15

Progression

IV-V-I progression in C Play

Whenever different chords are played insequence they can be described as a chordprogression (or harmonic progression).Chord progressions are frequently used inWestern music.[1]

A chord progression "aims for a definitegoal" of establishing (or contradicting) atonality founded on a key, root or tonicchord.[3]

The study of harmony involves chords and chord progressions, and the principles of connection that govern them.[8]

See also• Chord bible• Elektra chord• Chord factor• Guitar chord• Harmonized scale• Homophony• Mystic chord• Open chord• Petrushka chord• Prolongation• Psalms chord• Spider chord• Subsidiary chord

References[1] Malm, William P. (1996). Music Cultures of the Pacific, the Near East, and Asia. p.15. ISBN 0-13-182387-6. Third edition. "Homophonic

texture...is more common in Western music, where tunes are often built on chords (harmonies) that move in progressions. Indeed thisharmonic orientation is one of the major differences between Western and much non-Western music."

[2] Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p. 77. Seventh Edition. ISBN 978-0-07-294262-0.[3] Arnold Schoenberg. Structural Functions of Harmony. Faber and Faber, 1983, p.1-2.[4] Schellenberg, E. Glenn; Bigand, Emmanuel; Poulin-Charronnat, Benedicte; Garnier, Cecilia; Stevens, Catherine (Nov.). "Children's implicit

knowledge of harmony in Western music". Developmental Science 8 (8): 551–566. doi:10.1111/j.1467-7687.2005.00447.x. PMID 16246247.[5] Károlyi, Otto, Introducing Music, p. 63. England: Penguin Books.[6] General rule 1 achieves consistency in the interpretation of symbols such as CM7, Cm6, and Caug7. Some musicians legitimately prefer to

think that, in CM7, the interval quality M refers to the seventh, rather than to both the third and seventh. However, this approach isinconsistent, as a similar interpretation is impossible for Cm6 and Caug7, where m cannot possibly refer to the sixth, which is major bydefinition, and aug cannot refer to the seventh, which is minor. Both approaches reveal only one of the intervals (M3 or M7), and require otherrules to complete the task. Whatever is the decoding method, the result is the same (e.g., CM7 is always conventionally decoded as C-E-G-B,implying M3, P5, M7). The advantage of rule 1 is that it has no exceptions, which makes it the simplest possible approach to decode chordquality.According to the two approaches, some may format CM7 as CM7 (general rule 1), and others as CM7 (alternative approach). Fortunately, evenCM7 becomes compatible with rule 1 if it is considered an abbreviation of CMM7, in which the first M is omitted. The omitted M is the chordquality and is deduced according to rule 2 (see above), consistently with the interpretation of the plain symbol C, which by the same rulestands for CM.

[7] The diminished fifth spans 6 semitones, thus it may be decomposed into a sequence of two minor thirds each spanning 3 semitones (m3 + m3), compatible with the definition of tertian chord. If a major third were used (4 semitones), a major second (2 semitones) would be

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Chord (music) 16

necessary to reach the diminished fifth (4 + 2 = 6 semitones), but this sequence (M3 + M2) would not meet the definition of tertian chord.[8] Dahlhaus, Car. "Harmony", Grove Music Online, ed. L. Macy (accessed 24 February 2007), grovemusic.com (http:/ / www. grovemusic.

com/ ) (subscription access).

• Grout, Donald Jay (1960). A History Of Western Music. Norton Publishing.• Dahlhaus, Carl. Gjerdingen, Robert O. trans. (1990). Studies in the Origin of Harmonic Tonality, p. 67. Princeton

University Press. ISBN 0-691-09135-8.• Goldman (1965). Cited in Nattiez (1990).• Jones, George T. (1994). HarperCollins College Outline Music Theory. ISBN 0-06-467168-2.• 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.• Norman Monath, Norman (1984). How To Play Popular Piano In 10 Easy Lessons. Fireside Books. ISBN

0-671-53067-4.• Stanley Sadie and John Tyrrell, eds. (2001). The New Grove Dictionary of Music and Musicians. ISBN

1-56159-239-0.• Surmani, Andrew (2004). Essentials of Music Theory: A Complete Self-Study Course for All Musicians. ISBN

0-7390-3635-1.

