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<TITLE>RE: [Smt-talk] Abbreviated Lables of Seventh Chords and Labeling of Functions</TITLE>
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<P DIR=LTR><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"><FONT FACE="Cambria">Dear Dimitar,</FONT></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"></SPAN></P>
<P DIR=LTR><SPAN LANG="en-us"><FONT FACE="Cambria">Thank you for the sympathetic answer to my posting on chord symbols. My system is in fact a synthesis of Riemann and Schönberg. It is unfortunate that Riemann's reduction of tonal functions to the three primary relationships is spoiled by his fascination avec the "undertone" series, which doesn't exist in nature, even if the minor triad happens to be the inversion of the major triad in equal temperament. Also the English translation of</FONT></SPAN><SPAN LANG="fr"><B><I></I></B></SPAN><SPAN LANG="fr"><B><I></I></B></SPAN><B><I><SPAN LANG="en-us"> <FONT FACE="Cambria">Harmony Simplified, or the Theory of the Tonal Functions of Chords</FONT></SPAN></I></B><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"><FONT FACE="Cambria"> (U.M.I. 2001,</FONT></SPAN><SPAN LANG="fr"><B><I></I></B></SPAN><SPAN LANG="fr"><B><I></I></B></SPAN><B><I><SPAN LANG="en-us"> <FONT FACE="Cambria">Vereinfachte Harmonielehre, oder die Lehre von den tonalen Funktionen der Akkorde</FONT></SPAN></I></B><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"><FONT FACE="Cambria">"</FONT></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"><FONT FACE="Cambria">,1893) uses the term "parallel" for the relative scales of major and minor and modern usage uses parallel for different modes of the same tonic. </FONT></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"> </SPAN></P>
<P DIR=LTR><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"></SPAN></P>
<P DIR=LTR><SPAN LANG="en-us"><FONT FACE="Cambria">Schönberg uses "M" like you as well as T, D, S but his "Chart of the Regions" (Structural functions of Harmony, page 20) gets pretty complicated when it gets to SMsm or bmvsm! So rather than using mediants, I prefer Riemann's DRm and TRm for the mediant and submediant in major, and TRM and SRM in minor, because the mediants in the extended tonality made possible by parallel modes don't have the same function. If the Rm or RM chords are altered I add a lower case "a" unless an A major chord in C is DSRm, for example. I also use "subdominant of", for example, Bb minor+6 in C can be Sm</FONT></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"><FONT FACE="Cambria">6</FONT></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"><FONT FACE="Cambria">S.</FONT></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"></SPAN></P>
<P DIR=LTR><SPAN LANG="en-us"><FONT FACE="Cambria">Apparently, Schönberg didn't notice that "SMSM", the submediant of the submediant, and bmM, the minor mediant of the minor mediant are enharmonically the same in equal temperament. F# and Gb are the relative minor of the relative minor and relative major of the relative major in C. A circle is therefore formed by chords of the same function as in color theory where the primary and secondary colors form a circle instead of the straight line of the spectrum from red to violet when magenta is produced. So I call the tritone relation the complement, TC, DC and SC, major or minor, by analogy with colors, magenta being the complement of green for example. To make a synthesis with another theorist, Hindemith, his "Series 1" of the twelve chromatic steps would be T, D, S, TRm, DRm, TRM, SRM, SRm, DRM, DC, SC, and TC. The three functions multiplied by the circle of four minor mediants give major or minor triads on all twelve notes of the chromatic scale.</FONT></SPAN></P>
<P DIR=LTR><SPAN LANG="en-us"><FONT FACE="Cambria">I don't believe it's possible to be simple when dealing with extended tonality. My system is simpler than Schönberg's, or at least uses fewer letters, and the double mediants are combined. For diatonic music, roman numerals are very practical as are your M and SM, since one learns rapidly that SM is the TRm and M the DRm. However sharps and flats added to roman numerals use a lot of letters too, like bVIIm. DRMa uses only four letters instead of five!</FONT></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"></SPAN></P>
<P DIR=LTR><SPAN LANG="en-us"><FONT FACE="Cambria">I avoid lower case numerals also, and agree that indicating inversions is irrelevant in analyzing root progressions. But</FONT></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"> <FONT FACE="Cambria">I think</FONT></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"> <FONT FACE="Cambria">indicating T/5 >D7 as I proposed in my last posting is pretty clear for T6/4>D7 or V6-5/4-3. I discuss these questions in more detail</FONT></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"> <FONT FACE="Cambria">(</FONT></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"><FONT FACE="Cambria">in French, since I work in France</FONT></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"><FONT FACE="Cambria">)</FONT></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"><FONT FACE="Cambria"> on my website,</FONT></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"> </SPAN></P>
<P DIR=LTR><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"></SPAN><A HREF="http://bruce.grant.pagesperso-orange.fr/8.%20complementaires.pdf"><SPAN LANG="fr"></SPAN><SPAN LANG="fr"><U></U></SPAN><U><SPAN LANG="en-us"><FONT COLOR="#0000FF" FACE="Cambria">http://bruce.grant.pagesperso-orange.fr/8.%20complementaires.pdf</FONT></SPAN></U><SPAN LANG="fr"></SPAN></A><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"><FONT FACE="Cambria"></FONT></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"> </SPAN></P>
<P DIR=LTR><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"></SPAN></P>
<P DIR=LTR><SPAN LANG="en-us"><FONT FACE="Cambria">It might be interesting for Dr Meeus, Mme Poudrier, and the other francophones out there!</FONT></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"></SPAN></P>
