A mu major chord or mu chord (signified by μ) is a distinctive voicing of an add 2 or "add 9" chord. It is formed by adding a 2nd to a major triad. The mu major chord differs from a sus2 chord as a sus2 chord does not contain a 3rd. The voicing came to be associated with jazz-rock band Steely Dan.
"Inversions of the µ major may be formed in the usual manner with one caveat: the voicing of the second and third scale tones, which is the essence of the chord's appeal, should always occur as a whole tone dissonance." Part of the chord's peculiarity is the presence of two stacked fourths in the upper register, between the second and the fifth, and the fifth and the root. This quartal harmony are more obvious when the chord is voiced with the 3rd in the bass. The chord can also be voiced with the 9th (2nd) in the bass, although such voicings are generally known as slash chords. It is suggested that the chord was conceived on or for use on keyboards.
Mu chords, or portions thereof, may be used in chord substitution to replace simple major triads. For example an Am7 chord can be thought of as a C major triad (CEG) with an A in the bass. A C mu major chord can be voiced as a DEG triad with a C in the bass. Taking the upper portion (DEG) of the C mu chord and substituting this in place of the C triad in the original Am7 chord would give an A7sus4 chord: DEG with A in the bass.
Chord may refer to:
A chord of a circle is a straight line segment whose endpoints both lie on the circle. A secant line, or just secant, is the infinite line extension of a chord. More generally, a chord is a line segment joining two points on any curve, for instance an ellipse. A chord that passes through a circle's center point is the circle's diameter.
Among properties of chords of a circle are the following:
The area that a circular chord "cuts off" is called a circular segment.
Chord is from the Latin chorda meaning bowstring.
The midpoints of a set of parallel chords of an ellipse are collinear.
Chords were used extensively in the early development of trigonometry. The first known trigonometric table, compiled by Hipparchus, tabulated the value of the chord function for every 7.5 degrees. In the second century AD, Ptolemy of Alexandria compiled a more extensive table of chords in his book on astronomy, giving the value of the chord for angles ranging from 1/2 degree to 180 degrees by increments of half a degree. The circle was of diameter 120, and the chord lengths are accurate to two base-60 digits after the integer part.
A chord, in music, is any harmonic set of three or more notes that is heard as if sounding simultaneously. These need not actually be played together: arpeggios and broken chords (these involve the notes of the chord played one after the other, rather than at the same time) may, for many practical and theoretical purposes, constitute chords. Chords and sequences of chords are frequently used in modern Western, West African and Oceanian music, whereas they are absent from the music of many other parts of the world.
In tonal Western classical music, the most frequently encountered chords are triads, so called because they consist of three distinct notes: the root note, a third above the root and a fifth interval above the root. Further notes may be added to give tetrads such as seventh chords (the most commonly encountered example being the dominant seventh chord) and added tone chords, as well as extended chords and tone clusters. Triads commonly found in the Western classical tradition are major and minor chords, with augmented and diminished chords appearing less often. The descriptions major, minor, augmented, and diminished are referred to collectively as chordal quality. Chords are also commonly classified by their root note—for instance, a C major triad consists of the pitch classes C, E, and G. A chord retains its identity if the notes are stacked in a different way vertically; however, if a chord has a note other than the root note as the lowest note, the chord is said to be in an inversion (this is also called an "inverted chord").
Hey girl
Keep your head high
I never said I
Wouldn't be back when I'm
Leavin' on the red eye
Gotta do this show so I can get my dough
Lookin' up at the house on top of the hill
Where we can drop and get ill
A little spot we can chill
Or hide out whenever things get real
Shorty, wontcha tell me how ya feel
If I will
How can I be sure
If your love remains here
Well, I gotta go
Until we get this clear
Ya just gotta know
When you're not there I be so tight
No matter what I try, it won't go right
My shorty
Cause you got my back
My shorty
You keep it real like that
My shorty
I wanna be where ya at
My shorty
That's why I feel like that
Shorty ain't around...
I don't feel right
My shorty
My baby
My lady
Come with me
Shorty ain't around...
I don't feel right
My shorty
My baby
My lady
Come with me
On tour 2 months 8 weeks 60 days later
I threw so many groupies off
One I even made her cry
Had to tell her I really didn't hate her right
Couldn't wait awhile
'cause we had to say goodbye
I never thought that I
Would never see that day that I
Fall for her the way that I did
So I will say that I
Never stray cause I find a better way when
I hold it down and keep it tight
Could never say goodbye
My shorty
'cause you got my back
My shorty
We keep it real like that
My shorty
I wanna be where ya at
My shorty
That's why I'm FELLIN' like that
Shorty ain't around...
I don't feel right
My shorty
My baby
My lady
Come with me
Shorty ain't around...
I don't feel right
My shorty
My baby
My lady
Come with me
My shorty...
My shorty, ain't around
My shorty...
My shorty, ain't around
Shorty ain't around...
I don't feel right
My shorty
My baby
My lady
Come with me
Shorty ain't around...
I don't feel right
My shorty
My baby
My lady
Come with me
Shorty ain't around...
(My shorty ain't around)
I don't feel right
My shorty
My baby
My lady
Come with me