And there you have it. Take a look at this.
Make sure you can follow the voice leading that's going on,
in how I did the textural reduction.
I did it fairly quickly.
Largely because there's not so much to talk about.
We're just, sort of, we see that the harmonic rhythm
is one chord per beat and so I'm just
lining up all the... We see that there are really only chord tones so I'm just
lining up all the chord tones to form a kind of ...
homorhythmic, homophonic passage in the bottom.
So, now let's do some analysis of what's here.
You can see, you have to look at the outer voices to see the five sixness of this. Right?
Because we have a fifth between these outer voices, then a sixth,
then a fifth and a sixth,
a fifth and a sixth and then he stops because he wants to do,
he wants to give us five one at his cadence.
So let's quickly do Roman numeral analysis.
One, of course, and we should be getting five and first inversion.
And what the next chord should be is a six chord which is the case in
root position and the next one should be a three. That's right.
Three and first inversion.
Next one should be a four chord.
In a way you don't even have to, if you know that this is
a five six descending, five six progression,
you don't even really need to look at the chords to know that the,
to fill in the Roman numeral analysis.
But you should always, sort of,
double check just in case.
So, up a fifth,
from there is one, first inversion.
And then what he does is he switches,
goes to five seven and one and reposition.
Now again, like in the Mozart example that we just saw,
you currently have the ability to do this voice leading.
And you know if you apply
some pattern in the right hand and apply some pattern in the left hand,
you'll get some new kind of musical texture.
This is a bit like an arpeggiated texture.
So at this point,
you actually have the ability to do the very thing that
Beethoven did himself in the opening of this third movement of Opus 109.