# Need Some Help Analysing These Chords (Dream is Collapsing)



## FourFour (Nov 9, 2011)

Hey, guys. I've been trying to figure these chords out (harmonic analysis). It's Dream is Collapsing by Hans Zimmer. 

The key is G minor and I can't figure out the role F# and Bmaj plays in this key. Closest explanation I can think of is that Bmaj and F# is the Tonic and dominant of B major? I'm kinda stuck now.

Music theory experts, really need your help. Thanks!

Chords:
Start: Gmin&#65279; F#/A# Eb Bmaj7

after bridge: Cmin Bmaj7 Ab E

I'm referencing from this arrangement:


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## SirMyghin (Nov 9, 2011)

I'll take a stab at this, although I am quite certain Mr Whore will shoot down any ideas I present as pure bullshit with him super knowledge of doom.

the first progression is descending step-wise as a m2, M2, M3. If you look at the notes in each chord you will notice a common tone, Bb, this could cause some variety of a 'pitch axis' around Bb. If you write the last chord as D6+ (augmented) you continue the motion of seconds descending also. The D6+ would then act as an alterred dominate to the Gm, which is where I would place my money, to drive the progression a little harder.

The second progression doesn't have the common tone the first one does, but appears to be descending in minor seconds again, until the E. Ab to E is a mediant relationship, a third away from Ab, E is also a 3rd away from C, double chromatic mediant this time (as it changes quality, major to minor). I would say this progression is actually in B major, and your Ab is actually G#. G#m is vi in that case, oh well (go go gadget mediant), but we have major here , E, is VI. Then C is a half step off B, kind of acting as a reverse leading tone. This time I do think it is Bmaj7, the first time though I wager D6+. 

And for posterity, A Chromatic Mediant (which I have shortened to mediant) is a chord either diatonic or not, a 3rd away from another chord used in motion, of the same quality (major/minor). If the quality changes, it is a double chromatic mediant. Helps get around a but less 5thly and such. 



I reserve the right to be completely full of shit. I don't have nearly the ear to pick up on some of the other stuff going on, but I definitely hear a pedal tone in the first progression, with the 'extra' notes going on too.

We now await the Whore to see how wrong I can possibly be.  Our dark lord and master and all that.


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## Mr. Big Noodles (Nov 9, 2011)

That's actually a pretty nice analysis. Just one thing: the chord is Bmaj7, no D involved. However, an altered dominant D6+ (D+6? BmMaj7/D?) would sound nice there. SirMyghin is absolutely spot on with the chromatic mediant whatsit and the Bb pitch axis. I'd like to point out this relationship: every chord in the first progression contains that Bb, and only in the last chord do we have a minor-second conflict with that Bb, giving a sort of "dominant" feel to the Bmaj7. Additionally, F# is the leading tone of G, so we get that factor working in the Bmaj7 as well.

In the second progression, you can look at it like this: Cm G# E is the structural succession, built of mediant relationships, and Bmaj7 functions as a sort of colorful passing chord. Altogether, you have a lot of minor second and mediant relationships, amounting to modern film music cheesiness. This can hardly be analyzed with strict diatonic harmony, but some of the abstractions we get from it (namely the dominant to tonic relationship I pointed out earlier). You can see the mediant relationship between E and Cm, or Bmaj7 and Gm, as a substitution for a V-i progression.


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## SirMyghin (Nov 9, 2011)

SchecterWhore said:


> That's actually a pretty nice analysis. Just one thing: the chord is Bmaj7, no D involved. However, an altered dominant D6+ (D+6? BmMaj7/D?) would sound nice there. SirMyghin is absolutely spot on with the chromatic mediant whatsit and the Bb pitch axis. I'd like to point out this relationship: every chord in the first progression contains that Bb, and only in the last chord do we have a minor-second conflict with that Bb, giving a sort of "dominant" feel to the Bmaj7. Additionally, F# is the leading tone of G, so we get that factor working in the Bmaj7 as well.




Good catch on the Bmaj7, I wrote D not D# for the 3rd (making Bm M7) and shot myself in the foot when I looked back. I still claim Dm6 could work, but it is mostly just to argue with you.


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## FourFour (Nov 13, 2011)

Oh man.. thanks a lot, guys. Really appreciate the help. I understand it better now.

Sorry for the late reply, busy as hell.


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