perm filename C9B[C9,LCS] blob
sn#456930 filedate 1979-06-23 generic text, type C, neo UTF8
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.BEGIN VERBATIM
Example 85. Mozart, Sonata in F, K.533, Andante
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stayed in the original
tonic.) Melodically, the main opening motive is heard all the way into
the phrase which ends at bar 33. At the same point begins the "closing"
material -- the first completely new, extensive melodic material since
the beginning of the Andante. Thus a diagram which shows these two
facets would appear:
.BEGIN VERBATIM
Figure 86a
.END
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.FILL INDENT 6
It is generally felt that the tonal divisions, especially in
Classic music, are decisive. The melodic element will often be touched
upon, since it frequently will help to determine the significance of
some harmonic factors, even though the general melodic organization may
sometimes be at variance with the tonal scheme.
Notice that the "A" section of the exposition does not %2end%1 in
↓_B%4F_↓%1, thus:
.BEGIN VERBATIM
Figure 86b
.END
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However, in the recapitulation the changes give:
.BEGIN VERBATIM
Figure 86c
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.FILL INDENT 6
This movement's development section, as often is the case,
seems to be made up of a series of sequences. This prime organizational
feature will give us a key to the rather complex harmonic relationships
to be found here.$$It is almost inevitable that when harmonic
relationships become complex, the %2primary%1 basis of organization tends to
shift from tonal functions to motivic usages.$
The first eight measures form a group which may be
divided in half, each half having two 2-bar units. The movement here is:
.BEGIN VERBATIM
Figure 87a
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Following this is a 4-bar group (2+2) with an added bar (or
it could be called two 3-bar groups, elided in the middle).
.BEGIN VERBATIM
Figure 87b
.END
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The next section (bars 60-72) presents a masterful combination
of the melodic material first heard in bars 5-7 and the harmonic
progression of bars 19-21. The complications of this section are
increased by the fact that the melodic and tonal groupings do not
coincide.
.BEGIN VERBATIM
Figure 87c
.END
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.FILL INDENT 6
Already we have been forced to consider the development
section in much greater detail than the rest of the movement. There
are many complex relationships in the exposition, but the overall
harmonic direction is much more clear there than it is in the
development. The idea is to study the music in as large units as are
practical at each step. Now the tonal areas of the whole piece
appear roughly as follows:
.BEGIN VERBATIM
Figure 88a
.END
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It should be clear by this point that modulations have been
achieved at bars 23 and 73. There is insufficient stability in the
development section to consider the presence of any new basic tonic.
A sketch of the %2largest functional relationships%1 then shows:
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.BEGIN VERBATIM
Figure 88b
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Now, to continue to follow our procedures in reverse order,
we will study the music for control tonics. In the exposition and
recapitulation there seems no reason to show control tonics, since
the basic tonics always serve that purpose. In the development
section, ↓_F_↓ may be the point of departure but it certainly is not
a consistent basis for the harmonic movements. By referring to
Figures 87a and 87b, we see that ↓_d_↓ seems to "bracket" this section's
first thirteen bars. Then in the last part of the development
(Figure 87c) ↓_g_↓ seems most prevalent. Thus we might reduce all the
other tonalities of the development to functions within these two
control tonics.
.BEGIN VERBATIM
Figure 89a. Main Tonic Guide Tones in development section
(some details omitted).
.END
.nofill indent 0
* The substitute for ↓_d_↓: I (an F octave) is heard
as the pickup to bar 60. A new control tonic
appears immediately because of the abrupt
use of new material.
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All that is left in this regard is to point out that ↓_d_↓ grows
out of the basic tonic ↓_F_↓ of the exposition and then ↓_g_↓ grows out of
the control tonic ↓_d_↓.
.BEGIN VERBATIM
Figure 89b
.END
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The temporary tonics found in the first eighteen bars of the
movement appear in a straightforward manner. Measure 19 works as
the dominant of the F chord which precedes it and also as subdominant
to the g chord of measure 21, which in turn is II of the coming tonic ↓_F_↓.
(The simplest pivots will be omitted.)
.BEGIN VERBATIM
Figure 90
.END
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.FILL INDENT 6
In the ↓_F_↓ section of the exposition things are a little more
complex. The chromaticism of the first four bars (23-26) is all
non-functional as far as ↓_F_↓ is concerned. Likewise, measures 31-33
are clear.
.BEGIN VERBATIM
Figure 91a
.END
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Measure 27 and 28 contain a diminished chord which could be
a substitute for any of a number of dominants; so final decision
on the temporary tonic at that point must wait until the surrounding
details are studied. However, the most immediate impression is that
this chord is a dominant substitute for either ↓_g_↓ (ii) or ↓_B%4F_↓%1 (IV).
The next chord, e%4FA%1, does little to clarify the situation, especially
since it in turn is followed by a new diminished chord. Considering
the bass line, it might be said that this %4A%1 is a "passing chord".
.BEGIN VERBATIM
Example 91
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.FILL INDENT 6
Even though the linear element is so strong, it seems to be
avoiding the issue to pass over such a dramatic turn so lightly.
