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Thread: Another small piece for analysis

  1. #1
    Registered User
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    Sep 2010
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    943

    Another small piece for analysis

    Hello

    This one I called it "Tapping" because it's very easy to play it that way.

    tapping.pdf

    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:

    I-IV-I-V-I

    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?

  2. #2
    Registered User
    Join Date
    Apr 2008
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    647
    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.

  3. #3
    Registered User
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    Sep 2010
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    943
    Hello walter

    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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