KVR Audio

jancivil · Post by **jancivil** » Sun Jul 08, 2012 6:22 pm

so your "Chromatic music? The passage in question is entirely diatonic" wasn't out of being argumentative.

JumpingJackFlash · Post by **JumpingJackFlash** » Sun Jul 08, 2012 6:52 pm

jancivil wrote:so your "Chromatic music? The passage in question is entirely diatonic" wasn't out of being argumentative.

No, I was clarifying the situation for newbies who might have found your post unnecessarily confusing.
The fact of the matter is that the 3 chords in question were entirely diatonic.

Luftrum · Post by **Luftrum** » Sun Jul 08, 2012 7:35 pm

jancivil wrote: Strictly speaking, G#dim7 is spelled G# B D F; G#ø7, G# B D F#. the function of this dim 7th is dominant, ie., vii7; F#-E# is 8-7 as per the key. It is like a 4-3 for a V chord. Both the G#ø7 and G# dim7 are good names if you must have chord names, as is the E#dim7 as vii7; even though a distinction elswhere can be made between the inversions of the diminished seventh, as per function/target. there is a lot of this kind of action in this period of music.

Huh? Are you absolutely certain about this? I mean if W = ( ( V + v ) ( V - ½ m V² - v ) ( ( ( ( ½ m V² - v ) ( ½ ( V + v ) t = ½ ( V + v ) / t = ½ m V² - ½ m ( V - ½ ( ½ m V² - ½ m V² - v ) / t ) ) t = ½ ( ½ ( V - v ) ) / then we change the kineticle in the kineticle one in the particle of F x = ½ ( V - v ) t = F x = m V² - ½ ( ( V + v ) t. Just saying...

Think I will stick to my binaural recordings and my presets.

(dislaimer: This was meant to be an entertaining reply... no trolling intended)

NKF · Post by **NKF** » Mon Jul 09, 2012 3:00 am

i wouldn't really call a temporary shift to the relative major and a few passing dissonances as chromatic music. I mean it is a spectrum but i think this is pretty basic harmony where the chromaticism is incidental.

Arrested Developer · Post by **Arrested Developer** » Wed Jul 11, 2012 2:10 pm

NKF wrote:i wouldn't really call a temporary shift to the relative major and a few passing dissonances as chromatic music. I mean it is a spectrum but i think this is pretty basic harmony where the chromaticism is incidental.

In fact, those "passing notes" are totally relevant for the harmonic colour; they constitute the "personality" of the piece.

What is of special interest, as it was already mentioned, is the fact that e# - which in bar 21 is a leading note to f# "reappers" two bars later as f (and so is an upper leading note to e).
Details like this that make the difference to a simple texture.

What did Borodin mean here?