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Grouping Dissonance G3/2: 2-Bar Foreshadowing of Next Vocal Phrase With Phrase Overlap One Bar Net Gain

1) The document analyzes the musical form, harmony, and meter of a piano piece. It describes various dissonances between the melody, harmony, and meter including grouping dissonance, displacement dissonance, and metrical dissonance. 2) Key sections and modulations are outlined such as transitions between B minor, D minor, and F-sharp minor. Cadential phrases are described as overlapping hypermetrically. 3) Details of the barcarolle rhythm, standing on dominant chords, and a melodic climax are mentioned. Metrical consonance is restored at important harmonic moments like the dominant arrival.

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ming yiu leung
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48 views6 pages

Grouping Dissonance G3/2: 2-Bar Foreshadowing of Next Vocal Phrase With Phrase Overlap One Bar Net Gain

1) The document analyzes the musical form, harmony, and meter of a piano piece. It describes various dissonances between the melody, harmony, and meter including grouping dissonance, displacement dissonance, and metrical dissonance. 2) Key sections and modulations are outlined such as transitions between B minor, D minor, and F-sharp minor. Cadential phrases are described as overlapping hypermetrically. 3) Details of the barcarolle rhythm, standing on dominant chords, and a melodic climax are mentioned. Metrical consonance is restored at important harmonic moments like the dominant arrival.

Uploaded by

ming yiu leung
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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A1

Grouping dissonance
no leading tone G3/2

1 2 3 4 1

B min: i III6 (not V!) III V/III i iv6 iv V i

6
G3/2

2 1 2 3
3 4,

12 4 1 2 3 4,

2
4=1

tonicization of f# min (v)


PAC on D, quickly turns to minor tonicization of D minor (iii):

d: i : vii7/V V6, f#: i V/V

2-bar foreshadowing of next


vocal phrase with phrase overlap
>> one bar net gain
cadential phrase overlap >> "pays
1 2 3 4 back" the extra bar gained earlier

18

4=1

back in B min: V7 VI vii7/iv iv cad 6/4 V i


A2

23

29

35
no melodic closure >> expectancy 懸念
B

... triplet subdivision


41

G3/2 (sub)

no third!

46

grouping dissonance at submetrical level


(quavers against triplet quavers)

51

tonicized v (PAC) tonic chord now sounds like iv of f# min

56

v (PAC)
61

Piano interlude

cadential phrase overlap >> hypermetrical reinterpretation


1 2 3 4

65

4=1 2

G3/2 (sub) throughout


quavers against triplet quavers
hypermetrical reinterpretation!

new hypermetrical group?


70

2 3 2
4=1
1

Displacement dissonance
D6+1, quaver G3/2 both hands have grouping dissonance (hemiola) against notated
meter

(RH: grouping distintegrates)


D3+1, crotchet

75 3 4 1 2

triple meter restored (metrical consonance at dominant arrival)


triplet subdivision in RH instead of quavers >> foreshadows 6/8
♩=♩.?
C1 metrical consonance

79 Barcarolle rhythm

B major!

84

V7/IV IV, IV

89

V7/V , V7

standing on the dominant


94

note CT dim 7ths


C2

not pp (louder!)
99

105

1
2 3

melodic
climax

1 2
110

4, (1 2

D2+1, dotted crotchet or Phrase expansion with


syncopation D6+3, quaver G3/2 parenthetical insertion

3 4=1 2 3 4 5

105

3 4)

Bass returns to Both hands consonant


metrical dissonance returns! Phrase expansion with
consonance with with 6/8 RH: 3/4
(Both hands 3/4) composed-out
6/8
LH: 6/8 deceleration

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