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Dissonances
Hey Máté - hope you're well another very delayed lesson. This time once you've read the pdf - if you could have a go at the following for homework when you get the chance it would be great:
Write 6 progressions, 3 in major keys and 3 in minor keys of your choice using root positions and first inversion chords and you may now incorporate chord vii in first inversion as shown in the lesson. End each progression with any cadence of your choice. Please keep them between 12-16 chords long in total.
(In minor keys you can use either V or v in the course of the progression, use your ear to see what you think is best - but remember V is always needed for cadences!)
Good luck - sorry for taking so long, and expect suspensions to come soon, following straight on from everything you've learnt in this lesson.
Matt
Hey sorry I just noticed something in the pdf I should make clearer for you - the best note to double in chord vii6/3 is actually the third - which is not what I have done in example 4 (i) - sorry about this I actually copied the example from elsewhere to save time.
What happens in this example is fine, the fifth is doubled, one of these fifths (F) moves down by step to resolve the tritone and one of the Fs moves up by step in contrary motion to prevent octaves. I think that more often that not, however, it sounds better to double the third (which in this case would be D) and then use contrary motion again - one D goes up and the other down. You might then end up with two roots and two thirds in the next chord. This is OK though because of the contrary motion that you've used to arrive there.
There aren't any strict rules about exactly how to execute this so it's up to you.
Good Luck
Last edited by matt.kaner : Sep 3 2007 at 10:46 AM.
Reason: ps
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