The structural pattern of the blues is a basic twelve-bar lyric framework of a blues composition which is reflected by a standard harmonic progression
of twelve bars, in 4/4 or (rarely) 2/4 time.
The described model makes specific predictions concerning harmonic relationships (pitch commonality) between successive pairs of fifth-complex tones, and between successive pairs of simultaneous dyads of fifth-complex tones, and may therefore aid in creating meaningful harmonic progressions
from such sonorities.
It's not always perfect - the harmonic progressions
can be, I would say, sometimes not very well defined - but it's very interesting.
Given that it's more of a series of harmonic progressions
than a conventional "tune," there's no sense of melodramatic overload.
This is, on the whole, a sensible decision although occasionally accidentals that are superfluous according to modern conventions could help clarify the melodic and harmonic progressions
Beyond those two sections the lessons are more directed toward chord structures, harmonic progressions
and their use in additional styles such as country and rock.
First, on page 188, Ball writes: "Until around the middle of the nineteenth century, harmonic progressions
in Western classical music tended to be rather formulaic and conservative.
As with any good entertainment, comic timing is imperative and Egarr's flexible sense of momentum along with interesting rhythmic divisions and some unorthodox harmonic progressions
in the cadenzas served as just-deserts to Handel's rather provocative stipulation of 'ad libitum' in the Organ Concerto Op.
His analyses are concerned with formal layout, rhyme schemes, harmonic progressions
and organization, lead vocal melody, guitar tuning, text-music correspondence, and, to a lesser extent, musical texture, and backing vocals.
There are some exercises for improvisation that require continuing notated pattern, but there are no exercises for improvising melodies above harmonic progressions
indicated by Roman numerals.
Colourful late-medieval pastiche enlivens the orchestrations but harmonic progressions
and melodic turns of phrase are depressingly interchangeable with the tawdry Les Miserables and the estimable Miss Saigon.
In the opening movement Max guides the choir and orchestra through Zelenka's labyrinthine harmonic progressions
, deftly setting up expectations of cadential resolution and then thwarting them.