HARMONY I N CHOP I N

Chopinsoeuvreholdsasecureplaceintherepertoire,belovedbyaudiences,performers,andaesthetes.InHarmonyinChopin,DavidDamschroderoffersanewwaytoexamineandunderstandChopinscompositionalstyle,integratingSchenkerianstructuralanalyseswithaninnovativeperspectiveonharmonyandfurtherdevelopingideasandmethodsputforward in his earlier books Thinking About Harmony, Harmony in Schubert, andHarmony in Haydn and Mozart. Reinvigorating and enhancing some of the centralcomponentsofanalyticalpractice, this studyexploresnotions suchasassertion,chordalevolution(surge),collision,dominantemulation,unfurling,andwobblethroughanalysesof all forty-three mazurkas Chopin published during his lifetime. Damschroder alsointegrates analyses of eight major works by Chopin with detailed commentary on thecontrastingperspectivesofotherprominentChopinanalysts.Thisprovocativeandrichlydetailedbookwillhelptransformreadersownanalyticalapproaches.

DAV I D D AMSCHRODERisProfessorofMusicTheoryattheUniversityofMinnesota.His current research focuses on harmony in tonal music, a project that began with acareful examination of historical analytical practices and was the basis for his bookThinking AboutHarmony:Historical Perspectives on Analysis (Cambridge, 2008). Theproject continues with focused studies on selected repertoires: Harmony in Schubert(Cambridge,2010),Harmony inHaydnandMozart (Cambridge,2012), and thepresentbook. He has written textbooks on music fundamentals and on ear-training and sight-singingandhisarticlesandreviewshaveappearedinnumerousjournals.Inaddition,heisworkingon a textbook,TonalAnalysis: A SchenkerianPerspective (forthcoming).As acomplement to his scholarlywork, he occasionally performs on fortepiano andmodernpiano.

HARMONYINCHOPINDavidDamschroder

TheUniversityofMinnesota

UniversityPrintingHouse,CambridgeCB28BS,UnitedKingdom

CambridgeUniversityPressispartoftheUniversityofCambridge.

ItfurtherstheUniversitysmissionbydisseminatingknowledgeinthepursuitofeducation,learningandresearchatthehighestinternationallevelsofexcellence.

www.cambridge.org

Informationonthistitle:www.cambridge.org/9781107108578

DavidDamschroder2015

Thispublicationisincopyright.Subjecttostatutoryexceptionandtotheprovisionsofrelevantcollectivelicensingagreements,noreproductionofanypartmaytakeplacewithoutthewrittenpermissionofCambridgeUniversity

Press.

Firstpublished2015

PrintedintheUnitedKingdombyTJInternationalLtd,PadstowCornwall

AcataloguerecordforthispublicationisavailablefromtheBritishLibrary

LibraryofCongressCataloguinginPublicationdata

Damschroder,David,author.

HarmonyinChopin/DavidDamschroder,theUniversityofMinnesota.

pages;cm

Includesbibliographicalreferencesandindex.

ISBN978-1-107-10857-8

1.Chopin,Frdric,18101849Criticismandinterpretation.

2.Harmony.I.Title.

ML410.C54D252015

786.2092dc23

2014046686

ISBN978-1-107-10857-8Hardback

CambridgeUniversityPresshasnoresponsibilityforthepersistenceoraccuracyofURLsforexternalorthird-partyinternetwebsitesreferredtointhispublication,anddoesnotguaranteethatanycontentonsuchwebsitesis,orwill

remain,accurateorappropriate.

12

3

PartI

4

5

6

7

8

9

10

PartII

ContentsPreface

Methodologicalorientation:themazurkas

Thearchitectureofatonicpillar:twenty-sevenregulartonicpillarsfromthemazurkas

Betweenthetonicpillars:tonaltrajectoriesintwenty-sevenmazurkas

Irregularpillarsinthemazurkas:alternativestotheperfectauthenticcadence

Masterpieces

tudeinCMinor(op.10,no.12)inresponsetoGrahamH.Phipps

NocturneinCMinor(op.27,no.1)inresponsetoFelixSalzer

PreludesinEMajorandEMinor(op.28,nos.9and4)inresponsetoFredLerdahl

PreludeinGMinor(op.28,no.22)inresponsetoAlisonHood

PreludeinCMinor(op.45)inresponsetoJean-JacquesEigeldingerandtoCharlesJ.Smith

BalladeinFMinor(op.52)inresponsetoEdwardLaufer

BarcarolleinFMajor(op.60)inresponsetoJohnRink

Notes

Listofreferencestomusicexamples

Selectbibliography

IndexofChopinsworks

Indexofnamesandconcepts

Preface

Given my intention to explore harmony from Haydn through Debussy in depth, thedecisiontodevoteavolumetoChopinneedsnospecialjustification.Despitethenarrowrange of his compositional activities, Chopins oeuvre holds a secure place in thenineteenth-century repertoire, both beloved by audiences and admired by aesthetes. So,having recently publishedHarmony in Schubert andHarmony inHaydn andMozart, Itakea respite fromVienna(whereIassumeBeethovenandBrahmswillwaitpatiently),followingChopinwestwardtoParis.Mydecades-longfascinationwithhismazurkasherereaches its culmination in the presentation of probing yet concise analyses of all forty-threemazurkasthatChopinpublishedduringhislifetime.(WhileatworkonthisprojectIalso performed these compositions in fortepiano recitals and taught them in a graduateseminar.)Readersare invited to joinmeinexploring thesewonderfulcreationsover thecourseofthisvolumesfirstthreechapters.(Aswasthecaseinmyseminar,asemestersstudyofSchenkeriananalysisshouldberegardedasaprerequisite.)Theremainderofmyoffering (chapters 4 through 10) continues a practice I pursued in Schubert andHaydn/Mozart (note my abbreviations for those volumes): a focus on masterpieces byChopinthathavebeenaddressedinprintoronlinebyatleastoneotheranalyst,sothatthereader may juxtapose my interpretations with alternative viewpoints and, with myguidance, explore the differences. Though I provide numerous detailed Schenkeriangraphs(crucial forcreatinghierarchy-sensitiveharmonicanalyses), theRomannumeralsandothersymbolsbelowthemusicnotationwillbetheprincipalfocusofmyattention.

This study is intended for anyone who both especially enjoys listening to orperforming Chopins music and concurrently possesses an interest and facility in theanalysisoftonalmusic.Thoughonemightsupposethatsuchattributeswoulddescribeallmusicians, clearly some aremore inclined towards nineteenth-century repertoire and toanalytical undertakings than are others.As both teacher and author, I endeavor to offeranalysesthatarebothinsightfulandvibrantlypresented,hopingthatanyinitialresistancemighteventuallymelt.Thatsaid,therigorouspursuitofanalysisrequiresdedication.Thisisnotabookthatcanbedigestedquickly.Especially,chapters1through3shouldbereadataleisurelypace,ideallywithtimeforrepeatedlisteningtoeachmazurkaand(bythosewhoareable)formakingeachworkcomealiveatthekeyboard.

Authorsofstudiesinwhichharmonyisaperipheralconcernmightreasonablyelectto adopt the conventions for harmonic analysis that most readers already know andpractice.MystudyofChopin,ontheotherhand,ispartofabroaderharmonyprojectthateventuallywillencompassthelongnineteenthcentury:thisisthefourthofaplannedsixvolumes for the period up to 1850 (including Thinking About Harmony: HistoricalPerspectivesonAnalysis[abbreviatedasTAH],thetwoanalyticalmonographsmentionedabove,andforthcomingstudiesonBeethovenandonMendelssohnandSchumann),tobefollowed by another six volumes for developments after mid-century (TAH II plusmonographsonVerdi,Brahms,LisztandWagner,Mahler,andDebussy).ConsequentlyIhave taken decisive steps to creatively transform the practice of scale-step (Romannumeral)harmonicanalysis,integratingelementsfromhistoricalharmonytreatises,fromSchenkers writings, and from my own thoughts on such matters. Knowing that somereaderswillbeencounteringmyperspectiveforthefirsttimeinthisvolume,intheinitialchaptersIofferespeciallydetailedcommentarythatshouldassistincomingtotermswithhowmysystemdiffers from the current conventionalpractice.Readers already familiarwithmyanalyticalworkarewelcometopursuethebookschaptersinanyorder.

Concurrent with the creation ofHarmony in Chopin I have been developing thetextbookTonalAnalysis:ASchenkerianPerspective (tobepublishedbyW.W.Norton).ItsexistencemightimpactChopinreadersinthreeways:anyonewhoseunderstandingofbasicSchenkerianprinciplesisshakywillhaveanotherconvenientresourceforremedyingthesituation;Ioccasionallyreferencethatworkinmydiscussionofspecificconceptsortocallattention toaparticularpassagebyChopin that Ianalyze there;andbecauseof thispedagogical preoccupation my Schenkerian graphs within Chopin have become moredisciplinedandconsistentintheirnotationaldeployments.

Attheheartofmyperspectiveisthenotionthatimaginativethinkingshouldplayavital role in analysis, since the notes in the score often do not fully convey a worksstructure. Consequently a major impediment to understanding will emerge if a rigid,literalist stance regarding what may come into play prevails when analyzing acomposition. This dichotomy vividly struck me as I was viewing a painting depictingChrist in theGarden ofGethsemane, recently attributed toAdriaen Isenbrant, at the artmuseuminStrasbourg.Inasmallareaaboveahedgeorwallofftotheleft,onecanmakeoutsomeillumination.Whatcoulditbe?Isenbranthaspainteditataslant,asifthesource

of the illumination were moving towards the right at a swift pace. Without addingsomething to what is literally presented in the painting, this passage must remain amystery. For those who know the story, however, the illumination is central to thepaintingsmeaning:itcomes,ofcourse,fromtorches(hiddenbehindthehedge)carriedbymen,ledbyJudas,intentuponarrestingChrist.Likewise,elementsofamusicalstorymaybehintedatthoughnotexplicitlystatedinacomposition.Thereismuchabouthowmusicworks thatwill remain amystery if one is unwilling or unable to imaginatively extendbeyond the printed scorewhen analyzingmusic.By gaining a clear understanding of acomposers practicewhen all requisite notes are present one becomeswell equipped tomakesenseofmoreelusivepassages.

Mycloseengagementwithselectedcontributionsbynumerousotheranalystsgivesmy harmony project a unique panoramic perspective regarding tonal analysis in thecurrentera.Thesecommentaries(setoffbyshadinginchapters4through10)shouldnotbe regarded as neutral reviews such as one might find in a journal, but instead asdocumentationregardinghowotherwaysofanalyzingmusicappearfrommydistinctivevantagepoint.Consequentlyreadersmayengagewithmyperspectivethroughaninvitingmixofopportunitiestoassessmyownanalysesandtoencountermyreactionstovariousalternativeviewpoints(andeventually,inotherpublications,thereactionsofotherstomyviewpoints).Becausesomanyperspectiveswillbeassessedoverthecourseofmyproject,Ihaveestablishedsomegroundrules.First,thoughsomeanalystshavebeenveryprolific,Iwilldevoteonlyonechapter toeachwithinmysetofbooksaboutmusicbefore1850.(Where warranted a second turn may be granted during the post-1850 phase of theproject.) Second, only analystswhose outcomes significantly contrastmine (even ifwesharesimilarmethodologies)willbe thefocusofachapter.Third, Imustholdaneutralrelationshipwithanotheranalystinordertowritecandidlyabouthisorherwork:friends,mentors, and former students consequently are excluded.As a result, some authors onemight expect to find inamonographonChopinarenot featured in individual chapters.Forexample,oneof the leadingChopinauthoritiesofour timehaspublishedadmirableanalysesofprofoundinsight;and,Ioccasionallysharequarterswithhimatmusictheoryconferences. Thus for reasons two and three, no chapter herein focuses on his work(though I do quote him on occasion in the endnotes to reinforce my points or toacknowledgealternativeinterpretations).

