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Another small piece for analysis
This one I called it "Tapping" because it's very easy to play it that way.
I made its analysis and some questions came up.
In my view this is a piece in the key of BMaj and the chords BMaj and BMaj7, EMaj and F#Maj are the I, IV and V, respectively. So we have a progression like this:
My questions are related with the chords "in between":
B7, Em, Bm and F#Maj7
I tried to find how did they appeared in this progression:
B7 - It can be see as the V of EMaj or borrowed from B Mixolydian
Em - It can be see as borrowed from the E natural minor scale or from E Phrygian or E Dorian.
Bm - Can be borrowed from B nat. minor or from B Dorian or Phrygian.
F#Maj7 - I see it as a 2nd inversion of the F#Maj7
Apart from the above, what is the "criteria" to say that one chord has a determined origin when it has several possible?
Is choosing an appropriate key signature really beyond the capabilities of your software??? - it should be a simple setting...
Last edited by walternewton; 05-14-2012 at 05:54 AM.
I choosed deliberately not to use a key signature. It helps me keep tracking of all the accidentals in the staff while it's still possible for others to understand what's in there.
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