The Logic of Six-Based Minor for Harmonic Analyses of Popular Music

Abstract

Harmonic analyses of popular music typically take the minor tonic to be Roman numeral “one.” By nature, this “one-based” approach requires a new numbering scheme when songs shift between relative key centers. Recent scholarship has argued, however, that popular music often involves ambiguity between relative tonalities, as exemplified in the “Axis” progression, if not sometimes a tonal fusion of two relative keys. I thus argue for the utility of a “six-based” approach to the minor tonic, where the minor tonic is taken to be scale-degree 6. This six-based approach, common among practitioners of popular music as seen in the Nashville number system, avoids the forced choice of a single tonic, and it thus offers a consistent way to track chord function and behavior across shifts between relative key centers. After considering these shifts in a diatonic context on the levels of both phrase and song form, I posit that popular music involves three possible tonalities, together which form a “triple-tonic complex” akin to Stephenson’s three harmonic palettes: a major system, a parallel-minor system, and a relative-minor system. I conclude by considering how chromatic chords common in a major key, such as II and ".fn_flat('')."VII, correspond to their counterparts in the relative minor, IV and ".fn_flat('')."II, thereby collapsing the landscape of diatonic modes into three modal complexes. Overall, the paper serves to reveal the logic of six-based minor—why it is useful, what issues it resolves, and what insights it can afford us about harmonic syntax in popular music.

Reconstruction of Harmony Concept in Karawitan through Re-Reading the Meaning of Angkep-angkepan Gamelan Bali

“…Harmony is the hope in every music/character, including the artist [14]. If western music has a concept of harmony known as harmony theory [15], [16], [17], [18], karawitan has the same thing; it has only not been theorized. Therefore, angkepangkepan research as part of the interpretation of harmony is one of the efforts to develop the discourses in karawitan into a theory.…”