Beethoven frequently employed exotic sonorities throughout most all of his works, though more frequently later in life. One great example of Beethoven's use of an Augmented Sixth chord is in measure 46 of the Rondo of his Pathetique Sonata (the third movement).
The chord is spelled Cb Eb F A which constitutes the le, do, fi required for any time of augmented sixth chord. Noticing the F present, we may conclude that this Augmented Sixth chord is in fact a French Augmented Sixth chord which adds even more dissonance to this pre-dominant chordal function.
The chord preceding is a IV6 chord (spelled Ab C Eb key: Eb major) which has a duration of a half-note, similar to the augmented chord itself, and the Bb triad (V) following.
Overall, this is a textbook example that properly sets up and executes the harmony in a traditional manner.
In performing this passage, one must account for the numerous leading tones and the strength that they want to resolve. Also, the performer must also notice the particularly lengthy duration of these three sucessive chords and appropriately bring out this deviating harmony (like a secondary dominant function). Amidst this fast paced rondo, there really isn't much time to breathe, so the chord should not be dwelled upon, however it should most definitely have the weight of a brief, yet significant half-cadence.
Friday, April 11, 2008
Thursday, April 10, 2008
Things We Said Today
The Beatles’ “Things We Said Today” exhibits their complete disregard to textbook style theory with innovative use of the Neapolitan chord. The Neapolitan chord contributes to the song’s chilling aura. This is one of the more relaxed Beatles songs, but tension can be felt when the Neopolitan chord is used in both the verse AND the bridge. The chord aggressively moves us away from a minor and holds us there for two lines.
The neopolitan chord is used as text painting in that it is used mostly under lyrics which begin with “Someday…” The lyrics, which dig into the skepticism of lasting love, take a foreign turn when thinking about “someday” (the future) and the harmony follows suit, illuminated by the joltingly exotic Neapolitan chord to create a foreign out-of-key sense. The chord then resolves unnaturally and unexpectedly back to I, landing at the comfort of the present “things we said today.”
Cheesy Beatles Tribute Video featuring “Things We Said Today:”
http://youtube.com/watch?v=GwokRK8P6D4&feature=related
Things We Said Today Lyrics
You say you will love me
If I have to go.
You'll be thinking of me,
Somehow I will know.
Someday when I'm lonely,
Wishing you weren't so far away,
Then I will remember
Things we said today.
You say you'll be mine, girl,
'Til the end of time.
These days such a kind girl
Seems so hard to find.
Someday when we're dreaming,
Deep in love, not a lot to say.
Then we will remember
Things we said today.
ETC…
Blog.
In the third movement Ludwig van Beethoven's Piano Sonata in C minor, Op 13 we find a use of an augmented-sixth chord. At this point in the movement the piece is in Eb Major, and in measure 46 we find a French augmented-sixth. It works very much as a chromatic passing chord, as it passes from Ab-A-Bb in the soprano and from C-Cb-Bb in the bass. It comes from a IV chord and resolves as we expect to a V chord.
If I were performing the piece, I would push through this chord and foreshadow the crescendo that comes a few measures later. The V chord seems like a very important chord in the excerpt and I think that the few measures before it, starting with repeating quarters, seem to build through the French 6th to the V.
Also, in measures 49-50 there is a chord that some might mistake for an augmented-sixth chord. There is a B, the same as Cb, and an Eb, but it lacks the A natural needed to complete the augmented sixth. Therefore it is not an augmented-sixth chord.
If I were performing the piece, I would push through this chord and foreshadow the crescendo that comes a few measures later. The V chord seems like a very important chord in the excerpt and I think that the few measures before it, starting with repeating quarters, seem to build through the French 6th to the V.
Also, in measures 49-50 there is a chord that some might mistake for an augmented-sixth chord. There is a B, the same as Cb, and an Eb, but it lacks the A natural needed to complete the augmented sixth. Therefore it is not an augmented-sixth chord.
this blog is what you can tell future classes what not to do.
In Robert Schumann's Die Beiden Grenadiere, he uses an N6 on the word "besiegt" which means "defeated" which works well against the text painting. On the other hand tonight was the opening night of "Our Town" and I had an eye appointment all day today, and I don't have the energy to think anymore about this, I promise I will work hard on the next one. My apologies for this embarrassing blog. Thank you and good night.
Der Tod und das Madchen
Since my recent change of voice range and fach, I've decided to look at more appropriate repertoire for my newly found contralto sound. "Der Tod und das Madchen" by Schubert, calls for a very dark sound to correctly portray the contrasting characters in the song. The first character is the maiden who says: " Pass by! Oh, pass by! Go away, fierce man of bone! I am still young, go my dear! And do not touch me." Schubert captures this character by marking the vocal line to come in quite a bit faster than the 8 bar, dirge-like introduction. Set in d minor, Schubert uses syncopation and chromaticism to get a feeling of anxiousness an fear for the maiden character. The harmonies used here for the maiden's part are: i__IV6__viid__i6__+III__iv__viihd65__III___viihd43__III__viihd__viid43__i6__viid65_i_V
Then the piano plays to a half cadence followed by a fermata. Drama!
