[Smt-talk] N 6/4 in Beethoven Correction

[Olli Väisälä]

This Beethoven example is a rather common example of a cadential 6/4  
followed by V4/2 so as to avoid the cadence. (The dissonant fourth is  
not caused by neighboring motion in the bass but by passing ^2–^1–^7  
motion in the upper voice, as is usual for cadential 6/4s.)

Olli Väisälä
Sibelius Academy
ovaisala at siba.fi

> Dear List,
>
> For Beethoven's sake (and ours), I would do him a disservice if I  
> did not correct a previous post.
>
> In Op. 60/ii, the neighbor motion in the bass (cf. mm. 31 and 86)  
> of ^4--^5--^4 is not realized as "ii6--I6/4--ii6" as stated  
> earlier. Indeed, Beethoven does not return to ii6 but transforms ^4  
> into a chordal seventh (V4/2) in order to proceed to the third of  
> the prolonged Edim7 chord (vii*7/ii). The ^4 that supports ii6 does  
> return, though in a lower octave, following this diminished seventh  
> chord intensification as the Essential Closes are approached.
>
> Steven D. Mathews
> PhD Student in Music Theory
> University of Cincinnati - CCM
>
> _______________________________________________
> Smt-talk mailing list
> Smt-talk at lists.societymusictheory.org
> http://lists.societymusictheory.org/listinfo.cgi/smt-talk- 
> societymusictheory.org

-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://lists.societymusictheory.org/pipermail/smt-talk-societymusictheory.org/attachments/20111011/11a4866b/attachment-0004.htm>