FAURE' - MAI - Op.1 (harmony problems)

... are we back to the "old" times?

studying music is an infinite circle

I've been mulling over your analysis a bit, which isn't bad.

At measure 12, maybe I would indicate VII/IV... just a detail

Regarding the critical points, for a while I wondered... but at measure 19 is it G-minor? Or rather, it's a G minor chord, but if it were a D minor IV, the job would be done and everything would square up. To be certain, there should be the leading tone, specifically F# of G-minor... which isn't there; therefore, it could all be a VI at 20, IV at 21, VI minor at 22. In effect, it seems to approach F major... look at that omnipresent F that sounds so much like a pedal (2 measures of F), then obviously it changes direction

...let's give it some thought

Gerardo wrote:

At measure 12 maybe I would indicate VII/IV... a detail

Yes perhaps, but the B is missing and the progression is a repetition of the initial one except for the controversial F natural, making it difficult to choose....

Gerardo wrote:

Regarding the critical points, for a while I wondered... but at measure 19 G-? Or rather, it's a G minor chord, but if it were a minor IV of D, the job would be done and everything would square up. To be a III, there should be the leading tone, specifically F# of G- ... which isn't there; therefore everything could be a VI at 20, IV at 21, VI minor at 22. In effect, it seems to approach F major... see that omnipresent F that sounds so much like a pedal (2 measures of F), then obviously it changes direction

In the fundamental doubt, I prefer to "stick with" G- for this reason:

even if the notes might suggest D- (or Bb), the structure tells us that a new section begins, with 2 equal half-phrases both starting with G-, then it proceeds towards an undoubtedly G cadence (even if major).

G major with F flat?

well, but at m. 25 (2nd of page 7) the F# returns (sorry, next time I'll write the measure numbers)

thinking about it again, I add:

let's set aside the type of chords which in Fauré can also be quite defunctionalized, and let's look at the bass lines:

19 - sol - tonic of G-

20 - re - dominant

21 - sol

22 - reb (V2 of the Neapolitan of G- ???? / augmented 6th of F ????)

23 - do - subdominant of G-

24 - do# - dominant of the dominant

25 - re - cadence in G

setting aside the reb-do movement, the reasoning seems to hold up to me

There is also the path of hypothetical chords; I am sure that Zedef has stated in the past that he manages to justify their functions. I would be curious to read his opinion.

Maybe point it out to him, if he's in the mood, he will gladly give us his opinion

AleGozzo wrote:

ps.

but is there any good text that dissects the use of harmony in Fauré (in the detail of the pieces, though, not in general)? I haven't found any

Bassi, Adriano

Analysis and verifications on Gabriel Faure's "Requiem" / Adriano Bassi

E.I.M.A. 1994

Tait, Robin

The musical language of Gabriel Faure / Robin Tait

Garland Publishing 1989

Greetings to everyone.

In general, there are some characteristic sequences in Fauré (some also in other authors) related to these themes:

- harmonic connection via common note/s with possible defunctionalization of the individual chords

- use of chords with an added sixth (especially on the IV)

- V-II and II-IV relationships (not so common in other authors)

- use of chords deriving from contrapuntal motions (perhaps chromatic)

- use of augmented triads with a "suspensive" meaning

- characteristic cadence (I had started a discussion on the old forum that ended badly...) and particular interest in general towards plagal cadences, also with variants in both state and added/chromatic notes.

In the work in question, compared to what AleGozzo has already indicated, I would see:

- mm. 7-10, a transitory modulation to III (si-) with harmonies of VI=IV6 (m. 7), I46, IV with an added sixth that makes a "softened Fauré cadence" (the subtonic is missing), I with a 6-5 appoggiatura which then returns to the V of G

- mm. 11-13, an inner line G-F natural-E that does not cause modulations, only color

- at m. 19 the change of mode using the I-III connection (seen in the context of F major as II-IV), which then with the added sixth at m. 22 truly becomes the IV of F major with a consequent I46 at m. 23; the subsequent C-C# chromaticism and relative augmented triad leads back towards the V of G

- following the deceptive cadence at m. 27, there is a moment of "plagal bass" that leads to mm. 31-32 on the common G which links the chords well indicated by AleGozzo

Zedef wrote:

- at m.19 the modulation using the I-III progression (already seen in the context of F major as II-IV), which then with the added sixth at m.22 truly becomes the IV of F major with the consequent I46 at m.23

... for which Gerardo had seen correctly

thanks Zedef, I like it

I am reposting the analysis with the various integrations.

in the controversial measures 19 and following, I preferred to leave the beginning in G- but moving to F thanks to the common chord (sol- = II of F), basically as Zedef says but without immediately considering sol- as the II of F ....

also, I noticed that at m. 22 there is a Db in the bass arpeggio and a natural in the upper one ... could we have gotten ourselves into a thicket because of a typo ??!!

AleGozzo wrote:

also I noticed that at bar 22 there is a D♭ in the bass arpeggio and a natural in the upper one ... could we have gotten ourselves into a mess because of a typo ??!!

I believe the D♭ is also in the upper part, it's more in the style of Fauré... moreover, in the F version on IMSLP, there is a D♮ in both.. the iv minor with an added 6th, or if one wishes, the seventh of third species in I inverted, is a characteristic chord of late Romanticism and is used by "borrowing" even in the major mode