Further reading• Schejtman, Rod (2008). Music Fundamentals (http:/ / www. pianoencyclopedia. com). The Piano Encyclopedia.

ISBN 978-987-25216-2-2.• Persichetti, Vincent (1961). Twentieth-century Harmony: Creative Aspects and Practice. New York: W. W.

Norton. ISBN 0-393-09539-8. OCLC 398434.• Benward, Bruce & Saker, Marilyn (2002). Music in Theory and Practice, Volumes I & II (7th ed.). New York:

McGraw Hill. ISBN 0-07-294262-2.• Piston, Walter (1987). Harmony (5th ed.). New York: W.W. Norton & Company. ISBN 0-393-95480-3.

External links• Piano Chord Dictionary (http:/ / www. pianochorddictionary. com/ ) Online browser able to show any chord (and

inversion) as played on the piano.• Music Fundamentals eBook (http:/ / pianoencyclopedia. com/ blog/ 2008/ 10/ 05/

the-piano-lesson-report-one-is-released/ ) An eBook that explains how to build any chord by using musicintervals. Available for free.

• Morphogenesis of chords and scales (http:/ / www. lamadeguido. com/ morphogenesis. htm) Chords and scalesclassification

• Chord Identifier (http:/ / www. scales-chords. com/ chordid. php) Online tool for searching chords that have aspecific set of notes (useful for fitting chords to a scale, melody or riff).

• Decoding the Circle of Vths (http:/ / www. mdecks. com/ graphs/ mcircle. php) Advanced online tool foranalyzing and searching structures and substructures over the circle of Vths.

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Diminished seventh 17

Diminished seventh

diminished seventh

Inverse augmented second

Name

Other names -

Abbreviation d7

Size

Semitones 9

Interval class 3

Just interval 128:75 or 216:125

Cents

Equal temperament 900

24 tone equal temperament 900

Just intonation 925 or 947

Diminished seventh Play

In classical music from Western culture, a diminishedseventh (play) is an interval produced by diminishing aminor seventh by a chromatic semitone. For instance,the interval from A to G is a minor seventh, tensemitones wide, and both the intervals from A♯ to G,and from A to G♭ are diminished sevenths, spanningnine semitones.

The diminished seventh is enharmonically equivalent toa major sixth. Its inversion is the augmented second.

The diminished seventh is used quite readily in the minor key, where it is present in the harmonic minor scalebetween the seventh scale step and the sixth scale step in the octave above.

In an equal tempered tuning, a diminished seventh is equal to nine semitones, a ratio of 29/12:1 (approximately1.682), or 900 cents. There is no standard just tuning of this interval, but one possibility, assuming the flatsubmediant is a perfect (5:4) major third below the octave, and the leading tone to be 15:16, would lead to an intervalof 128:75, about 925 cents; another interval is 216:125, which is three minor thirds.

See also• Diminished seventh chord

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Half-diminished seventh chord 18

Half-diminished seventh chord

half-diminished seventh chord

Component intervals from root

minor seventh

diminished fifth (tritone)

minor third

root

Half-diminished seventh chord on C (Play).

Leading-tone seventh chord resolution in Cmajor: viiø7-I Play.

In music theory, the half-diminished seventh chord (also known as aminor seventh flat five) is created by taking the root, minor third,diminished fifth and minor seventh (1, ♭3, ♭5 and ♭7) of any majorscale; for example, C half-diminished would be (C E♭ G♭ B♭). Indiatonic harmony, the half-diminished chord naturally occurs on the7th scale degree[1] (for example, Bm7(♭5) in C major). By the samevirtue, it also occurs on the second degree of natural minor (e.g. Dm7(♭5) in C minor). It occurs as a leading-tone seventh chord in major[1]

and can be represented by the integer notation {0, 3, 6, 10}.

Half-diminished seventh chords are often symbolized as a circle with adiagonal line through it, as in Cø. It also can be represented as m7♭5,-7♭5, m7(♭5) etc.

