Chord (music)

A chord in music is the simultaneous sounding of different tones that can be interpreted harmoniously.

• 4.1 keynote and intervals
• 4.2 level
• 4.3 Tonvorrat
• 4.4 Key
• 4.5 Function
• 4.6 chord symbol

Origin of the word

The term chord is probably derived from chorda, the Greek word for string. He was admitted on the Italian and French in the meaning harmony into German. (: Ad cor = Latin for heart ) However, a possible Latin origin of the term is. Originally the term "chord" for " harmony ", ie for the production of the same tone on different strings. So he was already used in 1619 by Michael Praetorius. It was not until 1732 appeared the term in the sense of " interaction of different tones " on. The meaning of " consonance " refers not only to the harmony of several notes, but also includes the sounding of the overtone series of a single tone with a.

Explanation

Melody, bass, accompaniment, or filling-in: In the real music and the chords of the harmony of many voices that have different functions form. The clearest treatment of the chords is in individual voices in four -part harmony. It is also possible in a single voice tones resound, which are experienced by the listener as common components of a harmonic structure. This also broken chords ( arpeggios ) and the slow build-up of harmonies (such as Rachmaninoff, Melody Op. 3 No. 3, last bar ) are chords in the sense described. How chords are used specifically in music, depends on the genre. When opposite poles you can here the polyphony (horizontal structure, several independent voices, such as in a fugue ) and homophony (vertical - chordal structure, such as in a song with guitar accompaniment ) view.

Types and construction of chords

Normally you only referred at least three different tones as a chord, and it very often is also chords only two tones, still satisfy the chordal functions. This consisting of only two notes chords are also called two-tone. It then often lack the bottom to the full triad. However, since the bottom is already present in the natural harmonic spectrum is missing in such a case a two sound nothing fundamental, and he therefore already meets the criteria of the triad. Other combinations of tones that do not meet this rule, however, can theoretically be supplemented whatsoever, and then result in more complex chord combinations, but must always be interpreted in context. Frequently Two sounds (English dyad ) in the rock music in the form of a power chord, so only root and fifth without the third, applied. Next there is the quartal harmony as musical structures in which a perfect fourth is clearly preferred. The relatively new term quartal harmony is seen as a deliberate contrast to the traditional Terzenharmonik.

From triad is called only when the three sounding tones can be layers in the third interval, the lowest note has to be the root of the chord. If the Terzenharmonik not apply the criteria set need not be met.

For chords Terzenharmonik applies:

• Two superimposed different thirds ( only large, small or vice versa) result in a major or minor chord;
• Two equal thirds (big and tall or short and small) yield an excessive or diminished chord;
• Three superimposed thirds give a seventh chord;
• Four superimposed thirds give a ninth chords;
• Five superimposed thirds give a eleventh;

The series of chords can be continued.

Not in thirds layered chords or so layered, whose root but just did not sound, can according to terzgeschichteten chords supplemented or otherwise be explained (eg by Owning ) intellectually each musical context. For example, the five chord c - e - g - a minor seventh chord as a - c - e - g be seen. Something, however, is to examine, in the context of the play, since there are often several possible interpretations.

Analysis of chords

When counting the different tones in a chord merely different note names are taken into account regardless of their pitch. After this transformation, the sounds from the chord are named as intervals to the lowest note of the chord in the example as a third and a fifth to the lowest tone, even though they actually existed as Quint and tenth. The actual name of the chord depends on the naming system.

Location of chords

The term "layer" has two meanings in the context of chords:

In the functional description, the cause of both the bass and the melody can be specified. In basso such a description is unusual.

Inversions of chords

To determine the inversion of a chord, the lowest note ( the bass ) is critical, regardless of whether the chord continues to resound situation in close or.

The reversals get their name from the characteristic intervals are measured from the lowest sound. The individual names (see below) are taken from the basso continuo technique.

