On Jan 17, 2009, at 3:08 PM, David W. Fenton wrote:
On 17 Jan 2009 at 14:13, Christopher Smith wrote:
I think I remember it also being the second
chord in Bach's Air for a G String (in the key of D, of course.)
Well, yes, because of the descending bass passing through the leading
tone while the tonic chord is still sounding, the vertical sonority
is going to be a D chord on top of a C#, that doesn't make it a D
Major 7 chord, because it's not functioning as a 7th chord at all.
It's only a passing dissonance, and trying to analyze every single
incidental vertical configuration will lead to complete madness.
So, no, I wouldn't at all say that a D Major 7 in 3rd inversion
occurs as the second chord of the Air. To say that makes a mockery of
all functional harmonic analysis.
I guess I wasn't clear. Your explanation above would be a very GOOD
reason why Dmaj7 is not a good name for the chord (though some would
use that chord symbol any way, but go ahead and try to reason with
THEM!) 8-)
Christopher
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