My grasp of music theory is limited and rudimentary, to say the least, but I'm intrigued by Tony's comment above in re playing notes enroute to another chord. Back when I was singing barber shop harmony, such notes were called "passing notes" and were usually, but not always, found in the melody line. "Chords" were presented as a series of notes (tones) sounded simultaneously. Some chords would produce audible over-tones or under-tones (notes not sung but produced as an artifact of harmonics) which could make the hair on your neck and arms or legs, respectively, stand up. When that happened, it was a rush. Nowadays, I play hammered dulcimer and have a different view of chords, because I can not play more than two notes simultaneously. When I play a triad or tetrad, there is a brief period when all the notes and resultant harmonics are heard, but variable decay rates (or sustain) result in an everchanging mix or harmonics. I can't explain it beyond that, so I'm content to just enjoy it. I think that's what its really all about anyway.