I hope I don't become monotonous, but Fauré is so beautiful and complicated .... If you want, take a look at my analysis and correct it; the parts in fuchsia are particularly incomprehensibl...
Does anyone know how to clarify the harmonic sense of this passage? My doubt is that I feel a strong sense of progression, but from a harmonic point of view, I don't see it. It is probably j...
Well well, I'm opening a small discussion: so, a little "discussion" arose between me and Ale Gozzo regarding a dominant seventh chord in 3rd inversion and its use in a chorale. I had used i...
Do you find it useful to do counterpoint exercises ... working by species? Is there not a risk of becoming a bit of a slave and too much of a subject to them? I ask because I find it incredi...
question: how do I connect a seventh (whether natural or artificial) that can neither stay still nor descend by degree (to make a long story short in my case, you either take it by a descend...
I am delving deeper into the concept of pandiatonism and it seems to me that, besides the static nature of the harmony, which might be useful for creating atmospheres, little is discussed re...
Let's consider the C Ionian scale: C-D-E-F-G-A-B Obviously the tonic is C The interval C-D has C as its tonic the interval C-E has C as its tonic the interval C-G has C as its tonic the inte...
I am new, compliments on the beautiful community. I wanted to get some clarification regarding the third degree; it always seems like it cannot be used... but is that really the case? It see...
Excuse my ignorance, but considering the following chords: F#- A- C- E-, what key could I be in? It would also be nice to know the reasons why. Thanks to anyone who wants to help me find an...
In this regard "to me it seems like a good exercise, a study on technique that De La Motte calls 'counterpoint with one voice'." Can this thing be explained better? I mean, for a mere mortal...
It is probably a question more related to Jazz, anyway, in a chord progression of this type: F, Bb7, C how would you define the function of the Bb7? There are several options and schools of...
What do you think? Is it plausible? Are there things that don't add up? ps the "reduction" does not reflect the actual notes but is only for schematic clarity ....
We are in e minor i am on a V7, so it's re# la i would like to go to a VI .... major, that is C# with the intention of continuing in the melodic scale in the bass. How to harmonize all this?...
Well yes, a question about triads. I have always heard talk of major, minor, diminished and augmented triads... in the context of stacking thirds. Do you know if the chord "C, F, Bb" is or i...
Hi everyone, I'm new and I hope I haven't posted in the wrong section. I understood very little about mixed cadences; I have also heard talk of masculine and feminine cadences. Can you give...
I am a man of my word, I tried. Beethoven Adagio cantabile from Sonata op 13: Key: Ab major Measure no. 1 - 1st quarter on the I degree of Ab major, 2nd quarter IV in first inversion. Measur...
I did an analysis test this afternoon, but only on the first "half" of this gigabyte. What doesn't add up for me is the harmonic progression at measure 3; the first quarter is fine, but from...
I am studying progressions from Piston's harmony treatise; the book speaks of three fundamental progressions: 1) Progressions by ascending motion of a fourth or descending motion of a fifth,...
Report on the analysis of Robert Schumann's "Melodie" I should preface that I have been stagnant for a while regarding harmony, and I do not know the differences between the Baroque style to...