Hot answers tagged harmony
5
The words denote totally different concepts and the difference lies in the arrangemental intent for the instruments playing tones in parallel octaves:
Parallel, or consecutive, octaves
If the intent of an arrangement is to have independent voices but two (or more of) them happen to move in parallel at the octave (or in unison, or two or more octaves apart) ...
4
The scale you describe (C D E♭ F G A♭ B) is, as Raskolnikov points out, a C harmonic minor scale.
However the scale used in the video is a C natural minor scale as the notes used are C D E♭ F G A♭ B♭.
(Parts of the melody, in the video, could be considered to be in the temporary tonic key E♭ -- the relative major of the song's ...
4
As you have observed, parallel 5ths are not particularly musical. In fact, in the first semester of Theory I, everyone learns the important rule of harmonizing a melody and bassline: "NO PARALLEL 5ths!" In fact, I give you not one, not two, but three different memes (that I did not make) that detail this. (This page has some much more useful images.)
You ...
4
I'd approach this as an application of counterpoint, where it's not always desirable to have the intermediate voices be a 5th above the bass. In strict counterpoint, you would typically construct parallel voices with a separation of a 3rd or a 6th up from the bass, this may fill out the harmony better than a 5th. This is in addition to the the answer ...
4
You have a couple good questions here.
Parallel Fifths and Parallel Octaves occur primarily in realizing functional harmony; whether it is in a chorale, a fugue, or any number of traditional forms of the European Classical tradition.
They are the result of two voices moving in parallel motion - hence the term "parallel fifth / octave." They are forbidden ...
4
The answer you have given has parallel fifths in the bottom two voices between the last two chords. To be more specific, the bass (bottom voice) plays D-A-D while the tenor (second from bottom) plays D-E-A. It is the interval A-E in the second chord, moving to D-A in the last, that gives the parallel fifths.
3
As far as I'm aware, Beatles' Eleanor Rigby is written in E Aeolian/minor (with the key signature of a G major/E minor, which is just one sharp at the F).
Although most of the song is mostly played in Aeolian, the verses are alternating with the Dorian mode. The Dorian mode is almost exactly the same as an Aeolian mode, but with a raised sixth! In this case ...
3
Some musicians are content merely to play the notes on the music in front of them correctly, and are not curious to learn anything about the notes that other people in the ensemble also play, or how those notes affect each other. Other musicians want to know the "big picture" and understand how the composer has constructed the entire piece that the ensemble ...
3
The Ab in the cello part in the final chord of the music you posted is almost certainly a typo. The entirety of the piece aside from that is written with typical common practice harmonies that you would expect to see in a theory class.
The only context I would expect to see the music played as written would be a mistake on the part of the cello player or ...
3
Focus on the main downbeats of your melody. The rest you might have to turn into transition-focused points of your melody.
To Reiterate:
Yea, ok, A4, that's fine, but you will need to give something up, so focus on the important notes of your melody.
Downbeats
Longer-held notes (those with more duration)
Hope this catches the point of your question.
3
The whole tone scale is generally associated with the augmented chord (+5 triad or +7 or 7#5, in the jazz notation).
Your first "scale" is not really a scale. C7sus4 b9 #11 matches, but so do does Bb -7 9 b13 / C
You'll get a large set of examples in the Scale Syllabus (http://www.jazzbooks.com/mm5/download/FREE-scale-syllabus.pdf).
3
A short simple answer could be the same as for any scale: You use the notes of the scale to assemble chords!
This is at least what you do in jazz;
Say, for example, that you have a jazz melody that (for the passage you are harmonizing) uses the notes of a C mixolydian b9 b13 scale (C Db E F G Ab Bb). Then you can use chords built on the notes of that scale ...
3
The scale is C D E♭ F G A♭ B♭, but the root note is not quite clear.
It could be as well described in Eb Major.
In fact the beauty of the piece derives from its tonal ambivalence:
Like many pieces, most often baroque pieces, it starts in minor but directly goes into the parallel major key, Eb Major, and stays there until the end to finally go into the ...
3
The piano figure in salsa/latin jazz is called a 'montuno' and it does share some of the characteristics of the bass tumbao but it is rhythmically different. However, the piano montuno and bass tumbao work together with the clave and percussion to create the overall sound - to learn more about this I'd recommend the excellent Salsa Guidebook by Rebeca ...
2
hmmm, big topics...
Ya seen http://www.dolmetsch.com/theoryintro.htm ?
also http://www.musicarrangers.com/star-theory/p01.htm ( menu on the right...:/ )
and http://www.songtrellis.com/
2
When identifying a chord, I normally follow these four steps. Here, I have them written out with the specific steps for the chord listed in the question.
First, when identifying the roman numerals, we must identify the notes that appear naturally in the key. Here, the key of G Major naturally contains the notes, G A B C D E F#.
Identify the notes in the ...
2
This question sounds hard, but it's actually very easy to answer :-)
Harmony is vertical based and counterpoint is horizontal based.
In the old days, when mr. Bach was doing his thing, harmony as we know it didn't really exsists in the same way. Ofcourse, multiple-sounding-notes are creating a harmony. But it wasn't a harmony like we hear now in pop and ...
1
In the older hexachordal system, mi refers to a note below a half step (like E below F or B below C) and fa refers to a note above a half step (like F or C in a white note system). So by changing F (which is a Mi) to F# he is temporarily making it a Fa. Think of Mi as like a leading tone with a tendency to move upwards. Fa had a tendency to move down, ...
1
A deeper learning of music theory and analysis will give you a better understanding of the music and the part you play in the larger whole. However, this isn't necessary if you just want to enjoy playing!
There are rules to writing music and orchestration that composers learn. This is really important in the early learning of someone who wants to write ...
1
This site provides something Khan academy like: Dave Conservatoire.
Also, try searching for harmony treatises on IMSLP. They've got some good stuff like a short treatise on harmony by Peter Tchaikovsky.
1
Improvising and composing fusion are two different ball games and the former is a much easier one since the interesting chords are already there, and aside from some potential difficulties phrasing from one tonality into another dependant on the oddness of the chords underneath it tends to be standard analysis of tonalities and into subconscious phrasing ...
1
Think of counterpoint as a group of independent melodies that overlap and happen simultaneously, yet are designed to create a consonant effect.
Think of harmony as what happens when you strum a series of chords in a progression on the guitar.
Most music nowadays has one melody and chords underneath it to support it. But in earlier times counterpoint was ...
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