All Questions
36
questions
4
votes
1
answer
190
views
In the musical texture “monody”, can the underlying harmony be provided with a single voice?
According to these wiki pages
(https://en.wikipedia.org/wiki/Monody
https://en.wikipedia.org/wiki/Homophony),
in Monody, ”one solo voice sings a melodic part, usually with considerable ornamentation, ...
- 994
3
votes
1
answer
169
views
What purpose does the third measure of Bach's 'toccata and fugue in d minor' serve?
I'm looking for an explanation on the effect and reasoning of Bach's choices in the third measure of 'toccata and fugue in d minor'. I can only presume its a cadence to resolve the chord built in the ...
- 33
5
votes
2
answers
230
views
Interpretation of Dominant IV7 chord moving to I64 -> V(7) -> I
I need your help to figure out how to interpret a Dominant IV7 chord in major moving to I64, like:
I -> IV -> IVDom7 -> I64 -> V -> I
or
I -> ii6 -> IVDom7 -> I64 -> V -&...
- 53
6
votes
1
answer
289
views
Seems to fit all 3 PAC criteria and yet I'm told it's a root position IAC?
So, as I have been looking for examples of the 3 different types of IAC(Imperfect Authentic Cadence), I run into this:
A cadence that looks like a PAC(Perfect Authentic Cadence) on paper, but which I'...
- 6,614
1
vote
2
answers
130
views
What is the function of this diminished 7th chord in KV 332? [duplicate]
Consider the following cadence from the 3rd movement of Mozart's piano sonata KV 332:
What is the function of the diminished 7th chord B D F Ab?
- 1,557
5
votes
1
answer
471
views
Is a phrygian cadence iv6 - V or can it also be VI - V?
I have always thought that a phrygian cadence was VI - V but I now read that it is actually iv6 - V. Can both be used?
user35708
2
votes
0
answers
47
views
What are some useful resources for modal study? [closed]
I'm looking for some useful historical references for modal study. Specifically, great books or texts on how modes evolved, progressed and became the elusive subject they are today.
What resources ...
- 21
5
votes
2
answers
269
views
Were Plagal Cadences always used with an Authentic Cadence preceding it?
In typical 19th-century harmony, was a Plagal Cadence always used with an Authentic Cadence preceding it? To put it another way, was it typically ever used out of its "Amen" context?
- 981
2
votes
2
answers
242
views
2 atypical cadences, are they half cadences?
So, I analyzed the harmony and structure of Grande Valse Brilliante op. 18, and most of the cadences make perfect sense to me, but there are 2 cadences that don't really, one on the tonic, which I can ...
- 6,614
2
votes
6
answers
163
views
Chromatic approaching dominant
I'm having a little trouble analyzing this blues-y cadence.
I've called the dominant chord a G9 even though there is no third (B) at the end of the bar. I think this makes sense, since it is ...
- 675
2
votes
2
answers
168
views
Why does the V-I cadence sound tonal rather than modal?
I have heard that the V-I cadence is to be avoided when playing chant accompaniment: e.g., Gregorian chant.
It seems to me that the leading tone going to the tonic makes it sound like a tonal cadence ...
user20754
25
votes
11
answers
7k
views
Why does Bach sometimes end with flat 7ths?
I've been studying the Bach inventions, and I see a common patterns in the first 3 inventions: They tend to include the flat 7ths in the very end. Examples:
C major:
D major:
E♭ major:
From a ...
- 353
4
votes
4
answers
3k
views
Diminished seventh cadence, is this an IAC or a PAC?
I have seen a few cadences where the only dominant function chord used cadentially is a diminished seventh, mainly resolving to root position tonic, though I have seen a few resolve to an inverted ...
- 6,614
4
votes
6
answers
2k
views
How to make a plagal cadence sound convincing as an ending?
I am nearing the end of composing the first movement of my suite. And I plan to end the movement using a plagal cadence. But I know that a plagal cadence can be hard to make sound convincing. I mean ...
- 6,614
5
votes
3
answers
5k
views
♭VII-I Cadence, ♭III-I Cadence: Name?
I've gone through a bunch of ♭VII-I and ♭III-I cadences in rock music. In C major, they are B♭-C and E♭-C.
Is there a specific name for the two cadences? So far, I've been calling them authentic ...
user53472