GR translation: a felt darkening

[Paul Mackin]

On 6/29/2011 5:51 PM, Michael Bailey wrote:
>   Paul Mackin wrote:
>
>> By the way while on this paragraph does anyone have any idea why the
>> bedlamites were weeping over the modulation from the E major chord to a G
>> sharp minor one, which isn't really of modulation at all?
>>
>> Or was the lack of a key change the point?
>>
> if we're talking about triads, an E major would consist of E, G#, B
>
> a G# minor triad, if you're going to modulate into it, on say an
> organ, and by moving a single finger, would have to be I think the 2nd
> inversion, and you would move your thumb down from the E natural to
> the black key next to it, which would be D#
>
> (G#m triad is G#, C, D# ---- first inversion is C, D#, G#, --- 2nd
> inversion is D#, G#, C --- the note on the left being the leftmost key
> on the piano)
>
> anyway, in like funereal or spooky music, you get that sustained chord
> and then move the one finger and the whole mood changes
>
> --- prattling of one who minored in music for awhile...
>
Thanks, Michael

I don't have an organ here but tried it on the piano where the effect 
may not be as pronounced.  It failed to occur to me that a minor chord 
sounds more somber and funereal than a major, thus bringing on the tears.

But there is no key change,  which I though was what "modulate" meant.  
The G# minor triad is still in the key of E major.

The iii triad of a major scale is a minor chord and is contained in the 
I major seventh.

Anyway,  now i see why the bedlamite was in tears.

Onward and Upward.

P

P