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0

there´s a software that can be useful: http://harmonypractice.altervista.org/index.html Hope this helps, good luck in your exams!


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. ...


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The Way I Would Teach It,. Step 1: Determine the key. Step 2: Determine Cadence points. Step 3: Start at the end and choose chords Step 4: Write a melody for the Bass Step 5: Add the middle voices. THINGS YOU WILL HAVE TO KNOW: The four note chords build on the Dominant and Super Tonic and there proper resolution. Both the cadence and passing six ...


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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.


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 : ...


0

The way I think of these beginner harmonizing exercises is like Sudoku. You have to try out chords and see what fits. Start with the G major chord and then add another chord. If you see consecutive 5ths or 8ths, remove it and and another one. If you cannot find one that fits, that means the previous chord might need changing.1 Now, something more you need ...


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. ...


0

You start by determining where the cadence points are. At a general grade 4 level it should be uncommon that the cadences would not be every 4 bars. You look at the note that they give. These notes that they give could only be in one of three chords. At the first Cadence it look like a Imperfect Cadence with a passing chord as decoration. So for the last 3 ...


0

I call the F note in a song in G Major a Dominant 7th, which if played with a G Major chord, makes the chord simply called G7. I don't know "Misty Moisty Morning", but I do know an older song with a similar name, and features the same concept you brought up only in a different key: "Misty Mountain Hop" by Led Zeppelin (1971). That song is in the key of A ...


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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Here is a free online class I am following on that very topic. I do not know if you have time to follow the entire class though.


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 ...


0

Okay after digging and exploring the piano I found the answer: the mystery chord that the player used here before getting back to the tonic (F) -looking at the piece as a major scale piece- was F#min7 this routine is called (as I doubted) three tone substitution done by altering the 5 chord with a chord higher three tons from it. in our example we altered ...


0

I'd call it more F♯7 - Bm | E7 - A7, treated as V7 of ii - ii - V7 - V7 of IV. (Notice that G♮/G♯ never shows up in m.8.) Bach is actually articulating every quaver, but using these as elaborations of the main harmonic rhythm, which is, as Dom says, every minim. The pattern of the sequence at the quaver is | (m. 8 in "B minor") vii° - i - V7-6 - V - i - ...


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 ...


0

Sticking my neck out! Sounds like tts to me - it's in Dm/F at this point, so the chord could be Db7. It doesn't modulate to its original (written) key till way after that.


3

Try Twentieth-Century Harmony: Creative Aspects and Practice by Vincent Persichetti. While it is not based on functional harmony, it has a section that specifically addresses the sounds made by combining different triads, as well as tetrachords, and it gives literal descriptions of how these chords "sound" ("acidic" and other descriptive adjectives). Also, ...



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