Sixty Guitar Chords for All-Fourths Tuning
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ALTERED STATES of PERFORMANCE: SCORDATURA in the CLASSICAL GUITAR REPERTOIRE by COREY JAMES FLOWERS (Under the Direction Of
ALTERED STATES OF PERFORMANCE: SCORDATURA IN THE CLASSICAL GUITAR REPERTOIRE by COREY JAMES FLOWERS (Under the Direction of Michael Heald) ABSTRACT Scordatura is commonplace in the guitar repertoire, though there are relatively few resources available that explain the approach to its use, either from a performer’s or a composer’s perspective. Through examination of specific selections in the classical guitar repertoire, this document offers an introduction to various alternate tunings for the guitar, beginning with tunings used to transcribe lute and vihuela music, and progressing to modern experimentations found in the literature. Each piece on the accompanying recording provides insight into the use of these alternate tunings by highlighting specific musical characteristics that are made possible, or are idiomatic, in each tuning, such as extended ranges, open string relationships, unique chord voicings, and the ease of introducing contrasting tonal centers across a program. The CD provides a basis for aural comparison of the tunings and is a resource for performers interested in this repertoire. It also provides examples for composers and arrangers wishing to approach writing for the guitar using non-standard tunings. As additional resources, a glossary of terminology is provided, concerning tunings found in the document, as well as tunings used outside of the classical repertoire that may be useful for experimentation. An index of scordatura repertoire is provided as well, offering a broad overview of additional repertoire for further -
Naming a Chord Once You Know the Common Names of the Intervals, the Naming of Chords Is a Little Less Daunting
Naming a Chord Once you know the common names of the intervals, the naming of chords is a little less daunting. Still, there are a few conventions and short-hand terms that many musicians use, that may be confusing at times. A few terms are used throughout the maze of chord names, and it is good to know what they refer to: Major / Minor – a “minor” note is one half step below the “major.” When naming intervals, all but the “perfect” intervals (1,4, 5, 8) are either major or minor. Generally if neither word is used, major is assumed, unless the situation is obvious. However, when used in naming extended chords, the word “minor” usually is reserved to indicate that the third of the triad is flatted. The word “major” is reserved to designate the major seventh interval as opposed to the minor or dominant seventh. It is assumed that the third is major, unless the word “minor” is said, right after the letter name of the chord. Similarly, in a seventh chord, the seventh interval is assumed to be a minor seventh (aka “dominant seventh), unless the word “major” comes right before the word “seventh.” Thus a common “C7” would mean a C major triad with a dominant seventh (CEGBb) While a “Cmaj7” (or CM7) would mean a C major triad with the major seventh interval added (CEGB), And a “Cmin7” (or Cm7) would mean a C minor triad with a dominant seventh interval added (CEbGBb) The dissonant “Cm(M7)” – “C minor major seventh” is fairly uncommon outside of modern jazz: it would mean a C minor triad with the major seventh interval added (CEbGB) Suspended – To suspend a note would mean to raise it up a half step. -
MTO 0.7: Alphonce, Dissonance and Schumann's Reckless Counterpoint
