10/14/2021 0 Comments Music Harmonic Analysis Software
I’ve got my own personal preferences and biases which I will explain as we go. There are a number of different ways to analyse the same chord progression – so the way I’m going to do it is not the only way you can do it. Analysing a chord progression is partially subjective. At the frequencies of each vibrating mode, waves travel in both.There are so many chords to choose from, yet only a.Spectrum Analyzer. Picking the right chords for a song can be tough. How to Analyse a Chord ProgressionHookpad helps you create chord progressions that work. There are certain patterns and clichés that you discover only by analysing lots of different Jazz Standards.
Music Harmonic Analysis Software How To Use AudacityThe resulting graph is known as a spectrogram.When analysing a chord progression, take the following general steps:Check for disabled Here is a beginners guide on how to use Audacity, the free audio editing software. The spectrum analyzer above gives us a graph of all the frequencies that are present in a sound recording at a given time. Physics Music Pitch Sound Spectrum.![]() Moving on.Next, we look at the First Level Chord Progression. For this you look at the:In Jazz some common song forms used are the:So looking at My Romance, we see it has a 32 bar ABAC form. But what is ‘important’ and what is ‘unimportant’ is to an extent subjective.So first, we look at the overall form of the song (note that the form shown in the above lead sheet is incorrect). Analyse the Second Level Chord Progression – this looks at only the structurally important chords and functionality, ignoring immaterial passing chords. Analyse the First Level Chord Progression – this looks at each individual chord as a separate, standalone entity And section B ends with an incomplete ii-V in C. We also see that section A ends with a ii-V-I in C with the C7 being a kind of pickup or anacrusis chord (in fact a secondary dominant) leading to the next section. Label all chords with Roman Numerals based on their relationship to the I chordIf we look at My Romance we see that the key signature is in C Major. The last chord of the song is often the tonic Or if it’s a blues, you’ll find IV-I plagal cadences at the end of phrases Look for ii-V-I’s, V-I’s, and ii-V’s (incomplete cadences that resolve to the I chord at the beginning of the next section) They are everywhere, so look for them in every song.Once you find this PD→D→T cadential progression, everything before the Pre-Dominant Chord is considered ‘ Tonic Prolongation‘ – that is, chords that prolong the Tonic without a cadence.A phrase can have a complete cadence – so ending on the Tonic:Or an incomplete cadence – so ending on the Dominant:So Tonic Prolongation is literally that chords that just serve to prolong the Tonic function. I find it helps to write out all the diatonic chords of the key, just for your own reference.And in Jazz the PD→D→T Progression generally takes the form of a ii-V-I.Ii-V-I’s are the building blocks of Tonal Jazz. Notice also that the last chord of the song (ignoring the turnaround) is C6.Next, we label all chords with Roman Numerals based on their relationship to the I chord (see below). Change the tonal centre for a long period of time, in which case we call this modulation or Second Level Analysis StepsWhen analysing a chord progression on the Second Level I perform the following steps: Even the V7 chord above doesn’t really sound like a cadence as it is very quick and hasn’t been prepared by a Pre-Dominant chord. Then everything before this ii-V-I movement is a Tonic Prolongation I label all the ii-V movements with brackets and all the V-I movements with arrows this allows me to find all the ii-V-I movements This is just a personal bias, and you can argue otherwise. And only then do I consider modulation. I try to analyse chords as passing, borrowed, substitute or secondary dominant first, if possible. E♭o (which is an alternate chord given in the lead sheet) is just a passing chord. Em7 and Am7 are both chord substitutes of CMaj7. Bars 1 & 2 are just a Tonic Prolongation of the CMaj7 chord. Then another E7#5 chord takes us to another Am7 chord. This E7#5 chord tonicises the Am7 chord, which is of course, the relative minor of C Major. At the end of bar 4 we have a secondary dominant, which I have labelled SD. So bars 1 – 4 are all in the key of C Major. Instead the chord progression moves quite quickly through a V-I-V-I progression, so I would call this a Tonic Prolongation of the Am7 chord. And there are no ii-V-I’s in the key of A minor, so there is no PD→D→T progression. I would call this a modulation, because it lasts for 2 bars, which is a relatively long time, and because it’s moved to the relative minor which is a really common modulation. In bars 9 & 10 we have an FMaj7 (which is the IV chord of C Major and has a PD function) moving to the B♭7 chord (which is a♭VII7 and a D function). This is followed by a secondary dominant, tonicising the FMaj7, which is the first chord is Section B, to which we now turn our attention. This then modulates to the key of A minor for two bars, and returns to the key of C Major for the final two bars with another ii-V-I. Arcanum mage buildThis is then followed by a secondary dominant tonicising the FMaj7 chord and we go straight into another backdoor progression. So it’s still a PD→D→T progression in the key of C, we’ve just used modal interchange to make it a bit more interesting. And this B♭7 functions as a plain old Dominant chord. And the B♭7 is a borrowed chord from the parallel minor (C Aeolian). This may look like a bit of a strange progression, but really it’s a simple backdoor progression. And we finish with a ii-V back in our original key of C Major. Then in bar 15 we have a ii-V in G Major, which is the relative major of E minor. Now, the B♭7 is a tritone substitution of an E7, which is the V7 chord of Am7. So really this is a tritone substitution of a secondary dominant chord. We then have a B♭7 moving to an Am7. In bars 13 & 14 we have a minor ii-V-I in E minor, so we have modulated to the key of E minor. This can be a little bit challenging.So instead we can play a Second Level improvisation. Because the chords change every half bar on average, you have to change scales every half bar. This is a perfectly fine way to solo, but it has one obvious drawback. We can have a First Level improvisation or a Second Level improvisation.A First Level improvisation (the first row under the Roman Numerals – 4th row down) simply involves soloing using the relevant mode for each chord. Now what? What do we do with this information? Well, we can use it to influence how we improvise over this song.In the same way that we distinguished between the First Level chord progression and the Second Level chord progression, we can make a similar distinction with improvisation. Because these chords only last for a short period of time (only half a bar), you’re only playing the ‘wrong’ scale very quickly (which builds up tension) before resolving that tension with the next chord (so keep playing A minor over the A7#5 C Major over the C7’s and E minor over the B♭7). Further, if there is a non-diatonic chord played for a short period of time (like in bar 6 with the A7#5 or in bars 8 & 10 with the C7 or bar 14 with the B♭7) I would just play straight through or straight over the harmony, ignoring the chord change.
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