Adagio for Strings - Samuel Barber (Extended Analysis Project Step 4)

For my in-depth harmonic/cadence/part-writing analysis, I chose measures 1-11 of Adagio for Strings. Although this is a small section of the movement, the chord progression is surprisingly complex.

• Cadences
• The first phrase ends in the fourth measure with an irregular cadence. The progression for this cadence is iv7, VII, which does not fit the mold of a half cadence, perfect authentic cadence, imperfect authentic cadence, plagal cadence, or deceptive cadence. This may be a type of cadence that we have not discussed yet, but of the ones that we have, it ends on neither a V nor a I, and does not have a V chord leading to the second chord like a deceptive cadence would. 
• Unlike the first cadence, the second phrase ends in the eighth measure with a cadence that we have discussed: a half cadence. The progression for this cadence is iv7, ii^o7, V, meaning that the phrase ends on a dominant perfect V chord. It is likely that the phrase after this one will be an authentic cadence to follow and balance this half cadence.
• Chord Progression
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• In the above image of my chordal analysis, suspensions are highlighted in green, and seventh chords are notated with a pink pen instead of the regular pencil lead. 
• Because this piece was written by Barber during the 20th century, many of the traditional elements of 17th century part writing were disregarded, including avoiding the crossing of voices, and having both contrary and similar motion to maintain voice independence. 
• Voice crossing was present in the second and third measures between the lower violin two part and the viola part, with violin two on A and viola on C. Voice crossing occurred once more during the eighth and ninth measures once again between the lower violin two part and the viola part, with violin two on B flat (and then A) and viola on D flat (and then C). 
• Contrary motion was largely not present in the section that I analyzed because the only line that contained melody was violin one. This eliminated any form of counter-melody. However, similar motion was extremely present within the section because the harmony parts, violin two (high and low), viola, cello (high and low), and bass, moved almost simultaneously and with the same rhythm throughout.