Could some proofread this? I don't feel like it's correct. I'm studying with a book and this is at the beginning of a chapter about Sentences.

The main confusion point is the progression. Does the prolongational progression from mm. 9-12 carry over into into mm. 13-14? That would make the tonic chord in bar 14 a linking chord/Harmony between the prolongational progression and the PAC, correct?

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1 Answer 1


The tonic prolongation lasts through m. 14, yes. (I'm not familiar with the term "linking chord" in this context, so I can't speak directly to that.)

We have a neighbor progression in mm. 1-4 with the V43 (not a ii!). Then we continue the tonic expansion in mm. 13-14 with a pedal 64 harmony.

It's not until m. 15, with the appearance of the ii6, that we leave the tonic prolongation and enter the predominant zone. This then leads to the dominant and back to tonic.

By the way, the dominant (the next to last chord) is a V7; make sure you account for the half-note A in the bass that is still being played on beat 4. (And if you want to account for the upper voice motion, you would measure it above the A, resulting in 6-5.)

  • Thanks, that was super helpful. I just don't get a few things: is there a difference between "m." and "mm."? I just assumed that "mm. 1-4" means something like "the first 4 meters shown" and refer to m. 9-12, is that correct? Furthermore I don't get what you are saying about the IV in m.13-14: the Bass consists of D G and B, the first note in the right hand is a B too. This seems like a Gmajor to me.
    – user45165
    Commented Feb 3, 2018 at 15:05
  • We say m. when it's just one measure, and mm. when it's multiple: m. 9, but mm. 9-12. And you can analyze that G major in one of two ways: either as a bona fide IV(64) chord, or by showing that the upper voices move up from the original 53 position of the D major to the 64 inversion of the G major and then back to the 53 of D major. We call this a "pedal 64".
    – Richard
    Commented Feb 3, 2018 at 15:09

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