armonic rythym increases with a I64 for the first two beats and a V7 in the third beat. The next bar is a I6 followed by a bar with a harmonic change each beat: ii6, I64, and V7. Already there is tonal ambiguity. Twice a ii chord has returned to I intstead of continuing to a V chord or a substitute. And at the end of the 6th bar of the development a V7 has been set up. The V7 does not resolve to I. Instead, it resolves to i, the parallel minor. At this point (bar 7) there is a dramatic textural change, triplet motion in the bass. Also, the bass has moved from slow movement in the higher register to rapid movement in the low register. So now every quality of the piece (tonality, rythym, and register) has been drastically changed. The bass now arpeggiates for while, making chords easily definable by note name, but their implications become much more difficult to identify. The harmonic motion occurs each bar. Measure 8 is a clear D major arpeggio. If the piece were looked at purely linearly, one would be inclined to call this II . But a II contains ‘F#’ and implies the presence of a ‘C#’ leading tone. There is obviously no room for these in a c minor key center. By looking beyond this bar, we see that everything after this point becomes related to ii. So the D major chord is really V7/iv/ii. This moves appropriately to iv/ii in the next bar as a G minor arpeggio. The next bar is an A major arpeggio in the bass which is V/ii. So the past two bars have set up a iv-V progression which begs to resolve to i (ii in this case as it is really iv/ii-V/ii-i/ii). It does not resolve to ii. There is a deceptive cadence to VI (a Bb arpeggio). The Bb is contiued in the next bar but the ‘g#’ in the melody gives the measure a very different tonality. The ‘Bb’ and ‘g#’ are on either sides of ‘A’. This chord is really a german 6th. This a the german VI/ii, which ...
