Musical Chords

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.

f-f transition: the transition of an electron from an f orbital which is lower in energy to an f orbital which is higher in energy is a f-f transition.

i think i can help you :)

with capo in the fist space, the chords could be

A

Sleeping in sunday morning

D

Bodies interwinted

A

playing fake, we're awake

D

but we don't wanna rise

Bm E

I saved a place on my chest

A

for you to rest your head

Bm E

On me

Bm E

A part of me is a mess

A

I must confess

Bm D-E

It's time to come clean

Chorus

A Bm D E

I am addicted to your touch

A Bm E

No other woman's made me want it this much

Bm E

I cannot resist the warmth of your hips

A Bm D a single serving is never enough

E A

'cause I'm addicted to your touch

Saludos desde Chile :) ______________

Catalina

or intro

-------------------------------------------------7-------7-------

--2---------------3-----5----5-----------------------------7-----

-----2-----2--------------------7------------7---------------5---

--------2-----2--------------------7------7----------7---------5-

--0---------------2----4----5----------5----------5--------------

-----------------------------------------------------------------

-------------------------------------------------7------7---------

--2---------------3-----5----5---------------------7------7-------

-----2-----2--------------------7------------7-------5------5-----

--------2-----2--------------------7------7------------5------5---

--0---------------2----4----5----------5--------------------------

------------------------------------------------------------------

Sleeping in, Sunday Morning...

-------------------------------------------------7-------7-------

--2---------------3-----5----5-----------------------------7-----

-----2-----2--------------------7------------7---------------5---

--------2-----2--------------------7------7----------7---------5-

--0---------------2----4----5----------5----------5--------------

-----------------------------------------------------------------

playing fake, we're awake...

-------------------------------------------------7------7---------

--2---------------3-----5----5---------------------7------7-------

-----2-----2--------------------7------------7-------5------5-----

--------2-----2--------------------7------7------------5------5---

--0---------------2----4----5----------5--------------------------

------------------------------------------------------------------

I saved a place in my chest...

-----------------------------------------------------------------

--5-------------9--10-------10-----------3-----------------------

-----6----6--------------9-----9------------4---4----------------

-------6----6---------11--------11------------4---4--------------

--4-------------9------------------9-----2-----------------------

-----------------------------------------------------------------

----------------------------------------------------------------

---0------3-------2---------------------------------------------

---1------1-------2---------------------------------------------

---2------2-------2------------------------------------------------

---2-------------------------------------------------------------

----------0-------2-------------------------------------------------

These lyrics are from

"Collide" by Howie Day from the album 'Stop All The World Now"

the root of a f chord could be f i hope!

when you're smiling

Probably because there is an interval of an augmented second between the 6th and 7th scale degrees.

sdsf

In C its

C C C C

F F C C

G F C C

u can transpose 2 any key

no

Because the subdominant seventh chord in any key introduces the flattened mediant in the original key, this new flat note becomes the subdominant note in the new key. One logical progression is:

C F7 Bâ™­

It stands to reason that this remains consistent through each of the twelve major keys - though the treatment of major chords in minor keys is different.

No it is not the same.

G major has a tonic (root) a third and a fifth

The G major 7 has an added seventh

In the case of G maj 7 the the notes would be G B E and the added sventh is in this case an F#

7 chords are mostly used in jazz and sometimes in pop or rock music in order to alter the harmony of the song.

DFA is an abbreviotion of (DEPARTMENT OF FOREIGN AFFAIRS)

Answer:

Design for All (DfA) is about ensuring that environments, products, services and interfaces work for people of all ages and abilities.

Design for All has recently become a mainstream issue because of ageing of population.

The tonic, the submediant and the dominant (1, 3 and 5).

That's pretty much up to you.

C# b g# f# e e e e e d# d# e e

c# b g# f# e e e e e c# c# b b

repeat

D major(D,F#,A,D) for sub domonant, and E major(E,G#,B,E) for dominant