[I removed it again in June but have left the post as is.]
I made the assertion contained in the subtitle in connection with the waltz ninth. The post (link) was the last (before a postscript) in the "JMT Notes" series; a post announcing an essay gathered from the series is here: link.
It is worth reproducing my comment on the waltz ninth, with its related graphic:
"Neumeyer ([JMT] 1987) . . . considers G [as ^6 in Bb major] to be an ascending passing tone rather than an upper neighbor. According to his interpretation, the G and A at the end of m. 7 [in Beethoven, Op. 22, III] are successive notes in a single voice, even though they both are sustained as part of the dominant ninth harmony over all of mm. 5–7" (Yust 2015, n33). I have written about the "waltz ninth" many times by now. . . . Yust's criticism is the same as the one I've just made with respect to proto-backgrounds and does tend to undermine the registral variant [which I claimed as the Schenkerian solution to the background in this piece]. The waltz ninth is another matter. Nineteenth-century practice is broader--more creative and expressive--than eighteenth-century proscriptions. At (a), the ninth as neighbor note; at (b), the directly resolving ninth, a cliché in the waltz repertoire by no later than 1830. Note that the essential Schenkerian melodic note, C, is nowhere to be seen (or heard) -- in four-part writing of ninth chords, one leaves out the fifth. At (c), the figure that applies to all three "extended" chords: keep the seventh below the newly added top note in ninth, eleventh, and thirteenth chords. At (d), the voice leading for the rising line with waltz ninth, understood as at (e) splitting the ninth in two; the same at (f) in Schenkerian notation.
I hesitated before adding the subtitle insofar as it suggested that the ascending cadence gesture was proper to the nineteenth century, not other eras. That is, of course, incorrect: to date the largest number of rising lines—here defined as those easily understood as lines with focal notes, or as Urlinien—came from John Playford's English Dancing Master and the manuscript collection of contredanses compiled under the direction of Johann Bülow for the Danish court, or from the seventeenth and eighteenth centuries, respectively. On the other hand, the burden of numbers has been inexorably moving to the nineteenth century—virtually all new "discoveries" have been there, including a large number in the works of Chaminade. I hope to write about these as time goes on.
In addition to fitting nicely with our familiar nostrums about Romantic rebellion against eighteenth-century conventions, etc., putting the focus on the rising line in the nineteenth century aligns well with theorists' revelations about a kind of shadow tonality of hexatonic relations that arise from the exploitation of chromatic mediants.
Reference
Yust, Jason. 2015. "Voice-Leading Transformation and Generative Theories of Tonal Structure." Music Theory Online 21/4: link.
