Musical Chords

while, Mary's song (oh my my my) has chords D, A, G, and E

The key of D major is based off of the D major scale: D, E, F sharp, G, A, B, C sharp, D. Within the scale, the most important chords are D major (D, F sharp, A), E minor (E, G, B), F sharp minor (F sharp, A, C sharp), G major (G, B, D), A (A, C sharp, E), and B minor (B, D, F sharp). If you are feeling really crafty, you can add a seventh to some of the chords to give it a more interesting sound.

If you are writing a song, using these chords will keep it in the key of D. If you are transposing a song, lower or raise the entire song the same number of steps until you are using mostly (if not all) the chords in the key of D.

dont you dudes and dudets have clarinet books but whatever here r the notes

g a g f e f g, d e f, e f g; g a g f e f g, d g e c london bridge is falling down falling down falling down london bridge is falling down my fair lady

give credit to the stranger

The C Major scale is a musical scale beginning and ending on the note C.

In ascending order (going up) the notes are:

C D E F G A B C

The pattern of whole and half steps is:

W W H W W W H

The major scale has a bright sound, which differs from the minor scale which has a dark sound. Most music is based on these two scales.

Major and minor refer to the tonality of the scale or chord. The I-note (tonic?) of the major scale has a major tonality to it. However, so does the lydian (IV) and the mixolydian (V). The dorian (II), phrygian (III), and the aeolian (VI) scales are minor in tonality. The locrian scale (VII) has a diminished sound or feel to it.

I C - Ionian, natural C D E F G A B C major

II D - Dorian, b3 b7 C D Eb F G A Bb C minor

III E - Phrygian, b2 b3 b6 b7 C Db Eb F G Ab Bb C minor

IV F - Lydian, #4 C D E F# G A B C major

V G - Mixolydian, #4 #7 C D E F# G# A B C major

VI A - Aeolian, b3 b6 b7 C D Eb F G Ab Bb C minor

VII B - Locrian, b2 b3 b5 b6 b7 C Db Eb F Gb Ab Bb C diminished

Try playing a typical I-IV-V chord progression (in this example, C - F - G) and play the different scales over it and you'll hear the mood or feel that each scale imparts.

|------3--1--0------------------------------------------------ E

|---------------3--1--0--------------------------------------- A

|------------------------2--0--------------------------------- D

|------------------------------3--2--0------------------------ G

|---------------------------------------3--2--0--------------- B

|------------------------------------------------3--1--0------ e

A chord with the fourth in it. C fourth chord is C F and A, although, it's not really called a fourth, it's called a suspension or suspended chord.

It is a chord, on a guitar it would be played like below

http://z.about.com/d/guitar/1/0/k/9/chord_g7_open.gif

On the Piano and in Sheet music, it looks like this

http://farm3.static.flickr.com/2593/3763824399_1d28fe1970_o.jpg

If you go to music notes.com you can search for clarinet notes for you raise me up. it will only give you the beginning of the song, but the rest is easy to figure out by listening and matching sounds.

Depends on what form of the minor scale you're using, and there are a great variety of options in any case, but here are some basics.

(i) e-minor (e, g, b)

(ii) f#-diminished (f#, a, c) or f#-minor (f#, a, c#). The latter deviates from the scale slightly, but is a common alteration.

(III) G-major (g, b, d)

(iv) a-minor (a, c, e), or sometimes altered to A-major (a, c#, e)

(V) B-major (b, d#, f#) or b-minor (b, d, f#). The latter is the one that technically fits within the natural minor scale, but the former is more commonly used, because it leads easily back to the tonic (i).

(VI) C-major (c, e, g)

(VII) D-major (d, f#, a)

Most commonly used chords are tonic (i, e-minor) and dominant (V, B-major). ii and iv chords lead easily into the dominant, and III is also moderately common because it is the relative major key. If you need more than this, you should pick up a music theory book.

In a melodic minor scale, the 6th and 7th degree of the scale is raised up 1 half step on the way up the scale. On the way back down the scale, the 6th and 7th are back down to the natural form of the minor.

In tab form, E is open, A 2nd fret, D 2nd fret, G 1st fret, all others open.

An open c minor can be played by fretting the first fret of the D string with your index finger, the third fret of the G string with your ring finger, the fourth fret of the B string with your pinky finger and the second fret of the high e string with your middle finger.

I find this to be somewhat uncomfortable, so you can also play it as a barre chord by barring from the C on the third fret of the A string down with your index finger across all 5 strings after omitting the low E, then put your ring finger on fret five of the D string and pinky on fret five of the G string and then your middle finger on the fourth fret of the B string.

A whole note is a note in music that is four beats long.

A half note is a note in music that is two beats long.

A chord is defined as basically two or more notes played at the same time, so any instrument that can only play one note at a time cannot play a chord unless two or more of that same instrument are playing at the same time. Common examples are trumpet, trombone, clarinet, or most any wind instrument.

