Music Analysis

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.

c2009 F.G.J. Absil, the Netherlands.URL Website: http://www.fransabsil.nl

ii

Contents

List of Tables viii

1 Introduction 11.1 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 42.1 Brandenburg Concerto No. 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

2.1.1 Mvt. 2 Andante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42.1.2 Mvt. 3 Presto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

3 Wolfgang Amadeus Mozart 63.1 String Quintet in C Major KV 515 (1787) . . . . . . . . . . . . . . . . . . . . . . 6

3.1.1 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 124.1 Symphony No. 8 Unvollendete . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

4.1.1 Mvt. 1 Allegro moderato . . . . . . . . . . . . . . . . . . . . . . . . . . . 124.1.2 Mvt. 2 Andante con moto . . . . . . . . . . . . . . . . . . . . . . . . . . 12

4.2 Song cycle Die Winterreise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

5 Felix Mendelssohn-Bartholdy 235.1 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 306.1 Symphony No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

6.1.1 Mvt. 1, Andante - Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . 306.1.2 Mvt. 2, Larghetto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306.1.3 Mvt. 3, Scherzo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306.1.4 Mvt. 4, Allegro animato e grazioso . . . . . . . . . . . . . . . . . . . . . 30

6.2 Symphony No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306.2.1 Mvt. 3, Adagio espressivo . . . . . . . . . . . . . . . . . . . . . . . . . . 30

6.3 Symphony No. 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366.3.1 Mvt. 1, Lebhaft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366.3.2 Mvt. 4, Feierlich . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366.3.3 Mvt. 5, Lebhaft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

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

7 Johannes Brahms 437.1 German Requiem Op. 45 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

7.1.1 Mvt. 1, Selig sind, die da Leid tragen . . . . . . . . . . . . . . . . . . . . . 437.1.2 Mvt. 2, Denn alles Fleisch es ist wie Gras . . . . . . . . . . . . . . . . . . . 437.1.3 Mvt. 3, Herr, lehre doch mich . . . . . . . . . . . . . . . . . . . . . . . . . 43

7.2 String Quartet Op. 51 No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437.2.1 Mvt. 1, Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437.2.2 Mvt. 2, Romanze Poco Adagio . . . . . . . . . . . . . . . . . . . . . . . 437.2.3 Mvt. 3, Allegretto Molto Moderato e Comodo . . . . . . . . . . . . . . 437.2.4 Mvt. 4, Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

7.3 String Quartet Op. 51 No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527.3.1 Mvt. 4, Finale, Allegro non assai . . . . . . . . . . . . . . . . . . . . . . 52

7.4 Symphony No. 4 Op. 98 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547.4.1 Mvt. 1, Allegro non troppo . . . . . . . . . . . . . . . . . . . . . . . . . 54

8 Peter Ilyich Tchaikovsky 568.1 Nutcracker Suite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

8.1.1 Mvt. 1, Ouverture miniature . . . . . . . . . . . . . . . . . . . . . . . . 568.1.2 Mvt. 2, Danses caracteristiques, Marche . . . . . . . . . . . . . . . . . . 568.1.3 Mvt. 2, Danses caracteristiques, Danse de la Fee-Dragee . . . . . . . . 568.1.4 Mvt. 2, Danses caracteristiques, Danse russe Trepak . . . . . . . . . . . 56

9 Claude Debussy 609.1 Prelude a` lapre`s-midi dun faune . . . . . . . . . . . . . . . . . . . . . . . . . . 609.2 Trois nocturnes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

9.2.1 No. 2 Fetes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609.2.2 No. 3 Sire`nes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

10 Maurice Ravel 6410.1 String Quartet in F . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

10.1.1 Mvt. 2, Assez vif - tre`s rythme . . . . . . . . . . . . . . . . . . . . . . . 6410.2 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 me`re loye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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 Guerrie`re . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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 8211.1 Op. 20 Don Juan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

11.1.1 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 9012.1 Lieder eines fahrenden Gesellen . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

12.1.1 Wenn mein Schatz Hochzeit macht . . . . . . . . . . . . . . . . . . . . . . 9012.1.2 Gieng heut Morgens ubers 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 9714.1 Symphony No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

14.1.1 Mvt. 3, Lento . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9714.2 Symphony No. 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

14.2.1 Mvt. 1, Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

v

List of Tables

1.1 Notation convention in the diagrams . . . . . . . . . . . . . . . . . . . . . . . . 21.2 Notation convention in the diagrams (contd) . . . . . . . . . . . . . . . . . . . 3

2.1 Bach, Brandenburg Concerto No. 4, Mvt. 2 . . . . . . . . . . . . . . . . . . . . 42.2 Bach, Brandenburg Concerto No. 4, Mvt. 3 . . . . . . . . . . . . . . . . . . . . 5

