musanbk

Musical Analysis

Visiting the Great Composers

Version 2.4

F.G.J. Absil

September 2009

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14

Preface

This booklet is still under development. Gradually, more examplesof musical analysis from the masterworks will be included.

This document was created using the public domain LATEX computertypesetting program.

The navigation links (printed in red) in the Adobe Acrobat Readerfile (the pdf-file) were created using the hyperref package fromthe LATEX distribution.

c©2009 F.G.J. Absil, the Netherlands.URL Website: http://www.fransabsil.nl

ii

Contents

List of Tables viii

1 Introduction 1

1.1 What you will find in this booklet . . . . . . . . . . . . . . . . . . . . . . . . . . 11.2 How the musical analysis diagrams were created . . . . . . . . . . . . . . . . . 11.3 How to read the diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

2 Johann Sebastian Bach 4

2.1 Brandenburg Concerto No. 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42.1.1 Mvt. 2 Andante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42.1.2 Mvt. 3 Presto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

3 Wolfgang Amadeus Mozart 6

3.1 String Quintet in C Major KV 515 (1787) . . . . . . . . . . . . . . . . . . . . . . 63.1.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63.1.2 Mvt. 4 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

3.2 String Quintet in G Minor KV 516 (1787) . . . . . . . . . . . . . . . . . . . . . . 63.2.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63.2.2 Mvt. 2 Minuetto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

3.3 Symphony No. 40 KV 550 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63.3.1 Mvt. 2 Andante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

3.4 Symphony No. 41 ‘Jupiter’ KV 551 (1788) . . . . . . . . . . . . . . . . . . . . . 113.4.1 Mvt. 2 Andante Cantabile . . . . . . . . . . . . . . . . . . . . . . . . . . 11

4 Franz Schubert 12

4.1 Symphony No. 8 ‘Unvollendete’ . . . . . . . . . . . . . . . . . . . . . . . . . . . 124.1.1 Mvt. 1 Allegro moderato . . . . . . . . . . . . . . . . . . . . . . . . . . . 124.1.2 Mvt. 2 Andante con moto . . . . . . . . . . . . . . . . . . . . . . . . . . 12

4.2 Song cycle ‘Die Winterreise’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

5 Felix Mendelssohn-Bartholdy 23

5.1 A Midsummer Nights’ Dream . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235.2 Symphony No. 4 ‘Italian’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

5.2.1 Mvt. 1 Allegro vivace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235.2.2 Mvt. 2 Andante con moto . . . . . . . . . . . . . . . . . . . . . . . . . . 235.2.3 Mvt. 3 Con moto moderato . . . . . . . . . . . . . . . . . . . . . . . . . 235.2.4 Mvt. 4 Saltarello presto . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

iii

CONTENTS

6 Robert Schumann 30

6.1 Symphony No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

6.1.1 Mvt. 1, Andante - Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . 30

6.1.2 Mvt. 2, Larghetto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306.1.3 Mvt. 3, Scherzo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

6.1.4 Mvt. 4, Allegro animato e grazioso . . . . . . . . . . . . . . . . . . . . . 30

6.2 Symphony No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

6.2.1 Mvt. 3, Adagio espressivo . . . . . . . . . . . . . . . . . . . . . . . . . . 30

6.3 Symphony No. 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

6.3.1 Mvt. 1, Lebhaft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

6.3.2 Mvt. 4, Feierlich . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

6.3.3 Mvt. 5, Lebhaft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

6.4 Symphony No. 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366.4.1 Mvt. 4, Langsam - Lebhaft . . . . . . . . . . . . . . . . . . . . . . . . . . 36

7 Johannes Brahms 43

7.1 German Requiem Op. 45 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

7.1.1 Mvt. 1, Selig sind, die da Leid tragen . . . . . . . . . . . . . . . . . . . . . 43

7.1.2 Mvt. 2, Denn alles Fleisch es ist wie Gras . . . . . . . . . . . . . . . . . . . 43

7.1.3 Mvt. 3, Herr, lehre doch mich . . . . . . . . . . . . . . . . . . . . . . . . . 43

7.2 String Quartet Op. 51 No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

7.2.1 Mvt. 1, Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

7.2.2 Mvt. 2, Romanze Poco Adagio . . . . . . . . . . . . . . . . . . . . . . . 43

7.2.3 Mvt. 3, Allegretto Molto Moderato e Comodo . . . . . . . . . . . . . . 437.2.4 Mvt. 4, Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

7.3 String Quartet Op. 51 No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

7.3.1 Mvt. 4, Finale, Allegro non assai . . . . . . . . . . . . . . . . . . . . . . 52

7.4 Symphony No. 4 Op. 98 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

7.4.1 Mvt. 1, Allegro non troppo . . . . . . . . . . . . . . . . . . . . . . . . . 54

8 Peter Ilyich Tchaikovsky 56

8.1 Nutcracker Suite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

8.1.1 Mvt. 1, Ouverture miniature . . . . . . . . . . . . . . . . . . . . . . . . 56

8.1.2 Mvt. 2, Danses caracteristiques, Marche . . . . . . . . . . . . . . . . . . 56

8.1.3 Mvt. 2, Danses caracteristiques, Danse de la Fee-Dragee . . . . . . . . 568.1.4 Mvt. 2, Danses caracteristiques, Danse russe Trepak . . . . . . . . . . . 56

9 Claude Debussy 60

9.1 Prelude a l’apres-midi d’un faune . . . . . . . . . . . . . . . . . . . . . . . . . . 60

9.2 Trois nocturnes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

9.2.1 No. 2 Fetes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

9.2.2 No. 3 Sirenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

10 Maurice Ravel 64

10.1 String Quartet in F . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

10.1.1 Mvt. 2, Assez vif - tres rythme . . . . . . . . . . . . . . . . . . . . . . . 64

10.2 Miroirs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

iv

CONTENTS

10.2.1 Mvt. 4, Alborada del Gracioso . . . . . . . . . . . . . . . . . . . . . . . 6410.3 Rapsodie Espagnole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

10.3.1 Mvt. 1, Prelude a la nuit . . . . . . . . . . . . . . . . . . . . . . . . . . . 6410.3.2 Mvt. 2, Malaguena . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6410.3.3 Mvt. 3, Habanera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6410.3.4 Mvt. 4, Feria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

10.4 Ma mere l’oye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7110.4.1 Pavane de la Belle au bois dormant . . . . . . . . . . . . . . . . . . . . 7110.4.2 Petit Poucet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

10.5 Daphnis et Chloe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7110.5.1 Danse Guerriere . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7110.5.2 Danse Generale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

10.6 Piano Concerto in G . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7110.6.1 Mvt. 1, Allegramente . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7110.6.2 Mvt. 2, Adagio Assai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7110.6.3 Mvt. 3, Presto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

11 Richard Strauss 82

11.1 Op. 20 Don Juan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8211.1.1 Introduction and Don Juan 0 . . . . . . . . . . . . . . . . . . . . . . . . 8211.1.2 Countess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8211.1.3 Don Juan 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8211.1.4 Anna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8211.1.5 Don Juan 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8211.1.6 Carnival . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8211.1.7 Don Juan 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8211.1.8 Death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

11.2 Symphonic poem Tod und Verklarung . . . . . . . . . . . . . . . . . . . . . . . 87

12 Gustav Mahler 90

12.1 Lieder eines fahrenden Gesellen . . . . . . . . . . . . . . . . . . . . . . . . . . . 9012.1.1 Wenn mein Schatz Hochzeit macht . . . . . . . . . . . . . . . . . . . . . . 9012.1.2 Gieng heut’ Morgens uber’s Feld . . . . . . . . . . . . . . . . . . . . . . . 9012.1.3 Ich hab’ ein gluhend Messer . . . . . . . . . . . . . . . . . . . . . . . . . . 9012.1.4 Die zwei blauen Augen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

12.2 Symphony No. 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9012.2.1 Mvt. 4 Adagietto Sehr Langsam . . . . . . . . . . . . . . . . . . . . . . . 90

13 Sergei Prokofiev 9513.1 Classical Symphony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

13.1.1 Mvt. 1, Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

14 Dmitri Shostakovich 97

14.1 Symphony No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9714.1.1 Mvt. 3, Lento . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

14.2 Symphony No. 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9714.2.1 Mvt. 1, Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

v

List of Tables

1.1 Notation convention in the diagrams . . . . . . . . . . . . . . . . . . . . . . . . 2

1.2 Notation convention in the diagrams (cont’d) . . . . . . . . . . . . . . . . . . . 3

2.1 Bach, Brandenburg Concerto No. 4, Mvt. 2 . . . . . . . . . . . . . . . . . . . . 4

2.2 Bach, Brandenburg Concerto No. 4, Mvt. 3 . . . . . . . . . . . . . . . . . . . . 5

3.1 Mozart, String Quintet in C Major KV 515, Mvt. 1 . . . . . . . . . . . . . . . . 7

3.2 Mozart, String Quintet in C Major KV 515, Mvt. 4 . . . . . . . . . . . . . . . . 8

3.3 Mozart, String Quintet in G Minor KV 516, Mvt. 1 . . . . . . . . . . . . . . . . 9

3.4 Mozart, String Quintet in G Minor KV 516, Mvt. 2 . . . . . . . . . . . . . . . . 10

3.5 Mozart, Symphony No. 40 in G minor, Mvt. 2 . . . . . . . . . . . . . . . . . . . 10

3.6 Mozart, Symphony No. 41 ‘Jupiter’, Mvt. 2 . . . . . . . . . . . . . . . . . . . . 11

4.1 Schubert, Symphony No. 8 ‘Unvollendete’, Mvt. 1 . . . . . . . . . . . . . . . . . 13

4.2 Schubert, Symphony No. 8 ‘Unvollendete’, Mvt. 2 . . . . . . . . . . . . . . . . . 14

4.3 Schubert, ‘Die Winterreise’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

4.4 Schubert, ‘Die Winterreise’ (cont’d) . . . . . . . . . . . . . . . . . . . . . . . . . 16







5.1 Mendelssohn, A Midsummer Nights’ Dream Overture . . . . . . . . . . . . . . . 24

5.2 Mendelssohn, Symphony No. 4 ‘Italian’, Mvt. 1 . . . . . . . . . . . . . . . . . . 25




5.6 Mendelssohn, Symphony No. 4 ‘Italian’, Mvt. 4 (Cont’d) . . . . . . . . . . . . . 29

6.1 Schumann, Symphony No. 1 ‘Fruhling’, Mvt. 1 . . . . . . . . . . . . . . . . . . 31




6.5 Schumann, Symphony No. 1 ‘Fruhling’, Mvt. 4 (cont’d) . . . . . . . . . . . . . 35

6.6 Schumann, Symphony No. 2, Mvt. 3 . . . . . . . . . . . . . . . . . . . . . . . . 35

vi

LIST OF TABLES

6.7 Schumann, Symphony No. 3 ‘Rheinische’ , Mvt. 1 . . . . . . . . . . . . . . . . . 376.8 Schumann, Symphony No. 3 ‘Rheinische’, Mvt. 1 (cont’d) . . . . . . . . . . . . 386.9 Schumann, Symphony No. 3 ‘Rheinische’, Mvt. 1. Development section . . . . 396.10 Schumann, Symphony No. 3 ‘Rheinische’, Mvt. 4 . . . . . . . . . . . . . . . . . 406.11 Schumann, Symphony No. 3 ‘Rheinische’, Mvt. 5 . . . . . . . . . . . . . . . . . 416.12 Schumann, Symphony No. 4 in D minor, Mvt. 4 . . . . . . . . . . . . . . . . . 42

7.1 Brahms, German Requiem Op. 45, Mvt. 1 . . . . . . . . . . . . . . . . . . . . . 447.2 Brahms, German Requiem Op. 45, Mvt. 2 . . . . . . . . . . . . . . . . . . . . . 457.3 Brahms, German Requiem Op. 45, Mvt. 3 . . . . . . . . . . . . . . . . . . . . . 467.4 Brahms, String Quartet Op. 51 No. 1, Mvt. 1 . . . . . . . . . . . . . . . . . . . . 477.5 Brahms, String Quartet Op. 51 No. 1, Mvt. 2 . . . . . . . . . . . . . . . . . . . . 487.6 Brahms, String Quartet Op. 51 No. 1, Mvt. 3 . . . . . . . . . . . . . . . . . . . . 497.7 Brahms, String Quartet Op. 51 No. 1, Mvt. 4 . . . . . . . . . . . . . . . . . . . . 507.8 Brahms, String Quartet Op. 51 No. 1, Mvt. 4 (cont’d) . . . . . . . . . . . . . . . 517.9 Brahms, String Quartet Op. 51 No. 2, Mvt. 4 . . . . . . . . . . . . . . . . . . . . 537.10 Brahms, Symphony No. 4, Mvt. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . 547.11 Brahms, Symphony No. 4, Mvt. 1 (cont’d) . . . . . . . . . . . . . . . . . . . . . 55

8.1 Tchaikovsky, Nutcracker Suite, Mvt. 1 Ouverture . . . . . . . . . . . . . . . . . 578.2 Tchaikovsky, Nutcracker Suite, Marche . . . . . . . . . . . . . . . . . . . . . . . 588.3 Tchaikovsky, Nutcracker Suite, Danse de la Fee-Dragee . . . . . . . . . . . . . 598.4 Tchaikovsky, Nutcracker Suite, Danse russe Trepak . . . . . . . . . . . . . . . 59

9.1 Debussy, Prelude a l’apres-midi d’un faune . . . . . . . . . . . . . . . . . . . . 619.2 Debussy, Trois nocturnes, No. 2 Fetes . . . . . . . . . . . . . . . . . . . . . . . 629.3 Debussy, Trois nocturnes, No. 3 Sirenes . . . . . . . . . . . . . . . . . . . . . . 63

10.1 Ravel, String Quartet, Mvt. 2 Assez vif - tres rythme . . . . . . . . . . . . . . . 6510.2 Ravel, Miroirs, Mvt. 4 Alborada del Gracioso . . . . . . . . . . . . . . . . . . . 6610.3 Ravel, Rapsodie Espagnole, Mvt. 1 Prelude a la nuit . . . . . . . . . . . . . . . 6710.4 Ravel, Rapsodie Espagnole, scales and modes . . . . . . . . . . . . . . . . . . . 6810.5 Ravel, Rapsodie Espagnole, Mvt. 2 Malaguena . . . . . . . . . . . . . . . . . . 6910.6 Ravel, Rapsodie Espagnole, Mvt. 3 Habanera . . . . . . . . . . . . . . . . . . . 7010.7 Ravel, Rapsodie Espagnole, Mvt. 4 Feria . . . . . . . . . . . . . . . . . . . . . . 7210.8 Ravel, Rapsodie Espagnole, Mvt. 4 Feria (cont’d) . . . . . . . . . . . . . . . . . 7310.9 Ravel, Ma mere l’oye, Pavane de la Belle au bois dormant . . . . . . . . . . . . 7310.10Ravel, Ma mere l’oye, Petit Poucet . . . . . . . . . . . . . . . . . . . . . . . . . 7410.11Ravel, Daphnis et Chloe, Danse Guerriere . . . . . . . . . . . . . . . . . . . . . 7510.12Ravel, Daphnis et Chloe, Danse Generale . . . . . . . . . . . . . . . . . . . . . 7610.13Ravel, Daphnis et Chloe, Danse Generale chord structures . . . . . . . . . . . 7710.14Ravel, Concerto pour Piano et Orchestre, Mvt. 1 . . . . . . . . . . . . . . . . . 7710.15Ravel, Concerto pour Piano et Orchestre, Mvt. 1 (cont’d) . . . . . . . . . . . . 7810.16Ravel, Concerto pour Piano et Orchestre, Mvt. 2 . . . . . . . . . . . . . . . . . 7910.17Ravel, Concerto pour Piano et Orchestre, Mvt. 3 . . . . . . . . . . . . . . . . . 8010.18Ravel, Concerto pour Piano et Orchestre, Mvt. 3 (cont’d) . . . . . . . . . . . . 81

11.1 Strauss, Op. 20 Don Juan, formal analysis . . . . . . . . . . . . . . . . . . . . . 83

vii

LIST OF TABLES

11.2 Strauss, Introduction and Don Juan 0, harmonic analysis . . . . . . . . . . . . 8411.3 Strauss, Countess, harmonic analysis . . . . . . . . . . . . . . . . . . . . . . . . 8411.4 Strauss, Don Juan 1, harmonic analysis . . . . . . . . . . . . . . . . . . . . . . . 8511.5 Strauss, Anna, harmonic analysis . . . . . . . . . . . . . . . . . . . . . . . . . . 8511.6 Strauss, Don Juan 2, harmonic analysis . . . . . . . . . . . . . . . . . . . . . . . 8511.7 Strauss, Carnival, harmonic analysis . . . . . . . . . . . . . . . . . . . . . . . . 8611.8 Strauss, Don Juan 3, harmonic analysis . . . . . . . . . . . . . . . . . . . . . . . 8611.9 Strauss, Death, harmonic analysis . . . . . . . . . . . . . . . . . . . . . . . . . . 8711.10Strauss, Symphonic poem Tod und Verklarung . . . . . . . . . . . . . . . . . . 8711.11Strauss, Tod und Verklarung (cont’d) . . . . . . . . . . . . . . . . . . . . . . . . 8811.12Strauss, Tod und Verklarung (cont’d) . . . . . . . . . . . . . . . . . . . . . . . . 89

12.1 Mahler, Lieder eines fahrenden Gesellen, 1. . . . . . . . . . . . . . . . . . . . . 9112.2 Mahler, Lieder eines fahrenden Gesellen, 2. . . . . . . . . . . . . . . . . . . . . 9212.3 Mahler, Lieder eines fahrenden Gesellen, 3. . . . . . . . . . . . . . . . . . . . . 9312.4 Mahler, Lieder eines fahrenden Gesellen, 4. . . . . . . . . . . . . . . . . . . . . 9312.5 Mahler, Symphony No. 5, Mvt. 4 Adagietto . . . . . . . . . . . . . . . . . . . . 94

13.1 Prokofiev, Classical Symphony, Mvt. 1 . . . . . . . . . . . . . . . . . . . . . . . 96

14.1 Shostakovich, Symphony No. 1, Mvt. 3 . . . . . . . . . . . . . . . . . . . . . . . 9814.2 Shostakovich, Symphony No. 9, Mvt. 1 . . . . . . . . . . . . . . . . . . . . . . . 9914.3 Shostakovich, Symphony No. 9, Mvt. 1 (cont’d) . . . . . . . . . . . . . . . . . . 100

viii

Chapter 1

Introduction

1.1 What you will find in this booklet

This booklet presents a number of diagrams, representing the musical analysis of a numberof compositions from the classical music repertoire. The diagrams are in the form of tablesand they cover a set of masterpieces from the tonal music period, i.e., starting with the Baroqueand ending with Impressionism and the late Romantic composers. A limited set of later worksis also included.

Each chapter contains works from one specific composer. Chapters are ordered more orless chronologically.

1.2 How the musical analysis diagrams were created

Over the years I have analysed many musical scores, in order to try and understand thefollowing aspects in the works by the great masters:

• musical form;

• the relations between the keys (or tonal centrer) within a movement;

• the harmonic progressions,

• the use of melodic material (from a short motive to a long and varied musical sentence);

• the instrumentation;

• the detailed voice leading within a part.

This analysis has yielded a set of annotated scores in my music library. As a byproduct Icreated coloured diagrams on graph paper, with a more or less proportional representationof the musical form and harmony, melody and other aspects indicated.

Recently I decided to put these diagrams into electronic form and make them availableon the Internet. I chose to transform the diagrams into tables, losing some of the information(such as specific colours for melodic material and the exact duration of pedal points) on theway. However, I thought they might still be useful as a reference source for musical analysis.

1

CHAPTER 1. INTRODUCTION

1.3 How to read the diagrams

The diagrams are presented in more or less standardised tables. See Table 1.1 and 1.2 for anexplanation of the labels and symbols used in the diagrams.

Table 1.1: Notation convention in the diagrams

Label Meaning

m measure number(112 m.) total number of measures in the movementM Melodic material (motive, theme, melody)M0 Motive, used as introductionM1 First main themeM1’ Varied first theme(M1) Vague reference to a themeM1.1 First theme from the first thematic group (sonata form)M2 Second theme (contrasting theme in sonata form)I(M1.1) Melodic inversion of M1.1▽ Gradual introduction of the melodic material below... Melodic material from the previous line is continued⊥ Melodic material from the previous line ends hereR Key or tonal centreH Harmonic progression

When reading the tables one should take into account:

• The exact start and ending of melodic material is not indicated.

