Catherine's post

Chord Progression:

m. 137 – i ii42
m. 138 - i i64 i6
m. 139 - I7
m. 140 – iv iv64
m. 141 – 142 - Chromatic bass line starting from a C asceding to an G. Treble clef sounds octave Cs every beat.
m. 143 – N6 (bII)
m. 144 – viio42/bII
m. 145 – bII
m. 146 – bII6
m. 147 – V7/ V
m.148 – i

The Neapolitan chord is approached by a chromatic ascending bass line. It begins with a two beat hold on an octave C, then from there each beat ascends chromatically to scale degree b2 (A-flat). The treble clef has a constant playing of middle C and the octave above until the N6 chord. This approach is eight beats long, and crescendos to the Neapolitan chord. I think is an extremely effective way to approach this chord. The chromatic bass line effectively warns the listener that an important section of the piece is coming. It brings suspension and excitement to the Neapolitan chord. The Neapolitan chord then resolves to a dominant sounding chord. It resolves to viio42/bII, moves back to bII, then the piece finally concludes with a V7/V to a i. I really enjoy how the Neapolitan chord moves to the fully diminished vii of bII chord because it gives the listener a state of uneasiness. It emphasizes the confusion and fear the performer and music is expressing. While the approach to the Neapolitan chord is somewhat different, the resolution is quite normal. Most often, Neapolitan chords resolve to dominant chords and this one does.
The music of this piece emphasizes text painting. The Neapolitan chord especially gives the correct effect for the state of the performer. For example, the translation of the singer’s text during the playing of the Neapolitan chord is “he holds in his arms the groaning child; he arrives in the courtyard, with effort and distress.” This text reveals that even though the child is harmed, no one truly knows the real state of the child. While the harmony expresses concern, it also holds a place for hope. Despite a wound, the father yearns for the child’s safety and hopes for a prospective outcome. The Neapolitan chord expresses mystery, fear, and hope all at once. Then in the last three measures of the piece, a Neapolitan chord is played and the audience can only hear a harmony of suspense. The performer then pronounces the death of the child. Which then leads the V7/V and minor i. Thus, these two chords confirm the state of the child and the saddened atmosphere.

Nick's post

Schubert’s “Erlkonig” is an interesting piece. First of all, the lyrics cause great discussion. The song can be interpreted in many different ways, which intrigues many people, including myself. When analyzing the piece, we find many interesting things as well. First of all, the Neapolitan is approached and resolved differently than we would expect. Prior to the chord, we have a iv chord. Oddly enough, the chord is resolved with another iv chord to i, rather than a V to i. This causes the resolution to sound a bit different than we would expect, with a sense of prolonging with the iv chord. The scalewise motives presented by the left hand at the end of the piece starting in measure 132 create a sense of urgency as well. Then we reach the end, where the child dies. This piece is truly fascinating.

Chapter 25- Brief Analysis A: Mozart Piano Sonata in C Major, K. 545 III Mvt.

Brief Analysis- Mozart Piano Sonata in C Major, K. 545 III Mvt.


Roman Numeral analysis of m. 41-48 in the relative minor---key of a minor:

m. 41-43: i64 V7 i64
m. 44: V42 V6
m. 45: i iio i6
m. 46-47: iv7, N6 V7
m. 48: i

In Mozart’s Piano Sonata in C Major III, most of the work is in the key of C Major but the excerpt given in measures 41-48 is featured in the relative minor key of a minor. In this excerpt, the use of the Neapolitan chord in m. 47 creates a surprising change in the harmony because the Bb does not fit chromatically into the diatonic scale. The N6 is approached by a iv7 chord in m.46 with a descending sixteenth melodic line above a prolonged i in the tenor and a bass line that moves both upward and downward to the D and F in m. 47 to create the N6. The N6 resolves to a V7 on the second beat in m.47 which then leads to the tonic i in m. 48. This harmony of iv7-N6-V7-i follows the progression T-PD-D-T, where the N6 functions as the PD. The Neapolitan also follows the standard voice-leading, where the b2 is in the highest voice and resolves to a 1 (Bb to A in m.47) and the b6 is in one of the lower voices (in this case, the tenor voice) and the b6 resolves to the 5 (F to E in m. 47).

Beethoven c minor, Op. 13 third movement

Roman numerals:
m.41-51: E-flat Major IV, I64V7, I, V42, I6, IV6 Fr.6, V, V42, V65/IV, IV V7, I

In the measure 46 on the first and second beat Beethoven wrote nice IV4 chord followed by Fr.6. Voicing is peaty good (key board style), in the bass is C which goes to the C flat, half step down. In the right hand we have E flat A Flat, goes to the E flat F and A natural. In measure 47 we have nice resolution V chord(C flat to the B flat, A natural to the B flat contrary emotion, E flat to the D and F stays) which is nice Half Cadence ( good mode mixture).

In measure 49-50 chord is V65/IV not a augmented-sixth chord. Beethoven didn't use the augmented-sixth chord because V65/IV sounds much stronger and stable than augmented-sixth chord "mixture chord". Also he didn't use augmented-sixth chord second time because of the cadence IV V I PAC.

I answered on all questions!!!
100 %
S. Spikelberger

Beethoven

The chord structure of this excerpt from Beethoven's Piano Sonata in C is as follows: m.41-IV, m.42-I^6/4 and V^7, m.43-I, m.44-V^4/2, m.45-I^6, m.46-IV^6 and Fr^6, m.47-V, m.48-V^4/2, m.49-I^6 and (V^6)/VI, m.50-VI and V, m.51-I.