After this dramatic pause, it's time for Schubert to introduce the second character, Death. Yes, "Death" is a character in this song. Schubert directs the performers to go to Tempo I for this, the dirge tempo from the intro. He also puts in a pianissimo marking in the accompaniment. Death's words are a little more shocking, so I'll give them to you one line at a time. In fact, they are so important that Schubert gives the vocalist only one note- tonic- for five whole measures! In general, "Death's" vocal line is very stagnant, low, calm, to help emphasize the text and the character of death. Death's first line: " Give me your hand, you beautiful and delicate form!" is sung over the harmonies i_iv_iv6_VI7. Death has more to say: " I am a friend, and have not come to punish." In this line, Schubert places a iihd65_iihd43_IV, and then he modulates to F Major on "strafen" or "punish." hmmmm, why would Schubert go to major on a word like "punish?" hmmmm. The next line, "Be of good cheer! I am not savage," is goes from IV_I_I64_IV. The repeated IV-I motion gives it almost a prayer-like feeling, convincing the listener for a moment to believe death and see that he could offer some peace and relief from whatever pain the maiden is experiencing. Death ends his lines by saying: "You will sleep softly in my arms!" For this line, Schubert sends Death back to d minor starting on a VI, and then moving to a French Augmented 6 chord on "meinen armen" or "my arms." This is the perfect chord for this particular spot in the song because Schubert's painting the picture of death as a complex character and incorporating both the Major and minor parts of the song, while foreshadowing the Major ending. The french 6 chord indicates that death's arms are safe while adding that little uncertainty in the le and fi. At this point, the audience has heard both characters and needs to be convinced of deaths safety, even within the key of d minor. As soon as Schubert accomplishes this with the French 6 and a perfect authentic cadence on "schlafen" or "sleep," he moves write into D Major. The ending, I guess we can call it a codetta, is much like the intro, only in D Major- ending the song with a pretty positive guess that Death has had his way with the maiden. I would definitely not rush the last 6 measures, especially since Schubert places a fermata at the end. This is all good thinking time for the audience. I would prefer if the singer remain in death's character, looking like he's just gotten his way. Overall, the job of the performers in this song is to bring out the anxious fearful character of the maiden and the opposite, creepy, in-control character of Death. I really like hearing a singer who can hit that low d at the end because I think that Death's character lends itself to a darker, very evenly toned voice that can capture the mood and color of the song while singing virtually one note the entire second half. I think both Jessye Norman and Marian Anderson sing it and I think they both do a wonderful job of giving the listener a sense of two different characters. The other part of performing this song would be emoting based on the text and harmonies. For instance, on the French 6 chord, the singer needs to look happier than the previous measure because I think that at this point, Death already knows that he's won over the maiden and he needs to portray that to the audience by emphasizing the French 6. The pianist can help this setting up the moment properly by emphasizing the chromatic bass that Schubert gives leading up to French 6, creating tension that can be intense. The piano also needs to bring out the half note- quarter- quarter pattern given. It just sounds to me, like I said earlier, very much like a funeral dirge and it contrasts with the dotted rhythm in the voice. I think that's important to bring out, because I think Schubert is trying to paint the character in both parts, so both parts have to be committed to bringing out those qualities that he's put in the music.
Then the piano plays to a half cadence followed by a fermata. Drama!
After this dramatic pause, it's time for Schubert to introduce the second character, Death. Yes, "Death" is a character in this song. Schubert directs the performers to go to Tempo I for this, the dirge tempo from the intro. He also puts in a pianissimo marking in the accompaniment. Death's words are a little more shocking, so I'll give them to you one line at a time. In fact, they are so important that Schubert gives the vocalist only one note- tonic- for five whole measures! In general, "Death's" vocal line is very stagnant, low, calm, to help emphasize the text and the character of death. Death's first line: " Give me your hand, you beautiful and delicate form!" is sung over the harmonies i_iv_iv6_VI7. Death has more to say: " I am a friend, and have not come to punish." In this line, Schubert places a iihd65_iihd43_IV, and then he modulates to F Major on "strafen" or "punish." hmmmm, why would Schubert go to major on a word like "punish?" hmmmm. The next line, "Be of good cheer! I am not savage," is goes from IV_I_I64_IV. The repeated IV-I motion gives it almost a prayer-like feeling, convincing the listener for a moment to believe death and see that he could offer some peace and relief from whatever pain the maiden is experiencing. Death ends his lines by saying: "You will sleep softly in my arms!" For this line, Schubert sends Death back to d minor starting on a VI, and then moving to a French Augmented 6 chord on "meinen armen" or "my arms." This is the perfect chord for this particular spot in the song because Schubert's painting the picture of death as a complex character and incorporating both the Major and minor parts of the song, while foreshadowing the Major ending. The french 6 chord indicates that death's arms are safe while adding that little uncertainty in the le and fi. At this point, the audience has heard both characters and needs to be convinced of deaths safety, even within the key of d minor. As soon as Schubert accomplishes this with the French 6 and a perfect authentic cadence on "schlafen" or "sleep," he moves write into D Major. The ending, I guess we can call it a codetta, is much like the intro, only in D Major- ending the song with a pretty positive guess that Death has had his way with the maiden. I would definitely not rush the last 6 measures, especially since Schubert places a fermata at the end. This is all good thinking time for the audience. I would prefer if the singer remain in death's character, looking like he's just gotten his way. Overall, the job of the performers in this song is to bring out the anxious fearful character of the maiden and the opposite, creepy, in-control character of Death. I really like hearing a singer who can hit that low d at the end because I think that Death's character lends itself to a darker, very evenly toned voice that can capture the mood and color of the song while singing virtually one note the entire second half. I think both Jessye Norman and Marian Anderson sing it and I think they both do a wonderful job of giving the listener a sense of two different characters. The other part of performing this song would be emoting based on the text and harmonies. For instance, on the French 6 chord, the singer needs to look happier than the previous measure because I think that at this point, Death already knows that he's won over the maiden and he needs to portray that to the audience by emphasizing the French 6. The pianist can help this setting up the moment properly by emphasizing the chromatic bass that Schubert gives leading up to French 6, creating tension that can be intense. The piano also needs to bring out the half note- quarter- quarter pattern given. It just sounds to me, like I said earlier, very much like a funeral dirge and it contrasts with the dotted rhythm in the voice. I think that's important to bring out, because I think Schubert is trying to paint the character in both parts, so both parts have to be committed to bringing out those qualities that he's put in the music.
neopolitan chord blog
Franz Schubert wrote this song caled "Erklonig" and it has a few neopolitans in it. I'm only going to talk about one section. Schubert uses a neopolitan sixth chord in measure 117 and 119, and it serves as part of a sequence of rising chords. The words in this passage mean "I ove you, I'm aroused by your beautiful form; if you're not willing, I'll take you by force." These words are more than a little creepy for their obvious ties to rape. The rising bass line that employs several nondiatonic chords works well to accentuate these words. The bass line is building, as are the speaker's feelings. The non diatonic chords has an uncomfortable feel, which suits the idea first of her not being willing and second of him raping her. The neopolitan sixth chord in this passage also does not resolve directly to the dominant, like it wants to, which is frustration in the music matching frustration in the text.
Oh! Augmented Sixth
Yes, it's true what you've heard...I did find an augmented sixth chord in a Beatles song. I used my fierce augmented sixth finding skillz and sure enough I found a German aug. sixth chord in the song "Oh! Darling" from the Abbey Road album.
