[Smt-talk] looking for an example of a specific progression

[Daniel Mathers]

One familiar piece that uses the reverse of the harmonic combination
mentioned (beginning with I6 instead of root position) is Schumann's "Der
Dichter spricht."  

 

It does so motivically, opting for both inverted dominant- and fully
diminished-sevenths to support the fourth scale degree of 1-4-3 melodic
configurations, and within the context of various tonicizations, some of
which get interrupted/deflected. While building from this motive, Schumann
constantly defers the tonic chord in root position until the very final
measure, making for a very interesting penetration of a foreground feature
into the deepest level of structure to close the Kinderszenen.  

 

This makes for a very poetic close indeed, inviting all sorts of metaphors
about the abiding influence of one's starting points, or childhood.

 

Daniel E. Mathers

Adjunct Instructor & Ph.D. Candidate in Music Theory

College-Conservatory of Music, University of Cincinnati

mathersdaniel at mac.com

 

From: smt-talk-bounces at societymusictheory.org
[mailto:smt-talk-bounces at societymusictheory.org] On Behalf Of Timothy Cutler
Sent: Sunday, May 23, 2010 11:44 AM
To: Smt-talk at societymusictheory.org
Subject: [Smt-talk] looking for an example of a specific progression

 

I'm looking for a progression such as I-viio6 (or V4/3)-I6 that supports
soprano scale degrees 1-4-3.

The reason is because I want an example of a chord (the viio6 or V4/3 in
this instance) that has

harmonic function (dominant), contrapuntal function (passing chord), and
voice-leading function (breaks up parallel octaves).

 

Can anyone think of a piece that uses one of these progressions and
outer-voice structure, or a similar diatonic progression

in which one of the chords exhibits harmonic, contrapuntal, and
voice-leading functions simultaneously?

 

Thanks very much!

Dr. Tim Cutler

Professor of Music Theory

Cleveland Institute of Music

timothy.cutler at case.edu

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