I appreciate the feedback on drafts of thiswork that I have received from variousquarters.IalsoacknowledgethesupportofanImagineFundawardfromtheUniversityofMinnesota.As in theearliervolumesofmyproject,PeterSmuckerhasprovidedexpertsettingofthemusicexamples.AllanalysesarebasedonthescoresasprintedintherecentNational Edition (Cracow). In a few instances other editions and their editorialcommentariesaredrawnintothediscussion.IamgratefultotheNewYorkPublicLibrary,Astor,Lenox,andTildenFoundations,forallowingmetopurchaseonmicrofilmandtomakereferencetotheOsterCollection:PapersofHeinrichSchenker.

Conventionsregardingnoterelations,chords,keys,andRomannumerals

Pitch simultaneities (such as C-E-G) are indicated using hyphens (-), while pitchsuccessions(suchasCEG)areindicatedusingdashes().Directionmaybeindicatedinmelodicsuccession:ascendingasCC.Ablackarrowmaybeused to indicate a descending-fifth relationship that is or emulates a V(7)I succession,whereas an outline arrow may be used to indicate a succession from a chord of theaugmented-sixthtype:forexample,CFDGC;CADGC.

Keysandchordsaredistinguishedasfollows:CMajor(withacapitalM)isthekeyofCMajor;Cmajor(withasmallm)isaCmajorchord.

Unless another analysts methodology is being discussed, Roman numerals arepresented in capital letters regardless of a chords quality, modified by one or moreaccidentalsifthechordisaltered.ThusCMajor:IIIVIandnotIiiVI;andAMinor:IIIVI (closingonamajor tonic), not i iiV I.Anaccidental to the leftof thenumeralcorresponds to the chords root; one to the right corresponds to its third. If the chordalfifth,seventh,orninthisaltered,theanalyticalsymbolwillincorporatethecorresponding

Arabicnumeral,asinCMinor: .(ArrownotationhereIIoffersanattractive,thoughlessprecise,alternativetothecompleteanalyticalsymbol.)Thebulletsymbol()indicatesanabsentroot.Forexample,B-D-FinCMajorwillbeanalyzedasV7(or,withlessprecision,asV).

Likewiseaprogressionofchordal rootsgenerally ispresented incapital letters(CDGC), thoughonoccasionswhenquality is a factor in thediscussion a capital lettermayrefertomajorquality,asmalllettertominorquality,andasmallletterfollowedbyadegreecircle()todiminishedquality:forexample,CaFdbGeC.

A bracket is used to connect the analytical notation for two musical events thatnormallywouldfollowoneanotherbut that in thecontextunderdiscussionoccurat the

samemoment:forexample, whenanF-A-Cchordsoundswith,ratherthanbefore,rootBinadescendingcircleoffifths.

Parentheses around a pitch in an analytical example indicate that it is not actuallypresentinthescore,thoughit isunderstood.Parenthesesaroundanalyticalnotationmayrefertotheexpansionofadeeper-levelharmony(forexample,whenIisexpandedbyIIVVI)ortotheharmonicassertionofavoice-leadingphenomenon(forexample,whenthe6phaseofaI56,asinC-E-GtoC-E-A,assertstheharmonicroleofVI).Openparenthesesdesignate a voice-leading transition between two harmonies. For example, I ( ) IVindicates that the chords between I and IV (perhaps a circular, parallel, or sequentialprogression)donotthemselvesparticipateintheharmonicprogression,butinsteadservetoconnecttheharmoniesIandIV.

When a scores chordal spellings do not coincidewith the structurally appropriatespellings (for example, the substitution of easier-to-read F-A-C for cumbersomeG-B-D), I generallywill use the structurally appropriate spellings inmy examples andcommentaries, often placing the enharmonic spellings within square brackets to assistreadersinlocatingthepitchesinquestionwithinthescore.

Ipayverycloseattentiontohierarchiesamongpitchesandchords.ToalertreaderstovarioushierarchicalrelationshipsIoftenwillunderlinesomepitchnamestoindicatetheirhierarchical prominence. For example, CB C above bass CGC conveys therelationshipbetweentwounfoldedstrands:amoreprominentouterstrandE>D>C,andasubordinateinnerstrandC>B

ant.

anticipation

CP

chromaticpassingnote

CV

chromaticvariant

HC

halfcadence

IAC

imperfectauthenticcadence

IN

incompleteneighboringnote

N

neighboringnote

P

passingnote

PAC

perfectauthenticcadence

prg.

progression

susp.

suspension

W

wobble

Of course, the graphs oftenwill incorporateRoman-numeral harmonic analyses, and inthis regard I sometimes depart from Schenkers practice. Because it is innovative, IdocumentmyRoman-numeralusageverycarefullyasthechaptersunfold.

Because measure numbers are a pervasive feature in my close analyses, I havedeveloped an abbreviated style of reference, in the formmeasurebeat. For example, thesymbol23 indicates the thirdbeatofmeasure2.Generally thewordmeasurewillnot

precede the number. I regardmeasures in and as containing two beats.Ameasuredesignationsuchas14/16meansthatagivenchordisprolongedfrommeasure14throughmeasure16,withcontrastingcontentoccurringbetweenstatementsofthechord,whereasthe designation 1416 indicates a continuous prolongation of a single chord withoutsignificantinternalcontrast.Thesymbol15|16indicatesmeasure16alongwithitsupbeat.

PartI

Methodologicalorientation:themazurkas

1Thearchitectureofatonicpillar:twenty-sevenregulartonicpillars

fromthemazurkas

Chopinsmazurkasareadmiredespecially for theirharmoniccreativity.AsJimSamsonsuggests, Chopin reserved for the mazurkas some of his most astonishing harmonicadventures, at times almost to the point of iconoclasm.1Our substantial investment oftimeandenergyintheseworksoverthreechaptersshouldofferthedividendofastrikingandvividperspectiveregardingChopinsharmonicpracticeoverthecourseofhiscareerasacomposer.

Alloftheforty-threemazurkasthatChopinpublishedduringhislifetimecontainatleast one regular tonic pillar, which is built from a phrase or group of phrases thatconcludeswith a PAC in themazurkas tonic key. Though usually the tonic chordwilloccur at or near the beginning of a tonic pillar, a delayed initial tonic is a viablealternative,aslongasIisestablishedeventuallyandtheprogressionthenleadsthroughVback to I for the cadence. The initial tonic might exceptionally occur during anintroductionoronlyinthelistenersimagination(aswillbeexplainedinduecourse),inwhich cases the tonic pillar may be already engaged in the progression to the localdominantatitsoutset.

The twenty-sevenmazurkas thatwe explore in chapters 1 and 2 are distinguishedfromthesixteenthataredeferreduntilchapter3bythefact thatallof their tonicpillars(betweentwoandfourwilloccurwithinonemazurka)areregular.Anirregularpillarwill

cadenceonthetonicwithoutaconcurrentdescentto (IAC)oronthedominant(HC)orthemediant,oritwillbepresentedinakeyotherthanthetonic.InallsuchcasesapillarlaterinthemazurkawillconcludewithaPACinthetonickeyandthuswillberegular.

Chapter1offersadetailedassessmentofhowtwenty-sevenregulartonicpillarsareconstructed. Five broad categories are proposed to account for Chopins range of

structures: uninterrupted third-progressions, uninterrupted fifth-progressions, interruptedthird-progressions,interruptedfifth-progressions,andexceptionalcases.Howthesepillarsfitwithinthearchitectureoftheirrespectivemazurkaswillbeexploredinchapter2.

Uninterruptedthird-progressionsAsiscommonintonalmusicofthisera,theprojectionofthetonickeyinoneofChopinsmazurkasoften isaccomplishedthroughthestepwisefilling-inof the tonic triads lowerthird for example, E>D>C in C Major supported by a harmonic progression thatproceedsfromIthroughVbacktoI.Thoughthetentonicpillarsexploredinthissectionallconveythesestructuralfeatures,theyneverthelessofferaconsiderablevarietyintermsofhowthesefoundationalchordsareembellishedandconnected.ThoughIIorIVoftenservesasanintermediarybetweenIandV,insomecasesChopinproceedsdirectlyfromIto V or pursues a sequential trajectory rather than relying on one of those harmonicresources.

Opus6/2

TheMazurkainCMinorseight-measureintroductionprojectsaBCthird,coveredbyG.Thestemmednotesabovethebassin1.1revealthefirst-speciesfoundationofA1slinearstrands:thirds

and convergeuponthecadencesunisonC.AnelementfromfourthspeciesCsdelayindescendingtoB isheresupportedharmonicallybyII,enhancing thefoundational IV I progression. (Whereas the full inventory of an evolved harmonyschromaticelementsandaddeddissonancesgenerallywillbedisplayedbesideitsRomannumeralbelow thegraph, a shorthandnotation suchas the solid arrow,which indicatesthattheharmonyhastakenondominant-emulatingcharacteristics,oftenwillappearinthetextualcommentary.InthiscaseChopinhasreplacedCMinorsdiatonicsupertonic,D-F-A,withamuchmoredynamic,dominant-targetingalternative,D-F-A-C.Whereassomeanalystswouldelecttointerpretthischordasdiatonicinthecontextofthechordofits resolutionV7 ofV it is interpretedhere as a chromatic chordwithinCMinor,withRomanII indicating that thesecondscaledegreeservesas theroot.)ThemelodysdownwardshiftduringV, restoring the registerof the introduction,addsvitality to thepresentation and motivates further registral fluctuation as the mazurka continues. Theessenceofthetonicpillarsstructureisnotcompromisedbythepresentationofitsthird-progressionspreadoveratenthorbythesoundingofinner-strandpitchesGandEabovethemelodicdescentsCgoal.(ChopinemphasizestheCbynotatingGasagracenoteand introducingEonbeat two.)Because themazurkacontinuesbeyond the tonicpillar,the third-progression (spreadovera tenth) is interpretedasmotion to the interiorof the

texture,consequentlyextending ,whichservesastheKopfton(literallyheadtone),thepitch fromwhich themazurkas deep structural descent the ultimate tonic-confirming

eventwill emanate.Successors to at both themiddlegroundandbackground levelsemergelater(inmeasures17and42),asweshallseeinchapter2.

Example1.1AnalysisofMazurkainCMinor(op.6/2),mm.116.

Opus6/5[a.k.a.opus7/5]

Thefirst-speciesframeworkthatChopindeploysduringthetonicpillarofhisMazurkainCMajor is identical to the onewe noted in opus 6/2. Stemmednotes in1.2 reveal theinteraction between E>D>C above and C>BF>E descant in measures 7 and 8 hovers above the principal line, similar toG>F>E in measures 14 through 16 of opus 6/2 [1.1].2 That contrapuntal structurelikewise prevails at the foreground level to project the pillars opening tonic harmony.(TheKopfton imagined at the outset is stated during the second local E>D>C descent,whichextendsfrom53 through63.)Therepetitionof thepillar,beginning inmeasure9,bothrescinds theupper-octavehoistofgoalC(comparemeasures8and12)andseguesintotheBsectionbydestabilizingthegoaltonicviaa56shift(GtoAinmeasure12).3

Asnumerouslaterexampleswillconfirm,thetonicsfifthoftenwillshifttoitssixthasameansofsegueingbetweenthetonicandthesupertonic,whichinthiscaseisrealizedasII(D-F-A-Cinmeasure13,tobediscussedinchapter2).

Example1.2AnalysisofMazurkainCMajor(op.6/5),mm.18.

