# How would you treat this chord progression?



## cmp

Hello everybody,
I need some help in understanding a chord progression that I wrote by ear for the bridge of a song.
It sounds pretty familiar to me, anyway I can't understand "why" and the theory behind it.
Chords are taken, at the beginning, from the key of B minor (natural):
G Maj | G Maj | e min | e min DMaj-AMaj/C# | G Maj | G Maj | bmin | bmin
G Maj | G Maj | e min | e min DMaj-AMaj/C# | C Maj | C Maj | BMaj | D7
Now, of course the first line is a classic: I Maj | vi min | I Maj | iii min 
In the second line, instead, there's a chromatic descent from AMaj/C# to CMaj, that leads to a modulation.
Also, the BMaj sounds like a B7 to me.
How should I treat the C Maj | B Maj | D7 part? It doesnt' sound as a modal interchange to me.
Please help, thanks


----------



## EdwardBast

Answering your question requires crucial bits of information you have left out: Where does the final D7 go? What modulation to what key? What is the voice-leading (how do the individual lines in the chords move) in the portion you have singled out? As it stands, everything seems easy to explain in G major, with the B chord borrowed from the relative minor and the A chord either V6/V or a result of linear voice-leading. But like I said, you haven't give enough information. We actually need to see notes and more of the progression.


----------



## cmp

EdwardBast said:


> Answering your question requires crucial bits of information you have left out: Where does the final D7 go? What modulation to what key? What is the voice-leading (how do the individual lines in the chords move) in the portion you have singled out? As it stands, everything seems easy to explain in G major, with the B chord borrowed from the relative minor and the A chord either V6/V or a result of linear voice-leading. But like I said, you haven't give enough information. We actually need to see notes and more of the progression.


Hello and thank you for your reply
Yes, forgot to mention that the D7 resolves back to Gmaj. 
Honestly I've found your answer a little confusing: the A chord is of course the V7 of the initial key (Dmaj or Bmin).
The chords that I couldn't explain in a functional analysis are the last three: C Maj | BMaj | D7.
This morning I thought a little more about that C Maj: it could be seen as a borrowed chord from the the D mixo scale, but I unconsciously heard it in first inversion thus producing an E Neapolitan chord (in the initial b minor key, it's a CMaj). This chord can then be intended as a pivot chord that modulates to D mixolidyan where B7 is the secondary dominant V7/ii. I also edited the progression altering the D7 chord (D+) so that I can add a Bb (A#) in the bass line and make a chromatic descent from C# to Bb

In conclusion, the second line of the progression can be rewritten as:
G Maj | G Maj | e min | e min DMaj - AMaj/C# | C Maj | C Maj | B7 | D7+/Bb
Where:
Key: D maj (B min)
GMaj: is the IV in D
e min: is the ii in D
Dmaj: is the I in D
AMaj/C#: is the V7 in D
CMaj: is a bIIMaj in D (Neapolitan chord, in theory it should be in its first inversion form, but I leave a C at the bass for a chromatic stepwise motion). CMaj is also a pivot chord that modulates to Gmaj (Dmixo)
B7: is the secondary dominant V7/vi in Gmaj
D7+/Bb: is the V7+ in Gmaj

Do you think this could be a correct analysis?


----------



## EdwardBast

The analysis is incorrect. 

The key of the whole thing is G major, not D major. There is no modulation. Each phrase starts on G and after the final D7, which is V7 in G major(!), it returns to it. The first inversion A major chord occupies one beat and has no harmonic significance. It is presumably a linear phenomenon, but since you haven't shown the voice-leading, it is hard to characterize it any further. But it certainly doesn't function as a V chord in D major. 

The Neapolitan chord in D major would be E-flat, not C. The C chord is just the IV chord in G major.


