Blog – I. Brief Analysis, B
Chord Progression: m.25: I
m. 26: vii/ii ii vii7/ii ii6 vii I
m. 27: vii I I65
m. 28: iv V6 iv
This excerpt exposes Mozart’s ability to confuse the listener. Measures 25 through halfway through 27 are very similar. However, the second half of measure 27 changes direction, and the mixture chord gives the listener a sense of uncanny sounds. These couple of measures, however, prepare the listener for chromatic bass line measures 29 and 30. Measures 25-27 somewhat prepare the listener to the mixture chord because of the accidentals. But Mozart always tends to have a sense of quickness in his writing. Before the listener knows it, he or she is listening to a completely new and different phrase. Despite the length of the excerpt , Mozart still managed to place a sense of extreme emotion gliding through only a couple of measures.
Friday, February 01, 2008
Phillip's post
First, Fanny Mendelssohn Hensel’s lied “Nachtwanderer” is in F major, and the harmonic analysis of m. 14-17 is the following:
m. 14. I, (I42)
m. 15. vi, augmentedflatVI, I64
m. 16. viifulldim7/V, V7
m. 17. I
The eighth note-quarternote is present throughout this passage, as it is for the rest of the piece. Although the motif is present throughout the entire piece, it does not get old since it may give the listener a feeling of “Nachtwanderer,” or night wanderer. The motif feels like one is walking, wandering, to the pulse of the song. The consistent triplet eighth note motif and tremolo sections in the piano part add to the wandering feeling with its rhythmic and motion filled qualities. The F major key gives a calm feeling of the night in collaboration with the consistent flow of the tempo, a feeling that is also conveyed in the text like “I wander through the quiet night; the moon floats so secretly and gently . . .” (m. 1-6) and “. . . then again all is gray and still.” (m. 15-16), for example. Of course, the text is originally in German, so I got all the translations from pg. 121 of the anthology. Often, the piano has melodies played in response to the singer’s part (m. 27-31 for example), duet-unison parts with the singer (m. 7-8, 21-22), and interlude sections (m. 9, 11), but I feel the piano’s main function is to set the mood with things like its rhythmic triplet, eighth note-quarternote, and tremolo motiffs. Overall, the piece gives me the feeling that the singer is in thought, reminiscing, doesn’t know what to do, etc. The text strongly suggests this wistful, confused thinking with text such as “. . . the soft shuddering in the dark trees confuse my thoughts. My clamorous singing here is like a cry only from my dreams . . .” from m. 23 to the end of the piece.
In the case of m. 14-17, the piano’s stepwise motion in the exposed bass in the left hand and its effect of added richness and color to the harmonies of the piece add to the night wandering mood, especially when the flat VI, the D-flats in the bass, are played in m. 15. The D-flats along create a completely different harmony that is perhaps unexpected by listeners - an augmentedflatVI, which is indeed a mixture chord borrowed from the parallel minor key of F major – F minor. Such augmented chords are not anywhere near as common as I, IV, V, etc. Therefore, the augmentedflatVI colors “grau” in the text and makes the word extra special to help convey the music and text’s meaning to the listeners.
m. 14. I, (I42)
m. 15. vi, augmentedflatVI, I64
m. 16. viifulldim7/V, V7
m. 17. I
The eighth note-quarternote is present throughout this passage, as it is for the rest of the piece. Although the motif is present throughout the entire piece, it does not get old since it may give the listener a feeling of “Nachtwanderer,” or night wanderer. The motif feels like one is walking, wandering, to the pulse of the song. The consistent triplet eighth note motif and tremolo sections in the piano part add to the wandering feeling with its rhythmic and motion filled qualities. The F major key gives a calm feeling of the night in collaboration with the consistent flow of the tempo, a feeling that is also conveyed in the text like “I wander through the quiet night; the moon floats so secretly and gently . . .” (m. 1-6) and “. . . then again all is gray and still.” (m. 15-16), for example. Of course, the text is originally in German, so I got all the translations from pg. 121 of the anthology. Often, the piano has melodies played in response to the singer’s part (m. 27-31 for example), duet-unison parts with the singer (m. 7-8, 21-22), and interlude sections (m. 9, 11), but I feel the piano’s main function is to set the mood with things like its rhythmic triplet, eighth note-quarternote, and tremolo motiffs. Overall, the piece gives me the feeling that the singer is in thought, reminiscing, doesn’t know what to do, etc. The text strongly suggests this wistful, confused thinking with text such as “. . . the soft shuddering in the dark trees confuse my thoughts. My clamorous singing here is like a cry only from my dreams . . .” from m. 23 to the end of the piece.
In the case of m. 14-17, the piano’s stepwise motion in the exposed bass in the left hand and its effect of added richness and color to the harmonies of the piece add to the night wandering mood, especially when the flat VI, the D-flats in the bass, are played in m. 15. The D-flats along create a completely different harmony that is perhaps unexpected by listeners - an augmentedflatVI, which is indeed a mixture chord borrowed from the parallel minor key of F major – F minor. Such augmented chords are not anywhere near as common as I, IV, V, etc. Therefore, the augmentedflatVI colors “grau” in the text and makes the word extra special to help convey the music and text’s meaning to the listeners.
Nick's post
Bernstein and Sondheim’s “One Hand, One Heart” is a piece that probably four out of every five people know. It is frequently played/sung at weddings and comes from the famous musical “West Side Story”. Within the piece we can certainly find modal mixture through the scale degrees me and te, which in the key of Gb Major are Bbb and Fb. They appear beginning in measure seven towards the end of the second phrase which is nearly identical to the first. We can also find it throughout the last phrase in measures thirteen through sixteen. One funny thing I discovered while analyzing this piece was that the popular music symbols do not line up with the numerals, due to inversions throughout the piece. We see the most modal mixture in the last phrase with the words “Only death will part us now.” Those words are the exact reason we have a great deal of modal mixture. For those who do not know the story, this line in the song is foreshadowing what will happen later in the musical, and the mixture used by the composers gives the piece that goose bump feeling. The song itself is beautiful, and I imagine it will be played for quite some time.
