Ex. 1: Statistical Use of the Cadential Six-Four in the Norton Scores

a. Percentage of Use of by Era

*

from Meyer 2000/1992, p. 261

b. Percentage of Use by Composer

from Meyer 2000/1992, p. 241

Ex. 2: Beethoven, Thirty-Two Variations in C minor, WoO 80, mm. 1–8 (1806) 1̂ 2̂ n3̂ 4̂ (s4̂) 5̂ ( 6̂ ) 5̂

������

c: I IV6 +6 64 (IV) V I

� Cadential 64 that may appear to be passing.

Deviant Cadential Six-Four Chords

Gabriel Fankhauser Assisted by Daniel Tompkins Appalachian State University

Boone, NC

AMS/SEM/SMT 2012 New Orleans, LA

Ex. 3: Beethoven, Piano Sonata No. 4 in Eff , Op. 7, III, mm. 1–17 (1797)

Ef: I V I

I — I 64 (vii°7/vi) vi (V6

5/V) V

1. Follows tonic. Note also the apparent six-fours on the downbeats of mm. 9 and 10. 2. Bass moves after 64, eliding the dominant (locally, at least).

Ex. 4: Beethoven, “Pathétique” Sonata, I, mm. 132–135 (1798)

g: i vii°7/V V vii°4

2 — 43 i6 vii°42 — 43 V 6

4 — 7 – 64 — 7 = e: vii°7 — 42 (V7 – 64 — 7 — 64 —– 7 ?) Cadential 64 falls on weak beat.

8 — 7 6 — 5 4 — 3

Ex. 5: Beethoven, “Waldstein” Sonata, I, mm. 35–43 (1804)

E: I V V I Sixth and fourth resolve upward (cf. m. 37).

Ex. 6: Mozart, Concerto in D for Horn, K. 412, I, mm. 26–29

6

4 , underlying an inverted cadential 64

From Rothstein 2006, 277, Ex. 24

8 ——— 7 6 — 5 4 — 3

8 ——— 3 6 — 7 4 — 5

Ex. 7: Phish, “Poor Heart” (Picture of Nectar, Elektra 1992) Hypermeter: 1 2 3 4, 1 2 3 4

G – D, G G7/B C C#°7 G D G You won’t steal my poor heart again. (R) You won’t steal my tape recorder. I’ll call the Lord, and he’ll put you in the pen. You won’t steal that thing again.

G: I – – V, I V65/IV IV vii°7/V I V7 I

Inverted 64

Ex. 8: Radiohead, “2+2=5” (Hail to the Thief, Capitol 2003)

1 2 3 4, 1 2 3 (3) 4 (4) Fm Csus/E Fm 7 Csus/E Fm (7 or 9) Csus/E F/Ef D7 Gm Fm C/E Are you such a dreamer to put the world to rights? I’ll stay home for- ever, where two and two always makes a five. — I’ll lay down the tracks, sandbag, and hide. January has April showers, and two and two always makes a five. —

f: i (V6) i (V6), i V6 V42/iv V7/ii ii i V6 –

N (not cadential “64”)

Inverted 64 and inverted V.

Ex. 9: Definition of Cadential Six-Four and Deviations

Defining characteristics of cadential six-four Deviation Deviant Examples 1. Approach: Follows pre-dominant harmony

(neither V nor vii°, nor I?) Follows dominant or tonic

harmony Beethoven, “Pathétique” Sonata, I, m. 134

(cf. m. 135) 2. *Accentuation: Strong beat or more accented

than resolution to V Weak beat

(rarest deviation?) Beethoven, “Pathétique” Sonata, I, m. 134

3. Resolution: 6th and 4th resolve down by step, 64––

53 Resolution is upward: 64

––

75 Beethoven, “Waldstein” Sonata, I, m. 41

4. *Intervals: 6th and 4th above bass Inverted six-fours: I6 – V I – V

Mozart, Concerto in D for Horn, K. 412, I, m. 28 Phish, “Poor Heart;” Radiohead, “2+2=5”

5. *Bass Departure: Subsequent bass note is dominant (5̂)

