On Aug 16, 2006, at 10:31 PM, 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.
Thus neatly sidestepping my original point, which is how to spell an
outline of a C#7: with E# or Fnat.
Even if there is no functional harmony, and the melody is not
reflecting what harmony there is, I certainly hope you would not
spell that outline (and it COULD show up, with or without function!)
C# F G# B
but rather
C# E# G# B
or even
Db F Ab Cb
but you said you avoid Cb's too.
Even if the harmony (and melody) are non-functional, an augmented
second/diminished fourth are much weirder than the tonal chord
outline, which everyone has practiced and has under their fingers.
I still maintain that E#, Fb, and double sharps and flats are needed
and necessary at times. I recognise that they are not read as quickly
in some contexts as the enharmonic equivalents, but they DO
communicate what they communicate, and sometimes you need that.
Christopher
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