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Giulio Regondis Ten Etudes for Guitar:

A Harmonic Analysis

by

Jeffrey C. Lambert, D.M.


Copyright 2014 Jeffrey C. Lambert
All Rights Reserved

ii
Preface

What follows is a Roman numeral harmonic analysis of Giulio


Regondis (1822-1872) ten etudes for solo guitar. The music itself is not
given; only information describing the harmony appears. For the most
complete understanding, it is highly recommended that the reader use
this analysis in conjunction with the score.

Notes regarding the symbols


Inversions are only indicated next to the Roman numerals and do not
appear as part of the chord names.

Key indications are circled and appear above the staff.

Though many non-chord tones are indicated, no attempt was made to


label them all.

iii
Etude 1
44
C


C Dm G C E7 Am Dm C G7 C Dm G
I I^ ii V I V$3`/vi vi ii^``$`Q`#` I^4 V^5 I I^ ii V

.
7

C E7 Am D
o C G C G Em Am D G D Em A
I V$3`/vi vi iiK`^``$`Q`#` I^4 V^ I V^ iii|vi ii V I V^ vi V`(`Q`*`/V

Bm

w
12

D A7 D G Em A# 7
o Bm A# 7
o Bm F #7 Bm
V V&``^`Q`%`/V V I^ vi|iv viiK`^ `^`Q`%` i`$`Q`#` viiK`$3``$`Q`#` i^4 V& i

Am
G Em G


17

E7 Am D7 G A m6 Em B7 Em A m6 Em B7 Em D7 G
V& i V& I iv add6
i^4 V& i`$`Q`#` iv add6 i^4 V& i`(`Q`*` V$2``(`Q`*` I^``^`Q`%`

Am C


24

D7 G D7 G D7 G E7 Am E7 Am G7 C
V$3``$`Q`#` I`(`Q`*` V$2``(`Q`*` I^``^`Q`%` V$3``$`Q`#` I`(`Q`*` V$2``(`Q`*` i^```^ Q`%` V$3``$`Q`#` i`(`Q`*` V$2``(`Q`*` I^``^`Q`%`

7 Dm F

w .
30 40

G7 C Dm C G7 C GC A7 Dm C7 F
Repeat of mm. 1-7
V$3``$`Q`#` I`(`Q`*` ii^```^ Q`%` I^4 V& I^4 V I V^5 V& i V^5 I
Etude 1
C
F G C


43

G C F C G7 C C7 F D7 G G7 C D7 C G7
V& I IV I^4 V^5 I V^5 I V^5 I V& I^ V^5```^ Q`%`/V I^4 V&

w w
49 * *

C E7 Am G7 C E7 Am G7 C G C G C
I V^5`/vi vi V& I V$3`/vi vi V& I V I V I

mm. 49 & 50, b. 4: an Am chord is implied by the presence of the root note only.

2
Etude 2
Am

43
C Am

. . .
Am Dm Am E 7/A Am Dm Am Dm Am D# 7
o C G7 C E D m7 E D m7
i iv^4 i V& i iv^4 i iv^4 i ctK`& I^4 V^5 I V iv& V iv&
A ped.

G Bb Db C

.
11

E D7 G F7 Bb A b7 C G G7
V V&``Zz`#2`Qq`#1` I V&``Zz`#2`Qq`#1` I V&``Zz`#2`Qq`#1``|Ger+^ I^4 V^``X`&`Q`*` V&

Ab
Am
7
. . . . . .
16 26

C G7 C
o
G# 7 C Ab E b7
Repeat of mm. 1-7
I V&``$`Q`#` I`$`Q`#` viiK`^5 I I V$3``$`Q`#` V^5``(`Q`*`

Eb B

. . . . . .
30

Ab D 7
o E b7 Ab B b7 Eb B b7 Eb B F #7
I`X`@`Q`#` viiK`&``$`Q`#`/V V$3 I V&``^`Q`%` I^4 V&``^`Q`%` I I V$3``$`Q`#` V^5``(`Q`*`

F# D

. . . . . .
38

B
o
E# 7 F #7 B C #7 F# C #7 F# D A7
I`X`@`Q`#` viiK`&``$`Q`#`/V V$3 I V&``^`Q`%` I^4 V&``^`Q`%` I I V&``$`Q`#`

. . . .
46

D
o
G# 7 A7 D E7 A E7 A E 7/A
I`X`@`Q`#` viiK`&``$`Q`#`/V V$3 I V&``^`Q`%` I^4``^`Q`%` V&``^`Q`%` I V&
A ped.

