Timeline for Is this some sort of suspension? If so, how do I write it in?
Current License: CC BY-SA 4.0
7 events
| when toggle format | what | by | license | comment | |
|---|---|---|---|---|---|
| Aug 21, 2020 at 18:35 | vote | accept | EdB123 | ||
| Aug 21, 2020 at 18:16 | comment | added | EdB123 | It is a D natural but your'e absolutely right! When it comes to the dominant pretty much anything goes! Still pretty new at this - thanks for your help! | |
| Aug 21, 2020 at 18:14 | comment | added | Howlium | I can’t see the key signature. If you’re in F#, it’s a D#, so sort of a passing tone. (Passing because it’s running on a scale up to the E#, but then it drops down an octave so not quite a passing tone.) If it’s really a D natural, then to me it’s what we jazzers call a C#7-flat9, which Bebop borrowed from the upper voice extensions of Romantic composers. (Or inversions of a VIIdim7, but then you have a suspension at top again. That treble note makes it feel more like a V7 to me.) | |
| Aug 21, 2020 at 18:05 | comment | added | EdB123 | I see, so you see the whole measure as V7? There is a D though in the bass (under which i have put ii 7) which cannot be defined as an auxiliary or passing note? So i see the B and D (with a c sharp passing note in the middle) as ii half dim 7 in first inversion. (I should have put 65 instead of 6). Would you agree? | |
| Aug 21, 2020 at 17:59 | comment | added | Howlium | Absolutely. In fact the whole measure is just inversions of the same long C#dom7 chord. | |
| Aug 21, 2020 at 17:44 | comment | added | EdB123 | Thanks for the comment! I think I decided against this because that would mean we were moving from V7 to V. i thought V7 could only be followed by a tonic chord? I thought it was a passing 64, as earlier on in the piece a 64 was used in a very similar way (but this time, the bass note was doubled in the top part, so no issues). So, is V7-V legitimate? Thanks, Ed | |
| Aug 21, 2020 at 17:34 | history | answered | Howlium | CC BY-SA 4.0 |