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Prolongation: Basic Analysis of Chorale Harmonization (Part Four) |
| The eighth phrase (example 224.1) completes a process begun in the fifth phrase, a prolongation of the initial structural tonic by way of the submediant. A brief version of this occurs in the fourth phrase (example 222.3). The entire e-minor passage is a prolongation of an intermediate step in the motion from root position tonic in the fifth phrase to first inversion tonic in the eighth phrase. |
| Example 224.1 |
| Example 224.2 |
| [[ - I] IV V I] |
| [[ - I - - - - - - I ] V ] |
| [[ - I - - - I ] IV V I] |
| Next: Cadential Structure Analysis, Part Five Back: Part Three |
| The tenth phrase (example 224.2) prolongs the tonic through seven beats, alternating root position and first inversion tonic chords with dominant chords. Compared to the stately progress of the other phrases, this phrase is very fussy, a sort of climax. But, with all the fuss, it is simply the initial structural tonic, prolonged, followed by the structural dominant. A half cadence. |
| [[ I - I] V] |
| The ninth phrase is a simple half cadence. The initial tonic is prolonged using a first inversion dominant seventh chord. |
| Example 224.3 |
| The tenth phrase (example 224.2) is identical to the fourth phrase (example 222.3), except for the middle voices in the first three beats. The result is a simpler sounding progression, even though the cadential structure analyses of the two phrases are identical. Full cadence: [I-IV-V-I]. |
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| MODULES Cadential Structure Prolongation of Function: Basic Analysis of Chorale Harmonization (Part Four) Lester Allyson Knibbs, Ph.D. |
[I-IV-V-I] Prolongation: Back / Next Elaboration of Motion In Symphonic Composition |
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Introduction The Chaconne Cadential Structure --- Unitary & Binary Structures Linear & Periodic Structures Modules and Modalities Structural Counterpoint Modular Composition Appendices |