I’d like to kindly ask for your expertise to help me understand the harmony used in bars 87-88-89 (15.45) of the following piece (definitely worth checking out if you don’t already know it!).
There’s also something similar earlier on 12.50 (bars 35-36-37).
I’d really love to get a clear grasp of this harmonic pattern so I can start integrating it into my own compositions and arrangements.
By the way, is there a course on the site that specifically covers this kind of arrangement? (I don’t really have the right words to describe the concept!)
It’s quite difficult for me to read the passages that you outline. I’m not the best sight reader!
However, from listening and playing along, it sounds like some kind of diminished chord sequence to my ears.
When many accidentals are present - as you will also see in my examples below - it often indicates the use of diminished harmony. Your example is particularly challenging for me to read because of the Db Major key signature and many accidentals.
Anyhow, here are some diminished patterns that you can use to create a similar effect.
I have notated them without a key signature to make them easier to read and also added some annotations to help convey how and where these patterns can be used from a harmonic standpoint.
Pattern 1
The first one is the simplest to play as the left hand outlines the notes of a diminished 7th chord and the right hand plays a major triad built a half step below the left hand note but an octave higher:
eg. E in the left hand and Eb triad in the right hand, Bb in the left hand and A triad in the right hand, etc…
You can play this up and down the piano, not necessarily in sequential order, also try rearranging, staggering, and arpeggiating the notes to achieve an effect similar to your example in the recording.
Here’s how it can sound:
Pattern 2
This one is a little more tricky to visualise but it creates a sharp and dissonant sound which is similar to your example in the recording.
