Questions tagged [analysis]

For questions about studying the intricacies of a piece of music. Questions should also be tagged with a more specific form of analysis if applicable.

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104 views

formal and harmonic analysis : Bortkiewicz op.40 n.4

I am trying to analyze a Bortkiewicz prelude, op. 40 n.4 in F# major, but I have some doubts. I divided the prelude into three parts: part A (bars 1-11) part B (bars 12-20) part A' (bar 21-29) coda (...
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3answers
856 views

Can you tonicize to a chord that's not on the original key?

I had a discussion with a few people on Chopin's Nocturne in B-flat minor. We couldn't reach an agreement and I'm curious how people would analyze it. In the middle section of the piece (which is in ...
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0answers
78 views

Changes by David Bowie chord analysis [closed]

I am trying to find out what is going on in David Bowie’s “Changes” song in terms of the chords are used. I have made a couple observations but I want to make sure they're right. Firstly,the second ...
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2answers
81 views

Doubts about some harmonic passages in Bortkiewicz's prelude op. 40 n.3

I am trying to analyze the harmony in Bortkiewicz prelude, op. 40 n.3 in E major, but I have some doubts. I put under the arpeggios the romanic numbers of the harmonies. In the first part, even if ...
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1answer
275 views

Doubts about a diminished fourth - op. 40 Bortkiewicz

I have a doubt about a musical analysis that I found on an italian book. The author wrote that in the final part of the Prelude n.2 op. 40 by Sergej Bortkiewicz, there is a repetition of the tonic ...
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2answers
67 views

When She Loved Me: Decorative Chords alternatives on (Add2)

This is the middle part of "When She Loved Me," in Toy Story 2 sung by Sarah McLachlan. P.S. See this for example for the piano. The chord progression goes twice as: Em7b5 -> A/C# - > ...
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1answer
67 views

When She Loved Me: Opening Chord progression - replace the 3rd chord from G7/B to Bdim or Bb?

This is the opening chord progression of "When She Loved Me," in Toy Story 2, sung by Sarah McLachlan. See a related question. The chord progression goes like: Dm -> AmC -> G7/B -> ...
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1answer
181 views

How could these chords in Debussy's "Reverie" be analyzed?

I am working on a harmonic analysis of "Reverie" by Debussy, and I am trying to find ways to analyze two things. In the first image (mm. 24–35), the first few measures are in the key of B-...
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1answer
79 views

Schumann posthumous variation V's choice on descending the semitone or whole tone

Here is the starting part of Schumann posthumous variation V, I am interested in knowing the "logic" or the "reasoning" why and how Schumann chose the descending tones of the ...
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1answer
66 views

What harmonic idea is being used in Measures 9-12 and 17-19 in "Recuerdos De La Alhambra? "

I have done some harmonic analysis on Francisco Tárrega's “Recuerdos De La Alhambra”, as you can see below. Most of it makes sense to me, but there are sections in measures 9-12 and 17-19 that the ...
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2answers
323 views

How to differentiate interpretively similar sections in Satie's Gnossienne #1

I’m learning Gnossienne #1 by Erik Satie. Earlier the composer instructs ‘Du bout de la pensée’ which I have no problem performing. The problem occurs when I reach the end of the piece with the ...
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4answers
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Should I use uppercase or lowercase roman numerals in Jazz harmonic analysis?

I know that there is not a fully defined specification for the language used in jazz harmonic analysis, as it has grown slowly and organically and has many variations. I have seen some textbooks use ...
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1answer
126 views

Help me figure out the mode of this Howard Shore piece

I have been trying to harmonically analyse this piece by Howard Shore called “Beyond the Forest”, an Elvish song from the Hobbit. I have included the sheet music below (page two is linked) and you can ...
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2answers
97 views

Strange out-of-key chords in Blow by Beyonce?

Can someone explain to me what is going on tonally in Beyonce's song Blow? The bass notes deceptively seem to suggest the chords in the verse are G major and F major. But these chords do not sound ...
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3answers
96 views

On Schumann posthumous variation V's note on a natural G or a flat G

This shows the first two bars of Schumann posthumous variations V. Look at this music note (red-squared), I am curious to know why Schumann chose a natural G instead of the original flat G in this ...
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2answers
150 views

Naming a chord in the first movement of Mozart's K. 331?