Triads

Triads can occur in two inversions:

• Basic position, eg in C major: c ' - e' - g '; the basic position can be seen on the stratification in thirds;
• 1st inversion, in this example, e ' - g' - c'', called sixth chord, because there is nothing special that is below a third, but probably that the highest tone is a sixth instead of a fifth from the lowest;
• 2nd inversion, in this example, g ' - c'' - e'', called six-four chord, since both fourth place third in the lower part of the chord as well as sixth place Quinte are noticed as a frame interval.

Tetrachords

Seventh chords can occur in three inversions:

• Basic position, eg G7: g - h - d ' - f', again to acknowledge the superimposition of thirds, called seventh chord because the additional seventh distinguishes him from a triad;
• 1st inversion, in this example, h - d ' - f' - g ', called five chord because fifth and sixth occur on the lowest note at the same time;
• 2nd inversion, in this example, d ' - f' - g ' - h', called Terzquartakkord since third and fourth occur on the lowest note at the same time;
• 3 inversion, in this example, f ' - g' - h ' - d'', called Sekundakkord since the second above the lowest tone is characteristic of him.

Other four-note chords, seventh chords that are not, can be reversed course as well, only apply when they are not the above designations for the individual inversions. As an example, the triad is ( ajoutée sixte ) with added sixth, called the principle a five chord is in its normal position, but a completely different function than the identically constructed first inversion of a seventh chord has, so you should avoid this confusion.

Five -and multi- sounds

Main Post: Dominantseptnonakkord

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Naming systems of chords

Multiple, independent systems are used for naming of chords that are touched upon in the following:

• The bass note of the chord and overlying intervals ( basso )
• The level of the chord in terms of the theory of stages
• The function of the chord in the sense of the theory of functions
• The key of the chord and deepest tonal sound and relevant additions, see chord symbol

The naming systems are listed in the order in which they arose historically. Each new system has ( especially with regard to the syntax of the modifications relative to the basic triad ) taken over a large part of the achievements of the old systems and further developed. The basic structures of chords are therefore the oldest description system, the basso continuo, called in the following no longer, even though they are there also used.

Keynote and intervals

The type of description is used mainly in the basso continuo. The chord is called on the intervals that take the sounds from the lowest tone.

Stage

The naming of the stages is a further development of the designation on the keynote that, contrary to this describes the tonal arrangement of the chord in the harmonic context.

It can be identified in a similar manner all chord types listed above, the reference tone is not a concrete base pitch, but instead the number of the base tone in the scale of the home key.

Examples in C major:

• Of sound c - e - g is a basic triad on the first stage;
• The sound g - h - d - f is called a seventh chord on the fifth stage.

This system of phonetic description is used in the stage theory.

Tonvorrat

Chords consist of the Tonvorrat which is provided by the respective musical context. In the case of traditional Western music are the twelve notes of the chromatic scale and their reps in different layers.

Because the traditional Western music is based largely on a home key, there is a Kerntonvorrat of the seven so-called diatonic tones.

• In the case of C major is the c, d, e, f, g, a, h

To temporarily change the musical flow to other keys, this Tonvorrat can be extended by the sounds that occur in deviation from the basic key in the other keys. In fact, the modulation is done (the change ) by the introduction of chief foreign tones. The most typical extensions that lead to alterations of diatonic tones to chief foreign tones the minor seventh and the augmented fourth.

• In the case of C major are: b instead of h and F # instead of f

The Old centering from h to b is perceived as harmonious swing towards the next key in the circle of fifths, which is one that tone to their own chiefs.

• In the case of C major is F major.

This shift is also felt when no sound on the basis of F major is formed, but, for example, only a seventh chord on c ( c - e - g - b ) sound. Modulations to distant keys expand according to the Tonvorrat, can be formed from the chords.

Key

During the basso continuo and the stage theory make the Tonvorrat the home key to the starting point of its designation, the chords can interpret directly as representatives of a key. But the sounds contained are evaluated.

Examples:

Inside is a piece in C major

• The sound of f - a - c a F major triad reason,
• Of sound c - e - a, an a- minor triad in first inversion
• And the sound of d - f - g - h a G major seventh chord in second inversion.

