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Message: Re: What drives V - I resolution?

Changed By: Athair
Change Date: April 19, 2017 04:35PM

Re: What drives V - I resolution?
An additional.reason could.be roughly at follows: taking the skip by single notes only, that is G to C, there would arguably stress the 5ths harmonics of C, creating an underlaying sort of melody (or pedal-like) line like G-G

Such an outcome would be satisfying by itself as far as it contributed to get a somewhat stable underlying harmony (or melody): that is keeping G at the second measure in G-G, instead of switching it into some other note.

So to speak, this type of rationale (related to Counterpoint) would have the advantage of enabling other movements between chords/degrees: for instance, Plagal Cadence IV-I. In this case the upward 5th skip would stress an underlying line like that of a kept mayor 6th, that is A, like A-A, (evem if you wrote C as c-e-g only, and not c-e-g-a), between the two measures.

If that could be.the case, then you would have the harmonies of Perfect vs Plagal cadence based respectively a major 2nd appart from each other (that is, G vs A); which rendered great consequences (forward and backwards, harmonically speaking), etc.

Greetings
Changed By: Athair
Change Date: April 19, 2017 04:31PM

Re: What drives V - I resolution?
An additional.reason could.be roughly at follows: taking the skip by single notes only, that is G to C, there would arguably stress the 5ths harmonics if C, creating un underlaying sort of melody (or pedal-like) line like G-G

Such an outcome would be satisfying by itself as far as it contributed to get a somewhat stable underlying harmony (or melody): that is keeping G at the second measure in G-G, instead of switching into some other note.
An additional.reason could.be roughly at follows: taking the skip by single notes only, that is G to C, there would arguably stress the 5ths harmonics of C, creating an underlaying sort of melody (or pedal-like) line like G-G

Such an outcome would be satisfying by itself as far as it contributed to get a somewhat stable underlying harmony (or melody): that is keeping G at the second measure in G-G, instead of switching it into some other note.

So to speak, this type of rationale (related to Counterpoint) would have the advantage of enabling other movements between chords/degrees: for instance, Plagal Cadence IV-I. In this case the upward 5th skip would stress an underlying line like that of a kept mayor 6th, that is A, like A-A, between the two measures.

If that could be.the case, then you would have the harmonies of Perfect vs Plagal cadence based respectively a major 2nd appart from each other (that is, G vs A); which rendered great consequences, (forward and backwards, harmonically speaking), etc.

Greetings

Original Message

Author: Athair
Date: April 19, 2017 04:28PM

Re: What drives V - I resolution?
An additional.reason could.be roughly at follows: taking the skip by single notes only, that is G to C, there would arguably stress the 5ths harmonics if C, creating un underlaying sort of melody (or pedal-like) line like G-G

Such an outcome would be satisfying by itself as far as it contributed to get a somewhat stable underlying harmony (or melody): that is keeping G at the second measure in G-G, instead of switching into some other note.

So to speak, this type of rationale (related to Counterpoint) would have the advantage of enabling other movements between chords/degrees: for instance, Plagal Cadence IV-I. In this case the upward 5th skip would stress an underlying line like that of a kept mayor 6th, that is A, like A-A, between the two measures.

If that could be.the case, then you would have the harmonies of Perfect vs Plagal cadence based respectively a major 2nd appart from each other (that is, G vs A); which rendered great consequences, etc.

Greetings