This blog was created in Spring 2020 for level-1 music theory and ear training classes at West Liberty University. We're continuing to use this blog through level 4.
This is your last semester of Theory and Ear Training! Make it your best one!
Hi guys, since my blog will not let me post, Kay is letting me post through her account. Here is my first mini lesson :) there are some errors in my voiceover- sorry about those.
Thank you for playing the music first! The example of the V7 is quite clear, plus you have several other concepts that we covered this semester, such as the cadential 6/4 and the supertonic triad in 1st inversion. I would have to disagree about the strictness of the resolution from m. 2 to m. 3, however. If we think of each of the four 16th notes in the arpeggiated LH chord as a “voice,” then we can trace the resolutions which look pretty strict. ABb (in both the top and bottom of the arpeggiation), CD, and FF. And although the Eb “disappears” on the 2nd beat of m. 2, if we imagine it persisting through the measure, it goes down to D on the downbeat of m. 3.
COMMENT FOR CARMEN
ReplyDeleteThank you for playing the music first! The example of the V7 is quite clear, plus you have several other concepts that we covered this semester, such as the cadential 6/4 and the supertonic triad in 1st inversion. I would have to disagree about the strictness of the resolution from m. 2 to m. 3, however. If we think of each of the four 16th notes in the arpeggiated LH chord as a “voice,” then we can trace the resolutions which look pretty strict. ABb (in both the top and bottom of the arpeggiation), CD, and FF. And although the Eb “disappears” on the 2nd beat of m. 2, if we imagine it persisting through the measure, it goes down to D on the downbeat of m. 3.