All Questions
Tagged with harmony chord-inversions
26
questions
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1
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36
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How Do These Decorative Chords Contribute to Diatonic Modulation in Aldwell and Schachter's Example?
I'm studying diatonic modulation via example (e) in Unit 26 of "Harmony & Voice Leading" by Aldwell and Schachter and need some clarification. The progression moves from an F major to an ...
- 1,396
3
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2
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163
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Stuck with figured bass notation for inverted 7th chord
My apologies for the "name this chord" question, but i'm stuck trying to identify this harmony.
The figured bass notation indicates to me that the bass note should be the seventh of a 7 ...
- 1,396
1
vote
1
answer
69
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If a chord has a note from an extension in the bass, is that note still an extension? [duplicate]
This question stems from a recent discussion I had with a friend, neither of us are academically trained musicians. A chord was described as a Gm9/C. My point of view was that the C note makes it a ...
- 838
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2
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149
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Help me correct/understand the harmonic analysis of this
Am I missing something here? (Note: the circled notes aren't included so we just ignore that. I'm only trying to analyze the rest.) In measure 8 (the second measure in the below excerpt), after Em, I ...
- 83
0
votes
1
answer
530
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Roman numeral analysis of chord with non-chord tone in bass
We use figured bass notation to help indicate chords in inversion by establishing the interval between the bass note and the other notes of the chord. I have seen figured-bass symbols applied to ...
- 1,396
2
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1
answer
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Augmented and Diminished (Fifth) Chords Baroque Notation
Hello ¿Does anybody know what is the baroque notation of Augmented & Diminished (Fifth) chords?
I'm talking about of chords like this: C-E-G# & C-E-Gb
I need the baroque notation, for example: ...
- 21
3
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1
answer
100
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Music theory - secondary dominants
Do i still have to use 1st inversion when using secondary diminished triads or sevenths?
I've been watching some videos but it didn't go over this.
4
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1
answer
137
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Question from Piston Harmony 5th Ed. Chapter 2
I'm confused by the following exercise in the 5th ed. of Piston's Harmony, page 21. "Exercise 7 j: With G# as the soprano note, write in four parts a triad in first inversion, with the subdominant in ...
- 43
0
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1
answer
106
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Adding tension to V7 chord
I understand that the V7 chord contains two tendency tones (^4 and ^7), which for a tritone in major keys. The ^4 forms a dissonance with the bass and the ^7 tends strongly to move to ^8. For these ...
- 1,396
3
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4
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2k
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Why is vi6 (submediant chord in first inversion) rarely used?
I read that vi6 is almost completely absent – is there a reason for this?
- 149
2
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3
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1k
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Non-cadential use of 6/4 chord
I guess the 6-4 chord in common practice music is typically seen as a "cadential" 6-4, used to embellish the chords around it by means of bass arpeggiation.
In rock music, however, a I chord in ...
- 1,396
3
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2
answers
310
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Dissonances with bass versus in upper voices. 4-part harmony
Working through "Guide to practical harmony" of Tchaikovsky in chapter 9 about the inversions of diminished and augmented triads, we read that the first inversion of the diminished triad is consonant ...
- 1,151
4
votes
5
answers
601
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Chord inversions and consonance
So the way I understand chords is based on the interval of the individual notes present in them. This is what gives the chord a consonant or dissonant quality.
However, this doesn't seem to sit well ...
- 231
8
votes
3
answers
1k
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Interval of parallel 5ths in the resolution of a German 6th chord
In a music theory workbook, there was an example of a German 6th chord, which resolves to chord V. However, there is an interval of parallel 5ths in this (A♭ & E♭ going to G & D).
How are ...
- 1,793
8
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3
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Writing an augmented sixth chord on the flattened supertonic
I have recently learnt about Augmented 6th chords. The examples in a music theory workbook had this chord written on the flattened submediant (6th degree of the scale). There was a small note in the ...
- 1,793