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<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>One familiar piece that uses the reverse of the harmonic combination
mentioned (beginning with I6 instead of root position) is Schumann’s “Der
Dichter spricht.” <o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>It does so motivically, opting for both inverted dominant- and
fully diminished-sevenths to support the fourth scale degree of 1-4-3 melodic configurations,
and within the context of various tonicizations, some of which get interrupted/deflected.
While building from this motive, Schumann constantly defers the tonic chord in
root position until the very final measure, making for a very interesting penetration
of a foreground feature into the deepest level of structure to close the Kinderszenen.
<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>This makes for a very poetic close indeed, inviting all sorts of
metaphors about the abiding influence of one’s starting points, or
childhood.<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>Daniel E. Mathers<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>Adjunct Instructor & Ph.D. Candidate in Music Theory<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>College-Conservatory of Music, University of Cincinnati<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>mathersdaniel@mac.com<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'><o:p> </o:p></span></p>
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<p class=MsoNormal><b><span style='font-size:10.0pt;font-family:"Tahoma","sans-serif"'>From:</span></b><span
style='font-size:10.0pt;font-family:"Tahoma","sans-serif"'>
smt-talk-bounces@societymusictheory.org
[mailto:smt-talk-bounces@societymusictheory.org] <b>On Behalf Of </b>Timothy
Cutler<br>
<b>Sent:</b> Sunday, May 23, 2010 11:44 AM<br>
<b>To:</b> Smt-talk@societymusictheory.org<br>
<b>Subject:</b> [Smt-talk] looking for an example of a specific progression<o:p></o:p></span></p>
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<p class=MsoNormal><o:p> </o:p></p>
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<p class=MsoNormal>I'm looking for a progression such as I-viio6 (or V4/3)-I6
that supports soprano scale degrees 1-4-3.<o:p></o:p></p>
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<p class=MsoNormal>The reason is because I want an example of a chord (the
viio6 or V4/3 in this instance) that has<o:p></o:p></p>
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<p class=MsoNormal>harmonic function (dominant), contrapuntal function (passing
chord), and voice-leading function (breaks up parallel octaves).<o:p></o:p></p>
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<p class=MsoNormal> <o:p></o:p></p>
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<p class=MsoNormal>Can anyone think of a piece that uses one of
these progressions and outer-voice structure, or a similar diatonic
progression<o:p></o:p></p>
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<p class=MsoNormal>in which one of the chords exhibits harmonic, contrapuntal,
and voice-leading functions simultaneously?<o:p></o:p></p>
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<p class=MsoNormal> <o:p></o:p></p>
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<p class=MsoNormal>Thanks very much!<o:p></o:p></p>
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<div>
<p class=MsoNormal>Dr. Tim Cutler<o:p></o:p></p>
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<div>
<p class=MsoNormal>Professor of Music Theory<o:p></o:p></p>
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<div>
<p class=MsoNormal>Cleveland Institute of Music<o:p></o:p></p>
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<p class=MsoNormal><a href="mailto:timothy.cutler@case.edu">timothy.cutler@case.edu</a><o:p></o:p></p>
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