Chart of Note and Rest Signs

7/28/2019 Chart of Note and Rest Signs

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Chart of Note and Rest Signs

If the notes are listed in decreasing time value, longest to shortest, each is half the duration of

the one immediately before it. The table of 'denominations' below shows the note with the

longest duration at the top and that with the shortest duration at the bottom.

Signnumbe

r equalto1

semibr

eve

EnglishAmer

icanItalian

Frenc

hGerman Spanish Catalan

1/2

breve

or

brevis

doubl

e-wholenote

breve (f.)

carrée(f.)

or

brevis

or doubl

e-

ronde(f.)

(mean

ing

squar e)

Doppeltakt (m.)

cuadrada (f.)

or

breveor doble

redond

a

quadrada (f.)

or

breu(f.)

1 semibrevewholenote

semibreve(f.)

intero (m.)

semi-

brève

or

ronde(f.)

(mean

inground

)

ganze Takt (m.)or

Ganze (f.)

redond

a (f.)or

semibre

ve (f.)

rodona(f.)

2 minimhalf

note

minima (f.)

or

metà (f.)

or

bianca (f.)

blanc

he (f.)(mean

ing

white

)

Halbe (f.)

or

halbe Takt (m.)

blanca

(f.)

or

mínima

(f.)

blanca

(f.)

4 crotchetquarte

r note

semiminima

(f.)

or

nera (f.)or

quarto (m.)

noire

(f.)(mean

ing

black)

Viertel (f.)negra

(f.)

negra

(f.)



8 quaver eighthnote

croma (f.)

or

ottavo (m.)

croche (f.)

(mean

ing

hook)

Achtel (f.)

corchea(f.)

or

croma

(f.)

corxera(f.)

1

6semiquaver

sixteenth

note

semicroma

(f.)or

sedicesimo

(m.)

doubl

e

croch

e (f.)(mean

ing

double

hook)

Sechzehntel (f.)semicor chea

(f.)

semicorxera

(f.)

3

2demisemiquaver

thirty-secon

d note

biscroma

(f.)or

trentaduesimo (m.)

triple

croch

e (f.)(mean

ingtriplehook)

Zweiunddreissigstel

(f.)fusa (f.)

fusa

(f.)

64

hemidemisemiquaver

sixty-

fourthnote

semibiscroma (f.)

or sessantaquat

tresimo (m.)

quadr

uple

croche (f.)

(meaning

quadr uple

hook)

Vierundsechzigstel (f.)semifusa (f.)

semifusa (f.)

1

28

semihemidemise

miquaver

or quasihemidemis

emiquaver

one

hundr

edand

twent

y-eighth

note

centoventott

avo (nota)

cent-

vingt-huitiè

me

or quint

uple

croch

e

Hundertundachtundzw

anzigstel(note)

garrapa

tea

or cuartifu

sa

Rests, periods of silence, are shown in the table below.

Rest

number equal to 1

semibreve

EnglishAmer ican

ItalianFrench

GermanSpanish

Catalan



1/2 breve rest

doubl

e-whole

rest

pausa di breve (f.)

bâto

n

(m.)

or paus

e de

brève (f.)

or

silen

ce de brèv

e

(m.)

doppel Pause (f.)

silenciode

cuadra

da (m.)

or pausa

de

cuadra

da (f.)or

silenciode

breve

(m.)

or pausa

de

breve

(f.)

doble pausa

(f.)

or pausa

de

quadra

da (f.)

1 semibreve restwhole

rest

pausa disemibrev

e (f.)

paus

e (f.)ganze Pause (f.)

silencio

de

redond

a (m.)or

pausa

deredond

a (f.)

or

silencio

desemibr

eve(m.)

or

pausa

desemibr

eve (f.)

pausa

(f.)

or pausa

derodona(f.)

2 minim resthalf

rest

pausa di

minima

(f.)

demi-

paus

e (f.)

halbe Pause (f.)

media

pausa(f.)

or

silencio

de blanca

(m.)

or

mitja

pausa(f.)or

pausa

de

blanca(f.)



pausade

blanca

(f.)

o

r 4 crotchet rest

quart

er rest

pausa di

semimini

ma (f.)

soupi

r

(m.)

Viertelpause (f.)

silenciode

negra

(m.)

or pausa

de

negra(f.)

or

silencio

desemimi

nima

(m.)or

pausa

de

semiminima

(f.)

quart

de pausa

(m.)

or

pausade

negra

(f.)

8 quaver rest

eight

h rest

pausa di

croma (f.)

demi

-

soupir (m.)

Achtelpause (f.)

silenciodecorchea

(m.)

or pausade

corchea

(f.)

vuitède pausa

(m.)

or pausade

corxera

(f.)

1

6

semiquaver restsixteenth

rest

pausa disemicrom

a (f.)

quart

desoupi

r (m.)

Sechzehntelpause (f.)

silenciode

semico

rchea

(m.)or

pausadesemico

rchea

(f.)

setzè

de pausa

(m.)

or

pausade

semico

rxera(f.)



3

2

demisemiquaver

rest

thirty

-

second rest

pausa di

biscroma

(f.)

huiti

ème

de

soupir

(m.)

Zweiunddreißigstelpau

se (f.)

silencio

de fusa(m.)

or

pausa

de fusa(f.)

trenta-dosè de

pausa

(m.)

or pausa

de fusa

(f.)

64

hemidemisemiquaver rest

sixty-

fourth

rest

pausa di

semibiscr

oma (f.)

seizi

ème

desoupi

r

(m.)

Vierundsechzigstelpause (f.)

silencio

de

semifusa (m.)

or

pausa

desemifus

a (f.)

seixanta-

quatrè

de pausa

(m.)

or

pausade

semifu

sa (f.)

12

8

semihemidemis

emiquaver rest

one

hundr ed

and

twent

y-eight

h rest

pausa dicentovent

ottavo (f.)

cent-vingt

-

huitième

de

soupir (m.)

Hundertundachtundzw

anzigstelpause (f.)

silenciode

garrapa

tea (m.)or

pausa

degarrapatea (f.)

Each line in the example below is a single bar (we meet bars in the next lesson ), with the sametotal time value of notes as every other line.

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Each line in the example below is a single bar (we meet bars in the next lesson ), with the sametotal time value of rests as every other line.

Musical Form

Musical Form - a summary ::

The term 'musical form' is used in two related ways:

(1) a generic type of composition such as the symphony or concerto;(2) the structure of a particular piece, how its parts are put together to make the whole; this too

can be generic, such as binary form or sonata form.

Musical form (the whole or structure) is contrasted with content (the parts) or with surface (the

detail), but there is no clear line between the two. In most cases, the form of a piece should

produce a balance between statement and restatement, unity and variety, contrast and connection.

There is some overlap between musical form and musical genre. The latter term is more likely to

be used when referring to particular styles of music (such as classical music or rock music) asdetermined by things such as harmonic language, typical rhythms, types of musical instrument

used and geographical origin. The phrase 'musical form' is typically used when talking about a

particular type or structure within those genres. For example, the twelve bar blues is a specificform often found in the genres of blues and rock and roll music.

aleatory music see 'mobile form' (below)









A-form

A-form emphasizes continuity and prolongation, flowing, unbroken, from

beginning to end, in which the music has a

recognizable consistency

a cappella

a form of music that is usually vocal or sungwithout instrumental accompaniment, or a

piece intended to be performed in this way. A

cappella is Italian for 'of the chapel', a term

that notes the restrictions on the use of instruments in medieval churches

allemande

or allemanda, almain or alman, (from French,

literally 'German') a type of dance popular in

Baroque music, and a standard element of asuite, generally the first or second movement.

In which case the first one is a sort of prelude,

whatever its name (prelude, toccata,

preambulum, ouverture, etc.)

