Harmony Analysis

[Dr.Matt]

which are very poor advice for one who is trying to learn how to construct
chords!
Instead, Michael, you should learn to construct ALL chords *from the major
scale based upon the ROOT-TONE*. Each and every chord has a "formula" for
its construction in this manner.
For example, a major triad is constructed from the first, third, and fifth
degrees of the major scale (remember, the *major* scale, with appropriate
"chromatic" alterations as necessary, is used for the construction of ALL
chords, whether they are called "major" or "minor" chords). The C-major
scale is composed of the following tones: CDEFGAB. The first, third, and
fifth tones of this scale are CEG. Therefore, a C-major triad contains
tones CEG. Simple.
Not quite as simple is a C-minor triad, whose construction formula is the
first, *lowered* third, and fifth degrees of the C-MAJOR scale. The
lowered third degree of the C-major scale is tone Eb, one half-tone lowere
than the unaltered third degree, tone E. Therefore, a C-minor triad
contains the three tones CEbG. Simple, with a little twist, since this
chord was also constructed from the C-MAJOR scale.
And so it goes, for all sorts of chords. Same idea. All that you have to
know is the "construction formula", which I can supply, and which is very
simple to use, no matter what the chord.
The best way to start is with the *four basic chords*, which I name below,
without (at this time) supplying their construction formulas. These chords
(1) minor triad
(2) major triad
(3) minor tetrad (also known as "minor 7th")
(4) major tetrad (also known simply as "7th" or dominant 7th)
If you listen to *anyone else* around here, you will *not* get any simple
and straightforward answers, for reasons which will only complicate my
current post. Suffice it to say that I have posted these reasons countless
times in the past, as well as posting extensive discussions of chords,
chord-based music, chord construction, etc., etc.
F,G,Bb,D#,B
Do it using the construction formula [1,3,5], which I explained above for
the C-major triad.
Albert Silverman
(Al is in Wonderland!)
where relevance is irrelevant

[Dr.Matt]

Hi,
I have a quick question, maybe a dumb question: if I wanted to
determine the harmony of a chord, would it be reasonable to simply
judge by looking at the lowest note?

No it wouldn't, since a chord may be *inverted*; i.e., its tones may be
rearranged (after it is constructed by some standardized procedure) with
*any* tone being the "lowest" note, which is referred to as the "bass"
tone.
For example, a C-major triad contains the tones CEG, with tone C (the tone
after which the chord is named) being the lowest tone when the chord is
constructed in standardized (so-called "root") position. These three tones
may then be rearranged with either tone E or tone G as the lowest tone,
commonly referred to as the tone of lowest pitch.
This chord with either tone E or tone G as the tone of lowest pitch is
referred to as an "inverted" C-major triad.
Albert Silverman
(Al is in Wonderland!)
where relevance is irrelevant

I'm very new to this, please bare
with me.

This is hardly a crime!

Thank you very much,
Michael

[Dr.Matt]

Hi,
I have a quick question, maybe a dumb question: if I wanted to
determine the harmony of a chord, would it be reasonable to simply
judge by looking at the lowest note? I'm very new to this, please bare
with me.

It's part of it, but you also need to identify the fundamental.

No you do *not*. What you *do* need to do is to identify the
constructional *root-tone*. This is done by knowing the *interval pattern*
which relates the various tones of the chord. This pattern is revealed by
the constructional formula, to which I referred in a previous post.
Try to

rewrite the notes of the chord as a stack of thirds.

Do *not* do this--under any circumstances. It will only confuse the hell
out of you and destroy what I believe that you should accomplish, using
the chord construction method which I described.
Albert Silverman
(Al is in Wonderland!)
where relevance is irrelevant
Get the lowest note

of your stack of thirds. That's the fundamental. The actual lowest note
is called the bass. (If you can't whip the notes into
thirds-stack-shape, maybe some note or other is not a structural note)

Albert Silverman is a contrarian and has publicly changed his views
on this precise matter just to make them contrary to those of others.
He's also the winner of Kook of the Month and Golden Killfile
for September 1995, The Victor Von Frankenstein Weird Science Award
for June 1998, The Six of Spades of the Kook Kard Deck, and a special
place in the heart of Usenet readers on many assorted newsgroups
(see http://www.insurgent.org/~kook-faq/whiners.html and
http://www.insurgent.org/~kook-faq/kards.html for more information).

