anyone out there who is willing to help me on my music theory h.w

[fermata_88]

i have been working this hw since yesterday still i couldn't find the right answer. I have to fill in the name of the new key on the second line of each exercise. We're now in modulation b.t.w

e:             i           iidim6          V          i6         iv6
                                                     ____:        i6      V    i6   iidim    V7

D:             I              V             I6         viidim
                                            ____:      ii dim       i      V    i


now how can i find the new key? on the first one i tried G but didnt work. is there any simple way to find the new key?

[G.W.K]

Couldn't you have used your last thread? LOL

I honestly don't know...this doesn't look familiar. Ask your teacher.

G.W.K

[fermata_88]

lol i know. i thought i already delete the first one. oh that's alright thanks.

[pianowolfi]

afais (as far as I see, sorry for the Greek  ) the first goes to a minor, the second one to b minor.

[m19834]

i have been working this hw since yesterday still i couldn't find the right answer. I have to fill in the name of the new key on the second line of each exercise. We're now in modulation b.t.w

e:             i           iidim6          V          i6         iv6
                                                     ____:        i6      V    i6   iidim    V7

D:             I              V             I6         viidim
                                            ____:      ii dim       i      V    i


now how can i find the new key? on the first one i tried G but didnt work. is there any simple way to find the new key?

Well, don't just try random keys, figure out what the chords are to match the symbols for each of the original keys, and that will give you your answer, especially on the first one.  Have you figured those chords out yet ?  I am assuming that either you are not sure how to do that and that you don't understand exactly how the symbols translate directly to chords built on scale degrees, or you are just being lazy and haven't bothered  .

Yes, there would be a simple way to find the answers, but only if you understand the principles already, and I am assuming you don't since you don't know how to find the answers.

[thalbergmad]

The answer is 46.

[michel dvorsky]

Question no. 3 part b) is False/Uncertain.

[tanman]

according to my calculations... the answer is pi. 

[fermata_88]

so helpful.....

so true i'm just lazy and tired of this one. i hate theory...!

[richard black]

I've been earning a living as a musician for several years but that's all Greek to me. What the hey?

[thalbergmad]

Greek eh. I was thinking 5th century BC Babylonian cuneiform, but what do i know.

Thal

[Bob]

Just work from the last common chords.

for the e one
iv in e is a

then work back
from a as i, what's a fourth down? E as V

But they practically hand you that one.  What's iv of e?  a minor, the new key.


For D...
What's the viidim? c#dim

c# dim is the iidim of what minor key?  or a whole step down... bminor




Make sure you know your scales and chords. 

The basic idea is that there are chords common between two keys and you can use those to smoothly modulate between two keys.  If tough to say exactly where the modulation takes place when there are a few common chords in a row. 

It's kind of interesting to see which chords are the same.
Any major with I, IV, V
any minor with ii, iii, vi
dim's at vii and ii in minor

And then there are modal borrowing, etc.  to make it more complicated.

A more important idea might be where they end up.
e to a is down a P5, adding one flat.
D Major to b minor is moving to the relative minor, down a m3. 


And I'm getting fuzzy on when it's an official modulation, as opposed to a tonicization.  Both of those have a nice big V I to take care of that though.  I suppose tonicization doesn't and will stick with the original key too afterward. 

The relationship between the keys is important because they couldn't get to all of them smoothly.  This is why the theory teacher will get very excited when they discuss augmented chords, secondary dominants, dim seventh chords, etc. and how they can modulate to any key! 

Those exercises aren't that bad.  Master those.  It will get worse.  (Although I don't exactly like how the theory classes are set up.  I doubt everyone completely masters that stuff in one pass.)

[m19834]

It's not really helpful for the OP to just have the answers, since he apparently needs to learn how to find them.  However, it seems he is not actually interested in that, perhaps.

[fermata_88]

Bob thanks so much. that was really helpful and i quite got it now.

you're awesome..