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I recomend that you read Vince Persichetti's Twentieth-Century Harmony: Creative Aspects and Practice. The basic idea is that you want to highlight the distinguishing characteristics of a scale when harmonizing it — but the book is an easy and worth-while read. Like asking how to harmonize a major or minor scale, there answer is endlessly nuanced and ...


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I believe such a tool would first have to know how to determine what the un-noisy signal sounded like. I don't know of a tool that will do all of this together, but you might be able to cobble together a rudimentary version of such a tool from existing tools. I don't know how well it would work... For example, Reaper (and probably most DAWs) has a ...


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I wasn't clear what your question really was to be honest, but I think you were asking how you create such colourful sounding chords, so I've added that question and I'll try to answer it a little bit here. There are 3 aspects I'd like to talk about, but they both stem from a similar concept of dissonant. When you hear a single tone, what your ear is ...


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The song is in E major and the chord you're wondering about is a G#7 resolving to C#m. The G#7 is a secondary dominant chord which creates tension that is resolved by the C#m chord (the VI chord of E major). Note that the G#7 is the V of C#m (that's why it's called a secondary dominant).


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To me, this sounds like an Ab7. I started from the break at 1:02. I heard these chords: B7 E B7 Ab7. Cheers!


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You definitely got the most important note - the #5 - right, it is a dominant seventh chord with a raised 5th: F#7/#5 The raised 5th resolves upwards to the third of the I chord (B major). So it is a basic progression V -> I, where the V is altered.



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