My assertion that the introduction conveys a tonic root andKopfton (displayedwithinparenthesesin1.2)maybedisconcerting.(Suchboldassertionsareahallmarkofimaginative analytical thinking,which contrasts a literalistperspective.4) Because an E(during81)precedestheupper-strandDintherepetitionbeginningat91,Iretrospectivelyimportthatcontexttowhatprecedes51. Inthiscasetheinitial tonicisunconventionally

presented in position. Interpreting the solo G of measures 1 through 4 as a tonicharmonydependsupona careful assessmentof thebroader context.Acomparisonwithanothermazurkaopus30/3revealshowChopinwillsometimesleadfromalonefifthscaledegreeintoarobusttonicchordduringanintroduction.Inopus6/5thatevolutioniselided.MyproposedCandEprojectwhatIunderstandChopintohaveimaginedastheopeningchordalstructure,representedmeagerlybypitchG.5

Opus7/1

ThehighspiritsthatChopinconveysinhisMazurkainBMajorresultinpartfromthepersistent refusal of the melody to be confined by the line that traverses the pillars

middleground structural descent (depicted in 1.3). An upper thirdcoordinateswitheachoftheseelements,andevengreaterheightsareattainedaswell.Forexample,theFof23,alreadyathirdabovethestructuralD,isembellishedbyneighborG

inmeasure 3, during a expansion of the tonic. (The is unfurled, with Esounding in thebass.Anunfurling isdefinedasachordal reconfiguration involving thesubstitutionofadifferentbassnotefortheonethatcharacteristicallywouldoccur.)ThisGis embellished by upper-third B before F returns. Also, whereas an E neighbor toKopftonDsoundsasagracenoteat51beforeupperthirdGemerges,thecorrespondingspotinmeasure9,duringavariedrepetitionofthelatterpartofthephrase,attainsgreaterheightsbydispensingwiththeE.Thepersistentupwardstrivingimpactseventheclose

ofthe descent:Bsoundsanoctavehigherthanexpectedinmeasure8(thoughnotinmeasure12).

Example1.3AnalysisofMazurkainBMajor(op.7/1),mm.112.

Acollisionoccurswhen twosuccessivesyntacticentitiesare juxtaposedduring thesamemoment in time, as inmeasure6.Whereas the lefthandpersists inprojecting theinitial tonic, theE that joinswithB andD in the right hand projects II (herewithomittedroot:E-(G)-B-Disinterpretedasadominant-emulatingevolutionofthediatonicsupertonic, C-E-G). The collision is conveyed in the harmonic analysis by placing abracketaboveRomannumeralsIandII.WhereasIIinopus6/2[1.1]isspelledasD-F-A-C, in opus 7/1 the octave of the supertonic root C is displaced by ninth D,resulting in a chord spelled as E-(G)-B-D. (In the full inventory of chordal elementsbeside Roman numeral II in the graph, a bullet () indicates that the root has beenomitted.)ChopinheretakesadvantageofthefactthatBandDaremembersofboththeIandtheIIharmoniesinBMajor.

Opus24/2

TheMazurkainCMajorsintroductionprovidesthevenuefortheinitialsoundingofthetonicharmony.BythetimeA1commencesat51,theprogressionhasalreadyproceededtothe tonics 6-phase chord within a local expansion of I-space [1.4]. Some imaginativethinkingiscalledforinmeasure5,sincetheupperEwithinanE

Opus24/3

An unfolded GB)thaninthesoprano.Infact,thesopranoD>Coverthebarlinebetweenmeasures7and8makestheperceptionofaPACatthatpointdoubtful.7Amodified traversalof thephrasessecondhalf (extendingwhatmighthavebeenanormativeeight-measurephrasetotwelvemeasures)bringstheD-to-B third into somewhatbetter focus (thoughnote thatD appearswithinparentheses in1.5sinceitdoesnotsoundintheupperregisterineithertraversal),withamoredecisivelandingonAinmeasure12.(Comparewith1.3,measure12.)

Example1.5AnalysisofMazurkainAMajor(op.24/3),mm.0|112.

Opus24/4

TheextraordinaryopeningoftheMazurkainBMinorinvolvestheconcurrentchromaticfilling-in of two intervals from the F-A-C embellishing chord that precedes the initialtonic.WhereasthepathfromFtoAistraversedinthelowerstrandfivepitchesinallachromaticdescentfromFtoCintheupperstrandencompassessixpitches,andsowhenAarrivesinmeasure5theupperstrandhasdescendedonlyasfarasD,ahalfstepshyofgoalC.Chopiningeniouslyemploysthisdistinctivesonority(onethatrecursofteninhiscompositions)asasubstitutefortheintendedonebytreatingdownward-tendingDasananticipationof the following tonics third,KopftonD.Consequently the descendingfourthsgoalC iselided,asconveyedby theparenthesesaround theCnotehead in1.6.SimilarelisionsandanticipationsrecurduringthetonicpillarssubsequentprogressiontoV.

Example1.6AnalysisofMazurkainBMinor(op.24/4),mm.0|112.

Themediant,acommonelementinminor-keyprogressions,herelivesuptoitsnameby serving as themediator between the tonic and the dominant harmonies (measures 6through10).Segmentsof thedescendingcircleof fifths,pursuinganupward trajectory,providethelocomotion.Thesopranofollowsthisupwardcourseaswell,maintainingtheintervalof a tenthwith thebass at the tonic,mediant, anddominantnodalpoints.Suchvoice leading places the normative stepwise descent from theKopfton in jeopardy.Thearrow at measure 11 in 1.6 reveals Chopins solution to the dilemma. Though A (atransformation of diatonicA into the leading tone) is introduced above the register of

KopftonD,eventuallyitistransferreddownwardanoctave,andaCemergesaboveittolinktheKopftonDofmeasure6andthePACsBofmeasure12.(ThoughaCsoundsat113 in the accompaniment, itsmelodic statement is delayed until 121, atwhich point ittakes on the role of a suspension.) Despite the bold path that connects the I and V

harmonies,first-specieslines(here )overabassarpeggiation(BFB),alreadynotedinseveralothermazurkas,serveasthestructuralfoundation.

Opus30/2

InitiallytheMazurkainFMinorsopeningsixteenmeasuresmightseemtorepresentthetonicpillarforaMazurkainBMinor.8YettheabsenceofaPACshouldraiseeyebrowsamongastutelisteners.Notingthatthesemeasuresdonotrecurlaterinthemazurka(andthusdonotconformto thebehaviorofa tonicpillar), that themazurkaconcludes inFMinor(despitethescorestwo-sharpkeysignature),andthatthenormativecadentialanduniversalrepetitioncharacteristicsofatonicpillararefulfilledinsteadbythematerialofmeasures16|17through32,onemayreasonablyinterprettheopeningsixteenmeasuresasanintroductiononFMinorssubdominant[1.7].Thoughtwomazurkas(opus30/4[3.4]andopus56/1[1.9])commencewiththesupertonic,inthosecasesthetonicisachievedinthe context of the initial musical idea. Opus 30/2 is unique in the extent to which thetonicsarrival isdelayed.OnemightlegitimatelyproposethatChopinhasheregonetoofar that the clash between the compositions retrospectively wayward opening in BMinorandeventualsettlingdowninFMinorissomethingthatcannotbefullyreconciledby the listener.9 Nevertheless, 1.7 makes as strong a case as I can muster for tonalcoherence.

Example1.7AnalysisofMazurkainFMinor(op.30/2),mm.0|132.

Themelodicunfoldingsduringtheintroductionssequentiallypropelledprogressioncontain a fewholes.Two traversalsof the succeedingupper and interior strands,whichproceedinparallelthirds(withparenthesesmarkingtheabsentpitches),occurduringtheopeningsixteenmeasures:

D (C) D (C) B (A) G F

B A, B A G F E D

Notethat theinitialopeningisnotpursuedbeyondmeasure2(afreshstart isofferedinmeasure3)andthattheconcludingmelodicFisdelayeduntilafterthewritten-outrepeat

(at163).ThatFgoalservesasthestartingpointforanascenttotheKopfton,achievedat182bymeansofthereaching-overtechnique.10

TheA1prolongationofFMinorcoordinatesascendingbassmotionfromthetonicthrough the mediant to the dominant with a rising melody, so that the normativedescendingsecondfromKopftonAtoGispresentedasanascendingseventh.(Comparewith the similar tonic pillar in opus 24/4 [1.6], where the lower register is retained.)Despite that anomaly, the line continues downward to F, so that a PAC is achievedwithinthephrase.ThepillarsrepetitioncommenceswithaninterestingvariantontheIVofmeasure16:D-G-B-Fat243isanevolvedIV6(=II).(Thatis,diatonicIVB-D-Fhereisexpandedthroughtheincorporationofitssixth,G.WiththeassertionofGas the chords root, diatonic G-B-D-F further evolves through the raising of chordalthirdB to B. Since this chord correlates not to a dominant seventh sonority, whichwouldbeconveyedviathesymbolII,butinsteadtowhatisoftencalledanaugmentedsixthchordhere theFrenchversion Ideployanoutlinearrow to the rightof theRoman numeral: II. All chords designated by arrows are surging: through addeddissonanceand/orchromaticismtheytargetthechordwithrootaperfectfifthlower,hereGC.)

Opus30/3

ManyfeaturesoftheMazurkainDMajorstonicpillar,displayedin1.8,correspondtostructuralelementsfrommazurkaswehaveexploredabove.Thetonicharmonyinitiated

bythefifthscaledegreeduringanintroductionrelatesto1.2.ThetransferofKopfton toa higher register corresponds to1.4. The embellishment of all three pitches of a third-progressionbyupperthirdsrecallsboth1.3and1.5.Itsfirst-speciesfoundation(F>E>DagainstD>C

Opus56/1

Though theMazurka inBMajors tonic pillarwill establish thekeyofBMajor, theBmajorchordofmeasure2isnotassertedasthattonic.11It insteadisaninternalelementwithin a connection between antipodal Cminor andGmajor chords, achieved via anobstinatecircularprogression that emphasizesdescendingwhole steps, as shown in1.9.Chopin here taps one of tonal musics most astonishing properties: the antipode thechordthatseemstobethefurthestpossibletonaldistancefromaninitiatingchordmayin factmap back onto that initiating chord.12One type of chordal evolution is denotedusingasolidarrow().Forexample, theC-E-Gat thismazurkasoutsetcouldhaveevolvedintoC-E-G-BorE-G-B-DtoinvigoratethesuccessiontotheFdominantof measures 12 and 13. Another common evolution, especially prevalent with the IIharmony,involvestheloweringofthechordalfifth(orretainingthatfifthinaminor-keycontext).13 An outline arrow () is used to denote such evolutions, which here mightresult in a chord spelled as C-E-G-B or E-G-B-D.14 Though the relationship ismasked when a nickname such as German augmented sixth (which I eschew) isemployed, observe that C (a pitch that oftenwill be omitted) serves as the root for achord that incorporates the antipodal triad of pitches G, B, and D! ConsequentlyChopinsseeminglywaywardjourneyfurtherandfurtherfromtheinitialCchordinfactleads to pitches that, onceE emerges at 121, intensify the natural tendency of theCsupertonic toproceed todominantF.As1.9 reveals, thispotent II expansiondelaysV

untilmeasures12and13.TheprolongationofVviaa embellishingchordinmeasure14putsoffthetonicarrivaluntilmeasure16.

Example1.9AnalysisofMazurkainBMajor(op.56/1),mm.122.

As the supertonics minor ninth, the pitch D possesses a tendency to resolve

downwardstothedominantsfifth,C.Inthiscasethatresolutionwillbeprecededbyaembellishment(herepresenteduncharacteristicallyinaweakmetricalposition,at123)thatrevertstothemajormodesD.ConsequentlyChopinrespellsDasCat122,facilitatingits upward continuation. Though the dominants seventh, E, sounds at 131, the voiceleadingshouldbeunderstoodasD>C,withEreachingoverthatstrand,asshownin1.9.ThoughnoCsounds in theupperregisteratmeasure1, I imagine thebroadchromaticfilling-inofaC-to-Ethird(asslurredin1.9)asamelodictrajectorywithintheopeningthirteenmeasures.AreciprocalD-to-Bthirdispursuedduringtheremainderofthepillar.

