drones
seen in b 28-45
long held C and G
harmonic clarity
where the Cminor I emerges in b 60 and 61
functional chord progressions
b 23
perfect cadence
b 25-26
pedals
inverted - violin I b 13-16
tonic - bar 50
dominant - bar 67
b 17
violin II harmony deviates from the DSCH motif by adding a D natural
slow
harmonic rhythm
9-8 suspension
bar 25
chromaticism
bars 79-84
false relation
bars 79-80
thirdless chord
bar 26