[Dr.Matt]

Hi,
I have a quick question, maybe a dumb question: if I wanted to
determine the harmony of a chord, would it be reasonable to simply
judge by looking at the lowest note? I'm very new to this, please bare
with me.
Thank you very much,
Michael

Suggest you refer to chapter 2 of "Harmony" by Walter Piston (4th ed.
revised by Mark Devoto, 1978), where you will find a straightforward
explanation of Chord factors, Inversions, Kinds of Triads, Doubling,
The Leading-Tone Triad, Spacing, Close and Open Position, and
Notation.
Best wishes,
Christopher Eva

I would not suggest, but *urge* you NOT to do any such thing! Piston is
the standard bearer for "traditional" harmony, which makes one Royal Mess
of the whole subject.
Don't even *dream* about consulting this monstrosity (Ancient Academic
Authority) if you want to retain your sanity!
Albert Silverman
(Al is in Wonderland!)
where relevance is irrelevant

[Dr.Matt]

Indeed, his whole thesis is that music students should come to him,
and him alone, and shall have no gods...er teachers before him.

And what material of *relevance* to the real world of music did these
Ancient Authoritative Artifacts teach *you*, "doctor"?
You still don't know anything about chords, chord-based theory, etc. What
you *do* know is a glut of *irrelevant* trivia about Musical History,
which you somehow or other seem to believe is "theory." What Strange
Logic, "doctor"!
Albert Silverman
(Al is in Wonderland!)
where relevance is irrelevant

If this question is addressed at me, then I suggest you analyze the
chords in my 1995 setting of Shakespeare's 18th Sonnet (big hint: it's
already available on the web--in Audio so you don't even need to learn
to read music!), and show some of your own musicmaking. Where's your
music, Albert?

[Dr.Matt]

Hi,
I have a quick question, maybe a dumb question: if I wanted to
determine the harmony of a chord, would it be reasonable to simply
judge by looking at the lowest note? I'm very new to this, please bare
with me.
Thank you very much,
Michael

Suggest you refer to chapter 2 of "Harmony" by Walter Piston (4th ed.
revised by Mark Devoto, 1978), where you will find a straightforward
explanation of Chord factors, Inversions, Kinds of Triads, Doubling,
The Leading-Tone Triad, Spacing, Close and Open Position, and
Notation.

I've recently glanced at the prices of some of Piston's classic
textbooks. Extended referring could be problematic.
--

I got a used copy of Piston revised Ed 1991 quite cheaply through Amazon.
Colin

Any price paid for Piston makes it too expensive, unless it is for your
*entertainment*--a few hearty laughs are certainly worth something!
Albert Silverman
(Al is in Wonderland!)
where relevance is irrelevant

We know quite well that you did not understand it, Albert, but that's
just because you have never participated in music.

[Jerry Kohl]

Post by Dr.Matt

Hi,
I have a quick question, maybe a dumb question: if I wanted to
determine the harmony of a chord, would it be reasonable to simply
judge by looking at the lowest note? I'm very new to this, please bare
with me.
Thank you very much,
Michael

Suggest you refer to chapter 2 of "Harmony" by Walter Piston (4th ed.
revised by Mark Devoto, 1978), where you will find a straightforward
explanation of Chord factors, Inversions, Kinds of Triads, Doubling,
The Leading-Tone Triad, Spacing, Close and Open Position, and
Notation.

I've recently glanced at the prices of some of Piston's classic
textbooks. Extended referring could be problematic.
--

I got a used copy of Piston revised Ed 1991 quite cheaply through Amazon.
Colin

Any price paid for Piston makes it too expensive, unless it is for your
*entertainment*--a few hearty laughs are certainly worth something!
Albert Silverman
(Al is in Wonderland!)
where relevance is irrelevant

We know quite well that you did not understand it, Albert, but that's
just because you have never participated in music.

Plus he was holding the book upside-down when he tried to read it.

--
Jerry Kohl <***@comcast.net>
"Légpárnás hajóm tele van angolnákkal."

[Dr.Matt]

So, which book would you recommend?

*None* of the textbooks which are approved by the Academic
Establishment.
These are all based upon an Archaic approach whose sole purpose
to avoid any "revision" of Musical History. These texts do not,
and cannot
by their very premise, present "chord-based" theory in any useful
and
meaningful manner....

He didn't ask "Which textbook which is approved by the Academic
Establishment would you recommend".
He asked "Which book would you recommend?"
People are seeking enlightenment here. Please answer the question.

Which people? Those (like yourself) who are satisfied with the Ancient
package that Musical Authority has furnished to The Masses, or those who
are struggling to make any sense (quite impossible, of course) of this
package, and its glorious Ancient Gibberish?
Let them speak up.
Are "people" *you*?
Albert Silverman
(Al is in Wonderland!)
where relevance is irrelevant

Dave

Answer the question, Albert.

[Dr.Matt]

Post by Dr.Matt

So, which book would you recommend?

*None* of the textbooks which are approved by the Academic
Establishment.
These are all based upon an Archaic approach whose sole purpose
to avoid any "revision" of Musical History. These texts do not,
and cannot
by their very premise, present "chord-based" theory in any useful
and
meaningful manner....

