Christopher BJ Smith wrote:
> At 4:03 PM -0700 6/03/02, Philip Aker wrote:
>
>> David Froom:
>>
>>> And my answer for him was to relate the Pachelbel to the standard
>>> sequential harmonic pattern generated from descending 10ths (or, if
>>> you insist, 3rds).
>>
>>
>> I don't disagree entirely but this is a different beastie than the
>> root movements in the music. For instance, dance forms (i.e. Bach
>> suites & partitas) can be condensed to: I, V->I. Applying sequential
>> analysis again to your first pass, one could reduce it to I-IV. Which
>> fits the bill to a tee for an analysis because then one doesn't have
>> to special case the last of the four-measure phrase. If one pedals I,
>> vi, IV, IV as the roots in the 4 measure phrase as you suggest then
>> the essence of the piece is lost. That's because the descending
>> fourths, being the stronger interval, trump the descending thirds. As
>> Hal mentioned in his post, these are points of "cadential repose". I
>> don't think one can have a correct analysis without taking this
>> sub-phrase notion into account and further that the strongest
>> statement is actually the chord->chord-a-fourth-below continuity.
>> Which is to say it's essentially plagal.
>>
>> Philip Aker
>
>
>
> I guess I am more of a Schenkerian than is fashionable these days (like
> many jazzers), but in my ears, metre trumps everything - thus the
> difference between an ornamental V-I where the V is stressed, and a
> structural cadence, where the I is stressed. Does the stress of the
> chords in the progression count for nothing, then, in your analysis?
>
Judging by all this discussion, I would say that the STRESS of the
chords in this progression count for a LOT! There always seems to be a
lot of stress generated by discussion of this piece!
No longer are discussions of Religion and Politics banned at dinner
tables in the music world, BUT banned forever are discussions of
Feelings, Canon in D, and Kenny G's artistry! :-)
--
David H. Bailey
[EMAIL PROTECTED]
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