[Smt-talk] Uncommon six-four chords

[Dan Zimmerman]

And to return to Handel for just a moment . . . 

I completely agree that the 6/4 in m. 11 is purely decorative.

I would just add that tonal functions aren't immediately completely suspended when the sequence begins, so the thing that is being decorated at the beginning of the measure does sound like a IV chord. Where are tonal functions completely suspended? Maybe when you hear the "V" chord being decorated in the same manner as the IV chord?

One way I convinced myself that the first two chords could be heard functionally was by leaving the first half of m. 11 exactly as it is, recomposing the second half with a ii6 followed by a V, skipping m. 12, and going directly to m. 13. Now it's all functional!

Dan Zimmerman
U. of Maryland, College Park


On Feb 7, 2012, at 10:57 AM, Nicolas Meeùs wrote:

> Even although I can understand a desire to consider the harmony without the voice leading, I think that the limit is reached when ^7 is dubbed "the leading-tone" (and vii° "the leading-tone triad"), while this tone does not lead to the tonic. In the case of IV–vii°6/4–IV, it seems unavoidable that the voice leading includes ^6–^7–^6. (It might be possible to hear ^6–^7–^8, but that probably would be an inadequate hearing.)
> 
> This raises the question whether a chord including ^7 can be considered a dominant when this tone does not resolve on the tonic – or, in other terms, whether the attraction (and the accompanying tension) exists without being resolved, whether tonality involves expectations even in the absence of realization. In my opinion, attraction and tension are retrospective: one realizes that they existed when resolved (and, in the absence of resolution, that they were not there, at least in the habitual sense).
> 
> A neighboring 6/4 decorating a subdominant is merely that, in my opinion, a neighboring decoration, an effect of voice-leading. Note that in m. 11 of "La Paix", the true ^7, the major 3rd of the V chord, does not resolve as a leading tone either: the progression is IV – I – V – ii – vi, a "reverse" progression, in which tonal functions are suspended.
> 
> Nicolas Meeùs
> Université Paris-Sorbonne
> 
> 
> 
> Le 7/02/2012 03:22, Dan Zimmerman a écrit :
>> 
>> Hi Jason,
>> 
>> There's a neighboring 6/4 decorating the subdominant in m. 11 of "La Paix" from Handel's Music for the Royal Fireworks.
>> 
>> Best,
>> Dan Zimmerman
>> U. of Maryland, College Park
>> 
>> 
>> 
>> On Feb 1, 2012, at 10:23 AM, Solomon, Jason wrote:
>> 
>> 
>>> 
>>> 
>>> I am also looking for instances of the leading-tone triad serving as a neighbor (or, pedal) six-four to IV: IV -  viio6/4 - IV. Here, I am primarily interested in either the leading-tone triad alone or one with a m7 added to produce the diatonic, half-diminished LT7. (The fully-diminished LT7 in this context could be analyzed as a common-tone diminished seventh chord, and I have plenty of examples of this).
>>> 
>>> Thanks in advance for any suggestions that you might have to offer!
>>> 
>>> Best wishes,
>>> Jason
>>> 
>>> --
>>> Jason W. Solomon, Ph.D.
>>> Assistant Professor of Music Theory
>>> Department of Music
>>> Agnes Scott College
>>> Office: Presser 101
>>> 404-471-6261
>>> jsolomon at agnesscott.edu
>>> http://www.agnesscott.edu
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>> 
>> 
>> 
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