Timeline for Quartal Harmonization Experimentation with Double Harmonic Major
Current License: CC BY-SA 4.0
14 events
| when toggle format | what | by | license | comment | |
|---|---|---|---|---|---|
| Mar 8, 2021 at 14:25 | vote | accept | grugintel | ||
| Mar 6, 2021 at 16:16 | comment | added | Dekkadeci | @grugintel - Yes, I would have. Or, rather, I'd have used E-A-D-G. Perhaps this is my influence from video game music creeping in, which often similarly uses perfect 4ths instead of augmented 4ths regardless of how well they fit the scale. | |
| Mar 5, 2021 at 23:12 | answer | added | OwenM | timeline score: 3 | |
| Mar 5, 2021 at 19:01 | vote | accept | grugintel | ||
| Mar 8, 2021 at 14:25 | |||||
| Mar 5, 2021 at 18:57 | comment | added | user1079505 | I mean: to me F-A-B-E screams "lydian". It's actually relatively common voicing on guitar (xx3200). I think in the past such chords were interpreted as b5, but at some point people figured out it's rather #11. Of course that's subjective and may depend on context. | |
| Mar 5, 2021 at 18:50 | comment | added | grugintel | @user1079505 Could you please elaborate on what you mean regarding how the chord sounds? I understand what you mean regarding the naming convention, I think, because renaming the chord as you suggest would reflect its quartal harmonization. But when you speak of its sound, I'm baffled, because wouldn't it sound the same, what with it being the same note? I apologize if this question is silly. I imagine I'm in over my head here. | |
| Mar 5, 2021 at 18:47 | comment | added | user1079505 | Has @jdjazz answered your question? | |
| Mar 5, 2021 at 18:46 | comment | added | grugintel | @Dekkadeci Is that to say that you would have, had you harmonized this scale, forced into the harmonization of this scale extra-scalar notes by flattening any occurring augmented fourth intervals, such that, for instance, my 1-chord would be E A D G#? | |
| Mar 5, 2021 at 13:20 | comment | added | Dekkadeci | Perhaps oddly, I tend to prefer quartal chords constructed entirely of perfect 4ths (not augmented/diminished) between closest notes, regardless of which scale I base these chords' roots on. | |
| Mar 5, 2021 at 2:21 | answer | added | jdjazz | timeline score: 4 | |
| Mar 4, 2021 at 21:00 | history | tweeted | twitter.com/StackMusic/status/1367580626036154372 | ||
| Mar 4, 2021 at 18:36 | comment | added | user1079505 | Interesting concept. The issue is that harmonic identity of some of these chords is not so well defined (so one could discuss about chord symbols you chose, or depending on context interpret them differently). In particular, I would call chord 2. Fmaj7#4 (not only because B is #4 of F, but primarily because how it sounds) | |
| Mar 4, 2021 at 18:09 | review | First posts | |||
| Mar 4, 2021 at 18:25 | |||||
| Mar 4, 2021 at 18:05 | history | asked | grugintel | CC BY-SA 4.0 |