"Butch/femme couples inherently replicate heterosexual relationship dynamics" is the pretentious way of saying "lol but who’s the man"
i’ve always been intensely uncomfortable being read as the femme half of a butch/femme relationship - but that is because i do not identify as femme. it’s not because of this bullshit. butch/femme couples are not replicating heterosexual relationship dynamics. it is never about who’s the man. in fact, butch/femme relationships are incredibly, powerfully queer. and when you say otherwise, you’re pulling ALL KINDS of fucked up shit. respect people’s identities, and don’t try to police queer relationships.
the reading i’ve been doing lately for class about how the history of capitalism and assimilationist politics has shaped the framing of queer identity is totally in line with this. butch/femme fell out of fashion to a certain degree because it didn’t suit the late capitalist agenda, not because it wasn’t totally queer. it’s totally queer. fuck neoliberalism for making us think it’s not.
plus, second-wave feminism was a big contributor to people shitting on butch/femme. straight white women’s feminism has not been all bad, but it hasn’t exactly been all good either.
in closing, lol nobody is the man, thanks for playing
NO STUDENT OF MINE IS GONNA PLAY AN UNRESOLVED SEVENTH OF A DOMINANT SEVENTH NOOOOOOOOO NEVAHHHHHH
Cool it, gramps. We ditched that rule after theory 3.
YOU DON’T DITCH THE VOICE LEADING RULE.
THE VOICE LEADING RULE DITCHES YOU.
ALSO THIS IS NOT AN ISSUE OF PARALLEL FIFTHS, YOU DO ALL YOUR DISGRACEFUL PARALLELISM IN THEORY 4 ALL YOU WANT AND I WOULDN’T GIVE A RATS ASS BUT THIS IS A PROBLEM OF UNRESOLVED SEVENTHS AND DIM5 RESOLVING UP TO P5 AND IT IS NEVER FORGIVEN IN COMMON PRACTICE WHICH THIS PIECE OF
SHIT MUSIC IS IN.
YOU DO WHAT YOU WANT BUT MY STUDENTS ARE NOT GOING TO BE A DISGRACE.
I think you’ll find there is nothing wrong here, the chord at the end has to have the F5 in the bottom because the top already has an A in it. If you were to put an A into the bottom you’d get a very unhealthy sounding number of thirds in the chord and judging from the musical context that isn’t what they were going for. I’m not sure who taught you theory but you’re wrong. Also, the voice leading is fine, the seventh always raises anyway? Very confused by your argument here?
I have one thing to tell you:
In a tonic triad in root position following a V7 in root position, the fifth is often omitted in the tonic triad.
In the bottom we have a C, E, and Bb in the V7, where the Bb MUST resolve down by step to A, the E (leading-note) must resolve up. This is the correct resolution.
For the top part, it could as well be 2 F’s and it would be perfectly correct.
Your argument is invalid.
I am still correct.
Times like this I miss my old URL.
As a professor of mine once posted on Facebook: “seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up.”
My Schenker professor’s mantra:
Om… Seventh of the Dominant 7th always resolves down by step… Om… Seventh of the Dominant 7th always resolves down by step… Om… Seventh of the Dominant 7th always resolves down by step… Om… Seventh of the Dominant 7th always resolves down by step… Om… Seventh of the Dominant 7th always resolves down by step… Om…
things are getting heated in the voice-leading fandom
We will defend our sevenths til the end of time.
I haven’t gotten to asking my theory professor this, and I’m assuming the answer would probably be ‘no,’ but according to http://www.choraleguide.com/vl-leadingnotes.php you can ignore the leading tone’s tendency to resolve to the tonic when it’s in the alto or the tenor. I would assume based on that premise (perhaps incorrectly) that it would be okay, in 4-part harmony, to not resolve the dominant seventh so long as it is in the alto, or as in this case, the tenor. Please correct me if I’m wrong, because I’ve always found this confusing.
You may “frustrate” the leading note if it were in an inner voice and have it resolves to the dominant. That is one way to do it, especially if you want to have a complete tonic after. So to set things straight, when you have V7-I in root position, you will either have:
1. Proper resolution for the Leading note and the Seventh, but an incomplete tonic (likely 3 roots and a 3rd); or
2. Proper resolution for the Seventh, a frustrated Leading note (resolving to the Dominant), and a complete final tonic.
As for the Seventh, THERE IS ABSOLUTELY NO CIRCUMSTANCES WHERE YOU RESOLVE IT OTHERWISE, INNER VOICE OR NOT, YOU MUST ALWAYS RESOLVE A SEVENTH DOWN BY STEP.
