Jody Nagel
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XIII. Major-Minor-7th --- Minor Triad Relationships
XIV. Half-Diminished-7th --- Minor Triad Relationships

The Fully-Diminished-7th-to-Minor-Tonic-Triad Prototype
Used as a Voice-Leading Model and "Correct Linear Spelling" Paradigm:
Major-Minor 7ths and Half-Diminished 7ths as alterations of Fully-Diminished 7ths, from a Tonal Perspective
 
 
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Unique Harmonic Relationships

 
Harmonic Relationships, Examples 13 & 14
"Chromatic Modal" scale convention used: 1, b2, 2, b3, 3, 4, #4, 5, b6, 6, b7, 7 (Do, Ra, Re, Me, Mi, Fa, Fi, Sol, Le, La, Te, Ti)
Closest "tonal" voice-leading, using only common-tones, semitones, or whole-tones.
(The specified voice-leading-type is shown in black note-heads.)
 
In this chart, each chord leads directly to its Primary Tonic triad (in each case, a C-Minor Triad).
All Harmonic Types can also be used in a secondary relationship with some other tonicized minor triad.
This system emphasizes linear voice-leading, and implicitly rejects Rameau's notion that tertian chords must be "spelled in 3rds."
Relationships Example 13
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Unique Harmonic Relationships
 

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