[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
More information about the Smt-talk
mailing list