Added tone chord
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An added tone chord is a triadic chord with an extra "added" note, such as the added sixth (
Play (help·info)). This includes chords with an added thirteenth and farther "extensions", but that do not include the intervening thirds as in an extended chord. The concept of added tones is further convenient in that all notes may be related to familiar chords [1].
An added sixth chord ends songs including Nirvana's "Smells Like Teen Spirit", Hank Williams' "Hey, Good Lookin'", Carl Perkins' "Movie Magg" and "Blue Suede Shoes", Ronnie Hawkins' "Red Hot", Chuck Berry's "Rock and Roll Music", Scotty Moore's accompaniment in Elvis Presley's "That's All Right (Mama)", and the Beatles' "She Loves You" and "Ballad of John and Yoko."[citation needed]
The thirds in a mixed third chord, also split-third chord[2], a chord which includes as its third both the major and minor third (for a chord on C: C E♭ E(♮) G), are usually separated by an octave or more [3]. While a minor chord placed over a major chord of the same root (creating a tension of ♯9) is somewhat common, a major chord placed over a minor chord of the same root (creating a tension of ♭11) is generally a taboo and can be rarely used in very specific context, such as for programmatic or humorous purposes[citation needed].
Play chord on left (help·info)[2] Play chord on right (help·info)An example of an added tone chord may be found in Igor Stravinsky's Symphony of Psalms (see Marquis 1964) while an added tone (G) chord with mixed thirds, a major third and minor third, by William Schuman (ibid).
An added tone, such as that added a perfect fourth below the root, may suggest polytonality (ibid) and 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 [1]. For instance a minor chord that includes a major second interval while still retaining its minor third holds a great deal more dramatic tension due to the very close intervals of the major 2nd and minor 3rd. An A major chord with an added major second sounds very distinct from its basic triad counterpart.
[edit] See also
[edit] Sources
- ^ a b Jones, George (1994). HarperCollins College Outline Music Theory, p.50. ISBN 0064671682.
- ^ a b Kostka & Payne (1995). Tonal Harmony, p.494. Third Edition. ISBN 0070358745.
- ^ Marquis, G. Welton (1964). Twentieth Century Music Idioms. Englewood Cliffs, New Jersey: Prentice-Hall, Inc.
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