How to Analyse a Chord Progression (Harmonic Analysis)

Walk That Bass

Published on Jun 30, 2017

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Video on functionality: https://www.youtube.com/watch?v=Tloy3… Video on Secondary Chords: https://www.youtube.com/watch?v=alDSE… Video on Passing Chords: https://www.youtube.com/watch?v=e7En2… Video on Borrowed Chords: https://www.youtube.com/watch?v=VZVAh…

This Jazz Piano Tutorial is about Analysing a Chord Progression (AKA Harmonic Analysis).

In this lesson I plan to show you how to analyse a chord progression and discuss how you can use this information to improvise. And we are going to use the first half of the Jazz Standard My Romance as our example.

Analysing a chord progression is partially subjective. 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. I’ve got my own personal preferences and biases which I will explain as we go. And unfortunately, learning how to analyse a progression well only comes with practice. There are certain patterns and clichés that you discover only by analysing lots of different Jazz Standards.

When analysing a chord progression, take the following general steps: – Analyse the overall Form of the song; – Analyse the First Level Chord Progression – this looks at each individual chord as a separate, standalone entity; – Analyse the Second Level Chord Progression – this looks at only the structurally important chords and functionality, ignoring immaterial passing chords. But what is ‘important’ and what is ‘unimportant’ is to an extent subjective.

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Jazz Theory – Gil Evans’ Arrangement of “My Ship”

Music Analysis

David Bennett ThomasPublished on Jun 21, 2012

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Harmonic Analysis – Debussy / Engulfed Cathedral

David Bennett Thomas

Published on Jul 29, 2011

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BILL HILTON – Slash Chords – Explained in Five Minutes || Piano Questions Answered –

Bill Hilton

Published on Jan 11, 2018

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Slash chords come up pretty regularly in the comments underneath my piano tutorials, so I thought this first episode in my new Piano Questions Answered series was a good place to explain them. More on piano chords in my book, How To Really Play The Piano: http://www.billspianopages.com/how-to… Slash chords aren’t massively complicated: they’re just a quick way of specifying which bass note should be played under a particular chord. If you see a chord without a slash, it implies that the root is the bass note – i.e., the note that the chord is named after. If a slash is used, it’s usually the third or the fifth of the chord that becomes the bass note (or the seventh in dominant or minor seventh chords, rarely in major sevenths). Specifying bass voicings of chords is useful because of the importance of the bass note in any chord: it’s the single note that above all other (OK, maybe equal with the top note) gives a chord its particular flavour and feeling. Don’t forget to follow me on Facebook: http://fb.me/billhiltonpiano And on Twitter: http://twitter.com/billhilton

 

JS Bach – Air on the G String – Harmonic Analysis

 

ANDREW WASSON – Music Lesson – Harmonic Analysis – Minor Key Theory

Beethoven – Sonata No.17 in D Minor, “Tempest” – Harmonic Analysis

 

MVT I EXPOSITION

00:00 – Theme Group 1, Motif A (Rising Arpeggio)

00:14 – TG1, Motif B (Scalar Passage, with notes in groups of 2)

00:18 – TG1, Motif C (Turn)

00:24 – Counterstatement of TG 1, entering in a surprise E6, the dominant of III

00:37 – Motif B

00:48 – Transition (or an extension of TG 1): Motif A rising in bass, answered by Motif C in RH. Surprisingly substantial.

01:06 – Theme Group 2, Theme 1 (= Motif B!, with Motif C in the LH.) A minor.

01:18 – TG2, Theme 2 (= Motif C, with lengthened 2nd note)

01:26 – TG2, Theme 2, with Motif C now in the deep bass

01:31 – TG2, Theme 3 (Cadential Theme) DEVELOPMENT

03:51 – Motif A, repeated thrice, arriving in F#

04:37 – Transition Theme (Motif A + C), sequentially deployed, rising constantly

04:58 – 22(!) bars of dominant preparation, totally devoid of any thematic allusion. Short recitative (with a little Neapolitan Eb) leads into RECAPITULATION

05:19 – TG1, with 4 bars of recitative attached to each statement of the largo. This section hangs on a Ab, which is transformed

06:43 – into a G# (in enharmonic implied Gb minor!) in a darkly guttural 4 chords. This ushers in a extraordinary modulating section.

