I found this a very interesting piece for a first dabble into the workings of mixture chords. The one mixture which is used in this particular section of the piece (m.69-84 end) is repeated only twice and both times in very similar settings. Both mixture chords (bVI) are resolved in a surprising manner by resolving the bG up to a G natural instead of the expected downward resolution to an F natural. The first time the bVI appears it opens the closing section of the piece and is not introduced but carries an "almost done" feel with it in its surprise. The second appearance however is foreshadowed in the preceding measure (76) in the similarly surprising movement of the soprano from F# up to G. This mimics the "surprising" resolution of the soprano in the bVI and in that since prepares the listener for what is to come.
In the same excerpt of Joplin's piece, we are shown the 6/4 in all of its capacities. In the third measure of the except (m. 71) the first 6/4 appears in its cadential disguise. The I6/4 moves from the pre-dominant (bVI) to a V (in varying forms) creating a half cadence of sorts. The Cadential 6/4 appears third measure from the end once again (m. 82) when it moves from IV to V and the back to a I adding its say in the PAC which concludes the piece. The Neighboring 6/4 appears in measure 75 and the passing in measure 79. I very much like the utilizing of the 6/4 in all of its capacities in such a short excerpt of only 16 measures. Way to go Joplin!
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2 comments:
Ah, here is your post. Next time post to "Form and Analysis," which is the class blog. Let me read your essay more closely, then I'll write another comment
Why do you suppose the surprise of the bVI conveys a sense of "almost done"?
Go into more detail of why you like the different 6/4 chords. What emotions or images do they stir in you?
Look into ways that the analysis could inform performance.
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