Ambrosian chant

St. Ambrose (c340 – 397), bishop of Milan, is

believed to have been the first to introducedthe 'antiphonant' method of chanting (also

called 'antiphonal chanting'), in which one sideof the choir alternately responds to the other

arch forma palindromic form, as, for example, three

contrasting sections arranged ABCBA

aria

a form that is generally longer, non-strophic

and with an accent of musical design andexpression, than that corresponding to the air,

song or Lied

ballade

a fourteenth- & fifteenth-century verse form

consisting of three (sometimes five) stanzas,each with the same metre, rhyme scheme and

last line, with a shorter concluding stanza (an

envoi). (The ballade should not be confused

with the ballad)

ballet

the name given to a specific dance form and

technique. Dance works choreographed using

this technique are called ballets and may

include: dance, mime, acting and music

(orchestral and sung). Ballets can be performed alone or as part of an opera. Ballet

is best known for its virtuoso techniques such

as pointe work, grand pas de deux and highleg extensions. Many ballet techniques bear a

striking similarity to fencing positions and

footwork, perhaps due to their developmentduring the same periods of history, but more



probably, because both arts had similar requirements in terms of balance and

movement

Bar form

the modern term 'Bar form' derives from a

medieval verse form, the 'Bar', consisting of three stanzas, each having the form AAB. The

musical term thus refers to the melody of a

single stanza, the A sections (called Stollen)

having the same melody, and the B section( Abgesang ) having a different melody

non-deterministic generative musicmusic that cannot be repeated, for example,

ordinary wind chimes

binary form

most strictly, a piece in binary form will be intwo halves (AB or AA'), equal in length. The

first half will start in a certain key (or on a

certain tonic), and end in a different key. The

second half of the piece begins in the key thatthe first half ended in, and ends in the original

key of the piece. The second half may also berepeated. If the key at the start was a major

one, the key at the end of the first part willgenerally be the dominant of it (a fifth above),

so that a piece beginning in C major will end

the first half in G major. If the starting key isminor, the music will generally move to its

relative major key, so if a piece starts in Cminor, it will end the first half in E flat major.

The first half is often repeated. The gavotte,for example, is typically in binary form

canon

in music, the strictest of all contrapuntal

forms. It consists in the imitation or repetition

of a given melody or theme in its exactmelodic progression and in the same

rhythmical form by one or more voices, not

simultaneously, but one after another, at a half,whole, or two, measure distance, on any of its

intervals

cantata

from the middle of the 17th- till late in the

eighteenth century, a favourite form of Italian

chamber music for one or two solo voices,with accompaniment of harpsichord and

perhaps a few other solo instruments. It

consisted at first of a declamatory narrative or scene in recitative, held together by a primitive

aria repeated at intervals. Fine examples may

be found in the church music of Carissimi; and

the English vocal solos of Henry Purcell (such



as Mad Tom and Mad Bess) show the utmostthat can be made of this archaic form. With the

rise of the da capo aria the cantata became a

group of two or three arias joined by recitative.

George Frideric Handel's numerous Italianduets and trios are examples on a rather large

scale. His Latin motet Silete Venti, for soprano

solo, shows the use of this form in church

music

cantus firmus

in music, a cantus firmus is a pre-existing

melody forming the basis of a polyphonic

composition, often set apart by being played inlong notes

canzona

a 16th- and seventeenth-century instrumental

genre in the manner of a French polyphonic

chanson, characterized by a sequence of short

contrasting sections

chain form

binary form extended with more sections, for

example ABCD, and particularly whenincluding repeated sections, AABBCCDD

chanson

the word chanson refers to a polyphonicFrench song of the late Middle Ages and

Renaissance. Early chansons tended to be in

one of the formes fixes, ballade, rondeau or

virelai, though some composers later set popular poetry in a variety of forms

chorale

originally a hymn of the Lutheran church sung

by the entire congregation. In casual modern

usage, the term also includes classical settingsof such hymns and works of a similar character. Chorales tend to have simple and

singable tunes, because they were originally

intended to be sung by the congregation rather than a professional choir. They generally have

rhyming words and are in a strophic form

(with the same melody being used for differentverses). Some chorale melodies were written

by Martin Luther himself. Within a verse,

most chorales follow the AAB pattern of

melody that is known as the German Bar form

chorale prelude

a piece generally for organ designed to be played before a chorale. A chorale prelude

includes the melody of the chorale, and adds

other contrapuntal lines

choroa choro composition usually starts in a minor key, followed by a major key bridge, then a



minor key finish (similar to a tango): AABBC.It is also common to repeat the first part, in

accelerated tempo, to finish, thus AABBCA

concerto form

in classical music, the word concerto is a label

for a piece in which a small musical group anda large musical group are given distinct roles,

with the smaller group to the fore. The most

common kind of concerto pairs a solo

instrument with a full orchestra. The term alsoimplies the form of a piece as most concerti

follow sonata form, typically found with three

movements

cyclic form

a technique of musical construction, involvingmultiple parts or movements, in which a

theme, melody, or thematic material occurs in

more than one movement as a unifying device.

Sometimes a theme may occur at the beginning and end (for example, in the Brahms

Symphony No. 3); other times a theme occursin a different guise in every part (Berlioz,Symphonie Fantastique)

da capo

a da capo aria is in ternary form, meaning it is

in three sections. The first section is a

complete musical entity, ending in the tonickey, and could in principle be sung alone. The

second section contrasts with the first in itsmusical texture, mood, and sometimes also

tempo. The third section was usually notwritten out by the composer, who rather

simply specified the direction da capo (Italianfor "from the beginning"), which meant thatthe first section should be repeated in full

dance

while the combination of dance and music is

very ancient (for example Ancient Greek vases

sometimes show dancers accompanied bymusicians) the earliest Western dance music

that we can still play with a degree of certainty

are the surviving medieval dances such as

caroles and the Estampie. The earliest of thesesurviving dances are almost as old as Western

staff-based music notation. In the Baroque

period, the major dance styles were noble

court dances. Examples of dances include theFrench courante, sarabande, minuet and gigue.

Collections of dances were often collected

together as dance suites. In the Classical musicera, the minuet was frequently used as a third



movement in four-movement non-vocal workssuch as sonatas, string quartets, and

symphonies, although in this context it would

not accompany any dancing. The waltz also

arose later in the Classical era, as the minuetevolved into the scherzo (literally, "joke"; a

faster-paced minuet)

danzón

a Cuban song style and dance form derived

from the contradanza (brought to Cuba byHaitian immigrants), danza, danza Habanera

and interpreted by the charanga orchestras and

instrumentation. Miguel Failde has beencredited with composing the first danzón, La

Altura del Simpson in 1879. Originally an

ABAC form (A, paseo (introduction); B, parte

de (la) flauta (flute melody); A, repeat of the paseo; C, parte del violín (string trio). Later a

D section (the nuevo ritmo) was added,

creating an ABACD form. This nuevo ritmo section integrated elements of the Cuban son

and generated the mambo as well as the

development of the montuno section of

arrangements, and later the cha-cha-cha

developmental form

where the musical works are built, as a rule,

from smaller bits of material - motifs -

combined and worked out in different ways,usually balancing between a symmetrical or arch-like supporting structure of the whole,

and a progressive development from beginning

to end, for example, sonata form

duet

a musical composition or piece for two performers, most often used for a vocal or

piano duet. For other instruments, the word

duo is often used. Two pianists performing

together on the same piano is referred to as piano duet or piano four hands. Two pianists

performing together on separate pianos is

referred to as piano duo

durchkomponiert see 'through-composed'

episodical

an example of ternary or ABA form,episodical form consists of three parts:

statement of the principal theme, an episode (a

theme or subject matter of secondaryimportance to the principal theme), and finally

a repeat of the principal theme

estampie as a musical form, it consists of a series of



verses, often of different lengths, and tworefrains, sometimes called "open" and

"closed", which alternate. The various verses

can be of different lengths, and are often only

faintly related in theme to the preceding andfollowing verses. There can be any number of

verses, though there must be at least three

etude

(from the French word étude meaning 'study')

is a short musical composition designed to provide practice in a particular technical skill

in the performance of a solo instrument

fantasia

also English fantasy, fancy, German fantasie,

French fantaisie, a musical composition withits roots in the art of improvisation. Because of

this, it seldom approximates the textbook rules

of any strict musical form

first-movement form see 'sonata form'

folk music

folk music has been used as source materialfor composers of many eras. Composers of the