Thursday, January 31, 2008
Analysis B
Measures 25-28a of Mozart's Piano Sonata in D, variation 12, are rife with tension and unusual, quick chord changes. In the key of D major, the chords progress like this:
I - viio/ii - ii - viio43/ii - ii6 - viio - I - viio43 - I6 - V65/IV - iv
The hurried resolutions occur within the space of quarter notes, not really allowing a solid cadential feel, until the arrival at the beginning of measure 28, on the mixture chord - G, Bb, D - minor four in D. Mozart sets up for the mixture chord by lulling us into a false sequential feel - viio/ii resolves to ii, then viio resolves to I. Next we hear the most stable sounding dominant functioning chord - V65/IV - and the listener thinks, "Oh, I'm finally coming home... predominant, dominant, tonic, here we go" - surprise! Mixture chord! Minor four! Where are we? Where are we going? Will it ever end? Can we escape all the tenseness? Not in this excerpt. Thus, Mozart proves once again that he still has a few tricks up his sleeve.
PS - as of Sunday Mozart was 252, by the way. Happy Birthday, Wolfie.
I - viio/ii - ii - viio43/ii - ii6 - viio - I - viio43 - I6 - V65/IV - iv
The hurried resolutions occur within the space of quarter notes, not really allowing a solid cadential feel, until the arrival at the beginning of measure 28, on the mixture chord - G, Bb, D - minor four in D. Mozart sets up for the mixture chord by lulling us into a false sequential feel - viio/ii resolves to ii, then viio resolves to I. Next we hear the most stable sounding dominant functioning chord - V65/IV - and the listener thinks, "Oh, I'm finally coming home... predominant, dominant, tonic, here we go" - surprise! Mixture chord! Minor four! Where are we? Where are we going? Will it ever end? Can we escape all the tenseness? Not in this excerpt. Thus, Mozart proves once again that he still has a few tricks up his sleeve.
PS - as of Sunday Mozart was 252, by the way. Happy Birthday, Wolfie.
Pine Apple Rag
Scott Joplin, “Pine Apple Rag”
Key- Eb Major
m. 77-78******bVI****
m. 79-80 I64
m 81 IV7
m. 82 I
m. 83 V753
m. 84 I
As Joplin resolves the mixture chord in measure 79 observe the voice leading of me to mi in the soprano and bass voices. This pulls us away from the tension of the flatted g, therefore emphasizing the bVI while resolving away from it. The I64 chord (unusual!) in m 79-80 provides the listener a release from the tension and intensity that was suddenly tugged at in measures 77-78. The listener feels released and at ease again because they are returned to the tonic. However, Joplin makes use of the second inversion because it allows for chromaticism between the two measures which emphasizes the mixed harmony even more. The flatted c pulls directly to B flat from measures 78 to 79 which works very nicely in contrary motion with the flatted g to g natural in the same place. In other words, me and le move to mi and la in the soprano and bass voices, respectively.
This piece is repetitive and predictable in harmony and melody. However, the harmony moves out of it’s comfort zone and moves to bVI in the last section of the piece, where repetition definitely works for the mixed harmony’s advantage. The mixed harmony in m. 77-78 creates a sense of urgency. After such a repetitive, fluffly song, it is as if there is finally something important to say, but it only has two measures to try to express itself, and slids chromatically back into rag happiness. Only, this section of the rag will inevitably repeat itself, just as the rest of the piece does, and this allows the performer to create increasing tension. I agree with the performance on the anthology recording. The performer broadens the mixed text each time around as if to but in, “wait, I have something to say!!!!” and finally, the last time, performs broader than ever, forging on into a
very broad and statemented finish. This allows for a climactic experience to the piece. If the performer had just played through the section both times the same way, we wouldn’t feel the broadening and feel satisfied at the end of the piece. I have learned from this because I can look for mixed harmonies in pieces I am preparing, and emphasize the chromatic tones and tensions between them- consider the tension and interest to such passages and how they should be emphasized (broaden? A different color? A different dynamic?)
A “foreshadowing” pitch (to the modal mixture in m. 77-78) is evident in the last eighth beat of measure 81, where there is a c flat. C flat is the root of bVI in the key of Eb Major. I think, since this section is repeated, and we have already heard the modal mixture by the time the flatted C shows up in measure 81, it functions as both a foreshadowing and an afterthought/reminder of the mixture harmony preceding it in measures 77-78.
Key- Eb Major
m. 77-78******bVI****
m. 79-80 I64
m 81 IV7
m. 82 I
m. 83 V753
m. 84 I
As Joplin resolves the mixture chord in measure 79 observe the voice leading of me to mi in the soprano and bass voices. This pulls us away from the tension of the flatted g, therefore emphasizing the bVI while resolving away from it. The I64 chord (unusual!) in m 79-80 provides the listener a release from the tension and intensity that was suddenly tugged at in measures 77-78. The listener feels released and at ease again because they are returned to the tonic. However, Joplin makes use of the second inversion because it allows for chromaticism between the two measures which emphasizes the mixed harmony even more. The flatted c pulls directly to B flat from measures 78 to 79 which works very nicely in contrary motion with the flatted g to g natural in the same place. In other words, me and le move to mi and la in the soprano and bass voices, respectively.
