Ken,
I like the idea of "secondary subdominant." In "Hey Jude" the
repeated progression sounds like IV/IV-IV-I. To some Schenkerians
that would not be a progression at all but a prolongation of the
tonic. There's a very interesting piece by Orlando di Lasso called
"Anna, mihi dilecta" where the chord progressions are either third
relations or plagal relations. The "falling fifth" bass progression
is almost nonexistent in that piece except for the final cadence.
Hal
At 08:01 PM 7/2/2005, you wrote:
It's interesting that you mention the plagal cadence. To me the
modern extension of what might function as plagal would be a chord
that includes the tonic and not the leading tone. Cadences such as
vi-I, bVI-I, A6-I, bVII9-I, and even V11-I (a Debussy favorite)
might be considered as plagal.
One of my favorite things to think about is the idea of the
"secondary subdominant." Not infrequently VII can be viewed as
IV/IV. I have found some examples in the Bach 371 where at least
IMO it's clear that he's thinking IV/IV. Anyone know of any writing
about this? I've never run across any.
Ken
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