Chord (music) – Wikipedia

history [edit ]

In the medieval earned run average, early Christian hymn featured organum ( which used the coincident perfect intervals of a fourthly, a fifth, and an octave ), with chord progressions and harmony – an attendant result of the emphasis on melodic lines during the medieval and then Renaissance ( 15th to 17th centuries ). The Baroque menstruation, the 17th and 18th centuries, began to feature the major and minor scale based tonic system and harmony, including chord progressions and circle progressions. It was in the Baroque period that the accompaniment of melodies with chords was developed, as in calculate bass, and the conversant cadences ( perfective authentic, and so forth ). In the Renaissance, certain unresolved sonorities that suggest the dominant allele seventh occurred with frequency. In the Baroque period, the dominant allele seventh proper was introduced and was in ceaseless manipulation in the Classical and Romantic periods. The leading-tone one-seventh appeared in the Baroque period and remains in use. Composers began to use nondominant one-seventh chords in the Baroque period. They became frequent in the classical music time period, gave way to alter dominants in the romantic period, and underwent a revival in the Post-Romantic and impressionistic period. The amatory period, the nineteenth century, featured increased chromaticism. Composers began to use secondary dominants in the Baroque, and they became park in the romantic period. many contemporary popular western genres continue to rely on simple diatonic harmony, though far from universally : noteworthy exceptions include the music of film scores, which much use chromatic, atonal or post-tonal harmony, and modern jazz ( particularly circa 1960 ), in which chords may include up to seven notes ( and occasionally more ). When referring to chords that do not function as harmony, such as in atonal music, the term “ plangency ” is frequently used specifically to avoid any tonic implications of the discussion “ chord ” [ citation needed ]. Chords are besides used for timbre effects. In organ registers, certain chords are activated by a single key so that playing a tune results in latitude voice leading. These voices, losing independence, are fused into one with a new timbre. The lapp effect is besides used in synthesizers and orchestral arrangements ; for exemplify, in Ravel ’ s Bolero # 5 the parallel parts of flutes, horn and celesta, being tuned as a chord, resemble the sound of an electric organ .

notation [edit ]

[edit ]

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” height=”76″ src=”//upload.wikimedia.org/score/a/i/aixpf4sdayajaqa6azwjq733bgff0cc/aixpf4sd.png” width=”280″> Audio playback is not supported in your browser. You can download the sound recording charge The chord progress vi–ii–V–I in the key of C major. Using spark advance tabloid chord names, these chords could be referred to as A minor, D minor, G major and C major. While scale degrees are typically represented in musical analysis or musicology articles with Arabic numerals ( for example, 1, 2, 3, …, sometimes with a circumflex above the numeral : , , , … ), the triads ( three-note chords ) that have these degrees as their roots are much identified by Roman numerals ( for example, I, IV, V, which in the key of C major would be the triads C major, F major, G major ). In some conventions ( as in this and related articles ) upper-case Roman numerals indicate major triads ( for example, I, IV, V ) while lower-case Roman numerals indicate minor triads ( for example, I for a major harmonize and i for a minor chord, or using the major key, two, three and six representing typical diatonic minor triads ) ; early writers ( for example, Schoenberg ) use upper berth font Roman numerals for both major and child triads. Some writers use upper-case Roman numerals to indicate the chord is diatonic in the major scale, and lower-case Roman numerals to indicate that the chord is diatonic in the minor scale. Diminished triads may be represented by lower-case Roman numerals with a academic degree symbol ( for example, viio7 indicates a atrophied seventh chord built on the seventh scale academic degree ; in the key of C major, this harmonize would be B atrophied seventh, which consists of the notes B, D, F and A♭ ). roman numerals can besides be used in string instrument notation to indicate the military position or string to play. In some string music, the string on which it is suggested that the performer play the notice is indicated with a Roman numeral ( for example, on a four-string orchestral string instrumental role, I indicates the highest-pitched, thin string and IV indicates the lowest-pitched, slurred bass string ). In some orchestral parts, chamber music and solo works for string instruments, the composer tells the performer which string to use with the Roman numeral. alternately, the composer starts the note list with the sting to use—e.g., “ sul G ” means “ play on the G string ” .