Looking ahead a little, it may be noticed that the last diminished
chord (measure 30), while being a dominant function to the preceding
↓_e%4F%1_↓, proves to be working as substitute for the dominant to ↓_C_↓, leading
eventually to a C7th chord (tonic substitute) in bar 32. Now we have:
.BEGIN VERBATIM
Figure 91b
.END
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Returning to the e%4FA%1 chord, its simplest designation is that
of a dominant substitute in ↓_e%4F%1_↓. This key is rather remote from ↓_F_↓ but
not quite so "far" from ↓_g_↓ or ↓_B%4F_↓%1 (which are possible tonics for measure
28). If the first of these, ↓_g_↓, is chosen, then we have:
.BEGIN VERBATIM
Figure 91c
.END
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It is perhaps more convincing if ↓_B%4F%1_↓ is taken as the tonic
realm of the diminished chord of bars 27-28. Then the e%4FA%1 chord
has a broader role. In the largest sense, it might be considered
as an appoggiatura (IV%4A%1 with delayed resolution) to the B%4F%1 chord of
bar 31. However, this e%4F%1 chord still stands in the relation of
I%4A%1 to VII%4E%1 with the following chord. With these things in mind,
it would be well here to fill out the bottom level of detailed
functions in our analysis of this section.
.BEGIN VERBATIM
Figure 92
.END
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There are just a few more temporary tonics in the exposition
-- at bar 39, ↓_A%4F%1_↓ (%4F%1III), at bar 44, ↓_d_↓ (vi), and ↓_C_↓ (V).
We already have the main temporary tonics and the control
tonics in the development section. Now the details of the middle
ground will be added to the material presented in Figures 89a and
89b. The incomplete chord at bar 47 acts as a pivot between ↓_F_↓ and ↓_d_↓.
.BEGIN VERBATIM
Figure 93a. First half of development section.
.END
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Notice in particular, at bars 55-57 and 57-59, the repetition
of i - iv - v as a progression of tonics.
The last part of this development section is of such complexity
that the details of the middle ground cannot well be isolated from
the somewhat ambiguous foreground. As stated earlier, this passage is
based on the harmonic progression found in bars 19-21 of the exposition.
In that earlier presentation there is no problem of analysis when it
is noted that E%4N%1 is a conventional raised sixth degree of the ascending
↓_g_↓ scale.
.BEGIN VERBATIM
Figure 93b
.END
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The harmony of bars 60-62 is quite similar, but now moving from
↓_d_↓ and employing three-note substitutes for the seventh chords.
.BEGIN VERBATIM
Figure 93c
.END
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Taking only the primary chords of the next bars, we find the
same progression, now in ↓_c_↓:
.BEGIN VERBATIM
Figure 93d
.END
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Next, the progression is expanded to three seventh chords in
a row. Following the previous analyses, we can only assume that
this represents an overlapping of an implied tonicization of ↓_f_↓ and
a real one of ↓_g_↓.
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.BEGIN VERBATIM
Figure 93e
.END
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.FILL INDENT 6
There is no doubt that the material thus far presented on
this passage gives a fair picture of the essential movement of the
harmony and would make a relatively uncluttered analysis. Unfortunately,
this degree of simplicity is achieved only by omitting mention of the
subtle changes which occur at the ends of many of the measures. When
these are taken into account, we find several pivot chords and
justification for showing some more brief tonicizations.
First, in bars 63 and 64, it might be said that the root
of each beginning harmony is tonicized by the previous eighth note.
Below the analysis, the earlier simple view is presented.
.BEGIN VERBATIM
Figure 93f
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Because of the slight changes in the presentation of the motive
in bars 65-69, we now find somewhat different harmonic details. The
harmony of bar 65 is first heard as ↓_c_↓: I, the disjunctly approached A%4F%1
at the end changing the function to VI%47%1. Continuing on this basis,
bar 66 will give ↓_c_↓: II acting at same time as ↓_f_↓: %4N%1VI, which then becomes
↓_f_↓: IV%47%1 at the end of the bar. (Note that a B%4F%17 chord rarely can be
truly functional in ↓_c_↓.) Bar 67 then has ↓_f_↓: %4N%1VII to V%47%1, which works
equally well as ↓_g_↓: %4N%1VI to IV%47%1. This leads
to ↓_g_↓: %4S%1VII%47%1 in bar 68 and
then I at the beginning of bar 69.
.BEGIN VERBATIM
Figure 93g
.END
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However, it hardly seems necessary to show these changes of
%4N%1VI to IV%47%1, etc. in bars 66-68, the root of each seventh chord being
delayed until the last eighth note. But if the same reasoning is
applied to the slightly different structures of bars 65 and 69, what
is first heard clearly as a minor I chord then is "completed"
as IV%47%1 of a major key.
Thus a momentary tonic of ↓_E%4F%1_↓ is implied, overlapping with the ↓_c_↓
of bar 65 and the ↓_f_↓ of bars 66-67.
.BEGIN VERBATIM
Figure 93h
.END
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