diminished chord, pedal, imperfect cadence, perfect cadence, 4-3 suspension, dominant 7th, chromatic auxiliary.

Berlioz Harold in Italy The opening harmony in the woodwinds is known as a drone and mimics the sound of bagpipes. The first beat of each bar is accented for emphasis. The violas are playing C and G in the bottom register to bring out the rustic sound.

The bassoon holds a pedal C throughout the first 31 bars In bars 14-18 the harmony hints at F major through use of B flats but shortly returns back to C. The introductory section i.e. bars 0- 31 ends with a perfect cadence to the tonic. Between bars 32-48 the harmony/tonality feels stable apart from the short shift to minor in bar 40. In bar 50 there is also a suggestion of a minor tonality, (d minor) in bars 51-52, before the music slides more chromatically. However at the start of 59 the dominant 7th chord in C arrives which is the tonic of the piece. The harmony is quite fluid through the development between bars 60-99 and several keys are hinted without proper modulation. As the music nears bar 99 it moves into d minor (bar 97) to complete a perfect cadence. From bars 100-122 the oboe and Cor Anglais hold a dominant A of d minor which is the suggested tonality sculpting a plaintive mood. The horns play the serenade theme over this. From bar 99 the music remains in d minor until a perfect cadence is found at bar 111. In bars 130 the cor anglais and bassoon repeat the opening theme and the strings come to halt. This section closes quietly with a perfect cadence.