Beyond.functional.harmony Wayne.j.naus v2. The shape of Olympus was formed by rain and wind, which produced an isolated tower almost 3,000 metres (9,800 ft) above the sea, which is only 18 kilometres (11 mi. Oil Stop Valve: Oil Spill Containment Research and Development Project. Beyond Functional Harmony Wayne Naus Pdf Writer. 5/30/2017 0 Comments It was a factory town with the main factory being the American Car And Foundry. They produced war machines during WWI and it was said that the town was on Hitler's bombing.
I don't know if my answer is the right one or if there's a better method out there, but here's what worked for me. Study chord substitutions, voice leading/counterpoint, and modal pitch tendencies. In my opinion, chord functionality all reduces down to either tonic, subdominant, or dominant either directly (using the primary chord of each) or indirectly (using chords that substitute for the primary chord of each).
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This also gives me more access to all 12 pitches of the chromatic pitch class without completely alienating myself from a tonal center (because I can find a tonic, subdominant, or dominant substitute from any root of the chromatic scale in any diatonic key). For example, take the strangest chord progressions you can find and simply reduce it down to a basic functionality. Let's try i - bVI7 - bVII - v7 - bVI - iv#11 - bII This is an 'epic' Hollywood progression (you can hear it in the theme to the new Star Trek film theme). But it basically reduces down to a basic functionality of TTDDTSD where T=tonic, S=subdominant, and D=dominant. It isn't just randomness or something someone created out of pure dumb luck. The basic chord progression would work just fine under the theme, but obviously the better progression includes all the chord substitutions.
There's obviously more to it than this, melodically speaking, but this is the basic understanding I've developed from exploring modern tonality. It's actually simpler than common practice harmony, especially if you're used to thinking of each chord function (Tonic, supertonic, mediant, etc) as an isolated function that relates to other functions in intricate, complicated ways. When you look at a chord progression today, there are really only three ways a chord relates to another chord: by Minor/Major second up or down, Minor/Major third up or down, or by perfect fourth/fifth up or down. So, modern harmony actually gets 'easier' even if it seems like it's becoming more complex. The only other thing I want to add is that I've been a long-time advocate of no longer labeling pitches outside of a chord as 'nonchord tones' for the reason that any pitch outside of the triad is a 'color' or 'tendency' pitch.
So, as you analyze modern harmonic progressions, look for the pitches outside of the chord and make mental notes about what they do to change the sound. Do they 'brighten' it? Do they 'darken' it? Maybe they add additional 'tension' or 'release' to the progression? Just some things to consider.
Again, I won't claim my understanding is the 'correct' way to think about it, but it's a whole lot simpler. Nowadays modern music theory is a bit weird.
The 20th century took a big turn to getting away from tonality, and Stravinsky led the charge on this really weird Classical style music but he would add more modern harmonies and stuff, Quartal harmonies and weird stuff happens around here. After this composers start to play around with tape recorder stuff and more studio type of music.
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The point in saying all this, is that the flood gates kind of got opening up like 50 years ago and even people like Jacob Collier openly admit that a lot of the ideas he is presenting he simply got from other music theory nerds who wrote about it in the mid 1800s. The theory typically behind modern harmony is just relate it to a certain form that it is imitating and analyze it how you would with something similar to that piece. The 'theory' behind modern harmony is still the same, it's just how that theory is being used. My answer will be quite innacurate but quite correct concerning certain aspects of modern harmony. - she is aimed towards colors and textures. - she is quite free of many common practice obligations: parallel fifths, eights, obligated motions.