Viennese classic period were influence by and

used folk music in their compositions; for example, Haydn's use of Bohemian folk tunes

or Beethoven's Symphony No. 6 which uses a

Yugoslavian dance melody as a primary

theme. Other composers who used folk material include Chopin, Smetana, Dvorák,and Mussorgsky. In Carmen, Bizet borrowed

genuine Spanish folksongs, local rhythms, and

tunes composed by Spanish composersSebastián Yradier and Manuel Garcia. The

pieces of Spanish origin in Carmen include the

famous Habañera; Carmen's aria Séguidille, séguidille, séguidilla, and Choeur des gamins

in Act I; Carmen's aria Chanson bohème, and

Toreador Song in Act II; and both of the preludes to Act III and IV. The most

interesting borrowing is Carmen's leitmotif,

the 'Fate' theme, which is used repeatedly

throughout the opera in two patterns, one for Carmen, and the other for Don José. This

theme is derived from an Andalusian saeta

(flamenco music). In the twentieth century,

composers began to collect or study folk musicin an attempt to integrate that music into their

style. Three possibilities exist for the use of

folk materials in Western art music. Acomposer can simply compose an



accompaniment for an existing folk melody, anewly composed melody can take on folk

characteristics, or folk music can be integrated

into the style of a composer to such an extent

that neither folk melodies or imitations of folk melodies are used, but the composer's works

are imbued with the style of peasant music

formes fixes

(French f. pl., literally 'fixed forms') three

standardised musical or poetic forms used inFrench secular music from the 13th- to the mid

15th-centuries

the three, each distinguished by its overall

musical structure, are:

virelai

bergerette

AbbaA, where a capital letter

designates a repetition of both

text and music and lower casedesignates new text

ballade

aabX, where a capital letter designates a refrain text and

lower case designates newtext

rondeau

rondet

rondel rondeau

ABaAabAB, where a capital

letter designates a refrain text

and lower case designatesnew text

free form

certain pieces of music, for example, the earlysixteenth-century ricercar , the fantasia and the

prélude non mesuré, which are improvisatoryin style, are said to be written in a 'free form'.Free fugues, which break many of the formal

rules of fugue writing, and free counterpoint,

which relaxes the strict rules of counterpoint,

are not. However, just as many have arguedthat 'abstract ballet' is impossible 'because

dancers are human, so no ballet can be entirely

abstract', an analogous argument might beadvanced about 'free-form music'; because

music is the organisation of sound, and

organisation implies form, so 'free form' musicis an oxymoron

French overture

as distinct from the sinfonia, the Frenchoverture (or ouverture) had always been one-

movement preluding pieces, usually in a ABA

form, where the A sections had a slow tempowith a stately (double) dotted rhythm, while



the B middle section was comparatively fluentand fast. By the time this type of overture was

adapted from the early eighteenth century on

by German composers like Bach and Handel,

it could be as well the preluding movement of a (dance) suite, in which case overture was

sometimes used as a synonym for the entire

suite (e.g. Bach's French Overture, BWV 831)

fugue

in music, a fugue is a type of piece written incounterpoint for several independent musical

voices. A fugue begins with its subject (a brief

musical theme) stated by one of the voices playing alone. A second voice then enters and

plays the subject, while the first voice

continues on with a contrapuntal

accompaniment. Then the remaining voicessimilarly enter one by one. The remainder of

the fugue further develops the material using

all of the voices. The word 'fugue' comes fromthe Latin fuga (flight) and fugere (to flee).

Variants include fughetta (a small fugue) and

fugato (a work or section of a work resembling

a fugue but not necessarily adhering to therules of one)

galliard

musical compositions in the galliard form

appear to have been written and performedlong after the dance fell out of popular use. Inmusical compositions, the galliard often filled

the role of an after-dance written in 6, which

followed and mimicked another piece(sometimes a pavane) written in 4. Thedistinctive 6/8 rhythm can still be heard today

in songs such as God Save the Queen

Gregorian chant

also known as 'plainchant' or 'plainsong', it is a

form of monophonic, unaccompanied singing, based on Eastern models of Byzantine chant,

which was developed in the Catholic church,

mainly during the period 800-1000. It takes its

name from Pope St. Gregory the Great, whowas believed to have brought it to the West

ground bass

in music, a ground bass is a bass part or

bassline that repeats continually, as an

ostinato, while over it the melody and possiblyharmony change. It was developed and used

frequently in the Baroque era. A well known

classical example is the ground bass employedin Pachelbel's Canon



group form

the successor to 'pointillism', and exemplified by his piece Gruppen, Stockhausen replaced

the original idea of isolated points with

clusters or "groups" of parameters and events.

Zeitmasse and Carre are pieces in this "groupform"

gigue

or giga, a lively baroque dance in a compound

metre such as 6/4, 3/8 or 12/16. As a musical

form gigues frequently occurs as a movementin larger works such as concertos and sonatas,

and it was the most common final movement

in the baroque suite

heterophony

one of various musical textures, heterophonyis a kind of complex monophony - there is

only one melody, but multiple voices each of

which play the melody differently, either in a

different rhythm or tempo, with differentembellishments and figures, or idiomatically

different. The term was invented todifferentiate this from European polyphonicmusic of separate melodies; however, it can

also be seen as a type of polyphony. The term

'heterophony' was coined by Plato and is usedin many areas of the world, for example,

Morton (1978) suggests, at least for Thai

music, an alternative term 'polyphonicstratification'

impromptua free-form musical composition with thecharacter of an improvisation, usually for a

solo instrument, such as piano

isorhythm

isorhythm (iso or same) consists of an order of

durations or rhythms, talea ("cutting", pluraltaleae), which is repeated within a tenor

melody whose pitch content or series, color

(repetition), varied in the number of membersfrom the talea. The term was coined in 1900

by Friedrich Ludwig to describe this practice

in 14th- and fifteenth-century polyphonic

motets but is also used in motets of the middleages, the music of India, and by modern

composers such as Alban Berg, Olivier

Messiaen, and John Cage. It may be used in all

voices or only a few voices. In motets, it beganin the tenor voice but was then extended to

higher ones

Italian overture see 'sinfona' (below)



Lied (s.), Lieder (pl.)

(German, literally "song") among Englishspeakers, however, it is used primarily as a

term for European classical music song, also

known as "art song". Typically, Lieder are

arranged for a single singer and piano.Sometimes Lieder are gathered in a

Liederkreis or 'song cycle' — a series of songs

tied by a single narrative or theme. The

composers Franz Schubert and RobertSchumann are most closely associated with

this genre of classical music

madrigal

a setting for 4 – 6 voices of a secular text, oftenin Italian. The madrigal has its origins in the

frottola, and was also influenced by the motet

and the French chanson of the Renaissance. It

is related mostly by name alone to the Italiantrecento-madrigal of the late 13th- and 14th-

centuries; those madrigals were settings for 2

or 3 voices without accompaniment, or withinstruments possibly doubling the vocal lines.

The madrigal was the most important secular

form of music of its time. It bloomed

especially in the second half of the sixteenthcentury, losing its importance by the third

decade of the seventeenth century, when it

vanished through the rise of newer secular forms as the opera and merged with the cantata

and the dialogue

madrigale spirituale (s.), madrigali spirituali (pl.)

(Italian) a madrigal, or madrigal-like piece of

music, with a sacred rather than a secular text.Most examples of the form date from the lateRenaissance and early Baroque eras, and

principally come from Italy and Germany.

Madrigali spirituali were almost alwaysintended for an audience of cultivated, often

aristocratic amateurs. They were performed at

private houses, academies, and courts of noblemen in Italy and adjacent countries, but

almost certainly were not used liturgically.

