Musical Analysis: Great Composers, Version 2.5

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Frans Absil
September 2012
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Preface
This book is continuously under development. Always look for the
latest edition. Gradually, more musical analysis examples from the
masterworks will be included. It has been downloaded almost 15,000
times over a 3-year period up to August 2012.
This document is created using the public domain LATEX computer
typesetting program.
The navigation links (printed in blue) in the Adobe Acrobat Reader
file (the pdf-file) were created using the hyperref package from
the LATEX distribution.
Document history:
Vs. 1.0 (Jul 2005) First draft published.
Vs. 2.0 (Oct 2007) Many score analysis examples added. Typing errors corrected.
Vs. 2.4 (Sep 2009) Shostakovich Symphony example added.
Vs. 2.5 (Sep 2012) Mahler Symphony examples added. Typing errors corrected. References added.
c 2005-2012 F.G.J. Absil, the Netherlands.
URL Website: http://www.fransabsil.nl
ii
Contents
List of Tables
ix
1
Introduction
1.1 What you will find in this book . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.2 How the musical analysis diagrams were created . . . . . . . . . . . . . . . . .
1.3 How to read the diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1
1
1
2
2
Johann Sebastian Bach
2.1 Brandenburg Concerto No. 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.1.1 Mvt. 2 Andante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.1.2 Mvt. 3 Presto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5
5
5
5
3
Wolfgang Amadeus Mozart
3.1 String Quintet in C Major KV 515 (1787) .
3.1.1 Mvt. 1 Allegro . . . . . . . . . . . .
3.1.2 Mvt. 4 Allegro . . . . . . . . . . . .
3.2 String Quintet in G Minor KV 516 (1787) .
3.2.1 Mvt. 1 Allegro . . . . . . . . . . . .
3.2.2 Mvt. 2 Minuetto . . . . . . . . . . .
3.3 Symphony No. 40 KV 550 . . . . . . . . .
3.3.1 Mvt. 2 Andante . . . . . . . . . . .
3.4 Symphony No. 41 ‘Jupiter’ KV 551 (1788)
3.4.1 Mvt. 2 Andante Cantabile . . . . .
4
5
Franz Schubert
4.1 Symphony No. 8 ‘Unvollendete’ .
4.1.1 Mvt. 1 Allegro moderato .
4.1.2 Mvt. 2 Andante con moto
4.2 Song cycle ‘Die Winterreise’ . . .
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15
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15
15
Felix Mendelssohn-Bartholdy
5.1 A Midsummer Nights’ Dream . . .
5.2 Symphony No. 4 ‘Italian’ . . . . . .
5.2.1 Mvt. 1 Allegro vivace . . . .
5.2.2 Mvt. 2 Andante con moto .
5.2.3 Mvt. 3 Con moto moderato
5.2.4 Mvt. 4 Saltarello presto . . .
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27
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iii
CONTENTS
6
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35
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42
48
48
Johannes Brahms
7.1 German Requiem Op. 45 . . . . . . . . . . . . . . . . .
7.1.1 Mvt. 1, Selig sind, die da Leid tragen . . . . . . .
7.1.2 Mvt. 2, Denn alles Fleisch es ist wie Gras . . . . .
7.1.3 Mvt. 3, Herr, lehre doch mich . . . . . . . . . . .
7.2 String Quartet Op. 51 No. 1 . . . . . . . . . . . . . . .
7.2.1 Mvt. 1, Allegro . . . . . . . . . . . . . . . . . .
7.2.2 Mvt. 2, Romanze Poco Adagio . . . . . . . . .
7.2.3 Mvt. 3, Allegretto Molto Moderato e Comodo
7.2.4 Mvt. 4, Allegro . . . . . . . . . . . . . . . . . .
7.3 String Quartet Op. 51 No. 2 . . . . . . . . . . . . . . .
7.3.1 Mvt. 4, Finale, Allegro non assai . . . . . . . .
7.4 Symphony No. 4 Op. 98 . . . . . . . . . . . . . . . . .
7.4.1 Mvt. 1, Allegro non troppo . . . . . . . . . . .
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51
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62
62
Peter Ilyich Tchaikovsky
8.1 Nutcracker Suite . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8.1.1 Mvt. 1, Ouverture miniature . . . . . . . . . . . . . . . .
8.1.2 Mvt. 2, Danses caractéristiques, Marche . . . . . . . . . .
8.1.3 Mvt. 2, Danses caractéristiques, Danse de la Fée-Dragée
8.1.4 Mvt. 2, Danses caractéristiques, Danse russe Trépak . . .
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10 Maurice Ravel
10.1 String Quartet in F . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10.1.1 Mvt. 2, Assez vif - très rythmé . . . . . . . . . . . . . . . . . . . . . . .
10.2 Miroirs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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9
iv
Robert Schumann
6.1 Symphony No. 1 . . . . . . . . . . . . . .
6.1.1 Mvt. 1, Andante - Allegro . . . . .
6.1.2 Mvt. 2, Larghetto . . . . . . . . . .
6.1.3 Mvt. 3, Scherzo . . . . . . . . . . .
6.1.4 Mvt. 4, Allegro animato e grazioso
6.2 Symphony No. 2 . . . . . . . . . . . . . .
6.2.1 Mvt. 3, Adagio espressivo . . . . .
6.3 Symphony No. 3 . . . . . . . . . . . . . .
6.3.1 Mvt. 1, Lebhaft . . . . . . . . . . .
6.3.2 Mvt. 4, Feierlich . . . . . . . . . . .
6.3.3 Mvt. 5, Lebhaft . . . . . . . . . . .
6.4 Symphony No. 4 . . . . . . . . . . . . . .
6.4.1 Mvt. 4, Langsam - Lebhaft . . . . .
Claude Debussy
9.1 Prélude à l’après-midi d’un faune .
9.2 Trois nocturnes . . . . . . . . . . .
9.2.1 No. 2 Fêtes . . . . . . . . . .
9.2.2 No. 3 Sirènes . . . . . . . .
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CONTENTS
10.2.1 Mvt. 4, Alborada del Gracioso . . .
10.3 Rapsodie Espagnole . . . . . . . . . . . . .
10.3.1 Mvt. 1, Prélude à la nuit . . . . . . .
10.3.2 Mvt. 2, Malagueña . . . . . . . . . .
10.3.3 Mvt. 3, Habanera . . . . . . . . . . .
10.3.4 Mvt. 4, Feria . . . . . . . . . . . . . .
10.4 Ma mère l’oye . . . . . . . . . . . . . . . . .
10.4.1 Pavane de la Belle au bois dormant
10.4.2 Petit Poucet . . . . . . . . . . . . . .
10.5 Daphnis et Chloë . . . . . . . . . . . . . . .
10.5.1 Danse Guerrière . . . . . . . . . . .
10.5.2 Danse Générale . . . . . . . . . . . .
10.6 Piano Concerto in G . . . . . . . . . . . . . .
10.6.1 Mvt. 1, Allegramente . . . . . . . . .
10.6.2 Mvt. 2, Adagio Assai . . . . . . . . .
10.6.3 Mvt. 3, Presto . . . . . . . . . . . . .
11 Richard Strauss
11.1 Op. 20 Don Juan . . . . . . . . . . . . .
11.1.1 Introduction and Don Juan 0 .
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 . . . . . . . . . . . . . .
11.2 Symphonic poem Tod und Verklärung
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12 Gustav Mahler
12.1 Lieder eines fahrenden Gesellen . . . . .
12.1.1 Wenn mein Schatz Hochzeit macht
12.1.2 Gieng heut’ Morgens über’s Feld .
12.1.3 Ich hab’ ein glühend Messer . . . .
12.1.4 Die zwei blauen Augen . . . . . . .
12.2 Symphony No. 4 . . . . . . . . . . . . .
12.2.1 Mvt. 3 Poco adagio Ruhefoll . . .
12.2.2 Mvt. 4 Sehr behaglich . . . . . . .
12.3 Symphony No. 5 . . . . . . . . . . . . .
12.3.1 Mvt. 4 Adagietto Sehr Langsam .
12.4 Symphony No. 6 . . . . . . . . . . . . .
12.4.1 Mvt. 3 Andante moderato . . . .
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93
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98
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101
101
101
101
101
101
105
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105
105
105
105
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13 Sergei Prokofiev
115
13.1 Classical Symphony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
13.1.1 Mvt. 1, Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
v
CONTENTS
14 Dmitri Shostakovich
14.1 Symphony No. 1 . . .
14.1.1 Mvt. 3, Lento .
14.2 Symphony No. 9 . . .
14.2.1 Mvt. 1, Allegro
Index
vi
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117
117
117
117
117
123
List of Tables
1.1
1.2
Notation convention in the diagrams . . . . . . . . . . . . . . . . . . . . . . . .
Notation convention in the diagrams (cont’d) . . . . . . . . . . . . . . . . . . .
2
3
2.1
2.2
Bach, Brandenburg Concerto No. 4, Mvt. 2 . . . . . . . . . . . . . . . . . . . .
Bach, Brandenburg Concerto No. 4, Mvt. 3 . . . . . . . . . . . . . . . . . . . .
5
6
3.1
3.2
3.3
3.4
3.5
3.6
Mozart, String Quintet in C Major KV 515, Mvt. 1
Mozart, String Quintet in C Major KV 515, Mvt. 4
Mozart, String Quintet in G Minor KV 516, Mvt. 1
Mozart, String Quintet in G Minor KV 516, Mvt. 2
Mozart, Symphony No. 40 in G minor, Mvt. 2 . . .
Mozart, Symphony No. 41 ‘Jupiter’, Mvt. 2 . . . .
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8
9
10
11
12
13
4.1
4.2
4.3
4.4
4.5
4.6
4.7
4.8
4.9
4.10
Schubert, Symphony No. 8 ‘Unvollendete’, Mvt. 1
Schubert, Symphony No. 8 ‘Unvollendete’, Mvt. 2
Schubert, ‘Die Winterreise’ . . . . . . . . . . . . .
Schubert, ‘Die Winterreise’ (cont’d) . . . . . . . .
Schubert, ‘Die Winterreise’ (cont’d) . . . . . . . .
Schubert, ‘Die Winterreise’ (cont’d) . . . . . . . .
Schubert, ‘Die Winterreise’ (cont’d) . . . . . . . .
Schubert, ‘Die Winterreise’ (cont’d) . . . . . . . .
Schubert, ‘Die Winterreise’ (cont’d) . . . . . . . .
Schubert, ‘Die Winterreise’ (cont’d) . . . . . . . .
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16
17
18
19
20
21
22
23
24
25
5.1
5.2
5.3
5.4
5.5
5.6
Mendelssohn, A Midsummer Nights’ Dream Overture . . .
Mendelssohn, Symphony No. 4 ‘Italian’, Mvt. 1 . . . . . .
Mendelssohn, Symphony No. 4 ‘Italian’, Mvt. 2 . . . . . .
Mendelssohn, Symphony No. 4 ‘Italian’, Mvt. 3 . . . . . .
Mendelssohn, Symphony No. 4 ‘Italian’, Mvt. 4 . . . . . .
Mendelssohn, Symphony No. 4 ‘Italian’, Mvt. 4 (Cont’d) .
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28
29
30
31
32
33
6.1
6.2
6.3
6.4
6.5
6.6
Schumann, Symphony No. 1 ‘Frühling’, Mvt. 1 . . . . .
Schumann, Symphony No. 1 ‘Frühling’, Mvt. 2 . . . . .
Schumann, Symphony No. 1 ‘Frühling’, Mvt. 3 . . . . .
Schumann, Symphony No. 1 ‘Frühling’, Mvt. 4 . . . . .
Schumann, Symphony No. 1 ‘Frühling’, Mvt. 4 (cont’d)
Schumann, Symphony No. 2, Mvt. 3 . . . . . . . . . . .
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36
37
38
39
40
41
vii
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LIST OF TABLES
6.7
6.8
6.9
6.10
6.11
6.12
Schumann, Symphony No. 3 ‘Rheinische’ , Mvt. 1 . . . . . . . . . . . . .
Schumann, Symphony No. 3 ‘Rheinische’, Mvt. 1 (cont’d) . . . . . . . .
Schumann, Symphony No. 3 ‘Rheinische’, Mvt. 1. Development section
Schumann, Symphony No. 3 ‘Rheinische’, Mvt. 4 . . . . . . . . . . . . .
Schumann, Symphony No. 3 ‘Rheinische’, Mvt. 5 . . . . . . . . . . . . .
Schumann, Symphony No. 4 in D minor, Mvt. 4 . . . . . . . . . . . . .
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43
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45
46
47
49
7.1
7.2
7.3
7.4
7.5
7.6
7.7
7.8
7.9
7.10
7.11
Brahms, German Requiem Op. 45, Mvt. 1 . . . . . .
Brahms, German Requiem Op. 45, Mvt. 2 . . . . . .
Brahms, German Requiem Op. 45, Mvt. 3 . . . . . .
Brahms, String Quartet Op. 51 No. 1, Mvt. 1 . . . . .
Brahms, String Quartet Op. 51 No. 1, Mvt. 2 . . . . .
Brahms, String Quartet Op. 51 No. 1, Mvt. 3 . . . . .
Brahms, String Quartet Op. 51 No. 1, Mvt. 4 . . . . .
Brahms, String Quartet Op. 51 No. 1, Mvt. 4 (cont’d)
Brahms, String Quartet Op. 51 No. 2, Mvt. 4 . . . . .
Brahms, Symphony No. 4, Mvt. 1 . . . . . . . . . . .
Brahms, Symphony No. 4, Mvt. 1 (cont’d) . . . . . .
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52
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60
61
62
63
8.1
8.2
8.3
8.4
Tchaikovsky, Nutcracker Suite, Mvt. 1 Ouverture . . . .
Tchaikovsky, Nutcracker Suite, Marche . . . . . . . . . .
Tchaikovsky, Nutcracker Suite, Danse de la Fée-Dragée
Tchaikovsky, Nutcracker Suite, Danse russe Trépak . .
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68
68
9.1
9.2
9.3
Debussy, Prélude à l’après-midi d’un faune . . . . . . . . . . . . . . . . . . . .
Debussy, Trois nocturnes, No. 2 Fêtes . . . . . . . . . . . . . . . . . . . . . . .
Debussy, Trois nocturnes, No. 3 Sirènes . . . . . . . . . . . . . . . . . . . . . .
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71
72
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10.1 Ravel, String Quartet, Mvt. 2 Assez vif - très rythmé . . . .
10.2 Ravel, Miroirs, Mvt. 4 Alborada del Gracioso . . . . . . . .
10.3 Ravel, Rapsodie Espagnole, Mvt. 1 Prélude à la nuit . . . .
10.4 Ravel, Rapsodie Espagnole, scales and modes . . . . . . . .
10.5 Ravel, Rapsodie Espagnole, Mvt. 2 Malagueña . . . . . . .
10.6 Ravel, Rapsodie Espagnole, Mvt. 3 Habanera . . . . . . . .
10.7 Ravel, Rapsodie Espagnole, Mvt. 4 Feria . . . . . . . . . . .
10.8 Ravel, Rapsodie Espagnole, Mvt. 4 Feria (cont’d) . . . . . .
10.9 Ravel, Ma mère l’oye, Pavane de la Belle au bois dormant .
10.10Ravel, Ma mère l’oye, Petit Poucet . . . . . . . . . . . . . .
