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Thursday, February 28, 2008

this is not fun time!

Okay let's get this overwith.

key: f# minor
m. 1: i
m. 2: iv43, V65
m. 3: i, i6, iidim6
m. 4: i64, V
m. 5: VI6, iidim7
m. 6: iii, i
m. 7: IV65, V6
m. 8: I, VI
m. 9: N6
m. 10: N6
m. 11: i64, V
m. 12: i

I separated this excerpt into 3 phrases. Each phrase is comprised of 4 measures. The first two phrases are contrasting (a, b) and the third phrase goes back to something similar to a so I called it a'. Each phrase begins with a dotted eighth, sixteenth, eighth note diddy that makes the phrases sound similar to each other. The harmonic progressions as well as the rhythms differ enough from each other to be seen as contrasting phrases. The first two phrases end on a half cadence and the last ends on perfect authentic cadence. The minor third chord at the beginning of measure 6 is a very ambiguous chord, it could also be seen as a seven diminished chord.

I'm just going to focus on the right hand/melody line performance wise because, uh i'm not really a pianist. There seem to be a lot of neighboring tones going on in this excerpt. So that gives the melody some nice flair. When the right hand gets to measures 9 and 10 and the harmony changes to the Neapolitan sixth predominant chords one could slow down that part for dramatic effect, it would sound scrumptulescent.

1 comment:

Scott said...

"Ditty," not "diddy." "Motive" is even better. Imagine that this excerpt is for viola and piano. How would you perform the top part (your idea of slowing down at the N6 is good), and how would you want the accompanist to perform the rest? Or you could imagine it arranged for string quartet, or orchestra, etc. Don't limit yourself to "viola-type parts" only, hone your instincts on the rest of the music.

M. 5 is VI6 - viio7/III
M. 6 is III - i.