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  • There are two main features which I hope that you identified

  • as crucial moments in the form of the melody line of this section.

  • First is the way the harmony centres on the note C natural -

  • that is the dominant of F, in the central bars of the trio

  • from 52A after the double bar line, to bar 60.

  • The note C is repeated again and again as the music modulates,

  • and it's then harmonised by the chord C major...

  • ..C minor...

  • ..A flat major...

  • ..then as a 6-4-5-3 suspension over an E flat major chord.

  • Here the music is modulated to A flat major,

  • but it immediately returns to the tonic F major

  • by reharmonising this same note, C natural,

  • with a dominant seventh chord on C.

  • So, this C natural is crucial to the structure of the melody

  • in these central bars.

  • The second feature which I think you may have picked out

  • is the note that comes straight after the section I've just analysed,

  • when the music returns to its tonic key, F major.

  • The melody settles firmly on A natural,

  • just as it did right at the beginning of the trio.

  • I think that this A natural

  • remains the most important note in the melody from here on.

  • I shall play it from the end of the modulation we have just analysed.

  • I think that the B flats which come at the end of this little section

  • reinforce A natural as the focus of the melody,

  • because they're neighbour notes

  • which sound as if they have to fall back to it.

  • I think this is why the final cadence,

  • which we analysed at the start of this video section,

  • is written the way that it is.

  • So, my analysis is that the A natural,

  • which is so prominent at the start of the section,

  • is taken up to a neighbouring note, B flat...

  • ..then this is repeated...

  • ..and then the main cadence has to emphasise the G natural

  • that leads between the A and the final F.

  • This is voice-leading.

  • The upper voice leads from A...

  • ..through G...

  • ..to F,

  • and this makes the moving around the tonic arpeggio in the final bars

  • sound just as a prolongation of this final tonic note in the melody.

  • So, how do we put these musical observations into a graph?

  • Let's build it up.

  • We start with the opening A natural,

  • and we can now say that this note connects

  • with its reappearance in bar 61 when the music returns to the tonic.

  • Then it moves to a neighbour note in bar 67,

  • and then moves through G to F at the main or structural cadence.

  • This line, prolonging A natural and then moving down to a final F,

  • is called the fundamental line of the piece.

  • Now, let's add more of the detail we've analysed.

  • The central section prolongs the note C natural as we have seen.

  • This is established at bar 53

  • and is reharmonised until it falls to a lower neighbour note, B flat.

  • Then it returns to C over an E natural in the base,

  • and it leads back to the A of the fundamental line.

  • I could have put in more detail

  • to show how this C natural moves through C minor and A flat major,

  • but this is middle ground detail,

  • and so I've concentrated on the way that the voices lead

  • through the whole of this little section,

  • from the key of C major in bar 53,

  • back to F major at bar 61.

  • Lastly, I'll add a little detail

  • to show how the first section moves up an octave to a top A

  • before descending to the C which will be the focus of the middle section.

  • And I'll show the arpeggiations at the beginning and the end.

  • I hope you've followed how I've constructed

  • this complete background graph,

  • which shows my opinion of how the structure of this trio makes sense.

  • To conclude this video section,

  • we're going to listen to the whole trio once more,

  • following the graph rather than the score.

There are two main features which I hope that you identified

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ベートーヴェンの交響曲第8番:ボイスリーディング分析-音楽を分析する (8/8) (Beethoven's eighth symphony: voice-leading analysis - Analysing music (8/8))

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    songwen8778 に公開 2021 年 01 月 14 日
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