Chord

This article describes the chord in the music. See also Piece-work.

Chord is in that simultaneous ringing out of several different tones, thereby the harmonious result in (in contrast to Cluster).

The term chord probably leads itself of chorda, the Greek word for String off. It became over the Italian and French in the meaning Zusammenklang taken up to German. However is also a Latin origin of the term ("AC cor" - lat. "to the heart") possible. The meaning of the "zusammenklangs" not exclusively refers to the zusammenklang of several tones, but refers also a ringing out of the overtone row of an individual clay/tone also.

Table of contents

Explanation

In the material music form chords from the zusammenklang of many voices, which have different functions: Melody, bass, Begleit -, and/or. Filling voices. The treatment of the chords in individual voices in the Vierstimmigen sentence becomes clearest. In addition, in an individual voice tones can ring out, which are experienced by the listener as common components of a harmonious structure. Thus are also chord refractions (Arpeggi) and the slow structure of zusammenklaengen (z. B. Rachmaninoff, melody OI. 3 NR. the 3. last but one clock) of chords in the described sense. As chords in the music are used concretely, hangs of Category off. As opposite poles one can do here those Polyphonie (horizontal structure, several independent voices, approximately in one one speaks only, if itself the three ringing out tones in Thirds to laminate one above the other leave and the deepest clay/tone resulting thereby also to that this chord is.

For the designation of a chord from four tones as Vierklang do not have the two latter criteria to be fulfilled. If they are it, one speaks of one Septakkord.

To third-laminated chords applies:

  • two different lying one above the other Thirds (only largely, then small and/or. turned around) result in one and/or. find (situation widens). The zusammenklang e ' - C '' - g '' is for the analysis however equivalently also e ' - g ' - C '' as well as every other C major chord, that than deepest clay/tone e has.
  • the designation of the highest and thus melody-determining clay/tone as interval to the basis clay/tone of the system of naming. Ever after whether the highest clay/tone is basic clay/tone, third, quinte or seventh, one speaks Quint "of" Oktav - "," third "-," - or "Septlage".

    • During the functional description it can lead to the fact that both the bass note and the melody clay/tone are indicated. In the general bass such a description is uncommon.

    Reversals of chords

    To the determination of the reversal of a chord the deepest clay/tone (the bass note) crucially, independently of whether the chord in close or far situation rings out.

    The reversals receive their names after characteristic can occur in three reversals:

    • Basic position, z. B. in C major: C ' - e ' - g '; the basic position is to be recognized by the layering in thirds;
    • 1. Reversal, in this example e ' - g ' - C '', mentioned Sextakkord, since it is not anything special that down a third is, but probably that it is from the deepest to the highest clay/tone a sixth instead of a quinte;
    • 2. Reversal, in this example g ' - C '' - e '', mentioned Quartsextakkord, since both quarte instead of third in the lower part of the chord and sixth are to be noticed instead of quinte as framework interval.

    Vierklaenge

    Umkehrungen von Septakkorden
    Reversals of Septakkorden
    Septakkorde can occur in four reversals:
    • Basic position, z. B. G7: g - h - D ' - f 'to recognize, again by the third layering, mentioned Septakkord because the additional seventh differentiates it from a triad;
    • 1. Reversal, in this example h - D ' - f ' - g ', mentioned Quintsextakkord, since quinte and sixth over the deepest clay/tone arise at the same time;
    • 2. Reversal, in this example D ' - f ' - g ' - h ', mentioned Third quart chord, since third and quarte over the deepest clay/tone arise at the same time;
    • 3. Reversal, in this example f ' - g ' - h ' - D '', mentioned Sec. and chord, since the second over the deepest clay/tone is the characteristic at it.

    Other vierklaenge, which are not Septakkorde, can be turned around naturally likewise, only the above names for the individual reversals do not apply with them. When example is for this the triad identically to added sixth (Sixte ajoutée) mentioned, which is in its basic position in principle a Quintsextakkord, but completely different function than the 1 developed. Reversal of a Septakkords has, so that one should avoid this term confusion.

    Five and multi-sounds

    (in work)

    Systems of naming of chords

    For the designation of chords several, independent systems are common, which are marked out briefly in the following.

