A-NO-NE Music wrote:
Christopher Smith / 2006/08/16 / 09:14 PM wrote:
Even in a piece without a key signature, if you had a C#7 chord
resolving to F#m, and the melody outlined the C#7 chord, how could
you spell it except with an E#? Anything else would be MORE
confusing, not less.
As I said "psychologically correct", I don't write functional harmony.
It has been more than 15 years since I stop writing V-I motion, not to
mention II-V. I mimic the resolution using Lydian Chromatic Concept's
Tonal Gravity.
Here is one of the examples which will be included in our next CD:
<http://www.anonemusic.com/qt_repo/trio20060718/01TicketFlower.mp3>
There is no V-I motion, no progression that you can analyze in
traditional sense, but full of Tonal Gravity, which is a very
psychological direction.
On the other hand, the melody can be totally horizontal to the gravity,
and shouldn't be spelled according to the harmony which is vertical.
The performer shouldn't consider the underneath harmony in this case.
Are you trying to tell us that it's alright to fly in the face of
tradition, and write music the exact way you conceive of it, independent
of 500 years of harmonic evolution and chordal progressions? You sly
dog, you! :-)
It sounds as if you have this stuff thought out very well, Hiro, through
experience as well as through much thought.
Keep on doing what you do, since it obviously works well for you and
your musicians!
--
David H. Bailey
[EMAIL PROTECTED]
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