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doftorata
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Comments
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Dear Carson, Thank you for your message. It is namely because we live in the 21st century that we should approach music theory in a more open way, correcting questionable and limiting formulas, definitions and postulates. You try to define a cadenc…
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John, In fact, I am not arguing with anyone. I declare it makes no sense to call "melodic minor" a portion of the natural scale in case genuine melodic minor has been practiced for 300 years. You are free to agree or disagree with my declaration, an…
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Dear Rick, thanks for all of your valuable comments! I agree with most of them. I will add that there are three basic forms of each major and minor scale: natural, harmonic and melodic. The natural and melodic major and minor are dual, that is - you…
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Dear Nicolas, Yes, you are talking about doubly harmonic minor perhaps, the one that has raised fourth and seventh scale degrees. This chromatic mode is one way of justifying the typical altered subdominant chords (or altered double dominants) whi…
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Dear Nicolas, Thank you for the research - it is very useful, indeed! When I said that genuine melodic minor has been used for 300 years, I meant the practice of using this scale and mode (as source of melody and harmony), and not necessarily the ve…
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Rick, I do not know what exactly you call "acoustic" collection, but the first 13 harmonic tones form a diatonic collection for sure. Even the famous maj13+11 chord is purely diatonic by nature, for it is found on the fourth scale degree of natural …
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I think that no scale has two forms except a hybrid one, otherwise that is a misundertsanding. Secondly, a mode may be an equivalent of a scale or an equivalent of a tonality (tonal area) with limited parameters (natural, harmonic, melodic). Besides…
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Carson, There is also a third perspective: to break music theory down to speacialized courses in harmony, counterpoint, musical form, ear training, orchestration, jazz harmony, arrangement, etc. which will be more beneficial and will require special…
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Perhaps it is more appropriate to speak of stronger expectations based on more frequent cases of resolutions such as dim7 as a dominant or secondary dominant. But I like your attempt to clarify situations, and you can choose a terminology which appe…
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Dear Colleagues, Beating and tapping some times do not have anything to do with the true pulsation of the meter; you all know that - you may beat in one and have three real beats per measure; or you may beat in two and have six beats per measure. In…
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Dear Carson, Thanks for your message. Yes, a single dim7 chord may function in 24 keys as either a dominant or an altered subdominant (which is also a doiminant of the dominant), or a secondary dominant. In all of these cases the resolution is not d…
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The bottom line is that dotted note values cannot generate a meter. If a beat is genuine, it is capable of generating a meter without the help of smaller or larger note values. This privilege belongs only to simple note values which divide naturally…
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Yes, and if you mean that we typically use 4/4 instead of (2/4 + 2/4) or 6/4 instead of (3/4 + 3/4), or 6/8 instead of (3/8 + 3/8), I agree. Practically, however, we must be aware of two important principles: 1. The basic metrical unit which generat…
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Dear Rick, I teach meter in a totally different manner than the mainstream textbooks do. I use a simple theory of meter that is widely spread in Europe. Its roots stem outside of Leonin and Perotin's medieval mensural system. Perhaps that is Francis…
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Dear John, I appreciate your information and I agree with some things. I will begin with your last sentence. "Again, this isn't an argument against your distinctions as being a useful convention in modern theory -- it's just noting that your argumen…
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Dear Jason, Thank you for your input. Please read as follows. 1. "This is your opinion..." No, Jason - it is not only mine. As I mentioned in my letter, that is the opinion of a number of American and European scholars who did not necessarily know…
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I agree with what you say, there are nuances. But when you do not know how an accented non-chord tone is approached, you still feel that it is accented, collides with the chord, and resolves like a suspension. That is the proof that the primary feat…
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Dear Ms. Burton, Excellent! Yesterday I emailed my paper to Giorgio with whom we got officially acquainted in Leuven two years ago, and then we met again in Moscow in 2015, where we had a heated debate on Schenkeian theory and a friendly dinner af…
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Dear Nicolas, Excellent examples - thank you! I Let me just add a nuance or two by beginning with your last statement "The true appoggiatura obviously is an accented dissonance: this is the very meaning of the word. But its accentuation may resul…
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Dear Nicholas, I want to hastily correct myself on an important point. While generally there are no weak appoggiaturas (for the meaning of the verb appoggiare implies a strong metrical moment) there are definitely two occasional situations where a…
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