This can be heard in Interlude 2.I find the chord progressions here very interesting. There is an ascending soprano line over a Bb pedal, which creates a sense of excitement leading to a climax. After that, the composer makes use of a series of tonic-dominat chords to bring the music back to the key of F major. He does it so seamlessly that it blends with the rest of the music.
A - E7/G# (I-V7 in A maj)
G - C (V-I in C maj)
C7 - F (V7-I in F maj)
2 comments:
hey!
wow! your way of looking at the modulation is really interesting! I'd not think of it this way. However, is it possible to interpret bars 9 and 10 as chord V, and bar 8 as a bar of passing character? Its messier to look at it this way but do you think its possible?
yif, if you hear b. 8 as passing, which chords is it passing between?
Post a Comment