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66 LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory Fundamentals Section 5.4 HARMONIC ANALYSIS 1: HOMOPHONIC TEXTURE Harmonic analysis Harmonic rhythm Pitch inventory Harmonic analysis: homorhythmic textures Harmonic analysis is the analysis of chords in musical context. Harmonic analysis involves four stages or steps for each chord: 1. Determine the harmonic rhythm. The harmonic rhythm is the speed at which the chords (harmonies) change. For instance, if there is a new harmony every half note, the harmonic rhythm is the half note. 2. Take a pitch inventory: Say (or think) the pitches from low to high. Don’t repeat doubled notes. Find the root and make a “stack of thirds.” 3. Check the chord quality (major, minor, etc.) and write the roman numeral for the root of the chord. 4. If the chord is inverted, then add the inversion. Homorhythmic accompaniments are among the easiest to analyze, because the harmonic rhythm or speed of the chord changes is often the same as the rhythm of the melody. Below are the four steps applied to each chord of an example. It is important to apply all four steps to each individual chord, then move on. The key and roman numerals are written below the music. First say: CGE, CEG E œ & 44 œ G œ ? 44 œ C Then write: C: Resolving ambiguities: 1. Consider progressions 2. Assume the fifth is missing I GBFD, GBDF D œœ œB œ G V7 œ F CE(G)? GBD (A)CE? D œ œ E œ œ C I? vi6 ? œœ œœ B G V The third harmony in the example above is ambiguous, because there are only two pitches: C and E. The missing note of the triad could be either G (for CEG, a I chord) or A (for ACE=vi). To resolve ambiguities like this one: 1. Consider the harmonic progressions from section 5.3. Sometimes this will favor one possibility over another. Both V—vi—V and V—I—V are valid progressions, so the progressions don’t help much here. 2. If both possibilities are valid progressions, assume the fifth is missing. It is common to leave out the fifth, and if the progression makes sense, musicians tend to hear a two-note chord as the root and third (or root and seventh). So it is better to analyze CE as a I (tonic) chord here. Chapter 5: Introduction to Harmonic Analysis Harmonic Analysis: blocked chord and arpeggiated accompaniments 67 Blocked chord and arpeggiated accompaniments (including Alberti bass) normally change harmonies when the accompaniment pattern varies. The broken chord example below is typical. Remember to say (or think) all the notes from low to high (without repeating notes), and then reorder the notes to make a stack of thirds and find the root. First say: CEGD, CDEG, nonchord tone CEG œ & 44 œ ˙ GDBC, GBCD, nonchord tone GBD œ œ ˙ B œ œ œ ? 44 œ œ œ œ œ œ G Dœ œ œ œ œ œ œ D C E G Then write: C: I C V Nonchord tones In the examples above, D in the first measure and C in the second are nonchord tones. Nonchord tones are notes that don’t fit in the harmony. They are normally used to connect or decorate notes in the chord. You can recognize nonchord tones because they will not fit into a stack of thirds, no matter how the pitches are reordered. See 5.5 and 5.6. Finding the root When chords are inverted, the root may not be obvious. Some common patterns are helpful to remember. These patterns may not work with nonchord tones or every voicing, but they are a great place to start: 1. The top note of a second or fourth is often the root. 2. The bottom note of a fifth or seventh is often the root. CDAF & w F Aw ? ww CD & _ ? _ GE w w w w 2nd... ...D is root GEBD & w D ? Bw w w DFAC _ _ 5th... & EGBD w w ? w w ...E is root w & w B GC w ? w w EGCB E DBAF F w & w A ?B w w D & _ _ ? 4th... CEGB w w w w ...C is root _ BDFA _ & w w w w ? 7th... ...B is root