![]() ![]() See, for instance, the examples given under dominant (seventh) and diminished (seventh). discord: a chord which is restless, requiring to be followed in a particular way if its presence is to be justified by the ear (or the note or interval responsible for producing this effect). ![]() ( f) concord: a chord satisfactory in itself (or an interval that can be so described or a note which forms a part of such an interval or chord). fundamental bass: an imaginary bass of a passage, consisting not of its actual bass notes but of the roots of its chords, i.e. third inversion: in a 4‐note chord that inversion in which the fourth note becomes the bass (e.g., in the chord G–B–D–F the form of it that consists of F–G–B–D or F–B–G–D, etc.). second inversion: that in which the 5th becomes the bass (e.g. first inversion: that in which the 3rd becomes the bass (e.g. inversion of a chord: the removal of the root from the bass to an upper part. ( e) root of a chord: that note from which it originates (e.g., in the common chord C–E–G we have C as the root, to which are added the 3rd and 5th). diminished triad: a triad of which the 5th is diminished. augmented triad: a triad of which the 5th is augmented. ![]() ![]() minor common chord: a common chord of which the 3rd is minor. major common chord: a common chord of which the 3rd is major. common chord: a triad of which the 5th is perfect. ( d) triad: a note with its 3rd and 5th (e.g. ( c) progression: the motion of one note to another note or one chord to another chord. close harmony: harmony in which the notes of the chords lie near together. ( b) open harmony: harmony in which the notes of the chords are more or less widely spread. chromatic harmony: harmony which employs notes extraneous to the major or minor key in force at the moment. The following definitions concern traditional and basic harmonic procedures: ( a) diatonic harmony: harmony which confines itself to the major or minor key in force at the moment. Over a long period the resources of harmony may be said to have widened: new combinations introduced by composers of pioneering spirit have been condemned by unaccustomed ears as ugly, have then gradually come to be accepted as commonplace, and have been succeeded in their turn by other experimental combinations. Counterpoint necessarily implies also harmony, but harmony does not necessarily imply counterpoint. acc.) the contrapuntal element may be unimportant or even non‐existent. (as, for instance, a simple song with pf. The former aspect of the result is the contrapuntal element (see counterpoint) and the latter the harmonic element. The word chord may be defined as any combination of notes simultaneously perf., and even when the main process in the composer's mind is a weaving together of melodic strands he has to keep before him this combinational element, both as regards the notes thus sounded together and the suitability of one combination to follow and precede the adjacent combination.Īt different periods composers have given more attention to one or the other of the two aspects of their work: (a) the weaving together of melodic strands and (b) the chords thus brought into existence from point to point. Composers, in much the greater proportion of their mus., maintain in their minds some melody which ranks as the principal one, and which they intend the listener to recognize as such, whilst other melodies which are combined with it, or chords with which it is acc., rank as subsidiary. combination) of notes, giving what is known as vertical mus., contrasted with horizontal mus. ![]()
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