Green

It's just me or it is really hard to upload a Youtube link today. I miss the old time. Tried to create an empty file through "command"? but failed. The command keep telling me "the system cannot find the patch specified." I don't know what went wrong. Maybe somebody could give more detail on adding youtube id. Thanks.

This thread is old. But I'm new to this one. I need to practice scoring a film. Anybody know how to get rid of background music in movie clip and left the dialogue only? Thanks in advance.

Hi, I installed 32bit sonar. Can open sibelius in sonar as a host which means it also has a 32bit system right. But it can't playback in sonar, a pop up message coming "unable to open audio playback device.." Anyone can help?

You've multi-posted this kind of thread. I don't understand exactly what you mean. But I've read Schonberg do this thing by using neutral or common chords to loose the bound of previous key so the new key can smoothly be prevail.

I'm still confused about distinguishing borrowed chord from chromatic voice leading chord. For example, Dm - Do - G - C. Should one call the Do a passing chord? or borrowed chord? Second, How to use borrowed chord properly? Can I just throw-in any chord from different modes in one occasion? I like the way it sounds ( I - bIII - bII - V - I), but is it contrapuntally or theoretically correct?

I don't have this thread notified or followed. Sorry for not being responsive. From the beginning I intend to write a tonal progression, Wherever it starts it's always back to its tonic with a cadence. That's what tonal music is, Isn't it? After browsing and have some reading for awhile, now I recognize those two chromatic chords are secondary dominant with irregular resolution. If you familiar with "I got rhythm" - a tune written by Gershwin, that's the irregular resolution all about. Some say it's a dominant chain. Thus it would make the chords become non functional. Concluding this, we only have non-enclosed chords as the genuine one while the others as embellishment. Dm - G - (C7 - F7) - G - C. I'm looking for more thought if you find this not justifiable. Thanks for replying.

Maybe it seems trivial to you. But it somehow is still confusing to me, as in this progression... Dm - G - C7 - F7 - G - C I used to think that C7 is secondary dominant of IV, but then F7 is a borrowed chord which retains its function. How do you perceive chromaticism in its very nature? the tones beside the structural 1 3 5 are only addition to these fundamental, but how does it effects the function as it then for instance becomes secondary dominant? I use a textbook that is telling me to look sec.dom as an embellishment, not genuinely belong to whole context of functional progression. But then moreover, how do you explain the functional chords on blues progression? Does it the tonic looks like a secondary dominant to you?

Thx Ken. Only in movies? or this could be Alban Berg or Aaron Copland? I haven't checked them yet though, a lil help would be much appreciated.

not likely

uuhhh...no

Please, anyone know which classical composer write this kind of music? I heard Danny Elfman wrote in this style, not sure if it's his own signature.

Some ppl just referred to modality. That's quite shocking. I thought modal is never be functional. Looking at this progression (Gm D64 Bb), you could just say it's true because there's no leading tone resolution. Do we call this an F major key? C - Bb - F - C Instead (I - bVII - IV - I) C mixolydian! Atleast that's what I heard. And neither this> C - G - F - C, with a same logic, never become a key. We may find a deceptive cadence, but there's no strong root progression towards tonic. Should we say an Ionian progression?

The point is I'm about to write a pop song using this material and dodecaphonic supersonic twelve tone serialism and email it to you.

I've tried to analyze this progression taken from a song, but it seems has a little clue about it. Gm D64 Bb G63 Cm G64 Eb C63 Eb G Bb Fm I think the key is in Gm with a brief tonicized Cm. But here are the problems, after tonicizing Cm we encounter a C63 which doesn't belong to Cm. Then I tend to interpret it back to Gm region as Eb and C63 are parallel in Gm. At the last four chords (which is the repeating part until the song end) again we are faced with the V and iv of Cm, which makes me interpret it as Cm region. Though it ends in Cm region, we can still hear a G tonality because Cm hasn't been firmly established, thus makes it merely a modal interchange. I also used to think that C63 is a borrowed chord from parallel C major. So it's kind of mixture inside Cm region. Is it back to Gm region or what? any ideas?

Recap: -Cadence> V-I or #vii-i in root position, occur at the end. -Cadential> V-I or #vii-i in root position, occur in the middle. -Non-cadential> those two in inversion or deceptive cadence, occur in the middle, still tonicize? I remember this one. Normally you need 7>1 resolution to tonicize, but in minor you just need 6>5 resolution like in ii-i unraised or like the example above, right? by what you meant as 'the harmony is full' is when it has enough characteristic before moving to strong root progression, i.e, the Bb to A tones already prevailed.