The madrigale spirituale was an a cappella

form, though instrumental accompaniment wasused on occasion, especially after 1600

mass

a form of musical composition, a choral

composition that sets the fixed portions of the

Eucharistic liturgy (principally that of theRoman Catholic Church, and also the

Anglican Church) to music. Masses can be a

cappella, for the human voice alone, or they



can be accompanied by instrumentalobbligatos up to and including a full orchestra.

Sometimes the music in the Mass format was

never really intended to be used as part of a

real Mass. The mass as a musical formflourished during the Renaissance, where it

served as the principal large-scale form of

composition for most composers. Many

important masses were composed by Josquindes Prez. At the end of the sixteenth century, a

cappella choral counterpoint reached anapogee in masses by the English William

Byrd, the Castilian Tomas Luis de Victoria

and the Roman Giovanni Pierluigi da

Palestrina, whose Mass for Pope Marcellus iscredited with saving polyphony from the

censure of the Council of Trent. By the time of

Palestrina, however, the mass had already been

replaced by other forms, principally the motet

and the madrigale spirituale, as the mostsignificant outlet for expression in the realm of

sacred music; composers such as Lassus wroterelatively few masses, preferring the greater

latitude for expression offered by the other

forms

minuet

or menuet , a social dance of French origin for two people, usually in 3/4 time. The word was

adapted, under the influence of the Italian

minuetto, from the French menuet , meaning

small, pretty, delicate, a diminutive of menu

(from the Latin minutus; menuetto is a wordthat occurs only on musical scores. The word

refers probably to the short steps, pas menus,taken in 'the dance'). Initially, before its

adoption in context outside of social dance, the

minuet was usually in binary form, with two

sections of usually eight bars each, but thesecond section eventually expanded, resulting

in a kind of ternary form. On a larger scale,

two such minuets were often combined, so that

the first minuet was followed by a second one,

and finally by a repetition of the first. Thesecond (or middle) minuet usually provided

some form of contrast, by means of differentkey and orchestration. The minuet and trio

eventually became a standard movement in the

four-movement classical symphony, withJohann Stamitz the first to employ it in this



way with regularity. A livelier form of theminuet later developed into the scherzo (which

was generally also coupled with a trio). This

term came into existence approximately from

Beethoven onwards, but the form itself can betraced back to Haydn

mobile form

the term 'mobile form' is used for 'aleatory

music' (Latin, alea meaning 'dice') a

compositional technique, most closelyassociated with the American composer John

Cage (1912-1992), where, through the use of

dice, random-number generators, books suchas the I Ching, etc. (called 'chance operations'),

the choice of pitch, rhythmic value and order

of events is left to chance, the music so

produced being called 'aleatoric' or 'chance'music

moment form

derived from 'group form' and as exemplified

by Stockhausen's piece Momente, the 'groups'of 'points' are further organized, by dividingthem up into 'moments'. The fundamental

characteristic of 'moment form' is that a piece

consists of a bunch of brief 'moments' whichare larger than individual 'points' or 'groups',

for example, each 'moment' has an identity as a

gestalt piece-let in itself. But, necessarily, allthe 'moments' in a piece in 'moment form' canall be randomly interchanged and re-

assembled, to be performed in any order

motet

the name comes either from the Latin movere,("to move") or a Latinized version of OldFrench mot , 'word' or 'verbal utterance'. The

Mediaeval Latin for motet is motectum. If

from the Latin, the name describes the

movement of the different voices against oneanother. According to Margaret Bent (1997),

"'a piece of music in several parts with words'

is as precise a definition of the motet as will

serve from the 13th- to the late sixteenthcentury and beyond. This is actually very close

to one of the earliest descriptions we have, thatof the late thirteenth-century theorist Johannesde Grocheio"

open form see 'mobile form'

opera

an art form which originated in Europe, which

involves dramatic stage performance set to

music. Comparable art forms from various



parts of the world are usually prefaced with anadjective indicating the region; for example,

Chinese opera and Beijing opera. The drama is

presented using the primary elements of

theatre such as scenery, costumes, and acting.Although, the words of the opera, or libretto,

are sung rather than spoken. The singers are

accompanied by a musical ensemble ranging

from a small instrumental ensemble to a fullsymphonic orchestra

oratorio

a large musical composition for orchestra,

vocal soloists and chorus, that differs from anopera in that it does not have scenery,

costumes, or acting. Oratorio closely mirrored

opera in all ages in musical style and form,

except that choruses were more prominent inoratorio than in opera. The peak period for

composition of oratorios was the 17th- and

18th-centuries

organum

a technique of singing developed in the MiddleAges, an early form of polyphonic music. In

its earliest stages, organum involved two

musical voices: a Gregorian chant melody, andthe same melody transposed by a consonant

interval, usually a perfect fifth or fourth. In

these cases often the composition began andended on a unison, maintaining thetransposition only between the start and finish.

Organum was originally improvised; while

one singer performed a notated melody (thevox principalis), another singer — singing 'byear', provided the unnotated second melody

(the vox organalis). Over time, composers

began to write added parts that were more than just simple transpositions, and thus true

polyphony was born

overture-suite

the 'classical' suite consisted of allemande,

courante, sarabande and gigue, in that order,

and developed, in France, during theseventeenth century. Although never totally

fixed in form, the later addition of an overture produced the 'overture-suite' that wasextremely popular with German composers of

the eighteenth century

partita

until the seventeenth century, a term

synonymous with 'a set of variations'

from the sixteenth century onwards, a term



synonymous with 'suite'

pointillism

(German, Punktuell was originally coined byWDR studio director Herbert Eimert, in a 1953

lecture), otherwise known as 'total serialism' or

'integral serialism'. In this form (practiced inthose early 1950s by Stockhausen & others at

WDR, plus by Pierre Boulez in Structures 1a),

each and every smallest parameter of the

music is to be as independent as possible, fromevery other one. Their goal as they all

described it in a number of articles, for

example, in Die Reihe, was to try and break every rule of the various prevaling musical

forms, trying, therefore, to deny any

possibility of theme, development, melody,

repetition, etc. Basically the unstated butobviously recurring motivation is that they

associated the horrors of World War II, which

had just ended. John Cage showed them up byachieving the same result via 'chance

operations' instead of all the painstaking

micro-serialist calculations they were using

prelude

a short piece of music, usually in no particular internal form, which may serve as an

introduction, for example, a preludio coming

before a succession of dance movements.Since Chopin, the term often denotated a short piano piece, not necessarily an introduction,

for example, one might play 24 successive

preludes. In Baroque music, the prelude wasoften paired with the fugue

requiem

or requiem mass, also known formally (in

Latin) as the Missa pro defunctis or Missa

defunctorum, is a liturgical service of the

Roman Catholic Church and its Eastern Rite.Its theme is a prayer for the salvation of the

souls of the departed, and it is used both at

services immediately preceding a burial, and

on occasions of more general remembrance. Itis sometimes observed by other denominations

of Christianity such as the AnglicanCommunion and Eastern Orthodoxy. Requiem is also the title of various musical

compositions used in such liturgical services

or as concert pieces as settings of the portionsof that mass which have been traditionally

sung in the Roman Catholic liturgy



rhapsody

a one-movement work that is episodic yetintegrated, free-flowing in structure, featuring

a range of highly contrasted moods, color and

tonality. An air of spontaneous inspiration and

a sense of improvisation make it freer in formthan a set of variations

ritornello

a short return or repetition; a concluding

symphony to an air, often consisting of the

burden of the song. Alternatively, a shortintermediate symphony, or instrumental

passage, in the course of a vocal piece, an

interlude. In Baroque music, ritornello was theword for a recurring passage for orchestra in

the first or final movement of a solo concerto.

