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13 votes

Should I use uppercase or lowercase roman numerals in Jazz harmonic analysis?

Having looked at many analyzed scores, I find the lower case for minor and diminished and upper case for major and augmented much easier to read. The most common places I found hard to read were in ...
ttw's user avatar
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12 votes

Definition of Functional Harmony

A complete explanation of what functional harmony is seems too broad, so instead I will merely assert as an answer that, as mentioned in a comment, the presence or absence of cadences does not seem to ...
Todd Wilcox's user avatar
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12 votes
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Diminished chord constructed over the tonic degree?

This technique is called a "common tone diminished chord." As the name implies, this is a diminished chord that shares note ("common tone") with the chord preceding it and the chord after it. Common ...
Peter's user avatar
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12 votes

Should I use uppercase or lowercase roman numerals in Jazz harmonic analysis?

As long as you use the two systems with the degree of specificity that you've done in your question, it ultimately won't matter, because they tell you the exact same thing. As you've mentioned, major/...
Richard's user avatar
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11 votes
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What does "function" actually mean in music?

See also: Definition of Functional Harmony In functional harmony, simultaneous notes are interpreted as chords and the analysis is based around how the chords relate to the overall key and the ...
Todd Wilcox's user avatar
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10 votes
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Is there a functional interpretation for VIIb in La Follia?

In a relative major key, VII - i would become V - vi which can be viewed as a deceive cadence. Because of this, you can think of certain sections of this progression dipping into the relative major ...
Dom's user avatar
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9 votes

Why is the G major to Bb major resolution so strong?

I think you need a better reason to call the penultimate chord a dominant than 'It comes before the tonic'! You're trying very hard to explain this sequence in functional terms. Why? I think it just ...
Laurence's user avatar
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9 votes

Can the leading note resolve down?

You're absolutely right! The typical rule is that the leading tone must resolve up to tonic when it is in an outer voice (that is, the soprano or bass). If the leading tone is in an inner voice, it ...
Richard's user avatar
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9 votes
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Understanding function of diminished chord in Paganini's 4th caprice

This is basically a better-phrased version of Albrecht Hügli's answer, but I'd treat the chord progression as this, with the diminished chord in bold: Isus4 - I - vii°7/V - I6/4 - V7 - I Yes, I'd ...
Dekkadeci's user avatar
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9 votes
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Is there a common labeling system for tritone substitutions?

This is often notated as sub(V), spoken as "sub five". The "sub" is short for "substitution", and it is understood as specifically the tritone substitution of the chord. ...
user45266's user avatar
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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 ...
Aaron's user avatar
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8 votes

What does "function" actually mean in music?

"Function" means "role" or "responsibility"; it's closer to the ordinary meaning, different from the specialized math term which means "mapping between two sets". Western music theory works by ...
Kaz's user avatar
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flattened-seventh chord function

This is an interesting progression, and that move from D♯ minor to A major is pretty jarring! I understand this in at least two ways: First, as you said, is the obvious result of the chromatic ...
Richard's user avatar
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8 votes

Can I use the chord progression i - v - VII - iv? (Am - Em - G - Dm : in A minor scale)

To add a bit to the other answers, the minor dominant is fine in a minor (or major) key. The pattern v-i does not have the same cadential effect as V-i. Many composers use v rather than V in non-...
ttw's user avatar
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8 votes

Why isn't #i just called #i?

Allowing for the possibility of a circumstance where #i makes sense, it would be the rare exception when applying an analysis in terms of functional harmony. When #i/I does make sense If the goal is ...
Aaron's user avatar
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8 votes
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Roman numeral slash notation meaning and function? (V/iii)

iii in key C major is E minor. The V of that chord is B (or B7). B is non-diatonic, and is called the secondary dominant in that key. It can lead to Em, and often does, although, despite the allusion ...
Tim's user avatar
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7 votes

Definition of Functional Harmony

Reimann is apparently the original source for tonic, subdominant, dominant definition of functional harmony... ...that seems to be the basis of talking about 'functionality' on other levels. Like ...
Michael Curtis's user avatar
7 votes
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Guidelines for writing a chord progression

It sounds like you're trying to find some general musical rules, and make music according to those rules. That's an interesting exercise, but it's not generally how people write music, partly because ...
Нет войне's user avatar
7 votes

Guidelines for writing a chord progression

Honestly you will find many explanations and I would say that you should not overthink it, otherwise it will block you more than anything else. I would like to give you just 2 simple pointers, but ...
Mig's user avatar
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7 votes

Characteristic scale degrees

It's saying that each harmonic function is built up using different notes of the reference key, or tonic scale. Those are the notes that are used to build harmony that satisfies those functions. So, ...
TaylorSwiftFan5932's user avatar
7 votes

is '4 minor' sub-dominant?

Generally speaking, iv has a sub-dominant function, both in minor, where it occurs naturally, and in major, where it occurs through modal mixture. So, for example: X:0 K:Cmin L:4 Q:"C minor ('...
Aaron's user avatar
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7 votes

How to recognize harmonic intervals?

I also think both ways will be helpful! But here is a 3rd technique, starting from your first impression: What do you hear? Consonance or dissonance? Perfect consonance or imperfect? Sharp or mild ...
Albrecht Hügli's user avatar
7 votes

How do you define Harmonic Retrogression with regard to intensity?

Interesting. I think the problem lies in a pretty poor definition. As you've said, there are all kinds of ways to understand "intensity," so it's not hard to come up with examples that seem ...
Richard's user avatar
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7 votes
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In the common-practice style, did minor dominant chords (v) still function as a dominant?

These minor v chords are not typically viewed as dominant in function, no. Instead, they most often function as passing chords. Imagine we pass from i through v6 down to VI (or even iv6). In these ...
Richard's user avatar
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7 votes

Should I use uppercase or lowercase roman numerals in Jazz harmonic analysis?

My preference, and I think it's the more contemporary style, it to user upper/lower case to show chord quality. Using all upper case (and sometimes only Roman numerals) seems to be an older analysis ...
Michael Curtis's user avatar
7 votes
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D Mixolydian key: is it possible?

Any mode or scale can be built on any tonic. So, yes, you can have D mixolydian... or D flat mixolydian, C mixolydian, etc. etc. If you have analyzed the song to have a D tonic and is mixolydian in ...
Michael Curtis's user avatar
7 votes

Usage of sharpened subdominant in minor key: what is the diatonic function?

Let's start with the excerpt... The key signature is zero sharps/flats, and the beginning harmony is Am & E with the final close E to Am so the key is A minor. The D♯ of the opening two bars is a ...
Michael Curtis's user avatar
6 votes
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Trouble reading roman numeral notation with flats

TLDR; a sharp or flat before numeral mean raise or lower the chord root from its normal diatonic spelling In the usual Roman numeral analysis we have these conventions: First we have to give a ...
Michael Curtis's user avatar
6 votes
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Functional analysis of the Pink Panther

It is in Em, but there is never a song in E 'natural' or E 'melodic' or E 'harmonic' minor. Simply E minor. Since Em could have E, F♯, G, A, B, C, C♯, D, D♯ in it, and chords ...
Tim's user avatar
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6 votes

flattened-seventh chord function

The bVII is probably the most used non-diatonic chord in music. So much so that it’s the only non-diatonic chord included in Apple’s GarageBand chord palette. As for its function there are many ...
John Belzaguy's user avatar

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