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</o:shapelayout></xml><![endif]--></head><body lang=EN-US link=blue vlink=purple><div class=WordSection1><p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D'>Dear Eric,<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D'>If you mean the Don Giovanni progression, where the raised “VI7” (minor, not half-diminished) results from a 7-6 suspension (but is very striking nonetheless), Chopin replicates it in the opening of his E-minor Concerto. There is no doubt in mind that Chopin learned the progression from Mozart.<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D'>Eytan Agmon<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D'>Bar-Ilan University<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D'><o:p> </o:p></span></p><p class=MsoNormal><b><span style='font-size:10.0pt;font-family:"Tahoma","sans-serif"'>From:</span></b><span style='font-size:10.0pt;font-family:"Tahoma","sans-serif"'> smt-talk-bounces@lists.societymusictheory.org [mailto:smt-talk-bounces@lists.societymusictheory.org] <b>On Behalf Of </b>Eric Knechtges<br><b>Sent:</b> Monday, April 22, 2013 7:59 PM<br><b>To:</b> smt-talk@lists.societymusictheory.org<br><b>Subject:</b> [Smt-talk] Mozart harmonic progression<o:p></o:p></span></p><p class=MsoNormal><o:p> </o:p></p><div><div><div><div><div><div><div><p class=MsoNormal style='margin-bottom:12.0pt'>Colleagues,<o:p></o:p></p></div><p class=MsoNormal style='margin-bottom:12.0pt'>Point of curiosity -- those of you with corpus studies of Mozart at hand may have a ready answer to this.<o:p></o:p></p></div><p class=MsoNormal style='margin-bottom:12.0pt'>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:<o:p></o:p></p></div><p class=MsoNormal style='margin-bottom:12.0pt'>i - v6 - #vių7 - +6 - V (or cadential 6/4)<o:p></o:p></p></div><p class=MsoNormal style='margin-bottom:12.0pt'>So, in d minor, for instance:<o:p></o:p></p></div><p class=MsoNormal style='margin-bottom:12.0pt'>Dm - Am/C - Bų7 - It+6 - A<o:p></o:p></p></div><p class=MsoNormal style='margin-bottom:12.0pt'>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><o:p></o:p></p><div><div><div><div><p class=MsoNormal>-- <o:p></o:p></p><div><div><div><div><p class=MsoNormal>Eric Knechtges, DM<br>Assistant Professor, Coordinator of Composition/Theory<br>Northern Kentucky University <o:p></o:p></p></div></div></div></div></div></div></div></div></div></div></body></html>