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4

I have a tool made just for this: http://www.michalpaszkiewicz.co.uk/chordprogressiontool/ The program is open source too, so you can take the code and do what you like, or improve upon the project itself.


2

There are a thousand different ways to harmonize the passage you've shown. In the end, writing music is a lot like writing a persuasive essay: it's less about what you say and more about how you say it. My advice: harmonize it several different ways and see if it makes sense; do a chord for every note - is the harmonic motion too fast? Do the opposite. ...


2

Most of the time in classical, but not always - sometimes the half-measure ends up being more important (irregular phrase lengths). Not always in much of classical music. You don't have to look far to find pieces in which the inner voices are absolutely essential, and not just as harmonic filler, but as focal points - just look at some of Mozart's string ...


1

NOTE: Althogh the question sounds specific, it goes to a lot wider discussion. Consider my answer as notes on the subject. "Melody" sings over "harmony" type instrumental music mostly originates from imitating songs with instruments which already have song forms. Later instrumental music developed more complex structures with respect to the instrumentation ...


1

Interesting idea! It's somewhat 'chicken and egg'. A sequence of 4 or 5 notes may have several chords which will underlie them. Similarly, a sequence of chords may have any number of melodies played over them - ask any jazzer! For some note sequences, there will be one overriding set of chords that will be best fit. Similarly, vice-versa. Some, if not most. ...


1

This is pretty close, but not exact. This site has a good amount of chords under separate urls. http://classpiano.com/chord-dictionary/ You could send your friend: AbM7 : http://classpiano.com/a-flat-maj7-chord/ AbM7 : http://classpiano.com/a-flat-maj7-chord/ Bb : http://classpiano.com/b-flat-chord/ Gm : http://classpiano.com/g-m-chord/ Ab : ...


1

First of all the last G is natural not sharp because any accidental in the measure stays unless otherwise noted. It seems like the harmonic rhythm is every two beats (i.e. the chords change every two beats). From the two measures you've shown we can see the chords created are: F# Bm7 | E A7 The first part can be interpreted as V to i7 in B minor and ...


1

It is a bII maj13(#11) (i.e. Gbmaj13(#11)) chord, which is borrowed from phrygian, and which resolves to I (i.e. F). Note that this is no tritone substitution, otherwise it should be Gb7 (9,#11,13), with a minor seventh in it. This chord has a major seventh. The way it is played here it has no fifth, but a 9th and a 13th, and a #11, I believe. The voicing I ...


1

The vocabularly allowed for cadences in AMEB grade 4 theory are the following chords: I, ii, IV, V and vi. You are not allowed to use V7 until grade 6 theory otherwise it would be ideal for the final cadence. You are also allowed to harmonize other parts of the melody with first inversion chords but not the cadences so the chords that you are allowed to use ...



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