Chopin Barry Harris analysis

[joe2758]

Here's a b

Attachment 125189

It's fun .

Here's what I made out of this bassline

[joe2758]

Can someone use the bot to generate a piece in the style of Chopin? It claims that it can but, but requires music software.

[joe2758]

From the bot:

Chord Progression with Voicings

1. E minor (Em) — Tonic

• Left hand: E (bass), G, B (arpeggiated or doubled for richness)
  
• Right hand: G, B, E (possibly in a close position or broken arpeggio)

2. A7 (A dominant 7)

• Left hand: A (bass), G, C (doubled or spread)
  
• Right hand: G, C, A, with optional chromatic passing tones (e.g., G#, B)

3. D minor (Dm)

• Left hand: D (bass), A, F
  
• Right hand: A, F, D, with possible added ornamentation (e.g., mordents)

4. G major (G)

• Left hand: G (bass), B, D
  
• Right hand: B, D, G

5. C major (C)

• Left hand: C (bass), G, E
  
• Right hand: E, G, C, with possible melodic embellishments

6. B7 (B dominant 7)

• Left hand: B (bass), A, D
  
• Right hand: A, D, B, with chromatic passing (e.g., C, B#)

7. Return to E minor (Em)

• Left hand: E (bass), G, B
  
• Right hand: G, B, E

[joe2758]

Chord	Function / Description
E minor (Em)	Tonic (i), establishing a somber, introspective mood
A7	Dominant of D minor, adding tension
D minor (Dm)	Subdominant (iv), a gentle, melancholic feel
G major (G)	Subdominant of C, leading to a sense of lift
C major (C)	Tonic (I) in the relative major, brightening moment
B7	Leading-tone chord, creating suspense before resolution
E minor (Em)	Return to tonic, resolving the tension

[joe2758]

Got it! Here's a simplified 3-voice version of the Chopin-inspired progression for guitar, focusing on the top three voices (bass, middle, and melody) to keep it elegant and manageable on guitar.

---

3-Voice Chord Progression for Guitar (Key: E minor)

Voicing approach:

• Use the 6th string for the bass (lowest voice)
  
• Use the 4th and 2nd strings for the middle and top voices
  
• Keep the 3rd and 1st strings silent or lightly touched for clarity and resonance

---

Chord 1: Em (i)

• Notes: E (bass), G, B
  
• Fingering:
  
  • 6th string: open (E)
    
  • 4th string: 2nd fret (E) or open (G)
    
  • 2nd string: open (B)
    
  • 3rd and 1st strings: muted or lightly touched for clarity

Simple voicing:

• 6th string: open (E)
  
• 4th string: 2nd fret (E)
  
• 2nd string: open (B)

---

Chord 2: A7 (V7/iv)

• Notes: A (bass), G (or G#), C#
  
• Fingering:
  
  • 6th string: 5th fret (A)
    
  • 4th string: 6th fret (C#) or 5th fret (C natural for variation)
    
  • 2nd string: 3rd fret (G) or 2nd fret (F#)
    
  • 3rd and 1st strings: muted or lightly touched

Voicing:

• 6th string: 5th fret (A)
  
• 4th string: 6th fret (C#)
  
• 2nd string: 3rd fret (G)

---

Chord 3: D minor (iv)

• Notes: D (bass), F, A
  
• Fingering:
  
  • 6th string: mute or optional (D in 4th fret if octave desired)
    
  • 4th string: open (D) or 3rd fret (F)
    
  • 2nd string: 3rd fret (F) or open (A)
    
  • 3rd and 1st strings: muted

Simple voicing:

• 4th string: open (D)
  
• 2nd string: 3rd fret (F)
  
• 6th string: muted or optional D in 4th fret

---

Optional: Keep the top note (melody) on the 2nd string, 2nd fret, or 3rd fret for variation, or add ornamentation with fingerpicking.

Continued 3-Voice Chord Progression (Key: E minor)

Chord 4: G (VI)

• Notes: G - B - D
  
• Voicing:
  
  • 6th string: 3rd fret (G)
    
  • 4th string: open (D)
    
  • 2nd string: open (B)

(Play G with the bass on the 6th string, and the middle and top voices on open strings)

---

Chord 5: C (VII)

• Notes: C - E - G
  
• Voicing:
  
  • 6th string: 3rd fret (C)
    
  • 4th string: 2nd fret (E)
    
  • 2nd string: open (G)

(Bass on 6th string, middle voice on 4th string, melody on 2nd string)

---

Chord 6: B7 (V7)

• Notes: B - D# - F#
  
• Voicing:
  
  • 6th string: 2nd fret (B)
    
  • 4th string: 4th fret (F#)
    
  • 2nd string: 4th fret (D#)

(Bass on 6th string, middle and top voices on 4th and 2nd strings)

---

Optional resolution back to Em:

Chord 7: Em (i) again

• Notes: E - G - B
  
• Voicing:
  
  • 6th string: open (E)
    
  • 4th string: 2nd fret (E) or open
    
  • 2nd string: open (B)

---

well, at least it can't do voice leading yet

Em ? A7 ? Dm ? G ? C ? B7 ? Em

[Christian Miller]

Now write a bassline based on that skeleton


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[joe2758]

K, I'm on it!

