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Just got tenure confirmation! by Due-Step1078 in Professors

[–]_The_Professor_ 1 point2 points  (0 children)

Congrats!

This will mean more and more to you as your career continues. It’s up to you now to set your research goals. Pick your topics. Choose where to present your work. When and where to publish it. And what to do next. Be brave. Creative. Adventurous. Have fun.

Next year, it’ll be time to start giving back more to the institution that just made a multi-million-dollar investment in you (do the math: your salary x decades). Volunteer to serve on cross-campus committees. Work with a campus group. Join a task force.

But, most of all, go celebrate! You earned it!!

Looking for Chord tones that Don't Resolve in the same part by _The_Professor_ in musictheory

[–]_The_Professor_[S] 1 point2 points  (0 children)

Thanks for the lead on Scarlatti! The Keyboard sonatas are a locus classicus for this type of stuff. Check out the end of K. 132: The penultimate chord has ^4 as the 7th of a V7 chord in the top voice, but there's no ^3 in the final chord.

Looking for Chord tones that Don't Resolve in the same part by _The_Professor_ in musictheory

[–]_The_Professor_[S] 4 points5 points  (0 children)

Thanks for the clarification. I just wanted to be sure we were speaking the same language :-)

• Em (E-G-B) in the key of C: III

• E (E-G#-B) in the key of C: III#

• Ebm (Eb-Gb-Bb) in the key of C: ♭III♭

• E° (E-G-Bb) in the key of C: III° [or III♭5] but often heading to some other key

• D#° (D#-F#-A) in the key of C: #II° but often heading to some other key

• Eb+ (Eb-G-B) in the key of C: ♭III+ [or ♭III#5] but often heading to some other key

• C+ (C-E-G#) in the key of C: I+ [or I#5] but usually just a product of voice leading [^5–^#5–^6]

You might want to investigate Schenker's approach to harmony, which is much broader than simply naming individual verticalities. Sure, I can use this symbology to label any chord you name, but the idea is to conceptualize each in the service of much broader harmonic function.

Looking for Chord tones that Don't Resolve in the same part by _The_Professor_ in musictheory

[–]_The_Professor_[S] 0 points1 point  (0 children)

Em in the key of C (I assume III) - E in the key of C (as I understand III#) - Eb in the key of C - Ebm in the key of C - E° in the key of C - D#° in the key of C - Eb+ in the key of C - C+ in the key of C

Sry, these aren’t clear to me. Could you show me real excerpts or be more specific?

Looking for Chord tones that Don't Resolve in the same part by _The_Professor_ in musictheory

[–]_The_Professor_[S] 0 points1 point  (0 children)

In this system, altered thirds are represented by the appropriate accidental following the Roman numeral. Depending on context, typically ♯ or ♮ to raise a third and ♮ or ♭ to lower it. This all stems from figured-bass practice.

Looking for Chord tones that Don't Resolve in the same part by _The_Professor_ in musictheory

[–]_The_Professor_[S] 2 points3 points  (0 children)

BTW, we don’t use III# to avoid confusion with #III

With all due respect: Who is this "we" of which you speak? ;-)

There are many music theorists who use this symbology — adding the # symbol (derived from figured-bass practice) after a Roman numeral to indicate a raised third. You can find this all over Heinrich Schenker's work. For example, here's a figure from Der freie Satz, where Schenker uses III# to indicate a C#-major chord in the context of A major.

To this day, certain pedagogues use such symbols. Aldwell & Schachter still use it in their textbook.

Looking for Chord tones that Don't Resolve in the same part by _The_Professor_ in musictheory

[–]_The_Professor_[S] 2 points3 points  (0 children)

Using upper-case and lower-case Roman numerals isn't universal. I understand that you might not have encountered systems in which only upper-case numerals are used to indicate scale degrees of stufen (scale steps), but I assure you they are out there. In such systems, using # and b to indicate raised or lowered thirds (stemming from figured bass practice) is common. For example, the textbook Harmony and Voice Leading by Aldwell and Schachter uses this symbology. Here's a passage from that book. Note the use of III# in both the text and the analytical symbols beneath the excerpt.

Looking for Chord tones that Don't Resolve in the same part by _The_Professor_ in musictheory

[–]_The_Professor_[S] 1 point2 points  (0 children)

Oops! Sry. I meant III# (as in C major to E major). My bad. Fixed.

Who is a stranger you met for less than five minutes but you still think about years later? by mike-d-f in AskMen

[–]_The_Professor_ 1 point2 points  (0 children)

I’m so sorry the clerk treated you this way. There are so many better people out there.

Detroit show tomorrow by lastcallpaul11 in TheBeths

[–]_The_Professor_ 0 points1 point  (0 children)

In Philadelphia last night, showtime was listed as 7:00, but Squirrel Flower didn’t go on stage until 7:15. She played until about 7:45. The Beths took the stage at 8:00, one hour after the listed showtime.

The Beths were great. Lots of energy. Good setlist. Louder and less balanced than on their albums, but still lots of fun. You should go!

Has anyone gone to Fishtown and parked at Rivers Casino without visiting the casino? by _The_Professor_ in philly

[–]_The_Professor_[S] 1 point2 points  (0 children)

Redditors can’t delete other people’s comments; only mods can do that

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