tag:blogger.com,1999:blog-1525659427177104926.post8295781814391914911..comments2023-02-04T09:47:33.282-08:00Comments on 12tone: What The Heck Is Neo-Riemannian Analysis?12tonehttp://www.blogger.com/profile/15633356026562767220noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-1525659427177104926.post-13321242163111960192017-01-08T12:03:27.240-08:002017-01-08T12:03:27.240-08:00For simplicity I will use / to mean Relative, \ to...For simplicity I will use / to mean Relative, \ to mean Leading-tone, and | to mean Parallel.<br />1a.<br />G#m\E/C#m\A. If Ab is used instead:<br />Abm|Ab/Fm|F\Am|A or Abm|Ab\Cm|C/Am|A.<br />b.<br />Db/Bbm|Bb/Gm. If C# is used instead the path is longer:<br />C#|C#m/E|Em/G|Gm.<br />c.<br />F#|F#m\D|Dm/F|Fm. If Gb is used instead the path is shorter:<br />Gb\Bbm/Db\Fm.<br />d.<br />C/Am\F. If B# is used instead the path is crazy long and B# isn't on my graph but here goes:<br />B#|B#m\G#|G#m\E|Em\C/Am\F or B#|B#m/D#|D#m/F#|F#m\D|Dm/F or quite a few other ways since they are so far from each other.<br />e.<br />B|Bm\G|Gm/Bb. If A# is used the path is crazy long again. If Cb is used for B though it is even shorter than from B to Bb:<br />Cb\Ebm/Gb\Bbm.<br />f.<br />Am/C\Em|E or Am|A\C#m/E. Since I am ignoring double sharps and double flats there are no 12TET enharmonics worth considering.<br /><br /><br />2. It is hard to do a tree with just text and no images but here goes:<br />0 m<br />1 M bIII bVI<br />2 iii vi v biii bvi iv<br />3III V VI IV V bVII bV bI bI bIV IV bII<br />4#v #i vii v #i #iv ii iv vii iii bvii ii bv bvii bi bvi bi biii biv bii ii vi bii bvii<br />In 12TET the farthest scale degrees is the II. VII is equally far if you don't count the enharmonic bI. Minor is closer to flat scales and major to sharp scales.<br /><br />3. I think that Neo-Riemannian-analysis can be extended to include more chords to get more interesting connections and better represent the true relationships between keys. For example: V dominant is connected to I sus4 7. It also works to show how in tunings other than 12TET how distant those added notes and chords are voiceleading-wise from any given root. I think that it makes sense in the very pure way that forte numbers represent chords divorced from traditions and how the chords are actually used. I think that chord relation graphs are useful for interpolating between chords but maybe I am using it wrong.<br /><br />In 7 chords R and L are both about moving the 7th degree to the tonic or visa-versa. They look very symetrical to me on a graph so I am a little R, L dyslexic. Good thing R is right and L is left from Major on my graphs.<br /><br />I actually made three graphs of increasing complexity. First the standard Neo-Riemannian. Then I did 7 chords (Major, minor, dominant and minor Major). Then I added sus2 and sus4 with both 7 endings. With that last one you find new transition types where the leading tone moves to the new dominant as in the I sus2 to ii sus4 connection. Or where the dominant moves to become the tonic in the V dom to I sus2 connection. Or where the median moves to become the tonic as in the v minor to i sus4 connection. Any ideas for naming?<br />Now I wonder what happens if diminished, augmented, flat 5, 9, 6 and 69 chords are added. These graphs are best left to machines I think. I will let you know when I am done. I also want to glue the ends of a slinky together to make a proper graph of chord relations.<br /><br />Anyways, I definitely find this interesting.Anonymoushttps://www.blogger.com/profile/10745474686574506080noreply@blogger.com