Would anyone be able to tell me a bit more in detail the chord I marked in blue?

[tomp86]

Hi guys. Im analyzing new pieces and I've stumbled on a chord I'm not completely sure about. I was wondering if I am correct that it is a F Aug chord and is there any reason why the composer has chosen it? Is it common to see? Any help would be appreciated! 

[brogers70]

It can be confusing at first to figure out harmonies when there are only two lines and the chords are not filled out. The best approach is to look at the bass line to figure out what is going on. Your chord in question resolves to a unison F# in the first beat of the next measure. F# minor is the relative minor of A major, the key of the piece. The bass note in your chord is a C# which moves to F# in the next chord. So your chord resolves to F# (and it's an implied F# minor, since we've not heard the A# anywhere that would be required to make it F# Major).

Now, what chord naturally resolves to F# minor? Well the dominant of F# minor is C# major, and that is, in fact, your chord. Because there are only two lines in the texture, all you get are the Bass C# and the Soprano E#, while the fifth of that chord, the G# is not there. Still, it's clear that the implied harmony is C# major to F# minor.

Also, I would not call the chord you marked previous to the blue one V/vii; it sounds like G# minor, which would be the ii chord in F# minor. So if you think of the measure you are interested in, you can imagine it in F# minor, and the progression is ii-V-i (G# minor -C# major - F# minor) a very common cadence in F# minor. The piece shifts back to A major shortly after that, but the above is how I'd think of the measures you asked about. The rest of your analysis looks correct to me. Nice job.

Hope that helps.

[lelle]

Agree with brogers response. It might help you if you view the entire stretch bars 17-24 as being in f sharp minor and analyze with f sharp minor as the tonic in mind. Both chords you have marked as F aug are in f act the dominant to f sharp minor, i.e. C sharp major. Notice that the cadence in bar 23 is analogous to the cadences in bar 15 and 39, so the functions should be similar (though not exactly the same since bar 23 is in minor and 15 and 39 are in major).

I think some of the passing/non-chord tones might be throwing you off. Check em out here: https://en.wikipedia.org/wiki/Nonchord_tone

brogers advice of looking at the baseline to figure out the fundamental harmony is a good starting point. Learning common chord progressions in the style of music you are analysing so that you can recognize patterns despite non-chord tones muddying the picture will also help.

[tomp86]

It can be confusing at first to figure out harmonies when there are only two lines and the chords are not filled out. The best approach is to look at the bass line to figure out what is going on. Your chord in question resolves to a unison F# in the first beat of the next measure. F# minor is the relative minor of A major, the key of the piece. The bass note in your chord is a C# which moves to F# in the next chord. So your chord resolves to F# (and it's an implied F# minor, since we've not heard the A# anywhere that would be required to make it F# Major).

Now, what chord naturally resolves to F# minor? Well the dominant of F# minor is C# major, and that is, in fact, your chord. Because there are only two lines in the texture, all you get are the Bass C# and the Soprano E#, while the fifth of that chord, the G# is not there. Still, it's clear that the implied harmony is C# major to F# minor.

Also, I would not call the chord you marked previous to the blue one V/vii; it sounds like G# minor, which would be the ii chord in F# minor. So if you think of the measure you are interested in, you can imagine it in F# minor, and the progression is ii-V-i (G# minor -C# major - F# minor) a very common cadence in F# minor. The piece shifts back to A major shortly after that, but the above is how I'd think of the measures you asked about. The rest of your analysis looks correct to me. Nice job.

Hope that helps.

Wow, very clever. Makes complete sense now! I'll keep in mind all you've said for future pieces. Much appreciated brogers!

[tomp86]

It might help you if you view the entire stretch bars 17-24 as being in f sharp minor and analyze with f sharp minor as the tonic in mind.

Fantastic idea. I will do this, I of course didn't realise the tonic changed to the relative minor!  Thanks lelle I'll keep in mind all the advice you've said