Schematic Deformation: Systematic Linearity in Grieg's ‘Takk’ and Other Lyric Pieces

Abstract

This article presents an analysis of Grieg's lyric piece ‘Takk’ (‘Gratitude’), focusing on the B section of the piece. In that section Grieg makes use of a harmonic progression that is difficult to explain vertically (i.e. in terms of functional harmony). However, it may be explained as a result of play with chromatic voice‐leading patterns. The progression in question – which is saturated with half‐diminished chords – shares several formal characteristics with the well‐known omnibus progression. It is thus argued that ‘Takk’ features a deformation of this chromatic voice‐leading schema. The progression in question (called x) has the same sequential possibilities as the omnibus, which helps reveal an underlying logic in the complex structure of the piece's B section. Grieg's omnibus deformation in ‘Takk’ is an excellent example of how he chose to structure formal sections based on underlying systematic linearity. A comparison of ‘Takk’ with other lyric pieces sheds light on some regularities regarding systematic linearity in Grieg's music, for instance in the form of schematic deformation.

An Investigation into Intrinsic and Extrinsic Function in Vagrant Harmonies

“…Schubert explores situations in which one of the multiple functions of a harmony emerges as a result of the directions of voice leading that lead into the harmony, as in the omnibus progression (for more on the omnibus, see Yellin 1998; for further exploration of an altered version of the omnibus, see Utne‐Reitan 2021). In this case, the function of a given harmonic event within the progression is extrinsic, for it continues the intervallic patterns of the contrapuntal voices and therefore gains its functionality from them.…”