On Saturday, June 1, 2002, at 02:37 PM, David W. Fenton wrote: > On 1 Jun 2002, at 14:16, Harold Owen wrote:
>> Schenker holds that the only really strong root movement is by >> falling fifth (or rising fourth). The Plagal Cadence, however, in my >> ear is also very strong. Much of Renaissance music treats the falling >> fourth (or rising fifth) as if it is just as strong as the authentic >> root movement. Pachelbel's Canon has falling 4ths until the final >> cadence, a half cadence. The only authentic cadence comes at the very >> end of the piece. >> I - V, vi - iii, IV - I, IV - V :|| >> The sequences elevate the falling fourth for me. > I suspect that Schenker would actually parse the progression as: > I , V - vi, iii - IV, I - IV - V :|| In that case I suspect said Schenker should have his hearing checked. Hal's assessment is correct. I also find plagal cadencing very strong. If one isn't blessed with absolute pitch (such as I seem to remember that Hal has) I believe the best tool to realize this is a good grounding in atonal music's pitch class sets because there, directionality is disregarded in favor of cluster packing density. Best wishes from the Big 4 Ranch, Philip Aker http://www.aker.ca § _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
