Questions tagged [harmony]
For questions about the "vertical" aspects of music and how to build and study them.
1,342
questions
-1
votes
1
answer
61
views
How chord functions using minor subdominant
I'm reading this part of arnold shoenbrg harmony book ( minor subdominant )
And i don't know if the chords are supposed to function at all or it's just the matter of voice leading and taste '
For ...
- 459
1
vote
2
answers
63
views
Humming to Brian Eno's "Needles in the Camel's Eye"
The question I have is prompted by the song "Needles in the Camel's Eye" by Brian Eno, in particular the opening instrumental bars. (Though I think I've noticed the phenomenon I'm going to ...
- 113
0
votes
2
answers
76
views
Secondary Dominant Harmony vs Diatonic Melody
I am trying to understand the application of secondary dominant harmony by studying its effects on the famous song, Do-Re-Mi from the Sound of Music.
I have come up with this, which sounds great - but ...
- 101
0
votes
0
answers
46
views
Tendency tones in writing melody [duplicate]
Ever since my last topic, I have written a few chorals and string quartet pieces.
But something is really questionable for me:
That if I already have (for example a third or seventh) in another voice (...
- 459
6
votes
4
answers
2k
views
Could a 3D sphere of fifths reveal more insights than the 2D circle of fifths?
The circle of fifths is a well-known device for showing relationships between keys, and shows the concept of close vs distant keys.
But is there any way of arranging keys in three dimensions rather ...
- 11.8k
1
vote
1
answer
90
views
Can compound melodies cause voice leading errors?
"Chordal skips" in my harmony textbook refer to when a voice skips to another note within the same harmony. "Chordal skips" may be used as voice leading correctives with regards to ...
- 542
1
vote
1
answer
55
views
How to sing a tone and be sure?
For example I want to sing a C and then a D a capella (or for example a F then a G) whatever you want be a tone...
How can I be sure that I sang a tone by ear only ?
I know it's relative pitch but ...
- 111
1
vote
1
answer
79
views
how to sing in tune when you have to sing a cappella without reference notes? [closed]
I learned that when an instrument plays a note (like pressing the piano keys) to reproduce them by ear at the same time as I play them
but without anything a capella we comment?
like there I don't ...
- 11
5
votes
1
answer
368
views
The difference between ii°7 and vii°7
Hello my friends,
I cannot understand the difference between these two chords. I have probably misunderstood the whole thing, but I don't know how to function or choose between these two chords, ...
- 459
1
vote
3
answers
133
views
Are there "safe" inversions for a simple melody?
I've noodled around on a keyboard, and created simple melodies with chords. I don't have the skill to play them well. So, I eventually port them to LilyPond and have it generate a score and a MIDI ...
- 168
2
votes
1
answer
72
views
Would writing my main vocal part (lyrics) to a drone help me stay in key, and without limiting pitch variation?
By drone typically I mean one note, though from my understanding a drone could be one note, two notes, a chord or even 6 notes usually played on string instruments such as the tanpura or guitar. I’m ...
- 29
2
votes
1
answer
81
views
Is this a V7sus2/V7 chord in bach?
When i was playing this prelude from bach i came across a new chord that i don't usually see in 18th century pieces
Also another question - in writing counterpoint in bach style it looks like two ...
- 459
-1
votes
2
answers
137
views
can anyone help me in writing a quartet [closed]
hi i've been doing some analyzing and after learning counterpoint and 4 part harmony and studying a little about forms today for the first time i wrote a period to turn in into a ternary or a simple ...
- 459
0
votes
1
answer
40
views
Analyzing harmony
I'm trying to analyze this simple exercise from schubert but i can't really find the harmonic function here beside the satisfying voice leading that i hear when i play it
I wanna write such a piece ...
- 459
0
votes
1
answer
23
views
moving into parallel compound intervals counterpoint
in strict counterpoint and i'm talking about fux's book
is having 2 parallel perfect intervals with contrary motion still wrong?
because in fux book only contrary and oblique motion are acceptable for ...
- 459
0
votes
2
answers
97
views
why does V/iii to IV work?
i was writing chords when I came up with this progression:
IV-V-I-V/vi-IV-V-I
i understand why the V/vi-IV works--because there is only a one note difference between vi (which V/vi usually resolves to)...
- 331
1
vote
6
answers
126
views
What is the value in analysing chords as if they were made up of stacked triads?
To my ears chords each have their own quality and how they sound (and what feelings they might evoke) depends on the context. In general plain majors are strong/simple while minors are sad, but add2 ...
