At 08:45 AM 7/3/2005, you wrote:
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
Hal -
A couple of examples I like are in the Bach Chorales: #4 "Es ist das Heil
uns kommen her" first measure beat 4; and #10 "Aus tiefer not" mm 6 beat 3
and 7 beat 1 where there is a cycle of IV/IV, iv, ii6/5, V, I - which also
illustrates the SD "function" pretty well IMO. Finally in no 10 there is a
particularly gorgeous iv/iv-iv-V6/5-I-V in the last two bars starting on
beat 3 of the penultimate bar. Going back two more beats gets pretty
interesting too! It's a whole cycle of "subdominants".
Ken
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