Slurs and ties

sweelinck I'd consider that the piece starts in F#m. The tonic 2nd position used for cadence at the beginning is a proxy/suspension for a V chord. The score is murky at the end, but that appears to be an E#, which is the raised 7th position on an F#m scale, and not found on the B Dorian scale. The piece does end on a Bm chord.

After some discussion with Chat GPT, it says:

The opening notes and intervals confirm the piece is primarily in B Dorian. Your friends are likely correct in identifying the piece as being in B Dorian, as the D - E# - B chord serves as an embellishment or borrowed chromatic harmony rather than an indicator of a modal shift. The E# is a rare and purposeful dissonance, used to heighten the resolution to B minor. The piece remains primarily grounded in the B Dorian mode, with this chord adding harmonic richness and drama at structurally important points.

BartK Did you see my reply above?

Yes, but not when I was busy writing my reply to Sweelinck.

I know how to play a slur, I know how to play a tie, but I have some mental block that makes me unsure when I see a curved line to understand if it is a slur or a tie.

sweelinck Also, I'll mention that ChatGPT answers are uninterpretable without knowing the question(s) asked.

It is a loooooong discussion.

Me: I have a musical piece with three sharps in the key signature. My friends say it is in B dorian mode. Could you please in a few sentences explain what they mean?

ChatGPT: Your piece has three sharps in the key signature, which usually corresponds to A major or its relative minor, F# minor. However, your friends are saying it's in B Dorian mode.

The Dorian mode is a type of scale that starts on the second degree of a major scale. If your piece is in B Dorian, it means it uses the notes of the A major scale but starts and centers around the note B as the tonic (home note).

For example, the B Dorian scale consists of these notes:
B - C# - D - E - F# - G# - A - B

This scale has a characteristic "minor" sound, but with a raised 6th (G# in this case), which gives it its unique, slightly brighter feel compared to a natural minor scale.

Me: How can I know if my friends are correct on this one?

ChatGPT:

To determine if your piece is indeed in B Dorian, consider the following steps:

1. Check the Key Signature and Notes Used

   The key signature with three sharps aligns with A major (and its modes, including B Dorian).
   Look at the melody and harmony: Do they primarily use the notes of the B Dorian scale (B - C# - D - E - F# - G# - A - B)?

2. Identify the Tonic (Home Note)

   The tonic is the note that feels like the "home base" or the most stable, resolved note of the piece.
   If B feels like the tonal center where phrases start, end, or resolve, the piece is likely in B Dorian.

3. Listen for the Modal Characteristics

   The Dorian mode has a minor quality but with a distinctive raised 6th (G# in B Dorian). This raised 6th often creates a brighter, jazzy, or folk-like sound.
   Compare to a natural B minor scale (B - C# - D - E - F# - G - A - B). If G# is prominent instead of G natural, it supports the B Dorian argument.

4. Examine the Harmony

   Look at the chords in the piece. Common chords in B Dorian include:
   B minor (Bm) as the tonic chord.
   F# minor (F#m) and E major (E) as prominent supporting chords.
   If these chords appear frequently and resolve to B minor, it's likely in B Dorian.

5. Context and Feel

   If the piece has a minor sound but doesn’t feel "sad" or "dark" like a typical minor scale (thanks to the raised 6th), it’s a sign of the Dorian mode.

Summary

If B is the tonal center and the melody/harmony emphasize G# instead of G natural, then your friends are correct—it’s in B Dorian!

Me: The last chord has the notes B D F# B F#

ChatGPT: The last chord having the notes B - D - F# - B - F# confirms that the final chord is B minor (B, D, and F# make up a B minor triad). This strongly suggests that the piece is centered on B, making B the tonic.

Since the key signature has three sharps and the piece resolves to a B minor chord, it is very likely in the B Dorian mode, assuming the raised 6th (G#) is prominent throughout the piece. If the music frequently emphasizes G# instead of G natural, your friends are correct in identifying the mode as B Dorian.

If the piece instead uses G natural often, it would simply be in B natural minor. So, double-check how the piece treats the 6th degree!

Me: The piece has an ABA structure. B has the same key signature as A and nowhere are extra accidentals. However, B finishes with a chord with the following notes: C# E G# B E. Explain.

ChatGPT: The chord C# - E - G# - B - E at the end of section B is a C# minor 7th chord (C#m7). This chord suggests a pivot point or a contrast to the surrounding harmonic context.
How It Fits in B Dorian

C#m7 in B Dorian:
    In B Dorian, C#m7 functions as the ii7 chord (the second degree of the mode).
    The notes of C#m7 (C#, E, G#, and B) all belong to the B Dorian scale (B - C# - D - E - F# - G# - A - B).
    The ii7 chord often has a "suspended" or unresolved sound, which could set up a return to section A.