Figured bass notation [edit ]

Common conventional symbols for figured bass

Triads
Inversion	Intervals above bass	Symbol	Example
Root position	5 3	None	6 3	6
2nd inversion	6 4	6 4
Seventh chords
Inversion	Intervals above bass	Symbol	Example
Root position	7 5 3	7	6 5 3	6 5
2nd inversion	6 4 3	4 3
3rd inversion	6 4 2	4 2 or 2

Figured bass or thoroughbass is a kind of musical note used in about all Baroque music ( c. 1600–1750 ), though rarely in music from later than 1750, to indicate harmonies in sexual intercourse to a conventionally written bass telephone line. Figured bass is close associated with chord-playing bass figured bass escort instruments, which include harpsichord, pipe harmonium and lute. add numbers, symbols, and accidentals beneath the staff indicate the intervals above the bass note to play ; that is, the numbers stand for the number of scale steps above the written note to play the figure notes. For exercise, in the figured bass below, the freshwater bass note is a C, and the numbers 4 and 6 indicate that notes a fourth and a sixth above ( F and A ) should be played, giving the second base anastrophe of the F major three .
1
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” height=”33″ src=”http://upload.wikimedia.org/score/s/9/s9vg5srdnt8r18fc3hex21o9x9jcwxp/s9vg5srd.png” width=”85″/> can be realized as If no numbers are written beneath a bass note, the figure is assumed to be 5
3, which calls for a one-third and a fifth above the freshwater bass note ( i.e., a root placement trio ). In the 2010s, some classical musicians who specialize in music from the Baroque era can calm perform chords using visualize bass notation ; in many cases, however, the chord-playing performers read a amply notated escort that has been prepared for the slice by the music publisher. Such a part, with in full written-out chords, is called a “ realization ” of the figure bass share .

Chord letters [edit ]

1^\markup { “C+” }
1^\markup { \concat { “c” \raise #1 \small “o” } }
} }
” height=”57″ src=”//upload.wikimedia.org/score/4/2/42y6g2l3pkb7hpvsukmdc0vi4ls0t58/42y6g2l3.png” width=”284″> Chord letters for triads on C Chord letters are used by musicologists, music theorists and boost university music students to analyze songs and pieces. Chord letters use upper-case and lower-case letters to indicate the roots of chords, followed by symbols that specify the chord timbre .

notation in popular music [edit ]

In most genres of popular music, including jazz, popular, and rock, a chord identify and the corresponding symbol are typically composed of one or more parts. In these genres, chord-playing musicians in the rhythm method of birth control section ( e.g., electric guitar, acoustic guitar, piano, Hammond organ, etc. ) typically improvise the specific “ voicing “ of each chord from a song ‘s chord progress by interpreting the written chord symbols appearing in the conduct sheet or fake bible. normally, these chord symbols include :

• A (big) letter indicating the root note (e.g., C).
• A symbol or abbreviation indicating the chord quality (e.g., minor, aug or o ). If no chord quality is specified, the chord is assumed to be a major triad by default.
• Number(s) indicating the stacked intervals above the root note (e.g., 7 or 13).
• Additional musical symbols or abbreviations for special alterations (e.g.,

  ♭

  5,

  ♯

  5 or add13).

• An added slash “/” and an upper case letter indicates that a bass note other than the root should be played. These are called slash chords. For instance, C/F indicates that a C major triad should be played with an added F in the bass. In some genres of modern jazz, two chords with a slash between them may indicate an advanced chord type called a polychord, which is the playing of two chords simultaneously. The correct notation of this should be

  F

  /

  C

  , which sometimes get mixed up with slash chords.

Chord qualities are related with the qualities of the component intervals that define the chord. The main chord qualities are :

• Major and minor (a chord is “Major” by default and altered with added info: “C” = C major, “Cm” = c minor).
• augmented, diminished, and half-diminished,
• dominant seventh.

Symbols [edit ]

The symbols used for notate chords are :

• m, min, or − indicates a minor chord. The “m” must be lowercase to distinguish it from the “M” for major.
• M, Ma, Maj, Δ, or (no symbol) indicates a major chord. In a jazz context, this typically indicates that the player should use any suitable chord of a major quality, for example a major seventh chord or a 6/9 chord. In a lot of jazz styles, an unembellished major triad is rarely if ever played, but in a lead sheet the choice of which major quality chord to use is left to the performer.
• + or aug indicates an augmented chord (A or a is not used).
• o or dim indicates a diminished chord, either a diminished triad or a diminished seventh chord (d is not used).
• ø indicates a half-diminished seventh chord. In some fake books, the abbreviation m7(

  ♭

  5) is used as an equivalent symbol.

