Preview of Nocturne in C# minor (1830) …an analysis

Analysis of these measures with traditional theory might look like the line below.  Note that functions I, IV, etc are combined with identities, Im, VI#6, and VM.  ‘VI#6’ is particularly disturbing since its identity is not given, only the function ‘#6’.  An ‘augmented-six’ chord is a ‘dominant’[1], and since it doesn’t fall on ‘V’ it should be regarded as a ‘secondary dominant’, according to the theory.

If it were to be designated as a ‘secondary dominant’ it might look like the line below.  However, this doesn’t do the trick because an ‘augmented-six’ chord isn’t a ‘dominant-seventh’…or is it?[2] Note that the root, ‘A’ in the second measure above is simply an inversion of the super-tonic, ‘D-sharp’ in the second measure below as they share the same notes in the treble, albeit with different functions.

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[1] In addition, the word ‘dominant’ has only one definition in a musical sense, that of the fifth note of a scale. Period.  There is no contrasting definition.  (see two definitions of ‘dominant’).

[2] To help the reader understand the resolution to this problem, refer please to ‘The Tritone Its Function’.

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