    The systems of naming are specified in the order, in which they developed historically. Each new system took over and continued to develop a majority of the achievements the old system (special regarding the syntax of the modifications in relation to the basic triad). The essential structures of chords are called therefore in the oldest description system, in accordance with general bass, in on it following the no more although they are used likewise there.

    Basis clay/tone and intervals

    The kind of the description becomes particularly in General bass used. The chord is called after the intervals, which take the contained tones to the deepest clay/tone.

    • Basic triad: The intervals Third and are not called. The chord described above is thus a basic triad over the clay/tone C in z.B. the kind of basic clay/tone C major.
    • Sextakkord: the quinte can by those to be replaced, so that a Sextakkord (C - e - A) develops. The Sextakkord applies like the basic triad as regular sound.
    • Quartreproach: in the chord those can the third replace (C - f - g). In the traditional classical music one feels in such a way, as if the quarte would have displaced the third of its place. Therefore this sound must be dissolved, by the voice, which speaks the quarte, when the third brings next clay/tone [ C e g ].
    • Quartsextvorhalt: The combination of quarte and sixth in a chord (C - f - A) one understands as extension of the previous case. Both tones must be dissolved: C - e - g. These reproaching variants became only after the baroque usual. It held itself nevertheless the designation Quartsextvorhalt, which plays a large role particularly for cadences in concerts of the Viennese classical period.
    • Decreased: from the half-tone steps in the basic scale decreased chords, thus basic three-sounds from two small thirds one above the other, result in the case of certain basic tones C - it - ges or h - D - f. That leads to a decreased quinte, which gave its name to the sound. The name is also used, if the decreased quinte is noted as excessive quarte: C - it - fis.
    • Quintsextakkord: the quinte is called, because she rings out additionally to the sixth, by which it is normally replaced. Quintsextakkorde are described in the function theory as subdominantisch or as dominantisch. The subdominantische variant (also sixte ajoutée) the sixth adds to a basic triad in addition (f - A - C - D), while the dominantische variant is based on a decreased triad h - D - f - g. The conceptual distinction originates from that function-theoretical Analysis.
    • Septakkord: The basic triad those becomes leader-own set, those depending upon position largely (C - e - g - h) can or to be small (g - h - D - f).

    Stage

    The designation of the stages is an advancement of the designation over the basis clay/tone, which describes the tonal classification of the chord into the harmonious context contrary to this.

    All chord types specified above can be identified in appropriate way, whereby the reference clay/tone is not a concrete basis clay/tone, but instead of its the number of this basis clay/tone in the scale of the kind of basic clay/tone.

    Examples:

    • the sound C - e - g is a basic triad over the first stage;
    • the sound g - h - D - f Septakkord over the fifth stage one calls.

    This system of the klanglichen description becomes in that Stage theory used.

    Clay/tone supply

    Chords consist of the clay/tone supply, which is placed from the respective musical context to the order. In the case of the traditional western music that is the twelve tones that chromatic Scale and their repetitions in different situations.

    There the traditional western music to the largest part on one kind of basic clay/tone be based, a core clay/tone supply results from the 7 so-called leader-own tones.

    • In the case from C major are: C, D, e, f, g, A, h.

    In order to temporarily change in the musical operational sequence to other kinds of clay/tone, this clay/tone supply can be extended by the tones, which occur deviating from the kind of basic clay/tone in the other kinds of clay/tone. The modulation (the change) is actually done via the introduction of leader-strange tones. The most typical extensions, those to old person rations from leader-own tones to leader-strange tones lead are the decreased seventh and the excessive quarte.

    • In the case from C major are: b instead of h and fis instead of f.

    The Alterieren from the h felt to the b as more harmonious swivel toward the kind of clay/tone next in the Quintenzirkel, which ranks this clay/tone among its leader-own.

    • In the case from C major is the F major.

    These swivel also one feels, if still no sound on the basis F major is formed, but for example only a Septakkord over C (C - e - g - b) rings out. Modulations of too far distant kinds of clay/tone extend according to the clay/tone supply, from which chords can be formed.

    Kind of clay/tone

    While the general bass and the stage theory make the clay/tone supply of the kind of basic clay/tone the starting point of their designation, the chords leave themselves also direct to one as representatives . But the contained tones are evaluated.

    Examples:

    Within a piece in C major is

    • the sound f - A - C a F major basic triad,
    • the sound C - e - A a A-moll-triad in the 1. Reversal
    • and the sound D - f - g - h a G major CEPT chord in the 2. Reversal.

