Author Archive: Tonic Chord

Analysis Prelude SUMMARY: Bars 1-5: Period I. Starting upon the Tonic Pedal, and ending with a Perfect Cadence in the Tonic key. Bars 5-11: Period II. Gradually works away from the Tonic, touching…
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Analysis Prelude SUMMARY: This prelude is built mainly upon the quaver (eighth note) and semiquaver (sixteenth note) figure as seen above. Bars 1-12: Period I. Ending with Perfect Cadence in the Relative…
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Analysis Prelude SUMMARY: This Prelude is built upon the characteristic figure seen above, which is used twice in every bar, until the Fugato (3/8). Bars 1-6: Period I. Ending with a Perfect…
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Analysis Prelude SUMMARY: Bars 1-17: Period I. Theme I (Bars 1-5). Establishes the Tonic, C sharp minor and works to its Dominant Major (G sharp) (Bar 5) before returning to the…
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Analysis Prelude SUMMARY: Bars 1-16: Period I. Dominant Pedal, key of A (Bars 10,11). Ending with Perfect Cadence in the key of the Dominant, A. Bars 13-16: Coda. Confirming the key of the Dominant,…
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Analysis Prelude SUMMARY: Bars 1-26:  Period I. Tonic Pedal (Bars 1-3 and 6-8). Touches F major and B flat Major (Bars 11-13) before returning to the Tonic region (Bar 15). Ending…
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Analysis Prelude SUMMARY: Bars 1-4: are devoted to establishing firmly the key of the Tonic, and preparing for the entry of the Theme upon which the Prelude is built. Bars 4-12: Period…
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Analysis Prelude SUMMARY: Bars 1-16: Period I. Starting at once with Theme I in D sharp minor, it modulates to the Relative Major, F sharp (Bars 8-9) before ending with a Perfect…
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Analysis Prelude SUMMARY: Bars 1-8: Period I. Tonic Pedal (Bars 1-5), followed by a Dominant Pedal (Bars 5-7). Ending with  Perfect Cadence in the key of the Dominant, B. Bars 9-24: Period II. Staring in…
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