----------



## Nate Miller

"How should I treat the C Maj | B Maj | D7 part? It doesnt' sound as a modal interchange to me.
Please help, thanks "

The C maj to B maj is just a chromatic motion. When you say you hear the Bmaj as a B7, that isn't surprising. The B7 has an A natural, which is in the key, and the A# is not, so really a B7 would be a better choice, but then you have the line B-A#-A hidden inside that progression as it is written, so if that chromatic motion is what you were after, then B maj is the chord to use

The key is to look at the voice leading. If you spell all those chords you will see the chromatic motion everywhere. Looking at the chord names "Cmaj, Bmaj, D7 " doesn't really tell you anything. It is the voice leading that makes everything work

the most practical way to look at that B chord is that it is just a passing chord that is a result of the voice leading. Functional harmony is just one way to describe and talk about polyphonic voices that are in motion, but if you have a progression that doesn't really make sense, just spell the chords and look at the voice leading


----------



## cmp

EdwardBast said:


> The analysis is incorrect.
> 
> The key of the whole thing is G major, not D major. There is no modulation. Each phrase starts on G and after the final D7, which is V7 in G major(!), it returns to it. The first inversion A major chord occupies one beat and has no harmonic significance. It is presumably a linear phenomenon, but since you haven't shown the voice-leading, it is hard to characterize it any further. But it certainly doesn't function as a V chord in D major.
> 
> The Neapolitan chord in D major would be E-flat, not C. The C chord is just the IV chord in G major.


The correct progression is: G Maj | G Maj | B min | B min DMaj - AMaj/C# | C Maj | C Maj | B7 | D7+/Bb
(my fault, I wrote E min rather than B min)
The key is surely B min, not G Maj. It can also be a little deceptive because, as I wrote, this is a the bridge section of a song and not the main theme. Also, the D7 resolves on G Maj only for a little time before going back to Bmin.


----------



## cmp

EdwardBast said:


> The analysis is incorrect.
> 
> The key of the whole thing is G major, not D major. There is no modulation. Each phrase starts on G and after the final D7, which is V7 in G major(!), it returns to it. The first inversion A major chord occupies one beat and has no harmonic significance. It is presumably a linear phenomenon, but since you haven't shown the voice-leading, it is hard to characterize it any further. But it certainly doesn't function as a V chord in D major.
> 
> The Neapolitan chord in D major would be E-flat, not C. The C chord is just the IV chord in G major.


The correct progression is: G Maj | G Maj | B min | B min DMaj - AMaj/C# | C Maj | C Maj | B7 | D7+/Bb
(my fault, I wrote E min rather than B min)
The key is surely B min, not G Maj. It can also be a little deceptive because, as I wrote, this is a the bridge section of a song and not the main theme. Also, the D7 resolves on G Maj only for a little time before going back to Bmin.


----------



## cmp

Nate Miller said:


> "How should I treat the C Maj | B Maj | D7 part? It doesnt' sound as a modal interchange to me.
> Please help, thanks "
> 
> The C maj to B maj is just a chromatic motion. When you say you hear the Bmaj as a B7, that isn't surprising. The B7 has an A natural, which is in the key, and the A# is not, so really a B7 would be a better choice, but then you have the line B-A#-A hidden inside that progression as it is written, so if that chromatic motion is what you were after, then B maj is the chord to use
> 
> The key is to look at the voice leading. If you spell all those chords you will see the chromatic motion everywhere. Looking at the chord names "Cmaj, Bmaj, D7 " doesn't really tell you anything. It is the voice leading that makes everything work
> 
> the most practical way to look at that B chord is that it is just a passing chord that is a result of the voice leading. Functional harmony is just one way to describe and talk about polyphonic voices that are in motion, but if you have a progression that doesn't really make sense, just spell the chords and look at the voice leading


Generally I just look at the chords quality and try to find the relationship between them, trying to find each one's function in the musical context.
I honestly never used a voice leading approach in functional analysis, sounds pretty interesting.
Any advice? Is there some resource I can read about that?


----------



## EdwardBast

The progression you have written is definitely in G major. B minor makes no sense whatever as the key. 

Every standard classical theory text considers voice-leading as an essential element in determining function or lack thereof. Many inverted forms of standard triads occur primarily as linear events. Some chords have no real harmonic function at all, they are just the result of linear motions — like the A/C#. One really can't do a proper, thorough analysis just looking at letter symbols for chords. There just isn't enough information.


----------



## cmp

EdwardBast said:


> The progression you have written is definitely in G major. B minor makes no sense whatever as the key.
> 
> Every standard classical theory text considers voice-leading as an essential element in determining function or lack thereof. Many inverted forms of standard triads occur primarily as linear events. Some chords have no real harmonic function at all, they are just the result of linear motions - like the A/C#. One really can't do a proper, thorough analysis just looking at letter symbols for chords. There just isn't enough information.