3.1 Mozart, String Quintet in C Major KV 515, Mvt. 1 . . . . . . . . . . . . . . . . 73.2 Mozart, String Quintet in C Major KV 515, Mvt. 4 . . . . . . . . . . . . . . . . 83.3 Mozart, String Quintet in G Minor KV 516, Mvt. 1 . . . . . . . . . . . . . . . . 93.4 Mozart, String Quintet in G Minor KV 516, Mvt. 2 . . . . . . . . . . . . . . . . 103.5 Mozart, Symphony No. 40 in G minor, Mvt. 2 . . . . . . . . . . . . . . . . . . . 103.6 Mozart, Symphony No. 41 Jupiter, Mvt. 2 . . . . . . . . . . . . . . . . . . . . 11

4.1 Schubert, Symphony No. 8 Unvollendete, Mvt. 1 . . . . . . . . . . . . . . . . . 134.2 Schubert, Symphony No. 8 Unvollendete, Mvt. 2 . . . . . . . . . . . . . . . . . 144.3 Schubert, Die Winterreise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154.4 Schubert, Die Winterreise (contd) . . . . . . . . . . . . . . . . . . . . . . . . . 164.5 Schubert, Die Winterreise (contd) . . . . . . . . . . . . . . . . . . . . . . . . . 174.6 Schubert, Die Winterreise (contd) . . . . . . . . . . . . . . . . . . . . . . . . . 184.7 Schubert, Die Winterreise (contd) . . . . . . . . . . . . . . . . . . . . . . . . . 194.8 Schubert, Die Winterreise (contd) . . . . . . . . . . . . . . . . . . . . . . . . . 204.9 Schubert, Die Winterreise (contd) . . . . . . . . . . . . . . . . . . . . . . . . . 214.10 Schubert, Die Winterreise (contd) . . . . . . . . . . . . . . . . . . . . . . . . . 22

5.1 Mendelssohn, A Midsummer Nights Dream Overture . . . . . . . . . . . . . . . 245.2 Mendelssohn, Symphony No. 4 Italian, Mvt. 1 . . . . . . . . . . . . . . . . . . 255.3 Mendelssohn, Symphony No. 4 Italian, Mvt. 2 . . . . . . . . . . . . . . . . . . 265.4 Mendelssohn, Symphony No. 4 Italian, Mvt. 3 . . . . . . . . . . . . . . . . . . 275.5 Mendelssohn, Symphony No. 4 Italian, Mvt. 4 . . . . . . . . . . . . . . . . . . 285.6 Mendelssohn, Symphony No. 4 Italian, Mvt. 4 (Contd) . . . . . . . . . . . . . 29

6.1 Schumann, Symphony No. 1 Fruhling, Mvt. 1 . . . . . . . . . . . . . . . . . . 316.2 Schumann, Symphony No. 1 Fruhling, Mvt. 2 . . . . . . . . . . . . . . . . . . 326.3 Schumann, Symphony No. 1 Fruhling, Mvt. 3 . . . . . . . . . . . . . . . . . . 336.4 Schumann, Symphony No. 1 Fruhling, Mvt. 4 . . . . . . . . . . . . . . . . . . 346.5 Schumann, Symphony No. 1 Fruhling, Mvt. 4 (contd) . . . . . . . . . . . . . 356.6 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 (contd) . . . . . . . . . . . . 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 (contd) . . . . . . . . . . . . . . . 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 (contd) . . . . . . . . . . . . . . . . . . . . . 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` lapre`s-midi dun faune . . . . . . . . . . . . . . . . . . . . 619.2 Debussy, Trois nocturnes, No. 2 Fetes . . . . . . . . . . . . . . . . . . . . . . . 629.3 Debussy, Trois nocturnes, No. 3 Sire`nes . . . . . . . . . . . . . . . . . . . . . . 63

10.1 Ravel, String Quartet, Mvt. 2 Assez vif - tre`s 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 (contd) . . . . . . . . . . . . . . . . . 7310.9 Ravel, Ma me`re loye, Pavane de la Belle au bois dormant . . . . . . . . . . . . 7310.10Ravel, Ma me`re loye, Petit Poucet . . . . . . . . . . . . . . . . . . . . . . . . . 7410.11Ravel, Daphnis et Chloe, Danse Guerrie`re . . . . . . . . . . . . . . . . . . . . . 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 (contd) . . . . . . . . . . . . 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 (contd) . . . . . . . . . . . . 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 (contd) . . . . . . . . . . . . . . . . . . . . . . . . 8811.12Strauss, Tod und Verklarung (contd) . . . . . . . . . . . . . . . . . . . . . . . . 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 (contd) . . . . . . . . . . . . . . . . . . 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., startingwith 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 ofmelodicmaterial (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, R3: root moving a third upward;

R5: root moving a fifth downward, R5: root moving a fifth upward;

R7: root moving a second upward, R7: 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 (contd)

Label Meaning

[T] , [SD] , [D] Tonic, sub-dominant and dominant tonal axis material%(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 C7 B7 Seq(3 1m;R7)18 M2 Em D7 G E7 Am E7 Echo(Q-A)

28 M2 Am Am D7 G C7 F !7 B7 B, solo, Seq(3 2m;R7) Em F !7

37 M2 Bm Bm F !7 Bm C!B A Seq(3 1m;R7) G7 F !7

45 M2 Bm A7 D B7 Em B7 Echo

55 M1 Em Em F/A A61 M2 B F ! E D G7 Seq(3 1m;R7)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 EmA7 Seq(3 2m;R7)53 M1 D D A7 D A7 Imit.57 D E7 A7 Seq(3 2m;R7)

