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

[Nicolas Meeùs]

A few additional considerations:

1. In the diatonic system, if two roots are distant by a 3rd, the higher 
chord must be major and the lower minor if the 3d itself is minor (e.g. 
IV-ii of ii-IV), the reverse if the 3d is major (e.g. vi-IV or IV-vi). 
These are the well-known R and L neo-Riemannian.
1a. Diatonic relations can be described in a series of the type 
...E-c#-A-f-D-b-G-e-C-a-F-d-Bb-g... which goes flatwards from left to 
right, sharpwards from right to left; flatwards is the 'normal' 
direction in tonal music.

2. Schoenberg, who described the falling-3rd and falling-5th 
progressions as "strong", also dubbed them "ascending" because in both 
cases the root of the first chord 'climbs' the harmonic series of the 
second (from harmonic 4 to harmonic 5 in the case of the 3rd, from 2 to 
3 in that of the 5th). This corresponds to Gerald Zaritzky's 
description, but seems to me rather metaphoric.

3. More important is that the falling-3rd and falling-5th progressions 
authorize a normal preparation and resolution of dissonances (especially 
of 7th chords). In the case of the falling 3rd, the 5th of the first 
chord prepares the 7th of the second, while the 7th of the first 
resolves on the prime of the second. In the case of the falling 5th, the 
preparation and resolution occur a 3rd lower.
3a. It is true that II-IV allows a 7th on II, as Richard Porterfield 
describes, but the 7th in that case does not resolve 'normally'.

Interesting points about the II-IV progression are that:
1. It obviously is not diatonic.
2. It goes flatwards, but following an abnormal path (the neo-Riemannian 
relation is RLRLRL flatwards).
3. It does not allow a 'normal' preparation and/or resolution of 
dissonances. This is characteristic of what often is dubbed 'modal' harmony.
4. It necessarily includes a false relation of tritone between the 3 of 
II and the 5 of IV, in addition to the chromatic relation between 3 of 
II and 1 of IV.

Let me add, again in comment to Richard Porterfield's message, that 
roman numerals, if read properly, also can form a shorthand for the 
voice leading.

Nicolas Meeùs
Université de Paris Sorbonne
École doctorale "Concepts et Langages"
Centre de recherche "Patrimoines et Langages Musicaux"
http://www.plm.paris-sorbonne.fr
nicolas.meeus at paris-sorbonne.fr



gzar at mail2.gis.net a écrit :
> 1. I've always been impressed by the long-standing observation that a 
> rooted falling-3rd diatonic progression is "stronger" than a 
> rising-3rd one because each new root (especially when in the bass) is 
> "fresh" to the preceding chord tones. (It's the same for falling vs 
> rising 5ths, of course.) Also, the root of the first chord is 
> "promoted" to a more-active member, in the next chord.
> [...]