10.11Ravel, Daphnis et Chloë, Danse Guerrière . . . . . . . . . .
10.12Ravel, Daphnis et Chloë, Danse Générale . . . . . . . . . .
10.13Ravel, Daphnis et Chloë, Danse Générale chord structures
10.14Ravel, Concerto pour Piano et Orchestre, Mvt. 1 . . . . . .
10.15Ravel, Concerto pour Piano et Orchestre, Mvt. 1 (cont’d) .
10.16Ravel, Concerto pour Piano et Orchestre, Mvt. 2 . . . . . .
10.17Ravel, Concerto pour Piano et Orchestre, Mvt. 3 . . . . . .
10.18Ravel, Concerto pour Piano et Orchestre, Mvt. 3 (cont’d) .
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90
91
11.1 Strauss, Op. 20 Don Juan, formal analysis . . . . . . . . . . . . . . . . . . . . .
94
LIST OF TABLES
11.2 Strauss, Introduction and Don Juan 0, harmonic analysis
11.3 Strauss, Countess, harmonic analysis . . . . . . . . . . . .
11.4 Strauss, Don Juan 1, harmonic analysis . . . . . . . . . . .
11.5 Strauss, Anna, harmonic analysis . . . . . . . . . . . . . .
11.6 Strauss, Don Juan 2, harmonic analysis . . . . . . . . . . .
11.7 Strauss, Carnival, harmonic analysis . . . . . . . . . . . .
11.8 Strauss, Don Juan 3, harmonic analysis . . . . . . . . . . .
11.9 Strauss, Death, harmonic analysis . . . . . . . . . . . . . .
11.10Strauss, Symphonic poem Tod und Verklärung . . . . . .
11.11Strauss, Tod und Verklärung (cont’d) . . . . . . . . . . . .
11.12Strauss, Tod und Verklärung (cont’d) . . . . . . . . . . . .
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. 95
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12.1 Mahler, Lieder eines fahrenden Gesellen, 1. . . . . . . . . . .
12.2 Mahler, Lieder eines fahrenden Gesellen, 2. . . . . . . . . . .
12.3 Mahler, Lieder eines fahrenden Gesellen, 3. . . . . . . . . . .
12.4 Mahler, Lieder eines fahrenden Gesellen, 4. . . . . . . . . . .
12.5 Mahler, Symphony No. 4, Mvt. 3 Poco adagio . . . . . . . . .
12.6 Mahler, Symphony No. 4, Mvt. 3 Poco adagio (cont’d) . . . .
12.7 Mahler, Symphony No. 4, Mvt. 3 Poco adagio (cont’d) . . . .
12.8 Mahler, Symphony No. 4, Mvt. 4 Sehr behaglich . . . . . . . .
12.9 Mahler, Symphony No. 4, Mvt. 4 Sehr behaglich (cont’d) . . .
12.10Mahler, Symphony No. 5, Mvt. 4 Adagietto . . . . . . . . . .
12.11Mahler, Symphony No. 6, Mvt. 3 Andante moderato . . . . .
12.12Mahler, Symphony No. 6, Mvt. 3 Andante moderato (cont’d)
12.13Mahler, Symphony No. 6, Mvt. 3 Andante moderato (cont’d)
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102
103
104
104
106
107
108
109
110
111
112
113
114
13.1 Prokofiev, Classical Symphony, Mvt. 1 . . . . . . . . . . . . . . . . . . . . . . . 116
14.1 Shostakovich, Symphony No. 1, Mvt. 3 . . . . . . . . . . . . . . . . . . . . . . . 118
14.2 Shostakovich, Symphony No. 9, Mvt. 1 . . . . . . . . . . . . . . . . . . . . . . . 119
14.3 Shostakovich, Symphony No. 9, Mvt. 1 (cont’d) . . . . . . . . . . . . . . . . . . 120
ix
LIST OF TABLES
x
Chapter 1
Introduction
1.1
What you will find in this book
This booklet presents a number of diagrams, representing the musical analysis of a number
of compositions from the classical music repertoire. The diagrams are in the form of tables
and they cover a set of masterpieces from the tonal music period, i.e., starting with the Baroque
and ending with Impressionism and the late Romantic composers. A limited set of later works
is also included.
Each chapter contains works from one specific composer. Chapters are ordered more or
less chronologically. General information about the compositions was taken from the printed
scores, or from references [24] and [29].
1.2
How the musical analysis diagrams were created
Over the years I have analysed many musical scores, in order to try and understand the
following aspects in the works by the great masters:
• musical form;
• the relations between the keys (or tonal centre) within a movement;
• the harmonic progressions,
• the use of melodic material (varying from a short motif 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 I
created coloured diagrams on graph paper, with a more or less proportional representation
of the musical form and harmony, melody and other aspects indicated.
Recently I decided to put these diagrams into electronic form and make them available
on 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 the
way. 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 an
explanation of the labels and symbols used in the diagrams.
Table 1.1: Notation convention in the diagrams
Label
Meaning
m
(112 m.)
M
M0
M1
M1’
(M1)
M1.1
M2
I(M1.1)
CM
5
..
.
measure number
total number of measures in the movement
Melodic material (motif, theme, melody)
Motif, used as introduction
First main theme
Varied first theme
Vague reference to a theme
First theme from the first thematic group (sonata form)
Second theme (contrasting theme in sonata form)
Melodic inversion of M1.1
Countermelody (subordinate melody in counterpoint setting)
Gradual introduction of the melodic material below
⊥
R
H
Melodic material from the previous line is continued
Melodic material from the previous line ends here
Key or tonal centre
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 (within
the timespan of a few measures).
• The harmonic progressions frequently are reduced to the main chords that support the
structure (the functional harmony).
• A harmonic sequence (more or less exact repeat of a short fragment) is frequently indicated 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 a
dominant pedal). When the pedal is indicated between brackets, e.g., (c-ped), it is
continued 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]
<(Dm7 − G7 )
(a), (b)
Exp.
Dev.
Rec.
Tr.
Retrans.
Gr.
A, B
A’
(N )
h[A],
i #1
Tonic, sub-dominant and dominant tonal axis material
Harmonic riff
phrase from a musical sentence (e.g., M1=a+a+b)
Exposition in the sonata form
Development in the sonata form
Recapitulation (also abbreviated as Recap.)
Transition (also abbreviated as Trans.)
Retransition (back to initial tonal key)
Group (a group of related melodic material)
Sections in a longer form
Varied section in a longer form
Neapolitan chord (major chord on lowered second step)
Rehearsal mark in the printed score
Meter
Statement (also abbreviated as St.)
Sequence (see the explanatory notes)
Symmetric harmonic structures
Imitation
Counterpoint
Pedal point (e.g., c-tonic-pedal)
Rhythmic motif
Unisono
Chromatic
Ascending
Descending
Melodic augmentation (longer durations)
Melodic diminuition (shorter durations)
Whole-tone scale
Octatonic scale
3
4
Stat.
Seq.
Sym.
Imit.
Ctp.
Ped.
Rh.
Unis.
Chr.
Asc.
Desc.
Aug.
Dim.
Wh.t.-sc.
Oct.-sc.
3
CHAPTER 1. INTRODUCTION
4
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
9
M1
M2
M2
M2
Em
Em
B E7 −
Am E − D − C∆7 B7 −
Em D7 − G E7 − Am E7 −
A, Echo(Question-Answer)
Echo(Q-A)
Seq(3 × 1m; R−7 )
Echo(Q-A)
M2
⊥
M2
⊥
M2
Am
Am D7 − G − C∆7 F ]∅7 − B7
Em − F ]7 −
Bm F ]7 − Bm C] − B − A
G∆7 F ]7 −
Bm A7 − D B7 − Em B7 −
B, solo, Seq(3 × 2m; R−7 )
M1
M2
Em
Em F/A−
B F ] − E − D G∆7
Am/C − B
A’
Seq(3 × 1m; R−7 )
Coda
18
28
37
45
55
61
68
2.1.2
Bm
Em
Seq(3 × 1m; R−7 )
Echo
Mvt. 3 Presto
See Table 2.2 for the analysis.
5
CHAPTER 2. JOHANN SEBASTIAN BACH
Table 2.2: Bach, Brandenburg Concerto No. 4, Mvt. 3 Presto
m
M
R
H
Comment
1
23
41
47
53
57
M1
M1
M1
⊥
M1
⊥
G
G
G
G D − G A7 − D D7 − G
A7 − D D−
G G D 7 − G D7 −
G Em − A7 −
D A7 − D A7 −
D E7 − A7 −
Fugato-Intro (4 stat.)
Tutti 1 (2 stat.)
Solo 1, imit.
Seq(3 × 2m; R−7 )
Imit.
Seq(3 × 2m; R−7 )
67
M1/M2
D
d
D A7 − D D7 − Em B7 − Em
d
d
Tutti 2
Seq(3 × 2m; R5 )
Em
Am
E7 − F A7 − Bm
G B7 −
Em B7 − Em B7 − Em A7 −
D A7 − D7 − G7 E7 −
Am B7 − Em
B7 −
Em A7 B7 − Em B7 − E7 −
Am B7 − Em B−
Em
Em B7 − Em B7 − Em B7 − Em
Tutti 3 (3 stat.)
Seq(3 × 2m; R5 ), (4 stat.)
M1’
M1
Bm
Bm
G−C
C
F ]7 − Bm E7 − F ]7 − Bm F ]7 −
Bm E7 − Am D7 − G Em − A7 −
D D7 − G G7 − C G7 −
C D 7 − G G7 − C F G 7 −
175
183
189
197
M1
C
M1
G
C
C
G
G
207
M1/M2
M2
G
75
M2
M1/M2
87
95
105
127
138
152
159
167
6
D
Em
D
Am
M1
M1
M3
219
225
M1
237
M1
G
G7 − C G7 − C G7 −
D7 −
D 7 − G D7 − G D7 − G
A7 − D7 −
G
A7 − D 7 −
G G7 − C
G D7 − G
G A7 − D
G D7 − G
D7 −
D7 −
G7 − C E7 − Am − D7 −
D−G
Solo 2 (violin)
Seq(3 × 2m; R5 )
Imit.
Solo 3, Seq(3 × 2m; R−7 )
Imit.
Tutti 4, imit. (3 stat.)
Solo, Seq(3 × 2m; R−7 )
Tutti 5, imit. (3 stat.)
Seq(3 × 2m; R−7 )
Seq(2 × 2m; R5 )
Coda
Imit. (2 stat.), (244 m.)
Chapter 3
Wolfgang Amadeus Mozart
3.1
String Quintet in C Major KV 515 (1787)
Source:[15].
3.1.1
Mvt. 1 Allegro
Form: sonata form. The formal analysis is shown in Table 3.1.
3.1.2
Mvt. 4 Allegro
Form: rondo form. The formal analysis is shown in Table 3.2.
3.2
3.2.1
String Quintet in G Minor KV 516 (1787)
Mvt. 1 Allegro
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.
7
CHAPTER 3. WOLFGANG AMADEUS MOZART
Table 3.1: Mozart, String Quintet in C Major KV 515, Mvt. 1 Allegro
m
1
21
46
69
R
H
M1.1
C
C G7 − C C − G
115
M1.1
M1.2
M1.1-1.3
M1.4-1.5
M2.1/M1.5
M1.5
M2.2
131
M1.4
152
171
M1.1
M1.4
..
.
..
.
⊥
M1.5
M2.1
94
193
197
Cm
Am
D
G
Comment
Exp., Gr. 1
d
Cm F − C G7 −
Am D[(N ) − C/G A7 −
D
D7 − G
G
D7 −
G D7 −
d
Transition
Gr. 2
Seq(3 × 2m, R7 )
G G7 −
Tr., g-ton-ped.
Am − Dm−
A7 − B[/F D7 − C/G E7 −
Am A7 − Dm
Dev.
C
Gm − Cm−
D7 − Gm G7 − Cm
Seq. (cont’d)
Fm
B[7 − E[
C7 − F m
Seq. (cont’d)
G
G7 − Cm D7 −
G G7 −
d
C
Am
G
G7 − C G7 −
C
C G7 −
Am D7 −
G
c-ton-ped.
C
C/G − G7 −
C
Rec., Gr. 1
305
M1.1
M1.2
M1.1-1.3
M1.4-1.5
M2.1/M1.5
M1.5
M2.2
322
M1.4
C
C/G D7 /F ]−
Coda, g-dom-ped.
205
230
255
281
8
M
341
M2.1/M1.5
353
M1.4
Seq.
Gr. 2
d
C/G G7 − Am
A7 − Dm − G7 −
C F/C C G7 − C
c-ton-ped. (368 m.)
3.2. STRING QUINTET IN G MINOR KV 516 (1787)
Table 3.2: Mozart, String Quintet in C Major KV 515, Mvt. 4 Allegro
m
M
R
Comment
1
17
42
58
74
a
b
a
c
T1
C
A (102 mm.)
C
Trans.
103
120
136
162
184
M1
M2
M3
M4
T2
G
B (109 mm.)
212
228
253
269
285
a
b
a
c
T1
C
297
321
333
a’
F
C (61 mm.), Seq(3 × 8m, R−7 )
Seq(6 × 2m, R5 )
Trans.
358
375
393
419
441
M1
M2
M3
M4
T2’
G
B (109 mm.)
467
477
493
521
a’
a’
F
C
(M3=a’)
Trans.
Trans.
T1’
a’
A (85 mm.)
(M3=a’)
Trans.
Coda (73 mm.)
(539 m.)
9
CHAPTER 3. WOLFGANG AMADEUS MOZART
Table 3.3: Mozart, String Quintet in G Minor KV 516, Mvt. 1 Allegro
m
M
R
H
Comment
1
9
18
30
34
40
49
64
76
M1
M1
T1
M2
M2
T2
M2’
M1’
T3
Gm
Gm D7 −
Gm D7 −
A[9
7 D7 − Gm
Exp., Gr. 1
85
M1’
97
107
M1’
M2
M2
M2
123
10
Gm
B[
F7 − B[
C7 F7 −
B[ E[ F7 −
B[ F7 −
B[ F7 −
d
Cm
E[m
Fm
Gm
Gm
133
141
156
168
172
176
185
210
213
222
M1
M1
T1
M2
M2
T2
M2’
M1’
T3
M1’
Gm
235
243
M1
M2
Gm
Gm
Cm
Gm
Trans., Seq(R5 )
Gr. 2
Trans.
Imit.
Fin. St., Imit.
Trans.
B[ G7 −
Codetta, Imit.
A[ F m D[ B[7
Dev.
Seq(3 × 4m, R7 )
Seq. (Cont’d)
Seq. (Cont’d)
Seq(R5 )
Retrans., d-dom-ped., imit.
D7 −
G7 − C7 − F7 − B[7 − E[7
D 7 D7 −
Gm D7 −
Gm Cm
A7 D7 − Gm
Recap., Gr. 1
Trans., Seq(R5 )
Gr. 2
G7 − Cm
Cm A7 − D7 −
Gm Cm D7 −
Gm D7 −
Gm D7 −
Gm D7 −
Trans.
Imit.
Fin. St., Imit.
Trans.
Codetta, Imit.
Gm D−
Gm D − Gm
Coda, Imit.
d-dom-ped. (254 m.)
