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Prolongation: Basic Analysis of Chorale Harmonization (Part One) |
| Example 221.1 is J.S. Bach's harmonization of Wer Gott vertraut, hat wohl gebaut (No. 137 in the Bach-Riemenschneider collection). Again, a chordal analysis is provided (again allowing for my shortcomings in web writing - no superscripts, for example). And yet again, the reminder: assigning such labels to chords tells us little about how this harmonization functions. |
| Example 221.1 |
| I vi V I I vii-6 I-6 V V-7 vi V-6 I V V-4/3/V |
| V V-6/5 I V-7 vi I-6 ii-6/5 V-7 I I IV-6 V-6/5 I V e: V-6/5 i i-6 V V-6/5 i VI-6 V iv-6 i-6 ii-6/5 V-7 |
| Before moving on to my cadential structure analysis, a few comments: |
| measure 5, third and fourth beats, I hear this as a vii°6 of V. |
| measure 6, third beat, the passing tones create a vii°4/3 of V. |
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| e: i G: vi I-6 ii-6/5 V-7 I I ii-2 V-6/5 I V V-2 I V-6/5 I V I-6 I V V-6 I V vi I-6 ii-6/5 V-7 I |
| measure 12, third beat, I do not hear a VI6 here; I hear an anticipation (the c-natural). But the c-natural is a non-harmonic tone in the next chord, so such an analysis would not be allowed. Nevertheless, that's what I hear. The odd thing about so-called non-harmonic tones ("non-chord tones" would be more accurate) is that, in the hands of serious composers, non-harmonic tones are often the most important elements of the harmony. That is the case with this c-natural. |
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| measure 15, second and third beats, notice the c-natural suspension in the tenor. |
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| measure 17, fourth beat, notice the bold c-natural in the bass and its motion to b-natural. There is a progression from the anticipation/suspension motion in the tenor in measure 12 and in measure 15 to the stately and steady motion/resolution in the bass in measure 17. |
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| measures 15 to 19, there is no e-natural in the bass. After four measures (measures 11 to 14) in e minor, this is a contrast. Compare the bass of measure 16 with the bass against the same soprano melody in measure 9. Compare the harmonization of measures 18 to 19 with the harmonization of the same soprano melody in measures 4 to 6; in the earlier phrase, there are two appearances of submediant or submediant-like harmony, compared to none in the later phrase. |
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| MODULES Cadential Structure Prolongation of Function: Basic Analysis of Chorale Harmonization Lester Allyson Knibbs, Ph.D. |
[I-IV-V-I] Prolongation: Back / Next Elaboration of Motion In Symphonic Composition |
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