tag:blogger.com,1999:blog-10416963.post6867609281250843725..comments2023-10-18T23:01:58.336-04:00Comments on Form and Analysis: Scotthttp://www.blogger.com/profile/01286095156825716887noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-10416963.post-22673612926754625482008-02-29T11:20:00.000-05:002008-02-29T11:20:00.000-05:0036 = ii65 V43/IV (notice the accidentals!)41, same...36 = ii65 V43/IV (notice the accidentals!)<BR/>41, same thing, it is a V7/IV.<BR/>42 = IV ii half-diminished 65 (no Fi)<BR/>43 = I64 V7/IV<BR/>44 = IV (suspensions)V7/N<BR/>45 = N N6<BR/>All of the following I7s are really V7/IV. Pay attention to the quality of the chord.<BR/><BR/>Look at all of the funky iii, V7/IV, V7/N, N and ii hd 65 chords, that is pretty exciting harmonically. Make a stand on where the climax is. As a performer you can't be wishy-washy. 45 is best, because it has the highest note and the loudest dynamics (crescendo from mf) and the power of the Neapolitan chord.<BR/>The Neapolitan is foreshadowed by mixture, esp. at m. 22.<BR/><BR/>33-38 does have an implied melodic division at 35, though the harmony keeps us moving. Thus the phrase is divided into two subphrases. Don't worry about the author's interpretation or if there is a "correct" answer. Think about your opinions on the performance and why you have them. How would you keep the energy up and drive the melody forward? (slight crescendo in m. 35 leading to 36?)<BR/><BR/>Good thought about the ascending line at the postlude. Brahms colors this line with a delay of tonic through the V7/IV IV64 ii hd 42 progression before finally fiving tonic again at the last chord.Scotthttps://www.blogger.com/profile/01286095156825716887noreply@blogger.com