<P DIR=LTR><SPAN LANG="en-us"><FONT FACE="Cambria">Bruce</FONT></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"></SPAN><SPAN LANG="en-us"></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="fr"><FONT FACE="Cambria">Bruce Grant, DM, Indiana University</FONT></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Cambria">Chef d’orchestre et chef des chœurs,</FONT></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Cambria">Théâtre de l’opérette de Lyon</FONT></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="fr"><FONT FACE="Cambria">, France</FONT></SPAN><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"></SPAN><SPAN LANG="fr"></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"></SPAN><SPAN LANG="fr"><FONT FACE="Consolas">-----Message d'origine-----<BR>
De : smt-talk-bounces@lists.societymusictheory.org [<A HREF="mailto:smt-talk-bounces@lists.societymusictheory.org">mailto:smt-talk-bounces@lists.societymusictheory.org</A>] De la part de Ninov, Dimitar N<BR>
Envoyé : dimanche 12 février 2012 01:58<BR>
À : smt-talk@lists.societymusictheory.org<BR>
Objet : [Smt-talk] Abbreviated Lables of Seventh Chords and Labeling of Functions</FONT></SPAN><SPAN LANG="fr"></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Consolas">Dear Bruce, </FONT></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Consolas"><A HREF="https://synergy.txstate.edu/owa/?ae=Item&t=IPM.Note&a=New">https://synergy.txstate.edu/owa/?ae=Item&t=IPM.Note&a=New</A>#</FONT></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Consolas">I am pleasantly surprised that you occasionally embark on Riemann's letter such as T, S, and D. These are great for generalizing if we teach American students that are used to Roman numerals only, but they could also be specific if we want to use them instead of Roman Numerals.</FONT></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Consolas">I find your system a little more complicated, however. But I think that it was Riemann who made is so complicated, by introducing Trm, etc. - ambiguous sybmols that reveal the mediant functions. I have been experimenting with symbols for teaching purposes, and with symbols for my own harmonization and analysis purposes, and tight now I am in favor of simplifying things as much as I can. For instance, from time to time I use the Schonbergian system (capital Roman numerals only) with no inversion symbols, as used in his "Structural Functions of Harmony". The dash across the letter would mean either a borrowed chord or a genuine altered chord. For instance, the progression I - #iio7-I6-IV-viio/V-V would be labeled by Schoenberg as: I-II (with a scratch)-I-IV-IV (with a scratch) and V. Of course, without seeing the music this could be a problem, because no specifics are provided, but when you analyze complicated things visually, this provides the freedom to think generally and to</FONT></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Consolas"> avoid the usual clutter.</FONT></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Consolas">Otherwise, I also use T, S and D, but I also introduce a two more functions: M (for both mediant and submediant, or you can use M and SM, if preferred), and K or Cad. (for cadential six-four, which for me is not V with two non-chord tones; I already submitted a thread with a treatise on that) Thus we have:</FONT></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Consolas">T (I)</FONT></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Consolas">S (IV)</FONT></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Consolas">D (V)</FONT></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Consolas">M (III)</FONT></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Consolas">SM (VI)</FONT></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Consolas">K (or Cad.) for the cadential 6/4</FONT></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Consolas">As for the II and the seventh chord, I could either mark them as SII (subdominant on the second scale degree) and DVII (dominant on the seventh scale degree), or place them under the umbrella of a general S and generalr D, respectively. Depends on whether I want to be specific or general.</FONT></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Consolas">Thus I acquire clear and uniform labeling system, which could also be used with inversion symbols from the figured bass as necessary. For the secondary dominants and subdominants (we should not not forget that there is also IV of...and II of...which could also be altered on top of that, for example CTo7/III, etc.) I use D of or S of such as in D/D (dominant of the dominant) or D/S (dominant of the subdominant). However, D/SM (dominant of the submediant) could have an alternative label such as D/VI.</FONT></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Consolas">For minor mode I use the same capital letters above; the size of the chords being suggested by the key signature and by different alterations if any. However, if a chord is borrowed from major minor to major, for instance, I would write -S or -D, for example. </FONT></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Consolas">There are various ways of using letters and symbols, and I am in a process of looking for a simple system that allows me to analyze chromatic and modulating passages without using so many symbols that make the labels clumsy and unattractive.</FONT></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Consolas">Best regards,</FONT></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Consolas">Dimitar</FONT></SPAN></P>
<BR>
<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Consolas">Dr. Dimitar Ninov, Lecturer</FONT></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Consolas">School of Music</FONT></SPAN></P>
<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Consolas">Texas State University</FONT></SPAN></P>
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<P DIR=LTR><SPAN LANG="fr"><FONT FACE="Consolas">San Marcos, Texas 78666</FONT></SPAN></P>
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