Giulio Regondi’s Ten Etudes for Guitar: A Harmonic Analysis

by

Jeffrey C. Lambert, D.M.

ii

Copyright © 2014 – Jeffrey C. Lambert All Rights Reserved

iii

Preface

What follows is a Roman numeral harmonic analysis of Giulio Regondi’s (1822-1872) ten etudes for solo guitar. The music itself is not given; only information describing the harmony appears. For the most complete understanding, it is highly recommended that the reader use this analysis in conjunction with the score. Notes regarding the symbols Inversions are only indicated next to the Roman numerals and do not appear as part of the chord names. Key indications are circled and appear above the staff. Though many non-chord tones are indicated, no attempt was made to label them all.

44 ˙ ˙

I IC

C

˙ ˙

ii VD m G

œ œ œ œ

I V$3`/vi vi ii å`$ Q # ÅC E 7 A m D m

˙ ˙

I4 V^5C G 7

˙ ˙

I IC

˙ ˙

ii VD m G

7

œ œ œ œ

I V$3`/vi vi iiK`^ å`$ Q # ÅC E 7 A m D o

œ .œ œ ˙

I4 V^ IC G C

˙ ˙

V^ iii|viG E m

G

˙ ˙

ii VA m D

œ œ œ œ

I V^ vi Vå ( Q *`Å/VG D Em A

12

œ œ ˙

V V& å` Q`% Å/V VD A 7 D

˙ ˙

I vi|ivG E m

Bm

œ œ œ œ

viiK` å` Q`% Å iå $ Q #`Å viiK $3 å $`Q # ÅA #o7 B m A #o7

˙ ˙

i^4 V&B m F#7

w

iB m

17

˙ ˙

V& iE7 A m

Am

˙ ˙

V& ID 7 G

G

˙ ˙

iv i^4A m6 E m

Em

add6

˙ ˙

V& iå $ Q #`ÅB 7 E m

˙ ˙

iv i^4A m6 E m

add6

˙ ˙

V& iå ( Q *`ÅB 7 Em

˙ ˙

V$2 å ( Q`* Å I å`^ Q`% ÅD 7 G

G

24

˙ ˙

V$3 å $ Q`# Å Iå (`Q * ÅD 7 G

˙ ˙

V$2 å ( Q`* Å I å`^ Q`% ÅD 7 G

˙ ˙

V$3 å $ Q`# Å Iå (`Q * ÅD 7 G

˙ ˙

V$2 å ( Q`* Å i^ å`^ Q`% ÅE7 A m

Am

˙ ˙

V$3 å $ Q`# Å iå ( Q *`ÅE7 A m

˙ ˙

V$2 å ( Q`* Å I å`^ Q`% ÅG 7 C

C

30

˙ ˙

V$3 å $ Q`# Å Iå (`Q * ÅG 7 C

˙ ˙

ii å`^ Q`% Å I4D m C

w

V&G 7

7

Repeat of mm. 1-7

œ .œ œ ˙

I4 V IC G C

40

œ œ ˙

V^5 V& iA 7 D m

Dm

˙ ˙

V^5 IC 7 F

F

Etude 1

43

˙ œ œ

V& I IVG C F

C

œ œ ˙

I4 V^5 IC G 7 C

˙ ˙

V^5 IC 7 F

F

˙ ˙

V^5 ID 7 G

G

˙ œ œ

V& I V^5 å`^ Q`% Å/VG 7 C D 7

C

˙ ˙

I4 V&C G 7

49

˙ œ œ œ œ

I V^5`/vi vi V&C E 7 A m G 7

*

˙ œ œ œ œ

I V$3`/vi vi V&C E 7 A m G 7

*

w

IC

w œ œ œ œ

V I VG C G

˙ Ó

IC

2

Etude 1

mm. 49 & 50, b. 4: an Am chord is implied by the presence of the root note only.

43 ˙ œi iv4

A m D m

Am

.˙i

A m

.˙V&

E 7/A

A ped.

˙ œi iv4

A m D m

˙ œi iv4

A m D m

˙ œi ctK &

A m D #o7

C

˙ œI4 V^5

C G 7

.˙IC

˙ œV iv&E D m7

Am

˙ œV iv&E D m7

11

˙ œV V& å∫ Zz #2`Qq #1 ÅıE D 7

G

˙ œI V& å∫ Zz #2`Qq #1 Åı

G F 7

Bb

˙ œI V& å∫ Zz #2`Qq #1 Åı`|Ger+

B b A b7

Db

.˙I4C

C

œ ˙V^ å`X & Q *`Å V&

G G 7

16

.˙I

C

.˙V& å $ Q`# ÅG 7

˙ œIå $`Q # Å viiK`5C G #o7

Am 7

Repeat of mm. 1-7

26

.˙I

C

.˙I

A b

Ab

.˙V$3 å $ Q`# ÅE b7

.˙V^5 å`( Q * Å

30

œ œ œIå X`@ Q # Å viiK & å $`Q # Å/V V$3A b D o7 E b7

.˙I

A b.˙

V& å` Q`% ÅB b7

Eb

˙ œI4 V& å` Q`% Å

E b B b7.˙

IEb

.˙I

B

B

.˙V$3 å $ Q`# ÅF#7

.˙V^5 å`( Q * Å

38

œ œ œIå X`@ Q # Å viiK & å $`Q # Å/V V$3

B E#o7 F#7.˙

IB

.˙V& å` Q`% ÅC#7

F#

˙ œI4 V& å` Q`% Å

F# C#7.˙

IF#

.˙I

D

D

.˙V& å $ Q`# ÅA 7

.˙

46

œ œ œIå X`@ Q # Å viiK & å $`Q # Å/V V$3

D G #o7 A 7

.˙I

D

.˙V& å` Q`% ÅE7

A

˙ œI4 å`^ Q`% Å V& å` Q`% Å

A E7

.˙I

A

A ped.

