Klarinet Archive - Posting 000185.txt from 2001/06

From: Lacy Schroeder <LacyS@-----.org>
Subj: RE: [kl] ....more about harmony
Date: Mon, 4 Jun 2001 12:27:03 -0400

Wow, I think Ed already answered this, a lot better than I did (sorry for
duplicating-I just didn't get to this post yet at the time. At least I said
the same thing-phwew!)

I do have a question, Bill: is the prograssion going to ii after this chord
you questioned, or something else?

Lacy S.

> In the key of Eb major, and I'm spelling each note chromatically:
>
> E-natural G-natural Bb D-natural>>>
>
> A diminished triad with a minor seventh is called a
> "half-diminished seventh
> chord." (In jazz, it's called a "minor seventh with flat
> fifth." Such a
> chord type normally appears as the leading-tone seventh chord
> in major keys.
> In the key of Eb, the best analysis is as a secondary
> diminished seventh
> chord - in other words (dim)vii7/ii. The thing that is just
> a little bit
> exceptional about the case you mention is that the supertonic
> triad in a
> major key is normally a minor triad, and therefore would take a fully
> diminished seventh chord as a secondary leading tone triad -
> E, G, Bb, Db.
> If in the Bach example the chord which follows this one is a
> major triad,
> then that one would be a secondary dominant of the dominant, and the
> progression would be completely explainable by "normal rules"
> of harmony.
> However, Bach didn't know the "normal rules" of harmony. In
> fact, most of
> those rules were developed and established by studying the
> music of Bach to
> see how he handled various situations. This gets at the last
> rule that we
> learn in theory classes: you can write music in any way you
> want to, so
> long as it sounds right to your ear, and you know why you are
> doing it.
>
> Ed Lacy
> University of Evansville
> EL2@-----.edu
>
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