C# A

. . . . . . .
52

A7 C# G #7 C# G #7 A B m7 ( b 5) E 7 A B m7 ( b 5) E 7
V&`/IV|Ger+^ I^4 V^5 I V&``$`Q`#` I^ iiJ`^5``(`Q`*` V& I^ iiJ`5`^ `(`Q`*` V&

3
Etude 2
Dm
C Am F


61

A7 Dm G7 C F B m7 ( b 5) E7 Am C C7 F
o
G# 7 F
V& i`$`Q`#` V& I`$`Q`#` IV viiJ`&``$`Q`#``|iiJ`& V& i`$`Q`#` V^ V^5``^`Q`%` I`(`Q`*` ctK`&``$`Q`#` I

Dm Am

. . .
67

C C7 F
o
G# 7 F A7 Dm F 7( b 5) E
V^ V^5``^`Q`%` I`(`Q`*` ctK`&``$`Q`#` I V& i^4 Fr+^ V

23

73 97

E7 Am E Am A7 D B m7 ( b 5) A m E7
Repeat of mm. 1-23
V& i^4 V i V&`/IV IV^ iiJ`$3 i^4 V^5


99

B
o E7 Am A7 B m7 ( b 5) E7 Am A7
iiK`^``(`Q`*` V&``(`Q`*` i V&`/IV iiJ`^5```^ Q`%` V& i V&`/IV

. .
103

B m7 ( b 5) E G# 7
o Am E7 Am E/A Am
iiJ`^5``$`Q`#` V viiK`& i V& i V& i
A ped.

4
Etude 3

42
A


A E7 A A+ D
o
G# 7 A E7 A E7 A B7
o
F 7 E7
I V$3 V^5 I V+/IV IV viiK`& I V& I V$3 V^5 I V$3`/V ctK`& V^5

E A

.
9

C #7 F #m F # m7 ( b 5) B 7 A B7 E F #m E B7 A B7 B 7/E E D# E 7
o A
V&`/vi vi|ii iiJ`^5 V&``$`Q`#` IV^4 V^5 I ii^ I^4 V$3``$`Q`#` IV^4 V^5 V& I viiK`^ V^5 I
E ped.

j
.
16

E7 A A+ D
o
G# 7 A E7 A A7 Bm A F #7 E7 A E7
V$3 V^5 I V+/IV IV viiK`& I V& I V&`/IV ii^ I^4 V$2``(`Q`*`/ii V& I V&

D C#m B


24

A B7 E B7 E E7 A B# 7
o A E7 A A7 D G #7 C #m F #7 B
I V&`/V V V&`/V V V^5 V& I ctK`& I^4 V& I V$2 I^ V$2 i^ V$2 I^

A
8

36

F #7 B C #m C #7 F# A#
o B G#
o A E7 A E D#
o E7
Same as mm. 15-22
V$3 I ii^ V^5`/V V viiK`$3 I^ viiK`^4 I^ V^5 I V viiK``^ `(`Q`*`/V V&

F#m


51 *

A E7 A F #m
o
E# 7 F #m F #7 B m F #7 Bm
o
B# 7 C #7 F #m
I V& I i viiK`& i V^5`/iv iv V&`/iv iv^ viiK`&``Z`*`Q`&`/V V& i


58

E# 7
o F #m E# 7
o F #m G# C # G #7 C # F# Bm E A D C #7 F #m
viiK`& i viiK`5^ i^ V^`/V V V&`/V V V^`/iv iv`$`Q`#` V^`/III III`$`Q`#` VI^ V$3 V^ i`$`Q`#`

5
Etude 3
A


65

G#
o A#
o Bm E7 F #m C #7 F #m E7 A E7 A E7 A
iiK``^ /III viiK`^`/iv iv^ V^5`/III i^4 V^5 i`(`Q`*` V^5 I V$3 I V^5 I


