03 Bass Lines and Har Struc
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Transcript of 03 Bass Lines and Har Struc
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Three Fundamental Classes
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Three Fundamental Classes
✦ Tonic (T) class
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Three Fundamental Classes
✦ Tonic (T) class
✦ Intermediate (int) or “predominant” class
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Three Fundamental Classes
✦ Tonic (T) class
✦ Intermediate (int) or “predominant” class
✦ Dominant (D) class
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Tonic (T) Class
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Tonic (T) Class
✦
I - I6
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Tonic (T) Class
✦
I - I6✦ Two chords, but just a prolongation of one tonic idea
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Tonic (T) Class
✦
I - I6✦ Two chords, but just a prolongation of one tonic idea
✦ I - vii6 - I6
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Tonic (T) Class
✦
I - I6✦ Two chords, but just a prolongation of one tonic idea
✦ I - vii6 - I6
✦ Adds a passing chord between I and I6, connecting the
root and third of the tonic
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Intermediate (int) Class
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Intermediate (int) Class
✦ IV - ii6 - V
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Intermediate (int) Class
✦ IV - ii6 - V
✦ The two intermediate chords (descending root) prepare the dominant
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Intermediate (int) Class
✦ IV - ii6 - V
✦ The two intermediate chords (descending root) prepare the dominant
✦ I - vi - IV
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Intermediate (int) Class
✦ IV - ii6 - V
✦ The two intermediate chords (descending root) prepare the dominant
✦ I - vi - IV
✦ The vi acts both as a prolongation of T and a bridge into the int chord as well
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Chord and Harmony
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Chord and Harmony
✦ Schenkerian analysis makes a distinction between chord and harmony
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Chord and Harmony
✦ Schenkerian analysis makes a distinction between chord and harmony
✦ The chord is the actual labelled harmonic event
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Chord and Harmony
✦ Schenkerian analysis makes a distinction between chord and harmony
✦ The chord is the actual labelled harmonic event
✦ The harmony is the overall function of that harmonicevent, viewed either singly but more often together with
other chords as a larger unit
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Mozart: Sonata K. 545, II
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Mozart: Sonata K. 545, II
✦ The V43 on the third beat provides harmonic variety, but italso serves to prolong the initial tonic harmony
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Mozart: Sonata K. 545, II
✦ The V43 on the third beat provides harmonic variety, but italso serves to prolong the initial tonic harmony
✦ The bass line in the first two measures outlines an upperneighbor tone
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Mozart: Sonata K. 545, II
4
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Mozart: Sonata K. 545, II
✦ The 6-4 chord in bar three is a neighboring 6-4, anembellishment which serves to prolong the tonic
M S K 545 II
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Mozart: Sonata K. 545, II
✦ The 6-4 chord in bar three is a neighboring 6-4, anembellishment which serves to prolong the tonic
✦ The common-tone diminished seventh chord on the third beat is also an embellishment, creating incomplete neighbor
chords ( contrapuntal chords)
M S K 545 II
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Mozart: Sonata K. 545, II
IN
IN
N
IN
P P
I
N
I I
M S K 545 II
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Mozart: Sonata K. 545, II
✦ The reduced analysis here shows the neighboring functionsof the V43, IV64, and common-tone diminished chords
IN
IN
N
IN
P P
I
N
I I
M S K 545 II
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Mozart: Sonata K. 545, II
✦ The reduced analysis here shows the neighboring functionsof the V43, IV64, and common-tone diminished chords
✦ The reduction also analyzes the melody, using stems to show primary tones and identifying embellishments
IN
IN
N
IN
P P
I
N
I I
M S K 545 II
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Mozart: Sonata K. 545, II
5
N
I
M S K 545 II
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Mozart: Sonata K. 545, II
✦ Bars 5-6 display a continuation of the tonic prolongation
5
N
I
M S K 545 II
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Mozart: Sonata K. 545, II
✦ Bars 5-6 display a continuation of the tonic prolongation✦ The neighboring V43 is repeated in bar 5
5
N
I
M S K 545 II
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Mozart: Sonata K. 545, II
✦ Bars 5-6 display a continuation of the tonic prolongation✦ The neighboring V43 is repeated in bar 5✦ In bar 6, a motion from I through vi moves to I6—this is
essentially the same motion as if moving upwards from I to
I6.