This piece is repetitive and predictable in harmony and melody. However, the harmony moves out of it’s comfort zone and moves to bVI in the last section of the piece, where repetition definitely works for the mixed harmony’s advantage. The mixed harmony in m. 77-78 creates a sense of urgency. After such a repetitive, fluffly song, it is as if there is finally something important to say, but it only has two measures to try to express itself, and slids chromatically back into rag happiness. Only, this section of the rag will inevitably repeat itself, just as the rest of the piece does, and this allows the performer to create increasing tension. I agree with the performance on the anthology recording. The performer broadens the mixed text each time around as if to but in, “wait, I have something to say!!!!” and finally, the last time, performs broader than ever, forging on into a
very broad and statemented finish. This allows for a climactic experience to the piece. If the performer had just played through the section both times the same way, we wouldn’t feel the broadening and feel satisfied at the end of the piece. I have learned from this because I can look for mixed harmonies in pieces I am preparing, and emphasize the chromatic tones and tensions between them- consider the tension and interest to such passages and how they should be emphasized (broaden? A different color? A different dynamic?)A “foreshadowing” pitch (to the modal mixture in m. 77-78) is evident in the last eighth beat of measure 81, where there is a c flat. C flat is the root of bVI in the key of Eb Major. I think, since this section is repeated, and we have already heard the modal mixture by the time the flatted C shows up in measure 81, it functions as both a foreshadowing and an afterthought/reminder of the mixture harmony preceding it in measures 77-78.
Pine Apple Blog
Scott Joplin uses measures 77 through 84 in "Pine Apple Rage" as an effective climax to the entire piece. The chord progression of these measures is as follows: m. 77-78 is a bIV chord which leads to a I64 chord in measure 79 which moves to a IV7 chord in m 81 and into the final chords, V64 to a V7 to a I. The progression between the IV7 to the V64 is important because it signifies that Joplin is done with the chromatic progression of chords and the cadence is soon to follow. However, he does a very good job of leading the listener through measures 79 and 80 because the listener expects the cadence to happen there but Joplin extends his ending even farther than anticipated by the audience. The g natural in measure 79 stands out to the listener because it is the last significant chromatic change in the piece. Also, it comes shortly after the held g flat in measure 77, so it relaxes the listener and prepares them for the cadence. The preceding measures (69 through 76) introduce a new motif which is the high point of the piece. They bring immediate excitement to the last section because of the chromatic pull between the g flat and g natural along with the quick chromatic changes in measures 74 and 75. The change of the bass line in measures 73 through 76 create a change in movement ushering the listener into the final intense measures. Through the use of an ever changing motif and a very tense elongation of the cadence Joplin creates a remarkable ending based on the motifs earlier in the piece.
One Hand, One Heart
Roman Numeral Analysis: (one chord per measure) I, IV^6, V^6, I, vi, iii, bVII, IV^6, I^6/4, IV, V^6, IV^6, bVII^6, bVI, ii, V^7, I. Bernstein only uses the bVII mixture chord in measure 7 and 13, and the bVI chord in measure 14. These are the only mixture chords that he uses in the first 17 measures of the song. Instead of using the mixed chord names, the popular-music symbols simplifies the notation to read by simply telling what chord it is in a way that ignores do. For example: when in measure 7 there is a bVII chord, the popular-music notation says that it is an E Major chord completely changing the relationship. This makes it appear to have changed keys when really it has only borrowed one chord. The text of the piece with the most mode mixture is where the text reads "Only death will..." This small part of the entire text is good place to put this modal mixture because of the change from happy, almost holy context to a more morose tone. It could be inferred to be musical foreshadowing of what is about to take place in the musical. In this case, the two seeing this song are separated by death when Tony is killed at the end of the musical.
Joplin's Pine Apple Rag (analysis D)
First of all, Scott Joplin is way cool. With that being said, here's my analysis of this excerpt:
To start, my harmonic analysis: Eb
mm. 77-78 bVI
mm. 79-80 V64
mm. 81 IV7
mm. 82 V64
mm. 83 V7
mm. 84 I
Okay, so here's why Joplin rocks. You see, there's this awesome technique of foreshadowing that's used in this excerpt. The listener is set up for the mixture harmony with the use of C# and F# in the proceeding measures. (i.e. C# in mm. 74) This nicely leads to the mixture that appears in mm. 79.
A voice leading pattern also makes an appearance in mm. 79 with the contrary motion of the bass and soprano parts. The G flat in mm. 78 resolves up to the G natural in mm. 79 and the C flat in mm. 78 in the bass part resolves down to the B flat in mm. 79. This stands out really nicely coming from the bVI chord in mm. 77-78. It's a nice little twist on the harmony that is both somewhat surprising and pleasing to the ear.
In mm. 79 Joplin uses a 6/4 chord to link the mixture back in with the original key. It serves as the bridge between mm. 78 and mm. 81. He also sets up the phrasing to end up with a parallel period for mm. 69-76, which gives a good feel to the line of the piece.
To start, my harmonic analysis: Eb
mm. 77-78 bVI
mm. 79-80 V64
mm. 81 IV7
mm. 82 V64
mm. 83 V7
mm. 84 I
Okay, so here's why Joplin rocks. You see, there's this awesome technique of foreshadowing that's used in this excerpt. The listener is set up for the mixture harmony with the use of C# and F# in the proceeding measures. (i.e. C# in mm. 74) This nicely leads to the mixture that appears in mm. 79.
A voice leading pattern also makes an appearance in mm. 79 with the contrary motion of the bass and soprano parts. The G flat in mm. 78 resolves up to the G natural in mm. 79 and the C flat in mm. 78 in the bass part resolves down to the B flat in mm. 79. This stands out really nicely coming from the bVI chord in mm. 77-78. It's a nice little twist on the harmony that is both somewhat surprising and pleasing to the ear.
In mm. 79 Joplin uses a 6/4 chord to link the mixture back in with the original key. It serves as the bridge between mm. 78 and mm. 81. He also sets up the phrasing to end up with a parallel period for mm. 69-76, which gives a good feel to the line of the piece.
Fanny
The embellishing tone in measure 15, the Db, or le, acts as a passing tone. The second statement of "grau" or gray is colored with a #ivo7 chord. The fully dimished chord has a dark, unhappy sound, which illustrates the misery described by everything "going gray". The chord is not from the parallel minor, f minor, so it is not a modal mixture chord.
