#common tone

[marianmclaughlin]

Ethan and I had our first rehearsal with the full ensemble this past Sunday at The Fold!  

This coming Sunday, February 22nd, we will give our most ambitious concert yet, an evening of music entitled Land, Air and Sea.

As part of the University of Maryland's Common Tone concert series, we have brought together some of the best classical, jazz, and rock musicians in the area to play new arrangements Ethan wrote for my songs. Joining us will be the absolutely stunning Excelsa Quartet (just back from Graz, Austria, where they were finalists in the Schubert and Modern Music Competition), as well as drummer Alan Kayanan, trumpeter Neil Brown, trombonist Matt Hotez, and multireedist Brian Falkowski. The concert is at 7:00 p.m. at Busboys and Poets in Hyattsville, Maryland and it is FREE. Please join us as we traverse a vast landscape of styles and sounds, bringing intimate songwriting together with kaleidoscopic ensemble arrangements to create some truly powerful music.

Photos courtesy of Alan Kayanan ans Joseph Nicolia

[lyra-gutters]

Theory Help

Okay I need more help haha

I’m analyzing Hugo Wolf’s “Der konig bei der kronung”. The piece is in F, and at one point he does a chromatic mediant movement from IV to VI, then goes viø7, B°65, IV6.

I understand that the B°65 is probably just a common tone chord, but what’s up with the VI -> viø7? like is that just a simultaneity used to transition into the ct°7 chord? It’s on a strong beat.

I’m only writing B°65 because idk what the function is.

EDIT: Can you actually treat the bass of a chord as if it were the root\common tone when you're approaching or leaving a ct°7 chord? That IV6 definitely leaves the ct°7 as if the bass were the chord's root. It's my understanding that the two chords adjacent to the ct°7 must have their ROOTS in common with the ct°7.