Author Archive: Tonic Chord

Analysis Prelude SUMMARY: Bars 1-13: Period I. Tonic Pedal (Bars 1-3). Ending with a Perfect Cadence in the key of the Dominant Minor, F. Bars 13-24: Period II. Dominant Pedal (Bars 20-22), followed by Tonic…
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Analysis Prelude SUMMARY: Bars 1-6: Period I. Tonic Pedal (Bars 1-3). Ending with a Perfect Cadence in the key of the Dominant. Bars 6-10: Period II. Ending with a Perfect Cadence in the key of…
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Analysis Prelude SUMMARY: This Prelude is an example of the expansion of the simpler method of Arpeggios (as seen in Nos. 1 and 2) into more definitely vivid figures, occupying…
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Analysis Prelude SUMMARY: Bars 1-6: Period I. Tonic Pedal (Bars 1-2). Ending with Perfect Cadence in the Relative Major, F. Bars 6-15: Period II. Ending with the Perfect Cadence in the Tonic Major, D….
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Analysis Prelude SUMMARY: Bars 1-10: Period I. Tonic Pedal (Bars 1-4). Dominant Pedal (Bars 8-10). Concise statement of Theme I and confirmation of key of Tonic. Bars 10-25: Period II. Ending on the Dominant….
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Analysis Prelude SUMMARY: Bars 1-8: Period I. Tonic Pedal (Bars 1,2). Ending with a Perfect Cadence in the Dominant. Bars 9-14: Period II. Modulates towards F sharp minor in Bars 9-10, and works…
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Analysis Prelude SUMMARY: The impassioned Cantilena is supported by the characteristic repetition of the Chord, three times in each bar. Bars 1-16: Period I. Ending with Perfect Cadence in the key of…
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Analysis Prelude SUMMARY: Bars 1-17: Period I. After establishing the Tonic, it moves to the Relative Major (Bars 6-7), and touches the Dominant (Bar 12) before ending with a Half Cadence in…
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Analysis Prelude SUMMARY: Bars 1-11: Period I. Bars 1-4 establish the key of C major and from Bar 5-9, it moves away from the key of the Dominant. Ends with…
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