I am having trouble following the analytical methods applied in David Neumeyer's The Music of Paul Hindemith.
Please refer to example 3.12:
I would like to use one of the chord changes to put my thinking process to the test. In the fourth measure, you will see a bracketed half-note-with-a-flag symbol (sorry, but I don't know how to replicate these esoteric characters) leading to a "VII" symbol. Now, referring to Neumeyer's harmonic function symbols (second image, Ex. 3.4) we can (expect to) see that the former symbol represents the 5th scale degree. In this case (key of Eb), that would be the note Bb. The chord labeled VII, looking again at the harmonic function symbols, represents the flat-7 scale degree. I know have two problems:
- The first chord (ex. 3.12, m.4) is spelled C Ab Eb--not sure how that is a chord based on scale degree 5 (Bb); The next chord (ex. 3.12, m.4)is spelled Db A F. Because the flat-7 scale degree in Eb major is a Db, I suppose this one checks out (though the A note, the chordal fifth, should be flat for this to be an actual Db triad. Perhaps only the chord roots are of importance here).
- Neumeyer explains that, in his analysis, brackets are used to show cadence chords as tonicizations when a cadence falls on a nontonic degree. While I do not know what this means exactly (I have a basic understanding of tonicization/secondary dominants and cadences), I do not see how it applies to this m.4 of Ex. 3.12, because the bracketed chord (regardless of the evident discrepancy pointed out above) is not the dominant of the following chord (the "VII").
Please let me know your thoughts here. I would appreciate it.