I’m in music three and there’s no music tutoring at my college. my professor is kinda awful, so basically everything I’ve learned the past few weeks was by myself. So I have no real context of if I’m doing ok. All I know is I keep getting bad grades lol
Could anyone check my work?
This is just the first page, :/
Can anyone check my work for music 3?
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- KVRer
- Topic Starter
- 1 posts since 4 Oct, 2021
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- KVRist
- 392 posts since 4 Aug, 2020 from Montreal, Canada
where to start...
There's definitely no Maj7 chords on this page. Maj7 is rare in classical.
You absolutely missed the deceptive cadence in the end of line 1.
C/G is I6/4. I6/5 is a seventh chord's inversion.
Very few people are inherently awful. Work your professor out.
There's definitely no Maj7 chords on this page. Maj7 is rare in classical.
You absolutely missed the deceptive cadence in the end of line 1.
C/G is I6/4. I6/5 is a seventh chord's inversion.
Very few people are inherently awful. Work your professor out.
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- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
Well, no "m" is suitable for Roman Numeral-bass figured analysis.
(Looks like lower case m to me.)
The sevenths are either a given, diatonically a default, or you will alter it in the figure.
So the first harmony has a minor seventh where a major seventh is expected. If you have to mark it, use a minus sign.
But, the harmony functions as a dominant seventh to A so the markup is simply V7/IV for most of us, because the function is spelled out in the V7/IV indication (V7/ *of* anything is a dominant seventh construction, for the purposes of common practice period practically always that convention.).
The second harmony can't be ii4/2 which would have an E bass. It's IV, if for no other reason your function indicates so.
The real bass is the A on the third beat of the measure in the bass clef. The preponderance of A in the measure is a strong hint, and there's but one F#.
The third harmony is the same as the first, only this one is in first inversion. The precise figure then is V6/-5 of IV.
(G# to D is the -5, 6 is the interval between the bass and the chord's root. The full figure is 6/5/3, 3 being the interval between the bass and the chord's fifth. It's a given unless the fifth is altered.)
The fourth markup is IV; you don't need to explain the G# because it's just part of a run, it doesn't so much mean a seventh chord.
The D# is an appoggiatura, meaning a non-chord tone on a strong beat which more or less demands resolution. Whether or not someone grading the assignment cares or not about showing that is more an individual matter.
The fifth harmony you marked up changes on beat three of the measure to another harmony. Begins I6/4 and moves to a V4/2.
The bass A as pertains to the chord's root is the 2; the bass A as per D# is the 4. The D# is a diatonic note meaning no explanation of that augmented 4 is necessary. Also compare with the first harmony, V4/2 which conventionally indicates a dominant seventh chord.
Number six is marked correctly, it's proper to indicate both keys at this juncture. It is a deceptive cadence but it is also a modulation to the key of C major. Once we're certain of the new key, the numerals for the key preceding may be dropped.
A bvii chord in a major key, doesn't really track. It's just ii6 in C, which you have.
Lastly, a textbook I6/4 - V7 cadence in C. 6 between the bass and the third (as always); 4 between the bass and the root. Full figure is 6/4/3, 3 is a given unless there is an alteration needing explanation, again.
(Looks like lower case m to me.)
The sevenths are either a given, diatonically a default, or you will alter it in the figure.
So the first harmony has a minor seventh where a major seventh is expected. If you have to mark it, use a minus sign.
But, the harmony functions as a dominant seventh to A so the markup is simply V7/IV for most of us, because the function is spelled out in the V7/IV indication (V7/ *of* anything is a dominant seventh construction, for the purposes of common practice period practically always that convention.).
The second harmony can't be ii4/2 which would have an E bass. It's IV, if for no other reason your function indicates so.
The real bass is the A on the third beat of the measure in the bass clef. The preponderance of A in the measure is a strong hint, and there's but one F#.
The third harmony is the same as the first, only this one is in first inversion. The precise figure then is V6/-5 of IV.
(G# to D is the -5, 6 is the interval between the bass and the chord's root. The full figure is 6/5/3, 3 being the interval between the bass and the chord's fifth. It's a given unless the fifth is altered.)
The fourth markup is IV; you don't need to explain the G# because it's just part of a run, it doesn't so much mean a seventh chord.
The D# is an appoggiatura, meaning a non-chord tone on a strong beat which more or less demands resolution. Whether or not someone grading the assignment cares or not about showing that is more an individual matter.
The fifth harmony you marked up changes on beat three of the measure to another harmony. Begins I6/4 and moves to a V4/2.
The bass A as pertains to the chord's root is the 2; the bass A as per D# is the 4. The D# is a diatonic note meaning no explanation of that augmented 4 is necessary. Also compare with the first harmony, V4/2 which conventionally indicates a dominant seventh chord.
Number six is marked correctly, it's proper to indicate both keys at this juncture. It is a deceptive cadence but it is also a modulation to the key of C major. Once we're certain of the new key, the numerals for the key preceding may be dropped.
A bvii chord in a major key, doesn't really track. It's just ii6 in C, which you have.
Lastly, a textbook I6/4 - V7 cadence in C. 6 between the bass and the third (as always); 4 between the bass and the root. Full figure is 6/4/3, 3 is a given unless there is an alteration needing explanation, again.
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- KVRist
- 392 posts since 4 Aug, 2020 from Montreal, Canada
