Harmony and counterpoint

Beethoven - First 8 Bars From Sonata Op 13.

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Piccinesco

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Reply 22 by RedScharlach

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Oracolo wrote:

Measure 1: I V24

Measure 2: I6 V56

Measure 3: I VI

Measure 4: V Interesting the chromatic E natural on the bass Eb

Measure 5: VII34 V24

Measure 6: I V/II

Measure 7: II V

Measure 8: V (note harmonic syncopation) V24

Measure 9: I6 V6

Measure 10: I

Ok! Just a couple of notes

b.3: I - V36 - VI - DD34

b.6: I36 - DD7

b.8: I

At b.3 it seems to me that we have four harmonies per measure instead of two.

At b.6 the I is in first inversion (nitpicking).

I don't understand the reference to mm. 8-10: the example is eight measures long, and at the eighth measure we have an I with 4, 7, and 9 appoggiaturas.

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Reply 23 by Oracolo

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Even if Thallo likes it, make me understand why

RedScharlach wrote:

b.6: I36 - DD7

If you don't correct measure 7 for me, where do I indicate a II... because the tonicization would be of the V?

RedScharlach wrote:

b.8: I

I didn't understand

RedScharlach wrote:

I don't understand the reference to mm. 8-10: the example is eight measures long, and in the eighth measure we have a I with appoggiaturas of 4 7 and 9.

More than anything because Piccinesco had analyzed 10 ... and I arrived where he arrived.

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Reply 24 by Piccinesco

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Hi, I had analyzed 8 of them, then I presented the last two to you privately after you yourself had analyzed 10

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Reply 25 by RedScharlach

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Oracolo wrote:

Even if Thallo likes it, make me understand why

At m.6 the error is mine! After the I in first inversion, there isn't the dominant of the dominant, but rather the dominant of the II, as you correctly indicated in your analysis. So:

b.6: I36 - (D)II

At m.8, as can be seen from the bass, we arrive regularly on the I, without harmonic syncopation: Bb G and Db are appoggiaturas to Ab and C.

At this point, if he feels like it, and if everything is clear, I would propose that Piccinesco continue! mm. 9-16 should be quite easy

He could go up to m.28 (the last four measures might create some difficulty).

Follow Oracolo's method: an orderly scheme, without frills, without doubts. Only one choice. Any alternatives or perplexities can be written later, but it is better if you choose a single interpretation, at the risk of being wrong.

(Proposal: one could create a section titled "Piccinesco's assignments" ... come on, I'm joking! don't take it personally!!!)

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