Hi everyone, I've spent some time analyzing the exposition of this sonata, but I have some doubts.... aside from not knowing if everything is harmonically correct (I strongly doubt it....), the transition between the two themes is extremely tight; from what I can see, 2 little bars with a modulation that is practically direct from D major to G major.... unless that B-flat is interpreted as a possible tonicization, which also leaves me in doubt.... I am more inclined to think of a direct modulation without many turns or modulating progressions.....
The omnipresent initial do in the left hand makes me sense a tonic pedal which, in my opinion, should be marked and consequently taken into account when marking the degrees. For example, at measure 1 you write I VII; I am not so sure about the VII
from beat one and following I marked the tonic pedal..... and the last quarter seems to me exactly a VII.... excluding the pedal note... I didn't mark where it ends instead.... my oversight.... from beat 1 to 6 inclusive if I haven't counted wrong
At measures 5 and 9, since they are on the tonic pedal, I would write only IV
At measures 7 and 11, I would write V[ 46 35]. A debated issue, but since in this case 46 is an appoggiatura to 35, this indication is better. No one will ever hear a I there
At measure 8: the tonic pedal begins at the start of the measure
At measures 13 and 15: (oh my, I got lost, why don't you indicate the measure number at the beginning of each line?) very detailed as an indication, but it makes sense given the accented chords.
At measure 16: for me V24
At 17: what do you mean by G?
At 18: well, the usual appoggiatura of the V, so V [46 and 35]
Etc.
If you put the measure number, I will verify your question marks precisely; it's inconvenient and I cannot print... on screen, at the risk of writing numbers randomly
mmmmm yes, I got distracted at measures 5 and 9, right.... to mark the numbers..... right, I will do it when I add the development on the second inversion that resolves to V. We agree, it was just my way of noting the thing, that's all... does the pedal start at the beginning of measure 8 or 9? I'm not so sure about that.... for measures 13 and 15, I wouldn't know how else to mark them; the first is evidently V7 preceded by an appoggiatura with the second inversion, and in the last quarter it seems to me there is a V, it has literally removed the dissonance or at least I don't see it.... the V2 at measure 16, I didn't understand where it is..... G, I mean the modulation to the dominant (I simply meant G major), now I will fix the PDF and reattach it
here I reattach the pdf with the numbers at the beginning of the line and a few modifications
L
Ludovica
Member
Reply 9 by Ludovica
Posts
298
Measure 18: IV46 I
Measures 26 and 28: I II7 I6 I
Measure 37: IV V/V
Measure 40: chromatic passage, if you only have "unisons" obviously you can only make hypotheses about the harmonization... which will be yours and not Mozart's
Measure 45: Sounds like a fifth even though the F# would be missing, which obviously isn't there since the staccato cancels the resonance pedal and we are coming from a tonic (I).
guys, quick question.... I'm doing the harmonic analysis of the development and having a few little problems..... measures 5 and 6 after the chorus..... I haven't the slightest idea what they are harmonically....