The embellishing tone in measure 15, the Db, or le, acts as a passing tone. The second statement of "grau" or gray is colored with a #ivo7 chord. The fully dimished chord has a dark, unhappy sound, which illustrates the misery described by everything "going gray". The chord is not from the parallel minor, f minor, so it is not a modal mixture chord.
080131 "Nachtwanderwhat?"
Fanny Mendelssohn Hensel’s “Nachtwanderer” is a simple song about a woman wandering in the night. Duh. This is nothing more than another crappy, unoriginal piece of vocal music. Its cliché beginning sounds like the fade-in to a corny movie where the woman is drifting aimlessly boo-hooing about her lost boyfriend, career, and pet hamster (about every film found on the Life channel).
Hensel starts by doing a mediocre job of painting with text using the words “often out from a dark cover of clouds” while the pianists’ left hand supports the line, effectively setting a mood. Later, however, Hensel digs herself into a hole from measures 14-16; this time, she chooses the words “all is gray and still.” (Side note: I was confused by the anthology’s translation for a while because it seemed like it had completely missed part of that line. Well, it did… kind of. The anthology chose to compress the line “dann wieder alles grau, alles grau und stille” to “dann wider alles grau und stille.” For my sake, I wish they would have cleared that up. Moving on…) Hensel chooses to accentuate “grau” the first time with a d minor chord, or vi in the key of F major (bar 14). Later, in bar 16 she has the same text but chooses a viio7/V chord comprised of b, d, f, and a flat. I ask the following: what was the intent of that chord? Just to sound “gloomy”? In all honesty, I think the entire idea of “text painting” is outdated. Words tend to cover up what the music is attempting to express (and how many times have I heard that music can say what words cannot?), so I would be the first to say that I don’t agree with Hensel’s choice in this situation (did “grau” even need to be repeated?). The entirety of the line sounds overdone, washed up and thrown out like yesterday’s paper.
What ever happened to music that I actually enjoy listening? Give me Respighi, Chopin, Bach, Holst, Debussy, Prokofiev, Mahler, Wagner… anything but more vocalists who think the world revolves around them.
Please?
S. Joplin "Pine Apple Rag"
Roman numerals:
Eb DUR:
m.77-78......... bVI
m. 79-80....... I64
m.81 ...............IV7
m.82................V64
m.83................V7
m.84................I
Sometime composers prepare listeners for the harmonic suprise of mixture like in m. 77,78. In soprano voice is Gb in BIG bVI chord, which will later become a MAJOR third in I chord(m.79), and that is good exemple of mixture harmony.
If you listen to this incredible piece you will realize that the voice-leading patttern stands out in m. 77,78 and resolves in the mixture chord in m. 79 Eb I64.
In m. 79 the I 64 chord is the "bridge" between bVI and V64-7. After bVI we would expect V chord but instead we have I 64, which goes to IV,IV64-7 I; this is a really strong end.
I would call M. 69 :-P to 76 A, and I would also call m.77-85 A'. Both of those sections are 8 m. long (2+2+2+2) which is a parallel period.
Eb DUR:
m.77-78......... bVI
m. 79-80....... I64
m.81 ...............IV7
m.82................V64
m.83................V7
m.84................I
Sometime composers prepare listeners for the harmonic suprise of mixture like in m. 77,78. In soprano voice is Gb in BIG bVI chord, which will later become a MAJOR third in I chord(m.79), and that is good exemple of mixture harmony.
If you listen to this incredible piece you will realize that the voice-leading patttern stands out in m. 77,78 and resolves in the mixture chord in m. 79 Eb I64.
In m. 79 the I 64 chord is the "bridge" between bVI and V64-7. After bVI we would expect V chord but instead we have I 64, which goes to IV,IV64-7 I; this is a really strong end.
I would call M. 69 :-P to 76 A, and I would also call m.77-85 A'. Both of those sections are 8 m. long (2+2+2+2) which is a parallel period.
Brief Analysis C
Leonard Bernstein and Stephen Sondheim, "One Hand, One Heart," from West Side Story, mm. 1-17
I-IV6-V6-I-vi-iii-bVII-iv6-I64-IV-V6-IV6-bVII6-bIII6-ii6-V7-I
I have not seen West Side Story or heard this song but this is a love song of the two characters Maria and Tony who are supposed to be based off of Romeo and Juliet. This excerpt uses modal scale degrees me and te, with a bVII in measure 7, a bVII6 in measure 13, and a bIII6 in measure 14. In this score, the solo voice and a piano part are shown along with guitar chords are written in the key of G-flat major. The guitar chords and my roman numerial analysis somtimes do not match up. A reason may be to make it more simple for amateur musicians to be able to read and perform this piece. In the text "only death will part us" there is the most usage of modal mixture. This maybe was used to make those lyrics jump out even more to the listeners since it is at a high climax and intense part of the piece.
I-IV6-V6-I-vi-iii-bVII-iv6-I64-IV-V6-IV6-bVII6-bIII6-ii6-V7-I
I have not seen West Side Story or heard this song but this is a love song of the two characters Maria and Tony who are supposed to be based off of Romeo and Juliet. This excerpt uses modal scale degrees me and te, with a bVII in measure 7, a bVII6 in measure 13, and a bIII6 in measure 14. In this score, the solo voice and a piano part are shown along with guitar chords are written in the key of G-flat major. The guitar chords and my roman numerial analysis somtimes do not match up. A reason may be to make it more simple for amateur musicians to be able to read and perform this piece. In the text "only death will part us" there is the most usage of modal mixture. This maybe was used to make those lyrics jump out even more to the listeners since it is at a high climax and intense part of the piece.
