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80-450: Baglama Dombra Domra Panduri The balalaika (Russian: балала́йка , pronounced [bəɫɐˈɫajkə] ) is a Russian stringed musical instrument with a characteristic triangular wooden, hollow body, fretted neck, and three strings. Two strings are usually tuned to the same note and the third string is a perfect fourth higher. The higher-pitched balalaikas are used to play melodies and chords. The instrument generally has

160-478: A back-formation of accord in the original sense of agreement and later, harmonious sound . A sequence of chords is known as a chord progression or harmonic progression. These are frequently used in Western music. A chord progression "aims for a definite goal" of establishing (or contradicting) a tonality founded on a key, root or tonic chord. The study of harmony involves chords and chord progressions and

240-412: A chord progression . One example of a widely used chord progression in Western traditional music and blues is the 12 bar blues progression . Although any chord may in principle be followed by any other chord, certain patterns of chords are more common in Western music, and some patterns have been accepted as establishing the key ( tonic note ) in common-practice harmony —notably the resolution of

320-414: A degree symbol (e.g., vii indicates a diminished seventh chord built on the seventh scale degree; in the key of C major, this chord would be B diminished seventh, which consists of the notes B, D, F and A ♭ ). Roman numerals can also be used in stringed instrument notation to indicate the position or string to play. In some string music, the string on which it is suggested that the performer play

400-631: A dominant chord to a tonic chord . To describe this, Western music theory has developed the practice of numbering chords using Roman numerals to represent the number of diatonic steps up from the tonic note of the scale . Common ways of notating or representing chords in Western music (other than conventional staff notation ) include Roman numerals , the Nashville Number System , figured bass , chord letters (sometimes used in modern musicology ), and chord charts . The English word chord derives from Middle English cord ,

480-456: A Persian verb that means "to make, to compose". According to The New Grove Dictionary of Music and Musicians , "the terms 'bağlama' and 'saz' are used somewhat interchangeably in Turkey. 'Saz' is generally used interchangeably with 'enstrüman' (instrument) and it is used to refer single or group of musical instruments like 'üflemeli sazlar' ( wind instruments ). Like the Western lute and

560-463: A bass note, the figure is assumed to be 3 , which calls for a third and a fifth above the bass note (i.e., a root position triad). In the 2010s, some classical musicians who specialize in music from the Baroque era can still perform chords using figured bass notation; in many cases, however, the chord-playing performers read a fully notated accompaniment that has been prepared for the piece by

640-525: A body of concert pieces for the instrument. The result of Andreyev's labours was the establishment of an orchestral folk tradition in Tsarist Russia, which later grew into a movement within the Soviet Union . The balalaika orchestra in its full form consists of balalaikas, domras , gusli , bayan , Vladimir Shepherd's Horns , garmoshkas , and several types of percussion instruments. With

720-517: A body shape similar to the Instrument called panduri in Georgia. According to the historian Hammer, metal strings were first used on a type of komuz with a long fingerboard known as the kolca kopuz in 15th-century Anatolia. This was the first step in the emergence of the çöğür (cogur), a transitional instrument between the kopuz and the bağlama. According to 17th-century writer Evliya Çelebi ,

800-401: A chord may be understood as such even when all its notes are not simultaneously audible, there has been some academic discussion regarding the point at which a group of notes may be called a chord . Jean-Jacques Nattiez explains that, "We can encounter 'pure chords' in a musical work", such as in the "Promenade" of Modest Mussorgsky 's Pictures at an Exhibition but, "often, we must go from

880-481: A chord name and the corresponding symbol are typically composed of one or more parts. In these genres, chord-playing musicians in the rhythm section (e.g., electric guitar , acoustic guitar , piano , Hammond organ , etc.) typically improvise the specific " voicing " of each chord from a song's chord progression by interpreting the written chord symbols appearing in the lead sheet or fake book . Normally, these chord symbols include: Chord qualities are related with

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960-454: A dyad with a perfect fifth has no third, so it does not sound major or minor; a composer who ends a section on a perfect fifth could subsequently add the missing third. Another example is a dyad outlining the tritone , such as the notes C and F# in C Major. This dyad could be heard as implying a D7 chord (resolving to G Major) or as implying a C diminished chord (resolving to Db Major). In unaccompanied duos for two instruments, such as flute duos,

