What I'd like to do now is take just the first four bars from an impromptu from Schubert and demonstrate a couple of things about it. The first thing I want to do though is a harmonic analysis and what I'd like to do is focus on the first four bars and then after that that well as you can see in the handout there are a lot more bars and I'd like for you to analyze those bars and then check your work with the solution sheet. We're going to do two things here. We're going to analyize the harmony, and then I'm going to execute what's called a textual reduction. Essentially textual reduction removes notes that aren't in the chord, lines up all the notes that you can see the voice leading, and just follows the harmonic rhythm of the progression. I'll explain all of that as I go along. If that, those last three sentences didn't make much sense, it's okay. It'll all be explained as we go along. Let me play these first four bars. [MUSIC] Now I can analyze it. Well this sounds like one when we get here. So, and I look at the key signature well either A flat major or F minor so I'm thinking A flat major [SOUND] so, first thing, do that and then this is I [SOUND]. I. Take this down a bit. Now, this is an important thing to understand about textures. Some of you might have been doing just fine when we had four voices and they were all lined up and now you see like a bazillion notes and you say oh what is going on there? That's really complicated. But actually if you look at it, its just an arpeggio. If take an A-flat major chord, we have the root, the third, the fifth. So third fifth, third root, root third, root fifth, root. That's it, it's just arpeggiation. And you say, oh, but what about this? What this actually is what we call a non-chord tone, this is a tone that is not, or a note that is not in a chord. So we have to watch out for these. Make sure we don't start analyzing them in the chord. Some of you might say well why don't you just call it one seven because that's like the seventh? It doesn't work that way in classical music. This is really a one chord. It doesn't have a seventh sound. This is, the way the, someone in classical music would hear this and the way the composer would have heard this is as a one chord with what's called a passing tone, that is, this is a non-chord tone. This is outside of the chord. I imagine that if you come from a jazz background or even a pop background that, that, that statement may not make a ton of sense because it's so common to see a, a work begin with a seventh chord. But in classical music you never see it. And also it is something about how you hear the piece. You hear this really as a I chord. With a non-chord tone here, rather than a I7. Okay, let's continue on. We get something similar here. We're going to get a IV chord. So we've got D flat. F, D flat. This is our non-chord tone. Again, a kind of pattern here with the non-chord tones. And then we've got root, third root, fifth, fifth, root, fifth, third, fifth. Yeah. So these are all, this is just arpeggio again. V chord. This too, someone might say, oh, this is a seventh. I think some might actually analyze that as a seventh. I would still analyze it as a passing tone, because it comes so late. These have all been passing tones, and the bulk of the, the statement about what the harmony is, is just a V chord. So I probably wouldn't call this a V, like a V7, I wouldn't, I would not do that. Just say that this is a V chord, and then label this as a non-chord tone. We won't get into labeling non-chord tones now. We'll do that next week. And again, looks like a lot of notes. But root, third root, fifth, fifth, root, fifth, third, fifth. Yeah? And back to one. So, highly decorated passage. Very, very active. Completely different in terms of experience from what we've been doing so far in terms of the homorhythmic homophonic texture. But understand that at its core, this more or less comes out of a homorhythmic, homophonic texture, and it's just elaboration, a lot of decoration, rhythmic decoration of that thing. Look, we've got three parts. We've got the bass line that moves here in dotted half notes. We've got the melody line here in the middle voice that has a rhythmic pattern, continual rhythmic pattern, and we've got this decoration above it that's providing our harmony, in this series of descending arpeggios. So we've got rolls for each of these things. We've got rhythmic patterns for each of these things. And then we're really just applying them to the harmonic progression that exists. And, more or less, we're going to look at this in a second, but more or less following good voice leading. How do we know he's following good voice leading? Well, we'd want to figure that out by taking away all this texture. You know, for, some might feel it's really hard for me to see the harmony here. There's so many notes. So let's get rid of them, and let's just focus on the harmony. And we can also see how Schubert is dealing with voice leading. Let's start with the left-hand first. We're going to perform what's called textural reduction. Textural reduction is to essentially take anything that's like this and reduce it down to something that's homorhythmic homophonic. And all we do is remove the non-chord tones. We'll line up all the chord tones so that they have the note value of the harmonic rhythm. So harmonic rhythm here is a dotted half note, right? The chord change happens every bar, so every three beats. So if I go to apply [SOUND]. So these are the notes on the left hand that are chord tones. The right hand? Well, there are a lot more. You start here in, E flat. [SOUND] Becomes that. And you say, well there's only four notes there. There are so many here. No, look. We've got the fifth, the third, the root and the fifth. That's actually all the notes that are there. The duration of this thing, you might say, well, wait, you shouldn't make this this long, you should make it like five eighth notes, because it only lasts five eighth notes. No, the length of this isn't how long the notes sound. The length of this is determined by the harmonic rhythm. That how long the harmony exists. And the harmony here, this, this harmony, this one chord exists for three beats. So we make this thing three beats long. Let's continue on here. We get [SOUND] root [SOUND]. Something like that. And we get this [SOUND]. And, I'm just going to copy this. [SOUND] Move it up because that's exactly what he does. [SOUND] Whoops. [SOUND] [SOUND] [SOUND] And there you have it, this is our textural reduction. Well, lets look at it. Is this, if we were to hand this off to a choir to sing. And see how it sounds in terms of its voice leading. How did Schubert do? Well, he kind of gets like a B minus. Now, that's not bad. That's not a criticism of Schubert. What I want to, the reason I want to show this is because I want you to understand that transforming homorhythmic, homophonic texture into this other kind of homophony where you got these different roles going on and you've got arpeggiation and what not. It's helpful, but you should treat it as a kind of guideline. When we do this textural reduction. We're going to find that certain voice leading rules are followed and there is a, a quality to voice leading. Look he's not just sort of jumping all over the place here, in terms of how he places his notes. But, so certain things will stay but certain things are not going to stay and that's completely fine because this is not choir music, this is not homorhythm, this is piano music. And it's supposed to be homophony that's in three parts. Or with three roles. So, what do I mean he's got some bad voice leading in here. Look at this, look at these parallel octaves. We've got E-flat and E-flat, they go up to F and F. And that F and F go up to the G and the G. And the G and the G go up to the A flat and the A flat, you see? Wow, that's some bad voice leading. So why doesn't it sound bad when we play it? Because this thing here is laid out on its side. And instead we get the arpeggiation, which sounds very nice. And then we get this leap up to this. And if we look at the relationship between these two notes, we've got this sixth, and this moves down by a step and this leaps up to a fourth, quote-unquote, above it. We can't judge the quality of the voice lead through textural reduction. But what it does help us do is to see how voices are moving. It'll also helps us see what the harmony is and what the harmonic rhythm is. And there is some very useful information by being able to see these things. What I'd like for you to do now, is the harmonic analysis for the rest of this excerpt, and then the textural reduction. Once you've done that, then check your work against the solution sheet.