Brief analysis A: "Nachtwanderer"
The Roman Numeral Analysis for Nachtwanderer (mm. 14-17) by Fanny Mendelssohn is... (don't hate me if I'm wrong!)...
m.14: I
m.15:vi bVI V
m.16: viio7/V V
m.17: I
The embellishing scale degree in measure 15 is merely a chromatic passing tone, but it plays a large role in the harmonic movement and continuity of this section. It serves as a transitional point as well, where the piano foreshadows the upcoming viio7/V chord in m.16. In measure 16 Hensel restate the lyrics “Then everything is gray and quiet” which automatically enhances the depth of emotion felt in this passage. Hensel then takes the sense of melancholy even further by using the aforementioned viio7/V chord, wich is minor and therefore generally gloomy by nature. This chord is not a use of modal mixture, but is just as affective. At first, I thought it was a ivo7 chord, which would make it modal, but decided against it because there are no flats which are a part of the fm key signature (I really hope I’m right on that one!) Another argument is that the chord then resolves to a V chord.
m.14: I
m.15:vi bVI V
m.16: viio7/V V
m.17: I
The embellishing scale degree in measure 15 is merely a chromatic passing tone, but it plays a large role in the harmonic movement and continuity of this section. It serves as a transitional point as well, where the piano foreshadows the upcoming viio7/V chord in m.16. In measure 16 Hensel restate the lyrics “Then everything is gray and quiet” which automatically enhances the depth of emotion felt in this passage. Hensel then takes the sense of melancholy even further by using the aforementioned viio7/V chord, wich is minor and therefore generally gloomy by nature. This chord is not a use of modal mixture, but is just as affective. At first, I thought it was a ivo7 chord, which would make it modal, but decided against it because there are no flats which are a part of the fm key signature (I really hope I’m right on that one!) Another argument is that the chord then resolves to a V chord.
Brief Analysis B
m. 25: I I64
m. 26: vii/ii ii ? ii6 vii I6
m. 27: viio7 I6 V7/IV
m. 28: bIV V bIV
resolves in m. 29: V
I really struggled to find the right chord for the middle of measure 26.
Mozart set up a pretty solid ii chord structure all the way to the last chord which was the strong I chord. This gives the listener a false sense of moving forward into a pure major sound. Suddenly he throws a mixture chord (containing te) into the mix. It goes by so quickly its almost hard to hear the difference, Mozart brings it back in just before the resolution to make sure you heard it. The mixture chords are also in the same rhythmic and intervallic pattern as the surrounding parts, so it blends quite nicely. There is also a stepwise motion going down that camoflages the mixture chords a bit. This is a very fast paced and high energy excerpt. During the first listen I almost didn't hear the mixture chord, but the second time it was very clear. I liked the change of rhythm from the lower voice to the higher voice, it made me think there was a change coming up. Mozart gave very little warning about the mixture chords coming up and he did a very good job at making them blend with the music.
m. 26: vii/ii ii ? ii6 vii I6
m. 27: viio7 I6 V7/IV
m. 28: bIV V bIV
resolves in m. 29: V
I really struggled to find the right chord for the middle of measure 26.
Mozart set up a pretty solid ii chord structure all the way to the last chord which was the strong I chord. This gives the listener a false sense of moving forward into a pure major sound. Suddenly he throws a mixture chord (containing te) into the mix. It goes by so quickly its almost hard to hear the difference, Mozart brings it back in just before the resolution to make sure you heard it. The mixture chords are also in the same rhythmic and intervallic pattern as the surrounding parts, so it blends quite nicely. There is also a stepwise motion going down that camoflages the mixture chords a bit. This is a very fast paced and high energy excerpt. During the first listen I almost didn't hear the mixture chord, but the second time it was very clear. I liked the change of rhythm from the lower voice to the higher voice, it made me think there was a change coming up. Mozart gave very little warning about the mixture chords coming up and he did a very good job at making them blend with the music.
Steph's thoughts on Joplin
Scott Joplin's closing material in "Pine Apple Rag" sounds like an itch that you can't quite scratch because you've been in a coma for 68 preceding measures and are now in an uncomfortable public situation and you can't get away to scratch yourself silly. Joplin uses a flat VI in measure 77 to create tension, which he only intensifies by creating a thick texture, doubling the root and the fifth in the right hand- what a drama queen. Joplin also resolves the flat VI to a I64 chord in measure 79, but uses an f natural embellishment to keep the tension alive before moving to a IV7 in measure 81, Joplin now emphasizes the f natural even more by placing it in the top voice. He finishes measure 81 with a minor iv, but you know that there's more material coming because of the f natural which leads to the I64 in the next measure. With the arrival of the V64 in measure 83, as a listener, you're relieved, thinking it will be over the minute tonic comes to the rescue. Much to your dismay, Joplin just teases you with his first ending going to tonic but using that f natural to lead into a repeat of the section.
At this point, the f natural feels like a wool sweater on your bare skin in mid-July. You're sweating, itchy, and having an awkward conversation with overly friendly relatives you've never met and who happen to be Michael Bolton fanatics. Somehow, you just can't end the conversation and make a clean escape. Joplin's mixture chords are those relatives, and the recurring f natural- that's your wool sweater. You sit through one more repeat of Joplin's closing knowing that with each f natural comes another rant on how wonderful Michael Bolton's rendition of "When a Man Loves a Woman" is. When the relatives finally go home and Joplin ends "Pine Apple Rag" with a perfect authentic cadence, you run screaming to your air-conditioned room, rip off that wool sweater and find your hairbrush so you can give yourself a good scratching in front of the breeze. After all those hurried mixture chords and embellishment, it feels pretty good to hear the familiar dominant-tonic arrive.
