[CAUT] The history of harmonic development

Dan Reed pianoarts at tx.rr.com
Wed Mar 4 09:11:16 PST 2009



Ed Foote wrote, in regards to offering alternative  
temperments.......'broadening our horizons, we may be able to offer  
more...'

I appreciate this kind of thinking.

One simple but profound way to begin to understand how temperments fit  
into specific musical styles, is to consider the history and evolution   
of harmonic development...


Composers found that moving up through the Diatonic scale by 4ths, (or  
down by 5ths) had a sort of gravitational music meaning.......

The sequence ...1-4-7-3-6-2-5-1 was found to be compelling....(Keep in  
mind, this is a Diatonic sequence, so keep within the key signature)

In C Major, that would be....CMj  FMj  B-dim  E-min  A-min D-min  GMj  
and back to CMj.


This musical result of this is a perception of a sense of gravity, the  
pull of harmonic motion back to tonic, back to earth/ ground.

In analyzing harmonic movement, this motion is found even now,   
throughout much of western music...In the music of JSBach for example,  
2-5-1 is very common.

This sequence is rarely taught, but it is profound. it is not to be  
confused with the 'Circle of 5ths'...

This harmonic sequence can easily be taught and learned visually  
...simply go through the sequence by going up by 4 diatonic keys...

Here is how to voice the left hand....

Don't play a triad...instead...

Voice the left hand with the the 3rd on top....

You will be making the 10th with your thumb....

The chord will be  'C'  'G'  'E'

This keeps the voicing from getting muddy....



Alternate up four, and then, down five...

Dan

Dallas





>
On Feb 26, 2009, at 8:55 PM, A440A at aol.com wrote:

> Jeff writes:
>
> << The issue is placing the burden of knowledge to link every
>
> different kind of temperament known to history appropriately to every
>
> possible musical composition on the piano tuner.
>
> That is the impossibility that leads me to believe we're discussing THE
>
> Pandora's Box of music. >>
>
> Too many "every's".  The impossibility of any one person knowing every
> temperament and its applicability to every piece of music has nothing  
> to do with
> improving our skills and increasing our offerings.
>      What I was suggesting was that by increasing our knowledge, and
> broadening our horizons, we may be able to offer more of what people  
> are willing to
> purchase.  That is the way it has worked out for me, and I do  
> encourage any tech
> that wants more out of his career to consider a multi-temperament  
> ability.
> If you consider more knowledge to be a burden, then it would be best to
> continue on with the singular offering of only using one approach to  
> tempering.
> Regards,
> Ed Foote RPT
> http://www.uk-piano.org/edfoote/index.html
> www.uk-piano.org/edfoote/well_tempered_piano.html
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