9 votes

what's the role of Ebmaj7 on this Ebmaj7 D7#9 Gm9 progression?

EbM7 is the VI chord in G minor, a standard predominant chord. VI - V - i is a common progression. F#dim7 is the leading-tone chord (vii) in G minor — it's standard to raise the seventh degree in ...
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3 votes

what's the role of Ebmaj7 on this Ebmaj7 D7#9 Gm9 progression?

where's the Ebmaj7 coming from? This might seem like a controversial or even wrong statement, but you should consider relative major and minor as being one bi-polar key. It's like a person standing, ...
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2 votes
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weird way resolution and preparing of 7th note in 7 chord

first of all, Can the 7th note not move and can be resolved by becoming a consonant in the next chord? (i'll not show image to this, cause in the book, every chord is have this case) Yes. Here is a ...
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1 vote
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Ambiguous chords in Bach's "Ich dank dir lieber Herre" setting (BWV 347)

First red box The first chord is vi[6-5]. The chord on the half beat is viio[6-4], even those the B is missing, with the A service as a non-harmonic pedal tone. Thus, the progression is vi-vii-I. ...
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1 vote

Is there such a thing as a tonic 42 chord and how would it work in a functional chord progression?

I would be surprised to find an example of a genuine tonic I42 in the classical repertoire, and I imagine they are not allowed by most instructions in traditional harmony, at least at first. Schonberg'...
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1 vote
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why does this Aminor "augmented" progression resolve in Gmajor?

Effectively what you’ve got here is two plagal cadences. You have Am - Cm - G - Dm - C - Ebaug - G. So in the context of G mixolydian this would be II - IVb - I - V - IV - bVI - I. Note that II,IV,IVb,...
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