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The second chord in m. 1 should be marked as upper case VI, since it is major.
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Measure 2 is tricky, but what's happening there is a cadential 6/4 dominant of III; that is, the E-flat is a dominant of A-flat with suspensions in the upper voices that slowly resolve to the proper dominant on beat 4. The next tricky part is that that dominant doesn't resolve to A-flat, but instead moves deceptively to vi of A-flat, which happens to be F minor (the home key). Measure 3 and 4 are similar to the first two. Measure 5 is a i chord; the B-flat could be considered a 4-3 suspension to the A-flat.
Measure 6 is a VI chord and here the B-flat is a 6-5 suspension to the A-flat. Measure 7 is a III chord with a 4-3 suspension (D-flat to C). Measure 8 is a VII chord, but considering the context and the first few measures, I would call it a V/III with a 6-5 suspension (C to B-flat) and it again moves deceptively to vi of III (F minor). 9 is back to the i chord, again with a 4-3 susp. Let me know if any of this is unclear. Simple css template. Thank you so much for breaking it down like this.
I definitely have a lot of stuff to google, but I might have to comment on this again if I can't figure something out. The hardest part to understand is the cadential 6-4. This concept has just never made sense to me.
The whole 'it's labeled as a I chord, and it has all the notes of a I chord but it doesn't function as a I chord' thing makes my head spin. So you can have a cadential 6-4 built on something other than the tonic? Wouldn't the fifth of the third just be the seventh chord?
I wasn't sure why you described it as the dominant of III instead of just calling it VII (if that makes any sense).Thanks again for helping me get a good start analyzing this. I'm of the school of thought that would never call it a I chord, because it is, in fact, not functioning as a I chord.
A cadential 6/4 is a dominant in which the upper voices are 'suspended;' they are not like normal suspensions in which they are prepared by the previous harmony -- those notes may in fact be approached in various ways. So, the bass note is the dominant and it has a 6th and 4th above it that resolve down the proper 5th and 3rd of the actual dominant triad. Does that make sense? And yes, you can have a cadential 6/4 outside of the home key. It works just like a secondary dominant, but elaborated by the 6/4 ornamentation.