sticks and stones and beethovens...
roman numeral analysis, fun!
EM
m.79 iv64, IIIhalfdim
m.80 iv, iidim6
m.81 i6, V7
m.82 i, iv
m.83 III6, ii
CM
m.84 I, iv
m.85 iii6, ii
m.86 I
m.87 I
FM
m.86 V, I6,IV
m.87 iii64, ii
m.88 vi, I6 , IV
m.89 iii6, ii
m.90 I
There is a two measure harmonic pattern that is in each key. It's in measures 82-83, 84-85, and 88-89. The two beat sequential pattern is repeated many times throughout measures 80-89. the first two measures of the sequence goes down by a half step then after that it looks as if the sequence goes down by way of falling thirds.
The two sequences are layered on top of each other in this excerpt. You could say that the shorter melodic sequence acts as a way to connect the longer harmonic sequence. the melodic sequences also provides a link between keys by introducing or reintroducing notes of the upcoming key within the sequence.
Thursday, May 01, 2008
Analysis for Jerry Gray and Eddie de Lange, "A String of Pearls"
m. 11: i(6/5)
M.12:i (6/5) II7 flat ii7
M. 13: vi
harmonically this excerpt is not exactly simple but functionally it is very important. It leads us back from a previous section to the close of the piece. Most of these chords shares a common tone between them, or move apart in no bigger motion than a second allowing for the composers so bend the rules of resolution.
The piece ends with motion from an E chord to a B to a C. the interesting thing about these final two chords is that every note of the B chords resolves up to the C and all no more than a second creating a very interesting, almost incomplete sound.
m. 11: i(6/5)
M.12:i (6/5) II7 flat ii7
M. 13: vi
harmonically this excerpt is not exactly simple but functionally it is very important. It leads us back from a previous section to the close of the piece. Most of these chords shares a common tone between them, or move apart in no bigger motion than a second allowing for the composers so bend the rules of resolution.
The piece ends with motion from an E chord to a B to a C. the interesting thing about these final two chords is that every note of the B chords resolves up to the C and all no more than a second creating a very interesting, almost incomplete sound.
Ludwig van Beethoven, Piano Sonata in C major, Op. 53 “Waldstein”, first movement: Allegro con brio
Roman Numeral Analysis: m. 78-90
m. 78-83: [III] [E major]: I, V7/iv, iv64, V7/iv, iv, ii6 diminished, V864-753, i, i6, iv, V864-753
m. 84-87: [III]: I: I, I6, IV, V864-753, [1st ending: I]: I, [second ending: IV]: I6, IV, V864-753
m. 88-90: [IV]: vi, I6, IV, V864-753, I
The first movement of Ludwig van Beethoven’s Piano Sonata in C major, Op. 53 “Waldstein” exhibits sequencing of melody and harmony in m. 82-90. The harmony follows a falling thirds pattern, going from E minor (m. 82) to C major (m. 84), skipping A minor, then finally arriving at D major (m. 90). The same quarter note-eighth note-eighth note etc. melody with the first run of it starting from the third beat of m. 80 going to m. 83, is used and transposed to fit diatonically within all of the harmonic changes all the way up to m. 90. The melody is played a total of three times.
In context of the piece, the melodic and harmonic sequence functions to seamlessly transition the piece from E major to F major to start the development. In doing so, Beethoven still manages to maintain much melodic and musical interest in this excerpt. The change from C major to F major the second time the section is repeated is unexpected and interesting. Therefore, the performer should make much musically speaking out of the shift from C major to F major (m. 86-90). Beethoven writes in crescendos that go into softer markings piano (m. 86-87) and pianissimo (m. 88-89). These dynamics add to making the moment musically interesting, so they should be observed, almost exaggerated in the crescendo markings to the piano or pianissimo markings.
m. 78-83: [III] [E major]: I, V7/iv, iv64, V7/iv, iv, ii6 diminished, V864-753, i, i6, iv, V864-753
m. 84-87: [III]: I: I, I6, IV, V864-753, [1st ending: I]: I, [second ending: IV]: I6, IV, V864-753
m. 88-90: [IV]: vi, I6, IV, V864-753, I
The first movement of Ludwig van Beethoven’s Piano Sonata in C major, Op. 53 “Waldstein” exhibits sequencing of melody and harmony in m. 82-90. The harmony follows a falling thirds pattern, going from E minor (m. 82) to C major (m. 84), skipping A minor, then finally arriving at D major (m. 90). The same quarter note-eighth note-eighth note etc. melody with the first run of it starting from the third beat of m. 80 going to m. 83, is used and transposed to fit diatonically within all of the harmonic changes all the way up to m. 90. The melody is played a total of three times.