5
N
I
M t S t K 545 II
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Mozart: Sonata K. 545, II
5
N
I
M t S t K 545 II
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Mozart: Sonata K. 545, II
✦ Bar 7 is intermediate harmony—a “predominant” function leading us to the
5
N
I
M t S t K 545 II
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Mozart: Sonata K. 545, II
✦ Bar 7 is intermediate harmony—a “predominant” function leading us to the
✦ half-cadence in bar 8 and the dominant harmony
5
N
I
M t S t K 545 II
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Mozart: Sonata K. 545, II
IN
IN
N
IN
P P
I
N
I I
5
N
I
A R i d
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A Reminder
A R i d
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A Reminder
✦ The cadential six-four is really an intensified dominant
A Reminder
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A Reminder
✦ The cadential six-four is really an intensified dominant✦ Therefore, the notation which analyzes it as a dominant with
non-chord tones resolving to chord tones is more descriptive than
A Reminder
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A Reminder
✦ The cadential six-four is really an intensified dominant✦ Therefore, the notation which analyzes it as a dominant with
non-chord tones resolving to chord tones is more descriptive than
✦ the more logically-correct notation
Bach: “Wach’ auf mein Herz”
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Bach: Wach auf, mein Herz
Bach: “Wach’ auf mein Herz”
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Bach: Wach auf, mein Herz
✦ At first glance, one might think that the IV in bar 2 is theintermediate, or predominant, chord
Bach: “Wach’ auf mein Herz”
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Bach: Wach auf, mein Herz
✦ At first glance, one might think that the IV in bar 2 is theintermediate, or predominant, chord✦ It is followed by a dominant
Bach: “Wach’ auf mein Herz”
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Bach: Wach auf, mein Herz
✦ At first glance, one might think that the IV in bar 2 is theintermediate, or predominant, chord✦ It is followed by a dominant✦ The dominant then resolves to a tonic.
Bach: “Wach’ auf mein Herz”
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Bach: Wach auf, mein Herz
Bach: “Wach’ auf mein Herz”
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Bach: Wach auf, mein Herz
✦ However, the opening tonic is actually prolonged over twomeasures, extending from the upbeat to the third beat of measure 2
Bach: “Wach’ auf mein Herz”
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Bach: Wach auf, mein Herz
Bach: “Wach’ auf mein Herz”
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Bach: Wach auf, mein Herz
✦ What appears at first to be a cadence in bar 2 is an evaded cadence (or an implied) cadence, a technique used specifically to extend ideas—i.e., it’s a prolongation technique.
Bach: “Wach’ auf mein Herz”
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Bach: Wach auf, mein Herz
Bach: “Wach’ auf mein Herz”
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Bach: Wach auf, mein Herz
✦ Therefore, the intermediate chord is found on the downbeatof bar 3
Bach: “Wach’ auf mein Herz”
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Bach: Wach auf, mein Herz
✦ Therefore, the intermediate chord is found on the downbeatof bar 3✦ It leads to a prolonged dominant on beat 2
Bach: “Wach’ auf mein Herz”
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Bach: Wach auf, mein Herz
✦ Therefore, the intermediate chord is found on the downbeatof bar 3✦ It leads to a prolonged dominant on beat 2✦ And the final tonic on the downbeat of bar 4
Bach: “Wach’ auf, mein Herz”
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Bach: Wach auf, mein Herz
Bach: “Wach’ auf, mein Herz”
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Bach: Wach auf, mein Herz
✦ The reduced version of the bass line helps make thecomponents clear.