- 161
3
votes
4
answers
603
views
The relation between voices in piano pieces
I've been trying to understand how to identify the voices within the harmonic progression they form, after learning counterpoint and SATB harmony.
But when I'm investigating the relation between ...
- 459
0
votes
1
answer
82
views
Waltz in e minor by Ferdinando Carulli [closed]
I started learning a bit of classical guitar 2 years back. I only learnt and retained this piece, so forgive me for having no music knowledge, and I apologize if my question is ill phrased but are ...
- 3
2
votes
7
answers
162
views
Is a “minor Seventh Chord” basically just a combination of a “minor Triad” and its Relative “Major Triad”?
Is a minor Seventh Chord basically just a combination of a “minor Triad” and its Relative “Major Triad”, (or a combination of a Major Triad and its Relative minor Triad)?
- 61
4
votes
3
answers
404
views
What does "prevailing harmony" mean?
While I was reading up on passing tones, I encountered this example:
Example 15–7 presents an expansion of a C-major chord over two beats: the lower voice leaps down from the third of the chord to ...
- 1,591
4
votes
2
answers
181
views
Why does this major-key folk song sound sad?
This is an old Scottish folk song. Why does it sound so sad, even though it is in a major key, and doesn't use any of the typical tricks songwriters use to make major keys sound sad (i.e. IV-iv-I)?
- 43
0
votes
1
answer
60
views
Ballade Pour Adeline: How to understand the dyads?
I am listening to Ballade pour Adeline for piano and specifically to this version on YouTube.
After the quick introductory arpeggio, the main part starts with a dyad of G and E played with the right ...
- 415
4
votes
1
answer
88
views
What seventh chords belong to the minor mode in actual practice after allowing the conventional alterations?
Fig. 85 on p. 115 of Roger Sessions' Harmonic Practice (1951) illustrates the triads capable of being sounded in the minor mode once one has permitted (1) lowering the second degree in the II chord, (...
- 277
4
votes
2
answers
162
views
Can anyone give me examples of early uses of the dominant seventh chord?
It is well known (since Fetis) that the first appearance of the unprepared seventh in the dominant seventh chord is in Monteverdi's madrigal "Cruda amarilli". That sets the origin of this ...
- 316
7
votes
6
answers
863
views
Can a monophonic melody have harmony?
I'm analysing a piece from the Traditional Songs of the Maori by Margaret Orbell and Mervyn McLean.
Can such a piece with a monophonic melody have harmony?
- 73
6
votes
3
answers
199
views
Alternative to passing chord harmonization in closed position
I'm not entirely satisfied with the way I've harmonized the third beat of these trumpet parts, highlighted in the screenshot, for this big band transcription. (The trumpets are playing on their own ...
- 912
1
vote
3
answers
137
views
Why chords make melody sound different?
I am learning to harmonize melodies. I put basic triads under the melody notes. Sometimes, they work well. Sometimes, the chords just make the melody sound different. I can’t find solution to it.
For ...
- 119
2
votes
1
answer
207
views
Do flamenco guitarists use distinctive chords?
Classical guitarist here. Does flamenco guitar use distinctive chords (other than, say, the major, minor, augmented, and diminished triads and seventh chords), or is it just the favored modes, chord ...
- 277
3
votes
4
answers
445
views
What's it called when harmony moves in the same intervals as the melody?
What's it called when the harmony moves in the exact same intervals as a melody, even if it is chromatic? Here's an example:
My apologies, I would do actual notation but I am not currently able to.
...
- 331
1
vote
1
answer
142
views
Why does it sound so weird? (Beethoven quartet)
Why does the first A# of the tetrachord of fugal development in op. 131, no. 7, m. 114 cello sound so weird? Is it because of the false relation with B?
- 33
1
vote
0
answers
79
views
What is the name of this music instrument? [closed]
I want to know which instrument is it for the music of raymans especially this
at the beggining, this who do the main melody ... a violin ? A midi synth in a computer ...
- 129
3
votes
1
answer
84
views
Using iv/x to tonicize a key?
Because V/x is so popular and useful, would iv/x have a good function as well? I’ve found that V and iv have very similar effects in terms of tension toward the tonic. Also, would V+/x be ...
- 331
11
votes
5
answers
2k
views
Why is the key typically the first and/or last note (or chord) of a song?
Is there a strategical reason when composing for the key to commonly be the first and/or last note (or chord) of a song?
- 347
6
votes
7
answers
1k
views
Term for a harmony that's always above the melody, but just enough to be in chord?
