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 6 +6 6 4 (IV) V I Cadential 6 4 that may appear to be passing.
Ex. 3: Beethoven, Piano Sonata No. 4 in Ef, Op. 7, III, mm. 1 17 (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 10. 2. Bass moves after 6 4, eliding the dominant (locally, at least). Ex. 4: Beethoven, Pathétique Sonata, I, mm. 132 135 (1798) g: i vii 7 /V V vii 4 2 4 3 i 6 vii 4 2 4 3 V 6 4 7 6 4 7 = e: vii 7 4 2 (V 7 6 4 7 6 4 7?) Cadential 6 4 falls on weak beat.
Ex. 5: Beethoven, Waldstein Sonata, I, mm. 35 43 (1804) E: I V 8 7 6 5 4 3 V 8 3 6 7 4 5 I Sixth and fourth resolve upward (cf. m. 37). Ex. 6: Mozart, Concerto in D for Horn, K. 412, I, mm. 26 29 6 4, underlying an inverted cadential 6 4 From Rothstein 2006, 277, Ex. 24
Ex. 7: Phish, Poor Heart (Picture of Nectar, Elektra 1992) Hypermeter: 1 2 3 4, 1 2 3 4 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) 1 2 3 4, 1 2 3 (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. 134 3. Resolution: 6 th and 4 th resolve down by step, 6 5 4 3 Resolution is upward: 6 7 4 5 Beethoven, Waldstein Sonata, I, m. 41 4. *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.
Ex. 10: Contrapuntal vs. Harmonic Means for Deviation I 6 4 1. 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) 1 2 3 4, 1 2 3 (&) 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
Ex. 13: Liszt, Année de pélerinage (Years of Pilgrimage): Italia, 2. Il penseroso (1839), mm. 1 9 f9 cs: i fvi iv ø7 V 7 6 5 i f9 i fvi 6 fvi 6 4 V 7 4 3 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 7 6 5 i, i fvi 6 fvi 6 4 V 7 4 3 i = e: iv 6 f9 b. Voice-Leading Analysis 6 4 c. Normalized Reduction f9 8 9 8 7 cs: i VI iv 7 V 7 6 5 i, i VI 6 V I = E: IV 6 6 5 4 3
Ex. 15: Prokofiev, Classical Symphony, Op. 25, III, mm. 1 12 (1917) Not neighboring but altered ( wrong ) cadential 6 4, fi 6 4.
Ex. 16: Voice-Leading Analysis and Normalization of mm. 9 12 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, 204 205 (Exx. 10-2 and 10-3)
Ex. 17: Shostakovich, Piano Prelude, Op. 34, No. 10 (1932 33), mm. 1 18 As/Bf Problem Altered ( wrong ) cadential 6 4, fffi 6 4. Ex. 18: Voice-Leading Analysis of mm. 1 18
Ex. 19: Shostakovich, Piano Prelude, Op. 34, No. 10 (1932 33), mm. 38 end cs: I V 7 Ex. 20: Voice-Leading Analysis of mm. 39 53 Use of inverted 6 4 as a conventional term with new meaning: irony. From Fankhauser (forthcoming in Music Analysis)
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