The augmented sixth chord is in measure 46 and is a French Augmented Sixth Chord. It is approached by a IV^6 chord and is resolved to a root position V chord. The base of the IV^6 chord moves up a half step to make the me of the Fr^6 chord, the Eb remains the same, and the Ab moves up a half step for the Fi of the Fr^6 chord. The Fi of the Fr^6 chord moves up to Sol for the V chord, the Do moves down to Ti, the Le moves down to Sol, and the Re remains as it is for the V chord. This is a normal type of approach and resolution. The chord in measure 49 is not an augmented Sixth chord.  

WAM - Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart, Piano Sonata in C Major, K.545, third movement (p.155) Track 2.71-73

Roman numerals of measures 41-48 in the key of a minor:
m41: i64
m42: V
m43: i6
m44: V64 V6
m45: i iio III V6/iv
m46: iv
m47: N6 V64-53
m48: i

This movement is in C Major, but for this section it goes into the parallel minor key, a minor. The neapolitan sixth chord in measure is left in a typical progression using a V64-53 suspension. The Bflat Ra goes down to a Gsharp Ti, and the F Le goes down to a E sol. In the score it looks misleading as if the Le is going up to a sol rather than down because the left hand is written in treble clef and then switches back to bass clef right as it resolves. The neapolitan chord seems to stick out because there is a big cresendo with descending sixteenth notes leading up to it and then dimuendos as it is resolving. It has a lot of tension buliding up as it gets to the neapolitan chord. This piece is really interesting because the harmony don't change on the downbeat. The recording that came along with our scores is played on a fortepiano. It has a cute, light, crisp sound. Typical of Mozart.

Beethoven and his craaaazy cadences... (Opp

I'll be frank - Beethoven can be a little long winded in my opinion, however I have to acknowledge his refreshing chordal vocabulary, especially how he takes existing musical rules and twists them around. In particular, his Piano Sonata (C minor, Op. 13) has a great example of an augmented-sixth chord. In measure 46, on the first two beats Beethoven approaches the augmented-sixth chord with a big IV6. The key of the piece at this point is technically Eb major (relative major to C minor). This makes the IV6 spell out as Ab C Eb, C in the bass.
Immediately after the IV6 approach, Beethoven slams a French augmented-sixth chord into the half cadence. A typical French augmented-sixth chord in the key of Eb major is spelled Cb Eb F A natural, with Cb in the bass. This chord remains for beats 3 and 4 of measure 46 in a block chord. As necessary, le (Cb) resolves down in the next measure to Bb (sol) in contrary motion to the Fi (A natural) which resolves up to Bb also (sol). This contrary motion resolving Fi and le is the most important part of the augmented-sixth chord and it's role in the Half Cadence.
This whole instance in measure 46-47 is honestly, probably the most "text-book" example of an augmented-sixth chord in real life not only because of the spelling of the chords, but because of the block half-note rhythm of the section. Another really important part of these passages is the chromatic descent of the lowest note. In this example, La Le Sol (C Cb Bb) is a signal of this type of mode mixture.
A few bars later, in measures 49-50, Beethoven is extremely complex with his cadential material. As I mentioned earlier, regarding augmented-sixth chords, it is REALLY important that there is a fi resolving up to sol in contrary motion to le resolving down to sol. There is in fact a "quasi-augmented-sixth chord" from measure 49-50. A Db resolves down to a C while a B natural resolves up to a C. Since le is Db, the tonic note should be F.
In the case of most augmented-sixth chords, the chord that is resolved TO is a V chord. In measure 50, this should-be V chord is spelled Ab C Eb. This is unexpected, since with a typical augmented-sixth chord we would expect a V and in this case it should have been an F major chord. The strange thing is that this Ab chord can definitely be considered the dominant V chord of Db. Look at the bass note for example. It is a G which is technically a fi with regards to the key of Db.
There is a lot going on here. The cadential material in the treble clef resembles an augmented-sixth chord because of contrary motion between an apparent le and fi resolving to sol (C). This would in theory go to a C major chord as a V in the key of F major. However, the bass clef seems to be in a different key that shows a resemblance to a French augmented-sixth cadence in Db with a Re sustained over a fi-sol movement. Obviously this lacks a le-sol movement and is thus not a complete augmented-sixth chord either. Looking at what chord actually resolves of this is a mix of the two augmented-sixth chords that is pretty unexpected. It is an Ab major chord, which is IV. In my opinion, Beethoven took the basic structure of an augmented-sixth chord and altered it in order to resolve to a IV.
In conclusion, I believe that this is not a true augmented-sixth chord because in any way you look at it, you cant complete the figure. Undoubtedly this is an example of strange mode mixture, with a little hint of a secondary dominant that I can't really explain. In a performance, this part of the piano sonata most certainly demands close attention and adequate emphasis from the performer to really throw off the audience. As you will notice in the measures 50 and 51. The piece quickly flies through a rather unusual IV - V 7- I after this rather joggling mixture, which is quite humorous, though typical of Beethoven.

Erlkönig

This piece does well by exceeding my experiential standard for text painting and emoting in any accompanied vocal work. Each time I listen to this piece, regardless of how I may feel about it, it never ceases to reveal layer upon layer of subtle text painting, play with harmonic color, and the simple ability to tell a story with more than simply the words in the song. The conclusion of this piece marks the death of the child whose life was so bravely fought for by his father. Schubert does an remarkable job telling the story through music and evoking the emotions that one is meant to feel through the use of harmonics, rhythms, and dynamics.

One important harmonic aspect of the conclusion to Erlkonig is the use of the Neapolitan 6th in m.143. The chord is not used in a traditional context and almost comes as a surprise not only to a learned ear, but to one of a layman as well. The Neapolitan 6th is preceded by a iv chord which gives the listener a sort of expectancy as the minor iv chord is abruptly interrupted by the Neapolitan 6th, which seems to take on a foreshadowing role. The Neapolitan 6 falls on the text "Erreicht den" which signifies the arrival of the boy's father to the courtyard which leads to the eventual death of his child in his arms. The Neapolitan chord almost calls the listener to stop and pay attention, to remind one of the importance of this moment, almost like a musical double-take, reminding us that this is the climax of the entire story, whether the child is kept safe. The Neapolitan chord, while not seeming to foreshadow a particular outcome, instead gives the listener a plethora of options. The continued pulsing rhythm of the bass may direct the listener to a tragic outcome, while the very change in harmonies brought about by the Neapolitan may also lead the listener to expect a change in the overarching theme of foreboding and fear. Other elements, such as the sf dynamic marking create a feeling of abruptness and contribute to the musical emphasis given to the chord and the subsequent importance in the development of the pieces finale.

