Posted
Hi,
Currently, when playing a chord in the palette, other keys where it plays a tonic, subdominant or dominant function are highlighted in the circle of fifth.
It would be nice to have another layout (to mimic the palette's jargon) where, when playing a chord, any other key where it appears (even by enharmony) are highlighted.
This way, it would become super easy to use the chord as a pivot in a wider range of modulations.
Best,
Matthieu
NB : by "enharmony", I mean chords like :
- Cm6 & Am7(b5) (C, Eb, G, A)
- Csus2 & Gsus4 (C, D, G)
Fri, 2023-08-25 - 15:26 Permalink
I'm not sure to get your point.
Here's my current understanding of the thing :
A major scale has 3 major chords & 3 minor chords meaning that :
- for any major chord I currently play (in whatever key or mode) there are 3 possible functions (I, IV or V)
- same thing for a any minor chord (ii, iii, vi)
For minor scales there are a bit more combinations due to the several modes but also a greater variety of chords so it should roughly be the same.
What reasoning leads you to "Every chord (at least the triads) has some functional meaning in almost every key" ?
EDIT : ah ! maybe this is because of the suspended chords, I come from a background where they're usually not really taken into account as functional chords but including them would actually lead to your conclusion
Fri, 2023-08-25 - 15:40 Permalink
A key is not just a single scale. These are the functions of a minor chord. Only a single tonal center is without a function (6 semitones offset).
0 -> t 1 -> Dg 2 -> dp, ss 3 -> Tp, Sg 4 -> tg, sp 5 -> d 6 -> 7 -> s 8 -> Tg, Dp 9 -> tp, dg, sss 10 -> Sp 11 -> sg
You can make a cut and limit that to T D S, which is what the circle does. If you are looking for a general thing like "included with a key" however, there will be many more. In the extreme you'll get all keys but one.