Send the link below via email or IMCopy
Present to your audienceStart remote presentation
- Invited audience members will follow you as you navigate and present
- People invited to a presentation do not need a Prezi account
- This link expires 10 minutes after you close the presentation
- A maximum of 30 users can follow your presentation
- Learn more about this feature in our knowledge base article
Equal subdivisions of the octave
Transcript of Equal subdivisions of the octave
Brahms: from Liebeslieder, op.52
Chopin: Nouvelle Etude no.2 (3 against 2)
Each chord = III (major triad on 3rd scale degree) of each key: Ab (=G#), E and C.
Each augmented triad = V#5 of the next key a semitone higher: A, Bb, B and C.
III V I
Splitting the 8ve into 3 equal parts: moving by +3rds
(Four Piano Pieces)
Chromatic voice exchange ('omnibus')
D = app.
(A is understood
here by the alto rest
as continuing the
V6/5 of D)
passing 6/4s are an
of the 'omnibus' technique
These 2 chords seem to be V7 and V4/2 of F. But there is no logical reason for them to exist: there is nothing nearby which has anything to do with that key. They are incidental sonorities of the voice leading expansion: non-harmonic in function, in this case acting as appoggiaturas relative to what's around them.
Schubert: Sonatina no.1 mm.78-94