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A melody diatonic to the key can be accompanied with just I, IV and V chords, but this will give a less rich harmonization than using a wider variety of chords. But based on your question, you want to …

In jazz and modern classical music, all kinds of 7th chords and beyond are used. But in the past, the most common 7th chords in classical music were built on the supertonic and dominant scale degrees …

Inversions also help to create motion in the music, as they add instability to the chord. A chord in root position is very solid, but the other inversions create hints of dissonance, to different degr …

These two passages are exactly the same harmony, but with different displacements in RH and LH rhythms. Perhaps a triad does not exist without a root, but a chord can have no "root." …

A secondary dominant "tonicizes" the chord that follows it, temporarily making it sound like a I chord. So, the secondary dominant needs to lead into that chord. A V chord can do this with the third o …

These are not two different versions of the same hymn. The only difference is that one note is held longer in places. People in different places hold that note longer, so to keep it in a standard 4/4 …

There is no difference in the ii7-5 chord between C natural or C harmonic minor, since both contain an Ab. The only difference would come in the C melodic minor, which would raise the Ab to an A-natur …

I agree this is a V7/V chord. D# major is kind of a made-up chord not found in nature (it doesn't exist in a regular scale due to the F double-sharp.) But it exists theoretically, as seen above. It c …

In this instance, it being Bach and the C# is in the bass, I would guess that this chord would be a first-inversion A7 leading into a D major or minor chord. I doubt that it is a C# dim because in Bac …

In four-part harmony, this rule is not on the "most important" list, but the perfect intervals, sounding so open, can draw attention to themselves when one is followed by another. …

When using chords in inversion, the ear can be "tricked" into hearing the harmony according to the bass line, and the higher voices become more of a color, especially when using extended chords with 7ths …

All the rules regarding voice leading in a four-part harmony are too many to put in a post. …

In this particular piece, the key change occurs not only with a change in harmony but also a change in mood and style. … If it was only a change in harmony, perhaps moving from F# major to F# minor would have been appropriate. …

The raised 6ths and 7ths in minor are mostly used when the line is ascending toward the tonic. Bach used this very often. When the line is descending away from the tonic, the 6th and 7th degrees are o …

Every single chord in this measure is an Ebm7, in various inversions and voicings.