• 2 is mostly used as an extra note in a chord (e.g., add2, sus2).
• 3 is the minor or major quality of the chord and is rarely written as a number.
• 4 is mostly used as an extra note in a chord (e.g., add4, sus4).
• 5 is the (perfect) fifth of the chord and is only written as a number when altered (e.g., F7(

  ♭

  Read more: Willem Dafoe

  5)). In guitar music, like rock, a “5” indicates a power chord, which consists of only the root and fifth, possibly with the root doubled an octave higher.

• 6 indicates a sixth chord. There are no rules if the 6 replaces the 5th or not.
• 7 indicates a dominant seventh chord. However, if Maj7, M7 or Δ7 is indicated, this is a major 7th chord (e.g., GM7 or FΔ7). Very rarely, also dom is used for dominant 7th.
• 9 indicates a ninth chord, which in jazz usually includes the dominant seventh as well, if it is a dominant chord.
• 11 indicates an eleventh chord, which in jazz usually includes the dominant seventh and ninth as well, if it is a dominant chord.
• 13 indicates a thirteenth chord, which in jazz usually includes the dominant seventh, ninth and eleventh as well.
• 6/9 indicates a triad with the addition of the sixth and ninth.
• sus4 (or simply 4) indicates a sus chord with the third omitted and the fourth used instead. Other notes may be added to a sus4 chord, indicated with the word “add” and the scale degree (e.g., Asus4(add9) or Asus4(add7)).
• sus2 (or simply 2) indicates a sus chord with the third omitted and the second (which may also be called the ninth) used instead. As with “sus4”, a “sus2” chord can have other scale degrees added (e.g., Asus2(add

  ♭

  7) or Asus2(add4)).

• (

  ♭

  9) (parenthesis) is used to indicate explicit chord alterations (e.g., A7(

  ♭

  9)). The parenthesis is probably left from older days when jazz musicians weren’t used to “altered chords”. Albeit important, the parenthesis can be left unplayed (with no “musical harm”).

• add indicates that an additional interval number should be added to the chord. (e.g., C7add13 is a C 7th chord plus an added 13th).
• alt or alt dom indicates an altered dominant seventh chord (e.g., G7

  ♯

  11).

• omit5 (or simply no5) indicates that the (indicated) note should be omitted.

Examples [edit ]

The table below lists common harmonize types, their symbols, and their components .

manipulation [edit ]

The basic affair of chord symbols is to eliminate the need to write out tabloid music. The modern sleep together player has extensive cognition of the chordal functions and can largely play music by reading the chord symbols entirely. advanced chords are common specially in modern sleep together. Altered 9ths, 11ths and 5ths are not common in pop music. In wind, a chord graph is used by comping musicians ( wind guitar, wind piano, Hammond organ ) to improvise a chordal escort and to play improvised solo. Jazz bass players improvise a bassline from a chord graph. Chord charts are used by horn players and other solo instruments to guide their solo improvisations. interpretation of harmonize symbols depends on the genre of music being played. In jazz from the bop earned run average or late, major and minor chords are typically realized as seventh chords even if lone “ C ” or “ Cm ” appear in the chart. In jazz charts, seventh chords are often realized with upper berth extensions, such as the one-ninth, sharp eleventh, and thirteenth, even if the graph entirely indicates “ A7 ”. In wind, the etymon and fifth are much omitted from chord voicings, except when there is a diminished fifth or an augment one-fifth. In a pop or rock context, however, “ C ” and “ Cm ” would about always be played as triads, with no sevenths. In popular and rock, in the relatively less coarse cases where songwriters wish a dominant seventh, major seventh, or minor seventh chord, they indicate this explicitly with the indications “ C7 ”, “ Cmaj7 ” or “ Cm7 ” .

Characteristics [edit ]

Within the diatonic scale, every chord has certain characteristics, which include :

• the number of pitch classes (distinct notes without respect to octave) in the chord,
• the scale degree of the root note,
• the position or inversion of the chord,
• the general type of intervals it is constructed from—for example, seconds, thirds, or fourths, and
• counts of each pitch class as occur between all combinations of notes the chord contains.

