[Smt-talk] I-II-IV as a progression

[Robert Judd]

I agree w/ John on this hearing:

On Mon, Aug 31, 2009 at 2:34 AM, jcovach<jcovach at mail.rochester.edu> wrote:

...

> My sense is that the move from I to II involves a sense of "lift," with the
> Lydian #4 creating a sense of rising.  With the move to IV, a sense of "falling"
> occurs, in which the inner voice chromatic descent plays a crucial role.  It's
> interesting that the inner voice ^5 to ^#4 that occurs during I - II always
> sounds more like ^3 - ^#4, but is recontextualized (if only in an abstract
> sense) as the ^#4 descends to ^4 with the move to IV, and then to ^3 with the
> return to I.  Most of the guitar voicings mentioned above lead ^3 to ^#4 to ^4
> to ^3.

and admit to associating the "falling" immediately w/ similar
"fallings" in, e.g., Beethoven's Ninth, last movement, near the end,
when tonic in major is followed by tonic in minor (^3 to ^b3); or,
more of a stock progression, tonic final extensions when IV (major) is
followed by iv (minor) or ii[dim]65, before settling on final tonic.
I.e. ^6 moves to ^b6.

Bob Judd