Explanation of the Analysis
The harmony is seen as being reduceable to at least three theoretical triadic chords built on G, E &
D (or C, A & G in the key of C). Due to the nature of the material, most of the triads are defined
subjectively here through intervals between treble and bass.
Compound intervals an octave or more (for example, notes 16 strings apart on a harp) are
described as simple intervals an octave or less, (eg., 8 strings apart) to show their harmonic
relationship clearly.
Intervals are analysed mainly per crotchet beat. The question of which crotchets and quavers are
harmonically more important is very subjective. Bass notes are identified as those being played
simultaneously below treble notes or marked with a B or those which are the lowest in a staggered
octave
Concordant intervals are those posited as being related to the theoretical triads but which are not
at the octave. In the printed version, passing crotchet notes are defined by not being related to the
chord posited as belonging to the bass (most notably 2nds and their invertions, 7ths).
Explanation
Cumha Bharúin Loch Mór