.˙V&

E7/A

52

.˙V&`/IV|Ger+A 7

C#

.˙I4

C#.˙

V^5G #7

.˙I

C#.˙

V& å $ Q`# ÅG #7

.˙I

A

A

˙ œiiJ`^5 å`( Q * Å V&B m7(b5) E 7

.˙I

A

˙ œiiJ`^5 å`( Q * Å V&B m7(b5) E 7

Etude 2

3

61

˙ œV& iå $ Q #`Å

A 7 D m

Dm

˙ œV& Iå $`Q # Å

G 7 C

C

˙ œIV viiJ & å $`Q # Å`|iiJ`&F B m7(b5)

Am

˙ œV& iå $ Q #`Å

E 7 A m

˙ œV^ V^5 å`^ Q`% ÅC C 7

F

œ œ œIå (`Q * Å ctK & å`$ Q # Å IF G #o7 F

67

˙ œV^ V^5 å`^ Q`% ÅC C 7

œ œ œIå (`Q * Å ctK & å`$ Q # Å IF G #o7 F

.˙V&

A 7

Dm

.˙i^4

D m

˙Fr+F 7(b5)

Am

.˙VE

73

œ œ œV& i^4 V

E7 A m E

23

Repeat of mm. 1-23

97

œ œ œ œi V&`/IV IV^ iiJ`$3

A m A 7 D B m7(b5)

˙ œi^4 V^5

A m E 7

99

˙ œiiK`^ å`( Q * Å V& å ( Q`* ÅB o E 7

˙ œi V&`/IV

A m A 7

œ ˙iiJ`^5 å`^ Q`% Å V&B m7(b5) E 7

˙ œi V&`/IV

A m A 7

103

œ œ œiiJ`^5 å`$ Q # Å V viiK &B m7(b5) E G#o7

˙ œi V&

A m E7

˙ œi V&

A m E/A

A ped.

.˙i

A m

.˙

4

Etude 2

42 ˙I

A

A

œ œV$3 V^5

E 7

œ œ œI V+/IV IV

A A + D

œ œ œviiK & I V&

G #o7 A E 7

˙I

A

œ œV$3 V^5

E7

œ œI V$3`/V

A B 7

œ œctK & V^5

F‹o7 E7

9

œ .œ œV&`/vi vi|ii iiJ`^5C#7 F #m F #m7(b5)

E

œ œ œV& å $ Q`# Å IV^4 V^5

B 7 A B 7

œ œI iiE F#m

œ œ œ œI4 V$3 å $ Q`# Å IV^4 V^5E B 7 A B 7

˙V&

B 7/E

E ped.

œ œ œI viiK` V^5E D#o E 7

A

˙I

A

16

œ œV$3 V^5

E7

œ œ œI V+/IV IV

A A + D

œ œ œviiK & I V&

G #o7 A E7

.œ jœI V&`/IV

A A 7

˙ii

B m

œ œI4 V$2 å ( Q`* Å/ii

A F #7˙V&

E 7

œ œI V&

A E 7

24

˙I

A

˙V&`/VB 7

˙VE

˙V&`/VB 7

˙VE

œ œV^5 V&

E 7

œ œI ctK &

A B#o7œ œI4 V&

A E 7

˙I

A

œ œV$2 I

A 7 D

D

œ œV$2 i^

G #7 C#m

C#m

œ œV$2 I

F#7 B

B

36

œ œV$3 I

F#7 B

œ œii V^5`/V

C#m C#7˙VF#

œ œviiK $3 IA #o B

œ œviiK`4 IG#o A

A

œ œV^5 I

E 7 A

œ œ œV viiK` å`( Q * Å/V V&E D #o E7

8

Same as mm. 15-22

51

œ œI V&

A E7

˙I

A

˙i

F#m

F#m

˙viiK &

E#o7œ œ œ œi V^5`/iv iv V&`/iv

F#m F#7 B m F #7

*

œ œ œiv viiK & å Z`* Q & Å/V V&

B m B#o7 C#7˙i

F#m

58

˙viiK &

E#o7œ œ œ œi viiK`5 i^ V^`/V

F #m E#o7 F #m G #œ œ œV V&`/V VC# G #7 C#

œ œV^ /iv ivå $ Q`# Å

F# B m

œ œV^ /III IIIå $`Q # Å

E A

œ œVI V$3D C#7

œ œV^ iå $ Q #`Å

F#m

Etude 3

5

65

œ œiiK`^ /III viiK``/ivG #o A#o

œ œiv V^5`/III

B m E 7

œ œi^4 V^5

F #m C#7˙

iå ( Q *`ÅF#m

˙V^5

E7

A

˙I

A

˙V$3

E 7

˙I

A

˙V^5

E 7

˙I

A

75

˙V^`/iii

G #˙iii

C#m˙VE

˙I

A

œ œii& V&

B m7 E7

˙I

A

˙VE

˙I

A

œ œii& V&

B m7 E7

˙I

A

85

˙V&`/IV

A 7

˙IVD

˙viiK &`/iiA #o7

œ œii& V^5`/vi

B m7 C#7œ œvi V^5

F#m E 7

œ œI viiJ`5

A G #m7(b5)

