[Smt-talk] Classical Form and Recursion
Stephen Jablonsky
jablonsky at optimum.net
Mon Mar 30 05:21:49 PDT 2009
Nicolas,
Thank you for this Debussy reference because it cuts to the heart of
the whole question--that chords get their function (meaning) from the
context in which they are found. In this case the Bb7 chord is
approached from either a C#m.add6 (a tonic in C# minor) or an A#ø
(viiø/V in E) both of which reflect back to the duality in previous
flute solo. When it resolves to Dmaj7 this is the second non-dominant
resolution (common tone resolution) in a row and tells us not to
expect much in the way of traditional harmony as the piece progresses.
I cannot imagine what Barraque was thinking because I do believe there
isn't an Eb chord in the entire piece (when I have nothing else to do
I will check). What is more recursively significant is the return of
the Bb7 in m. 14 in a new context as a precursor to the harmonic
process that will play itself out until the A#ø chord returns at the
end and resolves not to Bb7 but E, a tritone away.
I always tell my beginning theory students that a chord's function can
only be measured by triangulation--you need three different chords in
order to determine its purpose in the tonal structure. If you just
play C-F-C (only two chords) it could be V-I-V in F or I-IV-I in C.
We must remind ourselves that all harmonic events are understood
relative to their local context as well as their global context. When
Wagner places a Dø/F chord in m. 95 of the Tristan Prelude its true
dramatic power is not understood unless you realize that it is
replacing the D7/F# heard much earlier in m. 18. Only then do you
realize its true harmonic purpose in the entire progression of the
piece. You also realize that this opera is not going to end well 5000
measures later.
Steve
On Mar 30, 2009, at 4:09 AM, Nicolas Meeùs wrote:
> I would not consider French textbooks as models, especially on this
> point. I mentioned before what I consider a typical French excessive
> absolutism, consisting in bestowing a function on a chord merely
> because of its form: I mentioned the case of Jean Barraqué reading a
> V7/Eb in bar 5 of the Prelude à L'Après-midi d'un faune and, even
> worse, deducing from there a tonality of Eb ! (see my Music Analysis
> paper, vol. 21/2, p. 168). For a similar reason, some of my students
> hear German sixths not as altered V/V, but as V/bII !
Prof. Stephen Jablonsky, Ph.D.
Music Department Chair
The City College of New York
160 Convent Avenue S-72
New York NY 10031
(212) 650-7663
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