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3

You have to look at what you have and look at where you are going. Like you said, the A does not naturally exist in C major, however, I think it would be a stretch to say it borrowed from A major since there is such a big jump to the parallel major of the relative minor key especially since the Em doesn't make A seem like a temporary tonic and neither G7 nor ...


0

Following Pat Muchmore's answer, that bIII could be construed as coming from the parallel key (of C minor)rather than being found in C major itself.This idea features in some pop songs, and can technically be explained away as such. The first example resolves from a listener's point of view in that the E contains notes that are as close as possible to the ...


3

I agree, these are somewhat dubious designations, but there's a possible justification for looking at them more or less as analyzed in your example, in increasing order of dubiousness. The first example is actually just a deceptive resolution of the secondary dominant, akin to a primary V7 going to vi. V7/vi in C major is an E7 chord that wants to go to A ...


0

You might say these chords do resolve to their respective tonic, but not directly or in a hidden form. C E7 F ā‰ˆ Am6/F C I V7/VI vi I C D7 F ā‰ˆ G7sus46/F C I V7/V V7 I C C7 (Eā™­) F G C I V7/IV (passing) IV V I But alternatively, you might just ...


4

I wasn't clear what your question really was to be honest, but I think you were asking how you create such colourful sounding chords, so I've added that question and I'll try to answer it a little bit here. There are 3 aspects I'd like to talk about, but they both stem from a similar concept of dissonant. When you hear a single tone, what your ear is ...


2

To my ear, the measure sounds like descending diminished 7th chords. Beats 1 and 2 f# diminished 7th and beats 3-4 d diminished 7th. (I'm not sure how Pat gets a d half-diminished chord with that c-flat so prominent, but maybe I've misread it.) On the first beat the g and b-flat are suspensions from the previous measure, which resolve down chromatically. ...


2

Interesting segment. I think that the second half of the measure can be heard as a D-diminished-7th in third inversion, and thus functions pretty normally as vii-dim-4/2 leading to the I6/4 of the following measure that isn't in your example. The Db in the top voice admittedly complicates that analysis, but I don't think it's dispositive. The first half of ...


5

"Musical Theater" is as broad of a category as they come. From the almost primitively classical works of Gilbert and Sullivan to modern avant garde styles that defy analysis, and every classical and popular style in between. You'll need to specify a composer or show that you want to sound similar to in order to get a specific answer. One thing I'll point ...



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