Figures d-j offer some other possibilities for ascending lines with ^#6, including variants of figures b and c and two that introduce natural-^7. In the examples that will follow in later posts, figures e, f, and i are represented but the larger number (5 items) use figure g.
The progression in figure d elaborates a bit on the TSDT pattern, but the result seems to exaggerate a tendency for the minor to "collapse into the major." I have found no examples in the repertoire so far.
The progression in figure e introduces the natural-^7 into the ascending line, providing room for a substantial amount of attention to the Dorian octave. That being the case, the first of two courantes by Elisabeth Jacquet de La Guerre, from 1687, will be a plausible example in part 6a's entry. The second courante was discussed here:
link.
Figure f underpins the Dorian-octave elements with a very tonal third divider and the ubiquitous move i to III, minor tonic to relative major. The example is a very striking, counter-intuitive one, where the surface appearance of the structural cadence is down, not up. I am grateful to Charles Burkhart for sharing his reading with me and for permission to reproduce it. This will be in part 6b of the series.
Figure g is a variant of figure b (
link), where ^3 in the bass could support i6 or III. Partimenti by Francesco Durante, the Couperin passacaille that I analyze in my 1987
JMT article, music by three other composers from the later 17th and early to mid-18th century, and a song by Hugo Wolf all make interesting use of this relatively simple design. The posts will be parts 6b through 9.
Figure h is a variant of figure c, where, again, ^3 in the bass might support i6 or III. No examples.
Figure i varies figure g slightly: B substitutes for D in the bass. I will have something to say about the Tristan Prelude in connection with this. (In part 10.)
Figure j is figure h where ^#6 now is given harmonic support. No examples--I suspect that ii rather than the more likely iiø in the minor key is an impediment.
