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4

The wikipedia entry for "non chord tones" turns out to be pretty good, with a lot of examples: http://en.wikipedia.org/wiki/Nonchord_tone A passing note are the dissonants that are reached and left by stepwise motion in between chord tones that are typically a third or a fourth apart. They are typically short and on an unemphasized part of the beat (but ...


4

The answers to both of these questions depends strongly on context. Obviously, any single note played in isolation won't sound functionally different from any other note played in isolation, so in order to give it functional meaning (as a 2nd or 5th or what have you) you need to play it in the context of a key. Consider that we're in the key of C major. The ...


4

As you have observed, parallel 5ths are not particularly musical. In fact, in the first semester of Theory I, everyone learns the important rule of harmonizing a melody and bassline: "NO PARALLEL 5ths!" In fact, I give you not one, not two, but three different memes (that I did not make) that detail this. (This page has some much more useful images.) You ...


4

I'd approach this as an application of counterpoint, where it's not always desirable to have the intermediate voices be a 5th above the bass. In strict counterpoint, you would typically construct parallel voices with a separation of a 3rd or a 6th up from the bass, this may fill out the harmony better than a 5th. This is in addition to the the answer ...


3

Focus on the main downbeats of your melody. The rest you might have to turn into transition-focused points of your melody. To Reiterate: Yea, ok, A4, that's fine, but you will need to give something up, so focus on the important notes of your melody. Downbeats Longer-held notes (those with more duration) Hope this catches the point of your question.


2

The rules for a suspension are these: Suspended note precedes the suspending note, and therefore can't change until after the suspending note hits. A suspended note can repeat at point of suspension, but this is not typical. Suspending note has a consonant interval with the suspended note, then moves stepwise on a strong beat to a dissonant interval. This ...


2

The bVII or dominant bVII7 chord often comes from the mixolydian mode. Many bluegrass and rock and roll songs are written in the mixolydian and not in the major mode (or ionian mode, or major key, or major scale). In the key of C, the mixolydian scale is C D E F G A Bb C. So the chord is built on the note Bb in this mode. Since there is only one note ...


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So, the chord sequence is maybe Cmaj / Bbmaj / Fmaj. The Bb is subdominant of the (subdominant of C) Fmaj. It's sort of reverse ii - V - I that jazzers are renowned to use.As actually many, many songs utilise. The Bb chord , in a way, is related to the key of C in a 'first- removed' manner.You're right in that the resolution is in 2 plagal cadences, so it ...



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