[Bars 9-10] There’s more targeting here. Firstly, we see a side-step from a chord tone to another note a semitone below (and back), as demonstrated in the first three notes. Note the rhythmic interest created by playing two consecutive three-note side-step motifs like this (as in the first six notes of bar 9). The ‘3 against 4’ effect created here is known as a hemiola. Hopefully, by viewing the bracketed notes again, you’ll be able to see that the other predominant targeting device in this two-bar section is the technique of approaching a chord tone from notes a tone and semitone above respectively (double- chromatic descending approach). [Bars 11-12] The targeting here is consistent all the way through - each chord tone is approached from a semitone below. Note how, in order to
FGFGGFGmaintain the musical theme down the neck, the same principle is applied to a lower inversion of a G triad over the second G chord than over the first. [Bars 13-16] We return to the pedal point technique for these four bars. Whereas the opening bars had single chord tones moving below a threenote pedal point motif, here the three-note motif is always below. Note, by observing the non- chord tones in brackets, how each three-note pedal is based around the same side-step motion as shown at the start of bar 9, based mainly around a chord tone with the middle note always a semitone below. Also note how every other note is a chord tone, and how inversions of each chord are employed in order to maintain ascending lateral motion (up the neck, toward the bridge) with the initial four-note motif.