How could one name the first chord in measure three in Mozart's A-major piano sonata K.331, first movement? It looks like a F#-minor-7th-chord without the fifth, i.e. something like a substitution of ...
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1answer
43 views

What interval sequences "defined" Fux's counterpoint?

Motivation When Fux laid out his rules for counterpoint, he did so primarily in terms of melodic (horizontal) movements within each voice and secondarily in terms of harmonic (vertical) relationships ...
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2answers
104 views

How does one analyze a song that moves primarily between two non-diatonic chords?

The score for 'The Simple Life' by Jerry Martin indicates three flats, which would typically mean either Eb major or C minor. However, almost the entire song just moves back and forth between Bb major ...
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3answers
395 views

Do incomplete chords get roman numerals in harmonic analysis?

I am studying figured bass. I see some chords might be incomplete, for example 8/3 chords. Would those chords get Roman numerals assigned to them, or must all 3 notes of a triad be present to be able ...
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2answers
108 views

In what context(s) is the Nashville Numbering System preferable to Roman numerals?

In his answer to What's the difference between the Nashville Number system and a Roman Numeral System?, Dom states that "Roman Numeral Analysis as stated is used mainly in analysis while the ...
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1answer
47 views

When does this extract change key? (Roman Numeral Analysis of Greene: 'Ode on St Cecilia's Day')

Quick question regarding bar 3 in this figured bass exercise. We start off in D minor. The introduction of C naturals in bar 3, along with the fact we finish the piece in the relative FM, seems to ...
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2answers
108 views

How should I analyze this chord progression?

A while ago I developed a chord progression on the piano I find really beautiful. It goes C E G B C D# F# B B D# F# A B E G A and then after repeating that a few times over I add B E F# A A D# F# A B ...
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6answers
366 views

Labeling a dominant triad over subdominant bass

I wanted to highlight a particular chord of my previous question because it was bugging me a bit. What would you call a dominant triad over a subdominant bass, in pop/jazz roman numeral analysis? It ...
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2answers
116 views

Four part Writing: When must a perfect fourth be resolved?

A bit confused at the moment regarding when a perfect fourth is classed as a consonance, and when it is classed as a dissonance. I have read here on Stack Exchange, that perfect fourth intervals are ...
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1answer
213 views

Roman numeral analysis: Bridge over Troubled Water

I'm trying to create a "universal key" to learn more about the harmony and to be able to practice it easily in every key. Below is the intro for 'Bridge over Troubled Water'. Generally, I ...
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3answers
173 views

In the context of G Major, is there anything special about a Am-Cm-Bm-Em progression?

It looks like a ii-V-iii-vi going around the circle of fifths but with the V replaced with a iv, but I don't know what the theory behind that replacement is. I'd heard of tonicization before but I'm ...
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1answer
56 views

Not following Hindemith-type analysis

I am having trouble following the analytical methods applied in David Neumeyer's The Music of Paul Hindemith. Please refer to example 3.12: I would like to use one of the chord changes to put my ...
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1answer
61 views

Inversions of diminished 7th chords

I have the following passage in D minor which features two diminished 7th chords: I have labelled most of the chords, but I am at a loss of how to label these two diminished 7th chords. If I could ...
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3answers
209 views

Roman Numeral Analysis - Tonicization of relative major key in minor key

I have a passage that I am trying to analyse with roman numerals: The passage is in B minor, but the section in question briefly tonicizes D major - the relative major key. My question is, how can ...
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1answer
152 views

Harmonic Analysis of C. M. von Weber Clarinet Concerto No.1

My question is regarding this passage from C. M. von Weber's Clarinet Concerto No. 1. The passage is taken from the exposition of the first movement and has so far been established in F minor. Bars 20 ...
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6answers
1k views

What is the purpose of the first movement in Moonlight Sonata?

As someone inexperienced in formal music theory, I wonder what the purpose of the first movement of Moonlight Sonata is. Whenever I listen to Moonlight Sonata, I feel like skipping directly past the ...
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0answers
49 views

What's the measure of "Stop This Flame"? [closed]

I suppose Celeste's song is something like 2/4? It reminds me of samba.
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3answers
145 views

When using Functional Chord symbols, how can we distinguish between a Dominant 7th chord and a Major 7th chord? [duplicate]

In the key of F major (for example), we can have the chords C7 and Cmaj7. C7 = C-E-G-Bb and Cmaj7 = C-E-G-B Using Functional Chord symbols, the basic tonic chord is "I", and the basic ...
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3answers
131 views

Modulation Techniques in 'Sword Art Online - Swordland (Main Theme)'

In Sword Art Online - Swordland (Main Theme) (https://musescore.com/user/13887436/scores/4364901), it goes through a series of modulations and was wondering how the modulations work and how they ...
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1answer
156 views

What is the function of this chord progression in Schubert's "Winterreise"?

