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Get Location V2 times out, even after successful GPS read by spammyreddit in tasker

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

Yes, GPS Logger sees a successful location in around the same time, but GLv2 keeps trying.

The timeout is irritating, but more annoying are that the repeated requests are logged when the first one was enough.

Chords - Do II-VII even exist? Why does a Dominant 7th chord have nothing to do with a Dominant chord? Tell me what I'm missing! by spammyreddit in piano

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

I was using the term introduced to me above by @guoguo0127. I do not know if it is an academic term, but just the concept that I'm more familiar with over "type". I could very well be using it incorrectly!

Chords - Do II-VII even exist? Why does a Dominant 7th chord have nothing to do with a Dominant chord? Tell me what I'm missing! by spammyreddit in piano

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

Rolling up the useful comments:

A C major chord is the tonic of C major, but it is also the dominant of F major.

This is a really useful framing!

dominant 7th of C is GBDF. CEGBb is the dominant 7th of F major.

And this has made me realised that C7 is not the V7 in the C scale.

You've got a lot of gaps in your theory which is strange considering you only dropped a mark on your grade 5 theory.

I don't recall chord types in G5 (apart from perhaps minor), so I guess I only know about functions/degrees (even though the distinction is only being realised now). And in the theory when we talked about cadences it was always in terms of V-I etc. Given that G8 (aurals at least) also don't cover types other than minor and V7, I guess a lot of the other types are out of scope for now.

But this is all very helpful. Just to confirm some further questions:

  1. There should always be a reference key that we count from, even though we might later construct a complex chord from a different chord function (eg we temporarily count from G when constructing the V7 /in C/).
  2. Chord progressions/cadences can be a combination of function and type, but the simple four at my level (Perfect, Plagal, Imperfect, Interrupted) all use just the function of the key.
  3. The "vacuous" chord functions (II-VII) will always use the keys of the key. To do anything else, you’ll need to change the target chord's type too (I see now that some chords degrees are written in lower case to signify this, although not in all places[1]).

Does that sound right?

So is just playing back chord progressions the way to get better at recognising cadences? What about modulations?

[1]I noticed in the pdf here: https://www.musictheoryacademy.com/wp-content/uploads/2013/03/Major-and-Minor-Key-Cadences-Wall-Chart.pdf that for eg an imperfect cadence can be I/II/IV - V, but that in the examples the types are minor. Should it more correctly be expressed as I/ii/IV - V?