chiro gymnast

from Grk. (ki-ro-jim'-nast) Eng. n. Finger-trainer: a square board to Chladni's figures (khlat'-ne) which is attached a cro bar to which Experiments in electric figures made rings are attached by a set of springs. by Chladni, a scientist, born at Wit- It is used to exercise the fingers of tenburg in 1756. These experiments, piano and organ players. which he carried on chiefly by means chiro plast (kl'-ro-plast) Eng. n. from of a plate of rosin covered with sand, Grk. are discu ed in his books, Discov- An apparatus, invented by Logier eries concerning the Theory of about 181(1. to i^»" +i" ^ c and A Treatise on Acoustics. 121 102 choeur chord choeur (kur) Fr. n. by the choir. A hymn or psalm tune Choir, chorus: the choir, or band of of the early German Protestant singers, the chorus of singers. Church or one in imitation of them. choice note 2. adj. Of or pertaining to a church A note written above or below the service or chorus. regular note in a vocal solo, which choral anthem the singer may take in preference to A simple anthem in rhythmic style the regular note if he choose. similar to a chorale, or hymn tune, of choir the German Protestant church, 1. That part of a church east of the choral book nave in which the services are cele- A collection of choral music either brated. with or without regularly written ac- 2. The body of singers in a church comp an i ment. taken collectively. choral hymn 3. A sub-division of singers, who A hymn to be sung by the chorus. sing the same part in a composition. choral service 4. In the Anglican church those off i- Service in which the priest sings in cials whose duty it is to perform the response to the choir and the entire daily choral service. liturgy is chanted instead of read. 5. A choral society. Abbr. ch. Choral bear be i tung choir, grand toongk) Ger. n. (ko-ral'-be-ar'-bl- In organ playing the united sound- A choral treatment: a composition ing of all the reed stops. in a simple and rhythmical style. choir master Choralbuch A chorister for choir leader: one A collection(ko-ral'-bookh) of church Ger. n. a music: who trains and leads the choir. Abbr. choral-book. choirm. Chorale (ko-ra'-le) Ger. n. plu. choir organ Hymn tunes. A rhythmic sacred In large organs the third principal choral music introduced by Luther at section of the instrument. It is le the time of the reformation of the powerful than the great organ, and German Protestant church. contains stops especially suited for choralist accompanying the choir. Abbr. c. o. A chorister who sings in a choir. choir, trombone choraliter (ko-ral'-i-ter) Ger. adj. Among the Moravians a band of choral mas sig (ko-ral'-mas-sig) Ger. adj. trombone players whose duty it is, In the rhythmic or measured style by playing in the belfry of the church, of a choral or psalm tune. to announce the death of one of its Choramt (kor'-amt) members and to a ist at the funeral Cathedral service. Ger. n. services. They also play on festal choraules (ko-raw'-lez) Grk. n. occasions and at the opening of the A flute player in the Greek theatre. church service. chord Chor (kor) Ger. n. In its general signification this Chorus, choir. term refers to the harmony of two or 1. On piano two or three strings more tones having different pitches for one tone sounded in unison. and sounded simultaneously. More 2. A combination of instruments of strictly, in a technical sense, it means the same family but of different pitch. the combination of from three to five 3. In the organ several of the pipes different tones, built up one upon an composing a so-called mixture stop other, the lowest one being called the are grouped together so that they are root, and the others ascending at the sounded by one key, producing tones rate of diatonic thirds, i. e., thirds as of various pitch. they occur in the diatonic scale, unalchoragus (ko-ra'-gus) Eng. n. from tered by sharps, flats or naturals. Lat. According as it contains three, four The man who had the care of the or five tones a chord is designated chorus and the supplies nece ary for triad, chord of the seventh (since the it. In ancient Greek and Roman fourth tone is a seventh above the drama the leader and trainer of the chorus. Also spelled choregus. root), or chord of the ninth. Chords choral of the six and seven tones, called chords of the eleventh and thirteenth, 1. noun. In the Roman Catholic Church any part of the service sung are not recognized by many authorities because they are di onant. 122 103 chord chord Chords may be built on any degree third and an augmented fifth; a small of the scale. A chord having the cipher (VII0), a diminished triad, one first note of the scale as a root is with a minor third and diminished called the tonic chord; one built on fifth. A seven (I7) indicates a chord the second degree, the super-tonic of the seventh. chord; on the third degree, the med i- If the root, or tone upon which the ant chord; on the fourth degree, the chord is built, is the lowest tone in it, sub-dominant chord; on the fifth dethe chord is said to be in fundamental gree, the dominant chord; on the position; otherwise it is inverted. sixth degree, the sub-mediant chord; Every triad has two inversions; each on the seventh degree, the sub-tonic chord of the seventh, three; the chord. In theory these chords are chords of the ninth, four; each note represented as follows: of the chord being the lowest note. Triads in Major (a)(b)(c)(d)(e) (f)(g) (h)(1) li iNfffi CI u iii IV V vj vii° Triads in Minor 5fa In the first inversion of a triad the third is the lowest note, the root appearing a sixth above it, as in (a); hence in this position the triad is i ii° if iv V VI vii° called the chord of the sixth. The Chords of the Seventh in Major second inversion of the triad, in which nun! i: the fifth is the ba , is called the 7. 