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69-583: The origins of the Mannheim school go back to the court of the Elector Charles III Philip , who moved from Heidelberg to Mannheim in 1720, already employing an orchestra larger than those of any of the surrounding courts. The orchestra grew even further in the following decades and came to include some of the best virtuosi of the time. Under the guidance of Kapellmeister Carlo Grua , the court hired such talents as Johann Stamitz , who

138-478: 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

207-414: 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

276-463: 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

345-401: 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

414-481: 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

483-764: A crescendo); the Mannheim Roller (an extended crescendo passage typically having a rising melodic line over an ostinato bass line); the Mannheim Sigh (a mannered treatment of the Baroque practice of putting more weight on the first of two notes in descending pairs of slurred notes); the Mannheim Birds (imitation of birds chirping in solo passages); the Mannheim Climax (a high-energy section of music where all instruments drop out except for

552-454: 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,

621-579: 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 ,

690-710: A later division of territory among the heirs of Duke Louis II of Upper Bavaria in 1294, the elder branch of the Wittelsbachs came into possession of both the Rhenish Palatinate and the territories in Bavaria north of the Danube river (the Nordgau ) centred around the town of Amberg . As this region was politically connected to the Rhenish Palatinate, the name Upper Palatinate ( Oberpfalz ) became common from

759-453: 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

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828-809: 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,

897-507: A root note, a third, and a fifth. Chords are the building blocks of harmony and form the harmonic foundation of a piece of music. They can be major, minor, diminished, augmented, or extended, depending on the intervals between the notes and their arrangement. Chords provide the harmonic support and coloration that accompany melodies and contribute to the overall sound and mood of a musical composition. For many practical and theoretical purposes, arpeggios and other types of broken chords (in which

966-469: 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

1035-533: 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,

1104-452: 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

1173-539: 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

1242-452: 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

1311-402: Is called 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

1380-449: Is generally considered to be the founder of the Mannheim school, in 1741/42, and he became its director in 1750. The most notable of the revolutionary techniques of the Mannheim orchestra were its more independent treatment of the wind instruments, and its famous whole-orchestra crescendo . Contemporary musicians mentioned the high level of the orchestra, among them, Leopold Mozart in 1763, and W. A. Mozart in his letters in 1777/78, and

1449-441: 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

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1518-418: 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

1587-464: 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

1656-645: The Rhine and southern Germany. From that time forth, the Count Palatine of the Rhine was usually known as the Elector Palatine ( Kurfürst von der Pfalz ). The position of prince-elector had existed earlier (for example, when two rival kings of Germany were elected in 1257: Richard of Cornwall and Alfonso X of Castile ), though it is difficult to determine exactly the earliest date of the office. By

1725-829: The Saarbrücken . This explains the composition of the inheritance that comprised the Upper and Rhenish Palatinate in the following centuries. In 1195, the Palatinate passed to the House of Welf through the marriage of Agnes , heir to the Staufen count. On the marriage of the Welf heiress Agnes in the early 13th century, the territory passed to the Wittelsbach dukes of Bavaria , who were also counts palatine of Bavaria . During

1794-589: The chord tones are not sounded simultaneously) may also be considered as chords in the right musical context. In tonal Western classical music (music with a tonic key or "home key"), 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

1863-477: The menuet as its third movement, which was originally one of the Baroque suite 's movements. The Mannheim school played an important role in the development of the sonata form , which is generally the form of the classical symphony's first movement. In their orchestration practice, the clarinet appears both as part of the woodwind section and as a solo instrument. Elector Palatine This article lists counts palatine of Lotharingia , counts palatine of

1932-418: 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

2001-651: The resolution of 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 ,

2070-506: 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

2139-513: 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

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2208-453: 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

2277-523: The English music historian Charles Burney . The role of the Mannheim school's composers in the evolution of the classical symphony is thus significant, although most scholars now agree that these changes occurred nearly simultaneously at various other centers, e.g. in Berlin and Vienna. Their influence on the evolution of the classical music period is due to the reputation of the ensemble at one hand, and on

2346-557: The Mannheim school is evident in these symphonies. Composers of the Mannheim school introduced a number of novel ideas into the orchestral music of their day: sudden crescendos – the Mannheim Crescendo (a crescendo developed via the whole orchestra) – and diminuendos ; crescendos with piano releases; the Mannheim Rocket (a swiftly ascending passage typically having a rising arpeggiated melodic line together with

2415-590: The Rhine , and electors of the Palatinate ( German : Kurfürst von der Pfalz ), the titles of three counts palatine who ruled some part of the Rhine region in the Kingdom of Germany and the Holy Roman Empire between 915 to 1803. From 1261 (formally 1356), the title holder was a member of the small group of prince-electors who elected the emperor of the Holy Roman Empire . Since then,

2484-465: 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

2553-465: 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

2622-512: 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

2691-408: 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,

2760-637: The directors of the orchestra after the death of J. Stamitz, was also a good friend of Wolfgang Amadeus Mozart from the latter's visit to Mannheim in 1777 onwards.) Johann Stamitz visited Paris, and the Mannheim school had an influence on the Concert Spirituel Sacred Concert since 1754. When Joseph Legros took over the Parisian concert series Concert Spirituel, the relationship with the Mannheim School flourished and