• A sequence of roots in the column R indicates a quick modulation taking place (withinthe timespan of a few measures).

• The harmonic progressions frequently are reduced to the main chords that support thestructure (the functional harmony).

• A harmonic sequence (more or less exact repeat of a short fragment) is frequently in-dicated by the notation Seq(3 × 2m;R7). This is a sequence of 6 measures in total,consisting of a 2 measure pattern used 3 times. Each repeat is at an upward tonal step(R7). This notation is based on the tonal positive and negative root cycle system:

– R3: root moving a third downward, R−3: root moving a third upward;

– R5: root moving a fifth downward, R−5: root moving a fifth upward;

– R7: root moving a second upward, R−7: root moving a second downward;

• Pedal point are indicated as c-ton-ped or (for a tonic pedal) g-dom-ped (in case of adominant pedal). When the pedal is indicated between brackets, e.g., (c-ped), it iscontinued from the previous line.

2

1.3. HOW TO READ THE DIAGRAMS

Table 1.2: Notation convention in the diagrams (cont’d)

Label Meaning

[T] , [SD] , [D] Tonic, sub-dominant and dominant tonal axis materialℜ(Dm7 − G7) Harmonic riff(a), (b) phrase from a musical sentence (e.g., M1=a+a+b)Exp. Exposition in the sonata formDev. Development in the sonata formRec. Recapitulation (also abbreviated as Recap.)Tr. Transition (also abbreviated as Trans.)Retrans. Retransition (back to initial tonal key)Gr. Group (a group of related melodic material)A, B Sections in a longer formA’ Varied section in a longer form(N) Neapolitan chord (major chord on lowered second step)[A], #1 Rehearsal mark in the printed score[

34

]

Meter

Stat. Statement (also abbreviated as St.)Seq. Sequence (see the explanatory notes)Sym. Symmetric harmonic structuresImit. ImitationCtp. CounterpointPed. Pedal point (e.g., c-tonic-pedal)Rh. Rhythmic motiveUnis. UnisonoChr. ChromaticAsc. AscendingDesc. DescendingAug. Melodic augmentation (longer durations)Dim. Melodic diminuition (shorter durations)Wh.t.-sc. Whole-tone scaleOct.-sc. Octatonic scale

3

CHAPTER 2. JOHANN SEBASTIAN BACH

Chapter 2

Johann Sebastian Bach

2.1 Brandenburg Concerto No. 4 (1721)

Source: [1].

2.1.1 Mvt. 2 Andante

Form: ternary form, ABA’. See Table 2.1 for the analysis.

Table 2.1: Bach, Brandenburg Concerto No. 4, Mvt. 2 Andante

m M R H Comment

1 M1 Em Em A, Echo(Question-Answer)9 M2 B E7− Echo(Q-A)

M2 Am E − D − C∆7 B7− Seq(3 × 1m;R−7)18 M2 Em D7 − G E7 − Am E7− Echo(Q-A)

28 M2 Am Am D7 − G − C∆7 F♯∅7 − B7 B, solo, Seq(3 × 2m;R−7)⊥ Em − F♯7−

37 M2 Bm Bm F♯7 − Bm C♯ − B − A Seq(3 × 1m;R−7)⊥ G∆7 F♯7−

45 M2 Bm A7 − D B7 − Em B7− Echo

55 M1 Em Em F/A− A’61 M2 B F♯ − E − D G∆7 Seq(3 × 1m;R−7)68 Em Am/C − B Coda

2.1.2 Mvt. 3 Presto

See Table 2.2 for the analysis.

4

2.1. BRANDENBURG CONCERTO NO. 4

Table 2.2: Bach, Brandenburg Concerto No. 4, Mvt. 3 Presto

m M R H Comment

1 M1 G G D − G A7 − D D7 − G Fugato-Intro (4 stat.)23 M1 G A7 − D D− Tutti 1 (2 stat.)41 M1 G G G D7 − G D7− Solo 1, imit.47 ⊥ G Em − A7− Seq(3 × 2m;R−7)53 M1 D D A7 − D A7− Imit.57 ⊥ D E7 − A7− Seq(3 × 2m;R−7)

67 M1/M2 D D A7 − D D7

d− Em B7 − Em Tutti 2

75 M2 E7

d− F A7

d− Bm Seq(3 × 2m;R5)

M1/M2 G B7−

87 Em Em B7 − Em B7 − Em A7− Solo 2 (violin)95 D D A7 − D7 − G7 E7− Seq(3 × 2m;R5)

Am Am B7 − Em105 M1 B7− Imit.

Em Em A7 B7 − Em B7 − E7−

Am Am B7 − Em B−

127 M1 Em Em B7 − Em B7 − Em B7 − Em Tutti 3 (3 stat.)138 M3 Seq(3 × 2m;R5), (4 stat.)

Bm F♯7 − Bm E7 − F♯7 − Bm F♯7−152 Bm Bm E7 − Am D7 − G Em − A7− Solo 3, Seq(3 × 2m;R−7)159 M1’ G − C D D7 − G G7 − C G7− Imit.167 M1 C C D7 − G G7 − C F G7−

175 M1 C C G7 − C G7 − C G7− Tutti 4, imit. (3 stat.)183 C D7− Solo, Seq(3 × 2m;R−7)189 M1 G G D7 − G D7 − G D7 − G Tutti 5, imit. (3 stat.)197 G A7 − D7− Seq(3 × 2m;R−7)

207 M1/M2 G GM2 A7 − D7− Seq(2 × 2m;R5)

219 G G G7 − C D7− Coda225 M1 G D7 − G D7−

G A7 − D G7 − C E7 − Am − D7−

237 M1 G D7 − G D − G Imit. (2 stat.), (244 m.)

5

CHAPTER 3. WOLFGANG AMADEUS MOZART

Chapter 3

Wolfgang Amadeus Mozart

3.1 String Quintet in C Major KV 515 (1787)

Source:[10].

3.1.1 Mvt. 1 Allegro

Form: sonata form. The formal analysis is shown in Table 3.1.


Form: rondo form. The formal analysis is shown in Table 3.2.

3.2 String Quintet in G Minor KV 516 (1787)


Form: sonata form. The formal analysis is shown in Table 3.3.

3.2.2 Mvt. 2 Minuetto

Form: ternary form (3-part song form). The formal analysis is shown in Table 3.4.

3.3 Symphony No. 40 in G minor KV 550 (1788)

Source: [9].

3.3.1 Mvt. 2 Andante

Form: ternary form, three-part song form. The formal analysis is shown in Table 3.5.

6

3.3. SYMPHONY NO. 40 KV 550

Table 3.1: Mozart, String Quintet in C Major KV 515, Mvt. 1 Allegro

m M R H Comment

1 M1.1 C C G7 − C C − G Exp., Gr. 1

21 M1.1 Cm Cm F − C G7d−

46 M1.2 Am Am D♭(N) − C/G A7−

69 M1.1-1.3 D DM1.4-1.5 D7 − G Transition

94 M2.1/M1.5 G G Gr. 2M1.5 D7− Seq(3 × 2m, R7)

115 M2.2 G D7−

131 M1.4 G G7

d− Tr., g-ton-ped.

152 M1.1 A7 − B♭/F D7 − C/G E7− Dev.171 M1.4 Am − Dm− Am A7 − Dm C

... Gm − Cm− D7 − Gm G7 − Cm Seq. (cont’d)

... Fm C7 − Fm Seq. (cont’d)⊥ B♭7 − E♭

193 M1.5 G7 − Cm D7−

197 M2.1 G G G7−

205 M1.1 C C G7

d− Rec., Gr. 1

230 M1.2 Am Am D7−

255 M1.1-1.3 G GM1.4-1.5 G7 − C G7− c-ton-ped.

281 M2.1/M1.5 C C Seq.M1.5 C/G − G7− Gr. 2

305 M2.2 C

322 M1.4 C C/G D7/F♯− Coda, g-dom-ped.

341 M2.1/M1.5 C/G G7

d− Am

A7 − Dm − G7−

353 M1.4 C F/C C G7 − C c-ton-ped. (368 m.)

7


Table 3.2: Mozart, String Quintet in C Major KV 515, Mvt. 4 Allegro

m M R Comment

1 a C A (102 mm.)17 b42 a58 c74 T1 C Trans.

103 M1 G B (109 mm.)120 M2136 M3 (M3=a’)162 M4184 T2 Trans.

212 a C A (85 mm.)228 b253 a269 c285 T1 Trans.

297 a’ F C (61 mm.), Seq(3 × 8m, R−7)321 Seq(6 × 2m, R5)333 T1’ Trans.

358 M1 G B (109 mm.)375 M2393 M3 (M3=a’)419 M4441 T2’ Trans.

467 a’ F Coda (73 mm.)477 a’ C493521 a’ (539 m.)

8

3.3. SYMPHONY NO. 40 KV 550

Table 3.3: Mozart, String Quintet in G Minor KV 516, Mvt. 1 Allegro

m M R H Comment

1 M1 Gm Gm D7− Exp., Gr. 19 M1 Gm D7−

18 T1 A♭97 D7 − Gm Trans., Seq(R5)

30 M2 Gm Gr. 234 M2 B♭ F7 − B♭40 T2 C7 F7− Trans.49 M2’ B♭ E♭ F7− Imit.64 M1’ B♭ F7− Fin. St., Imit.76 T3 B♭ F7− Trans.

85 M1’ B♭ G7

d− Codetta, Imit.

97 M1’ Cm A♭ Fm D♭ B♭7 Dev.107 M2 E♭m Seq(3 × 4m, R7)

M2 Fm Seq. (Cont’d)M2 Gm D7− Seq. (Cont’d)

G7 − C7 − F7 − B♭7 − E♭7 Seq(R5)123 Gm D7 D7− Retrans., d-dom-ped., imit.

133 M1 Gm Gm D7− Recap., Gr. 1141 M1 Gm Cm156 T1 A7 D7 − Gm Trans., Seq(R5)168 M2 Gm Gr. 2172 M2 Cm G7 − Cm176 T2 Gm Cm A7 − D7− Trans.185 M2’ Gm Cm D7− Imit.210 M1’ Gm D7− Fin. St., Imit.213 T3 Gm D7− Trans.222 M1’ Gm D7− Codetta, Imit.

235 M1 Gm Gm D− Coda, Imit.243 M2 Gm D − Gm d-dom-ped. (254 m.)

9


Table 3.4: Mozart, String Quintet in G Minor KV 516, Mvt. 2 Minuetto

m M R H Comment

1 M1 Gm D7− Allegretto, Pt. 15 M2 Dm Gm A7 − Dm A7 − Dm

14 M1’ Cm − E♭ G7 − Cm B♭7 − E♭ Pt. 2Cm G7 − Cm A7 − D7−

26 M1 Gm D7− Pt. 330 M2 Gm G7 − Cm A7 − D7 D7 − Gm (43 m.)

1 M1 G A7− Trio, Pt. 17 M2 D D A7 − D

20 M1’ Am E7 − Am Pt. 2C − Am − G G7 − C E7 − Am D − G Seq.

A7 − D−

32 M1 G G D7

d− Pt. 3

35 M2 Em Am7 − D7 − G (47 m.)

Table 3.5: Mozart, Symphony No. 40 in G minor, Mvt. 2, Andante

m M Key Comment Phrase

1 M1 E♭ Sentence: 2 + 2 + 4 m Part 1, 1st statement9 M1 E♭ 2 + 2 + 8 m 2nd Statement

20 M2 B♭ Sentence 2 + 2 + 4 m Contrasting theme28 G♭ − F7 Sequence (neg. cycles R−5) Transition37 B♭ Cadential material 4 + 7 + 5 m Closing

53 M2 E♭(m) Much varied and inverted Part 257 M2 D♭ − E♭ − F Sequence R7

63 M2 G7 − C69 C − B♭7 Retransition

74 M1 E♭ Sentence: 2 + 2 + 4 m Part 3, 1st statement82 M1 E♭ 2 + 2 m 2nd Statement86 M2 Fm − E♭7 Subdominant 4 + 4 m94 M1 A♭ − B♭7 Subdominant 2 + 3 m 3nd Statement99 C♭ − B♭7 Sequence (neg. cycles R−5) Transition

108 E♭ Cadential material 4 + 3 + 9 m Closing

10

3.4. SYMPHONY NO. 41 ‘JUPITER’ KV 551 (1788)

3.4 Symphony No. 41 ‘Jupiter’ KV 551 (1788)

Source: [9].

3.4.1 Mvt. 2 Andante Cantabile

Form: ternary form, three-part song form. The formal analysis is shown in Table 3.6.

Table 3.6: Mozart, Symphony No. 41 ‘Jupiter’, Mvt. 2 Andante Cantabile

m M Key Comment Phrase

1 M1 F B♭ C Sentence: a(2) + a′(2) + b(6) m Part 1, 1st statement11 M1 F a(2) + a′(2) + b(4) m 2nd Statement19 M2 Cm Sentence a(2) + a′(2) + b(5) m Contrasting theme28 C Transition32 Sequence39 C Cadential material 4 + 3 + 9 m Closing

45 M2 Dm Contrasting theme Part 251 M2 E♭m − B♭m − Fm−

Cm − Dm − Gm Sequence R−5

56 Dm − A7 · · ·C7 Retransition

60 M1 F B♭ C Sentence: a(4) + a′(7) + b(5) m Part 3, 1st statement76 F Transition80 Sequence87 F Cadential material92 M1 F a(3) + b(7) m 2nd statem., Closing

11

CHAPTER 4. FRANZ SCHUBERT

Chapter 4

Franz Schubert

4.1 Symphony No. 8 ‘Unvollendete’ (1822)

Source: [17].

4.1.1 Mvt. 1 Allegro moderato

Form: Sonata. See Table 4.1 for the analysis.

4.1.2 Mvt. 2 Andante con moto

Form: A1B1A2B2. See Table 4.2 for the analysis.

4.2 Song cycle ‘Die Winterreise’ (1827)

Source: [16].See Table 4.3 to 4.10 for the formal analysis.

12

4.2. SONG CYCLE ‘DIE WINTERREISE’

Table 4.1: Schubert, Symphony No. 8 ‘Unvollendete’, Mvt. 1 Allegro moderato

m M Key/H Comment

1 M0 Bm Introduction9 M1 Exp., Gr. 1, 1st stat.

22 M1 Bm 2nd stat.31 F♯7 Bm D7 Trans. 142 M2 G Gr. 2, 1st stat.53 M2 2nd stat.63 Gm Trans. 2, tremolo73 M2’ Seq(3 × 4 m)85 G Chords94 M2’ d-dom-ped.

104 G F♯7 − Bm Trans. 3,

110 M0 B7 − Em Dev.122 (M0) C Tremolo134 (M0) F♯7 Tremolo146 C♯m/G♯ Dm/A Em/B B7− Trans. 2, Seq(3 × 8m, R7

170 M0 Em176 (M0) Em Bm Seq.184 (M0) F♯m Bm Em A7− Seq.202 D F♯ F♯7 Retrans.

218 M1 Bm B7 Recap., Gr. 1, 1st stat.231 M1 Em D 2nd stat.238 F♯m E − A7− Trans. 1256 M2 D Gr. 2, 1st stat.267 M2 2nd stat.281 Em Trans. 2, tremolo291 M2’ Seq(3 × 4 m)303 B Chords312 M2’322 Trans. 3,

328 M0 Bm Coda336 M0334 (M0) (368 m.)

13


Table 4.2: Schubert, Symphony No. 8 ‘Unvollendete’, Mvt. 2 Andante con moto

m M Key/H Comment

1 a1 E A1

16 a1 E G E32 b1 E C♯m45 a1’ E56 Trans.

64 a2 C♯m B1

82 a2’ C♯96 a2” C♯m

111 D Seq.121 G139 C Retrans.

142 a1 E A2

157 a1 E G E173 b1 E A F♯m186 a1’ A252 Trans.

205 a2 Am B2

223 a2’ A237 a2” Am252 F Retrans.

268 a1 E Coda280 E G♯ E Trans.300 E (313 m)

14


Table 4.3: Schubert, ‘Die Winterreise’

Form m. Key/H Comment

1. Gute Nacht

I 6 Dm IntroductionA 9B 8 F − B♭−C 9 Dm

I 6 InterludeA 9B 8 F − B♭−C 9 Dm

I 6 InterludeA 9 DB 8 G − D−

C 11 D

7 Dm Coda (105 m.)

2. Die Wetterfahne

I 6 Am IntroductionA 5 UnisonoB 4 CC Seq.

A’ 5 AmB’ 5 F − A − AmC 9 Dm

A” 5 DmB’ 7 F − Gm − AC 11 D

5 Am Coda (52 m.)

3. Gefror’ne Thranen

I 8 Fm IntroductionA 13 Fm − A♭B 9 C − A♭m

C 10 C − A♭m Ambiguity N-chordC 10 C − A♭m

6 Coda (56 m.)

15


Table 4.4: Schubert, ‘Die Winterreise’ (cont’d)


4. Erstarrung

I 7 Cm Introduction, RH arpeggio

A 8 Cm−

B 9 E♭m

C 7 Gm LH arpeggio12 Cm

I 4 A♭ Interlude, RH arpeggioD 12 LH/RH arpeggio

5 Cm RH arpeggio

A 8B 9 E♭

C 7 Gm LH arpeggio14 Cm

7 Coda, RH arpeggio (109 m.)

5. Der Lindenbaum

I 8 E IntroductionA 16I 4 Em Interlude

A’ 88 Em b-dom-ped.

B 14 Em − E b-dom-ped.

A 18

6 Coda (82 m.)

6. Wasserflut

I 4 F♯m IntroductionA 10

I 4 A InterludeB 10 F♯m

4 Coda (32 m.)

16




7. Auf dem Flusse

I 4 Em Introduction

A 9 Em − D♯m Sudden, unprepared modulation (key shifts)A 9 Em − D♯m Unprepared modulation

B 8 E10

C 6 Em − D♯m− Unprepared modulation6 G♯m Unprepared modulation

C’ 8 Em − G − F♯m− Unprepared modulation10 Em − G − Em Unprepared modulation

3 Coda (74 m.)

8. Ruckblick

I 10 Gm Introduction

A 6 Gm − Dm Tonal ambiguityB 11 Dm − Gm

C 12 G9 Em Tonal ambiguity

A 6 Gm − Dm Tonal ambiguityB 4 Gm

11 G Coda (69 m.)

9. Irrblick

I 4 Bm IntroductionA 12 Bm − D − BmA 12 Bm − D − Bm

B 12 Bm − C Harmonisation of Neapolitan chord

Bm Coda (43 m.)

17




10. Rast

I 6 Cm Introduction, tonic pedalA 14 Cm − E♭ Tonic pedalB 10 Cm

I 6 InterludeA 14 Cm − E♭ Tonic pedalB 10 Cm

7 Coda (67 m.)

11. Fruhlingstraum

I 4 A IntroductionA 10B 12 Dm − Gm − Am Rapid key changes

C 17 A − Am

I 5 A InterludeA 10B 12 Dm − Gm − Am Rapid key changes

C 18 A − Am (89 m.)

12. Einsamkeit

I 8 Bm Introduction, tonic pedal

A 8 Tonic pedalB 9

C 12 A − C Stressing the Neapolitan chord

C’ 13 G − A − C − Bm Stressing the Neapolitan chord (48 m.)

18




13. Die Post

I 8 E♭ Introduction, ton. andA 18 dom. pedal, chrom.B 19 D♭ − E♭ desc. bass

I 8 E♭ InterludeA 18B 19 D♭ − E♭ (94 m.)

14. Der greise Kopf


I 4 Cm Introduction

A 6B 6 GC 13 A♭ E♭ Cm

A 6B’ 4 CC’ 5 Cm (45 m.)

15. Die Krahe

I 5 Cm Introduction, LH arpeggio

A 8 Cm2 E♭

B 9 E♭ − C − F − D − G Shifting keys

A 4 Cm

C 9 Fm − Cm Tonic pedal

6 Cm Coda (43 m.)

19




16. Letzte Hoffnung

I 4 E♭ Introduction

A 4 Through-composed6 Cm

B 11 Cm − E♭m Key ambiguity

C 9 E♭m

D 13 E♭ (47 m.)

17. Im Dorfe

I 6 D Introduction

A 13 D − Dm − DB 11 G − D

A 7 D − DmC 6 D

7 (49 m.)

18. Der sturmische Morgen

I 3 Dm Introduction, unisonoA 6 unisonoB 4 B♭C 6 Dm (19 m.)

20




19. Tauschung

I 5 A IntroductionA 8

8B 9 EA 8 A F♯m chord on lyrics Taauschung

5 (44 m.)

20. Der Wegweiser

I 5 Gm Introduction

A 88 Seq.