1040-579: A large part in the sound of the chord, and sometimes of the selection of the chord that follows. A chord containing tritones is called tritonic ; one without tritones is atritonic . Harmonic tritones are an important part of dominant seventh chords , giving their sound a characteristic tension, and making the tritone interval likely to move in certain stereotypical ways to the following chord. Tritones are also present in diminished seventh and half-diminished chords . A chord containing semitones , whether appearing as minor seconds or major sevenths ,

1120-453: A minor chord, or using the major key, ii, iii and vi representing typical diatonic minor triads); other writers (e.g., Schoenberg ) use upper case Roman numerals for both major and minor triads. Some writers use upper-case Roman numerals to indicate the chord is diatonic in the major scale, and lower-case Roman numerals to indicate that the chord is diatonic in the minor scale. Diminished triads may be represented by lower-case Roman numerals with

1200-809: A resurgence in the Post-Romantic and Impressionistic period. The Romantic period , the 19th century, featured increased chromaticism . Composers began to use secondary dominants in the Baroque, and they became common in the Romantic period. Many contemporary popular Western genres continue to rely on simple diatonic harmony, though far from universally: notable exceptions include the music of film scores , which often use chromatic, atonal or post-tonal harmony, and modern jazz (especially c.  1960 ), in which chords may include up to seven notes (and occasionally more). When referring to chords that do not function as harmony, such as in atonal music,

1280-469: A sequence of notes separated by intervals of roughly the same size. Chords can be classified into different categories by this size: These terms can become ambiguous when dealing with non- diatonic scales , such as the pentatonic or chromatic scales . The use of accidentals can also complicate the terminology. For example, the chord B ♯ –E–A ♭ appears to be quartal, as a series of diminished fourths (B ♯ –E and E–A ♭ ), but it

1360-579: A short sustain , necessitating rapid strumming or plucking when it is used to play melodies. Balalaikas are often used for Russian folk music and dancing . The balalaika family of instruments includes instruments of various sizes, from the highest-pitched to the lowest: the piccolo balalaika, prima balalaika, secunda balalaika, alto balalaika, bass balalaika, and contrabass balalaika. There are balalaika orchestras which consist solely of different balalaikas; these ensembles typically play Classical music that has been arranged for balalaikas. The prima balalaika

1440-533: A textual given to a more abstract representation of the chords being used", as in Claude Debussy 's Première arabesque . In the medieval era, early Christian hymns featured organum (which used the simultaneous perfect intervals of a fourth, a fifth, and an octave ), with chord progressions and harmony - an incidental result of the emphasis on melodic lines during the medieval and then Renaissance (15th to 17th centuries). The Baroque period,

1520-419: A total of 16 frets, while in professional orchestra-like ones that number raises to 24. An important part of balalaika technique is the use of the left thumb to fret notes on the lower string, particularly on the prima, where it is used to form chords . Traditionally, the side of the index finger of the right hand is used to sound notes on the prima, while a plectrum is used on the larger sizes. Because of

1600-452: Is enharmonically equivalent to (and sonically indistinguishable from) the tertian chord C–E–G ♯ , which is a series of major thirds (C–E and E–G ♯ ). The notes of a chord form intervals with each of the other notes of the chord in combination. A 3-note chord has 3 of these harmonic intervals, a 4-note chord has 6, a 5-note chord has 10, a 6-note chord has 15. The absence, presence, and placement of certain key intervals plays

1680-539: Is a diminished fifth or an augmented fifth. In a pop or rock context, however, "C" and "Cm" would almost always be played as triads, with no sevenths. In pop and rock, in the relatively less common cases where songwriters wish a dominant seventh, major seventh, or minor seventh chord, they indicate this explicitly with the indications "C ", "C " or "Cm ". Within the diatonic scale , every chord has certain characteristics, which include: Two-note combinations, whether referred to as chords or intervals, are called dyads . In

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1760-550: Is a synthesis of historical musical instruments in Central Asia and pre-Turkish Anatolia . It is partly descended from the Turkic komuz . The kopuz , or komuz , differs from the bağlama in that it has a leather-covered body and two or three strings made of sheep gut, wolf gut, or horsehair. It is played with the fingers rather than a plectrum and has a fingerboard without frets. Bağlama literally translates as "something that

