Re: Unanswered Question #1

On Wed, 2 Apr 2008 16:36:36 -0700 (PDT), LJS <ljschenck@[EMAIL PROTECTED]
> wrote:

>After discussions, there are usually a few questions that still remain
>unanswered. Often they involve terms or concepts that seem to be
>viewed differently by various members of the discussion group. These
>different uses definitions of terms and concepts often prove to be
>counterproductive and time consuming. I hope that answering these
>Unanswered Questions may help to provide us with more productive
>discussions and a better understanding of music as well as of each
>other.
>
>I would like to start with a term that was used as an example in a
>recent post: Modal Interchange, or Modal Borrowing or Exchange. (In
>this case, even the term seemed to be in question as well as the
>meaning. Both the Pujol Etude and the Beethoven Sonata #23 were given
>as examples of this term although they seem to be, IMO, very different
>as I understand this term.

 I see that my earlier response has gone off-track from your original
intent in starting this thread. I just brushed up on a few things I have
here on "Mode Mixture" "Modal Exchange"  etc.,and was like " THAT"S what
they're going on about?" That type of stuff, where major and minor
sometimes get mixed so much where you aren't sure which is which, is
entirely different from what is going on in the Pujol piece - whole
different topic. I can see how one might come away from this diversion
feeling a bit like the detective whose been purposely led down the wrong
street. While the subject of modally borrowed chords like minor iv is
interesting to me, I see it only drew the discussion even more into the
murk. I guess I fell into the trap a bit myself.

So yes, tonic and dominant can appear via mixed mode usage in music. But
in
the Etude? Very questionable. Lumping Pujol in with the Romantic and more
Chromatic composers - because of what? The time he was born?( Maybe he
didn't even like Beethoven :-)) - when he's obviously coming from a
different tradition doesn't wash IMO.

In the Pujol analysis, I stick with the original idea of ****fting between
F# as I and F# as V of B minor. The only possible mode mixture I'd grant
is
the ii° in the beginning.

Sorry for the diversion in your getting answers to your question. ( Still
send me the Waldstein, though. I do want to take a shot at it.)


Danny