3.2. STRING QUINTET IN G MINOR KV 516 (1787)
Table 3.4: Mozart, String Quintet in G Minor KV 516, Mvt. 2 Minuetto
m
M
R
H
Comment
1
5
14
M1
M2
M1’
M1
M2
D7 −
Gm A7 − Dm A7 − Dm
G7 − Cm B[7 − E[
G7 − Cm A7 − D7 −
D7 −
Gm G7 − Cm A7 − D7 D7 − Gm
Allegretto, Pt. 1
26
30
Gm
Dm
Cm − E[
Cm
Gm
1
7
20
M1
M2
M1’
G
D
Am
C − Am − G
A7 −
D A7 − D
E7 − Am
G7 − C E7 − Am D − G
A7 − D−
32
35
M1
M2
G
G D7 −
Em Am7 − D7 − G
d
Pt. 2
Pt. 3
(43 m.)
Trio, Pt. 1
Pt. 2
Seq.
Pt. 3
(47 m.)
11
CHAPTER 3. WOLFGANG AMADEUS MOZART
3.3
Symphony No. 40 in G minor KV 550 (1788)
Source: [14].
3.3.1
Mvt. 2 Andante
Form: ternary form, three-part song form. The formal analysis is shown in Table 3.5.
Table 3.5: Mozart, Symphony No. 40 in G minor, Mvt. 2, Andante
12
m
M
Key
Comment
Phrase
1
9
20
28
37
M1
M1
M2
E[
E[
B[
G[ − F7
B[
Sentence: 2 + 2 + 4 m
2+2+8m
Sentence 2 + 2 + 4 m
Sequence (neg. cycles R−5 )
Cadential material 4 + 7 + 5 m
Part 1, 1st statement
2nd Statement
Contrasting theme
Transition
Closing
53
57
63
69
M2
M2
M2
E[(m)
D[ − E[ − F
G7 − C
C − B[7
Much varied and inverted
Sequence R7
Part 2
74
82
86
94
99
108
M1
M1
M2
M1
E[
E[
F m − E[7
A[ − B[7
C[ − B[7
E[
Sentence: 2 + 2 + 4 m
2+2m
Subdominant 4 + 4 m
Subdominant 2 + 3 m
Sequence (neg. cycles R−5 )
Cadential material 4 + 3 + 9 m
Retransition
Part 3, 1st statement
2nd Statement
3nd Statement
Transition
Closing
3.4. SYMPHONY NO. 41 ‘JUPITER’ KV 551 (1788)
3.4
Symphony No. 41 ‘Jupiter’ KV 551 (1788)
Source: [14].
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
11
19
28
32
39
M1
M1
M2
F B[ C
F
Cm
C
Sentence: a(2) + a0 (2) + b(6) m
a(2) + a0 (2) + b(4) m
Sentence a(2) + a0 (2) + b(5) m
Part 1, 1st statement
2nd Statement
Contrasting theme
Transition
45
51
M2
M2
Closing
Dm
E[m − B[m − F m−
Cm − Dm − Gm
Dm − A7 · · · C7
Contrasting theme
Part 2
F B[ C
F
Sentence: a(4) + a0 (7) + b(5) m
C
56
60
76
80
87
92
Sequence
Cadential material 4 + 3 + 9 m
M1
M1
F
F
Sequence R−5
Retransition
Sequence
Cadential material
a(3) + b(7) m
Part 3, 1st statement
Transition
2nd statem., Closing
13
CHAPTER 3. WOLFGANG AMADEUS MOZART
14
Chapter 4
Franz Schubert
4.1
Symphony No. 8 ‘Unvollendete’ (1822)
Source: [22].
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: A1 B1 A2 B2 . See Table 4.2 for the analysis.
4.2
Song cycle ‘Die Winterreise’ (1827)
Source: [21].
See Table 4.3 to 4.10 for the formal analysis.
15
CHAPTER 4. FRANZ SCHUBERT
Table 4.1: Schubert, Symphony No. 8 ‘Unvollendete’, Mvt. 1 Allegro moderato
m
16
M
Key/H
Comment
1
9
22
31
42
53
63
73
85
94
104
M0
M1
M1
Bm
Introduction
Exp., Gr. 1, 1st stat.
2nd stat.
Trans. 1
Gr. 2, 1st stat.
2nd stat.
Trans. 2, tremolo
Seq(3 × 4 m)
Chords
d-dom-ped.
Trans. 3,
110
122
134
146
170
176
184
202
M0
(M0)
(M0)
M2
M2
Bm
F ]7 Bm D7
G
Gm
M2’
G
M2’
G F ]7 − Bm
M0
(M0)
(M0)
218
231
238
256
267
281
291
303
312
322
M1
M1
328
336
334
M0
M0
(M0)
M2
M2
B7 − Em
C
F ]7
C]m/G] Dm/A Em/B B7 −
Em
Em Bm
F ]m Bm Em A7 −
D F ] F ]7
Bm B7
Em D
F ]m E − A7 −
D
Em
M2’
B
Dev.
Tremolo
Tremolo
Trans. 2, Seq(3 × 8m, R7
Seq.
Seq.
Retrans.
Recap., Gr. 1, 1st stat.
2nd stat.
Trans. 1
Gr. 2, 1st stat.
2nd stat.
Trans. 2, tremolo
Seq(3 × 4 m)
Chords
M2’
Trans. 3,
Bm
Coda
(368 m.)
4.2. SONG CYCLE ‘DIE WINTERREISE’
Table 4.2: Schubert, Symphony No. 8 ‘Unvollendete’, Mvt. 2 Andante con moto
m
M
Key/H
Comment
1
16
32
45
56
a1
a1
b1
a1’
E
E G E
E C]m
E
A1
64
82
96
111
121
139
a2
a2’
a2”
142
157
173
186
252
a1
a1
b1
a1’
205
223
237
252
a2
a2’
a2”
268
280
300
a1
Trans.
C]m
C]
C]m
D
G
C
B1
E
E G E
E A F ]m
A
A2
Seq.
Retrans.
Trans.
Am
A
Am
F
B2
E
E G] E
E
Coda
Trans.
(313 m)
Retrans.
17
CHAPTER 4. FRANZ SCHUBERT
Table 4.3: Schubert, ‘Die Winterreise’
Form
m.
Key/H
Comment
1. Gute Nacht
I
A
B
C
6
9
8
9
I
A
B
C
6
9
8
9
I
A
B
C
6
9
8
11
7
Dm
Introduction
F − B[−
Dm
Interlude
F − B[−
Dm
Interlude
D
G − D−
D
Dm
Coda (105 m.)
2. Die Wetterfahne
I
A
B
C
6
5
4
A’
B’
C
5
5
9
Am
F − A − Am
Dm
A”
B’
C
5
7
11
Dm
F − Gm − A
D
Am
Introduction
Unisono
C
Seq.
5
Am
Coda (52 m.)
3. Gefror’ne Thränen
I
A
B
8
13
9
Fm
F m − A[
C − A[m
Introduction
C
C
10
10
C − A[m
C − A[m
Ambiguity N-chord
6
18
Coda (56 m.)
4.2. SONG CYCLE ‘DIE WINTERREISE’
Table 4.4: Schubert, ‘Die Winterreise’ (cont’d)
Form
m.
Key/H
Comment
Introduction, RH arpeggio
4. Erstarrung
I
7
Cm
A
B
8
9
Cm−
E[m
C
7
12
Gm
Cm
LH arpeggio
I
D
4
12
5
A[
Interlude, RH arpeggio
LH/RH arpeggio
RH arpeggio
Cm
A
B
8
9
E[
C
7
14
Gm
Cm
7
LH arpeggio
Coda, RH arpeggio (109 m.)
5. Der Lindenbaum
I
A
I
8
16
4
A’
8
8
B
14
A
18
E
Introduction
Em
Interlude
Em
b-dom-ped.
Em − E
b-dom-ped.
6
Coda (82 m.)
6. Wasserflut
I
A
4
10
F ]m
Introduction
I
B
4
10
A
F ]m
Interlude
4
Coda (32 m.)
19
CHAPTER 4. FRANZ SCHUBERT
Table 4.5: Schubert, ‘Die Winterreise’ (cont’d)
Form
m.
Key/H
Comment
7. Auf dem Flusse
I
4
Em
Introduction
A
A
9
9
Em − D]m
Em − D]m
Sudden, unprepared modulation (key shifts)
Unprepared modulation
B
8
10
C
6
6
C’
8
10
E
Em − D]m−
G]m
Unprepared modulation
Unprepared modulation
Em − G − F ]m−
Em − G − Em
Unprepared modulation
Unprepared modulation
3
Coda (74 m.)
8. Rückblick
I
10
Gm
Introduction
A
B
6
11
Gm − Dm
Dm − Gm
Tonal ambiguity
C
12
9
G
Em
A
B
6
4
11
Tonal ambiguity
Gm − Dm
Gm
Tonal ambiguity
G
Coda (69 m.)
9. Irrblick
20
I
A
A
4
12
12
Bm
Bm − D − Bm
Bm − D − Bm
Introduction
B
12
Bm − C
Harmonisation of Neapolitan chord
Bm
Coda (43 m.)
4.2. SONG CYCLE ‘DIE WINTERREISE’
Table 4.6: Schubert, ‘Die Winterreise’ (cont’d)
Form
m.
Key/H
Comment
I
A
B
6
14
10
Cm
Cm − E[
Cm
Introduction, tonic pedal
Tonic pedal
I
A
B
6
14
10
Cm − E[
Cm
10. Rast
7
Interlude
Tonic pedal
Coda (67 m.)
11. Frühlingstraum
I
A
B
4
10
12
A
Introduction
Dm − Gm − Am
Rapid key changes
C
17
A − Am
I
A
B
5
10
12
A
Interlude
Dm − Gm − Am
Rapid key changes
C
18
A − Am
(89 m.)
12. Einsamkeit
I
8
A
B
8
9
C
12
A−C
Stressing the Neapolitan chord
C’
13
G − A − C − Bm
Stressing the Neapolitan chord (48 m.)
Bm
Introduction, tonic pedal
Tonic pedal
21
CHAPTER 4. FRANZ SCHUBERT
Table 4.7: Schubert, ‘Die Winterreise’ (cont’d)
Form
m.
Key/H
Comment
13. Die Post
I
A
B
8
18
19
E[
D[ − E[
Introduction, ton. and
dom. pedal, chrom.
desc. bass
I
A
B
8
18
19
E[
Interlude
D[ − E[
(94 m.)
14. Der greise Kopf
Form
m.
I
4
A
B
C
6
6
13
A
B’
C’
6
4
5
Key/H
Comment
Cm
Introduction
G
A[ E[ Cm
C
Cm
(45 m.)
Introduction, LH arpeggio
15. Die Krähe
22
I
5
Cm
A
8
2
Cm
E[
B
9
E[ − C − F − D − G
A
4
Cm
C
9
F m − Cm
Tonic pedal
6
Cm
Coda (43 m.)
Shifting keys
4.2. SONG CYCLE ‘DIE WINTERREISE’
Table 4.8: Schubert, ‘Die Winterreise’ (cont’d)
Form
m.
Key/H
Comment
16. Letzte Hoffnung
I
4
E[
A
4
6
Cm
B
11
C
9
D
13
Introduction
Through-composed
Cm − E[m
Key ambiguity
E[m
E[
(47 m.)
D
Introduction
17. Im Dorfe
I
6
A
B
13
11
A
C
7
6
7
D − Dm − D
G−D
D − Dm
D
(49 m.)
18. Der stürmische Morgen
I
A
B
C
3
6
4
6
Dm
B[
Dm
Introduction, unisono
unisono
(19 m.)
23
CHAPTER 4. FRANZ SCHUBERT
Table 4.9: Schubert, ‘Die Winterreise’ (cont’d)
Form
m.
Key/H
Comment
19. Täuschung
I
A
B
A
5
8
8
9
8
5
A
E
A
Introduction
F ]m chord on lyrics Taäuschung
(44 m.)
20. Der Wegweiser
I
5
A
8
8
B
A
C
C’
8
11
Gm
Seq.
G−
Em − Gm
8
8
12
9
Introduction
Shifting keys
Seq.
Gm
6
Chrom. asc. bass
Chrom. asc. bass
Coda (84 m.)
21. Das Wirthshaus
I
5
A
6
6
B
5
B[ − C
C
6
F m − A[ − F
3
24
F
Introduction
Through-composed
f -dom-ped.
Coda (31 m.)
4.2. SONG CYCLE ‘DIE WINTERREISE’
Table 4.10: Schubert, ‘Die Winterreise’ (cont’d)
Form
m.
Key/H
Comment
Introduction
22. Muth
I
4
Am
A
7
7
Am
A
B
6
6
6
6
E
A
E−C
A
4
Am
Coda (46 m.)
23. Die Nebensonnen
I
4
A
5
6
B
4
6
Am
C − Am
A
4
3
A
A
Introduction
Coda (33 m.)
24. Der Leiermann
I
8
A
8
8
6
B
A
B
Am
Introduction, ton+dom-ped. throughout
Simple I-V7 harmony
8
8
6
9
Coda (61 m.)
25
CHAPTER 4. FRANZ SCHUBERT
26
Chapter 5
Felix Mendelssohn-Bartholdy
5.1
A Midsummer Nights’ Dream Overture (1826)
Source: [13]. Form: Sonata. See Table 5.1 for the analysis.
5.2
Symphony No. 4 ‘Italian’ (1833)
Source: [13].
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 (groups
of three eight notes).
27
CHAPTER 5. FELIX MENDELSSOHN-BARTHOLDY
Table 5.1: Mendelssohn, A Midsummer Nights’ Dream Overture
m
M
Key/H
1
8
41
62
78
98
122
138
166
198
222
230
247
M0
M1
E
Em
Em B−
E
E F ]7
B C]m E
F ]7 − B F ]7 −
B
B
B
B
B
B
M4
M5
M6
M2
M0
250
270
290
298
316
334
358
373
M4
Bm
F ]m
Em
Bm A7 −
D
C] A7 − D F ]
G]7 −
C]m
394
404
436
458
486
518
542
586
M0
M1
M1
M4
M5
M6
M3
M2
E
Em
C E B7 −
E
E
E
E B7 −
E
620
M1
Em
644
658
682
28
M2
M3
M1
M1
M1
M1
M1
M1
M2
Phrase
Em B7 −
C]m E
E
Exposition
Gr. 1 Th. 1
[A] Gr. 1 Th. 2
Transition
Sequence
AA’
AB
[B] Transition
Gr. 2 Th. 1
Transition
[C] Gr. 2 Th. 2
Transition
[D] Development
[E]
Sequence
[F]
AABA’
AB
ABA
d
M2
M0
AABA’
BA’
Comment
Recapitulation
Gr. 1 Th. 1
Transition
Gr. 2 Th. 1
Transition
[G] Gr. 2 Th. 2
Transition
Gr. 1 Th. 2
[H] Coda
[I]
[K]
(686 m.)