    This designation is more descriptive than "IV.Stage "or" I. If Sextakkord gradates ", does however to integrate the designated sound into the harmonious context of the piece.

    Function

    Those Function theory describes itself chords on the basis the relationship connections, from that result in. Also here the chord types described above can be used and be extended by large four -, five and multi-sounds.

    Basis of the sound is the kind of clay/tone, which is designated by its functional connection to the kind of basic clay/tone. Since the basis clay/tone of the chord thereby is not described, additionally an indication is given the reversal or the interval, which the basis clay/tone in relation to the basic clay/tone of the described function has.

    The examples specified above lead to the following designations:

    • f - A - C Subdominate basic triad
    • C - e - A Tonikaparallele in first Reversal or on that Third
    • D - f - g - h Dominatseptakkord in second Reversal or on the quinte

    Jazz choir thing

    JazzNotes become usually as lead sheets with singing voice and so-called Chord of symbol after that Standard Chord symbol notation spread.

    The jazz chord symbol as notation corresponds to a general bass notation in the broadest sense, for which the basic clay/tone is indicated explicitly as note name in letter form. A bass note deviating from the basic clay/tone is separated additionally determined by a diagonal stroke. Chord modifications will indicate by data to the sound sex, numbers and other abbreviations.

    Comparison of the systems of naming

    The respective systems of naming reflect the harmony understanding of the time again, in which they developed. While the general bass notation represents a pragmatic abbreviation in the typeface, the stage theory develops a first harmonious connection, which is extremely extended by the function theory. The jazz notation takes over the syntax developed up to then, gives up however the not always function connection necessary in the jazz completely.

    By the example of the decreased Septakkordes over cis (cis - e - g - b) is shown in a C major connection, as these differences express themselves:

    • General bass: Basic clay/tone cis, instruction 7b
    • Stage theory: I # 7b
    • Function theory: T 7b 9b shortens, if the chord dissolves after F major, or DDD 7b 9b shortens, if the chord dissolves D major to the double dominant factor or to the Subdominantparallele D-moll. In extreme cases two further notations would be conceivable.
    • Jazz: C # °7

    Der verminderte Septakkord liegt außerhalb der üblichen Kadenz, ist aber auch für Bach nicht ungewöhnlich. Man kann erkennen, dass der Generalbass durch den Verzicht auf jede Erklärung den für ihn nicht alltäglichen Klang problemlos notiert, während die Stufentheorie ihr Basiskonstrukt (die Stufe) modifizieren muss und die Funktionstheorie weitere Informationen zur korrekten Bezeichnung benötigt. Die Jazz-Notation ähnelt in ihrer Pragmatik dem Generalbass.

    In response to it the function theory can realize their advantages, if it concerns the description from sounds, which were not conceivable in the time of the general bass or the stage theory. That is for example with sounds the case, in those those Third at the same time as large and third small as occurs, what functionally as third and excessive Second/None one noted, or with such, which do not omit to refer any longer clearly to a basis clay/tone as laminated "Mysti chord"of Alexander Skrjabin (C-fis-b-e'-a'-D ' ') as well as "Tristanakkord"of "Tristan and Isolde"begins.

    Chord company in the song

    In Songs serve chords usually for the instrumentalen Company. They give that Melody in sections a harmonious purchase. The chord company mostly becomes with a polyp-hone Palpation or (z. B. or Guitar) easily.

    Some popular songs are harmoniously in such a way developed that they maintain by the whole song through a firm sequence of (mostly four) chords, which is cyclically repeated. The once established chord sequence remains even in that Strophe and in Refrain the same and pulls itself invariably as a red thread by the song.

    In the simplest case the first chord of the consequence is those and last the those to it. Since this strives again to the Tonika, the chord sequence, as further from an internal urge floated, "rolls" always. This effect works very strongly and such songs as particularly dragging along is usually felt.

    Examples:

    An optically impressive realization of Clustern on key instruments consists of the fact that the entire lower arm is used for playing. In this case first the result is not completely predictable and secondly a harmonious classification no longer meaningful.

    See also

    Chord symbol, Powerchord, Notation (music), ,
    , Derived chord, Stage theory (Harmonik)
    Akkord-scale theory

 

  > German to English > de.wikipedia.org (Machine translated into English)