[Smt-talk] Nature and Labeling of the Cadential Six-Four
Nicolas Meeùs
nicolas.meeus at paris-sorbonne.fr
Sun Feb 12 10:34:48 PST 2012
Pierre Boulez, in /Penser la musique aujourd'hui/, complains about the
very principle of figuring which, he writes, remains less precise than
the score itself. This misunderstands the essential aim of analytic
figuring, which is to simplify the music in order to make it more easily
understood. In other words, a figuring cannot give a _full_ account of
what is happening, it always is a simplification. And the corollary is
that it would be pointless to read a figuring (or a Schenkerian graph,
or any such representation) without keeping an eye on the score.
In the case of the ambiguous 6/4 dominant preparation, the analyst
cannot hope to convey the ambivalence with simple figures and, in
complex cases, only the score will express the full ambiguity. The
figuring chosen depends on what one wants to stress. If you want to
stress the "moment of occurrence" on the beat, you may write I6/4; but
if you want to draw attention to the overall meaning of the passage,
V6-5/4-3 will be better. In any case, the reader would be fool not to
consider the score itself, which says all.
Nicolas Meeùs
Université Paris-Sorbonne
Le 12/02/2012 16:44, Ninov, Dimitar N a écrit :
> Dear Ciro,
>
> Thank you for the comment. At the moment of occurrence which occupies the beat taken by the cadential alone, you label it as V-6/4. This is what is confusing. But how would you label it when you resolve non-chord tones into it as if it were a tonic? Such moments defy the notion of suspensions or appoggiaturas to V, because what is being introduced is suspensions or appoggiaturas to I, only that the vertical sonority is not I but I6/4. A 9-8 suspension to I, or a 4-3 suspension to I, each of them harmonized by the cadential six-four. What would you say about that?
>
> Best regards,
>
> Dimitar
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