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Ajrdileva

Joined: 20/01/13
Posts: 1

Mapping Tonal Harmony Pro 4.0
#1029422 - 20/01/13 06:10 AM

Study harmony like never before...
Check this demo video
Harmonic Analysis Demo Video

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Elephone

Joined: 11/02/09
Posts: 603

Re: Mapping Tonal Harmony Pro 4.0 new

[Re: Ajrdileva]
#1031639 - 01/02/13 06:27 PM

Hi. I don't have any i-products, but I really like this perspective of chords when it's written as roman numerals. It simplifies.

Like you have chord IV - I - V a 5th apart and all other chords are seen as chord of chords.

So, chord ii is really a 'chord v' of the key's dominant V... I'm aware of that in itself, but not about considering I, IV and V as the sort of 'pivot points'

Could you tell me what/who's theory this is? Is it what they teach at Berkely? Where can I learn this concept in easy terms.

I'd really appreciate it.

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Daniel Davis

Joined: 10/03/06
Posts: 728
Loc: Edinburgh

Re: Mapping Tonal Harmony Pro 4.0 new

[Re: Ajrdileva]
#1031663 - 01/02/13 10:21 PM

There are multiple independant reasons why the relationship V - I is powerful, but suffice to say that for both physics reasons and also convention all of classical harmony is based on this relationship.

One can harmonise a surprising amount of melodies by saying that each chord must be either
a) the same chord as the previous melody note
b) one chord clockwise on the cycle of fifths
c) one chord anticlockwise on the cycle of fifths

If you allow for certain chords to have their relative minor/major then apart from occasional exceptions, you have the basis of the whole of classical harmony.

Sorry, it really is that simple.

--------------------
Daniel Davis
Edinburgh Recording Studio Windmill Sound

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Exalted Wombat

Joined: 06/02/10
Posts: 4212

Re: Mapping Tonal Harmony Pro 4.0 new

[Re: Daniel Davis]
#1031677 - 01/02/13 11:33 PM

If you want to simplify even further (though you probably won't immediately see it as simpler :-) it's all about the tension inherent in the tritone - the interval of an augmented 4th or diminished 5th. F and B - the tension notes of a G7 chord which want to resolve to E and C, the bare bones of a C major chord. Or, when spelled as E# and Cb, resolve to F# and A#, the bare bones of F# major!

You may not be ready for this yet. But when you are, it opens the door to everything from Late Romantic chromaticism to jazz chord substitutions!

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