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Charles_Smith

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Charles_Smith
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Charles
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  • Interesting interpretations. Another way of reading both the Fm7 and the G#7 that it seems to substitute for, however, is as chromatic Dominants of the E (subdominant of B, which then continues in a straightforward way to the F# Dominant of B). Afte…
  • Tim, They are not common, but here are a few from my files (probably lifted from various textbooks, since many of the examples I've collected have come from such sources): Beethoven, String Quartet in D (Op. 18/3), Mvt. IV, mm. 282–293 (a long tonic…
  • Marcel, you are absolutely right about the change of leadership (about your political views...no comment). I should have researched this question more thoroughly before posting. I was thinking about Peter Thiel, and find that he has indeed no more c…
  • A couple of examples that a quick search turned up. Major mode: Handel, Violin Sonata in E, Mvt. II, opening Beethoven, Ecossaise in Eb (WoO 86), mm. 1–3 Schubert, “Dem Unendlichen” (D. 291), mm. 1–2 Wolf, Italienisches Liederbuch, #35 “Benedeit die…
  • Interesting question, Scott. Thanks for posing it. I suspect I have some examples filed, and will look for them when I get a chance. One slight quibble is that the submediant harmony in such a pattern is a goal only on the most local level, and ther…
  • Thanks to John for the reference to the SEP, which I did not know about but which I now have prominently bookmarked. An excellent site, and very much what I would like to see SMT aspire to. Signed articles, differing opinions about important topics,…
  • Thanks to Bill O'Hara for the plug. Actually that plan didn't work out very well, because, as Bob K noted, it isn't that easy to write a Wikipedia article, and most of the class (myself included) didn't have the basic skills in place. (I did submit …