Questions tagged [functional-harmony]

For questions to related to the accepted uses of harmonic progression within the common-practice period. Questions may also necessitate the chord-progressions tag.

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1answer
46 views

How do I start a new phrase whilst modulating? [closed]

Hi guys, I have recently been composing and have run into an issue. I have finished a section with a perfect cadence (bar 52), and I would like to change to the subdominant key for the next phrase (...
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3answers
178 views

D Mixolydian key: is it possible?

About the song linked below, is it right to say that its key is D Mixolidyan? Verse: D Am C G D Chorus: D Am D Am C G D The reason I'm asking this ...
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1answer
55 views

Can V65 or V6 move down to V7 or do they usually resolve to I?

I understand that the bass of V65 or V6 wants to move up to I. My text book does have some double neighbor figures where V65 goes to V43 before resolving to I or I6. However, I am unable to find an ...
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1answer
69 views

What are idiomatic ways to harmonize ^5 ^4 ^3?

I have only learned a few chords in my harmony and voice leading book. I, I6, V, V6, ii, ii6, IV and the inversions of V7. I am now trying to harmonize this melody and so far the most idiomatic ...
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2answers
301 views

Does V42 only resolve to I6 or can it move to V7 forming a stepwise bass?

If the chordal 7th needs to resolve down by step then I understand why V42 should move to I6 but cant chords be expanded and the dissonant 7th in a 7th chord move to another voice for example from the ...
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4answers
466 views

Is there a common labeling system for tritone substitutions?

Imagine the following progression: C F D♭7 C We typically just explain that third chord as a tritone substitution—and we stop there!—but this must be maddening for beginners, because we aren't ...
2
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4answers
90 views

does the progression VII > III in minor mean you have modulated to the relative major key?

Is this progression possible in a modal minor chord progression or does it immediately make the III chord the new tonic via an authentic cadence?
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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 ...
7
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1answer
262 views

In the common-practice style, did minor dominant chords (v) still function as a dominant?

In the common-practice style, usually dominant chords were always major, even in minor keys. Without the leading tone, how did minor dominant chords (v) function?
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3answers
50 views

Is the passing 6/4 also used as a passing chord between root position chords?

In almost all music theory websites and books I have read it defines a passing 6/4 chord as a chord that passes between the same root and 1st inversion triads (eg I to I6) but I have not seen much ...
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1answer
63 views

Is this cadence an example of the German theory that the mediant chord can have tonic function?

From what I understand of German theory the mediant iii chord can have tonic function as the "tonic counter-relative." In this Bach chorale... ...the second cadence is on iii. The preceding ...
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3answers
113 views

Harmonic sense of an Eb7 in a blues in E

In this image a blues ends with the tonic chord (E7) preceded by Eb7. Beyond the chromatic effect that can be perceived, is there any way to harmonically define such an Eb7? In other words, what is ...
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1answer
86 views

Harmonic functions in the minor scale

The picture above shows that the harmonic functions for chords as: Tonic: I, III, VI Dominant: V, VII Subdominant: IV, II Dp these same classification also apply to the natural minor scale?
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2answers
106 views

Can dominant chords be specified independently of a tonic (of a key)? [duplicate]

The dominant chord is defined in relation to the (5th) scale degree on which it is built. This definition can often be found alongside other chord types, such as the major triad, whose definition ...
2
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2answers
63 views

Complex chord progression (secondary dominants) with simple step-wise melody?

In many musical pieces, complex harmonic relations can be identified in the chord progression even when the melody can intuitively be "felt" to progress in a very simple step-wise manner. ...
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3answers
171 views

Why Should I always follow the rules of functional harmony? [closed]

I have used functional harmony many times in my compositions to write chord progressions with success, however there are times when using functional harmony doesn't sound good to me and others when I ...
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2answers
479 views

How do you define Harmonic Retrogression with regard to intensity?

I was doing some practice problems in the AP Barron's Music Theory book, and one of the practice problems asks: “When harmonies within a phrase move from a strong intensity to a less strong intensity [...
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2answers
208 views

Is there such a thing as a stable or unstable tone in scales?

