Deviant Cadential Six-Four Chords
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1 Ex. 1: Statistical Use of the Cadential Six-Four in the Norton Scores a. Percentage of Use of by Era * Deviant Cadential Six-Four Chords Gabriel Fankhauser Assisted by Daniel Tompkins Appalachian State University Boone, NC AMS/SEM/SMT 2012 New Orleans, LA from Meyer 2000/1992, p. 261 b. Percentage of Use by Composer from Meyer 2000/1992, p. 241 Ex. 2: Beethoven, Thirty-Two Variations in C minor, WoO 80, mm. 1 8 (1806) ˆ1 ˆ2 nˆ3 ˆ4 (sˆ4) ˆ5 ( ˆ6 ) ˆ5 c: I IV (IV) V I Cadential 6 4 that may appear to be passing.
2 Ex. 3: Beethoven, Piano Sonata No. 4 in Ef, Op. 7, III, mm (1797) 8 7 Ef: I V 6 5 I 4 3 I I 6 4 (vii 7 /vi) vi (V 6 5/V) V 1. Follows tonic. Note also the apparent six-fours on the downbeats of mm. 9 and Bass moves after 6 4, eliding the dominant (locally, at least). Ex. 4: Beethoven, Pathétique Sonata, I, mm (1798) g: i vii 7 /V V vii i 6 vii V = e: vii (V ?) Cadential 6 4 falls on weak beat.
3 Ex. 5: Beethoven, Waldstein Sonata, I, mm (1804) E: I V V I Sixth and fourth resolve upward (cf. m. 37). Ex. 6: Mozart, Concerto in D for Horn, K. 412, I, mm , underlying an inverted cadential 6 4 From Rothstein 2006, 277, Ex. 24
4 Ex. 7: Phish, Poor Heart (Picture of Nectar, Elektra 1992) Hypermeter: , G D, G G 7 /B C C# 7 G D G You won t steal my poor heart again. (R) You won t steal my tape recorder. I ll call the Lord, and he ll put you in the pen. You won t steal that thing again. G: I V, I V 6 5/IV IV vii 7 /V I V 7 I Inverted 6 4 Ex. 8: Radiohead, 2+2=5 (Hail to the Thief, Capitol 2003) , (3) 4 (4) Fm Csus/E Fm 7 Csus/E Fm (7 or 9) Csus/E F/Ef D 7 Gm Fm C/E Are you such a dreamer to put the world to rights? I ll stay home for- ever, where two and two always makes a five. I ll lay down the tracks, sandbag, and hide. January has April showers, and two and two always makes a five. f: i (V 6 ) i (V 6 ), i V 6 V 4 2/iv V 7 /ii ii i V 6 N (not cadential 6 4 ) Inverted 6 4 and inverted V. Ex. 9: Definition of Cadential Six-Four and Deviations Defining characteristics of cadential six-four Deviation Deviant Examples 1. Approach: Follows pre-dominant harmony (neither V nor vii, nor I?) Follows dominant or tonic harmony Beethoven, Pathétique Sonata, I, m. 134 (cf. m. 135) 2. *Accentuation: Strong beat or more accented than resolution to V Weak beat (rarest deviation?) Beethoven, Pathétique Sonata, I, m Resolution: 6 th and 4 th resolve down by step, Resolution is upward: Beethoven, Waldstein Sonata, I, m *Intervals: 6 th and 4 th above bass Inverted six-fours: I 6 V I V 5. *Bass Departure: Subsequent bass note is Bass changes: 6 4 (IV) V dominant (ˆ5) 6 4 (vii 7 /vi) vi I V 6 6. Bass Note: Dominant (ˆ5) Other bass notes: iii 6 4 V Beatles, Julia 7. *Tonic Pitches: Contains members of the tonic triad (ˆ1, ˆ3, and ˆ5) 8. Function: Dominant (V), with delay of leading tone (ˆ7) Chromatic fvi 6 4 displacement: fi 6 4 fffi 6 4 Plagal cadential six-fours?: IV 6 4 and ii 6 4 Mozart, Concerto in D for Horn, K. 412, I, m. 28 Phish, Poor Heart; Radiohead, 2+2=5 Beethoven, Thirty-Two Variations in C minor Beethoven, Piano Sonata in Ef, Op. 7, III, m. 11 Radiohead, 2+2=5 Liszt, Il penseroso, m. 7 Prokofiev, Symphony No. 1, III, m. 10 Shostakovich, Prelude, Op. 34, No. 10, m. 15 Debussy, La fille aux cheveux de lin, m. 15 and m. 35 * Most essential criteria (2, 4, 5, and 7). For a conventional example that satisfies all criteria above, see Beethoven Waldstein Sonata, m. 38 (above). Also, melodic line: ˆ3 ˆ2 ˆ1 is most definitive and common, but also possible are ˆ1 ˆ7 ˆ1, ˆ5 ˆ4 ˆ3, etc.
