"rather than play the notes of a chord all at once, the pianist plays simple rhythmic figures in which the notes of the chord are played as a broken chord. An arpeggio is a group of notes which are played one after the other, added either going up or going down. Executing an arpeggio requires the player to play the sounds of a chord individually to differentiate the notes. The notes all belong to one chord. The chord may, for example, be a simple chord with the 1st, (major or minor) 3rd, and 5th notes of the scale in it"
"in which single notes of a chord are played in sequence by separate instruments (or multiples of the same instrument) which sustain their individual notes to allow the chord to be heard. It is, in effect, an arpeggio played by several instruments sequentially. This is also known as a ""pyramid"" or ""cascade"". It is common in barbershop music. The technique originated with jazz big bands and is a staple of trad jazz. A good example can be heard in the introduction to ""The Charleston"" by The Temperance Seven. Additionally, ""Bohemian Rhapsody"" by the rock band Queen contains two occurrences of"
"Block chord A block chord is a chord or voicing built directly below the melody either on the strong beats or to create a four-part harmonized melody line in ""locked-hands"" rhythmic unison with the melody, as opposed to broken chords. This latter style, known as Shearing voicing, was popularized by George Shearing, but originated with Phil Moore. Block chord style (also known as chorale style) uses simple chordal harmony in which ""the notes of each chord may be played all at once"" as opposed to being ""played one at a time (broken or arpeggiated chords). For example, a guitarist can"
"an important part of the jazz improvisation vocabulary of horns and keyboards, guitars, and bass. In Western classical music, a chord that is played first with the lowest note and then with successive higher notes joining in is called ""arpeggiato"". Sometimes this effect is reversed, with the highest note coming first. In some modern popular music arpeggiato is called a rolled chord. In early video game music, arpeggios were often the only way to play a chord since sound hardware usually had a very limited number of oscillators, or voices. Instead of tying them all up to play one chord,"
"English word ""chord"" derives from Middle English ""cord"", a shortening of ""accord"" in the original sense of ""agreement"" and later, ""harmonious sound"". A sequence of chords is known as a chord progression or harmonic progression. These are frequently used in Western music. A chord progression ""aims for a definite goal"" of establishing (or contradicting) a tonality founded on a key, root or tonic chord. The study of harmony involves chords and chord progressions, and the principles of connection that govern them. Ottó Károlyi writes that, ""Two or more notes sounded simultaneously are known as a chord,"" though, since instances of"
"Here the composer sequences up in pitch after cadencing on a V. Sequence (music) In music, a sequence is the restatement of a motif or longer melodic (or harmonic) passage at a higher or lower pitch in the same voice. It is one of the most common and simple methods of elaborating a melody in eighteenth and nineteenth century classical music (Classical period and Romantic music). Characteristics of sequences: It is possible for melody or harmony to form a sequence without the other participating. There are many types of sequences, each with a unique pattern. Listed below are some examples."