The German augmented sixth chord is found in the bridge of the song in which it makes two appearances! For those of you who don't know where the bridge is in this song its the "When you told me you didn't need me anymore....I nearly broke down and died" part. You know what I'm talkin' bout now? Kay good. Now, if you would look in any old beatles guitar tab book or what have you, you would find that the German augmented sixth chord would be labeled as a flat VI (F7 in the key of A major) chord. But don't let this fool you! That chord is, in fact, a German augmented sixth chord! You may be saying to yourself, "but wait...f....a...c...eflat...that's not an augmented chord!". Well if you take that eflat and enharmonically spell it as d# then guess what you get? That's right! A good ol' German augmented sixth chord. Since the german augmented sixth chord is not something heard that often in popular music you might want to think of that chord as a flat VI when playing/performing it because it flows better within the rest of the song....a lot of publishers of guitar tab books agree with me. One other note on the performance of this song, the first time the augmented chord is played it doesn't really resolve to where you think it might. Instead of resolving to dominant like most german augmented sixth chords would it goes to tonic....just an interesting little snippet. The second time the chord is played it does resolve to a dominant chord, for those of you wondering. Now, for all of you who really have no interest in performing this song and really would just like to sit back and listen to it take note of these musical observations! The first thing I noticed while listening to the bridge is the bass line...uhm it's basically amazing! It does this upward chromatic thing that goes right into the augmented chord, SO GOOD! And like I mentioned before the augmented chord doesn't resolve straight to a dominant chord, instead it pulls you back to tonic. So there's kinda like some tension/pull going on right there at the "...you didn't need me anymore..." part. Take a listen!
The German augmented sixth chord is found in the bridge of the song in which it makes two appearances! For those of you who don't know where the bridge is in this song its the "When you told me you didn't need me anymore....I nearly broke down and died" part. You know what I'm talkin' bout now? Kay good. Now, if you would look in any old beatles guitar tab book or what have you, you would find that the German augmented sixth chord would be labeled as a flat VI (F7 in the key of A major) chord. But don't let this fool you! That chord is, in fact, a German augmented sixth chord! You may be saying to yourself, "but wait...f....a...c...eflat...that's not an augmented chord!". Well if you take that eflat and enharmonically spell it as d# then guess what you get? That's right! A good ol' German augmented sixth chord. Since the german augmented sixth chord is not something heard that often in popular music you might want to think of that chord as a flat VI when playing/performing it because it flows better within the rest of the song....a lot of publishers of guitar tab books agree with me. One other note on the performance of this song, the first time the augmented chord is played it doesn't really resolve to where you think it might. Instead of resolving to dominant like most german augmented sixth chords would it goes to tonic....just an interesting little snippet. The second time the chord is played it does resolve to a dominant chord, for those of you wondering. Now, for all of you who really have no interest in performing this song and really would just like to sit back and listen to it take note of these musical observations! The first thing I noticed while listening to the bridge is the bass line...uhm it's basically amazing! It does this upward chromatic thing that goes right into the augmented chord, SO GOOD! And like I mentioned before the augmented chord doesn't resolve straight to a dominant chord, instead it pulls you back to tonic. So there's kinda like some tension/pull going on right there at the "...you didn't need me anymore..." part. Take a listen!
Mozart Piano Sonata in d Major third Movement
Here it is at last ladies and gentlemen. The long awaited Italian augmented sixth chord, finally found in Wolfgang Amadeus Mozart's Piano Sonata in D Major, K. 284 the third movement, the seventh variation.
The first clue I found was that this section was written in the parallel minor key of the original theme, and every other variation thus far. This was immediately where I began my search knowing that most often than not, augmented chords are found in minor keys.
This variation is the only one in a minor key making it very special. There are actually two separate Italian augmented sixth chords. The first appears in the third full measure, beat four, before the first repeat sign, and in the second to last measure before the second repeat signs. Both of these chords, by definition, feel and sound like dominate seventh chords but with a funky resolution. This being said these chords give this variation sudden, unexpected feelings of being Major, perhaps someone almost let the sunshine in.
The first clue I found was that this section was written in the parallel minor key of the original theme, and every other variation thus far. This was immediately where I began my search knowing that most often than not, augmented chords are found in minor keys.
This variation is the only one in a minor key making it very special. There are actually two separate Italian augmented sixth chords. The first appears in the third full measure, beat four, before the first repeat sign, and in the second to last measure before the second repeat signs. Both of these chords, by definition, feel and sound like dominate seventh chords but with a funky resolution. This being said these chords give this variation sudden, unexpected feelings of being Major, perhaps someone almost let the sunshine in.
N chord
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Blog #10
Pick a piece with a Neapolitan or Augmented Sixth chord. Write about its affect on the performer and the listener.
Schubert’s Erlkonig has Neapolitan chords and it is tonicized as well too. I don’t understand German so while I’m listening to the vocalist I’m not really listening to what he’s singing, more like the layers of the words and the piano accompaniment. I really like the forward motion in this piece, and the way it has a spinning and rotating motion. In measures 116-123 there is Neapolitan chords and tonicized chord too. The words for that section translates to “I love you, I’m aroused by your beautiful form; and if you’re not willing, I’ll take you by force.” Oh yeah, the background to this text is that there is father and son riding on a horse and the son this Erl King appears but is only visible to the son. The Erl King is trying to convince the boy to come with him and that the Erl King’s daughters will take care of him. And at the end the Erl King takes him by force and the father is carrying away a dead boy. But back to that section, it sounds really out of space. The vocalist gets a little softer in dynamics and the piano accompaniment as well. It sounds kind of outer space-ish and sort of final in a weird way. This section really sounds a lot different than in other places. The vocalist takes his time and the words are held out and connected.
Blog #10
Pick a piece with a Neapolitan or Augmented Sixth chord. Write about its affect on the performer and the listener.
Schubert’s Erlkonig has Neapolitan chords and it is tonicized as well too. I don’t understand German so while I’m listening to the vocalist I’m not really listening to what he’s singing, more like the layers of the words and the piano accompaniment. I really like the forward motion in this piece, and the way it has a spinning and rotating motion. In measures 116-123 there is Neapolitan chords and tonicized chord too. The words for that section translates to “I love you, I’m aroused by your beautiful form; and if you’re not willing, I’ll take you by force.” Oh yeah, the background to this text is that there is father and son riding on a horse and the son this Erl King appears but is only visible to the son. The Erl King is trying to convince the boy to come with him and that the Erl King’s daughters will take care of him. And at the end the Erl King takes him by force and the father is carrying away a dead boy. But back to that section, it sounds really out of space. The vocalist gets a little softer in dynamics and the piano accompaniment as well. It sounds kind of outer space-ish and sort of final in a weird way. This section really sounds a lot different than in other places. The vocalist takes his time and the words are held out and connected.
Ominous, Potent, and Thrilling...Oh My!
Schubert's Erlkonig's final measures contain many neapolitan sixth chords to add interest intensity to the ending of the dramatic piece. They are present in measures 143, 145, and 146, at the conclusion to the work and, most importantly, the most surprising and cruel part of the work.
Neopolitan sixth chords are used to extend the pre-dominant, leading to the dominant, and to give the powerful, angry, and urgent emotions to the work. These punching impact greatly helps the drama of the father's discovery that his son is dead, taken by the erlkonig.