This designation is descriptive than " IV Stage "or" I. Stage sixth chord ", but refrained to incorporate the designated sound in the harmonic context of the piece.

Function

The function theory describes chords on the basis of kinship relationships, arising from the circle of fifths. Again, the chord types described above can be used and extended by further four-, five - and multiple sounds.

Basis of the sound is the key that is named by its functional relationship to the home key. As the keynote of the chord is thus not described, in addition, an indication of reversal or the interval is made that has the keynote in relation to the root of the function described.

The above examples lead to the following designations:

• F - a - c subdominant in basic position
• C - e - a Tonikaparallele in the first inversion or with Terzbass
• D - f - g - h dominant seventh chord in the second inversion or with Quintbass

Chord symbol

See main article chord symbol

Jazz notes are commonly used as lead sheets with vocals and chord symbols.

The jazz chord symbol notation as equivalent in the broadest sense of a basso continuo notation, in which the root is explicitly specified as note name in letter form. A different tone from the bass note is a slash separated additionally determined (see: Slash chord ). Chord modifications will specify by particulars as to sound gender, numbers and other abbreviations.

Comparison of Naming Systems

The respective naming systems reflect the harmony of understanding of the period in which they arise. While the general bass notation represents a pragmatic shortcut in the typeface, stage theory is based on a first harmonic series, which is extremely extended from the theory of functions. The Jazz notation assumes the resulting syntax until then, there is the not always necessary in jazz functional relationship completely.

Using the example of the diminished seventh chord on cis (cis - e - g - b) in a C major context, it is shown how to express these differences:

• Basso: root cis, indication 7 ♭
• Stage theory: I ♯ ♭ 7
• Function theory: t 7 ♭ 9 ♭ shortened when the chord to F major dissolves, or DDD 7 ♭ 9 ♭ shortened when the chord of double dominant D major or D minor Subdominantparallele dissolves. In extreme cases two notations are conceivable.
• Jazz: C ♯ 7 °

The diminished seventh chord is outside the usual cadence, but it is not unusual for Bach. It can be seen that the basso listed by waiving any explanation the unusual sound for him easily, while the theory of stages their basic construct ( the stage) must be modified and the function of theory requires further information on the correct name. The notation habits in jazz is similar in pragmatics the basso continuo.

In return, the function theory can realize its benefits when it comes to the description of sounds that were not feasible in the time of the figured bass, or stage theory. This is for example the case sounds in which the third occurs at the same time as large and as a minor third, which would functionally noted as third and augmented second / None, or in those who can no longer be clearly related to a keynote as the layered of fourths " Mystic chord" by Alexander Scriabin (c- fis -b- e'- a'- d'' ) and the " Tristan chord " by Richard Wagner, the opera " Tristan and Isolde " begins.

Chord accompaniment in the song

In songs chords commonly used for instrumental accompaniment. They give the melody sections a harmonious relation. The chord accompaniment is mostly ( such as piano or guitar) played with a polyphonic keyboard or string instrument.

The sequence of chords is called progression. If the chord progression is always repeated in cycles ( eg, |: G, Em, C, D7: | ) is called a harmonic ostinato.

Motivation from the overtones

The notes of a major chord are distinguished from other sounds by the fact that they represent the first integer subdivisions of the oscillation of the fundamental. The halving of the wavelength results in this case the first octave, third reduction in the second and fifth Fifth Lung the third major third of the fundamental. The next higher or lower octave of these tones is obtained by doubling or halving the frequency.

These harmonics, already naturally resound also in virtually all sound creations, together with the root are, while perceived as harmonious tone to match. The real overtones also depend on sound -producing instrument and are given only approximately, as an example here.

Since this does not correspond exactly to all keynotes these ratios in the pure atmosphere of a keyboard instrument, is most often used since the 19th century, the equal tempered tuning which ensures an exact frequency ratio only for the octaves. The twelve overtones of an octave are chosen so that the frequency ratio to the next semitone is always the same. From this result, although slight variations of the frequency ratio for thirds and fifths by a few cents, but so is every sound used as a root of a chord.