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Klassisk harmoni

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Mollsubdominant i dursatser

Mollsubdominanten kan finnes med og uten tillagt sekst, den kan både ses som et karakteristisk temaelement og en ikke uvanlig kadensvariant. Den høres sådan ut:

Musikkeksempler

Naxos: DOR-90217

J. Brahms, Klaverkvartett no. 3 op. 60, Andante

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Naxos BIS-CD-92

Robert Schumann, Mit Myrten und Rosen

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Schumann Mit Myrten und Rosen

 

 Naxos 8.110269

Eduardo Di Capua, O sole mio

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Capua O sole mio

 

Naxos C51177

J. Brahms, In stillerNacht

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Naxos 8.501204

L. v. Beethoven, Symfoni no. 2 sats 1

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Beethoven Symfoni no 2

Naxos: C10830

Hugo Wolf, An den Schlaf, fra Mörike Lieder

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Naxos 8.550257

F. Chopin, Nocturne op. 9 no. 2

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Naxos 8.550716

P. Tchaikovsky, Symfoni no. 5,  sats 1

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Naxos: BIS-CD-673

F. Chopin, Mazurka op. 33 no. 4

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Naxos 8.557079

R. Schumann, Widmung fra Myrthen

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Naxos 8.550784

R. Schumann, Papillons V, op. 2

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Naxos 8.110656-57

F. Chopin, Mazurka no. 10 op. 17 no. 1

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* Her ser du en tonika som gjennomgangskvartsekst i den mindre vanlige situasjon med trinnvis oppadgående bass.

Naxos 8.570233

J. Brahms, Symfoni no. 4, II

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* Moll-subdominanten er på plass først etter oppløsning av en kvart og en sekst. Altså tilsynelatende en type kvart-sekst forholdning til subdominanten.

** Her forutsetter analysen som moll-subdominant at tonen d tolkes som et melodisk element uten betydning for den harmoniske funksjon.

Naxos OC740

F. Mendelssohn Bartholdy Sinfonia X

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Naxos BIS-CD-281

L. v. Beethoven, Sonate no. 27 op. 90 no. 2, II

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I de følgende eksempler hører du først vanlig subdominant etterpå mollversjonen. Når dette etterfølges av D medfører det en karakteristisk kromatisk nedgang fra 6. til 5. trinn.
Naxos: 8.110656-57

F. Chopin, Mazurka op. 7 no. 2

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Naxos 8.558198-99

F. Mendelssohn Bartholdy, Psalm 42, Was betrübst du dich

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Naxos 8.554663

F. Schubert, Frühlingssehnsucht fra Schwanengesang

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I de følgende eksempler hører du kombinasjonen plagal kadens med subdominant i moll.
Naxos 8.557428

J. Brahms, Symfoni no.1 sats 2

Otte av siste ti takter

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Naxos 8.554471

F. Schubert, Letzte Hoffnung fra Winterreise.

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Naxos C10204

J. Brahms, Immer leiser wird mein Schlummer

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Naxos: 8.555063

F. Mendelssohn, Pianotrio op. 49, II

Siste 10 takter.

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Mendelssohn Pianotrio op 49 II rev

Kortsitat:

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Apropos

Naxos 8.555063

F. Mendelssohn, Pianotrio op. 49 IV

Relasjonen mellom en tonika og en mollsubdominant svarer til relasjonen mellom tonika i moll og dens durdominant. Det er altså tonaliteten som avgjør om vi oppfatter en mollsubdominant i dur eller bare en veksling mellom T og D i moll. I det følgende eksempel kan du høre denne tvetydighet. I starten av utdraget har vi en tydelig kadens i F-dur med etterfølgende veksling mellom denne og dens mollsubdominant. Frasen gjentas fra F-durs parallell, d-moll med veksling mellom denne og dens dominant, A-dur. Begynnelse av sitatet har mye tilfelles med dette Schumanneksempel

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Mendelssohn Pianotrio op 49 IV

Til sist et enkelt eksempel på en dursubdominant i en mollsats:
Naxos 8.555377

A. Dvorak, Klaverkvintett op. 81, Dumka

Dursubdominanten kommer tre ganger. Andre gangen, i takt 7,  er den mindre karakteristisk da den forekommer i en sekvens og videreføres som bidominant.

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Dvorak Klaverkvintett op 81 Dumka

Lytt til en ukorrekt versjon av starten, hvor dursubdominanten er erstattet av en mollsubdominant:

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Alt innhold: Niels Eskild Johansen © • Musikkutdrag er brukt med tillatelse.
Webutvikling: U-vett, Universitetet i Tromsø

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