5.2. SYMPHONY NO. 4 ‘ITALIAN’
Table 5.2: Mendelssohn, Symphony No. 4 ‘Italian’, Mvt. 1 Allegro vivace
m
M
R
H
Comment
1
24
51
66
M1.1
M1.1’
M1.1
A
A E7 −
A F ]m C]m E7 − A B7 − E7 −
A E7 −
A B7 − E C]m−
F ]7 − B7 −
E B7 − Em B7 −
E F ]7 − B7 −
E B7 /A
E/G] B7 − E F ]m
E]m/G] G] − C]m F ]7 −
E/B B7 − E
B7 − E E7 − A
Exp. Gr. 1, 1st st. (a+b)
Trans. (a)
2nd stat., (a+c)
Trans. Ton→Dom.
(a)
Tr.+Gr. 2
1st stat.
2dn st.+M1.1(b)
3rd stat.
Tr.,(a)
Final stat., (a)
1): Tr., (c)
E7 − Am A
Dm
E7 − Am B7 − Em G7 − C
E7 − Am B7 − Em
Bm/F ] F ]7 − Bm/F ] F ]7 −
B B7 − E E7 − A A7 − D D7 −
C/G − G7 − C B7 −
Em B7 − Em
C]7 − F ]m
C]
C] C]7 − F ]m A A7 −
D F ]m B7 −
Dev., Tr.
A/E E7 −
A E7 −
A B7 − E7 −
A E7 /D−
A/C] F ] − Bm
Am/E G7 − C C7 − F
E7 − Am E7 /D−
A/C] E7 − A A7 − D Bm
Rec. Gr. 1, (a+b)
Trans.
Gr. 2
+M1.1(b)
E7 − A
A/E F ]7 − Bm E7 − A
B7 E7 −
A E7 −
A
Coda
90
110
124
140
159
167
187
210
222
225
M1.1
M2.1
M2.2
M2.2
M2.2
M1.1’
M1.1
M2.2’
E
C]m
E
E−A
M2.1
⊥
M3.1
M3.1’
M3.1
M3.1/1.1
M1.1
M3.1
M3.1
M1.1
Am
Dm
Am
Am − Em
Bm
M1.1’
D
371
391
407
421
437
458
478
486
M1.1
A
M2.2
M2.2
M2.2
M3.1
M3.1
M1.1/3.1
A − Bm
Am
512
536
548
557
572
580
M4.1
M1.1’
M1.1’
M2.2’
M3.1’
M1.1’
257
269
285
297
313
319
327
357
C
Em
F ]m
A−D
A
New theme, ctp.
(a)
False rec., (a)
(a)
Retrans.
(a), back to Ton.
(Dev. Th.)
Final st., (a)
(c)
(a), (588 m.)
29
CHAPTER 5. FELIX MENDELSSOHN-BARTHOLDY
Table 5.3: Mendelssohn, Symphony No. 4 ‘Italian’, Mvt. 2 Andante con moto
m
1
4
12
20
28
M
R
H
Comment
Dm
A7 −
Dm A7 −
Dm
A − Dm E7 − A7 −
Dm
A7 − Dm E7 − A7 −
Dm A7 −
Dm E7 − A E7 − Am B7[5 /F −
A, Intro
(a)
(a)
(b)
E7 − A A7 −
D Em − A7 − D A/C] − D]/F ]
E7[9 −
B, e-Dom-Ped.
M1.1
M1.1
M1.2
M1.1
M1.2
M1.1
36
45
49
57
M2
(M2)
59
M1.1
(M1.1)
M1.1
(M1.1)
Am
M2
(M2)
⊥
66
A
D
30
M1.1
Trans.
A’
D
G
A A7 − D
E 7 − A7 − D 7 − G
B7 − Em A7 − D/F ] − G
D/A − A7
B’, a-dom.ped.
Dm
A7 − Dm E∅7 /G − A − Dm
C]◦7 A[9
7 −
Dm D7[9 − Gm
E∅7 /D − A7 /C] A − Dm
Coda
Dm
85
86
94
97
Trans.
Am A7 − B[/D
D]◦7 − B7 − E7 − A7 −
Dm A[9
7 −
Dm
A[9
7
71
74
78
(b)
(103 m.)
5.2. SYMPHONY NO. 4 ‘ITALIAN’
Table 5.4: Mendelssohn, Symphony No. 4 ‘Italian’, Mvt. 3 Con moto moderato
m
M
R
1
15
M1.1
⊥
A
F ]m − B7 − E
21
M1.2
..
.
Bm
35
39
42
50
56
58
69
76
⊥
M1.3
..
.
F ]m
A
E
83
90
92
96
100
108
121
125
M2
⊥
(M1.1’)
B7 − E
A
127
141
M1.1
⊥
A
F ]m − B7 − E
147
161
165
168
176
182
186
195
203
210
219
M1.2
..
.
⊥
M1.3
..
.
B7 /A E/B−
B7 − E
Em
E
Bm
F ]m
A
B7 − E
F ]7 − Bm
A
B7 /A F ]m − E7 −
Comment
A
Trans., e-dom-ped
C]7 − F ]m
D/F ] − E7
E7 − A A7 − D F ]7 −
Trans.
B7 /A − E/G]
B
B7 /A − Em/G
B7 − E − Am−
E Am − E E/G] − Am
B7 /A − E/G] B7 /A E/B−
b-dom-ped
E7
E7 − A A − E E7 /D − A/C]
B7 − E
F ]7 − Bm
e-ton-ped
Trans.
A
Trans., e-dom-ped
C]7 − F ]m
D/F ] − E7
E7 − A A7 − D F ]7 −
Bm C]7 − F ]m A/E−
E7 − A
E7 − A E7 − A
E7 − A
⊥
M1.1’
M2
⊥
E7 − A A − E E7 /D − A/C]
Bm C]7 − F ]m A/E−
E7 − A
E7 − A E7 − A
E7 − A
⊥
M1.1’
M2
..
.
⊥
H
Trans.
B7 /A − E7 − A/E − B7
B’
A
(223 m.)
31
CHAPTER 5. FELIX MENDELSSOHN-BARTHOLDY
Table 5.5: Mendelssohn, Symphony No. 4 ‘Italian’, Mvt. 4 Saltarello presto
m
M
R
H
Comment
1
6
20
22
26
30
34
41
M0
M1
Am
Exp-Gr. 1, a-ton-ped.
St. 1-3 (a-ton-ped)
M1
M1
M1
E
A
Am
53
M2.1
Am
E7 − Am Am
E7 − Am (a-ped) B7 −
E B−E
B7 − E − A E7 −
Am B∅7 − Am − E−
Am E7 − Am
G7 − C A7 − Dm E7 − Am
D7 − G F∅7 − Em/B − B−
B7 − Em B7 − Em
61
Em
M1
⊥
M2.2/M0
97
M2.3
101
105
110
115
122
133
143
148
156
159
163
166
175
M1/M0
M1
M1
M1.2
M1.2
M1.2
⊥
M0-M1.2
M0-M1.2
M0
M1.2
M1.2
179
183
M1/M0
M1/M0
Gr. 2, b-dom-ped.
d
F ]∅7 − B7 −
C G − C Am/C − B7 − Em
E7 /G]−
M2.2
(M0)
72
76
80
84
193
32
(M0)
St. 4, e-ton-ped.
St. 5, a-ton-ped.
St. 6, e-dom-ped.
Trans.
Am
Em
Em
A
G
D
Gm
Am
Em
Am
Dm
G
G−C
Am
Em
Am
d
Am D7 −
Em Em/B − B7 −
Em Am − F ]∅7 − B7 −
Em B − Em G − C B − Em
Em/B − B−
Em D]◦7 /A − Em
Trans.
Gr. 1, Final Stat.
Em
A Dm/A−
G A7 /C]−
D C]◦7 /G − D
D7 − Gm/B[ D7 − Gm
E7 − Am B7 − Em G7 − C
F ]∅7 − B7 − Em/B
D7 − G A7 − D D7 − G D7
E7 /G] − Am
A − A7 − Dm
D − D7
G G7 − C B7 − Em C7 − F
E7 − Am
Development
Gr. 1a-ton-ped.
g-ton-ped.
d-ton-ped.
New theme, imit.
Imit.
B − Em/B A]◦7 /E − B−
E7 − Am/E B7[5 /F − E
E7 − Am
B−E
Tr. (False Rec.), b-dom-ped.
e-dom-ped.
e-ton-ped.
Imit.
Imit.
Imit.
Imit.
Stretto
5.2. SYMPHONY NO. 4 ‘ITALIAN’
Table 5.6: Mendelssohn, Symphony No. 4 ‘Italian’, Mvt. 4 Saltarello presto (Cont’d)
m
M
R
H
Comment
195
200
210
214
222
226
230
M1.2
M1.2
M1
M0
M1
M1.1
M0
Am
E7 − Am/E
E7 − Am B7 − Em E7 − Am
E7 − Am/E E7 −
A7 − D D7 − B7[5 /F −
Am/E E7 − Am
E∅7 /G − A7[9 −
Dm/F B7[5 /F − Am/E − E7 −
Rec. (2nd Dev.), e-dom-ped.
(e-ped)
(e-ped.)
234
242
244
252
254
258
M0
M0
M0
M1
M1
D
Am
Dm
Am
Am E−
Dm/A − Am
Am/E − E − Am E7 − Am
Am/E − E − Am
G]◦7 − Am
G]◦7 − Am − E7 − Am
Trans.
Coda, a-ton-ped.
(a-ped)
a-ton-ped.
(a-ped), (264 mm.)
33
CHAPTER 5. FELIX MENDELSSOHN-BARTHOLDY
34
Chapter 6
Robert Schumann
Detailed score analysis of the Schumann symphonies was complemented with the formal
analysis presented in [8].
6.1
Symphony No. 1 ‘Frühling’ (1841)
Source: [23].
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.
35
CHAPTER 6. ROBERT SCHUMANN
Table 6.1: Schumann, Symphony No. 1 ‘Frühling’, Mvt. 1 Andante - Allegro
m
M
R/H
Form
Comment
1
6
15
M1
M2
B[
Dm G7 − Cm F7 −
B[ D D7 F7 −
Intro
Andante
Seq.(R7 )
(39 m.)
1
33
43
M1
B[ E[ F7 − A[7 − D[ D7 −
C
Am F C F
Exp., Gr. 1
Trans.
Gr. 2
A-A-B(seq)-A’
57
72
80
96
112
128
140
164
180
196
208
232
251
270
M1
M5
⊥
M1
M1
M5
⊥
M4
⊥
279
295
306
M1
321
335
343
367
391
400
419
429
445
36
M3
..
.
⊥
M4
M1
M2
M3
..
.
⊥
M1
M1
M6
M6
M1
Dm C7
G[/B[ − C7 −
F
B
C
Trans.
Bb C
Dm Gm Cm
Dm E[ E[7 −
D G A7 − C7 −
F G Am
Am Dm Gm
Am B[ B[7 −
A G Fm
Cm − F7 − B∆7 C7 −
B[/F − F7 −
B[
Dm
Dev.
B[7 D[7 G[ G[7 −
F
Dm B[ F B[
Rec., Gr. 1
Trans.
Gr. 2
False Rec.
Dev (cont’d)
Seq(3 × R7 )
Seq(3 × R5 )
Seq(3 × R7 )
A-A-B(seq)
Seq(3 × R7 )
Seq(3 × R5 )
Seq(3 × R7 )
Seq(3 × R−7 )
Seq(3 × R5 )
Intro
B(seq)-A
A
B
C
Gm F7
C[/E[ − F7 −
B[ F7 −
B[ C7 −
B[/B[ B[
E[
E[ F7 −
B[
B[
A
Coda
(477 m.)
6.1. SYMPHONY NO. 1
Table 6.2: Schumann, Symphony No. 1 ‘Frühling’, Mvt. 2 Larghetto
m
M
R
H
Comment
1
7
15
20
M1
⊥
M1’
⊥
E[
E[ B[7 − E[7 − A[ Cm − F7 /C−
B[ E[7 − A[ D∅7 − G7 − Cm E[/B[ − B[7
G7 − C7 − F m B[7 − G7 − Cm−
F7 − E[/B[ − B[7 − E[
A
25
28
33
36
M2
⊥
M2
⊥
C
C F m/C − B◦7 − C
D∅7 − G7 − C G7 − C C7
A Dm/A − G]◦7 − A
A/E − B∅7 − E7 − A E7 − A F7
B, c-ton.-ped.
g-dom.-ped.
a-ton.-ped.
e-dom.-ped.
41
51
M1
⊥
B[
B[ F7 − B[7 − E[ Gm − C7 − F B[7 /A[ − E[/G
F7 /A − D7 − Gm E[ − E◦7 − B[/F − F7 −
A’
B[
Gm
E[
Fm
G
B[ D7 /A−
Gm B[7 /F −
−E[ D∅7 /F − G/B
C7 /B[ − F m/A[ G∅7 /B[ − C/E−
F m D7[9 − G D7 − G D7 − G
E[7 − A[ A[m − E[/B[ − B[7 −
C, Imit.
Imit.
Imit.
E[
E[ B[7 − E[7 − A[ E[/G − Cm − F7 /C−
A”
55
57
59
62
66
75
78
87
M1
..
.
..
.
92
98
⊥
M1’
⊥
84
102
108
A
Imit.
B[ E[7 /D[ − A[/C
B[7 /D − D∅7 − G7 − Cm
F m7 /A[ − F7 /A − E[/B[ − B[7
G7 /B − C7 − F m B[7 − G7 − Cm − F7 /A−
E[/B[ − B[7 − E[
E[
A[/E[ − B[7 − E[ E[7 − A[ − F7 − B[7 −
E[ A∅7 /C − E[/B[ − B[7 − E[ D − Gm − D
Coda, e[-ton.-ped.
37
CHAPTER 6. ROBERT SCHUMANN
Table 6.3: Schumann, Symphony No. 1 ‘Frühling’, Mvt. 3 Scherzo
m
Motif
R
Comment
1
1
17
25
a(8m)+a’(8m)
a(8m)+a’(8m)
b(8m)+b’(8m)
a(8m)+a’(8m)
Dm
Dm
F
Dm
A1,
c(16m)+c(16m)
c’(8m)+c’(8m)+d(8m)+d’(8m)
d’(10m)
e(18+16m)
c’(8m)+c’(8m)+d(8m)+d’(8m)
d’(10m)
e(18+16m)
D
F
D
D
F
D
D
B, Trio 1,
1
17
25
a(8m)+a’(8m)
b(8m)+b’(8m)
a(8m)+a’(8m)
Dm
F
Dm
A2, Tempo 1,
f -ped.
1
9
9
49
f(8m)+f(8m)
f(8+8+16+8m)
f(8+8+16+8m)
f(8+8m)
B[
E[ − Cm − F − F
E[ − Cm − F − F
B[
C, Trio 2,
Seq.
Seq.
Retrans
1
17
33
45
a(8m)+a’(8m)
b’(16m)
c(12m)
d(20m)
Dm
D
D
D
A3, Coda,
1
33
65
75
109
141
151
38
h i
3
4
f -ped.
h i
2
4
Trans.
a-ped.