œ œI& ii5 å`^ Q`% Å

A maj7 B m7

œ œI4 V&

A E 7

93 22

Same as mm. 1-22

œ œI V&`/IV

A A 7

A ped.

115

œ œIV^4 VD E/A

œ œ œI viiJ &`/ii ii

A A#o7 B m

œ œI4 V&

A E7

œ œI V&`/IV

A A 7

A ped.

œ œIV^4 viiK &D G #o7/A

121

œ œI viiK &`/V

A D #o7œ œ

Vsus$ V&Esus E 7

œ œI V

A E

œ œI V

A E

œ œI V

A E

œ œI V

A E

œ œI V&

A E 7/A

A ped.

128

œ œI V&

A E 7/A

œ œI V&

A E/A

œ œI V&

A E7/A

˙I

A

˙ œ œV&

E 7

œ œI V&

A E7

œ œI I4

A

˙I

6

Etude 3

m. 55: implied.

89%.˙ .œ

IE

E

E ped.

.˙ .œV& å` Q`% ÅB 7/E

.˙ .œI IVå` Q`% ÅE A

.˙ œ jœV/vi viiJ $2 å $`Q # Å V&G # D m7( b5) B 7

.˙ .œIE

E ped.

.œ .˙V& å ( Q`* Å/V V&

F#7 B 7/E

7

.œ .œ .œI viiK``/V V& å` Q`% ÅE A #o B 7

.œ .˙V& å Z (`Q * Å I

EB 7/E

E ped.

.˙ .œV^ V&`/viB G #7

.˙ .œvi V&`/V

C#m F #7.˙ .œ

V vi^ å`$ Q # ÅB C#m

12

.˙ œ œ œV&`/V ctK & V$3`/V ctK &F#7 G‹o7 F#7 E#o7

.˙ .œV^ V^ å`+% ÅB B+

.œ .œ .œIV ii iiK`^ å`$ Q # ÅE C#m C#o

B

.˙ .œI4 V& å` Q`% Å

B F#7.˙ œ œ œ

I IV V IVB A/B B A/B

B ped.

E

17

.œ œ œ œ .œI4 IV I4 V& å` Q`% ÅE B 7A/B E

.˙ .œIE

E ped.

.˙ .œV&

B 7/E

.˙ .œI IVE A

.˙ œ jœV/vi viiJ $2 å $`Q # Å V&G# D #m7(b5) B 7

.˙ œ œ œI V& viiK &`/iiE B 7/E E#o7E ped.

23

œ jœ .œ .œiiå`$ Q # Å V$3`/ii ii ctK &`F#m C#7 F#m F‹o7

.˙ .œI4 V& å∫`9 Qq`%8 ÅıE B 7

Fine.œ .œ œ ‰

V& IB 7/E E

E ped.

.œ .œ .œI I å`( Q * Å ctK & å`^ Q`% ÅC D #o7

C

.˙ .œI4

C

28

.œ .œ .œvi I ii

A m C D m

.œ .˙ctK & V

A #o7 G

.œ .œ .œI I å`( Q * Å ctK & å`^ Q`% Å

C D#o7.˙ .œ

I4 iiJ`&`/iiiC F#m7(b5)

.˙ .œiii^4 V^5`/iii

Em B 7

.˙ .œiii

Em

34

.œ .œ .œV& V^ å`^ Q`% Å V$2 å ( Q`* Å

G 7

.˙ .œI vi

C A m

.œ .˙V& å` Q`% Å/V å (`Q * Å

D 7

.œ .˙V&`/V V&D 7/G G 7

G ped.

.œ .œ .œI I å`( Q * Å ctK & å`^ Q`% Å

C D #o7.˙ .œ

I4C

Etude 4

7

40

.œ .œ .œvi I ii

A m C D m

.œ .˙ctK & V

A #o7 G

.œ .œ .œI I å`( Q * Å V^ å`X % Å/IV

C C+.œ .œ .œ

IVå $`Q # Å iiå`( Q * Å iiJ`$3 å $ Q`# ÅF D m D m7(b5)

44

.œ .œ .œI4 V& å ( Q`* Å/V V& å` Q`% Å

C D 7 G 7

.œ .˙V& I

G 7/C C

C ped.

.œ œ jœ œ œ œV&` I V$3 IV^4C 7 F C 7 B b

F

.œ œ jœ œ œ œVå ( Q *`Å I V$3 I V^C F C 7 F C

48

.œ jœ œ .œI V$3 V^5F G 7

C

.œ œ jœ .œV& I viiK & I

G 7/C C B o7/C C

C ped.