If I were a talented enough pianist to play this piece, I would accent the downbeat of measures with mixture chords such as the flat VI just to let listeners know that they're in an awkward situation with these relatives and in a pretty big hurry to get the visit over with. I would also try to emphasize the f naturals which would hopefully give the listeners the same idea I have: the constant teasing by prolonging harmonies or leading to more material feeling like the wool sweater you can't remove. I would also take into consideration Joplin's voicing. Why did he use such a thick texture on those mixture chords? I hear it in the sense that he's trying to create some immediate, hurried discomfort that will not be resolved any time soon- you have to wait until the second ending to get the true, undisturbed tonic.
At this point, the f natural feels like a wool sweater on your bare skin in mid-July. You're sweating, itchy, and having an awkward conversation with overly friendly relatives you've never met and who happen to be Michael Bolton fanatics. Somehow, you just can't end the conversation and make a clean escape. Joplin's mixture chords are those relatives, and the recurring f natural- that's your wool sweater. You sit through one more repeat of Joplin's closing knowing that with each f natural comes another rant on how wonderful Michael Bolton's rendition of "When a Man Loves a Woman" is. When the relatives finally go home and Joplin ends "Pine Apple Rag" with a perfect authentic cadence, you run screaming to your air-conditioned room, rip off that wool sweater and find your hairbrush so you can give yourself a good scratching in front of the breeze. After all those hurried mixture chords and embellishment, it feels pretty good to hear the familiar dominant-tonic arrive.
If I were a talented enough pianist to play this piece, I would accent the downbeat of measures with mixture chords such as the flat VI just to let listeners know that they're in an awkward situation with these relatives and in a pretty big hurry to get the visit over with. I would also try to emphasize the f naturals which would hopefully give the listeners the same idea I have: the constant teasing by prolonging harmonies or leading to more material feeling like the wool sweater you can't remove. I would also take into consideration Joplin's voicing. Why did he use such a thick texture on those mixture chords? I hear it in the sense that he's trying to create some immediate, hurried discomfort that will not be resolved any time soon- you have to wait until the second ending to get the true, undisturbed tonic.
Brief Analysis *A*
Harmonic Anaylsis:
I_I6 vi bVI+ I64 viidim7/V_V7 I
(if you can make that out)
Measures 14-17 in Hensel's "Nachtwanderer" use a few examples of modal scale degrees. In measure 15, beat 2 contains a D flat, while in measure 16, beats one and two have an A flat and B natural. Measure 15's D flat functions as a chromatic passing tone between the D of beat 1 and the C of beat 3 and even into the B natural of measure 16. In Measure 16, the A flat and B natural form a vii dim7/V. This diminished chord, which is not a modal mixture, also happens to be on the word "grau", meaning gray, coloring it with a very dreary sound.
I_I6 vi bVI+ I64 viidim7/V_V7 I
(if you can make that out)
Measures 14-17 in Hensel's "Nachtwanderer" use a few examples of modal scale degrees. In measure 15, beat 2 contains a D flat, while in measure 16, beats one and two have an A flat and B natural. Measure 15's D flat functions as a chromatic passing tone between the D of beat 1 and the C of beat 3 and even into the B natural of measure 16. In Measure 16, the A flat and B natural form a vii dim7/V. This diminished chord, which is not a modal mixture, also happens to be on the word "grau", meaning gray, coloring it with a very dreary sound.
brief analysis B
potential for everything analyzed to be incorrect: very high. with that said, here are my results.
ms. 25-28
key: DM
25. I
26. Iaug, ii, Iaug, ii6, viidim, I
27. bVII, I6, I, i65
28. bVI
I think that of the mixture chords included in these few measures the one that most surprised my ears was the bVI mixture chord in measure 28. Up until then Mozart uses mostly one and two chords (tonic and predominant chords) so you think that measures 26 and 27 are going towards a five or dominant chord. But instead Mozart is a butt-head and goes into a bVI chord. yep, that's it.
ms. 25-28
key: DM
25. I
26. Iaug, ii, Iaug, ii6, viidim, I
27. bVII, I6, I, i65
28. bVI
I think that of the mixture chords included in these few measures the one that most surprised my ears was the bVI mixture chord in measure 28. Up until then Mozart uses mostly one and two chords (tonic and predominant chords) so you think that measures 26 and 27 are going towards a five or dominant chord. But instead Mozart is a butt-head and goes into a bVI chord. yep, that's it.
Mozart Piano Sonata in DMajor Excerpt
What this excerpt lacks in length, it certainly makes up for in rapid shifts between chords within the key and modal mixture chords. In the beginning of measure 25, Mozart establishes a strong tonic feeling with an arpeggiated I chord functioning as an anacrusis to measure 26. In measure 26, Mozart begins immediately with a diminished I chord with a D# root. The harmonic rhythm occurs with each eighth note, and therefore the second chord is a ii chord, the root being an E. One of the most surprising mixture chords is apparent in the third chord of measure 26--the second beat of the measure. In this I chord is a flat 7, creating an apparent "minor" sound within the major key. The subsequent chords of measure 26 are as follows:
4th chord: ii6
5th chord: vii0
6th chord: I
Mozart re-establishes the tonic at the end of the measure because in the beginning of the next measure, another mixture chord presents itself. This chord contains both a flat 6 as well as a sharp 7, creating an interesting mix for the iv chord. This chord, because of the mixture of the sharps and flats, seems even more modal and out of the ordinary than the previous modal mixture chord. This chord is followed in the rest of the measure by:
2nd, 3rd, 4th chords: I (re-establishment of tonic)
5th and 6th chords: I 65
The next measure brings with it the last modal mixture chord, placed at the beginning of the measure. This chord is a iv chord with a flat 6, and this chord continues into the next eighth with an addition of an A in the soprano sixteenth notes.
Mozart sets up a strong tonal expectation for the listener through the use of the tonic establishments in both measures 25 and the second half of measure 26. The strong use of the I chord makes the mixture chords quite surprising to the listener. It is interesting that Mozart placed the mixture chord on the weak beat of measure 26 and one of the strong beats of measure 27. Perhaps this is used to create a sense of rhythmic unsettledness--naturally, the listener would normally expect to hear the strong beats emphasized and would therefore be "startled" by this use of mixture chords.
