Viola Sectionals

Music blog similar to gottabeastringplayer and gottabeaviolist! I follow back anyone and everyone who follows me! Submissions welcome!
the-ravelian:

lepamplemoussepourpre:

the-ravelian:

dilettante-perpetuel:

the-ravelian:

sometimes-music:

the-ravelian:

wizardmichael:

the-ravelian:

majerinvahorgin:

the-ravelian:

NO STUDENT OF MINE IS GONNA PLAY AN UNRESOLVED SEVENTH OF A DOMINANT SEVENTH NOOOOOOOOO NEVAHHHHHH

Cool it, gramps. We ditched that rule after theory 3.

NO.
YOU DON’T DITCH THE VOICE LEADING RULE.
THE VOICE LEADING RULE DITCHES YOU.
ALSO THIS IS NOT AN ISSUE OF PARALLEL FIFTHS, YOU DO ALL YOUR DISGRACEFUL PARALLELISM IN THEORY 4 ALL YOU WANT AND I WOULDN’T GIVE A RATS ASS BUT THIS IS A PROBLEM OF UNRESOLVED SEVENTHS AND DIM5 RESOLVING UP TO P5 AND IT IS NEVER FORGIVEN IN COMMON PRACTICE WHICH THIS PIECE OF SHIT MUSIC IS IN.
YOU DO WHAT YOU WANT BUT MY STUDENTS ARE NOT GOING TO BE A DISGRACE.

I think you’ll find there is nothing wrong here, the chord at the end has to have the F5 in the bottom because the top already has an A in it. If you were to put an A into the bottom you’d get a very unhealthy sounding number of thirds in the chord and judging from the musical context that isn’t what they were going for. I’m not sure who taught you theory but you’re wrong. Also, the voice leading is fine, the seventh always raises anyway? Very confused by your argument here?

I have one thing to tell you:
In a tonic triad in root position following a V7 in root position, the fifth is often omitted in the tonic triad.
In the bottom we have a C, E, and Bb in the V7, where the Bb MUST resolve down by step to A, the E (leading-note) must resolve up. This is the correct resolution.
For the top part, it could as well be 2 F’s and it would be perfectly correct.
Your argument is invalid.
I am still correct.
Times like this I miss my old URL.

As a professor of mine once posted on Facebook: “seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up.”

My Schenker professor’s mantra:
Om… Seventh of the Dominant 7th always resolves down by step… Om… Seventh of the Dominant 7th always resolves down by step… Om… Seventh of the Dominant 7th always resolves down by step… Om… Seventh of the Dominant 7th always resolves down by step… Om… Seventh of the Dominant 7th always resolves down by step… Om…

things are getting heated in the voice-leading fandom

We will defend our sevenths til the end of time.

I haven’t gotten to asking my theory professor this, and I’m assuming the answer would probably be ‘no,’ but according to http://www.choraleguide.com/vl-leadingnotes.php you can ignore the leading tone’s tendency to resolve to the tonic when it’s in the alto or the tenor. I would assume based on that premise (perhaps incorrectly) that it would be okay, in 4-part harmony, to not resolve the dominant seventh so long as it is in the alto, or as in this case, the tenor. Please correct me if I’m wrong, because I’ve always found this confusing.

You may “frustrate” the leading note if it were in an inner voice and have it resolves to the dominant. That is one way to do it, especially if you want to have a complete tonic after. So to set things straight, when you have V7-I in root position, you will either have:
1. Proper resolution for the Leading note and the Seventh, but an incomplete tonic (likely 3 roots and a 3rd); or
2. Proper resolution for the Seventh, a frustrated Leading note (resolving to the Dominant), and a complete final tonic.
As for the Seventh, THERE IS ABSOLUTELY NO CIRCUMSTANCES WHERE YOU RESOLVE IT OTHERWISE, INNER VOICE OR NOT, YOU MUST ALWAYS RESOLVE A SEVENTH DOWN BY STEP.
Sometimes you may suspend the seventh, which is also common, but you will find that eventually that seventh will GO DOWN A STEP.
NO EXCEPTIONS.
@lepamplemoussepourpre Hope that helps!

the-ravelian:

lepamplemoussepourpre:

the-ravelian:

dilettante-perpetuel:

the-ravelian:

sometimes-music:

the-ravelian:

wizardmichael:

the-ravelian:

majerinvahorgin:

the-ravelian:

NO STUDENT OF MINE IS GONNA PLAY AN UNRESOLVED SEVENTH OF A DOMINANT SEVENTH NOOOOOOOOO NEVAHHHHHH

Cool it, gramps. We ditched that rule after theory 3.

