Questions tagged [harmony]

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

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43 views

Using the primary dominant as a secondary dominant to the same tonic?

This came up when a user on Musescore by the name of Tortualex gave me suggestions for my C minor piano sonata after I told him that I wanted to be innovative with it like how Beethoven was more than ...
8
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2answers
72 views

Is parallel modulation a thing?

I have heard that going in between 2 parallel keys is just modal interchange and not a modulation because the tonic note is the same. Maybe if the change in key is short and only to add color to a ...
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1answer
94 views

How do you construct triad superimpositions in the style of Steve Khan? [closed]

Steve Khan had a theory of triad superimposition and substitution he called Contemporary Chord Khancepts. How do you construct triad superimpositions in the style of Steve Khan?
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1answer
86 views

What does the author mean in these examples of chorales & harmony?

This is an example in G major. I am learning about Bach's chorales & how he uses modulation. I came across a page online (choraleguide.com), & in one example given, I couldn't understand what ...
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2answers
109 views

Why is the minor 7th chord so consonant? [closed]

I find that the most consonant 7th chord in all of music is the minor 7th. But why is this? Well here is how I rank the common 7th chords from most dissonant to least dissonant(theoretically there are ...
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3answers
402 views

Interval of parallel 5ths in the resolution of a German 6th chord

In a music theory workbook, there was an example of a German 6th chord, which resolves to chord V. However, there is an interval of parallel 5ths in this (A♭ & E♭ going to G & D). How are ...
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3answers
632 views

Writing an augmented sixth chord on the flattened supertonic

I have recently learnt about Augmented 6th chords. The examples in a music theory workbook had this chord written on the flattened submediant (6th degree of the scale). There was a small note in the ...
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1answer
68 views

Is it even possible to to add voices to this 2-part harmony

Soprano: C-B-A-A-G (descending) Bass: A-B-C (ascending), then down to D and up to G. Can you even add tenor and alto without breaking the rules of harmony? It seems like it is impossible. So what ...
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1answer
3k views

Harmonic analysis of the B section of “Have You Met Miss Jones”

I've been studying the standard Have You Met Miss Jones and I came across a very interesting chord progression in the B section of the piece. The A section is pretty typical and the key it's in is F ...
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2answers
372 views

What is dominant embellishment? [duplicate]

What I have been told is V6(over)4 to 5(over)3 means it's really I 6(over)4 to a root position dominant if I wasn't mistaken when taking notes? What is this, what does the 5(over)3 mean, why is this ...
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1answer
65 views

Should the dominant seventh sonority on the subdominant degree in minor get special attention?

In minor - with the raised ^6 and ^7 degrees - we can get a progression like... F7 G7 | Cm IV65 V65 | i or maybe this... F7 G7 | Cm IV7 V42 | i6 or... F7 bo | Cm IV7 viio | i My view ...
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1answer
35 views

Rising Fourth/Descending Fifth bass movement in inversions

I understand that the sense of resolution is strongest with the root movement of a rising fourth/descending fifth. However, is the important thing that the chords be a fourth/fifth apart (i.e. Cmaj - ...
3
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1answer
63 views

Why does the first diminished 7th in this progression not resolve?

So, I wrote this pastoral piece and it sounds good to me. One thing I am curious about though is why the first diminished 7th here builds up tension and more specifically why the restatement of C ...
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2answers
263 views

How to tell when chords are separate entities and not part of one prevailing chord?

I have a question about Michael Jackson's song - Another Part Of Me. Considering just the first two measures (counting from drums), we have E♭ in the bass with the vamp playing chords composed of (to ...
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1answer
117 views

Chromatic 7th chords going upwards in Beethoven

This is about how the harmony is working in Rondo a Capriccio by Beethoven. Here is the passage I am talking about: So starting at measure 291, there is a passage where 7th chords go up chromatically,...
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2answers
67 views

What chords would harmonize well on slow blues progression? [closed]

I wrote this blues song with this chord progression: High Cminor-Fmajor-HighCminor-Gmajor-Fmajor...back to High Cminor. What chords would harmonize well on slow blues progression?
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5answers
2k views

In a song in G major the sound F appears and sounds good. Is there a name for such a phenomenon?

