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[ I - IV - V - I ]: Basic Analysis of Chorale Harmonization (Part Three) |
| The third phrase (example 213.1) is a simple prolongation of the structural tonic, by way of alternations with dominant chords (213.1(a)), followed by the structural dominant; a half cadence (213.1(b)). |
| Example 213.1 |
| [I - V - I - V - I] |
| [[I - - - - I] - V] |
| Example 213.2 |
| [- - - I] |
| [- - - I - I - -] |
| [I - - -] |
| [I - V - I] |
| From the point of view of cadential structure, the fourth phrase (example 213.2) is a problem. The tonic chords occurring in the middle of the phrase seem to be the only structural functions. I analyze this phrase as beginning with a motion into the tonic (213.2(a)), continuing with a prolongation of the tonic (213.2(b)) and concluding with a motion away from the tonic (213.2(c). The entire phrase is a prolongation of a structural function which occurs only in the center of the phrase, and not at either end (213.2(d)). It begins up in the air and, despite the tonicizing f-natural and the strongly voiced subdominant chord, it ends up in the air. There is no modulation - inadequate preparation, and the b-natural in the soprano would need to resolve upward to c-natural - and, although we cannot be sure until we hear the continuation, the c-major chord is not a structural subdominant. |
| Inside-out structures of this sort are not characteristic of cadential structures in the tonal period, but extensive prolongation, especially of the initial tonic, and extensive elaborations of motions from one structural function to another (especially from the initial structural tonic to the structural subdominant) are the basic ingredients of symphonic compositions. My analyses may seem extreme, but I believe that it is the prolongation of the initial structural tonic into the latter part of the development section that gives the first movement of Beethoven's third symphony both power and coherence; it is the elaborate motion from the initial structural tonic to the structural subdominant in the latter part of the development section of the first movement of Beethoven's Pathetique sonata for piano (opus 13) that gives the movement, overall, enormous driving force. |
| Next: Cadential Structure Analysis, Part Four Back: Part Two |
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| RIFFS Cadential Structure [ I - IV - V - I ] Basic Analysis of Chorale Harmonization (Part Three) Lester Allyson Knibbs, Ph.D. |
Introduction The Chaconne Cadential Structure --- Unitary & Binary Structures Linear & Periodic Structures Riff Modalities Structural Counterpoint Modular Composition Appendices |
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