poulenc trio for piano, oboe and bassoon

auxiliary

Not in key

Modal mixture chord

Borrowing the VI chord from another parallel key

Wrong note harmony

Dissonant chromatic additions

Tierce de picardie

Tonic major instead of tonic minor

What is a half diminished chord made of?

Min 3rd, min 3rd, maj 3rd

Figure 0

• 4 bar piano phrase

• Bb maj

• a section - ternary form

• tonic b pedal

• chromatic auxiliary note

• modal mixture chord - Gb maj

• a dim7

• complimentary bassoon phrase

• perfect cadence into next bar - f maj

Figure 1

• 3/8 time signature

• starts w/ perfect cadence in f maj

• bar 10 last bit of Bb maj in piece

• Eb maj hints in piano + oboe

• perfect cadence

• Db major

• another perfect cadence in piano

• modal mixture chord

• imperfect cadence into figure 2

Figure 2

• starts with imperfect cadence

• ars 15-16 repeat of 1-2 reharmonised in Db major

• E minor key

• A minor chord

• Perfect cadence

• New oboes melody but use previous material

• B major key

• Imperfect cadence in dominant

• Octatonically tinged cadence

• Octatonic scale

figure 3

• B minor key

• arpeggios/broken chords

• Flattened maj supertonic chord

• neapolitan harmony - c maj 7th

• Octatonically tinged cadence

• Same octatonic scale as bar 21 w/ descending dom 7th/aug 6th chord in right hand

Figure 4

• b min tonic

• e min 9th

• octatonically tinged cadence

Figure 5

• tierce de picardie

• G7 bar - 37

• interrupted cadence c min

Figure 6

• Interrupted cadence c min

• Ab maj bar - 38

• Basson melody echoes opening melody

• A maj bar 40

• Bb maj bar - 41

• B maj bar - 43

• Bar by bar ascending chromatic movement

• 41-42 oboe restates opening two bars of melody

• 43-44 oboe rising sequence of last two bars

• 41-44 piano wrong note harmony

Figure 7

• C maj key

• 45-48 completely diatonic - sense of closure after chromaticism

• Oboe + bassoon dialoguing

• F maj key

• Perfect cadence

• 2/8 bar increases harmonic rhythm

• D min key

• Dim 7 leading to tonic in d min

• Ii half diminished chord

• Perfect cadence

Figure 8

• f maj key

• perfect cadence

• 53-55 repeat of opening 4 bars w/ acciaccatura in lh

• modal mixture chord

• pedal note

• more chromatic harmony w/ new bassoon melody

• tonic pedal continues

Figure 9

• oboe melody feels new theme than continuation of bassoon in bar 8

• perfect cadence

• subdom IV chord

• octatonic cadence

• fifth in final chord to give greater sense of finality

• end notes tie to nothing

Classical features in the symphony

Chromatic auxiliary note, arpeggios/broken chords

Neoclassical features in the piece

• 3/8 time signature

• modal mixture chord

• key with no reaction to previous key

• octatonic stuff

• wrong note harmony

• plagal cadences

• tie notes to nothing