"litany is usually notable. Tetrachord In music theory, a tetrachord (, ) is a series of four notes separated by three smaller intervals. In traditional music theory, a tetrachord always spanned the interval of a perfect fourth, a 4:3 frequency proportion—but in modern use it means any four-note segment of a scale or tone row, not necessarily related to a particular tuning system. The name comes from ""tetra"" (from Greek—""four of something"") and ""chord"" (from Greek ""chordon""—""string"" or ""note""). In ancient Greek music theory, ""tetrachord"" signified a segment of the greater and lesser perfect systems bounded by unmovable notes ();"
"this ""bell effect"" in the middle section. Arpeggio A broken chord is a chord broken into a sequence of notes. A broken chord may repeat some of the notes from the chord and span one or more octaves. An arpeggio () is a type of broken chord, in which the notes that compose a chord are played or sung in a rising or descending order. An arpeggio may also span more than one octave. The word ""arpeggio"" comes from the Italian word ""arpeggiare"", which means ""to play on a harp"". Even though the notes of an arpeggio are not played"
"to by their compound names, for example ""two octaves plus a fifth"" rather than ""a 19th"". Chords are sets of three or more notes. They are typically defined as the combination of intervals starting from a common note called the root of the chord. For instance a major triad is a chord containing three notes defined by the root and two intervals (major third and perfect fifth). Sometimes even a single interval (dyad) is considered a chord. Chords are classified based on the quality and number of the intervals that define them. The main chord qualities are: major, minor, augmented,"
"or piece (e.g., C Major, d minor, G7, or Nashville numbers or Roman numerals, such as I, ii, V7, etc.) or by ""playing by ear"". Chord-playing musicians (e.g., those playing guitar, piano, Hammond organ, etc.) can improvise chords, ""fill-in"" melodic lines and solos from the chord chart. It is rare for chords to be fully written out in music notation in pop and traditional music. Some guitarists, bassists and other stringed instrumentalists read accompaniment parts using tabulature (or ""tab""), a notation system which shows the musician where on the instrument to play the notes. Drummers can play accompaniment by following"
"Chord (music) A chord, in music, is any harmonic set of pitches consisting of two or more (usually three or more) notes (also called ""pitches"") that are heard as if sounding simultaneously. (For many practical and theoretical purposes, arpeggios and broken chords, or sequences of chord tones, may also be considered as chords.) Chords and sequences of chords are frequently used in modern West African and Oceanic music, Western classical music, and Western popular music; yet, they are absent from the music of many other parts of the world. In tonal Western classical music (music with a tonic key or"
"section, typically the first violins, is to be divided into two groups for rendering passages that might, for example, include full chords. Thus, in the ""divisi"" first violins the ""outside"" players (nearer the audience) might play the top note of the chord, while the ""inside"" seated players play the middle note, and the second violins play the bottom note. At the point where the first violins no longer play ""divisi"", the score may indicate this with ""unison"" (abbrev. ""unis.""). When several people sing together, as in a chorus, the simplest way for them to sing is to sing in ""one"
"combinations of constituents to create larger form melodies. A chord, in music, is any harmonic set of three or more notes that is heard as if sounding simultaneously. These need not actually be played together: arpeggios and broken chords may, for many practical and theoretical purposes, constitute chords. Chords and sequences of chords are frequently used in modern Western, West African, and Oceanian music, whereas they are absent from the music of many other parts of the world. The most frequently encountered chords are triads, so called because they consist of three distinct notes: further notes may be added to"
"""Serialism"". In this system, certain notes are chosen then written in an order e.g. E-F-C-B-G-F. (Usually there is no repetition, but this is not always observed.) These notes are then used as the basis for a composition by playing them in the original order, in reverse order (Retrograde), in ""upside down"" order (Inversion i.e. upward intervals now go down, and vice versa), or both (Retrograde Inversion or ""Reversion"" [Stravinsky's term]), and then transposed up or down. Chords can also be formed out of the ""Series"" and these can be treated to similar techniques. Schoenberg used these methods in what has"
"a style of unaccompanied vocal music characterized by consonant four-part chords for every melody note in a predominantly homophonic texture. Each of the four parts has its own role: the lead sings the melody, with the tenor harmonizing above the melody, the bass singing the lowest harmonizing notes, and the baritone completing the chord. The melody is not sung by the tenor or bass, except for an infrequent note or two to avoid awkward voice leading, in tags or codas, or when some appropriate embellishing effect can be created. Occasional brief passages may be sung by fewer than four voice"
"Tetrad (music) A tetrad is a set of four notes in music theory. When these four notes form a tertian chord they are more specifically called a ""seventh chord"", after the diatonic interval from the root of the chord to its fourth note (in root position close voicing). Four-note chords are often formed of intervals other than thirds in 20th- and 21st-century music, however, where they are more generally referred to as ""tetrads"" (see, for example, , , and ). Allen Forte in his ""The Structure of Atonal Music"" never uses the term ""tetrad"", but occasionally employs the word ""tetrachord"""
"Tetrachord In music theory, a tetrachord (, ) is a series of four notes separated by three smaller intervals. In traditional music theory, a tetrachord always spanned the interval of a perfect fourth, a 4:3 frequency proportion—but in modern use it means any four-note segment of a scale or tone row, not necessarily related to a particular tuning system. The name comes from ""tetra"" (from Greek—""four of something"") and ""chord"" (from Greek ""chordon""—""string"" or ""note""). In ancient Greek music theory, ""tetrachord"" signified a segment of the greater and lesser perfect systems bounded by unmovable notes (); the notes between these"
"Simultaneity (music) In music, a simultaneity is more than one complete musical texture occurring at the same time, rather than in succession. This first appeared in the music of Charles Ives, and is common in the music of Conlon Nancarrow and others. In music theory, a pitch simultaneity is more than one pitch or pitch class all of which occur at the same time, or simultaneously: ""A set of notes sounded together."" ""Simultaneity"" is a more specific and more general term than chord: many but not all chords or harmonies are simultaneities, though not all but some simultaneities are chords."