The terms and symbols for this chord break the expectations derivablefrom the usual system of chord nomenclature. Normally a symbol like"Bdim" indicates a diminished triad and "B7" indicates a major triadplus a minor seventh. Thus one would expect the term "Bdim7" toindicate a diminished triad plus a minor seventh. Instead, it means adiminished triad plus a diminished seventh. To make this distinctionclear, the term "half-diminished" and the ø symbol (ø) were invented.Since the term dim7 (as in Bdim7) meant something else, the accurate but unwieldy term "minor seventh flat five"(as in Bm7(♭5))(Play) came to be used.[2] "Despite the appearance of the word 'diminished' in the name of this typeof seventh chord, its sound differs considerably from that of a diminished seventh chord. In fact, the only sonicconnection between the two chords is the single diminished triad found in the half-diminished seventh chord. Ascomposer-theorist Milton Babbitt has astutely pointed out, the 'half-diminished' seventh chord should be called the'one-third' diminished seventh chord....Whatever its deficiencies might be in the label department, however, thehalf-diminished seventh chord is in many respects the star of the seventh chord harmonic cast. Many songs in theclassic American popular song repertoire reserve it for their most intensely expressive moments"[3] .

Jazz musicians typically consider the half-diminished chord to be built from one of three scales: the seventh (Locrianmode) of the major scale, the sixth mode of the melodic minor scale (the latter scale is nearly identical to the Locrianmode, except that it has a natural 9 rather than a ♭9, giving it a somewhat more consonant quality), or the"half-whole" diminished scale (see octatonic scales.) See: chord-scale system.The "Tristan chord" is sometimes described as a half-diminished seventh chord; however, the term "Tristan chord" is typically reserved for a very specific harmonic function, especially determined by the order of the notes from bottom

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Half-diminished seventh chord 19

to top, and sometimes even the way the chord is spelled (e.g. is it G♭ or F♯?).

FunctionIt is described as a, "considerable instability"[4] .The half-diminished chord has three functions in contemporary harmony: predominant function, diminished, anddominant function. The vast majority of its occurrence is on the II chord in the minor mode, wherein it takes apredominant function, leading naturally to the dominant V chord. Not including the root motion, there is only a onenote difference between a half diminished chord and a V chord with a 9th. Since it is built on the diatonic II chord ofthe minor scale, most of the time the II-V pattern resolves to a minor tonic (such as in the progression Dm7(♭5) -G7(♭9) - Cm)., but there are instances where there is a major tonic resolution.Diminished chord function is rarer, but it still exists. Half-diminished chords can function in the same way as fullydiminished chords do, such as in the chord progression Cmaj7 - C♯dim7 - Dm7, or Em7 - E♭dim7 - Dm7, where thediminished chord serves as a chromatic passing chord preceding a chord with a diatonic root. A typical example ofthis is when ♯IVm7(♭5) progresses to IVm7, such as in the Cole Porter song "Night and Day", where you have theprogression F♯m7(♭5) - Fm7 - Em7 - E♭dim7 - Dm7 - G7 - Cmaj7. If it was analyzed in its predominant function, itwouldn't be a sufficient explanation to how it functions preceding the Fm7 chord.In dominant function, the VII half diminished chord, like its fully diminished counterpart, can take the place of thedominant V chord at a point of cadential motion. This generally occurs in a major key, since the flattening of thesixth degree in the natural minor scale would render a dominant diminished seventh chord fully diminished if playedwithin the scale. Indeed, the VII half diminished chord in a major key is identical to a dominant ninth chord (adominant seventh with an added ninth) but with its root omitted.The dominant function of the half-diminished seventh chord may also occur in a secondary dominant context, i.e., aspart of a progression in which the chord performs the dominant function with respect to the overall key's dominantchord. In this scenario, the half-diminished seventh chord is built on the tritone of the overall key and is equivalent toa secondary dominant seventh chord with added ninth and omitted root. If written with respect to the overall key, thischord would be styled "#ivø", but in terms of its function in the progression, the styling "viiø/V" is more descriptive.Examples of the #ivø-to-V or viiø/V-to-V transition include the half-line "know when to run" in the Kenny Rogerssong "The Gambler" and the opening bars of the Super Mario Bros. theme.

Leading-tone with minor seventh

Leading-tone seventh chord (bø7) in C majorPlay.

