A held bass, a changing harmony

A synthetic exercise in hearing C7, F/A, Dm/A, Gm/Bb and C7 as separate harmonic layers.

Synthetic audio; no performing artist · synthetic-example · 25.0s excerpt

Source credit: Deterministic synthetic exercise generated by OrganArtistry; not a church recording.

Machine listening summary

• Pitch and harmony estimates are listening aids; fit scores are relative, not probabilities. No confirmed modulation or transcription is claimed.
• Whole-excerpt tonal-profile candidates: F major, C major, A minor.
• A bass remains stable from 5.0 to 15.0s while upper candidates change: possible pedal-point coloration.
• Recurring C7 and F-related sonorities: possible extended C dominant field preparing F. Confirm by listening and checking the following cadence.
• 0 possible sustained tonal-context change(s); compare these with the bass and following cadence.

Analysis limitations

• Registers overlap: this is not physical division separation.
• Octave errors, reeds, mixtures, room resonance and missing fundamentals can mislead the bass estimate.
• Upper partial suppression is approximate; inspect the raw chroma.
• Key-profile correlation is a statistical context proxy, not a functional harmony determination.
• Boundaries have window-level precision; low CQT bins can smear across a second or more.

Analysis settings

• Window (s): 0.5
• Smoothing (s): 1.0
• Tonal context (s): 8.0
• Bass ceiling (MIDI): 47
• Upper floor (MIDI): 48
• Tuning offset (cents): 0.0

Listen for the layers

Hear the bass move C → A → A → Bb → C. Listen especially from 5 to 15 seconds: the A bass continues as the upper harmony changes from F major to D minor.

The known source harmony

Five equal sections were constructed as C7 → F/A → Dm/A → Gm/Bb → C7. The source is deliberately simple. The displayed timeline contains actual machine estimates, not this source progression copied into chord labels.

Context remains a musical question

The phrase can suggest a C dominant field preparing F, but this exercise does not end with a resolving F chord. Listen to the whole shape rather than declaring a modulation from an isolated upper chord.

Listening observations

• 5.0–10.0s: Known synthetic source: F major over A bass. A C F A
• 10.0–15.0s: Known synthetic source: D minor over the continuing A bass. A D F A

Visual evidence

Candidate harmonic timeline

All times start at the beginning of the excerpt. Fits describe relative agreement, not confidence probabilities. These are competing machine readings, not a transcription of notes or inversions. Reverberation and overtones can shift the estimates.