The Chords

The Secret Chord Reading The Secret Chord A Novel by Geraldine Brooks was like reading about the biblical character King David for the first time. Author Ms. Brooks brought King David’s character to life. As I read, I hardly realized that the novel is over five-hundred pages. Brooks carefully built upon the biblical story of David. What I appreciate is that Brooks did not omit information rather she expanded on the facts colorfully and creatively. Some of the expansion is based on theory. However

Hi Peeps, Today's Quote "God activates changes to help us mark movement in time and motion in His Language of Love, Creation, and Life; so that you may know God's Love Chords." ~ Jon Barnes Chords Changes are fundamental, biblical chord patterns used to create meaningful life sounds that are connected to meanings and words, which are used to communicate daily truth of our existence to God. Without the "A" minor triad in place, from the "A" minor scale as a base (bass), ABCDEFG, the musical

agreement or friendliness. In music, harmony is the vertical of pitch with a part of several pitches sounded at the same time. It unlike rhythm and melody as it was not part of music from the beginning but it is an upstart. Harmony combined pitches into chords to please our ears. Harmony is a magic compare to other elements of music. The tonal-gravitational forces for harmony are more complex and powerful than the melody. It contributes to the effect of the motion in music and it allows the component to

However, in these two different cases, the chords shift slightly, as shown in measures 52 and 55, pictured below.                                                             V/IV       I         V6/5/IV       IV Despite the fact that the V/IV is basically a I7 chord, theory students of modern teachings have been taught that the chord after the slash mark of the secondary dominant is where the secondary dominant will lead to.   So, creating a simple I chord in the figure above might be seen as a

Brahms' pieces, particularly in Rhapsody No.2. In Schumann's "Frightening", in bar 21, the C major chord is followed by a tritonal harmonic leap onto a sforzando dominant seventh chord of F-sharp major at beat 2. This chord, together with a rising chromatic line heralds the return of the tonic key. Schumann has reinterpreted the chord of C major as the Neapolitan chord (the flattened second) of b minor (the tonic), making the surprising tritonal leap more logical than

Claude Debussy was a leading composer of the early 20th century known for his impressionistic style and use of non-traditional scales and tonalities as well as chromaticism. Debussy’s Book of Preludes is some of his most well-known and last works for solo piano. Prelude 10, titled “Canope” in his Book of Preludes No. 2 was composed in 1913. It is meant to depict an ancient Egyptian city and Egyptian burial urns. Although only thirty-three measures long, and melodically and rhythmically simple, this

proceed to the tonic sounding V with an augmented sixth chord. He does just this in Sonata number 12, as shown in the example on the top of the next page in measures sixty-four through sixty-seven. VI7 ii7 V7 Ger+6 V Mozart begins a harmony on a Major sixth chord and leads into a V with a seventh chord, giving a dominant to tonic feel. He further gives this

concluded that Beethoven wanted this movement to be interpreted with sensitivity and colour. The bass line is a prominent feature in texturizing the movement. The most distinctive characteristics in the bass line are its Neapolitan chords which are strategically placed amidst chords of double octaves. This prevents the movement sounding too much like a lullaby and adds more colour and tension. The movement starts out pianissimo and diverges between pianissimo and piano to maintain a soothing sound. Its luxurious

chooses dramatic shifts in music material, unpredictable harmonies, and sudden changes in tempo and rhythm. The song starts with an unusually long piano introduction that lasted 8 measures, gives an idea of the large scale of this song. The rolled chords (mm.1-8) and broken octaves underneath the beautiful melody suggesting Peter’s lute. The vocal line begins with the expressive melody identical to the beginning of the piano introduction. It is characterized by embellishments on words “sind” (to be)

The organ motif then changes to an arpeggiated D minor chord and proceeds to play a descending D minor, C major, Bb Major, A major progression. As the sequence continues, a male choir sings the word, “Koyannisqatsi”. Knowing that the title of the film loosely translates to “Life Out of Balance” adds some hidden