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

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== Introduction ==

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 seven-voice ~~harmonic tradition~~, 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.

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 idea 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.

== The Structure of the Ideal Tonic Chord ==

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 == Introduction ==
-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 seven-voice harmonic tradition, 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.
+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 idea 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.
 == The Structure of the Ideal Tonic Chord ==