tag:blogger.com,1999:blog-4688712006005012664.post5309429415287465807..comments2024-02-07T05:15:23.169-05:00Comments on henningmusick: Lullaby, Phase IKarl Henninghttp://www.blogger.com/profile/05801383101122527636noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-4688712006005012664.post-30790738356395943882008-11-02T18:57:00.000-05:002008-11-02T18:57:00.000-05:00That was about my first question, too, Peter. But...That was about my first question, too, Peter. But I had apparently conflated harmonic analysis with figured bass. E.g., I[subscript]6 would be the tonic chord in first inversion; in chatting with Paul, right away he said "forget the Roman numerals." And that made sense from some casual reading I had done of the score to the <B>B Minor Mass</B>; <B>Bach</B> gives the figures (the Arabic numerals) indicating the intervals above the bass note. For the continuo player's realization of the harmony, using Roman numerals to label triads within a given key is almost 'clutter'.<BR/><BR/>In principle, I ought to be able to indicate whatever intervals above the bass note I choose (with a slash through the Arabic numeral to indicate a raised degree, a flat to indicate lowered).<BR/><BR/>But since I would not (probably) be writing in Common Practice, it seems to me (maybe I'm mistook) that I would end up writing the voice-leading, anyway, and then I would 'extract' figures from the composed-out harmonies. In which case, why not leave on the treble-clef staff what I've already composed out?Karl Henninghttps://www.blogger.com/profile/05801383101122527636noreply@blogger.comtag:blogger.com,1999:blog-4688712006005012664.post-74475539265027695932008-11-02T12:15:00.000-05:002008-11-02T12:15:00.000-05:00Exhale away, Karl! As for figured bass: how would...Exhale away, Karl! As for figured bass: how would that handle expanded tonality? What if you want to indicate a chord that has no figure, so to speak?Anonymousnoreply@blogger.com