Re: Analysis of two measures of last movement of Beethoven 9th Symphony
- From: Joey Goldstein <nospam@xxxxxxxxxxx>
- Date: Sat, 22 Jul 2006 13:05:08 -0400
Dear Collective Wisdom:
I am unsure about the analysis of two measures of the last movement of
the Choral Symphony. If you have the Dover miniature (1997), it's on
page 117, measures 253-254.
I've transposed this to G Major, and have a chord analysis scanned at:
I think the analysis in measures 13 and 14 of my transcription is I -
IV - V - IV but there's a dominant pedal.
Can someone clarify this for me?
I'm more of a jazz guy so my analysis might not jibe with the classical norm.
In chord symbols for those measures you'd have:
G/D C/D |D7 Am/D |G/B....
G/D D9sus4(no5th) |D7 D9(no3rd) |G/B...
I4 V9sus4 |V7 V9(no3rd)|I3...
Not really sure how classical guys deal with V7sus4 or dom 9th chords with omissions.
But I think they'd probably write it like this, but accompanied with further textual information (labelling melodic suspensions in the various voices etc.):
I4 V9 |V7 V9 |I3...
The low G in bar 13 would be labeled as a suspension above the 3rd of V9 beginning on beat 3. This suspension is resolved in a different voice however on beat 1 of bar 14 (i.e. the resolution of G to F# happens in the 3rd voice from the bottom of the bass cleff staff, not on the bottom voice of that staff). I think Gordon Delamont calls that transference, i.e. when a dissonance resolves in a voice other than the voice in which it occurred.
The 2nd chord of bar 14 is V9 with the 3rd omitted. But the 3rd is still heard by implication in that the overtone series of the low D contains F# as its 5th partial, and due to the F# being present in the previous chord. Still, I'm not sure how classical guys handle this in the analysis. The melody has an appoggiatura (6) above the 5th of V9. I almost called the chord V13 but since the B actually resolves to A I'm sticking with V9 (the E doesn't resolve until the chord change).
joegold AT sympatico DOT ca
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