[Smt-talk] Caution versus Generalization
Nicolas Meeùs
nicolas.meeus at scarlet.be
Sat Aug 31 08:10:07 PDT 2013
Ildar,
1) That the dominant triad should resolve to the tonic triad may be
understood as the result of what Schenker termed "the fifth-spirit of
degrees", /der //Quintengeist der Stufen/. It is for the same reason
that Riemann first was at loss to explain the direct progression from IV
to V, that early commentators of Rameau had said 'impossible' or
'forbidden'. August Halm, a friend of Riemann, writes in his
/Harmonielehre/ (1900, p. 32), speaking of IV and V: "between these two
chords there is an abyss"; I think to remember he had discussed this in
a correspondence with Riemann, but I cannot now find the reference.
Riemann eventually explained it as a feigned consonance by which IV –V
compared to II–V (a 5th-progression), but it remains a weak spot in his
theory (as it was in Rameau's "double emploi").
2) Schenker, as a native German speaker, understood /Unterdominante/ as
meaning the dominant under, i.e. the lower fifth, merely because that is
what the term means in German. There is not a hint to anything else in
any of his writings. The notation of his graphs makes this absolutely
clear: he always underlines the T–S–D (–T) progression with a slur with
double curve, that he uses in no other case (in particular, not in the
case of I–III–V–I). He used this special slur from 1926 onwards, and
probably copied it from vol. I of Afred Lorenz' /Das Geheimnis der Form/
(1924, p. 19), where it represents a sine curve going from the tonic
down to the subdominant, up to the dominant and back to the tonic,
materializing the fact that the /Unterdominante/ is "the dominant under".
3) The interpretation of the subdominant as an adjacency to the dominant
is a feature of French theory. Rameau, and several of his followers,
certainly understood it as the dominant a fifth under the tonic.
Jean-Jacques Rousseau, however, already wondered about this: see his
/Dictionnaire /(1767), vol. 2 pp. 200-201 of the edition available on
CHTML/TFM. The earliest mention of the term that I have been able to
find in French is in Jean-François Dandrieu's /Principes de
l'accompagnement/, c1719 – more than ten years before Rameau, who did
not use it before /Génération harmonique. /Dandrieu gives names for the
seven degrees of the diatonic scale: /Finale/, /Sufinale/, /Mediante/,
/Soudominante/, /Dominante/, /Sudominante/, /Soufinale/, where the use
of /Sudominante/ for degree VI certainly denotes an adjacency to the
dominant: this probably is true also of /Soudominante/. This became and
remains today the usage of the Paris Conservatoire National, and I have
been insulted in the French journal /Analyse musicale/ for having
suggested that one might prefer "sous-médiante" (submediant) to
"sus-dominante". On this point, see also my "Teorie musicali in epoca
romantica", /Enceclopedia della musica/, J.-J. Nattiez ed., vol. V,
2005, p. 627-644.//
Yours,
Nicolas Meeùs
Université Paris-Sorbonne
Le 31/08/2013 10:44, Ildar Khannanov a écrit :
> Dear Nicolas and the list,
> I find it very difficult to perceive that Riemann has been insensitive
> to directionality in tonal music. Au contraire, he was one of two
> (with Rameau) who suggested a superstructure, something above and
> behind the notes, which would drive music in time. How else could you
> explain that dominant triad SHOULD resolve to tonic triad? Are there
> any ideas beyond tonal-harmonic functionality that could explain this
> simple yet mysterious phenomenon?
> Made-up concepts, such as "syntax" which should unfold only in one
> direction, are just that -- made-up things. Who would ban the
> Subdominant-to-Tonic motion as functional and syntactic?
> As for Erpf and Riemann--they both agreed with Rameau who called the
> upper fifth dominant and the lower fifth sous-dominant. This is the
> topic for the freshmen at the conservatory. The only one who did not
> understand that subdominant is located a fifth below tonic was
> Heinrich, who obsessively interpreted the subdominant note as
> an adjacency to dominant on every so-called voice leading graph.
> Ildar Khannanov
> Peabody Institute
> Johns Hopkins University
> solfeggio7 at yahoo.com
>
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