[Smt-talk] I - II- IV as a progression (counterpoint)

[John Snyder]

For an interesting instance of this progression in the minor
mode, see Grieg's Lyric Piece, op. 71 no.3, "Kobold" (usually
titled "Puck" in English translations), in E-flat minor. The
piece begins with a 2-bar vamp, followed by the progression
i - II - iv - V, all over a ^^1&5 double pedal. The second half
of this is simply a transposition of the first half, up a fourth
(except, of course, for the pedal). So voice-leading seems
to be secondary to the chord progression here (but I hasten
to stress "seems"). The motion from II (F major) to iv
(A-flat minor) is quite striking, the more so (to my
ear, anyway) because of the voice-leading discontinuity.

These eight bars are followed by four: Gb - Db - Cb - Gb;
i.e., I-V-IV-I in Gb. The voice-leading is simply parallel!

After the double bar, there is a long sequential passage
based on diminished-seventh chord trickery, though with
Grieg's personal touch.

The whole piece has, as the title suggests, a Puckish
character. I think the unusual (for this style) harmonic
progressions and voice-leading have a lot to do with that.

Best,

John


-- 
John Snyder
Moores School of Music
University of Houston
JLSnyder at uh.edu
713.743.3143