Tuesday, September 9, 2008

2 comments:

Anonymous said...

Hi!! this is Gideon. Nice analysis... Basically i dont think there's a problem with the harmonic progression analysis, but i'd like to include my observation of the suspension at "1.3" where the there is a suspension of the D chord. Remember how in suspension, the non harmonic tone would like to resolve itself to a 3rd? well, we can clearly see that in that bar where the "G" resolves to the f#, creating a maj 3rd. If we were to write that down, it would be a 4-3 suspension. It is a suspension there because the left hand is already playing the arpeggio of the D maj chord, but the right hand isnt playing that chord yet, due to the non-harmonic "G" note.
I hope this helps! =) see you in class!

ec said...

Caryln, your RN analysis is mostly correct. Note two minor errors -- the third chord is not a dim 7th chord and your "ii 6/4" is probably a careful mistake. The F maj chord at b. 7 is a harmony we'll learn about next semester; for now, just note that this makes the progression non-functional in the classical sense, hence we will not apply the functional analysis here.

Your "IV 6/4" is correct, but in the light of our class discussion of the various types of six-four chords, can you analyse it in voice-leading terms and specify the type of 6/4?

Gideon, thanks for highlighting the 4-3 suspension. Note though that the "1.3" is not a bar number but an indication that this is the bar for the first and third repeat. So, you either say "b. 8a" or first/third-time bar at b. 8 ("b. 8b" for second/fourth-time bar)