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

Line 19:

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.

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.

Revision as of 17:18, 3 November 2022 view source Aura (talk \| contribs) autopatrolled, emailconfirmed 6,010 edits No edit summary ← Older edit		Revision as of 17:18, 3 November 2022 view source Aura (talk \| contribs) autopatrolled, emailconfirmed 6,010 edits No edit summary Newer edit →
Line 19:		Line 19:
	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.		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.		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.