tag:blogger.com,1999:blog-8827040061563065922.post5864919304589167437..comments2024-03-27T23:06:03.736-05:00Comments on The Music Salon: The Case of SibeliusBryan Townsendhttp://www.blogger.com/profile/09482696991279345516noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-8827040061563065922.post-72157241432572588962011-08-29T07:15:54.111-05:002011-08-29T07:15:54.111-05:00Yes! There is a similar effect at the beginning of...Yes! There is a similar effect at the beginning of the Fifteenth Quartet by Shostakovich. The melody begins on a repeated note, but then wanders up a tone and down a tone, meaning that the repeated note must be the dominant or submediant (if in major) but you can't tell which.Bryan Townsendhttps://www.blogger.com/profile/09482696991279345516noreply@blogger.comtag:blogger.com,1999:blog-8827040061563065922.post-20302003075341985732011-08-29T05:19:33.445-05:002011-08-29T05:19:33.445-05:00The c, d, f-sharp, e is kind of a head fake, becau...The c, d, f-sharp, e is kind of a head fake, because not knowing they are functioning as me, fa, la, sol the listener is apt to get an impression of the c lydian mode, or do, re, fi, mi. Then, when the g-sharp appears to set things right resolving to a, the bass continues its cycling, resulting in a so-called deceptive motion, exposing the seldom-isolated #VI(d5m7) harmony.<br /><br />Personally, I sense the lack of an ability to commit. lol.Hucbaldhttps://www.blogger.com/profile/17111826753868595100noreply@blogger.com