am i thinking too hard?
Assuming you mean melodic chords, in measure 13 it is on the second scale degree and in measure 15 it is in the first. The only acceptable tonal progressions from ii -> I are through V or vii (if he obeys these rules), and since G is not in measure 14 it must be a vii, thus a viio43. I am curious how to interpret fully diminshed 7ths though, because any inversion brings it to a different possible 7th.
I'm still confused. Are we talking about the upper staff, DAD in measure 13, DFB in measure 14, and CGC in measure 15? Except for DFB, those are not "normal" triads. I want to learn something here, so please elaborate Thanks!
Why are these not normal triads? Each contains notes of their respective scale degrees (though they may be inverted), which in m. 13 is a ii6, in m. 14 is a viio43, and in m. 15 a I6.
I am sure you are right. I simply meant "normal" triad as one that contains three different notes.
Most measures do contain three different notes - though some notes may be doubled (such as D and A in m. 13) or inverted such as a C major triad beginning on E or G (E would make it a 6, G would make it a 64). If each measure does contain more than three different types of notes they would be considered sevenths, such as the measure in question, #14 which is why it is a viio43.
Bernhard, what does UK stand for.. is this some kind of acronym to describe key modulations?
Here is the harmonic analysis for the first 19 bars. Just play the arpeggios as chords, and this is what you have:Bar 1: CEGCE – C major chord – underlying key: C major – IBar 2: CDADF – D minor seventh chord – underlying key C major – II7Bar 3: BDGDF – G seventh chord – underlying key C major – V7Bar 4: CEGCE – C major chord – underlying key: C major – IBar 5: CEAEA – A minor chord – UK: C major (or G major) – VI (or II)Bar 6: CDEF#AD – D seventh chord – UK: G major V7Bar 7: BDGDG – G major chord – UK: G major – I Bar 8: BCEGC – C major seventh chord – UK: G major - IVmaj7Bar 9: ACEGC – A minor seventh chord – UK: G major II7Bar 10: DADF#C – D seventh chord – UK: G major - V7Bar 11: GBDGB – G major chord – UK: G major – IBar 12: GBbEGC# - C# diminished 7th chord – UK: D minor – VIIdim7Bar 13: FADAD – D minor chord – UK: D minor (or C major) – I (or II)Bar 14: FAbDFB – B diminished chord – UK: C minor – VIIdim7Bar 15: EGEGC – C major chord – UK: C major – IBar 16: EFACF – F major seventh chord – UK: C major – IVmaj7Bar 17: DFACF – D minor seventh chord – UK: C major – II7Bar 18: GDGBF – G seventh chord – UK: C major – V7Bar 19: CEGCE – C major chord: UK: C major - IHomework: Complete the harmonic analysis and answer the following questions:1. What sort of cadence is there on the final chord?2. Where (which bar) does the end of this piece begins?3. Where (which bar) does the beginning of this piece ends?4. What is the harmonic importance of bars 20 – 23. Or to put in other words: Explain why bars 20 – 23 are the most intense bars in the whole piece, both polyphonically and harmonically?Leave on my desk by the end of next week. Best wishes,Bernhard.
so we modulate back to C major in bar 11bars 11 : Vbars 12 : vii of iibars 13 : iiis that chord progression right? V - ii? am i looking at this wrong? please, broaden my mind!
the b diminished 7th chord in bar 14 comes from C minor not C major, but if we label the Ab as a chromatic passing tone in the tenor the chord becomes b diminished (vii) and that progression makes sense to me, because bar 15 is I (C major.)bars 14 : viibars 15 : I
1. What sort of cadence is there on the final chord?
2. Where (which bar) does the end of this piece begins?
3. Where (which bar) does the beginning of this piece ends?
4. What is the harmonic importance of bars 20 – 23. Or to put in other words: Explain why bars 20 – 23 are the most intense bars in the whole piece, both polyphonically and harmonically?