The leading-tone diminished triad with minor seventh chord isrepresented with the Roman numeral notation viiø7. In the key of C,this is Bdim7, the root of which is the leading-tone to the tonic.[1]

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Half-diminished seventh chord 20

Supertonic with minor seventh in minor

Half-diminished seventh chord on supertonic in Cminor Play.

One variant of the supertonic seventh chord is the supertonichalf-diminished seventh (iiø7) in minor. It may be considered a minorseventh chord with a flatted fifth and is used in the ii-V-I in minor[5] .

DFA(♮)C --> DFA♭C

Sharpened supertonic with minor seventh

Sharpened supertonic seventh chord (d♯ø7) in Cmajor Play.

One variant of the supertonic seventh chord is the supertonichalf-diminished seventh (♯iiø7) with the raised supertonic, whichequals the lowered third through enharmonic equivalence (in C:D♯=E♭).

D♯F♯A C♯ = F♯A C♯E♭

d♯ø7 = f♯mADDo7

Sharpened subdominant with minor seventh

Half-diminished seventh chord on sharpenedsubdominant (f♯ø7), viiø7/V, in C Play.

The sharpened subdominant diminished triad with minor seventhchord is represented with the Roman numeral notation ♯ivø7. In the keyof C, this is f♯dim7, the root of which is the raised subdominant, or theleading-tone to the dominant (viiø7/V).

Half-diminished seventh chord table

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Half-diminished seventh chord 21

Chord Root Minor Third Diminished Fifth Minor Seventh

Cm7(♭5) C E♭ G♭ B♭

C♯m7(♭5) C♯ E G B

D♭m7(♭5) D♭ F♭ (E) A (G) C♭ (B)

Dm7(♭5) D F A♭ C

D♯m7(♭5) D♯ F♯ A C♯

E♭m7(♭5) E♭ G♭ B (A) D♭

Em7(♭5) E G B♭ D

Fm7(♭5) F A♭ C♭ (B) E♭

F♯m7(♭5) F♯ A C E

G♭m7(♭5) G♭ B (A) D (C) F♭ (E)

Gm7(♭5) G B♭ D♭ F

G♯m7(♭5) G♯ B D F♯

A♭m7(♭5) A♭ C♭ (B) E (D) G♭

Am7(♭5) A C E♭ G

A♯m7(♭5) A♯ C♯ E G♯

B♭m7(♭5) B♭ D♭ F♭ (E) A♭

Bm7(♭5) B D F A

See also• Bar-line shift

External links• Improvising Over Half Diminished Chords [6]

References[1] Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.217. ISBN 978-0-07-294262-0.[2] Mathieu, W.A. Harmonic Experience: Tonal Harmony from Its Natural Origins to Its Modern Expression (1997), pp. 371-372, Inner

Traditions International, ISBN 0-89281-560-4[3] Forte, Allen; Lalli, Richard; and Chapman, Gary (2001). Listening to Classic American Popular Songs, p.11. ISBN 0300083386.[4] Henry, Earl and Rogers, Michael (2004). Tonality and Design in Music Theory, Vol. I, p.295. ISBN 0130811289.[5] Coker, Jerry (1984). Jerry Coker's Jazz Keyboard, p.23. ISBN 0769233236.[6] http:/ / www. jazzguitar. be/ half_diminished_chords. html

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Article Sources and Contributors 22

