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[ I - IV - V - I ]: Basic Analysis of Chorale Harmonization (Part One) |
| Example 211.1 is J.S. Bach's harmonization of Aus meines Herzens Grunde (No. 1 in the Bach-Riemenschneider collection). A chordal analysis is provided (allowing for my shortcomings in web writing - no superscripts, for example). Assigning such labels to chords tells us little about how this harmonization functions. |
| Example 211.1 |
| I I IV-6 V-6 I V vi IV vii-6 I V I V-6 I vii-6 I-6 ii-6/5 V-7 I I I ii I-6 I-6 V-4/3 I |
| V vi vi iii-6 ii-6 I V-7 I V-7/IV IV I V-6/5 I vii-6 I V-7 vi IV I V I I IV-6 vi ii-6/5 V-7 I |
| Before moving on to my cadential structure analysis, a few comments: |
| measure 1, second beat, passing tone in tenor creates a root position submediant chord. |
| measure 2, second beat, suspension in soprano creates a first inversion mediant chord. |
| measure 5, second beat, passing tone in alto creates a submediant 6/5 chord (some would say, instead of the root position tonic chord indicated). |
| measure 8, second beat, passing tone in alto creates a first inversion leading-tone chord. |
| measure 11, second beat, passing tone in alto creates tonic 6/4 chord; compare this moment to measure 2, second beat, mentioned above. |
| measure 17 is a compressed recap of measure 4 (from the upbeat on the third beat of measure 3); although the first inversion leading-tone chord is missing, it is still heard. |
| measure 19, third beat, to measure 20, motion in soprano repeats, in augmentation, motion of tenor in measure 1, creating a similar IV-6 to vi to dominant progression. |
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| MODULES Cadential Structure [ I - IV - V - I ]: Basic Analysis of Chorale Harmonization Lester Allyson Knibbs, Ph.D. |
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