Trans.
a-ped.
h i
2
4
h i
h i
3
4
h i
3
4
3
4
6.1. SYMPHONY NO. 1
Table 6.4: Schumann, Symphony No. 1 ‘Frühling’, Mvt. 4 Allegro animato e grazioso
m
M
R
H
Comment
1
7
15
19
31
43
50
58
66
74
84
M0
M1
M1’
M1’
B[
Exp
Gr. 1/Th. 1
M2
M2
M1’
M0
M0
M0
Gm
Dm
B[F
B[ D7 − Gm B◦7 − C7 − F7
B[7 −
E[ F7 − B[ DG − Cm/E[ B[/F − F7 −
B[ B[7 − E[ F7 − B[ D−
Gm D − Gm A−
Dm A − Dm
[9
G[9
7 − C7 −
F B◦7 − C
F − C7 − F D7 /F ] − Gm G7 /B − C
F C7 − F D7 /A − Gm C7 − F
F/C − C7 − F
C7 − F B[ F/C − C7 − F − F7
F F7 /E[ − D[ A[7 − D[
D[ B[7 −
E[m
D[ E[7 F7
G G7 /F − Cm E7 /B[−
A − Dm B7 − Em C]7 − F ]m E[7
A[m
E[7 − A[7 F7 − B[7 G7 − C7
F7sus4 − F7
Cm7 /E[ − F7
Dev.
F
92
103
111
117
123
139
153
159
F − D[
M0
M0
M0’
⊥
M0’
M0’
⊥
E[m
Cm
A[m
B[
180
184
192
196
206
208
221
228
236
244
252
260
268
M1
M1
M1’
M1’
⊥
B[
M2
M2
M1’
M2
M2
M2
Cm
Gm
B[
B[ C7 − F −
B[ D7 − Gm B◦7 − C7 − F F7 −
B[7 −
E[ F7 − B[ B◦7 − Cm D7 − G − Cm/E[
B[/F − F7 −
B[ B[7 − E[ F7 − B[ G−
Cm G − Cm D−
Gm D − Gm
C7 − F7 −
B[ E◦7 − F
B[ C7 − F7 −
B[
F7 − B[ E[ − B[/F − F7
Tr. 1
Gr. 1/Th. 2
Tr. 2
Gr. 2
Retrans.
Imit., Seq.(3 × 4m; R7 )
Imit., Seq.(3 × 4m; R7 )
Stretto
Seq.(3 × 4m; R7 )
Tr. 3
Recap., Gr. 1,Th. 1
Tr. 1
Gr. 1, Th. 2
Gr. 2
Retrans.
39
CHAPTER 6. ROBERT SCHUMANN
Table 6.5: Schumann, Symphony No. 1 ‘Frühling’, Mvt. 4 Allegro animato e grazioso (cont’d)
m
275
283
294
299
303
307
319
323
339
40
M
R
H
Comment
B[ − G[
B[ B[7 /A[ − G[ D[7 − G[
G[ E[7 − A[7 F7 − B[7
G7 − Cm − C7 − B[7 − F7 −
B[ − B[7 /A[−
G[ D[7 − G[ C]7 − F ]−
B7 A[7 − D[7 B[7 − E[7 C7 /E−
B[7 /F − F7 −
B[ F7 − B[ F7 −
B[
Coda
Imit., Seq.(3 × 4m; R7 )
M0’
G[
M0’
B[
M0’
Imit., Seq.(3 × 4m; R7 )
(353 m.)
6.2. SYMPHONY NO. 2
6.2
Symphony No. 2 (1846)
Source: [23].
6.2.1
Mvt. 3, Adagio espressivo
Form: ternary form, A1 BA2 . See Table 6.6 for the analysis.
Table 6.6: Schumann, Symphony No. 2, Mvt. 3 Adagio espressivo
m
M
R/H
Form
Comment
1
9
20
26
35
44
M1
M1
M2
M3
M1’
M2
Cm E[ B[7 −
E[ B[7 − E[
E[ B[
E[ F7 −
B[
A[ F∅7 /A[−
A
A
B
A1
48
56
M1’
M1’
E[/B[ B[7 −
Cm B[7
C
D
B, contrast
74
M1
E[ B[ E[ A[
F m E[ F m D[/F −
G G7 −
A’
g-dom.-ped.
82
91
100
M3
M1’
M2
C G D7 −
G
F D∅7 /F −
A
A2 , transition
Imitation
104
112
M1’
M1’
C/G G7 −
Am G7 −
C
Chrom. bass, climax
118
M1’
M3’
C
62
d
d
A
Trans.
Imitation
Coda
(128 m.)
41
CHAPTER 6. ROBERT SCHUMANN
6.3
Symphony No. 3 ‘Rheinische’ (1850)
Source: [23].
6.3.1
Mvt. 1, Lebhaft
Form: sonata form. See Table 6.7 and 6.8 for the analysis. The detailed harmonic analysis of
the development section is presented in Table 6.9.
6.3.2
Mvt. 4, Feierlich
Form: ternary form, A1 BA2 . See Table 6.10 for the analysis.
6.3.3
Mvt. 5, Lebhaft
Form: rondo/sonata form, ABAC. See Table 6.11 for the analysis.
42
6.3. SYMPHONY NO. 3
Table 6.7: Schumann, Symphony No. 3 ‘Rheinische’, Mvt. 1 Lebhaft
m
M
R/H
Comment
1
19
25
35
43
53
57
75
77
83
M1
E[
M2.1
M2.2
M2.3/M1
Gm
Exp., Gr. 1 (ABAB’)/Th. 1
Trans.
Gr. 1/Th. 2
M1
E[
M2.1’
M2.2’
Cm
Gm
95
103
111
127
139
143
153
165
177
M3
M3’
M4
M3”
Gm
Cm
B[
Gm
M2
M2/M1
M3
M1
B[
Trans.
Final statements Gr. 1
B[
Final stat. Gr. 2
185
193
201
215
231
239
253
259
M2
M2
M3
M3’
M2
M2/M3
⊥
M3’
G G7 −
C C7
Fm
Dev. Gr. 1
273
281
295
311
319
329
M1’
M1
A[m
B
B7 B[ B[7 −
E[m
G[
F ]7 F7 −
Gr. 1
337
351
M3
M3’
B[m
Fm
Gr. 2
Trans.
M1’
M1
G[/B[ F7 −
B[
E[7 −
Return of Th. 1
Trans.
Th. 1
Trans.
Gr. 2 (AA’BA”)/Th. 1
Gr. 2/Th. 2
Gr. 2
Trans., Seq.
Gr. 1
Trans.
Trans., Seq.
Trans
Trans.
43
CHAPTER 6. ROBERT SCHUMANN
Table 6.8: Schumann, Symphony No. 3 ‘Rheinische’, Mvt. 1 Lebhaft (cont’d)
m
44
M
R/H
Comment
368
375
387
399
M1
M4
M4
M1’
E[ C7 −
Fm
Cm
False Recap., Gr. 1
Gr. 2
411
429
M1
E[
Cm A[ F m G7 −
Recap. Gr. 1
Trans., Seq.
457
473
489
M3
M4
M3’
Cm
E[
Cm
Gr. 2
505
515
M2
M2/M1
E[
Gr. 1
526
547
563
M1/M4
M1/M4
M1
E[
Coda
E[
(585 m.)
Trans.
6.3. SYMPHONY NO. 3
Table 6.9: Schumann, Symphony No. 3 ‘Rheinische’, Mvt. 1 Lebhaft. Harmonic analysis of
the development section
Development 2nd Group themes
m
H
m
H
m
H
185
G
222
C−
V−
188
G[9
7 −
R5
225
Fm
Im)
193
C
237
F7 −
196
C7[9 −
R5
239
B[
202
Fm
(IV m−
244
B[7 −
212
G7 −
V−
213
Cm
Im)
(IV m−
217
D7 −
252
F7 −
V−
253
B[m
Im)
(IV m−
258
C7 −
245
E[m
(IV m−
V−
218
Gm
(IIm−
Im)
V−
259
F
I)
Development 1st Group themes
m
H
260
F7 −
265
B[7 −
271
E[7 −
273
A[m
(IV m−
280
F ]7 −
281
B
N/V −
294
B7
V /V −
304
B[7
V7 −
311
E[m
Im)
(IV m−
m
H
318
C]7 −
319
F]
329
F ]7 −
337
F7
350
C7 −
V−
368
E[/B[−
V /V −
V7 −
351
Fm
Im)
(IIm−
361
F7 −
N/V
343
B[m
(IV m−
Im)
II7 −
I46 −
m
H
379
B[7 −
V7 )
45
CHAPTER 6. ROBERT SCHUMANN
Table 6.10: Schumann, Symphony No. 3 ‘Rheinische’, Mvt. 4 Feierlich
m
M
R
H
Comment
1
8
13
18
M1
M1
M1
M1
E[m
E[m B[7 − E[m A[m−
E[m
A1 , 44
Imit. 3×
Imit. 2×, b[-dom-ped.
Imit. 3×, e[-ton-ped.
23
26
30
32
35
38
40
M1
M1
45
50
52
58
67
46
A[m−
B[m
E[m
M1
M1
M1
M1
B[m
A[
A[ − E[m
M1
E[m
M1
E[m
C∅7 − F7 − B[m − B[7
E[m
F7 −
B[m
E[7 − A[
E[7 − A[ B[ − E[m
B[7 − E[m
B[7 − E[m A[m−
E[m
B7 − E B[7 − E[m B[−
E[m−
h i
B,
h i
3
2
, Imit. 3×
Imit. 3×
Imit. 3×
Imit. 2×
Imit. 4×
A2 ,
h i
4
2
, Imit. 2×
Imit. 3×
(67 m.)
6.3. SYMPHONY NO. 3
Table 6.11: Schumann, Symphony No. 3 ‘Rheinische’, Mvt. 5 Lebhaft
m
M
R
H
Comment
1
17
27
39
47
57
72
80
M1
M2
M3
M2
M4
M5
M3
E[
F m7 − B[7 − E[
B[7 − E[
B[7
B[7 − E[
F7 −
B[/D
B[m7 − E[ − A[
D[/F − C7 /E − F m B[7 −
A (a)
(b)
(c)
(b)
Trans.
(d)
(c)
Trans., e[-ped., b[-dom-ped.
F ]m D E[
A[m
F
F 7 − G 7 − A7
B7 − Em C]7 −
F ]m C]m/G] − E[7 − A[m
E[7 − A[m F ]7 −
B
B[7 /F −
E[/B[
B, Dev.
98
108
110
116
122
126
130
138
150
E[ − B[
B[
A[
Fm
E[
E[m
M5
M5
M5
M6
Em
F ]m G]m
A[m B
B
E[
M5
154
162
172
184
192
202
217
225
244
M1
M2
M3
M2
M4
M5
M3
E[
255
271
299
315
323
M1/M5
M4
M2
M6
E[
E[ − B[
B[
E[
Cm
E[
F m7 − B[7 − E[
B[7 − E[
B[7
B[7 − E[
F7 −
B[/D
F m7 − B[ − E[
A[/C − G7 /B − Cm
B[7 /F
E[/B[
Cm − B[ − E[
B[7 −
E[
Imit.
Seq(3 × R7 )
Imit.
b[-dom-ped.
A (a)
(b)
(c)
(b)
Trans.
(d)
(c)
Trans.
C. Coda
Imit.(5×)
Schneller, Imit.
(329 m.)
47
CHAPTER 6. ROBERT SCHUMANN
6.4
Symphony No. 4 in D minor (1841/1851)
Source: [23].
6.4.1
Mvt. 4, Langsam - Lebhaft
Form: sonata form. See Table 6.12 for the analysis.
48
6.4. SYMPHONY NO. 4
Table 6.12: Schumann, Symphony No. 4 in D minor, Mvt. 4 Langsam - Lebhaft
m
M
1
R
H
Comment
Dm
B[ Dm/A E7 − A−
Dm − G7 − C
Dm − Gm/B[ − A − A7 −
Langsam
7
1
9
11
23
29
37
43
51
57
62
66
78
82
88
92
99
105
113
119
133
141
147
152
156
160
164
168
172
180
1
14
M1
D
M2
M3
M3
M3
Bm Em
A
M1
M1
M1
M1
M4/M1
M4/M1
M2
M2
M3
M3
M3
A7 − D
Seq.
A
A
Bm
Bm
<(G − F ][9
7 )
Bm
D
M1
D
M5
Em
D
M5
D
D
Lebhaft, Seq.
Seq(2 × 6m; R5 )
E7 − A
B7 C]7
F ]7 − B7 − E7 − A/E
E7 −
A Bm C]m D−
E7 − A
Bm D
G
Em
F ]m Em
D
D
(16 m.)
Em − A7 −
A7 − D
E7 − F ]7
B7 − E7 − A7 − D/A
A7 −
Dm Em F ]m G
A7 − D
<(C − B7 )
Em − A7 − D
E7 − D/A − A7 −
D
E7 − D/A − A7 −
D
A7 − E7 −
A − D B7 − Em − A7 − D
E7 − D/A − A7 − D
Seq(2 × 4m; R7 )
Seq(R5 )
Trans. 1
Bell effect, Seq(3 × 2m; R7 )
Trans. 2
Ctp.(4 × 3m)
Trans. 3, Seq(R5 )
Trans. 3, Seq.
a-dom-ped.
a-dom-ped.
Ped., Seq(2 × R7 )
Seq(3 × R5 )
Trans. 1
Bell effect, Seq(3 × 2m; R7 )
Trans. 2
Bell effect
Bell effect
Schneller
Trans. 2 (194 m.)
Presto, Scales
(26 m.)
49
CHAPTER 6. ROBERT SCHUMANN
50
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: ABA1 B1 A2 ’. See Table 7.1 for the analysis.
7.1.2
Mvt. 2, Denn alles Fleisch es ist wie Gras, Langsam, marschmäßig
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.
51
CHAPTER 7. JOHANNES BRAHMS
Table 7.1: Brahms, German Requiem Op. 45, Mvt. 1, Selig sind, die da Leid tragen
m
M
1
15
19
27
29
R
H
Comment
F
F C7 − F
Introduction,
F − B[/F − B[m − F
F − Dm − Am − Em − F
B[ − C − F
A, Chorus
F F7 − B[m C7 −
Chorus [A]
M1
⊥
M2
..
.
37
⊥
47
55
59
M3.1
M3.2
⊥
65
M4
74
⊥
80
88
92
M3.3
M3.2
⊥
d
119
M1
..
.
..
.
127
136
⊥
M2
144
150
M2
⊥
111
52
4
4
, f -Ped.
Sec. Motive
A/C] − C7 − Dm/F C7 −
Chorus
D[
D[ G[ − E[7 /G−
A[7 − D[7 Eb7 /G−
D[/A[ − Ab7 − D[ − G[−
B, Chorus [B]
Imit.
F
F F◦7 − C7 /F − F7 − B[
A1 , f -Ped. (intro), Chorus [C]
d
F m D[7 − F/C − C7[9 −
D[
96
106
h i
F
D[/F − G[m E[7 /G−
A[7 − D[7 Eb7 /G−
D[/A[ − Ab7 − D[ − G[−
B1 , Chorus[D]
Imit.
D[7 − G[/D[ D[7 − F/C − C7 /E−
d[-Ped. (intro)
F − F7 − B[
A2 , Chorus [E]
F Dm − Am − Em − F
F E7 − Am − B[m − G7 − C7 −
d
F
A/C] − C7 − Dm C7 −
F ]m/A − Dm − Am Dm C7 −
Chorus
Trans.
F − F7 − B[/F − C7 − F C7 −
F − F/C − C7 − F
Coda, Chorus, [F]
(158 mm.)
