Now that you have a basic understanding of harmonic progressions, harmonic function, labeling function with Roman numerals, and cadences, you can combine these ideas to explore musical phrases.
Because this piece only has two voices, many chords will have more than one option for a harmony, so you must use the harmonic flowchart from the beginning of this chapter to choose the most likely harmony based on function. For example, if a harmony only has mi
and sol
, this could be either a I chord or a iii chord. If you put it into context, however, it will become clear what harmony the listener is likely to hear. If the harmony with mi
and sol
is preceded by fa
and sol
, it is highly unlikely that this is a iii chord. fa
and sol
outline a V7 harmony, and a V chord will not resolve to a iii chord. Instead the listener will hear this as a V chord resolving to a I chord – albeit an unstable I chord.
Also note that this piece has multiple modulations that I have marked into the score. We will cover modulations in a later unit, but for now, make sure to analyze each phrase ending in the correct key. If you do not, your cadences will not make sense.