67 M1/M2 D D A7 D D7d Em B7 Em Tutti 2

75 M2 E7d F A7

d Bm Seq(3 2m;R5)

M1/M2 G B787 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 E7Am 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 !7152 Bm Bm E7 Am D7 G Em A7 Solo 3, Seq(3 2m;R7)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;R7)189 M1 G G D7 G D7 G D7 G Tutti 5, imit. (3 stat.)197 G A7 D7 Seq(3 2m;R7)

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 AmD7237 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 A769 M1.1-1.3 D D

M1.4-1.5 D7 G Transition94 M2.1/M1.5 G G Gr. 2

M1.5 D7 Seq(3 2m, R7)115 M2.2 G D7

131 M1.4 G G7d Tr., g-ton-ped.

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

... Gm Cm D7 Gm G7 Cm Seq. (contd)

... Fm C7 Fm Seq. (contd) B"7 E"

193 M1.5 G7 Cm D7197 M2.1 G G G7

205 M1.1 C C G7d Rec., Gr. 1

230 M1.2 Am Am D7255 M1.1-1.3 G G

M1.4-1.5 G7 C G7 c-ton-ped.281 M2.1/M1.5 C C Seq.

M1.5 C/GG7 Gr. 2305 M2.2 C

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

341 M2.1/M1.5 C/G G7d Am

A7 DmG7353 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, R7)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 D718 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" G7d Codetta, Imit.

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

M2 Fm Seq. (Contd)M2 Gm D7 Seq. (Contd)

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 Dm14 M1 Cm E" G7 Cm B"7 E" Pt. 2

Cm G7 Cm A7 D726 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 D20 M1 Am E7 Am Pt. 2

C AmG G7 C E7 Am D G Seq.A7 D

32 M1 G G D7d 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 + 4m Part 1, 1st statement9 M1 E" 2 + 2 + 8m 2nd Statement20 M2 B" Sentence 2 + 2 + 4m Contrasting theme28 G" F7 Sequence (neg. cycles R5) Transition37 B" Cadential material 4 + 7 + 5m Closing

53 M2 E"(m) Much varied and inverted Part 257 M2 D" E" F Sequence R763 M2 G7 C69 C B"7 Retransition

74 M1 E" Sentence: 2 + 2 + 4m Part 3, 1st statement82 M1 E" 2 + 2m 2nd Statement86 M2 Fm E"7 Subdominant 4 + 4m94 M1 A"B"7 Subdominant 2 + 3m 3nd Statement99 C"B"7 Sequence (neg. cycles R5) Transition108 E" Cadential material 4 + 3 + 9m 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 + 9m Closing

45 M2 Dm Contrasting theme Part 251 M2 E"mB"m Fm

CmDmGm Sequence R556 DmA7 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 4m)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, R7170 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 4m)303 B Chords312 M2322 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 A116 a1 E G E32 b1 E C!m45 a1 E56 Trans.

64 a2 C!m B182 a2 C!96 a2 C!m111 D Seq.121 G139 C Retrans.

142 a1 E A2157 a1 E G E173 b1 E A F !m186 a1 A252 Trans.

205 a2 Am B2223 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 GDC 11 D

7 Dm Coda (105 m.)

2. Die Wetterfahne

I 6 Am IntroductionA 5 UnisonoB 4 CC Seq.

A 5 AmB 5 F AAmC 9 Dm

A 5 DmB 7 F GmAC 11 D

5 Am Coda (52 m.)

3. Gefrorne Thranen

I 8 Fm IntroductionA 13 FmA"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 (contd)


4. Erstarrung

I 7 Cm Introduction, RH arpeggio

A 8 CmB 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 EmD!m Sudden, unprepared modulation (key shifts)A 9 EmD!m Unprepared modulation

B 8 E10

C 6 EmD!m Unprepared modulation6 G!m Unprepared modulation

C 8 EmG F !m Unprepared modulation10 EmG Em Unprepared modulation

3 Coda (74 m.)

8. Ruckblick

I 10 Gm Introduction

A 6 GmDm Tonal ambiguityB 11 DmGm

C 12 G9 Em Tonal ambiguity

A 6 GmDm Tonal ambiguityB 4 Gm

11 G Coda (69 m.)

9. Irrblick

I 4 Bm IntroductionA 12 BmD BmA 12 BmD 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 DmGmAm Rapid key changes

C 17 AAm

I 5 A InterludeA 10B 12 DmGmAm Rapid key changes

C 18 AAm (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 GA 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 FmCm 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 DmDB 11 GD

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 G11 EmGm 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 FmA" 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 AMidsummer 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: ABAB. See Table 5.3 for the analysis.

5.2.3 Mvt. 3 Con moto moderato


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. 141 Em B BA62 M2 E [A] Gr. 1 Th. 278 M3 E F !7 Transition98 M1 B C!m E Sequence122 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 A7316 M1 D [E]334 M2 C! A7 D F ! Sequence358 G!7373 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. TonDom.