75

G# C #m E A B m7 E 7 A E A B m7 E 7 A
V^`/iii iii V I ii& V& I V I ii& V& I


85

A7 D
o
A# 7 B m7 C #7 F #m E7 A G # m7 ( b 5) A maj7 B m7 A E7
V&`/IV IV viiK`&`/ii ii& V^5`/vi vi V^5 I viiJ`^5 I& ii^5``^`Q`%` I^4 V&

22

93 115

A A7 D E/A A A# 7 B m
o A E7 A A7 D G # 7/A
o
Same as mm. 1-22
I V&`/IV IV^4 V I viiJ`&`/ii ii I^4 V& I V&`/IV IV^4 viiK`&
A ped. A ped.


121

A
o
D# 7 E sus E7 A E A E A E A E A E 7/A
I viiK`&`/V Vsus$ V& I V I V I V I V I V&
A ped.


128

A E 7/A A E/A A E 7/A A E7 A E7 A


I V& I V& I V& I V& I V& I I^4 I

m. 55: implied.

6
Etude 4
% E
98 . j
. . . . . . . . . .
E B 7/E E A G# D m7 ( b 5) B 7 E F #7 B 7/E
I V&``^`Q`%` I IV`^`Q`%` V/vi viiJ`$2``$`Q`#` V& I V&``(`Q`*`/V V&
E ped. E ped.

. . . . . . . . . . .
7

E A#
o B7 B 7/E E B G #7 C #m F #7 B C #m
I viiK``^ /V V&``^`Q`%` V&``Z`(`Q`*` I V^ V&`/vi vi V&`/V V vi^``$`Q`#`
E ped.
B E

. . . . . . . . .
12

F #7
o
G 7 F #7
o
E# 7 B B+ E C #m C#
o B F #7 B A/B B A/B
V&`/V ctK`& V$3`/V ctK`& V^ V^``+%` IV ii^ iiK`^``$`Q`#` I^4 V&``^`Q`%` I IV V IV
B ped.

j
. . . . . . . . . .
17

E A/B E B7 E B 7/E E A G# D # m7 ( b 5) B 7 E B 7/E E # 7


o
I^4 IV I^4 V&``^`Q`%` I V& I IV V/vi viiJ`$2``$`Q`#` V& I V& viiK`&`/ii
E ped. E ped.

j
C

. . . . . . . . . . .
23 Fine

F #m C #7 F #m
o
F 7 E B7 B 7/E E C
o
D# 7 C
ii`$`Q`#` V$3`/ii ii^ ctK`&` I^4 V&``^9`Qq`%8` V& I I I^``(`Q`*` ctK`&``^`Q`%` I^4
E ped.

. . . . . . . . . . . . . .
28

Am C Dm A# 7
o G C D# 7
o C F # m7 ( b 5) Em B7 Em
vi I^ ii^ ctK`& V I I^``(`Q`*` ctK`&``^`Q`%` I^4 iiJ`&`/iii iii^4 V^5`/iii iii

. . . . . . . . . . . . . .
34

G7 C Am D7 D 7/G G 7 C D# 7
o C
V& V^```^ Q`%` V$2``(`Q`*` I^ vi V&``^`Q`%`/V `(`Q`*` V&`/V V& I I^``(`Q`*` ctK`&``^`Q`%` I^4
G ped.

7
Etude 4

. . . . . . . . . . .
40

Am C Dm
o
A# 7 G C C+ F Dm D m7 ( b 5)
vi I^ ii^ ctK`& V I I^``(`Q`*` V^``X`%`/IV IV`$`Q`#` ii`(`Q`*` iiJ`$3``$`Q`#`

j j
F

. . . . . . .
44

C D7 G7 G 7/C C C7 F C 7 Bb C F C7 F C
I^4 V&``(`Q`*`/V V&``^`Q`%` V& I V&` I^ V$3 IV^4 V`(`Q`*` I V$3 I V^
C ped.

j j j j j
C F

. . . . . . . .
48

F G7 G 7/C C
o
B 7/C C C7 F C 7 Bb C F C7 F C F G7
I V$3 V^5 V& I viiK`& I V&` I^ V$3 IV^4 V`(`Q`*` I V$3 I V^ I V$3 V^5
C ped.

