Skip to main content
7 votes

Can secondary dominant have 2 tritones with addition of b9?

Yes, a dominant chord with b9 has two symmetrically displaced tritones. It it creates an ambiguity which can be used creatively, as you can resolve the chord in 4 different ways: to E (or Em, your ...
user1079505's user avatar
5 votes

Can secondary dominant have 2 tritones with addition of b9?

It's the tritone F♯ and C♮ that is operational mainly - leading to the G and the B of, in this case, E minor. Adding the other two notes produces a fully diminished chord (all notes are m3 apart), and ...
Tim's user avatar
  • 194k
4 votes

What is it called when a melodic progression stays the same but the chord progression changes?

The technique of harmonizing the same melody with different chords is called reharmonization.
Edward's user avatar
  • 8,752
3 votes

figured bass question

What makes you choose Eb and Db and write 8-7 when there are many other notes? why are Eb and Db chosen to represent the chord?(what makes Eb and Db stand out among other melody notes? Is it because ...
Andy Bonner's user avatar
  • 17.9k
3 votes

How to spell leading-tone chords build on #4

In A major, the #^4 is D#. So, the diminished seventh chord on that root is D# F# A C♮. But, I think the real question is whether you want to consider #^4/D# as a temporary leading tone. In that case, ...
Michael Curtis's user avatar
2 votes

figured bass question

This isn't figured bass; it's Roman numeral analysis. If it were true figured bass, the figure at the beginning of the measure would be ♭. This indicates that the third of the chord is lowered. The ...
phoog's user avatar
  • 23.3k
2 votes

How to spell leading-tone chords build on #4

Such enharmonic respellings, determined for the ease of the reader, are relatively common. The logic here is that the motion from B-sharp to C-sharp is in some sense less cumbersome (and ideally less ...
Richard's user avatar
  • 84.7k
1 vote

Is there chord V4-3 in classical music?

Yes. The two measures taken together are the secondary dominant of B flat with a 4-3 suspension. There is no E♭ in m. 94; the high notes are labeled incorrectly; they are Fs.
phoog's user avatar
  • 23.3k
1 vote

How to spell leading-tone chords build on #4

Please see this quote from Wikipedia, which bases on Kostka and Payne: The cto7 chord, whose function, "is simply one of embellishment," most often spelled ♯iio7 when embellishing I or ♯...
user1079505's user avatar
1 vote

How do you decide chords for this excerpt?

This is the interpretive (i.e., subjective) aspect of analysis, and different people might come up with competing, but equally reasonable answers. I would look at the excerpt this way: m. 1: The C is ...
Aaron's user avatar
  • 90.1k
1 vote

figured bass question

Your question is really a prompt for a complete overview of figured bass and that is beyond the scope of Q&A at this site. Personally, I think this page https://robertkelleyphd.com/home/figured-...
Michael Curtis's user avatar
1 vote

What is the value in analysing chords as if they were made up of stacked triads?

I wouldn't call it analysis - I see it more as a way of looking at chords which in some situations might be useful or practical. Jazz pianist would quite often think about the chords in terms of left ...
Jarek.D's user avatar
  • 1,638
1 vote

What is the value in analysing chords as if they were made up of stacked triads?

There really is not much value to thinking of chords this way other than anecdotally or as a different way of visualizing them, or if it helps in conceptualizing or executing things from a players ...
John Belzaguy's user avatar
1 vote

What is the value in analysing chords as if they were made up of stacked triads?

What is the value in analysing chords as if they were made up of stacked triads? This forms the basis of functional harmonic theory, which holds that C/E has the same tonal function as plain old C (i....
phoog's user avatar
  • 23.3k
1 vote

What is the value in analysing chords as if they were made up of stacked triads?

In functional harmony, I don't think it's particularly useful to analyze Cm7 as a Cm + Eb polychord, or to feel that it implies two different scales. But a C + D polychord could be a different matter....
Laurence's user avatar
  • 93.7k
1 vote

figured bass question

The score shows figured chords, Ebm for the first two quarter notes (I assume the eight notes are triplets), then Ebm7 for the last one. So the "other notes" are just figured chords. Number ...
user1079505's user avatar
1 vote
Accepted

Bozza 12 Etudes-Caprices misprints?

TL;DR I believe the score is correct as given. The two measures comprise a chromatically descending progression with accelerating harmonic rhythm (i.e., each successive harmony get two sixteenth-notes ...
Aaron's user avatar
  • 90.1k
1 vote

Bozza 12 Etudes-Caprices misprints?

I don't know that this is about chords per se so much as transformations. There's a very good case to be made for the natural: we have three "lumps" of notes that, in general, are lowered by ...
Andy Bonner's user avatar
  • 17.9k
1 vote

Is a “minor Seventh Chord” basically just a combination of a “minor Triad” and its Relative “Major Triad”?

Yes. Take any m7 chord in its most basic version. Remove the bottom note, you have a major chord, remove the top note you have a minor chord. Maj7 chords work similarly but backwards.
SzymonD's user avatar
  • 11
1 vote

Is a “minor Seventh Chord” basically just a combination of a “minor Triad” and its Relative “Major Triad”?

I think a m7 chord is 'basically' an extended minor triad. The fact that the upper structure coincides with the relative major's tonic triad is interesting, but not particularly important.
Laurence's user avatar
  • 93.7k
1 vote

Is a “minor Seventh Chord” basically just a combination of a “minor Triad” and its Relative “Major Triad”?

Let's take actual notes to explain. We'll be in key C, with its relative minor Am. The triad notes of Am are A C and E. The triad notes of C major are C E and G. Playing all four notes will produce ...
Tim's user avatar
  • 194k
1 vote
Accepted

Is a “minor Seventh Chord” basically just a combination of a “minor Triad” and its Relative “Major Triad”?

All m7 chords comprise minor and major triads from relative keys. The tonic notes of relative major and minor scales are always a minor third apart. Put another way, any minor third can represent the ...
Aaron's user avatar
  • 90.1k
1 vote

Does a chromatic chord have tensions diatonic or chromatic to the key?

So say you are playing II-V-I in C and sub the V with the tritone sub: Dm-Db7-Cmaj your b9 and b13 tensions are D and A so literally the root and the fifth of the II chord. So essentially they are not ...
Jarek.D's user avatar
  • 1,638

Only top scored, non community-wiki answers of a minimum length are eligible