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The ‘Anchoring vi Schema’ and its relation to phrase rhythm in popular music

Published online by Cambridge University Press:  08 January 2024

Stanley Ralph Fink Open the ORCID record for Stanley Ralph Fink [Opens in a new window]
Stanley Ralph Fink*
Affiliation:
Music Department, Harmon Fine Arts Center, Drake University, 2505 Carpenter Ave, Des Moines, IA 50311, USA
*
E-mail: stanley.ralph.fink@gmail.com
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Abstract

In order to reveal normative prototypes undergirding various formal sections, this article introduces the ‘Anchoring vi Schema’: a medium length major-mode passage (typically eight or 16 bars) that initiates on an unambiguous hypermetric downbeat (for example, the beginning of a verse or chorus). The Anchoring vi Schema must begin with tonic harmony and deploy submediant harmony at its midpoint – the second most hypermetrically strong beat. The identification of the Anchoring vi Schema enables closer readings of phrase expansion and deletion in popular music. A comparison of the common harmonies used in eight- and 16-measure passages reveals some striking similarities, particularly in terms of where tonic and subdominant chords are likely to occur. Although the endings of formal sections can take a variety of paths – including arriving at various tonal goals within a range of possible times – hypermetrically accented beginnings and midpoints show greater consistency in their organisation.

Type
Article
Information
Popular Music , Volume 42 , Issue 3 , October 2023 , pp. 267 - 291
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Copyright
Copyright © The Author(s), 2024. Published by Cambridge University Press

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