New answers tagged

1

The G#m7 sounds like Tommy Emmanuel just wanted spice it up with something a little bit "outside" and not so obviously V dominant, and G#m7 was readily available after the F#m7. In a more stereotypical, but perhaps boring and predictable form it would be G - C - F#m7 - B7 - Em7 - Am7 - D - G. If you want to get rid of the last remaining out-of-scale ...


0

The progression starts in G major (first two chords) then goes "somewhere else" in the middle (next 2-3 chords), and ends in G major (last 3-4 chords). Therefore I don't think it will be very controversial to say that the as a whole the piece is in G major. But I also suspect that you'll find a lot of different ways of analyzing and interpreting that "...


0

Due to the fact that the previous two chords were based in a B minor, if you play this progression you would very much notice that this last chord sounds very much also like B minor chord. To my ear, it doesn't sound at all like a B minor chord. How you analyze it and how you hear it out depends on context, and you're missing the context of the next chord ...


0

I like staying in the major key. Imaj9 IVmaj7 vimaj9 V7. simple but resolves nicely. Notice I added a 9 over the minor major 7th Also using that natural 7 as a passing tone does wonders. i imaj7 bVI iv or flip it to resolve the bVI to imaj7


2

First one's correct! Never heard of 'broken'. Interrupted maybe? Not going to do the homework - even if it's not! Teach a guy to fish and all that! As simply as possible: cadences only involve the final two harmonies, whatever comes before doesn't count. Perfect - V>I or V>i in minor. Plagal - IV>I, or iv>i in minor. Interrupted - usually V>vi, but will ...


1

You really have to listen to the song to determine what the harmonies are doing here. Otherwise, you're just guessing. After listening to the song, I agree that the song is in G minor, but I also feel a pretty strong pull to B♭ major, the relative major key, right on that F chord. This is a loop of three chords, and I think there's definitely merit in ...


0

This song leaves the prison of minor - major tonality and modes behind. But nevertheless we can hear a tonal center: is it Cm or is it F? or Gm - as you say? I'd rather say: Cm - dorian (i v IV) The rest is a sequence of IV-I (or I-V) progressions in whole steps downward. Don't look to much for traditional harmonic analysis where there isn't any ... ...


1

Scale tones in G Aeolian = G A Bb C D Eb F Some extrapolated chords = Gm7, Cm7, FM, EbM7, Bbsus4 The AbM7 is only one half step off (A instead of Ab); the C, Eb, and G are already in the scale. It's impossible to know with certainty the songwriter's process without asking them but perhaps they just liked the sound of a chromatic raise (as so many writers ...


0

The ♭III chord is also used in the Mario Bros 3 water level theme :-) I - IV - iii - ♭III - IV - V


1

One more explanation for this chord - this loop progression can actually be viewed as an example of bitonicity: shifting between two key centers at regular intervals. The loop is Dmaj7 Am7 Gmaj7 B♭maj7 . The two keys being shifted between are D major and G major. We start with Dmaj7, an obvious indicator of D Ionian. We then move to Am7, which is ...


2

The change is effectively from D to G, with the questionable chord being the transition. Often, that D will have its ♭7 added (C), making it into D7. Sometimes, M9 is also added, (E), making the chord now D9. Let's look at the make-up of Am7: A C E G. Compare with D9: D F♯ A C E. Several notes the same in each - namely A C and E. That could ...


2

Rarely, if ever, the question of "why does this sound good/bad" can be answered once and for all, as it will always be subjective to some extent. So, let me just offer one way of looking at it, and see if it makes sense to you. So, try this: Temporarily replace the Am7 with Cmaj7 (i.e. its relative major chord). Your sequence now becomes D, C, G, Bb. (...


0

Harmonic variation was used by composers in classic and romantic period (symphonies, sonatas) and it is usual in folks somgs and probably in jazz too. I don’t remember a pop song at the moment but there are surely a few. What I often use is within a song: varying the chord leading to the sub dominant (I7 or I#5 ... ) Like other answers say, this practice ...