Volume 0, Number 7, March 1994 Copyright © 1994 Society for Music Theory Bo H. Alphonce KEYWORDS: Schumann, piano music, counterpoint, dissonance, rhythmic shift ABSTRACT: Work in progress about linearity in early romantic music. The essay discusses non-traditional dissonance treatment in some contrapuntal passages from Schumann’s Kreisleriana, opus 16, and his Grande Sonate F minor, opus 14, in particular some that involve a wedge-shaped linear motion or a rhythmic shift of one line relative to the harmonic progression. [1] The present paper is the first result of a planned project on linearity and other features of person- and period-style in early romantic music.(1) It is limited to Schumann's piano music from the eighteen-thirties and refers to score excerpts drawn exclusively from opus 14 and 16, the Grande Sonate in F minor and the Kreisleriana—the Finale of the former and the first two pieces of the latter. It deals with dissonance in foreground terms only and without reference to expressive connotations. Also, Eusebius, Florestan, E.T.A. Hoffmann, and Herr Kapellmeister Kreisler are kept gently off stage. [2] Schumann favours friction dissonances, especially the minor ninth and the major seventh, and he likes them raw: with little preparation and scant resolution. The sforzato clash of C and D in measures 131 and 261 of the Finale of the G minor Sonata, opus 22, offers a brilliant example, a peculiarly compressed dominant arrival just before the return of the main theme in G minor. The minor ninth often occurs exposed at the beginning of a phrase as in the second piece of the Davidsbuendler, opus 6: the opening chord is a V with an appoggiatura 6; as 6 goes to 5, the minor ninth enters together with the fundamental in, respectively, high and low peak registers. -
Many of Us Are Familiar with Popular Major Chord Progressions Like I–IV–V–I
Many of us are familiar with popular major chord progressions like I–IV–V–I. Now it’s time to delve into the exciting world of minor chords. Minor scales give flavor and emotion to a song, adding a level of musical depth that can make a mediocre song moving and distinct from others. Because so many of our favorite songs are in major keys, those that are in minor keys1 can stand out, and some musical styles like rock or jazz thrive on complex minor scales and harmonic wizardry. Minor chord progressions generally contain richer harmonic possibilities than the typical major progressions. Minor key songs frequently modulate to major and back to minor. Sometimes the same chord can appear as major and minor in the very same song! But this heady harmonic mix is nothing to be afraid of. By the end of this article, you’ll not only understand how minor chords are made, but you’ll know some common minor chord progressions, how to write them, and how to use them in your own music. With enough listening practice, you’ll be able to recognize minor chord progressions in songs almost instantly! Table of Contents: 1. A Tale of Two Tonalities 2. Major or Minor? 3. Chords in Minor Scales 4. The Top 3 Chords in Minor Progressions 5. Exercises in Minor 6. Writing Your Own Minor Chord Progressions 7. Your Minor Journey 1 https://www.musical-u.com/learn/the-ultimate-guide-to-minor-keys A Tale of Two Tonalities Western music is dominated by two tonalities: major and minor. -
Ninth, Eleventh and Thirteenth Chords Ninth, Eleventh and Thirteen Chords Sometimes Referred to As Chords with 'Extensions', I.E
Ninth, Eleventh and Thirteenth chords Ninth, Eleventh and Thirteen chords sometimes referred to as chords with 'extensions', i.e. extending the seventh chord to include tones that are stacking the interval of a third above the basic chord tones. These chords with upper extensions occur mostly on the V chord. The ninth chord is sometimes viewed as superimposing the vii7 chord on top of the V7 chord. The combination of the two chord creates a ninth chord. In major keys the ninth of the dominant ninth chord is a whole step above the root (plus octaves) w w w w w & c w w w C major: V7 vii7 V9 G7 Bm7b5 G9 ? c ∑ ∑ ∑ In the minor keys the ninth of the dominant ninth chord is a half step above the root (plus octaves). In chord symbols it is referred to as a b9, i.e. E7b9. The 'flat' terminology is use to indicate that the ninth is lowered compared to the major key version of the dominant ninth chord. Note that in many keys, the ninth is not literally a flatted note but might be a natural. 4 w w w & #w #w #w A minor: V7 vii7 V9 E7 G#dim7 E7b9 ? ∑ ∑ ∑ The dominant ninth usually resolves to I and the ninth often resolves down in parallel motion with the seventh of the chord. 7 ˙ ˙ ˙ ˙ & ˙ ˙ #˙ ˙ C major: V9 I A minor: V9 i G9 C E7b9 Am ˙ ˙ ˙ ˙ ˙ ? ˙ ˙ The dominant ninth chord is often used in a II-V-I chord progression where the II chord˙ and the I chord are both seventh chords and the V chord is a incomplete ninth with the fifth omitted. -
