Members y34rz3r0 Posted October 28, 2018 Members Share Posted October 28, 2018 Hi all. I am currently reading Classical Form by William E. Caplin and I need some help understanding this excerpt. I posted the quote and passing chords below. He is talking about Passing Chords and the difference between contrapuntal and harmonic passing chords and why he labeled the roman numeral II7 as an m7 instead. Any help to better understand this would be greatly appreciated. Thanks! Link to comment Share on other sites More sharing options...
Members 1001gear Posted October 29, 2018 Members Share Posted October 29, 2018 Since the "third" chord is still a C triad and the new notes in the second chord, D in the bass and F in the alto merely connect the tones of C major, C (D) E and E (F) G respectively, he labels that stack of notes for the harmonic content. In this case, (d minor 7th no third) or simply (m7) He's just saying that in functional analysis, ii7 (d minor) moves to the V (G major) - clearly not the case in this example. Link to comment Share on other sites More sharing options...
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