A.

In the example cited on the Linearly Derived Chords page from the Liszt Petrarch Sonnet, how does the string of first inversion chords affect the sense of harmonic stability? Do you agree that listing Roman numerals is a moot point in this case? First of all, the melodic lines are the bases of the chords in the root position. (For example, on the first chord, base of the root position of vii6 is D and the note is stated on the top of the chord.) The melodies (soprano parts) of the chords are sequentially written as they are ascending and descending (d,e,g; f,g,b; a,h,d in the ascending part, and tide eighth notes sequentially followed in the descending part). The chords are described more as voice leading chords for the linear motions, rather than for the chord functions alone. The chords are developed by the melodic lines and not by the chord function. In my opinion, the Roman numeral labeling is not necessary for the chords like in the example. Of course identifying the flow of the general chord progression is crucial such as tonic chord, diminished 6th, or German 6th. However, most of the chords in the passages where the melodic motion is more important than the harmonic functions are usually passing or neighboring chords. B. Do you think employing the Neapolitan chord in root position changes its function? What effect does it have to use it as a key area? The Neapolitan chords are mostly found in the first inversion, but from the later period of 19th century, they are sometimes used in root position. They are one of the predominant chords. The Neapolitan chord resolves to either a V or a tonic 6/4 chord. In the resolving of Neapolitan to the dominant chord, the lowered supersonic (root of N6) moves to the leading tone (third of V). In my opinion, most concern of the change would be in the resolution of Neapolitan chord. When Neapolitan chord is used in the root position, the resolution into dominant chords would be either chromatic (for example, in c-minor: Db ->C64), also the voice leading of base can be the diminished 3rd (in c-minor: Db -> B-natural, the leading tone) or resolve down a diminished 5th to V (in c-minor: Db-> G). The chord is considered chromatic, because the altered second scale degree does not result from either tonicization or mixture. The contrapuntal origin of the lowered second scale degree is as a chromatic passing tone connecting scale degree 2 to scale degree 1. It may function as a neighbor chord. The Resolution of bass moving in a contrary motion to the remaining three voices as for N6 (on the 1st inversion) would not occur on the root position.

Pretty good discussion post. Here are 2 clarifications that I would like to add. Liszt: Perhaps the most important point in this discussion is voice-leading. Because the triads are all moving in parallel motion, there is no voice-leading. Rather, the triads are simply amplifying a single melodic line. Since there is no voice-leading, there can be no harmonic progression, and therefore, the resulting triadic harmonies are linearally derived and do not function tonally. Neapolitan as key area: This question was never touched upon in your post. We were asking you to discussion the tonal implications of modulating to the KEY of bII. There are a number of ways to answer this question, but probably the most important implication is that flat-II is 5 steps away on the circle of 5ths, so therefore it greatly expands the tonal sphere of a musical structure, which used to be limited only to closely related keys. This is important because closely related keys have a strong relationship to the tonic so the listener is always able to clearly feel the gravitational pull of the original key. If a composer modulates too far away, it is questionable as to whether or not that gravitational tonal pull still exists. Grade: A-