Whereas an ascent in thirds connecting I and V, with the outer voices moving inparallel tenths, is a key feature of 1.6, a similar trajectory in the downward directionconnectsIandIVin1.9.15ThemelodyssubserviencetothebassdescentinthirdsresultsinanemptyspaceintheupperregisterduringIV.Iproposethat,aswasalsothecaseinmeasures5through11ofopus24/3,themelodystrajectoryismorefullyworkedoutintheinteriorofthetexture,hereasaconnectionofKopftonDsincompleteupperneighborEthroughpassingnoteDtothedominantsfifth,C(atwhichpointtheactionreturnstotheupperregister).OnewaytosupporttheE>D>CspaninaIVVcontextistoutilize

IVsupper-fifthchordasconsonantsupportforIVspassingseventh,D.16Thisreadingwinsoutagainstthehypothesisthatthetonicisrestoredat183,especiallysinceChopinsmodified repetition of the concluding measures retains the IV but dispenses with theupper-fifthchord.

Opus56/2

APolish folk spirit is especiallypervasive in theMazurka inCMajor,with a dronesounding throughout the tonic pillar. The four-measure introductions G serves as thestarting point for an ascending arpeggiation to Kopfton E [1.10]. Though a higher Gsoundsimmediatelythereafter, it replicatesthat inthetenorregister, towhichtheAthatfollowsGat53immediatelytransfers.(ThatlinethencontinuesupwardsthroughBtoC.)ConsequentlytheFandDduring61serveasneighborstotheCandEof51.(Iadmitthatthisreadingmayseemwayward.YetcomparewithChopinsvariantinmeasures53and54,whereFsroleasneighborbetweentwoEsismoreovertlystated.)ChromaticFisawobbly note (orwobble) a note that temporarily takes on a chromatic inflection thateventuallywill be revoked that soon reverts to diatonicF. TheG initiates an upper-octavereplicationoftheinitiatingGCdescent that it supports takingprecedenceoverthemaintenanceofE(therebycontrastingtheemphasisuponEsarrivalanoctavehigherinmeasure13,confirmedbythereiterationofEinthelowerregisterat161).

Example1.10AnalysisofMazurkainCMajor(op.56/2),mm.128.

Uninterruptedfifth-progressionsThefourmazurkasinthissectionprojectthetonicharmonybymeansofanuninterruptedfifth-progression descending from the tonic triads fifth to its root. Several contrasting

means of supporting and are deployed, distinguished principally by whethersounds as a stable element in a tonic context or instead as an unstable element in adominant context. (One could propose other options not encountered in this section aswell.)

Opus7/4

The determination that , rather than , serves as a compositions Kopfton can be adifficult call, especially given that another potential reading the embellishment of

Kopfton with an upper third occurs frequently.How the tonic pillar fitswithin themazurkasbroadercontextsometimesprovidesusefuldata.Forexample,thechordat363intheMazurkainAMajor,whichIproposewouldbespelledcorrectlyasG-B-D-F,featuresthedominantsminorninthF[E]poisedtowardsresolutiontothetonicsfifth,E, for the final statement of the tonic pillar.18 Note also that at 71 (during the initialphraseswritten-outrepeat)Dsarrivalfromaboveisemphasizedthroughtheresolutionof a suspended E (the grace note). Consequently I propose that the preferred readingshouldbeafifth-progressionfromE,ratherthanathird-progressionfromCwithupperneighborD.

Though challenging to comprehension, occasionally inmusic one initiative beginsbefore a prior one concludes: here the bass descent from tonic rootA to subdominantthird F gets underway before the soprano arpeggiation of the tonic E

Example1.11AnalysisofMazurkainAMajor(op.7/4),mm.0|14.

With the bass taking the lead, the downward trajectory in both outer voicescoordinateswiththeharmonicprogressionfromIthroughIV(inverted)toV,culminating

inaPAConI.19Thoughthemostrudimentarysupportfor wouldbewithinIV-space(as

inthesecond-speciesmodel ),theunaccentedpassingnoteCoftenisshiftedtothefollowingstrongmetricalposition,therebybecominganaccentedpassing

note . From this perspective it would be absurd to label thechordat323asI,asoncewascommonandstillpersistsinsomequarters.

Opus33/1

OnceKopftonDisestablishedinmeasures3and4of theMazurkainGMinor, three

pitchesA,C,andEcreatearichembellishingchordthatatfirstextendsKopfton(highlighting a DD neighboring motive that plays an important role at variouspointsduring thework, including themelodys first threepitches)and thensupports the

descentthrough to [1.12].Asusual,thedominantsupports beforethePACon .TheD-to-GdescentisshadowedathirdlowerbyB>A>G>F

the second time. Through thesemeans the tonic pillars footprint extends for twelve ratherthansixteenmeasures.

Ashasbeenthecaseinseveralothermazurkas,thestructureoftheopeningdependsuponimaginativethinking.(NotetheparentheticalbassGattheoutsetin1.12.)SincetheDat03correspondstothatat63,wherebassGsupportsatonicchord,IdonotthinkIhavemisrepresentedChopinbyproposingatoniccontextfortheinitialloneD.However,Ihaveheldmyimaginationincheckduring12.DothesepitchesassertthemselvesasII?22Oristhisaninstance(similartothatdiscussedaboveinthecontextofopus7/4,23)ofpassing motion getting underway just as an emerging chordal structure takes shape(chromaticCagainstthetonicsGandB)?Ihaveleftsomeemptyspacebelowthestaff(atmeasures1and7)in1.12forreadersmorepersuadedbythesupertonicinterpretationthanIamtojotinaIInumeral.

Opus41/1[a.k.a.opus41/2]

Parenthesesin1.13asurroundanimaginedinitiatingchordfortheMazurkainEMinorastableEminortonic(relatedtothatat43,establishedbeforethevariedsecondtraversalof thephrase) to serveasanunheardpredecessorof themazurkasalreadysurging firstchord. Granted, analysts whowould label the pitches E-G-B-D asV7/IV are not in aposition to appreciate the subtlety ofChopinswriting here andmight propose that themazurka initially conveys the key ofAMinor or celebrateChopin as amaster of tonalambiguity.23 From my more imaginative perspective I counter such claims: having sooften heard a diatonic tonic chord evolve into a surging, IV-seeking entity, I am notalarmed that the tonics foundational consonant state is here elided. (Just as II oftenevolvesintoIIinitsapproachtoV,soalsoIevolvesintoIinitsapproachtoIV.)AsanalystIreconstitute thatunsoundedinitiatingchordwithinparenthesesin1.13a,andin1.13bIshowhow,duringthevariedrepetitionofthephrase,adiatonictonicchordinfactprecedesthesurge.

Example1.13MazurkainEMinor(op.41/1)(a)Analysisofmm.14;(b)Analysisofmm.18.

Thesubdominantofmeasure2supports withinalocaldescentfrom to .The

leap to F at 31 likely will generate concerns regarding . I propose that thesubdominantsAextendsintoV-space(whereitsoundsanoctavelower),duringwhichthedescent throughG to F transpires. This is a hard call, especially since themelody ofmeasure 3 resembles that of measure 1. A viable alternative would be to propose animagined G at the end of measure 2 (thus IV8(7)), so that the G at 33 functions as a

neighbortoanalreadyestablished .24

In the phrase repetition Chopin extends IV by means of a shift to its 6 phase (acommon occurrence between IV and V) in measure 7, here deploying chromatic F-natural,attainedthroughdescentfrom8ratherthanthemorecommonascentfrom5.(ThepitchF functionsasawobblynote,whichonewouldexpect toberevoked through thereinstatementofF as thedominants diatonic fifth.)Alas, that initiative consumes twobeatsofthephrasesthirdmeasure,whichintheearlierphrasewasdevotedexclusivelytothedominant.Duringtheonebeatremainingbeforethetonicarrivalonthedownbeatofmeasure8,Chopinelectsnot to sound thedominant rootor toconvey theconventionalmelodic descent to scale degree 2, elements of the structure that were presented

straightforwardlyduringmeasure3.Whereas literalistanalysts likelywouldendeavor tomake whatever sense they could of Chopins curious third beat, my imaginativeinterpretation takes two crucial factors into account: first, we have heard a dominantharmonyinthecorrespondinglocationduringtheinitialstatementofthephrase,wherethemelodicGinfactdescendstoF;andsecond,theunfoldedthirdsAtoFfollowedbyEtoG would lead one to expect an unfolded DF third next. Though I anticipateconsiderable resistance fromsome readers,mygraphasserts adominant function at theendofmeasure7despitetheabsenceofthatStufesroot,third,andfifth.25

Opus41/4[a.k.a.opus41/1]

Risingmotion in all voices connects the tonic and the dominant in the first seventeenmeasuresoftheMazurkainCMinor,inamannerthatplacestheupper-registerarrivalofKopftonGagainstdominantrootG,ratherthantheinitialtonicC.(Adiagonallinein1.14 connects root C andKopfton G.) Embellishing chords, rather than a functionalharmonicprogression,supporttheinterveningmelody:D-F-A26andF-A-Cwithintherealmofthetonic(measures1through8);F-A-C-(E)withintherealmofthemediant(measures 9 through 16); C-E-G within the realm of the dominant (measures 17

through19).When servesastheKopfton,ashere, thefifth-progressiondescendingtothe tonic root over the course of the tonic pillarmaybe supported by a double IVIarpeggiation,asnotedbytheprongatthebottomofbassCsstemin1.14,measure20.(That symbol denotes the concurrent end of the first arpeggiation and beginning of thesecond.)

Example1.14AnalysisofMazurkainCMinor(op.41/4),mm.132.

ThoughthemazurkawillenddesolatelyinCMinor,asignificantpartofthepillarsstructure(measures17through24)shiftsdecisivelytowardsCMajor.Duringthesecond

IVIarpeggiation,whichsupports ,thetonics6-phasechord(C-E-A, unfurled) comes between the tonic and the supertonic, presented as II at 223. InconjunctionwiththisII,amelodicexcursionextendsupwardsfromEthroughFto

GsubstitutingforthemelodysconventionaldescenttoD,whichsoundsbelatedlyatthecadentialdownbeat(asasuspendedninthwhoseimaginedDpreparationisdisplayedwithinparenthesesin1.14).(DuringtheA2statementofthetonicpillaratmeasure103,

nearthefinalcadencebeforethecodatheDisstraightforwardlypresentedduring.)Thesegmentofthepillardevotedtothedescendingfifth-progressionisreprised,withvariants,duringmeasures25through32.

Interruptedthird-progressionsRepetitionoccursinmanymusicalcontexts,mostobviouslywhenarepeatsigninstructsthe performer to play a passage a second time. A more sophisticated deployment ofrepetition involves two related phrases in which the first fails to fully close while thesecond does in fact achieve closure. The term interruption and some related notationwithin graphs are deployed when in one phrase (the antecedent) the melodic descent

proceedsfrom orfrom to (supportedbyV),andinthenext(theconsequent)anew

tryisinaugurated,thistimeachieving (supportedbyI).Allofthissectionstonicpillars,

from works with Kopfton , are constructed in this manner, thereby offering a morecomplexinnerorganizationthanprevailsinthepillarswehaveexploredalready.Analystsdisplay interruptionusingeitherof twodistinct stylesofgraphnotation.Though in thisbookIconformtothepreferencethatdevelopedduringmyextensivestudyofthistopicwhile writing Tonal Analysis: A Schenkerian Perspective, I trust that readers who areaccustomedtotheothermethod,whichmaintainsagreatervisualdistinctionbetweentheantecedent and consequent parts of a graph through separate beaming and separateRoman-numeral analyses, will be able to adapt to the method on display here for thedurationofthisstudy.Alsonotethatanalystsdonotallconcurwithregardtohowsimilarthe two halvesmust be to one another for the notion of interruption to be viable. I amwillingtoallowasignificantamountofvariationbetweenthetwohalves,solongasthedeeperstructureconformstotheprinciplesofinterruption.