Eb C#
j
F B E Dal segno al Fine

. . . . . . . . . . . . .
53

G 7/C C G7
o
D# 7 C 7 C 7(# 5) F B b7 Eb A b7 C# F #7 B B7
V& I V$3 ctK`& V^5 V^5``+%` I V& I V& I V& I V&
C ped.

8
Etude 5

42
A


A E 7 G # m7 ( b 5) A B7 A E A E 7 G # m7 ( b 5) A E7 E 7/A A E7
I V$3 viiJ`$3 I V$3`/V I^4 V I V$3 viiJ`$3 I V& V& I V&
A ped.
E A


10

A E7 G # m7 ( b 5)/A A B7 E C # m7 ( b 5) B sus B7 E A
I V& viiJ`& I V$3`/V V iiJ`&`/V Vsus$ V$2 I|V I
A ped.


18

E 7 G # m7 ( b 5) A B7 A E A A7 D A E7
o
G # /A A E A
V$3 viiJ`$3 I V$3`/V I^4 V I V&`/IV IV I^4 V&``^`Q`%` viiJK I V I
A ped.
E A


27
*

E7 A E B7
o
D # /E E Bm E E7 A E7 A E7 E# 7
o
V$3 I IV I^ V^5` viiK I ii V V$2 I V& I^4 V& viiK`&`/vi
E ped.


39

F #m Chromatic G#
o A F #m E 7 A E7 A E7 A D
vi`^`Q`%` passing chord viiK I^4``(`Q`*` vi`(`Q`*` V^5 I V& I V& I IV`$`Q`#`
(simultaneity)
D Em


48

A D A E7 A E7 A E7 A A7 D G D#
o
I^ IV`$`Q`#` I^4 V& I V& I V& I V& I^ IV viiK`$2

A F#m Bm G A Bm D E A D


57

Em E7 A E#
o F #m F #7 Bm F#
o G G#
o A A#
o Bm C#
o D D# 7
o E E7 A A7
i^ V^5 I viiK`$3 i V& i viiK`^4 I^ viiK`^4 I^ viiK`^4 i^ viiK I^ viiK`$3 I^ V& I V&

9
Etude 5

G C F Bb A G F# E A E


62

D D7 G G7 C C7 F F7 Bb E7 A D7 G C #7 F# B7 E E7 A D# 7
o
I^ V& I V$2 I^ V& I V$2 I^ V$2 I^ V$2 I^ V$2 I^ V$2 I^ V& I viiK`$2

A B A


67

E E7 A A7 D
o
G# 7 A A7 D
o
A# 7 B
o
G# 7 A B A
I V& I V&`/IV IV viiK`$3 I^ V&`/IV IV viiK`& I viiK`& I V^`/V I^4


72

E7 A G # /A
o D E 7/A A G # /A
o D E 7/A A
V&``^`Q`%` `^`Q`%` I viiK IV^4 V& I viiK`^ IV^4 V& I
A ped.


82

B m7 E7 A E7 A E7 A
ii& V& I V& I V& I

m. 29, n. 3 in score: the D# in the melody, though a non-chord tone, brings about the modulation to E major.

10
Etude 6
% Dm
98 . . . . . . . . .
Dm Gm Dm A Dm E
o E m7 ( b 5) Dm A7
o
G# 7 A
i iv^4``$`Q`#` i V^ i iiK``^ `$`Q`#` iiJ`$3``(`Q`*` i^4```^ Q`%` V&``^`Q`%` viiK`^5`/V V^

F Dm

. . . . . . . . . . . .
5
*

Dm Gm Dm G# 7
o F C7 F A7 Dm
i iv^4``$`Q`#` i ctK`& I^4 V&``^`Q`%` V^5``Z`(`Q`*` I V& i^4``$`Q`#`

j
A

. . . . . . . . . . .
11

G# 7
o E7 G# 7
o Dm A A7 Dm E7 A E7
viiK`&`/V V^5`/V viiK`&``$`Q`%`/V i^4 V^ V& i^4``$`Q`#` V^5 V& I^4 V&``^`Q`%`

j
Dm

. . . . . . . . . . .
16

o
G # 7/A E 7/A A A7 Dm A A7 Dm A7
viiK`& V& I V& i^4``(`Q`*` V V&``(`Q`*` i``^ Q`%` V&
A ped.

j j j
A Dm

. . . . . . . . .
22

Dm E7 G 7
o E7 A D B
o A E7 E 7/A A A7
i`(`Q`*` V& ctK`& V& I`^`Q`%` IV iiK`^ I^4``(`Q`*` V& V& I V&
A ped.