M1.1 F !7 B7 (a)90 M2.1 E E B7 Em B7 Tr.+Gr. 2110 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 AmEm E7 Am B7 Em257 M3.1 Bm Bm/F ! F !7 Bm/F ! F !7269 M3.1/1.1 B B7 E E7 A A7 D D7 (a)285 M1.1 C C/GG7 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 ABm A/C! F !Bm458 M3.1 Am Am/E G7 C C7 F (Dev. Th.)478 M3.1 E7 Am E7/D486 M1.1/3.1 AD 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 E7557 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 ADm E7 A7 (b)

M1.1 Dm28 M1.2 A7 Dm E7 A7 (b)

M1.1 Dm A736 Dm E7 A E7 Am B!57 /F Trans.

45 M2 A E7 A A7 B, e-Dom-Ped.49 (M2) D D EmA7 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/AA7

86 Dm A7 Dm E7/G ADm Coda94 C!7 A!97 97 M1.1 Dm D!97 Gm

E7/D A7/C! ADm (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 !mB7 E

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

35... F !m C!7 F !m

39 D/F !E742 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 Am100 E Am E E/G! Am e-ton-ped108 M2 B7/A E/G! B7/A E/B121 B7 E125 (M1.1) A E7 Trans.

127 M1.1 A E7 A A E E7/D A/C! A141 F !mB7 E

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

161... F !m C!7 F !m

165 D/F !E7168 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 B210 B7/A F !m E7219 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) B722 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 B7 Am E St. 6, e-dom-ped.34 Am E7 Am Trans.41 (M0) G7 C A7 Dm E7 Am

D7 G F7 Em/B B53 M2.1 Em B7 Em B7 Em Gr. 2, b-dom-ped.

61 M2.2 F !7 B7d

(M0) C G C Am/C B7 EmE7/G!

72 Am Am D7d Trans.

76 M1 Em Em Em/B B7 Gr. 1, Final Stat.80 Em Am F !7 B784 M2.2/M0 Em B Em G C B Em

Em/B B97 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/GD 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 AA7 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 (Contd)

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 /F222 M1 Am Am/E E7 Am226 M1.1 Dm E7/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/AAm (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)-A33 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(3R7)112 M5 Dm Gm Cm Seq(3R5)128 Dm E" E"7 Seq(3R7)140 M1 D G A7 C7 False Rec. A-A-B(seq)164 M1 F G Am Dev (contd) Seq(3R7)180 M5 Am Dm Gm Seq(3R5)196 Am B" B"7 Seq(3R7)208 M4 A G Fm Seq(3R7)232 Cm F7 B7 C7 Seq(3R5)251 B"/F F7270 M1 B" Intro

M2 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" C7391 B"/B" B"400 M6 E"419 M6 E" F7429 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" D7 G7 Cm E"/B"B"715 M1 G7 C7 Fm B"7 G7 Cm20 F7 E"/B"B"7 E"

25 M2 C C Fm/C B7 C B, c-ton.-ped.28 D7 G7 C G7 C C7 g-dom.-ped.33 M2 A A Dm/AG!7 A a-ton.-ped.36 A/E B7 E7 A E7 A F7 e-dom.-ped.

41 M1 B" B" F7 B"7 E" Gm C7 F B"7/A" E"/G A51 F7/AD7 Gm E" E7 B"/F F7

55 B" B" D7/A C, Imit.57 Gm Gm B"7/F Imit.59 E" E" D7/F G/B Imit.62 Fm C7/B" Fm/A" G7/B" C/E66 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 D7 G7 Cm Fm7/A" F7/A E"/B"B"7

92 M1 G7/B C7 Fm B"7 G7 Cm F7/A98 E"/B"B"7 E"

102 E" A"/E" B"7 E" E"7 A" F7 B"7 Coda, e"-ton.-ped.108 E" A7/C E"/B"B"7 E" D GmD

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 B7 C7 F7 Gr. 1/Th. 115 M1 B"719 M1 E" F7 B" DG Cm/E" B"/F F731 B" B"7 E" F7 B" D Tr. 143 M2 Gm Gm D Gm A Gr. 1/Th. 250 M2 Dm Dm ADm58 M1 G!97 C

!97 Tr. 2

66 M0 F F B7 C Gr. 274 M0 F C7 F D7/F !Gm G7/B C84 M0 F C7 F D7/AGm 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"7117 M0 E"m E"m123 M0 D" E"7 F7 Imit., Seq.(3 4m;R7)

Cm G G7/F Cm E7/B"139 M0 ADm 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 F7B" Cm7/E" F7 Tr. 3

180 M1 B" B" C7 F Recap., Gr. 1,Th. 1184 M1 B" D7 Gm B7 C7 F F7192 M1 B"7196 M1 E" F7 B" B7 Cm D7 G Cm/E"206 B"/F F7208 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 F7244 M2 B" B" E7 F Gr. 2252 M2 B" C7 F7260 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 (contd)

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 CmC7 B"7 F7299 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 F7323 M0 B" F7 B" F7339 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 A19 M1 E" B"7 E" A20 M2 E" B" B26 M3 E" F7 Trans.35 M1 B" A Imitation44 M2 A" F7/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 Imitation100 M2 F D7/F

