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This is a last lesson from an edition in which I am now finishing the lessons. I am moving into harmony; (but starting on another edition to practice with for music lessons ...) I wanted a confirmation if the labeled progressions are correct, before I move on with it … for study….. Any help appreciated.
I will do the voice leads myself.. but was interested because of the cross staff beams in measures 1 and 2. By the way, I am practicing musically “Andante†by Liszt , and I love the piece.
I thought i was getting a mental handle on progressions until this (particularly the questionable 7th..)
The B# D# F# A chord is a diminshed 7th in 3rd inversion that functions as a "secondary dominant" (actually a secondary VII), leading to the C# E G diminshed seventh chord. So it is the VII of VII. Add in the A in the bass and it makes the C# E G a V7 chord in D major - A C# E G.
To understand these secondary chords, imagine what the VII chord of a C# E G chord would be - it is a B# D# F# A chord.
To understand these secondary chords, imagine what the VII chord of a C# E G chord would be - it is a B# D# F# A chord.
Sam
Ok , I get that... err I think...
I mistakenly thought the dfb (VI) as a vii in the first measure ,, it is a 3rd inversion of a VI in the key of D ..., but that tickler you stated here helped because I was originally but mistakenly thinking "in the key of c" when I wrote the now strikeout'd text above stating a VII. I'll keep working these prgressions and look for more info on 7th's in chord progressions.
As this section has moved to 3/4 time I only consider three chords per bar. The upbeat is only one beat and the D-F#-B semiquaver is therefore not an accented chord. I would call the beat D major and the semiq adds a passing sixth rather than a change of harmony.
Likewise the passing of B minor to E minor in M2.
The A's in the bass are not the dominant chord but a dominant pedal. There isn't enough harmony to establish A Major as a change of harmony. In the first measure it make G6 and in the second it adds a suspended 4th.
The chord marked VII in M3, E-G-C# is a rootless dominant seventh, (A)-C#-E-G and the second beat as a rootless D7b9, (D)-F#-A-C-Eb spelt as (D)-F#-A-B#-D#. It returns to the tonic in the next measure on beat 2 after what I see as E7b9 (rootless again) (E)-G#-B-D-F spelt as (E)-G#-B-D-E#.
When you say you're practising this do you mean just the Andante?
As this section has moved to 3/4 time I only consider three chords per bar. The upbeat is only one beat and the D-F#-B semiquaver is therefore not an accented chord. I would call the beat D major and the semiq adds a passing sixth rather than a change of harmony.
Likewise the passing of B minor to E minor in M2.
The A's in the bass are not the dominant chord but a dominant pedal. There isn't enough harmony to establish A Major as a change of harmony. In the first measure it make G6 and in the second it adds a suspended 4th.
The chord marked VII in M3, E-G-C# is a rootless dominant seventh, (A)-C#-E-G and the second beat as a rootless D7b9, (D)-F#-A-C-Eb spelt as (D)-F#-A-B#-D#. It returns to the tonic in the next measure on beat 2 after what I see as E7b9 (rootless again) (E)-G#-B-D-F spelt as (E)-G#-B-D-E#.
When you say you're practising this do you mean just the Andante?
Andante –
Well thank you, I didn’t realize there were states as “rootless†chords" with progressions. I assume I had them labeled correctly ? and that’s a biggie for me. I am new at harmony
I have checked and realized that the VII chord progression moves well into the first chord,- sort of an authentic cadence ?
I am studying harmony, and practicing this piece ANDANTE to play musically.
Thanks and I appreciate any further instruction .
I thought rootless was referred to as an inversion, 1st 2nd and diminished chords …etc
Here are the scores you may have to orient and rotate ....your hips ... like Elvis to see them correctly....
The VII chord, here as C#-E-G, is a diminished triad but also happens to be the top half of the dominant seventh. The function is the same but the dominant seventh also has the drop of a fifth in the bass.
The upbeat is D Major - I M1 is G major, G6, Bm (& Bm6) - IV, IV6, ii(6) M2 is E Min, E sus 4, Em - ii, ii4, ii M3 is C# dim (as an appoggiatura to Dmaj), A dim7, A7 - (vii dim, V dim7, V7)
This piece has very complex harmony for someone starting out. I wouldn't give anyone Liszt without a thorough grounding of sonata analysis.
You don't seem to be aware of the surroundings of this piece. It's from the Benediction de Dieu Dans la Solitude, no. 3 of Harmonies Poetiques et Religieuse. For me it has always been one of the most beautiful pieces ever written for piano and no. 2 on my bucket list.
It's played here by Claudio Arrau, pupil of Martin Krause. Krause was taught by Liszt. The Andante starts here at 8:09
For me it has always been one of the most beautiful pieces ever written for piano and no. 2 on my bucket list. It's played here by Claudio Arrau, pupil of Martin Krause. Krause was taught by Liszt. The Andante starts here at 8:09
Currently it is for me also..... But what's your no 1? Also , I’m impressed with your knowledge and I hope I wasn’t misleading by using the word colleague in the post…. You sound as if you may be a teacher or have mastered in music education . I am self taught and am now beginning to study harmony. I’ve played piano for about 6 years. The information you gave is helpful, because the more one knows about a piece the better.
So thank you for the information, video link and response. I’ll keep studying, and maybe you could use the piece from “Harmonies “ I posted from the 1920’s edition US School of Music to add to you list.
His B Minor Sonata! It's an absolute masterpiece and the crowning glory of the genre.
I studied harmony at university and read some afterwards but I learnt the rest here on the ABF, participating in the now inactive Classical Sonata Analysis thread. I'm a student not a teacher.