[Smt-talk] "Core syntax" and 6/4 chords etc.
Olli Väisälä
ovaisala at siba.fi
Mon Jan 25 23:19:09 PST 2010
>
> It there is no consonant chord, the triad, there are no neighbor
> notes.. Where did you find passing tones in music of Palestrina and
> before? There are some notes which do not coincide with other notes in
> other voices. But what do you compare them with? Triads? Tonic triad?
> You have been reading too much of Fux, the most anachronistic and
> unreliable source on counterpoint. Neighbor note and passing note are
> two attributes of tonal-functional harmony. They do not exist outside
> the context of Tonic triad, Subdominant triad and the Dominant seventh
> chord.
>
Dear Ildar,
Let me assure that my knowledge of Renaissance music is not based on
"reading too much of Fux." Even a superficial familiarity with the
scores of Palestrina reveals that the most common type of unaccented
dissonance is the one preceded and followed by a step in the same
direction. This is the definition of passing tone in the sense I was
referring to. Is there still something unclear?
(Perhaps the definition of dissonance in Palestrina? In relation to the
bass: 2s, 4s, 7s, their compounds, and all augmented and diminished
intervals. Between upper voices: 2s and 7s with compounds. From these
rules it follows that the all three-note consonances (with no
doublings) are 5/3 or 6/3 chords.)
Olli Väisälä
Sibelius Academy
ovaisala at siba.fi
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