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Thursday, February 28, 2008

Analysis C

Okie Dokie...another fun night of blogging!
Here is my chordal analysis:
m33: I56 / V7
m34: iii6 / I64
m35: I6
m36: ii64 / I43
m37: IV6 / IV
m38: viifulldim7/V / V
m39: V / iii
m40: vi / IV / viihalfdim65
m41: vi / vi6 / I7
m42: vi7 / IV / ii43 / Fr+6 (?)
m43: I64 / I7
m44: IV7 / bVI
m45: V/V / IV6
m46: V7
m47: V7
m48: I7
m49: I7
m50: I7 / vi
m51: iifulldim42 / I


Okay, so I thought this piece was lovely to listen to. I felt that the climax of the work took place on measure 45, although I realize 41 also makes sense. However, I chose 45 because, while 41 seems to be the big moment of the piece, chordal wise, the climax seems to continue through 45, at which point it moves to a progression of V7 chords, followed by I7 chords. This progression leads to the conclusion of the piece in a PAC, where as, if the climax was in measure 41, it would then go through a series of pre-dominants and then the V7 chords...which makes it feel anti-climactic.

I had not noticed when I originally listened to the work that the musical phrases and the verbal ones did not match up. However, when listening again with the score, it seemed obvious that "morgenrot" did not fall on the end of the musical phrase...indeed, below it is a lot of movement in the right hand of the piano and the bass moves in a subtle suspension to a ii64...not exactly a great musical end. I find it interesting, but it would make it more difficult to perform, while it would add interest to the listener, especially if one spoke German. You would believe that the next phrase would begin, but the movement in the piano spurs the singer to if not allowing the phrase to end, although the words seem to. It progresses it forward, and the singer would have to progress, perhaps almost follow the piano for a moment, and continue the song. Measure 44 is also not a phrase ending. The right hand is a bit deceiving, as it transitions from bass to treble clef at this moment and looks like it begins anew, but the underlying chords...a IV7, bVI, and V/V do not speak of a definitive end. They, again, seem to move the piece forward, even when the verbal line seems to have ended...keeping the tension in the piece high until the final moments.

The intricate harmonies of the work and the distinctive differences between the musical and the verbal phrases create movement of the piece. It doesn't lag, even when the voice seems rather cliche in its notes. The underlying harmonies push the piece...keeping it interesting and bold, with a taste of the classic.

PS - this computer says that it will save this draft as being put up at 12:44 am...however, it is really 11:44 pm...and I want it noted that this was in on time! Please note...thanks :)

1 comment:

Scott said...

M. 45 is the Neapolitan chord, adding extra power to the words, plus the highest note in the voice. THe chords at mm. 44-45 are V7/IV - iv - V7/bII - bII - bII6. You are right that they are not an ending, pointing forward to the dominant at m. 46 and it's resolution at 48.

Be careful to note the chord qualities, thus identifying modal mixture (m. 42) and secondary dominants (V7/IV instead of the I7 chords).