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In Reply to: RE: Maybe we should have a fake online brawl? Name this chord, (and please, no help from the studio audience.) posted by email@example.com on April 16, 2017 at 14:17:18
IIRC, "+" is augmented 5th symbol.
So we end up with E G and B# (C).
Again, it's been awhile; I just wanted to play "name the **tune**."
I'm not seeing any "+" sign in your example, nor am I see a B-sharp. Sure, B-sharp is the enharmonic equivalent of a C-natural, but that's not what you're showing in your example. Am I missing something?
You tryin' to mess with my mind? ;-)
This is what you posted:
C-major triad, root position - not inverted
The original "chord" was e/g/b#, which is Cmaj of course, but in first inversion. I'll take half a point deduction then.
. . . with composers such as mature Ravel, Debussy, Scriabin. . . (And besides, I now forget where the chord was and I'd need to find it again! Certainly, with a chord spelled like that, one would expect it to "resolve", but I don't remember that it really does. And that would not be out of character for Ravel, or the other composers I mentioned, at this stage of their respective careers. . . I've now spent some time looking for it, and now I'm thinking I may have misread it: there's a chord in part II, six measures before the stage indication "Bryaxis veut l'entrainer", but that chord has a G-sharp in the bass, not a G-natural - making it an augmented triad. Now I'm not sure if that's the one I saw previously or not!)
In any case, with Daphnis, Ravel clearly gives the impression that the ballet as a whole is in A major - the work starts and ends with the A-major key signature, and that final orgiastic shout is in A-major, although there are lots and lots of changes in the key signature along the way! ;-)
The uTube link below is of course not the original choreography (and it's not even the whole work), but at least it conveys the kind of extreme sensuality of much of the ballet.
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