Re: Chord Function?

Orlando, if only all those over in your group had your knowledge and 
diplomacy!

Does European Classical theory provide a way to invent tonal melody, and 
perform tonal reharmonization on-the-fly without sheet music?  Does it 
provide for on-the-fly tonal stylistic interpretation of harmonic and 
melodic skeletons without sheet music and without imposing the stylistic 
restrictions of figured bass?  Does it provide a way to properly play East

Indian Ragas?   Rhetorical questions.  Of course not, at least not without

really pu****ng some definitions.  Somewhere, there's probably a music 
professor convinced that East Indian Classical music can be explained with

European Classical harmony.

There's a certain silliness to this whole thing.  Every style or type of 
music has its own rules.  It's highly unlikely that the music from a 
culture, period, and style of music will be better understood and 
communicated by the rules of another than by its own.


"Orlando Enrique Fiol" <ofiol@[EMAIL PROTECTED]
> wrote in message 
news:MPG.22ea257c45e352db989691@[EMAIL PROTECTED]
> tonydecaprio@[EMAIL PROTECTED]
 wrote:
>>Does European Classical theory address Chromatic
>>harmony?
>
> How else could we have had Gesualdo, Bach, late Beethoven and Mahler, to
> name a few?
>
>>Does it deal with the Blues?
>
> No, that's jazz's contribution.
>
>>Does it deal with tonicization,,
>>for example?
>
> Absolutely. EVer since equal temperament made it possible for pitches to
> serve multiple functions in different keys, composers have been
> exploring chromatic key relation****ps through tonicization.
>
>>Does it deal with Trane's major third chord movement?
>
> Late Liszt would be a great place to find such movements.
>
>>In fact does it deal with seventh chord harmony at all?
>
> Bach chorales and cantatas are loaded with seventh chord movements.
>
>>Yes, "modern classical theory deals with 7th chord harmony, but I spoke
of 
>>European
>>Classical Theory.
>
> I didn't know there was such a distinction.
>
>>Where does European Classical Theory address: Abmaj7 B7/ Emaj7 Eb7/
>>Abmaj7/? for example?
>
> There you go with those major third related stacks of dominant/tonic
> chords. This is nothing new to Coltrane; he got it from the bridge to
> "Have You Met Ms. Jones."
>
>>Abmaj7 as the I chord; B7 as being the subV7/II
>>and Emaj7 being the bVImaj7.
>
> I don't understand your notation.
>
>>Or: Abmaj7 B7/ E-7 A7/ Abmaj7/  again B7
>>being the subV7/II and A7 being the b5 sub resolving into Abmaj7.
>
> More of this symmetrical dominant/tonic jazz.
>
>>Or: Abmaj7/ G7 Db7/ Gbmaj7/ Abmaj7//  Where, assuming Ab remains as the
I
>>chord and G7 is V7/III and Db7 is subV7/III and Gbmaj7 is the
>>bVIImaj7.
>
> Bruckner and Mahler symphonies, Wagner operas and Schoenberg's "Peleas
> et Melesande" are loaded with these types of progressions.
>
>>Where does European Classical Theory account for the possibility of
>>replacing D-7/ G7/ C/ with D-7 Eb7/ C-7 F#-7 B7/ Db7 C// ??
>
> Your example just interrupts the final resolution to C major with some
> more ii V's.
>
>>Or: G7 Ebma7/ Ab7 Bma7/ E7 G7/C//  ??
>
> This is just side stepping.
>
>>Or: G7 Ab7/ Bb7 Db7/ C?
>
> This is just a bass line with dominant chords on each note.
>
>>Where does it account for "side-slipping?" I assume you are familiar
>>with the term and practice.
>
> Try Max Reger's organ works.
>
>>Where does the old classical theory account for voicings such as: F-11
>>(b5, b13)? Or Abaug over Bb?
>
> Debussy, Scriabin, Messiaen, Stravinsky, Honeger, to name a few.
>
>>Where does it account for or even address fusing modes such as, minor
>>over lydian, mixolydian over phyrgian or minor over major as fused
>>tetrachords?
>
> Bartok and Kodaly.
>
> In short, European classical music isn't just Mozart and Haydn. All your
> proposed examples are found as early as Bach.
>
> Orlando