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Harmony Flashcards

1
Q

Anoushka Shankar - Burn

A
  • Added notes
  • Extension chords
  • Static harmonic effect
  • C#m (add9)
  • Amaj7(#4)
  • Dissonances that are not prepared or resolved in a conventional way
  • Feeling of diatonic C# minor from frequent use of leading note B# in sitar line
  • Dominant chords (G# major)
  • Suspended 4th
  • Omission of 3rd (G#5)
  • 1st section of intro ends with almost cadential 6/4 progression
  • C♯/G♯ to G♯sus4
  • Static
  • C# articulated pedal in synth bass
  • Lead synth line focuses on notes C#, F# & G#sus4 (not resolved)
  • All notes of raga heard against drone
  • Conventional series of progressions with repeated VI-V progressions in C# minor giving strong feel of imperfect cadences
  • Coda veers away from tonic key abruptly using unrelated chords of A minor and F# major 7th to find its way to D major
  • Final D5 chord contains no 3rd
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2
Q

Anoushka Shankar - Breathing Underwater

A
  • Opening section oscillates between Bbm7 and Ab chords (VI-V) coming to rest inconclusively on Dbsus4 chord
  • Modally inflected A with adjacent chords of B, A, G#m7 used in various orders
  • Slash chords (B/A)
  • Major 7th chords (Amaj7)
  • Diminished chords (D#o/F#)
  • Coda uses subdominant Gb chord and its minor form with repeated IVm-I progressions in closing bars -> plagal cadence
  • Final chord decorated with 2-4-3 shape in voice
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3
Q

Anoushka Shankar - Easy

A
  • Derives harmonies from notes of transposed mixolydian mode with scale containing no true leading notes (Cs) there are no progressions involving dominant chord
  • Harmony avoids primary chord progressions and cadences
  • Dominated by 3 chord progression and inverted later
  • Modal -> flattened leading note (bVII) acts as substitute dominant
  • Many sus4 chords also sound the 3rd creating dissonance
  • Ends on unresolved Dbsus4 chord
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4
Q

The Beatles - Eleanor Rigby

A
  • 2 chords C & E minor
  • Slow harmonic rhythm
  • 3 bars of E min in verse then 2 C
  • Refrain E min chord
  • Chromatically descending
    viola part adds dissonance
  • Frequent mild dissonance in vocal parts -> 1st notes of verse & refrain have A acting as appoggiatura to notes of E min chord that follows
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5
Q

The Beatles - I want to tell you

A
  • Intro over pedal A with tonic and subdominant chords alternating
  • Verse 1 3.5 bars on A before moving up a tone to B7 then 4 bars of dominant harmony with distinctive minor 9th
  • Bridge on Bmin supertonic, diminished chords and vocal appoggiatura C# above
  • Coda/outro over pedal note A
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6
Q

The Beatles - Here there and everywhere

A
  • 4 chord progression
  • Gmaj section starts with rising parallel root position chords moving up scale G-Am-Bm-C
  • B section uses 4 chord progression starting Bb maj moving to Gmin, of I-vi-ii-III7 where chord III7 becomes pivot chord (V7) in Gmin creating perfect cadence
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7
Q

The Beatles - Tomorrow never knows

A
  • Continuous chords instead of chord sequence
  • Implied C chord continues throughout
  • Only clearly heard chord is of flattened 7th Bb on organ
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8
Q

Courtney Pine - Lady day and john coltrane

A
  • C7(#9) chords extended
  • Blue note flattened 5th
  • Harmony moves to subdominant with extended chord F7(#9)
  • Faster harmonic rhythm rate
  • Conventional dominant (Gm7) and subdominant (Fm7)
  • 13th chord on flat 7th (Bb)
  • Chromatic descent through series of 7th chords before returning to Bb 13th chord and then tonic
  • Sax upward pitch bend D to Eb
  • Harmony altered to form new 4 chord sequence including Eb 9th chord (Eb7 with F maj 9th rooted above) & G+7 chord (G 7 chord with augmented 5th note D# notated as Eb)
  • Coda harmony begins on Bb wiTh extended chord of Bb13
  • Whole harmony shifts up semitone to B11 before returning to Bb
  • Harmony changes to 3 chord ostinato sequence of subdominant (F), dominant (G) & tonic all with 9ths G augmented chord (G+) sustained for 4 bars
  • Dominant chord resolves on tonic with 6 bars of C7(#9)
  • Pause on final Bbmin7 with added 4th (Eb)
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9
Q

