[Smt-talk] Fwd: "Neighboring" 6/4 Chords
Donna Doyle
donnadoyle at att.net
Mon Oct 3 07:43:41 PDT 2011
P S to Scott Murphy's implied Cad 6/4 idea: Going from I to a 6/4 on
^2 and then not following through
into a cadence in the dominant feels like the motion is 'chickening
out.' Or, to be experiential, like
walking along a swimming pool deck, deciding to jump in, then changing
one's mind midair. : )
Donna Doyle
_____________________
Begin forwarded message:
> From: Donna Doyle <donnadoyle at att.net>
> Date: October 3, 2011 10:28:13 AM EDT
> To: Dmitri Tymoczko <dmitri at princeton.edu>
> Cc: Matt Bribitzer-Stull <mpbs at umn.edu>, Society for Music Theory <smt-talk at societymusictheory.org
> >
> Subject: Re: [Smt-talk] "Neighboring" 6/4 Chords
>
> I almost agree with Dmitri that "it's better to get rid of the terms
> 'neighboring' and 'passing' chords."
>
> I almost agree in that I think the N 6/4 is misnamed. As David
> Headlam points out, the N 6/4 is an
> embellishing chord; actually, all three named 6/4s are embellishing.
> Since the other two are
> identified by their bass activity, a better label for the N would be
> "Pedal 6/4." This would allow for
> various upper-voice activities (e. g., "walking the bass" [in both
> classical and jazz]). These
> various upper-voice workings-out could become sub-categories, i. e.,
> "P above the Ped,"
> "IN above the Ped," etc.
>
> RE Matt's original query: I agree with Scott Murphy--that a bare 6/4
> above an ascending step-wise
> bass suggests IV - V 6/4 in the dominant key. Of course, metric
> accent would play a role.
>
> Best,
>
> Donna Doyle
> Queens College
>
>
> _____________________
>
>
> On Oct 2, 2011, at 9:05 AM, Dmitri Tymoczko wrote:
>
>>> I find when instructing undergraduates in core harmony courses
>>> that students accept the guidelines we provide for part-writing
>>> much better if they understand the reasoning behind them. I'm at a
>>> loss, however, to explain why common-practice composers rarely
>>> used a 6/4 chord above scale degree 2 as a bass neighbor motion
>>> expanding tonic.
>>
>> Sorry for being dense, but I'm not exactly sure I understand. As I
>> read it, you are asking for an explanation of why we don't often
>> find progressions like:
>>
>> (C4, E4, G4, C5)->(D4, D4, G4, B4)->(C4, E4, G4, C5)
>>
>> I guess my first question is whether you can think of any common
>> tonal progression in which a 6/4 chord acts in this way, with the
>> bass moving in neighboring fashion (e.g. IV->I6/4->IV). Off the
>> top of my head, I can't think of one, on any scale degrees. So
>> "neighboring 6/4 chords" typically involve fixed bass. But that's
>> just a restatement of your question, I guess.
>>
>> My second thought is that this sort of question has convinced me to
>> abandon the term "neighboring 6/4 chord." If you use the term, you
>> create the (reasonable!) expectation that there is a general
>> procedure here -- "6/4 chords can be used to create neighboring
>> motion." But common-practice music doesn't bear out this
>> expectation. The vast majority of "neighboring 6/4 chords" fall
>> into just a couple idioms or schemas -- chiefly I->IV6/4->I and V-
>> >I6/4->V. (I'd wager that upwards of 98% of the "neighboring 6/4
>> progressions" are in these two categories.) Progressions like ii-
>> >V6/4->ii and vi->ii6/4->vi, which are perfectly neighboring, don't
>> ever appear.
>>
>> So I have reluctantly concluded that it's much better just to get
>> rid of the terms "neighboring" and "passing 6/4" chords and to
>> speak of a small number of idioms instead. This more particular
>> (idiomatic or "schema-based") explanation correctly gives the
>> expectation that there are just a couple relevant progressions,
>> occurring on specific scale degrees, and expressing specific
>> harmonic functions. The problem with more general explanations is
>> that they suggest there should be a more general phenomenon, but
>> there really isn't.
>>
>> We've actually discussed this on the SMT list previously, I think.
>> There may be relevant posts in the archives.
>>
>> DT
>>
>> Dmitri Tymoczko
>> Associate Professor of Music
>> 310 Woolworth Center
>> Princeton, NJ 08544-1007
>> (609) 258-4255 (ph), (609) 258-6793 (fax)
>> http://dmitri.tymoczko.com
>>
>>
>>
>>
>>
>>
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>
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