Article Sources and ContributorsChord (music)  Source: http://en.wikipedia.org/w/index.php?oldid=387392180  Contributors: ACA, AaronS, Adw2000, Ajrdileva, AllAroundGeek, Altenmann, Andeggs, Andre Engels, AndyM. Wang, Andycjp, Apeloverage, ArloLeach, Ary29, Ash.furrow, AstroNox, Azer Red, B, Bapho, Bassbonerocks, Bdesham, Beekum, Bfinn, Bgbq, Black Stripe, Blehfu, Blotwell, Bobo192,Brand s, Camembert, Can't sleep, clown will eat me, Carlco, Che2007, Chris 73, Chrishomingtang, Cielomobile, Closedmouth, Clq, D.keenan, DCGeist, DMacks, David Kernow, David Shay,DePiep, Debresser, Deltabeignet, Denelson83, Di gama, Dobsonaa29, Driftwoodzebulin, Drs 29, Drufin, Duo Gravis, Dwo, Dysprosia, Dzhim, Easymusiclessons, Ebelular, El C, Es330td,EscapingLife, Fabrictramp, Fivetilkeys, Gaius Cornelius, Garzo, GreyCat, Guitar chords, Haham hanuka, Haza-w, Helix84, Hyacinth, ILike2BeAnonymous, Imroy, Indon, Iridescent, Iyb,JNShutt, JackLumber, Jafeluv, Jaxl, Jcsutton, Jdavidb, Jellypuzzle, Jerome Charles Potts, Jh51681, Jmui, Joelr31, JonLS, Jskell, Just plain Bill, Keegscee, Kgentes, Kilmer-san, Kostisl,Kpufferfish, Krash, Lavdal, LeaveSleaves, Living under a rock, Lrpelkey, Luqui, Luthier67, Lyricsp, M7, Maestro.gandhi, Martin451, Matiashf, Maxim, Mboverload, McSush, Mdebets,MidoriKid, MissAlyx, Missmarple, Mitch Ames, Modulatum, MoraSique, Mr.Z-man, Muffin, Musicindia1, Mylemans, Mütze, Nathanael Bar-Aur L., Ninly, Noetica, Nuffink, Obscurans, Ojigiri,Oldjasd5150, Pale blue dot, PancakesMan, Paolo.dL, Phe, Philip Trueman, Pjvpjv, Pladask, Polyvios, RandomStringOfCharacters, Red Rooster 69, Reddevil 221, Redheylin, Reflex Reaction,Restre419, Richfife, Rigaudon, Rocastelo, Rory737-800, Rosarino, Rosier, ST47, Sam Hocevar, Sarindam7, SchfiftyThree, SchuminWeb, Sethoeph, SharkD, Sidasta, SkyCaptain, Sluffs, Somejerk on the Internet, Spettro9, Spiffy sperry, Splitpeasoup, Stephen Burnett, Steve Bob, Steve carlson, Stevec71, Steveprimatic, Strumr91, Synchronism, T prev, TUF-KAT, Tbird1965, Tee Owe,Telso, TenPoundHammer, The Anome, The Rumour, The Thing That Should Not Be, Themfromspace, Tijuana Brass, Tjic, Tnfros, TobyRush, Tombomp, TomyDuby, Tony1, TreasuryTag,Trweiss, Twunchy, Tymoczko, Underwater, VegitaU, Wahoofive, Wavelength, Weedwhacker128, Wegsjac, West.andrew.g, Wfructose, Woodstone, Yahya Abdal-Aziz, Yeanold Viskersenn,Yms, Yovi, Zagoury, Zfr, Zundark, 에멜무지로, 351 anonymous edits

Diminished seventh  Source: http://en.wikipedia.org/w/index.php?oldid=378489573  Contributors: After Midnight, Avitya, Blehfu, Decltype, Dizzymontega, Dpotter, Gene Ward Smith,Hyacinth, Jafeluv, Koavf, Malcohol, Mange01, NYArtsnWords, Neparis, Nereocystis, Noetica, Oeuftete88, Paolo.dL, Pfly, Rainwarrior, Roivas, Salamurai, Tim Barber, Tjako, Wahoofive,에멜무지로, 17 anonymous edits

Half-diminished seventh chord  Source: http://en.wikipedia.org/w/index.php?oldid=374241904  Contributors: Andeggs, Celtic Minstrel, DChapii, David Kernow, Eep², GTBacchus, Havic5,Hotdogjuicer, Hyacinth, Iketchupmyeggs, JMyrleFuller, JohnI, Kpufferfish, Leif edling, Nkocharh, Octurion, Pfly, Prof.rick, Richman271, Rictus, Scheater5, Show no mercy, 19 anonymous edits

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Image Sources, Licenses and Contributors 23