Dominant Class
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Dominant Class
Dominant Class
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Dominant Class
✦ The half-cadence at the end of the antecedent requires aresolution
Dominant Class
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Dominant Class
✦ The half-cadence at the end of the antecedent requires aresolution
✦ However, the beginning of the consequent doesn’t provide the resolution
Dominant Class
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Dominant Class
✦ The half-cadence at the end of the antecedent requires aresolution
✦ However, the beginning of the consequent doesn’t provide the resolution
✦ The end of the consequent is the true resolution
Dominant Class
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o a t C ass
Dominant Class
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✦ We tend to hear the end of the antecedent, and the beginningof the consequent, as an interruption before the dominantfinally achieves full closure
Beethoven: Sonata Op. 13, II
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p ,
Beethoven: Sonata Op. 13, II
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p ,
✦ Different uses of dominant chords
Beethoven: Sonata Op. 13, II
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p ,
✦ Different uses of dominant chords✦ Dominants in bars 1 and 2 act as incomplete neighbors
Beethoven: Sonata Op. 13, II
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p ,
✦ Different uses of dominant chords✦ Dominants in bars 1 and 2 act as incomplete neighbors✦ In bar 4, the V is in root position and articulates a half
cadence
Beethoven: Sonata Op. 13, II
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p
Beethoven: Sonata Op. 13, II
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p
✦ Different uses of dominant chords
Beethoven: Sonata Op. 13, II
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p
✦ Different uses of dominant chords✦ The V in bar 4 resolves through V42 to I6—therefore
the dominant persists through bar 5 as well
Beethoven: Sonata Op. 13, II
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p
Beethoven: Sonata Op. 13, II
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p
✦ Different uses of dominant chords
Beethoven: Sonata Op. 13, II
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p
✦ Different uses of dominant chords✦ The V in bar 4 also acts so as to divide an overall bass
motion from I to I
Beethoven: Sonata Op. 13, II
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p
✦ Different uses of dominant chords✦ The V in bar 4 also acts so as to divide an overall bass
motion from I to I✦ And also acts to prepare the long-term motion to the ii in
bar 7
Beethoven: Sonata Op. 13, II
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IN IN
[V]
Beethoven: Sonata Op. 13, II
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✦ A “dividing dominant” is indicated in the analysis with a bracketed [V]
IN IN
[V]
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✦ A “dividing dominant” is indicated in the analysis with a bracketed [V]
✦
Note important features:
IN IN
[V]
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✦ A “dividing dominant” is indicated in the analysis with a bracketed [V]
✦
Note important features:✦ The dotted slur (indicated a prolongation)
IN IN
[V]
Beethoven: Sonata Op. 13, II
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✦ A “dividing dominant” is indicated in the analysis with a bracketed [V]
✦
Note important features:✦ The dotted slur (indicated a prolongation)✦ Stems indicating the primary bass line notes
IN IN
[V]
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✦ A “dividing dominant” is indicated in the analysis with a bracketed [V]
✦
Note important features:✦ The dotted slur (indicated a prolongation)✦ Stems indicating the primary bass line notes✦ Flags indicating neighbor tones
IN IN
[V]
Beethoven: Sonata Op. 13, II
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✦ A “dividing dominant” is indicated in the analysis with a bracketed [V]
✦
Note important features:✦ The dotted slur (indicated a prolongation)✦ Stems indicating the primary bass line notes✦ Flags indicating neighbor tones✦ Large-scale tonic prolongation
IN IN
[V]
Bach: Chorale “Ihr Gestirn, ihr hohen Lüfte”
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✦ Two root-position tonic chords are connected by a dominantchord in root position—octave leap subdivided by a fifth
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✦ Two root-position tonic chords are connected by a dominantchord in root position—octave leap subdivided by a fifth
✦ Soprano moves from ^1 to ^3; thus the tonic triad is fullyoutlined in both voices.
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✦ Register transfer back to original octave; motion from I to I6 via a passing vii6.
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✦ Register transfer back to original octave; motion from I to I6 via a passing vii6.
✦ Return to root-position tonic by means of a V43.
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✦ Register transfer back to original octave; motion from I to I6 via a passing vii6.