.œ œ jœ œ œ œV&` I V$3 IV^4C 7 F C 7 B b

F

.œ œ jœ œ œ œVå ( Q *`Å I V$3 I V^C F C 7 F C

.œ jœ œ .œI V$3 V^5F G 7

53

.œ œ jœ œ œ œV& I V$3 ctK & V^5 V^5 å`+% Å

G 7/C C G 7 D #o7 C 7 C 7(#5)

F

C ped.

.˙ .œI V&F B b7

Eb

.˙ .œI V&

Eb A b7

C#

.˙ .œI V&

C# F #7

B

.˙ .œI V&

B B 7

E

.˙ .œDal segno al Fine

.˙ .œ

8

Etude 4

42 ˙I

A

A

œ œV$3 viiJ $3

E 7 G #m7(b5)

œ œI V$3`/V

A B 7

œ œI4 V

A E

˙I

A

œ œV$3 viiJ $3

E 7 G #m7(b5)

œ œI V&

A E7

œ œV& I

E7/A A

A ped.

˙V&

E7

10

œ œI

A

˙V&

E7

œ œviiJ & I

G #m7(b5)/A A

A ped.

˙V$3`/VB 7

œ œV iiJ`&`/VE C#m7(b5)

E

œ œVsus$ V$2B sus B 7

˙I|VE

˙I

A

A

18

œ œV$3 viiJ $3

E7 G #m7(b5)

œ œI V$3`/V

A B 7

œ œI4 V

A E

œ œI V&`/IV

A A 7

˙IVD

œ œI4 V& å` Q`% Å

A E 7

œ œviiJK I

G #o/A A

A ped.

˙VE

˙I

A

27

˙V$3

E7

˙I

A

˙IV

E* ˙

IE

˙V^5`B 7

œ œviiK I

D #o/E E

E ped.

˙ii

B m

A

œ œV V$2E E7

˙I

A

˙V&

E 7

˙I4

A

œ œV& viiK &`/vi

E7 E#o7

39

œ œviå` Q`% Å

Chromatic passing chord(simultaneity)

F #mœ œviiK I4 å`( Q * Å

G #o A

œ œviå ( Q`* Å V^5F#m E 7

˙I

A

˙V&

E 7

˙I

A

˙V&

E7

˙I

A

˙IVå $`Q # Å

D

48

œ œI IVå $`Q # Å

A D

œ œI4 V&

A E 7

˙I

A

˙V&

E7

˙I

A

˙V&

E 7

˙I

A

˙V&

A 7

D

œ œ œI IV viiK $2

D G D #o

Em

57

œ œ œ œi^ V^5 I viiK $3

Em E 7 A E#o

A F#m

œ œ œ œi V& i viiK`4

F #m F #7 B m F#o

Bm G

œ œ œ œI viiK`4 I viiK`4

G G#o A A #o

A Bm

œ œ œ œi^ viiK I viiK $3

B m C#o D D #o7

D E

œ œ œ œI V& I V&E E7 A A 7

A D

Etude 5

9

62

œ œ œ œI V& I V$2

D D 7 G G 7

G C

œ œ œ œI V& I V$2

C C 7 F F 7

F Bb

œ œ œ œI V$2 I V$2

B b E 7 A D 7

A G

œ œ œ œI V$2 I V$2

G C#7 F# B 7

F# E

œ œ œ œI V& I viiK $2E E7 A D #o7

A E

67

œ œ œI V& IE E7 A

A

œ œ œV&`/IV IV viiK $3

A 7 D G#o7œ œ œ œI V&`/IV IV viiK &

A A 7 D A #o7

B

œ œ œ œI viiK & I V^`/V

B G #o7 A B

A

˙I4

A

72

˙ ˙ ˙V& å` Q`% Å

E 7

˙å` Q`% Å

œ œI viiK

A G #o/AA ped.

œ œIV^4 V&D E 7/A

œ œI viiK`

A G #o/Aœ œIV^4 V&D E 7/A

˙I

A

˙

82

˙ii&

B m7

˙V&

E 7

œ œI V&

A E7

œ œI V&

A E 7

˙I

A

˙ ˙ œ Œ

10

Etude 5

m. 29, n. 3 in score: the D# in the melody, though a non-chord tone, brings about the modulation to E major.

89%.˙ .œ

i iv4 å`$ Q # ÅD m G m

Dm

.˙ .œi V^

D m A

.œ .œ .œi iiK`^ å`$ Q # Å iiJ`$3 å ( Q`* Å

D m E o E m7(b5)

.œ .œ œ œ œi^4 å`^ Q`% Å V& å` Q`% Å viiK`5`/V V^D m A 7 G #o7 A

5

.˙ .œi iv4 å`$ Q # Å

D m G m

.˙ .œi ctK &

D m G #o7

F* .˙ .œ

I4 V& å` Q`% ÅF C 7

.œ .˙V^5 å`Z ( Q *`Å I

F

.˙ .œV&

A 7

Dm

.˙ .œi^4 å`$ Q # ÅD m

11

.œ .œ .œviiK &`/V V^5`/V viiK & å $`Q % Å/VG #o7 E 7 G#o7

.œ .˙i^4 V^

D m A

.˙ .œV&

A 7

.˙ .œi^4 å`$ Q # ÅD m

.œ œ jœ .œV^5 V& I4 V& å` Q`% Å

E 7 A E7

A

16

œ jœ .˙viiK & V& I

G #o7/A E 7/A A

A ped.

