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There is a rather more fundamental, physical reason for this than so far mentioned: the bass fills not only the bass frequency range, but its harmonics actually reach well into the midrange where all other voices have their fundamentals! In fact, since the bass has typically the strongest amplitude1 of all tuned instruments (save perhaps trumpets, lead ...


7

You were right on when you said that this chord "toys with switching to the minor scale." In classical musical analysis, the major chord built on the flattened third is considered a "borrowed chord", a chord that is borrowed from the minor version of the key. In Roman numberal analysis, it is written exactly as you would expect: ♭III. Like many other ...


4

There are many ways to deviate from the pattern. In this example a very common pattern emigres from the circle of 5ths. The chords don't belong to any one key, but rather come from multiple keys. You start with a C and go to G (I to V in the key of C), then you go from a G to a D(I to V in the key of G), then you go from a D to a A(I to V in the key of D), ...


4

Adding to @Casey Rule's answer: the set of chords that generally works with a key are (in C) C, Dm, Em, F, G, Am and Bo, with their 7ths if appropriate. There is also, in theory, the set of chords from the 'parallel' minor.In this case, Cm - (relative major being Eb). This gives the chords from Eb major - Eb, Fm, Gm, Ab, Bb, Cm and Do.There's now a far wider ...


3

As with most of the questions on this site, the answer is practice. Do lots of singing in harmony, and it will become second-nature. But how do you get started? Learn a song's harmony part by rote, and sing that alongside someone else singing the melody (or a recording of yourself). The simplest harmony part is a third harmony -- that is, whatever the ...


3

This is not a rigorous, scholarly answer, but a useful one: There is a simple, general principle in writing Western music that has been mentioned by many people over the centuries. It basically says that a piece of music has two important components: the melody up top, and the bass line down low. The chords are determined by filling in the spaces between the ...


2

A lot of Western music falls into the broad category of primary melody on top, a lot of stuff in the middle, and bass line on bottom. The outside lines--melody and bass--are easiest for our ears to distinguish because they are the lowest and highest boundaries of each vertical slice of harmony. The inner voices are often (but by no means always) less ...


2

It is possible to have multiple keys in a song. Charles Mingus in 'Nostalgia in Times Square' changed 3 keys in as many bars. He used chromatic notes in the melody as well. So, don't try to narrow your progression down to only one possible key. Now, let's say you are in D major: F#m -> 3rd chord of the scale. F -> chromatic. The bass goes F# to F(natural) ...


2

Check both: mDecks "Mapping Tonal Harmony": mdecks.com/mapharmony.phtml and Cognitone "Harmony Navigator" and "Synfire": cognitone.com/products/index/page.stml Either one or the other will blow off you mind :)


1

Adding an ♭III on top of a I will give you the same notes as (albeit spelled differently from, and, i.m.h.o. more correctly than) the "Hendrix chord", or, more officially, the Dominant seventh sharp ninth chord, a chord that is used a lot by rock guitarists. An example: Because it has both a minor and a major third, it sounds very "bluesy", although it ...


1

"...the particular role/reputation of each chord in a movement..." The key term you're looking for here is functional harmony. In a typical harmonic analysis, you determine what the chords are in terms of their root (e.g. 4th scale degree) and their quality (e.g. major chord, with a major 7th) to determine the name of the chord (e.g. IVmaj7). In functional ...


1

Two thoughts: Look at the linear shape of the melody. Notice implied harmonies for each measure. Consider which notes might be important (clear chord tones) and which ones are less important (neighbor and / or passing tones). Look at how the melody is accented agogically. Notice which notes have longer durations than others. In a melody, longer notes ...


1

It might be easiest to work backwards -- the most obvious cadence point is going to be the last few notes. You can bet the last chord is expected to be the I, D major. Prior to that you would expect a V(7) or occasionally the IV. We see an E in the melody so assume V7, or A7 in our key of D. Just before that is an F#, what might that be? It doesn't ...


1

Singing harmony is just a skill. It can certainly be learned, like any other skill. You didn't specify what type of context you're planning on singing harmony in (a choir? a home studio? a band? just driving around in the car?), nor what your current level of musical knowledge/experience is (Do you play any instruments? Can you read music? Do you know any ...


1

It's difficult to tell which are the passing chords from your example because there's no time values. Passing chords are of short duration and/or occur on off-beats. So absent that, I would look at the chord tones for each to determine what melody to play. F#m: F# A C# ("color tones": E G# B D) F: F A C ("color tones": E G Bb D) Esus2: E B F# Ebm7b5: Eb ...


1

I want to start my answer by saying: I don't know. This is a very profound question. It does not have a trivial answer. I don't think anyone knows the answer for certain. Because your question isn't just about how Common-Practice Era Western Music Theory Type analysis proceeds. It's about how we think about what a chord is. What is it about how we hear ...


1

Upper structures are tritones over a minor/major triad or the other way round. Forming these chords needs thorough understanding on triads and tritones. A C major7(b5) is an example.C-E-G-B-Gb. there two chords in these...a minor triad nd a tritone/dominant. E-G-B=E minor triad.Also Gb-C=Gb tritone,C tritone and Ab dominant. In remembrance to the fact that a ...



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