harmonic and melodic analysis

From a harmonic point of view, we are clearly in A major, see the first and last measures, so I would label the chords taking this tonal center into account.

Analyzing the first refrain you have:

measure 1: A major, I II

measure 2: V7

measure 3: I6 which however then becomes a dominant seventh because of the G natural, alluding to a tonicization of D major, before the II forms with B in the bass

measure 4: V7

measure 5: I II (V/V)

measure 6: V=I of E major. Here the D# in the bass forms an I24 but it is insignificant, it is an appoggiatura.

measure 7: V46/V V

measure 8: V/VI VI

measure 9: II V

measure 10: I

So harmonically you have a first section of 10 measures that starts in the home key and closes in E major, precisely the key of the fifth degree, modulating practically at measure 5 using an apparent tonicization of E major which then becomes the new key at measure 6. You can see clearly at measure 7 how the V/V of E major arrives.

From a melodic point of view, it is the classic 4+4 model plus a 2-measure coda (a+a') where at measure 5, a' repeats the beginning of a.

Note how precise Schumann is, everything is written in the score.

For the second part I would leave the ball in your court, if you don't try you don't learn... so I would make an attempt

At measure 3, it does not indicate the pedal; as you notice, Schumann is very precise. Therefore, at measure 3 I would say I V24 (with appoggiatura)/IV IV6 II56. I would give shape to the allusion

thank you so much for the answers!

everything is clear, but I have a few questions:measure 7:

v46 (of which key? of B major?) at the beginning of the measure I see a C and an E.
observing the first quarter of the measure, since there is F#-A#-C#-E - in second inversion, considering the C in the bass, I had thought of a II6+ , secondary dominant
of B V degree, but it is probably incorrect because I am taking into account passing notes on the weak beat of the measure.

measure 8 : v (of C#-) / VI (of E+) what kind of progression is it? modulating deceptive cadence?
i would have said: v (of C#-) which goes to the I (C#-) with the modulation at measure 9 : / II V

measure 9: does the A# on the II indicate the character of a secondary dominant of the chord?, creating a momentary tonicization?

for Gerardo, does it not indicate a pedal because we have a modulating passage? for the rest, I was unable to identify the V24 with appoggiatura.

Thank you so much to both for the help and patience, soon I will post the rest of the analysis made by me, and we shall see some interesting things!

Even if they often contribute to making compositions more interesting, passing notes are not taken into consideration when identifying the core harmonic structures.

In passages where the harmony changes every eighth note, the pedal can lead to confusion; certainly, the pianist can use it as a technical device to change the sound and make it softer, but they will surely change it 4 times in that measure, especially since there is a tempo indication from one hand to this effect, not fast (and almost vocal).

Therefore, it's not about whether it is modulating or not, but precisely about the harmonic step. Besides, you are abusing the term modulation a bit too much. Those passing ones that last at most one chord are tonicizations; as you could see when the modulation arrives, it then passes through the fundamental degrees IV II V, etc.

This clarifies the nature of some of your questions, but let's see:

Measure 7: putting the notes of the first quarter in thirds order you have: F# A# C# E, we are clearly on a dominant seventh of B, which is the V° degree of E major. There we are on a V/V, precisely a tonicization. A II of E would not have had the A#, the accidentals in the key of E major would be F# C# G# D#. There is no A#

Measure 8: I understand, but D#- is the sixth degree of E major, so it is not a modulation, simply the tonicization (in this case V/VI) of the sixth degree. It's not that in 10 measures Schumann modulates to 4 different keys. As Eagle had previously stated to you, in tonal music there are centers; in this part of the piece, one starts from the home key to arrive at that of the fifth degree. The rest is a consequence. If Schumann had wanted to go to C# minor, he certainly could have done so, but he did not then touch either the II or the V... therefore he does not make the tonal center of C#- felt, ergo, it is not a modulation.