104 M1 C/G G7d 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 (AABA)/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 C7201 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 (contd)

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 218H G G!97 C C

!97 Fm G7 Cm D7 Gm

R5 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 I64

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. 313 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 C7 F7 B"mB"730 E"m E"m32 M1 F7 Imit. 335 M1 B"m B"m Imit. 338 M1 A" E"7 A" Imit. 240 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"m52 E"m58 M1 B7 E B"7 E"m B" Imit. 367 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(3R7)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 !7130 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 CmB" E" Schneller, Imit.315 M6 B"7323 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 LangsamDmG7 C

7 DmGm/B"AA7 (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 %(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 EmA7 Trans. 3, Seq.105 M2 D a-dom-ped.113 M3 D A7 D a-dom-ped.119 M3 E7 F !7 Ped., Seq(2R7)

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

152 Em %(C B7) Trans. 2156 M5 D EmA7 D160 E7 D/AA7 Bell effect164 M5 D168 E7 D/AA7 Bell effect172 D D Schneller180 A7 E7 Trans. 2 (194 m.)

1 D AD B7 EmA7 D Presto, Scales14 E7 D/AA7 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, marschmaig

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

Form: Sonata. See Table 7.4 for the analysis.

7.2.2 Mvt. 2, Romanze Poco Adagio


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 DmAmEm F27 M2 B"C F Sec. Motive

29... F F7 B"m C7 Chorus [A]

37 A/C! C7 Dm/F C7d 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 F7 C7/F F7 B" A1, f -Ped. (intro), Chorus [C]

74 Fm D"7 F/C C!97d

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 DmAm Em F

119... F E7 AmB"mG7 C7

127 A/C! C7 Dm C7d Chorus

136 M2 F !m/ADmAm 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"mB"m G" C7 F F A,[34

], Intro

23 M1 B"m G" C7 F Gm7/F G7/F F (a), Chorus [A]43 M0 F G7/F C7 D" B7 F !97 (b), f -Ped. [B]55 M1 B"m C" F7 F B" A7 B" (a), Chorus75 M2 G" G" D"7 G" C" C7 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"mB"m G" C7 F F A, Intro [E]

147 M1 B"m G" C7 F Gm7/F G7/F F (a), Chorus [F]167 M0 F G7/F C7 D" B7 F !97 (b), f -Ped. [G]179 M1 B"m C" F7 F B" A7 B" (a), Chorus198 M2 B" B"ADm 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 DmB" 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 E7/GADm Solo

17 M1 Am/C E7/GADm E7/GAd Chorus [A]

33 M2 B" B" F !7/A!Bm E7/B"A Solo [B]

48 M2 B" E"m/B"B7 AmA7/Gd Chorus

58 B"/F F !m/C!A7 Dm/AAm a-Ped.66 M1 Dm ADm/A ADm Solo, a-Ped. [C]81 M1 E7/GA C!m/G! G!7/D DmA Chorus93 M2 Dm d-Ped.

105 M3 D D B!97 /D!E7 D7 G/D AD[32

]Solo

118 M1 Dm Dm/A F !7 Gm DmGm Solo, M2 Imit. [D]129 M3 F F B7 D"7 F/C C7 Chorus, (M2) Imit. [E]138 F/C F B"/F Gm/B" F/C C7142 M1 Dm A/C!Dm Solo144 M4 A/C!D7/C G/B Chorus, Imit. [F]147 E7 E7/D A7/C!A!97 /G150 M4 D/F ! F !!97 D/F !Dm/F E7 Stretto Imit., (M2) Climax157 M1 G!7/D

164 AD/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 E7 A7 Dm d-ped. (contd) [G]

193... Gm/D A7 D D7 Gm/D

196... A!97 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"mA"G F Exp.-Gr. 111 M2 FmG715 M2 C

F !7 G723 M1 Cm F7/AB"mA" E"m31 " E"m F7 B"7 E"m Trans. 137 M3 E"m F7 B"7 E"7 Gr. 2

45 B7 A7/GD DmAd 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"775 M1 E" B"7 E" Trans. 280 F !7 Cm/GG7 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 B7100 Em Em D7/F !104 M3/M1 G G F !7 Bm G7 Cm G!7112 C!m C!m D G!7118 Retrans.119 F !m C!7 Bm/D G!7 C!7129 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. 1151 M2 G!97 /B Cm155 M2 G7 C Fm C7164 M1 Fm A"/C G174 " G!97 Cm G7 Tr. 1178 M3 Cm

186 A"7 F !7 B Bm F !d Tr. 1

194 M4 C G7/F C/E G7M4 C F DmD7

204 M5 C/G D7 G7 D7 C/GG7216 M1 C F !7 C/GG7 CmG7

224 " Fm C!97 Fm G!97 C

!97 Fm G

!97 Coda - Tr. 1

232 M1/M3 C C F FmD"/A" Cm/GG!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"719 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"m67 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 F7 (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, AllegrettoMoltoModerato e Comodo

m M R H Comment

1 M1 Cm FmG7 A"/C B"7 E"[48

]A

5 M1 Fm FmG7 C7 FmD7 G7 C9 G7 E"

!97 F7 G

!97 Cm G7 Seq (3R7)