Courtney Pine - Inner state of mind

A
  • Cm7 with added 2nd (D)
  • Sax uses notes from dorian mode on C featuring minor 3rd & 7th (Eb & Bb)
  • Grace note Gb acciaccatura
  • Cm7 & Dm7 alternate
  • Rap over Cm7-F chord progression
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10
Q

Courtney Pine - Love and affection

A
  • Free harmony moving around chords contained in scale of E mainly avoiding E itself
  • Syncopated rising bass E-G#-A-B
  • Chord above G# is 1st inversion
  • Dominant chord (B) has added 4th (E)
  • Middle 8 starts with subdominant an occasional blue notes (Gnat) -> last chord dominant leading back to tonic
  • 4 bar link where harmonies descend chromatically from G down to E
  • During sax solo, bassline holds pedal E
  • Backing singers end on paused tonic chord
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11
Q

Stravinsky - Intro

A
  • Harsh dissonance
  • Bitonality with Eb7 in strings at same time as Fb maj in basses and cellos, bassoons outline chords of C maj & E min
  • C7 broken chords in violas
  • Chromatic scales
  • Modal
  • ## Diatonic in aeolian
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12
Q

Stravinsky - The Augurs of spring

A
  • Descending chromatic scalic figures
  • Rising & falling chromatic scales in the woodwind
  • 2 pairs of trumpets play theme in parallel 3rds
  • 4 trumpets together produce parallel 7th chords in 2nd inversion
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13
Q

Stravinsky - Ritual of abduction

A
  • New mixolydian mode in woodwind
  • Dissonant chromatic scales in consecutive 2nds
  • New horn figure 2 notes a 5th apart against dissonant
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14
Q

Herrmann - Prelude

A
  • Non-functional harmony avoids traditional progressions such as cadences
  • Chromatic
  • Dissonant
  • Atonal
  • Avoiding conventional triads
  • Hitchcock chord opening dissonant -> minor chord with added maj7
  • Extension chords making triads dissonant -> C#7 chord with minor 9th (D)
  • Juxtapositions of chords semitone apart (Eb/E min)
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15
Q

Herrmann - The City

A
  • ‘Impressionistic’ use of dim7ths and half dim chords with inversions
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16
Q

Herrmann - Marion

A
  • Hitchcock chord opening dissonant -> minor chord with added maj7
  • Harmony based on falling chromatic still tonal
17
Q

Herrmann - The Murder

A
  • Starts with dissonant chord cluster (E,Eb,F,Gb) with intervals inverted to form descending major 7ths
  • Interlocking augmented 4ths combine D/G# & C/G#
18
Q

Herrmann - The Toys

A
  • Parallel chord mvt by step -> chains of maj & min 7ths
19
Q

Herrmann - The Cellar

A
  • Dissonances
  • Minor 2nds
  • Tritones
  • Chord clusters
  • Chromaticism
  • Static repetitive harmonic progressions
  • Non-functional
20
Q

Herrmann - Discovery

A
  • Extension chords making triads dissonant -> End uses C#7 chord with minor 9th (D)
  • Rapid parallel mvt from 4 note chord C/D/E♭/B
21
Q

Herrmann - Finale

A
  • Chord components with roots diminished 5th apart -> closing chords D bass with A♭ minor triad above
22
Q

Kaija Saariaho - Petals for violincello and optional electronics

A
  • Conventional ideas largely absent
  • Embedded within rich timbral mixes eg 1st note has rich series of overtones above notated ‘F’
23
Q

