Leaderboard

Very interesting piece. Distant harmonies, I've seen those used a lot for emotional quality and modulation, especially from Chopin onwards, but even Beethoven does it. I hear these keys in the piece: F minor C minor Bb minor C# minor A major(brief glimpses) Eb major towards 5:00 Ab major E major(brief glimpses) B minor or F# minor, not sure which F major towards the end And if I were to relate all these back to F minor, this is what I would get: Tonic Minor Dominant Subdominant #v Chromatic mediant #III Chromatic mediant Subtonic(could also be viewed as the Relative major of the Minor Dominant) Relative major #VII Minor tritone axis or #i Parallel major Only about half of what I hear harmonically is in any way closely related to F minor and the rest is at a minimum chromatic mediant distant and at a maximum tritone axis distant. I have used this tritone axis relation before to go from sharps to flats quickly while staying in minor. My March of Iwo Jima piece uses this exact relation in its development section where I go from a somber F# minor that develops the second theme via canon to an intense C minor that builds the motive of the first theme into a full orchestral fortissimo in the space of a single diminished seventh harmony, because vii°7 of F# minor and vii°7 of C minor are enharmonically equivalent.