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 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.

== Tonic and Final ==

Given that this idea 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.

The '''tonic''' is the overall tonal center of a section, while 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.

== The Structure of the Ideal Tonic Chord ==

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The fifth, sixth and seventh voices, the highest three voices in the chord when in a Bass-Up context, comprise the '''crown'''. Only the crown is given to the kind of tertian harmony seen in Common Practice music, and this is true even in its relationship to the highest voice of the prop, and a third in any other part of the chord requires resolution due to the demand for space amongst the fundamental and the prop.

~~== Tonic and Final ==~~

Given that this idea 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.

The '''tonic''' is the overall tonal center of a section, while 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.

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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 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.
+== Tonic and Final ==
+Given that this idea 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.
+The '''tonic''' is the overall tonal center of a section, while 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.
 == The Structure of the Ideal Tonic Chord ==
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 The fifth, sixth and seventh voices, the highest three voices in the chord when in a Bass-Up context, comprise the '''crown'''.  Only the crown is given to the kind of tertian harmony seen in Common Practice music, and this is true even in its relationship to the highest voice of the prop, and a third in any other part of the chord requires resolution due to the demand for space amongst the fundamental and the prop.
-== Tonic and Final ==
-Given that this idea 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.
-The '''tonic''' is the overall tonal center of a section, while 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.