Download Added-Tone Sonorities in the Choral Music of Eric Whitacre

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arpeggiation of the iv chord, while the added tones in the penultimate chord once again
contain all the tones of the final chord.
hope, faith, life, love
This piece is the second in a three-movement work, and its final phrase is
supposed to lead directly into the start of the third movement (i thank you God for most
this amazing day). Nevertheless, I thought the ending worth analyzing here because there
is a definite sense of rest at the end of this movement and because the movement is often
performed on its own.
Figure 30: hope, faith, life, love, measures 45-50
The previous passage ended on an F(2)/0 chord via a plagal cadence, so when
the A minor triad in measure 45 moves to an F(2)/0 chord in measure 46, it seems to be a
neighboring sonority decorating the underlying F chord. During the A minor triad,
however, the altos upset the feeling of F as tonic by passing through a B-natural. The F
chord, now acting as a subdominant, moves through a d(2,5)/7 sonority, resolving at last
to a C(2)/7 chord. The tonic of measure 43 has thus turned into the subdominant, leading
to another plagal cadence here at measure 49. This motion is akin to the more traditional
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