1840-452: Is called hemitonic ; one without semitones is anhemitonic . Harmonic semitones are an important part of major seventh chords , giving their sound a characteristic high tension, and making the harmonic semitone likely to move in certain stereotypical ways to the following chord. A chord containing major sevenths but no minor seconds is much less harsh in sound than one containing minor seconds as well. Other chords of interest might include

1920-441: Is often taken as the minimum number of notes that form a definite chord. Hence, Andrew Surmani , for example, states, "When three or more notes are sounded together, the combination is called a chord." George T. Jones agrees: "Two tones sounding together are usually termed an interval , while three or more tones are called a chord ." According to Monath, "a chord is a combination of three or more tones sounded simultaneously", and

2000-593: Is played in several regions in the world such as Europe, Asia, Black Sea , Caucasus regions and many countries including Syria , Iraq , Iran and Bosnia and Herzegovina . It is commonly used by the ashiks . Bağlama ( pronounced [baːɫaˈma] ) is derived from the Turkish word bağlamak meaning "to tie". Used notably in Azerbaijan, the alternative name, Saz ( Persian : ساز , romanized :  sāz ) means "musical instrument", derived from

2080-465: Is the most common; the piccolo is rare. There have also been descant and tenor balalaikas, but these are considered obsolete. All have three-sided bodies; spruce, evergreen, or fir tops; and backs made of three to nine wooden sections (usually maple). The prima, secunda, and alto balalaikas are played either with the fingers or a plectrum (pick), depending on the music being played, and the bass and contrabass (equipped with extension legs that rest on

2160-504: Is the prima, which is tuned E 4 –E 4 –A 4 (thus the two lower strings are tuned to the same pitch). Sometimes the balalaika is tuned "guitar style" by folk musicians to G 3 –B 3 –D 4 (mimicking the three highest strings of the Russian guitar ), whereby it is easier to play for Russian guitar players, although classically trained balalaika purists avoid this tuning. It can also be tuned to E 4 –A 4 –D 5 , like its cousin,

2240-409: Is tied up", probably a reference to the tied-on frets of the instrument. The word bağlama is first used in 18th-century texts. The French traveler Jean Benjamin de Laborde, who visited Turkey during that century, recorded that "the bağlama or tambura is in form exactly like the cogur, but smaller." The Çoğur/Çöğur was in many ways a transitional Instrument between old Komuz and new Bağlama style and has

2320-418: Is when G (G–B–D–F–A ♭ –C ♯ ) is formed from G major (G–B–D) and D ♭ major (D ♭ –F–A ♭ ). A nonchord tone is a dissonant or unstable tone that lies outside the chord currently heard, though often resolving to a chord tone. In the key of C major , the first degree of the scale, called the tonic , is the note C itself. A C major chord, the major triad built on

2400-464: The Triads, also called triadic chords , are tertian chords with three notes. The four basic triads are described below. Seventh chords are tertian chords, constructed by adding a fourth note to a triad, at the interval of a third above the fifth of the chord. This creates the interval of a seventh above the root of the chord, the next natural step in composing tertian chords. The seventh chord built on

2480-556: The Azerbaijani saz has been a mainstay of ashiqs , minstrels who combine poetry, storytelling, dance and vocal/instrumental music into a performance art that's considered one of the symbols of Azerbaijani cultural , literary and musical identity. Since 2009 the art of Azerbaijani Ashiqs has been inscribed on Unesco's Representative List of the Intangible Cultural Heritage of Humanity . The bağlama

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2560-748: The Ukrainian language , the word was first documented in the 18th century as "balabaika"; this form is also present in South Russian dialects and the Belarusian language, as well as in Siberian Russia . It made its way into literature in the 18th century, first appearing in "Elysei", a 1771 poem by V. Maykov. "Balalaika" also appears in Nikolai Gogol 's Dead Souls , written between 1837 and 1842. The most common solo instrument

2640-465: The domra , to make it easier for those trained on the domra to play the instrument, and still have a balalaika sound. The folk (pre-Andreev) tunings D 4 –F ♯ 4 –A 4 and C 4 –E 4 –G 4 were very popular, as this makes it easier to play certain riffs . Balalaikas have been made in the following sizes: Factory-made six-string prima balalaikas with three sets of double courses are also common. These have three double courses similar to

2720-418: The qualities of the component intervals that define the chord. The main chord qualities are: The symbols used for notating chords are: The table below lists common chord types, their symbols, and their components. The basic function of chord symbols is to eliminate the need to write out sheet music. The modern jazz player has extensive knowledge of the chordal functions and can mostly play music by reading

