132:
151:
38:
1118:
401:
205:āG), although the thirds are usually separated by an octave or more. A minor chord above a major chord of the same root has a diminished octave (major seventh) separating the thirds and is more common, while a major chord above a minor chord of the same root has a very dissonant augmented octave (minor ninth) separating the thirds and is not as commonplace.
20:
170:
159:
139:
109:. The practice of adding tones may have led to superimposing chords and tonalities, though added tone chords have most often been used as more intense substitutes for traditional chords. For instance a minor chord that includes a
45:
91:(six thirds from the root, but the chord doesn't have the previous tertian notes ā the seventh, ninth or eleventh). The concept of added tones is convenient in that all notes may be related to familiar chords.
408:
83:
is commonly categorized as an added tone. It can be outside the tertian sequence of ascending thirds from the root, such as the added sixth or fourth, or it can be in a chord that doesn't consist of a
423:(notated "6") is rarely inverted since it shares its notes with a seventh chord a minor third down (e.g. C has the same notes as an Am), although a counterexample is
431:" (on 5). It's used only occasionally in rock and popular music, but examples include the third measure of The Beatles' "A Hard Day's Night", the second chord of "
248:'s major third and augmented ninth are enharmonically equivalent to a minor-over-major chord's thirds, and the two can be somewhat interchangeable. Songs with a 7
131:
1356:
715:
579:
283:
355:
922:
245:
27:(sus2) and C added tone chord (add2). Both have the non-triad tone D, but are distinguished by the presence or absence of the third (E
676:
634:
606:
839:
749:
386:
299:
854:
291:
1265:
864:
849:
113:
factor holds a great deal more dramatic tension due to the very close interval between the major second and minor third.
1022:
363:
315:
218:
1093:
1387:
460:
452:
339:
323:
241:
879:
859:
432:
428:
844:
869:
1239:
1136:
884:
834:
1037:
966:
874:
307:
1260:
1244:
1078:
742:
259:
94:
Inversions of added tone chords where the added tone is the bass note are usually simply notated as
829:
824:
707:
210:
381:(notated "add4") almost always occurs on the fifth scale degree where the added note is the key's
1315:
1280:
1234:
347:
279:
119:
571:
565:
1206:
1127:
1062:
711:
672:
630:
602:
575:
519:
424:
331:
1275:
1211:
1164:
796:
699:
535:
351:
150:
37:
41:
Ninth (C) vs added-ninth chord (C), distinguished by the presence or absence of a seventh.
1226:
1098:
1042:
1002:
992:
976:
917:
801:
791:
735:
343:
214:
114:
80:
24:
700:
447:
described the chord as old-fashioned sounding. An added-sixth chord ends songs including
394:
1366:
1361:
1201:
1196:
1103:
907:
894:
493:
206:
102:
84:
1381:
1270:
1216:
1188:
1144:
1117:
1057:
1052:
1012:
811:
773:
758:
476:
448:
444:
440:
436:
382:
319:
233:
190:
72:
68:
1320:
1174:
1047:
1032:
1017:
997:
971:
938:
819:
110:
106:
76:
1335:
1330:
1305:
1300:
1159:
1027:
1007:
961:
902:
786:
781:
498:
472:
468:
456:
359:
327:
311:
255:
95:
1325:
1169:
1149:
912:
539:
400:
371:
303:
295:
287:
237:
88:
374:
popularized a particular voicing of the add2 chord they dubbed the mu chord.
98:
instead of added-tone chords. For example, instead of C/D, just C/D is used.
1310:
933:
488:
464:
367:
225:
385:
note. Examples in popular music include the second chord in the verse of "
1351:
1178:
1083:
523:
1154:
1088:
390:
335:
65:
19:
135:
Dominant seventh raised ninth vs dominant seventh split third chord.
217:'s symphonies. It is also suggested by the final note and chord of "
399:
229:
213:" is an example of the use of a split-third chord, as are many of
149:
130:
36:
18:
731:
154:
Two added chords with mixed thirds, thirds separated by octave.
16:
Chord made of a tertian triad and a miscellaneous fourth note
727:
278:(notated "add2", "2" or "add9") in popular music include
240:
can be thought to form mixed third chords, such as in "
443:". When added at the suggestion of Harrison, producer
629:. Englewood Cliffs, New Jersey: Prentice-Hall, Inc.