Opus6/4

Thefour-measurethemethat transpiresduringtheMazurkainEMinorstonicpillar isdividedintotwohalvesthatareequal inlengthbutnot instructuralcontent.(Theentirethemeisthenrepeated,withafewsubtlealterations.)Thisinequalityresultsfromoneoftonalmusicsmostprevalentandeffectivestructuraldevices:thejuxtapositionofsimilarphrases that cadenceon thedominant andon the tonic,melodically realized throughan

interruptionofthestructuraldescentafter .ThemazurkasKopftonis (tobejustified

presently).The oftheantecedentdoesnotcontinuedirectlyto ,butreachesthat

goalonlyafterareiterationof anditsharmonicsupport.Thetwo-beatdominantat 223 is replaced by a dominant-to-tonic succession duringmeasure 4. The analyticalnotationforinterruptionthatIemploy(hereatthemiddlegroundlevel,sinceitisinternaltotheA1sectionwithinanA1BA2ternaryform)isdisplayedin1.15.27NotethattheVinmeasure2 servesas theprincipaldominant, afterwhich the reiterationportionof theconsequentphrasedoesnotmovethestructurealongatall:onlythefinaltonicrootand

the melodic that it supports hook up with the earlier components of the structural

framework.Working in threedimensionswouldbe ideal:onecouldplace thesecond

and behindthefirstones,showingeffectivelyhowthefinal servesasthegoalboth

for the broad descent from over the course of fourmeasures and for themore localdescentinmeasures3and4.(Imagineputtingsomehingesintothemiddlebeamssothatonecouldphysicallymovethesecondhalfofthegraphbehindthefirsthalf,aligningGandFinthetwophrasesandallowingtheEtostickoutattherightedge.)

Example1.15AnalysisofMazurkainEMinor(op.6/4),mm.0|14.

Inthatallthreepitchesofthetonictriadinitiatemelodicstrandsduringthemazurkasopeningtwobeats,onemaywonderwhichoneservesastheKopfton.DoestheBwinoutbecause it soundsfirst?Ordoes theEbecause it is thehighest?Followingeachstrandthroughtoitsgoal,onemaybesurprisedtolearnthatneitherofthoselinesismaintainedinitsinitialregisteroverthelonghaul.ThoughonehearsBproceedingtoA(at21),thecontinuation to G in measure 4 occurs only in the tenor register. And though anE>D>C>B fourth transpiresduring the antecedentphrase, in the consequentphrasethatlineismorefullyrealizedinthetenorregister,thoughtheconcludingBisabsentandwill be imagined during 43. Only the strand that proceeds from G is maintained in

registeroverthecourseofallfourmeasures;andonlythatstrandattains ,bywhichpointit in fact is the highest-sounding strand, which is how it is displayed in 1.15. (An

incompleteneighboroccursbetween and ,asoftenisthecasewhenIVservesastheintermediarybetweenIandV.)

Opus17/3

TheMazurkainAMajorssixteen-measuretonicpillarderivesitsbinaryshapefromtheinterruptionthatoccursafterthefirstphrasescadentialdominant.Chopinsprolongationof this dominant correlatesmotivicallywith the preceding tonic prolongations:whereasC>B>A is heard repeatedly during I-space (measures 1 through 6), B>A>G isprojectedduringV-space(measures7and8)[1.16].Anothersetofthirdsplaysanequallyimportantmotivicrole:justasEemergesaboveKopftonCinmeasure2,DfollowsBandCprecedesAduringthepillarsfinaltwomeasures.(Comparewith1.3.)

Example1.16AnalysisofMazurkainAMajor(op.17/3),mm.0|116.

WhereasinthecontextofaninterruptionthePACofthesecondphrasewillcontrastthe dominant close of the first, the two phrases may display other variances as well.Chopin offers a delectable sample in this mazurka.What are we to make of the pitchcollection that sounds during 63? From a literalist perspective A-C-E-F might beregardedasachromaticvariantof thetonics6-phasechord,hereproceedingdirectly tothe dominant. Yet during the consequent phrase one tiny shift makes a clarifyingdifference: Chopin lowers E to D (at 143), unleashing the chords vibrant IIpotentiality. In 1.16 that interpretation is parenthetically supplied in the earlierpresentation as well. Just as we can discern Michelangelos intentions even in hisunfinished sculptures, so also a chordal function may be perceived even when

incompletely realized. I have chiseled away at theE to reveal theD that it conceals,using parentheses to acknowledge my participation.28 The phrases harmonic defect,

likeitsfailuretoachieveaPACon ,isrectifiedduringthesecondphrase.

Opus33/2[a.k.a.opus33/3]

Acompositionsunderlyingstructureandthepresentationofthatstructurebyacomposermaynotexactlymatch.Consequentlypairsofparenthesesareencounteredfrequently ingraphs to indicate pitches that the analyst proposes an alert listener will imagine. In

ChopinsMazurkainCMajor,eventheKopftonE(= )isanimaginednote[1.17].Thereisevidenceofitsinfluence:theE>Dsuspension/resolutionpairinmeasure7dependsonthe conventional preparation by an E during the preceding I56, and the mazurkas Bsection twiceascends to the imaginedKopftonswobblydisplacement,E (measures 20and28).Thedescendingparallelsixthsinthesopranoandaltoregistersduringmeasures0

through6logicallywouldbeginwith .SincenosuchEsounds,Ihavereconstitutedthestructure that I propose grounds Chopins mazurka. I admire rather than condemn Chopinsfreepresentation.

Example1.17AnalysisofMazurkainCMajor(op.33/2),mm.0|116.

The antecedent phrases harmonic path conforms precisely to the normativeconvention for the supertonics use: the tonic first shifts to its 6 phase (here surging asVI,inmeasure6),whichleadseffectivelytothesupertonic(alsosurging:II)followedbythedominant.Fortheconsequentphrase,Chopinforegoesthetonic6-phasechordtofacilitateanearlierdominantarrival,leavingtimeforthetonicinthephrasesconcluding

measure.Notonly is thesurgingVI absent; IIs surge is retractedaswell (so that thesubtlerdiatonicII7servesasheraldofthedominant).

Opus33/3[a.k.a.opus33/2]

WhereasKopfton isanimaginedpitchintheMazurkainCMajor[1.17], isimaginedinmyanalysisoftheMazurkainDMajor[1.18].Fortunatelytheredundancyofdescent

within an interruption structuremeans that a secondopportunity for the soundingofexists. In this casemeasure 6 achieves what measure 4 neglects. As usual, the alteredagendaoftheconsequentphraseresultsinrevisionsoftheharmonicprogression,gearedtowardsachievinganearlierdominantarrivaltomakeroomforthecadentialtonic.HereChopinelectstodispensewithhisthree-measureprolongationofI-space,leavingonlytheinitial one-measure arpeggiation.Thisdrastic cutpermits an elective additionprecedingthedominantarrival:namelythesupertonic,whichoccupiesmeasure6.

Example1.18AnalysisofMazurkainDMajor(op.33/3),mm.0|18.

Interruptedfifth-progressions

Interruption is as useful in developing structures emanating from Kopfton as from

Kopfton . The examples explored in this section demonstrate some strategies for

supporting the descent from that did not emerge among the non-interrupted linesexploredabove.

Opus7/2

The tonic pillars two phrases in theMazurka inAMinor offer related yet contrasting

harmonizationsof thestructural linedescendingfromKopfton .During theantecedent

phrasethespanfrom to transpiresduringanexpansionofI-space,followedbyII,

which,with embellishment,servesastheinitialsupportfor beforetheHCdominant

arrives[1.19].DuringtheconsequentphraseashifttoI6coincideswiththearrivalof .InaminorkeyI6 isinnatelysuitedforadominant-emulatingrole,whichmaybeenhancedthroughtheadditionofaminorseventh,propellingasurge(asVI) towardsII.SinceChopin realizes that potentiality here, the two phrases offer a strong contrast at this

juncture: supportedbyIIversus supportedbyII.(Compare73and141in1.19.)ThoughIIisnotinnatelyinclinedtowardsV,listenershaveaccustomedthemselvestotheIIV succession,which composers havepromoted as ameans of preventing theircompositions from leading into the abyss. An extension beyond the diatonic pitchcollectionisheldincheck:BEoccursrarelyinAMinor,whereastheantipodalB-to-E continuation has become the norm. (Here Chopin forgoes presenting II in its firstinversion,acommonmeansofsofteningtheeffectoftheantipodalrootconnection.)Themelodys B wobble temporarily displaces diatonic B, which duly emerges during thedominantthatfollowsthoughnotinthesopranoregister,whereparenthesesdenoteitsimaginativepresencewithinadescendingfifth-progressionin1.19.

Example1.19AnalysisofMazurkainAMinor(op.7/2),mm.0|116.

Opus17/2

During the Mazurka in E Minors tonic pillar, Chopin devotes equal time to the

establishmentoftheinitialI-space,withKopfton ,andtothefifth-progressionthatleadsultimatelytoaPAC.Bothofthepillarsphrasesaretwelvemeasuresinlength.Overthefirst six measures a dotted slur in 1.20 connects Kopfton B in its middle and upperregisters.Both outer voices pursue arpeggiations of the tonic pitches:E

thePAC.TheII thatsupported before thedominantsarrivalduring theantecedentphraseissuppressed:theearlierIIVHCgiveswaytoaVIPAC.Thoughmostofthephrases content corresponds towhatwaspresented earlier,Chopinoffers a particularly

deliciousinnovationbetween231and241.Observehow,aboveF(= ), someresidualupper-noteactivitybasedonchromaticlowerneighborsandtheirresolutionsemerges:

A

Opus17/4

AsaprefacetoourexplorationofthetonicpillarintheMazurkainAMinor,areviewof1.11iswarranted.ObservehowChopinsmelodythereaccomplishestheupwardtransferofKopftonEbymeansofarpeggiation.ItisespeciallynotablethatthebasshasalreadybegunitsdescendingtrajectoryfromthetonicrootAbeforetheupperEissecured.Yetonce that happens the soprano joins the bass in pursuing a downward trajectory. Three

consecutivesixths occurwithinabroadIIVVIprogression.

For theMazurkainAMinorIdepartfromstandardanalyticalnotationtoshowtheessence of Chopins writing in an overtly contrapuntal manner. In 1.21a the essentialcontentof1.11ismaintained,transposedintoAMinor.TherepresentationofsopranoCinitsfoundationalroleasanunaccentedpassingnoterevealsthemotivationavoidanceofparallelfifthsthatwouldcauseacomposersuchasChopintoshiftitspresentationtothefollowing accented beat. Several types of expansion are applied concurrently in thetransformationof1.21a into1.21b.First,by leading the initiatingsopranopitchE to itsupperneighborF,aseriesof76suspensionsgracesthedescent.Second,achromaticlinkconnectstheG-B-EpassingchordandtheF-A-Dsubdominant.30Third, thedominantis

expandedviaa voiceexchange.

Example1.21MazurkainAMinor(op.17/4)(a)Contrapuntalmodelforthetonicpillar;(b)Analysisofmm.120.

The measure numbers annotating 1.21b assert that this model serves as thefoundation for Chopins tonic pillar. Notably theKopfton is omitted at the outset. ThemazurkasfirstsonorityanA-B-D-FembellishingchordthatresolvesintoI6(at42and61)ratherthanI5syntacticallyfollowstheimaginedmomentoftheinitiatingtonic.31Asin1.11,anascendingtransferachievedviaarpeggiationoccurs in theopeningmeasures,

but in this instance that transferred pitch is not theKopfton ( ), but instead its upperneighbor: F (presented during the introduction) through A (53) and C (61) to F (72).Throughoutthemelodicdescentvarioussubstitutionsoccur:FforEat91,FforD/Eat101,EforCat111,andCforAat121.Thelast twoof thesesubstitutionsdonotoccurduringtheconsequentphrase:thefirstbecauseaC(anoctavehigher)actuallysoundsat191(justifyingtheomissionofparenthesesaroundthatpitchin1.21b);thesecondbecausethepassingnote isomittedwhenmeasures11and12arecondensed forpresentation in

measure 19. (Chopins abbreviation of the dominant makes room for the consequentphrasescadentialtonic.)

