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A lot of things come into play here. Often, the harmonies are analyzed (using Roman Numerals if it's Common Practice Tonality, using something like set theory if it's post-tonal, etc.) in order to see where the composer has followed standard progressions and, more interestingly, when they haven't. We look at the specific voicings of the harmonies and see how ...


The convention is "Roots a second apart": "Roots a Second Apart (no common tone): Move the upper three voices in contrary motion to the bass, making sure each voice moves to the nearest chord tone of the next chord; the roots of both chords should be doubled." Though the first chord is an inversion: "When one of the two triads is in inversion, write to or ...

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