.˙ .œV&

A 7

Dm

.˙ .œi^4 å`( Q * ÅD m

.˙ .œVA

.œ .˙V& å ( Q`* Å iå` Q`% Å

A 7 D m

.˙ .œV&

A 7

22

.˙ .œiå ( Q *`ÅD m

.œ œ jœ .œV& ctK & V&

E7 G o7 E 7

A

.˙ œ jœIå` Q`% Å IV iiK`^A D B o

.˙ .œI4 å`( Q * Å V&

A E 7

.œ .œ œ jœV& I V&

E7/A A A 7

Dm

A ped.

27

.˙ .œi iv4

D m G m

.˙ .œi V^

D m A

.œ .œ .œi iiK`^ iiJ`$3

D m E o E m7(b5)

.œ .œ œ œ œi^4 V& viiK`5`/V V^

D m A 7 G#o7 A

.˙ .œi V^5`/iv

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32

.œ .˙ivå $ Q`# Å iiJ`& å $ Q`# ÅG m E m7(b5)

.œ .œ .œi^4 å` Q`% Å V& å Z (`Å

D m A 7( b9)

Fine

.˙ .œi

D m

.˙ .œI V$3

B b F 7

Bb

.œ œ jœ .œV I V$3F B b F 7

.œ .œ .œI vi IV

B b G m Eb

Etude 6

11

38

œ jœ .˙I viiJ`5 I

B b A m7(b5) B b.œ .œ .œ

V^ I V/iiF B b G

.œ .œ œ œ œV&`/ii ii V$3 I V^G 7 C m F 7 B b F

œ jœ œ jœ œ jœvi V$2`/ii ii V^`/ii ii viiK &`/V

G m G 7 C m G C m E o7

42

.œ .˙I4 V&

B b F 7

.œ .œ .œI viiK` I

B b A o B bœ jœ œ jœ œ œ œIV V^ /vi vi V^ I V$3 IEb D G m F B b F 7 B b

45

.œ .˙IV viiK &`/VEb E o7

.˙ œ jœI4 V^5

B b F 7

.œ .œ œ jœV& I viiK

F 7/B b B b F #o

Gm

Bb ped.

.œ .œ .œV& i iiJ`$3

D 7/G G m E m7(b5)

Dm

G ped.

49

.œ œ jœ œ jœV V& iiJ`&`/V V^A A 7 B m7(b5) A

œ jœ œ jœ œ jœi V$2 i^ V^ i It+

D m A 7 D m A D m B b7

Dal segno al Fine

œ jœ œ jœ œ jœV V& i^ V$3 i V^A A 7 D m A 7 D m A

12

Etude 6

m. 6, b. 3: the E in the treble voice can be considered a passing tone.

42 ..˙I

D

D

˙V&

A 7

œ œ œI IV viiK`/V

D G G #oœ œ œ œ œ

Vå` Q`% Å viiKsimul-taneities

A C#o˙I

D

˙V&

A 7

œ œI ii

D E m

1.

œ œI4 V^5

D A 7

2.

œ œVå` Q`% Å Iå (`Q * Å

A D

10

œ œV^5 I

A 7 D

œ œV& I

A 7 D

œ œV^5 I

A 7 D

œ œV/V Vå∫ (4 Qq *3`Åı

E A

œ œV^5 I

A 7 D

%œ œV& I

A 7 D

œ œ œ œIVå X`@ Q # Å viiK`/V Vå $ Q #`Å viiK å` Q`% Å/vi

G G #o A A #o

17

œ œviå $ Q`# Å V& å` Q`% ÅB m A 7

œ œ œI viiK $3`/V V&

D G #o7 A 7

œ œ œI viiK $3`/V V&

D G #o7 A 7

œ œ œI viiK $3`/iii V&`/vi

D E#o7 F #7œ œ œ œvi viiK $3 I V^5

B m C#o7 D D 7

G

œ œ œI IV I

G C G

23

œ œ œ œ œ œctK & I IV I ii I

A #o7 G C G A m G

œ œ œ œV^ I V$3D G D 7

œ œ œ œ œ œviiK`/ii ii I V$3 I V$2G #o A m G D 7 G D 7

œ œ œ œI ctK & V^ V^ å`+% Å

G E#o7 D D +œ œ œ œI ii& ctK & I

G A m7 A #o7 G

28

œ œ œV&`/vi IV VB 7 C D

G ped.(middle vc.)

œ œ œ œV^ vi V IV

E m D C

œ œ œ œI viiK`/ii ii V^

G G #o A m D

D ped.(middle vc.)

œ œ œ œI viiK`/ii ii V^

G G #o A m D

œ œ œ œI V^ å`+% Å/IV IV V^5

G G + C A 7

D

33

œ œ œ œI V^5`/ii ii viiK`5`/ii

D B 7 Em D #o7œ œ œii viiK &`/V

Em G#o7œ œ œI4 ctK V&

D D#o A 7

œ œ œI4 ctK V&

D D #o A 7

œ œ œ œI4 viiK &`/V V& I4

D G #o7/A A 7 D

A ped.