I insisted on a Bmin because C sounds awfully in that part.
You could see that as a G lydian if you'd like to think it in a major mode.
I know what's voice leading, but I never used it as an approach in functional analysis, maybe because I studied mostly on jazz books.
How do you use it when you have to analyze a progression in which you have only the chords, for example in a jazz standard?


----------



## QuintinPenola

What key is this in from beggining to end??can you post and audio example to hear. Also is this on guitar?? I think if you want more info you should score it. If you fimilar with a the staff and the notes its shouldnt take to long or be to hard. Write it out on staff paper "first" (write all accidentals as you think of it) then you can go to NoteFlight and score with their program for free. Also use you ear when you in noteflight its more reliable. Now G major and B minor are realted (all keys are realated) but that is distant. Keep in mind you using the B minor key signiture. Also you play a A major is that a VII in first inversion?


----------



## EdwardBast

cmp said:


> I insisted on a Bmin because C sounds awfully in that part.
> You could see that as a G lydian if you'd like to think it in a major mode.
> I know what's voice leading, but I never used it as an approach in functional analysis, maybe because I studied mostly on jazz books.
> How do you use it when you have to analyze a progression in which you have only the chords, for example in a jazz standard?


We hear the progression differently. For me the C chord is one of the few changes that doesn't sound lame! It sounds just like a normal subdominant.

When I am playing something from my "Real Book" and am confused about the significance of a chord symbol, I listen to performances of it to see what's up. Or I sit at the piano and find configurations of the chords that make it sound good - that is, I noodle with the voice-leading until it works. But playing jazz is just an occasional hobby for me, for when my saxophone wielding friends visit.


----------



## cmp

QuintinPenola said:


> What key is this in from beggining to end??can you post and audio example to hear. Also is this on guitar?? I think if you want more info you should score it. If you fimilar with a the staff and the notes its shouldnt take to long or be to hard. Write it out on staff paper "first" (write all accidentals as you think of it) then you can go to NoteFlight and score with their program for free. Also use you ear when you in noteflight its more reliable. Now G major and B minor are realted (all keys are realated) but that is distant. Keep in mind you using the B minor key signiture. Also you play a A major is that a VII in first inversion?


The whole song is in Bm key from the beginning to the end. I've created and uploaded an example here:

__
https://soundcloud.com/user-20088901%2Fexample
(Please don't consider the quality of the recording or the playing because I'm just experimenting and everything is temporary)
I arranged the track in a modern rock/metal style. The bridge starts at 0:14
From 0:14 the progression is:
G Maj | G Maj | b min | b min DMaj-AMaj/C# | G Maj | G Maj | b min | b min
G Maj | G Maj | b min | b min DMaj-AMaj/C# | C Maj | C Maj | B7 | D7+/Bb
I use a B natural minor scale throughout the track and until the C Maj chord, that I consider a Neapolitan bIIMaj and where in this case I use a Dmixo scale. The B7 is to my ears a V7/ii in D Mixo, so I find interesting the use of the Eminor harmonic scale. Final chord before the refrain is a D7+/Bb, where maybe a B double harmonic should sound interesting (but any advice is appreciated)


----------



## EdwardBast

Jeez man! If there was a bass part and treble part in a different scale didn't you think that might be relevant to an analysis? Why ask for an opinion based on a third of the information?


----------



## cmp

EdwardBast said:


> Jeez man! If there was a bass part and treble part in a different scale didn't you think that might be relevant to an analysis? Why ask for an opinion based on a third of the information?


Sorry, I don't understand...What information do you think that I omitted? The guitar solo and the bass scales involved?
If so, that's just because it came after, I started with the chord progression only and nothing more, in the context of a Bminor song


----------



## QuintinPenola

cmp said:


> The whole song is in Bm key from the beginning to the end. I've created and uploaded an example here:
> 
> __
> https://soundcloud.com/user-20088901%2Fexample
> (Please don't consider the quality of the recording or the playing because I'm just experimenting and everything is temporary)
> I arranged the track in a modern rock/metal style. The bridge starts at 0:14
> From 0:14 the progression is:
> G Maj | G Maj | b min | b min DMaj-AMaj/C# | G Maj | G Maj | b min | b min
> G Maj | G Maj | b min | b min DMaj-AMaj/C# | C Maj | C Maj | B7 | D7+/Bb
> I use a B natural minor scale throughout the track and until the C Maj chord, that I consider a Neapolitan bIIMaj and where in this case I use a Dmixo scale. The B7 is to my ears a V7/ii in D Mixo, so I find interesting the use of the Eminor harmonic scale. Final chord before the refrain is a D7+/Bb, where maybe a B double harmonic should sound interesting (but any advice is appreciated)