7 7 7 7 chord of the fourth and sixth (b). The first inversion of a seventh chord, the third being the ba , is known as the chord of the fifth and sixth (c); C I7 ii7 iii7 tV7 V7 vi7 vii^ the second inversion, by which the Chords of the Seventh In Minor fifth becomes the ba , is called the chord of the third, fourth, and sixth 7 5b 7 7 3b. " (d); the third inversion, with the seventh as the ba , is called the j.^'n t*n^ chord of the second, or of the second, fourth and sixth (e). For the inversion of a ninth chord see (f),_ (g), i, ii? DI, iv- V- VI,vii' (h),the(i).same In versions are not restricted to number of tones as the original chord, nor to any fixed order of tones except with regard to the interval between the root, or its octave, and the ba note, hence, great variety results; e. g., the first inver- The Roman numerals indicate on sion of the C major triad may be written as follows: what degree of the scale the respective chords have their roots, major % rii * scales being denoted by a capital letter (C), a minor scale by a small letter (c). The large Roman numerals (I, II, III) represent major triads, 6 6 6 6 6ft those consisting of the root with 6 notes at an interval of a major third and a perfect fifth above it. Small 'j I II1 I I I fl Roman numerals (i, ii, iii) represent The erals system of ba writing minor triads, those consisting of the above the to Arabic indicate numthe root and its minor third and perfect other notes of the chord is called fifth. An accent (III') denotes an thorough ba figuring. The numbers le following significance: augr i-J '■' * 123 104 chord chord, diatonic 6 a chord of the second; the When two or more figures are writ- 2. 4, or 4 third inversion of a seventh ten above the ba the widest interval 2 2 chord. is always expre ed by the upper figure. When a *, b, *, X, or bb stands a triad in fundamental alone over a ba note, it indicates 3, 5, or 5 that the third of the chord should be 3 3 position. 6 a chord of the third, fourth raised or lowered accordingly. An h 4. 4, or 4 oblique line through a figure sigr and sixth; second invernifies that the interval is to be sharp- 3 3 sion of a seventh chord, 6 a chord of the second; the ened. A dash (— ) after a figure means that the note for which it stands is to 4, or 4 third inversion of a sevbe prolonged into the next chord. 2 2 enth chord. soprano takes the fifth of chord a vido (kord a-ve'-do) It. An old name for the sound given the root. out by the open strings of the violin 6, or 6 a chord of the sixth; first or similar instrument. 3 inversion of a triad, chord, anomalous 6 a chord of the fourth and A chord containing an interval 4 sixth; second inversion of which has been made very sharp or a triad. 6 flat in tempering the scale for instruments of fixed pitch. 4 third inversion of a chord 3 of the ninth. chord, accidental 2 A chord is the simultaneous sound- 6 a chord of the fifth and ing of a number of tones. An accidental chord is the term used when 6, or 5 sixth; first inversion of a one or more of the tones are either 5 3 seventh chord. held back or played before the other 6 tones of the chord, 5 second inversion of a chord chord, altered 4 of the ninth. A chord in which one of the notes 3 has been lowered or raised a half tone 7 without affecting a change of key. a chord of the seventh in chord, augmented 7, or 5 fundamental position. 3 A chord containing a major third, 7 four half steps, and an augmented 6 fourth inversion of a chord fifth, dant eight 4 of the ninth. chord. half steps. Same as redun- 2 chord, broken 7 A chord whose tones are sounded 6 first inversion of a chord in succe ion instead of simultane- 5 of the ninth. ously. Equivalent to arpeggio. 2 chord, characteristic soprano takes octave of The principal or characteristic the root. chord. A chord that is built up on the dominant or fifth note of the key a chord of the ninth in in which the music is written. The fundamental position. same as dominant chord, 9 chord, chromatic 7 a chord of the ninth with A chord that contains one or more 3 fifth omitted. 9 ural. chromatic signs, sharps, flats or nat- 5 a chord of the ninth with chord, common 3 the seventh omitted, 10 tenth and octave instead A chord composed of the fundamental note, or note upon which the 8 of third and prime. chord is built, plus a note an interval 11 eleventh and ninth instead of a third above it, plus another note 9 of fourth and second. at an interval of a fifth. Q or >_• ba written, should or be played chord, diatonic as in octaves A chord formed by tones in the (tas to solo). same standard scale. 124 105 chord, dominant chord of the second and fourth chord, dominant chord of the augmented sixth A chord that is built upon the dom- This chord is variously formed, acinant or fifth note of the key in which cording as it is the Italian, German or the music is written. The same as French augmented sixth. The feature characteristic chord. in common is that the augmented sixth chords all extend from the note chord, doubtful on which the chord is based to the A term applied to a chord or chords which may belong to more sharp of its sixth interval, while the than one key when its notation is intermediate notes forming the harslightly changed. Same as equivocal mony vary according to the name of chord. the chord, chord, equivocal chord of the eleventh Same as doubtful chord, A chord consisting of the chord of chord, fundamental the ninth, that is, a chord composed The chord consisting of the first of a note plus notes at intervals of a note of a scale plus its third and third, a fifth, a seventh and a ninth fifth. above it, to which the note eleven dechord, imperfect grees above the first note