Relationship to the Key Signature:
    The chord does not introduce any accidentals, so it stays consistent with the three-sharp key signature.
    The use of C#m7 maintains the modal flavor of B Dorian, as it emphasizes the raised 6th (G#) inherent to the mode.

Harmonic Role:
    C#m7 could act as a pre-dominant or a transitional chord, leading back to the tonic (B minor) at the start of section A.
    Its placement at the end of section B might create a sense of openness or suspension, contrasting with the resolution provided by the B minor chord at the end of the piece.

Conclusion

The C#m7 chord fits perfectly within the B Dorian mode and serves as a way to create tension or contrast in the B section, preparing for a return to the B minor resolution in the final A section. Its function aligns with the modal characteristics and overall structure of the piece.

Me: Back to the final chord B - D - F# - B - F#. The chord before that final chord has the notes D E# B. Does that confirm B dorian or does that shine a new light on it?

ChatGPT: The chord D - E# - B before the final chord introduces E#, which is enharmonically equivalent to F natural. This raises an important point about the harmonic context and could shine a new light on the mode of the piece.
Analyzing the Chord D - E# - B

Spelling and Function:
    This is a diminished triad: B - D - E# (enharmonically equivalent to B - D - F).
    This chord can be interpreted as a B diminished chord (B°), which is commonly a leading-tone chord in C# minor or D major contexts. However, in the context of B Dorian, it serves a different role.

Implications for the Mode:
    E# (F natural) does not belong to B Dorian. In B Dorian, the 4th degree is E, and the 6th degree is G#. The presence of E# suggests a deviation from the Dorian scale.
    This B diminished triad could imply a harmonic minor or even melodic minor context for a moment, as E# is often part of a raised leading tone in minor keys.

Shining a New Light:
    If E# appears consistently, this would mean the piece is not strictly in B Dorian but instead might shift into B harmonic minor or a related mode.
    However, if E# is isolated to this single occurrence, it could just be a passing or chromatic harmony, temporarily borrowing from another scale.

What Does This Mean for the Mode?

If E# appears consistently in the piece or other similar harmonic contexts arise, your friends may need to reconsider whether the piece is fully in B Dorian.
If E# is rare and limited to this specific chord, it could be a borrowed or coloristic chord, and the piece could still primarily function in B Dorian.

Conclusion

The presence of D - E# - B adds an interesting twist, suggesting a possible shift or modal mixture. It doesn't immediately disqualify B Dorian, but it does suggest a more complex harmonic landscape than a pure modal piece. Context elsewhere in the piece would determine whether B Dorian remains the most fitting description!

Me: E# shows once more, as that exact same chord, at the end of the first A section.
In the ABA both A sections are exactly similar, except that D E# B is the last chord of the first A section and in the second A section, D E# B is followed by the final chord B - D - F# - B - F#

ChatGPT: The recurring chord D - E# - B (a B diminished triad) at the end of both A sections strongly suggests a harmonic context that extends beyond pure B Dorian. Here's how this affects the interpretation:
What the D - E# - B Chord Suggests

Function of B Diminished:
    The chord D - E# - B (B°) acts as a leading-tone chord (vii°) in C# minor. In tonal music, this diminished triad resolves upward to C#.
    However, in your piece, D - E# - B resolves to B minor (B - D - F#) in the second A section, which is unusual in the strict sense of tonal harmony.

Modal Implications:
    E# (F natural) clashes with the raised 6th (G#) that defines the B Dorian mode, suggesting the piece is not purely in B Dorian.
    The use of E# aligns more closely with B harmonic minor, where the 7th degree is raised (A# instead of A natural, leading to E# in harmonic contexts).

A Mix of Modes:
    The D - E# - B chord at the end of both A sections points to modal mixture or a shift into a B harmonic minor flavor, particularly at cadence points.
    The broader structure might suggest a modal center around B, with shifts between B Dorian (raised 6th, G#) and B harmonic minor (raised 7th, E#).

How to Interpret the Mode

Not Pure B Dorian: The presence of E# consistently undermines the claim that the piece is fully in B Dorian. Instead, it likely oscillates between B Dorian and B harmonic minor or blends the two.
B as the Tonic: Despite modal ambiguity, B remains the tonal center, reinforced by the resolution to B minor in the final chord.

Conclusion

Your piece seems to merge modal elements:

It primarily draws on B Dorian traits (with G# and the overall modal feel).
The recurring D - E# - B chord and the final resolution to B minor introduce a harmonic flavor more typical of B harmonic minor, especially at cadential points.

