Yes, we were required to read figured bass in every harmony class I've had, all the part-writing exercises and tests used it. I'm actually thoroughly versed in it.Gillman wrote:jancivil wrote:I'm a contemporary American, I don't require that baggage.
Do you read figured bass? Because there is a lot more in the common *practice* thingy than determining if a floaty vamp of two suspended chords is subsumed under the concept of tonal or not.
Just play the game. You will learn a lot in the process, musically and philosophically. Play the game, even if it seems cumbersome at some times, you will not regret it, you will be changed and you will change your music and the world once you've got it, that's the best advice I can tell you.
You are addressing an imaginary person with that advice. It has little to do with what I'd said, I was talking about the semantics. I see the point, 'tonal' uses 'tonality', but I take the word in a more contemporary, even street usage, if there is a 'tonic', center of gravity so to speak, I say 'tonal', which doesn't have to correct for youse.
- 1212 posts since 10 Oct, 2004
jancivil wrote:I see the point, 'tonal' uses 'tonality', but I take the word in a more contemporary, even street usage, if there is a 'tonic', center of gravity so to speak, I say 'tonal', which doesn't have to correct for youse.
Such an approach could be confusing for newbies though.
Modal music is not tonal (though admittedly you can get music which blurs the distinctions).
If you must lump them together, then a word I have often seen used is Centric, meaning it has a centre (like a tonic but not necessarily in a tonal sense).
sure you're right. but it's just a semantics thing isn't it. I was upset over the V-I hegemony and that strong an assertion you can't have *home* without it to a fault I think.