The song "Misty Moisty Morning" by Steeleye Span is in a major key. My knowledge of music theory is fragmentary so I may have gotten it wrong but I believe it's true. I don't remember which key it is ...
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1answer
47 views

Rising the song's key one semitone in the reexposition

I have frequently heard in pop music to use the technique described above: to start a song with a melody in a certain key and, after a while, to play again that melody raising the key one semitone. ...
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4answers
371 views

How to make the Bass in SATB move more smoothly?

While writing for SATB, I realise I have a few chords where the Bass part is moving down in intervals of 6ths or 7ths from one chord to the next. For example, I have a chord progression iib in F ...
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2answers
81 views

How to use solfège for chords?

I'm just wondering how one would use solfège for chords/harmony. For example to sing C major does one say "do mi so"? If so wouldn't that in practice mean that one would have to say alot of words when ...
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3answers
171 views

What is a Bm chord with a G in it?

I am writing a song with G > Bm > Em as the main chord progression but I found a lot of nice fingerings on the guitar for the Bm chord with an added G in it. Does this make the chord a B minor 6 ...
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3answers
82 views

Is there a rule in SATB writing regarding the Soprano & Bass moving in contrary motion?

While writing a melody over a bass line, it is generally advised to have the melody & the bass line moving in contrary motion to each other. I want to know if such a rule also exists when you ...
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3answers
345 views

Maximum interval between Alto & Tenor, & intervals when writing for SATB

What is the maximum interval permitted between the Alto & Tenor when writing for SATB? I have read it should not be more than a 10th, whereas another source said it should not be more than an 8th. ...
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0answers
60 views

What is the best book on Jazz Harmony? [closed]

I would like suggestions for good books on Jazz Harmony that are easy to understand, thorough and have readily applicable principles for compositions. Thanks.
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3answers
42 views

How can one use theory/harmony in order to learn BWV anh 114?

How can one use theory/harmony in order to learn BWV anh 114? I am only talking about theory/harmony in order to be able to play and memorize this piece.
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1answer
94 views

What to improvise over “fake” ii V I and succession of dominant chords

I frequently see "incomplete" ii V I sequences in standards (like Satin Doll for example) where only the ii and the V are played and I'm always wondering what I can play there, since I find most of ...
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3answers
129 views

Is the ♭VII chord still a dominant chord in the natural minor scale? [duplicate]

If I have the progression Cm > Ab > Bb > Cm from the C natural minor scale, does the Bb chord still work as a dominant chord as it would in Eb major? I know that in the minor scale, ...
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1answer
74 views

Modulation or passing through different keys in the following Bach chorale [closed]

This is Bach's chorale R.80. I want to know if the music has modulated to a particular key in certain, or is it only passing through different keys (and hence not a fixed modulation to only one key)?
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4answers
751 views

Modulation from major key to relative minor - what could be the pivot chord?

I want to modulate from D major to B minor. I have a perfect cadence (A7 - D) in D major, after which I need to use a pivot chord to go into B minor. I was thinking of using the F# chord, but I am not ...
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2answers
66 views

Using passing notes in SATB writing

When writing for SATB, which is the best voice in which you can use passing notes & auxiliary notes? Also, in a music exam where the Soprano part is given to you (and you have to harmonise the ...
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2answers
60 views

Chords between i and an augmented-sixth chord [closed]

I am wondering about chords that can go between i and different augmented-sixth chords. Are there any resources on this? I've googled and searched past questions and didn't find anything... edit: in ...
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45 views

Writing characteristic chord progressions in inversion, & doubling notes other than the root

There are characteristic chord progressions taught in music theory, for example, the cadential 6-4, which is Ic - V - I. Then there's Ib - ii7b - V - I, & so on. I want to know if these cadences ...
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4answers
152 views

How can I learn thoroughbass?

I've done some reading and I've discovered that our modern system of music theory (I'm looking at you Roman numeral analysis) is not the same system that most of the great composers, including the "...
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2answers
237 views

Harmony on measure 21/22 of Chopin's Fantaisie-Impromptu

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 ...
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3answers
275 views

How are 13th chords with alterations “shorthand” written?