Opus63/2

The two halves of the tonic pillar in ChopinsMazurka in FMinor pursue contrastingharmonic trajectories [1.22]. Though both begin with a motion from a prolonged Cembellishing chord to the F Minor tonic, during the antecedent phrase a sequential

progressionconnectingthetonicandthemediantsupportsthedescentfrom throughan

imagined (abovewhichaprolongedFservesasasubstitute)to ,while isdelayed

viaa wobble,supportedbyII.(Comparewith1.19,measures14and15.)Duringtheconsequent phrase, in contrast, the initial minor tonic is elided, with I in its place

(measure12).ConsequentlytheprogressionproceedstoIV,whichsupports .(Because

thesurgingtonictargetsIV,measure13isaptlyinterpretedas ratherthanasaninverted II7.) Each pitch in the consequent phrases fifth-progression is treated toembellishmentbyanupperfourthorthird,extendingthepracticewefirstencounteredin1.3.32

Example1.22AnalysisofMazurkainFMinor(op.63/2),mm.116.

SomeexceptionaltonicpillarsThe five tonic pillars explored during the chapters final section distinguish themselvesfrom those considered already either through their internal ternary form or through aninitialstatementthatseemstolackforwardmomentum,astateofaffairsthatiscorrectedduring a later phase of the pillar. Ultimately each proceeds to a PAC in the tonic key,justifyingtheirinclusionwithinthischapter.

Opus6/1

ThetwophrasesthatconstitutetheMazurkainFMinorstonicpillardonotconformtothe interruption-generated antecedent/consequent structure of the two-phrase pillars wehaveexploredabove.Infact,thefirstphraseamountstoafalsestart:oncetonicFMinor

andKopfton are established (employing reaching-over during the initial ascent), thebassandsopranobothleadupwardsathird[1.23].Sofar,sogood!Inmostcasesthebasswouldcontinueupwardsfromthemediant toan invertedIIorIIor to IV, followedbyV.(Comparewiththefirstphrasein1.22.)Here,however,thephraseunexpectedlylosesitsharmonicpropulsion.Astonishingly,wewaftgraduallydownwardsthroughtonalspaceforfourmeasures,maintainingouter-voicetenthswhileguidedbythecircleoffifths:

A D G C F B E A D G C

TheCchorduponwhichthedescentlandsis,ofcourse,thesameCchordasthatwhichoccurred inmeasure1.33 In thismannerChopingiveshimselfasecondchance tomakesomethingofhispromisingopening.

Example1.23AnalysisofMazurkainFMinor(op.6/1),mm.0|116.

The inverted subdominant towhich that progression leads in the second phrase ismadedistinctivethroughawobblyfifth,F,thateventuallyrevertstoF.34Asexpected,Vfollows.35Yetoneaspectof thestructurenear thecadence ishighlyunconventional.

SopranoBinmeasures13through15isanincompleteupperneighbortoKopftonA(=).(BothAandBareembellishedbyanupperthird:AB.)Generallythedescentto

from such a neighbor either via a leapor filled in by a passingnote will sound

duringV, facilitating a melodic close to form the PAC. (Compare with thenormativecontexts foran incompleteupperneighbordisplayed in1.9and1.15.) In thiscase,exceptionally,Bextendsintothedomainofthegoaltonic.As1.23reveals,adaringnon-alignmentofthesopranoandbasselementsofthestructureoccurs,withabelatedG(during 161), which belongs with the dominant chord of 153, serving as the third-

progressions .36

Withoutopus42B

Theprogression from the tonic to thedominantduring theMazurka inAMinors tonicpillarisexpansivelyrealized:Chopindevotesfourmeasureseachtothetonicandtothemediant, content thathe repeatsbeforeproceeding through II toV,which arrives at201 [1.24].37 Though he could have produced a structure of equivalent dimensions tobalancethatopening,Chopininsteadlimitsthetonicpillartosixteenmeasuresofcontent,expandedtothirty-twomeasuresviawritten-outrepeats,correspondingto

|: a1 :|: b a2 :|

Consequently thea2 regionmustsomehowbalancewhatprecedes it structurally,despiteits comparatively modest dimensions. Chopin accomplishes this by sacrificing themediant.

Example1.24AnalysisofMazurkainAMinor(withoutopus42B),mm.0|132.

The mazurkasKopfton is a primordial entity that does not literally sound in theupperregisterattheoutset.ThemelodicC>Bfrom22through31(matchingtheprecedinginner-strandA>G)functionsasasuspensionandresolutionbasedontheassumptionofapriorCpreparation.38 An even bolder claim is required for themediant expansion thatfollows:whereasChopin provides a location (at 03) for an imaginative insertion of thetonicrootAandKopftonC,thecorrespondinglocationforimaginingthemediantrootand

itsE(inthevicinityof43)iselided.FortunatelybothCandEarestatedinmeasures17

and18(aftertherepeatofthefirsteightmeasures),sothatboth ssuccessor, (B),andthedescantE>D

Opus50/1

The half cadence characteristic of an interruption is not the only means by which acomposermayexpressasenseofirresolutioninmusic.IntheMazurkainGMajorChopincomposes eight measures without proceeding beyond the initiating tonic, whose finaliterationwithinthephrasebydefaultservesasthecadence.39(Beats2and3ofmeasure8 play a transitional role between the tonic pillars twophrases.)A structural departurefromI-spaceemergesonlyafterthefreshstartinmeasure9[1.25].

Example1.25AnalysisofMazurkainGMajor(op.50/1),mm.116.

Not only is the first phrase lacking in substantive harmonic activity; it also leavesunresolvedwhetherBorDwillserveasthemazurkasKopfton.TheupwardarpeggiationDD(asin71through81).ConsequentlythepositioningofE>Danoctavehigherin measure 4 seems quirky. Is D the upper third ofKopfton B? Or is Chopin insteadascending in tiers, as C>B E>D? That question remains unanswered until measure 12,wheretheFandGthatemergeagainstDsetthedownwardtrajectoryofafifthtoGinmotion. (Though initially G-B-D-F may seem to convey I surging towards IV, theevolutioncontinuestoG-B-D-F,aversionofI6thatsurgesasVItowardsII.)

AdoubleGDGbassarpeggiationsupports thatfifth-progression.Chopinprojectsaninnerstrandathirdbelowthisline:notehowtheinitialBA inmeasures 13 and14 (withA reiteratedduring151) and byA>Finmeasures15and16.ThiscontexthelpsonetounderstandthatthemelodysGat152isamemberoftheinnerstrand,abovewhichtheouterstrandsthirdpitch,B,shouldbe imagined. (The preceding downbeatB, though tempting, is not the structuralB, but

insteadanaccentedpassingnoteconnectingtheprecedingouterCandinteriorA: isanunfoldedintervalofV7.)Thus, though thestructure isunevenlydistributed,withalmostallofthecontentfallingwithinthesecondphrase,iteventuallybeginstoresemblewhat

wehavecometoexpectofatonicpillarwithKopfton .

Opus50/2

Whereasthetonicpillarin1.25beginswithaphrasethatgoesnowheretonally,andthatin1.23ascendsa third, that in theMazurka inAMajordescendsa third[1.26].Chopinstiming is at first extraordinarily luxuriant: an eight-measure introduction arpeggiates

E

Incorporatingupper-thirdplay(BA)reminiscentof thatwhichembellishes theforegroundC>B>Alineofmeasures9 through12,ChopinachievesaPACinmeasure28.

The tonic prolongation of measures 17 through 26 is based on a I III V7 Iprogression,asdisplayedin1.26.NotethewobblyEabovebassCandthepresentation

ofV7inits position.Theconnectionbetweenthetonicandthemediantisachievedviaacircular progression: A D G C. The first link in that progression is filled in asA>F>D.40At this foreground level one belatedly discovers howChopin incorporatesthe A>F span, introduced during the a1 phrase, into a broader structure. With thatsuccessionnowcondensedintofourmeasuresthroughanelision(A>EFbecomesA>E

Opus63/3

An unusual occurrence in the Mazurka in C Minor should induce some analyticalspeculation:whereas the initial tonicpillaremploys fourphrases, spreadover thirty-twomeasures, itsreprisenear theendof themazurkaoccupiesonlytwophrasesandsixteenmeasures(49through64),followedbyapartialrepeatincorporatingvariation.Clearlytheinitialpillarmustcontainsomedispensablecontent.Thesecondandthirdphrasespursuetwocommonthoughoptionalfeaturesofminor-keycompositions:anupwardshifttothe mediant during the second phrase, and an interruption during the third. Neither ofthosedevices is employed in the condensed reprise of thepillar.However,1.27 revealshow both devices contribute to the establishment of a ternary internal form for A1reminiscentofthat in1.24.Whereas thesecondphrasesextension to themediantcouldhavelinkedtheinitialIandanupwardcontinuationtothedominant(againlike1.24),hereChopin devotes the first part of the third phrase (measures 17 through 22) to re-establishingtheCtonic.41

Example1.27AnalysisofMazurkainCMinor(op.63/3),mm.0|132.

Severalfeaturesofthismazurkasstructurerepriseconstructionssimilartothosewe

have noted in other mazurkas. The EE

recalls a similar line in 1.20 (there descending from Kopfton ). The circle-of-fifthsconnectionbetweenIandIIIresemblesthatin1.26.TheIIIVantecedentmostcloselyresembles1.24,whichalsosharestheconversionfromIItoIIforthefinalphrase.

The analyses in this chapter provide compelling evidence that, despite theextraordinary richness and diversity on display in these tonic pillars, Chopinscompositionalstyledependstoalargeextentuponmixingandmatchingafiniterangeofstructural devices, all designed to perform specific roles within either broad or localtraversalsofharmonicprogressionsfromthetonicthroughthedominantbacktothetonic,assupportfordescendingthird-orfifth-progressionsfromtheKopftontothetonicpitch.Whereaschapter1hasfocusedonthetonic-to-tonicharmonicprogressionscharacteristicofaregulartonicpillar,chapter2willplacethesepillarswithinthebroadertonic-to-tonictrajectoriesofcompletemazurkas.

2Betweenthetonicpillars:tonaltrajectoriesintwenty-sevenmazurkas

Inthemazurkasthatweexploreinthischapter,repetitionsofthetonicpillaralternatewithepisodesthatpursueawiderangeoftonalpaths,usuallydiatonicthoughoccasionallynot.Themostcommontrajectoriesarethemaintenanceofthetonickey(perhapswithashiftof mode) or proceeding to the dominant (perhaps tonicized). Around a third of theepisodespursuetonalpaths,markedbyshadingintable2.1,thatextendbeyondthetonicorthedominant.

