Virtual Pitch and the Classification of Chords in Minor and Major Keys (original) (raw)

This paper makes use of the virtual pitch model as developed by Hofmann-Engl in order to demonstrate that Hugo Riemann’s functional harmonic system has a psychological basis and that is can be considered to be superior to the Roman numeral system. It will be shown that the comparison of tonal chords within a given key, produces high similarities between the set of virtual pitches of chord I to VI, of chord IV to II and of chord V to III. Additionally, the tension between chord I and V can be explained by its highest dissimilarity. This adds momentum to Riemann’s terminology by relating the tonic (I) to the parallel tonic (VI), the subdominant (IV) to the subdominant parallel (II) and the dominant (V) to the dominant parallel (III). The closing effect of the perfect cadence can be seen as an effect of tension and resolution. These results act in a dual fashion. They add further support to the validity of the Hofmann-Engl pitch (virtual pitch according to Hofmann-Engl), and suggests a...

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