Klarinet Archive - Posting 000104.txt from 2001/06

From: "Lacy, Edwin" <el2@-----.edu>
Subj: RE: [kl] D minor : B major :: G minor : ???
Date: Sat, 2 Jun 2001 23:51:47 -0400

<<<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).>>>

The Bb major and d minor triads sound related because they have two notes in
common.

<<<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 ..." ?>>>

I'm afraid I don't quite understand the question. What do you mean by the
"strong" chord? Perhaps you are referring to the primary triads? (I, IV
and V) If you admit only diatonic harmony, the progression you refer to, in
its complete form, might be I - vi - IV - ii. In other words, it is
progressing from the tonic to chords which are related to the subdominant.
Any one, or two, of those last three chords might be omitted. After that,
the "normal" prgression would be to something related to the dominant, such
as V, V7, or perhaps the (diminished) vii or vii7, and ultimately back to
the tonic.

However, there are almost infinite variations possible. Just introducing
the possibility of secondary dominants adds many other possibilities. But
then, there are all kinds of extended chords, chromatic harmonies,
exceptional resolutions, modulations of various kinds. The story goes that
the composer Charles Ives once played the tune "America" (or "God Save the
Queen") in a church service, altering the harmonies so completely that no
one recognized the melody.

Ed Lacy
University of Evansville
EL2@-----.edu

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