#1
Thanks to everyone who took the quiz, and also thanks for being patient waiting for answers… here they are. Answers are bolded.

1. Give an example of a song with a melody that begins by going up a perfect fifth (the second note of the melody is a perfect fifth above the first).

A popular example is the Star Wars theme. These examples can be useful as references for recognizing intervals in other music.

2. a.) What is the formula for the melodic minor scale?

Going up, it is root, major second, minor third, perfect fourth, perfect fifth, major sixth, major seventh. Coming down, it is root(octave), minor seventh, minor sixth, perfect fifth, perfect fourth, minor third, major second, root.

Example: in C. C D Eb F G A B C Bb Ab G F Eb D C


2. b.) Why is the melodic minor built this way?

The ascending major seventh leads well into the root. In a chord progression, this would generally be the third of the dominant, which would to to the root as it cadences to the tonic.

In a melodic line, the b6 to major 7th would create an augmented second, which can be an awkward interval. Raising the 6th lowers that interval to a major second, which is smoother. This major sixth is also the major third of the IV chord in minor.

When descending, the seventh is no longer going to resolve upward, so it reverts to its natural minor degree of a minor seventh. The minor 6th also pulls towards the fifth when descending.


3. a.) Give an example of a ii-V-I.

In C major, d (minor) – G – C. If these were sevenths, they would be dm7 – G7 – Cmaj7, and jazz people could go on from there if they felt like it.

3. b.) Give an example of a chord that could replace the V to get a similar effect.

Tritone substitution would work very well here. In short, tritone substitution is where you replace the dominant with a dominant whose root is a tritone away, which interestingly still has the third and the seventh of the dominant, just reversed (the third is the seventh and the seventh is the third). So, this chord still resolves well to the tonic, and can create nice chromatic descent in the bass. Example: dm7 – Db7 –Cmaj7. If you need to learn more, do a search, an example thread is here: https://www.ultimate-guitar.com/forum/showthread.php?t=407376&highlight=tritone+substitution

There are other options, too, such as the vii° and viif (fully-diminished and half-diminished, respectively).


4. List the modes of the major scale, and for each mode give a type of chord that the mode would work well over.

Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian.

With the root of the mode being the root of the chord, here are some simple examples that could work:

Ionian - Major, Dorian - Minor, Phrygian - Minor, Lydian - Major, Mixolydian - Major, Aeolian - Minor, Locrian - Diminished.


5. What is a cadential six-four?

It is a second-inversion tonic chord which moves to the dominant at a cadence. This chord is generally found on a strong beat, but it could be on a weak beat, such as when going to a half-cadence.

(A second-inversion chord is a chord which has its fifth in the bass.)


6. Give an example of a compound triple time signature.

In compound time, each beat is divided into three parts. The triple means that there are three beats in a measure. So, for example, 9/8 would have three beats per measure, each of which is the length of three eighth notes.


7. Find the parallel fifths in this example:



Parallel fifth are consecutive fifths between two voices. In this example, they are on the first and second beats, in the tenor and alto voices.

Some people also gave the second and third beats of the alto and soprano, but those are parallel fourths.


8. Analyze the chords above using roman numerals and figured bass.

The key is A, so the chords are I ii I V7 I. Those are the roman numerals.
With figured bass, it is I ii6 I64 V7(4-3) I. The ii6 and I64 have those numbers because of their inversions: information could be found here: https://www.ultimate-guitar.com/forum/showthread.php?t=482381 The V7(4-3) has the 4-3 because there is a suspension a fourth above the bass which resolves to a third above the bass.



As promised, the score breakdown:

70-80: 5
60-69: 3
50-59: 2
40-49: 2

The top three scores:
fenderfrk10 –78
kmbuchamushroom – 76
EZLN libertad – 75

Good job

If you have any questions, or if anything was confusing, just post here. In a few days, there should be another quiz up from someone else.
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#4
woo for 3rd!
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#5
Awesome. I find it funny how the first, second, and third place people posted in order lol.

I forgot to turn in my answers! Is fenderfrk10 hosting the next one?
#6
i dunno. i'm not one of "the Boyz" (as i think they're called) so probably not.
hmmmm...
#7
^ While "The Boyz" is an extremely exclusive club, you can host the next one if you please. Who knows, it might get you one of the ever coveted golden tickets.....

PM me if you are interested.
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#8
Quote by kirbyrocknroll
Awesome. I find it funny how the first, second, and third place people posted in order lol.

I forgot to turn in my answers! Is fenderfrk10 hosting the next one?


lol, I was wondering what happened...
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#9
Quote by nightwind
^ While "The Boyz" is an extremely exclusive club, you can host the next one if you please. Who knows, it might get you one of the ever coveted golden tickets.....

PM me if you are interested.

Exclusive? How many Boyz are there? Just wondering It reminds me of a sig that said "Founder of the Alter Bridge Fan Club. No, you can't join!". It was Phil's I think.

EDIT: V Seriously? lol. How many
Last edited by kirbyrocknroll at Mar 6, 2007,
#10
^Haha, uh. Don't worry Kirb, you are a "The Boyz".
Don't tell me what can not be done

Don't tell me what can be done, either.



I love you all no matter what.
#11
dang. I dont remember my score, but i think i might have been like 4th lol

I dont understand why the inversions are named the way they are, thus they confuse me on how to name them when i need to. Can someone clarify?
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#12
the inversion symbols specify the intervals to be built over the given bass note. Aso, in a lot of cases the 3rd is implied. So, for example if you had a V65 in the key of C it would be a G dom. 7 chord in first inversion. Since first inversion indicates that the third is in the bass, the bass note would be a B. then the intervals of a 3rd (implied) a 5th and a 6th would be built on top of the base note giving you

6th above - G
5th above - F
3rd above - D
bass - B
hmmmm...
#13
^ I don't know, but I'm guessing because that's what intervals invert to?

Root - Major Third - Perfect Fifth is the major triad right? Well if you invert the Major Third and Perfect Fifth, you get a Minor Sixth (6) and a Perfect Fourth (4). So I guess that's where 6-4 comes from.

I don't know actually, this was just a guess.


EDIT: Nevermind lol

Thanks fenderfrk
Last edited by kirbyrocknroll at Mar 6, 2007,
#16
yes

I'm sorry about the delay. I have been completely incapacitated by the amount of work i needed to do on my research paper (damn the english language). Anyway, I just sent the preview to nightwind so hopefully the quiz will be up relatively soon.
hmmmm...
#18
Quote by fenderfrk10
the inversion symbols specify the intervals to be built over the given bass note. Aso, in a lot of cases the 3rd is implied. So, for example if you had a V65 in the key of C it would be a G dom. 7 chord in first inversion. Since first inversion indicates that the third is in the bass, the bass note would be a B. then the intervals of a 3rd (implied) a 5th and a 6th would be built on top of the base note giving you

6th above - G
5th above - F
3rd above - D
bass - B



just stating most everyone drops out the "5s" and just calls it a 6 chord. i.e. V6 in the key.
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#19
^eh that's not the way i learned it

becuase if you have a triad in first inversion it would be ex. V6
going by what you just said, a seventh chord in seventh inversion would also be called V6 not V65 and there would be no distinction as to whether it was a 7th chord or a triad

just saying...
hmmmm...