5

How would you explain the A natural in bar 11? How would you explain that the phrase ends in bar 11 and not bar 12?

Score of *Jesus från Nasaret går här fram*

10

This melody could be harmonised in several ways. But there's a strong implication that from bar 8 the music moves towards G minor, reaching a cadence in that key at bar 14. Hence the A♮ and F♯. G minor chord has two notes in common with E♭ major, which makes the modulation connected, if somewhat novel. (E♭ major to G MAJOR would be a 'Chromatic mediant', another common harmonic shift.)

Here's a version (I imagine the standard version?) that harmonises in this way.

Music doesn't have to fall into 4-bar phrases. This piece has a 4, 3, 4, 3, 4 phrase structure. Nice, isn't it! Musical traditionalists might be tempted to add an extra bar (or perhaps a fermata) at bars 7 and 14 in order to even it out into 'correct' 4-bar phrases. (More so 100 years ago than now, perhaps.) I'm glad this version doesn't.

  • Yeah, I noticed that 4 - 3 cadence. Makes for a nice "unfinished" feeling internal to the piece. – Carl Witthoft Nov 1 at 12:39
  • How is G minor connected to Eb major? – Hank Nov 2 at 14:16
  • 1
    Eb major and G minor triads have two notes in common. That's enough to make them sound connected. But you can modulate anywhere! There's no requirement to sound as if nothing's changed. – Laurence Payne Nov 2 at 14:21
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    "There's no requirement to sound as if nothing's changed": indeed, it's rather the point of modulation to sound like something has changed, isn't it? – phoog Nov 2 at 15:53

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