In measure 143, the neopolitan sixth begins subtely in the beating bass chords, on the words he arrives. This increases the tension in the work and gives the word "arrives," or "erreicht" an ominous tone. It then returns in measure 145, this time more harshly with the melody prodiminately displaying the ra, arriving on the word "not" or "distress." Another fabulous text painting by Schubert. And in measure 146, the full brillance of the chord comes across with an immense impact ass the piece comes to a close, with the N6 emphasizing the word his, his being the father's arms that hold the dead child. The Neapolitan almost places the blame for the boy's death on the father, as the dad refused to listen to the boy's worries about the Erlkonig. It nearly brings the listener to tears as they image the dead boy lying in HIS father's arms...dead.
Schubert superbly placed the Neapolitan sixth chords to provide the most impact at the very dramatic ending of the piece. He certainly could have used them earlier when discussing the son's fears, but he waits until they will be of the most use.
The performance of this piece will always be somber and chilling. The words alone describe a horrific tragedy, and the steady beat of the piano, acting as a horse's gallop, increases the drama. The performers would need to bring out this intensity. The pianist should be heavy with his chords as he traverses the work to draw attention to the heaviness of the horse and the difficulty of keeping up such a speed late at night in the wind, and the singer should attempt to portray different emotions with his or her voice as narrator, young boy, and father, each with separate identities and heaviness in the voice.
In the final six measures of the work, the singer and pianst should draw attention to the Neapolitan chords and bring them out to support the horrific scene being told. Leaning on the Ab and Eb to emphasize the harsh texture of the chord and to draw out the drama from the piece. They should both use dynamics to their advantage in order to bring out the intensity. Perhaps a piano starting in measure 143, moving toward almost a pianisimo in order to make the listener move forward in their seats, straining to hear the ghastly end!
Neopolitan sixth chords are used to extend the pre-dominant, leading to the dominant, and to give the powerful, angry, and urgent emotions to the work. These punching impact greatly helps the drama of the father's discovery that his son is dead, taken by the erlkonig.
In measure 143, the neopolitan sixth begins subtely in the beating bass chords, on the words he arrives. This increases the tension in the work and gives the word "arrives," or "erreicht" an ominous tone. It then returns in measure 145, this time more harshly with the melody prodiminately displaying the ra, arriving on the word "not" or "distress." Another fabulous text painting by Schubert. And in measure 146, the full brillance of the chord comes across with an immense impact ass the piece comes to a close, with the N6 emphasizing the word his, his being the father's arms that hold the dead child. The Neapolitan almost places the blame for the boy's death on the father, as the dad refused to listen to the boy's worries about the Erlkonig. It nearly brings the listener to tears as they image the dead boy lying in HIS father's arms...dead.
Schubert superbly placed the Neapolitan sixth chords to provide the most impact at the very dramatic ending of the piece. He certainly could have used them earlier when discussing the son's fears, but he waits until they will be of the most use.
The performance of this piece will always be somber and chilling. The words alone describe a horrific tragedy, and the steady beat of the piano, acting as a horse's gallop, increases the drama. The performers would need to bring out this intensity. The pianist should be heavy with his chords as he traverses the work to draw attention to the heaviness of the horse and the difficulty of keeping up such a speed late at night in the wind, and the singer should attempt to portray different emotions with his or her voice as narrator, young boy, and father, each with separate identities and heaviness in the voice.
In the final six measures of the work, the singer and pianst should draw attention to the Neapolitan chords and bring them out to support the horrific scene being told. Leaning on the Ab and Eb to emphasize the harsh texture of the chord and to draw out the drama from the piece. They should both use dynamics to their advantage in order to bring out the intensity. Perhaps a piano starting in measure 143, moving toward almost a pianisimo in order to make the listener move forward in their seats, straining to hear the ghastly end!
Haydn's Requiem in C minor
In the 68th measure of the first movement of his Requiem in C minor, Haydn employs an Augmented 6th chord in the form of a German 6th. The chord is spelled out in the piano accompaniment and works in tandem with the SATB voicing. In the choir, the spelling is A in the bass, C in the tenor, F# in the alto and C in the soprano. Underneath the choir, the piano leads into the chord with a B natural, D G# ornamentation, then settles into the German 65 chord with the necessary le do and fi.
To avoid parallel 5ths the German 6th is followed by a V64 chord that resolves and eventually heads back to the tonic. The German 6th is also preceded by a V65-53 chord that harmonically prepares for the German 6th and also prevents the presence of parallel 5ths. In regards to the use of the chord. The dissonance of the augmented 6th adds to the somber mood of the requiem. In this first movement, Haydn is establishing the themes with which he will present his mournful piece. In this particular phrase, the choir is singing "Kyrie leison" at which point, the German 6th gives the dissonance with which Haydn hopes to instill a true sense or mourning, sadness and very unsettling feeling.
In terms of performance, it would be best in my opinion to emphasize the German 6ths so that the listening audience fully comprehends the mood of the piece which I feel the German 6th has a lot to do with in that respect. In addition, in terms of micromanaging, I would make the voice part singing the fi sing out over the other voices to really emphasize the dissonance and clashing that help the mournful essence of Haydn's requiem shine through.
To avoid parallel 5ths the German 6th is followed by a V64 chord that resolves and eventually heads back to the tonic. The German 6th is also preceded by a V65-53 chord that harmonically prepares for the German 6th and also prevents the presence of parallel 5ths. In regards to the use of the chord. The dissonance of the augmented 6th adds to the somber mood of the requiem. In this first movement, Haydn is establishing the themes with which he will present his mournful piece. In this particular phrase, the choir is singing "Kyrie leison" at which point, the German 6th gives the dissonance with which Haydn hopes to instill a true sense or mourning, sadness and very unsettling feeling.
In terms of performance, it would be best in my opinion to emphasize the German 6ths so that the listening audience fully comprehends the mood of the piece which I feel the German 6th has a lot to do with in that respect. In addition, in terms of micromanaging, I would make the voice part singing the fi sing out over the other voices to really emphasize the dissonance and clashing that help the mournful essence of Haydn's requiem shine through.
Neapolitan Chord!
A Neapolitan Chord can be heard right in the third measure in the first movement of Beethoven's very well known Moonlight Sonata, or Sonata quasi una Fantasia. Many of us are familiar with how this piece begins, it has the slow walking sounding of a c minor chord. This how the first few measures play out:
m 1: i
m2: i42
m3: VI N6
m4: V7 i V7
The Neapolitan Sixth is basically used as a transition into the major V chord. After measure 4, the V7 chord moves into a minor i, and then the famous melody begins. The VI and the N6 are used to extend the tonic into the dominant chord. In addition, Beethoven wants the N6 to cresendo slightly into the major V chord. This demonstrates that Beethoven wants this chord to be emphasized because it is the transition.
