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op18_no5_mov4.txt
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Composer: Beethoven
Piece: Op. 18 no. 5
Analyst: Rohrmeier et al.
Movement: 4
Time Signature: 2/2
Form: Exposition
Note: temp ts for nht
Time Signature: 2/2
m0 b2.25 A: V
m1 I6/4 b2 I
Note: viola part features seventh which seems not to resolve downward by step.
m3 V7 b2 I
m4 V7 b2 I
m5 V b2 V7/V
m6 V ||
m7 V7
m9 I b2 V7
m10 I b2 V7
m11 I b2 V7
m12 I b2.5 V6
m13 I
m14 V
m15 V7
m16 I6 b2.5 V
m17 I
m18 V b2.5 I
m19 V4/3
m20 I b2 vi6
m21 E: I6
m22 viio6
m23 vi6
m24 V6
m25 viio6/V
m26 V b2 V7
Note: Not sure about the inversion of i here.
m27 I b2 i6 b2.5 i
m28 V b2 V7
Note: Of course ditto here.
m29 I b2 i6 b2.5 i
m30 V b2 V7
m31 I b2 i6 b2.5 i
m32 V b2 V7
m33 I b2 i6 b2.5 i
m34 V b1.5 i b2 V b2.5 i
m35 V ||
m36 I
Note: chromatically descending diminished seventh chords
m37 viio7/V
m38 viio4/3
m39 viio7/iv
Note: some chromatic sliding here.
m40 viio4/3/bVII b2 bVII6
m41 viio6 b2 I
m42 ii6 b2 V6/V b2.5 V6/5/V
m43 V ||
m44 I
m45 IV
m46 viio
m47 iii
m48 vi b2 ii
m49 V7 b2 I b2.5 I6
m50 ii6 b1.5 ii b2 I6/4 b2.5 V7
Note: This passage is really quite tricky due to syncopation + the contrary thirds idiom, and it’s really quite a whir of lightning-quick V-I switches. I’m not really satisfied with either of the solutions I’ve put down.
m51 I ||
m52 V b2 V7
m52var1 b1.5 V7
m53 I
m53var1 b1.5 I
m54 V b2 V7
m54var1 b1.5 V7
m55 I b2 V7/ii
m55var1 b1.5 I b2 V7/ii
m56 ii b2 V7/IV
m56var1 b1.5 ii b2 V7/IV
m57 IV
m57var1 b1.5 IV
m58 I6/4 b2 V ||
m59 I b1.5 V6 b2 IV6 b2.5 I6/4
m60 IV b1.5 I6 b2 V4/3 b2.5 I
m61 V6/5
m62 I b1.5 ii6 b2 I6/4 b2.5 V7
m63 I b1.5 V6 b2 IV6 b2.5 I6/4
m64 IV b1.5 I6 b2 V4/3 b2.5 I
m65 viio7
m67 V9[b9]/vi b2 vi
m68 V9[b9]/V b2 v
m69 V9[b9]/IV b2 IV
m70 I6/4 b2 V7
m71 I ||
m72 viio6/5/ii
m73 ii6
m74 V9
m75 I ||
m76 viio6/5/ii
m77 ii6
m78 V9 b2.5 V7
m79 I ||
m80 V6/5
m81 I
m82 V7
m83 I
m84 V6/5
m85 I
m86 V7
m87 I
m88 V7
m89 I
m90 V7
m91 I A: V ||
m92 V7
m93a V7
Note: Temporary time signature for nht.
Form: Development
Time Signature: 5/8
m94a V7
Time Signature: 2/2
m93b f#: viio7
m94b V6/5
m95 i6/4 b2 i
m96 i
m97 V7 b2 i
m98 V7 b2 i
m99 v b2 V7/v
m100 v ||
m101 D: V7
m102 I
m104 V7 b2 I
m105 V7 b2 I
m106 V7 b2 I
m107 viio6 b2 vi6
m108 V6 b2 IV6
m109 I6/4 b2 V7
m110 i || b2 d: i6
m111 bVII6 b2 VI6
m112 v6 b2 iv6
m113 i6/4 b2 V2
Note: Descending fifth sequence.
m114 i || b2 g: V9[b9]
m115 i6/4 b2 V7
Note: this V9 needs an inversion
m116 I C: V b2 V9
m117 I6 b2 V4/3
m118 I F: V b2 V9
m119 I6/4 b2 V7
m120 I C: IV b2 vi2
m121 ii6 b2 V6/5/V
m122 V || b2 V7
m123 b2 I6/4
m124 b2 V9
m124var1 I6/4
m125 V7 b2 I6/4
m126 V b2 V7
m127 I6/4
m129 V7 b2 I6/4
m130 V b1.5 V7/V b2 V b2.5 V7/V
m131 V ||
m132 I
m133 IV
m134 V
m135 I6
Note: Textural considerations cause the verticalities on b2 to sound like chords in their own right, while in the parallel passage in the exposition the same pitch classes sound like passing tones.
