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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 ...


1

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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