This interplay creates a richer harmonic landscape, blending modal and tonal characteristics around B as the tonic!

Me: However, it is only in this chord, that occurs twice at an important point that there is E#. Nowhere else in the piece is E#.

ChatGPT: Ah, this clarifies a lot! The E# being limited to just the D - E# - B chord, which appears twice at structurally significant moments, suggests a deliberate harmonic device rather than a full modal shift. Here's what this might mean:
Harmonic Interpretation of D - E# - B

Emphasis on Tension and Resolution:
    The D - E# - B chord creates a sense of tension due to its diminished quality.
    Its placement at key structural moments (end of the first A section and as a penultimate chord before the final resolution) suggests it functions as a preparatory chord to heighten the impact of the B minor resolution.

Borrowed or Chromatic Color:
    The E# (enharmonically F natural) is likely a chromatic borrowing rather than a consistent modal feature.
    It could be interpreted as a passing or auxiliary tone added to create a dramatic effect, especially since it only occurs in this specific chord and nowhere else.

How This Fits the Mode

Primarily B Dorian:
    The rest of the piece, with no additional E# and an emphasis on G#, aligns well with B Dorian.
    The modal characteristic of the raised 6th (G#) is intact throughout, supporting the Dorian classification.

Local Harmonic Flexibility:
    The E# in the D - E# - B chord adds a momentary harmonic twist without redefining the entire modal framework.
    Think of it as a "spice" added to create interest or a sense of finality at key moments, rather than a fundamental shift away from B Dorian.

Conclusion

Your friends are likely correct in identifying the piece as being in B Dorian, as the D - E# - B chord serves as an embellishment or borrowed chromatic harmony rather than an indicator of a modal shift. The E# is a rare and purposeful dissonance, used to heighten the resolution to B minor. The piece remains primarily grounded in the B Dorian mode, with this chord adding harmonic richness and drama at structurally important points.

Me: This piece starts with the notes: A F# A G# F# G# E G# F# for the right hand, and four intervals for the left hand: F#-C# slurred with D-B and then E-B slurred with C#-A.
Does that change your opinion about this piece?

ChatGPT: The opening notes and intervals provide critical insight into the harmonic and modal foundation of the piece. Let’s analyze these elements in detail:
Right-Hand Melody

The melody starts with:
A - F# - A - G# - F# - G# - E - G# - F#

Melodic Center:
    The frequent return to F# and G#, along with the prominent A, suggests the melody is grounded in a mode related to the A major scale (with three sharps: F#, C#, and G#).

Mode Implication:
    The presence of G# (raised 6th) and A (natural 7th) supports B Dorian, as these are defining notes of the mode.
    The E and F# reinforce this interpretation, as they fit naturally within B Dorian.

Contour and Cadence:
    The melody descending through E - G# - F# further solidifies the modal flavor, as E (4th degree) is prominent in B Dorian.

Left-Hand Intervals

The intervals provide harmonic support and context:

First Pair (F#-C# → D-B):
    F#-C#: This interval implies F# minor, the iii chord in B Dorian.
    D-B: This is the root and minor third of B minor, emphasizing B as the tonic.

Second Pair (E-B → C#-A):
    E-B: This interval suggests E minor (the iv chord in B minor or B Dorian).
    C#-A: This interval implies A major, which could serve as the VII chord in B Dorian.

Slurred Progression:
    The slurred pairs create a flowing harmonic progression that emphasizes B as the tonal center while introducing modal flavor through the use of both minor (D-B, E-B) and major (C#-A) intervals.

Overall Interpretation

The opening confirms the piece is centered around B as the tonic, with strong Dorian characteristics:

The right-hand melody and left-hand harmony align well with B Dorian, with the G# acting as the raised 6th—a hallmark of this mode.
The absence of E# in the opening reinforces that E natural (4th degree of B Dorian) is a stable note here, supporting the modal framework.

Revisiting the D - E# - B Chord

The appearance of E# later in the piece remains an exception to the otherwise consistent B Dorian framework. Its rare occurrence suggests a deliberate chromatic or harmonic embellishment rather than a departure from B Dorian as the overarching mode.
Conclusion

The opening notes and intervals confirm the piece is primarily in B Dorian. The D - E# - B chord, appearing only twice at structurally significant moments, adds harmonic drama but does not redefine the modal structure. Your friends are correct: the piece is in B Dorian.

ChatGPT can make mistakes. Check important info.

Yes, Chat GPT may be wrong. But it is much better than me when it comes to music theory!