The Fifth International Symposium on Traditional Polyphony ...

Outline of a Syntax of Chords in Some Songs from Samegrelo
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1 2 4/2 5/2 6/2 3 4/3 5/3 6/3 7/3 4 5/4 6/4 7/4 5 6/5 7/5 8/5 9/5 6 7/6 8/6 9/6
7 8/7 9/7 9/8
It can be seen that in the mode of A, the diversity of the chords is greater than in the mode of E and slightly
greater than in the mode of G.
<strong>The</strong>re are chords on the IV, V and VI degrees that contain the interval of the third at the same time as the
seventh, something that is theoretically foreign to the music of Georgia.
We do not find chords with the intervals:
3/2 7/2 8/2 9/2 8/3 9/3 8/4 9/4
Here is the relationship that exists between each type of chord and the degrees on which they occur:
1 (unison) I
2 VII
4/2 I V VI VII
5/2 I
3 I III V VI VII
4/3 I VI
5/3 I III IV V VI VII
6/3 I V VI
7/3 IV V VI
4 I VI VII
5/4 I IV V VI VII
6/4 I III IV V VI VII
7/4 VI
5 I III IV V VI VII
6/5 IV V VI
7/5 I IV V VI VII
8/5 IV V VI
9/5 III IV V VI
6 VI
7/6 V VI
8/6 IV V VI VII
9/6 IV
7 V
8/7 IV
9/7 IV
9/8 III
Observations
<strong>The</strong> degrees on which the greatest variety of chords appear are: 1. VI (18 types of chords); 2. V (14 types
of chords); 3. IV (13 types of chords); 4. I (12 types of chords); 5. VII (10 types of chords).
<strong>The</strong> chord of the 7th with the 3rd, absolutely foreign to Georgian harmony, is found on degrees IV,
V and VI.