Klarinet Archive - Posting 000081.txt from 2001/06

From: "Karl Krelove" <kkrelove@-----.com>
Subj: RE: [kl] D minor : B major :: G minor : ???
Date: Sat, 2 Jun 2001 18:14:56 -0400

In most cases the submediant (vi) will be a "softened" (more than
"weakened") or "color" substitute for another tonic (I). The supertonic (ii)
and even more the first inversion ii6 is generally used as a IV substitute.
Change the minor vi to a VI (major submediant) or VI7 and it becomes a
secondary dominant leading even more directly to ii, so it really depends to
an extent on the real context of the progression and what follows it.

Karl Krelove

> -----Original Message-----
> From: William Wright [mailto:Bilwright@-----.net]
> Sent: Saturday, June 02, 2001 5:18 PM
> To: klarinet@-----.org
> Subject: [kl] D minor : B major :: G minor : ???
>
>
> This request for help is related to a piece of J.S Bach's music, but he
> did not write the particular chords that I'm asking about, and so I
> cannot cite a particular piece of music.
>
> If you listen to the progression "I vi" (such as "F-major d-minor" in
> key of F major), this progression sounds like a 'weakened' version of "I
> - IV" (such as F-major B-major in key of F major).
>
> My question: if you extend the 'weakened' progression to a third chord
> and listen to it --- namely "I vi ii" (such as F-major d-minor g-minor
> in key of F major), what would the parallel 'strong' chord be in the
> progression "I IV ..." ?
>
> Is there only one clear answer to this question or is there room for
> personal opinions here? Perhaps I should be embarrassed that I cannot
> 'hear' the answers to this question myself on the keyboard, but I can't.
> Only 12 tones, but too many possibilities.
>
> Thank you,
> Bill
>
>
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