My question is a general curiosity because on StackExchange and other sites I haven't found a complete answer that I can get my head around. I've read through the existing 13th discussions and am ...
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6answers
185 views

How to choose between Cdim and C#dim?

I have noticed that there is a common chord progression that exists in a few variants: C, C#dim, Dm, G7. It's often changed by changing Dm to D to give the progression a little bit more spark. However,...
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2answers
800 views

Are there any thematic similarities between Shostakovichs' Symphony 5th and Beethovens' 7th symphony? [closed]

Taking a look at the opening bars of Shostakovichs' Symphony 5th and Beethovens' 7th symphony 4th movement (bar 136 onwards) see below they sound kind of similar. Somebody suggested (Radio 3 I think)...
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4answers
46k views

What is the correct process for deriving the 'mirror' or 'negative' harmony of a progression?

I recently stumbled upon the concept of negative harmony in these threads: https://www.talkbass.com/threads/negative-harmony.533862/#post7227335 http://www.jazzguitar.be/forum/theory/30394-negative-...
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6answers
2k views

What chord could the notes 'F A♭ E♭' form?

Can someone please help me understand this chord progression that actually takes the listener from E♭ to B♭. There is a chord at the end of the phrase and I can't understand what chord it ...
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3answers
1k views

What usually follows an Augmented major seventh chord?

I don't have a clear understanding of the notation used in the following sentence from the article on Augmented major seventh chord from Wikipedia: As with dominant seventh chords, non-dominant ...
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3answers
1k views

Why isn't there a closely related key to C minor that has D as tonic?

For minor keys, there are no closely related keys built on the second scale degree. Why? Is it because the chord built from the second scale degree is diminished?
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1answer
75 views

Goodbye Porkpie Hat - solo harmonic analysis

I have been untangling Goodbye Porkpie Hat, the original on Mingus Ah Um. The solo section has different chords to the head on this version. I have listened to the sax solo, and I am making notes, but ...
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3answers
125 views

Harmonic succession in the chromatic-minor system

Here are some rules I have encountered regarding typical common common-practice root movement (in order of declining strength): Upward perfect 4th, downward perfect 5th Downward perfect 4th, upward ...
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5answers
579 views

Should one double the thirds or the fifth in chords?

Generally, theory books mention that one should double the root of the chord. This is followed most of the time, except by some composers who choose to double the 3rd or the 5th of the chord. When ...
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1answer
80 views

Labelling chords in Bach's chorale

The image is a part of Bach's chorale BWV 94.8 or R. 291 (image taken from www.bach-chorales.com). I want to confirm the harmony of the 2 chords marked with a star. Is the chord with a blue star A7/C# ...
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2answers
132 views

How should six-four chords be resolved?

In the point deduction section of the AP Music Theory exam guidelines, it says: The 6th or 4th of a 6 4 chord is unresolved or resolved incorrectly. What exactly does this entail?
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1answer
301 views

Is E7 diatonic to A minor or not?

Based on my knowledge, here are the diatonic seventh chords in A minor: In natural minor: Am7, Bm7♭5, Cmaj7, Dm7, Em7, Fmaj7, G7 In harmonic minor: Am(maj7), Bm7♭5, Caug(maj7), Dm7, E7, Fmaj7, G♯...
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1answer
122 views

Final cadence appears as Em7 - Am (v7 - i in A minor). Name?

I see an unusual cadence in the end of Debussy's Prelude of Pour le Piano. It is v7 - i in A minor. Is there an actual name for this? (Chord Progression: Fmaj7 - Abaug7 - Gaug7 - C9 - Em7 - Am)
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6answers
737 views

How do I approach music theory practically?

I am an amateur bass guitar player. At some point I decided to do something about my lack of theory knowledge. Now I know a few basic scales and can read sheet music in simple keys (from zero to one ...
0
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1answer
103 views

How to fill the harmonic gap?

So I have thought of almost the entire progression for my trio that goes from D minor to D major. Here is what I have of it so far: D minor -> C major -> B minor -> ??? -> A major -> D major And ...