![]() But if you change that E♮ to E♭, suddenly you're playing an A° chord, which would also be pretty rare in this still. In your key of B♭ major, these progressions would be (and I'll take some liberties with chord qualities):Īs for why you don't like your original choice of B♭–Am, it might be because of the presence of E♮ in the second chord. In addition to these, the other very common pattern is I–V6–IV6–V. In Roman-numeral notation, the chords he uses are i–III64–iiø43–V. (But he spices it up a bit these chords appear in the first halves of the measures, and he puts intervening chords in between them.)Īnd here's an excerpt from a famous Rachmaninoff prelude the step-descent bass begins in m. Here's an excerpt from Fauré's "Pavane." Note how he just uses descending root-position triads: F♯ minor, E major, D major, C♯ major. ![]() ![]() (I know you may not be interested in that musical tradition, but you can always snag some good ideas from it!) In academic circles we call this a "step-descent bass," and there are a few common patterns from the classical tradition. ![]()
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