New answers tagged harmony
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how to theoretically understand that chords are compatible?
A partial answer is to consider the three Common Practice Period interval classes.
Perfect consonance: unison, octave, fourth*, fifth.
Imperfect consonance: major and minor sixths and thirds.
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♭VII-I Cadence, ♭III-I Cadence: Name?
The bVII7 I cadence is called the Backdoor Cadence.
See also a discussion on this "delicate Backdoor cadence".
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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 ...
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When given the soprano and bass parts, how do I figure out the alto and tenor?
In each exercise, the soprano and bass notes either imply specific chords, or the musical context does.
The first exercise for example:
Looking at the final two notes, D and F, suggests either a Bb ...
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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 — ...
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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 ...
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What are ways to use permutations to explore harmonic progressions?
From the top of my head without actually trying this out, a theoretical abstract answer:
In rhythm, you have beat/pulse positions within a meter. In harmony, you have scale degree positions in a scale....
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Do composers arrange an entire score without parallel perfect intervals or is this only when you have few voices and need them to all be independent?
If you are writing 4-voice harmony in the 17th century style, parallel perfect intervals are prohibited.
In other styles they are permitted, even exploited. Just be aware of how their type of ultra-...
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Is it possible to approach hidden 5ths & 8ves by contrary motion?
No. Because then they wouldn't be 'hidden 5ths'.
The issue with 'hidden 5ths', as with 'parallel 5ths', is based on similar motion. Otherwise, think about it, ANY movement that resulted in a 5th ...
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In harmonic syntax (“root progressions”), does only the root matter, or the entire chord?
One way to look at things is to consider that there are two "basic" progressions happening at the same time. One is the actual bass line (shown in figured bass notation.) The other is the ...
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Bob Marley - Could You Be Loved - why single note outside mode?
I'm jumping on a old thread here, but my perception is:
You can think of the key as either B minor or D major (or switching between the two). Most of the negative lyrics are in the verse (Bm home) or ...
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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 ...
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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 ...
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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 ...
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How Do These Decorative Chords Contribute to Diatonic Modulation in Aldwell and Schachter's Example?
As a starting point, here's a RNA of the passage:
VI ii[6-5] V[4-2] i[6] ii[6] Cad[6-4] V[7] i.
Clearly the final V-i is essential, since it most strongly states A minor. There is a weaker V-i ...
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