Let's do an analysis of this, Beethoven bagatelle. And, there are a couple of things I want to point out. First, I want to introduce a new, well, not a new texture type but a, a, a new example of a polyphony. So it, it gives a good example of that. It also gives a good example of a, of another period form. But, let's first listen to it. [MUSIC] Maybe we tal-, talk first about the form. Since I think it's fairly easy to hear. We get a half. Well, we're in G minor, so we know that this is, interestingly, this is actually not easy to analyze. You can only analyze this as a G minor chord once you get here. But it's, it's close enough. We'll talk about we'll talk about it in a second. But we do get, if we're in G minor, then this is the five chord. And it sounds like something's ending. We get this rest. So I'm going to say that this is some kind of half cadence. [MUSIC] And then we see here we get another half cadence. [MUSIC] And then we get a repetition. Basically, an exact repetition, which ends here. Another half cadence. And then we, we look at this, and we say, well, it's more or less like the second phrase. But, we don't get a half cadence actually. We get five to one, both are in root position and this note is a tonic, so [SOUND] we get a perfect, authentic cadence. So, before we had when we talked about the parallel period, we saw that we had a half cadence. And a perfect authentic cadence. And those two things come together to form some kind of, to form a period. And we looked at the phrases themselves, and the material, the content of the phrases. We saw that the second one was more or less a repetition where there's a change at the end, and we get In the cadence, so we call that a parallel period. If we look at this we see that it's basically, well, it's, it's basically twice that. That is, we get a phrase here half cadence, and we get another phrase. Now, this phrase is actually contrasting from this one. But it ends in a half cadence. Then what we get is a repetition. This phrase and then a repetition of the second phrase, same thing. But this time we get a perfect authentic cadence. So, the way to describe this then is as a double parallel period. Double, because it's four phrases rather than two. Parallel because the first two are basically repeated in the second two phrases, the last two phrases. And of course, we need four phrases to, to make this happen. And each of the first three case, ca, cadences need to be weak cadences. And then with the PAC we get an, we get a close off. And we, we terminate the period form. So that's a, this is a really good exmaple of a double parallel period. And it's a good example of how period forms can be expanded significantly to include, in this case, up to four phrases. And we'll, we'll see an example later on where, the, the double parallel period is actually the entire form, of, of, of the piece. So this double parallel period can serve as a form for a small piece. Like one of these small dances. These dance forms like minuets and things like that. Now, lets do some analysis. Okay, we are in G minor and this is a little tricky. Someone might say, wait, this is a B flat chord. We have B flat and the D and a D here and before that, well, it's just a D. So, there is nothing to show a C, so we should call it a three chord. That would actually be a mistake. It would make why is that. Well, because it makes no sense for Beethoven, for a composer of that era, to begin a piece on a three chord. So, we don't want to analyze it that way. We, we hold off analyzing it. We look here. This is even harder, actually. This isn't a chord at all. We've got a root. It's probably some kind of 5 chord. We get the fifth. We get the seventh. This is some kind of relationship to a 5, you know, maybe a 5-4-3 chord, a passing. It's a passing seventh chord. You can probably analyze it that way, but we'll come, again, we'll come back to this one in a bit, and I'll talk a little bit about it. And then we get here, and we see we get the G minor chord. And then the, the D major chord in the first conversion, or the dominant chord. Tonic and dominant. And we go back and we say well, it doesn't sound like a three chord. So how do we analyze this? This is kind of a weird situation, where we'd actually analyze this as a one chord in first inversion. [SOUND] Even though we do not have a, a root, the chord. But the thing is, sometimes harmony isn't explicit. Sometimes it's suggestive. It's usually explicit. It usually is quite clear. But it's not always. And then we have to use our ears. And we have to use some a you know, deductive reasoning to make decision about what's happening harmonically. And if we go on [SOUND] we can say this is one. This is an interesting case of 5 in first inversion but it's minor. And then we get this guy, and we just, talked about him. We get this E-flat in the bass. We get a third above it and we get an augmented sixth above it. Some kind of augmented sixth chord has got three notes, a third above and an augmented sixth above it's an Italian augmented sixth [SOUND] to five. Okay, let's go back to this chord and just fill it in. I'd mentioned that, you know it's, it's a, it's a little bit like this. Where we don't really get everything complete. We don't get the third, which is important. We get the root. We get the fifth. We get the seventh. And this happens with these passing chords sometimes. We don't get the whole thing and we can treat them just as passing chords. But for our purposes in, in such a case, you know, you might even just analyze it like this. Just indicate it's a passing chord. But I think it has enough of a qual, you can keep this here for analysis if you wanted to. But it has enough traits of the five, four, three chord to write in that it's a five, four, three. So, again, it, this is a kind of exceptional situation. But but exceptions do happen. And, again, sometimes harmony is hinted at rather than stated fully. I also just want to very briefly talk about this. It's sort of an additional thing. This is actually a harmonic progression. I'll throw it into the, the compendium of progressions that we've accumulated so far. This is a very common progression. This one, then five in first inversion, usually four in first inversion, and then five. This is what I call the Passacaglia progression, because you find this all the time in, in Baroque Passacaglia's, in ground bases and things like that. This is kind of continuous variation form that existed, was, was quite popular in the Baroque era. You find it less in Mozart's time. The most famous example, actually, in the 19th century, is probably from Brahms, and the fourth movement of his Fourth Symphony. But this was a quite common progression and you'll find composers referencing it particularly Beethoven. Actually there's a very famous set of 32 variations by, for piano by Beethoven which uses this progression in a much more elaborated way. Anyway that's kind of a tangential thing. But I, I did want you to know that this is another progression that you can use. And here what Beethoven has done is basically substituted out the four and first inversion for the Italian sixth four the Italian augmented sixth chord. One, one of the nice things about parallel, double parallel periods is well, if you analyzed a bit of it here, then you probably analyzed a bit of it here, yeah. Because this is the third phrase. The first phrase and the third phrase should more or less be the same. And all you really need to do is double check your work. So let's, let's just go through real quick and make sure that it's all looking the same. But, it pretty much does. Here we're going to get the same thing, this five, four, three. To 1 in root position. 5 in first inversion. Bring at the 1. We are going to get the minor 5. We are going to get the Italian augmented sixth again. [SOUND] And we're going to get 5. So good. That bit of analysis is done. Notice that also in here, we have very few non-chord tones. This one obviously is non-chord tone. You say, okay so what, how do we analyze this? Well, we don't, lets not worry about analyzing. We could analyze 1 here. But really we only get the inversion clearly right here. But this is going, we can retroactively apply one to this, and say that this then is a neighbortone. These, this is a chord tone, this is a chord tone, this is the non chord tone. Up, down, by step, so it's a neighbortone. [SOUND] And the only other thing that we have here is this as a non-chord tone. Which you can, well, you might analyze this as a seventh, and throw in, rather than saying 5, 6, just say 5,6,5. I don't like that nearly as much as just calling it well, we leap into it and we step out of it, so that's an appoggiatura. I think we'll, you know, this harmony here is, really sounds like a five triad. A dominant triad, not a dominant seventh chord. And that's why I think it makes sense to analyze this as an, as an appoggiatura. It's there just before you go in to the one chord. It really doesn't have the effect of a seven so I wouldn't analyze it that way. There are probably people out there in the world, in fact I'm certain of it, who would disagree with me and that's fine. That's what that's what people who do theory do. They disagree with each other about you know, whether or not that's a seventh chord, so. But, but, well my feeling is that it makes more sense to analyze it as an appoggiatura.