I'm having a hard time figuring out how the chord progression from Schubert's Winterreise (D911), No. 11 "Frühlingstraum", measures 15–26 works (from the section marked "Schnell" ...
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2answers
85 views

What differentiates different styles of music? [closed]

Funk, pop, rock, country, disco, house. What makes these different? I mean, I know I can hear that they are different, it’s clear, and it’s also clear when I hear a new song I can classify it ...
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3answers
124 views

Four part writing: How to voice diminished 7th chords?

I am currently doing part writing, and have come into a bit of a conundrum. I want to use a sharp 4 dim 7 (Fsharpdim7), to link up my IV chord (FM) to my V7 chord (G7). I know that 7ths should usually ...
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2answers
264 views

Four part writing problem: tripled root solution. what is best practice here?

I have hit a problem with this chord change in my four part writing. We are in A minor. The VI chord is in first inversion, so A must be in the bass. (I have made a mistake in the figure. the VI ...
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2answers
471 views

Interpolated chords: How do they work?

Recently, I studied the tune 'Misty' by Eroll Garner. I was slightly confused as to the middle section of the piece, as it involves a passage with some delayed resolutions. I have come across three ...
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1answer
77 views

How does Modulation in Spirited Away - Name of Life work?

I was wondering if there is any harmonic reasoning and mechanism in play with the modulation from C major to Eb major in measure 103? The only "logic" that I can think of is that in previous ...
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1answer
241 views

Chord Progression in Merry-Go-Round Of Life

In Joe Hisaishi's Merry-Go-Round Of Life, I'm trying to understand harmonically what is happening from measures 15 - 22. Below is my chord analysis in this G minor piece: Measure 15: Bb/F [III] ...
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3answers
79 views

Chord naming conventions: When is a 6 a 13? [duplicate]

I have seen/ heard people say that you only write a 6 when there are no other upper extensions used (meaning no inclusion of 7 and above). I have also heard people say that you only write a 6 when ...
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4answers
170 views

A romantic era piece has a baroque era title: how does one determine the style?

J. Danbé's "Petite Gavotte" (ca. 1888) for violin and piano seems to be baroque mainly because of the title, "Gavotte", which was a common baroque dance. But I can't find any ...
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5answers
200 views

What makes a chord a sus chord?

In light of some recent answers to questions I have asked on Stack Exchange with regards to naming chords, I have decided to refine things a little further, focusing on sus chords. If a chord contains ...
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1answer
103 views

what is the method behind naming jazz chords? [closed]

I have recently become confused about how to name chords in jazz. This is my current understanding: Add chords (without 7th)- chord that contains the root, third, (optional 5th) and one or more ...
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2answers
39 views

Seeking help: song comparisons and analysis [closed]

I'm looking for some assistance in comparing songs to one another. Lately I've been noticing that listening to a song will remind me of another song or two that often aren't even the same genre, have ...
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8answers
1k views

Secondary Dominants - is there a more appropriate term?

An example - in key C major, the E7 chord is a 'secondary dominant' chord. Now, if it goes directly to the chord it's dominant to in its own right - A, or Am, then it makes sense to call it secondary ...
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1answer
159 views

How can one analyze the chord progression from "Your Affection (from Persona 4 soundtrack)" by Shoji Meguro?

I've been listening to Persona 4 soundtrack by Shoji Meguro recently, and soon got hooked on a song called "Your Affection". It's a J-pop song whose catchy chorus intrigued me with a ...
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2answers
448 views

How do you explain this Db7 (functional harmony) in "There will never be another you"?

I'm analysing this Jazz Standard. And it's quite straightforward with some major and minor II-V cadences here and there yet there is a chord I don't know how to explain, and it is that Db7 indicated ...
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1answer
59 views

How do I learn how to accompany with Piano [closed]

I've been long time sheet music reader and I've recently switched to chord sheets in desperate pursuit of improving my musicianship. I've always wanted to reach a level where can arrange and ...

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