5 Ex. 10: Contrapuntal vs. Harmonic Means for Deviation I Counterpoint: Tonic pitches (from I ) remain while figured bass (inversion) varies. or 2. Harmony: Six-four intervals remain while triadic spelling or pitch collection varies. NOTE: All cases preserve underlying syntactical role and dominant function. Ex. 11: Cadential Six-Fours of Increasing Deviance a. b. c. d. e. 8 7 I IV 6 V 6 5 I I 6 V 7 I I V 7 I III 6 4 V 7 I fiii 6 4 V 7 I 4 3 conventional contrapuntal deviations harmonic deviations bizarre 6 Ex. 12: Beatles, Julia (The Beatles [White Album], Capitol 1968) , (&) 4=1 D Bm 7 Fsm/Cs D Bm 7 Fsm/Cs A D Half of what I say is meaningless, but I say it just to reach you, Ju li a/julia (vocal overdub) D: I vi (iii 6 4) I vi iii 6 4 V I Passing 4 Altered cadential 6 4
6 Ex. 13: Liszt, Année de pélerinage (Years of Pilgrimage): Italia, 2. Il penseroso (1839), mm. 1 9 f9 cs: i fvi iv ø7 V i f9 i fvi 6 fvi 6 4 V i = e: iv 6 Altered ( wrong ) cadential 6 4 Ex. 14: Reduction, Voice-Leading Analysis, and Normalization of mm. 1 8 a. Reduction f9 cs: i fvi iv ø7 V i, i fvi 6 fvi 6 4 V i = e: iv 6 f9 b. Voice-Leading Analysis 6 4 c. Normalized Reduction f cs: i VI iv 7 V i, i VI 6 V I = E: IV
7 Ex. 15: Prokofiev, Classical Symphony, Op. 25, III, mm (1917) Not neighboring but altered ( wrong ) cadential 6 4, fi 6 4.
8 Ex. 16: Voice-Leading Analysis and Normalization of mm a. Voice-Leading Analysis b. Normalization Hypothetical Shadow G +6 V 6 D: I Gr +6 V 6 V 7 4 I From Fankhauser 2006, (Exx and 10-3)
9 Ex. 17: Shostakovich, Piano Prelude, Op. 34, No. 10 ( ), mm As/Bf Problem Altered ( wrong ) cadential 6 4, fffi 6 4. Ex. 18: Voice-Leading Analysis of mm. 1 18
10 Ex. 19: Shostakovich, Piano Prelude, Op. 34, No. 10 ( ), mm. 38 end cs: I V 7 Ex. 20: Voice-Leading Analysis of mm Use of inverted 6 4 as a conventional term with new meaning: irony. From Fankhauser (forthcoming in Music Analysis)
11 Bibliography Bass, Richard Prokofiev s Technique of Chromatic Displacement. Music Analysis 7/2: Beach, David The Cadential Six-four as Support for Scale-Degree Three of the Fundamental Line. Journal of Music Theory 34/1: More on the Six-Four. Journal of Music Theory 34/2: The Functions of the Six-Four Chord in Tonal Music. Journal of Music Theory 11/1: Brown, Matthew The Diatonic and the Chromatic in Schenker s Theory of Harmonic Relations. Journal of Music Theory 30/1: Burstein, L. Poundie Comedy and Structure in Haydn s Symphonies. In Schenker Studies 2, ed. Carl Schachter and Hedi Siegel, New York: Cambridge University Press. Cadwallader, Allen More on Scale Degree Three and the Cadential Six-Four. Journal of Music Theory 36/1: Cohn, Richard Audacious Euphony: Chromaticism and the Triad s Second Nature. New York: Oxford University Press. Cone, Edward T Stravinsky: The Progress of a Method. In Perspectives on Schoenberg and Stravinsky. ed. Benjamin Boretz and Edward T. Cone. New York: W. W. Norton. Cutler, Timothy On Voice Exchanges. Journal of Music Theory 53/2: Damschroder, David Thinking about Harmony: Historical Perspectives on Analysis. New York: Cambridge University Press. Drabkin, William Schenker, the Consonant Passing Note, and the First-Movement Theme of Beethoven s Sonata Op. 26. Music Analysis 15/2/3: Everett, Walter Making Sense of Rock s Tonal Systems. Music Theory Online 10/4. Fankhauser, Gabriel. [Forthcoming in 2013]. Cadential Intervention and Its Meaning in the Finale of Shostakovich s Piano Trio in E Minor, Op. 67. Music Analysis [32] Flat Primary Triads, Harmonic Refraction, and the Harmonic Idiom of Shostakovich and Prokofiev. In Musical Currents from the Left Coast, ed. Bruce Quaglia and Jack Boss, Cambridge: Cambridge Scholars Publishing. Forte, Allen and Steven E. Gilbert Introduction to Schenkerian Analysis. New York: W. W. Norton Solutions to Introduction to Schenkerian Analysis. New York: W. W. Norton. Gjerdingen, Robert O Meyer and Music Usage. Musica Humana 1: Music in the Galant Style. New York: Oxford University Press. Goldenberg, Yosef A Musical Gesture of Growing Obstinacy. Music Theory Online 12/2. Kramer, Jonathan D Listen to the Music: A Self-Guided Tour through the Orchestral Repertoire. New York: Schirmer Books Questions about the Ursatz: A Response to Neumeyer. In Theory Only 10/4: Lester, Joel Reply to David Beach. Journal of Music Theory 36/1: Meyer, Leonard B [1992]. Nature, Nurture, and Convention: The Cadential Six-Four Progression. In The Spheres of Music: A Gathering of Essays, Chicago: University of Chicago Press. Minturn, Neil The Music of Sergei Prokofiev. New Haven: Yale University Press. Neumeyer, David The Three-Part Ursatz. In Theory Only 10/1/2: The Urlinie from 8 as a Middleground Phenomenon. In Theory Only 9/5/6: Rothstein, William Transformation of Cadential Formulae in the Music of Corelli and his Successors. In Essays from the Third International Schenker Symposium, ed. Allen Cadwallader, New York: Georg Olms. Schachter, Carl Either/Or. In Schenker Studies, Edited by Hedi Siegel. Cambridge: Cambridge University Press. Wen, Eric Bass-Line Articulations of the Urlinie. In Schenker Studies 2, ed. Carl Schachter and Hedi Siegel, New York: Cambridge University Press.
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