Freestyle features a dance tempo with stress on beats two and four ; syncopation with a bass line, lead synth, or percussion, and optional stabs of synthesized brass or orchestral samples ; sixteenth-note hi-hats ; a chord progression that lasts eight, 16, or 32 beats and is usually in a minor key ; relatively complex, upbeat melodies with singing, verses, and a chorus ; and themes about love or dancing.

Palos are flamenco styles, classified by criteria such as rhythmic pattern, mode, chord progression, stanzaic form and geographic origin.

Later styles of jazz such as modal jazz abandoned the strict notion of a chord progression, allowing the individual musicians to improvise even more freely within the context of a given scale or mode.

When jazz guitar players improvise, they may use the scales, modes, and arpeggios associated with the chords in a tune's chord progression.

Jazz guitarists learn to perform these chords over the range of different chord progressions used in jazz, such as the II-V-I progression, the jazz-style blues progression, the minor jazz-style blues form, the " rhythm changes " progression, and the variety of chord progressions used in jazz ballads, and jazz standards.

Jazz guitarists also have to learn how to add in passing tones, use " guide tones " and chord tones from the chord progression to structure their improvisations.

When jazz guitar players improvise, they use the scales, modes, and arpeggios associated with the chords in a tune's chord progression.

There was even a chord progression on that album that we used ... and I thought, " Fuck.

Typical boogie woogie bassline on 12 bar blues progression in C, chord root ( chord ) | roots in red.

The blues progression has a distinctive form in lyrics and phrase and chord structure and duration.

Bass lines often emphasize the root, third, and fifth of the chord progression being used in a given song.

These chords repeat throughout the whole song, while the soloists play new, improvised themes over the repeated chord progression.

The variations do not follow the melody of the aria, but rather use its bass line and chord progression.

The following is the chord progression.

The following is the chord progression of the second strain.

Since a chord progression can begin on either side of clave, percussionists have to be able to initiate their parts in either half ( a single measure in 2 / 2 or 2 / 4 ).

A chord progression can begin on either side of clave.

When a chord progression begins on the two-side of clave, the music is said to be in two-three clave.

He then said something which struck a chord in my memory.

The earliest known chord keyboard was part of the " five-needle " telegraph operator station, designed by Wheatstone and Cooke in 1836, in which any two of the five needles could point left or right to indicate letters on a grid.

The first widespread use of a chord keyboard was in the stenotype machine used by court reporters, which was invented in 1868 and is still in use.

The In10did method ( pronounced " intended ") is a ten-key limited chord system that places one key under each finger in order to utilize all of them, however only two are needed for any operations ( excluding the " F " keys, which require three key presses ).

Bluegrass bassists often do a diatonic walkup or walkdown, in which they play every beat of a bar for one or two bars, typically when there is a chord change.

There are also other chord harmonicas, such as the Chordomonica ( which operates similar to a chromatic harmonica ), and the junior chord harmonicas ( which typically provides 6 chords ).

Its 11-hole mouthpiece can slide along the front of the harmonica, which gives numerous chord choices and voicings ( seven triads, three 6th chords, seven 7th chords, and seven 9th chords, for a total of 24 chords ).

Jazz guitarists use their knowledge of harmony and jazz theory to create jazz chord " voicings ," which emphasize the 3rd and 7th notes of the chord.

As Taylor and Brewer have noted, this return to the medieval " chronicle tradition "' of Geoffrey of Monmouth and the Historia Brittonum is a recent trend which became dominant in Arthurian literature in the years following the outbreak of the Second World War, when Arthur's legendary resistance to Germanic invaders struck a chord in Britain.

The way in which the Chinese land mine trigger worked was a system of two steel wheels rotated by a falling weight, the chord of which was wound around their axle, and when the enemy stepped onto the disguised boards they released the pins that dropped the weights.