"of a single note played on a piano than to try to discern the pitch of a crash cymbal that is struck. A melody (also called a ""tune"") is a series of pitches (notes) sounding in succession (one after the other), often in a rising and falling pattern. The notes of a melody are typically created using pitch systems such as scales or modes. Melodies also often contain notes from the chords used in the song. The melodies in simple folk songs and traditional songs may use only the notes of a single scale, the scale associated with the tonic"
"strum the chord (this would be a ""block"" chord) or use a picking style to play ""broken"" chords"". The notes of arpeggios are often grouped into block chords for ease of analysis. Block chords and doubled melody are easily used in a melody line that has a swing feel and strengthen the melody so as to separate that melody from the rhythmic background. Block chording was often used by jazz bands and orchestras such as those led by Count Basie and Duke Ellington. Voicings or methods include: If the melody note is part of the chord, the harmony notes are"
"a stepwise melodic progress to a harmonically stable note in any particular part was often momentarily delayed or ""suspended"" by extending the duration of the previous note. The resulting unexpected dissonance could then be all the more satisfyingly resolved by the eventual appearance of the displaced note. In traditional music theory the inclusion of the ""third"" in either chord would negate the suspension, so such chords would be called ""added ninth"" and ""added eleventh"" chords instead. In modern layman usage the term is restricted to the displacement of the ""third"" only and the dissonant ""second"" or ""fourth"" no longer needs"
"sections by their instruments. Within these sections the individual musicians are arranged in terms of their technical prowess. For example, a first chair violinist will lead the violins playing melody while another row might play the harmony. Some instruments that commonly take lead are: In addition, monosynth synthesizer patches are often called leads, for their frequent use on melody parts in dance and electronic music. These patches are often legato, meaning filters and modulation are continued across a series of held notes, and portamento can be used to create a pitch bend transition up or down to other notes. Lead"
"narrower than the just perfect fifth, but the major third is noticeably different at about 14 cents wider. Major chord In music theory, a major chord () is a chord that has a root note, a major third above this root, and a perfect fifth above this root note. When a chord has these three notes alone, it is called a major triad. In Western classical music from 1600 to 1820 and in Western pop, folk and rock music, a major chord is usually played as a triad. The major triad (or major chord), along with the minor triad (or"
"a ""chord""."" According to Monath (1984, p. 37); ""A chord is a combination of three or more tones sounded simultaneously,"" and the distances between the tones are called intervals. However sonorities of two pitches, or even single-note melodies, are commonly heard as ""implying"" chords. A simple example of two notes being interpreted as a chord is when the root and third are played, but the fifth is omitted. In the key of C major, if the music comes to rest on the two notes G and B, most listeners will hear this as a G major chord. Since a chord"
"pattern is usually played in unison by two or more guitarists in the rhythm section. Jazz guitar soloists are not limited to playing single notes by their instrument. This allows them to create ""chord solos"" by adding the song's melody on top of the chord voicings. Wes Montgomery was noted for playing successive choruses in single notes, octaves and finally a chord solo. This technique differs from chord-melody soloing in that it is not intended to be used unaccompanied Funk utilized the same extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, or dominant"
"""home key""), the most frequently encountered chords are triads, so called because they consist of three distinct notes: the root note, and Intervals of a third and a fifth above the root note. Other chords with more than three notes include added tone chords, extended chords and tone clusters, which are used in contemporary classical music, jazz and other genres. An ordered series of chords is called a chord progression. One example of a widely used chord progression in Western traditional music and blues is the 12 bar blues progression. Although any chord may in principle be followed by any"