1344:
1293:
1253:
1225:
1187:
1135:
1125:
1071:
985:
947:
893:
810:
772:
765:
567:What to Listen for in Rock: A Stylistic Analysis
651:
649:
647:
645:
643:
559:
557:
555:
553:
551:
549:
743:
8:
1132:
769:
750:
736:
728:
599:HarperCollins College Outline Music Theory
693:
691:
689:
687:
685:
663:
661:
621:
619:
617:
615:
593:
591:
510:
7:
404:C major chord with added sixth (C)
284:You Can't Always Get What You Want
246:dominant seventh sharp ninth chord
105:voiced below the root may suggest
14:
123:contains many added tone chords.
1116:
627:Twentieth Century Music Idioms
1:
667:Kostka & Payne (1995).
625:Marquis, G. Welton (1964).
518:Hawkins, Stan (Oct 1992). "
1404:
840:Dominant seventh flat five
389:" and the introduction of
324:All Night Long (All Night)
85:continuous stack of thirds
1114:
540:10.1017/s0261143000005171
356:Let's Hear It for the Boy
79:. Any tone that is not a
698:Everett, Walter (2009).
671:, p.494. Third Edition.
655:Stephenson (2002), p.84.
564:Stephenson, Ken (2002).
522:ā Harmonic Analysis of '
427:'s recorded version of "
300:The End of the Innocence
1357:Chord names and symbols
702:The Foundations of Rock
266:Other added tone chords
224:Mixed thirds caused by
1240:Secondary leading-tone
597:Jones, George (1994).
437:The Eagle And The Hawk
433:You Keep Me Hangin' On
416:
191:major and minor thirds
178:
147:
101:An added tone such as
53:
34:
439:", and The Beatles' "
403:
308:Every Breath You Take
153:
134:
75:and an extra "added"
40:
22:
1245:Secondary supertonic
189:, includes both the
87:, such as the added
461:Rock and Roll Music
340:Rhythm of the Night
242:Rock And Roll Music
172:Play chord on right
1316:Chord-scale system
1235:Secondary dominant
429:Stoned Soul Picnic
417:
379:added-fourth chord
364:A Hard Day's Night
348:We Built This City
280:The Rolling Stones
272:added-second chord
219:A Hard Day's Night
179:
161:Play chord on left
148:
127:Mixed third chords
120:Symphony of Psalms
54:
35:
1388:Added tone chords
1375:
1374:
1289:
1288:
1207:Chromatic mediant
1112:
1111:
1063:Viennese trichord
717:978-0-19-531023-8
581:978-0-300-09239-4
435:", the third of "
425:The 5th Dimension
421:added-sixth chord
276:added-ninth chord
254:9 chord include "
187:split-third chord
183:mixed third chord
1395:
1133:
1120:
928:
927:
885:Harmonic seventh
855:Diminished major
770:
752:
745:
738:
729:
722:
721:
705:
695:
680:
665:
656:
653:
638:
623:
610:
595:
586:
585:
561:
544:
543:
515:
453:Hey Good Lookin'
415:
414:
413:
411:
352:Deniece Williams
270:Examples of the
253:
252:
211:Maybe I'm Amazed
204:
203:
198:
197:
177:
176:
175:
173:
166:
165:
164:
162:
146:
145:
144:
142:
62:added note chord
58:added tone chord
52:
51:
50:
48:
32:
31:
1403:
1402:
1398:
1397:
1396:
1394:
1393:
1392:
1378:
1377:
1376:
1371:
1340:
1285:
1249:
1221:
1183:
1121:
1108:
1099:Synthetic chord
1067:
1038:Northern lights
1003:Complexe sonore
981:
967:Augmented sixth
955:
953:
943:
925:
924:
918:Upper structure
889:
875:Altered seventh
870:Augmented minor
865:Augmented major
850:Half-diminished
806:
761:
756:
726:
725:
718:
697:
696:
683:
666:
659:
654:
641:
624:
613:
596:
589:
582:
563:
562:
547:
517:
516:
512:
507:
485:
409:
407:
406:
405:
268:
250:
249:
215:William Schuman
201:
200:
195:
194:
171:
169:
168:
167:
160:
158:
157:
156:
155:
140:
138:
137:
136:
129:
115:Igor Stravinsky
46:
44:
43:
42:
29:
28:
25:Suspended chord
17:
12:
11:
5:
1401:
1399:
1391:
1390:
1380:
1379:
1373:
1372:
1370:
1369:
1364:
1362:List of chords
1359:
1354:
1348:
1346:
1342:
1341:
1339:
1338:
1333:
1328:
1323:
1318:
1313:
1308:
1303:
1297:
1295:
1291:
1290:
1287:
1286:
1284:
1283:
1278:
1273:
1268:
1263:
1257:
1255:
1251:
1250:
1248:
1247:
1242:
1237:
1231:
1229:
1223:
1222:
1220:
1219:
1214:
1209:
1204:
1199:
1193:
1191:
1185:
1184:
1182:
1181:
1172:
1167:
1162:
1157:
1152:
1147:
1141:
1139:
1130:
1123:
1122:
1115:
1113:
1110:
1109:
1107:
1106:
1101:
1096:
1091:
1086:
1081:
1079:Mixed interval
1075:
1073:
1069:
1068:
1066:
1065:
1060:
1055:
1050:
1045:
1040:
1035:
1030:
1025:
1020:
1015:
1010:
1005:
1000:
995:
989:
987:
983:
982:
980:
979:
974:
969:
964:
958:
956:
948:
945:
944:
942:
941:
936:
931:
920:
915:
910:
905:
899:
897:
891:
890:
888:
887:
882:
877:
872:
867:
862:
857:
852:
847:
842:
837:
832:
827:
822:
816:
814:
808:
807:
805:
804:
799:
794:
789:
784:
778:
776:
767:
763:
762:
757:
755:
754:
747:
740:
732:
724:
723:
716:
681:
657:
639:
611:
587:
580:
545:
534:(3): 325ā335.
509:
508:
506:
503:
502:
501:
499:Nine-six chord
496:
494:False relation
491:
484:
481:
332:It's a Mistake
267:
264:
207:Paul McCartney
128:
125:
81:seventh factor
71:composed of a
15:
13:
10:
9:
6:
4:
3:
2:
1400:
1389:
1386:
1385:
1383:
1368:
1365:
1363:
1360:
1358:
1355:
1353:
1350:
1349:
1347:
1343:
1337:
1334:
1332:
1329:
1327:
1324:
1322:
1319:
1317:
1314:
1312:
1309:
1307:
1304:
1302:
1299:
1298:
1296:
1292:
1282:
1279:
1277:
1274:
1272:
1271:Primary triad
1269:
1267:
1264:
1262:
1259:
1258:
1256:
1252:
1246:
1243:
1241:
1238:
1236:
1233:
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1230:
1228:
1224:
1218:
1215:
1213:
1210:
1208:
1205:
1203:
1200:
1198:
1195:
1194:
1192:
1190:
1186:
1180:
1176:
1173:
1171:
1168:
1166:
1163:
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1158:
1156:
1153:
1151:
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1146:
1143:
1142:
1140:
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1134:
1131:
1129:
1124:
1119:
1105:
1102:
1100:
1097:
1095:
1092:
1090:
1087:
1085:
1082:
1080:
1077:
1076:
1074:
1070:
1064:
1061:
1059:
1056:
1054:
1051:
1049:
1046:
1044:
1041:
1039:
1036:
1034:
1031:
1029:
1026:
1024:
1021:
1019:
1016:
1014:
1011:
1009:
1006:
1004:
1001:
999:
996:
994:
991:
990:
988:
984:
978:
975:
973:
970:
968:
965:
963:
960:
959:
957:
951:
946:
940:
937:
935:
932:
930:
921:
919:
916:
914:
911:
909:
906:
904:
901:
900:
898:
896:
892:
886:
883:
881:
878:
876:
873:
871:
868:
866:
863:
861:
858:
856:
853:
851:
848:
846:
843:
841:
838:
836:
833:
831:
828:
826:
823:
821:
818:
817:
815:
813:
809:
803:
800:
798:
795:
793:
790:
788:
785:
783:
780:
779:
777:
775:
771:
768:
764:
760:
753:
748:
746:
741:
739:
734:
733:
730:
719:
713:
709:
704:
703:
694:
692:
690:
688:
686:
682:
678:
677:0-07-035874-5
674:
670:
669:Tonal Harmony
664:
662:
658:
652:
650:
648:
646:
644:
640:
636:
635:0-313-22624-5
632:
628:
622:
620:
618:
616:
612:
608:
607:0-06-467168-2
604:
600:
594:
592:
588:
583:
577:
573:
569:
568:
560:
558:
556:
554:
552:
550:
546:
541:
537:
533:
529:
528:Popular Music
525:
521:
514:
511:
504:
500:
497:
495:
492:
490:
487:
486:
482:
480:
478:
477:She Loves You
474:
470:
466:
462:
458:
454:
450:
449:Hank Williams
446:
445:George Martin
442:
441:She Loves You
438:
434:
430:
426:
422:
412:
402:
398:
396:
392:
388:
387:Runaway Train
384:
380:
375:
373:
369:
365:
361:
357:
353:
349:
345:
341:
337:
333:
329:
325:
321:
320:Lionel Richie
317:
313:
309:
305:
301:
297:
293:
289:
285:
281:
277:
273:
265:
263:
261:
260:Boogie Nights
257:
247:
243:
239:
235:
234:country music
231:
227:
222:
220:
216:
212:
208:
192:
188:
184:
174:
163:
152:
143:
133:
126:
124:
122:
121:
117:'s polytonal
116:
112:
108:
104:
99:
97:
92:
90:
86:
82:
78:
74:
70:
67:
63:
59:
49:
39:
26:
21:
1175:Leading-tone
952: /
949:
939:Tone cluster
820:Leading-tone
701:
668:
626:
598:
566:
531:
527:
513:
420:
418:
395:Baba O'Riley
378:
376:
292:Broken Wings
275:
271:
269:
223:
186:
182:
180:
118:
111:major second
107:polytonality
100:
96:slash chords
93:
61:
57:
55:
1160:Subdominant
1023:Grandmother
880:Nondominant
860:Minor-major
524:Anna Stesia
473:The Beatles
469:You Send Me
457:Chuck Berry
360:The Beatles
328:Men at Work
312:Cheap Trick
256:Purple Haze
64:, is a non-
1294:Techniques
1281:Substitute
1276:Subsidiary
1212:Neapolitan
1170:Submediant
1150:Supertonic
923:Dominant 7
913:Thirteenth
845:Diminished
797:Diminished
706:. p.
570:. p.
505:References
372:Steely Dan
304:The Police
296:Don Henley
288:Mr. Mister
238:rock music
226:blue notes
89:thirteenth
1311:Chordioid
1227:Secondary
1043:Petrushka
977:Seven six
934:Polychord
802:Suspended
792:Augmented
489:Blue note
465:Sam Cooke
368:jazz rock
316:The Flame
193:(e.g. CāE
1382:Category
1352:Arpeggio
1266:Contrast
1202:Borrowed
1197:Approach
1179:Subtonic
1165:Dominant
1137:Diatonic
1128:function
1084:Secundal
986:Specific
926:♯
908:Eleventh
895:Extended
835:Dominant
601:, p.50.
483:See also
344:Starship
251:♯
202:♮
196:♭
30:♭
1217:Passing
1189:Altered
1155:Mediant
1094:Quartal
1089:Tertian
1072:General
1058:Tristan
1053:So What
1013:Elektra
954:omitted
812:Seventh
766:By form
471:", and
391:The Who
366:". The
358:", and
336:DeBarge
258:" and "
244:". The
185:, also
66:tertian
1367:Factor
1321:Guitar
1261:Common
1104:Tetrad
1048:Psalms
1033:Mystic
1018:Farben
998:Bridge
972:Lydian
759:Chords
714:
675:
633:
605:
578:
520:Prince
370:group
103:fourth
1345:Other
1336:Slash
1331:Power
1306:Block
1301:Barre
1254:Other
1145:Tonic
1028:Magic
1008:Dream
993:Alpha
962:Sixth
950:Added
903:Ninth
830:Minor
825:Major
787:Minor
782:Major
774:Triad
383:tonic
230:blues
73:triad
69:chord
60:, or
1326:Open
712:ISBN
673:ISBN
631:ISBN
603:ISBN
576:ISBN
526:'".
467:'s "
459:'s "
419:The
410:Play
393:'s "
377:The
346:'s "
338:'s "
330:'s "
322:'s "
314:'s "
306:'s "
298:'s "
290:'s "
236:and
209:'s "
141:Play
77:note
47:Play
1126:By
708:195
536:doi
479:".
475:' "
463:",
455:",
451:' "
397:".
362:' "
354:' "
350:",
342:",
334:",
326:",
318:",
310:",
302:",
294:",
286:",
282:' "
274:or
262:".
228:in
221:".
56:An
1384::
1177:/
710:.
684:^
660:^
642:^
614:^
590:^
574:.
572:85
548:^
532:11
530:.
232:,
199:āE
181:A
33:).
23:C
929:9
751:e
744:t
737:v
720:.
679:.
637:.
609:.
584:.
542:.
538::
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