V7 -> I
(x+2, x+5, x+7, x+11) -> (x, x+4, x+7, x+12)Scale -> basis makes no sense to me. The scale climbs up and down, like how you scale a ladder. The basis… does not do that.
Tonic, dominant, subdominant are used mostly in discussions about functional harmony. The biggest reason why it would be a total disaster to rename tonic -> primary is because we already use the terms primary and secondary here! For example, V is the “primary dominant” but nobody actually says the word “primary”. Primary chords are taken from the scale of the tonic, and secondary chords are taken from a different scale. So V/V is a “secondary dominant”.
I had in mind a reform akin to how modern lisps have rename CAR and CDR to first and rest respectively. For example the Lydian Mode, could be referred to by a codeword that can be unwrapped to understand what exactly it is.
In general I am always in favour of trying to advance the expressiveness and meaningfulness of notations in all fields, and I think that is something that should be continuously evolved, trying to find better way to say things.
The problem with "V7 -> I" is precisely that it hides all the internal structure and encourages rote learning. Rather than encouraging the musician/composer to think about what that resolution actually consists of in terms of shifting intervallic relationships within the chords, it encourages you to just learn the transition itself.
Which of course is also its strength!
You might think that after centuries of musical composition across many different cultures that we'd have fully explored all the 4096 scales that exist within 12TET or even all the 4096 scales that exist for any given 12 tone tuning system.
But this is far from the case - witness how revolutionary Messaien's modes were. The conventional language is great for conveying meaning/intent/practice if the goal is to remain solidly inside the parameters of western musical practice circa 1100 to the present day.
But it's fairly inadequate if your goal is explore the rest of the music possibilities presented by psycho-acoustics, or even just those derived from (say) musical cultures which use microtones.
I also note that there's not a single comment in this thread regarding rhymthic structure, again reflecting the western emphasis on a particular (simplistic) understanding rather than the highly developed music cultures built around rhythm across Africa and Asia.
This is so true. I've been wanting to learn about rhythmic theory for about as long as I've been studying music theory (harmony). But while you can find youtube videos and webpages full of explaining musical harmony all over the place, information about rhythmic theory is far and few between.
Most I've been able to find is either very abstract, like Euclidean Rhythms, which are interesting and weird but only explore equidistant grids (no swing). The other information is usually about really specific cultural rhythms. Both are good and useful, but I feel like they combine into less than 20% of the total theory about rhythm that I believe should be there. There's really a lot to it and I'm still looking for some fundamental theories about repetition and expectation and tension/release. The latter is very important in rhythm, but as far as I'm aware, the music theory about harmonic tension and release (chord progressions etc) seems so much more complete than what I've been able to find about rhythm.
If you got any good pointers, I'm all ears :)
{2, 5, 7, 11} -> {0, 4, 7, 12}
There's actually established notation in music theory for this[0]. Because it IS a super convenient way to look at notes. Doing otherwise would be akin to using Roman numerals for calculus.
From personal experience, I worked with this notation a little bit. I spent a lot more time getting the hang of traditional notation. Not only is integer notation intuitive immediately, but number combinations like {0,4,7,12} become memorable very quickly and yes when I look at it (even if I saw it outside of musical context!), I would know it's a major chord.
That is, personally, I learned about the traditional notations (because you can't learn music theory and avoid those, or miss out on most of the material :) ). But that took me deliberate effort. On the other hand I wrote some python classes for converting between notes and chords and traditional notation and integer notation, seeing the patterns in those numbers required no effort at all, it's right there. The traditional notation has of course the same patterns, but they are obscured by layers of translation.
I think integer notation could be used a lot more, especially when teaching music theory. But traditional notation is also useful, partly because many people know it, partly because integer notation is less suitable for certain instruments.