NO.

YOU DON’T DITCH THE VOICE LEADING RULE.

THE VOICE LEADING RULE DITCHES YOU.

ALSO THIS IS NOT AN ISSUE OF PARALLEL FIFTHS, YOU DO ALL YOUR DISGRACEFUL PARALLELISM IN THEORY 4 ALL YOU WANT AND I WOULDN’T GIVE A RATS ASS BUT THIS IS A PROBLEM OF UNRESOLVED SEVENTHS AND DIM5 RESOLVING UP TO P5 AND IT IS NEVER FORGIVEN IN COMMON PRACTICE WHICH THIS PIECE OF SHIT MUSIC IS IN.

YOU DO WHAT YOU WANT BUT MY STUDENTS ARE NOT GOING TO BE A DISGRACE.

I think you’ll find there is nothing wrong here, the chord at the end has to have the F5 in the bottom because the top already has an A in it. If you were to put an A into the bottom you’d get a very unhealthy sounding number of thirds in the chord and judging from the musical context that isn’t what they were going for. I’m not sure who taught you theory but you’re wrong. Also, the voice leading is fine, the seventh always raises anyway? Very confused by your argument here?

I have one thing to tell you:

In a tonic triad in root position following a V7 in root position, the fifth is often omitted in the tonic triad.

In the bottom we have a C, E, and Bb in the V7, where the Bb MUST resolve down by step to A, the E (leading-note) must resolve up. This is the correct resolution.

For the top part, it could as well be 2 F’s and it would be perfectly correct.

Your argument is invalid.

I am still correct.

Times like this I miss my old URL.

As a professor of mine once posted on Facebook: “seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up.”

My Schenker professor’s mantra:

Om… Seventh of the Dominant 7th always resolves down by step… Om… Seventh of the Dominant 7th always resolves down by step… Om… Seventh of the Dominant 7th always resolves down by step… Om… Seventh of the Dominant 7th always resolves down by step… Om… Seventh of the Dominant 7th always resolves down by step… Om…

things are getting heated in the voice-leading fandom

We will defend our sevenths til the end of time.

I haven’t gotten to asking my theory professor this, and I’m assuming the answer would probably be ‘no,’ but according to http://www.choraleguide.com/vl-leadingnotes.php you can ignore the leading tone’s tendency to resolve to the tonic when it’s in the alto or the tenor. I would assume based on that premise (perhaps incorrectly) that it would be okay, in 4-part harmony, to not resolve the dominant seventh so long as it is in the alto, or as in this case, the tenor. Please correct me if I’m wrong, because I’ve always found this confusing.

You may “frustrate” the leading note if it were in an inner voice and have it resolves to the dominant. That is one way to do it, especially if you want to have a complete tonic after. So to set things straight, when you have V7-I in root position, you will either have:

1. Proper resolution for the Leading note and the Seventh, but an incomplete tonic (likely 3 roots and a 3rd); or

2. Proper resolution for the Seventh, a frustrated Leading note (resolving to the Dominant), and a complete final tonic.

As for the Seventh, THERE IS ABSOLUTELY NO CIRCUMSTANCES WHERE YOU RESOLVE IT OTHERWISE, INNER VOICE OR NOT, YOU MUST ALWAYS RESOLVE A SEVENTH DOWN BY STEP.

Sometimes you may suspend the seventh, which is also common, but you will find that eventually that seventh will GO DOWN A STEP.

NO EXCEPTIONS.

@lepamplemoussepourpre Hope that helps!

(via thezenithofsarcasm)

nocherrybombs:

Being a fan of classical music is weird, because you want to tell your friends about the songs you like but it’s always

"Hey check out this new piece of music I just found! And by new, I mean it’s three hundred years old."

(via passionforhorn)

mermprincess:

phlurp:

My friend claimed he could play Flight of the Bumblebee and accompany himself. Then he did this.


 

(via oboesapien)