L is an arbitrary Chord ( geometry ) | chord of the parabola perpendicular to its axis of symmetry, which passes through V and F. ( The ends of the chord are not shown here.

To give a characteristic figure which can be compared among various wing shapes, the mean aerodynamic chord, or MAC, is used.

Physically, MAC is the chord of a rectangular wing, which has the same area, aerodynamic force and position of the center of pressure at a given angle of attack as the given wing has.

Strauss's next opera was Elektra ( 1909 ), which took his use of dissonance even further, in particular with the Elektra chord.

In a " Gandhar Pancham " ( Imdadkhani, school of Vilayat Khan ) sitar, the bass or kharaj strings are removed and are replaced by a fourth chikari which is tuned to Ga. By playing the chikari strings with this tuning, one produces a chord ( Sa, Sa, Pa, Ga or Sa Sa Ma Ga or Sa, Sa, Dha, Gha depending on the raga ).

The introduction is commonly based on the V chord for the purpose of creating tension which naturally leads into the next section ( See Harmonic Progressions below ).

This chord " leads " into the V chord ( G ), which is then followed by a D7 chord.

Pollack also notes that the repeated cell is seven bars long, which means that a different chord begins each four-bar phrase.

Verse 1 begins with a I -♭ III-IV-I rock pattern: " I am he " ( A chord )..." you are me " ( C chord ) " and we are all toge ..." ( D chord ) "... ther " ( A chord ).

The phrase " to Strawberry " for example begins with a highly dissonant G melody note against a prevailing Em chord ( in the key of A ), then uses extremely dissonant A and A # notes ( against the Em chord ) till the resonant E note is reached on " Fields ".

The piece begins on a C major chord ( patterns one through seven ) with a strong emphasis on the mediant E and the entrance of the note F which begins a series of slow progressions to other chords suggesting a few subtle and ambiguous changes of key, the last pattern being an alteration between B ♭ and G. Though the polyphonic interplay of the various patterns against each other and themselves at different rhythmic displacements is of primary interest, the piece may be considered heterophonic.

The movement begins with an abrupt cymbal crash, a loud chord in the upper woodwinds, string and brass, and a bass drum hit, all in succession.

As the pressure begins to recover over the rear part of the wing chord, a laminar boundary layer will tend to separate from the surface.

" Floe " begins with open fifths in the horns while the other members of the ensemble enter with oscillating arpeggiating figures ( primarily outlining a Major 7th chord ).

When the chord progression begins on the three-side, the song, or phrase is said to be in 3-2 clave.

Cyclic structure in the Schumann piano quintet. The finale begins in G minor, on a C minor chord, rather than in the tonic.

From there, the second theme group begins with a lyrical section in G major which ends suspended on a seventh chord and is followed by a stormy section in C minor.

The song begins with a distinctly Vivaldian style, as the fast tempo and classical-style chord progression anticipates the lyrics to follow.

After finally reaching an F, outlining a dominant seventh chord in C major, the real start of the finale Allegro molto e vivace begins in C major with a theme taken directly from the 4th movement of Joseph Haydn's Symphony No. 88 in G major.

He begins the first theme in the tonic but on a dominant seventh chord.

The song opens with a reggae section prominently featuring the bass, then moves through several contrasting themes before culminating in an improvised section that begins with a I-V-IV chord progression.

Set in the key of G major ( the final mix pitches it about a quarter of a semitone below this, while the backing track was taped in G sharp ), it begins with what Alan W. Pollack calls, " a ra-ta-tat half-measure's fanfare of solo snare drums ", followed by a guitar intro of the first chord.

The song begins with E ( I dominant ) chord (" He's a real ") and then involves a 5-4-3-2-1 pitch descent between the B ( V dominant ) chord (" nowhere man ") and A ( IV subdominant ) chord (" sitting in "); but the entrancing twist comes where Am ( iv minor ) replaces A in the final verse (" nowhere plans ") and the simultaneous G # note melody creates a dissonant Am / major 7.