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7 votes
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Explain chord progression

Whenever you encounter a non-diatonic chord, it's worth checking if it's a modal interchange or a secondary chord. And perhaps also trying enharmonic spelling variations. G# and A# could be rewritten ...
user1079505's user avatar
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6 votes

How to modulate from Am to F#m?

Let's assume this is an exercise to modulate to distant keys, otherwise if the modulation is not working, you might ask why force it? I would first list out the diatonic triads in both keys... Am: ...
Michael Curtis's user avatar
5 votes

Explain chord progression

You'll probably find it easier to justify G#, A# and D# if you spell them as A♭, B♭ and E♭. There are many reasons why a chord can 'fit'. The most simple is when it's diatonic in the home key or in ...
Laurence's user avatar
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4 votes

How to modulate from Am to F#m?

I'll try to list my views and habits, how I see key and mode changes. A few basic tactics that are not mutually exclusive, you can use several at the same time. (a) Something stays the same: utilize ...
piiperi Reinstate Monica's user avatar
3 votes

How should I comprehend Modal Mixture?

I tend to think of "modal mixture" in the following manner. In any key, one can play any chord if it sounds good. There are some chords that are used much more commonly than others. For ...
ttw's user avatar
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3 votes

Explain chord progression

Another way to treat the C-Em-C-Em is to think of it as C/E-Em-C/E-Em. Slash notation doesn't really show what's happening. If you think of the notes, one has EGC-EGB-EGC-EGB; the EG interval stays ...
ttw's user avatar
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3 votes

How should I comprehend Modal Mixture?

"Modal mixture" is not the presence of multiple modes within a piece. The term refers to borrowing harmonic elements from the parallel major or minor of the predominant key. For example, the ...
Aaron's user avatar
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3 votes

How to modulate from Am to F#m?

As a sort of edge case, bear in mind that the Neapolitan chord (major triad with its root as a lowered second scale degree in first inversion) of F# minor is actually present within the A minor scale. ...
nuggethead's user avatar
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2 votes

Sort of key change effect, can technically explain the effect?

this very simple melody ( mostly made interesting by delay effects on it ) does not touch any note of the key to "prove" it is D minor, since it is playing just white notes. There are three ...
Laurence's user avatar
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2 votes

Sort of key change effect, can technically explain the effect?

I'm guessing you're in what's known as D Dorian. D Dorian uses all the notes of parent key C major, but roots (tonic, home) on note D.
Tim's user avatar
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2 votes

How to modulate from Am to F#m?

ii - V - I (or one of its variations) into the new key is always reliable. Melodic imitation helps it all hang together. Here's an idea. (Though I don't know what the previous melody was.)
Laurence's user avatar
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2 votes

Modulating to new keys in blues

First attempt to provide an answer over here... I happened to stumble across your question yesterday night, and I must have, well... slept on it... because when I woke up this morning I came to think ...
m.a.a.'s user avatar
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2 votes

How should I comprehend Modal Mixture?

The 'modal mixture' description is fairly inaccurate! Yes, in a lot of songs, there's 'borrowing' - using notes/chords from the relevant major/minor keys with the same tonic. As in using notes/chords ...
Tim's user avatar
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2 votes
Accepted

Tonal or not ? Modulation or not?

What do you mean with the term "tonal philosophy"? I mean music can be tonal in many ways or in many styles; does the term "tonal philosophy" refer to a certain tradition or style? ...
Lars Peter Schultz's user avatar
2 votes

Tonal or not ? Modulation or not?

The L.H. harmony in 5-8 alternates between E5/G# and E/G#. There's no 7th. Yes, it's a bit 'outside' compared with the rest of the piece. The G# bass note connects the preceding G with the following ...
Laurence's user avatar
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2 votes

How should I comprehend Modal Mixture?

If a piece is 'in' C major, along with the chords made from the notes of the C major scale you can mix in those made from C minor, and label them as 'modal mixture'. The most frequent 'borrowing' is ...
Laurence's user avatar
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2 votes

How to modulate from Am to F#m?

Well, let's work backwards. The chord that leads best into F♯ (maj or min) is its V, so C♯(7). That leaves three. Down to G♯, then F°. Any one of those would last a whole bar, probably the G♯. The ...
Tim's user avatar
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1 vote

Modulate from A minor to D major

Max Reger ("Supplement to Modulation") suggests a-d-Eb/G-A-D or i-iv=i-N63-V-I. I had thought of a-d/F-F7-Bb7b5-D/A-A(7)-D; or extended a-d7-G7-F7-Bb7b5-D/A-A7-D.
ttw's user avatar
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1 vote
Accepted

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 ...
Aaron's user avatar
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1 vote

Explain chord progression

We agree with other respondents here that G# makes more sense when named Ab (and so on) in this situation. We have found numerous uses of this flat 6 (Ab), flat 7 (Bb), 1 (C) chord progression in ...
Michael English's user avatar
1 vote

Analysis of a few bars in Bach's BWV 895

I agree with Aaron's broad analysis that measures 7 and 8 are in D minor, but I disagree on the detail. Essentially this is built from sequences of 7-6 suspensions, a very common way to deal with a ...
phoog's user avatar
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1 vote
Accepted

Analysis of a few bars in Bach's BWV 895

In brief m6 = a minor m7, m8 = d minor m9 = a minor. My more complete analysis goes like this (measure-beat): incidental |-----------| m6-1 -2 -3.0 -...
Aaron's user avatar
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1 vote

Can chords found in parallel modes of the relative minor of a key (or relative major when in a minor key) be considered borrowed chords?

I gave the song a listen, and I did not hear the progression OP named, but I did hear a guitar solo with the chords (4:11 below) C-F-G-A, C-F-G-A where the phrasing ...
Mirlan's user avatar
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1 vote

Changing key in a song convincingly

To address the term "convincingly," Schoenberg describes the idea of "neutralization." The idea is to emphasize the note (or notes) that differ between the old and the new key. It'...
ttw's user avatar
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