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doftorata
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- doftorata
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- Dimitar
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- Ninov
Comments
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Dear Dan, thank you, first of all! I managed do download the Musanalysis, and I read it did not fit Finale for Windows. However, I could find it there and also in the Word program, and it works partially, only I do not know how to arrange the 43 or …
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Let us not forget that II major is a purely diatonic triad in Lydian mode, which makes it an SII Lydian chord (Subdominant on the second degree). Popular musicians, as some of my colleagues thoughtfully noticed, like to flirt with the Lydian SII, es…
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I myself am a critic of Schenkerian theories (an upcoming article is devoted to that criticism) but I have never seen anything racist is them. Besides, I had the occasion to meet with Philip Ewell at two or three International conferences (St. Peter…
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Dear Zachary, You bring up the interesting topic of functional nuances. When what sounds like V/V resolves into I, it functions as an altered Subdominant chord. Interestingly, the resolution of II major into Tonic is the same as it is into the Caden…
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Hello Jason, Here is a simple definition from my Harmony book: Tonality is a hierarchical organization of musical elements which gravitate around a central triad. This triad, built on the first scale degree of a major or minor scale, is known as t…
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I forgot to emphasize that hundreds, if not thousands songs in jazz and popular music are based on the (ii7 and V7 of...) formula, it is extremely common. Take a look at such jazz standards as Bluesette, Satin Doll and There Will Never Be Another Yo…
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Dear Jason, besides secondary dominants (V or vii of...), music also uses secondary subdominants (IV or ii of...). Those usually work in combination with the dominants in such formulas as ii and V of x, or iv and V of x., modal mixture fully possibl…
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Dear Alex, Geographic names are functionally irrelevant, and many people who think along this line cannot evaluate chords functionally. What if I told you that most musicians in the world (including jazz practitioners and theorists) do not use geogr…
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Marcel, I understand, but all this sounds quite formalistic to me. It looks as if you try to implant a root below each bass note that does not fit "your system", thus seeking mandatory perfect fifths ovet each root. Of course, the #IIdim7 resolving …
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Marcel, You say: "I do not think one can simply stack thirds, the augment or diminish some of them, and this gives the root. I think that the root always implies a perfect fifth above it which cannot be diminished." Let us see...what is the root of …
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Yes, perfect fifth root progressions are at the bottom of some of those harmonic relationships. If you think B7 resolving into E7, that is the diatonic basis of the beginning. Just lower the fifth of the first domiant and suspend a major sixth over…
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Gary, Themes beginning with a dominant chord: Chopin, Grande Valse in Eb, op. 18; Mazurka op. 7 No.1 in Bb; Mazurka op. 67 No. 2 in G minor; the prelude in A major that you mention, and perhaps other works... // Tchaikovsky, "Winter Morning" in D ma…
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Dear Marcel. I will reply to you later in the week, when I have read carefully what you worte. For now I can say that there is no problem in the tones F and G# being in the same chord; F is a bass tone, it is not the root of the chord. The chord c…
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Dear Steve, Thanks. We know that occasionally a melodic line may imply one key but could be harmonized in another. However, in the opening melodic line I hear an implied A minor, not D minor, even if it were a naked melodic motif. The ascending le…
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Dear Diego, Thank you. The difference between Neapolitan and the French-German-Italian packet lies in the difference between historic tradition and local speculation. The name N comes from the city of Naples where the Phrygian Subdominant on the sec…
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Thank you, Diego, If you get rid of the geographic nicknames which bear no reference to harmonic function, all that remains in this context is D4/3 (b5) of D... I doubt it if in the near past the French knew what a French chord was, The Italians -…
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Dear Marcel, Thank you - I could not agree more with most of your comments, especially about the cadential six-four! In my article published in 2016 (Functional Nature of K6/4) I write exactly what you are saying about the perfect fourth - it is per…
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Dear Nicolas, Sorry for the delay in this matter - please find below my comments to each of your remarks attached to the my "false claims": 1. "A triad in second inversion cannot substitute for a root position triad, because the fourth above a bas…
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Dear Nicolas, Thank you for the exhaistive information and research. I do not argue with your points. I am just bringing up some outright discrepancies and what I think of as "nonsensical" claims concerning functional harmony as we know it today (…
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Dear Nicolas, Thank you. You are actually facilitating my task. All of these false claims (except the appeal not to resolve IV6 into the tonic) are found in Schenkerian and post-Schenkerian theory. Thus Schenkerians: - do not recognize the exis…
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