Attached is a basic transcription of pitched elements in Carpenter Brut - Roller Mobster, which was the second example linked here: viewtopic.php?p=8231188#p8231188
Not every nuance is written down - and as always, I give no 100% accuracy guarantees. But what's there is enough to analyze at least the harmony:
An overview of the arrangement:
As previously noted in this thread, in terms of 7-pitch scales this track is in G Natural Minor for most parts.
Bars 20, 24-25, 52-53 and 100-101 contain the pitch F#, which is not strictly part of G Natural Minor. Those parts can be thought of as being in G Harmonic Minor. The phenomenon there is "a major chord on 5th degree of minor scale".
In other words, what would normally be a D minor chord (D,F,A) on 5th degree in G Natural Minor, is a D major chord (D,F#,A) there.
In strict sense, that can be thought of as borrowing the D chord from G Major or G Harmonic Minor. As stated by other posters previously, this "trick" is so common that oftentimes it is not noted as a separate phenomenon by musicians already familiar with it.
I think the concept of scale degrees ( https://en.wikipedia.org/wiki/Degree_(music)
) and roman numerals ( https://en.wikipedia.org/wiki/Roman_num ... inor_scale
) is helpful in understanding this. It may seem complex and confusing at first glance, but the basic idea is to assign numbers to pitches of the scale, and indicate the chord via lowercase / uppercase letters [of roman numerals] and various additional signs. Lowercase means minor chord, uppercase means major, and there are various ways to specify other chord qualities.
A thing to note is that there are at least two common styles of writing the roman numerals.
Personally I prefer the "chromatic" style, in which - for example - the degrees and basic triads of Natural Minor scale would be marked up as "i, ii°, bIII, iv, v, bVI, bVII". The usage of "b" before some degrees hints at it being a chromatic markup, and many people would decode that unambiguously to mean Natural Minor, even if the scale is not specified.
In the other common style, used by some theory books such as Hewitt, Michael: Harmony for Computer Musicians
and Benward & Saker: Music in Theory and Practice
, there are no "b" signs in front of minor degrees and the key/scale is mentioned for clarity. So degrees of Natural Minor would be written in them as "i, ii, III, iv, v, VI, VII in Natural Minor".
Chromatic roman numeral markup is actually mentioned in "Harmony for Computer Musicians", but only in its later chapters. For some reason, markup styles that specify all 12 degrees seem to be thought of as "advanced" or "complex" by many teachers of traditional theory, while I personally see them as simpler and clearer - but to each their own
To bring it back to core subject of this post, both of those books mention the "V in Harmonic Minor" case in their early chapters. The way it is used in Carpenter Brut - Roller Mobster would be [in chromatic romans] "iv - bVI - V", which fits well into traditional theoretical frameworks.
Bars 109 and 116 contain the pitch Db (or C#), which is an interval of tritone (6 semitones) to G. It is also outside of G Natural Minor scale, and is used here as a passing "spice", so to speak.
In this case, I wouldn't say that there is any theoretical "rule" or "function" to that Db being there, other than perhaps the idea of interval of 6 semitones being dissonant. The composer seems to have wanted a dissonant nuance at that point, and used a tritone above G to make it.
If fellow theory fans have a different view on it, I'd like to know
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