Table2.1

Opus Key Examples Pillars FirstNon-PillarTrajectory

SecondNon-PillarTrajectory

6/1 f 1.23,2.18 3 Vprolonged ItoV

6/2 c 1.1,2.19 3 Vtonicized ItoV

6/4 e 1.15,2.1 2 Iprolonged

6/5 C 1.2,2.2 2 ItotonicizedV

7/1 B 1.3,2.20 3 Vtonicized ItoV

7/2 a 1.19,2.15 4 Iprolonged Iprolonged

7/4 A 1.11,2.21 3 ItoV ItoV

17/2 e 1.20,2.3 2 ItoV

17/3 A 1.16,2.16 4 ItoV lowerthird(CV2)tonicized

17/4 a 1.21,2.22 3 Vprolonged ItoV

24/2 C 1.4,2.23 3 lowerfifthtonicized Itoupperthird

(CV1)

24/3 A 1.5,2.4 2 Itoupperthird(CV1)

24/4 b 1.6,2.24 3 ItoupperthirdsV ItoupperthirdsV

30/2 f 1.7,2.5 2 Itoupperthird

30/3 D 1.8,2.6 2 ItolowerthirdsV

33/1 g 1.12,2.7 2 Itoupperthird

33/2 C 1.17,2.8 2 Itolowerthird(CV2)

33/3 D 1.18,2.17 4 Vtonicized ItoV

41/1 e 1.13,2.9 2 Vtonicized

41/4 c 1.14,2.10 2 Iprolonged

42B a 1.24,2.11 2 Iprolonged

50/1 G 1.25,2.25 3 progressionintonickey

progressionintonickey

50/2 A 1.26,2.26 3 upperthirdtonicized

lowerfifthtonicized

56/1 B 1.9,2.27 3 Itolowerthird(CV1)

Itolowerthird(CV2)

56/2 C 1.10,2.12 2 lowerthirdtonicized

63/2 f 1.22,2.13 2 ItoV

63/3 c 1.27,2.14 2 Iprolonged

To conserve space the examples in this chapter present the tonic pillars in anabbreviatedform.Ineachcaseamoredetailedgraphmaybefoundinchapter1.Forthesame reason a phrase pair defined by a local interruptionmay be abbreviated.Because

mostofthemazurkascontainmultipleepisodes,itwasnotfeasibletoarrangetheanalysesinthischapteraccordingtotheirvarioustonaltrajectories.(Thedataintable2.1facilitateslocatingalltheepisodesthatproceedalonganygivenpath.)Instead,weshallproceedbyopusnumberinthreegroups,distinguishedbythetotalnumberoftonicpillars:two,four,and then three. Exploring the four-pillar mazurkas before those with three pillars iswarrantedbecauseinsomecases the latterareconceivedasabbreviationsof theformer.Thoughacodagenerallywillbedisplayedmorecompactlythanwillthemazurkasnon-pillar episode(s), itwill be at leastminimally acknowledged in the voice-leading graphwhenoneoccurs.

Two-pillarmazurkas

Opus6/4

The Mazurka in E Minors B section repeats the foundational structure of A1:

middleground overIVIoccursinbothcontexts,withoutachangeofmode or key. (Compare 1.15 and 2.1.) Yet contrasting mechanisms are employed to

connect and . InA1 an incompleteupperneighbor to theKopfton andaharmonicprogressionfeaturingIVoccur,whilealocalinterruptionallowstwomeasuresofcontentto be spread over four measures. In B a circle of fifths is deployed as the means ofconnectingIandV.Itispacedsoastospreadthestructuralcontentoverfourmeasures.Theconfluenceofdissonanceandlocalchromaticisminthesecondandfourthchordsofthecirclecreatessurgesthatpushtowardsthesucceedingdownbeats,therebyemphasizingthedescentintenthsdisplayedin2.1.WhereasthebassconnectstheEandBroots,anupper line traversesaG>Ddiminishedfourth.1AnF, emerging above thatD fromastrandthattranspiresinthetenorregister,helpstoshapethethird-progression(beamedin2.1)thatspansthefourmeasures.

Example2.1AnalysisofMazurkainEMinor(op.6/4).

The essence of themazurkas formmay be represented as |A1 |:BA2 :|,with animmediate,written-outrepetitionofeachcomponent.Thoughitwouldbemorenormativefor this formto transpireas |:A1 :|:BA2 :| (a form thatoften iscalled roundedbinary,though I prefer rounded ternary or simply ternary, due to the three letters required todepict it), here the repetition within A1 created by the interruption, followed by thewritten-outrepetition(measures5through8),followedbyarepeat-signrepetitionwouldleadtostagnation.ConsequentlyChopinelectedtoomittheconventionalrepeatsignaftermeasure8.

Opus6/5[a.k.a.opus7/5]

Aschapter2unfoldswewillhaveopportunitiestoobservehowthenon-pillarregionsinChopinsmazurkasmayeitherprolongthetonic(perhapswithamodalshift)orleadtothemediant, subdominant, dominant, or submediant. The dominant is by far the most

commonchoice.Itprovidesacontextforthemaintenanceof orforaninterruptionofa

descent(from orfrom )at ,asintheMazurkainCMajor[2.2].TheI-spaceofitsA1section(analyzedin1.2)concludeswithabriefyetsignificantsoundingofthepitchA(at123).2Asoftenisthecase,herethe56shiftsoftensthepotentiallyabruptconnectionbetweenI5andII,onthepathtoV.

Example2.2AnalysisofMazurkainCMajor(op.6/5).

Inthismazurkathesamethematiccontent(attwopitchlevels)isemployedinboththeAandBsections.Whenthishappensabackgroundmelodicconnectionbetweenthetwo may seem doubtful.3 How can the pitches C, E, and G relate linearly with theircounterparts a fourth lower? I propose that in this mazurka the tonics E and the

dominantsDformabackground connection,evenifthatinterpretationrequiresanotethatinitstoniccontextservesasanupperthirdtotheKopftontoperformadeepstructural role when transposed into the dominant key. The voice leading works as

follows:

Opus17/2

The Mazurka in E Minors tonic key is established through the fifth-progression thattranspiresduringtheA1tonicpillar[1.20].ThecomponentsoftheextendedBsectionthatfollows pursue a range of tonal goals.At first the tonic is prolonged,with a temporarymodalshift toEMajor inmeasures31and32 [2.3].NextEMinorsmediantG-B-D istonicized. Chopin extends this mediant through measure 49 using local embellishingchords infused with chromaticism. Finally an unusual realization of IV56 leads to thesections tonal goal, V, which falls into place at the last possible moment at 523,coincidingwith themelodysupbeatB that inauguratesA2. (Comparewith03.)By this

point the background descent has reached , and thus an interruption occurs. This

(whichsoundsfirst in thebassand then in the tenor register) iscoveredbyB, the ofA2sinitialtonic.

Example2.3AnalysisofMazurkainEMinor(op.17/2).

TheascendingregistralshiftofKopftonBduringA1 is rescindedas the lowerB isrestored during measure 25, at the onset of the B sections tonic prolongation, whichmirrors A1 in traversing a complete fifth-progression, now without interruption. Soonthereafter the mediant emerges, unexpectedly. Whereas the tonic-prolonging phraseproceedsdownwardsinthebassfromEtoCviaaGembellishingchord(measures24through 28), the reprise of this content in measures 32 through 36 proceeds in acontrasting manner, projecting the root progression GCDG as a tonicization of themediant even though its initial chord is surging towards Gs subdominant C from theoutset.Becausethenewcontextformeasures33and34motivatesare-orientationofthelocalchordalhierarchy,theeventuallyrejectedconnectionbetweenEandC(displayedvia

aslurplacedwithinparentheses)andtheultimatelytriumphantG-to-Dtonic-to-dominant

motion are juxtaposed in2.3. The backgrounddescent from through to occursduringthismedianttonicization.

ThesopranoG(= ) thatarrives imaginativelyat373and literallyat391 does notbudge through491.NeighborsAandA embellishGwithoutweakening its hold.Themediantismaintainedthroughout,afterwhichthespanfrommeasure49throughmeasure52 completes theB sections structural agenda in an unconventionalway namely, by

placingtheUrliniesdescentfrom to inthebassandthefoundationalbasssascentfrom G through A to B in the soprano. This important activity may take listeners bysurprise, sinceChopinhereconvertsmelodicdevices thathadplayedembellishing roles

during themediant prolongation into the instigators of the harmonicmotion to .Thissubdominants6-phasechordsurgesasIIintheapproachtoV.

Whereas on the one handChopin endeavors tomakeA2 less complex thanA1byrescindingthelocalinterruption,ontheotherhandhepostponesachievingthegoalPAC:opportunities for a cadence inmeasures64and66aredeclined,delaying thePACuntilmeasure68.

Opus24/3

WhenamazurkasBsectionleadstothedominant,abackgrounddescentfromKopfton

or to oftenoccurs.Thatoptionnotonlyprovidesahigh levelofcontrast,butalso

ideally prepares for the tonics return during A2 for a post-interruption descent to .Another option occasionally employed by Chopin is to proceed to the mediant, whichoffers neither the level of contrast nor the tonic-targeting characteristic of thedominant

harmony.Becauseboth and are componentsof themediant, theKopftongenerallywillbeprolonged.

TheMazurkainAMajorsA1andA2sectionsopenwithamelodicunfoldingofthethirdfromAtoC[1.5].ThatintervalalsoguidesthebroadbasstrajectoryduringtheBsection[2.4].ItappearsthatChopinintendstotraversethatspanviaadescendingcircleoffifths:ADGC.However, inhisexecutionof thatagendatheprojectionof the initialA>DfifthastwothirdsisabandonedafterFisattainedat183.Observehowlocalupperthirds (reminiscent of the upper thirds that pervade the A1 section) embellish variouspointsalongtheway.TheinitialbassAisprecededbydownwardmotionfromaCminorchord.LikewiseF emerges fromupper thirdA. Inmy view the Fminor chord at 192should initiallybeperceivedas thestartingpoint foranotherdescending third, this timefromFtoD.ButChopin,recognizingthathisstrategymightbecometediousifpursuedadamantly, elides this passage. (It appears within square brackets in 2.4.) Instead, acollision occurs: a D indeed does emerge in the bass sooner than expected and incoordinationwithanappositethoughacceleratedsopranoA>G>Fbutconcurrentlythefollowing chord in the broad circular motion sounds.4 Because this collision does notallowdiatonicDtowobbletoD,theGchordemergesasG.5

Example2.4AnalysisofMazurkainAMajor(op.24/3).

The goal mediant chord at 201 incorporates a wobble (E). Consequentlyfoundationalmajor chords are juxtaposed in themazurkasA andB sections, a featureshared with major-key movements that proceed instead from I to V. This chordcorrespondstowhatIcallthemediantsChromaticVariant1(CV1),withonechromaticpitch.6Sincetheprecedingpassageledthemelodic linesomedistancedownwardsfrom

KopftonC(= ),Chopinquicklyreconstitutesthatregister:amelodicCpersistsfrom203through242.ThisCthenhooksupwiththeCofA2,launchedbytheA

Opus30/2

IntheMazurkainFMinor,theA1tonicpillarsinitialIV(at163)wasprecededbytheintroductionsprolongedsubdominant[1.7].Incontrast,theA2pillar(whoseinitialIVisembellished through the addition of 6-phaseG at 483) is preceded by the III that isattainedduringtheBsection[2.5].Asoftenisthecase,asegmentofthecircleoffifths(F B E A) serves as the means by which the tonic and the mediant are connected.Concurrently the melody within the B section focuses on C, which falls within adownwardtrajectoryconnectingA1scadentialFtoA2sreinstatedKopftonA.

Example2.5AnalysisofMazurkainFMinor(op.30/2).

Though thismazurkas tonicpillar, once it emerges, is in fact regular (with IVI

supporting ), itscontext is idiosyncraticbecausecompetingmaterial (inakeythatconformstoChopinsmisleadingkeysignatureoftwosharps)seemsatfirsttobeperformingtheroleoftonicpillar.

Opus30/3

Chopinconfrontedoptionsateveryturnashecomposedeachmazurka.Whereasusuallylistenershearonlyoneoutofseveralpotentialharmonictrajectories,intheMazurkainDMajorChopinmakesapointof juxtaposingalternatives. The roadnot takenbecomesinsteadoneof tworoads thathe takes insuccession.Earlierwenotedhowhealternatesbetween retaining D Major and moving into D Minor during the tonic pillar. Theaccidentalswithinparenthesesin1.8conveyhismaybeyes,maybenoattitude,whichpersistsuntilthewobblynoteFrevertstoFinthemazurkasfinalmeasure.OthersortsofoptionsarejuxtaposedduringtheBsection.