1

"Is this concept of taking a certain melody and playing it over different chord progressions in different sections of the song "poor form" for any reason?" I would urge you to reverse the thinking and realize that melodies don't get played over chords. Chords are supposed to support the melody. That being said it is quite common for soloists to structure ...


0

"Mack The Knife" has a couple of passages where the chords change but the melody lingers on. Your chord patterns are close except for the last chord. The first two chords are harmonically the same (the seventh changes the color but not the function, it's still a progression up a fifth (or down a fourth or however one wants to think of it.) The Am is a C ...


0

One example is the "Domine Jesu Christe" from the Requiem, Op. 5, by Hector Berlioz. Throughout the piece the chorus sings the same phrase which just up a minor second and back down.


4

It’s not a great idea to just shift to enharmonic names for chords, because that can obscure their function within the key. Beethoven tends to be quite careful about his enharmonic spelling. The D♭ minor chord is a iv chord, and that immediately changes into the even stronger pre-dominant function chord called a Neapolitan 6th. A Neapolitan 6th chord is ...


0

To start with, that quadruplet notation is ugly. I'm pretty sure it would be much better to write this rhythm by taking the three quarter notes and dividing them into four dotted eighth notes (tied and beamed appropriately). Tuplets could make sense, but only if the intended effect is to take the listener on a departure from the prevailing meter, which doesn'...


5

I would say that E minor seems to be the clear prevailing tonality in this example. You have B chords going to Em chords, and that's quite common in minor (theorists call it harmonic minor when they raise the seventh note to the leading tone). Every note in the chords you wrote actually fits into E harmonic minor. Even the C minor chords have that E♭ = D♯ ...


0

bVII can be considered as a substitution of V7. e.g. we expect V7 in a semi clause of a phrase and bVII substitutes V7 (d,f are shared tones of both chords). see my answer - and many good other answers here: Why do many songs in major keys use a bVII chord?


3

I think it works there because it is the end of the circle of 5ths (not necessarily all dominant, but the root movement anyway starting with the Bm7) , but the F chord (FAC), especially with the melody notes A and E are substituting for ii there in a ii V I progression going back to G. The F note acts as sort of a suspension resolving to the E. One has to be ...


7

The 'middle 8', as in so many songs, is a jump to a slightly remote chord then a 'cycle of 5ths' sequence back to the tonic. But this time it hits the tonic and keeps on going! Bm7, Em7, Am7, D7, Gmaj7 (we're home) Cmaj7, F - then a side-slip back to the dominant (D7) and home (G). Nice, isn't it! I could come up with some theory about bVII being a ...


1

IF C is the tonic, then you probably want to consider @AlbrechtHugli's point in comments. If you omit the D7 you get something very, very familiar C - F - C. You could call that a kind plagal progression, basically it just shifts back and forth from tonic to subdominant. Functionally that doesn't go anywhere. It just prolongs the tonic. Interposing the ...


-1

You're correct, it is a secondary dominant or V/V chord. It does function similarly to the Dm or ii chord, except that the non-diatonic F# tone provides a stronger leading tone to the G than the diatonic F natural in the Dm chord. However, it should be pointed out that although that is the V/V chord, it does not resolve to the dominant, but instead to the ...


2

I would say you are comparing apples to oranges. The Blues is an entire song structure or architecture whereas the ii-V-I is a small progression which is often used in the larger architecture. And I'm not convinced of your mapping of the blues as AAB, but that doesn't really affect the discussion. You can dissect the blues further and look and individual ...


2

...traditional 12 bar blues progression using AAB form... In that context AAB describes the entire 12 bar form. AAB is a kind of song form description. Using a common 12 bar example: A' = | I | IV | I | I7 | A'' = | IV| IV | I | I | B = | V | IV | I | V | ...so the A and B represent entire phrases. ...similar or standard approach to writing ...


2

A ii-V-I chord progression is not unique to Jazz. It can be found in Renaissance music of the 1400's and all forms since. The ii chord is simply the "V of V" (the "five of Five") so in essence the ii-V bit functions the same harmonically as the V-I bit. Many songs even use a Major II chord giving you II-V-I (or II7-V7-I∆). One simple approach is to play (or ...


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