<html><head></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><font class="Apple-style-span" size="4">And to return to Handel for just a moment . . . </font><div><font class="Apple-style-span" size="4"><br></font></div><div><font class="Apple-style-span" size="4">I completely agree that the 6/4 in m. 11 is purely decorative.</font></div><div><font class="Apple-style-span" size="4"><br></font></div><div><font class="Apple-style-span" size="4">I would just add that tonal functions aren't immediately completely suspended when the sequence begins, so the thing that </font><span class="Apple-style-span" style="font-size: large; ">is being decorated at the beginning of the measure does sound like a IV chord</span><font class="Apple-style-span" size="4">. Where are tonal functions completely suspended? </font><span class="Apple-style-span" style="font-size: large; ">M</span><span class="Apple-style-span" style="font-size: large; ">aybe when you hear the "V" chord being decorated in the same manner as the IV chord?</span></div><div><span class="Apple-style-span" style="font-size: large; "><br></span></div><div><span class="Apple-style-span" style="font-size: large; ">One way I convinced myself that the first two chords could be heard functionally was by leaving the first half of m. 11 exactly as it is, recomposing the second half with a ii6 followed by a V, skipping m. 12, and going directly to m. 13. Now it's all functional!</span></div><div><font class="Apple-style-span" size="4"><br></font></div><div><font class="Apple-style-span" size="4">Dan Zimmerman</font></div><div><font class="Apple-style-span" size="4">U. of Maryland, College Park</font></div><div><br></div><div><br><div><div>On Feb 7, 2012, at 10:57 AM, Nicolas Meeùs wrote:</div><br class="Apple-interchange-newline"><blockquote type="cite">
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<font face="Calibri">Even although I can understand a </font>desire
to consider the harmony without the voice leading, I think that the
limit is reached when ^7 is dubbed "the leading-tone" (and vii° "the
leading-tone triad"), while this tone does not lead to the tonic. In
the case of IV–vii°6/4–IV, it seems unavoidable that the voice
leading includes ^6–^7–^6. (It might be possible to hear ^6–^7–^8,
but that probably would be an inadequate hearing.)<br>
<br>
This raises the question whether a chord including ^7 can be
considered a dominant when this tone does not resolve on the tonic –
or, in other terms, whether the attraction (and the accompanying
tension) exists without being resolved, whether tonality involves
expectations even in the absence of realization. In my opinion,
attraction and tension are retrospective: one realizes that they
existed when resolved (and, in the absence of resolution, that they
were not there, at least in the habitual sense).<br>
<br>
A neighboring 6/4 decorating a subdominant is merely that, in my
opinion, a neighboring decoration, an effect of voice-leading. Note
that in m. 11 of "La Paix", the true ^7, the major 3rd of the V
chord, does not resolve as a leading tone either: the progression is
IV – I – V – ii – vi, a "reverse" progression, in which tonal
functions are suspended.<br>
<br>
Nicolas Meeùs<br>
Université Paris-Sorbonne<br>
<br>
<br>
<br>
Le 7/02/2012 03:22, Dan Zimmerman a écrit :
<blockquote cite="mid:A8875AE6-9969-45AF-99ED-7E8669D29AED@aol.com" type="cite">
<div><font class="Apple-style-span" size="4">Hi Jason,</font></div>
<div><font class="Apple-style-span" size="4"><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>
</font><br>
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<div>On Feb 1, 2012, at 10:23 AM, Solomon, Jason wrote:</div>
<div><br>
</div>
<br>
<blockquote type="cite">
<div><font class="Apple-style-span"><br>
</font>
<br>
<font class="Apple-style-span" face="Cambria" size="4">
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).</font><br>
<br>
<font class="Apple-style-span" face="Cambria" size="4">
Thanks in advance for any suggestions that you might have
to offer!</font><br>
<br>
<font class="Apple-style-span" face="Cambria" size="4">
Best wishes,</font><br>
<font class="Apple-style-span" face="Cambria" size="4">
Jason</font><br>
<br>
<font class="Apple-style-span" face="Cambria" size="4">
--</font><br>
<font class="Apple-style-span" face="Cambria" size="4">
Jason W. Solomon, Ph.D.</font><br>
<font class="Apple-style-span" face="Cambria" size="4">
Assistant Professor of Music Theory</font><br>
<font class="Apple-style-span" face="Cambria" size="4">
Department of Music</font><br>
<font class="Apple-style-span" face="Cambria" size="4">
Agnes Scott College</font><br>
<font class="Apple-style-span" face="Cambria" size="4">
Office: Presser 101</font><br>
<font class="Apple-style-span" face="Cambria" size="4">
404-471-6261</font><br>
<font style="font-family: Cambria; font-size: 11pt; " color="#0000FF"><u><a moz-do-not-send="true" href="x-msg://46/jsolomon@agnesscott.edu">jsolomon@agnesscott.edu</a><br>
<a moz-do-not-send="true" href="http://www.agnesscott.edu/">http://www.agnesscott.edu</a></u></font>
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