4th chord: ii6
5th chord: vii0
6th chord: I
Mozart re-establishes the tonic at the end of the measure because in the beginning of the next measure, another mixture chord presents itself. This chord contains both a flat 6 as well as a sharp 7, creating an interesting mix for the iv chord. This chord, because of the mixture of the sharps and flats, seems even more modal and out of the ordinary than the previous modal mixture chord. This chord is followed in the rest of the measure by:
2nd, 3rd, 4th chords: I (re-establishment of tonic)
5th and 6th chords: I 65
The next measure brings with it the last modal mixture chord, placed at the beginning of the measure. This chord is a iv chord with a flat 6, and this chord continues into the next eighth with an addition of an A in the soprano sixteenth notes.
Mozart sets up a strong tonal expectation for the listener through the use of the tonic establishments in both measures 25 and the second half of measure 26. The strong use of the I chord makes the mixture chords quite surprising to the listener. It is interesting that Mozart placed the mixture chord on the weak beat of measure 26 and one of the strong beats of measure 27. Perhaps this is used to create a sense of rhythmic unsettledness--naturally, the listener would normally expect to hear the strong beats emphasized and would therefore be "startled" by this use of mixture chords.
Pine Apple Rag - Scott Joplin (part D)
Scott Joplin in this case kind of gets repetitive, so bear with me through this one. The general form for measures 69-84 is:
mm. 69-76 77-84
A A'
a b a c
You will notice that both A and A' are both 8 measures long, making this a regular parallel period. Additionally a, b, and c are each 4 measures long which means further demonstrates the regularity of this excerpt. Also given that there is a repeat around this whole section, it is a double parallel period. o. Awesome.
A quick rundown of the chordal analysis results in the following:
Key of Eb:
mm. 77-78: bVI
mm. 79-80: V64
mm. 81: IV7
mm. 82: V864
mm. 83: V753
mm. 84: I
In measures 77 and 78, the mode mixture is represented by the bVI chord. This chord is spelled Cb - Eb - Gb. One really cool thing that Joplin does is that he starts hinting at this mode mixture before it even happens. He takes an enharmonic spelling of one of the notes in the bVI chord and slips it in as an embellishing tone. In measures 69-76 there are two outliers that I found, one C# and one F#. I think F# is the culprit because it is enharmonic to Gb (apparent in the bVI chord). In this way, Joplin hints at the mode mixture that is to come. The reason it is F# is because resolving Gb to G is not appropriate and it must be F#.
The contrary motion in the voice leading of the resolution:
bass: Cb - Bb 6(b) - 5
sopr: Gb - G 3(b) - 3
is also interesting because the bass on the & of 2 repeats the G natural that resolved in the soprano line. Lastly, there is a 64 chord in measure 79 that functions as a cadential 64. We all know about the V64-53 well this one I think eventually goes V64 b64 53 I . Cool huh?
Andrew
mm. 69-76 77-84
A A'
a b a c
You will notice that both A and A' are both 8 measures long, making this a regular parallel period. Additionally a, b, and c are each 4 measures long which means further demonstrates the regularity of this excerpt. Also given that there is a repeat around this whole section, it is a double parallel period. o. Awesome.
A quick rundown of the chordal analysis results in the following:
Key of Eb:
mm. 77-78: bVI
mm. 79-80: V64
mm. 81: IV7
mm. 82: V864
mm. 83: V753
mm. 84: I
In measures 77 and 78, the mode mixture is represented by the bVI chord. This chord is spelled Cb - Eb - Gb. One really cool thing that Joplin does is that he starts hinting at this mode mixture before it even happens. He takes an enharmonic spelling of one of the notes in the bVI chord and slips it in as an embellishing tone. In measures 69-76 there are two outliers that I found, one C# and one F#. I think F# is the culprit because it is enharmonic to Gb (apparent in the bVI chord). In this way, Joplin hints at the mode mixture that is to come. The reason it is F# is because resolving Gb to G is not appropriate and it must be F#.
The contrary motion in the voice leading of the resolution:
bass: Cb - Bb 6(b) - 5
sopr: Gb - G 3(b) - 3
is also interesting because the bass on the & of 2 repeats the G natural that resolved in the soprano line. Lastly, there is a 64 chord in measure 79 that functions as a cadential 64. We all know about the V64-53 well this one I think eventually goes V64 b64 53 I . Cool huh?
Andrew
Benjamin's rockin' analysis of C!!!
When I performed in West Side Story in high school, I enjoyed every minute of it. This assignment has brought back a few memories of that. The key is in Gb Major. My harmonic analysis is as follows: I-IV6-V6-I-vi-iii-bVII-IV6-I64-IV-V6-IV6-bVII6-bIII6-ii6-V7-I. Bernstein uses modal mixture in measure 7 with the bVII. The root is lowered to gain a Major chord. Perhaps this was to convey a bit more happiness through the music (it's a song about love). Almost the same chord appears later in measure 13, but with a sixth inversion. The chord after that, in measure 14 is a bIII6, which, again, moves the root down a half step to make the chord Major. This modal mixture is most likely to convey the words, which are "Only death (will part us now)." There was a slight difference in my harmonic analysis compared to the chords already printed. These chord markings do not convey any modal mixture, but, instead, simplify it for the performer.
Mozart Piano Sonata in D Major
Mozart's Piano Sonata in D Major is a stylistically contrasting piece not only in the presence of 12 separate variations, but that within each variation there is evident stylistic contrast that is empirically presented through the harmonic progression, rhythmic variations, and an array of transitions that give each line its own unique feel. Take for example the transition into the portion of VAR. XII that was pulled under the magnifying glass for this excerpt. The transition from measure 25a to 25b introduces a new faster, more excited feel whereas 25a marks the end of a phrase that wasn't as energetic and rambunctious as the phrase from measure 25b to 28a. Not only is the new phrase rather stylistically different and louder than the first, the transition is very abrupt and even the dynamic with which the new phrase is introduced heightens the unexpectedly bright and even highlights the almost uncontrollable excitement with which the new phrase is introduced.
