I think this one is in the key of D Major.
What do you think?
And another exercise
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- KVRist
- 344 posts since 29 May, 2001
a mixolydian 
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- KVRist
- Topic Starter
- 467 posts since 6 Feb, 2005 from Portugal
Yes, it could be but, remember, this is an exercise taken from a chapter of the book before the modes lesson.gunnar wrote:a mixolydian
So, it's major or minor.
This an excerpt from Couperin, Concerts Royaux, no. 8 and the internet tells me the complete piece is in G Major.
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- KVRist
- 47 posts since 20 Jul, 2016 from Tangerang, Indonesia
hmm, without the harmony its very hard to tell, since because of how it ends on a B it veers slightly more towards B Minor instead.rbarata wrote:Again...find the key and scale.
I think this one is in the key of D Major.
What do you think?
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- KVRian
- 645 posts since 22 Jun, 2003 from Germany
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- KVRian
- 1115 posts since 6 Jul, 2009
This phrase is definitely D major. If the passage were attempting to make B-minor the tonic (even if just for the end of the phrase and not truly modulating), then the penultimate G and A should be G# and A# (melodic minor). This is clearly a D-major phrase ending with a deceptive cadence, where V --> vi.NoirSuede wrote:hmm, without the harmony its very hard to tell, since because of how it ends on a B it veers slightly more towards B Minor instead.rbarata wrote:Again...find the key and scale.
I think this one is in the key of D Major.
What do you think?
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
I don't know the tune from sight. I don't know why F# G A B in the line indicates V - vi per se.
Or that B means a B harmony per se. It could mean IV in D or ii.
NB: there is no Concerts Royaux #8. There are four 'concerts' and none contain 8 movements. And this passage is nowhere to be found.
passage is easily in D major.
https://imslp.org/wiki/Concerts_royaux_ ... %C3%A7ois)
Or that B means a B harmony per se. It could mean IV in D or ii.
NB: there is no Concerts Royaux #8. There are four 'concerts' and none contain 8 movements. And this passage is nowhere to be found.
passage is easily in D major.
https://imslp.org/wiki/Concerts_royaux_ ... %C3%A7ois)
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- KVRian
- 1115 posts since 6 Jul, 2009
You are of course correct that a deceptive cadence isn't strictly necessary here and that the IV chord is a totally valid option. Either works. I suppose NoirSuede's comment on b-minor had me thinking from that lens, but the IV is equally likely, particularly depending where it occurs in the work.jancivil wrote:I don't know the tune from sight. I don't know why F# G A B in the line indicates V - vi per se.
Or that B means a B harmony per se. It could mean IV in D or ii.
NB: there is no Concerts Royaux #8. There are four 'concerts' and none contain 8 movements. And this passage is nowhere to be found.
passage is easily in D major.
https://imslp.org/wiki/Concerts_royaux_ ... %C3%A7ois)
EDIT: Out of curiosity, I searched it out just to see how Couperin treats it. The overture is bipartite, and the excerpt here is the leader of the b-section fugato. It is a descending voice construction, so it goes down to the IV, since using the vi here isn't possible since the imitation would have to begin on an F# and would be a unison with the F# in the leader.
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- KVRist
- 164 posts since 4 Dec, 2006
Not enough information to know for sure, really.
If I had to guess, and just from sight-singing the melody, I would say we're in G major and this particular line is mostly outlining the V chord (D) with a motion to I (G). In this reading the C# is a chromatic neighbor tone that is strengthening the sound of V during the passage.
Harmonically, that's the "path of least resistance" because the last two measures are clearly D and then some chord with a B in it. If we're in the key of D, then you would have to read it as I–IV or I–vi. Reading it in G it's just V–I, which is a much more common end to a phrase (in common practice tonality).
Again, not enough information to know for sure.
One other thing to consider is that if the overall piece were in D and this passage were a secondary dominant motion from V/IV to IV, then the C# would usually be a C-natural because when the I chord functions as V/IV it is often accompanied by a lowered seventh scale degree to imbue it with the full character of a dominant seventh chord.
If I had to guess, and just from sight-singing the melody, I would say we're in G major and this particular line is mostly outlining the V chord (D) with a motion to I (G). In this reading the C# is a chromatic neighbor tone that is strengthening the sound of V during the passage.
Harmonically, that's the "path of least resistance" because the last two measures are clearly D and then some chord with a B in it. If we're in the key of D, then you would have to read it as I–IV or I–vi. Reading it in G it's just V–I, which is a much more common end to a phrase (in common practice tonality).
Again, not enough information to know for sure.
One other thing to consider is that if the overall piece were in D and this passage were a secondary dominant motion from V/IV to IV, then the C# would usually be a C-natural because when the I chord functions as V/IV it is often accompanied by a lowered seventh scale degree to imbue it with the full character of a dominant seventh chord.