<html><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">Nicolas,<div><br></div><div>Thank you for this Debussy reference because it cuts to the heart of the whole question--that chords get their function (meaning) from the context in which they are found. In this case the Bb7 chord is approached from either a C#m.add6 (a tonic in C# minor) or an A#ø (viiø/V in E) both of which reflect back to the duality in previous flute solo. When it resolves to Dmaj7 this is the second non-dominant resolution (common tone resolution) in a row and tells us not to expect much in the way of traditional harmony as the piece progresses. I cannot imagine what Barraque was thinking because I do believe there isn't an Eb chord in the entire piece (when I have nothing else to do I will check). What is more recursively significant is the return of the Bb7 in m. 14 in a new context as a precursor to the harmonic process that will play itself out until the A#ø chord returns at the end and resolves not to Bb7 but E, a tritone away. </div><div><br></div><div>I always tell my beginning theory students that a chord's function can only be measured by triangulation--you need three different chords in order to determine its purpose in the tonal structure. If you just play C-F-C (only two chords) it could be V-I-V in F or I-IV-I in C. </div><div><br></div><div>We must remind ourselves that all harmonic events are understood relative to their local context as well as their global context. When Wagner places a Dø/F chord in m. 95 of the <i>Tristan</i> Prelude its true dramatic power is not understood unless you realize that it is replacing the D7/F# heard much earlier in m. 18. Only then do you realize its true harmonic purpose in the entire progression of the piece. You also realize that this opera is not going to end well 5000 measures later.</div><div><br></div><div>Steve</div><div><br></div><div><br></div><div><br><div><div>On Mar 30, 2009, at 4:09 AM, Nicolas Meeùs wrote:</div><br class="Apple-interchange-newline"><blockquote type="cite"><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Garamond; font-size: 18px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0; ">I would not consider French textbooks as models, especially on this point. I mentioned before what I consider a typical French excessive absolutism, consisting in bestowing a function on a chord merely because of its form: I mentioned the case of Jean Barraqué reading a V<sup>7</sup>/Eb in bar 5 of the<span class="Apple-converted-space"> </span><i>Prelude à L'Après-midi d'un faune</i><span class="Apple-converted-space"> </span>and, even worse, deducing from there a tonality of Eb ! (see my<span class="Apple-converted-space"> </span><i>Music Analysis<span class="Apple-converted-space"> </span></i>paper, vol. 21/2, p. 168). For a similar reason, some of my students hear German sixths not as altered V/V, but as V/bII !</span></blockquote></div><br><div> <span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Garamond; font-size: 18px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0; "><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Garamond; font-size: 18px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; "><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Garamond; font-size: 18px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; "><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Garamond; font-size: 18px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; "><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 14px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; "><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 14px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; "><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><div>Prof. Stephen Jablonsky, Ph.D.</div><div>Music Department Chair</div><div>The City College of New York</div><div>160 Convent Avenue S-72</div><div>New York NY 10031</div><div>(212) 650-7663</div></div></span></span><br class="Apple-interchange-newline"></span></span></span><br></div></span> </div><br></div></body></html>