Etude 7

13

..38

œ œviiJ`5`/V V&

G #m7(b5) A 7

D.C. Al segnoe poi il Finale

œ œV& I

A 7 D

œ œV&`/IV IV

D 7 G

œ œV&`/IV IV

D 7 G

œ œV^5 I

A 7 D

œ œ œV& I viiK &`/vi

A 7 D A #o7œ œ œ œvi V&`/vi IV iiJ`^5

B m F#7 G E m7(b5)

45

œ œI4 V^5 å`^ Q`% Å

D A 7

œ œI4 å`^ Q`% Å V^5 å`^ Q`% Å

D A 7

œ œI V&

D A 7

œ œI V&

D A 7

œ œI V&

D A 7

œ œI V&

D A 7

˙I

D

˙ ˙ ˙ œ Œ

14

Etude 7

44 wI

G

G

˙ ˙ii&`å $ Q #`Å V&A m7 D 7

˙ ˙Iå $`Q # Å IVå $`Q # ÅG C

˙ ˙V& å ( Q`* Å/V V& å $ Q`# Å

A 7 D 7

wI

G

˙ œ œii&`å $ Q #`Å V V^5 å`( Q * ÅA m7 D B 7

Em

7

œ œ œ œi iiK`^ å`( Q * Å i^4 å`^ Q`% Å V&

Em F #o E m B 7

˙ ˙V& i

B 7/E Em

E ped.

˙ ˙V^5 I

D 7 G

G

˙ œ œV$3 ctK & I

D 7 A #o7 G

˙ ˙V&`/vi vi& å $`Q # ÅB 7 Em7

˙ ˙V& å` Q`% Å/V V& å` Q`% Å

A 7 D 7

13

wå (`Q * Å

wI

G

˙ ˙ii&`å $ Q #`Å V&A m7 D 7

˙ ˙Iå $`Q # Å IVå $`Q # ÅG C

˙ ˙V& å ( Q`* Å/V V& å $ Q`# Å

A 7 D 7

˙ œ œI V^5 å`Z ( Q *`Å/ii V/ii

G E7 E

œ œ œ œiiå`( Q * Å å $`Q # Å å` Q`% Å V&A m D 7

20

œ œ œ œI4 å`( Q * Å viiK $3 å $`Q # Å/V V^ å`( Q * Å V&

G C#o7 D D 7

˙ ˙V^5 I

D 7 G

%.œ jœ œ œ œ

V& I V^ I V$3A 7 D A D A 7

D

œ œ œ œ œI V& I ii& I

D A 7 D E m7 D

24

œ œ œ œIV V^5`/ii iiå∫`9$ qQ 8# ıÅ å∫ 4(`qQ 3* ıÅG B 7 Em

œ œ œ œI4 V& å∫ 4(`qQ 3* ıÅ

D A 7*

.œ jœ œ œ œV& I V^ I V$3

A 7 D A D A 7

œ œ œ œ œ œI V& I V V^ I

D A 7 D A E A

A

28

œ œ œ œV$3 I ii å`( Q * Å V& å $ Q`# Å

E7 A B m E7

˙ œ œIå (`Q * Å V$3 V^5A E 7 A 7

D

A ped.(middle vc.)

˙ œ œI ii& Vå` Q`% Å

D Em7 A

œ œ œ œ œI V$3 I ctK & V

D A 7 D B#o7 A

32

˙ œ œI ii& Vå` Q`% Å

D Em7 A

œ œ œ œI V^5 I V^5

D E 7 A C#7

A F#m

œ œ œ œi V^ i V^

F #m B E m A

Em D

œ œ œ œI IV^`|VI^ iiJ`& V^

D G C#m7(b5) F#

Bm

Etude 8

15

36

œ œ œ œi V$2 i^ V^5

B m B 7 E m B 7

Em

œ œ œ œi V$2 i^ V^5

Em F#7 B m F#7

Bm

œ œ œ œi N i^4 V&

B m C B m F#7œ œ œ œVI viiK & I viiK &G D #o7 E C#o7

E D

œ œ œ œI ii I4 V&

D E m D A 7

..41

œ œ œ œI V$2 å ( Q`* Å I å`^ Q`% Å V^5

D D 7 G D 7

D.C. al segno e poi il FinaleG

˙ ˙V& å ( Q`* Å Iå &`Q * Å

G 7 C

C

˙ ˙V& å ( Q`* Å/vi viå & Q`* Å

E7 A m

˙ œ œviiK & å` Q`% Å/V I4 I

F#o7 C

˙ ˙V& I

G 7 C

46

˙ ˙V& Iå $`Q # Å

A 7 D

D

˙ ˙V& iå $ Q #`Å

B 7 E m

Em

˙ ˙IV V& å` Q`% ÅC D 7

G

œ œ œ œIå $`Q # Å ii å`( Q * Å I4 å`( Q * Å viiK & å $`Q # Å/viG A m G D #o7

œ œ œ œviå $ Q`# Å viiK & å $`Q # Å/V Vå ( Q *`Å V^5Em C#o7 D D 7

51

˙ ˙I V& å ( Q`* Å

G D 7/G

G ped.

