Temporary tonicisations

[allorens]

If I'm not mistaken, a temporary tonicisation through a preceeding dominant (or functionally similar) chord would be annotated simply like V7/ii ii. However, this makes one miss the sense of temporary tonic for the ii. This is specially relevant in longer passages with several tonicisations in a row, such as:

Is there anywhere in the guidelines where annotators are encouraged to include the alternate label too so both functions (ie. 2nd degree and temporary tonic) can be retained?

[allorens]

Or in more extended passages such as:

Source: Son regina e sono amante from Johann Adolph Hasse's Didone abbandonata (1742)

[johentsch]

Yes, in the current version it says

In the special case, that this would be a cadence to V, followed by a return to the original tonic, you should even opt for I6 ii65/V V7/V I/V (NB I/V has the same meaning as V) because an Authentic Cadence should always end with some sort of tonic symbol.

So this is encouraged for cadences but could be encouraged also for other cases. So far, only one annotator has consequently used the possibily of applied I chords.

[allorens]

In that case, for the sake of consistency one shoud decide whether to:

• annotate just the applied chord (ie. I/V)
• annotate both I/V and V. In this case, which goes after the -, ie. which is the alt. harmony?

[johentsch]

In my view, the second option would be tautologic. Of course it is possible but I think there is no information gain and decreases readability.

[allorens]

I'd give extra information when the labels are analysed hierarchically: on the lowest level, it'd function as a I but, on a higher one, it'd tell the harmony is still V.

[johentsch]

Of course you're free to do that. On our side, alternative labels have never been taken into account so far. As you might have seen, the mozart_loader includes code for resolving applied chords so you can always get the V out of I\V if needed at some point (or the II7 out of V7/V etc.).