aaron peacock -> RE: Terms - modal vs tonal, color vs out note (Feb. 3 2021 11:22:01)
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very interesting discussion here. I see a primarily modal field that one can return to following brief functional forays based upon pivot points as outlined (circle of fifths as augmented here plus some observations: the VII and II are a relative major/minor pair around our tonic, the IV is also minor and can be a VII for a next, secondary dominants from our andalusian cadence provide yet more functional pivots, etc...) and that the primarily modal emphasis is what is felt when we return to phrygian roots. These people may have absorbed all the trends in european music for centuries, but they stayed true to their core modal nature. modal ladders consisting of the same notes, as Ricardo pointed out (root phrygian uses the same notes as II lydian, or VII dorian) and the elaboration of these hopefully emphasizing the movement being traced underneath, effectively making a jungle gym structure one can move around inside. One is always free to alter notes, borrow, chromaticism, etc for emotional or coloring reasons (reminding of a similiar maqam or recontextualizing an earlier theme in a different harmonic environment) Cejilla bringing shapes anywhere (reasonably low) on the parilla, (open strings with partial barres, etc.. characteristic flavors available in different keys) Wildcard-characters are a term from programming, and it's clear that interval relationship are preserved across musical keys so it's better to use interval notation I, II, III, IV, V, VI... but one has to be referring to a specific diatonic system when doing so, and we imply Do or C or ionian as a basis. Interesting as any diatonic system or scale has it's modes, and the interesting ways in which they interconnect... (why is the II or lydian step in flamenco the most-frequently-elaborated here, in terms of melodic-minor and superlocrian in particular?) Of note is the "function" provided by the II lydian or VII dorian, which seems to mimic "dominant function" (a stack (not chord lol) a half-step away sharing less notes, 2 families based upon shared notes) as is said: modal tonic chords = I III VI modal cadence chords = II IV V VII but ultimately this modified circle of fifths is the best diagram to interleave more rings upon given our current definition of modes and our tempered 12 tone system. I'm very glad to see such a substantive and informative discussion here. I'm learning a lot from this thread. Ricardo, why do you consider the half-diminished VII separately from the 6 others? I think you were describing "voice leading" before when discussing the dominant 7 chord and it's constituent tritone or? anyone: take any 2 strings of your instrument tuned in 4ths (not the G and B string pair, lol) and fret them as such --X -X- then move to -X- --X that's the heart of functional music right there. btw, if anyone wants a laugh at overengineering, look at all the ridiculous mental gymnastics needed to explain a simple chromatic movement WRT to The Neapolitan Chord...I mention that to say that music is expression and art and often comes from subconscious places and is influenced by feelings and other subjectivity. theoretical analysis is something else, intended to capture the structural essence of something... I suppose it's a bit like being a living being vs an anatomy course.
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