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

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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 ==

== The Structure of the Ideal ~~Tonic~~ Chord ==

Considering that the aforementioned ideal Tonic chord has no fewer than seven voices, it pays to look at the components of the 1:2:3:4:5:6:8 sonority.

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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.

From there, one can backtrack and derive the ideal dominant chord. Specifically, the fundamental has a tendency to "want" to be the root of any given chord, while the prop wants to approach the trine by means of a directed progression in the Medieval style. The crown, however, needs to both reinforce the root and fill in the remaining notes of the chord that are not covered by the fundamental and the prop, as well as approach both the Tonic and Mediant via stepwise motion. Thus, the ideal Dominant chord in this style can be described as being 36:54:81:90:128:144:180.

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 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 ==
-== The Structure of the Ideal Tonic Chord ==
 Considering that the aforementioned ideal Tonic chord has no fewer than seven voices, it pays to look at the components of the 1:2:3:4:5:6:8 sonority.
@@ Line 20: / Line 18: @@
 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.
+From there, one can backtrack and derive the ideal dominant chord.  Specifically, the fundamental has a tendency to "want" to be the root of any given chord, while the prop wants to approach the trine by means of a directed progression in the Medieval style.  The crown, however, needs to both reinforce the root and fill in the remaining notes of the chord that are not covered by the fundamental and the prop, as well as approach both the Tonic and Mediant via stepwise motion.  Thus, the ideal Dominant chord in this style can be described as being 36:54:81:90:128:144:180.