<html><head></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">I have a feeling this isn't exactly what you're looking for, but the first thing that popped into mind is the cadence from the Interlude in Stravinsky's Agon (bars 144-45). He's imitating the double leading-tone cadence, of course (even though the B doesn't move to C), and the Stravinskian passing tones, anticipations, etc. probably make it ineligible. But it's one of my favorite Stravinsky moments.<div><br></div><div>Steve<br><div><br></div><div><img id="826cc704-b772-4cd9-944f-9362d3f507cd" height="414" width="620" apple-width="yes" apple-height="yes" src="cid:52D65AE0-6D19-4F7D-B9F8-06EF72153557@gateway.2wire.net"><br><div>
<span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; 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: 0px; font-size: medium; "><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; "><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><div>_________________________________</div><div>Stephen Taylor</div><div>Associate Professor of Composition-Theory</div><div>School of Music</div><div>University of Illinois at Urbana-Champaign</div><div><a href="http://www.stephenandrewtaylor.net">http://www.stephenandrewtaylor.net</a></div></div><br class="Apple-interchange-newline"></span></span><br class="Apple-interchange-newline">
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<br><div><div>On Oct 6, 2011, at 23:00, Murphy, Scott Brandon wrote:</div><br class="Apple-interchange-newline"><blockquote type="cite"><div>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 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>_______________________________________________<br>Smt-talk mailing list<br><a href="mailto:Smt-talk@lists.societymusictheory.org">Smt-talk@lists.societymusictheory.org</a><br>http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org<br></div></blockquote></div><br></div></div></body></html>