˙ ˙I V& å ( Q`* Å

G D 7/G

œ œ ˙I I I

G G 6 Gadd6

œ œ ˙I I I

G G 6 Gadd6

w w .˙ Œ

16

Etude 8

m. 25, b. 2: this sonority is perhaps best analyzed as resulting from two chromatic passing tones in the middle voice, an escape tone in the upper voice, and an A pedal tone in the bass.

86 œjœ

I V&E B 7

E

E ped.

*œ jœ œ jœV( I V& V(

B 9 E B 7 B 9

œ jœ œ jœI V&E B 7

œ jœ œ jœI V&`/IV IV IE E 7 A E

œ jœ œ jœI^4 V& I V&E E B 7B 7

E ped.

6

œ jœ œ jœV( I V& V(

B 9 E B 7 B 9

œ jœ œ jœI vi iiE C#m F#m

œ jœ .œV/vi ii& V&`å $ Q`# ÅG # F #m7 B 7

.œ œ jœI ii VE C#m F #

B

œ jœ œ jœI V5 iiJ`$3 V

B F #7 D#m7(b5) G#

C#m

11

œ jœ œ jœi V I iiJ`^5

C#m B E A #m7(b5)

E Ab

œ jœ œ jœV V5`/V iiJ`$3 VE b B b7 G m7(b5) C

F

œ jœ œ jœI V5 iiJ`$3 VF C 7 A m7(b5) D

G

œ jœ œ jœI V5 iiJ`^5 V

G D 7 B m7(b5) E

A

15

œ jœ œ jœI Ger+ i^4 V$3`å Z %`Å/V

A C 7 Em F #7(b5)

Em

œ jœ œ jœV V5 I viiK`&`/iiB B 7 E E#o7

E

œ jœ œ jœii I^ iiJ`^5 V

F #m E F#m7(b5) B 6sub6

œ jœ œ jœvi viiK`$3`/ii ii V4`/ii

C#m E#o7 F #m C#

19

œ jœ œ jœii I^ ii5 å`( Q *`Å viiK`&`/V

F #m E F #m7 A #o7.œ œ jœ

V& I V&B 7 E B 7/E

E ped.

4

Same as mm. 2-5

œ jœ œ jœV( I ii( V&

B 9 E B m9 E7

A

no root

25

œ jœ œ jœV& I viiK`&`/vi vi|ii

E7/A A E#o7 F#m

E

A ped.

27

œ jœ .œV iiJ`$2`/V V&

B 6 C#m7(b5) B 7add6

œ jœ œ œ œI V& V&`/IV viå` Q`% Å/IV V`/IVE B 7 E7 F #m E

.œ .œIVå ( Q`* Å V&`å∫ 9^ qQ`8% Åı

A B 7

E ped.

œ jœ œ œ œI viiK`& viiK`/IV IV IE D #o7 G #o A E

31

.œ œ jœIV ii V&A F#m B 7

.œ œ jœI IV viiK`&E A D #o7

œ jœ œ jœI V&`/IV viiK`/V viiK`&E E7 A #o D #o7

.˙IE

.˙ .œ œ ‰

Etude 9

m. 1: Though this is a pickup measure, it is designated m. 1 in order to match the Editions Orphée publication (1995).

17

86jœ

(V)(E)

A

.˙I

A

.œ .œV& å $ Q`# Å å (`Q * Å

E 7

.œ .œI IVå $`Q # Å

A D

.œ .œI4 V

A E

.˙I

A

.œ .œV& å $ Q`# Å å (`Q * Å

E7

.œ œ jœI V^4 V^5`/V

A E B 7

no root

8

.˙Vå ( Q *`Å

E

.œ .œV^5`/vi viC#7 F#m

.œ .œV^5 I

E 7 A

.œ .œV^5`/IV IV

A 7 D

.œ .œV^5`/ii iiF#7 B m

.œ .œV$2`/vi vi^C#7 F#m

.œ .œV$3`/vi viå ( Q`* ÅC#7 F #m

.œ .œV$2 I

E 7 A

16

.œ .œV$3 I

E7 A

.œ .œV$2 I

A 7 D

D

.œ .œV$2 i^ å`( Q * Å

G #7 C#m

C#m

.œ .œV$2 i^ å`( Q * Å

F#7 B m

Bm

.œ .œviiK $3 i^ å`( Q * Å`|ii^

E#o7 F #m

F#m E

.œ œ jœV& å` Q`% Å V^5

B 7

.œ œ jœI ctK &E A #o7

23

.œ œ jœI V$3 å Z %`Å/VE F#7(b5)

.œ œ jœV viiK &`/VB A#o7

.œ œ jœV V^5B B 7

.œ œ jœI ctK &E A #o7

.œ œ jœI V$3 å Z %`Å/VE F#7( b5)

.œ œ jœV& viiK &`/VB A #o7

.œ œ jœV V^5B B 7

30

.œ œ jœI iv&E B m7

F#m

.œ œ jœV V$3C# C#7

.œ œ jœi V$3 å Z %`Å/V

F #m F#7(b5)