Another instance of a Neapolitan sixth chord lies in meausures 52 and 54. When this plays it is at a very recognizable point in the piece. And at both instances the chord moves to a major I chord. This is different because usually the N6 moves to the dominant. This section is played before hand in the piece, so I believe that when Beethoven repeated he wanted to emphasize it with the N6. The N6 also gives the piece a sense of suspense, and it allows the listener to question where/when the peice is going to resolve. I think Beethoven wanted to hold the listener's attention, and he does so by resolving the N6 to a major I. The major I also helps the piece transistion back into the well-known melody in the end. However, now it is heard in the bass.
m 1: i
m2: i42
m3: VI N6
m4: V7 i V7
The Neapolitan Sixth is basically used as a transition into the major V chord. After measure 4, the V7 chord moves into a minor i, and then the famous melody begins. The VI and the N6 are used to extend the tonic into the dominant chord. In addition, Beethoven wants the N6 to cresendo slightly into the major V chord. This demonstrates that Beethoven wants this chord to be emphasized because it is the transition.
Another instance of a Neapolitan sixth chord lies in meausures 52 and 54. When this plays it is at a very recognizable point in the piece. And at both instances the chord moves to a major I chord. This is different because usually the N6 moves to the dominant. This section is played before hand in the piece, so I believe that when Beethoven repeated he wanted to emphasize it with the N6. The N6 also gives the piece a sense of suspense, and it allows the listener to question where/when the peice is going to resolve. I think Beethoven wanted to hold the listener's attention, and he does so by resolving the N6 to a major I. The major I also helps the piece transistion back into the well-known melody in the end. However, now it is heard in the bass.
Very, very sneaky..
In Schubert’s “Am Meer” from his song cycle Schwanengesang, he introduces and concludes the piece the same way. He decides to be a little unconventional and has a Ger6 chord resolve to a I chord in C major. He uses a D# for the me instead of a Eb, but enharmonically they are the same note.
The recording I found on Naxos of Benjamin Luxon singing “Am Meer” is absolutely gorgeous. The piano part plays with the voice with its sweet opening into the intense middle section of this piece. The form is ABAB, where the A section is slower and more serene, and the B section is darker and more intense. The transition from A to B is exactly the same each time, and the introduction and the conclusion are the same as well. The words change in each verse but the two A sections are rhythmically identical, and the same goes for the B sections.
Since the augmented sixth is a part of the accompaniment in the introduction and conclusion I would just put a lot of emphasis on it. Since it is followed by a major I chord, I think it would be best to accentuate the oddness of it and bring it out a little more over the other parts. I really like this piece because it is so insecure, where the listener thinks it is a smooth ballad then suddenly it is not. It almost seems like its predictable, but when listening to it, the transitions are what give it away not the vocal line itself. I like that the augmented sixth does not resolve like it should, because again it is a small trick played on the listener. Schubert was very crafty with this piece of music.
The recording I found on Naxos of Benjamin Luxon singing “Am Meer” is absolutely gorgeous. The piano part plays with the voice with its sweet opening into the intense middle section of this piece. The form is ABAB, where the A section is slower and more serene, and the B section is darker and more intense. The transition from A to B is exactly the same each time, and the introduction and the conclusion are the same as well. The words change in each verse but the two A sections are rhythmically identical, and the same goes for the B sections.
Since the augmented sixth is a part of the accompaniment in the introduction and conclusion I would just put a lot of emphasis on it. Since it is followed by a major I chord, I think it would be best to accentuate the oddness of it and bring it out a little more over the other parts. I really like this piece because it is so insecure, where the listener thinks it is a smooth ballad then suddenly it is not. It almost seems like its predictable, but when listening to it, the transitions are what give it away not the vocal line itself. I like that the augmented sixth does not resolve like it should, because again it is a small trick played on the listener. Schubert was very crafty with this piece of music.
pick your own adventure
Let me just say that in the very grand world of music it is quite intimidating to have to find one piece with just ONE CHORD that you need, meaning that you would think it would be easy but soon find that not every composer likes augmented sixths chord. I searched through all of my proficiency pieces and failed, looked at my musical theatre scenes music and failed, and finally just started flipping through one of my Schubert anthologies and STRUCK GOLD!
Litanei is from the Feast for All Souls Day. This holiday is used to commemorate the faithful who have departed. I found a lovely French augment sixth chord in measure 8 that resolves to a very strong FIVE chord. This augmented sixth chord is falls on the text three times because the melody is repeated with different text three different times. It falls on 1) all who have passed 2+3) all that have, in both cases it is referring directly to the souls of those who have already gone. I think that the composer chose to do this because he was trying to create a kind of eerie effect and combine the idea of the soul having moved on but still being present, or else they would not be remembering them. If I were performing this I would use the augmented chord to help me feel a sense of remembrance for those who have already gone, which is both a happy and sad idea. It would help me contrast the repetitiveness of the word "alle", all the, because the first time it is accompanied by the augmented chord and the phrase talks about all those who have departed, or left this world. and then in the next statement after the fermata on the five chord, it is harmonized by a one chord which it also eventually resolves to, all though in an inversion, and the phrase accompanying this says all souls rest in peace. This statement contrasts the earlier eeriness of the augmented chord because it gives a sense of strength and encouragement thinking that those who have past are now resting in peace and not in limbo somewhere...unlike the first statement which implies that the souls are simply gone...to no place in particular.
Litanei is from the Feast for All Souls Day. This holiday is used to commemorate the faithful who have departed. I found a lovely French augment sixth chord in measure 8 that resolves to a very strong FIVE chord. This augmented sixth chord is falls on the text three times because the melody is repeated with different text three different times. It falls on 1) all who have passed 2+3) all that have, in both cases it is referring directly to the souls of those who have already gone. I think that the composer chose to do this because he was trying to create a kind of eerie effect and combine the idea of the soul having moved on but still being present, or else they would not be remembering them. If I were performing this I would use the augmented chord to help me feel a sense of remembrance for those who have already gone, which is both a happy and sad idea. It would help me contrast the repetitiveness of the word "alle", all the, because the first time it is accompanied by the augmented chord and the phrase talks about all those who have departed, or left this world. and then in the next statement after the fermata on the five chord, it is harmonized by a one chord which it also eventually resolves to, all though in an inversion, and the phrase accompanying this says all souls rest in peace. This statement contrasts the earlier eeriness of the augmented chord because it gives a sense of strength and encouragement thinking that those who have past are now resting in peace and not in limbo somewhere...unlike the first statement which implies that the souls are simply gone...to no place in particular.