B 8 G−

11 Em − Gm Shifting keys

A 88 Seq.

C 12 Gm Chrom. asc. bassC’ 9 Chrom. asc. bass

6 Coda (84 m.)

21. Das Wirthshaus

I 5 F Introduction

A 6 Through-composed6

B 5 B♭ − C f -dom-ped.

C 6 Fm − A♭ − F

3 Coda (31 m.)

21




22. Muth

I 4 Am Introduction

A 7 Am7 A

B 6 E6 A6 E − C6 A

4 Am Coda (46 m.)

23. Die Nebensonnen

I 4 A Introduction

A 56

B 4 Am6 C − Am

A 4 A3 Coda (33 m.)

24. Der Leiermann

I 8 Am Introduction, ton+dom-ped. throughout

A 8 Simple I-V7 harmony8

B 6

A 88

B 6

9 Coda (61 m.)

22

Chapter 5

Felix Mendelssohn-Bartholdy

5.1 A Midsummer Nights’ Dream Overture (1826)

Source: [8]. Form: Sonata. See Table 5.1 for the analysis.

5.2 Symphony No. 4 ‘Italian’ (1833)

Source: [8].

5.2.1 Mvt. 1 Allegro vivace

Form: Sonata Form. See Table 5.2 for the analysis.

5.2.2 Mvt. 2 Andante con moto

Form: ABA’B’. See Table 5.3 for the analysis.

5.2.3 Mvt. 3 Con moto moderato

Form: ABAB’. See Table 5.4 for the analysis.

5.2.4 Mvt. 4 Saltarello presto

Form: Sonata form. See Table 5.5 and 5.6 for the analysis. M0 is the saltarello rhythm (groupsof three eight notes).

23

CHAPTER 5. FELIX MENDELSSOHN-BARTHOLDY

Table 5.1: Mendelssohn, A Midsummer Nights’ Dream Overture

m M Key/H Phrase Comment

1 M0 E Exposition8 M1 Em AABA’ Gr. 1 Th. 1

41 Em B− BA’62 M2 E [A] Gr. 1 Th. 278 M3 E F♯7 Transition98 M1 B C♯m E Sequence

122 F♯7 − B F♯7− [B] Transition138 M4 B AA’ Gr. 2 Th. 1166 M5 B Transition198 M6 B AB [C] Gr. 2 Th. 2222 B Transition230 M2 B247 M0 B

250 M1 Bm [D] Development270 M1 F♯m290 M1 Em298 M1 Bm A7−

316 M1 D [E]334 M2 C♯ A7 − D F♯ Sequence358 G♯7−373 M4 C♯m [F]

394 M0 E Recapitulation404 M1 Em AABA’ Gr. 1 Th. 1436 M1 C E B7− Transition458 M4 E Gr. 2 Th. 1486 M5 E Transition518 M6 E AB [G] Gr. 2 Th. 2542 M3 E B7− Transition586 M2 E Gr. 1 Th. 2

620 M1 Em ABA [H] Coda

644 Em B7d− [I]

658 M2 C♯m E [K]682 M0 E (686 m.)

24

5.2. SYMPHONY NO. 4 ‘ITALIAN’

Table 5.2: Mendelssohn, Symphony No. 4 ‘Italian’, Mvt. 1 Allegro vivace

m M R H Comment

1 M1.1 A A E7− Exp. Gr. 1, 1st st. (a+b)24 M1.1’ A F♯m C♯m E7 − A B7 − E7− Trans. (a)51 M1.1 A E7− 2nd stat., (a+c)66 A B7 − E C♯m− Trans. Ton→Dom.

M1.1 F♯7 − B7− (a)90 M2.1 E E B7 − Em B7− Tr.+Gr. 2

110 M2.2 E F♯7 − B7− 1st stat.124 M2.2 E B7/A 2dn st.+M1.1(b)140 M2.2 E/G♯ B7 − E F♯m 3rd stat.159 M1.1’ C♯m E♯m/G♯ G♯ − C♯m F♯7− Tr.,(a)167 M1.1 E E/B B7 − E Final stat., (a)187 M2.2’ E − A B7 − E E7 − A 1): Tr., (c)

210 M2.1 Am E7 − Am A Dev., Tr.222 ⊥ Dm Dm225 M3.1 Am E7 − Am B7 − Em G7 − C New theme, ctp.

M3.1’ Am − Em E7 − Am B7 − Em257 M3.1 Bm Bm/F♯ F♯7 − Bm/F♯ F♯7−269 M3.1/1.1 B B7 − E E7 − A A7 − D D7− (a)285 M1.1 C C/G − G7 − C B7− False rec., (a)297 M3.1 Em Em B7 − Em313 M3.1 F♯m C♯7 − F♯m319 M1.1 C♯ (a)327 C♯ C♯7 − F♯m A A7− Retrans.357 M1.1’ D D F♯m B7− (a), back to Ton.

371 M1.1 A A/E E7− Rec. Gr. 1, (a+b)391 A E7− Trans.407 M2.2 A B7 − E7− Gr. 2421 M2.2 A E7/D− +M1.1(b)437 M2.2 A − Bm A/C♯ F♯ − Bm458 M3.1 Am Am/E G7 − C C7 − F (Dev. Th.)478 M3.1 E7 − Am E7/D−

486 M1.1/3.1 A − D A/C♯ E7 − A A7 − D Bm Final st., (a)

512 M4.1 A E7 − A Coda536 M1.1’ A/E F♯7 − Bm E7 − A548 M1.1’ B7 E7−

557 M2.2’ A E7− (c)572 M3.1’ A580 M1.1’ (a), (588 m.)

25


Table 5.3: Mendelssohn, Symphony No. 4 ‘Italian’, Mvt. 2 Andante con moto

m M R H Comment

1 Dm A7− A, Intro4 M1.1 Dm A7− (a)

12 M1.1 Dm (a)20 M1.2 A − Dm E7 − A7− (b)

M1.1 Dm28 M1.2 A7 − Dm E7 − A7− (b)

M1.1 Dm A7−

36 Dm E7 − A E7 − Am B♭57 /F− Trans.

45 M2 A E7 − A A7− B, e-Dom-Ped.49 (M2) D D Em − A7 − D A/C♯ − D♯/F♯

57 E♭97 − Trans.

59 M1.1 Am Am A7 − B♭/D A’(M1.1) D♯◦7 − B7 − E7 − A7−

66 M1.1 Dm Dm A♭97 −

(M1.1) Dm

71 A♭97

74 M2 D A A7 − D B’, a-dom.ped.78 (M2) G E7 − A7 − D7 − G

⊥ B7 − Em A7 − D/F♯ − G85 D/A − A7

86 Dm A7 − Dm E∅7/G − A − Dm Coda

94 C♯◦7 A♭97 −

97 M1.1 Dm D♭97 − Gm

E∅7/D − A7/C♯ A − Dm (103 m.)

26


Table 5.4: Mendelssohn, Symphony No. 4 ‘Italian’, Mvt. 3 Con moto moderato

m M R H Comment

1 M1.1 A E7 − A A − E E7/D − A/C♯ A15 ⊥ F♯m − B7 − E

B7 − E Trans., e-dom-ped21 M1.2 Bm F♯7 − Bm

35... F♯m C♯7 − F♯m

39 ⊥ D/F♯ − E7

42 M1.3 A E7 − A A7 − D F♯7−

50... Bm C♯7 − F♯m A/E−

56 ⊥ E7 − A58 M1.1’ E7 − A E7 − A Trans.69 E7 − A

76 M2 E B7/A − E/G♯ B

83... B7/A E/B−

90 ⊥ B7 − E92 Em B7/A − Em/G b-dom-ped96 E B7 − E − Am−

100 E Am − E E/G♯ − Am e-ton-ped108 M2 B7/A − E/G♯ B7/A E/B−

121 ⊥ B7 − E125 (M1.1’) A E7 Trans.

127 M1.1 A E7 − A A − E E7/D − A/C♯ A141 ⊥ F♯m − B7 − E

B7 − E Trans., e-dom-ped147 M1.2 Bm F♯7 − Bm

161... F♯m C♯7 − F♯m

165 ⊥ D/F♯ − E7

168 M1.3 A E7 − A A7 − D F♯7−

176... Bm C♯7 − F♯m A/E−

182 ⊥ E7 − A186 M1.1’ E7 − A E7 − A Trans.195 E7 − A

203 M2 A B7/A − E7 − A/E − B7 B’210 ⊥ B7/A F♯m − E7−

219 A (223 m.)

27


Table 5.5: Mendelssohn, Symphony No. 4 ‘Italian’, Mvt. 4 Saltarello presto

m M R H Comment

1 M0 Am Am Exp-Gr. 1, a-ton-ped.6 M1 E7 − Am Am St. 1-3 (a-ton-ped)

20 E7 − Am (a-ped) B7−

22 M1 E E B − E St. 4, e-ton-ped.26 M1 A B7 − E − A E7− St. 5, a-ton-ped.30 M1 Am Am B∅7 − Am − E− St. 6, e-dom-ped.34 Am E7 − Am Trans.41 (M0) G7 − C A7 − Dm E7 − Am

D7 − G F∅7 − Em/B − B−

53 M2.1 Em B7 − Em B7 − Em Gr. 2, b-dom-ped.

61 M2.2 F♯∅7 − B7

d−

(M0) C G − C Am/C − B7 − EmE7/G♯−

72 Am Am D7

d− Trans.

76 M1 Em Em Em/B − B7− Gr. 1, Final Stat.80 ⊥ Em Am − F♯∅7 − B7−

84 M2.2/M0 Em B − Em G − C B − EmEm/B − B−

97 M2.3 Em D♯◦7/A − Em e-ton-ped.

101 Em Em Development105 M1/M0 A A Dm/A− Gr. 1a-ton-ped.110 M1 G G A7/C♯− g-ton-ped.115 M1 D D C♯◦7/G − D d-ton-ped.122 M1.2 Gm D7 − Gm/B♭ D7 − Gm New theme, imit.133 M1.2 Am E7 − Am B7 − Em G7 − C Imit.143 M1.2 Em F♯∅7 − B7 − Em/B148 ⊥ D7 − G A7 − D D7 − G D7 Imit.156 M0-M1.2 Am E7/G♯ − Am Imit.159 M0-M1.2 Dm A − A7 − Dm Imit.163 M0 G D − D7 Imit.166 M1.2 G − C G G7 − C B7 − Em C7 − F Stretto175 M1.2 Am E7 − Am

179 M1/M0 Em B − Em/B A♯◦7/E − B− Tr. (False Rec.), b-dom-ped.

183 M1/M0 Am E7 − Am/E B♭57 /F − E e-dom-ped.

E7 − Am193 B − E

28


Table 5.6: Mendelssohn, Symphony No. 4 ‘Italian’, Mvt. 4 Saltarello presto (Cont’d)

m M R H Comment

195 M1.2 Am E7 − Am/E Rec. (2nd Dev.), e-dom-ped.200 M1.2 E7 − Am B7 − Em E7 − Am (e-ped)210 M1 E7 − Am/E E7− (e-ped.)

214 M0 D A7 − D D7 − B♭57 /F−

222 M1 Am Am/E E7 − Am

226 M1.1 Dm E∅7/G − A♭97 −

230 M0 Dm/F B♭57 /F − Am/E − E7− Trans.

234 M0 Am Am E− Coda, a-ton-ped.242 M0 Dm/A − Am (a-ped)244 Am/E − E − Am E7 − Am252 M0 Am/E − E − Am254 M1 G♯◦7 − Am a-ton-ped.258 M1 G♯◦7 − Am − E7 − Am (a-ped), (264 mm.)

29

CHAPTER 6. ROBERT SCHUMANN

Chapter 6

Robert Schumann

6.1 Symphony No. 1 ‘Fruhling’ (1841)

Source: [18].

6.1.1 Mvt. 1, Andante - Allegro

Form: sonata form. See Table 6.1 for the analysis.

6.1.2 Mvt. 2, Larghetto

Form: rondo form. See Table 6.2 for the analysis.

6.1.3 Mvt. 3, Scherzo

Form: rondo form, ABACA. See Table 6.3 for the analysis.

6.1.4 Mvt. 4, Allegro animato e grazioso

Form: sonata form. See Table 6.4 and 6.5 for the analysis.

6.2 Symphony No. 2 (1846)

Source: [18].

6.2.1 Mvt. 3, Adagio espressivo

Form: ternary form, A1BA2. See Table 6.6 for the analysis.

30

6.2. SYMPHONY NO. 2

Table 6.1: Schumann, Symphony No. 1 ‘Fruhling’, Mvt. 1 Andante - Allegro

m M R/H Form Comment

1 M1 B♭ Intro Andante6 M2 Dm G7 − Cm F7− Seq.(R7)

15 B♭ D D7 F7− (39 m.)

1 M1 B♭ E♭ F7 − A♭7 − D♭ D7− Exp., Gr. 1 A-A-B(seq)-A’33 C Trans.43 M3 Am F C F Gr. 2 A

57... Dm C7 B

72 ⊥ G♭/B♭ − C7− C80 M4 F Trans.

96 M1 Bb C Dev. Seq(3 × R7)112 M5 Dm Gm Cm Seq(3 × R5)128 ⊥ Dm E♭ E♭7− Seq(3 × R7)140 M1 D G A7 − C7− False Rec. A-A-B(seq)164 M1 F G Am Dev (cont’d) Seq(3 × R7)180 M5 Am Dm Gm Seq(3 × R5)196 ⊥ Am B♭ B♭7− Seq(3 × R7)208 M4 A G Fm Seq(3 × R−7)232 ⊥ Cm − F7 − B∆7 C7− Seq(3 × R5)251 B♭/F − F7−

270 M1 B♭ IntroM2 Dm

279 M1 B♭7 D♭7 G♭ G♭7− Rec., Gr. 1 B(seq)-A295 F Trans.306 M3 Dm B♭ F B♭ Gr. 2 A

321... Gm F7 B

335 ⊥ C♭/E♭ − F7− C

343 M1 B♭ F7− Coda367 M1 B♭ C7−

391 B♭/B♭ B♭400 M6 E♭419 M6 E♭ F7−

429 B♭445 M1 B♭ (477 m.)

31


Table 6.2: Schumann, Symphony No. 1 ‘Fruhling’, Mvt. 2 Larghetto

m M R H Comment

1 M1 E♭ E♭ B♭7 − E♭7 − A♭ Cm − F7/C− A7 ⊥ B♭ E♭7 − A♭ D∅7 − G7 − Cm E♭/B♭ − B♭7

15 M1’ G7 − C7 − Fm B♭7 − G7 − Cm−

20 ⊥ F7 − E♭/B♭ − B♭7 − E♭

25 M2 C C Fm/C − B◦7 − C B, c-ton.-ped.28 ⊥ D∅7 − G7 − C G7 − C C7 g-dom.-ped.33 M2 A A Dm/A − G♯◦7 − A a-ton.-ped.36 ⊥ A/E − B∅7 − E7 − A E7 − A F7 e-dom.-ped.

41 M1 B♭ B♭ F7 − B♭7 − E♭ Gm − C7 − F B♭7/A♭ − E♭/G A’51 ⊥ F7/A − D7 − Gm E♭ − E◦7 − B♭/F − F7−

55 B♭ B♭ D7/A− C, Imit.57 Gm Gm B♭7/F− Imit.59 E♭ −E♭ D∅7/F − G/B Imit.62 Fm C7/B♭ − Fm/A♭ G∅7/B♭ − C/E−

66 G Fm D♭97 − G D7 − G D7 − G Imit.

75 E♭7 − A♭ A♭m − E♭/B♭ − B♭7−

78 M1 E♭ E♭ B♭7 − E♭7 − A♭ E♭/G − Cm − F7/C− A”

84... B♭ E♭7/D♭ − A♭/C

87... B♭7/D − D∅7 − G7 − Cm⊥ Fm7/A♭ − F7/A − E♭/B♭ − B♭7

92 M1’ G7/B − C7 − Fm B♭7 − G7 − Cm − F7/A−

98 ⊥ E♭/B♭ − B♭7 − E♭

102 E♭ A♭/E♭ − B♭7 − E♭ E♭7 − A♭ − F7 − B♭7− Coda, e♭-ton.-ped.108 E♭ A∅7/C − E♭/B♭ − B♭7 − E♭ D − Gm − D

32

6.2. SYMPHONY NO. 2

Table 6.3: Schumann, Symphony No. 1 ‘Fruhling’, Mvt. 3 Scherzo

m Motif R Comment

1 a(8m)+a’(8m) Dm A1,[

34

]

1 a(8m)+a’(8m) Dm17 b(8m)+b’(8m) F f -ped.25 a(8m)+a’(8m) Dm

1 c(16m)+c(16m) D B, Trio 1,[

24

]

33 c’(8m)+c’(8m)+d(8m)+d’(8m) F65 d’(10m) D Trans.75 e(18+16m) D a-ped.

109 c’(8m)+c’(8m)+d(8m)+d’(8m) F141 d’(10m) D Trans.151 e(18+16m) D a-ped.

1 a(8m)+a’(8m) Dm A2, Tempo 1,[

34

]

17 b(8m)+b’(8m) F f -ped.25 a(8m)+a’(8m) Dm

1 f(8m)+f(8m) B♭ C, Trio 2,[

34

]

9 f(8+8+16+8m) E♭ − Cm − F − F Seq.9 f(8+8+16+8m) E♭ − Cm − F − F Seq.

49 f(8+8m) B♭ Retrans

1 a(8m)+a’(8m) Dm A3, Coda,[

34

]

17 b’(16m) D

33 c(12m) D[

24

]

45 d(20m) D

33


Table 6.4: Schumann, Symphony No. 1 ‘Fruhling’, Mvt. 4 Allegro animato e grazioso

m M R H Comment

1 M0 B♭ B♭F Exp7 M1 B♭ D7 − Gm B◦7 − C7 − F7 Gr. 1/Th. 1

15 M1’ B♭7−19 M1’ E♭ F7 − B♭ DG − Cm/E♭ B♭/F − F7−

31 B♭ B♭7 − E♭ F7 − B♭ D− Tr. 143 M2 Gm Gm D − Gm A− Gr. 1/Th. 250 M2 Dm Dm A − Dm

58 M1’ G♭97 − C♭9

7 − Tr. 266 M0 F F B◦7 − C Gr. 274 M0 F − C7 − F D7/F♯ − Gm G7/B − C84 M0 F C7 − F D7/A − Gm C7 − F

F/C − C7 − F92 C7 − F B♭ F/C − C7 − F − F7 Retrans.

103 F − D♭ F F7/E♭ − D♭ A♭7 − D♭ Dev.111 M0 D♭ B♭7−117 M0 E♭m E♭m123 M0’ D♭ E♭7 F7 Imit., Seq.(3 × 4m;R7)

⊥ Cm G G7/F − Cm E7/B♭−139 M0’ A − Dm B7 − Em C♯7 − F♯m E♭7 Imit., Seq.(3 × 4m;R7)153 M0’ A♭m A♭m Stretto159 ⊥ E♭7 − A♭7 F7 − B♭7 G7 − C7 Seq.(3 × 4m;R7)

F sus47 − F7

B♭ Cm7/E♭ − F7 Tr. 3

180 M1 B♭ B♭ C7 − F− Recap., Gr. 1,Th. 1184 M1 B♭ D7 − Gm B◦7 − C7 − F F7−

192 M1’ B♭7−196 M1’ E♭ F7 − B♭ B◦7 − Cm D7 − G − Cm/E♭206 ⊥ B♭/F − F7−

208 B♭ B♭7 − E♭ F7 − B♭ G− Tr. 1221 M2 Cm Cm G − Cm D− Gr. 1, Th. 2228 M2 Gm Gm D − Gm236 M1’ C7 − F7−

244 M2 B♭ B♭ E◦7 − F Gr. 2252 M2 B♭ C7 − F7−

260 M2 B♭268 F7 − B♭ E♭ − B♭/F − F7 Retrans.

34

6.2. SYMPHONY NO. 2

Table 6.5: Schumann, Symphony No. 1 ‘Fruhling’, Mvt. 4 Allegro animato e grazioso (cont’d)

m M R H Comment

275 B♭ − G♭ B♭ B♭7/A♭ − G♭ D♭7 − G♭ Coda283 M0’ G♭ E♭7 − A♭7 F7 − B♭7 Imit., Seq.(3 × 4m;R7)294 G7 − Cm − C7 − B♭7 − F7−

299 B♭ − B♭7/A♭−303 G♭ G♭ D♭7 − G♭ C♯7 − F♯−307 M0’ B7 A♭7 − D♭7 B♭7 − E♭7 C7/E− Imit., Seq.(3 × 4m;R7)319 B♭ B♭7/F − F7−

323 M0’ B♭ F7 − B♭ F7−

339 B♭ (353 m.)

Table 6.6: Schumann, Symphony No. 2, Mvt. 3 Adagio espressivo

m M R/H Form Comment

1 M1 Cm E♭ B♭7− A A1

9 M1 E♭ B♭7 − E♭ A20 M2 E♭ B♭ B26 M3 E♭ F7− Trans.35 M1’ B♭ A Imitation44 M2 A♭ F∅7/A♭−

48 M1’ E♭/B♭ B♭7d− C

56 M1’ Cm B♭7

62 E♭ B♭ E♭ A♭ D B, contrastFm E♭ Fm D♭/F−

74 M1 G G7− A’ g-dom.-ped.

82 M3 C G D7− A2, transition91 M1’ G A Imitation

100 M2 F D∅7/F−

104 M1’ C/G G7

d− C Chrom. bass, climax

112 M1’ Am G7−

118 M1’ C CodaM3’ (128 m.)

35


6.3 Symphony No. 3 ‘Rheinische’ (1850)

Source: [18].