Harmonically the mixture chord may surprise the listener when it appears at the end of the 27th measure in the form of a bVI. Although the Harmonic presentation of this new loud phrase doesn't necessarily posses the most consonant feel, there is definitely a melodic pattern in the bass in the second half of the melody that seems to be drawing the phrase to a close, almost like the phrase was a wild animal now being gradually tamed. The upward motion of the bass in seconds is thrown off a little when the mixture chord is presented as a penultimate to the final chord of the line. The manner in which it creates an interval of simply on half step and turns it into a mysterious almost questioning statement sets the listener up for the chaos that ensues in the melody right after the listener things it will calm down after the cadence in measure 28a.
Harmonically the mixture chord may surprise the listener when it appears at the end of the 27th measure in the form of a bVI. Although the Harmonic presentation of this new loud phrase doesn't necessarily posses the most consonant feel, there is definitely a melodic pattern in the bass in the second half of the melody that seems to be drawing the phrase to a close, almost like the phrase was a wild animal now being gradually tamed. The upward motion of the bass in seconds is thrown off a little when the mixture chord is presented as a penultimate to the final chord of the line. The manner in which it creates an interval of simply on half step and turns it into a mysterious almost questioning statement sets the listener up for the chaos that ensues in the melody right after the listener things it will calm down after the cadence in measure 28a.
Natalie- brief analysis b
Mozart's Piano Sonata in D Major has a very confused and probably incorrect chordal analysis that is :
m.25: I I64
m. 26: vii/ii ii vii7/ii vii I
m. 27: vii7 I V65/IV
m.28: iv I iv
Mozart sets up a feeling of a pattern in measures 26 and the beginning of 27 with the use of a vii and a ii. The listener then expects this type of chordal structure to continue. At this point Mozart throws in the use of iv because it changes the mood of the line. As the line seemed to be pushing along with the earlier pattern, the iv allows the line to change direction and come to a conclusion. The modal mixture helps transition the faster beginning into the contrasting slower and lower next few bars. There are not as many obvious reasons for this choice of a mode mixture chord because there are no text indications.
m.25: I I64
m. 26: vii/ii ii vii7/ii vii I
m. 27: vii7 I V65/IV
m.28: iv I iv
Mozart sets up a feeling of a pattern in measures 26 and the beginning of 27 with the use of a vii and a ii. The listener then expects this type of chordal structure to continue. At this point Mozart throws in the use of iv because it changes the mood of the line. As the line seemed to be pushing along with the earlier pattern, the iv allows the line to change direction and come to a conclusion. The modal mixture helps transition the faster beginning into the contrasting slower and lower next few bars. There are not as many obvious reasons for this choice of a mode mixture chord because there are no text indications.
Caroline's Brief Analysis C
The first 17 measures of Leonard Bernstein and Stephen Sondheim's "One Hand, One Heart" have the following roman numeral analysis:
I vi V6 I vi iii bVII vi I64 IV V6 IV bVII bIII ii6 vii bIII I
Bernstein uses both me and te, but not the modal scale le. Te is used in the 7th, 13th, and 14th measures, and me is used in measures 14 and 16. The guitar tabs, usually used in popular-music, make it confusing to write a Roman numeral analysis, seeing as the tabs switch keys, while they numeral analysis remains in the same key. The line "only death will part us" contains the most mixtures. This emphasizes the emotional impact of the words and the drastic nature of the line. the word death, especially, is emphasized. The music is very beautiful to go along with the sentiments shared between the couple. The mixtures throughout the piece add emphasis to the important words, such as "one" in measure 7, making sure the listener hears the couple's intention to make their hearts ONE.
I vi V6 I vi iii bVII vi I64 IV V6 IV bVII bIII ii6 vii bIII I
Bernstein uses both me and te, but not the modal scale le. Te is used in the 7th, 13th, and 14th measures, and me is used in measures 14 and 16. The guitar tabs, usually used in popular-music, make it confusing to write a Roman numeral analysis, seeing as the tabs switch keys, while they numeral analysis remains in the same key. The line "only death will part us" contains the most mixtures. This emphasizes the emotional impact of the words and the drastic nature of the line. the word death, especially, is emphasized. The music is very beautiful to go along with the sentiments shared between the couple. The mixtures throughout the piece add emphasis to the important words, such as "one" in measure 7, making sure the listener hears the couple's intention to make their hearts ONE.
One Hand, one heart by Chapin
In Leonard Bernstein and Steven Sondheim's West Side Story is full of wonderfully constructed music. In the song "One Hand, One Heart" uses many intersesting modal mixtures to accentuate certain aspects of the text. Bernstein uses his first modal mixture in measure 7, using te scale degree to give a feeling that the character's love is out of the ordinary, but right. In my opinion the chord doesn't really seem completely "out there". To me, it feels more like the chord is a warm bedding for the text. However, the chord on the word "death" feels much more onimous on the bIII chord. Putting a sadder sounding chord on the word death as a foreshadowing for the lover's fate is a fairly obvious observation, but merits a mention none-the-less. With regard to the guitar tabs atop the score, can be very missleading, when trying to play these songs on guitar. The cheif reason being that this song was not written for guitar. Also in measure 7, it is explained as a E natural chord, but in the music there is an bF, which is ok for E natural, but it is not really an E chord, it is an bF chord. Bernstein shows very good judgement as to where he will put his mode mixture chords, by using them to illustrate the text. Such as on the word "death" and "one" which are crucial to the story of the song as well as the story overall.
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