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<div><!--StartFragment--> <div class="MsoNormal"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">There's a nice ascending "minor thirds" sequence with a little twist in Verdi's </span></font><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">Requiem</span></font></i><span style="font-style:normal"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">, </span></font></span><span style="color: black; "><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">"Dies Irae," mm. 330-336</span></font></span><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">; it moves up through the dominants (w/cadential 6/4's) of E-flat, G-flat, and A, and then comes out on a root position C major (using a common tone as the explicit link between each unit of the sequence). But again, it uses transpositional ascending voice leading rather than the descending voice leading you're looking for. </span></font><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"><o:p></o:p></span></font></div> <div class="MsoNormal"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"> </span></font><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"><o:p></o:p></span></font></div> <div class="MsoNormal"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">Another example of a sequence where the typical part-writing is opposite the smoothest idealized voice leading is the ubiquitous descending fifth sequence. We usually associate descending part writing with the descending fifths sequence, but it has idealized ascending voice leading. See Wolf's "Nun wandre, Maria" for an example that uses the ascending as well as the descending voice leading options.</span></font><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"><o:p></o:p></span></font></div> <div class="MsoNormal"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"> </span></font><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"><o:p></o:p></span></font></div> <div class="MsoNormal"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">Re: the Waldstein, the middle section of Schubert's "Pause" has always reminded of the opening of the Waldstein, without being explicitly sequential. Starting m. 20, the first phrase moves from Gm--</span></font><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">DM (g: I – V),</span></font><span style="mso-spacerun: yes"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"> </span></font></span><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">the second from FM--</span></font><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">CM (F: I—V) [all very locally]. Then you even get the semitone flip from C major to C minor in m. 26 to de-dominantize C and turn it back into a local subdominant (as Beethoven does locally in the Waldstein moving from IV-iv as part of the chromatic descending bass). But there are some important differences, too – too many to go into here. </span></font><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"><o:p></o:p></span></font></div> <div class="MsoNormal"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"> </span></font><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;"><o:p></o:p></span></font></div> <div class="MsoNormal"><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">It's fun to note that Tovey found this progression so typical, he wrote: </span></font><span style=""><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">"[E]ver since Beethoven's 'Waldstein' Sonata [and his earlier G major, op. 31, no. 1], flat-</span></font></span><span style=""><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">VII </span></font></span><span style=""><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">has become the stalking-horse for the subdominant." (</span></font></span><span style=""><i><font class="Apple-style-span" size="5"><span class="Apple-style-span" style="font-size: 18px;">The Main Stream of Music and Other Essays) </span></font></i></span><o:p></o:p></div> <!--EndFragment--> </div><div><br></div><div><br></div>Best, <div>Elizabeth</div><div><br></div><div><br><div><div>On Mar 3, 2009, at 3:28 PM, Jeremy Day-O'Connell wrote:</div><br class="Apple-interchange-newline"><blockquote type="cite"><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">"Waldstein"/"Hey Joe" sequence appears also at the beginning of Aretha Franklin's "Natural Woman" (which is similarly expressive of a mournful/sinking text).</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">JDOC</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">- - - - - - - - - -</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Jeremy Day-O'Connell</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Assistant Professor, Music</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Knox College</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Box K-95</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Galesburg, IL 61401</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">(309) 341-7301</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><a href="mailto:jdayocon@knox.edu">jdayocon@knox.edu</a></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">fax (309) 341-7605</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">On Mar 3, 2009, at 9:06 AM, Dmitri Tymoczko wrote:</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div> <blockquote type="cite"><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><span class="Apple-converted-space"> </span>Thanks for the sequence suggestions, everybody.</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Jay Hook also noted two other very clear ascending minor-third sequences:</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><span class="Apple-converted-space"> </span>1. Grieg, first Norwegian Dance, middle section.</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><span class="Apple-converted-space"> </span>2. Tchaikovsky, Symphony 4, movement 2, m. 110</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Interestingly, in almost all of the sequences mentioned so far, the voice-leading is (mostly) parallel and ascending. This suggests to me that composers typically think of the ascending minor-third sequence in harmonic rather than contrapuntal terms -- at least, they don't seem to be interested in exploiting the potential for *descending* voice leading.</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">A cool example of the "Waldstein" sequence C-G6-Bb-F6 is "Hey Joe" (which I know only in the Hendrix version: C-G-D-A-E). Here the descending stepwise voice leading is very clear, both in the melody and the upper guitar strings, and perhaps contributes to the mournful "sinking" feeling ("I'm going down ..."). The effective-but-unusual ascending fifths harmonies were always a bit of a mystery to me, but they perhaps make more sense if you think in terms of voice leading.</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">DT</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Dmitri Tymoczko</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Associate Professor of Music</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">310 Woolworth Center</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Princeton, NJ 08544-1007</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">(609) 258-4255 (ph), (609) 258-6793 (fax)</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><a href="http://music.princeton.edu/~dmitri">http://music.princeton.edu/~dmitri</a></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">_______________________________________________</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Smt-talk mailing list</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><a href="mailto:Smt-talk@societymusictheory.org">Smt-talk@societymusictheory.org</a></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><a href="http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org">http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org</a></div> </blockquote><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">_______________________________________________</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Smt-talk mailing list</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; 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-webkit-border-vertical-spacing: 0px; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; -webkit-text-decorations-in-effect: none; text-indent: 0px; -webkit-text-size-adjust: auto; text-transform: none; orphans: 2; white-space: normal; widows: 2; word-spacing: 0px; "><span class="Apple-style-span" style="border-collapse: separate; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; -webkit-text-decorations-in-effect: none; text-indent: 0px; -webkit-text-size-adjust: auto; text-transform: none; orphans: 2; white-space: normal; widows: 2; word-spacing: 0px; "><p style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font-size: 12px; "><font face="Helvetica" size="3" style="font: normal normal normal 12px/normal Helvetica; font-size: 12px; "><span class="Apple-style-span" style="font-size: 12px; ">Elizabeth Sayrs, Ph.D. </span></font></p><p style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font-size: 12px; "><font face="Helvetica" size="3" style="font: normal normal normal 12px/normal Helvetica; font-size: 12px; "><span class="Apple-style-span" style="font-size: 12px; ">Associate Professor, Music Theory</span></font></p><p style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font-size: 12px; "><span class="Apple-style-span" style="font-size: 12px; ">591A Glidden</span></p><p style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font-size: 12px; "><font face="Helvetica" size="3" style="font: normal normal normal 12px/normal Helvetica; font-size: 12px; "><span class="Apple-style-span" style="font-size: 12px; ">Ohio University</span></font></p><br class="Apple-interchange-newline"></span></span></span><br class="Apple-interchange-newline"> </div><br></div></body></html>