7.1. GERMAN REQUIEM OP. 45
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,
23
43
55
75
M1
M0
M1
M2
..
.
G[
B[m G[ − C7 − F Gm7/F − G∅7 /F − F
F G7 /F − C7 − D[ B◦7 − F7[9 −
B[m C[ − F7 − F − B[ A◦7 − B[
G[ D[7 − G[ C[ − C∅7 − D[
(a), Chorus [A]
(b), f -Ped. [B]
(a), Chorus
Chorus [C]
D[ C]◦7 − D/F ] − E[m/G[ − F7
G[ C[/G[ − C[m/G[ − G[ D[7 − G[
Chorus [D]
B[m
E[m − B[m G[ − C7 − F F −
A, Intro [E]
B[
B[m G[ − C7 − F Gm7/F − G∅7 /F − F
F G7 /F − C7 − D[ B◦7 − F7[9 −
B[m C[ − F7 − F − B[ A◦7 − B[
B[ − A − Dm Cm/E[ − B[m/F − F −
(a), Chorus [F]
(b), f -Ped. [G]
(a), Chorus
Chorus, Trans. [H]
91
107
⊥
127
M0
147
167
179
198
M1
M0
M1
M2
206
M3
219
224
233
M3
⊥
M4
..
.
245
253
261
267
276
291
296
303
319
329
⊥
M3
..
.
⊥
M3
⊥
M3
..
.
⊥
B,
F
B[m
B[
h i
3
4
h i
4
4
, Intro
, Allegro, Chorus
Dm · · · Em · · · F
B[∆7 − G[/B[ − F/C − C7 − F
F C − C7 /B[ − F m/A[ B[m−
Seq(3 × 2m; R7 ) [I]
Climax
Dim.+Aug., Chorus [K]
C − F Gm−
C7 − F ]7 − B7 − Am − F7 /A
B[m G[ − B/D]−
Dim.+Aug.
Trans.
Imit., Chorus [L]
Em · · · Am · · · Dm − B[ E[/G−
B[/F B[7 − E[ A[ Cm − F7 − B[
Gm · · · Am · · · B[−
B[7 − E[m − C[ − B[/F − F7 −
Stretto imit.
Climax
Seq(3 × 2m; R7 ) [M]
Climax
B[ · · · E[
Coda, Seq(4 × 4m; R5 ) [M]
F7 − B[ Cm7 − F7 − B[ B[7 −
E[/B[ − F79 − B[
b[-Ped.
b[-Ped. (337 mm.)
53
CHAPTER 7. JOHANNES BRAHMS
Table 7.3: Brahms, German Requiem Op. 45, Mvt. 3, Herr, lehre doch mich
m
M
R
1
M0
Dm
2
M1
48
58
66
81
93
M2
⊥
M1
M1
M2
Dm
105
118
129
138
142
144
147
150
157
M3
M1
M3
D
Dm
F
M1
M4
⊥
M4
M1
Dm
B[
193
196
207
54
4
4
D
Bass Motive
Solo
Am/C E∅7 /G − A − Dm E∅7 /G − A −
B[ F ]7 /A] − Bm E7 /B[ − A−
d
164
183
h i
d
M1
M2
M5
..
.
..
.
..
.
⊥
Comment
Dm E∅7 /G − A − Dm
17
33
173
H
Chorus [A]
Solo [B]
B[ E[m/B[ − B7 − Am − A7 /G −
B[/F F ]m/C] − A7 − Dm/A − Am
A − Dm/A A − Dm
E∅7 /G − A C]m/G] G]◦7 /D − Dm − A−
Dm
Chorus
a-Ped.
Solo, a-Ped. [C]
Chorus
d-Ped.
D B7[9 /D] − E7 − D7 − G/D − A − D
Dm/A F ]◦7 − Gm Dm − Gm
F B◦7 − D[7 − F/C − C7 −
F/C − F − B[/F − Gm/B[ − F/C − C7 −
A/C] − Dm
A/C] − D7 /C − G/B
E7 − E7 /D − A7 /C] − A[9
7 /G−
D/F ] − F ][9
−
D/F
]
−
Dm/F
− E7 −
7
G]◦7 /D
h i
4−A −
A − D/A Asus
7
7
Chorus, Trans, a-Ped.
D − D7 − G/D − A7 − D E7 − C]◦7 − D
h i
D − D7 − G/D E∅7 − A7 − Dm
d-ped. (cont’d) [G]
3
2
Solo
Solo, M2 Imit. [D]
Chorus, (M2) Imit. [E]
Solo
Chorus, Imit. [F]
Stretto Imit., (M2) Climax
2
2
, Chorus Imit, d-Ped.
Gm/D − A7 − D − D7 − Gm/D
A[9
7 − D D − D7 − G/D G7 − C
G/D − D − Em7 /D − D
Stretto Imit., Climax [H]
(208 mm.)
7.2. STRING QUARTET OP. 51 NO. 1
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
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.
7.2.4
Mvt. 4, Allegro
Form: A1 BC1 A2 BC2 A3 -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.
55
CHAPTER 7. JOHANNES BRAHMS
Table 7.4: Brahms, String Quartet Op. 51 No. 1, Mvt. 1 Allegro
m
M
R
H
Comment
1
11
15
M1
M2
M2
⊥
M1
5
M3
C
Cm F7 /C − B[m − A[ − G − F
F m − G7 −
C
F ]◦7 − G7 −
Cm F7 /A − B[m − A[ − E[m
F7 − B[7 − E[m
E[m F7 − B[7 − E[7
Exp.-Gr. 1
23
31
37
45
53
56
75
80
80
84
96
100
104
112
118
119
129
133
137
151
155
164
174
178
186
194
204
216
224
232
252
56
E[m
d
B7 − A7 /G − D Dm − A −
B[7 /A[ · · · E[/G B[7 /A[−
E[ − A[ − F m − F7 −
E[/B[ F7 − B[7 F7 − E[/B[ − B[7 −
E[ B[7 − E[
F ]◦7 − Cm/G − G7
F ]◦7 − F7 − Am/E − Am
Tr. 1’
Dev.
M4
M4’
M5
M1’
E[
M1
M3
Am
C
Em
G
C]m
Am/E − F7 − B[/D − E7 − Am B◦ /D−
C C7 − F B7 −
Em D7 /F ]−
G F ]7 − Bm G7 − Cm G]7 −
C]m D − G]7 −
F ]m
C]7 − Bm/D G]7 − C]7 −
F ]m7 /C] D/F ] A/E G]7 /D]
M3/M1
⊥
Trans. 1
Gr. 2
Trans. 2
1)
2)
Retrans.
M1
M2
M2
M1
5
M3
Cm
A[/C
D7[9 /A − Cm/G A[/C − D−
G[9
7 /B − Cm
G7 − C − F m C7 −
F m A[/C − G
G[9
7 − Cm G7 −
Cm
d
M4
M4
M5
M1’
5
M1’/M3’
⊥
C
Fm
C
Recap.
Gr. 1
Tr. 1
A[7 − F ]7 − B Bm − F ] −
G7 /F · · · C/E G7 −
C − F − Dm − D7 −
C/G D7 − G7 D7 − C/G − G7 −
C F ]◦7 − C/G − G7 − Cm − G7−
Tr. 1’
[9
[9
C7[9 − F m G[9
7 − C7 − F m G7
C F − F m − D[/A[ − Cm/G − G[9
7 −C
C7 − F − D[/F −
C
Coda - Tr. 1
260 mm.
7.3. STRING QUARTET OP. 51 NO. 2
Table 7.5: Brahms, String Quartet Op. 51 No. 1, Mvt. 2 Romanze Poco Allegro
m
M
R
H
Comment
1
7
13
17
19
25
M1
M1
A[
A[ D[/F A[/E[ − B7[9 − E[7 −
A[ D[ A[/E[ − B7[9 − E[
C/E E[7 −
A[ B[7 − E[7 −
A[ A[/E[ − E[7 − A[ A[/E[−
E[7
A - (a)
(a)
(b)
A[m B[7 /D − E[
B A]◦7
F ] − B7 − Em
C[ − F7 − B[7 − E[m
E[7 E[7 − A[m
E D]◦7 − E
B − E7 − Am
B[7 − E[7 − A[m
E/B
A[/E[ F mE[/G − E[7 −
B - (a)
(a)
(b)
M1’
27
29
31
M2
M2
M3
35
37
39
M2
M2
M3
⊥
A[m
B
Em
E[m
A[m
E
Am
A[m
43
A[
A[ D[/F A[/E[ − B7[9 − E[7 −
A[ D[ A[/E[ − B7[9 − E[
C − G Cm7 − E[7 −
A[ D[ − D[m−
A[ A[/E[ − E[7 − A[ A[/E[−
E[7 − A[7
(a)
Trans.
(a)
(a)
(b)
Retrans.
49
55
61
65
67
74
M1’
M1
75
77
79
81
83
M2’
⊥
M2’
⊥
D[m
E
E[m
G[
A[
A[ E[∅7
E B7 − E
B[7 /F F∅7
G[/B[ D[7 /F − G[
E[ − A[7 − D[ B[7 − E[7 −
B’ - (a)
86
90
92
M1’
⊥
A[
A[ A[7 − D[ E[7 − A[7 −
C]m A E C[ D[m
A[/C − E[7 − A[
Coda
A[
M1’
A’ - (a)
(a)
(b)
(a)
Trans.
(a’)
57
CHAPTER 7. JOHANNES BRAHMS
Table 7.6: Brahms, String Quartet Op. 51 No. 1, Mvt. 3, Allegretto Molto Moderato e Comodo
m
M
1
5
9
15
19
25
M1
M1
27
M3
⊥
M3
⊥
Cm
Bm
M4
M4
D[
F
56
60
66
70
76
80
83
85
M1
M1
M2
M2
M1’
M1’
Cm
Fm
87
95
M1
32
35
38
46
54
118
127
135
Cm
Fm
M2
M2
B[m
F
107
58
R
M1
F
H
Comment
F m − G7 − A[/C B[7 − E[
F m − G7 − C7 − F m − D 7 − G7 − C
[9
G∅7 E[[9
7 F7 G7 − Cm G7 −
Cm D∅7 /F − G7 −
Cm D∅7 /F − G7 − Cm
Fm
h i
4
8
A
Seq (3 × R7 )
1)
2)
Cm C∅7
F ]7 − Bm/D C]7 − F ]7 −
Bm B∅7 F7 −
B[m C∅7 − F7
D◦7
D[7 G[7 − C[ A[7 − D[
G7 − C7 − F7 − B[7 − G7 − C7 − F
Fm
F m − G7 − A[/C B[7 − E[
F m − G7 − C7 − F m C7 − F m − C7 −
F m G∅7 /F − C7 −
F m G∅7 /F − C7 − F m
F m C7 − B[m−
F m C7 − B[m−
F m B[m−
F
A’
(a − ped) F Am Dm/F −
A Cm/E[ − G B[m/D[ − F
Dm/F − C/G − G7 − C
C − F/F − C Em − Am/E − Em
Am/E − Em C7
(a − ped) F A∅7 /C
Ff − B[ D7 /A − Gm F/C − C7 − F
F/C − C7 −
h i
(a − ped) F Dm − F Am/C − F F m
3
4
Un poco piu animato
B
A
Coda (146 mm.)
7.3. STRING QUARTET OP. 51 NO. 2
Table 7.7: Brahms, String Quartet Op. 51 No. 1, Mvt. 4, Allegro
m
M
R
H
Comment
1
7
13
21
M1.1
M1.2
M1.1’
M1.2’
Cm
G7 − A[ G7 − Cm A7 /E[
D Dm − G7 − F m
F m − B[7 − Cm D7 /A[ Cm/G−
Cm F m − G − Cm G7−
A1
33
41
46
50
58
M2
M3.1
⊥
M3.2
Cm − E[m
E[
B[m
Cm G − Cm E[m − B[
B[7 − E[
C∅7 − F7 − B[m
F7 − B[7 − E[7 F∅7 − B[7
E[ − A[ − D[
B
Imitation
68
M1.1
70
82
86
M1.1
⊥
94
102
110
E[
Transition
Seq(3 × 2m; R5 )
Seq(3 × 2m; R5 ),
unis/chr.
B◦7
Cm
F∅7 − B[7 B[7 − E[ F7 − B[
A[ E[ B[ F
F7 − D7 /F ] − Cm/G E◦ − F m
C1 , b[-dom.-ped.
Seq(4 × 1m; R5 )
Transition
M1.1
M1.1
Cm
C]m
F m − G[9
7 − Cm A[ A[7
C]m D]7 − E/G] E7 −
A2 , 2pt imitation
4pt imitation
M1.1
⊥
Am − Em
Am
Am B7 − C − F ]∅7 − B7 − Em
E7 − Am B7 − E (m. 120)
E[
d
2pt imitation
59
CHAPTER 7. JOHANNES BRAHMS
Table 7.8: Brahms, String Quartet Op. 51 No. 1, Mvt. 4, Allegro (cont’d)
m
M
124
132
137
141
149
M2
M3.1
⊥
M3.2
159
M1.1
161
172
180
M1.1
M1.1
193
M1.1’
205
209
R
H
Comment
Am − Cm
C
Gm
Am E − Am Cm G
G7 − C
A∅7 − D7 − Gm
D7 − G7 − C7 D∅7 − G−
C − F − B[
B
Imitation
C
···
⊥
M1.2
215
G]◦7
Em − Cm
D∅7 − G7 Am − D7 −
G7 C]7 − F ]7 − B − F ]7 −
Em/B G7 − C D∅7 /C − D7 /F ]−
C2 , g-dom.-ped.
Seq(3 × 2m; R5 )
Transition
Cm
G7 − Cm A7 − Dm−
A3
C
d
C
B[ − F − G − A[
A[/C − G7 − Cm A7 −
D Dm − G7 − C/G
F m − Cm
F m − D[ − B[m G7 − A[
M1.1
244
60
M2
d
D7 − G − F m
D7 − Cm/G − G−
225
231
Seq(3 × 2m; R5 )
Seq(3 × 4m; R5 ),
unis/chr.
Cm
Cm F m − G7 − Cm
C7 − F m − B◦7 − Cm
Cm D7 /A[ − Cm/G − G − Cm
see m. 3
Seq(3 × 2m; R3 ),
see m. 12
Transition, see m. 17-20
Coda
c-ton.-ped.
(248 m.)
7.3. STRING QUARTET OP. 51 NO. 2
Table 7.9: Brahms, String Quartet Op. 51 No. 2, Mvt. 4, Finale, Allegro non assai
m
M
R
H
Comment
1
13
25
37
45
M1
M1
Am
Am E7 −
Am
E7 −
F Dm7 − G7
G7 − C/E G
A
M2
C
59
71
75
91
100
M3
⊥
F
C
116
129
132
140
144
M1
Am
M2
Em
F
161
166
173
184
186
M3
M3
196
210
222
234
238
M1
M1
251
264
268
284
M3
⊥
293
309
320
328
M1
334
M1
352
359
M1
Am
Gm − C7 − F G7 −
C C]◦7 −
Dm − G7 − C C]◦7 − Dm
G7 −
C F ]7 − B7 − E − E7 −
Seq.
B
Seq.
Am
B7 −
Em D7 −
Gm − C7 −
F C − A∅7 − A7−
A1
Seq.
