[Smt-talk] Seeking deceptively resolving applied dominants.

John Cuciurean jcuciure at uwo.ca
Fri Jan 22 08:39:41 PST 2010


I reaching out to the collective wisdom to find instances (from tonal 
harmony in any genre or style) of deceptive resolutions of applied 
dominant chords. Specifically, instances of an applied chord such as 
V(7)/x (or viio7/x) resolving to vi/x (or VI/x where x suggests a minor 
key area) such that vi/x is also a diatonic chord in the home key. In 
order to illustrate what I'm describing I offer the following brief set 
of examples:

Schubert, Symphony No 5, II, m. 3:  V7 - (4/2) - V6/5/IV - ii6/5 - 
V6/4-7/5/3 - I
Beethoven, Piano Sonata Op 53, I, m.38-41:   I - V7 - vi - V7/vi - IV - 
V6/4-7/5/3 - I
Elton John, Goodbye Yellowbrick Road, chorus begins with:  I - V7/vi  - 
IV -I (1 chord per meas)
Elvis Presley, Kentucky Rain, repeated tag following chorus:  I - V7/vi 
- IV - V (1 chord per meas)

A slightly more problematic instance (from the viewpoint of the chordal 
quality of vi/x) might include:

Beethoven, Piano Sonata, Op 90, I, mm21-22:  i6 - V6/iv - ii/o6/5 - 
V6/5/V - V7 - i

I am not seeking chains of successive applied dominants at this point, 
although I readily acknowledge that the topics are closely related.


John Cuciurean
Assistant Professor of Music Theory
Don Wright Faculty of Music
University of Western Ontario
London, Ontario, Canada
519-661-2111, ext. 85198
jcuciure at uwo.ca

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