"sounded by lifting one finger or operating one key. The aim is to play each note as full length as possible, but still separate from the next – 'The notes should come out like peas'. The chanter is closed, and thus briefly silent, between any two notes, and there is an audible transient 'pop' at the beginning and end of a note. For decoration, it is common to play short grace notes preceding a melody note. Some pipers allow themselves to play these open-fingered rather than staccato, and Billy Pigg was able to get great expressive effects in this way"
"Sequence (music) In music, a sequence is the restatement of a motif or longer melodic (or harmonic) passage at a higher or lower pitch in the same voice. It is one of the most common and simple methods of elaborating a melody in eighteenth and nineteenth century classical music (Classical period and Romantic music). Characteristics of sequences: It is possible for melody or harmony to form a sequence without the other participating. There are many types of sequences, each with a unique pattern. Listed below are some examples. In a melody, a real sequence is a sequence where the subsequent"
"once. ""Double stopping"" is also used to mean playing on three or all four strings at once, although such practices are more properly called ""triple"" or ""quadruple stopping"". Collectively, double, triple and quadruple stopping is called ""multiple stopping"". However, triple or quadruple stopping is more commonly just called a chord. Sounding an open string alongside a fingered note is another way to get a harmony. While sometimes also called a double stop, it is more properly called a drone, as the drone note (the open string) may be sustained for a passage of different notes played on the adjacent string."
"to mean any collection of four pitch classes . In 20th-century music theory, such sets of four pitch classes are usually called ""tetrachords"" (; ). Tetrad (music) A tetrad is a set of four notes in music theory. When these four notes form a tertian chord they are more specifically called a ""seventh chord"", after the diatonic interval from the root of the chord to its fourth note (in root position close voicing). Four-note chords are often formed of intervals other than thirds in 20th- and 21st-century music, however, where they are more generally referred to as ""tetrads"" (see, for"
"Cheironomy Cheironomy (or ""Chironomy"") is a form of music conducting, typically with choral music and choral groups (choirs), where the use of hand gestures directs musical performance. In the modern artform, conductors tend to hoist batons for indicating melodic curves and ornaments. Early music (vocal church music), as far back as the 5th century, required some central direction from a leader in the coordination of singers in their delivery of melodic lines of mostly free rhythm. Traced back to early Egyptian performances through hieroglyphic documentation (etchings in stone depicting a leader employing hand signals to indicate pitch and rhythm details"
"to their wedge-like appearance in score. The origin of the term ""omnibus"" (Latin: ""for all"") to describe such a sequence is unclear, but it is of note that the chord progression encompasses ""all"" of the notes in the chromatic scale. The following example is in C major. The lowest part is a ""lament bass"" that descends from the tonic to the dominant using chromatic passing tones before returning at the end up to the tonic in a perfect cadence. The upper voice moves in the opposite direction from the dominant note up to the tonic. The chord names are given,"
"Cadenza In music, a cadenza (from , meaning cadence; plural, ""cadenze"" ) is, generically, an improvised or written-out ornamental passage played or sung by a soloist or soloists, usually in a ""free"" rhythmic style, and often allowing virtuosic display. During this time the accompaniment will rest, or sustain a note or chord. Thus an improvised cadenza is indicated in written notation by a fermata in all parts. A cadenza usually will occur over the final or penultimate note in a piece, or over the final or penultimate note in an important subsection of a piece. It can also be found"