There was a passage for a solo instrument,

usually the violin, between each ritornello.The most prolific Baroque composer in solo

concertos was Antonio Vivaldi. When the

Classical era started, the ritornello form wasaltered to resemble 'sonata form', and the piano

replaced the violin as the most frequently used

solo instrument

rondo form

rondo, and its French equivalent rondeau, is aword that has been used in music in a number

of ways, most often in reference to a musical

form, but also in reference to a character-typethat is distinct from the form. In rondo form, a principal theme (sometimes called the 'refrain')

alternates with one or more contrasting

themes, variously called 'digressions','couplets', 'episodes', or 'subordinate themes'.The overall form can be represented as

ABACADA.... The number of themes can

vary from piece to piece, and the recurringelement is sometimes embellished or

shortened in order to provide for variation

sarabande

or sarabanda, a slow dance in triple meter

with the distinctive feature that beats 2 and 3

of the measure are often tied, giving adistinctive rhythm of crotchet (quarter note)

and minim (half note) in alternation. Theminims (half notes) are said to havecorresponded with dragging steps in the dance.

Later, it became a traditional movement of the

Baroque suite

scherzodeveloped from the minuet, the scherzo cameto replace it as the third (or sometimes second)



movement in symphonies, string quartets,sonatas and similar works. It traditionally

retains the 3/4 time signature and ternary form

of the minuet, but is considerably quicker. It is

often, but not always, of a light-hearted nature.A few examples of scherzi exist which are not

in the normal 3/4 time, such as in Beethoven's

Piano Sonata No. 18. The scherzo is in ABA

form, known as ternary form. The B theme is atrio, a lighter passage for fewer instruments

sectional form

where a piece is built by combining small

clear-cut units, for example, strophic form, binary form, chain form, ternary form, arch

form, rondo form and song form

sinfonia

in the very late Renaissance and early

Baroque, a 'sinfonia' was an alternate name for

a canzona, fantasia or ricercar . These werealmost always instrumental forms, all rooted

however in a polyphonic tradition. Later in theBaroque period it was more likely to be a typeof sonata, especially a trio sonata or one for

larger ensemble. Still later in the Baroque era,

the word was used to designate aninstrumental prelude or overture. A specific

form of such kind of preluding piece, in the

early eighteenth century, was the three-movement sinfonia which became the standardtype of overture to an Italian opera. Most of

the time these pieces were in D major (for

maximizing open-string resonance on stringinstruments), opening and ending with a fastmovement, with a slow movement in the

middle. Examples of this type of Italian

sinfonia are the numerous three-movementopera overtures by Alessandro Scarlatti, all

archetypical Italian overtures

sonata formor

sonata-allegro form

or first-movement form

sonata form refers to both the standard layout

of an entire musical composition and more

specifically to the standardized form of thefirst movement. The latter is also referred to as

'sonata-allegro form'. Sonata form is both away of organizing the composing of a work and a way of analyzing an existing work.

While described and named in the early

nineteenth century, the models for the formwere works of the classical period, most

specifically Haydn, Mozart, and Beethoven,

and the form is rooted in the schematics



described in the late eighteenth century. Thestandard description of the sonata form is

rooted in the common practice period of

harmony, though more modern descriptions of

theorists such as Heinrich Schenker andCharles Rosen argue that there is a single tonal

background which defines all sonata

movements. This is not to be confused with

the term 'sonata', which applies both to a genreof works, and to works which exemplify

sonata form

sonata rondo form

sonata rondo form was a form of musicalorganization often used during the Classical

music era. As the name implies, it is a blend of

sonata form and rondo form. Sonata rondo

form is almost exclusively used in the finalesof multi-movement works. It is considered a

somewhat relaxed and discursive form. Thus,

it is unsuited to an opening movement(typically the musically tightest and most

intellectually rigorous movement in a Classical

work), and too long for a slow movement

(where the slow tempo would make the fullsonata-rondo formula impossible to realize in a

movement of reasonable length)

song cyclea group of songs performed in an order establishing a musical continuity related tosome underlying idea

song form

a term used to describe a simple ABA or

ternary structure as employed in many slowmovements, although it is best avoided asmany songs do not have this structure. In

popular music, most song forms are in the

binary or ternary forms AABB and ABA

respectively or, the standard jazz formula,

AABA

stochastic processes

in music stochastic elements are randomly

generated elements created by strict

mathematical processes. Stochastic processescan be used in music either to compose a fixed

piece, or produced in performance. Stochastic

music was pioneered by Iannis Xenakis, who

used probability, game theory, group theory,set theory, and Boolean algebra, and

frequently used computers to produce his

scores. Earlier, John Cage and others hadcomposed aleatoric or indeterminate music,



which is created by chance processes but doesnot have the strict mathematical basis (Cage's

Music of Changes, for example, uses a system

of charts based on the I-Ching)

strophic form

(Greek, from strephein 'to turn', 'to twist') or 'chorus form', commonly associated with

folksong and art-songs based on folk-song, a

sectional and/or additive way of structuring a

piece of music based on the repetition of oneformal section or block played repeatedly. It is

the musical analogue of 'repeated stanzas' in

poetry or lyrics: where the text repeats thesame rhyme scheme from one stanza to the

next, the accompanying music for each stanza

is either the same or very similar from one

stanza to the next. It may be considered

AAA... or AA'A".... If different music is used

for different stanzas, it is said to be through-

composed

strophic variations

or 'theme and variations' form, where amusical melody (the theme) is followed by

many altered versions of it (the variations).

The variations are all altered forms of thetheme; the theme is always present, in some

form however disguised, in each of the

variations. The theme may be either original or previously written by another composer

suite

a term that first appears in the middle of thesixteenth century although the form's origins

lie in the late fourteenth century, an organizedset of instrumental or orchestral piecesnormally performed at a single sitting. In the

Baroque era, the pieces are all in the same key,

and generally modelled after dance music. In

the eighteenth century the suite could bear thetitle ordre, sonata da camera, partita< or

Partie, overture or ouverture. Estienne du

Tertre published suyttes de bransles in 1557,

giving us the first use of the term, although theusual form of the time was as pairs of dances.

The first recognizable suite is Peuerl's Newe Padouan, Intrada, Dantz, and Galliarda of 1611, in which the four dances of the title

appear repeatedly in ten suites. The Banchetto

musicale by Johann Schein (1617) contains 20sequences of five different dances. The

'classical' suite consisted of allemande,

courante, sarabande, and gigue, in that order,



and developed during the seventeenth centuryin France, the gigue appearing later than the

others. However, it was never totally fixed in

form

symphonic poem

or tone poem, a piece of orchestral music, inone movement, in which some extra-musical

programme provides a narrative or illustrative

element. This programme could come from a

poem, a novel, a painting or some other source. Music based on extra-musical sources

is often known as program music, while music

which has no other associations is known asabsolute music. A series of tone poems may be

combined in a suite, in the romantic rather

than the baroque sense

symphony

an extended composition usually for

orchestra and usually comprising several

movements each having its own particular

structure or form:

first

movement

quick, in a binary form or later

sonata form

second

movementslow

third

movement

minuet and trio (that later developed into the scherzo

and trio), in ternary form

fourth

movement

quick, sometimes also in

sonata form or a sonata-rondo

ternary form

ternary form is a way of organising a piece of

music. It is usually found in classical music.Ternary form is a three part structure. The first

and third parts are identical, or very nearly

identical, while the second part is sharplycontrasting. For this reason, ternary form is

often represented as ABA. The contrasting

second section is often known as a trio

through-composed

or durchkomponiert , music which is relatively

continuous, non-sectional, and/or non-repetitive. A song is said to be through-

composed if it has different music for each

stanza of the lyrics, as opposed to 'strophicform', in which each stanza is set to the same

music

trecento-madrigal an Italian musical form of the fourteenth



century (c.1300 – 1370). It was a compositionfor two (and rarely three) voices, typically on a

pastoral subject. In its earliest development it

was simple construction: Francesco da

Barberino in 1300 called it a "raw and chaoticsingalong". In its later stages of development

the uppermost voice was often highly

elaborate, with the lower voice, the tenor,

much less so. The form at this time was probably a development of connoisseurs, and

sung by small groups of cognoscenti; there isno evidence of its widespread popularity,

unlike the later kind of madrigal. By the end of

the fourteenth century it had fallen out of

favor, with other forms (for example theballata, the virelai, the rondeau) taking

precedence, some of which were even more

highly refined and ornamented. The centre of

musical activity apparently moved at this time

from northern Italy to France, particularlyAvignon. The text of the madrigal is divided

into three sections: two strophes called terzetti set to the same music and a concluding section

called the ritornello usually in a different

meter

trio

a term used to refer to the middle, contrastingsection of a piece in ternary form. This usage

gives rise to the 'minuet and trio' (or, later, the

'scherzo and trio') which appears, often as the

third movement, in a symphony, sonata or

similar work

variation formvariational form

or 'theme and variation', is a musical form of

several types. For example, a cantus firmus or

'constant bass' which is repeated may bemodified or accompanied in a different manner

in successive parts. Passacaglias and

chaconnes are forms where a basso ostinato or 'constant bass' is heard through the entire

piece. A further type of variation incorporates

a 'fixed' harmonic structure, often derived from

an ancient source, for example, folia or romanesca. Fantasia variations have repeated

elements but incorporate additional material

freely

variation-forms fall into a number of

historical categories and can be characterisedas being structured, in which case sections



and phrases in the theme are preserved in the

variations, or free, in which case basicrelationships of sections and phrases in the

theme are disregarded:

