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As for the sound of the F#dim chord, I would guess that the reason it doesn't sound compatible is that F# is the one note where A Dorian differs from vanilla A Minor. It's not in our "normal" musical system to have only a raised 6th in a minor key, so having a diminished chord build on that note is out of our common experience. My assumption is that this is ...


It is actually misleading to think about this music in terms of chords as we know them, as the system we use to identify and speak about vertical harmonies was still under development during Bach's time. Bach had no concept of a "suspended chord" for instance. Bach did not think of chords the way a guitarist does (moveable stacks of exact intervals, with ...


It's an Asus4 chord, which is a suspended chord where the third (C#) is replaced by the fourth (D). The fourth is carried over from the previous chord (D minor), and - as you've suggested - resolves to the third (C#) of the next chord (A major).


To call such chord a Dominant surely saves time and it is practical thing to do when your theory knowledge is strong. However the "major, minor 7th" perfectly describes all the intervals -omitting the fifth- and it is a more straightforward approach to chord learning.


It's a very distinct and verbose way to name 7th chords that is derived from classic theory. I'm not sure if it has a name or even needs a name as there's always more then one way to name chords for example some people use Co7 to represent a fully diminished chord and some people use Cm6b5 to denote the same chord and call it that. I'll refer to it as 7th ...


I don't know if the major-minor thing has a name, but the idea is to dissociate the actual intervals from the tonal function. Calling a chord a "major minor seventh" is simply describing the chord without any context, and calling a chord a "dominant" chord is describing a relationship with the tonic. In the kind of Classical music that is typically used to ...

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