In context of the piece, the melodic and harmonic sequence functions to seamlessly transition the piece from E major to F major to start the development. In doing so, Beethoven still manages to maintain much melodic and musical interest in this excerpt. The change from C major to F major the second time the section is repeated is unexpected and interesting. Therefore, the performer should make much musically speaking out of the shift from C major to F major (m. 86-90). Beethoven writes in crescendos that go into softer markings piano (m. 86-87) and pianissimo (m. 88-89). These dynamics add to making the moment musically interesting, so they should be observed, almost exaggerated in the crescendo markings to the piano or pianissimo markings.
First Theory paper...now blog....will this night ever end?
Well at least this blog is a short one.
Chords:
m. 11 : I ( +6 )
m. 12: vi 65
II
ii ( + b6)
I7
m. 13: IV
IV65
IV º65 (?)
Measure 12 which is the transition between the two measures of text we were asked to analyze. The interesting thing about this measure is all the chromaticism that is used, including a major II, shortly followed by a minor ii. We would expect that because a ii usually serves as a predominant that the following chord would be a V chord, but it is not, instead we have a tonic chord.
The final two chords to me seem rather out of place, having a B major chord in E flat major, now that's just weird. and then we have the slide up the C major chord. Guess that's just how they did it back then. The fact that the E flat is held above the B major chord makes it an even more interesting ending.
Chords:
m. 11 : I ( +6 )
m. 12: vi 65
II
ii ( + b6)
I7
m. 13: IV
IV65
IV º65 (?)
Measure 12 which is the transition between the two measures of text we were asked to analyze. The interesting thing about this measure is all the chromaticism that is used, including a major II, shortly followed by a minor ii. We would expect that because a ii usually serves as a predominant that the following chord would be a V chord, but it is not, instead we have a tonic chord.
The final two chords to me seem rather out of place, having a B major chord in E flat major, now that's just weird. and then we have the slide up the C major chord. Guess that's just how they did it back then. The fact that the E flat is held above the B major chord makes it an even more interesting ending.
Shortest Blog Ever
Sorry Spiegs, but the paper is taking precedence over this blog...so it's gonna be really quick!
"A String of Pearls"
by Jerry Gray and Eddie de Lange
m11 - i65
m12 - i65 - II7 - V7/IV
m13 - IV
This is a transitional measure which allows the composer leeway, no idea how to spell that, with the chromaticism, which he uses a lot! measure twelve, especially is rather confusing with LOTS of accidentals! The composers used close movements between the notes to accentuate the closeness of the chromaticisms.
"A String of Pearls"
by Jerry Gray and Eddie de Lange
m11 - i65
m12 - i65 - II7 - V7/IV
m13 - IV
This is a transitional measure which allows the composer leeway, no idea how to spell that, with the chromaticism, which he uses a lot! measure twelve, especially is rather confusing with LOTS of accidentals! The composers used close movements between the notes to accentuate the closeness of the chromaticisms.
Ok, so here’s the thing…this is going to be a rather short blog…what can you do? I have a theory paper to write ,people!
Measures 79-90 of Piano Sonata in C major, Op. 53, by Beethoven are a whirlwind of 16th notes and chromaticisms.
Here is the roman numeral analysis for it:
E minor
79 iv64 III
80 iv iidim
81 i6 III
82 i iv
83 III ii
Cmajor
84 I I6
85 iii6 ii
86 I
87 I
F major
86 V I6 IV
87 iii6 ii
88 vi I6 iv
89 iii6 ii
90 I
Measures 79-90 of Piano Sonata in C major, Op. 53, by Beethoven are a whirlwind of 16th notes and chromaticisms.
