Music Theory Mafia (Game Over!) Fin


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Post Post #950 (ISO) » Sun Mar 31, 2013 3:51 pm

Post by AGar »

In post 947, singersigner wrote:Oh man...I don't even remember trying to breadcrumb or anything. I was a JOAT, so I was just trying not to get killed. I was gunna get a guilty on AGar N2. :(


No, you were gonna die N2.

<3

Thanks for having a townread on me though?
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Post Post #951 (ISO) » Mon Apr 01, 2013 2:12 pm

Post by thezmon221 »

Singer, what was your action N1 when we delayed you?
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Post Post #952 (ISO) » Mon Apr 01, 2013 4:20 pm

Post by singersigner »

I role-copped AGar, so I was hoping to stick around long enough to get a better read on him since I didn't know I would've gotten a delayed result. >_>
Glork and quadz08 are my favorite.

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Post Post #953 (ISO) » Tue Apr 02, 2013 2:14 am

Post by AGar »

Yeah, I was too paranoid of you.
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Post Post #954 (ISO) » Tue Apr 02, 2013 7:29 am

Post by Untrod Tripod »

#4
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#4 is a tone that does not exist in either the major or minor septatonic scale, and so it can only be used to modulate to or tonicize a new tonal area.

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Prolongation of the Tonic
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Passing chords and inversions are used to keep the harmony in motion without actually moving to a new function in the chord progression.

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Applied Dominant
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An applied dominant chord is a chord which changes the tonic scale to create a scale-specific chord of another scale in order to modulate or tonicize. For example, a raised 4th scale degree in the tonic chord could lead to tonicization of or modulation to V. Since the raised 4 does not exist in the scale of the original tonic and is the leading tone of the septatonic scale beginning on the root of the dominant, it sounds as if it belongs to a new tonal area. 1-4-#4-5 in the bass, for example, is a very common way to modulate.

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Augmented Sixth Chords
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Augmented sixth chords are so named because of the interval between the flat sixth scale degree and the raised fourth scale degree. These chords are very harmonically active because both the lowered six and the raised four allow for easy transition into new tonal areas. The augmented sixth chord comes in three "flavors": Italian, which contains only three tones (b6, #4, 1). German, which contains a flat 3rd scale degree of the tonic triad. French, which contains the 2nd scale degree of the tonic scale.

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Perfect Authentic Cadence
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A perfect authentic cadence is an ending of a chord progression that resolves to the tonic with scale degree 1 in the highest voice and contains scale degree 5 to 1 motion in the lowest voice.

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Parallel Fifths
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Parallel fifths occur when two voices a perfect fifth apart move to two notes also a perfect fifth apart. This can generally be avoided with proper voice leading. Like ending sentences with a preposition, this breach of voice leading "grammar" has more to do with tradition than with the parallel fifth sounding unpleasant. Regardless, unless used by a master composer, it is consider serious composing faux pas by the academic theorist community.

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Predominant
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A predominant chord is any chord which in a tonal chord progression which could lead to the dominant. This includes ii, IV, iv, V/V, vi, etc.

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Power Chord
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Power chords, often utilized in rock music, are chords that do not contain the 3rd. These chords, owing to their lack of "quality" sound powerful and grounded in the current tonal area.

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Dominant
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The dominant is the major chord with scale degree 5 as its root. It is almost always a major chord because it requires an unchanged scale degree 7 in order to lead to the tonic, which is almost always its function in Western classical music.

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Tonic
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The tonic is the triad with scale degree 1 as its root.

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Church Modes
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Church modes are scales that existed before the conventions of tonal harmony were set in place. They are septatonic scales that one can find starting the scale on every tone of the key. Only two, Ionic and Aeolian, have been used widely in Western classical music (they are major and minor respectively), although the other five are used extensively in jazz and post-tonal Western classical music.

