[Smt-talk] Passing and Neighboring 6/4s
Olli Väisälä
ovaisala at siba.fi
Tue Jan 19 11:27:23 PST 2010
> For instance, here are some interesting chord-progression counts from
> the Mozart piano sonatas:
>
> I -> V6/4 -> I6 appears 4 times (including the retrograde
> progression, I6->V6/4->I)
> IV6 -> I6/4 -> [IV or ii6 or ii6/5]: appears 51 times (including the
> retrograde progression)
>
> In other words, the second progression is more than *twelve times*
> more popular than the I->V6/4->I6 -- even though I->V6/4->I6 is
> harmonically unobjectionable and uses textbook-approved "passing 6/4"
> voice leading.
>
[snip]
>
> 3. Music professors and textbook authors have strong, but not
> necessarily reliable intuitions about what happens in tonal music.
> For instance, Aldwell and Schachter write: "Of the various types of
> passing 6/4's the most important is V6/4 connecting I and I6." This
> is false, at least if "important" is taken to mean "common" and if
> Mozart's Piano Sonatas are taken as representative. To me it's a bit
> embarrassing that one of the leading textbooks can be so flatly wrong
> about such a basic matter.
Interesting figures! But to the defence of Aldwell and Schachter, I
would like to add that they also state that "a passing 6/4 between IV6
and II6/5 (less often II6) is very frequent." (P. 311, emphasis
original.)
Olli Väisälä
Sibelius Academy
ovaisala at siba.fi
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