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Questions tagged [harmony]

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

3
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2answers
141 views

Do we hear bass/baritone solo melody lines as being implicitly “on top of” the accompaniment, for harmonic purposes

I admit that the title of the question sounds a little strange, but I wanted to posit a more general question based on a specific song I was looked at. I was looking at this arrangement of Chega de ...
2
votes
1answer
163 views

What are some of the underlying harmonies/scales behind this type of songs?

Recently, I came across an album by a guitarist that sounded quite "exotic" and wanted to know more about the theory behind the sounds. Some interesting phrases: 2:00,...
0
votes
1answer
99 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 ...
-2
votes
1answer
89 views

Leading tone for strings harmony

how to write a seventh leading tone chord for 4 part harmony for strings?. Thank you
7
votes
0answers
77 views

False modulation for doxology in a modal key

I am barely an organist, but occasionally cover for the real organist at my church. The next time I am doing this is three weeks from now, and because I'm a novice, I already have the hymns for that ...
2
votes
0answers
54 views

Chord progression conveniency depending on the harmonic rhythm

this is my first post on this site; I apologize in advance if it is out of scope! I am reusing a harmonic progression I wrote a few years ago, in a different context than the original. Here there is ...
1
vote
0answers
43 views

♭II6-I Cadence: Plagal or Authentic?

Chopin's Etude No. 16 in A minor, Op. 25 No. 4, ends with a cadence like this: B♭/D - A In Roman numerals, we write as: ♭II6 - I Is this cadence viewed as Plagal (N6 - I), or Authentic (tt - ...
1
vote
0answers
60 views

How to go about writing a second countersubject?

I have written a subject and countersubject. Here is how I went about writing the countersubject: 1st iteration: Restricted to D, G, and A(answer is is D major), all quarter notes 2nd iteration: A ...
0
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0answers
36 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 ...
0
votes
0answers
39 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 ...