Arrangement Seminar/Discussion

c'mon guys .... go for it !!

AleGozzo wrote:

c'mon guys .... buttatevi !!

Now I should be more predisposed...

... we are talking about arranging Confirmation? Right?

mmm... wait...

ah, here it is! the idea was to analyze the theme of All of me, as Alessandro suggested on the previous page and, once the chord tones and tensions have been identified, harmonize only these (in the sense that: the notes that are neither chord tones nor tensions we leave there alone. That way they learn not to socialize).

In fact, it seemed to me that I had gotten lost

That is why I asked

Dai che è facile! (the best is yet to come...)

Here it is

Yesss, I think that's the point, maybe I would have tried to distinguish between tensions and non-chord tones, according to the definition we wrote a few posts ago.

The analysis is also how I would have done it; the only thing is that I would have interpreted the E7 in the second measure simply as V/VI, regardless of the chord that follows.

Eqqueqqua! Tensions in blue and non-chord tones in red.

To identify the non-chord tones, I used the process of elimination: all those that did not fall within the tension table.

Do the numbers add up for you?

P.S. now we could try to harmonize chord tones and tensions (how to do it is explained a little further on) and disregard the non-chord tones.

P.P.S. don't expect it to sound divine: in reality, once the harmonization of non-chord tones is seen, we discover that we can arbitrarily treat chord tones and tensions as non-chord tones as well, to improve the movement of the parts and provide more variety to the harmonization. But that is another story...

However, I would suggest to those interested in this topic not to limit themselves to reading the little rules, but also to try some exercises: in practice, a lot of variations and unforeseen circumstances arise that cannot be schematized.

DrJellyfish wrote:

The analysis is also like how I would have done it, the only thing is that I would have interpreted the E7 in the second measure simply as V/VI, regardless of the chord that follows.

Ok, V/VI and the chord after? V/II?

DrJellyfish wrote:

do the numbers add up for you?

Yes

Martina wrote:

Ok, V/VI and the chord after? V/II?

I would say yes. Of course, that is just my point of view.

I see it like this: I consider secondary dominants in relation to the degrees of the main key, regardless of what follows; otherwise, they would have to be numbered differently every time. Think about it: if there had been an Fmaj7 after the E7, how would you have numbered the E7?

DrJellyfish wrote:

P.P.S. don't expect me to play divinely

In fact, I am not at all satisfied with my result ... so I am not posting it. At the same time, I am curious to see your versions

OscarP wrote:

In fact, I am not at all satisfied with my result ... so I'm not posting. At the same time, I am curious to see your elaborations

what the heck... we're going nowhere like this!

but look, there is nothing to be satisfied or dissatisfied about, just curiosity to see others' alternatives: it is only a matter of applying the basic rules seen so far, the result is unique for everyone,

It's like doing crossword puzzles: there is only one solution (at this stage, obviously)

it is just to see if the rules have been understood, before moving on; if they are not posted, how can one understand ????!!!! (and especially how to move forward ???!!!!)

the gez langue... no harm done, we'll go with Zacapa :-)

DrJellyfish wrote:

I would say so. Of course, it is just my point of view.

I see it like this: I consider secondary dominants relative to the degrees of the main key, regardless of what follows; otherwise, they would have to be numbered differently every time. Think about it: if an Fmaj7 had followed the E7, how would you have numbered the E7?

As a deceptive cadence of the sixth, specifically V...VI/IV

Yes yes! I also think V of VI. However, I would have simply numbered it V/VI, regardless of how it resolves. If we had been in A minor, you would have only put V, regardless of the subsequent chord. But what about this harmonization? :-)