The progression involves a Neapolitan sixth, but it is not that term I am out for. It is the relationship between the Db and the D shown by the diagonal line.
Klaus
German: Querstand - English: ?
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imperialbari
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German: Querstand - English: ?
In German Querstand is the term for some certain chromatic movements spread over two voices. One sample:
The progression involves a Neapolitan sixth, but it is not that term I am out for. It is the relationship between the Db and the D shown by the diagonal line.
Klaus
The progression involves a Neapolitan sixth, but it is not that term I am out for. It is the relationship between the Db and the D shown by the diagonal line.
Klaus
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Chuck Jackson
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Re: German: Querstand - English: ?
Klaus,imperialbari wrote:The progression involves a Neapolitan sixth, but it is not that term I am out for.
Maybe there is a term, but it looks like REALLY BAD voice leading to me, something I would expect out of one of my AP Theory kids who rushed through an assignment.
Chuck"puzzled as to why anyone would want to define it much less write it, but Bach broke every "rule" in the book and he was pretty good"Jackson
I drank WHAT?!!-Socrates
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imperialbari
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Re: German: Querstand - English: ?
My asking of course has relevance for the SSB in Eb, which has its own thread.
The music sample above does not indicate one voice jumping a diminished octave down. It indicated that a scale note is followed by an alteration thereof in another voice, or (as here) the alteration precedes the proper scale note.
I cannot avoid the problem in the SSB setting, if I will stick to the concept of writing the vocalist and the quintet horn as natural horns of Beethoven’s era. In bar #31 the tune has an Ab, which would be a high F on an Eb horn. Problem is that this note is not available an octave below, so there I need to us an F#.
My solution so far has been to fool the ear by letting the bass play a tritone substitution on the second half of the first beat.
Klaus
The music sample above does not indicate one voice jumping a diminished octave down. It indicated that a scale note is followed by an alteration thereof in another voice, or (as here) the alteration precedes the proper scale note.
I cannot avoid the problem in the SSB setting, if I will stick to the concept of writing the vocalist and the quintet horn as natural horns of Beethoven’s era. In bar #31 the tune has an Ab, which would be a high F on an Eb horn. Problem is that this note is not available an octave below, so there I need to us an F#.
My solution so far has been to fool the ear by letting the bass play a tritone substitution on the second half of the first beat.
Klaus
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iiipopes
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Re: German: Querstand - English: ?
The English music theory term is "cross relation." It is to be avoided, if possible, because it can sound harsh, and can draw too much attention away from a melodic line, and create awkward harmonic progressions.
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imperialbari
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Re: German: Querstand - English: ?
Dm7-G7-C is quite common. So is the variant D7-G7-C.
If the F# and the F-natural aren’t in the same voice we have a Querstand/cross relation. This can be arranged, so that a vocal performance gets tough, or it can be set to be performed with little or no problems.
In casu I have chosen the relative D7-G7-C over G-G7-C for a more energetic harmonic pulse. Dm7 would not be possible for lack of an available F.
Klaus
If the F# and the F-natural aren’t in the same voice we have a Querstand/cross relation. This can be arranged, so that a vocal performance gets tough, or it can be set to be performed with little or no problems.
In casu I have chosen the relative D7-G7-C over G-G7-C for a more energetic harmonic pulse. Dm7 would not be possible for lack of an available F.
Klaus