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Hello, Matt!
Thanks for the corrections and the examples! I'll try to do that 2 progressions following the given rules, soon.
Sorry, but I still have some things I don't understand:
1) About progressions by 2nd (and 7th): I see that it's good to have a note in common when moving to another chord, but I feel progressions like IV-V, V-vi, V-IV, VII-i strong, while some progressions like iii-I seems very weak to me.
2) Sorry about the VII in minor but I thought that the leading note is only required at cadences only, since the purpose of a cadence is to define the key (- as in first lesson).
But "vii is always diminished" means that I can never use VII, because it destroyes the sense of minor key?
Is there any rule how to use it safely?
3) OK, it's safe to use the v in minor in 1st inversion when connecting the tonic to the submediant (as in my F sharp minor prog.), but is there any other situation when it can be used in root position?
4) Is vii6/3 - i a cadence (in your ex.i and ex.ii)? I feel it pretty stable.
5) In your ex.iii) you've used a 7th and a 2nd inversion chord. Both have dissonant notes with the bass. Can they be used without preparation?
6) In ex.iv) the tritone of the ii6/3 - V progression is resolved to a perfect 5th, but it sounds very good. The ii6/3 - VI is similar but the resolution is done by motion in the same direction - and it sounds very good, too. Can I use such progression in my homework?
7) I'm using key signatures on paper, but Finale Notepad only supports 1 per file. I'm trying to switch to some console notation program like abcm2ps.
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