Schubert, Piano Trio 1, D 896, beginning
of the second movement
| In the fragment below we twice find an altered chord, and both
are used in a very characteristic way:
A. In the first phrase:
-
After two measures Vorhang two groups of four measures appear, in
which the group in 7-10 is a variant of 3-6. If we think the first phrase
is until the first beat of measure 13 there is a final group of three measures
(11-13), and we then assume an authentic cadence on the first beat
of measure 13, overlapping with the beginning of the next phrase. But we
can as well assume a group of two measures (11/12), which means that measure
12 contains a half cadence (the last sixteenths of measure 12 can
then be seen as upbeat to measure 13.)
-
From measure 11 we we are heading towards V through a chromatic bass -
and we finally arrive at V through the French augmented ( IIhv4/3 ).
B. In the second phrase (from measure 13):
-
This phrase is of course a variant of the first phrase.
-
The most important difference in the harmony is that we now arrive earlier
at the altered chord (see the Italian augmented in measure 21); therefore
V is displayed on the first beat already, and we are this time sure we
are dealing with a half cadence - though we may start to doubt once
again as soon as we hear the F chord in the second half of measure 22,
where we modulate to Bb major. From measure 23 the initial idea of the
piece is partly repeated and partly transformed, in the key of Bb major.
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