The galloping of the horse signified by the repeating bass line also comes to an end a few measures later as we assume the father dismounts, and the recitative confirms in dramatic fashion that the small boy is dead. The vocal line that climaxes at the end of the piece is accentuated by the simultaneous climax and intensifying of the horses galloping in the bass as the father is on a last mad rush for his son. It also accentuates the rhythmic emphases and its absences in the recitative is breathtakingly beautiful.

137 i ii42
138 i iii
139 V7/iv
140 iv
141 iv
142 iv
143 N6
144 vii42/bII
145 bII
146 bII6
147 viio7
148 i

My chord analysis for mm.137-148 of “Erlkonig” by Franz Schubert, is as follows:
m.137: i
m.138:i-6/4-6
m.139:i
m.140:iv-6/4-6
m.141: iv(p) V
m.142:vi6 -6/4
m.143:N6
m.144:viio4/2 /N6
m.145:bII
m.146:bII 6
m.147:vii/V V
m.148:i

The scalewise motion of the left hand from mm.135 to the end helps shape the large structure of the vocal line by adding intensity and careening motion towards cadence at the end of the piece. Each time it is played, it becomes more and more intense, until relief is found in m.142 when the pattern is interrupted by the N6 and the tonicization of it that follows, creating a hopefull interlude soon to be discussed the very next paragraph!
The Neapolitan chord in measure 143 is approached, and left by very hopeful/relieved sounding chords (aka, iv). In measure 142, the step by step motion of the base sounds almost triumphant. According to the text “Erreicht den Hof mit Muhe und Not”, “He arrives in the courtyard at last, with effort and distress”. This triumphant feeling continues until measure 146, when it is discovered that the child has died. As his death is discovered, the harmony immediately starts to cadence, emphasizing the finality of the little boy’s fate.
If I were to perform this piece, (which I never would because of the very obvious issue of gender!) I would make sure that when I depict the different characters of the poem, they are very distinct and easy to tell apart from each other. I would also be sure that, even though the piano part is very agitated and frantic sounding, my voice and line remain strong and consistent. It would very easy as a singer to create tension in the voice subconsciously as the story builds. I would also make sure to include a lot of dynamic contrast. It would be very easy, given the content of the song, to sing everything forte and frantically!
This a wonderful piece. The most memorable part of it for me is sadly not the vocal part, but the brilliant piano part, without it, this piece obviously wouldn’t be half so cool. :)

Beethoven

In Beethoven piano sonata in C minor, the Fr6 chord in measure 46 leaves the listener with a feeling of settling down into a half cadence. For the performer I would choose use a very long legato to ease into it. The Fr6 is brought on by a IV, and Beethoven uses correct voice leading. In measure 49-50, there is not an augmented 6th chord, it is a V65/IV. Although it produces beautiful tension as it resolves to a I chord. As the score implies, the performer should crescendo through measure 49 to 50.

Ludwig van Beethoven, Piano Sonata in C minor, Op. 13 (Pathétique), third movement, mm. 41-51a

In measure 46 a French augmented-sixth chord is approached normally, with a predominant ahead of it. Scale degrees 4 and 6 are altered by half a step and scale degree 2 (f) is added to the chord to transform IV6 in Fr6, giving the chord an exotic sound. The chord is also resolved normally; directly to V, with both tendency tones moving half a step toward scale degree 5, creating an octave on 5 between the soprano and bass.

The approach to C5 and C6 in measure 49-50 seems like an augmented-sixth chord. An augmented sixth between db and bnatural resolves in half steps to C, suggesting an augmented sixth chord in the key of F. However, this measure has no sign of scale degree 1, which is essential to the composition of an augmented-sixth chord. The dflat in measure 49 alludes to the augmented-sixth chord used previously with this chromatic melody. I expect Beethoven chose not to include a complete augmented sixth chord this second time because he was headed toward a cadence of IV-V-I, and an augmented sixth chord build off of dflat and bnatural would have shone a huge light IV, screwing up the forward motion towards V7 and I. ((((edit- I think Rachel is right and that this is a V65/IV with a b natural passing tone, but all I say about alluding to the earlier melody and such still stands)

The chord structure of m44-m47 and m48-51 is similar:

V742-I6-IV6-Fr6-V

V742-V65/IV-IV-V7-I

In the first phrase, IV6 is used to accommodate smooth voicing toward Fr6, which draws attention to the V chord by pulling tendency tones toward scale degree five. Scale degree two is shared by Fr6 and V, but sounds exotic against the eflat in Fr6.

The melody in the second phrase begins identically, only an octave higher. This alone brings more attention and intensity. The chromatic movement from m.46 is borrowed, but put above the I6 in m. 49, which creates more urgency than before, because upward chromatic movement didn’t take place until the third measure in the first of the two phrases. Once IV is reached in measure 50 there are rests separating IV, V7, and I, drawing attention to this cadence, but this is soon interrupted by tumbling triplet figures which propel further into the piece.