[joe2758]

piece #2 c min waltz

[Christian Miller]

piece #2 c min waltz

Cool. Could you do a contrasting major key middle section?


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[joe2758]

Cool. Could you do a contrasting major key middle section?


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If I can make it sad enough. lol jk. So this was going to be AAB (I skipped the second A here). So, A section c min, B section starts with F7 to Bb minor and somehow goes back to cmin. So what would be a good major key between do you think? Maybe G?

[Christian Miller]

If I can make it sad enough. lol jk. So this was going to be AAB (I skipped the second A here). So, A section c min, B section starts with F7 to Bb minor and somehow goes back to cmin. So what would be a good major key between do you think? Maybe G?

Usually relative major - so Eb major?

So a waltz you are typically in ternary form ABA

A section
contrasting B section (trio),
A section

it would make sense to have the A in C minor, and the B to be in Eb major, with a contrasting mood. Very obvious, but it's good to start with obvious.

I've worked mostly in Binary form (AABB) myself just because it's the bedrock of the baroque suite and also the beginnings of sonata form. I haven't done much in Ternary form, but in a way I think it's easier to improvise - less repetition, just need to remember the theme.

I think it's a good idea to come up with a bassline first.

[joe2758]

Maybe I should make new two pieces out of it then? take my second section and make that the A for a different piece, and write corresponding major B sections?

edit: ah hell i'll just leave it and make a new one in ABA

[joe2758]

Same difference if I do major A and minor B? Random aside: have you seen in a minor key to a half cadence to minor v?

[Christian Miller]

Here's one I made up for example. It's pretty basic but it could do. Not sure why we would try and do this in C minor, but hey...

[joe2758]

Here's one I made up for example. It's pretty basic but it could do. Not sure why we would try and do this in C minor, but hey...

Thanks! the last bassline you sent me worked great. I'll do it in Db or D since my last two were in B then C I guess haha

[Christian Miller]

Thanks! the last bassline you sent me worked great. I'll do it in Db or D since my last two were in B then C I guess haha

Haha ok then. I'd take the chords as just being a suggestion BTW.

[joe2758]

I guess I should have considered what the bass line actually is. A min looks good

[Christian Miller]

I guess I should have considered what the bass line actually is. A min looks good

My feelings exactly

[joe2758]

Seems like the French, Italian, and German augmented 6th chords could pretty naturally be generated from the rarely discussed dominant 6th diminished scale.

[Christian Miller]

Seems like the French, Italian, and German augmented 6th chords could pretty naturally be generated from the rarely discussed dominant 6th diminished scale.

You could use it as a way of exotic colour to any dominant-ish chord. Monk added the b5 to bVI7 and V7 if you listen to Round Midnight for instance.. Monk seemed to hear these chords as whole tone, which is contained within the 7b5-dim scale.

In classical music - it's an alteration of iv6 (Dm/F, Dm6/F) to intensify the half cadence (raising the D to D# to make an 'F7 or 'F7#11'). Classical composers seem to like this sort thing over the chord. It's sort of an A harmonic #4 scale (no idea what that is called - double harmonic minor?) with care taken around the aug 2nds (as with regular harmonic minor)



Not sure about Chopin. Be interesting to know...

[Christian Miller]

In my search for a Chopin Aug 6th I found this which has some nice ideas

https://alevelmusic.com/wp-content/u...ngerprints.pdf

[joe2758]

Yeah the french aug 6th is a bVI7b5 pretty badass. thanks for that doc, looks perfect

[joe2758]

Reason i said dom 7 dim scale is G7 is my V and looking for ways to get there I have my Adim 7, down to Ab7 for my German and lower another dim note to Ab7b5 if i feel French.

obviously this isn't how classical composer thought, just it's sort of the game of this thread. I've been studying classical theory since you straightened me out, and it has steered me in a better direction

[Christian Miller]

Yeah the french aug 6th is a bVI7b5 pretty badass. thanks for that doc, looks perfect

I like the diminished staggered motion thing. Very good way to get from one key to another in a stylistic way.

[Christian Miller]

Reason i said dom 7 dim scale is G7 is my V and looking for ways to get there I have my Adim 7, down to Ab7 for my German and lower another dim note to Ab7b5 if i feel French.

The Devil's Mill... It's a nice Romantic way to dress up a cadence as well.

I don't use the German that much for some reason, usually Italian or French. Probably should get into it. Mind you I mostly work in three parts (Italian influence).

obviously this isn't how classical composer thought, just it's sort of the game of this thread. I've been studying classical theory since you straightened me out, and it has steered me in a better direction

I don't think the scale itself sounds much like Romantic era music - not to me at least. It sounds super hip in a jazz context.

But then, I don't know that much about Romantic music, I'm done more on baroque and a little galant/classical harmony, so I'm interested to find out more about what Chopin gets up to.