In message <[EMAIL PROTECTED]> you write:
>Debussy (in pieces like "Maid with the Flaxon Hair") uses a cadence
>that would be F/G (F major in the right hand, G in the bass) to the
>tonic in C Major. Is that plagal or authentic? Is the F/G chord a
>V11? How would Schenkerian scholars view it?
I don't know how modern "Schenkerians" would view it, but Schenker would
have said:
1) It is not great music and Debussy is not a great master, so the
analytical method is not applicable.
2) (IIRC) Rameau's ideas about basse fondamentale are erroneous, as is
all harmonic analysis based upon it.
3) What matters in masterpieces is counterpoint, not harmony.
>I love the falling fourth ("Hey, Jude" and Lasso's "Bonjour mon
>coeur"). Strong progressions but no leading tone. I suppose they are
>considered modal.
"If it sounds good it is good." I just hope my ears will eventually be
good enough that I won't need analytical methods. Of course, analytical
descriptions help one person to tell another about music, but there are
lots of different sorts of language for that, and the best one depends
upon the talker, the listener and the music.
--
Ken Moore
[EMAIL PROTECTED]
Web site: http://www.mooremusic.org.uk/
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