15 M2 Cm D7/F G719 M2 Cm D7/F G7 Cm25 Fm 1)

2)

27 M3 Cm Cm C7 Bm F !7 Bm/D C!7 F !7

32 M3 Bm B7 F7 B"m B"m C7 F7

35 D738 M4 D" D"7G"7 C" A"7 D"46 M4 F G7 C7 F7 B"7 G7 C7 F54 Fm

56 M1 Cm FmG7 A"/C B"7 E" A60 M1 Fm FmG7 C7 Fm C7 Fm C766 M2 Fm G7/F C770 M2 Fm G7/F C7 Fm76 M1 Fm C7 B"m80 M1 Fm C7 B"m83 Fm B"m85 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/GG7 C

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

118 M1 (a ped) F A7/C A127 Ff B" D7/AGm 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" A17 M1.2 D DmG7 Fm13 M1.1 FmB"7 Cm D7/A" Cm/G21 M1.2 Cm FmG Cm G7 Transition

33 M2 CmE"m Cm G Cm E"mB" B41 M3.1 E" B"7 E" Imitation46 B"m C7 F7 B"m50 M3.2 F7 B"7 E"7 F7 B"7 Seq(3 2m;R5)58 E" E"A"D" Seq(3 2m;R5),

unis/chr.68 M1.1 B7

70 M1.1 E" F7 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 FmG!97 Cm A" A"7 A2, 2pt imitation102 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 (contd)

m M R H Comment

124 M2 Am Cm Am E Am Cm G B132 M3.1 C G7 C Imitation137 Gm A7 D7 Gm141 M3.2 D7 G7 C7 D7 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 D7 G7 AmD7 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 D7/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 DmG7 C/G

215 Fm Cm FmD"B"m G7d A" Seq(3 2m;R3),

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

M1.1 D7 Cm/GG

231 M2 Cm Cm FmG7 Cm CodaC7 FmB7 Cm c-ton.-ped.

244 Cm D7/A" Cm/GGCm (248 m.)

51


7.2.4 Mvt. 4, Allegro

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 G745 M2 C G7 C/E G

59 M3 F Gm C7 F G7 B71 C C C!775 DmG7 C C!7 Dm91 G7 Seq.100 Am C F !7 B7 E E7

116 M1 Am Am A1129 B7 Seq.132 M2 Em Em D7140 F Gm C7144 M2 F C A7 A7

161 M3 Dm Dm B7 B1, Imitation166 M3 Em Em173 F !m G!7 C! A4184 Dm Dm B7186 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 EmA7 D E7 B264 A A A!7268 Bm E7 A A!7 Bm284 E7 A/E E7 Seq.

293 M1 A A F !mB7 A/E A7 D A2, Imitation309 A/E E7320 M1 A Augm.328 e-dom.-ped.

334 M1 Am Am D!7 Coda, DiminishedE E 7Am 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 !745 Bm G F !7 Bm [B] Gr. 253 M2 F !57 M3 Bm [C]

65 M3 F !7 Bm F !7d

73 M2 G B777 M2 C F !787 B B F !7 [D]91 M4.1 B F !795 M4.2 B F !799 M4.3 B C!7110 M2 B/F ! [E]119 M2 B/F ! A7125 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 FmG Cm

D"mDm 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!m227 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 (contd)

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 E7321 M2 F B7331 E E/B B7 [N]335 M4.1 E B7339 M4.2 E B7343 M4.3 E F !7352 M2 E/B [O]363 M2 E/B D!7

369 M2 G!m G!m B"7d

377 M2 EmGm B Em D7 Gm F !7B7 [P]

394 M1 Em Em B7d [Q] Coda, asc. bass

402 Am/E B7d

414 C B7 Am/E421 F !7 Em/B B7426 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 A19 M1.1 B" C7 F B" F7 B"17 M1.2 Gm D7 Gm D7 Gm21 M1.2 F C7 F C7 F25 B" C7 F F/C Tr. 1, Dom. ext.32 M1.1 B" C7 F7 B" D739 E" F !7 Gm A7/E" D G7/B Cm C7/E Tr. 2

45 M2 F F C7 F A7 Dm G7 C7 B157 M2 F C7 F F7/E"B"/D F7 B" A770 M2 Dm Dm D7 Gm A7 Dm Gm7/B" C779 B" F C7 F F C7 F Cad.

90 M1.1 B" B" C7 F B" F7 A298 M1.1 B" C7 F B" F7 B"107 M1.2 Gm D7 Gm D7 Gm111 M1.2 F C7 F C7 F115 B" C7 F F/C Tr. 1, Dom. ext.123 M1.1 B" C7 F7 B" D7129 E" F !7 Gm A7/E" D G7/B Cm C7 F