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Post Post #955 (ISO) » Tue Apr 02, 2013 11:50 am

Post by evilpacman18 »

I probably woulda thought parallel fifths was scum.
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Post Post #956 (ISO) » Tue Apr 02, 2013 1:13 pm

Post by thezmon221 »

Worst part is I was about to claim C Major Scale Cop. It would have worked too.
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Post Post #957 (ISO) » Tue Apr 02, 2013 1:15 pm

Post by MonkeyMan576 »

No it wouldn't have. All the roles are chords, not scales.
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Post Post #958 (ISO) » Tue Apr 02, 2013 1:17 pm

Post by thezmon221 »

Church Modes isn't a chord, but nice try. It would only make sense to have a Scale in the game because that defines the rest of the composition.
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Post Post #959 (ISO) » Tue Apr 02, 2013 1:18 pm

Post by thezmon221 »

Actually, Church Modes is a scale, nevertheless, Monkey.
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Post Post #960 (ISO) » Tue Apr 02, 2013 1:25 pm

Post by MonkeyMan576 »

Okay so there was one scale, but that was very thematically appropriate. I don't think we would have bought your claim. :shrug:
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Post Post #961 (ISO) » Tue Apr 02, 2013 1:40 pm

Post by thezmon221 »

I think it was very realistic. Key of C is the most well known key, and C Major is the foundation of the vast majority of Music Theory. It only makes sense that it's a power role too.
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Post Post #962 (ISO) » Tue Apr 02, 2013 1:46 pm

Post by MonkeyMan576 »

It makes sense in a general music theory perspective, I just don't think it really fits with the rest of the roles. I was dead though, so I wouldn't have had a vote.
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Post Post #963 (ISO) » Tue Apr 02, 2013 3:10 pm

Post by AGar »

In post 955, evilpacman18 wrote:I probably woulda thought parallel fifths was scum.


Hated Townie makes sense for it though.

In post 957, MonkeyMan576 wrote:No it wouldn't have. All the roles are chords, not scales.


Actually, most weren't.

F'real.
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Post Post #964 (ISO) » Tue Apr 02, 2013 3:14 pm

Post by MonkeyMan576 »

Chords were the most common type of role compared to scales, etc.
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Post Post #965 (ISO) » Tue Apr 02, 2013 3:24 pm

Post by MonkeyMan576 »

#4 - Note
Prolongation of the Tonic - Chord Progression
Applied Dominant - Chord
Augmented 6th - Chord
Perfect Authenthic Cadence - Chord Progression
Parallel 5ths - Chord Progression
Predominant - Chord
Power Chord - Chord
Dominant - Chord
Tonic - Note
Church Modes - Scales
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Post Post #966 (ISO) » Tue Apr 02, 2013 5:17 pm

Post by Untrod Tripod »

must...resist...urge to be a dick....
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Post Post #967 (ISO) » Tue Apr 02, 2013 6:39 pm

Post by evilpacman18 »

^
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Post Post #968 (ISO) » Wed Apr 03, 2013 4:03 am

Post by Paschendale »

Come to the dark side, UT. Give in to your anger. It is your destiny.
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Post Post #969 (ISO) » Wed Apr 03, 2013 8:42 am

Post by Majiffy »

Well... glad to see the post-game discussion is a lot of music theory dick-swinging.
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Post Post #970 (ISO) » Wed Apr 03, 2013 3:50 pm

Post by AGar »

In post 966, Untrod Tripod wrote:must...resist...urge to be a dick....


Do it, because it's been 3+ years since I actually took a theory class, and I either want to see you put Monkey in his place or find out from someone who I know knows what they're talking about correct my sorry ass.
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Post Post #971 (ISO) » Wed Apr 03, 2013 11:01 pm

Post by MonkeyMan576 »

Well, you know, I *do* write music and have taken music theory classes so I might know a little about what I'm talking about.
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Post Post #972 (ISO) » Thu Apr 04, 2013 6:49 am

Post by singersigner »

You should check yourself before you wreck yourself.
Glork and quadz08 are my favorite.

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Post Post #973 (ISO) » Thu Apr 04, 2013 6:55 am

Post by Untrod Tripod »

let's all measure our dicks guys
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Post Post #974 (ISO) » Thu Apr 04, 2013 7:26 am

Post by Majiffy »

7.5
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