2800-414: The sap with fishing line, which allows them to be adjusted. The bağlama is usually played with a mızrap or tezene (similar to a guitar pick ) made from cherrywood bark or plastic. In some regions, it is played with the fingers in a style known as Şelpe or Şerpe . There are also electric bağlamas, which can be connected to an amplifier. These can have either single or double pickups. Traditionally

2880-506: The 17th and 18th centuries, began to feature the major and minor scale based tonal system and harmony, including chord progressions and circle progressions . It was in the Baroque period that the accompaniment of melodies with chords was developed, as in figured bass , and the familiar cadences (perfect authentic, etc.). In the Renaissance, certain dissonant sonorities that suggest the dominant seventh occurred with frequency. In

2960-747: The 20th century, interest in Russian folk instruments grew outside of Russia, likely as a result of western tours by Andreyev and other balalaika virtuosi early in the century. Significant balalaika associations are found in Washington, D.C., Los Angeles, New York, Atlanta and Seattle. Baglama The bağlama or saz is a family of plucked string instruments and long-necked lutes used in Ottoman classical music , Turkish folk music , Turkish Arabesque music , Azerbaijani music , Bosnian music ( Sevdalinka ), Kurdish music , and Armenian music . It

3040-513: The Baroque period, the dominant seventh proper was introduced and was in constant use in the Classical and Romantic periods . The leading-tone seventh appeared in the Baroque period and remains in use. Composers began to use nondominant seventh chords in the Baroque period. They became frequent in the Classical period, gave way to altered dominants in the Romantic period, and underwent

3120-453: The C major chord: Further, a four-note chord can be inverted to four different positions by the same method as triadic inversion. For example, a G chord can be in root position (G as bass note); first inversion (B as bass note); second inversion (D as bass note); or third inversion (F as bass note). Where guitar chords are concerned, the term "inversion" is used slightly differently; to refer to stock fingering "shapes". Many chords are

3200-531: The Middle-Eastern oud , bağlama has a deep round back, with a much longer neck. It can be played with a plectrum or with a fingerpicking style known as şelpe . In the music of Greece the name baglamas ( Greek : μπαγλαμάς ) is given to a treble bouzouki , a related instrument. The Turkish settlement of Anatolia from the late eleventh century onward saw the introduction of a two-string Iranian dutar that Turkmen people adopted which in turn

3280-465: The analysis. Roman numeral analysis indicates the root of the chord as a scale degree within a particular major key as follows. In the harmony of Western art music, a chord is in root position when the tonic note is the lowest in the chord (the bass note ), and the other notes are above it. When the lowest note is not the tonic, the chord is inverted . Chords that have many constituent notes can have many different inverted positions as shown below for

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3360-532: The balalaika evolved into a triangular instrument with a neck that was substantially shorter than that of its Asian counterparts. It was popular as a village instrument for centuries, particularly with the skomorokhs , sort of free-lance musical jesters whose tunes ridiculed the Tsar , the Russian Orthodox Church , and Russian society in general. In the 1880s, Vasily Vasilievich Andreyev , who

3440-605: The balalaika. In particular, Alexey Arkhipovsky is well known for his solo performances. In particular, he was invited to play at the opening ceremony of the second semi final of the Eurovision Song Contest 2009 in Moscow because the organizers wanted to give a "more Russian appearance" to the contest. See Category: Russian balalaika players (English Misplaced Pages) and a larger one in Russian Through

3520-456: The bağlama, with strings double or tripled. These string groups can be tuned in a variety of ways, known as düzen (literally, "order"). For the bağlama düzeni , the most common tuning, the courses are tuned from top downward, A-G-D. Some other düzen s are Kara Düzen (C-G-D), Misket Düzeni (A-D-F#), Müstezat (A-D-F), Abdal Düzeni , and Rast Düzeni . The musical scale of the bağlama differs from that of many western instruments – such as

3600-465: The chord are always determined by the symbols shown above. The root cannot be so altered without changing the name of the chord, while the third cannot be altered without altering the chord's quality. Nevertheless, the fifth, ninth, eleventh and thirteenth may all be chromatically altered by accidentals. These are noted alongside the altered element. Accidentals are most often used with dominant seventh chords. Altered dominant seventh chords (C ) may have