. . . . . . . . . . .
27

Dm Gm Dm A Dm E
o E m7 ( b 5) Dm A7
o
G# 7 A Dm D7
i iv^4 i V^ i iiK`^ iiJ`$3 i^4 V& viiK`5`^ /V V^ i V^5`/iv

b
j
Fine B

. . . . . . . . . . . . . .
32

Gm E m7 ( b 5) Dm A 7( b 9) Dm Bb F7 F Bb F 7 Bb Gm Eb
iv`$`Q`#` iiJ`&``$`Q`#` i^4 `^`Q`%` V&``Z`(` i I V$3 V I V$3 I^ vi IV

11
Etude 6

j j j j
. . . . . .
38

B b A m7 ( b 5) B b F Bb G G7 Cm F 7 Bb F Gm G7 Cm G Cm E 7
o
I^ viiJ`^5 I V^ I V/ii V&`/ii ii V$3 I V^ vi V$2`/ii ii^ V^`/ii ii viiK`&`/V

j j
. . . . .
42

Bb F7 Bb A
o Bb Eb D Gm F Bb F7 Bb
I^4 V& I viiK`^ I^ IV V^`/vi vi V^ I V$3 I^

j j
Gm Dm

. . . . . . . .
45

Eb
o
E 7 Bb F7 F 7/B b Bb F#
o D 7/G Gm E m7 ( b 5)
IV viiK`&`/V I^4 V^5 V& I viiK V& i iiJ`$3
Bb ped. G ped.

j j j j j j j j
Dal segno al Fine

.
49

A A 7 B m7 ( b 5) A Dm A7 Dm A Dm B b7 A A7 Dm A7 Dm A
V V& iiJ`&`/V V^ i V$2 i^ V^ i It+^ V V& i^ V$3 i V^

m. 6, b. 3: the E in the treble voice can be considered a passing tone.

12
Etude 7

42 ..
D


1. 2.

D A7 D G G# A
o # o
simul- C D A7 D Em D A7 A D
I V& I IV viiK`/V V`^`Q`%` taneities viiK I V& I ii I^4 V^5 V`^`Q`%` I`(`Q``*

%

10

A7 D A7 D A7 D E A A7 D A7 D G G#
o A A#
o
V^5 I V& I V^5 I V/V V`(4`Qq`*3` V^5 I V& I IV`X`@`Q`#` viiK`/V V`$`Q`#` viiK``^`Q`%`/vi


17

Bm A7 D G# 7 A 7
o D G# 7 A 7
o D
o
E # 7 F #7
o
B m C# 7 D D7 G C G
vi`$`Q`#` V&``^`Q`%` I viiK`$3`/V V& I viiK`$3`/V V& I viiK`$3`/iii V&`/vi vi viiK`$3 I^ V^5 I IV I^


23

o
A# 7 G C G Am G D G D7 G#
o Am G D7 G D7 G
o
E# 7 D D+ G A m7 A # 7 G
o
ctK`& I^ IV I^ ii I V^ I V$3 viiK`/ii ii I^ V$3 I^ V$2 I^ ctK`& V^ V^``+%` I ii& ctK`& I^


28

B7 C D Em D C G G# A m
o D G
o
G# A m D G G+ C A7
V&`/vi IV V V^ vi V IV I^ viiK`/ii ii V^ I^ viiK`/ii ii V^ I^ V^``+%`/IV IV V^5
G ped. D ped.
(middle vc.) (middle vc.)