As a whole, this movement feels urgent and propels forward like a wheel. Sections such as m. 43-51 feel like a break from all of the commotion and create a sense of lifting up. Through much of this piece I can envision myself in a rush, stuck somewhere between an urgent scramble, and a brisk but leisurely walk. Occasionally there is time to look side to side and appreciate what I am passing- particularly this section. It is as if something divinely simple has caught my eye, such as a flower, and I stop to appreciate it for a few moments, and then during the cadence in measure 50 I suddenly realize my destination and that I am late, and jolt forward. I think it is important to be aware of how the feeling of tempo and urgency rises and falls, but the performer doesn’t need to do anything more than follow the text to make this happen, because Beethoven has written it in the notes.

The performer must not get in the mindset of “longer notes! I should stretch this out!” Beethoven has done that already by morphing triplets into eighths, eighthnotes into quarter notes, and quarter notes into half notes. The tempo should be maintained exactly to ensure the listener that the piece continues to move forward, and that motion (the driving force in this piece) still exists, even during restful, uplifting moments.

m. 41-51

IV-I64-V7-I-V742-I6-IV6-Fr6-V-V742-V65/IV-IV-V7-I

Mozart's Piano Sonata in C Major, K. 545

Roman Numeral Analysis: Piano Sonata in C Major K. 545 - Rondo, W. A. Mozart
m. 41-48a: in key of vi, (a minor)
m. 41-43: i64, V7 (counting D in previous measure), i6
m. 44-45: V43 (counting D in previous measure), viidiminished, i, i6, viidiminished/iv
m. 46-48a: iv, iv6, (VI6), N6, V64-53, i

Mozart utilizes some interesting musical and compositional techniques in m. 41-48 of his Rondo from Piano Sonata in C Major K. 545. First, the harmony changes form measure 41-43 exhibit changes in harmony that go across measures due to the left and right hands exchanging motives and alternating when each hand plays, creating a syncopation of the harmony change. Therefore, the harmony actually changes before the downbeat. For example, the harmony in m. 42 begins the first beat with V7 (V7 because of B and D in the second beat of m. 41), but the harmony changes to i6 (i6 because of the C and A in the left hand of the next measure, m. 43) on the second beat of that measure. Mozart is changing the harmony when the listener does not expect it to change.

Next, m. 44-46’s quickly changing harmonies and the right hand’s sixteenth notes which create suspension of harmonies on every eighth note beat make forward motion towards the perfect authentic cadence in m. 47-48. Also, the left hand’s lowest eighth notes and the sixteenth notes of the right hand in the same passage create an inwards contrary motion (from first beat of m. 44 to the fourth eighth note beat of m. 46) to approach the N6 of m. 47 and add to the musical tension of the harmonic and rhythmic forward motion created by the passage, which is also aided by a small crescendo (m. 46).

Finally, the N6 in m. 47 acts as a predominant to V64-53. The N6 is approached by a iv6, which often happens when approaching an N6 chord. Regarding the melodic line and the resolution of leading tones, the ra of N6, approached by fa – me from the iv6 in m. 46, resolves in the cadence to do, ti and back to do (m. 47-48). N6 chords conventionally go from ra to ti and then resolve to do, thus using the harmonies N6, V(7), I in the process. However, it is not uncommon in to fill in the space in between the ra and ti with do, creating a pleasant, stepwise ra – do – ti­ – do motion as seen in this Mozart Rondo. This extra do also creates a passing harmony in between the N6 and the V(7), usually V64 or viifulldiminished7/V. Other than the left hand’s fairly large jump from D4 and F4 to E3 and C4 in m. 47, there is nothing unusual about the cadence, for it resolves properly in regards to proper resolution of leading tones and harmonic progression.

right, roman numerals

ok sorry this is in two posts. Here is my roman numeral analysis for the Beethoven:
Eb: IV I6 V7 I
V42 I6 IV6 Fr6 V
V42 I6 V65/IV IV V7 I

Roll over Beethoven!

Beethoven's Pathetique sonata features an augmented sixth chord in measure 46. It is a Fr6, that is preceded by a IV6 and of course followed with the V. All the tendency tones resolve as we are told they should. This progression makes the bass line move down in chromatics, c c flat b flat. Of measures 44 to 47, the only root position chord Beethoven used is the V, which serves to intensify the dominant even more. As a performer, I would choose to add even more emphasis to this cadence, either by slowing down when approaching the V, or by crescendoing to the V. The chord on the second half of measure 49 is not an augmented sixth chord. Instead, it is a V65/IV. The G, or mi, would need to be flattened, me, for it to be able to be considered an augmented sixth. Instead, the g natural acts as the leading tone to the tonicized A flat. This chord serves as something of a fake out to the listener, as it is on the second half of a measure that begins on a one. The listener would hear the tonic, giving them a settled feeling, and then be disrupted by a new chord being (temporarily) tonicized. The passing tone B natural in measure 49 also works to confuse the listener as to what ti-do progression should focus on. Beethoven's a trickster like that. If you can keep your focus while listening, you should give it a try, I mean it's super famous for a reason folks.

Goodness gracious it's a neapolitan sixth!

Yep, it's that time again....ROMAN NUMERAL ANALYSIS! Tonight's victim is Mozart's Piano Sonata in C Major, third movement measures 41-48(in c minor). Well, let's get started.
Side Note: The workbook explains that chord changes happen before the downbeat so for my analysis I mostly used chords that came before the downbeat.

ms.41; i64
ms.42; V7
ms.43; i64
ms.44; V42, V6
ms.45; i, iidim, i6
ms.46; iv7
ms.47; N6, V7
ms.48; i


The Neapolitan chord in ms.47 is approached like any other predominant chord you might find out there. It is the arriving point of a cute little descending sixteenth note pattern that starts in the right hand at ms.43. More importantly the harmony that the Neapolitan sixth is included in belongs to the ever popular (T-PD-D-T) chord pattern. For those of you who skipped my chord analysis above, this pattern occurs in ms.45-48. I know, maybe some of you are thinking "Can you have two predominant chords stuck together just like that?" Well, yes you can...it's like having a i chord and a i65 chord in the same measure, they both still count as tonic! Now as I mentioned above, the Neapolitan sixth resolves straight to a V chord just like a good little Neapolitan sixth should.
Some other things that this particular N6 should be praised for:

1. Both Ra(b flat) and Le(f natural) resolve to Ti(g sharp) and Sol(e natural) respectively. The b flat resolves down to the g sharp by way of a natural aka Do. (Good job b flat!) . And the f natural is being a jokester in this excerpt. Instead of going to the nearest e natural,which would be a half step down it decides to go up to the e natural that is nearly an octave higher! (One gold star for you f natural!)