3680-512: The chord symbols only. Advanced chords are common especially in modern jazz. Altered 9ths, 11ths and 5ths are not common in pop music. In jazz, a chord chart is used by comping musicians ( jazz guitar , jazz piano , Hammond organ ) to improvise a chordal accompaniment and to play improvised solos. Jazz bass players improvise a bassline from a chord chart. Chord charts are used by horn players and other solo instruments to guide their solo improvisations. Interpretation of chord symbols depends on

3760-408: The context of a specific section in a piece of music, dyads can be heard as chords if they contain the most important notes of a certain chord. For example, in a piece in C Major, after a section of tonic C Major chords, a dyad containing the notes B and D sounds to most listeners as a first inversion G Major chord. Other dyads are more ambiguous, an aspect that composers can use creatively. For example,

3840-421: The cura is the tambura, tuned an octave lower. The Divan sazı, the largest instrument in the family, is tuned one octave lower still. A bağlama has three main parts, the bowl (called tekne ), made from mulberry wood or juniper , beech , spruce or walnut , the spruce sound board ( göğüs ) and a neck of beech or juniper ( sap ). The tuning pegs are known as burgu (literally screw ). Frets are tied to

3920-406: The distances between the tones are called intervals. However, sonorities of two pitches, or even single-note melodies, are commonly heard as implying chords. A simple example of two notes being interpreted as a chord is when the root and third are played but the fifth is omitted. In the key of C major, if the music stops on the two notes G and B, most listeners hear this as a G major chord. Since

4000-415: The dombra and the balalaika. Early representations of the balalaika show it with anywhere from two to six strings. Similarly, frets on earlier balalaikas were made of animal gut and tied to the neck so that they could be moved around by the player at will (as is the case with the modern saz , which allows for the playing distinctive to Turkish and Central Asian music). The first known document mentioning

4080-552: The establishment of the Soviet system and the entrenchment of a proletarian cultural direction, the culture of the working classes (which included that of village labourers) was actively supported by the Soviet establishment. The concept of the balalaika orchestra was adopted wholeheartedly by the Soviet government as something distinctively proletarian (that is, from the working classes) and was also deemed progressive. Significant amounts of energy and time were devoted to support and foster

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4160-541: The fifth step of the scale (the dominant seventh) is the only dominant seventh chord available in the major scale: it contains all three notes of the diminished triad of the seventh and is frequently used as a stronger substitute for it. There are various types of seventh chords depending on the quality of both the chord and the seventh added. In chord notation the chord type is sometimes superscripted and sometimes not (e.g., Dm7, Dm , and D are all identical). Extended chords are triads with further tertian notes added beyond

4240-618: The floor) are played with leather plectra. The rare piccolo instrument is usually played with a pick. The earliest mention of the term balalaika dates back to a 1688 arrest document. Another appearance of the word is found in a claim dated October 1700 in what is now the Verkhotursky district of Russia. Peter the Great requested balalaika performers to play at the wedding celebrations of N.M. Zotov in Saint Petersburg . In

4320-686: The formal study of the balalaika, from which highly skilled ensemble groups such as the Osipov State Russian Folk Orchestra emerged. Balalaika virtuosi such as Boris Feoktistov and Pavel Necheporenko became stars both inside and outside the Soviet Union. The movement was so powerful that even the renowned Red Army Choir , which initially used a normal symphonic orchestra, changed its instrumentation, replacing violins, violas , and violoncellos with orchestral balalaikas and domras . Often musicians perform solo on

4400-433: The genre of music being played. In jazz from the bebop era or later, major and minor chords are typically realized as seventh chords even if only "C" or "Cm" appear in the chart. In jazz charts, seventh chords are often realized with upper extensions , such as the ninth, sharp eleventh, and thirteenth, even if the chart only indicates "A ". In jazz, the root and fifth are often omitted from chord voicings , except when there

4480-424: The guitar – in that it features ratios that are close to quarter tones . The traditional ratios for bağlama frets are listed by Yalçın Tura: However, as confirmed by Okan Öztürk, instrument makers now often set frets on the bağlama with the aid of fret calculators and tuners based on the 24-tone equal temperament. Chord (music) In tonal Western classical music (music with a tonic key or "home key"),

4560-586: The instrument dates back to 1688. A guard's logbook from the Moscow Kremlin records that two commoners were stopped from playing the Balalaika whilst drunk. Further documents from 1700 and 1714 also mention the instrument. In the early 18th century the term appeared in Ukrainian documents, where it sounded like "Balabaika". Balalaika appeared in "Elysei", a 1771 poem by V. Maikov. In the 19th century,