Here is the roman numeral analysis for it:
E minor
79 iv64 III
80 iv iidim
81 i6 III
82 i iv
83 III ii
Cmajor
84 I I6
85 iii6 ii
86 I
87 I
F major
86 V I6 IV
87 iii6 ii
88 vi I6 iv
89 iii6 ii
90 I
Blog
Brief Analysis A, Jerry Gray and Eddie de Lange's "A string of Pearls":
Qualities for each chord: m.11- I+6
m. 12- II7, flatII+flat7, I+7
m. 13- IV, IV65
m. 14- I+6
m. V7, I+6
It seems that in measures 11-13, each chord is ascending through means of a chromatic sequence until we reach m.13 and move to the IV. The bflat would want to move to keep moving down chromatically, but instead goes up to a c natural which feels awkward since the harmony just went cflat, bflat, you would want to keep moving down two more half steps, but you get that Aflat chord which acts as more of a dominant function since there were two chords built on D and Dflat, even with the interrupting tonic, the Aflat still comes across with a little dominant feel until the fourth beat.
Qualities for each chord: m.11- I+6
m. 12- II7, flatII+flat7, I+7
m. 13- IV, IV65
m. 14- I+6
m. V7, I+6
It seems that in measures 11-13, each chord is ascending through means of a chromatic sequence until we reach m.13 and move to the IV. The bflat would want to move to keep moving down chromatically, but instead goes up to a c natural which feels awkward since the harmony just went cflat, bflat, you would want to keep moving down two more half steps, but you get that Aflat chord which acts as more of a dominant function since there were two chords built on D and Dflat, even with the interrupting tonic, the Aflat still comes across with a little dominant feel until the fourth beat.
theory, theory everywhere!
m. 79-83
EM::
m.79 - VI I7
m.80 - IV iv
m.81 - i64 V7
m.82 - I IV
m.83 - ?
m. 84-87 (1st ending)
CM::
m.84 - I VI
m.85 - V
m.86 - I
m.87 - I V/V(?)
m. 86-90 (2nd ending)
FM::
m.86 - V I6 IV
m.87 - V6
m.88 - VI IV
m.89 - ?
m.90 - I
The sequence in this section is stated twice. The first time is in m.82-85 in the bass (it is stated twice the second time down a third), and the second time is in m.86-89 (repeated down an octave). There is also a sequence in the treble voice that is a measure and a half to two measures. This sequence is repeated four times (m.80-81, 82-83, 84-85, 88-89). Beethoveen certainly kept the listener guessing with all the key changes in such a small section. But they occured smoothly and easily with key transitions.
When I hear Beethoveen I think virtuosity, which is just what this piece offers. This is a great piece for an accomplished pianist. Obviously I am not a pianist myself, but as a fellow musician and listener, I really am impressed by what one can do on the piano. This is a very impressive piece, and one that I would be very interested to see it performed.
EM::
m.79 - VI I7
m.80 - IV iv
m.81 - i64 V7
m.82 - I IV
m.83 - ?
m. 84-87 (1st ending)
CM::
m.84 - I VI
m.85 - V
m.86 - I
m.87 - I V/V(?)
m. 86-90 (2nd ending)
FM::
m.86 - V I6 IV
m.87 - V6
m.88 - VI IV
m.89 - ?
m.90 - I
The sequence in this section is stated twice. The first time is in m.82-85 in the bass (it is stated twice the second time down a third), and the second time is in m.86-89 (repeated down an octave). There is also a sequence in the treble voice that is a measure and a half to two measures. This sequence is repeated four times (m.80-81, 82-83, 84-85, 88-89). Beethoveen certainly kept the listener guessing with all the key changes in such a small section. But they occured smoothly and easily with key transitions.
When I hear Beethoveen I think virtuosity, which is just what this piece offers. This is a great piece for an accomplished pianist. Obviously I am not a pianist myself, but as a fellow musician and listener, I really am impressed by what one can do on the piano. This is a very impressive piece, and one that I would be very interested to see it performed.
Blog
Beethoven's Waldstein Sonata's first movement uses both harmonic and melodic sequences to modulate keys between sections. In measures 78-87, there is a modulation from the end of the E Major codetta of the exposition back to the C Major beginning of the exposition. In these few measures, there is a melodic sequence consisting of a quarter note two eighth notes in a downward motion motive. But there is also a harmonic sequence, where the harmony starts on E and goes up by a step to get to C.
Also, the second time through this part, continuing through measure 90, there is a modulation to D minor for the development. The melodic sequence is the same motive, and this time the harmonic sequence starts on a Bflat chord and goes down by steps to get to D.