135 M2 B" B" F7 B" D7 Gm C7 F7 B2147 M2 B" F7 B" B"7 E"/G D7160 M2 Gm Gm D7 Gm E" C7 F7169 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 EmBmG Em A15 b AmD/F !G F !7/AB7 Em A7/C!D9 a G EmBmG Em13 b Am Bm C Em F !7/A!B Seq(3 1m, R7)17 cd Em B/F ! Em EmAm F !7 B B21 ce B/F ! Em EmAmD D725 a G G EmBmG Em A129 b AmD/F !G F !7/AB7 Em A7/C!D33 a G EmBmG Em37 b Am Bm C G/B AmD7 G Seq(3 1m, R7)

41 M2 Em Em E7 AmB7 Em E7 A F !7 Em C, e-ton-ped.45 M2 Em E7 AmB7 Em E7 A F !7 Em

49 a G G EmBmG Em A253 b AmD/F !G F !7/AB7 Em A7/C!D57 a G EmBmG Em61 b Am Bm C Em F !7/A!B Seq(3 1m, R7)65 cd Em B/F ! Em EmAm F !7 B B69 ce B/F ! Em EmAmD D773 a G G EmBmG Em A277 b AmD/F !G F !7/AB7 Em A7/C!D81 a G EmBmG Em85 b Am Bm C G/B AmD7 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 B

13 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 B

45 a Em A!7 D!7 Em e-ton-ped.49 a F !7 B E7 AD7 GB7 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 EmA7 F !mBm Em E7 A7 D B, bridge41 b D EmA7 F !mBm 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` lapre`s-midi dun 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 Sire`nes

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

60

9.2. TROIS NOCTURNES

Table 9.1: Debussy, Prelude a` lapre`s-midi dun faune

m M R H Comment

1 M1 E [SD] A97 C!m7 F !7[98

][A] (!!!!),

Subdom.-plagal

5 Ealt7 F !7 Ealt7

[68

]

11 M1 [D] D7 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 D69

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 %(D" E"7/G) F !m7 B7 (""""")

[D] Am7 D Climax 363 M4 %(D" E"7/G) E"m7 A"sus47

E"m7 A"774 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 sus4790 M5 [D] G!m7 G!7

[D] G!794 M1 %(E7 C7) G!7 G!7 F !7 (!!!!)100 M1 [T] %(C!7 A!7)

102 C!7[98

]

C7 = F !7 F !mB7

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 E

97) B,

[24

], Rh4, dor.,

mixo-lyd., start climax,bitonal flavour

11 M6E

G!pedal (E97 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 E

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

climax

14 M1 D" D ex. par.D97 A2,[68

]/[98

], Rh1, alt.,

start climax15 M7 E" ex. par.D97 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 Sire`nes

m M R H Scales/Comment

1 F !A C F !69 A69 C

69 #0, mixo-lyd.,

appoggiaturas8 M1 C E" F !A ex. par. C97 #1, M1(CorA)22 M1,M2 B B97 G

97 #2, octatonic, app.,

M1(Str)(WW), M2(choir),start climax

34 M2 B D E B7 D97 E97 #3, octaton., tango,

exact parallel M2(choir), climax40 M2 E F ! C! E" ex./diat. par. S97 #4, mixo-lyd.,

M2(choir)50 M2,M3 D" D"97 A

97 E"

97 B

97 #5, echos, 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"AB E" S97 #8, app.M3(choir)

101 M2G

C!

E7F !97

#9,

M2(WW)(choir)111 M2,M4 B B7 G7/B #10, octaton./wh.t., echos,

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

125 M2,M1,M4 B B7 G7/B #11, echos,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 - tre`s 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 - tre`s 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 A7 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 C7 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!mG! [c] (!!!!), g!-ped.52 M2 C!7 F !m G7 Em (!!)58 M1 b-Aeol./d-Ion. Em7 A7 [b]62 d-Mixolyd. Dalt7 A

alt7 E

alt7 D [a]

71 M3 b-Aeol. Bm7 B [a][34

](!!)

79 M3 A!9785 M3 G6991 M3 F !alt7105 M4 C!!57 [b]111 b f!-ped116 M4 C!alt7120 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 G7 Em (!!)191 M1 b-Aeol. Em7 [b]196 d-Mixolyd. Dalt7 A7 D7 [a]200 M1 Am7 A7 B7209 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 B7

8... B"7 B7 #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 D737 (M0) d-Oct. C!97 #541 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 B7 #961 A (63 m.)

67


Table 10.4: Ravel, Rapsodie Espagnole, scales and modes

Scale/Mode Pitch content Harmonic structures Used in #

Mvt. 1d-Gypsy d e f g! a b c! B7 C!m7 C!7 0, 1, 2, 7, 9d-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. 2a-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. 3f!-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. 4c-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 #325 (M0) Aalt7 #428 Aalt7 A7/G #5

35 M1 b-Aeol. F !!97 G7/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 B7 #10 (!!!!!)65 M1 A!mB C!mD! E F !68 c!-Oct. D! C!m7 #1173 M2 D!m C!!97 C!7 #12

78 d-Oct./Gypsy B"7/D #13 (#####)83 M0 Aalt7 B"7 A

alt7 #14

88 Aalt7 #1593 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. (contd)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. %(E7 F7)A #7, e-ped [T]44 M3 f -Aeol. G7 %(C7 G7)B" D7 F ! #8, c!-ped [SD]48 M3 a-Aeol. %(E7 F7)A #9, e-ped [T]44 M3 f -Aeol. G7 %(C7 G7)B" D7 F ! #8, c!-ped [SD]56 F !m F ! #11, c!-ped. (61 m.)