2. It sounds freakin' awesome wedged in between the iv and V chord. You might think that the harmony is just going to be that boring ol' i-iv-V-i shindig that you hear everywhere, but NOPE! The Neapolitan chord just sneaks in there and takes you by surprise! MmmmMmmm, ear candy!
   

Now that's one delicious Neapolitan sixth!

Benji's Mozart Rondo! (A)

Begin Log.

Well, I can honestly say that this wasn't as fun as last week's blog. But anyway...

There are two (I say "two") apparent Neapolitan chords in this movement. They occur in measures 33 and 47. The one in 33 is less pronounced, but it is there nevertheless. My analysis of measures 41-48 is as follows:
a: i64-V-i6-V64-iv43-iv-N6-i

Both Neapolitans are in the key of a minor. The one in measure 33 comes out of a i6 chord resolves to a v7 chord, which is typical of a Neapolitan chord. However, the one in measure 47 comes out of a passing v and resolves to a i64. The i64 is fine, but the v creates a tritone between the v and the N6. Awesome.

End Log.

Schubert’s “Erlkonig”

m. 137 – i ii4/2
m. 138 – i iii
m. 139 – V7/iv
m. 140 – iv
m. 141 – iv
m. 142 – iv
m. 143 – bII
m. 144 – vii42/bII
m. 145 – bII
m. 146 – N6
m. 147 – viio7/V V
m. 148 – i

In Schubert’s “Erlkonig” a father is frantically carrying his son on horseback while his young son is seeing the Erlking, a ghost or the devil, is trying to tempt him away. Throughout the song the narration goes between the father, the son and the Erlking. In the beginning the Erlking has a liquid like and soft soothing voice tempting the boy with promises, the boy however refusing begging his father to keep him safe. The bass part depicts the galloping horse, while every once in awhile there is a short ascending scale in the bass as well resembling the hovering of the Erlking over the father and son. In measures 137-148 the music has changed a bit and the Erlking has revealed that he will take the boy by force and he will be hurt. The very first line is “he holds in his arms the groaning child.” The child has fought back and they are almost to their destination. Underneath the text is a foundation building towards a Neapolitan chord with a bII appearing in m. 143, then being tonicized in the next measure. The N6 in the bass part adds a little extra tension and unease before hanging over in the silence before the child’s death is discovered. The N6 then resolves into a more stable V-i perfect authentic cadence to end.
I love how Shubert uses the silence at the end just before performer mourns the child’s death. The recit line “in his arms the child” is almost like a church mass amen, and then ending on “was dead” just before the PAC just makes it so much more final. I have heard this song many times and every time it strikes another chord. The story of a father trying so desperately to protect his son and not knowing what is ailing him, is heart wrenching. I think that the performer has to truly know this story and what he/she is saying, and that they cannot just be a good performer but a true thespian as well. Within this short song there are three different characters. The boy who is scared and hurt, the father who is frightened and worried, and the Erlking who is deceptive and evil. If the audience does not hear all of these characters, I feel like the story may be lost on them. The piano part Is beautiful all on its own, when I first heard it without looking at the words I thought of a horse running. Schubert wrote a magnificent piece with “Erlkonig” and shared a heart touching story as well.

Erlkonig

Here is my roman numeral analysis for measures 137 - 148:
i / i (with a passing run) i64 i6 / i / iv (passing run) iv64 iv6 (Note: same as measure 138, but just a iv rather than a i) / iv then passing note in bass and then V / iv6 IV passing note iv64 / N6 / viio42/bII / bII (pedal tone) / bII6 / vii/V V / i

The end of the piece takes a very dark turn as the man returns to his home, finding his son dead in his arms, and Schubert emphasizes this distressing matter in the nature of the music and the modal mixtures and augmented sixths he employs.

In measure 143, Schubert introduces an N6, not with correct proper voice leading, but almost as a surprise. It hits the listener's ear and surprises us. Not a good surprise, though. It sounds foreboding and bad. But its purpose is to catch our attention and inform us of the bad news in the music, even before the words declare it. And we do not truly leave the N6, indeed, the chord is cemented through toncization in measures 144 through 145. This allows the reader to know that the bad news is not only terrible, but also permanent, as is the change in the music.

Schubert uses scalewise motion in measures 132 and 134. This motion feels, to me, like the horses footsteps as the man races toward his home. The motion is emphasized by the contrast between the eighth-note movement and the quarter beats of the bass in the rest of the work. And when he reaches his home, the footsteps stop and all that is left is the beating of the quarter note in the bass...no more movement, as the boy is dead. The movement helped to propel the piece forward and emphasize the importance of the man's horse-ride and when it stops so abruptly, it emphasizes the sinking feeling of death, and that movement is no longer necessary, or possible, in the father's emotional state.

The entire piece is a wonderful example of text painting. The emotions of the boy and son are vividly portrayed through the changing harmonies and the movement of the horse is illustrated through the moving eighth-note runs in the final measures 130, 132, and 134 of the piece.

