Hi everyone, I am struggling with the harmonic analysis of the piece in question. Could you help me analyze measures 5-6 and 10-12? Here is what I have written:
5) MEASURE 5 presence of A natural, tonicization to G minor even though F# only appears in measures 10 and 12. How do you interpret the bass movement (C-Bb-A natural-D)?
Intro 1: seventh chord of the third species (A-C-Eb-G) in second inversion, as the II degree of G minor (harmonic)
Intro 2: G minor chord in first inversion, if we do not consider the Eb; otherwise it is a 7th (Eb-G-Bb-D) in second inversion
6) MEASURE 6
Intro 1: same seventh chord as intro 1 measure 5 but in root position
Intro 2: seventh chord of the IV species (Eb-G-Bb-D) in third inversion, with the seventh in the bass
10) measure 10, it would seem to be a V-I cadence in G minor, but there is an Eb in the bass that keeps us anchored to the home key.
How do you interpret measures 10-12, and 17-23?
Thank you for your help, I am attaching the score of the piece.
Between measures 5-6 there is an exchange between the bass and the inner part (let's say tenor) over a harmony, thinking of it in G minor, of the II degree with the seventh: part in II56, the Bb in the bass and tenor are passing notes, arriving at II7; the D of the melody is also a passing note in third with the bass. The chord on the second beat of measure 6 can be interpreted as divided into two eighth notes: I46 (as if preparing the V) and then VI24 which leads to the subsequent II.
At m.10, the first chord (excluding Eb in the bass) is a triple appoggiatura of the Eb which, from the VI of G minor, returns to being the tonic of the structure thanks to the quasi-progression of m.11 (II56 with a natural B as an appoggiatura to C) and the subsequent "suspended" cadence at m.12 (I call it suspended because the I46, after the two appoggiaturas, should lead to the V, which is instead omitted and leads directly to the I in root position).
In short, a matter of appoggiaturas, which Grieg liked very much.
At mm.17 and 18 there is an interesting chromatic descent in the melody that is realized with a particular harmony. Upon a first simple reading, the two chords of m.17 are two dominant sevenths (of Ab, IV, and of Bb, V) related directly through chromaticism and a common note (avoided cadence), while at m.18, in my opinion, a Db should be implied in the first harmony which makes the chord a II75b, but where there is an omission of the resolution of Eb to D to create a V/VII that leads to the I6. Let's say that that Eb internal to 17-18 is almost a pedal.
At m.20 there is a cadence to the VI (via secondary diminished seventh), then it is as before.
G
Gerardo
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Reply 3 by Gerardo
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Zedef wrote:
A matter of appoggiaturas, basically, which Grieg liked very much.
Regarding the form of the piece, I have indicated A-A' (perhaps B?). Period A is tripartite into a-b-c, with 4-bar phrases; I am having difficulty classifying A' (or B?) since it consists of 11 bars instead of 12 like the first one. Furthermore, there is a full repetition of phrase "a" from the beginning, and the last 3 bars (21-23) are a full repetition of bars 11, 12, and 13, which fall between A and A'. I was thinking of organizing this second episode as a-x-c'+last bar, where "a" is the same as the beginning, "x" is the chromatic phrase from bars 17-19 consisting therefore of 3 bars, and "c" is the variant of "c". The piece closes with the repetition of the initial interlude.
Regarding the form of the piece, I have indicated A-A' (perhaps B?). Period A is tripartite in a-b-c, with 4-measure phrases; I am having difficulty classifying A' (or B?) since it consists of 11 measures instead of 12 like the first one. Furthermore, there is a full repetition of phrase "a" from the beginning, and the last 3 measures (21-23) are a full repetition of measures 11, 12, and 13, which fall between A and A'. I was thinking of organizing this second episode as a-x-c'+last measure, where "a" is the same as the beginning, "x" is the chromatic phrase from mm. 17-19 consisting therefore of 3 measures, and "c" is the variant of "c". The piece closes with the repetition of the initial interlude.
What do you think?
Thanks for the help
Mialinu
In reality, in the second part, 2 measures are missing (they would be the 5th and 6th of the first part, obviously transposed/translated) because measure 23 is a false repetition of A/A' that stops immediately (so 12+10+1). Regarding the structure, I have/you have already answered: measures 5 and 6 are missing; from there it is easy to deduce what the solution is.
