JAVS Fall 1995

14

p

Example 4. Mov. I, mm. 38-44

The second movement features clear tonal centers and fewer dissonances. It combines both modal and tonal harmonic languages. The modal harmonies often evoke a Renaissance-like sound. In Example 5, modal interchanges through mm. 1-3 (from mixolydian to lydian to aeolian) allow a greater variety of chords while keeping G as tonal center. Parallel fifths lend a rustic, folk like quality to this theme. The dominant of G, in m. 4, serves as pivot chord to switch from modal to tonal harmony-the dominant major chord, although foreign to the aeolian mode, is commonly used in modal writing. This chord is resolved deceptively to E Bat major in m. 5, which is reinterpreted as a Neapolitan chord, starting a modulation that resolves to D minor in m. 8. Some nonchord tones are used in the viola part in mm. 5-7 for harmonic interest.

In tempo di Sarabanda Andante espressivo J ~ fi4

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3 _-'B_ V

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n!f espress,

Example 5. Mov. II, mm. 1-9