Analysis

Frank wrote:

Exactly, if it is the same thing it is a tonicization

As the good Piston says

The penultimate line works, I was also thinking about the Neapolitan scale of the III

In reality, one would also need to see the voicing; not that the functions change, but some passages become much softer

The first line remains for me ....VI II V of the II is "tostarello" [too heavy/stiff], too strong as a tonicization

DrJellyfish wrote:

As the good Piston says

A concept that is now outdated and not many people frequent anymore ... a godsend for understanding whether one is modulating or not

Imagine if instead the piece started with E in the bass, moving chromatically to Eb in the second measure, arriving at D at the end of the measure and then transitioning through C# as a passing tone... and C at the end of the third measure

Guys, you are so well-informed... I can't seem to join the conversation.

DrJellyFish's hypothesis seems very convincing to me, good ideas emerged nonetheless.

In the end it is almost traditional harmony

Frank wrote:

Think if instead the piece started with E in the bass, passing chromatically to Eb in the second measure arriving at the end of the measure on D and then transitioning through a passing C#... and C at the end of the third measure

Exaggerated! :-) :-) :-)

The premise I am starting from is that not all seventh chords resolve directly (including modal interchanges, tritones, and secondary dominants), but can be "diluted" into a II V.

Ex: (in C) D7 / G7 / C∆ can become A-7 D7 / D-7 G7 / C∆

Ex: (in C) D-7 / Db7 / C∆ can become D-7 / Ab-7 Db7 / C∆

Ex: (in C) F-7 / C∆ can become F-7 Bb-7 / C∆

in all these cases the II has an accessory function (to put it briefly, it only serves to thicken the broth); one shouldn't be surprised if in the first example the D7 seems to resolve to D-7; in reality, it always resolves to G7, in a mediated way, as if there were a suspension (and in fact, there is).

Here they are (Gershwin)! Modal interchange (IV-), secondary dominant, tritone (try replacing the A- with D9...).

Arieccolo! Strauss (IV-):

@ Bit & Margherita: in effect many chords belong to the key of C major, but before determining whether a piece is modal or not, I would try to identify the dominant seventh chords - which are not ambiguous like a m7, for example-; after that, I would check if they are preceded by another chord belonging to the same scale (e.g., a II or a IV) and if there is always an chord from that scale after them (e.g., I or III). At that point, there is a good probability that the piece or that part of it is in that key.

If then the chord is completely disconnected from the context (e.g.: F∆ / Bb7 / C∆), we begin to consider the possibility that it is a substitution or a modal piece. bye

You are right Dr, besides I find your explanation very useful ... I will make good use of it ... until next time.

But is this blessed standard of Laura going to show up or not ... Jazz Mania?!

Here is my take: I have assigned to each chord its exact harmonic function and the resulting scale, choosing the most appropriate one among several possibilities. It was inevitable for me to correct some chords that I deemed improper, as they were substitutions or alterations of the harmonically correct chord from the perspective of functional analysis.

http://www.divshare.com/download/19192670-fd2

and where is the functional analysis?

P.S. some acronyms are not clearly legible

for dr. Jellyfish: do you mean that I should state its harmonic function for every chord?

In the meantime, I have uploaded a clearer image.

Well, if you are replacing chords based on harmonic function, it would be useful to know what that function is. Personally, I have difficulty finding a common thread in this analysis:

between substitutions, modes, scales etc. Then I wanted to ask you: what chord is the second one? (what is written after A, I can't read it)

P.S. you can upload attachments directly here using the full editor ;-)

http://www.divshare....ad/19192670-fd2 (to download the sheet music with my corrections)

This is a tonal piece in F maj, within the context of which secondary modulating keys are inserted with a return to the original key. In my analysis, I replace the substitute chords present in the original score with unaltered structural chords and define the harmonic function of the latter. I first indicate the scale closely related to the chord and then a few scales chosen from those most compatible with the chord. If the chord is repeated in the piece, I will not repeat the analysis. It would be possible to alter the structural chords and pair them with the resulting scale, but then things get complicated and it becomes too long to describe. I do this only for the tonic triad.

1) F maj: F ionian scale ----F lydian---------tonic triad-

possible alteration of the structural chord by transforming it into F maj+5 and pairing it with the F lydian augmented scale or the F whole tone scale if a pure augmented color is desired. For a diminished sound, one can use the half-whole diminished scale which contains the tonic triad, paired with the F diminished chord. For greater dissonance on the F diminished chord, we can use the whole-half diminished scale of F.

2) A alt: A super locrian scale or secondary isolated A phrygian-dominant scale--

3) A-7: A dorian scale---II element of the II-V-I extending over measures 3, 4, and 5

4) D7: corrected by me to D alt---the latter is the V element of the minor II-V-I - secondary dominant-

D superlocrian scale, D phrygian scale.

5) G-7: I element of the minor II-V-I---G dorian scale

7) Bb-7: II element of the modulating II-V--------Bb dorian scale

8) Eb7: V element of the modulating II-V--------Eb mixolydian scale.

Measures 9, 10, 11, 12 are like 3, 4, 5, 6.

13) In this measure there is a minor II-V. The II is an E half-diminished—E locrian scale---

The V is Aalt, A superlocrian scale, A phrygian scale, secondary dominant-

14) Major II-V with D-7, dorian scale, diminished G7 half/whole scale, or G7 mixolydian.

Measures 15 and 16 contain a major II-V with G dorian and C mixolydian and subsequent resolution on the tonic triad in measure 17.

I believe it is useless to proceed with the analysis of measures 18 to 26 and 29 to 32 as they repeat harmonic situations already considered.

Instead, look at measures 27 and 28 which contain a minor II-V where the I is a B half-diminished, B locrian scale, and the V is a secondary dominant: E alt, E superlocrian scale, E phrygian scale, which in the subsequent measure physiologically resolves into A-7, dorian scale.

Ah there we go, that makes it clearer. The only thing I see as different is the Bb-7 Eb7 which doesn't seem to modulate to me; it's a simple modal interchange.

I believe it is a modulation, even if of short duration, since the resolution triad is Ab, different from the tonic triad which is F. There is therefore a change of key, even if brief.

Yes it's true, but technically speaking about modulation without the first degree and, eventually, a confirmation is difficult...

Don't you find a IV VII of F minor in there? It's a recurring solution of modal interchange in Jazz, used to "stretch the broth" in a plagal cadence. The Americans even gave it a name, "backdoor progression," since it is a II V that returns to the I from the "back door". :-)