On Jul 3, 2005, at 3:07 AM, Ken Durling wrote:
At 12:05 AM 7/3/2005, you wrote:
At 08:01 PM 7/2/2005, you wrote:
It's interesting that you mention the plagal cadence. To me the
modern extension of what might function as plagal would be a chord
that includes the tonic and not the leading tone. Cadences such as
vi-I, bVI-I, A6-I, bVII9-I, and even V11-I (a Debussy favorite)
might be considered as plagal.
One of my favorite things to think about is the idea of the
"secondary subdominant." Not infrequently VII can be viewed as
IV/IV.
Sorry, I meant bVII, if that's not obvious.
And you can keep on going backwards, like bIII - bVII - IV - I.
The only mention I've seen of this is when gospel musicians talk about
it, and they call it "backcycling." I had suggested "plagalisation",
but it was pointed out that the term only works if secondary dominants
were called "dominantisation" (or more to the point,
"authenticization"). Furthermore, the term "secondary subdominant"
doesn't work if you want to include ANY subdominant function chord.
Mark Levine wrote about it in his book on piano styles (I don't know
the name right now) and the chapter on gospel was abridged for an
article in Keyboard Magazine (unfortunately Keyboard Mag's website only
goes back to 2003, so you would have to find the article the
old-fashioned way if you were interested.) I think it dates from about
2000 or so, and several chapters were presented in succeeding months.
Christopher
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