6.3.1 Mvt. 1, Lebhaft

Form: sonata form. See Table 6.7 and 6.8 for the analysis. The detailed harmonic analysis ofthe development section is presented in Table 6.9.

6.3.2 Mvt. 4, Feierlich


6.3.3 Mvt. 5, Lebhaft

Form: rondo/sonata form, ABAC. See Table 6.11 for the analysis.

6.4 Symphony No. 4 in D minor (1841/1851)

Source: [18].

6.4.1 Mvt. 4, Langsam - Lebhaft

Form: sonata form. See Table 6.12 for the analysis.

36

6.4. SYMPHONY NO. 4

Table 6.7: Schumann, Symphony No. 3 ‘Rheinische’, Mvt. 1 Lebhaft

m M R/H Comment

1 M1 E♭ Exp., Gr. 1 (ABAB’)/Th. 119 Trans.25 M2.1 Gm Gr. 1/Th. 235 M2.243 M2.3/M1 Return of Th. 153 Trans.57 M1 E♭ Th. 175 Trans.77 M2.1’ Cm83 M2.2’ Gm

95 M3 Gm Gr. 2 (AA’BA”)/Th. 1103 M3’ Cm111 M4 B♭ Gr. 2/Th. 2127 M3” Gm139 Trans.143 M2 B♭ Final statements Gr. 1153 M2/M1165 M3 B♭ Final stat. Gr. 2177 M1

185 M2 G G7− Dev. Gr. 1193 M2 C C7

201 M3 Fm Gr. 2215 M3’ Trans., Seq.231 M2 G♭/B♭ F7− Gr. 1239 M2/M3 B♭253 ⊥ Trans.259 M3’ E♭7− Trans., Seq.

273 M1’ A♭m Gr. 1281 M1 B295 B7 B♭ B♭7− Trans311 M1’ E♭m319 M1 G♭329 F♯7 F7− Trans.

337 M3 B♭m Gr. 2351 M3’ Fm Trans.

37


Table 6.8: Schumann, Symphony No. 3 ‘Rheinische’, Mvt. 1 Lebhaft (cont’d)

m M R/H Comment

368 M1 E♭ C7− False Recap., Gr. 1375 M4 Fm Gr. 2387 M4 C m399 M1’ Trans.

411 M1 E♭ Recap. Gr. 1429 Cm A♭ Fm G7− Trans., Seq.

457 M3 Cm Gr. 2473 M4 E♭489 M3’ Cm

505 M2 E♭ Gr. 1515 M2/M1

526 M1/M4 E♭ Coda547 M1/M4563 M1 E♭ (585 m.)

38

6.4. SYMPHONY NO. 4

Table 6.9: Schumann, Symphony No. 3 ‘Rheinische’, Mvt. 1 Lebhaft. Harmonic analysis ofthe development section

Development 2nd Group themes

m 185 188 193 196 202 212 213 217 218

H G G♭97 − C C♭9

7 − Fm G7− Cm D7− GmR5 R5 (IV m− V − Im) (IIm−

(IV m− V − Im)

m 222 225 237 239 244 245 252 253 258H C− Fm F7− B♭ B♭7− E♭m F7− B♭m C7−

V − Im) (IV m− V − Im)(IV m− V −

m 259H F

I)

Development 1st Group themes

m 260 265 271 273 280 281 294 304 311H F7− B♭7− E♭7− A♭m F♯7− B B7 B♭7 E♭m

(IV m− N/V − V/V − V7− Im)(IV m−

m 318 319 329 337 343 350 351 361 368H C♯7− F♯ F♯7− F7 B♭m C7− Fm F7− E♭/B♭−

(IV m− V − Im)N/V V/V − V7− Im) (IIm− II7− I6

4−

m 379H B♭7−

V7)

39


Table 6.10: Schumann, Symphony No. 3 ‘Rheinische’, Mvt. 4 Feierlich

m M R H Comment

1 M1 E♭m E♭m B♭7 − E♭m A♭m− A1,[

44

]

8 M1 E♭m Imit. 3×13 M1 Imit. 2×, b♭-dom-ped.18 M1 A♭m− Imit. 3×, e♭-ton-ped.

23 M1 E♭m B,[

32

]

, Imit. 3×

26 M1 B♭m C∅7 − F7 − B♭m − B♭730 E♭m E♭m32 M1 F7− Imit. 3×35 M1 B♭m B♭m Imit. 3×38 M1 A♭ E♭7 − A♭ Imit. 2×40 M1 A♭ − E♭m E♭7 − A♭ B♭ − E♭m Imit. 4×

45 M1 E♭m B♭7 − E♭m A2,[

42

]

, Imit. 2×

50 B♭7 − E♭m A♭m−

52 E♭m58 M1 B7 − E B♭7 − E♭m B♭− Imit. 3×67 E♭m− (67 m.)

40

6.4. SYMPHONY NO. 4

Table 6.11: Schumann, Symphony No. 3 ‘Rheinische’, Mvt. 5 Lebhaft

m M R H Comment

1 M1 E♭ Fm7 − B♭7 − E♭ A (a)17 M2 B♭7 − E♭ (b)27 M3 B♭7 (c)39 M2 B♭7 − E♭ (b)47 M4 E♭ − B♭ F7− Trans.57 M5 B♭ B♭/D (d)72 M3 A♭ B♭m7 − E♭ − A♭ (c)80 Fm D♭/F − C7/E − Fm B♭7− Trans., e♭-ped., b♭-dom-ped.

98 E♭ F♯m D E♭ B, Dev.E♭m A♭m

108 M5 F Imit.110 F7 − G7 − A7 Seq(3 × R7)116 M5 Em B7 − Em C♯7− Imit.122 M5 F♯m G♯m F♯m C♯m/G♯ − E♭7 − A♭m126 A♭m B E♭7 − A♭m F♯7−130 M6 B B138 E♭ B♭7/F− b♭-dom-ped.150 M5 E♭/B♭

154 M1 E♭ Fm7 − B♭7 − E♭ A (a)162 M2 B♭7 − E♭ (b)172 M3 B♭7 (c)184 M2 B♭7 − E♭ (b)192 M4 E♭ − B♭ F7− Trans.202 M5 B♭ B♭/D (d)217 M3 E♭ Fm7 − B♭ − E♭ (c)225 Cm A♭/C − G7/B − Cm Trans.244 E♭ B♭7/F

255 M1/M5 E♭ C. Coda271 M4 E♭/B♭ Imit.(5×)299 M2 Cm − B♭ − E♭ Schneller, Imit.315 M6 B♭7−323 E♭ (329 m.)

41


Table 6.12: Schumann, Symphony No. 4 in D minor, Mvt. 4 Langsam - Lebhaft

m M R H Comment

1 Dm B♭ Dm/A E7 − A− LangsamDm − G7 − C

7 Dm − Gm/B♭ − A − A7− (16 m.)

1 M1 D A7 − D Lebhaft, Seq.9 Seq.

11 M2 Bm Em Seq(2 × 6m;R5)23 M3 A E7 − A29 M3 B7 C♯7 Seq(2 × 4m;R7)37 M3 F♯7 − B7 − E7 − A/E Seq(R5)43 E7− Trans. 151 A A Bm C♯m D− Bell effect, Seq(3 × 2m;R7)57 M1 A E7 − A

62 Bm ℜ(G − F♯♭97 ) Trans. 266 M1 Bm Bm Ctp.(4 × 3m)78 M1 Trans. 3, Seq(R5)82 M1 Bm D88 M4/M1 G92 M4/M1 Em99 M2 F♯m Em Em − A7− Trans. 3, Seq.

105 M2 D a-dom-ped.113 M3 D A7 − D a-dom-ped.119 M3 E7 − F♯7 Ped., Seq(2 × R7)

M3 B7 − E7 − A7 − D/A Seq(3 × R5)133 D A7− Trans. 1141 Dm Em F♯m G Bell effect, Seq(3 × 2m;R7)147 M1 D A7 − D

152 Em ℜ(C − B7) Trans. 2156 M5 D Em − A7 − D160 E7 − D/A − A7− Bell effect164 M5 D168 E7 − D/A − A7− Bell effect172 D D Schneller180 A7 − E7− Trans. 2 (194 m.)

1 D A − D B7 − Em − A7 − D Presto, Scales14 E7 − D/A − A7 − D (26 m.)

42

Chapter 7

Johannes Brahms

7.1 German Requiem Op. 45 (1868)

Source: [4].

7.1.1 Mvt. 1, Selig sind, die da Leid tragen, Ziemlich langsam und mit Ausdruck

Form: ABA1B1A2’. See Table 7.1 for the analysis.

7.1.2 Mvt. 2, Denn alles Fleisch es ist wie Gras, Langsam, marschmaßig

Form: AAB. See Table 7.2 for the analysis.

7.1.3 Mvt. 3, Herr, lehre doch mich, Andante moderato

Form: ABC. See Table 7.3 for the analysis.

7.2 String Quartet Op. 51 No. 1 (1873)

Source: [2].

7.2.1 Mvt. 1, Allegro


7.2.2 Mvt. 2, Romanze Poco Adagio

Form: ABA’B’. See Table 7.5 for the analysis.

7.2.3 Mvt. 3, Allegretto Molto Moderato e Comodo

Form: ABA’. See Table 7.6 for the analysis.

43

CHAPTER 7. JOHANNES BRAHMS

Table 7.1: Brahms, German Requiem Op. 45, Mvt. 1, Selig sind, die da Leid tragen

m M R H Comment

1 F F C7 − F Introduction,[

44

]

, f -Ped.

15 M1 F − B♭/F − B♭m − F A, Chorus19 ⊥ F − Dm − Am − Em − F27 M2 B♭ − C − F Sec. Motive

29... F F7 − B♭m C7− Chorus [A]

37 ⊥ A/C♯ − C7 − Dm/F C7

d− Chorus

47 M3.1 D♭ D♭ G♭ − E♭7/G− B, Chorus [B]55 M3.2 A♭7 − D♭7 Eb7/G− Imit.59 ⊥ D♭/A♭ − Ab7 − D♭ − G♭−

65 M4 F F F◦7 − C7/F − F7 − B♭ A1, f -Ped. (intro), Chorus [C]

74 ⊥ Fm D♭7 − F/C − C♭97

d−

80 M3.3 D♭ D♭/F − G♭m E♭7/G− B1, Chorus[D]88 M3.2 A♭7 − D♭7 Eb7/G− Imit.92 ⊥ D♭/A♭ − Ab7 − D♭ − G♭−

96 D♭7 − G♭/D♭ D♭7 − F/C − C7/E− d♭-Ped. (intro)

106 M1 F F − F7 − B♭ A2, Chorus [E]

111... F Dm − Am − Em − F

119... F E7 − Am − B♭m − G7 − C7−

127 ⊥ A/C♯ − C7 − Dm C7

d− Chorus

136 M2 F♯m/A − Dm − Am Dm C7− Trans.

144 M2 F F − F7 − B♭/F − C7 − F C7− Coda, Chorus, [F]150 ⊥ F − F/C − C7 − F (158 mm.)

44

7.2. STRING QUARTET OP. 51 NO. 1

Table 7.2: Brahms, German Requiem Op. 45, Mvt. 2, Denn alles Fleisch es ist wie Gras

m M R H Comment

1 M0 B♭m E♭m − B♭m G♭ − C7 − F F− A,[

34

]

, Intro

23 M1 B♭m G♭ − C7 − F Gm7/F − G∅7/F − F (a), Chorus [A]

43 M0 F G7/F − C7 − D♭ B◦7 − F ♭97 − (b), f -Ped. [B]

55 M1 B♭m C♭ − F7 − F − B♭ A◦7 − B♭ (a), Chorus75 M2 G♭ G♭ D♭7 − G♭ C♭ − C∅7 − D♭ Chorus [C]

91... D♭ C♯◦7 − D/F♯ − E♭m/G♭ − F7 Chorus [D]

107 ⊥ G♭ C♭/G♭ − C♭m/G♭ − G♭ D♭7 − G♭

127 M0 B♭m E♭m − B♭m G♭ − C7 − F F− A, Intro [E]

147 M1 B♭m G♭ − C7 − F Gm7/F − G∅7/F − F (a), Chorus [F]

167 M0 F G7/F − C7 − D♭ B◦7 − F ♭97 − (b), f -Ped. [G]

179 M1 B♭m C♭ − F7 − F − B♭ A◦7 − B♭ (a), Chorus198 M2 B♭ B♭ − A − Dm Cm/E♭ − B♭m/F − F− Chorus, Trans. [H]

206 M3 B,[

44

]

, Allegro, Chorus

219 M3 F Dm · · ·Em · · ·F Seq(3 × 2m;R7) [I]224 ⊥ B♭∆7 − G♭/B♭ − F/C − C7 − F Climax233 M4 F C − C7/B♭ − Fm/A♭ B♭m− Dim.+Aug., Chorus [K]

245... C − F Gm− Dim.+Aug.

253 ⊥ C7 − F♯7 − B7 − Am − F7/A Trans.261 M3 B♭m B♭m G♭ − B/D♯− Imit., Chorus [L]

267... B♭ Em · · ·Am · · ·Dm − B♭ E♭/G− Stretto imit.

276 ⊥ B♭/F B♭7 − E♭ A♭ Cm − F7 − B♭ Climax291 M3 Gm · · ·Am · · ·B♭− Seq(3 × 2m;R7) [M]296 ⊥ B♭7 − E♭m − C♭ − B♭/F − F7− Climax

303 M3 B♭ · · ·E♭ Coda, Seq(4 × 4m;R5) [M]

319... F7 − B♭ Cm7 − F7 − B♭ B♭7− b♭-Ped.

329 ⊥ E♭/B♭ − F 97 − B♭ b♭-Ped. (337 mm.)

45


Table 7.3: Brahms, German Requiem Op. 45, Mvt. 3, Herr, lehre doch mich

m M R H Comment

1 M0 Dm[

44

]

Bass Motive

2 M1 Dm E∅7/G − A − Dm Solo

17 M1 Am/C E∅7/G − A − Dm E∅7/G − Ad− Chorus [A]

33 M2 B♭ B♭ F♯7/A♯ − Bm E7/B♭ − A− Solo [B]

48 M2 B♭ E♭m/B♭ − B7 − Am − A7/Gd− Chorus

58 ⊥ B♭/F F♯m/C♯ − A7 − Dm/A − Am a-Ped.66 M1 Dm A − Dm/A A − Dm Solo, a-Ped. [C]81 M1 E∅7/G − A C♯m/G♯ G♯◦7/D − Dm − A− Chorus93 M2 Dm d-Ped.

105 M3 D D B♭97 /D♯ − E7 − D7 − G/D − A − D

[

32

]

Solo

118 M1 Dm Dm/A F♯◦7 − Gm Dm − Gm Solo, M2 Imit. [D]129 M3 F F B◦7 − D♭7 − F/C − C7− Chorus, (M2) Imit. [E]138 F/C − F − B♭/F − Gm/B♭ − F/C − C7−

142 M1 Dm A/C♯ − Dm Solo144 M4 A/C♯ − D7/C − G/B Chorus, Imit. [F]

147 ⊥ E7 − E7/D − A7/C♯ − A♭97 /G−

150 M4 D/F♯ − F♯♭97 − D/F♯ − Dm/F − E7− Stretto Imit., (M2) Climax157 M1 G♯◦7/D

164 A − D/A Asus47 − A7− Chorus, Trans, a-Ped.

173 M5 D D − D7 − G/D − A7 − D E7 − C♯◦7 − D[

22

]

, Chorus Imit, d-Ped.

183... D − D7 − G/D E∅7 − A7 − Dm d-ped. (cont’d) [G]

193... Gm/D − A7 − D − D7 − Gm/D

196... A♭9

7 − D D − D7 − G/D G7 − C Stretto Imit., Climax [H]207 ⊥ G/D − D − Em7/D − D (208 mm.)

46


Table 7.4: Brahms, String Quartet Op. 51 No. 1, Mvt. 1 Allegro

m M R H Comment

1 M1 C Cm F7/C − B♭m − A♭ − G − F Exp.-Gr. 111 M2 Fm − G7−

15 M2 C⊥ F♯◦7 − G7−

23 M1 Cm F7/A − B♭m − A♭ − E♭m31 ▽ E♭m F7 − B♭7 − E♭m Trans. 137 M3 E♭m F7 − B♭7 − E♭7 Gr. 2

45 B7 − A7/G − D Dm − Ad− Tr. 1’

53 M4 E♭ B♭7/A♭ · · ·E♭/G B♭7/A♭−M4’ E♭ − A♭ − Fm − F7−

56 M5 E♭/B♭ F7 − B♭7 F7 − E♭/B♭ − B♭7−75 M1’ E♭ B♭7 − E♭ Trans. 280 F♯◦7 − Cm/G − G7 1)80 F♯◦7 − F7 − Am/E − Am 2)

84 M1 Am Am/E − F7 − B♭/D − E7 − Am B◦/D− Dev.96 M3 C C C7 − F B7−

100 Em Em D7/F♯−104 M3/M1 G G F♯7 − Bm G7 − Cm G♯7−112 ⊥ C♯m C♯m D − G♯7−118 Retrans.119 F♯m C♯7 − Bm/D G♯7 − C♯7−129 F♯m7/C♯ D/F♯ A/E G♯7/D♯

133 A♭/C Recap.

137 M1 Cm D♭97 /A − Cm/G A♭/C − D− Gr. 1

151 M2 G♭97 /B − Cm

155 M2 G7 − C − Fm C7−

164 M1 Fm A♭/C − G

174 ▽ G♭97 − Cm G7− Tr. 1

178 M3 Cm

186 A♭7 − F♯7 − B Bm − F♯d− Tr. 1’

194 M4 C G7/F · · ·C/E G7−

M4 C − F − Dm − D7−

204 M5 C/G D7 − G7 D7 − C/G − G7−

216 M1’ C F♯◦7 − C/G − G7 − Cm − G7−

224 ▽ Fm C♭97 − Fm G♭9

7 − C♭97 − Fm G♭9

7 Coda - Tr. 1

232 M1’/M3’ C C F − Fm − D♭/A♭ − Cm/G − G♭97 − C

⊥ C7 − F − D♭/F−

252 C 260 mm.

47


Table 7.5: Brahms, String Quartet Op. 51 No. 1, Mvt. 2 Romanze Poco Allegro

m M R H Comment

1 M1 A♭ A♭ D♭/F A♭/E♭ − B♭97 − E♭7− A - (a)

7 M1 A♭ D♭ A♭/E♭ − B♭97 − E♭ (a)

13 C/E E♭7− (b)17 A♭ B♭7 − E♭7−19 M1’ A♭ A♭/E♭ − E♭7 − A♭ A♭/E♭− (a)25 E♭7 Trans.

27 M2 A♭m A♭m B♭7/D − E♭ B - (a)29 M2 B B A♯◦7 (a)31 M3 Em F♯ − B7 − Em (b)

E♭m C♭ − F7 − B♭7 − E♭m35 M2 A♭m E♭7 E♭7 − A♭m (a)37 M2 E E D♯◦7 − E (a)39 M3 Am B − E7 − Am (b)

⊥ A♭m B♭7 − E♭7 − A♭m43 E/B Retrans.