Also, the second time through this part, continuing through measure 90, there is a modulation to D minor for the development. The melodic sequence is the same motive, and this time the harmonic sequence starts on a Bflat chord and goes down by steps to get to D.
i wish all the blogs were this short
Soo...I have brief analysis A- Jerry Gray and Eddie de Lange's "A Sting of Pearls"
msr. 11: I add 6
msr.12: iv65; bII7; ii; I7
msr. 13: IV; IV65
There is some interesting chromaticism in measure 12 with a D7-Db7 chord. It's kinda awkward, but it works for the song. The use of the major flat II and the minor ii give this transition measure a different feel. It ends with an incomplete sounding E chord with the B resolving up to the C.
msr. 11: I add 6
msr.12: iv65; bII7; ii; I7
msr. 13: IV; IV65
There is some interesting chromaticism in measure 12 with a D7-Db7 chord. It's kinda awkward, but it works for the song. The use of the major flat II and the minor ii give this transition measure a different feel. It ends with an incomplete sounding E chord with the B resolving up to the C.
Beethoven Piano Sonata in C Major Op. 53
measures 79-83
key: E minor
iv64, V7/iv | iv, ii6 | V64-53 | i, i6, iv | V64-53
measures 84-87
key: C Major
I, I6, | IV, V64-53, | I( first ending) | (second ending) I6, IV | V864-753
measures 88-90
key: D Minor
vi, I6 | IV, V64-53 | I
The sequencing in the allotted measures is found in a couple ways. Mainly through the repetition of the same melodic patterns through the three key areas. The movement from E minor to C major to D major follows the pattern of a falling thirds sequence and moves the two-beat long melodic sequence that highlights the musical passage.
The shifts and small transitions between the keys are accomplished gracefully through the use of a fluid melodic line that modulates through the phrases with a steadily moving piano accompaniment. There are no firm cadences or coda's that would normally work to give each key area its own unique and distinctive feel. Instead, the music seems, in my opinion to be going for a subtle key change, and that it so accomplishes through the smooth connections between phrases that Beethoven utilizes through the falling third sequences. In addition, crescendos and other dynamic markings give this section a very animated feel and take the focus off of the key area shifts and move them instead to the emotions of the melody and dynamics. If I were to perform this piece I would be sure to focus my attention to the dynamics and make sure each transition to a new key area was smooth as the music seems to intend it to be.
key: E minor
iv64, V7/iv | iv, ii6 | V64-53 | i, i6, iv | V64-53
measures 84-87
key: C Major
I, I6, | IV, V64-53, | I( first ending) | (second ending) I6, IV | V864-753
measures 88-90
key: D Minor
vi, I6 | IV, V64-53 | I
The sequencing in the allotted measures is found in a couple ways. Mainly through the repetition of the same melodic patterns through the three key areas. The movement from E minor to C major to D major follows the pattern of a falling thirds sequence and moves the two-beat long melodic sequence that highlights the musical passage.
The shifts and small transitions between the keys are accomplished gracefully through the use of a fluid melodic line that modulates through the phrases with a steadily moving piano accompaniment. There are no firm cadences or coda's that would normally work to give each key area its own unique and distinctive feel. Instead, the music seems, in my opinion to be going for a subtle key change, and that it so accomplishes through the smooth connections between phrases that Beethoven utilizes through the falling third sequences. In addition, crescendos and other dynamic markings give this section a very animated feel and take the focus off of the key area shifts and move them instead to the emotions of the melody and dynamics. If I were to perform this piece I would be sure to focus my attention to the dynamics and make sure each transition to a new key area was smooth as the music seems to intend it to be.
ベートーヴェン <--- Beethoven
080501
Blog #13
B. Ludwig van Beethoven, Piano Sonata in C Major, Op. 53 (Waldstein), first movement, mm. 74-92 (p. 40) CD 1.55
Roman numerals
Key: III EM
M79: I
M80: IV, ii6
M81: i64, V7
M82: I, I6, iv
M83: V86-75
Key: CM
M84: I, I6, IV
M85: V
M86: I
M87: I
Key: IV FM
M86: V, I6, IV
M87: V
M88: VI, I6, IV
M89: I64,
M90: V864-753
There is a sequence in the three keys. It appears in m. 81 and goes through till m85 and then again in m86 till 89. It is in groups of 2 measures and it is transposed down a third. The sequences helps it transition from EM to CM to FM then to DM. It has a forward motion moving it towards the new key in the development.
This piece sounds pretty neat and makes me want to practice. Weird!