Measure 9: I agree, the presence of A# clearly indicates that it is a V/V, see measure 7. Therefore, Eagle missed here. I hadn't noticed, well done. I see you understand quickly

Thank you for these harmony lessons

very clear thank you, I am posting the rest of the analysis done by me; in some cases I also considered passing notes just to clear up some doubts, maybe I shouldn't consider them

but they intrigue me too much

bat. 11: I (E minor) although I would say we are still in E Major looking at the rest of the piece.

II (which I also mean as V of the B in bar 12, so to be correct

i write:

bat. 11: I (E minor?)/V

bat. 12: V (of E Major) I6

bat. 13: IV V

bat. 14: I46 I35/V (of D Major) (is the C natural a passing note?

bat. 15: I (D Major) / V (of E Major)

bat. 16: I (E Major) / V7 (of A minor)

bat. 17: I6/V24 (of D Major) I (D Major) / II7 (of A minor)

bat. 18: V - I (of A minor but proposed as the dominant seventh of D Major, therefore a tonicization)

bat. 19: IV (of A minor) II

bat. 20: I would say a V - I7 ..but I give up

bat. 21: II (F# A# C# E, I mean it as V of the II B D F?) ... II V37

bat. 22: I

bat. 23: I

In effect, it makes a modulation to B minor, but does not persevere in this key, so for me the B starts on the minor fifth of A major; furthermore, I do not find a second of D major, so I believe it is clearer to speak of a great tonicization of the fourth degree of A major. That being said:

measure 11: B minor V/II

measure 12: II V6
measure 13: I II6 V6/V

measure 14: V (augmented, Schumann's trick) V6/IV
measure 15: IV I46 V/V

measure 16: V7
measure 17: V/IV/IV6 II6

measure 18: V V/IV

measure 19: IV V/II II
measure 20: diminished seventh (hypothetical chord, Schumann's trick), VII34/II

measure 21: II/6 V34/II II V7

measure 22: I

measure 23: I

At m. 11 c, there is a C#, so it is impossible that we are in E minor.

The "fifth minor of a major key" that Faria speaks of is a harmonic region that I don't remember ever having seen in Schumann. But I could be wrong. In any case, this is not the correct interpretation.

In itself, m. 11 can refer to B minor: IV - V7. Or, to be more precise, II56 - V7 (D and B of the melody are passing notes).

At a higher level, the B minor of mm. 11-12 is simply the II of A Major.

In this piece, there is indeed only one modulation: to E major (mm. 6-10). The rest is all in A major, with abundant use of secondary dominants.

In fact, for measure 11, the idea of IV and then V of II doesn't seem bad to me. I wouldn't underestimate the fact that in the final part of 11 Schumann removes the sustain pedal.

Thank you all for the help!

I misinterpreted measure 11 and from there the whole piece. I have a long way to go.

Are there any basic guidelines to follow during the harmonic analysis of a piece? Maybe having some points of reference will make it easier for me.

yamashita wrote:

Thanks to everyone for the help!

I misinterpreted measure 11 and from there the whole piece. I have a long way to go.

Are there any basic guidelines to follow during the harmonic analysis of a piece? Perhaps having some points of reference will make it easier for me.

Experience and practice are needed, but in general, based on the period in which the piece was written, certain paths become more or less plausible.

For example, even referring to Romantic music, compared to the home key, it is truly difficult to find modulations to distant keys. For instance, Scriabin ventured into this, but then we all know what happened (pantonalism and "evolutions"), but returning to our point, if you think about the relationship between E minor and E major, you immediately realize that there are 2 circles of fifths.... so such behavior is unlikely in an author like Schumann (or his contemporaries). The chord can be found, but contextualized as well described by colleagues.

Frank wrote:

Experience and practice are required, but in general, based on the period in which the piece was written, some paths become more or less plausible.

For example, even referring to Romantic music, compared to the home key, it is truly difficult to find modulations to distant keys. For instance, Scriabin ventured into this, but then we all know what happened (pantonalism and "evolutions"), but returning to our point, if you think about the relationship between E minor and E major, you immediately realize that there are 2 circles of fifths.... therefore such behavior is unlikely in an author like Schumann (or his contemporaries). The chord can be found, but contextualized as well described by colleagues.

Thanks Frank, I will post another analysis exercise shortly, hoping to see some progress