“a Maj tonic, a Maj V, and a Maj bVII”
amounts to a chromaticism, octatonic scale or an exotic heptatonic scale formation.
C E F G Bb (or A#) B D so far.
Or a polymodal whatsis.
Here’s one, Black Napkins’ two chords are C#m7 and D^7.
A C# minor pentatonic creates no hard clashes here, but say C# Phrygian isn’t it because of the jazz-like extensions. D natural sounds like a wrong note on C#m. A# is preferred to A natural for the same reason, C#m7 (9 11 13). Sometimes there’s a mistake.
How did it come to be major/minor instead of 7 modes?
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- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
I am now struck by there has been no answer to the question in the OP.
I was basically kicked out of Music History which was unbelievably dense and plodding so I never got to this era. I don’t have a lot of confidence the class ever did either. Honors curriculum meant one year and we’re outta there and we were barely into the early Renaissance after nearly two trimesters.
It doesn’t seem to have been real sudden-like. The guy to maybe elucidate the matter here was banned. I have a vague impression of semi-quasitonal moves by eg., Palestrina but it’s not my area.
I was basically kicked out of Music History which was unbelievably dense and plodding so I never got to this era. I don’t have a lot of confidence the class ever did either. Honors curriculum meant one year and we’re outta there and we were barely into the early Renaissance after nearly two trimesters.
It doesn’t seem to have been real sudden-like. The guy to maybe elucidate the matter here was banned. I have a vague impression of semi-quasitonal moves by eg., Palestrina but it’s not my area.