E

.˙V&

B 7

.œ .œI V&E C#7

F#m

.œ .œi V&

F#m D 7

G

.œ .œI V&

G E7

A

37

.œ .œI V&

A C#7

F#m

.œ .œVI V&`/ivD F #7

.œ .œivå ( Q`* Å i^4 å`$ Q # ÅB m F #m

.œ .œiiJ`^5 å`( Q * Å i^4 å`^ Q`% Å

G #m7(b5) F #m.œ .œ

iiJ`^5 V&G #m7(b5) C#7

.œ œ œ œi V&`/iv

F#m F#7

43

œ œ œ œ œ œ œ œ œiv4 V$2 å Z %`Åå $ Q #`Å/V V viiK & i^4 V

B m G #7(b5) C# E#o7 F #m C#œ œ œ œ œ œ œ

i ii& viiK` IV^4F#m F#m7 D #o A

E

œ œ œ œ œ œ œ œV& å ( Q`* Å I V^5 V( I V$3

B 7 E B 7 B 9 E B 7

Etude 10

18

46

œ œ œ œ œ œ œ œ œI V$3 viiK &`/V viiJ & I å (`Q * ÅE B 7 A #o7 D #m7(b5) E

E ped.

œ œ œ œ œ œ œ œVå $ Q #`Å IV viiK &`/vii viiK viiJ & I V&

B A C‹o7 D #o D #m7(b5) E B 7

no root

«2

50

œ œ œ œ œ œ œ œ œ œ œV& I V& viiK &`/V viiJ & I viiJ &`/IV IV V&`/IV

B 7 E B 7 A #o7 D #m7(b5) E G #m7(b5) A E 7

œ œ œ œ œ œ œ œ œ œIV viiK &`/ii ii I V& ctK & V&A E#o7 F#m E B 7 C‹o7 B 7

A ped.

52

œ œ œ œ œ œ œ œ œ œviiJ $3 I V& I viiK`/vi vi viiK &`/V V/V viiK $2`/V

D #m7(b5) E B 7 E B#o7 C#m A #o7 F# A #o7

*

œ œ œ œ œ œ œ œ œ œV V& V& I IV ivB B 7 B 7 E Dadd9 D m

A

E ped.no root

*

54

œ œ œ œ œ jœ œI4 iv I4 V&`/V V Same as mm. 1-10A D m A B 7 E

10 65

.œ .œV$2 I

A 7 D

D

.œ .œV$2 i^

F #7 B m

Bm

.œ .œV$2 I

E 7 A

A

.œ .œiiJ`& å $ Q`# Å V&

B m7(b5) E7

69

.œ œ jœI ctK &

A B#o7.˙

IA

.œ œ jœV& iiJ`$2

E 7 B m7(b5)

.œ œ jœV& V(

E 7 E 9

.œ œ jœI ctK &

A B#o7.˙

IA

.œ œ jœV& iiJ`$2

E7 B m7(b5)

.œ œ jœV& V(

E7 E9

77

.œ œ jœI iv

A E m

Bm

.œ œ jœV V&F# F #7

.œ œ jœi V$3`/V

B m B 7

A

.˙V&

E7

.˙ .œ .œI V&

A F#7

Bm

.œ .œi V&

B m G 7

C

.œ .œI V&

C A 7

D

.œ .œI V&

D F#7

Bm

86

.œ .œVI V&G B 7

Em

.œ .œi IV^ å`( Q * Å

Em D

A

.œ .œI4 å`$ Q # Å V&

A E7

.˙I

A

.œ œ œ œV& å` Q`% Å IV V&

E7 D/E E7

E ped.

.˙I

A

.œ œ œ œV& å` Q`% Å IV V&

E7 D/E E7

E ped.

19

Etude 10

93

.œ œ œ œI

A A 7

Bm

*

.œ .œ œ œ œV V& å` Q`% Å iv i^4 viiK $3F# F#7 Em B m A #o7

no root

œ œ œ œ œ œ œ œ œviiK & viiK & i V&` V& å Z (`Å

A#o7/B B m B 7 B 7( b9)

Em

B ped.

*

*

96

œ œ œ œ œ œV& å Z (`Å I4 V& å $ Q`# Å I4 V&

B 7( b9)/E A E7 A E7

A

E ped.

.˙I

A

.˙V&

E 7

.˙I

A

.˙V&

E 7

.˙I

A

102

.œ .œV&`/IV

A 7

.˙IVD

.œ .œV V&E E7

.œ .œI V&

A E 7

.œ .œI V&

A E7

.˙I

A

.˙ .œ .œI4

.œ Œ .

I

20

Etude 10

m. 52, penultimate n.- m. 53, n. 1: the pitch A# is 'remembered' from the previous chord.m. 53, n. 5 in score: perhaps best described as an embellishment of the dominant by means of an appoggiatura combined with two passing tones.m. 93, last n.: though this is a dominant seventh chord, it does not behave like one. Its primary function is to cancel the G#, bringing about the modulation to B minor. m. 95, nn. 5, 10, 11 in score: sources differ on pitches. One source has G# for nn. 5 & 11 and Cn for n. 10. Another source has Gn for nn. 5 & 11 and C# for n. 10. However, for this analysis, Gn has been chosen for nn. 5 & 11, and Cn for n. 10.m. 95, nn. 4 & 5: these vertical sororites may best be described as resulting from voice leading in B melodic minor moving towards n. 6.