Quote:
Originally Posted by Stitch  Making sure we use the same terminology (I'm not certain) - what is the significance of the dash at the end of III- ?
Why couldn't it be dominant? Why would it be tonic? |
About the - I will explain it below.
I've already explained why it seems to be a dominant chord even if it's a minor chord, and it would be minor just because every harmony book I've readed says so
Wich is very weird.
Quote:
Originally Posted by Ken Well, hmm.
The devil here is in the details, so let's get those straight first.
Capitalization. iii is different than III. iii is minor, III is major.
Let's take our example into the key of C. If we are playing in C Ionian, E is the 3rd, iii, (and not very likely part of the progression). If we're in A Aeolian, however, E is now the 5th, III, and thus a secondary-dominant.
Why?
Resolution.
The tritone interval between the major 3rd and minor 7th of a dominant chord creates tension that begs to be resolved. So, the 3rd of "E" (G) is raised to G#, which then creates the necessary intervallic tension needed to bend our ear toward the root, A minor.
Clear as mud?  |
I know that if we were talking about E or E7 it would be a secondary dominant, but I was talking about a E-7 being a dominant chord.
Quote:
Originally Posted by JBroll That seems to be a background-specific notation complaint... you bloody soulless classical nut.
Jeff |
There are 2 systems of notating chord degrees:
Using capitals for example III for major and iii for minor (classical music uses this).
Using the minus for minor chords, and using always upcase numbers.
This last one is good for jazz since you can write II-7(b5) and it's more clear, and you don't get confused when it is handwrited.