Gugliel
I agree with you that the qoute about the dominant triad with upper third cannot go to a subdominant seems falls to me also,especialy when the upper third is the subdominant. it does sound like a cadense, that of beethoven in fact. If I understood it correctly. maybe at given point in time in history , the taste for music changed and opinions flared. Henry cowel was mentioned whom was a driving force in the modern disidant movment. And that broke all the rules.
i think that your first statement of playing theory can sound dull, Is actually, what the author meant that if you just play the theoretical rules and nothing else then it will sound redundant and repetative, and I think thats maybe a better explanation of what he meant by breaking the rules, which he should have stated, one should use a melody line and imply the rules or harmony in adjunct with the theorerital
elements thus relinquiting the redundancy or dullness as he puts it. In which you also mention in your melody writing classes. Also Beethoven did not break the rules, he broke the style as somone mentioned already. He was an advocate of following the music, it led him. If you break the rules continously then its abstract. Beethoven shook the earth's acces with his harmonious fury. In my studies, I have found that classical music is the inventor of theory. "Theory gives you the key to solvent Mathematical equations that circle eternaly". "Theory is Math". "Using Math is harmony"
The diminished is the connecting element in which one can jump from one theoretical formula to the other using the Harmonic minor scale. This is true
harmony that circles forever. what the original statement refered to as breaking the rule. Which is actually very much as staying within the rules.
Here is a formula that i had to figure out. Because I could not find it anywhere else.
If you take a diminished flattened seventh in circular fourth. then you
are in perfect harmony that of chopin style.
1. take any 5-1-3 minor triad
2. Drop the 1st. note 1/2 step and play a diminished b7 from that target note.
3. Now go up from the first note 1/2 step to play a 5-1-3 minor of that target note.
Add a melody to it, in a harmonic minor scale. so it doesn't sound dull. And its perfect harmony in the style of
chopin.
You know I just thought of something. The young wrestlers don't break the rules, Its the old ones who can't keep with them. They get a chair from ring side and wham. the'yre on top again.
I'm glad i'n not a wrestler,because I would break every rule possible.!
Sincerely
I agree with you that the qoute about the dominant triad with upper third cannot go to a subdominant seems falls to me also,especialy when the upper third is the subdominant. it does sound like a cadense, that of beethoven in fact. If I understood it correctly. maybe at given point in time in history , the taste for music changed and opinions flared. Henry cowel was mentioned whom was a driving force in the modern disidant movment. And that broke all the rules.
i think that your first statement of playing theory can sound dull, Is actually, what the author meant that if you just play the theoretical rules and nothing else then it will sound redundant and repetative, and I think thats maybe a better explanation of what he meant by breaking the rules, which he should have stated, one should use a melody line and imply the rules or harmony in adjunct with the theorerital
elements thus relinquiting the redundancy or dullness as he puts it. In which you also mention in your melody writing classes. Also Beethoven did not break the rules, he broke the style as somone mentioned already. He was an advocate of following the music, it led him. If you break the rules continously then its abstract. Beethoven shook the earth's acces with his harmonious fury. In my studies, I have found that classical music is the inventor of theory. "Theory gives you the key to solvent Mathematical equations that circle eternaly". "Theory is Math". "Using Math is harmony"
The diminished is the connecting element in which one can jump from one theoretical formula to the other using the Harmonic minor scale. This is true
harmony that circles forever. what the original statement refered to as breaking the rule. Which is actually very much as staying within the rules.
Here is a formula that i had to figure out. Because I could not find it anywhere else.
If you take a diminished flattened seventh in circular fourth. then you
are in perfect harmony that of chopin style.
1. take any 5-1-3 minor triad
2. Drop the 1st. note 1/2 step and play a diminished b7 from that target note.
3. Now go up from the first note 1/2 step to play a 5-1-3 minor of that target note.
Add a melody to it, in a harmonic minor scale. so it doesn't sound dull. And its perfect harmony in the style of
chopin.
You know I just thought of something. The young wrestlers don't break the rules, Its the old ones who can't keep with them. They get a chair from ring side and wham. the'yre on top again.
I'm glad i'n not a wrestler,because I would break every rule possible.!
Sincerely