I seems to me the tonal center of the song is B minor so its in the key of B minor. I dont think your playing a true B minor chord but more power chords with the emphasis of the B minor scale making the song in the B minor key(take in to account you have bassline can you let us know what you playing there?). Your D7aug with the Bb in the bass How you would anylaze that in figured bass, it sounds like your modulating to me. Also the B7 would be a V7/iv i the key of B harmonic minor. iv in bminor is e minor, so is you use a harmonic minor scale in the key of e minor your V you be major making it a V7/iv. Your C major chord dose seem like a Neapolitan chord (though this is new to me) but this seems like a mode change. You temporarily in B phyrgian mode so I would say your using the B phyrigian scale, which i identical to the D mixolydian scale, but the tonal center is around D. Your Tonal center is in B and you use a Phrygian II indicating your in phyrgian mode. Basically you just play a bII in any key and your borrowing from phyrgian mode, you dont have to play inversion.


----------



## EdwardBast

No worries, I'm just trying to figure out where our thinking diverges. You seem to be starting with the premise that a sequence of chord symbols necessarily defines it within a given key. Well it might, but it makes a big difference whether the chord symbols represent complete triads as opposed to, for example, power chords. And it makes a big difference whether the voice-leading allows parallel fifths or whether it conforms to the independence of voices one expects in jazz or classical. And it makes a big difference whether one is adding other lines in a specific key. Three power chords in succession does not necessarily represent a chord progression of any kind. It often just creates a melodic line doubled at the fifth. 

Anyway, the point is that it helps to give more context when asking a question. If the progression is intended for a specific style, like metal, a style which carries its own norms for voice-leading and chord spelling, it is important to say that. Otherwise readers might take the question at face value and give you irrelevant readings.  Like I did.


----------



## cmp

QuintinPenola said:


> I seems to me the tonal center of the song is B minor so its in the key of B minor. I dont think your playing a true B minor chord but more power chords with the emphasis of the B minor scale making the song in the B minor key(take in to account you have bassline can you let us know what you playing there?). Your D7aug with the Bb in the bass How you would anylaze that in figured bass, it sounds like your modulating to me. Also the B7 would be a V7/iv i the key of B harmonic minor. iv in bminor is e minor, so is you use a harmonic minor scale in the key of e minor your V you be major making it a V7/iv. Your C major chord dose seem like a Neapolitan chord (though this is new to me) but this seems like a mode change. You temporarily in B phyrgian mode so I would say your using the B phyrigian scale, which i identical to the D mixolydian scale, but the tonal center is around D. Your Tonal center is in B and you use a Phrygian II indicating your in phyrgian mode. Basically you just play a bII in any key and your borrowing from phyrgian mode, you dont have to play inversion.


Yes, I we agree in most parts: our only divergence is the function of the B7 that I named as a v7/v in Gmajor (because the final D7 chord seems to modulate on Gmaj) while it can also be a V7/iv in Bmin if we consider that the whole track in that key. But that's only a detail
Also, the Neapolitan chord is nothing else that a phrygian II
I guess that the mystery has been solved


----------



## cmp

EdwardBast said:


> No worries, I'm just trying to figure out where our thinking diverges. You seem to be starting with the premise that a sequence of chord symbols necessarily defines it within a given key. Well it might, but it makes a big difference whether the chord symbols represent complete triads as opposed to, for example, power chords. And it makes a big difference whether the voice-leading allows parallel fifths or whether it conforms to the independence of voices one expects in jazz or classical. And it makes a big difference whether one is adding other lines in a specific key. Three power chords in succession does not necessarily represent a chord progression of any kind. It often just creates a melodic line doubled at the fifth.
> 
> Anyway, the point is that it helps to give more context when asking a question. If the progression is intended for a specific style, like metal, a style which carries its own norms for voice-leading and chord spelling, it is important to say that. Otherwise readers might take the question at face value and give you irrelevant readings.  Like I did.