Renaissance

and Baroque

structured

'constant-melody'

variation based on

a popular song,

dance, or someother pre-existing

tune

Renaissanceand Baroque

structured

cantus firmus variations based on

pre-existing

plainchant and

chorales

Baroque structured

the basso ostinato variation, as, for

example, 'ground

bass', chaconne or passacaglia

Baroque structured

the 'fixed harmony'

variation, as, for

example, that onthe folia or

romanesca

eighteenth

andnineteenth

centuries

structured

the 'ornamental

melodic outline'variation, using

borrowed themesincluding dance

pieces, popular songs and operatic

excerpts

nineteenth

century structured

the 'character' or

'characteristic'variation, where

composers used

instrumental works

(such as suites andsonatas) and

instrumentally

conceived themesfrom members of

their own circle

nineteenth structured the basso ostinato



century variation

late

nineteenth

and early

twentiethcenturies

free

the free 'fantasia'

variation, whichmight used

borrowed themes,

including folk

songs

twentiethcentury

structured

the 'serial'variation, where

the 'tone-row'

provides thethematic material

verse-chorus form

a musical form common in popular music and predominant in rock since the 1960s. In

contrast to AABA form, which is focused on

the verse (contrasted and prepared by the

bridge), in verse-chorus form the chorus is

highlighted contrasting melodically,rhythmically and harmonically with greater

dynamics and added instrumentation

waltz

a simple triple time dance derived from the

old German ländler ; the dance generally hasan introduction, a number of different

melodies, before finishing with a coda.

Harmonically, the dance has one strong

chord on the first beat, with two weaker chords on the second and third beat, this

pattern repeated from bar to bar. There are a

number of variations in the form:

Viennesewaltz

features a slight anticipation of the second beat (called the

Atempause) which gives a

characteristic lilt to its performance

French

waltz

places the emphasis on the first

beat of the bar (or measure)

'English' or

'Boston'waltz

places even emphasis on all

three beats of the bar (or measure)

CHORDS

Seventh Chords ::




Key words: structural

functional chord naming

seventh chords

1 Chords: Structure vs. Function

In the previous lesson we introduced the nomenclature used to identify different chords. We

met terms such as major, minor, augmented, diminished, dominant, dominant seventh,and so forth. These names are part of a system that defines the quality of chords by howvarious intervals of a third are built one upon another.

There is one aspect of chord naming that causes many people considerable problems. Musictheory sometimes names chords according to how they are constructed - one might call this

the structural approach. However, it can also name chords according to the role they play in

a particular harmonic progression - one might call that the functional approach. A student of

music theory should be familiar with both approaches so that you can appreciate the benefitsof understanding what chords are as well as what they do.

This point is particularly important because different publishers work within differentnaming traditions and can use different naming styles: East Coast, West Coast, Nashville

and so on.

In this lesson we are going to introduce more 'exotic' chords, show how they may be notated

and how they might be used.

2 Seventh Chords

We discussed earlier the chord numbering of each degree of the C major scale harmonised in

sevenths. Let us look at these chords again in greater detail. To hear these chords press the play button in the bar below.

C major scale harmonised in sevenths



The first and fourth are major seventh chords (also called 'Delta chords' or Δ chords'), the

second, third and sixth are minor seventh chords, the fifth is a dominant seventh chord while the last, the seventh, is called a minor seventh flat five chord.

The harmonised natural minor scale in sevenths is shown below. To hear these chords pressthe play button in the bar below.

C natural minor scale harmonised in sevenths

The four chord types we met with the harmonisation of the major scale in sevenths occur again but in a different order.

We summarise below the seventh chords that arise from harmonising major, natural,melodic and harmonic minor scales.

chord name triad seventh abbreviation other comments

dominant seventh major minor Mm7

the most common type of

7th chord having thesimplest name, just the

number 7 added to theroot letter.

For example: C7, F7, E7 all indicate dominant 7th

chords.

major seventh

'major major' chordmajor major MM7

named with the

abbreviation Ma7 or Δ



Delta chord or Δ chord For example: CMa7, C ,

F#Ma7 indicate major

7th chords.

The abbreviation M7

may also be used. For example: CM7

minor seventh minor minor mm7

named with the addition

of mi7 or -7 to the letter name.For example: Cmi7,

Gmi7, Dmi7 all indicate

minor 7th chords.

C-7, D-7, A-7 may also

be used.

diminished seventh

(also called 'fully

diminished seventh')

diminished diminished dd7

named with the small

raised circle and a 7.

For example: C°7, B°7,and D°7 all indicate a

fully diminished 7th

chord.

half diminished seventh(also called 'minor seventh

flat five' or 'Tristan chord')

diminished minor dm7

the name relates them tothe minor 7th, but with a

lowered or flattened 5th.

For example: Cmi7(b5),

Ami7(b5) indicate half

diminished chords.

Note: Sometimes half

diminished is indicted by

a small circle with aslash through it (

ø). This

symbol is more common

in Roman numeralanalysis than chord

names.

augmented triad, major

seventh(also called 'augmented

major seventh')

augmented major aM7

augmented triad, minor seventh(also called 'augmented

seventh' or 'augmented

minor 7th')

augmented major am7

minor triad, major seventhminor Delta chord or -Δ

minor major mM7'Delta' notation is oftenused for chords like this.



chord(also called 'minor major

seventh')

C- is a seventh chordwith a minor third, in this

case the notes C, E flat,

G, B

We also summarise the degree of the scale where each type of seventh chord occurs.

major scale

naturalminor scale

harmonicminor scale

melodicminor scale

dominant 7th. V VII V IV, V

major 7th.Delta chord

I, IV III, VI VI

minor 7th. II, III,

VII, IV, V IV II

diminished 7th. VII

half diminished

7th.minor 7th flat 5

VII II II VI, VII

augmented major

7th

augmented triad,major seventh

III III

minor triad, major

seventh

minor Delta chord

I I

2 Dominant Seventh Chord

One area of confusion when naming or identifying seventh chords is the use of the term

dominant seventh chord.

If you look at the table above summarising the degree of the scale where each type of

seventh chord occurs, you will see that the dominant seventh need not lie only on the Vth

degree of the scale, the degree we call the dominant. Indeed, in the natural minor scale, thedominant seventh chord lies on the VIIth degree not on the Vth degree.

The point to remember is that the dominant seventh chord is any chord formed by adding aminor seventh to a major triad. Remember too that the chord's note name is determined by

its root note. So the chord G B D F is written G7 because the root note is G. G B D is a

major triad and F is the minor seventh above G. This chord, therefore, is a dominant seventh

chord.

In the key of C major, the notes G B D F form a seventh chord on the Vth degree, i.e. adominant seventh on the dominant of the scale. This is also true for the C minor natural and



C minor melodic scales. However, the same notes, G B D F, are a G7 chord and a dominant

seventh on the fourth (IV) degree of the D melodic minor scale.