Schumann - Piano trio in G minor op 17 mvt 1

A
  • Tonal & diatonic using functional progressions
  • Mj & min chords mostly in root position & 1st inversion used as basis of harmonic structure
  • Frequent cadence points
  • Traditional progressions eg perfect cadences (Ic-V-I)
  • Complex chords using chromatic harmony:
  • Dim7ths as substitute for V7
  • Aug6th to approach V or Ic
  • Dissonant extensions -> dom min 9th
  • Suspensions -> 7-6 & 4-3
  • Secondary dom chords as diatonic progressions -> Cmaj eases line to dom (F)
  • Progressions that follow chromatic bassline downward using parallel triadic mvt
  • Cycle of 5th progression
24
Q

Bush - Under Ice

A
  • Repeated chord sequence mvts of 3rds up & down Fmaj7♯4–Dm9–A(sus2)–Am/C
  • Chords taken from scale of A natural minor apart from occasional Dmaj chord using F#
25
Q

Bush - Cloudbusting

A
  • Based on elements of diatonic functional system
  • Few perfect cadences
  • Progressions based on primary chords rare
  • Repeated chord sequence for 2 or 4 bar length
  • Added notes & extensions & sus chords & slash chords
  • Verse & coda/outro based around modal chord sequence stepwise 7th & 9th chords -> Badd9 subtonic (♭VII) chord acts as substitute dominant at end of sequence (C♯m7–Badd9–A6/9–Badd9)
  • Chorus and Instrumental based on similar sequence (C♯m7–Badd9–F♯7(sus4)–Badd9)
26
Q

Bush - Dream of sheep

A
  • Perfect cadence in Emaj to close refrain
  • Opens with modal sequence C♯m7–F♯m/A–B with roots 5th apart interpreted as I–IVb–♭VII progression in C# minor using subtonic or as extended VI–IIb–V progression in E maj
  • Refrain uses conventional I-II-V-I progression in Emaj over tonic bass pedal
27
Q

Bach - mvt 1

A
  • Chords diatonic and functional
    Frequent perfect cadences
  • Suspensions -> 4-3
  • Frequent secondary and dominant 7ths
  • ## Most chords in root position or 1st inversion, some 2nd inversion
  • Ending 4 bar tonic pedal
28
Q

Bach - mvt 2

A
  • Chords diatonic and functional
    Frequent perfect cadences
  • Suspensions -> 4-3
  • Frequent secondary and dominant 7ths
  • Most chords in root position or 1st inversion, some 2nd inversion
29
Q

Bach - mvt 8

A
  • Chords diatonic and functional
    Frequent perfect cadences
  • Suspensions -> 4-3
  • Frequent secondary and dominant 7ths
  • ## Most chords in root position or 1st inversion, some 2nd inversion
  • Imperfect cadence
30
Q

Debussy - Pagodes

A
  • Added notes
  • Flat 7th (A) above bass (B)
  • 8ves
  • Chords of 4ths & 5ths avoiding tonal 3rds
  • 2 note syncopated chords in 2nds
  • Parallel harmonies
31
Q

Debussy - La soiree dans grenade

A
  • 8ves
  • Inverted pedal C#
  • Parallel chords -> 7th and later in transposed version over pedal of F#
  • Added note chords based on 4ths & 5ths
  • Continuous parallel triadic chords
32
Q

Vaughan Williams - On Wenlock Edge

A
  • Consonant harmony
  • Parallel chords
  • Added 4ths
  • GCD F (occasional)
  • Dissonance
  • Chromaticism with harmony slipping down a semitone at a time
  • Chromatic slides
33
Q

Vaughan Williams - Bredon Hill

A
  • Consonant harmony
34
Q

Vaughan Williams - Is my team ploughing

A
  • Consonant harmony
  • G major chord has distinctive raised sixth of Dorian scale
35
Q

Elfman -BOAP1

A
  • Open chords
  • Bare 5ths
  • Dominant 7th
  • Chromatic shifts
  • Parallel chords
  • Plagal cadence
36
Q

Elfman - BOAP2

A
  • Chromatic shifts
  • Parallel chords
37
Q

Elfman - Batman vs the circus

A
  • Diminished 7th
  • Chromatic shifts
  • Parallel chords
  • Tritone/augmented 4th
38
Q

Elfman - The rise and fall from grace

A
  • Chromatic shifts
  • Parallel chords

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