#1
And I learned (already knew, but reread) that the V-I is the most powerful resolving chord change in western music. can people list some other common changes like this? chord changes that resolve well and chord changes that cause tension.
Quote by Zero-Hartman
The Bible is awesome. Revelation is so badass, I mean, dragons and angels and the devil having an epic battle in the clouds? Badass.
#2
well
"cadances" <--- spelled it wrong

V -- I that's an authentic cadance
IV -- I is called a plagal cadance (think "amen" ... churchy music)
V -- VI (major!) is called a deceptive cadance (I think, if memory serves me right) and that's cool because it kinda changes keys.


umm... idk.
#3
V - I is a perfect authentic cadence. It is only perfect if there are no inversions (meaning the chords must be in their root position). If they are inverted, it is an imperfect authentic cadence.
In modern day music, you usually see this in pop-punk songs and such.

Ex. This is a very common one. In G Major, the D acts as the V and the G is the root.
G - C - D - G
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Last edited by Kotie at Dec 17, 2008,
#4
Quote by Bristlehead
well
"cadances" <--- spelled it wrong

V -- I that's an authentic cadance
IV -- I is called a plagal cadance (think "amen" ... churchy music)
V -- VI (major!) is called a deceptive cadance (I think, if memory serves me right) and that's cool because it kinda changes keys.


umm... idk.


correct!
They say good things come in small packages. You know what else comes in small packages? Unrelenting pain and horror.
#5
also, a cadence ending on V is called a half cadence

for example: I-IV-I(64)-V

it's mainly used to set up a phrase due to its "unconclusive" sound

also, to expand on the imperfect authentic cadence, vi-I is also considered an Imperfect authentic cadence.
They say good things come in small packages. You know what else comes in small packages? Unrelenting pain and horror.
#6
so to find out more about stuff like this i should look up 'cadences', correct?
Quote by Zero-Hartman
The Bible is awesome. Revelation is so badass, I mean, dragons and angels and the devil having an epic battle in the clouds? Badass.
#8
Quote by MisquotedTeabag
Functional harmony, my man, functional harmony.


Yes, it is. That doesn't really help him.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#9
Quote by Archeo Avis
Yes, it is. That doesn't really help him.



True. Although I was hoping he'd have used that as a start. I mean cadences are pretty specific and are really aspects of functional harmony. He was talking about things to look up, so let's juts say I gave him the phrase to google. But yes, you're right. Not very helpful.
#10
Quote by Bristlehead
V -- VI (major!) is called a deceptive cadance (I think, if memory serves me right) and that's cool because it kinda changes keys.


actually, the Sixth chord remains minor. It kind does change keys into natural minor, but no serious modulation goin on.

in Jazz theres the ii V7 I... very common
#11
Quote by eltravo
also, a cadence ending on V is called a half cadence

for example: I-IV-I(64)-V

it's mainly used to set up a phrase due to its "unconclusive" sound

also, to expand on the imperfect authentic cadence, vi-I is also considered an Imperfect authentic cadence.

I - IV is also a half cadence.
#12
Quote by coffeeguy9
actually, the Sixth chord remains minor. It kind does change keys into natural minor, but no serious modulation goin on.

in Jazz theres the ii V7 I... very common



I repeat myself. Cadential progressions are a part of functional harmony; not jazz harmony. Where Jazz harmony, more or less, relies merely on the presence of certain chords, functional harmony relies on, to a great extend, on these candetial progressions and associating each chord as merely an extention of the I IV and V chords.
#13
alright. 2nd time in 2 days ive heard this phrase "functional harmony" in musican talk. time to go do a google search. thanks guys.
Quote by Zero-Hartman
The Bible is awesome. Revelation is so badass, I mean, dragons and angels and the devil having an epic battle in the clouds? Badass.
#14
Resolving changes that haven't already been mentioned:
iiadd6 - I
vii0 (half-diminished) - I
vii0 (full-diminished - i
V7 - i

Deceptive Cadences (as in cadences which create suspense)
V-ii
V-vi
V-IV
V-VI

Predominants which should be mentioned just because:
ii-V
VI-V
bii6 (that 6 means it's an inversion by the way)-V
bVI - V
vi -V
V/V (could otherwise be called a II) - V
bIII+ - V
ii0 - V
vi6 - V

Might not seem like you have that much choice, but when you apply all the ways you could invert these chords (even though some chords should only be used in their 1st or 2nd inversion) there are heaps of possibilities.
Also keep in mind that Jazz based and Romantic Classical based music would usually have some very crazy all most non-diatonic changes that don't necessarily follow these rules. These rules only really apply to classical music and to pop/contemporary music.

And read some of Walter Pistons harmony books. Should help.
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#15
It's only Perfect Authentic if the resolution is in the Soprano.
Also ii V7 I is very coomon in Bach's writing.
All the V vi does is trick the ear into wanting to hear a I.