@@memoryfound9208 Thank you for watching! Quite simply, it is because the part is not G minor. In this piece, from the third beat of the 8th measure to the 11th measure, it is partially in B♭ major. It is customary for the chromatic scale of this key to use G♭-F instead of F♯-F for the descent. Therefore, I used G♭ in the 10th measure instead of F♯.
@@memoryfound9208 Thank you for your reply, I appreciate it. Within my interpretation of music theory, the note in question resolves to F, not G, so G♭ instead of F♯ would be fine. Assuming this chord is D7/A, I think the chord needs to resolve to G or g. However, in the case of this piece, the chord resolves to a B♭ chord. In other words, if we focus on the component notes, F♯ or G♭ would resolve to F. If we include the perspective of the chromatic scale of the B♭ key from the other day here, it would be more natural to read the component note as G♭. (Also, to begin with, perhaps D/A would be more appropriate for this chord than D7/A. Because the C note in the D7 would have an unnatural resolution destination.) For these reasons, while using the D/A chord, I have notated F♯ as G♭. I would appreciate it if you could elaborate on any areas where my insight is lacking!!
@@karlolewandowskiF# makes more sense. You aren't really "resolving" anything with that Gb. Viewing it from above you are just putting more emphasis that it's a Bb-D-Gm by making it a Bb-D-Bb-D-Gm. It's a F# in the grand scheme of things
@@Ricardo7250 Thanks!! I guess I misunderstood some things. Your explanation helped me to realize that. I guess I need to learn a little more about music... At any rate, I am grateful to @memoryfound9208 and @Ricardo7250 for bringing to my attention some of my uninformed areas.
