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Thread: Strength of chord tones?

  1. #1
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    Strength of chord tones?

    Ok, so I have root-3rd-5th as a major chord.

    The root will sound the strongest, but what's next? I assume it's the 5th?

    And if the tones are juggled, does this change tone strength?

    Or does none of this matter?!

    Specifically I am looking at balance of pitch volume within chords. I'll hope what I'm asking makes some sense.

    Thank you.

  2. #2
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    Hmmmm, even when there are, say, ten tones in a chord?

    I would like to study this more in depth. Would you cite a source that discusses this? I had no luck looking this up in, for example, the Harvard Dictionary of Music, perhaps because I didn't know what to look up.

    Thank you

  3. #3
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    You can find what you want on two sources...
    1-for the interval thingy: LCC book, motherload post in this forum..tip: Good luck, the concepts are simple, but obscured to looks like arcane knowledge improper to the novice.
    2 - for the juggled interval thingy: ken valentino post in this forums. The mater are complex, multiple things to consider, but ken explains well.

    lvl 5 : A reference point, would be, more or less...
    Every interval has a root, based on circle of Fifths (F is tonic in intervals F-C or C-F),
    when you approach the tritone the thing is 50-50 (F-B is the ball in the middle),
    an then following the circle, F isnt tonic anymore.
    then you can use ken concepts to modify the perceived tonic(volume, reptitioons, etc).

  4. #4
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    1. Please write out LCC. I have no idea what this is.

    2. PLease supply a link to the Ken Valentino post and perhaps how far down the page to look.

    Thank you.

  5. #5
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    1 - lydian chromatic concept for tonal organization, george russel, read at least part one, and try to understand every motherlode post you see in this forum. (He frequently delete post ,dont know why).

    2 - list of tendencies post in music theory in the forum, read from start .

  6. #6
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    Ok, thank you.

  7. #7
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    Hello again,

    I want to comment about https://www.youtube.com/watch?v=qNff0NZiXC8, posted (and deleted) by motherlode a couple days ago.

    In a word, this video is BRILLIANT.

    I do not know why motherlode deleted posts to this thread (I wonder if the video is his--or hers!), but we need this. I am so grateful. In particular, dominant 7th chords have bothered my ear for 50+ years(!), and now I know why: it's that pesky tritone that, to the best of my recollection in music theory class a thousand years ago(!) never came up.

    Lydian Chromatic Concept looks interesting, too, although it may be too far afield for my purposes. I am researching the bass end of the minor chords on the >diatonic autoharp< tuned to G and D major (pitches include the G major scale plus C# for D major). The minor chords are Am, Em, Bm and F#m. Specifically, the last three chords listed are thrown off in the bass because of a VERY awkward string tuning, which >alters< what the ear expects, thus creating tension. Every time I play Em on the awful string tuning, my stomach rises a little closer to my neck. (PS--The autoharp is NOT for kindergarten teachers any more! I play jigs, English country dance tunes, etc. on it.)

    I do wonder if there is anything in print about tension created by altered pitch order, too? My paper will be helped by having a written source for reference.

    Thank you!

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