3/1/2023 0 Comments Hiromi pathetique sheet music![]() I like this passing tone because it doesn’t have a harmonic function, it’s just there, creating friction for the sake of friction. Secondary dominants are technically “dissonant”, but the dissonance gets resolved quickly and smoothly. It’s a “meaningless” dissonance, not part of a smoothly functional chord. Instead, it’s a passing tone, a chromatic bridge between the E-flat on top of the Eb7 chord and the F on top of the Gø7 in the next measure. This one is not part of a secondary dominant. It always sounds good!īeethoven uses one other conspicuous dissonant note in the hook: the E natural at the end of measure four. Pick a chord from within the key, think of it as being the tonic chord in its own temporary key, and precede it with the temporary key’s V7 chord. This is an easy technique for adding dissonance to your tonal music without disrupting its basic tonal-ness. And then it resolves to Bbm, which is the ii chord in A-flat, so everything resumes being reassuringly diatonic.īoth the Bb7 and F7 chords are examples of secondary dominants (known as applied chords in classical music nomenclature). ![]() That is the most dissonant possible note in the key! Once again, the weirdness of the F7 chord gets retroactively justified when you find out that it’s really the V chord in the temporary key of B-flat minor. But Beethoven wrote an F7, which uses A natural in place of A-flat. If you build a chord starting on F using only the notes within A-flat major, you get Fm7. The next outside note is an even spicier one, part of an F7 chord in the second half of measure six. ![]() The Bb7 resolves to Eb, and then the Eb becomes the V chord in the original key of A-flat. The D natural makes sense, however, if you think of the Bb7 chord as belonging to a new key, E-flat major. It’s not shockingly dissonant to modern ears, but it definitely sticks out. That’s the sharp fourth in the key of A-flat major. But Beethoven uses D natural, not D-flat. If you make a chord starting on B-flat that only uses the notes within A-flat major, you’ll get a Bbm7. The first note from outside A-flat major comes in the last chord of measure three, the Bb7 chord. The harmony is mostly plain-vanilla A-flat major, with the exception of three notes that I’ve marked in red. ![]() The hook a final time, also played in annoying triplets.A part in A-flat minor and E major using a (frankly annoying) triplet feel.A beautiful but less memorable part in F minor and E-flat major.The beautiful opening part, which I call “the hook,” in A-flat major.The similarities with Mozart’s Sonata in C minor are obvious. It’s best to known to my age cohort from Schroder’s performance: But he could write memorable tunes, too, and the second movement of the “Pathétique Sonata” contains a particularly good one. Beethoven is famous for writing huge epic structures. ![]()
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