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

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