Number of notes [edit ]

Two-note combinations, whether referred to as chords or intervals, are called dyads. In the context of a specific incision in a piece of music, dyads can be heard as chords if they contain the most significant notes of a sealed chord. For case, in a piece in C Major, after a section of tonic C Major chords, a couple containing the notes B and D sounds to most listeners as a inaugural inversion G Major chord. other dyads are more equivocal, an aspect that composers can use creatively. For example, a couple with a perfect fifth has no third, so it does not sound major or minor ; a composer who ends a section on a perfect fifth could subsequently add the missing one-third. Another model is a couple outlining the tritone, such as the notes C and F # in C Major. This couple could be heard as implying a D7 chord ( resolving to G Major ) or as implying a C diminished chord ( resolving to Db Major ). In unaccompanied duet for two instruments, such as flute duet, the only combinations of notes that are possible are dyads, which means that all of the chord progressions must be implied through dyads, vitamin a well as with arpeggios. Chords constructed of three notes of some fundamental scale are described as triads. Chords of four notes are known as tetrads, those containing five are called pentads and those using six are hexads. sometimes the terms trichord, tetrachord, pentachord, and hexachord are used—though these more normally refer to the pitch classes of any scale, not by and large played simultaneously. Chords that may contain more than three notes include pedal point point chords, dominant allele one-seventh chords, extended chords, added tone chords, clusters, and polychords. Polychords are formed by two or more chords superimposed. Often these may be analysed as extended chords ; examples include tertian, altered chord, secundal harmonize, quartal and hundredweight harmony and Tristan harmonize. Another exercise is when G7 ( ♯11♭9 ) ( G–B–D–F–A♭–C♯ ) is formed from G major ( G–B–D ) and D♭ major ( D♭–F–A♭ ). A nonchord note is a unresolved or unstable timbre that lies outside the harmonize presently heard, though frequently resolving to a chord tone .

Scale degree [edit ]

In the key of C major, the foremost degree of the scale, called the tonic, is the note C itself. A C major harmonize, the major common chord built on the note C ( C–E–G ), is referred to as the one chord of that key and notated in Roman numerals as I. The lapp C major harmonize can be found in other scales : it forms chord III in the key of A minor ( A→B→C ) and chord IV in the keystone of G major ( G→A→B→C ). This count indicates the chords ‘s affair. many analysts use lower-case Roman numerals to indicate minor triads and upper-case numerals for major triads, and degree and plus signs ( o and + ) to indicate diminished and augmented triads respectively. Otherwise, all the numerals may be upper-case and the qualities of the chords inferred from the scale degree. Chords outside the scale can be indicated by placing a flat/sharp sign before the chord—for case, the chord E♭ major in the key of C major is represented by ♭III. The tonic of the scale may be indicated to the leave ( e.g., “ F♯ : ” ) or may be understood from a key signature or early contextual clues. Indications of inversions or added tones may be omitted if they are not relevant to the analysis. Roman numeral analysis indicates the solution of the harmonize as a scale degree within a particular major key as follows .

inversion [edit ]

In the harmony of western art music, a harmonize is in root position when the tonic note is the lowest in the chord ( the bass note ), and the other notes are above it. When the lowest bill is not the tonic, the chord is inverted. Chords that have many component notes can have many different invert positions as shown below for the C major chord :

Bass note	Position	Order of notes (starting from the bass)	Notation
C	root position	C–E–G or C–G–E	5 3 as G is a fifth above C and E is a third above C
E	first inversion	E–G–C or E–C–G	6 3 as C is a sixth above E and G is a third above E
G	second inversion	G–C–E or G–E–C	6 4 as E is a sixth above G and C is a fourth above G

far, a four-note chord can be inverted to four unlike positions by the same method as triadic inversion. For example, a G7 chord can be in root position ( G as bass note ) ; first inversion ( B as bass note ) ; second base inversion ( D as bass eminence ) ; or third inversion ( F as bass note ) .
1^\markup { \column { “Second” “inversion” } }
1^\markup { \column { “Third” “inversion” } }
}
}
” height=”89″ src=”//upload.wikimedia.org/score/6/9/69tv8c8g4ebid0fia7gro5d7nkesbv4/69tv8c8g.png” width=”388″> Where guitar chords are concerned, the term “ inversion ” is used slightly differently ; to refer to breed fingering “ shapes ” .

