Riemannian Transformations: Part 2 Five Paths to Domination

[@johnjacquard2182]

I love your content. I hope your are okay and safe right now I'm in NY its not going well but imnsafe so far

[@FransAbsil]

Hi John Jacquard, thanks for the message. Good to hear you're safe. Saw the terrible footage with New York empty streets, medical care tents in Central Park, etc. Here now 4 weeks into Netherlands' government 'intelligent lockdown'. Terrible and uncertain times for us all, hitting performing artists very hard. Hope my video tutorials bring some diversion and quality time. Take care.

[@MrAlgorytmid]

superb video

[@FransAbsil]

@MrAlgorytmid, Thanks for the positive feedback. This video is an extended application of the Part 1 content, and hopefully you were inspired to design alternative paths in your own pantriadic chord progressions.

[@MrAlgorytmid]

@@FransAbsil yes i actualy implemented this as code where i can explore the tonetz, defenetly will go through other videos also, i am big fan of your channel

[@alen2971]

Hi, are you releasing a book of Neo Riemannian Theory, probably analysis or things that you've done about tonal analysis but about NRT?

[@FransAbsil]

Thanks for the feedback. The reason for not writing an extended publication on Neo-Riemannian Theory (NRT) as an Analysis Tool is that I find its use limited in analysing complete classical music pieces. The 'standard' Tonnetz covers triads only, whereas the harmonic language of the Common Practice composers combines triads with higher tension chords, chromatism, etc. References, such as those cited in my video (at 2:15 in Part 1), as do the writings of Richard Cohn and the Musical Analysis Journal, discuss example classical music phrases, but the main contemporary application is in film/functional music. So I decided to focus on that aspect of NRT. Currently I am reading Frank Lehman, Hollywood Harmony: Musical Wonder and the Sound of Cinema, Oxford University Press, 2018, a book suggested to me after uploading Part 1 in the NRT series. There are efforts to extend the options for graphical repesentation of various chord types, such as Dmitri Tymozcko, The Generalized Tonnetz, Journal of Music Theory 56:1, Spring 2012. So you might want to look into those sources.

[@SpaghettiToaster]

@@FransAbsil Schillinger's system, on the other hand, does deal with pivot tone modulations involving 7th and other 4-note chords, correct?

[@FransAbsil]

Thanks for the feedback and the question. Indeed Schillinger uses the concept of overlapping pitches on chordal functions 1, 3 and 5, when discussing chord connections and root cycles. The viewer may find these in my tutorial series on extended chords and dissonance handling in the diatonic harmony system. I consider these more as transformations than modulations, since in traditional harmony textbooks we do encounter key changes through common/pivot notes, but there the examples contain chord changes and cadences in both keys, with the modulating chords as a transition (as in the Schoenberg book). That is a somewhat longer timescale concept, compared to the Schillinger root cycle approach. Hopefully I understood your remark correctly.

[@Amatteus]

@@FransAbsil Thank you .. GREat videos. I just ordered this book in amazon... Thanks for the excelent content. .And the advice.

[@FransAbsil]

@Amatteus You're welcome. Glad I could help.