9

In a relative major key, VII - i would become V - vi which can be viewed as a deceive cadence. Because of this, you can think of certain sections of this progression dipping into the relative major where VII - III can be looked at as V/III - III and the deceptive resolution as a non functioning secondary dominant V/III - i which is expecting to have the V - ...


5

I have seen the basic "La Folia" described as a "double tonic" progression. The patterns i-V-i alternate with III-VII-III or i-V-i in the minor key followed by V-I-V in the relative major. Contemporary theorists mostly thought of this progression as a bass line with some stuff above it. The bass line is 1-V-1-7-3-7 with the melody 1-7-1-2-...


4

Mixed set of gut and steel (what most soloists now try to emulate with synthetic and a steel E). Gut strings only doesn’t have tone color and power enough to project into a large hall, the common venue where a late romantic symphony was played, specially when you’re dealing with winds and brass a 3 or even a 4, and percussion. After Paganini and Ernst era, ...


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