Schumann: Harmony

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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
      • 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.
      • Suspensions
        • 4-3 in inner part writing
          • Bar 7
      • 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.
    • 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.
        • 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)
    • No.11
      • Cadences
        • Perfect
          • Close a the half bars in bars 10 and 12
            • More dramatically, on last quaver of bar 24.
        • Imperfect
          • Frequent
          • I-V in G major in bars 4 and 8 (with feminine treatment)
        • Mechanical placing
          • Every 4 bars
      • 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

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