33

D B7 Em
o
D# 7 Em
o
G# 7 D D#
o A7 D D#
o A7 D
o
G # 7/A A 7 D
I V^5`/ii ii viiK`^5`/ii ii^ viiK`&`/V I^4 ctK V& I^4 ctK V& I^4 viiK`&`/V V& I^4
A ped.
13
Etude 7

D.C. Al segno

..
38 e poi il Finale

G # m7 ( b 5) A 7 A7 D D7 G D7 G A7 D A7 D A# 7
o B m F #7 G E m7 ( b 5)
viiJ`^5`/V V& V& I V&`/IV IV V&`/IV IV V^5 I V& I viiK``& /vi vi V&`/vi IV iiJ`5^


45

D A7 D A7 D A7 D A7 D A7 D A7 D
I^4 V^5```^ Q`%` I^4```^ Q`%` V^5``^`Q`%` I V& I V& I V& I V& I

14
Etude 8
44 w
Em

w
G

G A m7 D7 G C A7 D7 G A m7 D B7
I ii&``$`Q`#` V& I`$`Q`#` IV`$`Q`#` V&``(`Q`*`/V V&``$`Q`#` I ii&``$`Q`#` V V^5``(`Q`*`

Em F#
o
Em B7 B 7/E E m D7 G D7
o
A# 7 G B7 E m7 A7 D7
i iiK`^``(`Q`*` i^4```^ Q`%` V& V& i V^5 I V$3 ctK`& I^ V&`/vi vi&``$`Q`#` V&``^`Q`%`/V V&``^`Q`%`
E ped.

w w
13

G A m7 D7 G C A7 D7 G E7 E Am D7
`(`Q`*` I ii&``$`Q`#` V& I`$`Q`#` IV`$`Q`#` V&``(`Q`*`/V V&```$ Q`#` I V^5``Z`(`Q`*`/ii V/ii ii`(`Q`*` `$`Q`#` `^`Q`%` V&

% D
j
.
20

G
o
C# 7 D D7 D7 G A7 D A D A7 D A7 D E m7 D
I^4``(`Q`*` viiK`$3``$`Q`#`/V V^``(`Q`*` V& V^5 I V& I V^ I V$3 I^ V& I ii& I^

j
A

.
24

G B7 Em D * A7 A7 D A D A7 D A7 D A E A
IV V^5`/ii ii`9$`qQ`8#` `4(`qQ`3*` I^4 V& `4(`qQ`3*` V& I V^ I V$3 I^ V& I V V^ I


28

E7 A Bm E7 A E7 A7 D E m7 A D A 7 D B# 7
o A
V$3 I ii^``(`Q`*` V&``$`Q`#` I`(`Q`*` V$3 V^5 I ii& V`^`Q`%` I^ V$3 I ctK`& V
A ped.
(middle vc.)

A F#m Em D Bm


32

D E m7 A D E7 A C #7 F #m B Em A D G C # m7 ( b 5) F#
I ii& V`^`Q`%` I^ V^5 I^ V^5 i V^ i V^ I IV^`|VI^ iiJ`& V^

15
Etude 8

Em Bm E D


36

Bm B7 Em B7 E m F #7 B m F #7 Bm C B m F #7 G
o
D# 7 E
o
C# 7 D Em D A7
i V$2 i^ V^5 i V$2 i^ V^5 i N^ i^4 V& VI viiK`& I viiK`& I ii^ I^4 V&

D.C. al segno C

..
G


41 e poi il Finale

D D7 G D7 G7 C E7 Am
o
F# 7 C G7 C
I V$2``(`Q`*` I^```^ Q`%` V^5 V&``(`Q`*` I`&`Q`*` V&``(`Q`*`/vi vi`&`Q`*` viiK`&``^`Q`%`/V I^4 I V& I

D
Em G


46

A7 D B7 Em C D7 G Am G
o
D# 7 Em
o
C# 7 D D7
V& I`$`Q`#` V& i`$`Q`#` IV V&``^`Q`%` I`$`Q`#` ii^```( Q`*` I^4``(`Q`*` viiK`&``$`Q`#`/vi vi`$`Q`#` viiK`&``$`Q`#`/V V`(`Q`*` V^5

w w .
51

G D 7/G G D 7/G G G6 G G G6 G
I V&``(`Q`*` I V&``(`Q`*` I I add6 I I I add6 I
G ped.

m. 25, b. 2: this sonority is perhaps best analyzed as resulting from two chromatic passing tones
in the middle voice, an escape tone in the upper voice, and an A pedal tone in the bass.

