I didn't quite understand how measures 4 and 5 fit into the harmonic progression, and let's just say I would like to clarify at least the first 12 measures.
Measure 1: I of E minor
Measure 2: V I
Measure 3: VII (?)
Measure 4: VII I (modal?)
Measure 5: (VII?)
Measure 6: III (?)
Measure 7: VII (?) I
Measure 8: V
Measure 9: I I (passing VII?)
Measure 10: III II6
Measure 11: V [46 35]
Measure 12: I
It's clear that I got lost on some connections that seem modal to me and the III that appears sometimes.
Measure 1: i Measure 2: V - i Measure 3: VII Measure 4: VII - i Measure 5: VII Measure 6: III Measure 7: VII - i Measure 8: V Measure 9: i - i Measure 10: III - IIdim6 Measure 11: i64 - V Measure 12: i
Why modal? In my opinion, it simply uses the fifth degree of the harmonic minor instead of the natural minor (V instead of v). From a phrasing standpoint, it could work, even though I feel it more as a 2+3 | 3+4 (for all that symmetry). It seems to me that the cadence here is: i - V - VII - III - VII - V + i - III - i (i-V-i ) where there could be two phrases, the second being a "summary" of the first.
Thanks Bianca, I hadn't gone that far... it's as if I had just tidied up my analysis draft a bit. The piece is probably so simple that it hasn't drawn much attention
By modal I specifically meant the fact that the leading tone is not used, so VII I sounds somewhat modal... at least to my ear.
Regarding the meter, that makes sense; the last 2 bars are anyway an extension of the preceding part, so 2+3 and 3+4 is fine
G
Gerardo
Member
Reply 4 by Gerardo
Posts
277
I also think it is a connection of a modal nature; one is not seeking a tonal harmonic function but rather the juxtaposition of harmonic colors, especially since the III is not used here as a secondary dominant.