Schubert's "Erlkonig"

By analyzing the final ten measures of "Erlkonig" one can see Schubert's true mastery of text painting and complex harmony. Measures 137 through 148 are harmonically analyzed as follows:
137: i
138: i - i64 - i6
139: V7/iv
140: iv - iv64 - iv6
141: iv passing to a V
142: IV6 -IV64
143: bII
144: viio42/bII
145: bII
146: bII6
147: vii/V - V
148: i

One can see that Schubert begins to use the Neapolitan (or bII) chords at the the actual arrival of the father to the courtyard. This signifies a disheartening finish filled with despair. The progression of vii/V to V to i as a cadence it a very definite and dramatic ending to the story. Another unique aspect of Schubert's use of the Neapolitan chord in these measures is his voice leading. Typically le is in the bass of Neapolitan chord and it leads to sol. However, Schubert begins with a root position bII and instead of leading the e flat down to the d flat, in m. 144, he leads it up to the f flat. When he finally brings the listener to the actual N6 in measure 146 he leads us in abruptly by moving the ra from the previous measure straight into the first inversions le. Usually ra leads to ti in a Neapolitan chord, so this change allows the final line to be separated from the chaos of the previous line. It makes the last words, "in his arms, the child was dead" incredibly potent and tragic.
The sweeping scale in the left hand creates an image of a swiftly riding horse, which is carrying the father and child. This motif happens throughout the song to raise tension and to signify a switch of character. The motif happens more frequently after m. 132 and reoccurs every two measures until seven measures before the end. This repetition raises the urgency of the fathers journey and lets the audience know that the young boy is close to death. By ending the motif before the last line Schubert is telling the listener that all hope is lost. The absence of that familiar pattern is haunting and chocking at first. It gives the last line an eerie effect because all of a sudden there is a silence which hasn't happened yet in the song. Without this motif the vocal line stands out. Also, the final cadence is even more resounding because the listener knows the Erlkonig has won.
Schubert really tells the story though these last ten measures. Every aspect of his harmony, along with motifs found earlier in the song, paint a perfect picture of the last moment of the child's life. It also conveys the emotions of the characters in a way the audience can actually feel without the words. The Neapolitan chords at the end are especially effective because they fit perfectly with the text and heighten every lyric.

Mozart goes Neapolitan

In the third movement of Mozart's Piano Sonata in C Major K. 545, he introduces a new harmonic color by placing a Neapolitan augmented sixth in measure 47. Before this, however, the chord analysis from measure 41 is as follows:

m. 41: i64
m. 42: V
m. 43: i6
m. 44: V64, v6
m. 45: ii half diminished42, III
m. 46: iv
m. 47: Neapolitan +6, V
m. 48: i

Therefore, the N+6 is approached by a iv chord. This means that the solfege syllable me is going down to the ra of the N+6 chord. This is rather typical for the voice leading into a N+6 chord. However, the N+6 chord is left in an unusual way. Typically, the ra of the chord will resolve to the ti of the next chord. This does not happen immediately, however. There is a ti that shows up in the last eighth note of the measure, and this is expected. The ti is the last note of the melody line, the G#.

It seems that this Neapolitan sixth is not used in the typical way that other composers might choose to use it. In many cases, it seems that the texture when using this type of chord is thicker than in the Mozart; the use of a thicker texture causes an extreme sense of angst or urgency that does not seem present in this piano sonata. Perhaps Mozart only used it to provide a bit of contrast to the rest of the movement. It also serves as a nice lead-in to the cadence of measures 47-48, seeing as a typical N+6 progression is N+6-V-i. This is also typical because they are often used at the last cadence of a piece, and though this is not the cadence of the piece, it is a cadence within a movement. Truly, Mozart displays his adaptability and inventiveness while using this unique chord.

Tone wholes and peanut butter

Published in 1799, Ludwig van Beethoven’s Piano Sonata in c minor, Op. 13 (Pathétique) is one of Beethoven’s earliest compositions to achieve widespread fame and popularity. Today I’ll analyze Beethoven’s artistry, delving into a snippet of the third movement of the sonata (measures 41-51).

Basic chord analysis:

m.41: V

m.42: I V7

m.43: I

m.44: V4/2

m.45: I6

m.46: IV6 Fr6

m.47: V

m.48: V4/2

m.49: I6

m.50: IV V7

m.51: I

The French augmented 6^th chord in measure 46 stands out like a sore thumb, both aurally and analytically. The augmented 6^th chord is approached gracefully, using an IV6 to perfectly set up the bass, soprano, and alto for transition. The soprano and bass are chromatically altered to create the raised 4^th (fi) and lowered 6^th (lé) and create textbook examples of chromatic passing tones between the IV6 and V. Beethoven resolves the French augmented 6^th with correct voice-leading; this serves as a strong harmonic push to V in measure 47. Because of the approach and resolution of the aug. 6^th chord (not to mention tempo!) the unorthodox feeling that a French 6^th usually creates is nearly hidden from the listener. Before one can think, something happened…not really sure what, but it was it was interesting…, the composition has already paced beyond the incident, leaving the listener to catch up. Beethoven continues to do a wonderful job of grabbing the listener, intriguing them, and moving on to the next development. Very suave, Mr. Ludwig…

Next, in measure 49 on beats 3 and 4 a chord comprised of e flat, g, b, and d flat is encountered. After slopping through this book, one might’ve assumed “I’ve found an augmented chord!!” Initially, it looks like that: an E flat augmented chord…with a Db. As interesting as this may be, all accidentals are not created equal – our solution is simple. The d flat on beat three is an appoggiatura and the b natural on beat four is a chromatic passing tone: both non-chord tones lead to their resolution (c) at the downbeat of measure 50. Straightforward and to the point – my cup of tea.

Beethoven now slams away his PAC going into measure 51. Thank the Almighty for IV V7 I.

The King has left the building.

