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=====Chord structure=====
The next superordinate level of pitch organization is the [[chord (music)|chord]] structure which means that three scale tones with a distance of two scale steps each are played simultaneously and are therefore combined into chords. When building up chords on the basis of a musical scale there are three different kinds of chords resulting, namely “major”(e.g. C-E-G), “minor” (e.g. D-F-A) and “diminished” (e.g. B-D-F) triads. This is due to the asymmetric intervals between the scale tones. These asymmetric intervals effect, that a distance of two scale steps can comprise either three or four semitones and therefore be an interval of a minor (with three semitones) or a major (with four semitones) third. A [[major triad]] consists of a major third followed by a minor third and is built on scale degrees 1, 3 and 5 (or 4, 6 and 1, for the subdominant, and 5, 7 and 2, for the dominant, the other two major triads that can be formed from the major scale). A [[minor triad]] consists of a minor third followed by a major third and is built on scale degrees 2, 4 and 6 (or 3, 5 and 7, for the mediant, and 6, 1 and 4, for the submediant). Only on scale degree 7 the triad consists of
Chordal syntax touches mainly four basic aspects. The first is, that the lowest [[note]] in each triad functions as a fundament of the chord and therefore as the structural most important pitch. The chord is named after this note as well as the chord's harmonic label is grounded on it. The second aspect is, that chord syntax provides norms for altering chords by additional tones. One example is the addition of a fourth tone to a triad, which is the seventh tone of the scale (e.g. in a C-major scale the addition of F to the triad G-B-D would lead to a so called "[[dominant seventh chord]]"). Concerning norms for the progression of chords in time the third aspect focuses on the relationship between chords. The patterning of chords in a [[cadence (music)|cadence]] for example indicates a movement from a V chord to a I chord. The fact that the I chord is perceived as a resting point in a musical phrase implicates, that the single chords built up on notes of a scale are not equal in there stability but show the same differences in stability as the notes of the scale do. This describes the fourth basic aspect of chordal syntax. The tonic chord (the one built on the tonic, C-E-G in C-major, for example) is the most stable and central chord, followed by the dominant chord (built on the 5th scale degree) and the subdominant chord (built on the 4th scale degree).
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