I believe that is called a chord. Yes, a chord is the straight line segment that crosses a circle, from one side of the circle to the other. The biggest possible chord is the diameter. The curved part of the circle, cut off by the chord [or chords], is the arc or the angle.
The longest chord of a circle is its diameter
the chord is 4in long
yes
. . the chord.
Syncopation
Reggae style (off beat - each chord is 4 counts - strum on 2 and 4)
A suspended chord is a normal chord, but from there you move the middle finger up half a note. This often sounds slightly off. But many songs have a few.
Yes, Chord has been on shows such as iCarly, No Ordinary Family, and Private.
Parallel chords are A sequence of chords consisting of intervals that do not change as the chord moves. For example the chord of C (C,E,G) would be parallel to a following chord ofF (F,A,C)
I believe that is called a chord. Yes, a chord is the straight line segment that crosses a circle, from one side of the circle to the other. The biggest possible chord is the diameter. The curved part of the circle, cut off by the chord [or chords], is the arc or the angle.
Well, a diameter in a circle is a line that is symmetrical and runs through the center. A chord DOES NOT run through the center of any cirlcle. So, in all usual senses NO. A chord always sections off a "corner" of a circle. my opinion is no because a chord always sections of a circle.
Name a chord congruent to chord ZT.
an off beat rhythm is a jangling vibration.
It fells off about 10 days -14 days after the baby's birth.
Prelude No.20 in C minor Op.28 by Chopin - Harmonic AnalysisBar 1· Key-defining progression of i-iv-V-i· Tonic chords are pure· Subdominant and dominant are 7ths· The Eb transfers from I to IV and continues into the start of V as an augmented triad / as a kind of suspension also· Momentary augmented triad on the third beat of the first bar· The F as part of the chord V7 continues a dissonant soundBar 2The Neapolitan chord here is heard as chord IV of VI· Melody is sequenced on the submediant (6th) level· Harmony moves away from C and into Ab major. The whole bar could be thought of as I-IV-V7-I in Ab major· Bar 2, chord 3 is Eb7· C in chord 3 is a passing tone· Db in the second bar is considered a normal passing tone if under the Ab major tonalityBar 3· Focus is in C minor again· Bar 3, chord 1 is G7· Second chord is not c but C7 or V7/iv· Bar 3, chord 3 has an appoggiaturaBar 4· Drive is toward chord V, a half cadence that ends the entire 4-bar spanBar 5· The melody is on top and the harmonies are subtle unless bringing out a dissonance· This line starts by quoting the opening motive, as if the true melodic line has been shifted to this position· Bar 5, chord I is i minor· Bar 5, chord 2 is VI· Beat 3 presents two sonorities which distort the G chord rather than functioning as triads· Beat 3 aims at V with the Ab as a suspended note, and then a balancing lower half step is sounded through F#· Beat 4 has the arrival of G but with v in its minor form (passing chord)Bar 6· Bar 6, beat 2 is a very colourful French 6th on Ab· Bar 6, beat 3 where the goal for the bass motion is V and lingers here onto beat 4· Bar 6, beat 4 is V7Bar 7· The opening progression is very subtly included hereBar 8The Neapolitan chord here is heard clearly as N (root position)· Beat 1, chord 1 is VI is used to precede the Neapolitan chord· The Ab and Db chords quote bar 2· Beats 3 and 4 create a N-V7-i cadence· D natural is used in place of Db. The end of the piece puts a D natural in place of Db for a proper arrival back to C minorBars 9 -12· This is an echo phrase with the same materialBar 13· Punctuating final chord is a simple coda
It is the C6 chord.