The Elrkonig by Schubert is a fantastic piece of music. The poem the music is set to is one of my favorites. I remember reading it in school and being so scared for the little boy!
The ending six measures of Erlkonig contain at least two Neapolitan chords. These chords appear in mm. 143 and 146.
My take on these chords is that, for the performer, one of the things they do is to serve as a harmonic caution signal. When the performer reaches this section and plays the N6 they know that something is goin’ down in the text. Reading the translation, we know that when the N6s appear, the little boy is being taken from his father, just as the courtyard is in sight!
To me, these N6 chords sound “light” in comparison to the surrounding chords. To me that signifies that the fight is over between the little boy and death, for better or worse. The lightness could be interpreted as his soul leaving his body…? Or, they could be interpreted as the Erlkonig’s victory. He has the little boy and has called off his haunting pursuit of the frantic father and his child’s now lifeless body.
But I really don’t count as the audience/listener because I have the score right in front of me and I know that the N6 chords are there. And because I’m studying them, they should have meaning. But to the untrained ear of an unsuspecting listener, I don’t think the N6 chord would even be detected. There are so many more factors that are more apparent to the listener to suggest that there is a mortal fight going on in the story.
The lesson of this blog, you ask? Neapolitan’s are only cool to you and me… the audience?...not so much
The ending six measures of Erlkonig contain at least two Neapolitan chords. These chords appear in mm. 143 and 146.
My take on these chords is that, for the performer, one of the things they do is to serve as a harmonic caution signal. When the performer reaches this section and plays the N6 they know that something is goin’ down in the text. Reading the translation, we know that when the N6s appear, the little boy is being taken from his father, just as the courtyard is in sight!
To me, these N6 chords sound “light” in comparison to the surrounding chords. To me that signifies that the fight is over between the little boy and death, for better or worse. The lightness could be interpreted as his soul leaving his body…? Or, they could be interpreted as the Erlkonig’s victory. He has the little boy and has called off his haunting pursuit of the frantic father and his child’s now lifeless body.
But I really don’t count as the audience/listener because I have the score right in front of me and I know that the N6 chords are there. And because I’m studying them, they should have meaning. But to the untrained ear of an unsuspecting listener, I don’t think the N6 chord would even be detected. There are so many more factors that are more apparent to the listener to suggest that there is a mortal fight going on in the story.
The lesson of this blog, you ask? Neapolitan’s are only cool to you and me… the audience?...not so much
cookie monster
Beethoven’s Piano Sonata No. 21 in C major, Op. 53, “Waldstein” contains an augmented 6th chord, the point of this assignment. Specifically during the second movement of the sonata is my focal point, a short yet prolonged section of music. It takes quite a performer to sit and play such a short-looking piece so slowly, realizing it in a full 4-5 minute time span. Nevertheless, Beethoven wrote it as an introduction for the third movement of the sonata, a rondo, and included a few nifty chords in that process.
The opening statement is quiet in timbre and thin in texture but the second beat catches the audience’s attention with a tri-tone in the RH, from A to D#. On the edge of the seats, the audience demands resolution, which Beethoven gives in the form of an E major chord. However, the same idea of leading tone happens in the following measure with an ascending C# to A# passage in the RH that waits again, resolving to a B major chord. This time, Beethoven has prepared the audience’s expectations and leads measure 5 to a B diminished chord, to an Italian augmented 6th chord, resolving to C major, or the V of F major (the key of the movement). The phrase ends with vi, ii6, V7, I; a rather normal progression considering the first few bars.
As a performer, this type of information is absolutely pertinent and can create a truly superb performance. I’ve never quite understood how this information could help an individual but once a performer gets past playing the correct notes there has to be another level of performance. This is it. By understanding that the F in measure 22 is the highest note of the piece, make that note special. Realize and emphasize the “leading tones” of the notes immediately preceding measures 2, 4, and 6. Seeing how chords and lead lines fit together and create coherent structures is a functional way of 1) passing time and 2) creating exciting performances. Just like my blurb on how to become better at involving the audience we should also see where we as performers can enhance our own perception of the music and try to apply that understanding into the music we play. Just a thought.
Fryderyk Chopin: Ballade No. 1 in G minor, Op. 23
Roman Numeral Analysis: m. 208-first beat of 224
m. 208-211: i, i6, i64, i, iihalfdiminished7, V7, V43
m.212-215: i, i6, i64, i, iihalfdiminished7, V7, V43
m. 216-219: i, N6, V7, i, N6, V7, I
m. 220- first beat of 224: viifulldiminished7/iv, (not expected) N6, viifulldiminished65/iv, (not expected) N6, viifulldiminished7, i, iihalfdiminished65, V7, i
Beginning from m. 208, Fryderyk Chopin’s Ballade No. 1 in G minor, Op. 23 begins the coda, marked with Presto con fuoco to last from m. 208 to m. 252, suggesting that Chopin wants from the performer a fiery, agitated, energetic (perhaps an energy with a dark color being in the key of G minor), and fast coda. The Neapolitan chords in m. 216 and m. 218 are held with an accented bass C held three beats along with an agitated, accented melody and embellishing chordal tones in the right hand, creating tension and the fiery quality of the coda. Had Chopin used different chord like a iv, the coda’s overall fiery effect would have diminished, and the iv chords would surprise listeners less than a Neapolitan chord would, thus making the piece less interesting to both the listeners and performers.
Again, Neapolitan chords are used in the third quarter note beat of m. 220 and 221. This time, however, they are arguably even more shocking than the first previous use of the Neapolitan chord, for Chopin deceives the listeners’ expectations in chord resolutions in this passage. Following the viifulldiminished7/iv’s in the first two quarter note beats of m. 220 and 221, the listeners would naturally anticipate a iv chord to follow. Unexpectedly, a N6 is used, keeping the audience in musical suspension by delaying any resolution of some sort until the first quarter note beat of m. 224, only to dive back into the fiery flourish of accented melodies and chordal skipping embellishments of the coda on the third quarter note beat of m. 224.
As Chopin writes presto con fuoco from the beginning of the coda in m. 208, the performer should take note of the marking and adjust his or her playing accordingly. Accents should speak out in its presence, especially the accented melodic notes I the right hand (the accented melody from m. 215-223, for example) However, they should not be harsh accents as one would play in twentieth century composers Prokofiev’s or Bartok’s piano music. Although the coda is always moving at a fast pace, the performer should expose the Neapolitan chords to surprise the listeners not with taking time since this section of the coda generates forward motion to the conclusion of the piece. Rather, simply by respecting the accents and bringing out the melody and bass Chopin has written (observe accents, melody, and harmonic structure of m. 216-221, for example) is effective and conveys Chopin’s intentions well.
