Re: Quicky about naming a chord

"Hans Aberg" <haberg_20080313@[EMAIL PROTECTED]
> wrote in message 
news:frpp8t$5hc$1@[EMAIL PROTECTED]
> Tom K. wrote:
>
>>> but how is the dim7 fit into a major key, as you have written above?
>>
>> You're kidding, right?
>> The fully diminished 7th has been freely employed in the major mode
since 
>> the Baroque.  See, for example Prelude #1 in C major, WTC1, measure 14,

>> where Bach writes a fully diminished viio4/3 resolving to a (major) I
in 
>> bar 15; or the fully diminished viio7/V in measures 22 and 28;  or the
Bb 
>> major viio7-I in bar 25 of Schubert's Erlkonig.
>
> Hindemith calls those alterations, which he says is the use of another 
> scale, and they introduce elements of minor into major or vice versa,
used 
> when a definite feeling of major or minor is not desired.
>

And Piston calls the viio7 an incomplete Vb9 and derives it by stacking 
3rds.  So?

I don't understand why you feel the concept of rigidly separated major and

minor scales overrides the practice of composers, but maybe that's why 
Hindemith's writings don't seem to be too popular these days, if, in fact,

they ever were.

Tom K.