On Jun 30, 2005, at 6:45 PM, Harold Owen wrote:
For some time I have used the term "pre-dominant" (I think the hyphen
is helpful) for a number of harmonies that can precede the dominant -
N6, A6, V/V, vi, ii, Vo7/V, bVII, etc. (including the addition of
7ths). The term "subdominant" really should be restricted to the
harmony built on the 4th scale degree. "Subdominant function" seems
messy to me since an authentic cadence does not require a IV or IV
substitute.
Hal Owen
Hal,
Thanks for the clear response.
I see you lump what I would have (reluctantly) called "subdominant
function" under the term "IV substitute." While I have no beef with the
historical accuracy of this term, it seems a bit archaic when applied
to jazz, where the basic cadence is ii-V rather than IV-V. For that
matter, I wish I had a easy-to-spell, -pronounce, and -understand term
that included ALL the chords with a fourth scale degree but no leading
tone, including all the chromatically-altered ones, and specifically
EXCLUDING the dominant-area chords V7, vii7, viidim7, bII7.
I have applied the term "plagal" to any chord containing the scale 4th
but not the leading tone that goes directly to I. I know it is not in
the tradition, where only the IV to I gets that term, but I think (as
David F seems to agree) that the term can be expanded to include more
modern examples.
Please understand that I am NOT trying to change the way traditional
theory is taught – to the contrary, I am trying to make as many
connections between classical and jazz practice as possible. But in the
jazz idiom when, say, a bVII7 to I resolution is SO much more common
than the N6 (which even has its own name!) but such common chords do
NOT have specific names, it motivates me to come up with some new
terms.
Christopher
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