[Smt-talk] Seeking deceptively resolving applied dominants.

[Jason Solomon]

John,

A recent example from rock/pop music is "The General Specific" (2007) by Band 
of Horses. The following progression occurs at the end of each verse:

I – V7/vi – IV – V7/V – V – IV – I

I like to use this example because it features two different secondary dominant 
seventh chords, the first of which resolves deceptively. FYI, I seem to recall the 
song containing a mild expletive.

The V7/vi – IV figure seems to be quite common in popular music. I hope others 
can help us uncover examples of other types of deceptive resolutions, such as 
V7/V – iii, V7/IV – ii, etc.

Best,
Jason
---
Jason W. Solomon, Ph.D.
Assistant Professor of Music Theory and Classical Guitar
School of Music
Western Carolina University


---- Original message ----
>Date: Fri, 22 Jan 2010 11:39:41 -0500
>From: smt-talk-bounces at societymusictheory.org (on behalf of John Cuciurean 
<jcuciure at uwo.ca>)
>Subject: [Smt-talk] Seeking deceptively resolving applied dominants.  
>To: smt-talk at societymusictheory.org
>
>Hi,
>
>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.
>
>Thanks,
>John
>
>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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