4640-846: The instrument is descended from the domra , an instrument from the East Slavs . In the Caucasus , similar instruments such as the Mongolian topshur , used in Kalmykia , and the Panduri used in Georgia are played. It is also similar to the Kazakh dombra , which has two strings. Variants of the dombra played by the Bashkirs often have 3 strings and may represent an instrument related to both

4720-533: The large size of the contrabass's strings, it is not uncommon to see players using a plectrum made from a leather shoe or boot heel . Bass and contrabass balalaikas rest on the ground, on a wooden or metal pin that is drilled into one of its corners. It is possible that the emergence and evolution of the balalaika was a product of interaction with Asian-Oriental cultures. In addition to European culture, early Russian states, also called Rus' or Rusi , were also influenced by Oriental-Asian cultures. Some theories say that

4800-407: The most frequently encountered chords are triads , so called because they consist of three distinct notes: the root note, and intervals of a third and a fifth above the root note. Chords with more than three notes include added tone chords , extended chords and tone clusters , which are used in contemporary classical music , jazz and almost any other genre. A series of chords is called

4880-457: The music publisher. Such a part, with fully written-out chords, is called a "realization" of the figured bass part. Chord letters are used by musicologists , music theorists and advanced university music students to analyze songs and pieces. Chord letters use upper-case and lower-case letters to indicate the roots of chords, followed by symbols that specify the chord quality. In most genres of popular music, including jazz , pop , and rock ,

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4960-581: The note C (C–E–G), is referred to as the one chord of that key and notated in Roman numerals as I. The same C major chord can be found in other scales: it forms chord III in the key of A minor (A→B→C) and chord IV in the key of G major (G→A→B→C). This numbering indicates the chords's function . Many analysts use lower-case Roman numerals to indicate minor triads and upper-case numerals for major triads, and degree and plus signs ( and ) to indicate diminished and augmented triads respectively. Otherwise, all

5040-415: The note is indicated with a Roman numeral (e.g., on a four-string orchestral string instrument, I indicates the highest-pitched, thinnest string and IV indicates the lowest-pitched, thickest bass string). In some orchestral parts, chamber music and solo works for string instruments, the composer tells the performer which string to use with the Roman numeral. Alternately, the composer starts the note name with

5120-515: The numerals may be upper-case and the qualities of the chords inferred from the scale degree. Chords outside the scale can be indicated by placing a flat/sharp sign before the chord—for example, the chord E ♭ major in the key of C major is represented by ♭ III. The tonic of the scale may be indicated to the left (e.g., "F ♯ :") or may be understood from a key signature or other contextual clues. Indications of inversions or added tones may be omitted if they are not relevant to

5200-496: The only combinations of notes that are possible are dyads, which means that all of the chord progressions must be implied through dyads, as well as with arpeggios. Chords constructed of three notes of some underlying scale are described as triads . Chords of four notes are known as tetrads , those containing five are called pentads and those using six are hexads . Sometimes the terms trichord , tetrachord , pentachord , and hexachord are used—though these more usually refer to

5280-447: The parallel parts of flutes, horn and celesta, being tuned as a chord, resemble the sound of an electric organ. Chords can be represented in various ways. The most common notation systems are: While scale degrees are typically represented in musical analysis or musicology articles with Arabic numerals (e.g., 1, 2, 3, ..., sometimes with a circumflex above the numeral: [REDACTED] , [REDACTED] , [REDACTED] , ...),

5360-474: The pitch classes of any scale, not generally played simultaneously. Chords that may contain more than three notes include pedal point chords, dominant seventh chords, extended chords, added tone chords, clusters , and polychords. Polychords are formed by two or more chords superimposed. Often these may be analysed as extended chords; examples include tertian , altered chord , secundal chord , quartal and quintal harmony and Tristan chord . Another example

5440-402: The principles of connection that govern them. Ottó Károlyi writes that, "Two or more notes sounded simultaneously are known as a chord," though, since instances of any given note in different octaves may be taken as the same note, it is more precise for the purposes of analysis to speak of distinct pitch classes . Furthermore, as three notes are needed to define any common chord , three