06:55 – TG2, in tonic.

07:36 – CODA MVT II EXPOSITION

07:59 – Theme 1. (Motif A = rising double-dotted 3-note figure)

09:38 – Transition, with stately rising theme. (Motif B = drumroll in bass) 10:55 – Theme 2. At

11:42 Motif B enters, building into dominant minor 9th chord RECAPITULATION 12:08 – Theme 1, with Motif A immediately used as inner voice.

At 13:00 a demisemiquaver accompaniment drifts down the keyboard 13:42 – Transition

14:54 – Theme 2 CODA

15:42 – Motif B, again building into a dominant minor 9th

16:26 – Motif A, rounded-off, in LH then RH

16:45 – Recalling Theme 1

17:19 – A new, 2-bar long 3rd theme enters and is repeated in the middle voice, before the movement ends. MVT III EXPOSITION

18:06 – Theme Group 1, Theme 1. A single motif (Motif A) repeated 16 times in RH. Note codetta with chromatic descending line

18:29 – Transition. Theme 1 in bass, interspersed with arpeggiated figure

18:38 – Theme Group 2, Theme 1, entering with insistent hemiola and 6 bars of dominant harmony

18:55 – TG2, Theme 2

19:05 – TG2, Theme 3 (Cadential Theme) DEVELOPMENT

20:26 – Motif A in dim7 of iv, modulating into A min 20:37 – The bass uses Motif A to climb up a dim7 in D min, then shifts to D min harmony, then shifts into C min by flattening the A and introducing the inversion of Motif A in the RH. Then movement into the dim7 of Bb min

20:54 – Dramatic entrance of inverted A motif in RH, while LH climbs up bass chromatically.

21:06 – TG1 Theme 1, in Bb min

21:12 – Chromatic rising, landing on a dominant 7, suddenly revealed

21:19 – to be a augmented 6th when it resolves into the dominant of D min 21:23 – Dominant preparation begins, oscillating between G min and D min

21:41 – 16 bars of continuous descent to the home dominant RECAPITULATION

21:53 – TG1, Theme 1. The bII in bar 18 becomes the subdominant of Bb, introduction a surprisingly lyrical passage.

22:14 – Transition. Tonal movement around circle of 5ths. G min harmony becomes augmented 6th chord, leading back into

22:34 – D min, TG2. Note how at

23:00 (Theme 3) Beethoven omits the expected high G, since his piano didn’t have the note, and substitutes a really nice repetition of the high D instead. CODA

23:12 – Mimicking the beginning of the development, without forte outbursts 23:21 – for 16 bars(!) we dwell on the dominant, leading to

23:33 – a violent restatement of TG1 Theme 1, with an A pedal in the highest registers 23:54 – The original codetta from Theme 1 is now presented in full. With another familiar tonic-dominant swing the sonata ends.

Harmonic analysis – Beethoven’s Pathetique Sonata – Second movement

David Bennett Thomas

Published on Dec 26, 2011

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Tchaikowsky – Waltz of the Flowers Harmonic Analysis by Byron Wiegel

 

Byron Weigel Music Theory

 

How to Analyse a Chord Progression (Harmonic Analysis)

 

Bach: “Air on the G String” Harmonic Analysis

Byron Weigel Music Theory

Wagner – Tristan und Isolde – Chromaticism – Harmonic Analysis

Orchestral Version

Piano Version  w Score

Harmonic Analysis

Bach – D Minor Prelude, WTC, bk. 1 – Harmonic Analysis

Byron Weigel Music Theory

Key are shown above the piano keyboard. D minor is the main key, but the music is sometimes in other, closely-related keys (F Major, Bb Major, A minor, G minor).
Non-Harmonic Tones are colored fuchsia.

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