Questions tagged [harmony]

For questions about the "vertical" aspects of music and how to build and study them.

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7
votes
1answer
155 views

How does Christian Scott aTunde Adjuah use harmonic "forecasting cells"?

Creative improvising (aka jazz) musician Christian Scott aTunde Adjuah's website talks about him “developing the harmonic convention known as the ‘forecasting cell’” but it doesn't go into more depth ...
5
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6answers
618 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 |
0
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1answer
91 views

How to study Bach's harmony? [closed]

I'm interested in studying the music of J.S. Bach, but I don't know where to start. The main reason I'm studying it because I'm very interested in Bach's harmony, so that would by my main objective as ...
1
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0answers
38 views

harmony book recommendations [closed]

I'm studying Gradus ad Parnassum, and love its didactic over theoretical manner. Are there similar books to teach how to write for more instruments? I've seen various books recommended: Tchaikovsky's, ...
5
votes
3answers
122 views

SATB chord iib doubling

In SATB, the chord iib in D-flat major, the chord is realised as: G-flat, E-flat, B-flat, (G-flat is doubled). Why isn't the E-flat doubled, it being the root of the chord?
1
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1answer
54 views

2nd species counterpoint in 3 parts, is it ok?

If someone would be willing to point out errors I'm making with this species, before I continue on to the others, I'd be grateful https://flat.io/score/61d7e420658ae700133b1e72-c?sharingKey=...
0
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0answers
25 views

Help with 2nd species counterpoint in 3 parts

I am reading the Gradus ad Parnassum chapter on 2nd species in 3 species, and am finding the use of ligatures, and the cadences confusing. In most of the examples, the 3rd and 2nd last bar have a ...
5
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1answer
90 views

What did Schoenberg mean with this?

A couple of years ago I decided to formalize my harmony studies (I'm a mathematician) by reading Schoenberg's book Theory of Harmony, however I left it since it felt a little too difficult for my ...
7
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1answer
296 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
75 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 ...
1
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3answers
151 views

What makes a song a Christmas song? [closed]

Apart from lyrics, what features have been common to Christmas music in different traditions and eras of classical, folk and modern music? Have there been specific melodic intervals, structure, ...
3
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1answer
74 views

Is there a historic origin for final ending (cadence) of V-I with melody tones ^3 ^1 in some jazz standards?

In some jazz standards I see a final ending of V-I using melody tones ^3 ^1, for example... Cherokee in B flat All of Me in C Note that the ^3 in those examples is not some kind of embellishment of ^...
6
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3answers
326 views

Is the melodic minor a key as well as a scale?

The title, basically. I always understood that the natural, harmonic and melodic minor scales were 3 different scales deriving from the same "minor" key. I hear people talking about a ...
4
votes
1answer
206 views

Can you have a no3 chord with upper extensions?

C(no3) is just the notes C and G. C7(no3) is the notes C, G and Bb. Is it valid to have a C11(no3) chord? Or would this just be referred to as some kind of sus chord (like C9sus4 or something)? Which ...
6
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6answers
304 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, ...
6
votes
1answer
183 views

Notating the 3rd and 5th of an augmented chord

I am transposing a piano solo which is in A major. At a certain point (3rd beat of bar 7) the piano plays a dyad which consists of what I would normally call Eb and G natural (a major third apart). ...
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 ...
-2
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1answer
193 views

Did Agnetha and Anni-Frid always sing in unison? [closed]

I was listening to some ABBA songs that I hadn't paid much attention to since my childhood, and it occurred to me that, even though they are known for being a multi-singer group, they never really ...
4
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2answers
115 views

Notating a sus chord with thirteenth

How do you notate a chord like G F A C E without using slash notation? G13sus? G13sus4? If it’s along the lines of a G13, this leads to me to wonder why the chord G F A C is usually notated as G9sus4 ...
1
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1answer
52 views

What is the roman numeral of the subtonic chord in a minor scale, VII or V/III?

What should we call a subtonic chord in minor scale, VII or the secondary function of III (V/III)? I think, especially in the case of subtonic seventh chord, V7/III- III progression makes more sense ...
5
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2answers
405 views

Homework question on identifying a key from a V triad

I am working through the ABRSM Discovering Music Theory Grade 4 book. I appear to have found an unanswerable question, unless I have misunderstood something. It's Section 7, Exercise 3, question k, ...
0
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2answers
169 views

What's wrong with my harmonic analysis?

Similar to my last post, I'm having trouble looking for my mistakes here. The big red 2 means I have 2 mistakes apparently but I don't know which ones are wrong. Or maybe I have more mistakes? Please ...
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2answers
52 views

Help me correct/understand the harmonic analysis of this

Am I missing something here? (Note: the circled notes aren't included so we just ignore that. I'm only trying to analyze the rest.) In measure 8 (the second measure in the below excerpt), after Em, I ...
5
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2answers
55 views

What applications did distant modulations typically have in the 18th century?