For completeness, we note finally that the notes G B D F are also a G7 chord and a dominant

seventh on the seventh (VII) degree of the A natural minor scale.

3 Naming Seventh Chords

One useful convention for naming any seventh chord is:

root pitch letter, then chord tokens representing triad quality and seventh quality

For example, an Ab major minor 7 chord: the first term (Ab) tells us the root of the chord;the second term (major) identifies the quality of the triad that forms the lower three notes of

the seventh chord; and, the third term (minor) identifies the quality of the interval of the

seventh formed between the root and the seventh.

long name

examples

short or abbreviated

name(s)

chord notes (root to

seventh) F major major 7 FM7, FMaj7, F Major 7 F A C E

F major minor 7F7, also called 'dominant

7'F A C Eb

F minor major 7 FmM7 F Ab C E

F minor minor 7 Fm7, Fmin7, F minor 7 F Ab C Eb

F diminished major

7FdM7 F Ab Cb E

F diminished minor

7 Fø7, Fm7b5 F Ab Cb Eb

F augmented major

7F+M7, FM7#5 F A C# E

F augmented minor

7F+7, F7#5 F A C# Eb

F diminished 7 F°7, Fdim7 F Ab Cb Ebb

Inverted Chords ::

Key words: inverted chords

voicing

1 Inverted Chords

While it is easier to number chords assuming that they are in root position and that the notes




above the root complete a close triad or chord, in practice, musicians arrange their chords in

a wide variety of ways and we must consider how these might be described. Even if the

chord is in root position, whether the third or the fifth lie lower and which notes are repeated

are both important to the chord's sound. The vertical order of the notes in a chord is called its'voicing'.

We looked at this point earlier but now we want to consider how inverted chords are notatedin popular music. We give some examples below which you can hear using the play bar

below the score.

Inverted Chords

Note that in each line the chord is the same but progresses through a series of inversions.

On the first line the chord is C major, in root, first and second inversion.

On the second line the chord is a major seventh chord on C in root, first, second and thirdinversion.

It is actually not good practice to place 'ma' after a major chord. A C major chord should be

written C with the ma understood; a C minor chord would be written Cmi or Cmin. This

allows you to add further major intervals to a major chord as, for example, Cma7 or Cmaj7,

which means a C major chord with a major 7th - the 'ma' used as a qualifier for the '7' and notfor the 'C' where it is understood. Remember too that C7 is a dominant 7th chord on C.

The Roman notation we used for inverted triads may also be used to denote invertedchords. Thus, a small a after the chord name denotes a chord in root position (although this is

usually omitted), a small b indicates that the chord is in first position, a small c that the chord

is a second inversion, and so on.

http://www.dolmetsch.com/musictheory16.htm#triads






Slash Chords ::

Key words: slash chords

slash notation

Roman notation

1 Slash Chords

Chord inversions can be notated also using slash notation.

From the example above you will see that inverted chords can be shown using the notation

chord type, (named or numbered), then a slash /, then the name (or number) of the bassnote, i.e. the note at the bottom of the played chord. This is called slash notation.

For example:

C/E indicates a C major triad with E in the bass, a first inversion triad - in Roman notation,

b indicates first inversion.

Dm/A indicates a D minor triad with A in the bass, a second inversion triad - in Roman

notation, c indicates second inversion.E7/D indicates E dominant 7th chord with D in the bass, a third inversion seventh chord - inRoman notation, d indicates third inversion seventh chord.

Sometimes you might see numerals used to indicate inversion, D6 for example. This usage is borrowed from Roman numeral analysis symbols. In chord names, numbers are usually used

to indicate "added tone" chords; i.e. D6 might mean D major triad with the added pitch B.

slash chords

notation: first: named or numbered chord; second: aslash /; third: numbered or named bass note

for example: Cmaj7/E = C major 7th with an E in the bass, in other words first inversion C major 7th chord

The whole subject of chord notation is covered more fully in lesson 30

References:

Dansm's Guitar Chord Theory - Slash Chords

Slash Chords for the Guitar

Exploring Slash Chords for Pianists

Interesting Chords for Pianists

Extended Chords (9th, 11th, 13th) ::

Key words: extended chord

ninth chord

http://www.dolmetsch.com/musictheory30.htm#chords



http://www.people.fas.harvard.edu/~desmith/guitar/chords/slash.htm


http://www.personal.psu.edu/users/f/p/fpm108/glw/lessons/lesson23a.htm


http://www.playpianotoday.com/report/070600advanced1.html


http://members.aol.com/chordmaps/part4.htm













eleventh chord thirteenth chord

1 Extended Chords (9th, 11th, 13th)

We discussed extended intervals, or extensions, in an earlier lesson. How might we notate

the addition of extensions to a chord?

The first point to make is that extensions of the tenth and twelve are just thirds and fifths plus

an octave. The extensions of real interest are the ninth, eleventh and thirteenth. The chordsare named for the extension; so, ninth chords, eleventh chords and thirteenth chords. The

extensions are added to seventh chords, the quality and function of which is preserved. Thus,

a dominant chord with an added ninth remains a dominant chord.

For those who find the naming of extended chords rather baffling, remember that it is

assumed that ninths are added to seventh chords to produce ninth chords, that eleventh and

ninths are both added to seventh chords to produce eleventh chords and that thirteenths,elevenths and ninths are all added to seventh chords to give thirteenth chords. So if one calls

a chord an eleventh it is assumed that the ninth and eleventh are present and that there is a

seventh chord present too.

The quality of the chord is determined by the seventh and the greatest extension names the

chord. Thus, a major thirteenth chord will be a major seventh chord plus a ninth, an eleventhand a thirteenth, while a dominant ninth is a dominant seventh chord plus a ninth. However,

as you will see mentioned below, thirteenth chords may have an unvoiced eleventh in order

to relieve the otherwise dense harmonic texture.

There are a few practical rules about building extended chords. We list these below.

ninth chords major ninth is added to all possible seventh chords.

augmented ninthchords

Chopin used the addition of an augmented ninth to adominant seventh in his piano music.

We illustrate the four ninth chords on C all in root position; in order they are

major ninth (9)

minor ninth (9) dominant ninth (9) and

minor ninth flat five (9).

Use the play bar below to listen to them.



Ninth Chords

eleventh chords

add sharpened eleventh to major ninth and dominant

ninth chords: sharp 11

eleventh chords

add perfect eleventh to minor ninth and minor ninth

flat five chords: natural 11

We illustrate the four eleventh chords on C all in root position; in order they are

major eleventh ( 11)

minor eleventh (11) dominant eleventh ( 11) and

minor eleventh flat five (11).

Use the play bar below to listen to them.

Eleventh Chords



eleventh chords if the third is missing then adding a perfect eleventh produces a 'suspended fourth' chord: sus4 or sus

eleventh chords

do not confuse the dominant 11th chord (which has a#11th) with the dominant 9th sus4 chord (which has a

perfect 4th that can be 'voiced' one octave higher as a

perfect 11th) - see graphic below

thirteenth chords major thirteenth is added to the eleventh chords given

above

thirteenth chords

if, to relieve the texture, the eleventh is missing the

chord remains a 13th;if, however, the eleventh is present but altered, this

must be shown in the name of the chord

Special Chords ::

Key words: special chords

power chord

suspended augmented

diminished add 2

six/nine

polychord

1 Special Chords

We have collected below a number of other chords that feature in modern popular music.

power chords where one wants neutrality as to whether a chord is major or minor, you can leave out the third. A chord made up

only of the key-note and its fifth (maybe plus octaves up

or down) is called a power chord. It is written as the(letter name of the chord) together with the number 5:

e.g. G5.





sus2 chords if the third in a chord is changed to a second the chordfeels as though it is waiting for the second to resolve back

to the third. Note that there is no third. This feeling of

suspension gives the chord its name, a suspended second

or sus2 chord.[information corrected by Mark Shelton]

sus4 chords also called a sus chord, where the 4 is understood. If the

third in a chord is changed to a fourth the chord feels asthough it is waiting for the fourth to resolve back to thethird. Note that there is no third. This feeling of

suspension gives the chord its name, a suspended fourth

or sus4 chord.

