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1 vote

How do I analyse these chords in this chorale?

Just to add a little to Aaron's answer which lays out the harmonic details, here are a couple general concepts at work: Chords decorated or embellished by non-chord tones. This is what happens in the ...
Michael Curtis's user avatar
6 votes

Bach St. Matthew Passion section 33 key shift

Initially, it is in E minor but then I don't know how the key shifts during the music. There are so many accidental adding to my confusion These accidentals arise, as they typically do in this period,...
phoog's user avatar
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1 vote

Bach St. Matthew Passion section 33 key shift

You need to take more pictures of the St. Matthew's Passion. The beginning and ending pictures are in E minor, but the middle picture's rough chord progression is G - D (implied I - V in G major) ...
Dekkadeci's user avatar
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2 votes

How do I analyse these chords in this chorale?

The analytical principal here — and a good tool in general when unsure of a chord — is to look at what the following, and sometimes preceding, chords are. Chord 1: The chord is A7, but on beat one — ...
Aaron's user avatar
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0 votes

How do I analyse these chords in this chorale?

I'm not good at staff reading, but... A, E, D, A: Oops, I misread one of the tones. Could be D9 but I'm less sure of it now. G, B, D, E: Either G6 or Emi7, I can never tell a difference. I guess I'd ...
Divizna's user avatar
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1 vote

Harmonic Analysis of Polka, Op. 39, No. 14 by Tchaikovsky

I will focus on the request for a functional interpretation of the first question using Riemannian music theory which is the foundation of Functional Harmonic Theory. The C#o7 chord as was mentioned ...
Ootagu's user avatar
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1 vote
Accepted

Harmonic Analysis of Polka, Op. 39, No. 14 by Tchaikovsky

Both chords in question are instances of common-tone diminished chords. These are chords that serve to prolong, expand, or, in this case, delay the arrival of a principal harmony with which there is a ...
Aaron's user avatar
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2 votes

Harmonic Analysis of Polka, Op. 39, No. 14 by Tchaikovsky

Bars 1-2 are basically this: one of the most common harmonic cliches throughout Common Practice music! The diminished chord is used as a chromatic link. It COULD have been used as a modulation to ...
Laurence's user avatar
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