Even the Beatles know how to add a little Neapolitan!
The Beatles are extremely famous for adapting the typical I-IV-V-I rockabilly progressions that were so popular before the 60s to new progressions that included augmented sixth harmonies as well as Neapolitan harmonies. This is evident in the song "Do You Want to Know a Secret" from the album Please Please Me released in 1963.
This song possesses one of the most "minor" sounding introduction of any Beatles song, and does so because of the presence of the Neapolitan (bII) chord introduced in the last part of the 3rd measure of the song. John Lennon sings "You'll never know how much I really love you, you'll never know how much I really care" in what sounds almost like a pop recitative. The presence of the Neapolitan chord on the second "really" adds a different flavor to the introduction of the song.
As far as its effect on the performer, the Neapolitan chords adds an almost "bluesy" feeling and perhaps begs to be emphasized. This is evident when John Lennon sings "really" the second time--it seems almost as if he is scooping down into it to emphasize its sadness. The lyrics and tune of this introduction serves as a way for the singer to express his concern with that fact that his lover does not understand how much he cares. Therefore, the Neapolitan chord provides the tension that is clearly delineated by the text. For John's guitar, this chord may also need to be stretched out a little to be emphasized. John does precisely that, and though it is subtle, the emphasis can be heard.
As far as the effect on the listener, it is one of perhaps surprise and knowledge of something a little "different." If one were used to the typical chord progressions of rock at the time, perhaps this would provide a new flavor to the music that listeners were not previously aware of. This chord also serves, as stated before, to emphasize the longing that is clearly present in the words. Soon the piece becomes more upbeat when the singer decides to tell his lover "his secret," but at the beginning, the listener is surely aware of the singer's longing.
Here's a link to a cute little George/John picture melange (sorry Ringo and Paul) that is accompanied by the song. Enjoy!
http://www.youtube.com/watch?v=yHhRC7K0RHA
This song possesses one of the most "minor" sounding introduction of any Beatles song, and does so because of the presence of the Neapolitan (bII) chord introduced in the last part of the 3rd measure of the song. John Lennon sings "You'll never know how much I really love you, you'll never know how much I really care" in what sounds almost like a pop recitative. The presence of the Neapolitan chord on the second "really" adds a different flavor to the introduction of the song.
As far as its effect on the performer, the Neapolitan chords adds an almost "bluesy" feeling and perhaps begs to be emphasized. This is evident when John Lennon sings "really" the second time--it seems almost as if he is scooping down into it to emphasize its sadness. The lyrics and tune of this introduction serves as a way for the singer to express his concern with that fact that his lover does not understand how much he cares. Therefore, the Neapolitan chord provides the tension that is clearly delineated by the text. For John's guitar, this chord may also need to be stretched out a little to be emphasized. John does precisely that, and though it is subtle, the emphasis can be heard.
As far as the effect on the listener, it is one of perhaps surprise and knowledge of something a little "different." If one were used to the typical chord progressions of rock at the time, perhaps this would provide a new flavor to the music that listeners were not previously aware of. This chord also serves, as stated before, to emphasize the longing that is clearly present in the words. Soon the piece becomes more upbeat when the singer decides to tell his lover "his secret," but at the beginning, the listener is surely aware of the singer's longing.
Here's a link to a cute little George/John picture melange (sorry Ringo and Paul) that is accompanied by the song. Enjoy!
http://www.youtube.com/watch?v=yHhRC7K0RHA
"Erlkönig" and it's N6
"Erlkönig" is a haunting and moving piece. Schubert is a master of text painting and once again proves that with this song. We all know the horse trotting sound that is produced by the bass line and the frantic chords in the right hand. But what everyone may not notice is the Neapolitan sixth chord in measure 143.
The N6 appears in the last half of the final verse. At this point, the Erl King has taken the boy away from his father and the boy is screaming for help as the King does him harm. The father rides swiftly with his son in his arms but by the time he stops riding, his child is dead. It is the father's arrival to the courtyard that brings about the N6 chord. It is proceeded by a iv chord, which is typical, and bring the verse to a sort of halt. It almost pauses the music, mimicking the father's distress and loss of hope for his son. The chord is not resolved immediately like the listener would expect, but is stretched out through the next couple of measures. This is Schubert's way of intensely painting the father's distress and the abrupt moment when he looks down and realizes his son is dead. It's the feeling of your heart stopping and your breath being taken away for what seems like forever when you realize something horrible has happened. Schubert physically writes in this pause with 4 beats worth of rests after the N6 chord on "Noth" in measure 145. He proceeds with the final recitative and brings the song to a close with the final i chord.
Even though this N6 may not be extremely noticeable at first, after a few hearings and reading the translation, it makes sense. A N6 chord is used to enhance the harmonic structure and overall tone of the melody its embellishing. Schubert uses his incredible text painting skills to place this unexpected chord at the end of the song to leave the listener with the lingering feeling of anguish and despair, thus connecting the audience with the father.
The N6 appears in the last half of the final verse. At this point, the Erl King has taken the boy away from his father and the boy is screaming for help as the King does him harm. The father rides swiftly with his son in his arms but by the time he stops riding, his child is dead. It is the father's arrival to the courtyard that brings about the N6 chord. It is proceeded by a iv chord, which is typical, and bring the verse to a sort of halt. It almost pauses the music, mimicking the father's distress and loss of hope for his son. The chord is not resolved immediately like the listener would expect, but is stretched out through the next couple of measures. This is Schubert's way of intensely painting the father's distress and the abrupt moment when he looks down and realizes his son is dead. It's the feeling of your heart stopping and your breath being taken away for what seems like forever when you realize something horrible has happened. Schubert physically writes in this pause with 4 beats worth of rests after the N6 chord on "Noth" in measure 145. He proceeds with the final recitative and brings the song to a close with the final i chord.
Even though this N6 may not be extremely noticeable at first, after a few hearings and reading the translation, it makes sense. A N6 chord is used to enhance the harmonic structure and overall tone of the melody its embellishing. Schubert uses his incredible text painting skills to place this unexpected chord at the end of the song to leave the listener with the lingering feeling of anguish and despair, thus connecting the audience with the father.
Tuesday, April 08, 2008
Beethoven's Moonopolitan Sonata
Beethoven's first movement from his Moonlight Sonata is one of the most recognizable of his works. It's lush triplet rhythm is a sweet melancholy for the listener. One aspect which makes this Piano Sonata different is Beethoven's well placed Neapolitan chords. Beethoven begins the piece softly and fluidly with smooth triplets in in the tonic c#minor. However, in measure three he catches the audience of guard and disrupts the sleepy first two measures with a Neapolitan sixth chord in the third beat of the measure. The d natural sticks out and fleshes out the texture to give the line momentum. This chord is exciting because the listener realizes right away that this isn't some beautiful lullaby it is a painful and wrenching line against a rolling accompaniment.
