Database of the Music Examples by 19th-Century Women Composers
ALTERED CHORDS / ALTERIERTE AKKORDE
the dominant's leading-tone diminished-seventh chord with an added upper (Phrygian) leading tone [Gr6] progresses to the dominant / der zur Dominante führende verminderte Septakkord mit zusätzlichem Leitton
Musical Examples in: de la Motte, The Study of Harmony:
Wolfgang Amadeus Mozart: Piano Sonata in F-major KV 533 (1788).
Wolfgang Amadeus Mozart: Piano Sonata in A-minor KV 310 (1778), Bar 73.
Selected Musical Examples by Women Composers:
Sophia Westenholz: Piano Sonata in F-minor (1803-11?), Bar 263-270 (365-6).
Fanny Hensel: 4 Lieder for Piano op. 2, No. 2 (1846), Bar 35-36.
Composer: SOPHIA WESTENHOLZ (1759-1838)
Work: Klaviersonate f-Moll
Year: ca. 1803-1811 (?)
Quelle: Manuskript in: Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky
Bar: 263-270 (365-6)
Note:
1) The dominant's leading-tone diminished-seventh chord with an added upper (Phrygian) leading tone [Gr6] progresses to the dominant.
2) Gr6 or Sw6?
Example 1 - Harmonic Excerpt
Composer: FANNY HENSEL (1805-1847)
Work: 4 Lieder for Piano op. 2, No. 2
Year: 1846
Quelle: Berlin: Bote & Bock.
Bar: 35-36
Note:
1) The dominant's leading-tone diminished-seventh chord with an added upper (Phrygian) leading tone [Gr6] progresses to the dominant.
2) Formal function - Usually leads Gr6 to the dominant pedal before the theme returns (as in de la Motte’s example of Mozart’s Piano Sonata in A Minor, Bar 73). In Hensel’s case, the dominant is Bb Major (in Eb Minor), while the piece is actually in B Minor, so after the pedal point, it must still be chromatically transformed into the leading-tone seventh chord A#–C#–E–G.