Bass changes: 6 4 –(IV)– V 6 4 –(vii°7/vi)– vi I – V6

Beethoven, Thirty-Two Variations in C minor Beethoven, Piano Sonata in Ef, Op. 7, III, m. 11 Radiohead, “2+2=5”

6. Bass Note: Dominant (5̂) Other bass notes: iii64 – V Beatles, “Julia”

7. *Tonic Pitches: Contains members of the tonic triad (1̂, 3̂, and 5̂)

Chromatic fVI64

displacement: fI64

fffI64

Liszt, “Il penseroso,” m. 7 Prokofiev, Symphony No. 1, III, m. 10 Shostakovich, Prelude, Op. 34, No. 10, m. 15

8. Function: Dominant (V), with delay of leading tone (7̂)

“Plagal” cadential six-fours?: IV6

4 and ii64 Debussy, “La fille aux cheveux de lin,”

m. 15 and m. 35

* Most essential criteria (2, 4, 5, and 7). For a conventional example that satisfies all criteria above, see Beethoven “Waldstein” Sonata, m. 38 (above).

Also, melodic line: 3̂–2̂–1̂ is most definitive and common, but also possible are 1̂–7̂–1̂, 5̂–4̂–3̂, etc.

Ex. 10: Contrapuntal vs. Harmonic Means for Deviation

1. Counterpoint: Tonic pitches (from “I”) remain while figured bass (inversion) varies.

I or

2. Harmony: Six-four intervals remain while triadic spelling or pitch collection varies.

NOTE: All cases preserve underlying syntactical role and dominant function.

Ex. 11: Cadential Six-Fours of Increasing Deviance

a. b. c. d. e.

I IV6 V I I6 V7 I I V7 I III 64 V

7 I fiii 64 V

7 I

conventional … … contrapuntal deviations… … harmonic deviations… … bizarre

Ex. 12: Beatles, “Julia” (The Beatles [White Album], Capitol 1968)

1 2 3 4, 1 2 3 (&) 4=1 D Bm7 Fsm/Cs D Bm7 Fsm/Cs A D Half of what I say is meaningless, but I say it just to reach you, Ju— li— a/Julia (vocal overdub)

D: I vi (iii64) I vi iii64 V I Passing 64 Altered cadential 64

6 4 II 6466

8 – 7 6 – 5 4 – 3

Ex. 13: Liszt, Année de pélerinage (Years of Pilgrimage): Italia, 2. “Il penseroso” (1839), mm. 1–9

f9 cs: i fvi ivø7 V 76

– 5

i

f9 i fvi6 fVI6

4 V 74 – 3

i = e: iv6

Altered (“wrong”) cadential 64

Ex. 14: Reduction, Voice-Leading Analysis, and Normalization of mm. 1–8

a. Reduction

f9 f9 cs: i fvi ivø7 V 76 – 5 i , i fvi6 fVI6

4 V 74 – 3 i = e: iv6

b. Voice-Leading Analysis

64

c. Normalized Reduction

f9 cs: i VI iv7 V7

6 –

5 i , i VI6 V I

= E: IV6

8 — 9 8 — 76 — 5 4 ——— 3

Ex. 15: Prokofiev, “Classical” Symphony, Op. 25, III, mm. 1–12 (1917)

��������������������������� Not neighboring but altered (“wrong”) cadential 64, “fI

64.”

Ex. 16: Voice-Leading Analysis and Normalization of mm. 9–12

a. Voice-Leading Analysis

b. Normalization

Hypothetical “Shadow”

D: I Gr+6 V64 —————————— V7 I

From Fankhauser 2006, 204–205 (Exx. 10-2 and 10-3)

Hypothetical Shadow

GrG +6+6 VV664 ——————————

Ex. 17: Shostakovich, Piano Prelude, Op. 34, No. 10 (1932–33), mm. 1–18

As/Bf Problem

Altered (“wrong”) cadential 64, “fffI64.”

Ex. 18: Voice-Leading Analysis of mm. 1–18

Ex. 19: Shostakovich, Piano Prelude, Op. 34, No. 10 (1932–33), mm. 38–end

cs: I V7

Ex. 20: Voice-Leading Analysis of mm. 39–53

Use of inverted 64 as a conventional term with new meaning: irony.

From Fankhauser (forthcoming in Music Analysis)

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