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<FONT FACE="Cambria"><SPAN STYLE='font-size:11pt'>Dear Dimitar,<BR>
<BR>
What some theory textbooks refer to as the “pedal” six-four, others refer to as a “neighbor” or “neighboring” six-four. Books that call the chord a “pedal” include The Complete Musician (3rd ed.) by Laitz, Harmonic Practice in Tonal Music (2nd ed.) by Gauldin, and Tonal Harmony (6th ed.) by Kostka and Payne. Those referring to the chord as a “neighbor” include Harmony in Context (2nd ed.) by Francoli, Harmony in Voice Leading (4th ed.) by Aldwell and Schachter, and Tonal Music (5th ed.) by Benjamin, Horvit, and Nelson (this book acknowledges that the chord is also knows as an “auxiliary” or “pedal” chord). Theory and Analysis (2nd ed.) by Clendinning and Marvin refers to it as the “neighboring or pedal 6/4.” This list is far from complete but seems fairly representative of theory textbooks in use today. <BR>
<BR>
One advantage to calling it the neighbor(ing) 6/4 is that the label N6/4 can be used in place of a Roman numeral, and this reserves P6/4 for the passing six-four. I believe that, following Clendinning and Marvin, it is responsible to inform students that the two different terms are used to describe the same chordal structure/voice-leading phenomenon.<BR>
<BR>
I really appreciate everyone’s responses to my original query!<BR>
<BR>
Best,<BR>
Jason<BR>
<BR>
--<BR>
Jason W. Solomon, Ph.D.<BR>
Assistant Professor of Music Theory<BR>
Department of Music<BR>
Agnes Scott College<BR>
Office: Presser 101<BR>
404-471-6261<BR>
<FONT COLOR="#0000FF"><U><a href="jsolomon@agnesscott.edu">jsolomon@agnesscott.edu</a><BR>
<a href="http://www.agnesscott.edu">http://www.agnesscott.edu</a><BR>
<BR>
<BR>
<BR>
</U></FONT></SPAN><FONT SIZE="2"><SPAN STYLE='font-size:10pt'>Dear Jason,<BR>
<BR>
I am sorry if I do not understand properly, but are you mixing the meaning of the term "pedal six-four" with "neighboring six-four"? As far as I know a neighboring six-four is not a pedal six-four (even if in some books they call the pedal six-four so - they do because they have not encountered a neighboring six fou, and they probably think there are only four types of six-four chords such as passing, pedal, arpeggiated and cadential). <BR>
<BR>
However, there is also a neighboring six-four, which is supposed to be very rare. The bass in a neighboring six four is an upper or lower neighbor of two notes of the same pitch, such as in the bass line Do-Re-Do. This could be harmonized with I-V64/-I. As I mentioned, such an application must be very rare, but that what a neighboring six-four is - it is neither pedal, nor passing.<BR>
<BR>
I apologize if I understood you wrongly.<BR>
<BR>
Best regards,<BR>
<BR>
Dimitar<BR>
<BR>
Dr. Dimitar Ninov, Lecturer<BR>
School of Music<BR>
Texas State University<BR>
601 University Drive<BR>
San Marcos, Texas 78666<BR>
________________________________________<BR>
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1. Re: Uncommon six-four chords (Dan Zimmerman)<BR>
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Message: 1<BR>
Date: Mon, 6 Feb 2012 21:22:12 -0500<BR>
From: Dan Zimmerman <<FONT COLOR="#0000FF"><U><a href="danielzim@aol.com">danielzim@aol.com</a></U></FONT>><BR>
To: <FONT COLOR="#0000FF"><U><a href="smt-talk@lists.societymusictheory.org">smt-talk@lists.societymusictheory.org</a><BR>
</U></FONT>Subject: Re: [Smt-talk] Uncommon six-four chords<BR>
Message-ID: <<FONT COLOR="#0000FF"><U><a href="A8875AE6-9969-45AF-99ED-7E8669D29AED@aol.com">A8875AE6-9969-45AF-99ED-7E8669D29AED@aol.com</a></U></FONT>><BR>
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Hi Jason,<BR>
<BR>
There's a neighboring 6/4 decorating the subdominant in m. 11 of "La Paix" from Handel's Music for the Royal Fireworks.<BR>
<BR>
Best,<BR>
Dan Zimmerman<BR>
U. of Maryland, College Park<BR>
<BR>
<BR>
<BR>
On Feb 1, 2012, at 10:23 AM, Solomon, Jason wrote:<BR>
<BR>
<BR>
><BR>
><BR>
> I am also looking for instances of the leading-tone triad serving as a neighbor (or, pedal) six-four to IV: IV - viio6/4 - IV. Here, I am primarily interested in either the leading-tone triad alone or one with a m7 added to produce the diatonic, half-diminished LT7. (The fully-diminished LT7 in this context could be analyzed as a common-tone diminished seventh chord, and I have plenty of examples of this).<BR>
><BR>
> Thanks in advance for any suggestions that you might have to offer!<BR>
><BR>
> Best wishes,<BR>
> Jason<BR>
><BR>
> --<BR>
> Jason W. Solomon, Ph.D.<BR>
> Assistant Professor of Music Theory<BR>
> Department of Music<BR>
> Agnes Scott College<BR>
> Office: Presser 101<BR>
> 404-471-6261<BR>
> <FONT COLOR="#0000FF"><U><a href="jsolomon@agnesscott.edu">jsolomon@agnesscott.edu</a><BR>
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