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https://wmich.edu/musicgradexamprep/NonChordTones.pdf I think that 3 sources can help to clear up this question, that is H Helmholz, J.Rameau and fake-books in which You ought to analyze only acknowledged works. H. Helmholtz explained dissonances by interaction of chord's partials with near frequencies. Long before Helmholtz didn't dispose by this ...


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Before I answer your question, I think it will be helpful to explain "harmony". The melody of the song is conveyed via single notes. We often refer to chords that are played with the melody notes as the "harmony" part of the song. Dictionary.com has the following for the definition of "harmony": the simultaneous combination of tones, especially when ...


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Working from your example: C and F are both part of the F major chord, so you can hold one F major chord for both of those notes. G and D are both part of the G major chord, so you could just hold a G major chord for both notes. So you would have F major, then G major. Another way to do it: F and D are both part of a D minor chord, so you could hold D ...


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There is (at least) one chord in Common Practice Period harmony that has the same interval-pattern as a dominant seventh that behaves differently, the German Sixth. It's normally written differently (Ab-C-Eb-F# in C rather than Ab-C-Eb-Gb) but it's possible to play enharmonic games with the chord. Whether a chord is a dominant seventh is more accurately ...


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A secondary dominant is used to tonicize the chord you are moving to, ie, to make the chord of resolution feel like the I/i chord. This is accomplished through creating a dominant chord a fifth above the chord of resolution; the old V-I(i) resolution. In the vast majority of situations, this action requires altering a/some scale degree(s). This is ...


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Does a secondary dominant have to be major in your world of theory? If you'll accept Dm7 as a secondary dominant (in Dm7, G7, C) you should be able to accept either Am7 or A7 as a further secondary (tertiary?) dominant. If you can loosen up even more, you might accept Em7, Ebm7, Dm7, Db7, C as a string of secondary dominants. Don't worry too much about ...


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A secondary dominant won't have all its notes from the original key anyway. Take the secondary dominant from C major. Dominant is G, with all notes belonging to C, but the secondary dominant is D7, with an F#. So, your case - dominant of Dm is A7 ( or if you wanted, Am7), and its dominant will be E7 (or maybe Em7), making the secondary dominant.Generally, ...


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You would get an A7 chord, because you would build the secondary dominant chord based on the harmonic minor scale. The point of a secondary dominant chord is to make the chord you are basing it off feel like tonic, and this would be achieved by using the harmonic minor scale. This site would probably be helpful to better understanding ...


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"Sonority" just means "sound". Musicians may use the word in different ways in different contexts. But it generally boils down to just meaning "sound".


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Also, is there something I haven't thought of G minor is also a related key, unless the rules of your exam board prohibit using notes from the melodic minor scale in harmony exercises (it's 50+ years since I passed ABRSM grade 5 theory, so I don't remember that level of detail!) That would gives you a nice IVb-V imperfect cadence (the first inversion ...


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I think you're complicating your work with a simple misconception: classical music was just the pop music of its day. It's incredibly broad, and 99% of the classical music composed is mostly forgotten - what we're playing as classical music nowadays is cherry picked, "best of the best" (which is inherently subjective, of course). Tracing the "evolution" of ...


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As topo morto already commented, it doesn't really make sense to consider pop as just an evolution of classical music. It has lots of influences from folk, blues, jazz that don't really make sense from a classical-harmony perspective. To a large degree, you might also just sum pop up as “relax, focus on keeping the melody simple&catchy and then ...


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One point of view is given by Peter van der Merwe in a couple of interesting books. "Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music" and "Roots of the Classical: the Popular Origins of Western Music." Another interesting book is Alec Wilder's "American Popular Song" but it only covers the period up to about 1950. ...


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4 voices are common. The classic "Glenn Miller" sound had the melody doubled on tenor sax and clarinet an octave apart, with the three other saxes harmonising within that octave. So that's 4 independent parts. Also look at the "locked hands" piano style associated with George Shearing.The Baroque composers regularly wrote 4-part counterpoint (that's even ...


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Taking that a nominal chord will have 3 notes - root, 3rd and 5th, before getting to the octave of the root, it's 3. Even with first or second inversion. However, 2nds (or 9ths), 6ths and some sort of 7ths will also fit with the original triad. Not all at the same time, but 1,2,3,5 works. As does 1,3,5,6, or 1,3,5,7. Going over the octave, but not ...


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Yes, you would use C major in first inversion leading to D minor. You would probably handle the upbeat in the previous bar as G minor in root position, so the progression is ii/V - V6/V - vi/V, which is a classic deceptive cadence. As ttw notes, inversions are frequently used in phrases where a strong authentic cadence isn't required.


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A first inversion dominant chord is fine in a non-final cadence. Some texts class these as "imperfect cadences." The root movement is V-I (or V-i) but one or both chords are not in root position. The final cadence in a piece (or section of a piece) almost always has both chords in root position. Often first inversion chords are used to produce a more ...



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