Quote:
Originally Posted by Mark
One question I have is regarding the second example in the secondary dominants file, the second and third beats of the first bar and the first beat of the second, I don't quite understand that... it seems to sound quite crude compared to the rest or the example, and what is the chord Bb D# F# doing there?
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It is very interesting that you don't like the III+6 (the D F# Bb chord)... yes, an augmented chord in first inversion performing the function we normally associate with i64! Let me just say that it is not everyone's cup of tea. It just so happens that my favorite composer used it a lot; I picked up that habit from him. Try to hear it a few more times and see if you can pick up the feel for its sound... it almost belongs in the twentieth century, which makes it even more bizarre in the middle of modal Renaissance music. I will discuss its uses in detail tomorrow, along with examples from the great masters.
As for the V/V chord in minor.... pretty much the truth is that it is really that harsh! Remember, ii* is diminished in minor; to make V/V in minor requires two accidentals, just like V/iii in Major. I will, however, post more examples from various composers. Its sound is instantly recognizable.
So yes, this "crude" sound is something I intentionally produced with these rather unprepared chromatic chords. Try to think of them as just another color, perhaps to bright to use very often, but useful in the right circumstances. Both can be found in Bach, though not too often. While the first example sounded like a chorale harmonization, no composer would have used the second in a chorale. I meant the second as more of a skeleton for faster music.
Quote:
Originally Posted by Mark
As for your examples, they seem to be linking to the player as opposed to the exact work you wanted me to listen to, could you specify which piece of music I should look for in each please?
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As for these, you can click and scroll down to the track numbers I posted next to the links.
1.
Track 13 of
Janine Johnson: J.S. Bach Works For Harpsichord
This is by Bach and has its fair share of secondary dominants and secondary leading tones.
2.
Track 6 of
Trevor Pinnock: Rameau - Les Cyclopes
A very difficult but exquisite piece by Rameau filled with exotic harmonies and ornaments in the French style.