Image Sources, Licenses and ContributorsFile:Classical spectacular07.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Classical_spectacular07.jpg  License: unknown  Contributors: Ejdzej, Fir0002, YannImage:C triad.svg  Source: http://en.wikipedia.org/w/index.php?title=File:C_triad.svg  License: Public Domain  Contributors: User:McSushFile:Mussorgsky Pictures at an Exhibition, chords.PNG  Source: http://en.wikipedia.org/w/index.php?title=File:Mussorgsky_Pictures_at_an_Exhibition,_chords.PNG  License: GNU FreeDocumentation License  Contributors: User:HyacinthFile:Debussy Premiere Arabesque melody and chords.PNG  Source: http://en.wikipedia.org/w/index.php?title=File:Debussy_Premiere_Arabesque_melody_and_chords.PNG  License:unknown  Contributors: User:HyacinthImage:PianoDiagram.gif  Source: http://en.wikipedia.org/w/index.php?title=File:PianoDiagram.gif  License: GNU Free Documentation License  Contributors: Aotake, Hyacinth, Tlogmer,TommyBeeFile:C Major scale (up and down).svg  Source: http://en.wikipedia.org/w/index.php?title=File:C_Major_scale_(up_and_down).svg  License: Public Domain  Contributors: User:BdeshamImage:Frets, guitar neck, C-major chord.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Frets,_guitar_neck,_C-major_chord.jpg  License: Public Domain  Contributors: AVM,Arent, Netosku, Red Rooster, Rottweiler, 1 anonymous editsImage:Pitch constellation triads.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Pitch_constellation_triads.svg  License: Creative Commons Attribution-Sharealike 3.0 Contributors: User:Tcolgan001Image:Sev chord.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Sev_chord.svg  License: GNU Free Documentation License  Contributors: User:Tcolgan001File:Doubleflat.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Doubleflat.svg  License: Public Domain  Contributors: Aotake, SpiritiaImage:C with 64 figured bass.png  Source: http://en.wikipedia.org/w/index.php?title=File:C_with_64_figured_bass.png  License: GNU Free Documentation License  Contributors: CamembertImage:CBG with - 6 7 figured bass.png  Source: http://en.wikipedia.org/w/index.php?title=File:CBG_with_-_6_7_figured_bass.png  License: GNU Free Documentation License  Contributors:CamembertImage:Chords C-B63-G7.png  Source: http://en.wikipedia.org/w/index.php?title=File:Chords_C-B63-G7.png  License: GNU Free Documentation License  Contributors: CamemvertImage:IV-V-I in C.png  Source: http://en.wikipedia.org/w/index.php?title=File:IV-V-I_in_C.png  License: GNU Free Documentation License  Contributors: HyacinthImage:Diminished seventh on C.png  Source: http://en.wikipedia.org/w/index.php?title=File:Diminished_seventh_on_C.png  License: GNU Free Documentation License  Contributors:User:HyacinthImage:Half-diminished seventh chord on C.png  Source: http://en.wikipedia.org/w/index.php?title=File:Half-diminished_seventh_chord_on_C.png  License: unknown  Contributors: HyacinthImage:Leading-tone seventh chord resolution in C major.png  Source: http://en.wikipedia.org/w/index.php?title=File:Leading-tone_seventh_chord_resolution_in_C_major.png  License: GNUFree Documentation License  Contributors: User:HyacinthImage:Leading-tone seventh chord in C major.png  Source: http://en.wikipedia.org/w/index.php?title=File:Leading-tone_seventh_chord_in_C_major.png  License: GNU Free DocumentationLicense  Contributors: User:HyacinthImage:Half-diminished seventh chord on supertonic in C minor.png  Source: http://en.wikipedia.org/w/index.php?title=File:Half-diminished_seventh_chord_on_supertonic_in_C_minor.png License: GNU Free Documentation License  Contributors: User:HyacinthImage:Half-diminished seventh chord on sharpened supertonic in C.png  Source:http://en.wikipedia.org/w/index.php?title=File:Half-diminished_seventh_chord_on_sharpened_supertonic_in_C.png  License: GNU Free Documentation License  Contributors: User:HyacinthImage:Half-diminished seventh chord on sharpened subdominant in C.png  Source:http://en.wikipedia.org/w/index.php?title=File:Half-diminished_seventh_chord_on_sharpened_subdominant_in_C.png  License: GNU Free Documentation License  Contributors: User:Hyacinth

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License 24

LicenseCreative Commons Attribution-Share Alike 3.0 Unportedhttp:/ / creativecommons. org/ licenses/ by-sa/ 3. 0/