5.4 Beginning harmonic analysis  (Page 4/4)

Look at the chords in [link] . What note of each scale would have to be changed in order to make v major? Which other chords would be affected by this change? What would they become, and are these altered chords also likely to be used in the minor key?

The seventh degree of the scale must be raised by one half step to make the v chord major. If the seventh scale note is raised, the III chord becomes augmented, and and the vii chord becomes a diminished chord (based on the sharp vii rather than the vii). The augmented III chord would not be particularly useful in the key, but, as mentioned above , a diminished seventh chord based on the leading tone (here, the sharp vii) is sometimes used in cadences .

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The point of the harmonic minor scale is to familiarize the musician with this common feature of harmony, so that the expected chords become easy to play in every minor key. There are also changes that can be made to the melodic lines of a minor-key piece that also make it more strongly tonal. This involves raising (by one half step ) both the sixth and seventh scale notes, but only when the melody is ascending. So the musician who wants to become familiar with melodic patterns in every minor key will practice melodic minor scales, which use different notes for the ascending and descending scale.

You can begin practicing harmonic analysis by practicing identifying whether a piece is in the major key or in its relative minor. Pick any piece of music for which you have the written music, and use the following steps to determine whether the piece is major or minor:

Is it major or minor?

• Identify the chords used in the piece, particularly at the very end, and at other important cadences (places where the music comes to a stopping or resting point). This is an important first step that may require practice before you become good at it. Try to start with simple music which either includes the names of the chords, or has simple chords in the accompaniment that will be relatively easy to find and name. If the chords are not named for you and you need to review how to name them just by looking at the written notes, see Naming Triads and Beyond Triads .
• Find the key signature .
• Determine both the major key represented by that key signature, and its relative minor (the minor key that has the same key signature).
• Look at the very end of the piece. Most pieces will end on the tonic chord. If the final chord is the tonic of either the major or minor key for that key signature, you have almost certainly identified the key.
• If the final chord is not the tonic of either the major or the minor key for that key signature, there are two possibilities. One is that the music is not in a major or minor key! Music from other cultures, as well as some jazz, folk, modern, and pre- Baroque European music are based on other modes or scales. (Please see Modes and Ragas and Scales that aren’t Major or Minor for more about this.) If the music sounds at all "exotic" or "unusual", you should suspect that this may be the case.
• If the final chord is not the tonic of either the major or the minor key for that key signature, but you still suspect that it is in a major or minor key (for example, perhaps it has a "repeat and fade" ending which avoids coming to rest on the tonic), you may have to study the rest of the music in order to discern the key. Look for important cadences before the end of the music (to identify I). You may be able to identify, just by listening, when the piece sounds as if it is approaching and landing on its "resting place". Also look for chords that have that "dominant seventh" flavor (to identify V). Look for the specific accidentals that you would expect if the harmonic minor or melodic minor scales were being used. Check to see whether the major or minor chords are emphasized overall. Put together the various clues to reach your final decision, and check it with your music teacher or a musician friend if possible.

Modulation

Sometimes a piece of music temporarily moves into a new key. This is called modulation . It is very common in traditional classical music; long symphony and concerto movements almost always spend at least some time in a different key (usually a closely related key such as the dominant or subdominant , or the relative minor or relative major ), to keep things interesting. Shorter works, even in classical style, are less likely to have complete modulations. In most styles of music, a slow, gradual modulation to the new key (and back) seems more natural, and abrupt modulations can seem unpleasant and jarring. But implied modulations, in which the tonal center seems to suddenly shift for a short time, can be very common in some shorter works (jazz standards, for example). As in longer works, modulation, with its new set of chords, is a good way to keep a piece interesting. If you find that the chord progression in a piece of music suddenly contains many chords that you would not expect in that key, it may be that the piece has modulated. Lots of accidentals, or even an actual change of key signature , are other clues that the music has modulated.

A new key signature may help you to identify the modulation key. If there is not a change of key signature, remember that the new key is likely to contain whatever accidentals are showing up. It is also likely that many of the chords in the progression will be chords that are common in the new key. Look particularly for tonic chords and dominant sevenths. The new key is likely to be closely related to the original key, but another favorite trick in popular music is to simply move the key up one whole step , for example from C major to D major. Modulations can make harmonic analysis much more challenging, so try to become comfortable analyzing easier pieces before tackling pieces with modulations.

Further study

Although the concept of harmonic analysis is pretty basic, actually analyzing complex pieces can be a major challenge. This is one of the main fields of study for those who are interested in studying music theory at a more advanced level. One next step for those interested in the subject is to become familiar with all the ways notes may be added to basic triads. (Please see Beyond Triads for an introduction to that subject.) At that point, you may want to spend some time practicing analyzing some simple, familiar pieces. Depending on your interests, you may also want to spend time creating pleasing chord progressions by choosing chords from the correct key that will complement a melody that you know. As of this writing, the site Music Theory for Songwriters featured "chord maps" that help the student predict likely chord progressions.

For more advanced practice, look for music theory books that focus entirely on harmony or that spend plenty of time analyzing harmonies in real music. (Some music history textbooks are in this category.) You will progress more quickly if you can find books that focus on the music genre that you are most interested in (there are books specifically about jazz harmony, for example).