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Questions tagged [functional-harmony]

For questions to related to the accepted uses of harmonic progression within the common-practice period. Questions may also necessitate the chord-progressions tag.

0 votes
1 answer
37 views

Analyzing harmony

I'm trying to analyze this simple exercise from schubert but i can't really find the harmonic function here beside the satisfying voice leading that i hear when i play it I wanna write such a piece ...
user98606's user avatar
  • 409
1 vote
4 answers
101 views

When chord tones of ii are beamed to IV, is it IV ii or IV with an auxiliary sonority?

In blue-boxed measure, at 1st downbeat the chord seems to be IVMaj7. Beamed notes seem to suggest ii triad. I have read that IV and ii might come together from time to time and collectively they were ...
Sean's user avatar
  • 1,517
3 votes
4 answers
234 views

Is there a way to describe this type of non-functional music?

As far as I could tell, this instrumental piece has the static chord vamp Bbmaj9-Am7 that never deviates in any section (let me know if I'm wrong). The main focus that the composer has chosen here is ...
Stillmoon's user avatar
0 votes
2 answers
60 views

VII7 to I in romantic era harmony

In the opening bar of Emil von Sauer's Etude de Concert no. 1, he starts on G flat major, then transitions to an F major 7 that resolves back to G flat major (VII7 to I). I know this is late romantic ...
Haytham's user avatar
  • 51
2 votes
1 answer
80 views

Purpose of interlude in Bach WTK II, Fugue 16

This is an excerpt of Bach WTK II, Fugue 16 (mm. 15-20). The part I have marked red is (in my opinion, hope not be mistaken) an interlude between the last entrance of the theme in the bass and the ...
AGuyCalledGerald's user avatar
8 votes
2 answers
305 views

Why Bb7#9 in 'Michelle' and not Bbm7?

The second chord in the first Verse of the song 'Michelle' by the Beatles is often interpreted as Bb7#9. Isn't that a bit of an overkill? I actually don't really hear the major triad dominantly and if ...
Bipolar Minds's user avatar
2 votes
2 answers
143 views

Enharmonic Mediant

In mixolydian mode, does the major chord on the subdominant lowered by a half step have any name? For example in E-mixolydian it is Ab-major and enharmonically, it would be the mediant. But what ...
HDB's user avatar
  • 129
3 votes
4 answers
181 views

Is there a name for raising the v chord to a dominant V

From what I've understood from other questions, the dominant chord is always major. So in a minor key, the v chord is not considered dominant. Considering that, is there a name for when we're in a ...
Teleporting Goat's user avatar
8 votes
3 answers
446 views

Why prolongational instead of cadential progression

I have some questions regarding Mozarts piano sonata K. 283. According to Hauser, "these four measures prolong tonic. Measures two and three are contrapuntal chords that are surrounded by the ...
AGuyCalledGerald's user avatar
5 votes
1 answer
156 views

How to analyze introduction of Rachmaninoff's Paganini variation?

I'm trying to analyze the introduction of Rachmaninoff's Paganini variations (picture below). I'm thinking the whole thing is a sequence and I only have to analyze the first two measures. The F# makes ...
Haytham's user avatar
  • 51
3 votes
2 answers
174 views

F#m7 chord in “Misty” in C major

I'm analyzing the accompaniment for 'Misty' in C major. In measure 16 (“how hopelessly I am lost”) there's an F#m7 chord accompanying the B in the melody. Although F#m7 seems unusual in C major, it ...
Irina 's user avatar
  • 65
3 votes
3 answers
310 views

Can the subdominant move to the tonic in simple functional harmony?

I'm working on making a progression using solely functional harmony for my music lessons. At the end of my progression, I have a V-iii-ii-I. Is this at all justified? I ask because (as far as I ...
Evan's user avatar
  • 33
2 votes
3 answers
203 views

What's the role of a bVI chord preceding a ii V I?

I'm talking about the chord progression of The Beach Boys' "Heroes & Villains" outro ("Bridge to Indians"). The progression is the following: I I7 IV bVI7 I bVI7 ii7 V7 I (C# C#...
PepsiChicken's user avatar
4 votes
2 answers
263 views

is iii7 a dominant chord with scale degree 3?

As a mediant chord the iii chord has scale degrees ^3 ^5 and ^7. If we add the 7th (^2) it will have all degrees of the scale the serve a dominant function. Can it be said then that iii7 is actually a ...
user avatar
3 votes
1 answer
161 views

Notes for simple progression

I struggled a bit to find a good title for this question since I can only really describe it with an example. I have been spending some time on chord progressions and improvising and would think that ...
Cerno's user avatar
  • 183

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