The five tonic pillars explored during the chapter’s final section distinguish themselves from those considered already either through their internal ternary form or through an initial statement that seems to lack forward momentum, a state of affairs that is corrected during a later phase of the pillar. Ultimately each proceeds to a PAC in the tonic key, justifying their inclusion within this chapter.
Opus 6/1
The two phrases that constitute the Mazurka in F♯ Minor’s tonic pillar do not conform to the interruption-generated antecedent/consequent structure of the two-phrase pillars we have explored above. In fact, the first phrase amounts to a false start: once tonic F♯ Minor and Kopfton are established (employing reaching-over during the initial ascent), the bass and soprano both lead upwards a third [1.23]. So far, so good! In most cases the bass would continue upwards from the mediant to an inverted II or ♭II or to IV, followed by V♯. (Compare with the first phrase in 1.22.) Here, however, the phrase unexpectedly loses its harmonic propulsion. Astonishingly, we waft gradually downwards through tonal space for four measures, maintaining outer-voice tenths while guided by the circle of fifths:
A D♯ G♯ C♯ F♯ B E A D G♯ C♯
The C♯ chord upon which the descent lands is, of course, the same C♯ chord as that which occurred in measure 1.33 In this manner Chopin gives himself a second chance to make something of his promising opening.
Example 1.23 Analysis of Mazurka in F♯ Minor (op. 6/1), mm. 0|1–16.
The inverted subdominant to which that progression leads in the second phrase is made distinctive through a wobbly fifth, F♮, that eventually reverts to F♯.34 As expected, V♯ follows.35 Yet one aspect of the structure near the cadence is highly unconventional.
Soprano B in measures 13 through 15 is an incomplete upper neighbor to Kopfton A (=
). (Both A and B are embellished by an upper third: A<C♯ D>B.) Generally the descent to from such a neighbor – either via a leap or filled in by a passing note – will sound
during V♯, facilitating a melodic close to form the PAC. (Compare with the normative contexts for an incomplete upper neighbor displayed in 1.9 and 1.15.) In this case, exceptionally, B extends into the domain of the goal tonic. As 1.23 reveals, a daring non-alignment of the soprano and bass elements of the structure occurs, with a belated G♯
(during 161), which “belongs” with the dominant chord of 153, serving as the third-progression’s .36
Without opus 42B
The progression from the tonic to the dominant during the Mazurka in A Minor’s tonic pillar is expansively realized: Chopin devotes four measures each to the tonic and to the mediant, content that he repeats before proceeding through II➔ to V♯, which arrives at 201 [1.24].37 Though he could have produced a structure of equivalent dimensions to balance that opening, Chopin instead limits the tonic pillar to sixteen measures of content, expanded to thirty-two measures via written-out repeats, corresponding to
|: a1 :|: b a2 :|
Consequently the a2 region must somehow balance what precedes it structurally, despite its comparatively modest dimensions. Chopin accomplishes this by sacrificing the mediant.
Example 1.24 Analysis of Mazurka in A Minor (without opus 42B), mm. 0|1–32.
The mazurka’s Kopfton is a primordial entity that does not literally sound in the upper register at the outset. The melodic C>B from 22 through 31 (matching the preceding inner-strand A>G♯) functions as a suspension and resolution based on the assumption of a prior C preparation.38 An even bolder claim is required for the mediant expansion that follows: whereas Chopin provides a location (at 03) for an imaginative insertion of the tonic root A and Kopfton C, the corresponding location for imagining the mediant root and
its E (in the vicinity of 43) is elided. Fortunately both C and E are stated in measures 17 and 18 (after the repeat of the first eight measures), so that both ’s successor, (B), and the descant E>D♯<E in measures 19 and 20 are well grounded.
The means by which Chopin extends III during measures 17 and 18 is called into service during measures 21 and 22, transposed down a third, to reinstate the tonic harmony and Kopfton C, this time with no imaginative insertions required. Now the supertonic (which here evolves into II⇨) links I and V♯ directly. Note that the descant, which extended the mediant’s E in measures 18 through 20, is absent. Compactly, a2 indeed succeeds in completing the structure that was initiated during a1 and b.
