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Type: Posts; User: JumpingJack

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  1. Replies
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    The D comes later in the bar/measure (the C and...

    The D comes later in the bar/measure (the C and As are passing notes).
    So yeah, Gm7.

    Notice the seventh eventually falls in the next bar as you would expect with good part-writing.
  2. A few things come to mind; Talking of "rules"...

    A few things come to mind;

    Talking of "rules" and "restrictions" may no be helpful. For one, it has negative connotations which are going to colour your perception, and also composers of the time...
  3. The ecclesiastical or "church" modes have a long...

    The ecclesiastical or "church" modes have a long and complex history that has been the subject of numerous books and articles so it can't be done justice here, but essentially the modes included...
  4. Hello. Not sure what you mean here, can you...

    Hello. Not sure what you mean here, can you provide more details?

    In addition to the familiar major/minor tonality, Bach was heavily influenced by the older systems of modes which were at the core...
  5. Changing E-G-B into E-G-C does change the chord...

    Changing E-G-B into E-G-C does change the chord from E minor (root position) to C major (first inversion).

    But neither of these is an augmented chord; that's something else.
    Chords are typically...
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    Yeah, the initial G# and F# are grace notes and...

    Yeah, the initial G# and F# are grace notes and don't count (I'm assuming treble clef for the pitches)
    Then you have a triplet; three in the time of two. In this case, it's three quavers (eighth...
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    The basic D major triad has the notes of D, F#...

    The basic D major triad has the notes of D, F# and A.
    When D is the lowest of these, the chord is said to be in "root position".
    Otherwise, the chord is "inverted".

    D/F# means F# is the lowest...
  8. I've no idea what's going on between people...

    I've no idea what's going on between people here..

    But basically, if you've got a note that's too big to fit in a bar, you have to tie it into the next bar. You can't use a dot without changing...
  9. 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...
  10. 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...
  11. 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...
  18. 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...
  20. 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...
  21. 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...
  22. Are you sure about that last one?

    Are you sure about that last one?
  23. 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...
  25. 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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