I wonder about 2 points in this intro (I can ask them in to different questions if desired)

I'm not sure whether I hear this progression correct ...

The beginning seems to be clear: Measure 1-8 are variation of the main theme in c-minor (which is the parallel key of C

9-12 he splits a motif in the Tonic and then in the Subdominant

now at the entry of the oboe it get's interisting (while more difficult)

13 - 14 Dm7b5 G7

the 1. result I tried to get - by memory but then I had to listen note by note and chord by chord:

(I heard some secondary dominants)

15 Cm,G/D

16 Cm,Cm/G

17 Fm

18 Eb/G (V):Ab

19 F/A (V56):Bbm

20 Bbm

21 G (V):C

22 G7

23 C4

24 C

Are I'm hearing correctly or do I miss something in this analysis?

(I wonder why I couldn't quite identify what's happening here!)

  • Is the question, whether the chord progression is correct, or if there is similar piece from Bach/Händel? – Arsak Nov 7 '19 at 7:29
  • I've edited the question to make it clearer. But if you notice the tags there will be no doubt about it. – Albrecht Hügli Nov 7 '19 at 11:21

You've basically got it. Here are several small corrections:

m15: The D in the bass is a passing tone, but the chord stays on Cm throughout

m21: B diminished triad. I don't hear a G in this chord at all

m22: G major, without the 7th. Basically the F from the previous bar steps up to a G, while the bass steps down, but nothing else moves

Also I'd lean towards identifying m18 as a dominant 7th chord because the flat 7 does feature prominently in the melody, even though I don't hear it anywhere else.


Partial answer (first bit):

m.19 = F7/A (the melody is sustaining Eb)

m.21 = G/B (the basses are playing "B")

Otherwise yes your analysis sounds accurate. At first I thought m.17 was an Fm7 but now I don't hear it :)

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