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Le 24/11/2011 15:40, Ildar Khannanov a écrit :
<blockquote
cite="mid:1322145607.73610.YahooMailNeo@web45006.mail.sp1.yahoo.com"
type="cite">
<div style="color:#000; background-color:#fff; font-family:times
new roman, new york, times, serif;font-size:12pt"><span>That is
why old textbooks maintain that all three chords with +6
belong to the Subdominant function. They seem to see the
context very well. Function is defined not by the pitch of the
chord, but by its place in the metric grid. Of course, later
in the 19th century the chords were emancipated, but all
composers, including Franck, had similar training and the
concept of Subdominant instilled from the early age. </span></div>
</blockquote>
<br>
Dear Ildar,<br>
<br>
I wonder to what extent France made exception to this. If I am not
mistaken, Fétis, in his Treatise of harmony, does not name the
subdominant at all. He has no name for it and merely dubs it "the
4th degree". Do you know whether this was exceptional, do you know
what other French treatises said?<br>
<br>
Yours,<br>
<br>
Nicolas<br>
<br>
<a class="moz-txt-link-abbreviated" href="mailto:nicolas.meeus@paris-sorbonne.fr">nicolas.meeus@paris-sorbonne.fr</a><br>
Université Paris-Sorbonne<br>
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