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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3 votes
1 answer
327 views

How would you write an inversion of a suspended chord with functional chord symbols? [duplicate]

Ex. Would the second chord be written as I7 - 6 or I62 - 1?
6 votes
6 answers
369 views

How can I modulate the distance of a tritone using 3 secondary dominant chords?

So, I have been composing this "Requiem for String Quartet" on and off for a few weeks now. I call it a Requiem because of its dramatic arc through lamenting melancholy, painful harshness, ...
5 votes
1 answer
245 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 ...
0 votes
4 answers
287 views

Secondary dominant of a minor tonic?

While trying to analyze Mike Oldfield's Nuclear, I got stuck. The main chord progression is Fm-Cm-Bbm-C. Up until C, it looks like in Fm (natural) key, i-v-iv-.... C would look like a V (which Fm ...
2 votes
4 answers
434 views

Name for chord progression in pop music

I've noticed a bunch of pop songs have the same four-chord progression running in a continuous loop: ii -> V -> I -> vi (or V/ii) -> (starts over on ii) Characteristics: One chord per bar ...
1 vote
2 answers
97 views

How to harmonize ^2 - ^4 - ^3

I have at my disposal I, I6, V and V7 and inversions as well as ii, ii6 and IV to harmonize this melody. I am also allowed to use the cadential 64. I am stuck on the beginning part on how to harmonize ...
1 vote
1 answer
67 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 (...
0 votes
1 answer
645 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 ...
2 votes
1 answer
246 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 ...
5 votes
2 answers
1k 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 ...
13 votes
4 answers
844 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 votes
4 answers
324 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?
2 votes
3 answers
225 views

Is a new tonal center established when I play a chord progression of more than two chords in the new key?

If I'm modulating between keys, say between major and its relative minor. Is the main way I establish a new tonal center is if I create a progression longer than two chords that lead to a cadence? So ...
8 votes
4 answers
2k 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 ...
2 votes
3 answers
551 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 ...
7 votes
1 answer
310 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?
4 votes
1 answer
236 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 ...
2 votes
3 answers
139 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 ...
3 votes
3 answers
1k views

Harmony on measures 21/22 of Chopin's Fantaisie-Impromptu, Op. 66

On measure 21, Chopin uses a B major-minor chord followed by a D# minor chord. One might think we're in E major and that he's just borrowing the D# minor, but on measure 19, it seems Chopin has ...
3 votes
1 answer
228 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 ...
2 votes
1 answer
2k 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?
2 votes
2 answers
138 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. ...
2 votes
2 answers
153 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 ...
1 vote
3 answers
291 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 ...
0 votes
4 answers
215 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?
1 vote
2 answers
1k views

In the Key of C major what would an F# major chord be?

Roman Numeral Analysis G F# F all major chords
2 votes
2 answers
617 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 ...
1 vote
2 answers
147 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 ...
2 votes
2 answers
232 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 ...
4 votes
3 answers
569 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 ...
2 votes
2 answers
796 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 ...
4 votes
2 answers
394 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?
8 votes
4 answers
3k 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 ...
3 votes
1 answer
93 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.
1 vote
2 answers
264 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.
4 votes
4 answers
487 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 ...
1 vote
1 answer
367 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 votes
3 answers
596 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....
2 votes
4 answers
460 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 ...
2 votes
1 answer
61 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 ...
4 votes
3 answers
906 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 ...
4 votes
2 answers
450 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 ...
5 votes
2 answers
835 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 ...
3 votes
2 answers
111 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 ...
6 votes
2 answers
419 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 ...
6 votes
2 answers
1k views

Diminished chord constructed over the tonic degree?

I have heard in certain songs the usage of a diminished chord in a major tonality which I think is not constructed over the seventh degree nor over the second degree. Moreover, in the two examples ...
4 votes
3 answers
697 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 ...
2 votes
4 answers
684 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 ...
4 votes
6 answers
749 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. ...
1 vote
4 answers
254 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 ...