Its not a problem at all my friend.
(I considered it as we were joking around and having fun
Thats all . I'm grateful to talk with you on these things .
When people participate it makes it much more enjoyable for us all .)

Is there a specific thing you wanted to talk about , or wondered about ?
I'm happy to go into the details on any specific area .
Thank you .

( the way that I present information is from the entire larger perspective of
12 tone e.t.
Four unique languages
( each has a different deep meaning ,
Even though they all use the same surface level structures )

Tonal music language
Modal music language
Polytonal music language
Atonal music language

Then , there are Vertices where they each combine into 1 holographic Fractal harmony.

A Unified Theory of Music .
(in context of 12 tone e.t. )
So whenever I break out a portion of information ,
( such as this o.p. mini bite )
It is a puzzle peice of a whole Unified system .

If there is anything you are wondering about ?
The more specific the question you have is the more
Specific of an answer I can give you .

Is there something you are wondering about why the information is organized the way it is in the o.p.?

I'm happy to go into as fine detail as you want in any given area .

( the way you formulated your comment before ,
I didn't know which portion of information in the o.p.
It was supposed to be a reference to .)

The information in your comment is not very significant ( in the sense of prioritization of a unified theory of music ) although that information is meaningful and a part of everything it is just a tiny piece in a much larger pattern of information .

 

Last edited: Nov 22, 2021

To give you an example of how significant
The 7 main types of unique and distinct chords are as information.

It is True that in any given particular musical context,
You have the 7 main type of unique and distinct chord available to you to use .

What this means is all the things you have built up in the category of playable building blocks .

So let's say any melody you came up with
For a Maj7 type chord .
Is available to you to use in any context
Any chord voicings or harmony , any licks, riffs, lines you ever came up with before is available to you .

( just like how our spoken language works )

So let's look at an example of what I mean .

First define a context.
Let's say the context is the key of
C major.
And our functional blueprint is .

[Subdominant]/[Dominant]/[Tonic]

Now, we are zooming into only the
[ Tonic ] portion .

( this is our very specific context )

Now.

We have available to us the 7 types of unique and distinct chord. Let's see what they are
In the specific context of
Key of C major and zoomed into
The Tonic function .

Cmaj7 ( C6 ) CEGA
Emin7 ( G6 ) EGBD
Amin7 ( C6) ACEG
D6 DF#AB ( Bmin7 )
Gmaj7 (G6 )
D7 DF#AC
F#min7b5 F#ACE ( Amin6 ACEF#)
Aminmaj (ACEG#)
Amin6 (ACEF#)
Cminmaj (C Eb G B )
Cmin7 ( C Eb G Bb )
Cmin6 ( C Eb G A )
Cmin7b5 ( C Eb Gb Bb)
C dim7 ( C Eb Gb A )


In this very specific context .
Key of C major ( Tonic function )
We can see that we have available to us the 7 unique and distinct types of chord .

This covers our Tonic function
From the relaxed diatonic chords
( most calm )
To our Substitutions ( little more tense )
The Superimpositions ( little more tense )
To Reharmonizations ( Approaching the tension level of right where the Subdominant function picks up .


The 3 Functions are a Gradient gradually getting more tense .

Tonic function diatonic to tonic Substitutions to tonic
Superimpositions to tonic reharmonizations ..

Subdominant function ( picks up right where we left off with tonic reharmonizations )
The diatonic subdom then the Subdominant Substitutions then the Subdominant Superimpositions then the Subdominant Reharmonizations ..

Dominant function ( picks up right where we left off with
Subdominant Reharmonizations )
The diatonic Dominant chords then the Substitutions then the Superimpositions then the Dominant Reharmonizations.

So , in this context of 12 tone e.t.
Tonal music language ( functional harmony)

The deepest meaning of the language is
[ Functions ]
( what all the surface level structures represent)

Tonic............Subdominant........Dominant

( a gradient from relaxed to tense which smoothly ramps up its not abrupt at all )


The way the functions work is that

Tonic is our center of gravity like the sun in our solar system . It is still motionless ( diatonic chords)
As we move towards
Subdominant we are pulling away from the tonic
Creating motion but also tension
( pulling a rubberband back slightly )
Then continuing move farther away we reach our
Dominant function which creates the most tension
Possible , and when we hit the most tense category of the dominant function we are farthest away from tonic as its possible to be and the rubberbabd is pulled all the way back .
The dominant function then pulls us back to the tonic
( letting go of the rubber band )
That landing point back on the tonic the moment it snaps back from dominant creates a type of exclamation point .
( compared to having the Tonic just by itself still )
This gives us a way to create harmonic emphasis )
Snapping back from Subdominant is less of emphasis .( but still more than tonic just by itself the wholetime )
And also more than a tonic Substitution pulling back to tonic diatonic .( which is even less emphasis than a Subdominant / tonic )
So , when we look at the complete picture of
The way functions work , and cover from the whole thing to the specific details that make it up
Our functions are a gradient
Which goes from relaxed and still smoothly creating motion and tension all the way until we hit our limit of the farthest away you can be
( Dominant Substitutions and reharmonizations )

 

Last edited: Nov 22, 2021

@MMJ2017

Can all the details of music be codified? How many details do you know?

 

A) When you subdivide an 8va in 2 equal parts, what do you get?
- A Tritone. Intriguingly the 3rd and b7 of a Dominant,

B) When you subdivide an 8va in 3 equal parts, what do you get?
- An Augmented Chord, essentially majors 3rds stacked.