Mozart's Piano Sonata in C Major

Even though the title of the piece says C major, this excerpt is in its relative minor, good ol' A minor. Here's my analysis, if a chord is wrong, my bad.

mm. 41: i64
mm. 42: V
mm. 43: i6
mm. 44: V64; V6
mm. 45: i; iidim; III; V6/iv
mm. 46: iv
mm. 47: N6; V64-53#
mm. 48: i

Okay, so clearly the important part of this excerpt is our friend, the Neapolitan sixth. But I'll get there in a moment. The left and right hands alternate motives in the first 3 measures and then the right hand moves to a stunning run of sixteenth notes for mm. 44-46. It is this run that builds up to the N6 chord. Some quick movements of chromaticism within the run and the bass line switching from bass clef to treble clef really help to bring out the growing tension of the piece. The Neapolitan sixth (F-D-B flat) comes at the end of the run at the beginning of mm. 46 and is the climax of this excerpt, bringing about a startling feel that is unexpected. It caught me off guard when I was listening to it the first time through. And to throw the listener off just a bit more, Mozart does not resolve this N6 chord in the usual way. Ra (B flat) resolves typically down to Ti (G#) via Do, but Fa and Le go their own way a little. Fa (D) in the bass, resolves to Sol (E) and Le resolves to Re (B natural) via Mi (C#). Plus, the left hand switches back to bass clef from treble clef in between the N6 and V64-53 chord. This then resolves immediately (almost just as suddenly as the N6 crept up) to a i chord, ending this little snippit with a nice cadence. But it's the combination of the N6--V64-53 chord along with the switching clefs in the left hand that makes this measure really stand out and add some life to the piece.

Brief Analysis A

Mozart's Piano Sonata in C Major

Measures 41-48 are in A minor and are harmonized as follows:

m41: i64
m42: V
m43: i64
m44: V64, V6
m45: i, iidim, III, viidim/iv
m46: iv
m47: N6, V64-5#3
m48: i

The main focus of this excerpt is on the Neopolitan Sixth in measure 47, formed by a D, F, and B flat. It is approached by a iv chord, and resolves to a V chord thru a 64 chord. As usual with a Neolpolitan Sixth chord, Ra resolves to Ti, thru Do, but instead of Le resolved to Sol, it resolves to Mi, while instead the Fa in the bass resolves to Sol. What is also different is that the left hand switches from Treble Clef to Bass Clef in between the N6 chord and V64-5#3, so there is almost an octave jump between the two lowest notes. To me, this N6 chord represents the peak of the tension of this excerpt. It seems to build through the descending sixteenth notes along with the i-iidim-III-(viidim/iv)-iv harmony, and when you reach the N6 chord, it really sticks out and is rather alarming as you except V to follow iv, but before you know it, it follows and resolves nicely to a V-i cadence.

Erlkönig....

So what do you do when you can't sleep? BLOG! -- and probably find yourself having scary dreams of Elf Kings and Horses. It seems no matter how hard I try after I hear this song once it's stuck in my head for days.

The Chordal Analysis for Erlkönig by Franz Schubert is as follows:
m. 137 - i ii42
m. 138 - i ( with the crazy horse sound)
m. 139 - V7/iv
m. 140 - iv
m. 141-142 - the C from the previous chord ( iv ) is being held while a series of passing tones continue through the bass, a slightly more chromatic run than the eerie horse sound, but still the same concept in a more stretched out form.
m. 143 - bII
m. 144 - vii042/bII
m. 145 - bII
m. 146 - bII6
m. 147 - vii/V V
m. 148 - i

The use of the Neapolitan chord in this piece to me seems unorthodox. All though it is a very nice stylistic choice because as the listener/singer arrive at the final inversion of the bII chord there is first a sense of arrival and conclusion from the major part of the chord, but there is still the lingering feeling of sadness as we think back to the son's fear of the Elf king. In regards to its technical use the chord is quite out of place. From previous examples in the book and homework assignments we have found that the neapolitan chord is most often preceded by a iv or VI chord and followed by a V or cadential 64. In this case the bII is preceded by a iv, however, this iv chord is separated by the extended chromatic run in the bass. The bII also does not resolve immediately. Instead there is a rest in the piano and the voice continues on its own. It then continues to the vii/V, followed by a V and of course a i to bring the song to its conclusion. The words that the bII are harmonizing are " he arrives in the courtyard, with effort and distress". I think that the listener is supposed to feel the distress that is represented by the extended us of the bII along with the us of a secondary leading tone chord from that bII.

Above this harmonic analysis there are still many layers of complicated text painting. As we have heard many a time from this piece there is the haunting horse noise that is meant to reach the listener and help him or her feel the intenseness and urgency of the ride. This same feeling is transfered from the base line into the melody but is spread out over the last verse. The same general melodic shape is kept where the singer has an ascending line beginning in m. 135 that continues to 140. I feel like the rests used at the end of the piece are meant to represent the final two staccato notes of the horse's theme. They are drawn out in the end to emphasize the conclusion of the piece and the sadness of the father.

Mozart

Let's look at a few measures of Mozart's Piano Sonata in C Major. Measure 41 starts with a minor i64 chord going to V in the next measure, then a minor i in first inversion in measure 43. All pretty typical - measure 44 Mozart starts intensifying by placing a V42 harmony with a sforzando piano. Mozart then moves on to a VI6 harmony and uses the c sharp at the end of the measure to slide into the minor iv chord in measure 46. In measure 47 Mozart gives us a Neopolitan6 chord- the climax of this section. It quickly resolves to a i64 within the same measure, Mozart takes a whole measure longer to finally reach the expected V in measure 48. If I were to perform this piece, I would be sure to dramatize the build of climax leading to the N6. Mozart places a giant slur over the entire melodic section of the V42 in measure 44. The next two measures are given slurs for pairs of notes, giving the listener the idea of a bow on a violin. I think it would be good to have these two measures leading up to the N6 be the "mysterious" part- gradually moving up to the shock. Mozart directs the performer to crescendo to the N6 chord, and that's what I would do if I were to play this piece, and since he also places a slur over the melodic section and quickly moves to a i64, which is unusual, I would move along through the N6. I think Mozart meant for this to be different. N6 chords very often come at final cadences- there's definitely a reason that this isn't the case in this section. Perhaps Mozart is trying to give the listener the illusion of a sad ending coming while keeping the piece going.

