1. No category

Ex. 1: Statistical Use of the Cadential Six-Four (Meyer 2000/1992)
Abridged handout for
Ex. 2: Beethoven, 32 Variations in C minor (1806), mm. 1–8
Deviant Cadential
Six-Four Chords
Ex. 3: Beethoven, “Pathétique” Sonata (1798), I, mm. 132–135
Ex. 4: Beethoven, “Waldstein” Sonata (1804), I, mm. 35–43
Gabriel Fankhauser
Ex. 5: Mozart, Concerto in D for Horn (1791), K. 412, I, mm. 26–29
Assisted by Daniel Tompkins
Appalachian State University
Boone, NC
Ex. 6: Phish, “Poor Heart” (Picture of Nectar, Elektra 1992)
G: I – – V, I V65/IV IV vii°7/V I V7 I
Inverted 64
Ex. 7: Radiohead, “2+2=5” (Hail to the Thief, Capitol 2003)
AMS/SEM/SMT 2012
New Orleans, LA
f: i (V6) i (V6), i V6 V42/iv V7/ii ii i V6 –
Extended handout available at:
http://societymusictheory.org/
6
N (not cadential “4”)
Inverted 64
and inverted V
Ex. 8: Definition of Cadential Six-Four and Deviations
Defining characteristics of cadential six-four
Deviation
1. Approach:
Follows dominant or
Beethoven, “Pathétique” Sonata, I, m. 134
tonic harmony
(cf. m. 135)
Weak beat
Beethoven, “Pathétique” Sonata, I, m. 134
(rarest deviation?)
6–7
Resolution is upward: 4–5 Beethoven, “Waldstein” Sonata, I, m. 41
Follows pre-dominant harmony
(neither V nor vii°, nor I?)
2. *Accentuation: Strong beat or more accented than
resolution to V
6–5
3. Resolution: 6th and 4th resolve down by step, 4–3
4. *Intervals:
6th and 4th above bass
Deviant Examples
Inverted six-fours: I6 – V
I–V
6
Bass changes: 4 –(IV)– V
6
7
4 –(vii° /vi)– vi
5. Bass Departure: Subsequent bass note is
dominant (ˆ5)
I–V
6. Bass Note:
Dominant (ˆ5)
Other bass notes:
6
iii4
6
–V
6
fVI4
6
fI4
6
fffI4
7. *Tonic Pitches: Contains members of the tonic triad
(ˆ1, ˆ3, and ˆ5)
Chromatic
displacement:
8. Function:
“Plagal” cadential
6
6
six-fours?: IV4 and ii4
Dominant (V), with delay of
leading tone (ˆ7)
Mozart, Concerto in D for Horn, K. 412, I, m. 28
Phish, “Poor Heart;” Radiohead, “2+2=5”
Beethoven, Thirty-Two Variations in C minor
Beethoven, Piano Sonata in Ef, Op. 7, III, m. 11
Radiohead, “2+2=5”
Beatles, “Julia”
Liszt, “Il penseroso,” m. 7
Prokofiev, Symphony No. 1, III, m. 10
Shostakovich, Prelude, Op. 34, No. 10, m. 15
Debussy, “La fille aux cheveux de lin,”
m. 15 and m. 35 (omitted from this paper)
* Most essential criteria (2, 4, and 7)
Ex. 9:
Contrapuntal vs. Harmonic Means for Deviation:
Ex. 10: Cadential Six-Fours of Increasing Deviance: a. V64––53 I
b. I6 V I
Ex. 11: Beatles, “Julia” (The Beatles [White Album], Capitol 1968)
D:
I
vi
(iii64)
Passing
–
6
4
I
vi
iii64
V
c. I V I d. III64 V I
e. fiii64 V I
I
Altered cadential 64
Ex. 12: Liszt, Année de pélerinage (Years of Pilgrimage): Italia, 2. “Il penseroso” (1839), mm. 1–9