tag:blogger.com,1999:blog-2559217513076985020.post3145501360209861190..comments2012-02-19T13:21:19.251-08:00Comments on UCLA Ext. Film Scoring Forum (in no way officially affiliated with UCLA Ext.....): Tonal Harmony - Week 3 Homeworkm0joehttp://www.blogger.com/profile/13840576464702259071noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-2559217513076985020.post-5718987628723200852008-07-10T20:51:00.000-07:002008-07-10T20:51:00.000-07:00Wow, after re-reading my comment it comes off as r...Wow, after re-reading my comment it comes off as rather pedantic...Steve could very well refute everything I posted but that's really just the way it appears to me. *hides in corner*Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-2559217513076985020.post-77263576415126828312008-07-10T07:53:00.000-07:002008-07-10T07:53:00.000-07:00Awesome, thanks for the tip Aaron.Awesome, thanks for the tip Aaron.m0joehttps://www.blogger.com/profile/13840576464702259071noreply@blogger.comtag:blogger.com,1999:blog-2559217513076985020.post-91909799618881701492008-07-09T19:19:00.000-07:002008-07-09T19:19:00.000-07:00You're right to pay attention to the enharmonic sp...You're right to pay attention to the enharmonic spelling of the chord. Keeping in mind that you want to look for tertian harmonies as much as possible in this genre, the triadic way to spell m. 28 (excluding the G pedal non-chord tone) is F sharp-A-C-E flat (an F# dim 7 in other words). This is the vii fully diminished 7 of V, and with the E-flat in the "bass", my opinion is vii fully dim. 4-2 of V would be the best analysis.<BR/><BR/>One small thing Steve hasn't touched on, though the Gauldin talks about it on p. 268, is the cadential 6-4. Basically it says that when a I 6-4 precedes a V in a cadential passage, the I 6-4 can be functionally treated as part of the "bigger V" chord. I mention this only because it's what occurs in mm. 29-30, which is why Bach can get away with the vii/V in m. 28.Anonymousnoreply@blogger.com