Rperlner
Joined 26 October 2020
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:::::::::::::: Looks like the so-called "purists" in the Music Theory department really were wrong about the IVM-VM-IM after all. Still, the usage of the IIm-VM-IM cadence does have serious merits- especially in an Ionian circle progression containing the final cadence. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 01:15, 6 January 2021 (UTC) | :::::::::::::: Looks like the so-called "purists" in the Music Theory department really were wrong about the IVM-VM-IM after all. Still, the usage of the IIm-VM-IM cadence does have serious merits- especially in an Ionian circle progression containing the final cadence. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 01:15, 6 January 2021 (UTC) | ||
::::::::::::::: Agreed. From my spot checking, it definitely seemed to me like Bach usually preferred ii V I final cadences to IV V I, as the former are much more common in his music.--[[User:Rperlner|Rperlner]] ([[User talk:Rperlner|talk]]) 15:38, 12 January 2021 (UTC) | |||
:::::::::::::: Now, as I'm looking over the counterpoint rules [[Wikipedia:Counterpoint|as listed on Wikipedia]], the only rule I can think of that I can flout for sure is rule six- building from the bass upwards- and that courtesy of the existence of Treble-Down Tonality, which requires the reverse direction construction for sections that use it. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 02:37, 6 January 2021 (UTC) | :::::::::::::: Now, as I'm looking over the counterpoint rules [[Wikipedia:Counterpoint|as listed on Wikipedia]], the only rule I can think of that I can flout for sure is rule six- building from the bass upwards- and that courtesy of the existence of Treble-Down Tonality, which requires the reverse direction construction for sections that use it. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 02:37, 6 January 2021 (UTC) | ||
::::::::::::::: BTW, if you're looking for info on counterpoint, I recommend Jacob Gran's youtube videos. Elam Rotem also has some good videos about the Renaissance tradition specifically, and a number go into detail regarding the Renaissance perspective on counterpoint (e.g. his video on cadences) as well as tuning. --[[User:Rperlner|Rperlner]] ([[User talk:Rperlner|talk]]) 15:38, 12 January 2021 (UTC) | |||
:: I know this may sound hard to believe, but in all my experimenting with different intervals, I've found that the wrong kind of interval involving small-number-ratios between the wrong two notes actually works against the formation of a sense of tonality. Conversely, a more tense-sounding interval in the right location- yes, even if the interval in question happens to be [[40/27]]- can actually strengthen your sense of tonality. Yes, intervals with small-number-ratios are vital to establishing tonality, but because of their power, they have to be well-placed within the tonal system, or otherwise the sense of tonality shifts when you don't want it to. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 04:50, 13 December 2020 (UTC) | :: I know this may sound hard to believe, but in all my experimenting with different intervals, I've found that the wrong kind of interval involving small-number-ratios between the wrong two notes actually works against the formation of a sense of tonality. Conversely, a more tense-sounding interval in the right location- yes, even if the interval in question happens to be [[40/27]]- can actually strengthen your sense of tonality. Yes, intervals with small-number-ratios are vital to establishing tonality, but because of their power, they have to be well-placed within the tonal system, or otherwise the sense of tonality shifts when you don't want it to. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 04:50, 13 December 2020 (UTC) | ||