[Smt-talk] Seeking deceptively resolving applied dominants.

[David K Feurzeig]

On Jan 22, 2010, at 6:32 PM, Jason Solomon wrote:

> The V7/vi – IV figure seems to be quite common in popular music.


This is exactly why we should be careful about applying terminology,  
with all its implications, from one repertoire to another. How  
frequently does this progression need to occur, say in comparison to  
V7/vi — vi, before the label "deceptive resolution" must be chucked?

> I hope others can help us uncover examples of other types of  
> deceptive resolutions, such as V7/V – iii, V7/IV – ii, etc.

Doubtless almost anything you can think of is out there somewhere, but  
the fact that III#-IV is so much more prevalent suggests that it may  
*not* be an example of the broader category "deceptive resolutions",  
and that we should be sensitive to the loaded nature of even so  
innocuous (to a classically-minded musician) a label as V7/vi.

David Feurzeig
University of Vermont