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Re: STRATEGIES for REHARMONIZATION in LIVE LOOP COMPOSITION
Am 10.06.2012 00:47, schrieb Rick Walker:
A quick question so I can better understand.
You are using some symbols that I believe may be European and not
(though I could be wrong)
what are t, tp, s6- , S7 ?
Functional harmonics, (German style ;):
Each chord is name according to its function within a harmonic context
Upper-case for major, lower-case for minor. T, S, D are tonic,
subdominant and dominant. Tp, Tg are tonic parallel/antiparallel (one
minor third down/major third up from the tonic), Ss, Sg the same for
subdominant and so on.
You can add additional notes to the triad by e.g. D7 (dominant seventh).
Missing root is indicated by a tick through the bottom of the letter
(let's use a "r" instead...).
And of course, you can use dD for double dominant (the traditional "II").
So why use that?
If we do a modulation, one way is to reinterpret the meaning of a chord.
E.g. in one of my examples, you have t , t7, s6- -> D, t.
(the subdominant with minor sixth in the first tonality becomes the
dominant in the new one).