On Monday, June 3, 2002, at 08:34 PM, Christopher BJ Smith 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. > 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? A good question and I know better than to say "Nevah!" on this list, but generally for analytical purposes of pitch content, very little. I'd say this approach is in keeping with both atonal and serial analysis. I'll usually take a rhythmic analysis separately. If a piece has any harmonic meter characteristics which catch my ear, I'll try to categorize them or perhaps better to say understand them in a way which makes sense for me. I know the discussion has been about root movement, but if you care to peek at the melodic outline of those four measures, you'll probably agree that it's Hypodorian, i.e, a plagal mode. Philip Aker http://www.aker.ca § _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