The Thirteenth Amendment: Modern Slavery, Capitalism, and Mass Incarceration Michele Goodwin University of California, Irvine
Cornell Law Review Volume 104 Article 4 Issue 4 May 2019 The Thirteenth Amendment: Modern Slavery, Capitalism, and Mass Incarceration Michele Goodwin University of California, Irvine Follow this and additional works at: https://scholarship.law.cornell.edu/clr Part of the Constitutional Law Commons Recommended Citation Michele Goodwin, The Thirteenth Amendment: Modern Slavery, Capitalism, and Mass Incarceration, 104 Cornell L. Rev. 899 (2019) Available at: https://scholarship.law.cornell.edu/clr/vol104/iss4/4 This Article is brought to you for free and open access by the Journals at Scholarship@Cornell Law: A Digital Repository. It has been accepted for inclusion in Cornell Law Review by an authorized editor of Scholarship@Cornell Law: A Digital Repository. For more information, please contact [email protected]. THE THIRTEENTH AMENDMENT: MODERN SLAVERY, CAPITALISM, AND MASS INCARCERATION Michele Goodwint INTRODUCTION ........................................ 900 I. A PRODIGIOUS CYCLE: PRESERVING THE PAST THROUGH THE PRESENT ................................... 909 II. PRESERVATION THROUGH TRANSFORMATION: POLICING, SLAVERY, AND EMANCIPATION........................ 922 A. Conditioned Abolition ....................... 923 B. The Punishment Clause: Slavery's Preservation Through Transformation..................... 928 C. Re-appropriation and Transformation of Black Labor Through Black Codes, Crop Liens, Lifetime Labor, Debt Peonage, and Jim Crow.. 933 1. Black Codes .......................... 935 2. Convict Leasing ........................ 941 -
Alternate Tuning Guide
1 Alternate Tuning Guide by Bill Sethares New tunings inspire new musical thoughts. Belew is talented... But playing in alternate Alternate tunings let you play voicings and slide tunings is impossible on stage, retuning is a between chord forms that would normally be nightmare... strings break, wiggle and bend out impossible. They give access to nonstandard of tune, necks warp. And the alternative - carry- open strings. Playing familiar fingerings on an ing around five special guitars for five special unfamiliar fretboard is exciting - you never know tuning tunes - is a hassle. Back to EBGDAE. exactly what to expect. And working out familiar But all these "practical" reasons pale com- riffs on an unfamiliar fretboard often suggests pared to psychological inertia. "I've spent years new sound patterns and variations. This book mastering one tuning, why should I try others?" helps you explore alternative ways of making Because there are musical worlds waiting to be music. exploited. Once you have retuned and explored a Why is the standard guitar tuning standard? single alternate tuning, you'll be hooked by the Where did this strange combination of a major unexpected fingerings, the easy drone strings, 3rd and four perfect 4ths come from? There is a the "new" open chords. New tunings are a way to bit of history (view the guitar as a descendant of recapture the wonder you experienced when first the lute), a bit of technology (strings which are finding your way around the fretboard - but now too high and thin tend to break, those which are you can become proficient in a matter of days too low tend to be too soft), and a bit of chance. -
Pathology and Genetics of Tumours of Soft Tissue and Bone
