User:Aura/Aura's Ideas on Chords: Difference between revisions
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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. | ||
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 | 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 Tonic Chord == | == The Structure of the Ideal Tonic Chord == | ||