Secundal, tertian, and quartal chords [edit ]

many chords are a sequence of notes separated by intervals of roughly the same size. Chords can be classified into different categories by this size :
These terms can become ambiguous when dealing with non- diatonic scales, such as the pentatonic or chromatic scales. The practice of accidentals can besides complicate the terminology. For case, the chord B♯–E–A♭ appears to be quartal, as a serial of diminished fourths ( B♯–E and E–A♭ ), but it is enharmonically equivalent to ( and sonically identical from ) the tertian chord C–E–G♯, which is a serial of major thirds ( C–E and E–G♯ ) .

Harmonic content [edit ]

The notes of a chord form intervals with each of the other notes of the chord in combination. A 3-note harmonize has 3 of these harmonic intervals, a 4-note chord has 6, a 5-note harmonize has 10, a 6-note chord has 15. The absence, presence, and placement of certain key intervals plays a big depart in the strait of the chord, and sometimes of the excerpt of the chord that follows. A chord containing tritones is called tritonic ; one without tritones is atritonic. consonant tritones are an authoritative part of dominant allele one-seventh chords, giving their good a characteristic latent hostility, and making the tritone interval likely to move in certain stereotyped ways to the follow chord. Tritones are besides present in belittled seventh and half-diminished chords. A chord containing semitones, whether appearing as minor seconds or major sevenths, is called hemitonic ; one without semitones is anhemitonic. harmonic semitones are an important share of major seventh chords, giving their sound a feature high tension, and making the harmonic semitone probably to move in certain stereotyped ways to the pursuit chord. A chord containing major sevenths but no child seconds is much less harsh in strait than one containing minor seconds arsenic well. other chords of interest might include the

coarse types of chords [edit ]

Triads [edit ]

Triads, besides called triadic chords, are tertian chords with three notes. The four basic triads are described below .

one-seventh chords [edit ]

one-seventh chords are tertian chords, constructed by adding a fourth note to a three, at the interval of a third base above the fifth of the chord. This creates the interval of a seventh above the root of the harmonize, the future natural step in composing tertian chords. The one-seventh chord built on the fifth step of the scale ( the dominant allele seventh ) is the only prevailing seventh chord available in the major scale : it contains all three notes of the decrease trio of the one-seventh and is frequently used as a stronger alternate for it. There are assorted types of seventh chords depending on the quality of both the harmonize and the seventh added. In chord note the chord character is sometimes superscripted and sometimes not ( e.g., Dm7, Dm7, and Dm7 are all identical ) .

Extended chords [edit ]

Extended chords are triads with far tertian notes added beyond the seventh : the ninth, eleventh, and thirteenth chords. For case, a dominant allele thirteenth harmonize consists of the notes C–E–G–B♭–D–F–A :
[edit ]

[edit ]

An add tone chord is a trio with an lend, non-tertian notice, such as an add sixth or a chord with an add second ( ninth ) or fourth ( eleventh ) or a combination of the three. These chords do not include “ intervening ” thirds as in an carry chord. add chords can besides have variations. therefore, madd9, m4 and m6 are minor triads with carry notes. sixth chords can belong to either of two groups. One is first inversion chords and added sixth chords that contain a sixth from the root. The other group is inverted chords in which the interval of a one-sixth appears above a bass note that is not the ancestor. The major sixth chord ( besides called, sixth or added sixth with the chord note 6, for example, C6 ) is by far the most common type of one-sixth chord of the first gear group. It comprises a major trio with the add major sixth above the root, common in democratic music. For example, the chord C6 contains the notes C–E–G–A. The minor sixth chord ( min6 or m6, for example, Cm6 ) is a child trio, silent with a major 6. For exemplar, the harmonize Cm6 contains the notes C–E♭–G–A. The augment sixth chord normally appears in chord note as its enharmonic equivalent, the seventh chord. This harmonize contains two notes separated by the interval of an augment sixth ( or, by inversion, a belittled one-third, though this inversion is rare ). The augment one-sixth is broadly used as a unresolved time interval most normally used in apparent motion towards a dominant harmonize in root position ( with the root doubled to create the octave the augmented sixth chord resolves to ) or to a tonic chord in second inversion ( a tonic trio with the one-fifth doubled for the lapp determination ). In this font, the pop note of the samara is included in the chord, sometimes along with an optional fourthly note, to create one of the succeed ( illustrated here in the key of C major ) :
The augment sixth kin of chords exhibits sealed peculiarities. Since they are not based on triads, as are seventh chords and early sixth chords, they are not broadly regarded as having roots ( nor, consequently, inversions ), although one re-voicing of the notes is coarse ( with the namesake time interval inverted to create a diminish third ). The second group of sixth chords includes anatropous major and minor chords, which may be called sixth chords in that the six-three ( 6
3 ) and six-four ( 6
4 ) chords contain intervals of a one-sixth with the bass note, though this is not the root. Nowadays, this is by and large for academician report or analysis ( see figured bass ) but the Neapolitan sixth chord is an important example ; a major trio with a flat supertonic scale academic degree as its etymon that is called a “ sixth ” because it is about constantly found in inaugural inversion. Though a technically accurate Roman numeral analysis would be ♭II, it is by and large labelled N6. In C major, the harmonize is notated ( from root position ) D♭, F, A♭. Because it uses chromatically altered tones, this harmonize is often grouped with the borrowed chords but the chord is not borrowed from the relative major or minor and it may appear in both major and minor keys .

