Klarinet Archive - Posting 000763.txt from 2001/01

From: Stephen Heinemann <sjh@-----.edu>
Subj: [kl] RE: "harmonic analysis'
Date: Tue, 23 Jan 2001 16:46:59 -0500

> The G-F#-G-Fnatural-E could be an outlining of the tonic triad using the
> F#
> and F natural as leading tones.
>
(passing tones)

> I'm thinking maybe one of the jillions of
> ways it could be harmonized might be: V - V(7)/V - IV - I
>
Much more likely among those jillions: V - V(7)/V - V7 - I

> but I'm just
> guessing (half-cadences always sounded funny to me).
>
Assuming it's a cadence and not mid-phrase, IV - I is a plagal cadence (and
they do sound funny when improperly used -- they typically prolong a perfect
authentic cadence, as in a hymn's "Amen"). V7 - I, in this instance, is an
imperfect authentic cadence.

> and the next phrase, which follows the first phrase immediately:
>
> G - A - C - D -E - D - A - G - C - E - D
>
Again among the jillions of possibilities, try:

I6 - IV - I6 - vii6 - I - ii - ii6 - V4/2 - I6 - I - V

--although it's tough to say for sure without knowing what the rhythm of the
melodic line is. This harmonization is not effective if, in the C - D - E
figure, the D is rhythmically stronger than the C or E, or in the D - A
figure, the A is rhythmically stronger than the D. (By the way, the bass
line resulting from the above is E - F - E - D - C - D - F - F - E - C - G.
Yes, it's a half cadence.)

Steve Heinemann
Bradley University

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