2829-406: 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

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2898-793: The early 16th century, owing to the practice of dividing territories among different branches of the family, junior lines of the Palatine Wittelsbachs came to rule in Simmern , Kaiserslautern and Zweibrücken in the Lower Palatinate, and in Neuburg and Sulzbach in the Upper Palatinate. The Elector Palatine, now based in Heidelberg , adopted Lutheranism in the 1530s and Calvinism in the 1550s. Following

2967-527: The early 16th century, to contrast with the Lower Palatinate along the Rhine. The Golden Bull of 1356 , in circumvention of inner-Wittelsbach contracts and thus bypassing Bavaria , recognized the Palatinate as one of the secular electorates . The count was given the hereditary offices of Archsteward ( Erztruchseß ) of the Empire and Imperial Vicar ( Reichsverweser ) of Franconia , Swabia ,

3036-541: 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

3105-433: 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

3174-654: The governments in Munich for generations and later approved the merger in a plebiscite. The present head of the House of Wittelsbach , Franz, Duke of Bavaria (born 1933), is still traditionally styled as His Royal Highness the Duke of Bavaria , Duke of Franconia and in Swabia , Count Palatine of the Rhine . Chord (music) In music , a chord is a group of three or more notes played simultaneously, typically consisting of

3243-519: The great restorations of 1815, the Lower Palatinate (albeit without any prince-elector role) was restored as one of eight Bavarian Districts. After World War II the American Military Government of Germany took the Lower Palatinate from Bavaria and merged it with neighbouring territories to form a new state called Rhineland-Palatinate (German: Rheinland-Pfalz ) with Mainz as the state capital. The people had felt neglected by

3312-859: The music of Haydn became extremely popular in Paris. Prominent concerts in Paris during the 1770s were the Concert de la Loge Olympique (Concert of the Olympic Lodge) and the Concert des Amateurs (Concert for the Fans) which may have been part of the Concert Spirituel. Claude-François-Marie Rigoley (the Comte d'Ogny) commissioned Joseph Haydn's six " Paris Symphonies ", Nr. 82–87, for performance by Concert de la Loge Olympique. Chevalier de Saint-Georges conducted their world premiere. The influence of

3381-457: 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 ,

3450-581: 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

3519-415: 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

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3588-515: 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

3657-496: 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

3726-439: The other hand to the fact that the compositions of the Mannheim school's composers were published in Paris and London. Members of the Mannheim school included Johann Stamitz, Franz Xaver Richter , Ignaz Holzbauer , Carl Stamitz , Franz Ignaz Beck , Ignaz Fränzl , and Christian Cannabich , and it had a very direct influence on many major symphonists of the time, including Joseph Haydn and Leopold Hofmann . (Cannabich, one of

3795-447: 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] , ...),

3864-474: 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

3933-402: 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

4002-418: 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

4071-439: 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

4140-423: 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

4209-488: The start of Eine kleine Nachtmusik , and the very start of Beethoven 's Piano Sonata No. 1 in F ;minor, Op. 2, No. 1 . Members of the Mannheim school abandoned quickly the praxis of the basso continuo in their compositions, which was almost universal in the Baroque era, and they used the minimum of contrapuntal elaboration. One of their chief innovations is the four-movement symphony form, introducing

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4278-501: 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

4347-482: The strings, usually preceded by a Mannheim Crescendo ); and the Grand Pause where the playing stops for a moment, resulting in total silence, only to restart vigorously. The Mannheim Rocket can be a rapidly ascending broken chord from the lowest range of the bass line to the very top of the soprano line. Its influence can be found at the beginning of the fourth movement of Mozart's Symphony No. 40 and

4416-505: 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

4485-422: 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

4554-568: The title has also referred to as " Elector Palatine ". The Palatinate emerged from the County Palatine of Lotharingia which came into existence in the 10th century. During the 11th century, the Palatinate was dominated by the Ezzonian dynasty, which governed several counties on both banks of the Rhine. These territories were centered around Cologne - Bonn , but extended south to the rivers Moselle and Nahe . The southernmost point

4623-415: 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

4692-470: Was near Alzey . From c. 1085, after the death of the last Ezzonian count palatine, Herman II of Lotharingia , the Palatinate lost its military importance in Lotharingia. The territorial authority of the count palatine was reduced to his counties along the Rhine, henceforth called the County Palatine of the Rhine . The first hereditary count palatine of the Rhine was Conrad of Hohenstaufen , who

4761-665: Was the younger brother of Emperor Frederick Barbarossa . The territories attached to this hereditary office began with those held by the Hohenstaufens in Franconia and Rhineland. (Other branches of the Hohenstaufen dynasty received territories including lands in Swabia and Franche-Comté ). Part of this land derived from their imperial ancestors, the Salian Emperors , and part from Conrad's maternal ancestors,

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