Is there a term for a harmony that always resembles the next-closest note above the melody that is in chord (not just in key)?
A friend of mine always does that when improvising a harmony and she ...
- 251
4
votes
2
answers
121
views
The root of augmented triad according to Hindemith
In Hindemith's book The craft of musical composition. Book 1, Theoretical part, he says that (p. 97)
The lower tone of a third or a seventh (in the absence of any better interval) is the root of the ...
- 549
2
votes
3
answers
658
views
Why does Cmaj7 and Emaj7 sound good (or a name to describe this progression)?
I have an extremely limited understanding of theory, and from what I currently understand, chords will sound good together if they share a common key/scale (e.g. for C major scale, the chords that ...
- 131
3
votes
2
answers
94
views
Three consecutive dissonances in verset fugue
I've been playing from a collection of versets (fugues) by Gottlieb Muffat.
https://imslp.org/wiki/72_Versetl_sammt_12_Toccaten_(Muffat%2C_Gottlieb)
The versets are arranged by the old Church tones ...
- 58.7k
2
votes
0
answers
85
views
Was this chord substitution chart part of a larger harmony system?
I recently rediscovered in my files several photocopied sheets of chords similar to the one below.
A friend (deceased in 2014) gave them to me many years ago.
There are a total of 11, covering keys ...
- 3,003
3
votes
1
answer
116
views
Is this a melody or harmony?
I was playing four 9th chords in a 4/4 time signature. All whole notes.
Then I shortened some of of the notes of each chord by a quarter or half note by playing them late. For example, in a Cmaj9 ...
- 119
2
votes
1
answer
82
views
Purpose of interlude in Bach WTK II, Fugue 16
This is an excerpt of Bach WTK II, Fugue 16 (mm. 15-20). The part I have marked red is (in my opinion, hope not be mistaken) an interlude between the last entrance of the theme in the bass and the ...
- 935
5
votes
3
answers
1k
views
How to handle songs whose scales are neither major or minor in harmonic mixing?
Harmonic mixing typically relies on the circle of fifths, often renamed as the "Camelot wheel" in the context of harmonic mixing. However, that circle/wheel only contains two scales: major ...
- 1,577
0
votes
2
answers
130
views
In Organum and Species Counterpoint why is one of the voices always in whole notes?
Edit: It was pointed out to me that counterpoint spawned from the Organum style of music. For more context, here’s information from two sources I just read. “Two styles of Organum existed during this ...
- 998
4
votes
1
answer
199
views
In the musical texture “monody”, can the underlying harmony be provided with a single voice?
According to these wiki pages
(https://en.wikipedia.org/wiki/Monody
https://en.wikipedia.org/wiki/Homophony),
in Monody, ”one solo voice sings a melodic part, usually with considerable ornamentation, ...
- 998
-1
votes
1
answer
158
views
What is the proper way to write an accompaniment part without using instruments? (Vocals Only) [closed]
I really want to be able to write songs without the need of using an instrument.
At first I was thinking it was as simple as starting with a drone in order to keep the lead voice in tune, but a great ...
- 998
3
votes
1
answer
218
views
What is the difference between background, middle ground, and foreground?
Is the idea of structural levels background, middle ground, and foreground only studied in schenkerian analysis?
I’m still viewing the background as the simplest layer of a song, which to me would be ...
- 998
5
votes
1
answer
156
views
How to analyze introduction of Rachmaninoff's Paganini variation?
I'm trying to analyze the introduction of Rachmaninoff's Paganini variations (picture below). I'm thinking the whole thing is a sequence and I only have to analyze the first two measures. The F# makes ...
- 51
4
votes
2
answers
157
views
Voice Leading in Göncz’s completion of Contrapunctus 14
My question relates to the attached extract from Zoltan Göncz’s completion of Bach’s Contrapunctus 14 from The Art of Fugue, and specifically the chord marked with the arrow.
To my mind, it appears to ...
- 41
0
votes
1
answer
134
views
Babylon Sisters intro . Harmony?
in the Babylon sister intro,
What is going on with the F#/E- A7b5-Ebmin7 ? ( my sheet music says Ebmajsus4 )
Just wanted advice on how to label
The chord functions.
I’ve circled the part in blue on ...
- 81
0
votes
1
answer
132
views
how to theoretically understand that chords are compatible? [closed]
how can we theoretically understand that chords are compatible? let's imagine that there is a chord X1 and X2, what rules/conditions must these chords follow in order to be compatible? I have a ...
- 11