By David Damschroder
Integrating Schenkerian instruments and an cutting edge method of concord, David Damschroder offers a variety of penetrating analyses of works via Haydn and Mozart. a chain of introductory chapters support readers in constructing their analytical means. starting with brief excerpts from string quartets, the research proceeds by way of assessing the internal workings of twelve expositions from Haydn piano sonatas, six arias in G minor from Mozart operas, and 3 rondos in D significant from piano concertos through Haydn and Mozart. within the Masterworks part that follows, Damschroder offers specific analyses of six routine from symphonies, string quartets and opera by way of Haydn and Mozart, and compares his results with these of alternative analysts, together with Kofi Agawu, Robert O. Gjerdingen, James Hepokoski and Warren Darcy, Carl Schachter and James Webster. The ebook represents a big contribution to trendy analytical discourse on a valuable physique of tune and an evaluate of contemporary accomplishments inside of that realm.
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Extra info for Harmony in Haydn and Mozart
Nine how the I chord that will help the melody’s C] is elided throughout the repetition. as a substitute the previous dominant, G]-B-D at 852, results in E]-G]-B-C], an embellishing chord of I6. For a number of measures after the EEC, a last area (C) deals resolutions D of dissonant G] , extending the tonicization of a big. The G\ at 931 annuls that tonicization, beginning a retransition in which A’s broader function as dominant is said. thirteen Tonic D significant returns on the onset of the developmental rotation in degree 104.
But Mozart inserts an A D succession – functioning as an embellishment of the dominant – two times in the course of an extension of this D chord (measures 77–81). On different events we may well detect Mozart tending to speciﬁc pitch kinfolk that go beyond the transposition of the instant. for instance, even supposing fiveˆ serves because the Kopfton, the tonic G’s higher octave performs a tremendous position throughout the a1 and a2 thematic statements (measures 7, 10, eleven, and so on. ). in the course of b1, within the tonicized key of B[ significant, this G serves as an top neighbor to the B[ triad’s ﬁfth (measures 32, 34, 36, and so forth.
Most probably he could have deployed the Roman numeral ii7 had he interpreted this B differently. ) In my dialogue above I provide substitute interpretations of the 3 extra pitches that he monitors (B in degree eighty one, G] in degree 107, and C] in degree 110). for my part they dwell in the direction of the musical floor than do the seven foundational roots. truly Webster and i've arrived at an deadlock. there isn't any universal flooring among our perspectives, other than that the improvement concludes with a dominant chord.
2–12. (a) Harmonic perform within the past due eighteenth century instance 1. eight (cont. ) (b) (c) (d) embellishment of F] significant (representing 6−5 4−3]), suggesting that the flow- ment is in B Minor. This F] dominant is lengthy via degree 10, and then B Minor’s tonic function is conﬁrmed. on reflection one may possibly comprehend the preliminary D No longer so for Spitzer.
No longer so for Spitzer.