I'm writing a song in 4/4 in A major, and my melody ends first on the 7th degree leading tone (G#) and then the second time on the 6th degree (F#). These are supposed to be unstable tones, yet if I ...
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2answers
90 views

How to approach Iminor - VIImajor progression in a functional harmony way

I am wondering how one would approach a Iminor - VII major progression. In a simple form something like: Am Am G# G# (just triads) The idea rose from practicing melodic minor (in a jazz way, so same ...
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2answers
119 views

2 atypical cadences, are they half cadences?

So, I analyzed the harmony and structure of Grande Valse Brilliante op. 18, and most of the cadences make perfect sense to me, but there are 2 cadences that don't really, one on the tonic, which I can ...
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3answers
75 views

Ascending and descending chord movement and its effect on harmonic function

Is the cadence I to V the same regardless of its position relative to the tonic? E.g In C major C4 E4 G4 --> G4 B4 D5 vs C4 E4 G4 --> G3 B3 D4 The thing that has made me question this is the ...
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2answers
235 views

How to (decently) harmonize the modes of the "darkest scale ever"?

I was hearing this very interesting video by Rick Beato and Nahre Sol about the 7 modes of the "darkest scale ever" (the double harmonic major scale): The 7 ...
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2answers
240 views

Missing I (1st) chord in the progression: an example

Could you indicate an example of a song in a certain key that doesn't express the tonic chord (I chord) in its progression? Are harmonic progressions of this type possible in pop music?
5
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4answers
755 views

How to recognize harmonic intervals?

I've been doing some ear training, I'm quite at ease when recognizing melodic intervals, whether they are ascending or descending intervals, yet when it comes to harmonic intervals, I don't know how ...
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1answer
51 views

Music theory - secondary dominants

Do i still have to use 1st inversion when using secondary diminished triads or sevenths? I've been watching some videos but it didn't go over this.
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4answers
119 views

Incomplete spelling of vii dim7 and vii half dim7

For the two chords above, diminished 7th (viio7) and half diminished 7th (viiø7), are they usually spelled complete or incomplete? Or both?
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2answers
124 views

Is my SATB harmonisation correct in this example?

I am so paranoid about SATB harmonisation, because there are so many rules, and I feel overwhelmed. I literally feel like I have a hundred hidden mistakes in this question.
1
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1answer
242 views

Can we understand subdominant/dominant chord functions in terms of them being tonics of other keys?

Does anyone know a textbook or some music theorist explaining subdominant/dominant chord functions in terms of the two chords being the tonics in subdominant/dominant keys? Background: I was thinking ...
5
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3answers
454 views

Understanding function of diminished chord in Paganini's 4th caprice

I'm trying to understand this simple progression in the middle of Paganini's 4th caprice. This seems like I-?-I-V7-I in Eb major, but I am unable to figure out what the function of the second chord is....
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1answer
92 views

What's going on functionally/structurally in these four bars of Rachmaninoff's 3rd piano concerto?

From Rachmaninoff's 3rd piano concerto 1st movement 2nd subject: I've been trying to understand what's going on structurally in this passage but I'm having trouble figuring out what's going on. In ...
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1answer
130 views

Identifying chord and understanding its function in Loco's "Can't Sleep" [closed]

I am trying to identify the four chords in the beginning of this song. My guess is Emaj7, C#m11, C#m/G#, B11sus4 Is my guess correct? I am must uncertain about the third chord. I am having trouble ...
2
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1answer
56 views

Relevant literature on Mathematical and neurological theories for functional harmony?

