itch sets. One example of this is in measures 9 and 10.(ex12) The two chords that go back and fourth would be a G major triad and an A minor triad both in first inversion When the minor third is stacked on top of the triads the ear is totally thrown of and the triad are disguised. This also happens in measures 22 and 23. (ex13) If Berg had left out the c/eflat third , an E minor triad would be heard. In the next measure an A minor triad would sound. One of the most important intervals in the piano part is the fifth. The first sonority we hear in the piece is a fifth of C and G. This fifth is repeated for three measures. (ex14) The emphasis creates a association with C as a center note. Everything moves above the low C. This is further emphasized in measure 5 and 6 where another fifth built on C is held out for almost two measures. It comes back again in measures 10 and 11 , but something interesting happens before the fifth sounds. In measure 9 and 10 there is a mini harmonic progression to C.(ex15) First we hear a G major triad and A minor triad as mentioned above. These two sonorities are heavily rooted around C, G being V and A being the relative minor VI. It is not Bach harmonic progression but it has tonal implications. One of the interesting was Berg uses the fifth occurs in measures 22 and 23.(ex16) Within these measures Berg creates two instances of V to I motion. In measure 22 the top 3 notes in the right hand form a A flat major triad in first inversion. In the next measure on the eight note of beat two, a D flat major triad in first inversion sounds in the top three voices of the right hand. The A flat major triad is the V of D flat major. There is also another similar relationship like this one. In the same place as the A flat major triad sounds , an e minor triad also occurs. This also is the V of the a minor triad in the next measure in the left hand .It is hard to hear these relations at a very...
