Notation Software Users Forum  


Go Back   Notation Software Users Forum > Musician community sharing > Share Your Music

Share Your Music Share your .not or .mid files of your arrangements or compositions.

 
 
Thread Tools Display Modes
Prev Previous Post   Next Post Next
  #3  
Old 02-24-2007, 09:54 AM
M G Jacobs (mgj32)
Guest
 
Posts: n/a
Default Hi Derek, You might be intere

Hi Derek,
You might be interested in the original ending, as well as I can remember it.



One of the things that this prelude is intended to remind me of is that "cadence" and "ending" don't necessarily mean the same thing. A piece ends when the music stops, whatever chord progression is involved. But the original ending was not what I was hearing, or since it was vague, what I thought I was hearing in my head, for an ending. I was rather surprised when I tried what is there now. Actually, it took only a couple of tries, so I must have been hearing it in my head pretty definitely.

A suspended, or interrupted, cadence may be the best way to describe it, and I suppose it could be analyzed in a number of ways. If the key is G, I guess it would be a I with an added mi 7th resolving into a IImin with an added mi 7th, located far below the action. If I play a straight I followed by a straight II, in any key, or a I followed by a II with the added tones, my ear does not get a sense of any kind of resolution, whereas the prelude does to my ear achieve a sense of the music coming to rest. I guess it depends on the inversion and what if any tones are doubled.

Another thing I am reminding myself of here is that thinking of a piece in terms of key or tonal center can be a fiction. If you change the key signature to C, what do you have at the end? V7-I6. But with the only true cadence, V-I (E with an added mi 7th to Amin with added mi 7th) a few notes before, the key isn't C. But the key doesn't strike me as A, either, in which case the cadence would be VIImin to Imin. So, at least key signature is a fiction. You can use Composer to change that to anything you want and the sound remains the same. The easiest way to look at this piece is that it has several tonal centers and at some point near the end, perhaps in the last measure, itself, becomes C or is in process of working toward it.

It's been a few years, decades actually, since I did lessons twice a week in what chord can progress to which in what position with what doubled and what not. Once tones are added to the basic triad, or tones are altered, some of those rules very early on began to seem problematic (once you sharp the A in the D triad--good grief, how far are you from F# or Bb?). And listening to my teacher play from his fake book (he played cocktail piano weekends), it was interesting to see what rules were broken, all with a sound that seemed to fit. So another thing I'm being reminded of is that analysis of what I'm doing is academic, and rather than it driving me batty to not decide how to describe a chord to make it fit into a scheme, I should not spend the time if my ear likes it. What my ear likes will not be accepted, let alone liked, by all. But what mine will accept is probably pretty tame, as the sound of music goes these days.

All of which goes to say that "the intricacies would be too much for me," also. I'm making progress, slowly, at keeping myself from analyzing too much as I go, reminding myself that if it sounds right, maybe it is. And of course, maybe it isn't...

all best,
mgj
Reply With Quote
 

Bookmarks

Thread Tools
Display Modes

Posting Rules
You may not post new threads
You may not post replies
You may not post attachments
You may not edit your posts

BB code is On
Smilies are On
[IMG] code is On
HTML code is Off

Forum Jump


All times are GMT. The time now is 01:00 PM.


Powered by vBulletin® Version 3.8.4
Copyright ©2000 - 2024, Jelsoft Enterprises Ltd.
Notation Software Germany GmbH www.notation.com/Imprint.php