[Victor] Zuckerkandl's model [of acoustical and dynamic space in the scalar octave] has firm style-statistical support in 19th century music, especially in the popular genres of dance music, where the play of ^6 and ^5 creates a kind of tonal androgyny that makes the identity of ^5 and ^6 interchangeable.
In the post, I analyzed D779n13 on those terms. Here are simply a few more score examples of the play of ^5 and ^6, with the telling moments boxed.
Schubert, D783n2: 1. a simple V9 chord; 2. a delightful (and historically prescient) muddling of scale degrees ^4, ^5, and ^6; 3.& 4. clear division of functions and registers. (Click on the thumbnail to see the original size graphic.)
Schubert, D779n17: the V9 again in the configuration that becomes a stylistic hallmark of the Viennese waltz through (and beyond) the Strausses: the 9 is sustained (repeated) over the resolution and eventually ^6 drops to ^5, leaving the status of ^6 in both sonorities less than crystal clear.
Schubert, D779n8: 1. ^6 as the upper third to the seventh of V7 (sounds like a variation of the V9 in D783n2 above); but 2. ^6 turns down to ^5 before the resolution (but note the ascending figure in the bass); 3. ^6 as an inner voice moves up to ^8 (^1) in the cadence.
Offenbach, La belle Hélène, n18b "Melodrame." This follows and repeats the ending from the rondo "Vénus fond du notre l'àme." We've heard the incessant play of ^5 and ^6 throughout the rondo; there and here, the game is resolved in favor of ^6 and the dynamic space of ^5 rising to ^8.
