Assuming that the following holds true: Tonic is represented by "T" (or "t"); Subdominant is represented by "S" (or "s"); and Dominant is represented by "D" (or "d"); what is the significance of the letters "p", "P", and "k"?
Are there are other special letters (like "p", "P", and "k") that I have not seen yet being used in Harmonic Function Notation chord naming?
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Edit: I was way off -- the harmonic function of all seven degrees is being notated; parallel/relative harmonic functions are being notated as well. Apparently, a specific notation that makes use of abbreviated German terms is being used. I found the following explained at Wikipedia:
Code: Select all
Function Roman Numeral English German German abbreviation
=========== ============= ====================== ============== ===================
Tonic I Tonic Tonika T
Supertonic ii Subdominant parallel Subdominanten- Sp
Parallele
Mediant iii Dominant parallel/ Dominanten- Dp/Tkp
Toniccounter parallel Parallele
Subdominant IV Subdominant Subdominante S
Dominant V Dominant Dominante D
Submediant vi Tonic parallel Tonika-
Parallele Tp
Subtonic vii incomplete Dominant verkürzter diagonally slashed
seventh Dominant-Sept- D7: (D/7) or (D̸7)
Akkord
"Tp" is the Submediant parallel of a minor chord in a major mode.
"Sp" is the Supertonic parallel of a minor chord in a major mode.
'Dp" is the Mediant parallel of a minor chord in a major mode.
"tP" is the Mediant parallel of a major chord in a minor mode.
"sP" is the Submediant parallel of a major chord in a minor mode.
"dP" is the Subtonic parallel of a major chord in a minor mode.
And:
"Tl" is the Tonic leading tone changing sound for a minor chord in a major mode.
"Sl" is the Subdominant leading tone changing sound for a minor chord in a major mode.
"Dl" is the Dominant leading tone changing sound for a minor chord in a major mode.
"tL" is the Tonic leading tone changing sound for a major chord in a minor mode.
"sL" is the Subdominant leading tone changing sound for a major chord in a minor mode.
"dL" is the Dominant leading tone changing sound for a major chord in a minor mode.
Three categories can appear in any one of three chordal guises in either of two modes, eighteen positions in all: T, Tp, Tl, t, tP, tL, S, Sp, Sl, s, sP, sL, D, Dp, Dl, d, dP, dL. Why all this complexity? Perhaps the central reason is that this ingenious, occasionally convoluted system enabled [Hugo] Riemann to achieve a grand and masterful synthesis of both the old and the new in late 19th-century music.
--Carl Dahlhaus