✦ Return to root-position tonic by means of a V43.✦ Motion from ^3 to ^6 of the tonic triad
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Bach: Chorale “Ihr Gestirn, ihr hohen Lüfte”
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✦
Arrival at a dominant chord at bar 4, however the chord isnot entirely stable
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✦
Arrival at a dominant chord at bar 4, however the chord isnot entirely stable✦ The soprano note is the leading tone
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✦
Arrival at a dominant chord at bar 4, however the chord isnot entirely stable✦ The soprano note is the leading tone✦ Bass moves back through V42 to I63
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✦
Arrival at a dominant chord at bar 4, however the chord isnot entirely stable✦ The soprano note is the leading tone✦ Bass moves back through V42 to I63
✦ Thus this is a “dividing” dominant
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✦
Return to I; notice the combination of stepwise motion and leaps in the bass.
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✦
Return to I; notice the combination of stepwise motion and leaps in the bass.✦ There is a voice exchange between the outer voices in this
motion from I6 to I
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✦
Modulation to III.
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✦
Modulation to III.✦ F is established as a key area in its own right
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✦
Modulation to III.✦ F is established as a key area in its own right✦ The ‘f’ in the soprano serves as the melodic goal of the
phrase, and also initiates a new melodic ascent in thenext phrase
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Modulation
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Modulation
✦ Although in a modulation the piece does “change key”, as arule it is the very tension created by the key change—and theeventual return to the original tonic—which makes
modulation useful in musical structure.
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Modulation
✦ Although in a modulation the piece does “change key”, as arule it is the very tension created by the key change—and theeventual return to the original tonic—which makes
modulation useful in musical structure.✦ Therefore, the new key is both a new tonic, and still retains
whatever secondary quality in the old key (i.e., if youmodulate to V in a major key, the V is a new key, but stillacts like the dominant in the original key.)
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Modulation
✦ Although in a modulation the piece does “change key”, as arule it is the very tension created by the key change—and theeventual return to the original tonic—which makes
modulation useful in musical structure.✦ Therefore, the new key is both a new tonic, and still retains
whatever secondary quality in the old key (i.e., if youmodulate to V in a major key, the V is a new key, but stillacts like the dominant in the original key.)
✦ Because of that, Schenker referred to modulation as motion to an “illusory key.”
Bach: Chorale “Ihr Gestirn, ihr hohen Lüfte”
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✦ Tonic prolonged to bar 8
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✦ Tonic prolonged to bar 8✦ Int harmony from 8 - 15
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✦ Tonic prolonged to bar 8✦ Int harmony from 8 - 15✦ D harmony at 15
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✦ Tonic prolonged to bar 8✦ Int harmony from 8 - 15✦ D harmony at 15✦ Final T harmony at 16
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I i C i
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Imaginary Continuo
I i C i
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Imaginary Continuo
✦ An imaginary continuo creates a harmonic representation of acomposition, removing melodic and harmonic embellishment
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I i C i
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Imaginary Continuo
✦ An imaginary continuo creates a harmonic representation of acomposition, removing melodic and harmonic embellishment
✦ Feel free to move between three and six voices
✦ Try to stay with relatively “pure” voice leading, unless to doso means to seriously misrepresent the composition
I i C i
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Imaginary Continuo
✦ An imaginary continuo creates a harmonic representation of acomposition, removing melodic and harmonic embellishment
✦ Feel free to move between three and six voices
✦ Try to stay with relatively “pure” voice leading, unless to doso means to seriously misrepresent the composition
✦ Generally think of piano style—the RH plays complete
chords, while the LH plays single bass notes
Beethoven: Sonata Op. 10 No. 1, II
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cresc.
Beethoven: Sonata Op. 10 No. 1, II
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✦ The imaginary continuo follows the original pretty closely.
cresc.
Beethoven: Sonata Op. 10 No. 1, II
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✦ The imaginary continuo follows the original pretty closely.✦ Note: my version is a bit different from the text; I think their
version in bars 6 & 7 was a bit too “convenient” and slightly
cresc.