Does We Wish You a Merry Christmas have a V/vi to vi transition?

[tomp86]

Hi guys. Could anyone quickly confirm for me if the 2 bars with the red rectangles is doing a V/vi (A major) to vi (D minor) transition? Thank you very much!

[tomp86]

Question 2 (unrelated to above piece). Could someone please tell me the theory behind this chord in the rectangle. To me it looks like d#dim but its probably something else?

[lelle]

A major to d minor is correct IMO!

Not sure I understand the V/vii in bar 8, can you explain your reasoning?

Bar 14 I'd think of as the I with the 3rd in the bass throughout the bar, though your solution is probably correct too.

In example 2 I'd think of the marked notes as non-chord passing tones that "resolve" to the notes in the V7 in the last bar of the first line (the first line is basically one long V).

[tomp86]

Hi lelle. Thanks for your answers! I agree with them all. 'Non chord passing tones' I have trouble with these cause they look so much like a chord (3 voices).
Bar 14 I agree. Not sure what I was thinking there
Bar 8 I wrote V/vii but my notation I believe is wrong. I tried to explain "either V or vii". (Not V of vii)
But now I believe its vii (not V)

Bar 7 and 8 are tricky to analyze. Maybe its just simply vi IV vii, then bar 9 I

[quantum]

Example #1, my annotated score attached.

This appears to be a beginner / easy piano arrangement, thus some compromises have been made in chord choice.  There is likely more preference given to the playablity of the arrangement than well chosen chords.  IMO also some chords might be implied, like the V7 and inversions, as four note chords might be technically challenging to play for a beginner piano student.

Bar 6-7.  An accidental is a good indication of a tonicization or modulation.  In this case it is a V6/vi moving to a vi in bar 7.  The accidental is in the bass note, which is functioning as a 7-1 scale degree movement in the key of D minor.  The tonicization only lasts two chords, V6/vi - vi, then it is back to material in the home key.

Bar 7, beat 3.  Seeing as this chord is moving in cadence to the I of the home key, that rules out secondary dominants.  A dominant in the home key is not secondary, it is just a dominant.  Secondary dominants happen in remote key centres, like the example in Bar 6.  Also, the use of the diminished vii as a dominant is more common to minor keys.  This chord would be an example of what I described above as a compromise for beginner piano.  A V-I movement is a logical choice, and I suggest this is an implied V64. 

Bar 12 and 13.  While your analysis choice for the given notes is understandable, I think this is also another case of simplification of the piano writing.  Inversions of the V7 chord can often be used as smooth transition for harmonizing diatonic scale degrees.  I have interpreted them as implied V7 chords.  In this piece, alternating between some sort of I and some sort of V, I see as preferable to alternating between I and ii.

Bar 14.  Again simplified piano writing.  I interpret this as a I6 with the 1 scale degree deferred to the third beat. 

[tomp86]

Thank you for the analysis quantum. It all makes sense