Calevera

Thanks for the help, guys. Glad to know I'm not alone in never hearing about linear harmony. Can't say I fully understand it yet but I will look further into it. I will peruse your links and references.

Hi, I've been doing some music theory study and have come across something called linear harmony. I have yet to find any easy explanations as to what it is. So, please, if anybody knows what linear harmony is, please explain basically what it is. Also to sneak in another question, how does it relate to linear chromatic chords? Thanks very much in advance!!

Johan, thanks for the in-depth reply. I actually meant subsitute dominants where they resolve a half step down. I should have stated that clearly. Any help on substitute dominants (from Berklee text on Harmony) would be appreciated. Another question I have is about contiguous II Vs. The description reads: The II V pattern is sometimes used in ascending rather than descending motion. When this occurs, functional analysis (Roman numerals in a key) is no longer relevant. The chord progression is justified on the basis of continuity and repetition in the melody, harmony and root motion. This is known as "non functional" analysis. firstly, why would II V be so different if you played a V above the II rather than below it? Second, can anybody give a simple explanation of what contiguous II V is? thanks

A couple more questions: Since a subV7's importance lies in the inverted tritone of the original V7 (which it is the sub of) and its root (which is a tritone above the original V7's root), is it correct to include the 5th of the triad or will that 5th lose the ambiguity of the subV7's inverted tritone? Also, is harmonic rhythm only about strong and weak beats or does it include otherfactors? please help.

mont and leight, thanks for the extensive answers. Now I think i get it. I like the variety that modal interchange chords add. Leight - you're right, it's Berklee. You can probably find a free copy on the web somewhere but keep it quiet :).

thanks mont for answering that. I've decided that I will not try to understand all the different modes atm and concentrate on major and minors. I have another question- my text says, in a section about substitute dominant chords, that "bVII7's function as a modal interchange chord is more common than the possibility of a subV7/VI function". What I want to know is how does bVII7 act as a modal interchange chord? How is it used as modal interchange? The text has not elaborated on this. thx

thanks peter for clearing that up. Still suprised that a tritone isn't needed for the V triad to function as dominant. I do have some more questions--how are triads constructed in blues scale (both the one with and without the 4#) and how are triads constructed in mixolydian, lydian, phrygian and the other modes made from the C major scale, except the minor one, aeolean i think. Also, what are the pratical implicatoins of learning scale construction?

I've also been having trouble understanding a particular technique that i've heard a lot. It is when the bass note of the expected functioning chord is played along with the melody but every other chord tone sounds like it is working under a different functioning chord. if anyone gets this any help would be appreciated. thanks

I have another question: What do they mean by studying a chord, such as V7, in 'parts'. For e.g. The V7 in two parts/three parts/four parts? is it just the amount of chord tones? would appreciate any help. thanks.

I've got about 9 books with me about counterpoint, harmony, and orchestration. My question is, can anyone tell me if there is a proper order i should study these topics?

thanks Johan for clearing that up. I do have another question: apparently a key characteristic of a dominant chord is the tritone. I don't see a tritone in any dominant chord unless it's diminshed. So then does it also somehow apply to ordinary dominant chords? Again, sorry if I haven't worded it correctly but would appreciate anyone clearing this up.

Hi, i'm having trouble differentiating secondary dominant chords from extended dominants. Since extended dominants are meant to be 'V7/V in a key of the moment' does that mean they are always in major quality? Having difficulty grasping extended dominants and secondary ones. Sorry if I havn't worded it clearly if anyone has a clue what i'm on about, I'd appreciate the help.

thanks, johan, again. Your explanation makes sense. Sorry for posting the question here. I will make a new theory questions thread.

yeah i've read about sadler's book. Definitely getting that one. Also will keep an eye out for Johan's book. Sorry to go off topic, but I've got a theory question - the II-7/5 of key and IVmaj7/5 of key can apparently 'be seen as chord structures derived from the extended structure of the V7(sus4)'. I was thinking wouldn't a VI-/5 of key also be similar to V7(sus4) because it consists the same notes? Am I right or wrong? edit: ok i get it...they were using subdominant-sounding upper structures (II-7 and IVmaj7) with a dominant-of-key root....VI- is a tonic-sounding chord. I didn't read enough.

Thanks, i think i'll pick up tonal harmony