Dm
Em
F ]m
Dm
Am
Dm B7
Em
G]7 − C] A4 −
Dm B7 −
E7 −
B1 , Imitation
Am
Am E7 −
Am
A
A
E D]◦7 −
E7 − A E − Em
D
A
Em − A7 − D E7 −
A A]◦7 −
Bm − E7 − A A]◦7 − Bm
E7 A/E − E7
M2
M2
A
M1
Am
e-dom.-ped.
Seq.
e-dom.ped.
B
Seq.
A F ]m − B7 − A/E A7 − D
A/E − E7 −
A
A2 , Imitation
Am D]◦7 −
E E − 7 − Am A7 − Dm B7 /A−
Am/E − E−
Am
Coda, Diminished
e-dom.-ped.
Diminished
Augm.
e-dom.-ped.
61
CHAPTER 7. JOHANNES BRAHMS
7.4
Symphony No. 4 in E minor, Op. 98 (1885)
Source: [3].
Detailed score analysis of the Brahms symphonies was complemented with the formal
analysis presented in [7] and [9].
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
19
37
45
53
57
M1
M1
Em
Em B7
Em F ]7
B7 F ]7 −
G F ]7 − Bm
F ]−
Bm
Exp. Gr. 1, asc. bass
[A] desc. bass
[B] Gr. 2
[C]
d
D−B
F ]7 − Bm F ]7 −
G B7 −
C F ]7 −
B F ]7 −
B F ]7 −
B F ]7 −
B C]7 −
B/F ]
B/F ] A7 −
D/F ] F ]7 − B E − F ]−
M1
M1’
Em
Gm
B
B7 − Em D7
Gm F7 −
169
184
188
M1’
M2
B[m
Bm
Cm
206
217
227
M2
M1
Em
G]m
65
73
77
87
91
95
99
110
119
125
137
145
157
62
Bm
M2
M3
M3
M2
M2
B
M4.1
M4.2
M4.3
M2
M2
M2
d
B[m F ]7 −
G
F m − G − Cm
D[m − Dm − E[m − E[
F ]∅7 − B7 − E D]7 −
G]m F ] − B − B7 − G]m−
D]7 D7 − E7 − F ]7 B7
[D]
[E]
[F] Dev.
False, recap., desc. bass
[G] variation
Imitation
[H]
Rapid mod.
[I]
[K] Retrans, Seq(R7 )
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
d
273
297
301
M1
M2
M3
Em B7 − C F ]7 −
B B7
Em
309
317
321
331
335
339
343
352
363
M3
M2
M2
M4.1
M4.2
M4.3
M2
M2
B7 − Em B7 −
C E7 −
F B7 −
E/B B7 −
E B7 −
E B7 −
E F ]7 −
E/B
E/B D]7 −
369
377
M2
M2
G]m
Em − Gm
G]m B[7 −
B − Em D7 − Gm F ]7 B7 −
394
M1
Em
Em B7 −
402
414
421
426
desc. bass
[M] Gr. 2
d
E
[N]
[O]
d
d
[P]
[Q] Coda, asc. bass
d
Am/E B7 −
C B7 − Am/E
F ]∅7 − Em/B − B7 −
Em
(440 m.)
63
CHAPTER 7. JOHANNES BRAHMS
64
Chapter 8
Peter Ilyich Tchaikovsky
8.1
Nutcracker Suite (1892)
Source: [28].
8.1.1
Mvt. 1, Ouverture miniature
Form: binary form, A1 B1 A2 B2 . See Table 8.1 for the analysis.
8.1.2
Mvt. 2, Danses caractéristiques, Marche
Form: ternary form, A1 BA1 CA2 BA2 . See Table 8.2 for the analysis.
8.1.3
Mvt. 2, Danses caractéristiques, Danse de la Fée-Dragée
Form: ternary form, A1 BA2 . See Table 8.3 for the analysis.
8.1.4
Mvt. 2, Danses caractéristiques, Danse russe Trépak
Form: ternary form, ABA’. See Table 8.4 for the analysis.
65
CHAPTER 8. PETER ILYICH TCHAIKOVSKY
Table 8.1: Tchaikovsky, Nutcracker Suite, Mvt. 1 Ouverture miniature
m
M
R
H
Comment
1
9
17
21
25
32
39
M1.1
M1.1
M1.2
M1.2
B[
B[ C7 − F − B[ F7 −
B[ C7 − F − B[ F7 − B[
D7 − Gm D7 − Gm
C7 − F C7 − F
C∅7 − F F/C
B[ C7 − F7 − B[ D◦7 −
E[ F ]◦7 − Gm A7 /E[ − D G7 /B − Cm − C7 /E
A1
45
57
70
79
M2
M2
M2’
F C7 − F A7 − Dm G7 − C7 −
F C7 − F F7 /E[ − B[/D F7 − B[ A7 −
Dm D7 − Gm A7 − Dm Gm7 /B[ − C7
F C7 − F F − C7 − F −
B1
90
98
107
111
115
123
129
M1.1
M1.1
M1.2
M1.2
135
147
160
169
M2
M2
M2’
66
Gm
F
B[
M1.1
F
Dm
B[
B[
Gm
F
B[
M1.1
B[
Gm
B[
Tr. 1, Dom. ext.
Tr. 2
Cad.
B[ C7 − F − B[ F7 −
B[ C7 − F − B[ F7 − B[
D7 − Gm D7 − Gm
C7 − F C7 − F
C∅7 − F F/C
B[ C7 − F7 − B[ D◦7 −
E[ F ]◦7 − Gm A7 /E[ − D G7 /B − Cm − C7 − F
A2
B[ F7 − B[ D7 − Gm C7 − F7 −
B[ F7 − B[ B[7 − E[/G D7 −
Gm D7 − Gm E[ C7 − F7 −
B[ F7 − B[
B2
Tr. 1, Dom. ext.
Cad. (183 m.)
8.1. NUTCRACKER SUITE
Table 8.2: Tchaikovsky, Nutcracker Suite, Danses caractéristiques, Marche
m
M
R
H
Comment
1
5
9
13
17
21
25
29
33
37
a
b
a
b’
cd
ce
a
b
a
b’
G
G − Em − Bm − G − Em
Am − D/F ] − G F ]∅7 /A − B7 − Em A7 /C] − D
G − Em − Bm − G − Em
Am Bm C Em − F ]7 /A] − B−
B/F ] − Em Em − Am − F ]∅7 − B
B/F ] − Em Em − Am − D − D7
G − Em − Bm − G − Em
Am − D/F ] − G F ]∅7 /A − B7 − Em A7 /C] − D
G − Em − Bm − G − Em
Am Bm C G/B − Am − D7 − G
A1
41
45
M2
M2
Em
Em − E7 − Am − B7 − Em − E7 − A − F ]∅7 − Em
Em − E7 − Am − B7 − Em − E7 − A − F ]∅7 − Em
C, e-ton-ped.
49
53
57
61
65
69
73
77
81
85
a
b
a
b’
cd
ce
a
b
a
b’
G
G − Em − Bm − G − Em
Am − D/F ] − G F ]∅7 /A − B7 − Em A7 /C] − D
G − Em − Bm − G − Em
Am Bm C Em − F ]7 /A] − B−
B/F ] − Em Em − Am − F ]∅7 − B
B/F ] − Em Em − Am − D − D7
G − Em − Bm − G − Em
Am − D/F ] − G F ]∅7 /A − B7 − Em A7 /C] − D
G − Em − Bm − G − Em
Am Bm C G/B − Am − D7 − G
A2
Em
G
Em
G
Seq(3 × 1m, R7 )
B
A1
Seq(3 × 1m, R7 )
Seq(3 × 1m, R7 )
B
A2
Seq(3 × 1m, R7 ),
(88 m.)
67
CHAPTER 8. PETER ILYICH TCHAIKOVSKY
Table 8.3: Tchaikovsky, Nutcracker Suite, Danses caractéristiques, Danse de la Fée-Dragée
m
M
1
5
9
13
17
a
b
a
a’
R
H
Comment
Em
Em − F ]∅7 − A]∅7 − D]◦7
Em A]∅7 − D]◦7 − Em
[5
F ][5
7 /A] F ]7 − B − F ]7 /C − B
Em A]∅7 − D]◦7 − Em
B/F ] − Em Em − Am − F ]∅7 − B
Intro, e-ton-ped.
A1 , e-ton-ped.
Em
e-ton-ped.
Trans, Seq(3 × 1m, R7 )
21
25
29
33
c
c
c
C]∅7 /B − B − Em/G
C]∅7 /B − B − Em/G
C]∅7 /B − B − Em/G
B7
B1 , b-dom-ped.
b-dom-ped.
b-dom-ped.
B2 , retrans.
37
41
45
49
a
b
a
a’
Em A]∅7 − D]◦7 − Em
[5
F ][5
7 /A] F ]7 − B − F ]7 /C − B
Em A]∅7 − D]◦7 − Em
F ]7 − B − E7 − A − D7 − G − B7 − Em
A2 , e-ton-ped.
e-ton-ped.
Coda, Seq(3 × 1m, R7 ),
(52 m.)
Table 8.4: Tchaikovsky, Nutcracker Suite, Danses caractéristiques, Danse russe Trépak
68
m
M
R
H
Comment
1
9
17
25
a
a’
a
a’
G
G
G
G
G
33
41
49
b
b
c
D
D Em − A7 − F ]m − Bm Em − E7 − A7 − D
D Em − A7 − F ]m − Bm Em − E7 − A7 − D
Cm/E[ − A7 − D Cm/E[ − D − G
B, bridge
57
65
73
a
a’
G
G D−
G C −G
G D−
A, g-ton-ped.
g-ton-ped., plagal cad.
Coda, g-ton-ped.,
(84 m.)
D−
C −G
D−
C −G
A, g-ton-ped.
g-ton-ped., plagal cad.
A, g-ton-ped.
g-ton-ped., plagal cad.
retrans.
Chapter 9
Claude Debussy
9.1
Prélude à l’après-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 Fêtes
Form: ternary form, A1 BA2 . See Table 9.2 for the analysis.
9.2.2
No. 3 Sirènes
Form: ternary form, ABC. See Table 9.3 for the analysis.
69
CHAPTER 9. CLAUDE DEBUSSY
Table 9.1: Debussy, Prélude à l’après-midi d’un faune
m
1
5
11
M
M1
M1
R
E [SD]
[D]
[T]
21
70
H
Comment
A97 C]m7 − F ]7
h i
E7alt F ]7 E7alt
D∆7 G7 /D B713 − E 6 C]7
A]7 F ]7 G]7 B7
A]7 C]7
E 6 C C]m7 C79
B7 Am7 D7 Cm
E7 B7 − E713 F ]7 E7 − F ]7 − B
C]7 G7
26
31
M1
M1
M1
M1’
34
M1’
B[7 = E7 F ]7 −
37
41
M2
M2
B7 E7
E7 D96
44
47
51
55
63
M2’
M3
M3
M4
⊥
M4
74
75
M3
M4
79
83
86
90
M1
M5
M1
M5
94
100
102
M1
M1
⊥
106
M1’
[D]
[D]
[T]
[T]
A[
D
[D]
E
[SD]
[D]
[D]
[T]
9
8
[A] (]]]]),
hSubdom.-plagal
i
6
8
Dom.-auth.
Climax1,
h ih i tonic
9
8
12
8
Dom.
h i h ih i
12
8
9
8
12
8
Trans., Seq(2 × 3m, R3 ),
Wh.t.-sc.
h i
3
4
B
d
G7 B[7 E[7 −
D[6 A[7 A7 E[7 −
A[ A[7 −
<(D[ − E[7 /G) F ]m7 − B7
Am7 − D
4
<(D[ − E[7 /G) E[m7 − A[sus
7
E[m7 − A[7 −
D[6
D[7
h i
E(7) C]m7 − F ]7
Am7 A7 C79
E[7 Cm7 − F7sus4
G]m7 G]7
G]7
<(E7 − C7 ) G]7 G]7 F ]7 −
<(C]7 − A]7 )
C]7
C7 = F ]7 F ]m − B7 −
E E − C F ]7 − E
A 44 (]]]])
(\\\\)
4
4
(\\\\)
Climax 2
([[[[)
([[[[[)
Climax 3
h i
3
4
h i
(]]]])
h i
9
8
h
12
8
i
(110 m.)
, tonic focus
9.2. TROIS NOCTURNES
Table 9.2: Debussy, Trois nocturnes, No. 2 Fêtes
#
M
R
H
Rhythm/Scales/Comment
0
M1,M2
F → D[
open 4ths/5ths,
ex. par. D79
1
2
3
4
5
6
M1,M2
M1
D → E[ → D[
A
D[
F →A
B→E
E
diat. parallel
Rh1, Rh3, wh. tone, ion.
chromatic
9
A1 , 12
8 / 8 , Rh1,
dor./alt.
Rh1, hwh.i tone
h i
9
Rh2( 15
8
8 ), mixo-lyd.
⊥
D
E
diatonic
diat., chrom.
9
M5
C]
Rh2, ion, build climax
Rh2, Rh3, ion., chrom.,
build climax
Rh2, Rh1, climax
10
M6
A[
pedal (D[97 − B[97 − E79 )
B, 24 , Rh4, dor.,
mixo-lyd., start climax,
bitonal flavour
11
M6
E
G]
pedal (E79 − D[97 )
Rh4, dor., mixo-lyd.,
M6
B[
A[
M6,M1
B[
E
A[ −
−
A[ G]
7
8
M3,M4
M5
M4,M5
..
.
h
diatonic
i h i
Rh2
Rh3, mixo-lyd.
Rh2, ion., start climax
h i
build-up
12
13
pedal (B[97 )
Rh4, dor., mixo-lyd.,
build-up
pedal
(D[97
−
B[97
−
E79 )
Rh4, dor., mixo-lyd.,
climax
14
M1
D[ → D
ex. par. D79
15
16
M7
M6
E[
E[
ex. par. D79
diat. parallel
17
M1
A
diat. parallel
18
19
20
21
22
M3
M3,M6
M3,M6
M3,M6,M2
C]
C] → B[
D[
A
A
h i h i
A2 , 68 / 98 , Rh1, alt.,
start climax
Rh1, hRh2,
i hclimax
i
15
Rh2( 8 - 98 )
h
ih i
9
Rh2( 15
8 - 8 ), mixo-lyd.,
start climax
Rh1, Rh2, climax
Rh2, haeol.,
i h chrom.
i
3
Rh2( 4 - 24 )
Rh2
71
CHAPTER 9. CLAUDE DEBUSSY
Table 9.3: Debussy, Trois nocturnes, No. 3 Sirènes
m
M
1
R
H
Scales/Comment
F] − A − C
F ]69 − A69 − C96
#0, mixo-lyd.,
appoggiaturas
#1, M1(CorA)
#2, octatonic, app.,
M1(Str)(WW), M2(choir),
start climax
#3, octaton., ‘tango’,
M2(choir), climax
#4, mixo-lyd.,
M2(choir)
#5, echo’s, app.,
M2(WW)(Hns)(Str),
M3(choir),
climax
#6,
M2(Str+WW)
#7, wh.tone,
Heavy str+WW, M4(Tpt)
#8, app.
