User:Aura/Aura's Ideas on Chords: Difference between revisions

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Given all the things covered in the last few articles, a discussion on chord formation and chord progressions is long overdue. Most musicians today think of chords as being primarily tertian harmony, however, things weren't always this way. In Medieval harmony, the ideal sonority was basically a trine consisting of R-P5-P8 or, more rarely, R-P4-P8. Strangely enough, the first type of trine occurs directly in the harmonic series as 2:3:4, while the first true triad occurs as 4:5:6:8, with the seventh harmonic skipped. As I see value in both types of harmonies, and especially extended harmony, I propose that the ideal sonority in a Bass-Up context- particularly for a Tonic chord- is basically 1:2:3:4:5:6:8. However, it would not be wise to ignore previous traditions, so in order to establish this new style for seven-voice harmony, it pays to borrow from both Medieval and Neo-Medieval harmony on one hand, and Common Practice harmony ranging from Baroque to Romantic on the other.

== ~~Tonic and Final~~ ==

== Types of Center ==

Given that this style requires borrowing from the modality of Medieval and Neo-Medieval harmony, as well as from the tonality of Common Practice music, concepts from both styles need to be imported and defined in relationship to each other in this new style.

Given that this style requires borrowing from the modality of Medieval and Neo-Medieval harmony, as well as from the tonality of Common Practice music, concepts from both styles need to be imported and defined in relationship to each other in this new style. What is interesting is that both Medieval and Neo-Medieval music on one hand and various forms of Tonal music on the other feature what can be called a "center", which can serve multiple possible functions.

~~The '''final'''~~ is ~~a special form~~ of ~~the tonic chord~~ on ~~which~~ the ~~piece eventually comes to a close. As expected, the 1:2:3:4:5:6:8 sonority is the form the final takes, but~~ what~~'s surprising is that other chords~~ can ~~also ''finalize''- that is~~, ~~they too~~ can ~~take forms loosely akin to the 1:2:3:4:5:6:8 sonority, but with various imperfections~~.

== The Structure of the Ideal Seven-Voice Chord ==

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 Given all the things covered in the last few articles, a discussion on chord formation and chord progressions is long overdue.  Most musicians today think of chords as being primarily tertian harmony, however, things weren't always this way.  In Medieval harmony, the ideal sonority was basically a trine consisting of R-P5-P8 or, more rarely, R-P4-P8.  Strangely enough, the first type of trine occurs directly in the harmonic series as 2:3:4, while the first true triad occurs as 4:5:6:8, with the seventh harmonic skipped.  As I see value in both types of harmonies, and especially extended harmony, I propose that the ideal sonority in a Bass-Up context- particularly for a Tonic chord- is basically 1:2:3:4:5:6:8.  However, it would not be wise to ignore previous traditions, so in order to establish this new style for seven-voice harmony, it pays to borrow from both Medieval and Neo-Medieval harmony on one hand, and Common Practice harmony ranging from Baroque to Romantic on the other.
-== Tonic and Final ==
+== Types of Center ==
-Given that this style requires borrowing from the modality of Medieval and Neo-Medieval harmony, as well as from the tonality of Common Practice music, concepts from both styles need to be imported and defined in relationship to each other in this new style.
+Given that this style requires borrowing from the modality of Medieval and Neo-Medieval harmony, as well as from the tonality of Common Practice music, concepts from both styles need to be imported and defined in relationship to each other in this new style.  What is interesting is that both Medieval and Neo-Medieval music on one hand and various forms of Tonal music on the other feature what can be called a "center", which can serve multiple possible functions.
-The '''final''' is a special form of the tonic chord on which the piece eventually comes to a close.  As expected, the 1:2:3:4:5:6:8 sonority is the form the final takes, but what's surprising is that other chords can also ''finalize''- that is, they too can take forms loosely akin to the 1:2:3:4:5:6:8 sonority, but with various imperfections.
 == The Structure of the Ideal Seven-Voice Chord ==