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Dear SMT megamind, do you know any examples of, or research on, a four-voice progression that connects adjacent harmonies with two-voice semitonal contrary motion like the standard omnibus but instead employs a series of minor-minor sevenths and augmented triads in place of (or, if one wants to think geometrically, running parallel to) the more familiar series of major-minor sevenths and minor triads?
For example: ||: Cmm7 -- Baug -- Cmm42 -- Amm7 -- Caug -- Amm42 -- F#mm7 -- Faug -- F#mm42 -- Ebmm7 -- Daug -- Ebmm42 :||
It sounds jazzy to me, but my knowledge of that repertoire is rather weak.
Any thoughts private or public would be welcome.
Professor, Music Theory
Director, Music Theory and Composition Division
Editor, SMT-V: Videocast Journal of the Society for Music Theory
University of Kansas