The poly rhythmic effect of the melody against the accompaniment helps to highlight Beethoven's harmonic choices. The performer cannot help but rise and fall with the momentum and movement of the progression. Beethoven gives instruction in his score as to how the performer should interpret his role. The translation is "the performer should play the part with great delicacy and without dampers." So, Beethoven obviously wanted a sea of sound for this piece. That is why is is so interesting that he chooses to use Neapolitan chords throughout the piece. The way the dissonances expand into the other chords is eerie in some places. For example, when the original a section is reiterated at the end of the piece Beethoven uses a Neapolitan sixth in measure fifty and then oozes into the dominant. The performer I listened to chose to crescendo a little bit through measures forty-nine and fifty to bring out this progression and then he backed away as the melody descended. This created a nice "windy" effect and gave the line itself more drive.
It would be easy to emote through this piece because it is written so well. Since the style is delicate but the sound is full and uncontrolled the piece itself seems to be expressing it's inner feelings. The piece moves quickly because it is so intense. Although it seems relaxed and easy playing, the chords are aggravated at times and the poly rhythmic quality of the melody causes the piece to feel restless. However, because Beethoven structures the entire piece around a thick texture he manages to make the simple melody very touching.
Through a rolling rhythmic structure, a unique and simple melody, and vivid harmonies like Neapolitan chords Beethoven makes his Moonlight Sonata memorable. The piece is gorgeous sounding even with all of its strange harmonies and irregular rhythm. The picture it paints is rich and complex but it is bittersweet and quaint at the same time.
The poly rhythmic effect of the melody against the accompaniment helps to highlight Beethoven's harmonic choices. The performer cannot help but rise and fall with the momentum and movement of the progression. Beethoven gives instruction in his score as to how the performer should interpret his role. The translation is "the performer should play the part with great delicacy and without dampers." So, Beethoven obviously wanted a sea of sound for this piece. That is why is is so interesting that he chooses to use Neapolitan chords throughout the piece. The way the dissonances expand into the other chords is eerie in some places. For example, when the original a section is reiterated at the end of the piece Beethoven uses a Neapolitan sixth in measure fifty and then oozes into the dominant. The performer I listened to chose to crescendo a little bit through measures forty-nine and fifty to bring out this progression and then he backed away as the melody descended. This created a nice "windy" effect and gave the line itself more drive.
It would be easy to emote through this piece because it is written so well. Since the style is delicate but the sound is full and uncontrolled the piece itself seems to be expressing it's inner feelings. The piece moves quickly because it is so intense. Although it seems relaxed and easy playing, the chords are aggravated at times and the poly rhythmic quality of the melody causes the piece to feel restless. However, because Beethoven structures the entire piece around a thick texture he manages to make the simple melody very touching.
Through a rolling rhythmic structure, a unique and simple melody, and vivid harmonies like Neapolitan chords Beethoven makes his Moonlight Sonata memorable. The piece is gorgeous sounding even with all of its strange harmonies and irregular rhythm. The picture it paints is rich and complex but it is bittersweet and quaint at the same time.
Rossini's Hot Messe
Rossini was pretty much a rock star. His Petite Messe Solennelle - which, by the way, is being performed by the Chamber Singers, Katya Kramer, Amanda Hobson and Brian Clark TONIGHT at 7:30pm in Thompson - is a brilliant and fascinating work, bridging Classical and Romantic styles.
One of my favorite movements is the Sanctus, which is in 6/8, and has, to quote Shani Wahrman, a "Christmas carol in the final scene of a movie" kind of sound. It combines the text of both the Sanctus and the Benedictus:
Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth; pleni sunt coeli et terra gloria tua.
Hosanna in excelsis. Benedictus qui venit in nomine Domini. Hosanna in excelsis.
The text of the Benedictus is first stated in measure 18: a soft, flowing, 8-bar phrase ending with an applied-chord half cadence in m. 24-25. When the Benedictus text is restated in m. 35, this time Rossini changes it up with a little text-painting. The first half of the phrase (m. 35-38) is almost completely untouched, but then the choir sings "qui venit in Domini," in m. 39-42. I'll give you the chords here (C major):
m. 39: V42/IV
m. 40: IV6, Fr+6
m. 41: I64--V7
m. 42: I
In m. 40, the choir sings "venit in", and Rossini sets this symbolically with a Fr+6 chord - so that as the choir "comes to the Lord", the Fr+6 announces the imminent arrival of the much-longed-for dominant in m. 41. Rossini has a nice bit of text painting there - the tension building as we wait for he who "comes in the name of the Lord", the French 6th tells us he will soon arrive - and the listener's subconscious desire for the dominant arrives with the Lord - the dominant, ha ha, with "Domini", before returning satisfyingly to tonic in m. 42.
There are many other neat little moments like that throughout the Messe - but you have to be there tonight to hear them! Trust me, it'll be worth it.
One of my favorite movements is the Sanctus, which is in 6/8, and has, to quote Shani Wahrman, a "Christmas carol in the final scene of a movie" kind of sound. It combines the text of both the Sanctus and the Benedictus:
Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth; pleni sunt coeli et terra gloria tua.
Hosanna in excelsis. Benedictus qui venit in nomine Domini. Hosanna in excelsis.
The text of the Benedictus is first stated in measure 18: a soft, flowing, 8-bar phrase ending with an applied-chord half cadence in m. 24-25. When the Benedictus text is restated in m. 35, this time Rossini changes it up with a little text-painting. The first half of the phrase (m. 35-38) is almost completely untouched, but then the choir sings "qui venit in Domini," in m. 39-42. I'll give you the chords here (C major):
m. 39: V42/IV
m. 40: IV6, Fr+6
m. 41: I64--V7
m. 42: I
In m. 40, the choir sings "venit in", and Rossini sets this symbolically with a Fr+6 chord - so that as the choir "comes to the Lord", the Fr+6 announces the imminent arrival of the much-longed-for dominant in m. 41. Rossini has a nice bit of text painting there - the tension building as we wait for he who "comes in the name of the Lord", the French 6th tells us he will soon arrive - and the listener's subconscious desire for the dominant arrives with the Lord - the dominant, ha ha, with "Domini", before returning satisfyingly to tonic in m. 42.
There are many other neat little moments like that throughout the Messe - but you have to be there tonight to hear them! Trust me, it'll be worth it.
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