16
Etude 9
6 j j j j j j j j j
E

8
*

E B7 B9 E B7 B9 E B7 E E7 A E E B7 E B7
I V& V( I V& V( I V& I V&`/IV IV I I^4 V& I V&
E ped. E ped.

C#m
j j j j j j j j
B

. .
6

B9 E B7 B9 E C #m F #m G# F # m7 B 7 E C #m F# B F # 7 D # m7 ( b 5) G#
V( I V& V( I vi ii^ V/vi ii& V&``$`Q`#` I ii V^ I V^5 iiJ`$3 V

Ab
j j j j j j j j
E F G A


11

C #m B E A # m7 ( b 5) E b B b7 G m7 ( b 5) C F C7 A m7 ( b 5) D G D 7 B m7 ( b 5) E
i V I iiJ`^5 V V^5`/V iiJ`$3 V I V^5 iiJ`$3 V I V^5 iiJ`^5 V

j j j j j j j j
Em E


15

A C7 Em F # 7( b 5) B B7 E E# 7
o F #m E F # m7 ( b 5) B6 C #m
o
E # 7 F #m C#
I Ger+^ i^4 V$3``Z`%`/V V V^5 I viiK`&`/ii ii I^ iiJ`^5 V sub6 vi viiK`$3`/ii ii^ V^4`/ii

j j j 4 j
A
j j j
E

.
19 25

F #m E F # m7
o
A# 7 B7 E B 7/E B9 E B m9 E7 E 7/A A E# 7
o F #m
Same as mm. 2-5
ii I^ ii^5``(`Q`*` viiK`&`/V V& I V& V( I ii( V& V& I viiK`&`/vi vi|ii
no root A ped.
E ped.

j j j
. . .
27

B6 C # m7 ( b 5) B 7 E B7 E7 F #m E A B7 E
o
D# 7 G#
o A E
V add6 iiJ`$2`/V V& I V& V&`/IV vi`^`Q`%`/IV V^`/IV IV`(`Q`*` V&``9^`qQ`8%` I viiK`& viiK`/IV IV I
E ped.

j j j j
. . . . .
31

A F #m B7 E A
o
D# 7 E E7 A#
o o
D# 7 E
IV ii V& I IV viiK`& I V&`/IV viiK`/V viiK`& I

m. 1: Though this is a pickup measure, it is designated m. 1 in order to match the Editions Orphe publication (1995).
17
Etude 10

68 j . j
A

. . . . . . . . . .
(E) A E7 A D A E A E7 A E B7
(V) I V&``$`Q`#` `(`Q`*` I IV`$`Q`#` I^4 V I V&``$`Q`#` `(`Q`*` I V^4 V^5`/V
no root

. . . . . . . . . . . . . . .
8

E C #7 F #m E7 A A7 D F #7 Bm C #7 F #m C #7 F #m E7 A
V`(`Q`*` V^5`/vi vi V^5 I V^5`/IV IV V^5`/ii ii V$2`/vi vi^ V$3`/vi vi`(`Q`*` V$2 I^

C#m F#m
j j
D Bm E

. . . . . . . . . . . .
16

E7 A A7 D G #7 C #m F #7 Bm E# 7
o F #m B7 E A# 7
o
V$3 I V$2 I^ V$2 i^``(`Q`*` V$2 i^``(`Q`*` viiK`$3 i^``(`Q`*``|ii^ V& `^`Q`%` V^5 I ctK`&

j j j j j j j
. . . . . . .
23

E F # 7( b 5) B A# 7
o B B7 E
o
A# 7 E F # 7( b 5) B A# 7
o B B7
I V$3``Z`%`/V V viiK`&`/V V V^5 I ctK`& I V$3``Z`%`/V V& viiK`&`/V V V^5

F#m F#m
j j j
E G A

. . . . . . . . . .
30

E B m7 C # C #7 F #m F # 7( b 5) B7 E C #7 F #m D7 G E7
I iv& V V$3 i V$3``Z`%`/V V& I V& i V& I V&

