[Smt-talk] Seeking deceptively resolving applied dominants.

[S. Alexander Reed]

Dear Colleagues:

Aside from the common V/vi IV move, a few examples leap to mind.

First, the Waldstein Sonata contains a thrilling deceptive 
secondary resolution at measure 249 of the first movement, when, 
having hinted at Fm (from the starting point of C), Beethoven 
elides a cadence into a return of the opening material in D flat.  
It's a wild moment, analytically.

Second, Duran Duran's "Hungry Like the Wolf," as it moves from the 
C major chorus to the verse in E, has the progression C G F C G D 
E (with no third), which translates to I V IV I V V/V vi/V (or 
iii), in which the thirdlessness of the final chord allows the 
listener at least momentarily to make sense of the chord as 
diatonic before it is revealed to be a new major tonic.

Thanks for bringing up the topic!

S. Alexander Reed
Assistant Professor
University of Florida