Reviewed n10 #11
Reviewed n10 #11
Conversation
…delayed as is indicated here? Pedal tones make that difficult. With that in mind, does the A in m.3 occur above the i chord, or should it be ignored as an anticipation of the upcoming chord in m.4?
…rp doesn't sound as prominent as the sounded D-sharp on 1.5
… would this be a place where the cadence marking should be placed on the downbeat of m.8?
…layed pedal point label until m.17. Does this capture this any better? It isn't really a pedal until that phrase begins, although it does take the same bass note as the cadence in m.15
…ocated on the downbeat, above the pedal note? And again, should HC label occur in m.21?
…n it becomes %7. Could be considered passing tone, but there was a ii%43 in m.4 that his may refer to
… as occuring on 1.5, and some on 1, which makes suspensions slightly inconsistent
… of phrase/cadence label separation?
… of time going into the cadence, so the A is less prominent going into the downbeat
… melody moves to D-sharp and then to E?
…l until m.43, like m.17
…At some point tonic pedal becomes dominant, but the precise moment isn't totally clear. This is parallel to m.19
…akes time here, like the HC in m.26, but then we don't have a PAC to conclude? I could also see the argument for an elided IAC or PAC, but there is a strong arrival on the V. The final phrase does kind of sound like the music has just decided to end here
…change in chord quality, but it does resolve as a slightly delayed passing tone. I included the possible (b5) label to show a lean towards the hearing of this note as a dissonance.
…hin the measure, so we could include it as a label either as (13) or (+6) to show it as a neighbor tone
…ion, but we could also hold the melodic arrival of the III chord as delayed. This might have to be clarified to agree with the first few measures. If we keep the labels in mm.1-3 as offset, then we don't have melodic suspensions. Some of the later measures, like m.25, could be read as having a suspension, as the C-sharp is held while the bass arrives on B, or we could say that the chord doesn't fully arrive in the uppervoice until the offbeat, like in the first few measures. I think this could work well either way, we'd just have to decide!
…re is another melodic suspension, but this one is rearticulated, which helps avoid the ambiguity of the suspension in m.25
…have a V7(6), or an IAC as it is the third of the chord that we consider the cadential note in the melody
…cation of the return to the tonic. The shift from tonic pedal to dominant pedal is slippery. I do hear the potential for the final viio43, like in m.19, to be heard as a viio43/V, which would put the return to tonic one measure earlier. In either case, I'd want to make sure that modulating in the midst of a pedal point doesn't bother the pedal notation (would we need to change i[] to V[] in this passage as we return to the tonic key?
…the measure number count. These measures reflect the earlier question about suspensions: there could be good reason to include i(9) on the downbeat of m.53, if we decided that this was a suspension and not a delayed arrival of the entire chord on the offbeat.
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Thanks Tal! I left the displaced labels as that is how they had been originally placed when I began my review. I made changes following your comments, but would want to clarify the possibility of suspensions versus delayed arrivals of the chord tones in all of the upper voices. Is the melodic suspension in m.25 different from the delayed arrival of the chord tones found in mm. 2-3? I ask this question about a few specific spots in my commits. |
…th the pedal point notation, as these labels fail the check. Would we need to end the pedal tone before we change keys, and then begin a new pedal point once we return to the tonic key by adding 'V['? Or do we end the pedal point in m.45 and just have the label 'i.V|HC' in m.46?
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…w the pedal as a dominant pedal throughout. Keeping the label in m.18 as i6 rather than i64 does help show the voice leading, but there could be the argument for acknowledging the bass note and putting i64 instead
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Thanks Tal! I'm sorry I just want to make sure I am reading your comments correctly, as the numbers have shifted again. I think it could be helpful to include the V(13) label in measures like m.6, as this acknowledges the melodic change of pitch while also capturing the resolution as a PAC (V13s like to have the melody resolve from 3 down to 1, so I think it is apt here!) This could be placed at all of the analogous spots. But the role of melodic dissonance in this movement is tricky when trying to 'regularize' the askew rhythms in order to decide what 'kind' of dissonances we have. I could also see good reason to leave this moments blanks and allow the V7 label to carry through. I think both would work well, and I would make all of these moments match. Thank you! |
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I think that the V13 will do the job. But just as I commented in n11, the annotations we leave behind and compromises we make will never be self-explanatory. |
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Please merge. I have no further comments. |
This movement was much thornier, lots of possible interpretations of harmonic rhythm and melodic embellishment. Thank you!