Ok, I'll try to give more information next time, even if very often I just start with just some chords and build the rest only after I fully understand their function in the musical context


----------



## EdwardBast

cmp said:


> Ok, I'll try to give more information next time, even if very often I just start with just some chords and build the rest only after I fully understand their function in the musical context


Yes, but what you should bear in mind is that what you are doing is not "fully understanding" their function, you are making choices to define their function. There is not one right solution, some essence waiting to be understood, there are several possibilities you are choosing among. To "understand their function in the musical context" there has to actually be a context. You create that context by your choices and it could go wildly different ways. In short, you thought you were asking a music theory question, but you were actually asking a musical composition question.


----------



## QuintinPenola

cmp said:


> Yes, I we agree in most parts: our only divergence is the function of the B7 that I named as a v7/v in Gmajor (because the final D7 chord seems to modulate on Gmaj) while it can also be a V7/iv in Bmin if we consider that the whole track in that key. But that's only a detail
> Also, the Neapolitan chord is nothing else that a phrygian II
> I guess that the mystery has been solved


Hmmm th would make sense to me if in G mjor because your resoving to the D7 chord. I belive you have to reslove secondary dominats back to V in the original key, but why is it we cant break this rule. I'd have to hear happens after the B7/D7 to fully see if your modulating, but to my ear it sound like you changed key completely, I would have to say now your playing a V7/VI in the key of b minor, I belive you can play 2 secondary dominats simultaneously back to back, but this would mean you next chord would have to be an F chords, which im sure isnt the case. seems like your breaking rules,


----------



## cmp

QuintinPenola said:


> Hmmm th would make sense to me if in G mjor because your resoving to the D7 chord. I belive you have to reslove secondary dominats back to V in the original key, but why is it we cant break this rule. I'd have to hear happens after the B7/D7 to fully see if your modulating, but to my ear it sound like you changed key completely, I would have to say now your playing a V7/VI in the key of b minor, I belive you can play 2 secondary dominats simultaneously back to back, but this would mean you next chord would have to be an F chords, which im sure isnt the case. seems like your breaking rules,


After the B7 and D7+ chord the track goes back to a Gmaj chord, the first chord in the refrain, that is in Bmin natural/harmonic. So, no modulation.
If I understand correctly, you are saying that I'm breaking the rules because the B7 chord (let's say the secondary dominant V7/iv in B phrygian) should resolve to an emin chord before going to D7+?
In other words, the example progression (second line) should be:

G Maj | G Maj | b min | b min DMaj-AMaj/C# | C Maj | C Maj | B7 | Emin D7+/Bb

Is that what you mean?
Well, in my original example, B7 was intended to resolve deceptively to another dominant chord.
Anyway I am curious to try adding the Emin as a resolution to B7 and see how it sounds


----------



## QuintinPenola

cmp said:


> After the B7 and D7+ chord the track goes back to a Gmaj chord, the first chord in the refrain, that is in Bmin natural/harmonic. So, no modulation.
> If I understand correctly, you are saying that I'm breaking the rules because the B7 chord (let's say the secondary dominant V7/iv in B phrygian) should resolve to an emin chord before going to D7+?
> In other words, the example progression (second line) should be:
> 
> G Maj | G Maj | b min | b min DMaj-AMaj/C# | C Maj | C Maj | B7 | Emin D7+/Bb
> 
> Is that what you mean?
> Well, in my original example, B7 was intended to resolve deceptively to another dominant chord.
> Anyway I am curious to try adding the Emin as a resolution to B7 and see how it sounds


Your B7 chord is a V7/iv i B minor(harmonic minor or B phrygian is fine) so you not breaking any rules its correct. But instead of resloving to the iv (thanks for correcting me) you play another secondary dominant.I think this is ok and checks out. Your V7/VI in b minor also resloves to VI Gmajor so that is resolving correctly acording too classical theory. You playing an Augments D7 chord so mabey that is breaking the rules Ive never got to that point? but its stll a dominat chord so i guess your theory checks out.


----------



## philoctetes

G major is the Phrygian mode of B. Nothing distant there, I can play B minor on a G diatonic harmonica... [retreating back to cave, after edits, dragging foot, retrieving more coffee]


----------



## Nate Miller

cmp said:


> Generally I just look at the chords quality and try to find the relationship between them, trying to find each one's function in the musical context.
> I honestly never used a voice leading approach in functional analysis, sounds pretty interesting.
> Any advice? Is there some resource I can read about that?


you should have more than one tool in your tool box, that is for sure.

