Rperlner
Joined 26 October 2020
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::::::::::: Quick question. By "leitmotif" do you mean something more specific than the Fugue's subject (which I think should occur multiple times in any fugue, rather by definition)? --[[User:Rperlner|Rperlner]] ([[User talk:Rperlner|talk]]) 23:38, 5 January 2021 (UTC) | ::::::::::: Quick question. By "leitmotif" do you mean something more specific than the Fugue's subject (which I think should occur multiple times in any fugue, rather by definition)? --[[User:Rperlner|Rperlner]] ([[User talk:Rperlner|talk]]) 23:38, 5 January 2021 (UTC) | ||
:::::::::::: Well, given Wikipedia's definition of a [[Wikipedia:Leitmotif|leitmotif]], I think it can be said the a fugue's subject can be thought of as a kind of leitmotif. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 23:51, 5 January 2021 (UTC) | |||
:::::::: I just had a thought... Since the wolf fifth is a different interval from the perfect fifth with different properties, perhaps a succession of chords in root position such as the sequence G-Major (1/1-5/4-3/2), A-Wolf-Minor (1/1-32/27-40/27), B-Diminished (1/1-6/5-32/27), C-Major (1/1-5/4-3/2) in the key of C-Major could potentially be allowed in non-meantone settings, seeing as it seems to be that only two successive chords with parallel perfect fifths or octaves lead to the loss of independence among the different voices. Do you think this is a viable technique for things like fugues? --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 23:12, 4 January 2021 (UTC) | :::::::: I just had a thought... Since the wolf fifth is a different interval from the perfect fifth with different properties, perhaps a succession of chords in root position such as the sequence G-Major (1/1-5/4-3/2), A-Wolf-Minor (1/1-32/27-40/27), B-Diminished (1/1-6/5-32/27), C-Major (1/1-5/4-3/2) in the key of C-Major could potentially be allowed in non-meantone settings, seeing as it seems to be that only two successive chords with parallel perfect fifths or octaves lead to the loss of independence among the different voices. Do you think this is a viable technique for things like fugues? --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 23:12, 4 January 2021 (UTC) | ||
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::::::::::: I am confused. You mean this super common (Scarlatti and Bach are certainly common practice) progression? https://en.wikipedia.org/wiki/I%E2%80%93IV%E2%80%93V%E2%80%93I#:~:text=In%20music%2C%20I%E2%80%93IV%E2%80%93,an%20exposition%20of%20the%20tonality%3A&text=The%20progression%20is%20also%20often,end%20of%20works%20and%20sections. --[[User:Rperlner|Rperlner]] ([[User talk:Rperlner|talk]]) 23:38, 5 January 2021 (UTC) | ::::::::::: I am confused. You mean this super common (Scarlatti and Bach are certainly common practice) progression? https://en.wikipedia.org/wiki/I%E2%80%93IV%E2%80%93V%E2%80%93I#:~:text=In%20music%2C%20I%E2%80%93IV%E2%80%93,an%20exposition%20of%20the%20tonality%3A&text=The%20progression%20is%20also%20often,end%20of%20works%20and%20sections. --[[User:Rperlner|Rperlner]] ([[User talk:Rperlner|talk]]) 23:38, 5 January 2021 (UTC) | ||
:::::::::::: Yes, that is exactly the chord progression I'm referring to. If Bach used it, then that means the so-called "purists" were wrong. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 23:51, 5 January 2021 (UTC) | |||
:: I know this may sound hard to believe, but in all my experimenting with different intervals, I've found that the wrong kind of interval involving small-number-ratios between the wrong two notes actually works against the formation of a sense of tonality. Conversely, a more tense-sounding interval in the right location- yes, even if the interval in question happens to be [[40/27]]- can actually strengthen your sense of tonality. Yes, intervals with small-number-ratios are vital to establishing tonality, but because of their power, they have to be well-placed within the tonal system, or otherwise the sense of tonality shifts when you don't want it to. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 04:50, 13 December 2020 (UTC) | :: I know this may sound hard to believe, but in all my experimenting with different intervals, I've found that the wrong kind of interval involving small-number-ratios between the wrong two notes actually works against the formation of a sense of tonality. Conversely, a more tense-sounding interval in the right location- yes, even if the interval in question happens to be [[40/27]]- can actually strengthen your sense of tonality. Yes, intervals with small-number-ratios are vital to establishing tonality, but because of their power, they have to be well-placed within the tonal system, or otherwise the sense of tonality shifts when you don't want it to. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 04:50, 13 December 2020 (UTC) | ||