Monday, February 25, 2019

Lascia Ch’Io Pianga Analysis Essay

The depth psychology of the aria Lascia chio pianga by Haendel correspond to the thorough bass method, shows us how the composer refer in this piece to the classifiable compositional procedures of baroque music.The aria starts with a pedal (frame, according to Joel Lesters terminology) followed by a cadence harmonized according the regle de loctave both(prenominal) in ascending and descending motility (MM. 5-8). The second episode start at M. 8 consists of a sequence, precisely a modified sequence, in which the subsequent is slightly modified at the end introducing a overbold amity on the second beat of M. 12 that leads to a last(a) cadence with a modulation to the original key. The regle is always working as well as in the sequence, it is just applied chromatically according the harmonic context. after(prenominal) twain repetitions of the first phrase, with a small difference in MM. 17 and 34 with a 6-chord instead of a 5-chord on the second instalment of the second beat , we have the last section of the aria, before the da capo. In this last section there is a modified sequence (MM. 35 to 39) followed by a cadence that leads to the end of the piece.In general, intimately of the harmonies in the piece reflect the indications of the regle but there are some exceptions. The most interesting part in which the regle is non applied is at the precise beginning of the aria the subroutine of 7 on the second degree, instead of 6. This is the harmony that more that any other characterizes this piece, giving a smoother olfactory sensation to the passage than the dominant harmony suggested by the regle. Aside from the exception, it is interesting to reveal where Haendel follows strictly the regle, and this happens in every final cadence, probably as a sign that in the closing sections the use of the regle is more functional and gives a stronger sense of harmonic definition.In the fundamental bass, the bass line consists of a series of roots that not only represent the roots of the harmonies fabricate on top of then, but also physically generates these harmonies. Any charitable of harmony should be reduced to triads and sevenths and the motion of the bass-line should be by fifths and fourths. In Lascia chio pianga is possible to understand all the harmonies as fifths and sevenths but the bass-line motion not always moves naturally by fifths and fourths. In many cases, through the use of the double-emploi, is has been possible to correct some irregular motions into fifth motion, but liquid for some of them it hasnt been possible. Probably the most evident example is the motion by second occurring between MM. 6 and 7, and between MM. 11 and 12.The fundamental-bass analysis bring into play notes that are supposed, that are not in the cross but affect the music as the roots of a manoeuvre feed the last leaf on the highest branch. In this case, we can agree how the sense of motion that we perceive listening to this aria is perfectl y explained and justified by the succession of seventh chord and fifth chord, as the epitome of the arsi-tesi legal opinion in music. Even in the first two measures, that look very simple in the thorough bass analysis, we can still visualize something that makes this beginning not so obvious. In the first measure the F is transformed into D with a seventh chord on top, and the gathering of this seventh with the following one in the second measure create a sense of instability and a need to resolve. In the next measures this tension will be released through a succession of 5-chord with two final combinations 7-5 to close the episode.

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