Chord Progression Strength...

  1. So, in addition to next note in the harmonic series after octave being the fifth (leading to a favoring of the harmonic series by Bass-Up Tonality- that is, normal tonality), and the existence of a leading tone in the Dominant chord, the additional thing at play is that the Serviant always has the Tonic in its triad, while the Dominant never does. This hinges on a Tonic versus Non-Tonic distinction, and the fact that Tonic versus Non-Tonic distinctions are at play in any sort of tonal system, heedless of other features. Right?

  2. Some might say that it's because the next note in the harmonic series is the octave then the fifth that those are the most harmonic notes. Some might say even thought F A C has a C note G B D has the B which is a leading tone that pulls towards to C. And when it's G B D F to C E G the F also wants to resolve down to the E.

  3. Okay, I'm going to come right out and say that this is a microtonal idea, but I find the IV chord comes into its own much more in non-meantone settings where it takes the form of a 1/1-81/64-3/2, which is distinct from the more traditional 1/1-5/4-3/2 shared by the I and the V by virtue of being more dissonant.

  4. IV already has an 1, so the arrival of I isn't very strong as 1 is anticipated. IV doesn't have 7 or 2, so there's no stepwise motion onto 1. Then, of course, the harmonic relation. All of this gives it a rather static feel, it's not a strong arrival at all. In fact, the I sounds more like an extension of the IV, as if it was the same chord, or belonged to the same family - mainly thanks to the anticipated 1.

  5. Learn about the terms “progression” & “retrogression”. Maybe you know about this stuff already, but it does not mean progression how the word is normally used. The term progression in this case is more specific. It has to do with the intervals between the root notes of each chord.

  6. This is actually helpful in terms of thinking of how Bass-Up tonality functions. Thank you! Basically, a "progression" is movement in the direction of tonality's direction of construction, while "retrogression" is movement in the opposite direction from tonality's direction of construction.

  7. It has to do with the root of each chord... The root of the V is the third harmonic, while the root of the IV is the third subharmonic. This creates a noticeable contrast around the Tonic, which is the I chord.

  8. I think it’s the leading tone which is the third of the dominant going to the root of the target chord that makes the resolution stronger. By contrast, the IV-I (plagal cadence), at times sounds like a suspension resolving.

  9. Weak/strong? Naw just different. Certainly listeners have preconceived expectations about how chords will move and many will like when you deliver that.

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