Musical analysis

[nicolaievich]

Hello, I am a newbie at this topic, and I want to know if there are web pages with an introduction and basics on 'Musical Analysis'.
Thanks!

[pianistimo]

you can try:

https://solomonsmusic.net/theory.htm

and https://solomonsmusic.net/formal.htm

and

https://plato.acadiau.ca/courses/musi/callon/4103-13/4113.htm#theory  for other sites

buying a workbook is probably the best idea.  reading all this is quite tedious.  check out the local uni library or bookstore for theory books and just go through them one chapter at a time. 

i remember another site i found, too, with basic theory:
www.gardenofpraise.com
click on 'teachers' and then move down the page to 'keyboard and must theory' (on right) and click

*there must be a site that has something inbetween the very difficult and very easy.  try checking the other threads on this  topic.

[kghayesh]

OMG

Does music contain all of this???

What the **** dominant thirteenth, quatral chords ??

[Tash]

dominant thirteenth- chord V with an extra 7th, 11th and 13th- so say we're in C major, then the dominant is G, then on it you have your regular B, D, then F (7), A (9), C (11), and E (13), but it only works if the interval is of a 13th in the chord, ie. you can't put the E in the same octave as the original G or it just becomes the interval of a 6th.
then when you're writing it out in 4 parts you only write the tonic (ie. G), the 3rd, 7th and 13th.

i just wanted to feel really knowledgable just then! i have no idea what a quatral chord is...

anyway yeah, it's amazing how much there is in music- i love how incredibly logical it is!! and i've barely learnt any of it, can't wait til i can take an analysis elective cos it's the bomb!!

[pianistimo]

well, the example of a dominant thirteenth is found at the beginning of the brahms op 118 #2.  you can see the large stretch and though i never really took the time to analyze it fully when i was working the piece, it makes sense that brahms took harmony a bit farther.  you know how in theory they say - don't go down a second.   well, brahms does this all the time.  he likes seconds.  he likes changing major to minor on a whim.  he likes chromatic third alterations.  he likes using diminished seventh chords.  he likes using tri-tones.  and, unlike other composers, he plagarized a lot from himself.  you'd never know it, because he turns it into something different...but i hear the fourth movement of brahms requiem in parts of the op 118 #2.  you can hear his longing to be with clara forever. 

[nicolaievich]

Thanks again, I will check that sites... and probably I will buy a book 

[rc]

I enjoy theory. The important thing is to be able to see how these abstract terms relate to the actual music. It's really not that complicated to learn the basics. Book + teacher is best (teacher can make sure you understand, check the work).

I'm not entirely sure, but I think a quatral chord would be a chord built out of stacked 4ths, rather than stacked 3rds.

I believe that as theory becomes more complicated, analysis becomes a controversy. Pretty much, that there is no one method of analysing a piece of music, but a variety of different approaches that can lead to different outcomes.

[Tash]

well, the example of a dominant thirteenth is found at the beginning of the brahms op 118 #2. you can see the large stretch and though i never really took the time to analyze it fully when i was working the piece, it makes sense that brahms took harmony a bit farther. you know how in theory they say - don't go down a second. well, brahms does this all the time. he likes seconds. he likes changing major to minor on a whim. he likes chromatic third alterations. he likes using diminished seventh chords. he likes using tri-tones. and, unlike other composers, he plagarized a lot from himself. you'd never know it, because he turns it into something different...but i hear the fourth movement of brahms requiem in parts of the op 118 #2. you can hear his longing to be with clara forever.

chopin was also obsessed with the dom 13, like they're all over the place in his compositions...

I believe that as theory becomes more complicated, analysis becomes a controversy. Pretty much, that there is no one method of analysing a piece of music, but a variety of different approaches that can lead to different outcomes.

totally agree with that- the whole, whether one bit's a modulation or not, and where it modulates, and what's a chord or if one note's just a non-harmonic tone, etc. it gets really confusing if you read too many different things!