I dont know. Ask someone else.

e d c d e f g a b c b a g

a b c b a g a b c g f e

e d c d e f g a b c b a g

a b c b a g a b c g f e

e d c d e f g c b a a g

c b a g a b c g f e

e d c d e f g a b c b a g

a b c b a g a b c g f e

e d c d e f g a b c b a g

a b c b a g a b c g f e

e d c d e f g c b a b c d e d

c b a g a b c g f e

The mathematical term for chord is a line segment connecting any two points on the circle. In music, any three (or more) notes sounding together make up a chord. The chords constitute the harmony of the music, and along with rhythm and tempo, they support the melody or other musical textures that are sounding along with them.

. Vers:1: High up on a mountain at a place called Calvary

Stood three old wooden crosses for a savior and two thieves

We all know the reason the two men had to die

But the man in the middle was there for you and I

Chorus: And the man in the middle was not an ordinary man

Cause he could make the blind to see with the one touch of his hand

And the sound of his voice brought Lazarus back to life

And the man in the middle was there for you and I

Verse 2: All the wonders of heaven have to bow at his command

And all the things that lie beneath him were made by his two hands

And somewhere in a nursery a new born baby cries

Because the man in the middle was the giver of life

Chorus: And the man in the middle was not an ordinary man

Cause he could make the blind to see with the one touch of his hand

And the sound of his voice brought Lazarus back to life

And the man in the middle was there for you and

Tag: And the man in the middle was there for you and

E, G-sharp, and B

Blue Lawnchairs:

it would be minor because its lowercase so 1,3b,5

E,F,G#,A#,B,C#,D#,E

1 ,2 ,3 ,4 ,5 ,6 ,7 ,8

so Em/e is E,G,B

E(major) is E,G#,B

The notes to hot ai rand holey fingers are:

GABAGAGAB

GABAGBBAG

GABAGAGAB

GABAGBBAG

GG Rest GG Rest GG Rest GG Rest GABAGAGAB

GG Rest GG Rest GG Rest GG Rest GABAGBBAG

REPEAT X2

Each Chord is made up of at least 3 different notes. At the most basic level a chord progression simply provides the background for the melody. the order in which the chords are utilized usually function to lead the listeners ear to the next chord, musical phrase, or melodic idea. Chords also provide the "Mood" of the music. a chord progression with a minor tonality will make the piece sound "sad" "unstable" or "unresolved". a progression with a major tonality will make the piece sound "happy" "stable" or "resolved". the structure of the chords may also dictate the complexity of the music to the listener and player. some chord progressions/structures are simplistic, and easy to hear and comprehend. for example this is most often heard in mainstream pop music. Some progressions/structures are more complex and not easily understood. In Jazz for example many progressions/chord structures sound strange or even wrong to the inexperienced listener. Depending on the order a piece was written (in this case melody first, than chord progression) the chords normally include the notes that the melody is emphasizing at the moment (but not always). What chords create can be thought of as the musical landscape that a melody functions in.

Because of the tone of the instrument or human instrument

which movie?

The major II chord (whose root is the supertonic) is actually a temporary modulation to the key of the Dominant, and is called a secondary dominant.

Given your chords I'm assuming we are in C Major, which already has the major I, IV and V triads (the chords C, F and G). The two, three and six chords are normally all minor (IIm, IIIm and VIm or in C Major: Dm, Em and Am). In C Major, the minor two triad (IIm in jazz / ii in classical) consists of the notes D, F and A, but here the D major triad has an F# instead of the F natural as it's third.

One of the things that happened to music when harmony became part of it, about five centuries ago, was the ability to change keys. The Baroque and Classical mentality was to present a theme in the home key and then at some point modulate to the dominant and subdominant or to the relative minor or tonic minor and then eventually modulate back to the home key. Over time, the idea of modulating to a different key has been modified to just "borrowing" a chord or two from another key. That's basically what's happening when you use a Major II chord.

The raised F to F# in C Major is actually the proper Leading Tone of the key of G Major (it's "ti" note). If we were in the key of G major, that D triad (the V triad) would be the notes D, F# and A - the dominant chord. Notice also that G is the dominant of C major. So the D major triad in the key of C Major is the dominant of the dominant. We have temporarily modulated to the key of G major and used its dominant chord (the D major triad), which is usually followed by the G chord, making a proper V-I cadence in the key of G Major. The G chord is also the V chord in C Major and becomes the "pivot chord" to get back into the key of C Major. Because the modulation is so temporary, we don't usually perceive that we have gone to another key (even though we sort of did). The II Maj. Triad is frequently used in this manner as a secondary dominant and is notated as the V/V chord (read as "the five of five" chord - meaning the dominant chord of the dominant chord).

That same II Major chord can also be "borrowed" out of a key's relative minor. If we go to the relative minor of C, we end up in A minor, which has a minor V chord in the natural minor - in this case the D minor triad. However, if we use the harmonic version of the scale this gives us a Major V triad (the notes D, F# and A). When a II major triad goes to the V chord it is being used as a secondary dominant. When it goes to a different chord it has been borrowed from another key, but in both cases it is notated as if it was a secondary dominant as in: I - VIm - V/V - V - I.

As far as that goes, any chord in the scale can be approached by it's own secondary dominant: In C Major the A major triad would be the V/VI chord making a progression like: C - F - C - Em - E - Am - G - C possible, where E major is the secondary dominant of the Am (VIm) chord.