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Found 6 results

  1. Good hour good folks! This is a very very crucial question for me, so thank you in advance. I went ahead and tested the interval ranking (list of intervals from most consonant to dissonant in form of ratios) by building a chord with the 3 most dissonant intervals within the ranking which are Tritone - ratio (23:16) Minor 2nd - ratio (15:16) Minor 7th - ratio (9:16) Image Description (Root to tritone - root to minor 2nd - root to minor 7th.) As seen in the image above, according to the interval ranking there is no chord more diss
  2. It is often for composers to add chords in Violin repertoires to enrich the harmony and enhance the virtuosity. However, there are rules ought to be followed in composing to make the work playable. Here I would like to share some tips in chord writing for Violins. 1. Open String Chords It is important to know the 4 open strings of Violins: G, D, A, E. [Fig. 1a] Technically, it is almost always possible to play a chord with an open string and a note on neighbouring string(s). [Fig. 1b] 2. Substitutions It is possible to substitute a note, with its equ
  3. Hi everyone. This is a famous chord progression used in the chorus in pop songs, in the key of C major: F - G - Em - Am - Dm - G - C :|| However, there is a variation of this chord progression. After the repeat, the bass goes as: F# - F - E - Eb - D - G - C Can anyone figure out what are these chords? I'm assuming that they are: F#dim or F#m7-5 - Fm7 - C/E - Ebdim - Dm - G - C Here is an example of the chord progression: Thank you very much!
  4. So, when I first started theory I was told that retrograde (movement from a dominant function chord to a pre-dominant function chord) was strictly forbidden in common practice harmony. However, while working through Hindemith's "Traditional Harmony" I found that several of Hindemith's prescribed progressions in the exercises have retrograde progressions. So, is retrograde strictly forbidden? Are there exceptions? Am I just stupid? Discuss.
  5. Hey everyone I have read from a few websites/books that it is a good idea to turn the "Vm" chord into a "V7" chord when you are working in a minor key, so that it points more strongly to the "I" chord. But wouldn't you then be out of key by changing the minor 3rd in the "V" chord into a major 3rd? I don't understand how this works as you would also have to change that note in the melody to avoid sound dissonant, or is that the whole idea? I was thinking maybe you should make that a permanent change for the key? So for example if you are writing in A minor, change the G to a G♯ and keep it t
  6. Hey everyone, hope your all doing well. I want to go more in depth with chord voicing. I know about inversions and I use them to make help chord changes more fluid and avoid too much parallel harmony, but that's all I use them for. Are there other reasons one would choose a certain chord voicing? Is the middle not that important and it's all about the top and bottom notes? I would like to have a greater understanding and was wondering if anyone can recommend a book or something that goes into great detail and the subject? So far I have just been making it so each line moves as little as poss
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