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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5
votes
6answers
559 views

Analysis of a jazz chord progression

Can you please explain the role of that Em7b5 in the following jazz progression in terms of functional harmony? | Cm7 | Em7b5 | Bbmaj7 | G7 |
7
votes
1answer
295 views

What do these up arrows/chevrons over numbers mean?

I've occasionaly seen these arrows over numbers, but I don't know what they're called or exactly what they mean. I'm assuming they have something to do with the motion, but I'm not sure.
3
votes
1answer
73 views

Beethoven Piano Sonata no. 1 in F minor: What are the first 2 chords of the transition?

So, I'm in the middle of orchestrating Beethoven's Piano Sonata no. 1 in F minor and I'm at the transition in the recapitulation of the first movement. In order to fill in that bass register that ...
2
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2answers
53 views

How to determine whether song is 16 bar blues or 32 bar form?

I'm analyzing blues in the Mississippi Delta tradition and the hardest/most subjective aspect I am running into has to do with songs with measure numbers divisible by 8. For example, we can use "...
5
votes
1answer
140 views

How to analyze mm. 5-8 in the first movement of Beethoven Piano Sonata No. 8

Everything makes sense until mm. 5. It looks like it moves from c minor to Eb major. Suppose we're in Eb major starting at mm. 5 From the end of mm. 5 to the very beginning of mm. 6, it's a vii°7/vi ...
13
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4answers
1k views

Is this chord from Bach's C major Prelude G+ or Cm?

So I'm analyzing the harmony in Bach's C major Prelude from the Well Tempered Clavier, and it all goes smoothly until I reach this chord: Now, most editions I see of this Prelude don't have this ...
5
votes
1answer
143 views

What type of fugue occurs in Glazunov's saxophone concerto?

From Glazunov's saxophone concerto (op. 109) at 9:10 in this recording there is a fugue and I want to know what type it is. I've just started this sort of music theory ...
0
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2answers
87 views

What is going on in Beethoven Sonata No. 5, II, mm 14

Here’s an excerpt from Beethoven’s piano sonata no. 5, second movement, measures 13-16, with my analysis in blue (key of Ab major, 2/4 time): My question is about the notes and chords in the blue box....
2
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2answers
93 views

Understanding the chords of "Paradise" by Daniel Caesar?

The song is based on this 4-chord loop: Abmaj7-Db9-Gmin7-Gbmaj7 I've liked this song for a while and its chords have always mystified me. Why does this progression work? Any help would be appreciated.
5
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5answers
1k views

How to tell the beginning and ends of phrases when there is no significant rest in the music?

I can't figure out where the phrases are in this piece of music and I am expected to draw brackets over them. There is no real rest or pause so I looked at where there is an end on the tonic note and ...
1
vote
1answer
121 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 (...
6
votes
3answers
917 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 ...
2
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0answers
89 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 ...
3
votes
2answers
86 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 ...
6
votes
1answer
285 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 ...
-1
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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# - > ...
0
votes
1answer
69 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 -> ...
3
votes
1answer
387 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-...
2
votes
1answer
82 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 ...
6
votes
1answer
73 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 ...
3
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2answers
326 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 ...
8
votes
4answers
1k views

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 ...
5
votes
1answer
137 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 ...
3
votes
2answers
114 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 ...
4
votes
3answers
100 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 ...
6
votes
2answers
155 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 ...
3
votes
1answer
50 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 ...
3
votes
2answers
105 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 ...
8
votes
3answers
429 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 ...
4
votes
2answers
114 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 ...
1
vote
1answer
55 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 ...
2
votes
2answers
138 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 ...
5
votes
6answers
374 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 ...
2
votes
2answers
150 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 ...
3
votes
1answer
242 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 ...
4
votes
3answers
191 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 ...
2
votes
1answer
64 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 ...
2
votes
1answer
86 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 ...
5
votes
3answers
235 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 ...
3
votes
1answer
195 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 ...
4
votes
6answers
2k 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 ...
1
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0answers
51 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
159 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 ...
1
vote
3answers
142 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 ...
4
votes
1answer
178 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" ...
3
votes
3answers
140 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 ...
6
votes
2answers
290 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 ...
3
votes
2answers
509 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 ...
1
vote
1answer
81 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 ...
1
vote
1answer
385 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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