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in the spot you are mentioning, a G, F, and D make up an incomplete G7 chord (there is no B), which works as I am modulating into the Key of C. Then the F and D continue to climb step wise G, E... then A, F with the upper C makes it a sub dominant chord, then resolving back to C. Modulating from D minor to G Major (G7) to C is a fundamental way of creating an episodic passage characteristic of baroque-style pieces. I have listened to the measure you have pinpointed several times and I fail to see how it is anything less than coherently graceful.
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