F#m

. . . . . . . . . . .
37

A C #7 D F #7 Bm F #m G # m7 ( b 5) F # m G # m7 ( b 5) C # 7 F #m F #7
I V& VI V&`/iv iv`(`Q`*` i^4``$`Q`#` iiJ`^5``(`Q`*` i^4```^ Q`%` iiJ`5^ V& i V&`/iv


43

Bm G # 7( b 5)
o
C# E# 7 F #m C # F #m F # m7 D#
A
o B7 E B7 B9 E B7
iv^4 V$2``Z`%``$`Q`#`/V V viiK`& i^4 V i ii& viiK`^ IV^4 V&``(`Q`*` I V^5 V( I^ V$3

18
Etude 10

2

46

o o o

E B7 A# 7 D # m7 ( b 5) E B A C 7 D# D # m7 ( b 5) E B 7
I V$3 viiK`&`/V viiJ`& I `(`Q`*` V`$`Q`#` IV viiK`&`/vii viiK viiJ`& I V&
no root
E ped.


50

B7 E B7
o
A# 7 D # m7 ( b 5) E G # m7 ( b 5) A E7 A
o
E# 7 F #m E B 7
o
C 7 B 7
V& I V& viiK`&`/V viiJ`& I viiJ`&`/IV IV V&`/IV IV viiK`&`/ii ii I V& ctK`& V&
A ped.


52 *

D # m7 ( b 5) E B7 E
o
B# 7 C #m
o
A# 7 F#
o
A# 7 B B7 B7 E D add9 D m
viiJ`$3 I V& I viiK`/vi vi viiK`&`/V V/V viiK`$2`/V V V& * V& I IV iv
no root
E ped.

j 10
D Bm A

. . . . . . . .
54 65

A Dm A B7 E Same as mm. 1-10 A7 D F #7 Bm E7 A B m7 ( b 5) E 7


I^4 iv I^4 V&`/V V V$2 I^ V$2 i^ V$2 I^ iiJ`&``$`Q`#` V&

j j j j j j
. . . . . . . .
69

A
o
B# 7 A E7 B m7 ( b 5) E 7 E9 A B# 7 A
o E7 B m7 ( b 5) E 7 E9
I ctK`& I V& iiJ`$2 V& V( I ctK`& I V& iiJ`$2 V& V(

j j j
Bm A Bm C D Bm

. . . . . . . . . . . . .
77

A Em F# F #7 Bm B7 E7 A F #7 Bm G7 C A7 D F #7
I iv V V& i V$3`/V V& I V& i V& I V& I V&

Em A

. . . . . . . . . .
86

G B7 Em D A E7 A E7 D/E E 7 A E7 D/E E 7
VI V& i IV^``(`Q`*` I^4``$`Q`#` V& I V& `^`Q`%` IV V& I V& `^`Q`%` IV V&
E ped. E ped.
19
Etude 10
Bm Em

. . .
93 *

A A7 F# F #7 Em Bm
o
A# 7
o
A # 7/B Bm * B7 B 7( b 9)
I * V V&``^`Q`%` iv^ i^4 viiK`$3 viiK`& viiK`& i V&` V&``Z`(`
no root B ped.
A

. . . . .
96

B 7( b 9)/E A E7 A E7 A E7 A E7 A
V&``Z`(` I^4 V&``$`Q`#` I^4 V& I V& I V& I
E ped.

. . . . . . . . . . . . . . .
102

A7 D E E7 A E7 A E7 A
V&`/IV IV V V& I V& I V& I I^4 I

m. 52, penultimate n.- m. 53, n. 1: the pitch A# is 'remembered' from the previous chord.
m. 53, n. 5 in score: perhaps best described as an embellishment of the dominant by means of an
appoggiatura combined with two passing tones.

to cancel the G#, bringing about the modulation to B minor.


m. 93, last n.: though this is a dominant seventh chord, it does not behave like one. Its primary function is

m. 95, nn. 5, 10, 11 in score: sources differ on pitches. One source has G# for nn. 5 & 11 and Cn for n. 10.
Another source has Gn for nn. 5 & 11 and C# for n. 10. However, for this analysis, Gn has been chosen
for nn. 5 & 11, and Cn for n. 10.
m. 95, nn. 4 & 5: these vertical sororites may best be described as resulting from voice leading in B
melodic minor moving towards n. 6.

20