Quote:
Originally Posted by Rubato
You're not taking into account the voice leading, dissecting a phrase into separate parts and explaining them as if they exist in a vacuum goes against the idea of music analysis, it's listened to as an organic whole so why shouldn't it be analysed as an organic whole? Every chord even the diatonic ones are deviations from the tonic, a vi in A major could just as likely be a iii in D major applying functions to them is useless without looking at their place within the phrase.
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isn't just having a chord sequence based on its root chord, with the scalar elements of each key, say - I major, II minor, III minor, IV major, V major, VI minor and VII minor, the most widely-used tonality in most modern songs? - it's because they appeal most to the untrained ears
if you're gonna subsume it and lead it to another key/root chord, the tonality isn't really that appealing, at least to somebody who's already used to the "normal" tonality