Schumann: Harmony
- Created by: EleishaAbbie
- Created on: 23-02-15 09:42
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- Schumann: Harmony
- No.1
- Perfect cadences
- Bars 21-22
- Chord V usually has 7th added
- Dominant 7th chord are heard in first inversion
- Bar 2
- Dominant 7th chords are heard in root position
- Bar 7
- Dominant 7th chord are heard in third inversion
- Bar 13
- Dominant 7th chord are heard in first inversion
- Diminished 7th chord
- Bar 1
- Unusual progressions in bars 11-12
- Instead of expected II-V-1 in E minor the harmony shifts to G major triad
- Leading note of E minor (D#) slides down to a D natural
- After momentary bare fifth, the triplet inner part completes the chord.
- Instead of expected II-V-1 in E minor the harmony shifts to G major triad
- Suspensions
- 4-3 in inner part writing
- Bar 7
- 4-3 in inner part writing
- Circle of fifths
- Root progression in bars 9-12 follows a circle of fifths
- E-A-D-G (with B as the bass note) -C-F-B (-E expected but avoided.
- Root progression in bars 9-12 follows a circle of fifths
- Perfect cadences
- No.3
- Plagal progression
- I-IV-I
- First harmonic movement
- Perfect Cadences
- Bar 20
- Appoggiatura
- Bar 2 - accented semi-quavers
- Use of 7th chords
- Mainly dominant 7ths
- II7-V7 progression in G major is used in bar 10.
- Prolonged Neapolitan chord in root position
- Bars 13-15
- Example of 18th century progression reinterpreted in a Romantic context
- Expected to move to the dom 7th in bar 16 - involves a leap of a tritone in bass
- This is emphasised with his sforzando.
- Expected to move to the dom 7th in bar 16 - involves a leap of a tritone in bass
- Neapolitan flat supertonic (C maj) is approached via an interrupted cadence in E minor (bars 12-13)
- Music lurches into tonic and dominant harmony in C maj over accented double pegal for 2 bars (13-14)
- Plagal progression
- No.11
- Cadences
- Perfect
- Close a the half bars in bars 10 and 12
- More dramatically, on last quaver of bar 24.
- Close a the half bars in bars 10 and 12
- Imperfect
- Frequent
- I-V in G major in bars 4 and 8 (with feminine treatment)
- Mechanical placing
- Every 4 bars
- Perfect
- Chromatic Harmony
- Opening two bars are highly chromatic
- Include parallel diminished chords on 2nd and 4th quavers of bar 2
- Former notated as a 7th
- Include parallel diminished chords on 2nd and 4th quavers of bar 2
- Opening two bars are highly chromatic
- Cadences
- No.1
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