bb5_1.qxd 13.9.2006 14:05 Page 3 World Health Organization Classification of Tumours WHO OMS International Agency for Research on Cancer (IARC) Pathology and Genetics of Tumours of Soft Tissue and Bone Edited by Christopher D.M. Fletcher K. Krishnan Unni Fredrik Mertens IARCPress Lyon, 2002 bb5_1.qxd 13.9.2006 14:05 Page 4 World Health Organization Classification of Tumours Series Editors Paul Kleihues, M.D. Leslie H. Sobin, M.D. Pathology and Genetics of Tumours of Soft Tissue and Bone Editors Christopher D.M. Fletcher, M.D. K. Krishnan Unni, M.D. Fredrik Mertens, M.D. Coordinating Editor Wojciech Biernat, M.D. Layout Lauren A. Hunter Illustrations Lauren A. Hunter Georges Mollon Printed by LIPS 69009 Lyon, France Publisher IARCPress International Agency for Research on Cancer (IARC) 69008 Lyon, France bb5_1.qxd 13.9.2006 14:05 Page 5 This volume was produced in collaboration with the International Academy of Pathology (IAP) The WHO Classification of Tumours of Soft Tissue and Bone presented in this book reflects the views of a Working Group that convened for an Editorial and Consensus Conference in Lyon, France, April 24-28, 2002. Members of the Working Group are indicated in the List of Contributors on page 369. bb5_1.qxd 22.9.2006 9:03 Page 6 Published by IARC Press, International Agency for Research on Cancer, 150 cours Albert Thomas, F-69008 Lyon, France © International Agency for Research on Cancer, 2002, reprinted 2006 Publications of the World Health Organization enjoy copyright protection in accordance with the provisions of Protocol 2 of the Universal Copyright Convention. -
Affordant Chord Transitions in Selected Guitar-Driven Popular Music
Affordant Chord Transitions in Selected Guitar-Driven Popular Music Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Gary Yim, B.Mus. Graduate Program in Music The Ohio State University 2011 Thesis Committee: David Huron, Advisor Marc Ainger Graeme Boone Copyright by Gary Yim 2011 Abstract It is proposed that two different harmonic systems govern the sequences of chords in popular music: affordant harmony and functional harmony. Affordant chord transitions favor chords and chord transitions that minimize technical difficulty when performed on the guitar, while functional chord transitions favor chords and chord transitions based on a chord's harmonic function within a key. A corpus analysis is used to compare the two harmonic systems in influencing chord transitions, by encoding each song in two different ways. Songs in the corpus are encoded with their absolute chord names (such as “Cm”) to best represent affordant factors in the chord transitions. These same songs are also encoded with their Roman numerals to represent functional factors in the chord transitions. The total entropy within the corpus for both encodings are calculated, and it is argued that the encoding with the lower entropy value corresponds with a harmonic system that more greatly influences the chord transitions. It is predicted that affordant chord transitions play a greater role than functional harmony, and therefore a lower entropy value for the letter-name encoding is expected. But, contrary to expectations, a lower entropy value for the Roman numeral encoding was found. Thus, the results are not consistent with the hypothesis that affordant chord transitions play a greater role than functional chord transitions. -
Tonal Organization in Schoenberg's Six Little Piano Pieces, Op. 19 Kenneth L
Document généré le 1 oct. 2021 12:21 Canadian University Music Review Revue de musique des universités canadiennes --> Voir l’erratum concernant cet article Tonal Organization in Schoenberg's Six Little Piano Pieces, Op. 19 Kenneth L. Hicken Numéro 1, 1980 URI : https://id.erudit.org/iderudit/1013738ar DOI : https://doi.org/10.7202/1013738ar Aller au sommaire du numéro Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Hicken, K. L. (1980). Tonal Organization in Schoenberg's Six Little Piano Pieces, Op. 19. Canadian University Music Review / Revue de musique des universités canadiennes, (1), 