[Smt-talk] Seeking deceptively resolving applied dominants.

David K Feurzeig mozojo at gmail.com
Fri Jan 22 12:08:39 PST 2010

>  I - V7/vi  - IV
The chorus of "Imagine" (Lennon) also does this.

Some analysts consider this, not a deceptively-resolving applied  
chord, but a modally altered iii chord. While the distinction relies  
on a dubious essentialism that elevates notional categories (V/vi, III 
+) to factual status, it's certainly true that plenty of pop practice  
calls classical tonal progression models into question.  For ex.,  
"Sittin' On the Dock of the Bay" Also goes I-III#-IV, but as the  
phrase continues and every other harmony in the phrase turns out to be  
a root-position major triad as well, the sense of traditional directed  
tonal function dissipates.

> 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

This sugests a different category for other reasons as well: on the  
downbeat of m.22 the (supposed) chord 7th E forms the "avoided" (?) iv  
chord; and the string of 1st-inversion chords relieves the passage of  
some of its tonal directedness.

David Feurzeig
University of Vermont

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