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Hmm. Let me illustrate.Saurencaerthai wrote:Perhaps I'm not understanding your terminology, but the D is being suspended over what chord to begin with?
Code: Select all
A -- A -- A -- A -- B
G -- F# - E -- F# - G
D -- D -- D -- D -- DRegardless of how it "feels," that is resolved. Maybe your piano is out of tune?Surlethe wrote:Hmm. Let me illustrate.Saurencaerthai wrote:Perhaps I'm not understanding your terminology, but the D is being suspended over what chord to begin with?
This is the sequence I had in mind, and the fourth chord doesn't feel resolved; it wants to go to the G-chord instead. Am I clearer?Code: Select all
A -- A -- A -- A -- B G -- F# - E -- F# - G D -- D -- D -- D -- D
Well, first of all, in terms of classical theory, you don't really have a suspension to resolve. If the G from your first chord is held over and suspended from the previous chord, then you do, but with the limited information you've presented here, I can't in good conscience call it a suspension. Now! Moving away from the technicalities...Surlethe wrote:Hmm. Let me illustrate.
This is the sequence I had in mind, and the fourth chord doesn't feel resolved; it wants to go to the G-chord instead. Am I clearer?Code: Select all
A -- A -- A -- A -- B G -- F# - E -- F# - G D -- D -- D -- D -- D
Zaia wrote:Well, first of all, in terms of classical theory, you don't really have a suspension to resolve. If the G from your first chord is held over and suspended from the previous chord, then you do, but with the limited information you've presented here, I can't in good conscience call it a suspension. Now! Moving away from the technicalities...Surlethe wrote:Hmm. Let me illustrate.
This is the sequence I had in mind, and the fourth chord doesn't feel resolved; it wants to go to the G-chord instead. Am I clearer?Code: Select all
A -- A -- A -- A -- B G -- F# - E -- F# - G D -- D -- D -- D -- D
Second of all, the progression does resolve with the last, but your brain might not be registering it because it wants to hear the root in the bass. You've got a nice pedal tone thing going on with all your D's, but I'll bet if you double the root and eliminate the 5th (no worries, you're allowed) by putting a G in the bass for the last chord, your ear will say, "That's what I wanted!" because it'll make the resolution sound more prominent. Try it and see if that feels better.
No, alas, I cannot. However, I do thank you for quoting what I said, because it brought to mind something which I forgot to address previously.Edi wrote:
Could you people repeat that in Egyptian hieroglyphs? Because it might make more sense that way...
Bah, 'never' is crap; if you had a good teacher and the time and motivation to learn, I have every faith you could do it.Edi wrote:Seriously, I suck at all aspects of music, so anyone who can carry a tune with an instrument has my automatic respect for possessing a skill I'll never be able to master.
Giving me a musical instrument must be a breach of several different weapon ban treaties. My singing is somewhat better, which means that I merely sound like a crow with a sore throat on a good day. The bad ones, you don't want to know...
Edi
Sorry; I'm an unschooled heathen who just picks stuff up here and there and plays stuff every now and again.Zaia wrote:Well, first of all, in terms of classical theory, you don't really have a suspension to resolve. If the G from your first chord is held over and suspended from the previous chord, then you do, but with the limited information you've presented here, I can't in good conscience call it a suspension. Now! Moving away from the technicalities...
I'm not being very clear in my question. It's, why does the chord resolve with the G, and not with the penultimate D? Does that make sense? I tried putting a G in the bass, and it did resolve nicely, but why does it resolve to the subdominant instead of the tonic (D, in this case)? Am I making sense at all?Second of all, the progression does resolve with the last, but your brain might not be registering it because it wants to hear the root in the bass*. You've got a nice pedal tone thing going on with all your D's, but I'll bet if you double the root and eliminate the 5th (no worries, you're allowed) by putting a G in the bass for the last chord, your ear will say, "That's what I wanted!" because it'll make the resolution sound more prominent. Try it and see if that feels better.
Okay; that makes sense.*Edit: In case you aren't sure why this would be, a chord with the 5th in the bass ends up sounding more like a tonic than a dominant chord in the key. So, in plainer English, to make it sound more like a G chord, put a G in the bass.
How is D the tonic? Are there more chords to this progression that you've left out, or is this it? Because my ear is telling me you're in the key of G major, and that D is your dominant.Surlethe wrote:I'm not being very clear in my question. It's, why does the chord resolve with the G, and not with the penultimate D? Does that make sense? I tried putting a G in the bass, and it did resolve nicely, but why does it resolve to the subdominant instead of the tonic (D, in this case)? Am?I making sense at all?
Hmm. I suppose the context matters more than I had previously assumed. Here's a chord progression I just threw together:Zaia wrote:How is D the tonic? Are there more chords to this progression that you've left out, or is this it? Because my ear is telling me you're in the key of G major, and that D is your dominant.
You edited your post while I was at the piano, you sneaky, you.The F# in the D chord is trying to resolve up to G. The 3rd chord tone in the dominant chord of any key is called the leading tone (in this case, the F#), because it leads up to the root of the tonic chord (in this case, the G). The fact that you've repeated the D chord and have D being repeated in every chord as a pedal tone in the bass only strengthens the feel of the dominant and makes the resolution from the F# up to the G feel more like G is the tonic. If this was not your intention, to end up in the key of G, I suggest you change your chord progression.
This very much clears up the issue; thanks. It's a bit strange if they're all major chords. My ear still puts it in the key of G (slightly less emphatically than before, but since you end on a G chord, it still sounds like an authentic cadence, which is just a fancy way of saying "It goes dominannnnnnnnnnnnt-->tonic!").Surlethe wrote:Hmm. I suppose the context matters more than I had previously assumed. Here's a chord progression I just threw together:
D G C A D G Dsus G -- how's that?
Aye, sorry. I haven't had to explain this stuff for quite a while; I'm a bit rusty.Surlethe wrote:You edited your post while I was at the piano, you sneaky, you.