Opus 50/1
The half cadence characteristic of an interruption is not the only means by which a composer may express a sense of irresolution in music. In the Mazurka in G Major Chopin composes eight measures without proceeding beyond the initiating tonic, whose final iteration within the phrase by default serves as the “cadence.”39 (Beats 2 and 3 of measure 8 play a transitional role between the tonic pillar’s two phrases.) A structural departure from I-space emerges only after the fresh start in measure 9 [1.25].
Example 1.25 Analysis of Mazurka in G Major (op. 50/1), mm. 1–16.
Not only is the first phrase lacking in substantive harmonic activity; it also leaves unresolved whether B or D will serve as the mazurka’s Kopfton. The upward arpeggiation D<F♯<A<C at the outset would most normatively be answered by a descending line such as B>G>E>D (as in 71 through 81). Consequently the positioning of E>D an octave higher in measure 4 seems quirky. Is D the upper third of Kopfton B? Or is Chopin instead ascending in tiers, as C>B E>D? That question remains unanswered until measure 12, where the F♮ and G♯ that emerge against D set the downward trajectory of a fifth to G in motion. (Though initially G-B-D-F♮ may seem to convey I➔ surging towards IV, the evolution continues to G♯-B-D-F♮, a version of I6 that surges as VI➔ towards II.)
A double G–D–G bass arpeggiation supports that fifth-progression. Chopin projects an inner strand a third below this line: note how the initial B<D unfolding to the Kopfton is complemented by C>A in measures 13 and 14 (with A reiterated during 151) and by A>F♯ in measures 15 and 16. This context helps one to understand that the melody’s G at 152 is a member of the inner strand, above which the outer strand’s third pitch, B, should be imagined. (The preceding downbeat B, though tempting, is not the structural B, but
instead an accented passing note connecting the preceding outer C and interior A: is an unfolded interval of V7.) Thus, though the structure is unevenly distributed, with almost all of the content falling within the second phrase, it eventually begins to resemble what we have come to expect of a tonic pillar with Kopfton .
Opus 50/2
Whereas the tonic pillar in 1.25 begins with a phrase that goes nowhere tonally, and that in 1.23 ascends a third, that in the Mazurka in A♭ Major descends a third [1.26]. Chopin’s timing is at first extraordinarily luxuriant: an eight-measure introduction arpeggiates E♭<G<B♭<D♭, preparing the arrival of the tonic harmony and of Kopfton C (= ).
Though the melody sounds both a C and an E♭ during measure 9, here the structural priority of C is emphasized through the linear descent of C>B♭>A♭ over four measures.
(Compare with the less decisive situation in 1.25.) The tonic’s progression is then repeated a third lower during the following four measures. In sum, Chopin has devoted eight measures to a mere I5–6. Rather than continuing with this languorous trajectory, he chose to start afresh in the next phrase: the G-E♭-D♭ chord at the end of measure 16 functions in the role of the introduction’s chord, facilitating the restoration of the initiating tonic harmony in measure 17.
Example 1.26 Analysis of Mazurka in A♭ Major (op. 50/2), mm. 1–28.
In stark contrast to what has preceded it, the twelve-measure phrase that follows is among the most densely packed with content to be found in any tonic pillar from the mazurkas. Considering first its deeper structure, note that tonic A♭ is prolonged from
measure 17 through measure 26, during which an voice exchange occurs in the outer voices. (The parenthetical A♭ in the upper voice [1.26, measure 26] sounds an octave higher in the score.) A conventional I6 approach to II follows, though the II➔ and its successor, V7, collide. (That is, the supertonic sounds over the dominant root during 271–2, as indicated by the bracket placed above the II and V numerals in 1.26.)
Incorporating upper-third play (B♭<D♭ C>A♭) reminiscent of that which embellishes the foreground C>B♭>A line of measures 9 through 12, Chopin achieves a PAC in measure 28.