C) When you subdivide an 8va in 4 equal parts, what do you get?
- A diminished7, essentially minor 3rds stacked.
... simmetry = tension... right? Why?

I don't know, I assume the frequencies at each occasion cannot possibly define a tonic.

D) What is the single ratio which ends up forming the 12 TET, thus all other intervals?

Wouldn't it be two, Fourths and Fifths. Hence the perfect ?

E) Why sets of 5 tones are predominant (melodically) ?

Minor and major Pentatonic ???

Because they don't contain notes that imply the harmony if used ? You got me, I don't know.
Sounds okay to me though, They can be used over any diatonic tertian chord and not "imply" harmony.

F) Why then the Major scales has seven tones (harmonically)?

Because we filled in the gaps inside a pentatonic ??? and repeated until each 7 note diatonic scale (No chromatics) existed.

G) Now define diatonicism...

A diatonic composition/section, IE Melody and harmony, conform to a specific collection of 7 notes with consecutive chromatic notes? Including secondary dominants and parellel modes? IE G Major / E Minor / A Dorian.



I thought these were great questions. The minor Diatonic scales are arguably more opinionated.

 

Last edited: Nov 23, 2021

I can't believe how much fun it is reading these! When I read that symmetry = tension I wet myself just a little bit.

 

I wet myself a lot. Jeez, this is a hot thread. Dominant, stacked and rewarding me with mini bites for following the rules...please, don’t ever stop.

 

In some sense yes .
Its like your spoken language.
Once you build up the understanding of the information,
You can effortlessly create new infinite things based on ideas inside of you .
(So its just a means to an end .
Its not worth anything to know the music theory just on its own . Its connected to the sounds and then its what knowing the information allows you to be able to do which you wouldn't otherwise be able to .)
You can think of it like every discipline we have works this way also . Some way to understand the structure of the patterns so that you have knowledge and wisdom to navigate in that domain freely .

Everything is Subservient to your musical ideas and choices as a writer , player .
( the information is servant to your will and decisions
Just like typing comments out in spoken language)

The totality of music theory is still just a tiny part of music as a whole ( and its the least important part )
The most important part is what you make from your imagination and expressing yourself , playing , writing
What you do WITH it .

 

Last edited: Nov 23, 2021

No more so than how you are following rules of grammar to write your comments.

( its more like you understand the patterns and organization so that you can communicate infinite possibilities. Just like spoken language. You
COULD consider it rules to follow , but that does not accentuate the overall picture of understanding the patterns gives you total freedom to express and communicate anything inside you .)

What is the difference between reading what I wrote above and reading this ?

Bgkpokmuh xdgtthhikuj cdewwdyhg bjkjookhjghnbc

Both are using letters to create structures .
So , what is the difference?

The difference is meaningful patterns that symbols are used to represent a pattern of information that is recognizable and communicates something through patterns and familiarity .

 

Last edited: Nov 23, 2021

@DoubleSharp
Thanks for replying. I'll get back to them.
I'm just waiting for MMJ2017 to do similarly to what you did, thus impart his own perspectives throughout each of the 7 "questions"...

@MMJ2017
Thanks for the previous addressments but, could you please share your perspectives onto the 7 questions?

 

Behave archbishop... in no time you're gonna find yourself in need of geriatric diapers.

 

Last edited by a moderator: Nov 23, 2021

Foster? Again?!

 

@MMJ2017

Today people connect almost any chords of almost any types together and don’t limit themselves to restrictions. Can they be persuaded to listen to you in such a situation?

 

Can you expand more on what you mean by that ?

Present a case for each point you make in there to establish that is what is happening ?

 

It's very clear. It's so obvious that there's no need for examples. That's what most music is like.

 

What do you mean by " IT " ?
( for example ..)

 

What i am describing to you is that in any musical situation you are in , you can connect any type chord
AND that you are not limited to restrictions.
So , I'm having a hard time understanding
What you are communicating.

If you record and post a musical example
You consider un restricted,

I'll use it to make a example to show it actually was restricted and what I'm talking about is
Removing restrictions.

( its always better to use real musical examples my friend

 

Last edited: Nov 23, 2021

Look, when I say every chord, it means every chord.

The people who don't take the content of this thread too seriously are probably the ones that don't care about which chord comes after which one and why. You're explaining the chords and their relationships, but a lot of people don't care about the relationships between the chords at all. They'll use whatever they can get.

 

Look, let me ask you these questions:

Are we allowed to connect any chord to any other chord? If you allow this, what good will the contents of this thread be then? Because anyone can behave towards chords as they see fit.

If we're not allowed, can you count the restrictions (other than Tonal , Modal, Polytonal, Atonal)?

 

You just haven't understood what is being talked about sir.

You have some kind of mental image of the situation that does not comport to reality .

But there's an easier way to break through that .

Record a musical example of yourself playing a passage of music you deem
" unrestricted " .

Then out of it I will create a unrestricted version
To show you , you had things reversed somehow .

That way we can actually demonstrate what we are talking about .

It can be a short passage , just create from your own imagination something
You consider to the utmost " unrestricted "
That lives up to that definition and is good musically.

Then I'll create a new version which shows what im talking is removing restrictions.

 

Rules are made to be broken. That is in fact what jazz musicians did in shaking off the rules of classical composition. Now it is being presented as "you can have this with that, but not that with that" I have produced a lot of film music and where mood is more important than notation, there are no rules.