Liszt - Valse de bravoure, S214/1 (France Clidat) 

"Madame Liszt!"

Hello there fellow scorer :)

Haydn wrote a whole 2/4 scherzo I think 😂

Some of the melodies are from gallop de bal

Yes ,so fast)))

I - IV(#)(3rd inv) - V(#)(3rd inv) - iii(dim) - iv - i(#)(2nd inv) - I(6/4) Exquisite!

@@Archiekunst hmmm I don't think I follow you completely. :) You are looking into 2:45 to 2:53 (bars 174 -185), right? What I can see are six two-bar phrases with sequential melody and the following harmonic pattern: 174-175 E-flat major, 176-177 C-sharp minor, 178-179 B major, 180-181 F𝄪 diminished, 182-183 G-sharp minor, 184-185 E major. (Then E-flat 6-4 after the one-bar silence.) I'm not sure I can see this whole section in E-flat, but if I were to try it then the progression would be full of enharmonic writing and the second step wouldn't be a raised IV, but an enharmonic lowered VII, changed from major to minor (from D-flat major to C-sharp minor). Or maybe a raised VI. But I think that it is unnecessarily convoluted to try to assign each sequential step a degree in E-flat major. :) I agree with you that this is a lovely, beautiful progression - and typical of Liszt in that it is unique and can't really be explained. Also, as a side note: 3rd inversion is used for 7th chords, where the 7th degree is in the bass - i.e. in a C dominant 7th chord you would have B-flat as the bass note. I think in your notation you used the term 3rd inversion to mean 2nd inversion (fifth degree in the bass), and the term 2nd inversion to mean 1st inversion (third degree in the bass).

They're on the way :)

Yay!

Woah I felt the same thing

Its the first version of it