And one of the pleasures of siscovering Indian music was finding a cogent
system where that seventh DIDN'T have to go up and the fourth DIDN'T have
to go down. Another way to break the tyranny of the major and minor
modes!
Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
Discomforting and endlessley intriguing--a transcendant artistic experience!
Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
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On Jun 2, 2007, at 4:14 PM, John Howell wrote:
So everybody's right and we can stop arguing, OK?
Party Pooper
Dick H ;-)
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On 2 Jun 2007 at 19:14, John Howell wrote:
In functional harmony it
is the pull of the halfstep between 3 and 4 that moves the harmony
away from the tonic and into the subdominant region
Even in isolation I do not hear the pull of this half step as from 3
to 4, but from 4 to 3. The third
Perhaps it's time to talk about the Emancipation of the Dominant?
(By which I mean the major-minor 7th chord, or any extension thereof.)
Debussy did a pretty fair job of emancipating the major-minor 7th
from its dominant function, and using it as a freestanding sonority
with perfect integrity