70

10.4. MA ME`RE LOYE

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 me`re loye (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 Guerrie`re


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. (contd)

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 %(C6 G9/sus47 )

47 M4 %(C6 G9/sus47 ) #7

51 M5 (2) %(C6 G9/sus47 ) #8

59 M5 %(C6 G9/sus47 ) #9

62 M5/M4 %(C6 G9/sus47 )66 M2 #1069 M1 c-Mixolyd. C771 #11

77 f!-Phr/Gyp F !m7 C!7 B #12[34

](!!!)

79 M6 %(F !m7 C!7)84 B7 Em7 A7

B7/D A7 F789 %(F !m7 C7) #1393 M6 c!-Phryg. Fm7 B"7 Em7 G!799 C!7 G7 #14103 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 (contd)


121 B"7 C #19[68

](###)

123 M2 f!-Mixolyd. F !7 B7124 M1 %(F !7 B7)126 M3 F !7 #20131 d-Mixolyd. D97/F !133 M2 c-Ion. %(C6 G7) #21 [T]137 M5 (2) %(C7 Gsus47 ) #22

145 M5/M4 %(C7 G9/sus47 ) #23

149 M4 %(C7 Gsus47 ) #24154 M2/M1 c-Mixolyd. C7 #25160 E97 A

!97 #26

164 M0 Dm7 D7 #27 [SD], d-ped.168 M3172 G7/D D7 #28175 M1 F 97177 E" D!97 #29181 M2 c!-Phryg. %(C!mG!7) #30 [D]185 c-Ion. C #31 [T]189 B"7/A" C #32 (190 m.)

Table 10.9: Ravel, Ma me`re loye, 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 Em7A B, Pizz. strings

13 M1 D E Dm7 A, #1, a-Aeol., Melodic tension now S917 M2 E A Em7Am Arco strings

73


Table 10.10: Ravel, Ma me`re loye, 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 section55 D G d-pedal #6, [D]

60 C c-Dor. A, #7, [T]67 F Fm97 #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 theM columnstands for featuring the piano.

74


Table 10.11: Ravel, Daphnis et Chloe, Danse Guerrie`re

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 A7124 M0 B"7 C7125 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 G7198 D!7 Trans.199 IV a B"m/A200 M2201 M2 V B7 F7 D7202 M2 IV a A!m/A203 F !m7/AAm7

204 M0 IV f! C7/F ! B205 M0 D7 Bm7206 M0 I e B"7 E7207 M0 IV-I E"7 E7208 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 E7 B"7

216 V Bm7 B7 A"7 F7 D7d

M2 IV C7217 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 E7220 M2 iV=I a B"m/A221 I-V-I AG7/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/GDsus47 [1], Tr. 125 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 alt7 [4], Gr. 252 M2.2/2.3, O(P) [5]63 M2.2/2.3, OP [6]75 M3, (O)P E-Ion. E97 [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 (contd)


107 (O)P B-Ion. C!m7 F !97 B7/F ! [10], Dev., Tr. 2115 (O)P [11]123 M1.2/2.2, (O)P G-Ion. D/F !D!107 [12], Gr. 1131 M1.2/2.2, (O)P D!107 G!

sus47 /F ! [13]

142 (O)P E E7 [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 Dsus47 [18]195 M1.2, O(P) B"-Ion. F7 B" [19]202 M2.1, (O)P D A!97 [20], Gr. 2210 M2.2, P [21]

215 M2.3, O A7 [22],[34

]

221 O AD7 [23]

227 M2.2, O(P) Aalt7 [24],[22

]

232 M2.3, O A!107 D!97 [25],

[34

]

241 M3, P G-Ion. G C7 Em7Am7 [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/AGm/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 Em7B7 [34], Coda316 OP G A97 D

sus47 [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 E7 C!7d D!m D!7 [1], Trans.

46 M2.1, P(WW) C!-Aeol, G!alt7 C!m7 [2], B, Seq.(2 4m, R750 M2.1, P(WW) B-Aeol. F !alt7 Bm754 M2.2, P(Str) D7 G [3]

Em7A7 D58 Br+WW(P+Str) B"97 [4], bitonal: P(G")+O(E")60 Br+WW(P+Str) B97 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 ] G7/D D7 G [0], Intro, CadenceP1 G EmA7 Riff

17 M0, P1 G [1], Riff23 P1 C C Riff25 M0, P1 Am [2]33 G G7/D D7 G Cadence

37 M1, P2 C Dm7 [3], Exp., Gr.146 M1, P2 Dm7G7 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 E7 [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 E7 B7 B7 B7 [11], Chr. Sc.+Cad.128 P3 E7 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 Bsus47 /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 (contd)


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 D245 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] B7 C!/F !287 P7 [SD] D! [25], Riff, Chr. Sc.295 P7 [T] G [26], Riff, Chr. Sc.303 G/D D7 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 Triads31 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)

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