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<font face="Calibri">Pierre Boulez, in <i>Penser la musique
aujourd'hui</i>, complains about the very principle of figuring
which, he writes, remains less precise than the score itself.</font>
This misunderstands the essential aim of analytic figuring, which is
to simplify the music in order to make it more easily understood. In
other words, a figuring cannot give a <u>full</u> account of what
is happening, it always is a simplification. And the corollary is
that it would be pointless to read a figuring (or a Schenkerian
graph, or any such representation) without keeping an eye on the
score.<br>
In the case of the ambiguous 6/4 dominant preparation, the
analyst cannot hope to convey the ambivalence with simple figures
and, in complex cases, only the score will express the full
ambiguity. The figuring chosen depends on what one wants to stress.
If you want to stress the "moment of occurrence" on the beat, you
may write I6/4; but if you want to draw attention to the overall
meaning of the passage, V6-5/4-3 will be better. In any case, the
reader would be fool not to consider the score itself, which says
all.<br>
<br>
Nicolas Meeùs<br>
Université Paris-Sorbonne<br>
<br>
<br>
<br>
Le 12/02/2012 16:44, Ninov, Dimitar N a écrit :
<blockquote
cite="mid:863F27D9B562F4429B340BA70B1F0169010A557C8D0B@BOBCATMAIL3.matrix.txstate.edu"
type="cite">
<pre wrap="">Dear Ciro,
Thank you for the comment. At the moment of occurrence which occupies the beat taken by the cadential alone, you label it as V-6/4. This is what is confusing. But how would you label it when you resolve non-chord tones into it as if it were a tonic? Such moments defy the notion of suspensions or appoggiaturas to V, because what is being introduced is suspensions or appoggiaturas to I, only that the vertical sonority is not I but I6/4. A 9-8 suspension to I, or a 4-3 suspension to I, each of them harmonized by the cadential six-four. What would you say about that?
Best regards,
Dimitar
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