m136 I b2 vi
m137 IV b2 ii
m138 V6/5
m139 I b1.5 V7/vi
m140 a: i b2 VI
m141 iv b2 iio
m142 V6/5
m143 i e: iv b1.5 V7 b2 iv6 b2.5 V6/5
m144 i b2 VI
m145 iv
m146 V7
m147 a: V7
m148 V7/IV b2 V7/VII
m149 V7/III b2 V7/VI
m150 VI
m151 iio6 b2.5 viio7/V
m152 V ||
m153 viio7
m154 i6/4
m155 viio7/V
m156 V
m157 viio7
m158 I6/4
m159 viio7/V
m160 V
m161 viio7/V
m162 V
m163 viio7/V
m164 V
m165 V7
Form: Recapitulation
m168 I6/4 b2 I
m170 V7 b2 I
m171 V7 b2 I
m172 V b2 V7/V
m173 V ||
m174 V7
m175 V7
m176 I b2 V7
m177 I b2 V7
m178 I b2 V7
m179 I b2.5 V
m180 I
m181 V
m182 V7
m183 I
m184 IV
m185 I6
m186 V4/3/IV
m187 D: I b2.5 viio
m188 I b1.5 viio b2.5 I
m189 viio b2.5 I
m190 viio
m191 I b2 vi6 A: ii6
m192 I6
m193 viio6
m194 vi6
m195 V6
m196 V6/5/V
m197 V b2 V7
m198 I b2 i6 b2.5 i
m199 V b2 V7
m200 I b2 i6 b2.5 i
m201 V b2 V7
m202 I b2 i6
m203 V b2 V7
m204 I b2 i6
m205 V b1.5 i b2 V b2.5 i
m206 V ||
m207 I
m208 IV
m209 V
m210 viio6/5/ii
m211 V/ii b2 ii
Note: ii-I6-ii6 progression here!
Note: ^ Sure, I think so too. I think one crucial factor which makes this work is that the I6 and ii6 are both first inversion chords; i.e., a teeny fauxbourdon, the ii6-i6-ii6 figure being fairly standard in Mozart. Also, if we are to take a hint from the first parallel passage at m41, we would have the same bVII-I but tonicized to d minor, where bVII acts sort of like a viio.
m212 b2 I6
m213 ii6 b2 V6/5/V
m214 V ||
m215 I
m216 IV
m217 viio
m218 iii
m219 IV6 b2 ii
m219var1 vi b1.5 IV b2 ii
m220 V7 b2 I b2.5 I6
m221 ii6 b1.5 ii b2 I6/4 b2.5 V7
Note: here’s that tricky passage again.
m222 I ||
m223 V b2 V7
m223var1 b1.5 V7
m224 I
m224var1 b1.5 I
m225 V b2 V7
m225var1 b1.5 V7
m226 I b2 V7/ii
m226var1 b1.5 I b2 V7/ii
m227 ii b2 V7/IV
m227var1 b1.5 ii b2 V7/IV
m228 IV
m228var1 b1.5 IV
m229 I6/4 b2 V ||
m230 I b1.5 V6 b2 IV6 b2.5 I6/4
m231 IV b1.5 I6 b2 V4/3 b2.5 I
m232 V6/5
m233 I b1.5 ii6 b2 I6/4 b2.5 V7
m234 I b1.5 V6 b2 IV6 b2.5 I6/4
m235 IV b1.5 I6 b2 V4/3 b2.5 I
m236 viio7
m238 V9[b9]/vi b2 vi
m239 V9[b9]/V b2 v
m240 V9[b9]/IV b2 IV
m241 I6/4 b2 V7
m242 I ||
m243 vii6/5/ii
m244 ii6
m245 V9
m246 I
m247 viio6/5/ii
m248 ii6
m249 V9
m250 I
m251 V6/5
m252 I
m253 V7
m254 I
m255 V6/5
m256 I
m257 V7
m258 I
m259 V7
m260 I
m261 V7
Form: Coda
m264 I
m266 V7 b2 I
m267 V7 b2 I
m268 V b2 V7/V
m269 V || b2.5 V7/IV
m270 IV b2 V7/IV
m271 IV
m271 var1 IV b2 V7/IV
m272 IV b2 V7/IV
m273 IV
m274 I b2 V7
m275 I
m276 b2 V7
m277 I
m278 I6
m279 ii6
m280 V7
m281 I b2 I6
m282 I6
m283 ii6
m284 V7
m285 I ||
m286 V6/5
m287 I
m288 V7
m289 I
m290 V6/5
m291 I
m292 V7
m293 I ||