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List of set classes. Ninth chord. Open chord. Passing chord. Primary triad. Quartal chord. Root (chord) Seventh chord. Synthetic chord.
F–C7–F, F–F ♯ 7–F, B–F ♯ 7–B, then B–C7–B. In music theory, chord substitution is the technique of using a chord in place of another in a progression of chords, or a chord progression. Much of the European classical repertoire and the vast majority of blues, jazz and rock music songs are based on chord progressions.
"Easy to Be Hard" is a song from the 1967 rock musical Hair. It was written by Galt MacDermot , James Rado , and Gerome Ragni , who put the musical together in the mid-1960s. The original recording of the musical featuring the song was released in May 1968 with the song being sung by Lynn Kellogg , who performed the role of Sheila on stage in ...
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the root note (e.g. C ♯), the chord quality (e.g. minor or lowercase m, or the symbols o or + for diminished and augmented chords, respectively; chord quality is usually omitted for major chords), whether the chord is a triad, seventh chord, or an extended chord (e.g. Δ 7), any altered notes (e.g. sharp five, or ♯ 5), any added tones (e.g ...
In a musical composition, a chord progression or harmonic progression (informally chord changes, used as a plural) is a succession of chords. Chord progressions are the foundation of harmony in Western musical tradition from the common practice era of Classical music to the 21st century. Chord progressions are the foundation of popular music ...
The tritone substitution is a common chord substitution found in both jazz and classical music. Where jazz is concerned, it was the precursor to more complex substitution patterns like Coltrane changes. Tritone substitutions are sometimes used in improvisation —often to create tension during a solo.
—Tony Asher Asher maintained that he served mainly as a source of second opinion for Wilson as he worked out possible melodies and chord progressions, although the two did trade ideas as the songs evolved. On his role as co-lyricist, he said, "The general tenor of the lyrics was always his... and the actual choice of words was usually mine. I was really just his interpreter." Asher later ...