Timeline for Harmonic analysis of arpeggios in Dance of the Sugar Plum Fairy
Current License: CC BY-SA 4.0
15 events
| when toggle format | what | by | license | comment | |
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| Sep 13, 2018 at 22:43 | comment | added | Richard | @foreyez I assume you mean from WTC 1? If so, that one is much more functional than the Tchaikovsky example. It can completely be understood as diatonic chords and applied chords. | |
| Sep 12, 2018 at 22:51 | comment | added | user34288 | I'm wondering if Bach's prelude in C major works the same way... it seems to shift one or two notes each time as well. youtube.com/watch?v=OpVp22mgApg | |
| Sep 5, 2018 at 20:36 | vote | accept | CommunityBot | moved from User.Id=34288 by developer User.Id=19681 | |
| Sep 5, 2018 at 11:20 | comment | added | Tim | It's most likely American, but not particularly weird! 'Dominant' is by far the most prevalent, so '7' does the job, 'maj7' (or triangle...) works for , well, maj7, and I think 'min/maj7 is probably the least used. | |
| Sep 5, 2018 at 11:19 | comment | added | Richard | @Tim Yes, I'm just being extra clear by labeling both the triad and seventh qualities. It's akin to calling a dominant seventh a "major-minor" seventh. Perhaps it's a weird American thing! | |
| Sep 5, 2018 at 10:35 | comment | added | Tim | Is 'major-major seventh' another way to say 'major seventh' as opposed to 'minor-major seventh'? | |
| Sep 5, 2018 at 9:36 | history | edited | Richard | CC BY-SA 4.0 |
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| Sep 5, 2018 at 9:32 | comment | added | Richard | @foreyez Yes, the remaining pitches tend to move by half step, but that's not always the case. Occasionally there's a whole step, as I mentioned in the post. It's pretty rare for it to be anything larger. I've also edited the post to add a final possible explanation. | |
| Sep 5, 2018 at 4:17 | comment | added | user34288 | both examples you gave, the non-common ones just move by a half step. is this usually the case? | |
| Sep 5, 2018 at 3:45 | comment | added | user34288 | yes you're right my mistake. it makes it resolve better to the tonic. need some time to digest the info in this answer though. thanks for the effort you've put in this. I was reading about chromatic mediants last weekend and how they also share a common tone (the third). this kind of reminds me of that. | |
| Sep 5, 2018 at 3:38 | comment | added | Richard | @foreyez It's very common for a minor key to have the V7 chord. In fact, in common-practice music, the V7 is much more common than the v7. | |
| Sep 5, 2018 at 3:37 | comment | added | user34288 | but "D# F# A B" was the V7 of the parallel key. | |
| Sep 5, 2018 at 3:29 | history | edited | Richard | CC BY-SA 4.0 |
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| Sep 4, 2018 at 22:21 | history | edited | Richard | CC BY-SA 4.0 |
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| Sep 4, 2018 at 22:10 | history | answered | Richard | CC BY-SA 4.0 |