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IVdim-I function?

Posted by GuitarGuy570 
IVdim-I function?
September 29, 2017 06:29PM
Hi all! Been kind of slow lately so I thought I would liven it up

I was playing around on my keyboard and I came up with a Cdim in root position going to a G in 2nd inversion. Other than being parsimonious, I couldn't find any other explanation for why this sounds good. Any ideas? I came up with it working in the G double harmonic major scale, but it doesn't sound quite so foreign to my ears so i would love to hear other suggestions! Thanks!



Edited 1 time(s). Last edit at 09/29/2017 06:30PM by GuitarGuy570. (view changes)
Re: IVdim-I function?
September 30, 2017 09:44PM
Do you mean C-#F-#D-A to D-G-B-G?
Re: IVdim-I function?
October 01, 2017 05:13AM
No I meant C-D#-F# to D-G-B-G. Just a regular Cdim, not Cdim7. My bad for not being more clear :)
Re: IVdim-I function?
October 01, 2017 08:08AM
If you voice the Cdim chord like C-F#-D# (instead of C-D#-F#) it might be argued that the D# worked as a sort of suspension of D; in such a case the following 6/4 chord would nicely fit into such a framework for that reason (given thar the former suspended note, that is D, now takes the bass position). That is the way i see it. Greetings!



Edited 2 time(s). Last edit at 10/01/2017 08:11AM by Athair. (view changes)
Viz
Re: IVdim-I function?
October 04, 2017 10:28PM
That's really a V-I cadenace from D to G; it's a D7 3rd inversion (ie with C at the bottom), the D itself is absent (bear with me) you have the F# and the A from the D major triad, and finally there's that D# instead of the D, which is a sort of chromatically suspended flat2 note. Don't know its name.
ttw
Re: IVdim-I function?
October 05, 2017 06:40AM
A subdominant-dominant-tonic cadence can be composed in different ways. The subdominant function can be (among others) represented by a IV,iv,IV6,iv6,ii0,ii06, the dominant as V,V7,vii0 and the tonic as I, i, I6, or i6 or even VI or vi. Any such mix and match sounds good if the voice leading is done correctly. Generally some combinations sound more final and my be reserved for ends of sections and others may be used for marking phrase ends or even within phrases.

There are even more possibilities such as using any of the Augmented Sixth or Neapolitan Sixth chords for the subdominant or inserting I64 before the V7 (a suspension) or inserting an Augmented Sixth before the V. Cadences can be extend by adding several such sub-dominant chords, again minding the voice leading.
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