We have already pointed out in the table above thatsometimes suspended fourth chords are mistakenly called

eleventh chords.

Summary: a sus chord consists only of root, fifth, and the 'sus' note or

notes (2 or 4) - no third or sixth.

Notation: sus2, sus4 or just plain 'sus' if you want to give the player thechoice of whether to employ 2, 4 or both.

You can think of a sus chord as a triad (major or minor) whose 3rd has

been replaced by 2 or 4, or just 'no 3rd'.

Examples: Dsus2 = D E A; Dsus4 = D G A; Dsus4+2 = D E G A

(these are the notes of the chord, not actual voicings).

[information taken from Classical Guitar Forum]

add2 chords

add9 chords

if a second is added to a major or minor triad, or to a

power chord, the chord is called an add2 chord. A figure2 is added to the end of the chord name, with a slash in

the case of a power chord. This chord may also be called

an add9 chord - for example D+9 = D E F# A or Dminor+9 = D E F A

augmented

fifth

&diminished

fifth

chords

the fifth is often raised (augmented) or lowered

(diminished) in major triads and dominant seventh

chords.

sixth chords if a major sixth is added to a major or minor triad the

chord is called a sixth chord. The chord name is followed

by a figure 6.

augmented

sixth chords

the German augmented 6th chord is derived from the

raised subdominant, whereas the Swiss augmented 6th

chord is derived from the raised supertonic chord. Bothchords resolve to the key's dominant chord by way of the

I 6-4 chord (to avoid parallel 5ths). The progression is:

German aug. 6th (or Swiss aug. 6th)-»I 6-4 chord-»V

http://www.delcamp.net/forum/en/viewtopic.php?f=4&t=26979&p=276825






chord.

the English augmented 6th differs from the German

augmented 6th in its 'spelling'. This is why the Englishaugmented 6th is sometimes known as the misspelled

German, Swiss or doubly augmented fourth

the German augmented 6th chord is 'spelled' (1-3-5-#6),

whereas the English augmented 6th chord is 'spelled' (1-3-x4-#6). The two chords are actually enharmonic

because double sharp 4 (x4) and 5 are enharmonically

equivalent

the perfect fifth of the German augmented 6th chord is preferred in a major key when going to the I 6-4 because

the approach to the 3rd of the tonic appears as an

ascending minor second and not an ascending augmented

unison

In the Italian augmented 6th, there is no fifth; in the

German 6th, the fifth is perfect; in the French 6th, fifth is

flattened. Despite these differences the chords arefunctionally identical

Italian

'augmented'

sixth chord

formed on the fourth degree of the scale and generally

used in first inversion. Its root is raised creating an

augmented sixth interval with the bass. Augmented sixth

chords function by resolving the dissonance of theaugmented sixth outward to the octave

French

'augmented'

sixth chord

formed on the second degree of the scale, it is a seventh

chord, generally in its second inversion. Its third is raised

in order to build an augmented sixth interval with the

bass. (see also above)

German

'augmented'

sixth chord

built on the fourth degree of the scale, it is a seventh

chord generally used in its first inversion. Its root is

raised in order to create an augmented sixth interval withthe bass. (see also two above)

six/nine

chords

when both a major sixth and a major ninth are added to a

major or minor triad the chord is called a 6/9 chord. A

six/nine chord is shown as the chord name followed by6/9.

polychords a polychord is one triad placed above another, often used

by keyboard players where each hand plays a differenttriad. The standard notation is to place one chord name

above a horizontal line with the second chord name belowthe line.

Naming Chords ::




Key word: chord naming

1 Naming Chords

legend for chord names in the key of C

C C

D D D

E E F

F

G

G

G

A

A

A

B

B

tonic

or

root

flattenedsupertonic

supertonicminor

3major

34

55 + 6 V7

major 7

octave 9 major 9 11 11 13

chord as written

root name plus chord tokens

chord as named

root name plus long

description

chord notes

in ascending

order

two note chord (or dyad)

C5, C(no3), C(omit3) C power chord C G

three note chord (or triad)

Cm 5, Cmi 5, Cmin 5, Co,

C dim

C minor flat 5 or C

diminishedC E G

Cm, Cmi, Cmin C minor triad C E G

C 5 C major flat 5 triad C E G

C C or C major triad C E G

C+ C augmented triad C E G

Csus2

C suspended 2ndchord where the

third of the major

triad is lowered by a

tone (step). Becausethe third is absent,

the chord is neither major nor minor.

C D G

Csus4, Csus

C suspended 4thchord where the

third of the major triad is raised by a

C F G



semi-tone (half-step). Because the

third is absent, the

chord is neither

major nor minor.

four note chord

Cmi2, Cmin2, Cm(add2),Cmi(add2), Cmin(add2)

C minor add 2 C D E G

Cmi4, Cmin4, Cm(add4),

Cmin(add4) C minor add 4 C E F G

C2, C(add2) C major add 2 C D E G

C4, C(add4) C major add 4 C E F G

Cdim, Co, C

o7

C diminishedseventh

C E G B

Cm7 5, Cmi7 5, Cmin7 5,

Cø

C half diminished

seventh C E G B

Cm6, Cmi6, Cmin6 C minor sixth C E G A

Cm7, Cmi7, Cmin7 C minor seventh C E G B

C6 C sixth C E G A

C7, V7 C seventh or

dominant seventhC E G B

Cmaj7, CΔ C major 7th C E G B

C-maj7, C-Δ C minor major 7th C E G B

C7+, C+7 C augmented

(minor) 7thC E G B

Cmaj7+, C+maj7, C+Δ

C augmented major 7th

C E G B

five note chord

Cm6/9, Cmi6/9, Cmin6/9,

Cm69, Cm6(add9), Cm9/6 C minor six ninth C E G A D

Cm9, Cmi9, Cmin9 C minor ninth C E G B D

C7 9 C seven flat ninth C E G B D

C9 C ninth C E G B D

C9 5 C ninth flat fifth C E G B D



C7 9 C seven sharp ninth C E G B D

Cmaj9 C major ninth C E G B D

C6/7, C67, C6(add7), C7/6 C six seventh C E G A B

C6/9, C69, C6(add9), C9/6 C six ninth C E G A D

C7 9+, C+7 9 C seven flat nine

augmented C E G B D

C9+, C+9 C ninth augmented C E G B D

C7 9+, C+7 9 C seven sharp ninth

augmentedC E G B D

C9sus4, C9sus C ninth suspended

4thC F G B D

six note chord

Cm11, Cmi11, Cmin11 C minor eleventh C E G B D F

C7 9 9 C seven flat ninth

sharp ninth

C E G B D D

C7 9 11 C seven flat ninthsharp eleventh

C E G B D F

C9 11 C ninth sharp

eleventhC E G B D F

Cmaj9 11 C major ninth sharp

eleventhC E G B D F

C7 9 9+, C+7 9 9 C seven flat ninthsharp ninth

augmented

C E G B DD

C7 9 11+, C+7 9 11

C seven flat ninth

sharp eleventhaugmented

C E G B D

F

seven note chord

Cm13, Cmi13, Cmin13 C minor thirteenthC E G B D F

A

C13 11 9 C thirteenth sharpeleventh flat nine or C dominant

thirteenth

C E G B D FA

C13 11, C13

C thirteenth sharp

eleventh or Cthirteenth or C

C E G B D F

A



dominant thirteenth

Cmaj13, Cma13 11

C major thirteenthsharp eleventh or C

major thirteenth

C E G B D F A

C13sus4, C13sus C thirteenth

suspended fourthC F G B D F A

Added or missing notes can also by identified by writing (add, then the note, then ), writing

(no, then the note, then ) or writing (omit, then the note, then ).

The bracket convention is discussed further in lesson 30 where we also introduce a number

of other special chords.

Chord notation is not well standardised and you will need to recognise all notational forms,

even those that we would not necessarily favour ourselves.





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