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Type: Posts; User: JumpingJack

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  1. Yes. In fact, this is probably the most common...

    Yes. In fact, this is probably the most common type of seventh chord.

    The "Dominant Seventh" chord is V7 in the key a fifth below it. So G7 (G-B-D-F) is V7 in C major/minor for example (it is not...
  2. Mostly association. Throughout history people...

    Mostly association.
    Throughout history people have come up with lists of emotions or affects associated with certain musical phenomena. This goes way back before tonality was established, people...
  3. You basically answered your own question. You...

    You basically answered your own question.

    You might as well ask, why do some people like the colour red while others prefer blue?
    Why do some people like rugby while others prefer cricket?
    Why...
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    Only the raised seventh (G# in this case) would...

    Only the raised seventh (G# in this case) would be the "leading note" (also called "leading tone").
    (Incidentally, when the seventh is not raised, it is correctly called the subtonic).

    One of the...
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    It is actually. It's the leading note. In minor...

    It is actually. It's the leading note.
    In minor keys, the sixth and seventh degrees are variables. They can be according to key signature (G and A here for example), or they could be raised a...
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    Typically, chords belong to tonal music, that is,...

    Typically, chords belong to tonal music, that is, music in major or minor keys.

    Modality on the other hand is a melodic principle. It doesn't rely on chords in the same way.

    So if you have a...
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    Yes. Hard to say without knowing the whole...

    Yes.



    Hard to say without knowing the whole context (and/or seeing the score).
    But remember what I said about the sixth (and seventh) notes of minor keys; they can be raised a semitone from...
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    "major" and "minor" can refer to intervals or the...

    "major" and "minor" can refer to intervals or the chord as a whole.
    When we're talking of the seventh as a note (rather than a chord), it is best referenced as an interval above the root. So a major...
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    No it's not. The Picardy Third (or Tierce de...

    No it's not. The Picardy Third (or Tierce de Picardie) refers to the final tonic chord of a piece. So if it ended with a C major chord for instance, that would be one.

    What you're talking about is...
  10. I'm not sure I understand what you're after... ...

    I'm not sure I understand what you're after...

    But music is not an exact science, it's an art. "Equations" and suchlike are not likely to make good music.

    If I were you, I'd start with the...
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    Yes. In minor keys, the sixth and seventh degrees...

    Yes. In minor keys, the sixth and seventh degrees are variables. They can occur according to key signature, or be raised a semitone. Both versions are equally diatonic, which is used depends on...
  12. I wouldn't say it ends in D minor, just that it...

    I wouldn't say it ends in D minor, just that it implies it slightly before the end (emphasising the subdominant region like this is fairly common).

    Pieces like this tend to end in the same key...
  13. Yes. The final chord is what we call a Tierce de...

    Yes. The final chord is what we call a Tierce de Picardie (or Picardy Third). It's where you sharpen the third so it ends with a tonic major rather than a tonic minor chord. This was very common at...
  14. Are you sure about that last one?

    Are you sure about that last one?
  15. When looking at keys, the first thing you look at...

    When looking at keys, the first thing you look at are the flats and sharps (and naturals) in the music; firstly by looking at the key signature, then by looking at other notes within the piece...
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    As mentioned above, the 6/4 is figured bass - you...

    As mentioned above, the 6/4 is figured bass - you can equate it to (what we now call) a second inversion chord. That is, a chord where the fifth is the lowest note (so, in a C major chord for...
  17. There is a difference between deliberately...

    There is a difference between deliberately doubling one part at the octave (still just one part essentially), and having two independent parts inadvertently move together in parallel octaves (or...
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    At authentic cadences, yes. Well, the only...

    At authentic cadences, yes.



    Well, the only likely possibility not covered there is the leading note rising to the tonic (which is the "normal" way so no special rule is necessary).



    Then...
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    Just switch the C# and E around in the...

    Just switch the C# and E around in the penultimate chord.
    As this is an authentic cadence, you can happily have the leading note move somewhere other than the tonic - Bach did this all the time.
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    Well, you sometimes see leaps of sevenths, to...

    Well, you sometimes see leaps of sevenths, to avoid a part going out of range for example (but I'm not suggesting you do this by any means), but augmented intervals should be avoided at all costs...
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    All other things being equal, you would be...

    All other things being equal, you would be correct.
    However, if there has to be a compromise somewhere, then this would be an acceptable one. It would certainly allow you to be smoother with what...
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    Good thinking, but in that case maybe you could...

    Good thinking, but in that case maybe you could have re-voiced the second chord?



    Rules for melodic intervals as follows:

    - Leaping a seventh is forbidden
    - All augmented intervals are...
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    Generally fine, though you've doubled the third...

    Generally fine, though you've doubled the third of the third chord which is not to be recommended. Also, between chords 3-4 in the tenor you've leapt a diminished fourth. This is forbidden.
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    Was the bass and harmony given? Because if not, I...

    Was the bass and harmony given? Because if not, I would change that first vi into IV6 or something to avoid the bumpy alto there.

    But anyway, with this kind of thing there are multiple "correct"...
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    Is there a specific situation you had in mind? ...

    Is there a specific situation you had in mind?

    Because off the top of my head, I can't really imagine a situation when this would be an issue.

    You should only omit notes if and when necessary....
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