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<br>
Scott,<br>
<br>
Also not after 1800, but closer: the coda of the final movement of
Beethoven's Piano Trio, Op. 1, No3, in C Minor. About 60 bars from
the end, an octave G descends to an octave F#, and the theme is
stated in B minor, for a number of measures. Then a simple 5-6
motion brings a V6 in C minor, and back to C. <br>
<br>
Something to check, post-1800: Unfortunately, I don't have a score
handy, but the first movement of Schubert's (incomplete) *Reliquie*
Sonata, D. 840, in C Major (1825), has an S theme in B minor. I'd
have to look at the score to see if there's a literal C-b-C move in
it, but it's worth a try (also in the Development...).<br>
<br>
Best,<br>
<br>
Pat McCreless<br>
<br>
On 10/7/11 8:41 AM, <a class="moz-txt-link-abbreviated" href="mailto:Mark.AnsonCartwright@qc.cuny.edu">Mark.AnsonCartwright@qc.cuny.edu</a> wrote:
<blockquote
cite="mid:OF000AE13E.F0BC2017-ON85257922.0045B9CF-85257922.0045B9D0@qc.cuny.edu"
type="cite"><font face="Default Sans
Serif,Verdana,Arial,Helvetica,sans-serif" size="2"><span>Dear
Scott,<br>
<br>
</span><span>I don't know a post-1800 example of this, off the
top of my head. But if you look at the opening chorus from
Bach's St. Matthew Passion,<br>
you'll find Am-G#m-Am (6/3 chords over a bass F#) in two
places: mm. 14 and 87. The chords aren't used cadentially, but
they sure are striking.<br>
</span>
<div><span><br>
</span></div>
<div><span>Best,</span></div>
<div><span>Mark</span></div>
<div><span><br>
</span></div>
<div><span>Mark Anson-Cartwright<br>
Aaron Copland School of Music<br>
Queens College, CUNY<br>
<br>
<a class="moz-txt-link-abbreviated" href="mailto:Mark.AnsonCartwright@qc.cuny.edu">Mark.AnsonCartwright@qc.cuny.edu</a></span>
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<br>
<font color="#990099">-----smt-talk-bounces@lists.societymusictheory.org
wrote: -----</font>
<div>
<blockquote style="padding-right: 0px; padding-left:
5px; margin-left: 5px; border-left: 2px solid black;
margin-right: 0px;">To: SMT Talk
<a class="moz-txt-link-rfc2396E" href="mailto:smt-talk@societymusictheory.org"><smt-talk@societymusictheory.org></a><br>
From: "Murphy, Scott Brandon" <smurphy@ku.edu><br>
Sent by:
<a class="moz-txt-link-abbreviated" href="mailto:smt-talk-bounces@lists.societymusictheory.org">smt-talk-bounces@lists.societymusictheory.org</a><br>
Date: 10/07/2011 08:29AM<br>
Subject: [Smt-talk] Looking for a chord
progression<br>
<br>
<font face="Courier New,Courier,monospace"
size="3">Collective wisdom, do you know of, and,
if so, are you willing to share, an example of a
clear and deliberate CM: CM-Bm-CM progression or
a transposition of such a progression in music
after 1800 (double leading-tone cadences from
the Medieval period need not apply)? Chordal
inversion of any or all of these chords is fine.
A transposition of the minor version (Cm:
Cm-Bm-Cm) would also be acceptable, as would the
last two-thirds of either progression.<br>
<br>
Thanks!<br>
<br>
Scott<br>
<br>
--<br>
Scott Murphy<br>
Associate Professor, Music Theory<br>
University of Kansas School of Music<br>
<a class="moz-txt-link-abbreviated" href="mailto:smurphy@ku.edu">smurphy@ku.edu</a><br>
<br>
P.S. I'm prepared to handle examples where a
"neighborly" bass goes 1-2-1. :-)<br>
<br>
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</font></smurphy@ku.edu></blockquote>
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