Quote:
Originally Posted by Il Duce
huh? it's the crux of all improvisation
stuff that is composed with all the rules that you speak of lack that spontaneity
of course, you have to adhere to certain rules, when improvising over a chord structure, but it's mostly free-form
and the "passing chords" you mentioned, feel more like sub-dominants to me, the anchoring chords are still the diatonics
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I didn't say anything about following rules to compose music. There are far better ways of using spontaneity in your works, if you have the ear and you can play directly from what's in your head why not compose melody and harmony as one single unit? if you can't then you're fumbling blindly at a few scales to play within a safe boundary of an already set harmonic progression.
I did say they were secondary dominants, I was against the idea of calling them passing chords.
Quote:
Originally Posted by Il Duce
it could be called a "turnaround" in blues, your ears will still focus on the diatonics
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You're not taking into account the voice leading, dissecting a phrase into separate parts and explaining them as if they exist in a vacuum goes against the idea of music analysis, it's listened to as an organic whole so why shouldn't it be analysed as an organic whole? Every chord even the diatonic ones are deviations from the tonic, a vi in A major could just as likely be a iii in D major applying functions to them is useless without looking at their place within the phrase.