Blog #13
B. Ludwig van Beethoven, Piano Sonata in C Major, Op. 53 (Waldstein), first movement, mm. 74-92 (p. 40) CD 1.55
Roman numerals
Key: III EM
M79: I
M80: IV, ii6
M81: i64, V7
M82: I, I6, iv
M83: V86-75
Key: CM
M84: I, I6, IV
M85: V
M86: I
M87: I
Key: IV FM
M86: V, I6, IV
M87: V
M88: VI, I6, IV
M89: I64,
M90: V864-753
There is a sequence in the three keys. It appears in m. 81 and goes through till m85 and then again in m86 till 89. It is in groups of 2 measures and it is transposed down a third. The sequences helps it transition from EM to CM to FM then to DM. It has a forward motion moving it towards the new key in the development.
This piece sounds pretty neat and makes me want to practice. Weird!
Tchaikovsky is waiting...
Harmonic analysis for measures 79-90:
Key of E minor:
mea. 79 – iv vii/iv
mea.80 – iv ii6
mea. 81 – V64-53
mea. 82 – i6 ii6
mea. 83 – V64-53
Key of C Major:
mea. 84 – I ii65
mea. 85 – V64-53
mea. 86 (1st ending) – I
mea. 87 – I V42/V
Key of F Major:
mea. 86 (2nd ending) – V I6 IV
mea. 87 – V64-53
mea. 88 – vi IV
mea. 89 – vi V7
Key of D minor:
mea 90 – i6
This excerpt from Beethoven’s famous Piano Sonata in C Major, Op. 53 Waldstein, mm. 79-90 happens at the end of the exposition, transitioning from E minor to D minor. I say “E minor” rather than “E Major” (as the book states) because of the repeated E minor chords throughout mm. 79-83. Even so, transitioning from one sharp key to one flat key is a simple process for Beethoven as he simply does what any sane composer would and should do: cycle through the circle of fifths. Beginning in E minor, Beethoven shifts in measure 83 to the key of C Major, a surprising but effective modulation. Using the majorness of C to his advantage, the modulation to the key of F is accomplished through another sequence happening between measures 83-86 (second ending). As quickly as Beethoven shifts into the F Major he shifts back into D minor, again surprising but foreshadowed. In measure 97 Beethoven repeats (for the 4th time in a row) a cadential 6/4 in the respective key, after which he typically modulates o the appropriate key. In measure 88, however, Beethoven does not modulate but introduces a deceptive cadence in the key of F, a D minor chord (vi). Two bars later when the listener again hears the major V7 the audience is expecting the following chord to either 1) go back and reaffirm tonic or 2) hear another deceptive cadence. Well, Beethoven, being the crafty person he is, does both. His cadence, although seemingly a deceptive cadence (V going to vi) is actually the preparation for his new key, the key of D minor. But by the time the listener realizes this the point has come and gone, leaving the audience in awe of Beethoven’s glory.
Wednesday, April 30, 2008
A short Blog?!?!?!?!? There is something just in this world
I will follow suit with my title and make a short blog.
The chords for measures 11-13 are:
vi65
vi43
vi42
I hear the notes as a Cm7 instead of Eb as the book says.
Measure 12:
Vi65
iiiadd2
VII7
bVII7
I7 or V7/IV
measure 13:
bv
bv6
V43
V65 with b7
This pop piece puts me in a good mood being so short. The last two chords give a short of ta-dah feel to me. The ending chord has a jazzy feel with the C, but you might not here that as a jazzy tonic, but a Cm7. The Eb and Bb help the tonic feeling. Leading into it the Bmajor 7 definetly gives the jazz feel. In the jazzy feel the second to last chord gives it a sliding feel to the last chord.
Now on to the finishing touches to LEIDERKRIES OP.39.
The chords for measures 11-13 are:
vi65
vi43
vi42
I hear the notes as a Cm7 instead of Eb as the book says.
Measure 12:
Vi65
iiiadd2
VII7
bVII7
I7 or V7/IV
measure 13:
bv
bv6
V43
V65 with b7
This pop piece puts me in a good mood being so short. The last two chords give a short of ta-dah feel to me. The ending chord has a jazzy feel with the C, but you might not here that as a jazzy tonic, but a Cm7. The Eb and Bb help the tonic feeling. Leading into it the Bmajor 7 definetly gives the jazz feel. In the jazzy feel the second to last chord gives it a sliding feel to the last chord.
Now on to the finishing touches to LEIDERKRIES OP.39.
Subscribe to:
Posts (Atom)