He didn't ask "Which textbook which is approved by the Academic
Establishment would you recommend".
He asked "Which book would you recommend?"
People are seeking enlightenment here. Please answer the question.

Which people? Those (like yourself) who are satisfied with the Ancient
package that Musical Authority has furnished to The Masses, or those who
are struggling to make any sense (quite impossible, of course) of this
package, and its glorious Ancient Gibberish?
Let them speak up.
Are "people" *you*?
Albert Silverman
(Al is in Wonderland!)
where relevance is irrelevant

Dave

Answer the question, Albert.

The only question to be answered here, "doctor," is why, after all of
these years, are you now concerned about the lack of suitable textbooks on
the principles of music?
It is clear that *you* have certainly not learned these principles, given
the tools that Ancient Academic Authority (AAA, in some sort of
Strange Logic!) has provided you. Therefore, you will just have to
continue struggling along to comprehend those things which are *missing*
from The Doctrine which you wholeheartedly support.
I am not responsible for this dearth of *relevant* material within the
Authoritarian establishment. Hence there is of course no reason for *me*
to answer this silly and all-too-obvious question. Direct your query to
the Authority which filled your head with all of this trivia, confusion,
and conflicting thoughts, with which you continue the residents of our
Wonderful community.
Albert Silverman
(Al is in Wonderland!)
where you can't tell the "doctors" from the patients

[Dr.Matt]

So, which book would you recommend?

<snip stuff>

"Vocationally-oriented" material, while telling the reader *how to do it*,
does not provide any understanding of the underlying theory. However, I
would certainly *never, ever, ever* recommend Piston as the lesser of
several evils. Indeed, it is perhaps the greatest of several evils--even
though it may help the hapless student pass his/her university exam.
But without any understanding of the basic principles involved.....

So, which book would you recommend?
--
The better the voyce is, the meeter it is to honour and
serve God there-with: and the voyce of man is chiefely
to be imployed to that ende.
Omnis spiritus laudet Dominum.
-William Byrd

I should just point out here that Albert's allusion to this "how to do
it vs. the underlying principles" runs directly counter to his claim,
frequently presented on these many newsgroups, that he and he alone
makes the one true music, i.e. piano improvisation in the manner of
Tin Pan Alley. That he actually carries this out in practice is
doubtable, considering the number of offers people have made over the
years to come and hear and/or record him actually doing it. The bulk
of evidence supports my contrary assertion that he has never made
music in any capacity whatsoever, and his "underlying principles" have
nothing to do with music, being rooted strictly in his own imagination
and not in the actual music which he supposes to denigrate as
"vocational".

[Matthew Fields]

enough? :-)

Not quite.
Why are you calling this a "harmony" analysis, when what you are talking
about here (and quite correctly, for the most part) is chords and matters
of chord construction?
A harmony analysis, on the other hand, deals with *chord relationships*
(chord progression, etc.). It is very important not to confuse *acoustic*
matters with chord relationships, even if only in informal discussion.
Incidentally, I applaud your straightforward approach to matters which
need continual attention for newcomers to Wonderland!
Albert Silverman
(Al is in Wonderland!)
where relevance is irrelevant

Where's your music?

[Richard White]

In article <tnBbd.188$***@news.itd.umich.edu>, "Matthew Fields"
<***@uce.gov> wrote:
<snip>

Post by Matthew Fields
Where's your music?

Maybe you could set this mantra to music? It's going nowhere as is.

Richard White

[just another]

Post by Richard White
<snip>

Post by Matthew Fields
Where's your music?

Maybe you could set this mantra to music? It's going nowhere as is.
Richard White

You never heard Handel's "Where's Yer Music?" chorus?

[Frank.b]

Post by Richard White
In article

Post by Richard White
<snip>

Post by Matthew Fields
Where's your music?

Maybe you could set this mantra to music? It's going nowhere as is.
Richard White

You never heard Handel's "Where's Yer Music?" chorus?

Who's 'Handel' ?

[Lady Chatterly]

Post by just another

Post by Richard White
<snip>

Post by Matthew Fields
Where's your music?

Maybe you could set this mantra to music? It's going nowhere as is.
Richard White

You never heard Handel's "Where's Yer Music?" chorus?

Where do you think yer music?

--
Lady Chatterly

"I'd like to know why you'd make such an accusation, sock. And I'm
more than willing to make much nastier accusations right back, if it's
why I think it is." -- theoneflasehaddock

[Matthew Fields]

Post by Richard White
<snip>

Post by Matthew Fields
Where's your music?

Maybe you could set this mantra to music? It's going nowhere as is.
Richard White
--
http://www.whitcopress.com Newly Updated
New photos, scores, mp3's of Organ, Guitar, and new Piano Rags
Hear Linda Ronstadt sing Richard White on
'A Merry Little Christmas' Elektra 62572-2

Knee Play 1 or Train 2?