5520-418: The scale are present in the chord, so adding more notes does not add new pitch classes. Such chords may be constructed only by using notes that lie outside the diatonic seven-note scale. Other extended chords follow similar rules, so that for example maj , maj , and maj contain major seventh chords rather than dominant seventh chords, while m , m , and m contain minor seventh chords. The third and seventh of

5600-439: The seventh: the ninth , eleventh , and thirteenth chords. For example, a minor eleventh chord such as A consists of the notes A–C–E–G–B–D: The upper structure or extensions, i.e., notes beyond the seventh, are shown here in red. This chord is just a theoretical illustration of this chord. In practice, a jazz pianist or jazz guitarist would not normally play the chord all in thirds as illustrated. Jazz voicings typically use

5680-423: The staff indicate the intervals above the bass note to play; that is, the numbers stand for the number of scale steps above the written note to play the figured notes. For example, in the figured bass below, the bass note is a C, and the numbers 4 and 6 indicate that notes a fourth and a sixth above (F and A) should be played, giving the second inversion of the F major triad . If no numbers are written beneath

5760-501: The string to use—e.g., "sul G" means "play on the G string". Figured bass or thoroughbass is a kind of musical notation used in almost all Baroque music ( c. 1600–1750), though rarely in music from later than 1750, to indicate harmonies in relation to a conventionally written bass line . Figured bass is closely associated with chord-playing basso continuo accompaniment instruments, which include harpsichord , pipe organ and lute . Added numbers, symbols, and accidentals beneath

5840-501: The stringing of the mandolin and often use a "guitar" tuning. Four-string alto balalaikas are also encountered and are used in the orchestra of the Piatnistky Folk Choir . The piccolo, prima, and secunda balalaikas were originally strung with gut with the thinnest melody string made of stainless steel. Today, nylon strings are commonly used in place of gut. Amateur and/or souvenir-style prima balalaikas usually have

5920-505: The term "sonority" is often used specifically to avoid any tonal implications of the word "chord" . Chords are also used for timbre effects. In organ registers, certain chords are activated by a single key so that playing a melody results in parallel voice leading. These voices, losing independence, are fused into one with a new timbre. The same effect is also used in synthesizers and orchestral arrangements; for instance, in Ravel ’s Bolero #5

6000-422: The third, seventh, and then the extensions such as the ninth and thirteenth, and in some cases the eleventh. The root is often omitted from chord voicings, as the bass player will play the root. The fifth is often omitted if it is a perfect fifth. Augmented and diminished fifths are normally included in voicings. After the thirteenth, any notes added in thirds duplicate notes elsewhere in the chord; all seven notes of

6080-415: The triads (three-note chords) that have these degrees as their roots are often identified by Roman numerals (e.g., I, IV, V, which in the key of C major would be the triads C major, F major, G major). In some conventions (as in this and related articles) upper-case Roman numerals indicate major triads (e.g., I, IV, V) while lower-case Roman numerals indicate minor triads (e.g., I for a major chord and i for

6160-411: The tunings now found in modern instruments. One of the reasons why the instruments were not standardised, was because people in the outlying areas built their own instruments because there was so little communication for them. There were no roads and weather conditions were generally bad. Andreyev patented the design and arranged numerous traditional Russian folk melodies for the orchestra. He also composed

6240-494: The çöğür was first made in the city of Kütahya in western Turkey. To take the strain of the metal strings the leather body was replaced with wood, the fingerboard was lengthened and frets were introduced. Instead of five hair strings there were now twelve metal strings arranged in four groups of three. Today, the çöğür is smaller than a medium-size bağlama. Çöğür is also used to refer medium sized short necked bağlama (kısa sap bağlama). There are three string groups, or courses , on

6320-467: Was played in some areas of Turkey until recent times. The most commonly used string folk instrument in Turkey , the bağlama has seven strings divided into courses of two, two and three. It can be tuned in various ways and takes different names according to region and size: Bağlama, Divan Sazı, Bozuk, Çöğür, Kopuz Irızva, Cura, Tambura, etc. The cura is the smallest member of the bağlama family: larger than

6400-413: Was then a professional violinist in the music salons of St Petersburg, developed what became the standardized balalaika, with the assistance of violin maker V. Ivanov. The instrument began to be used in his concert performances. A few years later, St. Petersburg craftsman Paserbsky further refined the instruments by adding a fully chromatic set of frets and also a number of balalaikas in orchestral sizes with

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