Piano Forum
Piano Board => Student's Corner => Music Theory => Topic started by: evitaevita on October 09, 2012, 06:31:05 PM
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I'm currently working on the harmonic analysis of Chopin Etude Op.10 No.1.
What do you think about bars 27-31?
What are the chords there?
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Bar 27: G 7 sus4
Bar 28: G7
Bar 29: C7
Bar 30: C min dom 7
Bar 31: F7
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Bar 30: C min dom 7
this is probably a little confusing..
Firstly, do you mean "dom" as in dominant or is it a typo of dim for diminished..? either way I'm confused.
If C is the root, I read it as Cm7 b5, or C half diminished.
If however, the Gb is the root - then it would be Gb6 #4
....Either way, I perceive it as a kind of altered tri-tone substitution on the preceding C7 chord, as a chromatic passing chord to the F7, just as the next one is a chromatic pass to the Bb..
overall they form the logical progression in 4ths - G7, C7, F7, Bb7..
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If C is the root, I read it as Cm7 b5, or C half diminished.
Yeah... I only spent about 7 seconds looking at it, and thought that the other term for a half-diminished dom 7th was a C min dom 7... Obviously I was wrong.
Is there technically another name for a half-diminished dominant 7th?
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Yeah... I only spent about 7 seconds looking at it, and thought that the other term for a half-diminished dom 7th was a C min dom 7... Obviously I was wrong.
Is there technically another name for a half-diminished dominant 7th?
The tristan chord. Or a minor chord with a major 6th.
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The tristan chord. Or a minor chord with a major 6th.
The notes in question, as in the étude and half dim chords are C Eb Gb Bb
Where is the major 6th?
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The notes in question, as in the étude and half dim chords are C Eb Gb Bb
Where is the major 6th?
For that one it could also be analysed as e flat minor, with the c being the added major sixth.
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For that one it could also be analysed as e flat minor, with the c being the added major sixth.
Oh right, different root. Thanks for clarifying.
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Why do you care about chord qualities without analyzing their function? Is the chord a tonic, predominant, or dominant in relation to the governing tonality, and is it part of a longer prolongational, sequential, or cadential progression? Those are the important questions to answer.
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....Either way, I perceive it as a kind of altered tri-tone substitution on the preceding C7 chord, as a chromatic passing chord to the F7, just as the next one is a chromatic pass to the Bb..
overall they form the logical progression in 4ths - G7, C7, F7, Bb7..
did they start teaching tri-tone sub in classical theory? lol that's cool. or have you just taken jazz theory as well? I took both at the same time. Amazing how much easier it is ..for me, anyway ...to think as the jazzers do. Somehow I think Chopin would've liked it, too.
I agree--passing chord--tri-tone sub--Neopolitan 6...whatever.
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did they start teaching tri-tone sub in classical theory? lol that's cool. or have you just taken jazz theory as well?
I've done both. I agree its easier to think in jazz. Significantly easier... I actually found classical theory to be a monumental waste of time, then jazz theory made music theory worth while. That's probably a reflection of the teaching/learning/maturity context though, not the material.
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I've done both. I agree its easier to think in jazz. Significantly easier... I actually found classical theory to be a monumental waste of time, then jazz theory made music theory worth while. That's probably a reflection of the teaching/learning/maturity context though, not the material.
I just hated listening to the stuffy theory majors debating form and analysis--lol. Jazz theory is just far more applicable...or usable I should say...regardless of the genre.
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Bar 27 - G7 added 4th
Bar 28 - G7
Bar 29 - C7
Bar 30 - Eb minor, first inversion, with added 6th
Bar 31 - Diminished 7th chord resolving to following chord Ab minor (first inversion) in bar 32
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