has been A chord which does not contain all added. the intervals belonging to it. chord of the fifth and sixth chord, inverted The first inversion or change of A chord whose lowest tone is not position of the notes of the chord, its fundamental or tone from which called chord of the seventh. This the chord is built, but is at an inter chord consists of a note plus other val of a seventh below the ba note. notes at intervals of a third, a fifth, A chord which has literally been in and a seventh above it. The chord verted, its ba note being taken as of the fifth and sixth takes the note a the highest note and the notes which third above the ba note of the had been above the ba in the origchord of the seventh for its ba and inal chord being below it in the inadds other notes at intervals of a verted chord, third, a fifth and a sixth above it. chord, key chord of the fourth and sixth See key chord, The second inversion of the comchord, leading mon chord, which consists of the fifth The chord built on the fifth note note of that chord for a ba , plus its of the key in which the composition fourth and sixth notes, is written, plus the third and fifth. chord of the ninth The same as the dominant chord and the characteristic chord, A chord consisting of a note plus chord, major notes at intervals of a third, a fifth, a A chord containing a major third, seventh and a ninth, respectively. tones distant four half steps from chord of the second each other, and a perfect fifth, tones The third inversion or rearrange distant seven half steps from each ment of notes of the chord built other, on the seventh degree of the scale. chord, minor It takes the note an interval of a sev- A chord containing a minor third, enth above the original ba note for tones distant four half steps from its ba note, adding notes at intervals each other, and a perfect fifth, tones tively, of a second, fourth and sixth, res pec distant other, seven half steps from each chord of the second and fourth chord of nature The third inversion or change of Every tone actually consists of one position of the notes in the chord of chief sound called the fundamental the seventh. The chord of the sevtone, plus a number of fainter, higher enth consists of a note plus the third, tones called overtones that sound sififth and sixth notes above it. The multaneously with the fundamental chord of the second and fourth takes tone. The blending of these over the seventh note of the chord of the tones with the fundamental tone is seventh for its ba note, and to it called the chord of nature. See also adds the second, fourth and sixth harmonic overtones. notes above it. 125 106 chord of the seventh chordomelodion chord of the seventh chord pa age A chord consisting of the first note A chord in figuration, or an ornaof a scale plus the third, fifth and sevmental chord. The quick rendering enth notes above it. of the notes in a chord succe ively, chord of the sixth as distinguished from scale pa ages The first inversion or change of pot he notes of which follow each other sition of notes of the common in their order in the scale. Equivalent chord, which consists of a note plus to arpeggio. the notes at intervals of a third and chord, perfect a fifth above it in the scale. The first See perfect chord, inversion takes the note a third above chord, primary the original ba note for its ba , See primary chord, and to it adds notes a third and a chord, redundant sixth above it. See redundant chord, chord of the suspended ninth chord, solid The chord built upon the ninth of A chord the tones of which begin the tonic, that is, upon a tone which and end at the same time, in contra is an octave and one degree more, six distinction to a broken chord, tones and two semitones, above the chord, transient keynote, A chord in which, in order to make chord of the suspended sixth a smooth transition from one chord to This chord is variously formed, a can other, notes are introduced which cording as it is the Italian, German or do not form an e ential part of the French augmented sixth. The feature fundamental harmony. A chord used in common is that the augmented in modulating or changing from one sixth chords all extend from the note key to another, but foreign to both on which the chord is based to the keys. sharp of its sixth interval, while the chorda (kor'-da) Lat. n. intermediate notes forming the har- A string of a musical instrument. mony vary according to the name of chorda characteristic a (kor'-da kart he chord, ak-ter-is'-te-ka) Lat. chord of the third, fourth and sixth The characteristic tone: the leading The second inversion of the four or principal note or tone, toned chord called chord of the seventh. The chord of the seventh con chorda, dominant septima (dom'-i-nant sep'-ti-ma kor'-da) Lat. sists of a note with other notes at in- The dominant chord of the seventh: tervals of a third, fifth and seventh. the chord founded upon the dominant The second inversion takes the note or fifth note of the scale with its at an interval of a fifth for its ba third, fifth and seventh. note, and add notes at intervals of a chorda, nona of(no'-na kor'-da) Lat. third, fourth and sixth from it. See chord the ninth, chord of the thirteenth chordae e entiales shi-a'-lez) Lat. (kor-de es-sen- The chord built on the chord of the ninth. The chord of the ninth con- The keynote, or first note of a sists of a note plus other notes at in scale, plus its third, or the note two tervals of a third, fifth, seventh and and one-half tones above it, plus its ninth, respectively. The chord of the fifth, or note three and one-half tones thirteenth adds to this notes at inter above it. This is called the tonic vals of an eleventh and a thirteenth triad. from its keynote. chordaulodion