Sometimes you may suspend the seventh, which is also common, but you will find that eventually that seventh will GO DOWN A STEP.
@lepamplemoussepourpre Hope that helps!
tbh i probably would’ve just done octave Fs in the bass clef and ditched the fifth of the chord….
but also i really don’t give a flying fuck if my hypothetical beginning-intermediate piano student plays some parallel fifths every now and again. it’s really the fingering in these last two measures i disagree with.
Until I started taking my antidepressants, though, I didn’t actually know that I was depressed. I thought the dark staticky corners were part of who I was. It was the same way I felt before I put on my first pair of glasses at age 14 and suddenly realized that trees weren’t green blobs but intricate filigrees of thousands of individual leaves; I hadn’t known, before, that I couldn’t see the leaves, because I didn’t realize that seeing leaves was a possibility at all. And it wasn’t until I started using tools to counterbalance my depression that I even realized there was depression there to need counterbalancing. I had no idea that not everyone felt the gravitational pull of nothingness, the ongoing, slow-as-molasses feeling of melting down into a lump of clay. I had no way of knowing that what I thought were just my ingrained bad habits — not being able to deposit checks on time, not replying to totally pleasant emails for long enough that friendships were ruined, having silent meltdowns over getting dressed in the morning, even not going to the bathroom despite really, really, really having to pee — weren’t actually my habits at all. They were the habits of depression, which whoa, holy shit, it turns out I had a raging case of.
Not Everyone Feels This Way — The Archipelago — Medium (via brutereason)
i remember the moment when i realized that not everyone feels this way. i had a glimpse of it months before i started taking antidepressants, but i didn’t really understand until well after the medication had begun to work, and i said aloud, “if other people aren’t thinking about dying all the time, what do they think about?”
In einem kleinen Dorf wohnte einst ein Mädchen mit dem Namen Barbara. Barbara war in der ganzen Gegend für ihren ausgezeichneten Rhabarberkuchen bekannt.
Weil jeder so gerne Barbara’s Rhabarberkuchen aß, nannte man sie Rhabarberbarbara. Rhabarberbarbara merkte bald, dass sie mit ihrem Rhabarberkuchen Geld verdienen könnte. Daher eröffnete sie eine Bar: Die Rhabarberbarbarabar.
Natürlich gab es in der Rhabarberbarbarabar bald Stammkunden. Die bekanntesten unter Ihnen, drei Barbaren, kamen so oft in die Rhabarberbarbarabar um von Rhabarberbarbaras Rhabarberkuchen zu essen, dass man sie kurz die Rhabarberbarbarabarbarbaren nannte.
Die Rhabarberbarbarabarbarbaren hatten wunderschöne, dichte Bärte. Wenn die Rhabarberbarbarabarbarbaren ihren Rhabarberbarbarabarbarbarenbart pflegten gingen sie zum Barbier.
Der einzige Barbier der einen Rhabarberbarbarabarbarbarenbart bearbeiten konnte, wollte das natürlich betonen und nannte sich Rhabarberbarbarabarbarbarenbartbarbier.
Nach dem Stutzen des Rhabarberbarbarabarbarbarenbarts geht der Rhabarberbarbarabarbarbarenbartbarbier meist mit den Rhabarberbarbarabarbarbaren in die Rhabarberbarbarabar um mit den Rhabarberbarbarabarbarbaren von Rhabarberbarbaras herrlichem Rhabarberkuchen zu essen.
Suddenly her mom’s silence matched Jackie’s own. “Oh, my God,” she murmured in disbelief. “Are you gay?”
"Yeah," Jackie forced herself to say.
After what felt like an eternity, her mom finally responded. “I don’t know what we could have done for God to have given us a fag as a child,” she said before hanging up.
She got a call from her older brother. “He said, ‘Mom and Dad don’t want to talk to you, but I’m supposed to tell you what’s going to happen,’” Jackie recalls. “And he’s like, ‘All your cards are going to be shut off, and Mom and Dad want you to take the car and drop it off at this specific location. Your phone’s going to last for this much longer. They don’t want you coming to the house, and you’re not to contact them. You’re not going to get any money from them. Nothing. And if you don’t return the car, they’re going to report it stolen.’ And I’m just bawling. I hung up on him because I couldn’t handle it.” Her brother was so firm, so matter-of-fact, it was as if they already weren’t family.