One of the first places to start is simply being able to spell chords quickly. When someone says "D flat minor 7 aug 5" you should not have to think in order to come up with the notes Db, Fb, A, Cb. This is also how you know what the important notes in a melodic line are, so its an important skill to aquire.

So a great exercise for spelling chords is to take a single key, "C" for this example, and then spell the major7, minor7, half diminished, dominant 7, and diminished 7 based on the note "C":

C E G B
C Eb G Bb
C Eb Gb Bb
C E G Bb
C Eb Gb Bbb

now spell them from the 3rd:

E G B C
Eb G Bb C
Eb Gb Bb C
E G Bb C
Eb Gb Bbb C

then spell them from the 5th and then the 7th. Write this down on paper by hand. The action of writing by hand on paper helps to commit this to memory. Do one key a day for 12 days and you will never have trouble spelling chords again. Everyone I ever showed this exercise to told me that after a few days they saw the pattern and never had any more trouble spelling chords

the other thing to learn about is the basic rules of counterpoint. Fux's "Graddus" is just as good a resource today as it was when it was first published and its available on Amazon for dirt cheap. Pick up a copy and check it out.

Piano players have to know about voice leading, so there are a lot of book out there for pianists, especially for jazz pianist, and you might find one that you like even if you don't play piano. Books about vocal and choral arrangement would also be a gold mine of material. I guess what I'm saying is voice leading is voice leading and while there might not be a lot written specifically for your instrument, there are a lot of resources out there in piano and vocal arranging, and you might find one that really speaks to you and that you can read to learn the basic principles.

so good luck and when you run into things that just don't make sense, always remember that the reason things aren't working out nice and clean is that music is hard and tricky

if it wasn't, anybody could do it and then I'd be out of work :lol:


----------



## Nate Miller

philoctetes said:


> G major is the Phrygian mode of B. Nothing distant there, I can play B minor on a G diatonic harmonica... [retreating back to cave, after edits, dragging foot, retrieving more coffee]


even better than that, B minor is a strait substitute for a G maj. The median and submedian substitute directly for the tonic, always.

the reason is that the chords share so many notes, which shouldn't surprise anybody since these chords are stacks of thirds

Gmaj 7 = G BD F#
Bmin7 = B D F# A (G maj 9 omit root)
Emin7 = E G B D (G maj 6)

all of these chords would be able to function as a tonic in the key of G


----------



## millionrainbows

EdwardBast said:


> The progression you have written is definitely in G major. B minor makes no sense whatever as the key.


Ah, but as Nate notes above, B minor seventh (B-D-F#-A) can be sounded at the same time as a G major, and sound fine…because it can be seen as a substitute for a G major seventh. I have used this effect in a song before, where one guitarist plays his typical open G, and at the same time the other guitar plays a barred B minor 7 on position II.

It works because the F# of the Bm7 is also the major seventh of a G Maj 7.

The two chords share three common notes: B-D-F#-A and G-B-D-F#, sharing B, D, and F#.

So, by this, the B minor is really a G maj7, and thus reinforces the key. The B minor could be treated as a G major, and go or resolve anywhere that a G would.

This shows how the ear is more important than theory. Always listen.


----------



## cmp

Nate Miller said:


> you should have more than one tool in your tool box, that is for sure.
> 
> The action of writing by hand on paper helps to commit this to memory. Do one key a day for 12 days and you will never have trouble spelling chords again. Everyone I ever showed this exercise to told me that after a few days they saw the pattern and never had any more trouble spelling chords
> 
> the other thing to learn about is the basic rules of counterpoint. Fux's "Graddus" is just as good a resource today as it was when it was first published and its available on Amazon for dirt cheap. Pick up a copy and check it out.


Thank you for your advice. I can spell chords but I have to think a little on it, so I think this kind of exercie could help me not only in composition but also in my improvisation.

I'm interested also in counterpoint even if I'm not a piano player. I'll definitely take a look at Fux's Graddus


----------



## JeffD

EdwardBast said:


> Yes, but what you should bear in mind is that what you are doing is not "fully understanding" their function, you are making choices to define their function. There is not one right solution, some essence waiting to be understood, there are several possibilities you are choosing among. To "understand their function in the musical context" there has to actually be a context. You create that context by your choices and it could go wildly different ways. In short, you thought you were asking a music theory question, but you were actually asking a musical composition question.


Well said. Is what i was thinking.


----------

