<html><body><div style="color:#000; background-color:#fff; font-family:times new roman, new york, times, serif;font-size:12pt"><div><span>Dear Eric,</span></div><div><span></span> </div><div><span>A close approximation occurs in the brief interlude preceding "Mourn, Israel" from Handel's Saul (1738), HWV 54. Two differences: Handel also harmonizes the decending leading tone (with a diminished-seventh chord), and uses a German augmented-sixth chord.</span></div><div><span></span> </div><div><span>Best,</span></div><div><span></span> </div><div><span>Kyle Adams</span></div><div><span>Associate Professor of Music Theory</span></div><div><span>Jacobs School of Music</span></div><div><span>Indiana University</span></div><div><br></div> <div style="font-family: times new roman, new york, times, serif; font-size: 12pt;"> <div style="font-family: times new roman, new york, times, serif; font-size: 12pt;"> <div dir="ltr"> <div style="margin: 5px
0px; padding: 0px; border: 1px solid rgb(204, 204, 204); height: 0px; line-height: 0; font-size: 0px;" class="hr" contentEditable="false" readonly="true"></div> <font size="2" face="Arial"> <b><span style="font-weight: bold;">From:</span></b> Eric Knechtges <eric.t.knechtges@gmail.com><br> <b><span style="font-weight: bold;">To:</span></b> smt-talk@lists.societymusictheory.org <br> <b><span style="font-weight: bold;">Sent:</span></b> Monday, April 22, 2013 12:59 PM<br> <b><span style="font-weight: bold;">Subject:</span></b> [Smt-talk] Mozart harmonic progression<br> </font> </div> <div class="y_msg_container"><br>
<div id="yiv716674957"><div dir="ltr"><div><div><div><div><div><div>Colleagues,<br><br></div>Point of curiosity -- those of you with corpus studies of Mozart at hand may have a ready answer to this.<br><br></div>There is a certain harmonic progression that seems to pop up in Mozart's music in minor keys, and I have yet to find an example of this exact progression in any other composer. Arguments of counterpoint vs. harmony aside, here is the basic idea:<br>
<br></div>i - v6 - #vių7 - +6 - V (or cadential 6/4)<br><br></div>So, in d minor, for instance:<br><br></div>Dm - Am/C - Bų7 - It+6 - A<br><br></div>While I know that chromatic and diatonic descents to the dominant are commonplace and have a rich history, it is this precise sequence of harmonies that I haven't found in any other composer with nearly the frequency that I've seen it in Mozart. Does anyone have examples of this from another composer? Is it more common in Mozart than his contemporaries?<br>
<br><br><div><div><div><div>-- <br><div><div><div><div>Eric Knechtges, DM<br>
Assistant Professor, Coordinator of Composition/Theory<br>
Northern Kentucky University
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