[Richard White]

Post by Richard White
In article

Post by Richard White
<snip>

Post by Matthew Fields
Where's your music?

Maybe you could set this mantra to music? It's going nowhere as is.
Richard White
--
http://www.whitcopress.com Newly Updated
New photos, scores, mp3's of Organ, Guitar, and new Piano Rags
Hear Linda Ronstadt sing Richard White on
'A Merry Little Christmas' Elektra 62572-2

Knee Play 1 or Train 2?

Clever? Wasted on me.

Richard White

[Matthew Fields]

Post by Richard White

Post by Richard White
In article

Post by Richard White
<snip>

Post by Matthew Fields
Where's your music?

Maybe you could set this mantra to music? It's going nowhere as is.
Richard White
--
http://www.whitcopress.com Newly Updated
New photos, scores, mp3's of Organ, Guitar, and new Piano Rags
Hear Linda Ronstadt sing Richard White on
'A Merry Little Christmas' Elektra 62572-2

Knee Play 1 or Train 2?

Clever? Wasted on me.
Richard White

http://www.amazon.com/exec/obidos/ASIN/B000005J28

[Richard White]

Post by Richard White
In article

Post by Richard White

Post by Richard White
In article

Post by Richard White
<snip>

Post by Matthew Fields
Where's your music?

Maybe you could set this mantra to music? It's going nowhere as is.
Richard White
--
http://www.whitcopress.com Newly Updated
New photos, scores, mp3's of Organ, Guitar, and new Piano Rags
Hear Linda Ronstadt sing Richard White on
'A Merry Little Christmas' Elektra 62572-2

Knee Play 1 or Train 2?

Clever? Wasted on me.
Richard White

http://www.amazon.com/exec/obidos/ASIN/B000005J28

That was the obvious part . . .

Richard White

[Matthew Fields]

Post by Richard White

Post by Richard White
In article

Post by Richard White

Post by Richard White
In article

Post by Richard White
<snip>

Post by Matthew Fields
Where's your music?

Maybe you could set this mantra to music? It's going nowhere as is.
Richard White
--
http://www.whitcopress.com Newly Updated
New photos, scores, mp3's of Organ, Guitar, and new Piano Rags
Hear Linda Ronstadt sing Richard White on
'A Merry Little Christmas' Elektra 62572-2

Knee Play 1 or Train 2?

Clever? Wasted on me.
Richard White

http://www.amazon.com/exec/obidos/ASIN/B000005J28

That was the obvious part . . .
Richard White

I didn't say it was clever.

[Richard White]

Post by Richard White
In article

Post by Richard White

Post by Richard White
In article

Post by Richard White

Post by Richard White
In article

Post by Richard White
<snip>

Post by Matthew Fields
Where's your music?

Maybe you could set this mantra to music? It's going nowhere as is.
Richard White
--
http://www.whitcopress.com Newly Updated
New photos, scores, mp3's of Organ, Guitar, and new Piano Rags
Hear Linda Ronstadt sing Richard White on
'A Merry Little Christmas' Elektra 62572-2

Knee Play 1 or Train 2?

Clever? Wasted on me.
Richard White

http://www.amazon.com/exec/obidos/ASIN/B000005J28

That was the obvious part . . .
Richard White

I didn't say it was clever.

That was obvious, too . . .

This dance no longer interests me . . .

Richard White

[Bob Pease]

Post by Richard White
In article

Post by Richard White
<snip>

Post by Matthew Fields
Where's your music?

Maybe you could set this mantra to music? It's going nowhere as is.

Wherezyer Music?
Wheresyer Music
wheresyer wheresyer
Music Music

Wherezyer CD?
Wherezyer CD
CD CD
Wherezyer
Wherezyer

Music CD
...... Etcetera ad infinitum

Dr S.

another

10 Flectamus Genua
20 Cantemus "Duh"
30 Levate
40 GO TO 10

Bob Pease



Wheresure Karma


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[Matthew Fields]

Post by Matthew Fields

enough? :-)

Not quite.
Why are you calling this a "harmony" analysis, when what you are talking
about here (and quite correctly, for the most part) is chords and matters
of chord construction?
A harmony analysis, on the other hand, deals with *chord relationships*
(chord progression, etc.). It is very important not to confuse *acoustic*
matters with chord relationships, even if only in informal discussion.
Incidentally, I applaud your straightforward approach to matters which
need continual attention for newcomers to Wonderland!
Albert Silverman
(Al is in Wonderland!)
where relevance is irrelevant

Where's your music?

It's where your mouth *ought* to be, "doctor"!
Albert Silverman
(Al is in Wonderland!)
where relevance is irrelevant

Enough hypotheses, show us the goods!

[Matthew Fields]

First of all, no question is dumb if you don't know the answer.

I guess this is the reason that people are continually claiming that a
certain well-known political figure is "dumb"!!