Eight songs by Marion Bauer, part 4

The last three of the eight songs, all published in 1921, are "Gold of the Day and Night," "Night in the Woods," and "Thoughts."

"Gold of the Day and Night": A point of interest is the CM7 at the beginning (circled). Another of the many cases in music after 1890 where much attention is given to a particularly voiced if traditionally dissonant sonority--observe that the CM7 is promptly repeated--but where one can, if one insists, hear a triad resolution (on the fourth eighth note of bar 1 in this case, at which point the 7 is gone). The parallel instance--a possible CM13 (second circle)--is pushed off more quickly by the chromatic voiceleading (D# making a V#5), but the repetition in bar 4 definitely sounds independent.

The first section ends with a clear cadence using V9b5 (boxed).

After that, a major dominant ninth chord appears once, but as part of a descending bass progression, once the bass begins to move down the section's Ab pedal.

"Night in the Woods": A contemplative song with stronger presence of classically voiced major and minor triads, diatonic dissonances, and wavering tonal center (Phrygian at the outset, possibly A minor or A Dorian in the section below, ending in/on D major). There are three sections: this is the second half and ending of the first section.

This is the parallel place in the close to the second section.

"Thoughts": Much more traditional than "Night," with a V9 to begin the piano's introduction. The dotted box shows that V7, not V9, is the presence just as the voice enters.

Here is the parallel place ending the first section and overlapping into the second. In bar 21, the same "throw-away" ninth (F4; arrow) that we saw in "Only of Thee and Me" renders the resolution an almost proper V9.