<html><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">This Beethoven example is a rather common example of a cadential 6/4 followed by V4/2 so as to avoid the cadence. (The dissonant fourth is not caused by neighboring motion in the bass but by passing ^2–^1–^7 motion in the upper voice, as is usual for cadential 6/4s.) <div><br></div><div>Olli Väisälä</div><div>Sibelius Academy</div><div><a href="mailto:ovaisala@siba.fi">ovaisala@siba.fi</a><br><div><br class="Apple-interchange-newline"><blockquote type="cite">Dear List,<div><br></div><div>For Beethoven's sake (and ours), I would do him a disservice if I did not correct a previous post. </div><div><br></div><div>In Op. 60/ii, the neighbor motion in the bass (cf. mm. 31 and 86) of ^4--^5--^4 is not realized as "<span style="font-family:arial, sans-serif;font-size:13px;background-color:rgb(255, 255, 255)">ii6--I6/4--ii6" as stated earlier. Indeed, Beethoven does not return to ii6 but transforms ^4 into a chordal seventh (V4/2) in order to proceed to the third of the prolonged Edim7 chord (vii*7/ii). The ^4 that supports ii6 does return, though in a lower octave, following this diminished seventh chord intensification as the Essential Closes are approached. </span></div> <div><div><br></div>Steven D. Mathews<br>PhD Student in Music Theory<br>University of Cincinnati - CCM<br><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; ">Smt-talk@lists.societymusictheory.org</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org</div> </blockquote></div><br></div></body></html>