[Smt-talk] Inception chord progression
Dmitri Tymoczko
dmitri at princeton.edu
Thu Aug 12 05:17:07 PDT 2010
On Aug 11, 2010, at 10:53 AM, Darryl White wrote:
> This little chord series does pose some interesting issues for
> analysis. I do think hexatonicism is involved.
I guess I would say that the question is whether we can give objective
evidence for the presence or absence of hexatonicism. What can we say
to bridge the gap between people whose intuitions differ from ours?
I think there are a few reasons to be generally skeptical about the
role of the hexatonic scale in 19th-century chromaticism:
1) The scale almost never appears as a melodic entity.
2) The scale almost never appears as a macroharmony -- that is, it
almost never accounts for all and only the notes in a reasonably long
stretch of music.
3) There's almost no discussion of it in 19th-century theoretical or
compositional sources. (Unlike, say, the octatonic or harmonic major.)
4) We have good reason to think that the scale will be automatically
generated as the result of certain kinds of voice leading procedures.
To me, these four claims provide good reason to be dubious about the
presence of hexatonicism in any given passage -- consequently, I would
say that we need some compelling reason, lodged in some specific
feature of the music in question, to motivate the claim that the scale
is present. (This line of argument, BTW, goes back to my earliest
papers, such as "Stravinsky and the Octatonic.")
In the Inception progression, the specific analytical question is
whether we draw a sharp distinction between the (nonhexatonic) Gmin-
>Gb major voice leading, and the (seemingly very similar) Ebmaj->Bmaj
voice leading. (Treating the Bmajor for the moment as a triad, rather
than a seventh.) Both of these move two notes by one semitone and, for
all reasonable measures of voice leading size, are the same size. So
if we emphasize voice leading, we'll see these two progressions as
being very similar, whereas if we emphasize hexatonicism, they'll seem
very different.
Note also that from a strict NR-perspective, Gmin->Gb major involves
*three* voice leading moves (L-then-P-then-R), and thus is even less
similar to Ebmaj->Bmaj (P-then-L).
DT
Dmitri Tymoczko
Associate Professor of Music
310 Woolworth Center
Princeton, NJ 08544-1007
(609) 258-4255 (ph), (609) 258-6793 (fax)
http://music.princeton.edu/~dmitri
More information about the Smt-talk
mailing list