Timeline for How does one establish a key? What are the criteria?
Current License: CC BY-SA 3.0
13 events
when toggle format | what | by | license | comment | |
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Nov 9, 2021 at 10:45 | answer | added | Michel Rouzic | timeline score: 2 | |
Sep 20, 2015 at 22:08 | answer | added | user19146 | timeline score: 2 | |
Sep 20, 2015 at 0:30 | history | tweeted | twitter.com/#!/StackMusic/status/645394619698675713 | ||
Sep 19, 2015 at 17:10 | comment | added | user19146 | Actually, the first modulation example in the book (No 162 in section 53) contradicts the definition from section 51 that the OP quoted. It doesn't modulate at all. The three-chord progression shown (C D7 G) is just a cadence in G major. It's only a modulation if you think music is for looking at not for listening to, and you argue that it starts in C major because of the (lack of a) key signature. | |
Sep 19, 2015 at 16:54 | comment | added | user19146 | You can't "write a song involving only two pitch classes C and G" which includes "playing an E" (or E flat). Either you don't understand what a pitch class is, or you are making up your own terminology as you go along. I agree with Todd Wilcox, something seems to have got "lost in translation" from Russian to German to English, but that has nothing to do with pitch classes. The term hadn't even been invented when the book was written. | |
Sep 19, 2015 at 16:08 | answer | added | Alex | timeline score: 3 | |
Sep 19, 2015 at 16:00 | comment | added | jjmusicnotes | @ToddWilcox He's not saying that the chord can't belong to any other keys, but that we should only use the most relevant chords. Also, you can absolutely pivot to another key using one chord - especially if the penultimate chord is used as a pivot chord. The more convincing the pivot, the more convincing the harmonic motion to the new key. | |
Sep 18, 2015 at 22:07 | answer | added | empty | timeline score: 1 | |
Sep 18, 2015 at 20:06 | history | edited | Tim | CC BY-SA 3.0 |
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Sep 18, 2015 at 18:45 | comment | added | Stan Shunpike | @ToddWilcox maybe you can turn that into an answer. A sort of disproof of what Tchaikovsky is saying by counterexample. | |
Sep 18, 2015 at 18:33 | history | edited | Dom♦ |
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Sep 18, 2015 at 18:28 | comment | added | Todd Wilcox | "...we must insert a chord, that can belong only to the key we wish to reach..." I can't think of a way for that to be possible. What chords only belong to one single key? My view of establishing a key takes more than one chord, it takes a sequence of chords that only makes sense in one key. Maybe Tchaikovsky means the chord in question can belong to the new key but not the old key. | |
Sep 18, 2015 at 18:23 | history | asked | Stan Shunpike | CC BY-SA 3.0 |