Johann Georg Albrechtsberger, in his treatise on thoroughbass (p. 60 of this edition), gives a neat little table of modulations from C Major into many other keys. Some of these keys, such as B Major, ...
2
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2answers
83 views

Have I sight read these IΔ7 hymn chords properly?

After sight reading The Scottish Hymnal I am now sight reading The Revivalist and played this one today... ...I ran into a bunch of surprises and I just want to check that I've identified things ...
3
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2answers
105 views

Jazz vs Classical interpretation of this V7c vs iv-m6 chord in a common chord progress?

Here is a progression in a song I am playing On the 3rd beat of the second measure there is a Dm6 or G9/D chord (or B half diminished first inversion): at least that's what Carl Kress is playing ...
0
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0answers
57 views

Are the progressions VII - i or VII VI V part of tonal harmony? [duplicate]

These chord progressions are not in my tonal Harmony book. Is there a reason that anyone can think of why they would not be in there? They are very common chord progressions. I am interested to know ...
3
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1answer
80 views

What are some strategies one could use to put as many suspensions as possible in a chord progression?

I ask this question in the context of strict (florid) tonal counterpoint as taught, for example, by Albrechtsberger and many later writers. Fux in his Gradus ad Parnassum recommends putting many ...
1
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1answer
51 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 (...
-1
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3answers
144 views

Note naming system with one unique name per note

Is there any note naming system out there that uses the normal note names for non-accidental notes (A,B,C,D,E,F,G) but has one syllable unique names for the accidental notes? I find it frustrating ...
4
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1answer
155 views

Is a phrygian cadence iv6 - V or can it also be VI - V?

I have always thought that a phrygian cadence was VI - V but I now read that it is actually iv6 - V. Can both be used?
1
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1answer
122 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 (...
0
votes
3answers
191 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 ...
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 ...
2
votes
2answers
63 views

Is there a mistake in this four-part composition

In the screenshot provided you'll find 2 times 8 bars of a four-part composition etude. I was given the bass and soprano and am supposed to fill in the middle registers according to some basic ...
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 ...
4
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4answers
980 views

Help me hear Am7 as a minor chord

I recognize that Am7 (A-C-E-G) is considered a minor chord because, when stacked as thirds, the A is on the bottom. But I cannot make my ear perceive it as a minor chord out of context. To me it ...
2
votes
2answers
189 views

Does this passage have a lydian sound?

The music sources is Album national russe (Köhler, Louis), and the particular passage is... ...before saying the music is in G major and there isn't any C# to make lydian, hear me out. The basic ...
3
votes
2answers
78 views

Can ii move to V43 over static bass just like IV can move V42?

In my harmony book (by Aldwell and Schachter) the progression from IV to V42 is a common one and gets its own section. But the book makes no mention of using scale degree ^2 in the bass. Is moving to ...
2
votes
1answer
73 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
2answers
120 views

Are augmented-sixth chords ever taught as being "rooted" on the raised fourth scale degree?

In my experience, augmented-sixth chords are given "national" names. In C, for example, A♭–C–F♯ is an Italian augmented sixth. Are there other traditions that teach/view this as being a ...
23
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6answers
6k views

Why does G# sound right when my melody is in C major?

I composed the following melody using notes from the C major scale. In the third bar a G# (Ab) seemed a natural choice to complete the loop, but I don’t understand why. G# is not in C major nor its ...
2
votes
1answer
94 views

How to write 4 part chord progressions when the roots are only a step apart

My textbook instructs me to use contrary motion with the upper parts against the bass when writing chords a step apart. But here in this image you can see I have voiced the chords IV - V so that I can ...
4
votes
1answer
236 views

Note designs on the 10 hole major diatonic harmonica [duplicate]

Here is the typical note design on 10 holes major diatonic harmonica in C major: I have a few questions: Why there is a G key in the 2nd draw and the 3rd blow? But it omits the F key? also omits the ...
2
votes
3answers
130 views

What do I call this type of transition?

I'm a complete novice to composing and music theory, but part of what I'd like to do is acquire the vocabulary to describe subtle changes in sound, especially ones that evoke a distinct emotion. For ...
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 ...
3
votes
1answer
115 views

Music of the Caribbean

How does the West African heritage in Caribbean music compare with the European influence in Caribbean music? I did research on this but couldn't really understand the european influence.
5
votes
5answers
509 views

Best way to harmonize cadential 3^ 1^ in the soprano

I am trying to harmonize a melody I wrote and am stuck at the end. I like the 3^ over the bass, but what chord should it be? I64? iii? Also, what other improvements could be made?
5
votes
2answers
106 views

When realizing a basso continuo, should the realization avoid consecutive fifths and octaves with the written parts?

Many continuo manuals (both historical sources and modern treatises) are careful to point out that a continuo realization should be contrapuntally correct, i.e., one ought to avoid parallel fifths and ...
6
votes
1answer
74 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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