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

Abstract

ABSTRACTThis 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.