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Old 08-16-2019, 12:05 PM   #100
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Quote:
Originally Posted by brainwreck View Post
whether pitches of chords within notated music should be relative to the key or relative to the root of the chord as in traditional music theory. Because if we use the traditional way with a 12-tone system, that certainly mucks things up. In other words, we can't say that a Major triad is 1-3-5 in a 12-tone system (relative to relative). But if we say 1-4-7, are we talking about in relation to the chord root or the music key root?
It should be relative to the starting key. I avoid the word key and use the word tonic instead which is also misleading. Both the words 'key' and 'tonic' are overloaded and ambiguous. The perceived key might change thru temporary modulation but the notation should remain relative to the starting key. If the 'key signature' changes, that is not a temporary modulation, it is a new song section, and then the "starting key" resets so that the new relative key is indicated. At least that is my thought right now. But this may be skipping steps because this approach is a "top-down" description: taking a chart, and developing ideas which allow the chart to work.

What I originally suggested was that an ideal system would use the harmonic ratios of the tuning system as part of the notation. This would use a "bottom-up" method to design the theory to match physics, the physical world, the harmonics of notes. Here is ultimately what I am getting at: Bach wrote much of his music before any of the theory existed. Music theory, trying to reverse-engineer everything he wrote, the idea of substitute chords, temporary dominants, counterpoint, was described after his death. So how did Bach write so much material, all of which is considered "great" or even "genius"? He used the physical world, the harmonic relationships of notes- the purest form of understanding music- mathematical series. Why are there very few (or none) Bachs around writing the same quantity and quality of music? Perhaps it is because the system which is drilled into creative minds actually limits their creativity and blocks the understanding of the physical world- the real world of music, that of vibration- which is why there are still arguments in the classical world today about which tuning system is better, etc (an argument which few people even understand today, meanwhile, Bach was present at the turning point, the crystallization of the musical system now in place). No, I am not suggesting anyone change tuning systems, what we have today is what we have, although with MIDI instruments, I don't see why tuning couldn't be changed on the fly, or in synchronization with music, so that true tuning could be realized. No one even understands or writes music with "chord colors" today, which was actually an artistic intent, back in classical days, meaning that "key of C" would feel very different than "key of D". I'm suggesting the notation can be more revealing or at least less confusing. Anyway, in the harmonic world (another drastically overloaded term, "harmonic"), the importance of the ratios should not be dismissed.
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