A♭ A♭/E♭ FmE♭/G − E♭7−

49 M1’ A♭ A♭ D♭/F A♭/E♭ − B♭97 − E♭7− A’ - (a)

55 M1 A♭ D♭ A♭/E♭ − B♭97 − E♭ (a)

61 C − G Cm7 − E♭7− (b)65 A♭ D♭ − D♭m−

67 M1’ A♭ A♭/E♭ − E♭7 − A♭ A♭/E♭− (a)74 E♭7 − A♭7 Trans.

75 M2’ D♭m A♭ E♭∅7 B’ - (a)77 ⊥ E E B7 − E79 M2’ E♭m B♭7/F F∅7 (a’)81 ⊥ G♭ G♭/B♭ D♭7/F − G♭83 A♭ E♭ − A♭7 − D♭ B♭7 − E♭7−

86 M1’ A♭ A♭ A♭7 − D♭ E♭7 − A♭7− Coda90 ⊥ C♯m A E C♭ D♭m92 A♭/C − E♭7 − A♭

48


Table 7.6: Brahms, String Quartet Op. 51 No. 1, Mvt. 3, Allegretto Molto Moderato e Comodo

m M R H Comment

1 M1 Cm Fm − G7 − A♭/C B♭7 − E♭[

48

]

A

5 M1 Fm Fm − G7 − C7 − Fm − D7 − G7 − C

9 G∅7 E♭♭97 F7 G♭97 − Cm G7− Seq (3 × R7)

15 M2 Cm D∅7/F − G7−

19 M2 Cm D∅7/F − G7 − Cm25 Fm 1)

2)

27 M3 Cm Cm C∅7

⊥ Bm F♯7 − Bm/D C♯7 − F♯7−32 M3 Bm B∅7 F7−

⊥ B♭m B♭m C∅7 − F7

35 D◦7

38 M4 D♭ D♭7G♭7 − C♭ A♭7 − D♭46 M4 F G7 − C7 − F7 − B♭7 − G7 − C7 − F54 Fm

56 M1 Cm Fm − G7 − A♭/C B♭7 − E♭ A’60 M1 Fm Fm − G7 − C7 − Fm C7 − Fm − C7−

66 M2 Fm G∅7/F − C7−

70 M2 Fm G∅7/F − C7 − Fm76 M1’ Fm C7 − B♭m−

80 M1’ Fm C7 − B♭m−

83 Fm B♭m−

85 F F

87 M1 F (a − ped) F Am Dm/F−[

34

]

Un poco piu animato

95 A Cm/E♭ − G B♭m/D♭ − FDm/F − C/G − G7 − C

107 C − F/F − C Em − Am/E − EmAm/E − Em C7 B

118 M1 (a − ped) F A∅7/C A127 Ff − B♭ D7/A − Gm F/C − C7 − F

F/C − C7−

135 (a − ped) F Dm − F Am/C − F Fm Coda (146 mm.)

49


Table 7.7: Brahms, String Quartet Op. 51 No. 1, Mvt. 4, Allegro

m M R H Comment

1 M1.1 Cm G7 − A♭ G7 − Cm A7/E♭ A1

7 M1.2 D Dm − G7 − Fm13 M1.1’ Fm − B♭7 − Cm D7/A♭ Cm/G−

21 M1.2’ Cm Fm − G − Cm G7− Transition

33 M2 Cm − E♭m Cm G − Cm E♭m − B♭ B41 M3.1 E♭ B♭7 − E♭ Imitation46 ⊥ B♭m C∅7 − F7 − B♭m50 M3.2 F7 − B♭7 − E♭7 F∅7 − B♭7 Seq(3 × 2m;R5)58 E♭ E♭ − A♭ − D♭ Seq(3 × 2m;R5),

unis/chr.68 M1.1 B◦7

70 M1.1 E♭ F∅7 − B♭7 B♭7 − E♭ F7 − B♭ C1, b♭-dom.-ped.82 ⊥ A♭ E♭ B♭ F Seq(4 × 1m;R5)86 Cm F7 − D7/F♯ − Cm/G E◦ − Fm Transition

94 M1.1 Cm Fm − G♭97 − Cm A♭ A♭7 A2, 2pt imitation

102 M1.1 C♯m C♯m D♯7 − E/G♯ E7− 4pt imitation

110 M1.1 Am − Em Am B7d− C − F♯∅7 − B7 − Em 2pt imitation

⊥ Am E7 − Am B7 − E (m. 120)

50


Table 7.8: Brahms, String Quartet Op. 51 No. 1, Mvt. 4, Allegro (cont’d)

m M R H Comment

124 M2 Am − Cm Am E − Am Cm G B132 M3.1 C G7 − C Imitation137 ⊥ Gm A∅7 − D7 − Gm141 M3.2 D7 − G7 − C7 D∅7 − G− Seq(3 × 2m;R5)149 C C − F − B♭ Seq(3 × 4m;R5),

unis/chr.159 M1.1 G♯◦7

161 M1.1 C D∅7 − G7 Am − D7− C2, g-dom.-ped.172 M1.1 G7 C♯7 − F♯7 − B − F♯7− Seq(3 × 2m;R5)180 Em − Cm Em/B G7 − C D∅7/C − D7/F♯− Transition

193 M1.1’ Cm G7 − Cm A7 − Dm− A3

· · · B♭ − F − Gd− A♭

205 ⊥ A♭/C − G7 − Cm A7− see m. 3209 M1.2 C D Dm − G7 − C/G

215 Fm − Cm Fm − D♭ − B♭m G7

d− A♭ Seq(3 × 2m;R3),

see m. 12225 D7 − G − Fm Transition, see m. 17-20

M1.1 D7 − Cm/G − G−

231 M2 Cm Cm Fm − G7 − Cm CodaC7 − Fm − B◦7 − Cm c-ton.-ped.

244 Cm D7/A♭ − Cm/G − G − Cm (248 m.)

51



Form: A1BC1A2BC2A3-Coda. See Table 7.7 and 7.8 for the analysis.

7.3 String Quartet Op. 51 No. 2 (1873)

Source: [2].

7.3.1 Mvt. 4, Finale, Allegro non assai

Form: Rondo (A-B-A1-B1-A-B-A2). See Table 7.9 for the analysis.

52


Table 7.9: Brahms, String Quartet Op. 51 No. 2, Mvt. 4, Finale, Allegro non assai

m M R H Comment

1 M1 Am Am E7− A13 M1 Am25 E7− Seq.37 F Dm7 − G7

45 M2 C G7 − C/E G

59 M3 F Gm − C7 − F G7− B71 ⊥ C C C♯◦7−75 Dm − G7 − C C♯◦7 − Dm91 G7− Seq.

100 Am C F♯7 − B7 − E − E7−

116 M1 Am Am A1

129 B7− Seq.132 M2 Em Em D7−

140 F Gm − C7−

144 M2 F C − A∅7 − A7−

161 M3 Dm Dm B7 B1, Imitation166 M3 Em Em173 F♯m G♯7 − C♯ A4−

184 Dm Dm B7−

186 Am E7− e-dom.-ped.

196 M1 Am Am E7− A210 M1 Am222 Seq.234 A E D♯◦7− e-dom.ped.238 M2 E7 − A E − Em

251 M3 D Em − A7 − D E7− B264 ⊥ A A A♯◦7−268 Bm − E7 − A A♯◦7 − Bm284 E7 A/E − E7 Seq.

293 M1 A A F♯m − B7 − A/E A7 − D A2, Imitation309 A/E − E7−

320 M1 A Augm.328 e-dom.-ped.

334 M1 Am Am D♯◦7− Coda, DiminishedE E − 7 − Am A7 − Dm B7/A− e-dom.-ped.

352 M1 Am/E − E− Diminished359 Am

53


7.4 Symphony No. 4 in E minor, Op. 98 (1885)

Source: [3].

7.4.1 Mvt. 1, Allegro non troppo

Form: Sonata. See Table 7.10 and 7.11 for the analysis.

Table 7.10: Brahms, Symphony No. 4 in E minor, Mvt. 1 Allegro non troppo

m M R H Comment

1 M1 Em Em B7 Exp. Gr. 1, asc. bass19 M1 Em F♯7 [A] desc. bass37 B7 F♯7−45 Bm G F♯7 − Bm [B] Gr. 253 M2 F♯−57 M3 Bm [C]

65 M3 F♯7 − Bm F♯7d−

73 M2 G B7−

77 M2 C F♯7−87 B B F♯7− [D]91 M4.1 B F♯7−95 M4.2 B F♯7−99 M4.3 B C♯7−

110 M2 B/F♯ [E]119 M2 B/F♯ A7−

125 M2 D − B D/F♯ F♯7 − B E − F♯−

137 B [F] Dev.145 M1 Em B7 − Em D7 False, recap., desc. bass157 M1’ Gm Gm F7− [G] variation

169 M1’ B♭m B♭m F♯7d− Imitation

184 Bm G [H]188 M2 Cm Fm − G − Cm

D♭m − Dm − E♭m − E♭ Rapid mod.206 M2 Em F♯∅7 − B7 − E D♯7− [I]217 M1 G♯m G♯m F♯ − B − B7 − G♯m−

227 D♯7 D7 − E7 − F♯7 B7 [K] Retrans, Seq(R7)

54

7.4. SYMPHONY NO. 4 OP. 98

Table 7.11: Brahms, Symphony No. 4 in E minor, Mvt. 1 Allegro non troppo (cont’d)

m M R H Comment

246 M1 Em Em B7− [L] Rec. Gr. 1, asc. bass

273 M1 Em B7d− C F♯7− desc. bass

297 M2 B B7 [M] Gr. 2301 M3 Em

309 M3 B7 − Em B7d−

317 M2 C E7−

321 M2 F B7−

331 E E/B B7− [N]335 M4.1 E B7−

339 M4.2 E B7−

343 M4.3 E F♯7−352 M2 E/B [O]363 M2 E/B D♯7−

369 M2 G♯m G♯m B♭7d−

377 M2 Em − Gm B − Em D7 − Gm F♯7B7− [P]

394 M1 Em Em B7

d− [Q] Coda, asc. bass

402 Am/E B7

d−

414 C B7 − Am/E421 F♯∅7 − Em/B − B7−

426 Em (440 m.)

55

CHAPTER 8. PETER ILYICH TCHAIKOVSKY

Chapter 8

Peter Ilyich Tchaikovsky

8.1 Nutcracker Suite (1892)

Source: [22].

8.1.1 Mvt. 1, Ouverture miniature

Form: binary form, A1B1A2B2. See Table 8.1 for the analysis.

8.1.2 Mvt. 2, Danses caracteristiques, Marche

Form: ternary form, A1BA1CA2BA2. See Table 8.2 for the analysis.

8.1.3 Mvt. 2, Danses caracteristiques, Danse de la Fee-Dragee


8.1.4 Mvt. 2, Danses caracteristiques, Danse russe Trepak

Form: ternary form, ABA’. See Table 8.4 for the analysis.

56

8.1. NUTCRACKER SUITE

Table 8.1: Tchaikovsky, Nutcracker Suite, Mvt. 1 Ouverture miniature

m M R H Comment

1 M1.1 B♭ B♭ C7 − F − B♭ F7− A1

9 M1.1 B♭ C7 − F − B♭ F7 − B♭17 M1.2 Gm D7 − Gm D7 − Gm21 M1.2 F C7 − F C7 − F25 B♭ C∅7 − F F/C Tr. 1, Dom. ext.32 M1.1 B♭ C7 − F7 − B♭ D◦7−

39 E♭ F♯◦7 − Gm A7/E♭ − D G7/B − Cm − C7/E Tr. 2

45 M2 F F C7 − F A7 − Dm G7 − C7− B1

57 M2 F C7 − F F7/E♭ − B♭/D F7 − B♭ A7−

70 M2’ Dm Dm D7 − Gm A7 − Dm Gm7/B♭ − C7

79 B♭ F C7 − F F − C7 − F− Cad.

90 M1.1 B♭ B♭ C7 − F − B♭ F7− A2

98 M1.1 B♭ C7 − F − B♭ F7 − B♭107 M1.2 Gm D7 − Gm D7 − Gm111 M1.2 F C7 − F C7 − F115 B♭ C∅7 − F F/C Tr. 1, Dom. ext.123 M1.1 B♭ C7 − F7 − B♭ D◦7−

129 E♭ F♯◦7 − Gm A7/E♭ − D G7/B − Cm − C7 − F

135 M2 B♭ B♭ F7 − B♭ D7 − Gm C7 − F7− B2

147 M2 B♭ F7 − B♭ B♭7 − E♭/G D7−

160 M2’ Gm Gm D7 − Gm E♭ C7 − F7−

169 B♭ B♭ F7 − B♭ Cad. (183 m.)

57

CHAPTER 8. PETER ILYICH TCHAIKOVSKY

Table 8.2: Tchaikovsky, Nutcracker Suite, Danses caracteristiques, Marche

m M R H Comment

1 a G G − Em − Bm − G − Em A1

5 b Am − D/F♯ − G F♯∅7/A − B7 − Em A7/C♯ − D9 a G − Em − Bm − G − Em

13 b’ Am Bm C Em − F♯7/A♯ − B− Seq(3 × 1m, R7)17 cd Em B/F♯ − Em Em − Am − F♯∅7 − B B21 ce B/F♯ − Em Em − Am − D − D7

25 a G G − Em − Bm − G − Em A1

29 b Am − D/F♯ − G F♯∅7/A − B7 − Em A7/C♯ − D33 a G − Em − Bm − G − Em37 b’ Am Bm C G/B − Am − D7 − G Seq(3 × 1m, R7)

41 M2 Em Em − E7 − Am − B7 − Em − E7 − A − F♯∅7 − Em C, e-ton-ped.45 M2 Em − E7 − Am − B7 − Em − E7 − A − F♯∅7 − Em

49 a G G − Em − Bm − G − Em A2

53 b Am − D/F♯ − G F♯∅7/A − B7 − Em A7/C♯ − D57 a G − Em − Bm − G − Em61 b’ Am Bm C Em − F♯7/A♯ − B− Seq(3 × 1m, R7)65 cd Em B/F♯ − Em Em − Am − F♯∅7 − B B69 ce B/F♯ − Em Em − Am − D − D7

73 a G G − Em − Bm − G − Em A2

77 b Am − D/F♯ − G F♯∅7/A − B7 − Em A7/C♯ − D81 a G − Em − Bm − G − Em85 b’ Am Bm C G/B − Am − D7 − G Seq(3 × 1m, R7),

(88 m.)

58

8.1. NUTCRACKER SUITE

Table 8.3: Tchaikovsky, Nutcracker Suite, Danses caracteristiques, Danse de la Fee-Dragee

m M R H Comment

1 Em Em − F♯∅7 − A♯∅7 − D♯◦7 Intro, e-ton-ped.5 a Em A♯∅7 − D♯◦7 − Em A1, e-ton-ped.

9 b F♯♭57 /A♯ F♯7 − B − F♯♭57 /C − B13 a Em A♯∅7 − D♯◦7 − Em e-ton-ped.17 a’ Em B/F♯ − Em Em − Am − F♯∅7 − B Trans, Seq(3 × 1m, R7)

21 c C♯∅7/B − B − Em/G B1, b-dom-ped.25 c C♯∅7/B − B − Em/G b-dom-ped.29 c C♯∅7/B − B − Em/G b-dom-ped.33 B7 B2, retrans.

37 a Em A♯∅7 − D♯◦7 − Em A2, e-ton-ped.

41 b F♯♭57 /A♯ F♯7 − B − F♯♭57 /C − B45 a Em A♯∅7 − D♯◦7 − Em e-ton-ped.49 a’ F♯7 − B − E7 − A − D7 − G − B7 − Em Coda, Seq(3 × 1m, R7),

(52 m.)

Table 8.4: Tchaikovsky, Nutcracker Suite, Danses caracteristiques, Danse russe Trepak

m M R H Comment

1 a G G D− A, g-ton-ped.9 a’ G C − G g-ton-ped., plagal cad.

17 a G D− A, g-ton-ped.25 a’ G C − G g-ton-ped., plagal cad.

33 b D D Em − A7 − F♯m − Bm Em − E7 − A7 − D B, bridge41 b D Em − A7 − F♯m − Bm Em − E7 − A7 − D49 c Cm/E♭ − A7 − D Cm/E♭ − D − G retrans.

57 a G G D− A, g-ton-ped.65 a’ G C − G g-ton-ped., plagal cad.73 G D− Coda, g-ton-ped.,

(84 m.)

59

CHAPTER 9. CLAUDE DEBUSSY

Chapter 9

Claude Debussy

9.1 Prelude a l’apres-midi d’un faune (1895)

Source: [5]. Form: ternary form, ABC. See Table 9.1 for the analysis.

9.2 Trois nocturnes (1899)

Source: [5].

9.2.1 No. 2 Fetes


9.2.2 No. 3 Sirenes

Form: ternary form, ABC. See Table 9.3 for the analysis.

60

9.2. TROIS NOCTURNES

Table 9.1: Debussy, Prelude a l’apres-midi d’un faune

m M R H Comment

1 M1 E [SD] A97 C♯m7 − F♯7

[

98

]

[A] (♯♯♯♯),

Subdom.-plagal

5 Ealt7 F♯7 Ealt

7

[

68

]

11 M1 [D] D∆7 G7/D B137 − E6 C♯7 Dom.-auth.

A♯7 F♯7 G♯7 B7

[T] A♯7 C♯7 Climax1, tonic

21 M1 E6 C C♯m7 C97

[

128

][

98

]

M1 [D] B7 Am7 D7 Cm Dom.

26 M1 [D] E7 B7 − E137 F♯7 E7 − F♯7 − B

[

128

] [

98

][

128

]

31 M1’ C♯7 G7 Trans., Seq(2 × 3m, R3),Wh.t.-sc.

34 M1’ B♭7 = E7 F♯7−[

34

]

37 M2 B7 E7 B41 M2 [T] E7 D6

9

44 M2’ [T] G7 B♭7 E♭7d−

[

44

]

(♮♮♮♮)[

34

]

, tonic focus

47 M3 D♭6 A♭7 A7 E♭7− Climax 251 M3 A♭ A♭ A♭7− (♭♭♭♭)55 M4 D ℜ(D♭ − E♭7/G) F♯m7 − B7 (♭♭♭♭♭)

⊥ [D] Am7 − D Climax 363 M4 ℜ(D♭ − E♭7/G) E♭m7 − A♭sus4

7

E♭m7 − A♭7−74 M3 D♭6

75 M4 D♭7

79 M1 E E(7) C♯m7 − F♯7 A[

44

]

(♯♯♯♯)

83 M5 [SD] Am7 A7 C97 (♮♮♮♮)

86 M1 E♭7 Cm7 − F sus47

90 M5 [D] G♯m7 G♯7[D] G♯7

94 M1 ℜ(E7 − C7) G♯7 G♯7 F♯7− (♯♯♯♯)100 M1 [T] ℜ(C♯7 − A♯7)

102 ⊥ C♯7[

98

]

C7 = F♯7 F♯m − B7−

106 M1’ E E − C F♯7 − E[

128

]

(110 m.)

61

CHAPTER 9. CLAUDE DEBUSSY

Table 9.2: Debussy, Trois nocturnes, No. 2 Fetes

# M R H Rhythm/Scales/Comment

0 M1,M2 F → D♭ open 4ths/5ths, A1,[

128

]

/[

98

]

, Rh1,

ex. par. D97 dor./alt.

1 M1,M2 D → E♭ → D♭ Rh1, wh. tone

2 M1 A diat. parallel Rh2([

158

]

-[

98

]

), mixo-lyd.

3 D♭ Rh1, Rh3, wh. tone, ion.4 M3,M4 F → A chromatic Rh25 M5 B → E Rh3, mixo-lyd.6 M4,M5 E diatonic Rh2, ion., start climax

7... D diatonic Rh2, ion, build climax

8 ⊥ E diat., chrom. Rh2, Rh3, ion., chrom.,build climax

9 M5 C♯ Rh2, Rh1, climax

10 M6 A♭ pedal (D♭97 − B♭97 − E97) B,

[

24

]

, Rh4, dor.,

mixo-lyd., start climax,bitonal flavour

11 M6E

G♯pedal (E9

7 − D♭97) Rh4, dor., mixo-lyd.,

build-up

12 M6B♭

A♭pedal (B♭97) Rh4, dor., mixo-lyd.,

build-up

13 M6,M1 A♭ −B♭

A♭−

E

G♯pedal (D♭97 − B♭97 − E9

7) Rh4, dor., mixo-lyd.,

climax

14 M1 D♭ → D ex. par. D97 A2,

[

68

]

/[

98

]

, Rh1, alt.,

start climax15 M7 E♭ ex. par. D9

7 Rh1, Rh2, climax

16 M6 E♭ diat. parallel Rh2([

158

]

-[

98

]

)

17 M1 A diat. parallel Rh2([

158

]

-[

98

]

), mixo-lyd.,

start climax18 M3 C♯ Rh1, Rh2, climax19 M3,M6 C♯ → B♭ Rh2, aeol., chrom.