130–146. https://doi.org/10.7202/1013738ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 1980 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ TONAL ORGANIZATION IN SCHOENBERG'S SIX LITTLE PIANO PIECES, OP. 19 Kenneth L. Hicken What is the nature of Schoenberg's so-called atonality? Does his atonal organization of pitch truly involve abandonment of tonality and tonal functions, as is widely believed? Or can and should this type of organization be understood as an exten• sion of traditional tonal practice? An appropriate work to examine in consideration of these questions is the Six Little Piano Pieces, Op. -
Guitar Tunings
Big City String Company Strings ~ Guitar Tunings Guitar: Acoustic Tuning Low 6 5 4 3 2 1 High Classic Mayfield F# A# C# F# A# F# Electric Flamenco Collins F C F Ab C F Steinberger Half Bent F Bb Eb Ab C F Bass Guitar Fourths E A D G C F Banjo Open E E B E G# B E Mandolin Open A E A E A C# E International Nashville e a d G B E Picks High Plain D E A d G B E Accessories Standard E A D G B E Lute E A D F# B E How to Order Hendrix Eb Ab Db Gb Bb Eb Shop Drop D D A D G B E Drop D D A D G B D DADGAD D A D G A D Open D D A D F# A D D Minor D A D F A D D Modal D A D D A D Slack Key G 6 D G D G B E Slide Guitar Open G D G D G B D 7 & 8 String Richards G D G B D More Tunings G Minor D G D G Bb D Capo Reference Cross Harp Guide Cooder Db Ab Db F Ab Db Bass Guitar Kottke C# F# B E G# C# Open C C G C G C E C 6 C G C G A E Kaki King C G D G A D Leadbelly B E A D F# B Baritone B E A D F# B Baritone A D G C E A Big City String Company Strings ~ Tunings Guitar: Acoustic Tuning Low 6 5 4 3 2 1 High Classic Bajo Sexto E A D G C F Electric Flamenco Bandurria G# C# F# B E A Steinberger Banjo G D G B D Bass Guitar Tenor Banjo C G D A Banjo Plectrum Banjo C G B D Mandolin Bouzouki International C F A D Charango G C E A E Picks Cuatro B E A D G Accessories Dobro G B D G B D How to Order Dulcimer G C C C Shop Fiddle G D A E Mandola C G D A Mandolin G D A E Mandolin - Blues E B F# C# Oud G A B E A D Requinto A D G C E A Guitar Tunings Tenor Guitar C G D A Tiple A D F# B Ukulele Big City String Company Strings ~ Slack Key Guitar Tunings Guitar: Acoustic Tuning -
The Strategic Half-Diminished Seventh Chord and the Emblematic Tristan Chord: a Survey from Beethoven to Berg
International Journal ofMusicology 4 . 1995 139 Mark DeVoto (Medford, Massachusetts) The Strategic Half-diminished Seventh Chord and The Emblematic Tristan Chord: A Survey from Beethoven to Berg Zusammenfassung: Der strategische halbverminderte Septakkord und der em blematische Tristan-Akkord von Beethoven bis Berg im Oberblick. Der halb verminderte Septakkord tauchte im 19. Jahrhundert als bedeutende eigen standige Hannonie und als Angelpunkt bei der chromatischen Modulation auf, bekam aber eine besondere symbolische Bedeutung durch seine Verwendung als Motiv in Wagners Tristan und Isolde. Seit der Premiere der Oper im Jahre 1865 lafit sich fast 100 Jahre lang die besondere Entfaltung des sogenannten Tristan-Akkords in dramatischen Werken veifolgen, die ihn als Emblem fUr Liebe und Tod verwenden. In Alban Bergs Lyrischer Suite und Lulu erreicht der Tristan-Akkord vielleicht seine hOchste emblematische Ausdruckskraft nach Wagner. If Wagner's Tristan und Isolde in general, and its Prelude in particular, have stood for more than a century as the defining work that liberated tonal chro maticism from its diatonic foundations of the century before it, then there is a particular focus within the entire chromatic conception that is so well known that it even has a name: the Tristan chord. This is the chord that occurs on the downbeat of the second measure of the opera. Considered enharmonically, tills chord is of course a familiar structure, described in many textbooks as a half diminished seventh chord. It is so called because it can be partitioned into a diminished triad and a minor triad; our example shows it in comparison with a minor seventh chord and an ordinary diminished seventh chord.