Dear Ken,
Thanks for your reply. It seems we are soul brothers. It's really interesting how theorists (them) and composers (me) approach music differently. If you would like to see a composer's theory book, take a look at my "Music Theory Resource Book" published by Oxford. The same can be said for my counterpoint book, "Modal and Tonal Counterpoint: Josquin to Stravinsky," published by Shirmer Books.
Waremest regards from over the pond.
Hal
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
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Web site: http://www.mooremusic.org.uk/
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