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 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. © 2021 The Authors. Music Analysis, 0/0 (2021) Music Analysis published by Society for Music Analysis and John Wiley & Sons Ltd