20 M3,M6 D♭ Rh2([

34

]

-[

24

]

)

21 M3,M6,M2 A22 A Rh2

62

9.2. TROIS NOCTURNES

Table 9.3: Debussy, Trois nocturnes, No. 3 Sirenes

m M R H Scales/Comment

1 F♯ − A − C F♯69 − A69 − C6

9 #0, mixo-lyd.,appoggiaturas

8 M1 C − E♭ − F♯ − A ex. par. C97 #1, M1(CorA)

22 M1,M2 B B97 − G9

7 #2, octatonic, app.,M1(Str)(WW), M2(choir),start climax

34 M2 B − D − E B7 − D97 − E9

7 #3, octaton., ‘tango’,exact parallel M2(choir), climax

40 M2 E − F♯ − C♯ − E♭ ex./diat. par. S97 #4, mixo-lyd.,

M2(choir)50 M2,M3 D♭ D♭97 − A9

7 E♭97 − B97 #5, echo’s, app.,

M2(WW)(Hns)(Str),M3(choir),climax

72 M2 A♭ A♭97 − D97 #6,

M2(Str+WW)

80 M4 D Bm7/D D♯117 #7, wh.tone,

Heavy str+WW, M4(Tpt)87 M3 D♭ − A − B − E♭ S9

7 #8, app.M3(choir)

101 M2G

C♯

E◦7

F♯97#9,

M2(WW)(choir)111 M2,M4 B B7 G7/B #10, octaton./wh.t., echo’s,

M2(choir)(Hns)(Str),M4(Tpt)

125 M2,M1,M4 B B7 G7/B #11, echo’s,exact parallel M2(Str)(choir), M1(Str),

M4(CorA)135 M1,M2,M4 B B7 G7/B #12, M1(Str),

M2(choir), M4(Tpt)

63

CHAPTER 10. MAURICE RAVEL

Chapter 10

Maurice Ravel

10.1 String Quartet in F major (1903)

Source: [13].

10.1.1 Mvt. 2, Assez vif - tres rythme

Form: Three-part form, ABA’. See Table 10.1 for the analysis.

10.2 Miroirs (1905)

Source: [15].

10.2.1 Mvt. 4, Alborada del Gracioso

Form: ternary song form, ABA’. See Table 10.2 for the analysis.

10.3 Rapsodie Espagnole (1907)

Source: [15].

10.3.1 Mvt. 1, Prelude a la nuit

Form: ternary song form, ABA’. See Table 10.3 for the analysis. The scales and harmoniesused are specified in Table 10.4.

10.3.2 Mvt. 2, Malaguena

See Table 10.5 for the analysis. The scales and harmonies used are specified in Table 10.4.

10.3.3 Mvt. 3, Habanera

Form: ABAC. See Table 10.6 for the analysis. The scales and harmonies used are specified inTable 10.4.

64

10.3. RAPSODIE ESPAGNOLE

Table 10.1: Ravel, String Quartet in F major, Mvt. 2 Assez vif - tres rythme

m M R H Comment

1 M1 A Modal, A-Aeolian A, 1st stat., pizz.13 M2 C♯ C♯-Dorian [A], 1st stat., arco21 A A∆7 − F♯7 [B], fragments from M1 and M2

Transition30 C♯ C♯7 [C], transition, tremolo40 M1 A A-Aeolian [D], 2nd stat., climax, pizz.52 M2 C/F♯ [E], 2nd stat., arco60 B♭ B♭∆7 − G7 [F]=T[B]

Transition69 E − A Symmetric-modal [G], transition, tremolo, M1 fragments

89 M3 d-Dor. E♭ Chromatic-parallel B, [H], 1st stat., arco, lyricalAccompaniment based on M2

104 M2’ A♭ − C♯ A♭7 − C♯m [I]115 C C∆7 − F♯7 [J], pizz. M1 fragments

Arco M2 fragments120 M3 F F7 − G7/F [K], 2nd stat., M1 background

129 E − G♯ A’, [L], retrans., pizz.150 M1 A Modal, A-Aeolian [M], 3rd stat., climax, pizz.162 M2 C♯ C♯-Dorian [N]=[A], 3rd stat.170 A − E♭ A7 − E♭7 [O], trans., M1 and M2 fragments179 M1’ C Symmetric-parallel [P], tremolo, M1 fragments

A Modal Pizz. (198 m.)

65


Table 10.2: Ravel, Miroirs, Mvt. 4 Alborada del Gracioso

m M Scale/Mode H Comment

1 d-Phryg. D7 A7 − D7 D A[a][

68

]

(♭)

12 M1 b♭-Ion./g-Aeol. Cm7 Gm7 Cm7 B♭∆7 − E♭∆7 [b]22 b♭-Phryg. B♭7 F7 − B♭7 [a], b♭-ped.

31 M1’ d♭-Ion./b♭-Aeol. B♭∆7 − F7 − B♭∆7 [b’][

98

]

38 M1’ D♭ A♭7 − D♭ E7

[

68

]

43 (M2) g♯-Phryg. G♯ − C♯m − G♯ [c] (♯♯♯♯), g♯-ped.52 M2 C♯7 − F♯m G∆7 − Em (♯♯)58 M1 b-Aeol./d-Ion. Em7 A7 [b]62 d-Mixolyd. Dalt

7 Aalt7 Ealt

7 D [a]

71 M3 b-Aeol. Bm7 B [a][

34

]

(♯♯)

79 M3 A♭97

85 M3 G69

91 M3 F♯alt7

105 M4 C♯♭57 [b]111 b − f♯-ped116 M4 C♯alt7

120 b − f♯-ped.126 M5 A7 − E7 − B7 − F♯7 [c], f♯-ped.

131[

68

]

137 M4 C♯♭57 [b]141 b − f♯-ped145 M4 C♯7151 d-Ion. D6 d − a-ped.

[

98

]

, a-ped.

157 M5 A7 [c]162 D/A A7 a-ped.

166 E♭ B♭7 − E♭ A’ [a’] (♮♮)

170 F♯ − G♯7 − F♯7[

68

]

174 (M2) c♯-Phryg. C♯ − C♯7 Am − C♯ − C♯7 [c] , c♯-ped.181 ⊥ C♯7 (♯♯♯♯)185 M2 C♯7 − F♯m G∆7 − Em (♯♯)191 M1 b-Aeol. Em7 [b’]196 d-Mixolyd. Dalt

7 A7 − D7 [a]200 M1’ Am7 A7 B7

209 M1’ F♯7 − E7 − D7−

213 G♭97 /C

[

98

]

219 d-Mixolyd. D − A7 − D [a][

68

]

(229 m.)

66


Table 10.3: Ravel, Rapsodie Espagnole, Mvt. 1 Prelude a la nuit


1 M0 d-Gypsy-Oct. Intro #0 (M0: downward scalar riff)

4... B♭7 B∅7

8... B♭7 B∅7 #1

14.../M1 d-Gypsy A #2, [D]

16.../ ⊥ C♯m

18... d-Oct A♯7 E7 B♭7

22... A♯7 E7 B♭7 #3

28.../M2 d-Aeol. Gm7 A7 − D7 B #4

32 ⊥/M2 Gm7 A7 − D7

37 (M0) d-Oct. C♭97 #5

41 ⊥ F 6

44 g-Oct. E♭alt7 #6, [SD]

46 M0/M1 d-Gypsy C♯alt7 A’ #754 d-Oct. B♭alt7 #8, [T]56 M0 d-Oct-Gypsy B♭7 B∅7 #961 ⊥ A (63 m.)

67


Table 10.4: Ravel, Rapsodie Espagnole, scales and modes

Scale/Mode Pitch content Harmonic structures Used in #

Mvt. 1

d-Gypsy d e f g♯ a b c♯ B∅7 C♯m7 C♯7 0, 1, 2, 7, 9

d-Octatonic d e f g g♯ b♭ b c♯ [T]: B♭7 E7 C♯♭107 , 0, 1, 3, 5, 6, 8, 9

[SD]: E♭♭97 C♭97

d-Aeolian d e f g a b♭ c Gm7 C7 F 6 4

Mvt. 2

a-Aeolian a b c d e f g 0, 6d-Gypsy See above 2, 13d-Octatonic See above 2, 13d♯-Phrygian d♯ e f♯ g♯ a♯ b c♯ 10c♯-Octatonic c♯ d♯ e f♯ g a b♭ c 11

Mvt. 3

f♯-Aeolian f♯ g♯ a b c♯ d e E7 C♯7 1, 5f♯-Phrygian f♯ g a b c♯ d e♯ G7 2, 6f♯-Ionian f♯ g♯ a♯ b c♯ d♯ e♯ 3a-Aeolian See above 7, 9f -Aeolian f g a♭ b♭ c d♭ e♭ 8, 10

Mvt. 4

c-Mixolydian c d e f g a b♭ 0, 3, 4, 5, 10, 11, 19, 20, 25c-Ionian See above 6, 21, 31f♯-Phrygian See above 12, 13, 15, 30f♯-Gypsy See above 12

68


Table 10.5: Ravel, Rapsodie Espagnole, Mvt. 2 Malaguena


1 M0 a-Aeol. Am7 #0 (M0: scalar riff)

7... #1

13... d-Oct./Gypsy A7 C D+ #2

19 ⊥ A♭97 B♭/D #3

25 (M0) Aalt7 #4

28 Aalt7 A7/G− #5

35 M1 b-Aeol. F♯♭97 G∆7/F♯ #6 (♯♯)

40 M1 F♯♭97 − Bm7 F♯♭97 − B7 − E♭97 D7 A7− #7

46 F♯7 #852 F♯7 − G7 − G♯7 − A7 − B♭7 F♯alt7 E7− #9

62 M1’ d♯-Phryg. D♯ − E − F♯ − G♯m − B∅7 #10 (♯♯♯♯♯)65 M1’ A♯m − B − C♯m − D♯ − E − F♯68 c♯-Oct. D♯ C♯m7 #11

73 M2 D♯m − C♯♭97 C♯7 #12

78 d-Oct./Gypsy B♭7/D #13 (♮♮♮♮♮)83 M0 Aalt

7 B♭7 Aalt7 #14

88 Aalt7 #15

93 Am F/A A/C♯ (94 m.)

69


Table 10.6: Ravel, Rapsodie Espagnole, Mvt. 3 Habanera


1 D7 G7 #0, c♯-ped.7 C♯ #1, c♯-ped. (cont’d)9 M1 f♯-Aeol. C♯7 − D7 − E7 D7 − E7 F♯−

13... f♯-Phryg G

14 ⊥ F♯ − G7 F♯ − D7 #2, f♯− c♯-ped.

19 M2 f♯-Ion. F♯ − D♯m7 A/C♯ G♯m7 − C♯7 F♯ #3, c♯-ped.25 F♯m F♯ #4

30 M1 f♯-Aeol. C♯7 − D7 − E7 D7 − E7 F♯− #5

34... f♯-Phryg G7

35 ⊥ F♯ − D7 G7 F♯ − D♯m7 #6, f♯− c♯-ped.

40 M3 a-Aeol. ℜ(E7 − F7) − A #7, e-ped [T]44 M3 f -Aeol. G7 ℜ(C7 − G7) − B♭ D7 − F♯ #8, c♯-ped [SD]48 M3 a-Aeol. ℜ(E7 − F7) − A #9, e-ped [T]44 M3 f -Aeol. G7 ℜ(C7 − G7) − B♭ D7 − F♯ #8, c♯-ped [SD]56 F♯m F♯ #11, c♯-ped. (61 m.)

70

10.4. MA MERE L’OYE

10.3.4 Mvt. 4, Feria

Form: ternary song form, ABA. See Table 10.7 and 10.8 for the analysis. The scales andharmonies used are specified in Table 10.4.

10.4 Ma mere l’oye (1911)

Source: [15].

10.4.1 Pavane de la Belle au bois dormant


10.4.2 Petit Poucet


10.5 Daphnis et Chloe (1912)

Source: [14].

10.5.1 Danse Guerriere


10.5.2 Danse Generale

Form: ternary song form, ABA’. See Table 10.12 for the analysis. The chord structures in thisdance are based on two octatonic scales on the tonic and sub-dominant step, as demonstratedin Tabel 10.13.

10.6 Concerto pour Piano et Orchestre (1932)

Source: [12].

10.6.1 Mvt. 1, Allegramente

Form: sonata form. See Table 10.14 and 10.15 for the analysis. The instrumentation is ab-breviated as O for Orchestra and P for Piano (in the Melody column, with the secundaryelement between brackets).

10.6.2 Mvt. 2, Adagio Assai

Form: ternary song form, ABA’. See Table 10.16 for the analysis. The instrumentation isabbreviated as P for Piano, WW for woodwinds, Br for brass and Str for strings (in theMelody column, with the secundary element between brackets).

71


Table 10.7: Ravel, Rapsodie Espagnole, Mvt. 4 Feria


1 c-Mixolyd. A #0[

68

]

, g-dom.-ped.

4 M1 Cm7 C97 g-ped. (cont’d)

7 C♯117 #1, c − g-ped.

14 M1 C97 E♭97/G #2, g-ped.

17 e♭-Mixolyd. E♭7 #3, e♭ − b♭-ped.27 M2 E♭97 #430 M1 f♯-Mixolyd. E♭97 − F♯733 M2 F♯7 − B7 #534 M3 b-Mixolyd. F♯7 − B7 [SD]

⊥ d-Mixolyd. D97/F♯−

40 M2 c-Ion. C6 #6, c − g-ped.

43 M4 ℜ(C6 − G9/sus47 )

47 M4 ℜ(C6 − G9/sus47 ) #7

51 M5 (2×) ℜ(C6 − G9/sus47 ) #8

59 M5’ ℜ(C6 − G9/sus47 ) #9

62 M5’/M4 ℜ(C6 − G9/sus47 )

66 M2 #1069 M1 c-Mixolyd. C7

71 #11

77 f♯-Phr/Gyp F♯m7 − C♯7 B #12[

34

]

(♯♯♯)

79 M6 ℜ(F♯m7 − C♯7)84 ⊥ B7 − Em7 − A7

B∅7/D − A7 − F7

89 ℜ(F♯m7 − C7) #1393 M6’ c♯-Phryg. Fm7 − B♭7 Em7 G♯7−99 C♯7 G7 #14

103 M7/M0 f♯-Phryg. C♯♭97 G7 #15 (M0: downward scale riff)

109 M7 C♯♭97 #16112 M0 B♭7 #17116 M2 B♭7 #18

72

10.6. PIANO CONCERTO IN G

Table 10.8: Ravel, Rapsodie Espagnole, Mvt. 4 Feria (cont’d)


121 B♭7 C #19[

68

]

(♮♮♮)

123 M2 f♯-Mixolyd. F♯7 − B7

124 M1 ℜ(F♯7 − B7)126 M3 F♯7 #20131 ⊥ d-Mixolyd. D9

7/F♯133 M2 c-Ion. ℜ(C6 − G7) #21 [T]137 M5 (2×) ℜ(C∆7 − Gsus4

7 ) #22

145 M5’/M4 ℜ(C∆7 − G9/sus47 ) #23

149 M4 ℜ(C∆7 − Gsus47 ) #24

154 M2/M1 c-Mixolyd. C7 #25

160 E97 − A♭9

7 #26164 M0 Dm7 − D7 #27 [SD], d-ped.168 M3172 ⊥ G7/D − D7 #28175 M1 F 9

7

177 ⊥ E♭ D♯97 #29181 M2 c♯-Phryg. ℜ(C♯m − G♯∅7) #30 [D]185 ⊥ c-Ion. C #31 [T]189 B♭7/A♭ − C #32 (190 m.)

Table 10.9: Ravel, Ma mere l’oye, Pavane de la Belle au bois dormant

m M R H Comment

1 M1 A Am7 A, a-Aeol., muted str., pizz., thin structures (2p)5 M2 E Em7 Arco strings

9 M3 Em7 − A B, Pizz. strings

13 M1 D − E Dm7 A’, #1, a-Aeol., Melodic tension now S9

17 M2 E − A Em7 − Am Arco strings

73


Table 10.10: Ravel, Ma mere l’oye, Petit Poucet

m M R H/Scale Comment

1 C c-tonal/modal (Aeol.) A, [T] intro, muted str., parallel5 M1 c-Dor./Aeol.

12 M2 E♭ e♭-Dor. #1, [T]22 M1’ G g-pedal #2, [D]32 C − E♭ c-Aeol. #3, [T], unisono climax40 M2 A♭ a♭-Dor. #4, [SD]

51 M1’ D D♭107 , d-ped B, #5, contrasting middle section

55 D − G d-pedal #6, [D]

60 C c-Dor. A’, #7, [T]67 F Fm9

7 #8, [SD], material from Mvt. 175 C #9, [T], intro

10.6.3 Mvt. 3, Presto

Form: sonata form. See Table 10.17 and 10.18 for the analysis. The letter P1 in the M columnstands for featuring the piano.

74


Table 10.11: Ravel, Daphnis et Chloe, Danse Guerriere

m M Pedal H Comment

92 M0 b B7 A [T]

94 M1... C7/B [D]

95 M0 ⊥ C7/B D7/B [T]96 M0 f♯ C7 [D]

98 M1... G7 [V/V]

99 M0 ⊥ G7 − A7 E7 − F♯7101 M0 c C7 [D]102 M1 b B7 [T]103 M2 ⊥ G7 [V/V]

104 a A B [D]

105 M3... A7

106 M3...

107 M0/M2 ⊥ E♭7108 f♯7

109 M3...

110 M3 ⊥

111 M0/M1 C7 − E♭7112 c C7 [D]

114 M3...

115 M0/M3...

116 M2/M3... F7 [T]

117 M0/M3...

118 M2/M3... A♭7

119 M0/M3...

120 M0/M2/M3... D♭7 [SD]

121 M2 ⊥ C7 [D]

122 M0 B♭7 − E7 A’ [SD]123 M0 A7

124 M0 B♭7 − C7

125 M2 F♯7 [D]126 M3 c♯ C♯7 [SD, II7]

127 M3... C♯7

128 M3 ⊥ C♯7 II-129 ⊥ f♯ F♯7 − D♯7 [D] V-III130 M0/M2 b B7 I

75


Table 10.12: Ravel, Daphnis et Chloe, Danse Generale

# M R Pedal H Comment

194 V F7/A A195 M0196 M1 I c♯ C♯7197 M1 G7

198 D♯7 Trans.199 IV a B♭m/A200 M2201 M2 V B7 − F7 − D7

202 M2 IV a A♯m/A203 ⊥ F♯m7/A − Am7

204 M0 IV f♯ C7/F♯ B205 M0 ⊥ D7 − Bm7

206 M0’ I e B♭7 − E7

207 M0’ IV-I E♭7 − E7

208 IV-I E♭7 − E7 B♭7 − Gm209 M0 I c♯ C♯7

210 M1 I... C♯7 A’

211 M1... G♯7−

212 M1... C♯7

213 M1 ⊥ G♯7214 M2 I7 e B♭m7 − B♭215 M2 ⊥ E∅7 − B♭7

216 V Bm7 B7 − A♭7 − F7 − D7

d−

M2 IV C7

217 Gm7 G7 − E7 − C♯7 − B♭7−M2 I C♯7

218 V b C♯7 − B7 Coda219 I B♭ − A♭ − G♭ − E − D − C − A♭−

V/IV E7

220 M2 iV=I a B♭m/A221 I-V-I ⊥ A − G7/E − A

76


Table 10.13: Ravel, Daphnis et Chloe, Danse Generale chord structures

Scale Pitch content Chords Comment

c♯-Oct. c♯ − d − e − f − g − g♯ − a♯ − b B♭7 [T]Gm7 used in #217C♯7B♭m

f♯-Oct. f♯ − g − a − a♯ − c − c♯ − d♯ − e A,Am [SD]F♯7, F ♯m used in #203C7 used in #204E♭7 used in #207D♯m7 used in #213

Table 10.14: Ravel, Concerto pour Piano et Orchestre, Mvt. 1 Allegramente

m M R/Scale H Comment

1 M1.1/1.2, O(P) G-Pentat. G/D − D7 [0], Exp./Gr. 1,[

22

]

16 O(P) C − D C/G − Dsus47 [1], Tr. 1

25 M1.1/1.2, O G-Pentat. D − Dsus47 [2]

37 M1.2 B-Aeol. Bm7/F♯ [3]44 M2.1 F♯-Phryg.-Dor. F alt

7 [4], Gr. 252 M2.2/2.3, O(P) [5]63 M2.2/2.3, OP [6]75 M3, (O)P E-Ion. E9

∆7 [7]84 M3, (O)P F♯m − C♯m − F♯m [8]96 M3, O(P) E7 − A [9]

