In article <slrnd7q2lh.da0.slvrmn@[EMAIL PROTECTED]
>,
Albert Silverman <slvrmn@[EMAIL PROTECTED]
> wrote:
>On 2005-05-07, Jon Slaughter <Jon_Slaughter@[EMAIL PROTECTED]
> wrote:
>> Why is are the "rules" for dealing with the mediant chord(in root
position)
>> in harmonization and counterpoint so "difficult" compared to the other
>> chords? That is, why is the use the mediant chord so strict compared
with
>> most "other" chords? I read somewhere that it has something to do with
the
>> fact that it is a really a dom13 chord or something of V... but that
doesn't
>> really explain much to me as you can call any chord anything you
want(i.e.
>> all of them are 13th chords in some inversion... i.e., V is just I13 in
2nd
>> inversion with some of the voices missing). I also read somewhere that
III
>> acts as a tonic substitute(just like vi does), but this seems to
contradict
>> the above.
>>
>> Whats going on here? (and is there any real solid theoretical reason
why the
>> III is so different?)
>
>WHY is all of this nonsense so "im****tant" to you?
>
>What you *should* be learning is how to construct simple chord
>configurations and how to label them so that all of the nonsense that you
>are trying to understand becomes revealed for what it is. Of course,
there
>is a much larger framework (structure) that needs to be understood in
>order to fit these chords into place.
>
>But no matter. Until you learn simple chord construction, you will
*never*
>be able to understand *anything* about this Ancient Atrocity.
>
>
>
>Albert Silverman
>(Al is in Wonderland!)
>where relevance is irrelevant
>
>>
>> Jon
>>
>>
The answer to your questions, Al, is quite simply that Jon is
working with actual music and is accompli****ng things you have
never dreamed of.
--
Matthew H. Fields http://personal.www.umich.edu/~fields
Music: Splendor in Sound
To be great, do things better and better. Don't wait for talent: no such
thing.
Brights have a naturalistic world-view. http://www.the-brights.net/
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