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5

The key you are in defines the harmony, what chords you naturally have access to, and what the tonic is. From a single chord alone you cannot determine for sure either the key or the tonic, especially for a minor chord which doesn't have as strong a pull towards other chords as, say, a dominant chord. There are a few possibilities depending which key you ...


4

There are a lot of different ways you can look at naming chord in general. I see two very likely candidates for the name, but first let's clean up some note naming so it's a little easier to see. Let's not call the Db a Db, but it's enharmonic equivalent C# as it will make the naming much simpler. We could look at it as some kind of B chord. In this case we ...


3

Here is a quick basic analysis of the passage in question. Note that the first note in the bass in your edition is wrong (it should be an F, and is in the Schotts Söhne edition I've copied here). The notes under crosses are all accented non-harmonic notes; as such, they are resolving into chord tones in the following quavers. That's not to say that they ...


2

The whole last measure looks like V to me and I would even consider it V7 as there is a Bb in the measure. There does appear to be a lot of non-harmonic tones in this section, but if you look start at the beginning of the measure, you can see how the harmony creates a V7 chord. V1: (F) E (D) C (D) E V2: G C (B) C Bb C VC: C C ...


1

I believe that the best definition of the concept avoid note is the following: Avoid notes: The pitch or pitches of a chord scale which are not used harmonically because they will destabilize the sound of the chord. (from The Chord Scale Theory and Jazz Harmony by Barrie Nettles and Richard Graf) This definition avoids the problems inherent in the ...



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