77


Table 10.15: Ravel, Concerto pour Piano et Orchestre, Mvt. 1 Allegramente (cont’d)


107 (O)P B-Ion. C♯m7 − F♯97 − B∆7/F♯ [10], Dev., Tr. 2115 (O)P [11]

123 M1.2/2.2, (O)P G-Ion. D/F♯ − D♭107 [12], Gr. 1

131 M1.2/2.2, (O)P D♭107 − G♯sus4

7 /F♯ [13]142 (O)P E E∆7 [14]

150 (O)P C G9/sus47 [15]

173 (O)P A♭ E♭97 [16] Tr. 3/Tr. 1182 P [17]183 M1.1, OP G G/D − Dsus4

7 [18]195 M1.2, O(P) B♭-Ion. F7 − B♭ [19]

202 M2.1, (O)P D A♭97 [20], Gr. 2

210 M2.2, P [21]

215 M2.3, O A7 [22],[

34

]

221 O A − D7 [23]

227 M2.2, O(P) Aalt7 [24],

[

22

]

232 M2.3, O A♭107 − D♭9

7 [25],[

34

]

241 M3, P G-Ion. G − C∆7 − Em7 − Am7 [26],[

44

]

256 M3, (O)P G [27]263 OP A7/E [28]

266 (O)P A♭97 [29], Recap.,

[

22

]

, Tr. 2

278 (O)P D/A − Gm/B♭ [30]286 OP F [31]292 (O)P C [32]300 OP A♭ E♭97 [33], Tr. 2

306 M1.1, OP C C − G97 Em7 − B7 [34], Coda

316 OP G A97 − Dsus4

7 [35]329 M1.2, O(P) G-Pentat. G [36]

78


Table 10.16: Ravel, Concerto pour Piano et Orchestre, Mvt. 2 Adagio Assai


1 M1.1, P E-Ion. E · · · (diat.) · · ·G♯7− [0], A,[

34

]

19 M1.2, P C♯-Aeol. C♯m E7 − A B7 − E7−

36 WW(P+Str) E-Ion. A E∆7 C♯7d− D♯m D♯7 [1], Trans.

46 M2.1, P(WW) C♯-Aeol, G♯alt7 − C♯m7 [2], B, Seq.(2 × 4m, R−7

50 M2.1, P(WW) B-Aeol. F♯alt7 − Bm754 M2.2, P(Str) D7 − G [3]

Em7 − A7 − D58 Br+WW(P+Str) B♭97 [4], bitonal: P(G♭)+O(E♭)60 Br+WW(P+Str) B9

7 Bitonal: P(G)+O(E)62 M2.2, Str(P) Em G − C

Am7 − D7 − G

66 P(WW+Br+Str) G♭97 E♭97 Em/G G

♯5/♭97 [5]

74 M1.1, WW(P+Str) E-Ion. E · · · (diat.) · · ·G♯7− [6+7], A’

91 M1.2, WW(P+Str) C♯-Aeol. C♯m E7 − A B7d− [8]

97 WW(P+Br) C♯97 − F♯m7 [9], CodaG♯m − F♯m7−

103 Str(P+WW) E E [10] (108 m.)

79


Table 10.17: Ravel, Concerto pour Piano et Orchestre, Mvt. 3 Presto


1 G[T ] G∆7/D − D∆7 − G [0], Intro, CadenceP1 G Em − A7 Riff

17 M0, P1 G [1], Riff23 P1 C C Riff25 M0, P1 Am [2]33 G G∆7/D − D∆7 − G Cadence

37 M1, P2 C Dm7 [3], Exp., Gr.146 M1, P2 Dm7 − G7 − C [4]

⊥, P2 G D7/A − Em7 Bm7 − E57 P2 E-Aeol. Em7 Dm7− [5], Riff (Seq)66 P2 C G7 − C C7 − F D7/F♯ [6], Riff76 B − G7/B − B Cadence

79 M2 B-Mixol. [D] B7 F ♯117 B7 − E∆7 [7], Gr. 2

90 E6 E7 B7 [8], Glissando95 M2, P3 B7 F7 B7 − E6 E7 − A [9]

108 P3 A − F♯7 Bsus47 − [10], Gliss.

115 P3 E∆7 B7 − B7 − B7 [11], Chr. Sc.+Cad.128 P3 E∆7 C♯7 [12], Chr. Sc.136 P3 G♯m/D♯ − E♯7/D♯ − G♯m/D♯ Cadence140 P3 E7/G♯ − C♯7 − F♯m [13], Chr. Sc.144 P3 G7/B − E7 − Bsus4

7 /A Chr. Sc.

152 P3 D7/Cd− E♭ Chr. Sc.

154 E♭ [SD] E♭/G [14], Dev., RiffF♯ E♭ C A F♯ Symmetric roots

162 M1/M2 Riff170 M1/M2, P4 C/E [15], Riff182 M1/M2, P4 A/C♯ [16], Riff,

c♯ = d♭-Ped.190 M1/M2, P4 B♭m/D♭ [17], Riff, d♭-Ped.198 M1/M2, P4 F♯m/C♯ [18],Riff, c♯-Ped.206 M1/M2, P4 E♭7/D♭ A7/C♯ [19], Riff,

c♯ = d♭-Ped.

80


Table 10.18: Ravel, Concerto pour Piano et Orchestre, Mvt. 3 Presto (cont’d)


214 M0, P5 G [T] G/D [20], Rec., Riff219 M0, P5 E7/D G/D D7 Riff229 M1, P5 C D7/C [21], Gr. 1237 M1, P5 C D7/C D−

245 M2, P5 G B♭7 − G B7 − G♯ C − A [22], Gr. 2255 P5 [SD] E♭∆7 C7 − F♯m F♯ E♭7 Am [23], Seq(2 × 6m)+Gliss.

268 P6 [T] B7/A D7 A7/G D7/C F7 [24], Coda, Seq.+Chr. Sc.274 P6 [SD] C7/B♭ F♯7/A♯ A7/C♯ C7/E G7 Seq.+Chr. Sc.284 M1 [D] B∆7 C♯/F♯287 P7 [SD] D♯ [25], Riff, Chr. Sc.295 P7 [T] G [26], Riff, Chr. Sc.303 G/D − D∆7 − G Cadence (306 m.)

81

CHAPTER 11. RICHARD STRAUSS

Chapter 11

Richard Strauss

11.1 Op. 20 Don Juan (1888)

Source: [21]. Form: Symphonic poem. See Table 11.1 for the formal analysis.

11.1.1 Introduction and Don Juan 0

See Table 11.2 for the detailed harmonic analysis.

11.1.2 Countess


11.1.3 Don Juan 1


11.1.4 Anna


11.1.5 Don Juan 2


11.1.6 Carnival


11.1.7 Don Juan 3


11.1.8 Death


82

11.1. OP. 20 DON JUAN

Table 11.1: Strauss, Op. 20 Don Juan, formal analysis

m Episode Key (m) Theme/Motif

1 Introduction E (5) DJ Vigour + DJ Triads9 Don Juan 9 (9) DJ Heroic 1, (18) DJ Triads, (23) DJ Scales + DJ Triads

31 G (31) Car 2, (37) DJ Vigour40 E (40) DJ Scales44 C (44) Zerlinchen46 C♯m (46) Countess52 Rejection G♯ (50) DJ Vigour, (54) DJ Vigour, (53) Rejection,

(56) DJ Heroic 1, (57) DJ Scales, (62) DJ Vigour66 Transition (66) Rejection,(75) DJ Scales

71 Countess B (90) Countess111 A Countess129 C♯m149 Rejection Em (151) Countess, (153) DJ Vigour

169 Don Juan 1 C (169) DJ Heroic 1, (176) DJ Scales, (182) Rejection185 E♭ (185) DJ Heroic 1 + DJ Triads, (186) DJ Scales

197 Anna Gm (197) Anna 1232 G (232) Anna 2 + Anna 1, (233) Rejection, (252) Anna 2268 Rejection (268) Anna 2 + Rejection296 Transition

313 Don Juan 2 C (314) DJ Heroic 2, (327) Anna 2, (330) DJ Heroic 2,(337) DJ Heroic 2, (343) DJ Heroic 2, (344) DJ Vigour

351 Carnival D (351) Rejection, (353) Carnival 1, (357) DJ Heroic 2365 G (367) Carnival 1, (379) DJ Vigour, (382) DJ Triads386 C♯m (386) Carnival 2, (393) DJ Heroic 2398 A (401) DJ Heroic 2, (402) Carnival 2409 Dm (403) DJ Scales, (411) DJ Triads421 Transition Em (430) Zerlinchen, (437) Countess, (443) Anna 2,

(447) Countess, (458) DJ Vigour

474 Don Juan 3 E (474) DJ Vigour, (476) DJ Heroic 1, (479) DJ Triads,(486) DJ Scales

490 C♯m (490) Carnival 2510 E (510) DJ Heroic 2, (521) DJ Heroic 2543 C556 F (558) Carnival 2, (564) DJ Vigour, (568) DJ Scales569 Transition E (564) DJ Scales

586 Death Em (606 m)

83


Table 11.2: Strauss, Introduction and Don Juan 0, harmonic analysis

m H Comment

1 C − B − E C♯m − F♯ 7− Introduction9 E/B A♯◦7/B − E/B − A∆7 − E/G♯ Don Juan 0, Heroic

13 G7 E♭97 /G♯ E7/B G♯∅7 − C♯♭97 − F♯m

17 B − B7/A − B♭97

d− C − D♯◦7 − C − F♯♭97 /C− Triads

23 E6/B − B7 − E6 − E7 − A − C♯m7/G♯ − E♭97 /B− A

D/A − D7/A♭d− Cm/G − D7/F♯ − F7 − A♭9

7 −

31 G/D − D7 − G37 B♭/D − B7−

40 E − C − E/B − B7

d− C♯m − B, Zerlinchen, Countess

52 G♯∆7 B♯m7 G♯♭97 E♯m G♯m7/F♯ C

55 G♭97 Em Gm7/F − C7/E − F7/E♭ − B♭/D C♭9

7 /C♯−62 F7/C − C♯∅7 − F♯7− D

Table 11.3: Strauss, Countess, harmonic analysis

m H Comment

71 F♯97− D

90 B6 − F♯7/E − B/D♯ − F♯7/E − B/D♯− Countess theme

G♯m7 − C♯♭97 − F♯7−101 B − F♯7/E − B/D♯ − F♯7/E − B/D♯− E, Countess

B7 − E − D♯◦7 − A/E−

111 A − C♯♭97 − F♯m − C♯♭97 − D/F♯ − D− Countess (developed)

B∅7 − E7/D − F♯♭97 − A7 − B♭97 /D♯ − G♯7−

129 C♯m C♯∅7 − F♯♭97 − B7/F♯ − C♯7/G♯− F, Countess (developed)

149 Em − F♯7/E − Em − C/E−

156 Em − F♯7/E − Em − D♯7/A♯− G

163 D♯7(= A7) − B7

d−

84

11.1. OP. 20 DON JUAN

Table 11.4: Strauss, Don Juan 1, harmonic analysis

m H Comment

169 C/E D♯◦7 − C/E − Em − C7/E G7/Bd− H, DJ Heroic 1

175 F/A − Dm7/A − Gsus47 − G7 − E7−

177 A − D♯◦7 − A − E7/G♯ − C G7 − C B♭ − B♭7 DJ Heroic 1 + Triads

185 E♭ − F7/E♭ − E♭ E♭m − C♭7/E♭ − E♭m I

189 G♯7(= A♭7) − D7(= G♯7) − C♯♭97 /D − C♯7 − F♯m

Table 11.5: Strauss, Anna, harmonic analysis

m H Comment

197 Gm C♯◦7(= A7) − D7− K, Anna 1 theme

208 Gm C♯◦7(= A♭97 = C♭9

7 )d− D♭/A♭ − A♭7− Anna 1

F/A − E◦7 − F − E◦7 − F/C− Anna 1 (cont’d)

221 A◦7(= F ♭97 ) − B♭m G♯◦7(= E♭9

7 = D♭♭97 ) − Bm/F♯Am/E − F7/C−

232 G D7

d− C/E E7 − Am − D7− L, Anna 2 theme

252 G D7d− Em F♯♭97 − Bm/D M, Anna 2

E7/D − C♯∅7(= A97) − F♯7− Anna 2 (cont’d)

268 B B♭97 − E♭9

7 B♭97 F♯7/G♯ E7/G♯−

274 E♭7/G − A♭ D7

d− Em Am7/C − D7 − G E7 − A Anna 2, Neap. key

D7

d− E♭ − A♭/C Neap. interm. key (cont’d )

290 G/D Em7/D − D7 Am7/D − D7− Dom-ped.

296 G D7

d− A∆7/G − A∅7/G − Am7/G − D7 − G


m H Comment

313 G G7/F − C/E G7 − C/E G DJ Heroic 2

327 F♯◦7− Anna 2331 G G7 − C/E C♯◦7/E − F♯m D♯◦7/F♯ − G♯m O, DJ Heroic 2

343 G7/D F♯♭9/♭137 P

85


Table 11.7: Strauss, Carnival, harmonic analysis

m H Comment

351 D Em7 − D D7/C − G/B D/A Carnival 1 themeE7/G♯ − A G A7 − D7− Carnival 1 (cont’d)

365 G Am − G∆7 G7 − C7/E B♭ B♭7/A♭ − E♭/G Q, Carnival 1

C♯◦7/E(= A♭97 ) − G◦7/B♭ E♭m A◦7/E♭ − Fm Carnival 1 (cont’d)

379 G♯♭97 B7 G♯♭97 − R

386 C♯m F♯m − E/B B7/A − E7/A − A S

402 A7− T, DJ Heroic 2

409 Dm − Am − B♭∆7 C7/E − C7 − E◦7−

417 D♭/F B♭7(= E7) A♭7/G♭ F♯◦7(= A♭♭97 = D♭97 )

421 C♯◦7(= A♭97 ) B◦7/D(= C♯♭97 ) B◦7 Em/B− U, Zerlinchen

430 B♭97 B♭7 E◦7 C, /E♭ Countess, Anna 2

447 B♭97 B7

d− V, Countess, DJ


m H Comment

474 C B − E A♯◦7/E(= F♯♭97 ) − E − A − E/G♯ W, DJ Vigour, DJ Heroic 1

B7

d− C♯m − A7/C♯ C♯m C G♯m7 − G♯◦7(= E♭9

7 )−Bm F♯7 − Bm/D F♯m7/E−

490 G♯7/F♯ B7/D♯ − E7/B F♯m/A − B97/F♯− X, Carnival 2

E/G♯ − B7

d− C♯m − E♭9

7 /F (= C♯♭97 ) Carnival 2 (cont’d)

C♯♭97 /E♯ − D/F♯ Carnival 2 (cont’d)

508 G∆7/B − E♭97 /D − A/C♯ − F♯

♯5/♭97

510 E/B B7 − E Y, DJ Heroic 2

521 E/B − B7 − E/B B7/A − E/G♯ B/F♯− Z, DJ Heroic 2

529 E A/E F♯m7 D♯7/Gd− E/G♯ D♯7/G − G♯m B7/A−

537 E/G♯ B7/F♯ C♯♭57 /E♯ − F♯m

A/E − F♯♭97 − Bm/D G7−

543 C G7 − C G7 − C G7 E♭97 /B♭− Aa

549 Am7 D/A A/C♯ − F♯♭5/♭97 /C − E/B − C7/B♭−

Am7 − A7 − B◦7(= E♭97 /G♯)

556 F Dm7/F F/A B♭/D F♯7 − B7 − E Bb, Countess 2, Intro

569 E/B E♭97 /B − B7 F♯♭97 − E6/B − C7/B♭− Cc

A7 G♯◦7/B(= E♭97 ) F♯7 − B7

d−

86

11.2. SYMPHONIC POEM TOD UND VERKLARUNG

Table 11.9: Strauss, Death, harmonic analysis

m H Comment

586 Am F♯∅7/A−

596 Em Dd

11.2 Symphonic poem Tod und Verklarung (1889)

Source: [21]. Form: Symphonic poem. See Table 11.10, 11.11 and 11.12 for the analysis.

Table 11.10: Strauss, Symphonic poem Tod und Verklarung

m M R H Comment

1 Cm E♭ Cm/E♭ Pt. 1, c-ton-ped.8 D∅7/A♭ − Cm Fm7 B◦7/A♭ − Fm/A♭ c-ped (cont’d)

16 M1.1 D♭7/C♭ C7/E A21 E7 D D7 − E♭/G E♭729 M1.2 A♭m A♭m B♭∅7/A♭ − E♭♭97 − B35 M1.1 A♭37 M1.2 C C Dm7/C − B◦7−

42 M1.1 C7 B7/F♯ D7− C49 G7 g-dom-ped.

52 M1.1 G7 − C/G C7 − F Cm/G − D7 − G♭57 D, g-ped (cont’d)

67 M2.0 Cm Cm D♭m/F♭ Pt. 2

74 E/B D7 − G

79 M2.0 G♭97 E, g-dom-ped.

97 M2.1 Cm Cm G/B E◦7

101 M2.2 F/A106 M2.3/2.2 Cm − F7/A−

110 M2.3/2.2 B♭m B♭m G∅7

113 ⊥ Fm C7 D∅7/A♭ G

87


Table 11.11: Strauss, Tod und Verklarung (cont’d)

m M R H Comment

118 M2.3 Am E♭97 /B B∅7/A D♭9

7 /C Cm/E♭ Imit.125 M2.4 Gm Gm F♯◦7 − Gm H129 M2.4 Gm E◦7/D♭ − F7/C − B♭m G◦7/F♭−

133 M2.4 A♭7/E♭ − D♭97 − G/D

137 M2.4 D♭97 A♭9

7 − D♭97 − G/B − C7/B♭− I

142 ⊥ F/A B♭/A♭ − E♭/G A♭♭97 /G♭−

144 M2.4 D♭/F148 M2.1 Cm Cm K

150 M2.2 Cm/G G7 − F♯◦7 − G7 C♭97 − g-dom-ped.

155 ⊥ F E◦7/G − G7− g-ped. (cont’d)158 M2.4/2.3 F♯◦7 g-ped (cont’d)162 M3.1 D∅7/F D◦7

170 B♭7 B♭7 D D7 L187 M1.2 G G6 Am7/G G − F♯◦7 − G Pt. 3

198 G7 − Em7

201 M1.2 Em F♯∅7/E − B♭97 − Em − A7− Imit.

207 M1.1 D D Am7 − D7− Imit.

215 M1.2 G G D7 − G E♭97 − A D♭9

7 M, imit.227 ⊥ G Imit.231 M2.3 D◦7 B♭7− Imit.236 M1.1 E♭ E♭ D − Gm C7 − Fm B♭7− Pt. 4

244 ⊥ E♭/G D♭7/G♭−247 M1.1 G♭ G♭ D∅7/C − F7/A − E♭m/B♭ A7 G7/F− O257 M1.2/2.0 B B6/F♯ − F♯7 − B G♯m7−263 M1.2/2.0 E C♯m − F♯7 − B7 − E C∅7/E P273 M2.0 C7 − F D7−

277 Gm Gm G♯7 − C♯m − F♯7 Q

285 M2.0 A♭97 /G − D/F♯ B♭/D − B7− Imit.

290 M2.0 E E B7 − E R296 M2.3 B♭7/F D◦7 E302 M2.3/1.2 D∅7/F B♭∅7/F♭−310 M1.2/2.0 E♭7 e♭-dom-ped.317 E♭7− e♭-ped. (cont’d)321 M3.1 A♭ A♭ B♭7/A♭326 C/E − D∅7/F − C7/G−

330 Fm/A♭ D♭/F − D◦7/F − E♭97

335 M3.1 A D7/A C♯7/E♯−

88

11.2. SYMPHONIC POEM TOD UND VERKLARUNG

Table 11.12: Strauss, Tod und Verklarung (cont’d)

m M R H Comment

339 D♯∅7/F♯ C♯7/G♯− U342 M1.2/2.3 F♯m7/A Imit.

346 M1.2/2.3 Em C♯7 A7/G F♯7 C♯♭97E G♯7/D♯

354 D7−

356 M3.1 D♭ D♭ E♭7/D♭ D♭7 − G♭/D♭363 F/A a-ped.

365 Am7 D♯7/A A♭97 G◦7 − Am7 Am W, a-ped. (cont’d)

381 M2.1 Cm Cm D7/A− a-ped. (cont’d)383 M2.2 Cm/G Gm − G7 − F♯◦7− g-dom-ped.

G♭97 − Cm/G g-dom-ped. (cont’d)

⊥ C7 − F G♭97 g-ped. (cont’d)

391 M2.2/2.4 F♯◦7 g-ped. (cont’d)397 C F♯◦7 Pt. 5, c − g-ped.402 M3.1 Dm7 G7 c − g-ped (cont’d),

imit. (augm)411 M1.2/3.1 G7 c − g-ped. (cont’d)420 M1.2 G7 G7− Y, c − g-ped. (cont’d), imit.432 M3.1 C D7/C E◦7 − F B◦7 − C437 Am7/C − G7

442 M3.1 AM7/G − D7/F♯ − G7/F − C/E450 Dm7/F − G − G7−

453 M3.1 1.2 C A♭97 Z

457 M3.1/1.2 D B♭97 −

461 M3.1/1.2 G♯◦7 − F/C B7 E♭ F7/C467 M3.1 B♭ A♭ Aa471 M3.1 C/G g-dom-ped.475 M3.1 G7 Augm.481 M3.1 C A♭/C Bb487 M3.1 C Am/C491 C Cc (501 m)

89

CHAPTER 12. GUSTAV MAHLER

Chapter 12

Gustav Mahler

12.1 Lieder eines fahrenden Gesellen (1885)

Source: [6].