Type	Components			Chord symbol	Notes	Audio
	Chord	Interval(s)
Add nine	major triad	major ninth	—	C2, Cadd9	C E G D	( avail· information)
Add fourth	major triad	perfect fourth	—	C4, Cadd11	C E G F	( avail· information)
Add sixth	major triad	major sixth	—	C6	C E G A	( aid· information)
Six-nine	major triad	major sixth	major ninth	C6/9	C E G A D	—
Seven-six	major triad	major sixth	minor seventh	C7/6	C E G A B ♭	—
Mixed-third	major triad	minor third	—	—	C E ♭ E G	( aid· information)

Suspended chords [edit ]

Type Components Chord
symbol Notes Audio Chord Interval(s) Suspended second open fifth major second — — Csus2 C D G ( aid· information) Suspended fourth open fifth perfect fourth — — Csus4 C F G ( help· information) Jazz sus open fifth perfect fourth minor seventh major ninth C9sus4 C F G B

♭

D ( help· information)

Borrowed chords [edit ]

A borrowed chord is one from a different key than the dwelling keystone, the winder of the piece it is used in. The most park happening of this is where a chord from the analogue major or minor samara is used. particularly good examples can be found throughout the works of composers such as Schubert. For case, for a composer working in the C major identify, a major ♭III chord ( for example, an E♭ major harmonize ) would be borrowed, as this chord appears only in the key of C minor. Although borrowed chords could theoretically include chords taken from any key early than the home plate samara, this is not how the term is used when a harmonize is described in courtly melodious analysis. When a chord is analysed as “ borrowed ” from another key it may be shown by the Roman numeral corresponding with that key after a slash. For model, V/V ( pronounced “ five of five ” ) indicates the dominant chord of the dominant key of the introduce home-key. The prevailing key of C major is G major then this secondary coil dominant is the chord of the one-fifth degree of the G major scale, which is D major ( which can besides be described as II proportional to the key of C major, not to be confused with the supertonic two namely D minor. ). If used for a significant duration, the manipulation of the D major chord may cause a transition to a modern winder ( in this case to G major ). Borrowed chords are widely used in western popular music and rock candy music. For model, there are a issue of songs in E major which use the ♭III chord ( for example, a G major chord used in an E major song ), the ♭VII harmonize ( for example, a D major chord used in an E major song ) and the ♭VI chord ( for example, a C major chord used in an E major sung ). All of these chords are “ borrowed ” from the key of E minor .

References [edit ]

Notes [edit ]

1. ^chord is a harmonic unit with at least three different tones sounding simultaneously.” And chord“.Benward & Saker 2003, p. 67 note that “Ais a harmonic unit with at least three different tones sounding simultaneously.” And Benward & Saker 2003, p. 359 “A combination of three or more pitches sounding at the same time.” Károlyi 1965, p. 63 notes “Two or more notes sounding simultaneously are known as a”.

Citations [edit ]

Sources [edit ]

further take [edit ]

• Quotations related to Chord (music) at Wikiquote
• Media related to Chords at Wikimedia Commons