Another prog for analysis

[steve jones]

Lads and ladies,

Another progression from the romantic archieves - Rachmaninov's Concerto 2, 2nd Movement:

https://www.yousendit.com/transfer.php?action=download&ufid=25D6CE6550502082

This is a wonderful theme, one of my favorites. However, I have trouble explaining the cadential chord.

I have it as being:

E, E Maj7, F# min9, A min6


Or to make it more simple:

C, C M7, Dm, Fm

I           , ii,    iv


My question is, why does the 'iv6' seem to resolve so well to the tonic? I would interpret this as just a borrowed subdominant, so I guess it could be considered a kind of altered plagal cadence?

Or maybe I have missed something very obvious (it wouldnt be the first time!) explaining this? Is it possible for 'iv' to be used in substitute for 'V'?

Cheers,

SJ

[oguzcan]

That's a modal exhange chord. Probably the b6 is trying to resolve to 5. In the case of E, C is trying to resolve to B.

I guess so..

[steve jones]

Its a nice progression none the less. I interpreted a borrowed (or as you say, modal exchange) chord, but wasnt sure of the satisfactory resolution. The b6 of the 'iv' is certainly the note with the 'pull'.

Anyway, it works very well imo so I might have to start using this!

SJ

[steve jones]

Just noticed that the same progression occurs in Chopin Op 9 No 1 Nocturne in the opening theme. This time in a minor key, but it is the same chord and resolution.

Its very nice, but Iv not noticed it mentioned in any of my text books.

SJ

[pianistimo]

in my roder's 'a history of the concerto' it says 'the adagio sostenuto in E major opens in a manner reminiscent of the slow movements of rach's first concerto and tchaikovsky's B-flat minor piano concerto; that is, with a short orchestral transition from the key of the first movement to that of the second.  the flute and the clarinet are given important thematic material.  the more animated middle section of the ternary form centers in A major.'

from all this i gather that he's still working with fifths (albeit V/V) or subdominant V) from E to a minor (E being the V of a).  but, the minor thirds are important, too (f#minor to a minor).  at least now, u can compare different analysis not only of the rach 2nd, but also the rach 1st, and tchaikovsky to get some idea of what kind of patterns are used.  there is obviously some key connection - but then there is a sort of step by step connection in places where it moves up a major second.  sometimes, don't u think it is like those pattern problems in mathematics where they ask 'what comes next.'  u see a pattern and u have to figure out it's chain.  transitions are easier.

about the first rach pc - 'the short slow movement, prefaced by an orchestral transition to D major, recalls a chopin nocturne with russian overtones.  it becomes increasingly decorated as it progresses (so if u are analyzing - u start eliminating decoration and calling it that?)