12.1.1 Wenn mein Schatz Hochzeit macht

Form: three-part song form, ABA’. See Table 12.1 for the analysis.

12.1.2 Gieng heut’ Morgens uber’s Feld

Form: AABC. See Table 12.2 for the analysis.

12.1.3 Ich hab’ ein gluhend Messer

Form: ABC. See Table 12.3 for the analysis.

12.1.4 Die zwei blauen Augen

Form: two-part song, AB. See Table 12.4 for the analysis.

12.2 Symphony No. 5 (1904)

Source: [7].

12.2.1 Mvt. 4 Adagietto Sehr Langsam


90

12.2. SYMPHONY NO. 5

Table 12.1: Mahler, Lieder eines fahrenden Gesellen, 1. Wenn mein Schatz Hochzeit macht

m M R H Comment

1 M0 Dm Dm A[

24

]

, d-ton-ped.

5 M1/M0 Dm E∅7/D Gm7/D E∅7/D d-ped. (cont’d)14 M2/M0 Dm C D7 − Gm/D − Dm #1, d-ped. (cont’d)

22... B♭∆7 A♭9

7 B♭∆7 A♭97 B♭ b♭-ped.

28.../M0 B♭ b♭-ped. (cont’d)

30... Gm E♭/B♭ A∅7 D∅7/A♭ G7 − Cm⊥ A♭∆7/C Gm/D − D7− #2

38 M0 Gm g-ped.

44 M3 E♭ E♭ Fm − B♭7 − E♭ B♭7 − E♭ B[

68

]

#3, e♭ − b♭-ped.

⊥ Gm/B♭ Cm B♭57 M4 F C7 − F Gm − C7 #4, c-dom.ped.

64 M1 Dm Dm Gm/D A’[

24

]

#5, d-ton-ped.

71 M2 Dm Am/C Gm/D Dm d-ped. (cont’d)74 M0 d-ped. (cont’d)

77... B♭∆7 A♭9

7 B♭ E♭∆7/B♭ #6, b♭-ped.... A∅7 D∅7/A♭ − G7 − Cm⊥ A♭/C Gm/D D7−

89 M0 Gm Gm #7, g-ped. (96 m.)

91


Table 12.2: Mahler, Lieder eines fahrenden Gesellen, 2. Gieng heut’ Morgens uber’s Feld

m M R H Comment

1 M1 D D A #8, a-dom.-ped.11 ⊥ G/D − A7 − D A7 − D/A Bm/D− #9

Em7 − E7 − A7 − D/A

23 M2 G Em − A7 B7/A − Em − A♭97 − #10

27 A97

30 M1 D A #11, a-dom.-ped.39 ⊥ G/D − A7 − D A7 − D/A #12

Em7 − E7 − B7/A − Em−

M1 A7 − D/A − A7 − D/A51 M2 G Em − A7 B7/A − Em − A9

7− #1356 C♯97 − F♯/C♯ C♯97 − F♯/C♯ − B

64 M1 B B B #14, b − f♯-ped.75 M3 F♯sus4

7 − B #1585 ⊥ F♯ F♯ C♯ − F♯ C♯sus4

7 − F♯ − B/F♯ #16, f♯ − c♯-ped.

103 M1 F♯ F♯ C #17, f♯-ton.ped.110 B/F♯118 M1 C♯97−118 ⊥ F♯ B D♯7 − G♯m − C♯7−124 F♯ (127 m.)

92


Table 12.3: Mahler, Lieder eines fahrenden Gesellen, 3. Ich hab’ ein gluhend Messer

m M R H Comment

1 M0 Dm Dm[

98

]

#19, d-ton.-ped.

5 M1 Dm B♭ E7/G♯ − A7− A, d-ped. (cont’d)12 M1’ Dm D7 − Gm − A7−

20 M2 Dm E∆7 Dm+7 − Dm7 − Dm6 #2026 ⊥ Gm E∅7 − A7

32 M0 Gm C7 G7 − Cm7 − D♭97 − Gm D7−

41 C G B #22, g-dom.-ped.46 M2 G − C G∅7 − Gm+7 − Cm Gm g-ped. (cont’d)53 M2 C/G G7 Em C♯∅7 g-ped. (cont’d)

62... C♯7 D♯7 C♯7 C

[

44

]

#24

65 ⊥/M0 B7 B♭ D♭97

68 M3 E♭m E♭m/B♭ A♭m F7 #2575 M0 E♭m/B♭ E♭m (81 m.)

Table 12.4: Mahler, Lieder eines fahrenden Gesellen, 4. Die zwei blauen Augen

m M R H Comment

1 M1/M0 Em Em D − G B7 − Em A #269 M1/M0 Em D7 − G F/A − Am7 − B7−

14 M0 Em #27

17 M2 C C Cm G♭97 − C

28 ⊥ Cm C♭97 − Fm − G♭9

7 − #2831 C Cm C Cm

37 F Cm C7 − F/C B #29, c-dom.ped.41 M3 F f -ton.-ped.45 M3 B♭/F − C7 − F B♭/F − C7− #30, f -ped. (cont’d)

50 M2 Fm F F7 − B♭/F − C♭97 − f -ped. (cont’d)

57 ⊥ F C7 − F B♭/F − F C− #31 f -ped. (cont’d)F F B♭m/F− f -ped. (cont’d)

M0 Fm Fm f -ped. (cont’d) (67 m.)

93


Table 12.5: Mahler, Symphony No. 5, Mvt. 4 Adagietto Sehr Langsam

m M R H Comment

1 F Am A1 (♭)3 M1 F − Dm/C − Gm7/B♭ − F/A − D♭7/A♭−

6 ⊥ G7 D♭97 − Gm F − C4

12 M1’ Am F F/C − E♭97 − E7

d− F B♭/D−

16 ⊥ Am/E D♯◦7 − E7−

19 (M1) Am F/A Am Tr.23 M2 F C7/G − F

26 ⊥ Gm7/B♭ D7/F♯ E7/G♯d− F/A G∅7/B♭ Asc. bass

30 F/C − C♭97 − Climax 1, c-dom.ped.

33 (M2) F Gm7/F − F Gm/B♭ − C − F

39 M3 Cm Dm/F − B◦7 − Cm B

44... Cm/E♭ C∅7 A∅7/C − F7−

47... G♭ G♭ A♭♭97 − D♭97 E♭m7/D♭ (♭♭♭♭♭♭)

52... D♭ A♭ E♭m7/B♭ − A♭7/C Mel. in 8va

56... B♭m B♭7 − E♭m − A♭7 − D♭7 − C♭9

7 Climax 2 (ր), desc. bass

60... E E/B − B7 − E7− (♯♯♯♯), desc. bass

63... D B7/A Bm7/AA7

d− Bm7/A A7− (♯♯), a-dom.ped.

... D+ E − E7/D−

68 ⊥ A7 − G♯7 − C♯7− desc. bass

72 F F/C Am7 A2 (♭)74 M1 F Dm7/C − Gm7/B♭−

78... F/A − D∅7/A♭ − G7 G∅7−

80 ⊥ D7/F♯ − Gm(M3) F/A − C4 G7 − C c-dom.ped.

85 M2 C7/G − F F/A − Gm7/B♭ c-ped. (cont’d)91 ⊥ D7/F♯ − E∅7/G − E7/G♯ − G∅7/B♭ − B∅7 Asc. bass95 F/C (Dm7) F/C Dm7 F/A − C7/G− Climax 3, c-dom.-ped.99 F (103 m.)

94

Chapter 13

Sergei Prokofiev

13.1 Classical Symphony (1917)

Source: [11].



95

CHAPTER 13. SERGEI PROKOFIEV

Table 13.1: Prokofiev, Classical Symphony, Mvt. 1 Allegro

m M R H Comment

1 M1.1 D D − A7 − D A7

d− Exp. Gr. 1

Bm D− Modulating trans.11 M1.1 C C G7 − C

F♯∅7/B − A− Mod. trans.17 M1.2 D D A7 − D F♯728 M1.2 Bm Bm F♯m − Bm Bm7−

36 (M1.2) E7 Bm− Trans.42 E7− e-dom-ped.46 M2.1 A A F − B− Gr. 254 M2.1 (C) A F − C − F − C F♯m − Bm − E−

66 M2.1 A A D∆7 − Bm7 − E7−74 A A D∆7 − Bm7 − E7 − A E7 − A Cadential closing

87 M1.1 D D A − Dm Dev.

G7

d− Modulating trans.

95 M1.2 A♭ A♭ E♭7d− Imit.

99 M1.2 F F A7 Imit. (cont’d)

103 F♯∅7/B Em B7 F ♭57 /C − B− Mod. trans.

111 M2.1 E E/B B7/Ad−

115 M2.1 C C/G F♯7−

119 M2.1 B B/F♯ F♯7/Ed−

123 M2.1 G G/D D7/F♯d−

127 M2.1 C C7/G F Stretto

131 Am C/G G7

d− Am Dm7 − G7 − C Retrans.

142 M1.1 C C G7 − C Recap.146 F♯∅7/B A− Mod. trans.150 M1.2 D D A7 − D F♯7 − Bm

159 M1.2 B B B7

d− C Trans.

167 Em7 − A7−

172 D D B♭ − E179 D B♭ − F

187 (M2.1) Bm Bm F♯ − Bm F♯7d− Coda

191 (M2.1) G∆7 Em7 − A − 7−194 D D G∆7 − Em − A7 − D A7− Cadential closing202 D A7 − D Cad. closing (cont’d)

(207 m.)

96

Chapter 14

Dmitri Shostakovich

14.1 Symphony No. 1 (1924-5)

Source: [19].

14.1.1 Mvt. 3, Lento

Form: ternary, ABA’. See Table 14.1 for the analysis1. The main element in this slow move-ment is the combination of chromatic stepwise movement (both in the lead melody and inthe bass and inner voices) and the melodic interval of the minor third (three chromatic steps,also in the melodic brass motto and in lower voices). Although here only one movementfrom the symphony is analysed, the same melodical material returns in the other move-ments.

14.2 Symphony No. 9 (1945)

Source: [20].


Form: Sonata. See Table 14.2 and 14.3 for the analysis.

1Analysis of this movement was suggested to me by Bill Dobbins, professor at the Eastman School of Music,and jazz composer and arranger.

97

CHAPTER 14. DMITRI SHOSTAKOVICH

Table 14.1: Shostakovich, Symphony No. 1, Mvt. 3 Lento

m M R H Comment

1 M1 D♭ D♭ E♭/G − A♭7− A Oboe lead (∆i chromaticmelody)

9 M1’ D♭ E♭ Cm − C97/E

d−

15 M2 Dm/F − D/F♯ − Bsus47 − E/G♯− [#1] Trans., Seq.,

chr. asc. bass

21 M2-M0 G♭/B♭ F♯♭97 [#2] ”Minor 3rd motto”

25 M2’ C/F♯ A♭♭57 /D− [#3] Chr. desc. bass29 M1/M3 D♭ E♭7 − A♭7− [#4] Tutti33 M0 D♭∆7 [#5]39 M0 B♭/D [#6] Closing with echoed

motto

44 M4 F♯7/A♯ − B♯11/137 − [#7]

47 M5 Em Em B [#8] Vc+Db lyrical theme51 M6 Em [#9] Ob signalling theme

59 M5-M0 F♯♭57 /A♯ − B♭57 [#10] Hi strings, lyrical

63 ⊥ G♭ − E♭ − C− [#11] Symmetrical roots67 M6 E7 − G/C♯ − F/D♯ − Fm7 − F♯ [#12] Brass73 B/F − G♯/E− [#13]75 M5 Em − G − Em/B − A− [#14] Vc+DB

79 M4 F♯7/E − A♭♭57 /D− [#15] Clar.

81 M1/M3’ D♭ D♭ E♭ − E♭m − F7 − G♭ A’ [#16] Solo vln.

87 M0 E♭/G − A♭♭97 Tpt motto89 M1/M3 D♭ [#17] Hi str + ww92 ⊥/M0 B♭∅7 − Cm7 − G♭/D♭ [#18]95 M0 B♭/D [#19] Echoed motto in brass

101 M1/M6 E♭ F ♭57 /B − B♭ A♭97 − A♭♯57 − [#20]

111 M1-M0 D♭ A♭sus47 − [#21] Coda, div. str. + ww.

114 M0 A♭sus47 − D♭ Echoed motto (120 mm.)

98


Table 14.2: Shostakovich, Symphony No. 9, Mvt. 1 Allegro

m M R H Comment

1 M1.1 E♭ E♭ Exp., Gr. 1, also I(M1.1)8 M1.2 Cm B♭7−

12 M1.1’ E♭16 B♭7 − E♭7 − A♭ Bridge22 M1.3 C Am Symmetric Harmony30 Am G7 Tr. 137 M1.1 E♭ E♭ also I(M1.1)45 M2.1 B♭ B♭ F7 − B♭ F/A Gr. 2, b♭ − f -ped.

55 M2.1 B♭ F7 − B♭ Fm7/A♭ Em F♯7d−

68 M2.2 G G F♯7 g − d-ped.76 M2.1 B♭ B♭ F7− b♭ − f -ped.82 A D B B♭− Tr. 2

86 I(M1.1) G♭ G♭ Dev., f♯-ton-ped., aug.90 M1.1 G − F♯ Bm F♯7 D7/F♯ f♯-ped. (cont’d)98 I(M1.1) F♯ f♯-ped. (cont’d)

102 M1.2 G∆7/F♯ A♭7/E♭ B/F♯ f♯-ped. (cont’d)104 Cm F♯7/C Dm7/C B7 c-ped., bridge108 I(M1.1) A A Bm7 a-ton-ped., aug.112 M1.1 B♭ Dm E♭m G a-ped. (cont’d)118 Tr., oct.-sc.

123 M1.3 Em E♭107

126 M2.1 C♯ C♯ E♭107 C♯m E♭10

7 g♯-dom-ped.134 M1.1 D D a-dom-ped.142 M2.1 A A E7 A E7 a-ton-ped., aug.150 Retrans.

99

CHAPTER 14. DMITRI SHOSTAKOVICH

Table 14.3: Shostakovich, Symphony No. 9, Mvt. 1 Allegro (cont’d)

m M R H Comment

154 M1.1 E♭ E♭ Recap.161 M1.2 E C♯m B166 Gm Bridge170 M1.3 E♭ E7/G♯ = B♭7 a♭-ped., symm.174 M1.1 E♭ a♭-ped. (cont’d)180 ⊥ A − B7 − E182 M2.1 A♭ A♭ E♭7 − A♭ Fm a♭-ton-ped.192 M2.1 A♭ E♭7 − A♭ a♭-ped. (cont’d)198 ⊥ E♭m7/G♭ e♭-dom.-ped.203 M2.2 F F B7 − Em B♭7−

212 M1.1 E♭ E♭ Coda218 G7 Tr. 1228 M1.1 B♭7−230 M2.1 E♭244 M1.1 G7 − A♭7 − B♭7 − E♭ (247 m.)

100

Bibliography

[1] J.S. Bach, The Six Brandenburg Concertos and the Four Orchestral Suites, Dover Publi-cations, Inc., New York, ISBN 0-486-23376-6, 1976 4

[2] J. Brahms, Complete Chamber Music for Strings and Clarinet Quintet, Dover Publica-tions, Inc., New York, ISBN 0-486-21914-3, 1968 43, 52

[3] J. Brahms, Complete Symphonies in Full Score, Dover Publications, Inc., New York,ISBN 0-486-23053-8, 1974 54

[4] J. Brahms, German Requiem in Full Score, Dover Publications, Inc., New York, ISBN0-486-25486, 1987 43

[5] C. Debussy, Three Great Orchestral Works in Full Score, Dover Publications, Inc., NewYork, ISBN 0-486-24441-5, 1983 60

[6] G. Mahler, Songs of a Wayfarer and Kindertotenlieder in Full Score, Dover Publications,Inc., New York, ISBN 0-486-26318-5, 1990 90

[7] G. Mahler, Symphonies Nos. 5 and 6 in Full Score, Dover Publications, Inc., New York,ISBN 0-486-26888-8, 1992 90

[8] F. Mendelssohn Bartholdy, Major Orchestral Works, Dover Publications, Inc., NewYork, ISBN 0-486-23184-4, 1975 23

[9] W.A. Mozart, Later Symphonies, Full Orchestral Score of Symphonies 35-41, DoverPublications, Inc., New York, ISBN 0-486-23052-X, 1974 6, 11

[10] W.A. Mozart, Complete String Quintets with the Horn and Clarinet Quintet, DoverPublications, Inc., New York, ISBN 0-486-23603-X, 1978 6

[11] S. Prokofiev, Four Orchestral Works, Dover Publications, Inc., New York, ISBN 0-486-20279-8, 1974 95

[12] M. Ravel, Concerto pour Piano et Orchestre, Editions Durand & Cie., Paris 71

[13] M. Ravel, Quartet in F major, for two violins, viola and cello, Score no. 539, Internatio-nial Music Company, New York 64

[14] M. Ravel, Daphnis and Chloe, Dover Publications, Inc., New York, ISBN 0-486-25826-2,1988 71

101

BIBLIOGRAPHY

[15] M. Ravel, Four Orchestral Works in Full Score, Dover Publications, Inc., New York,ISBN 0-486-25962-5, 1989 64, 71

[16] F. Schubert, Complete Song Cycles, Dover Publications, Inc., New York, ISBN 0-486-22649-2, 1970 12

[17] F. Schubert, Four Symphonies in Full Score, Dover Publications, Inc., New York, ISBN0-486-23681-1, 1978 12

[18] R. Schumann, Complete Symphonies in Full Score, Dover Publications, Inc., New York,ISBN 0-486-24013-4, 1980 30, 36

[19] D. Shostakovich, Symphonies Nos. 1 and 5 in Full Score, Dover Publications, Inc., NewYork, ISBN 0-486-28368-2, 1995 97

[20] D. Shostakovich, Symphonies No. 9 and 10 in Full Score, Dover Publications, Inc., NewYork, ISBN 0-486-28801-3, 1995 97

[21] R. Strauss, Tone Poems Series 1: Don Juan, Tod und Verklarung, Don Quixote, DoverPublications, Inc., New York, ISBN 0-486-23754-0, 1979 82, 87

[22] P.I. Tchaikovsky, Nutcracker Suite in Full Score, Dover Publications, Inc., New York,ISBN 0-486-25379-1, 1987 56

102

Index

AAB form, 43AABC form, 90AB form, 90ABA form, 4, 30, 36, 43, 56, 60, 64, 71, 90, 97ABAB form, 12, 23, 43, 56ABABA form, 43ABAC form, 36, 64ABACA form, 30ABACABA form, 56ABC form, 43, 90ABCABCA form, 52

Baroque music, 1binary form, 56

concerto, 4, 71

form, 1functional harmony, 2

harmonic progression, 1

Impressionism, 1instrumentation, 1

melody, 1modulation, 2musical analysis, 1

orchestral music, 60, 64, 71overture, 23, 56

requiem, 43Romantic music, 1rondo form, 6, 30, 36, 52root cycle, 2

sequence, 2sonata form, 6, 12, 23, 30, 36, 43, 54, 71, 74, 95,

97song cycle, 12, 90

string quartet, 43, 52, 64string quintet, 6symphonic poem, 60, 82, 87symphony, 6, 11, 12, 23, 30, 36, 54, 90, 95, 97

ternary form, 4, 6, 11, 30, 36, 56, 60, 64, 71, 90,97

tonal centre, 1tonal music, 1two-part song, 90

voice leading, 1

103

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