Notein2.6theconnectionbetweenthepillarstonicrootDandthedominantrootAofmeasures58and59. (Thisdominant resolves to I6 rather than to I5,a topic tobeaddressed later.) Bass G (measure 57), which supports an inverted II, precedes A.ChopinwellunderstoodthattwoverycommonstrategiesforconnectingtheA1sectionstonicrootandmeasure57ssupertonicbassareanascentviathemediant(D

We observed in 2.1 how a tonic prolongation might serve as a B sections solecontent,andin2.3howatonicprolongationinauguratingaBsectionmayprecedefurthertonal activity. The structure through measure 60 could have been followed by bassEDsupportingasopranodescenttoD(resultinginaPACinDMajor).Inthiscase,however,Chopinsprogression instead tonicizesBMinor (perhapsa factor inhisdecision not to persistwith theB chord ofmeasure 32).An F-to-B fifth-progressionsubstitutes for theF-to-D third-progression thatwemighthaveexpectedasameansofprolongingKopftonF.ThereafterChopinbacktracksonceagain.WillhesucceedthistimeinattainingaPACinD?SuccinctlytheDMajortonicofmeasure10recursinmeasure66, thedominantofmeasures58and59recurs inmeasure67,and the6-phase tonic ofmeasure 60 recurs inmeasure 68.Note one significant difference:Chopin now fails toachieve a PAC in B Minor, breaking off after the penultimate chord. Whereas an

interruptionon isacommongoalforaBsection,hereChopinclosesathirdloweron

the ofBMinortherebycreatinganoveljuxtapositionatthejunctureofBandA2.Insomeespeciallycreativewriting,heslithersdownwardschromaticallyfromF(therootofBMinorsdominant)toD(therootofDMajorstonic)duringmeasures70through79.Themazurkaconcludeswitharepriseofthetonicpillar,thistimewiththecadentialtonicshiftingfromminortomajorqualityatabreathtakinglylatemoment.

Opus33/1

ThemelodicB>A>Gthatplayedaprominentroleduring theMazurka inGMinorstonicpillar[1.12]guidestheBsectiononitspathfromtonicGtoaninvertedCchord,initiatingacircularprogressiontothediatonicmediant,Bmajor[2.7].Complementingthedescending fifth-progressionwithinA1 (D toG), that C chord supports the upwardarpeggiation of a sixth (G

Opus33/2[a.k.a.opus33/3]

Though the mediant and submediant chords may participate in harmonic progressions,theysometimesinsteadserveasterminalpointswithinacontrastingsection,contextsthatmay be interpreted as tonic embellishment. Several of the mazurkas explored aboveproceed from the tonic to the mediant and back over the course of A1 B A2. In theMazurkainCMajorChopindeploysthesubmediant,whichsounds(evolvedasVI)inaharmoniccontextduringtheA1section[1.17].DuringtheBsectionthatfollows,anotherchromatic variant A-C-E is attained and even tonicized [2.8]. In this case thestructure proceeds essentially fromC-E-G toC-E-A (unfurled asA-C-E) and thenback to C-E-G: tonic C-E-G is extended via the concurrent pursuit of an embellishingchromaticneighbor(GG)andawobble(E>E

measure 21might be interpreted as EE>D over E (third species), resolving to

consonant atthenextdownbeat.InconjunctionwiththeinsertionofchromaticEandthe prolongation of the neighboring F, the unaccented passing note D shifts to thefollowingdownbeatposition.Similarlyinmeasure23,C>BovercantuspitchE(fourthspecies)isembellishedbythechromaticlowerneighborBandtheupperneighborD,sothat theCsuspensions resolutionpitch isdelayeduntil241,where itcoincideswith thetonicroot.Thefoundationalstructurewithouttheselocalrhythmicshiftsisdisplayedin2.8.

Opus41/1[a.k.a.opus41/2]

The descending fifth-progression B>A>G>F>E from the Mazurka in E Minors A1section [1.13] is complemented by an ascending sixth-progression(D

byproceedingneitherbacktoBnortoG,butinsteadtotherestoredtonicEofA2.Outer-

voice parallel octaves are averted through the presentation of the surging tonic inposition.

Opus41/4[a.k.a.opus41/1]

Already during theMazurka in CMinorsA1 tonic pillar, the hold of the C tonicsminormodalitywavers [1.14].Though a conventional juxtapositionofCminor andEmajor chords transpires during the opening measures, elements from C Major areincorporated beginning in measure 17, affecting even the pitch content of the pillar-definingfifth-progression(withEsubstitutingforEduringmeasure20).Consequentlythecommonform-defining juxtapositionofparallelkeys(A1 inminor followedbyB inmajor)isheresubverted,sincetheshifttomajorprecedestheformaldivision(atmeasures32|33). Further confounding expectations,A2s tonic pillar incorporates CMajors Efromtheoutset[2.10].ThereisverylittleaboutthismazurkathatreflectsitsfoundationalCMinor tonalityuntil thecoda,where theminor tonic is restoredand theworksonlyfifth-progression utilizing diatonic E is traversed. The mazurka ends in desolation,especiallydevastatinggiventhepresumedconquestofdarkforcesbyCMajor.

Example2.10AnalysisofMazurkainCMinor(op.41/4).

DuringtheBsectionsopeningmeasuresthevoiceleadingprojectsanascentthroughCMajorsC

That D is restored to the upper register during the following dominant harmony(assuming that theDat561 belongs in theprecedingmeasure).ThecadentialC(at562)occursinthatregisteraswell.

As the measure numbers that annotate 2.10 indicate, a second traversal of thisprogression occurs immediately after that cadence. All goes well until the cadentialmoment(651),atwhichpointChopinsubstitutesCMinorsI6 for theexpectedC-E-G tonic. This insertion results in a second approach to the tonic goal, temporarilyreminding listeners of the darker forces of C Minor that underlie the mazurka. Theprogressiontranspiresas

m. 65 6971 72 73

CMinor: I6 IV56 V I

ThisprogressionisespeciallynoteworthyinthatthepitchesD,F,andA(measures71and72) thatemergeas IVsNeapolitan6phaseare retainedas the fifth, seventh,andninthofthedominantthatfollows.13Inthiscase,exceptionally,wobblyDdoesnotreverttodiatonicD.

ThoughsomeresidualelementsofCMinorareretainedfromA1(theuseofA inmeasures73through79,aswellastheemploymentofEinmeasures81through88asthedivider between C and G), the A2 section completes the background structureessentially inCMajor, asmentioned above.Amore bravura close transpires during arepetition(measures97through104).

Chopin places an important element of the mazurkas tonal plot within the coda:though it begins in CMajor (measure 105), the initial C Minor tonic is restored atmeasure119andisretainedthroughtheendofthemazurka.Thoughitsfifth-progressionisdisplayeduniformly in theregister justaboveMiddleC in2.10, inChopinsscore itsimpactisenhancedbymeansofagradualdownwardregistralshiftoftwooctaves:GatwelfthaboveMiddleC(measure119),FafourthaboveMiddleC(measure127),andtheremainingmembersofthedescentsoundingintheoctavebelowMiddleC.

Withoutopus42B

TheinternalharmonicprogressionsemployedwithintheAandBsectionsoftheMazurkainAMinor proceed along similar routes. (Compare1.24 and2.11.)Both lead from theinitial tonic to thediatonicmediant (AMinorsC-E-Gduring theAsections,AMajorsC-E-GduringtheBsection).Bothcontinuewitharoot-positionIIthatleadstoV(),whereamiddleground third-progression is interrupted, followedby thepost-interruptionattainmentofaPAC.Theprincipalform-definingeventwithinthemazurkaisthewobbleoftheKopftonfromCtoCandbacktoC,asdisplayedonthetopbeamin2.11.(C isanticipatedduringA1scadentialtonicinmeasure32.)

Example2.11AnalysisofMazurkainAMinor(withoutopus42B).

The B sections shape is ternary: x1 y x2. The binary x1 regions antecedent half

beginswithanextensionof I-spaceviaa embellishment (unfurledasD-F-A)andanascendingarpeggiationfromKopftonCthroughEtoA,followedbyIIV,wherealocal

interruption occurs on at 403. Though is restored during the consequent half, the

opening tonic is displaced by I6, with a restoration of I5 (at 443) only after the

embellishment.Concurrently theascendingarpeggiationattainsgreaterheights, reachingtheupperoctaveofthewobble-modifiedKopftonCat461.ChopinemploysarpeggiationtodescendfromthathighCtogoalAintheloweroctaveduringmeasures46through

48.Defyingstructuralnorms,no supportedbyVcomesbetweenCandA.(IproposethatChopinprojectsthesenseofaPACinmeasure48nevertheless.)

TheBsectionsyregionopenswitharobustprolongationofAMajorsmediant(C-E-G), first stated inmeasures 49 through 51 alongwith a reinstatement of the raisedKopftonC.ThesequentialprogressionthatemanatesfromthatCchordnormallywouldpursuethefollowingcourse:

m. 49/51 52 53 54 55

57 58

C B A G F E

C G A E F C

In this instance Chopin allows the F chord of measure 55 to evolve into F.ConsequentlyabriefandwaywardexcursiontoatargetedBchordoccurs.ItappearsthatChopin is toyingwith an alternativemeans of proceeding from III to V, via a circularprogression:C()FB(E).ThatalternativerouteisforsakenashepicksupagainwiththeFchordandproceeds,asinitiallyexpected,toCinmeasure58,followedbyarepetitionoftheFCsegmentofthesequence,confirmingtherevisedcourse.Onlythen in measure 61 does the broader progression continue with II V. Because thesequence led themelodyasignificantdistancedownwardsfromtheraisedKopfton, thatregisteristemporarilyvacant.(NotetheBnoteheadinsertedwithinparenthesesatthetop

oftheIIchordin2.11.)ThefollowingVsB(middleground )occursonlyattheendofa gradual filling-in of a G

Opus56/2

The G

notemphasizetheEbeyonditsinitialstatementinhisreformulatedA2.Concurrentlyheinvigorates another basic idea: the persistent F>F that occurs six times during A1.Normally if one had to choose one of those two pitches to eliminate, it would be F,leavingFasadiatonicneighbortoKopftonE.ChopinsurprisesusbyretainingFinplaceof F. (The latterwill have its turn also, inmeasure 56 and its replicates.)Within this

mazurkaChopinhascreatedcontextsfor (measures6and56), (measures3738),

and (measure 54) in close proximity. The relationship between F or F and E is a

significantfactorinmyreadingoftheworksstructureasemanatingfromKopfton .

The new material stalls temporarily in measures 67 and 68. Its melodic D in thelowerregisterhooksupperfectlywith thearrivalofupper-registerDat theonsetof thecontinuation borrowed fromA1. Themazurka concludeswithout a hitch. Its final tonicchordoffersyetanotherregistraljuxtaposition.

Opus63/2

During theMazurka in FMinors tonic pillar, the antecedent phrases melodic descentfromKopftonCthroughimaginedBtoAtranspiredinthecontextofIproceedingtoIII

[1.22].Thebackground ,whichoccursearlyintheBsection,issupportedin a similar way, though in this case III arrives before the descent begins [2.13]. Thecontinuation to the supertonic isnot surprising, since II points toward theB sectionsdominantgoal,whichwillarriveafterarepetitionofwhathasbeenaccomplishedthusfarwithinB.Onepitchduringthatrepetitionisespeciallynoteworthy:Dat303.WheneverIand IIIare juxtaposed, theanalyst shouldconsiderwhether the IIIassumesaprominentpositionalongthepathtoV,orwhetheritinsteadresideswithinabroaderprolongationof I.The first of these interpretations isprojected in2.13, basedonhowmeasure22 isstructured: though the tonicpitchF sounds, it serves thereasapassingnoteco