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

[Paul Steinbeck]

The track mentioned by Ildar is "Holidae In" by Chingy, featuring Snoop Dogg
and Ludacris.

*Clean* version here: http://www.youtube.com/watch?v=Mr2MnZjHpAE

Less-clean version here: http://www.youtube.com/watch?v=Gv5QzqsdwJw

Paul Steinbeck
Post-Doctoral Fellow in Music Theory
University of Chicago

On 9/12/09, Nicole Biamonte <nbiamonte at aya.yale.edu> wrote:
>
> On Fri, Sep 11, 2009 at 4:37 PM, Ildar Khannanov <solfeggio7 at yahoo.com>wrote:
>
>
>>   As for supertonic triad as a substitute for subdominant triad, it does
>> not exist! If we are talking about root position supertonic  triad in major,
>> it is used very rarely because there is a serious problem connecting it with
>> tonic, and that is a very serious voice leading problem : there are no
>> common tones indeed and no purpose of resolution. In minor this chord is an
>> absolute nonsense. Only Snoop the Dogg uses it after the tonic triad ( "I've
>> been a sittin in a Holiday Inn...etc).
>>
>
> I don't know the Snoop Dogg song, but adjacent parallel triads with no
> common tones are plentiful in the rock repertoire, although--as noted
> earlier in this thread--progressions with major II are rare.  One example of
> a I-II oscillation that came up in a private exchange with Paul Steinbeck
> is the repeated Fmaj7-G of Fleetwood Mac's "Dreams."  However, because of
> the melodic prominence of A and especially E, and the lack of Fs in the
> melody, it is also possible to parse these chords as bVI-bVII in A minor, a
> harmony that is stated only briefly in the bridge.  I wonder if this might
> be one of Mark Spicer's "absent tonics."  I don't know of any other examples
> like this; it's actually easier to find examples of Phrygian I-bII
> oscillations.
>
> bVII-I and bVII-i oscillations are far more common, in folk music as well
> as in rock.  The subtonic in this context could function as dominant,
> subdominant, or linear neighbor-chord to the tonic; which of these
> interpretations makes the most sense depends on other factors in the
> particular song.
>
> Just to bring this thread back around to the original topic of I-II-IV-I, I
> heard another example today: the verse of Queen's "A Kind of Magic."
>
> Nicole Biamonte
> University of Iowa
>
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