I’m interested in finding out what are the current proposed theories surrounding the expectation + release behaviour of functional harmony. From what I reckon, functional harmony seems to be a human ...
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3answers
309 views

The 2nd flat in a minor chord progression

If I have the following chord progression in a song in key of Bm: Bm G A Bm and then in the bridge a C major chord jumps in the progression, as below: ... D G A (C) Bm.... (C introduces the ...
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2answers
180 views

Beethoven Piano Sonata No. 23 in F minor, Op. 57 (Appasionata): harmony of the 2nd movement

I'm trying to identify the harmony used in the main theme of Beethoven's Appassionata's second movement, and I would like someone to review the analysis I have done, and help me identify a couple of ...
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5answers
2k views

Can I use the chord progression i - v - VII - iv? (Am - Em - G - Dm : in A minor scale)

I'm currently studing and learning about functional harmony and chord progressions. I tried the chord progression i - v - VII - iv (A natural minor scale : Am - Em - G - Dm7/A) and get a nice and ...
3
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1answer
133 views

A chord progression from Leavitt: how to analyze the diminished chord

The question below is referred to W. Leavitt - Getting up there (duet), Vol. 2 The piece is in key of C. In the last system, upper staff, we have the following chord progression: C A-6 A-7 F Gdim ...
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2answers
484 views

Esus4 in the key of C. How can I use it?

Recently I've discovered that Esus4 chord can be built by using notes from C major scale (Esus4 notes: E-A-B - no 'sharps' or 'flats'). But I don't know how can I use the chord in the keys of C or Am ...
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2answers
96 views

How to construct functions and chords of a scale?

For example I ii iii IV V vi vii ____________________________________________________ Cmaj Dmin Emin Fmaj Gmaj Amin Bdim ...
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3answers
451 views

What is the harmony of this bar from Chopin's Minute waltz?

Consider following excerpt from Chopin's Minute waltz in D flat major. The last bar is the chord of D flat major (tonic). What is the chord of the penultimate bar? Why is there an A flat and A natural ...
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4answers
170 views

How does the concept of functional harmony help me pick the next chord while composing?

I'm trying to understand the concept of functional harmony as it pertains to composing chord progressions, in order to compose my own progressions. I've read a few articles and watched some videos, I ...
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2answers
374 views

Is there a functional interpretation for VIIb in La Follia?

La Follia chord peogression is usually written as: i - V7 - i - VII - III - VII - i - V7 (first eight bars) i -V7 - VII - III - VII - i,V7 - i (second eight bars) I can understand how this progression ...
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4answers
391 views

How is Db major functioning here? Subdominant Prolongation? Some kind of Dominant?

While improvising for a piece in Eb major, I came across an interesting progression. Eb -> Ab -> Db -> Eb But something that I couldn't figure out was the function of the Db. Here is the ...
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3answers
345 views

Diminished seventh spelling but functioning as an Augmented Sixth?

I know that there are many ways to resolve a diminished seventh chord, but only a few ways to resolve an augmented sixth chord. I have done modulations from the minor tonic to the major subtonic using ...
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4answers
262 views

IVm6 or IVm7? (in major)

(Note: using the key of C major as generic instead of roman numerals.) Yesterday I was reading the book "Hearin' the Changes" (by Coker, Knapp and Vincent), which discusses Fm7-B♭7-C as an ...
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6answers
509 views

flattened-seventh chord function [duplicate]

I this post, I received some information on the usage of a flattened-seventh chord in progressions, which, along with the flattened-third, seem to be popular choices in the rock world to add flavor. ...
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4answers
112 views

Functional harmony: extending the minor triads in Minor Swing

I was having a go at this tune Minor Swing which solo sections follow this utterly simple changes: I've been soloing over that using a backing track and also I've been playing simple voicings of the ...
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3answers
972 views

What is the functional role of the subtonic chord?

In this chart the subtonic major chord can come before the mediant and submedian chords. Does this imply that it has a tonic functionality? If so that seems counter-intuitive; it seems to share more ...
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3answers
130 views

Use cases for modulating keys?

So I'm just learning how to modulate keys and first of all I want to make sure I understand the concept correctly.... the way I've learned it is basically using a chord function in one scale and ...
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2answers
76 views

Is functional harmony considered homophonic?

Sorry if this is an obvious question, but I just want to clear this up. As far as I understand about voice leading, there are essentially two main types. Homophony and polyphony. Functional harmony ...
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1answer
70 views

What percentage of the time did Bach and others use chord inversions in chorales?

I know the frequencies of his "Normal Fundamental Harmonic Progressions" i.e., the progression of chord roots. I'd like to know the percentage of time that he used 1st or 2nd inversions in his ...