The tonic prolongation of measures 17 through 26 is based on a I III♮ V7 I progression, as displayed in 1.26. Note the wobbly E♮ above bass C and the presentation of V7 in its position. The connection between the tonic and the mediant is achieved via a circular progression: A♭ D♭ G C. The first link in that progression is filled in as A♭>F>D♭.40 At this foreground level one belatedly discovers how Chopin incorporates the A♭>F span, introduced during the a1 phrase, into a broader structure. With that succession now condensed into four measures through an elision (A♭>E♭<A♭>F becomes A♭>E♭<F), the F divides the circular progression’s initial descending fifth into two thirds.
Opus 63/3
An unusual occurrence in the Mazurka in C♯ Minor should induce some analytical speculation: whereas the initial tonic pillar employs four phrases, spread over thirty-two measures, its reprise near the end of the mazurka occupies only two phrases and sixteen measures (49 through 64), followed by a partial repeat incorporating variation. Clearly the initial pillar must contain some dispensable content. The second and third phrases pursue two common – though optional – features of minor-key compositions: an upward shift to the mediant during the second phrase, and an interruption during the third. Neither of those devices is employed in the condensed reprise of the pillar. However, 1.27 reveals how both devices contribute to the establishment of a ternary internal form for A1 reminiscent of that in 1.24. Whereas the second phrase’s extension to the mediant could have linked the initial I and an upward continuation to the dominant (again like 1.24), here Chopin devotes the first part of the third phrase (measures 17 through 22) to re-establishing the C♯ tonic.41
Example 1.27 Analysis of Mazurka in C♯ Minor (op. 63/3), mm. 0|1–32.
Several features of this mazurka’s structure reprise constructions similar to those we have noted in other mazurkas. The E<G♯<C♯<E arpeggiation to Kopfton (with the device of reaching-over assisting in the final third) resembles similar octaves in 1.4, 1.11, and 1.20, as well as the reaching-over ascent in 1.23. The chromatic descent G♯>F >F♯>E recalls a similar line in 1.20 (there descending from Kopfton ). The circle-of-fifths connection between I and III resembles that in 1.26. The I II➔ V antecedent most closely resembles 1.24, which also shares the conversion from II➔ to II⇨ for the final phrase.
The analyses in this chapter provide compelling evidence that, despite the extraordinary richness and diversity on display in these tonic pillars, Chopin’s compositional style depends to a large extent upon mixing and matching a finite range of structural devices, all designed to perform specific roles within either broad or local traversals of harmonic progressions from the tonic through the dominant back to the tonic, as support for descending third- or fifth-progressions from the Kopfton to the tonic pitch.
Whereas chapter 1 has focused on the tonic-to-tonic harmonic progressions characteristic of a regular tonic pillar, chapter 2 will place these pillars within the broader tonic-to-tonic trajectories of complete mazurkas.
2
of mode) or proceeding to the dominant (perhaps tonicized). Around a third of the episodes pursue tonal paths, marked by shading in table 2.1, that extend beyond the tonic or the dominant.Table 2.1
Opus Key Examples Pillars First Non-Pillar Trajectory
Second Non-Pillar Trajectory
6/1 f♯ 1.23, 2.18 3 V♯ prolonged I to V♯
6/2 c♯ 1.1, 2.19 3 V♯ tonicized I to V♯
6/4 e♭ 1.15, 2.1 2 I prolonged ––––
6/5 C 1.2, 2.2 2 I to tonicized V ––––
7/1 B♭ 1.3, 2.20 3 V tonicized I to V
7/2 a 1.19, 2.15 4 I prolonged I♯ prolonged
7/4 A♭ 1.11, 2.21 3 I to V I to V
17/2 e 1.20, 2.3 2 I to V♯ ––––
17/3 A♭ 1.16, 2.16 4 I to V lower third (CV♯2)
tonicized
17/4 a 1.21, 2.22 3 V♯ prolonged I♯ to V♯
24/2 C 1.4, 2.23 3 lower fifth tonicized I to upper third