catie wrote: ↑
Tue Dec 19, 2017 12:10 am
Thank you so very much for your attention Stephen.
In my awkward way, her goes....
measure 1 : A6
“”. 2 : Bm/G#
4. A add9
5. A maj7
6. G maj7. ( killing me )
7. B7 sus4
this is as far as I play for now since I am having a few barre/stretches that need help.
I don’t know enough to understand a progession.... I just know I like it ! and these days, I don’t play anything I don’t like playing.
thanks again for your help,
Looks like your theory is jolly good, though perhaps more jazz/popular based?
A crucial thing to appreciate in this piece is that pretty much every 2nd beat is an unprepared dissonance*, which resolves on the 3rd beat. If we analyse a piece just thinking of the vertical relations, the snapshot of one moment, we can miss out on the horizontal movement, the voice leading, and this changes how we understand the way the thing works. So that F# can be understood as an A6 harmony, but better as a melodic note which is unrelated to the chord and which falls to the E on beat 3, resolving the clash (its not a strong clash because its a 6th!). The same thing happens throughout except near cadences e.g. bars 7-8.
So the 2nd bar is in fact a chord of E7, first inversion (see the Op60 thread recently on this), and the F# is again a dissonance resolving down to the E - the same notes doing the same thing, over a different harmony. When we see the whole bar we see it is in fact basically E(7), and the superficial impression given by the B-D-F# is misleading, quite interestingly so because this kind of fleeting ambiguity is quite common and part of the fun, esp in more harmonically involved pieces. The 3rd bar is E with the 2nd-3rd beat thing happening again.
So it goes. Bar 6 is not G its a diminished chord, again, basically we ignore the 2nd beat because it doesn't belong. Its always a bother deciding which pitch to use as the name for a dim chord because by definition all 4 are equal (as all are the same interval apart). I would call this A# dim because that's the active ingredient. And its doing an important thing, which you should notice happening again two more times as you go through the piece.
Bar 7 breaks the pattern to the extent that the 2nd beat has to wait until the 4th beat to resolve, (treat the E as a two beat note so its sustains to its resolution) and the following bar completes the cadence and so has to be inactive.
* footnote! an unprepared dissonance is one that is struck without the offending pitch being sounded beforehand in a consonant context. If in A, if we play an A at the top of an A chord of course it fits perfectly consonantly. If we then keep that top A but change the chord below to E, omitting the G#, the A is now a dissonance (a 4th), but it was prepared by the previous sounding, and so the ear accepts the clash more readily... the A then falls to the G#, resolving the dissonance; we can call this process Preparation, Dissonance and Resolution -PDR- and you will notice it almost everywhere because its a very common device in conventional harmony esp in baroque and earlier classical repertoire. Study 3 here is an example where unprepared dissonance is used throughout and its part of it being an extremely harmonically rich and complex piece and of its time, well into the Romantic period (being mid-century).