The last word (?) from the Erlkonig

(I kinda hope this is the last we hear of it. The book authors have pretty much beat this poor piece into the ground.)

Anyway, so we find our heroes rushing home, to the same rising G-A-Bb-C-D-Eb-D (Bb G) figure (in measure 136) which starts the piece. We begin the line "er halt in Armen das achzende Kind" (m. 137) in stable but dark G minor (good for the word "he holds"). The bass octave G becomes a pedal tone as we move to ii half dim 42 and back to G minor over "in his arms", and then the G supports a V7/iv ("groaning" - nice word painting, Schubert) before it finally gives up the stretto and repeats the rushing figure, this time in C minor (iv), with the word "child".

This is where it gets kind of interesting. Although the singer won't tell us that the child has died until the penultimate measure, the pianist actually narrates the event harmonically. Measure 141 starts predictably where we left it, in C minor, but now the right hand takes over the frantic octave C, while the bass moves through a sort of chromatic, elongated reiteration of the rushing motive, eventually arriving at Ab (m. 143), where the right hand C fills out this Neapolitan tonicization. I think this is my favorite part, because here Schubert slows down the rushing motive and sets it chromatically (Db-D-Eb-E-F-G-Ab) to signify the father's arrival, finally, home. But something is off, and different - and we realize, once the Neapolitan is reached, that that figure wasn't just the father's arrival - it was death slowly overtaking the riders: the child is dead. The N6 works perfectly to illustrate this - we arrive, fairly abruptly, without proper voice leading or preparation, at this strange major chord which expresses a minor mood, only a half step away from tonic and yet it feels so far away from the stability of G minor. This can only symbolize death. We have suddenly found ourselves in this bII harmony, like the child's sudden departure from this world. The chord is strangely major but evokes a strong minorness - again, the way the dead look so strangely and peacefully asleep. Also, we are a half-step from tonic - basically as close as we can get - but, like the dead child resting in his father's arms, so physically close to him, in actuality the N6 chord and the child are mournfully far from anything that feels like a stable tonic, or home.

The singer is catching us up (m. 143-145, "he arrives in the courtyard, with effort and distress") as the pianist emphasizes the Neapolitan tonicization through another pedal point bass Ab against vii042/bII in the right hand, returning to Ab in measure 145. At this point, the frantic triplets that have characterized the entire forest ride slow and become softer, eventually resting in measure 146 (again, like death! or probably the father's realization of his son's death). In recit style, the narrator tells us what we already know: "In his arms, the child was dead". (PS - the "was" in that phrase proves my theory - the child died in measure 143 with the N6.) Since we, the living, cannot follow the poor boy to the world beyond, we must return sadly home, and Schubert's pianist helps us return to our dismal G minor (m. 147-148) through a tortured viio7/V and an inevitable, grieving V7.

I feel horribly depressed, but it's true - the Neapolitan chord here symbolizes the passing of the child and the harmonies complement the sung story and give us every blow-by-blow detail. But I suppose the major-ness of the Neapolitan may signify some kind of "he's in a better place" sentiment.

As a final thought... does anyone else see Golem as the Elf King?

The Crazy Chords of Beethoven

Beethoven's Pathetique Sonata gives us a beautiful example of a perfectly used augmented sixth chord. Let us look at measures 41-51. The analysis looks something like this:

IV I6/4 V7 I V4/2 I6 IV6 Fr6 V V4/2 V6/5/IV IV V I

As we see in the 6th measure (m. 46) we are graced with the appearance of an Fr6. We are assured of this being a French sixth by the presence of an f, which shows its face in the right hand of the piano. I say that this is a perfect example of an Fr6 because of the absolutely regular resolution of the augmented sixth. The A natural, which is in the soprano, resolves up to a B while the A flat in the bass resolves down to a B flat.

There is another crazy chord in measure 49, which is definitely not an augmented 6th chord. I decided that it has to be a V6/5/IV resolving to an IV with the B natural in the top acting as a passing tone and the D flat being a chord tone.

A wonderful little ditty, the Pathetique.

re-post of Extended analysis of "Neve Liebe, neves Leben"

now that blogger is FINALLY working for me...

Extended Analysis of Hensels’ “Neve Liebe, neves Leben”

m. 1-8 I V6 vi iii6 IV I6 V43 I V64-53 I V6 vi iii6 IV I6 V7 I

The first eight measures are a parallel period with an antecedent and consequent. The antecedent is in m. 1-4 because it ends on an inconclusive half cadence and the consequent is in second phrase because it ends with a conclusive perfect authentic cadence. There is a falling-thirds with alternating 63 sequence in the first 3 measures that sets the basic harmonic structure of the world. Hensel varies the consequent phrase ever so slightly by changing the rhythms and pitches in measure 7. In m64, there is a surprising harmonic change that occurs---where the phrase ends on a iv6 instead of the expected I. This might related to the text which translates to “love, let me free!” because the iv6 leads to a falling seconds progression until the downbeat of m66. This helps to build the anticipation and anxiousness the singer is experiencing towards his new love.

In m64-73, the text is repeated but harmonically it changes. A way the two phrases could be divided would be m.64-69(downbeat of) as one phrase and m.69 (beat 2)-73 as another. This would be logical because m.69-73 consist of ascending seconds with a 5-6 LIP that builds to the singers G5, the climax of the work emotionally, and it also serves as direction motion from the tonic to the dominant.

The dissonances that Hensel uses from m.64 to the end all seem to be used as chromatic passing tones or suspensions to create dramatic effects that correspond with the text to give the listener a connection to the emotions the singer experiences throughout the work.