Klarinet Archive - Posting 000766.txt from 2001/01

From: "Ian Black" <clarinet1@-----.uk>
Subj: Re: [kl] RE: "harmonic analysis'
Date: Tue, 23 Jan 2001 17:29:42 -0500

Not sure how you can even make a reasonable deduction as to the key of the
piece. Did I miss something in the original post?

Ian
----- Original Message -----
From: "Stephen Heinemann" <sjh@-----.edu>
Subject: [kl] RE: "harmonic analysis'

> > 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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