echurchill

Your analysis is almost perfect.... the issue here is your ii* chord. You could interpret the first eigth of the second measure as an ii* chord... but right away the G resolves like a suspension to F# and thus vii065.

Of course neither the composer nor the listener hears all that. The second measure all fulfills dominant function and thus is free to pass through inversions of both vii07 and V7. Notice how the leading tone is irregularly resolved in the tenor and taken up instead in the soprano. Both those voices reach their goal G at the beginning of the third measure.

I'm sure you noticed that all, however. I just wanted to point out that you could analyze the second measure without an ii* chord at all. What you want to label the chords as is relatively unimportant; understanding their collective tonal function is our goal.

So actually your analysis is fine.



And for the sarabande, I could try to soon post a brief survey of the rhythms and textures of the harpsichord sarabande from its rise to its fall, with plenty of examples. For now please be writing sarabande melodies. I advise that you primarily focus on melody before harmonizing. Of course you may want some counterpoint here and there for contrast.

Do you understand the basic rhythm of the sarabande and how composers played with it? With dance music, rhythm is almost as important as melody. And rhythm is a subject as deep or perhaps even deeper than melody; unfortunately few books cover its intricacies, which are especially important to counterpoint. I may also soon post that lesson about melody and rhythm.

And of course I planned and still plan to write detailed lessons about III+6, the augmented sixths (which like the N were not really baroque, although they showed up occasionally), mode mixture, the raised sixth and lowered seventh degrees in minor, and chromatic nonchord tones. And perhaps a lesson about early chromaticism and modal harmony. Many of those would be combined lessons, of course.