M3(choir)
8
22
M1
M1,M2
C − E[ − F ] − A
B
ex. par. C79
B79 − G97
34
M2
B−D−E
40
M2
E − F ] − C] − E[
B7 − D79 − E79
exact parallel
ex./diat. par. S79
50
M2,M3
D[
D[97 − A97 E[97 − B79
72
M2
A[
A[97 − D79
80
M4
D
Bm7/D D7]11
87
M3
D[ − A − B − E[
S79
101
M2
G
C]
E◦7
F ]97
111
M2,M4
B
B7 G7 /B
125
M2,M1,M4
B
B7 G7 /B
exact parallel
135
M1,M2,M4
B
B7 G7 /B
72
#9,
M2(WW)(choir)
#10, octaton./wh.t., echo’s,
M2(choir)(Hns)(Str),
M4(Tpt)
#11, echo’s,
M2(Str)(choir), M1(Str),
M4(CorA)
#12, M1(Str),
M2(choir), M4(Tpt)
Chapter 10
Maurice Ravel
10.1
String Quartet in F major (1903)
Source: [18].
10.1.1
Mvt. 2, Assez vif - très rythmé
Form: Three-part form, ABA’. See Table 10.1 for the analysis.
10.2
Miroirs (1905)
Source: [20].
10.2.1
Mvt. 4, Alborada del Gracioso
Form: ternary song form, ABA’. See Table 10.2 for the analysis.
73
CHAPTER 10. MAURICE RAVEL
Table 10.1: Ravel, String Quartet in F major, Mvt. 2 Assez vif - très rythmé
m
M
R
H
Comment
1
13
21
M1
M2
A
C]
A
Modal, A-Aeolian
C]-Dorian
A∆7 − F ]7
C]
A
C/F ]
B[
C]7
A-Aeolian
E−A
Symmetric-modal
A, 1st stat., pizz.
[A], 1st stat., arco
[B], fragments from M1 and M2
Transition
[C], transition, tremolo
[D], 2nd stat., climax, pizz.
[E], 2nd stat., arco
[F]=T[B]
Transition
[G], transition, tremolo, M1 fragments
M3 d-Dor.
E[
Chromatic-parallel
104
115
M2’
A[ − C]
C
A[7 − C]m
C∆7 − F ]7
120
M3
F
F7 − G7 /F
B, [H], 1st stat., arco, lyrical
Accompaniment based on M2
[I]
[J], pizz. M1 fragments
Arco M2 fragments
[K], 2nd stat., M1 background
E − G]
A
C]
A − E[
C
A
Modal, A-Aeolian
C]-Dorian
A7 − E[7
Symmetric-parallel
Modal
A’, [L], retrans., pizz.
[M], 3rd stat., climax, pizz.
[N]=[A], 3rd stat.
[O], trans., M1 and M2 fragments
[P], tremolo, M1 fragments
Pizz. (198 m.)
30
40
52
60
M1
M2
69
89
129
150
162
170
179
74
M1
M2
M1’
B[∆7 − G7
10.2. MIROIRS
Table 10.2: Ravel, Miroirs, Mvt. 4 Alborada del Gracioso
m
1
12
22
31
38
43
52
58
62
71
79
85
91
105
111
116
120
126
131
137
141
145
151
M
M1
M1’
M1’
(M2)
M2
M1
M3
M3
M3
M3
M4
Scale/Mode
H
Comment
d-Phryg.
b[-Ion./g-Aeol.
b[-Phryg.
d[-Ion./b[-Aeol.
D 7 A7 − D 7 D
Cm7 Gm7 Cm7 B[∆7 − E[∆7
B[7 F7 − B[7
B[∆7 − F7 − B[∆7
A[a] 68 ([)
[b]
[a], b[-ped.
h i
[b’] 98
D[ A[7 − D[ E7
G] − C]m − G]
C]7 − F ]m G∆7 − Em
Em7 A7
alt D
D7alt Aalt
7 E7
h i
Bm7
A[9
7
G69
F ]alt
7
C][5
7
B [a]
g]-Phryg.
b-Aeol./d-Ion.
d-Mixolyd.
b-Aeol.
h i
6
8
[c] (]]]]), g]-ped.
(]])
[b]
[a]
166
170
174
181
185
191
196
200
209
213
219
3
4
(]])
[b]
b − f ]-ped
C]alt
7
M4
A7 − E7 − B7 − F ]7
M5
b − f ]-ped.
[c],
h i f ]-ped.
6
8
C][5
7
M4
M4
d-Ion.
C]7
D6
[b]
b − f ]-ped
hd −
i a-ped.
9
8
157
162
h i
M5
(M2)
⊥
M2
M1
c]-Phryg.
b-Aeol.
d-Mixolyd.
M1’
M1’
d-Mixolyd.
, a-ped.
A7
D/A A7
[c]
a-ped.
E[ B[7 − E[
F ] − G]7 − F ]7
C] − C]7 Am − C] − C]7
C]7
C]7 − F ]m G∆7 − Em
Em7
D7alt A7 − D7
Am7 A7 B7
F ]7 − E7 − D7 −
G[9
7 /C
A’
h i[a’] (\\)
D − A7 − D
6
8
[c] , c]-ped.
(]]]])
(]])
[b’]
[a]
h i
9
8
[a]
h i
6
8
(229 m.)
75
CHAPTER 10. MAURICE RAVEL
10.3
Rapsodie Espagnole (1907)
Source: [20].
10.3.1
Mvt. 1, Prélude à la nuit
Form: ternary song form, ABA’. See Table 10.3 for the analysis. The scales and harmonies
used are specified in Table 10.4.
Table 10.3: Ravel, Rapsodie Espagnole, Mvt. 1 Prélude à la nuit
m
1
4
8
14
16
18
22
28
32
37
41
44
46
54
56
61
10.3.2
M
Scale/Mode
M0
..
.
..
.
..
./M1
..
./ ⊥
..
.
..
.
d-Gypsy-Oct.
..
./M2
⊥/M2
(M0)
⊥
M0
⊥
Comment
Intro #0 (M0: downward scalar riff)
B[7 B∅7
B[7 B∅7
#1
A #2, [D]
d-Gypsy
C]m
d-Oct
d-Aeol.
d-Oct.
g-Oct.
M0/M1
H
d-Gypsy
d-Oct.
d-Oct-Gypsy
A]7 E7 B[7
A]7 E7 B[7
#3
Gm7 A7 − D7
Gm7 A7 − D7
C7[9
F6
E[alt
7
B #4
C]alt
7
B[alt
7
B[7 B∅7
A
A’ #7
#8, [T]
#9
(63 m.)
#5
#6, [SD]
Mvt. 2, Malagueña
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 in
Table 10.4.
76
10.3. RAPSODIE ESPAGNOLE
Table 10.4: Ravel, Rapsodie Espagnole, scales and modes
Scale/Mode
Pitch content
Harmonic structures
Used in #
Mvt. 1
d-Gypsy
d-Octatonic
d e f g] a b c]
d e f g g] b[ b c]
0, 1, 2, 7, 9
0, 1, 3, 5, 6, 8, 9
d-Aeolian
d e f g a b[ c
B∅7 C]m7 C]7
[T]: B[7 E7 C][10
7 ,
[9
[SD]: E[[9
C
7
7
Gm7 C7 F 6
Mvt. 2
a-Aeolian
d-Gypsy
d-Octatonic
d]-Phrygian
c]-Octatonic
abcdef g
See above
See above
d] e f ] g] a] b c]
c] d] e f ] g a b[ c
Mvt. 3
f ]-Aeolian
f ]-Phrygian
f ]-Ionian
a-Aeolian
f -Aeolian
f ] g] a b c] d e
f ] g a b c] d e]
f ] g] a] b c] d] e]
See above
f g a[ b[ c d[ e[
Mvt. 4
c-Mixolydian
c-Ionian
f ]-Phrygian
f ]-Gypsy
c d e f g a b[
See above
See above
See above
4
0, 6
2, 13
2, 13
10
11
E7 C]7
G7
1, 5
2, 6
3
7, 9
8, 10
0, 3, 4, 5, 10, 11, 19, 20, 25
6, 21, 31
12, 13, 15, 30
12
77
CHAPTER 10. MAURICE RAVEL
Table 10.5: Ravel, Rapsodie Espagnole, Mvt. 2 Malagueña
m
M
Scale/Mode
H
Comment
1
M0
..
.
..
.
a-Aeol.
Am7
#0 (M0: scalar riff)
7
13
19
25
28
#1
d-Oct./Gypsy
A7 C D+
A[9
7 B[/D
alt
A7
Aalt
7 A7 /G−
#2
#3
#4
#5
⊥
(M0)
35
40
46
52
M1
M1
b-Aeol.
F ][9
7 G∆7 /F ]
[9
[9
F ][9
7 − Bm7 F ]7 − B7 − E7 D7 A7 −
F ]7
F ]7 − G7 − G]7 − A7 − B[7 F ]alt
7 E7 −
#6 (]])
#7
#8
#9
62
65
68
73
M1’
M1’
d]-Phryg.
D] − E − F ] − G]m − B∅7
A]m − B − C]m − D] − E − F ]
D] C]m7
D]m − C][9
7 C]7
#10 (]]]]])
B[7 /D
alt
Aalt
7 B[7 A7
Aalt
7
Am F/A A/C]
#13 (\\\\\)
#14
#15
(94 m.)
78
83
88
93
78
c]-Oct.
M2
d-Oct./Gypsy
M0
#11
#12
10.3. RAPSODIE ESPAGNOLE
Table 10.6: Ravel, Rapsodie Espagnole, Mvt. 3 Habanera
m
1
7
9
M
Scale/Mode
H
Comment
#0, c]-ped.
#1, c]-ped. (cont’d)
f ]-Aeol.
D 7 G7
C]
C]7 − D7 − E7 D7 − E7 F ]−
M1
..
.
⊥
f ]-Phryg
19
25
M2
30
13
14
34
35
40
44
48
44
56
G
F ] − G7 F ] − D 7
#2, f ] − c]-ped.
f ]-Ion.
F ] − D]m7 A/C] G]m7 − C]7 F ]
F ]m F ]
#3, c]-ped.
#4
M1
..
.
⊥
f ]-Aeol.
C]7 − D7 − E7 D7 − E7 F ]−
#5
f ]-Phryg
G7
F ] − D7 G7 F ] − D]m7
#6, f ] − c]-ped.
M3
M3
M3
M3
a-Aeol.
f -Aeol.
a-Aeol.
f -Aeol.
<(E7 − F7 ) − A
G7 <(C7 − G7 ) − B[ D7 − F ]
<(E7 − F7 ) − A
G7 <(C7 − G7 ) − B[ D7 − F ]
F ]m F ]
#7, e-ped [T]
#8, c]-ped [SD]
#9, e-ped [T]
#8, c]-ped [SD]
#11, c]-ped. (61 m.)
79
CHAPTER 10. MAURICE RAVEL
10.3.4
Mvt. 4, Feria
Form: ternary song form, ABA. See Table 10.7 and 10.8 for the analysis. The scales and
harmonies used are specified in Table 10.4.
Table 10.7: Ravel, Rapsodie Espagnole, Mvt. 4 Feria
m
1
4
7
14
17
27
30
33
34
40
43
47
51
59
62
66
69
71
77
79
84
89
93
99
80
M
Scale/Mode
H
h i
c-Mixolyd.
M1
M1
e[-Mixolyd.
M2
M1
M2
M3
⊥
M2
M4
M4
M5 (2×)
M5’
M5’/M4
M2
M1
f ]-Mixolyd.
b-Mixolyd.
d-Mixolyd.
c-Ion.
Comment
Cm7 C79
C7]11
C79 E[97 /G
E[7
E[97
E[97 − F ]7
F ]7 − B7
F ]7 − B7
D79 /F ]−
C6
9/sus4
<(C 6 − G7
)
9/sus4
6
<(C − G7
)
9/sus4
6
<(C − G7
)
9/sus4
6
<(C − G7
)
9/sus4
6
<(C − G7
)
A #0 68 , g-dom.-ped.
g-ped. (cont’d)
#1, c − g-ped.
#2, g-ped.
#3, e[ − b[-ped.
#4
#5
[SD]
#6, c − g-ped.
#7
#8
#9
#10
c-Mixolyd.
C7
#11
f ]-Phr/Gyp
M6
⊥
M6’
c]-Phryg.
F ]m7 − C]7
<(F ]m7 − C]7 )
B7 − Em7 − A7
B∅7 /D − A7 − F7
<(F ]m7 − C7 )
F m7 − B[7 Em7 G]7 −
C]7 G7
B #12
#13
#14
h i
3
4
(]]])
10.3. RAPSODIE ESPAGNOLE
Table 10.8: Ravel, Rapsodie Espagnole, Mvt. 4 Feria (cont’d)
m
103
109
112
116
121
123
124
126
131
133
137
145
149
154
160
164
168
172
175
177
181
185
189
M
Scale/Mode
H
Comment
M7/M0
M7
M0
M2
f ]-Phryg.
#15 (M0: downward scale riff)
#16
#17
#18 h i
C #19 68 (\\\)
M2
M1
M3
⊥
M2
M5 (2×)
M5’/M4
M4
M2/M1
f ]-Mixolyd.
C][9
7 G7
C][9
7
B[7
B[7
B[7
F ]7 − B7
<(F ]7 − B7 )
F ]7
D79 /F ]
<(C 6 − G7 )
4)
<(C∆7 − Gsus
7
9/sus4
<(C∆7 − G7
)
4)
<(C∆7 − Gsus
7
C7
E79 − A[9
7
Dm7 − D7
M0
M3
⊥
M1
⊥
M2
⊥
d-Mixolyd.
c-Ion.
c-Mixolyd.
c]-Phryg.
c-Ion.
G7 /D − D7
F79
E[ D]97
<(C]m − G]∅7 )
C
B[7 /A[ − C
#20
#21 [T]
#22
#23
#24
#25
#26
#27 [SD], d-ped.
#28
#29
#30 [D]
#31 [T]
#32 (190 m.)
81
CHAPTER 10. MAURICE RAVEL
10.4
Ma mère l’oye (1911)
Source: [20].
10.4.1
Pavane de la Belle au bois dormant
Form: ternary song form, ABA’. See Table 10.9 for the analysis.
Table 10.9: Ravel, Ma mère l’oye, Pavane de la Belle au bois dormant
m
M
R
H
Comment
1
5
M1
M2
A
E
Am7
Em7
A, a-Aeol., muted str., pizz., thin structures (2p)
Arco strings
9
M3
Em7 − A
B, Pizz. strings
13
17
M1
M2
Dm7
Em7 − Am
A’, #1, a-Aeol., Melodic tension now S9
Arco strings
10.4.2
D−E
E−A
Petit Poucet
Form: ternary song form, ABA’. See Table 10.10 for the analysis.
Table 10.10: Ravel, Ma mère l’oye, Petit Poucet
m
1
5
12
22
32
40
51
55
60
67
75
82
M
M1
M2
M1’
M2
M1’
R
H/Scale
Comment
C
A, [T] intro, muted str., parallel
E[
G
C − E[
A[
c-tonal/modal (Aeol.)
c-Dor./Aeol.
e[-Dor.
g-pedal
c-Aeol.
a[-Dor.
#1, [T]
#2, [D]
#3, [T], unisono climax
#4, [SD]
D
D−G
D7[10 , d-ped
d-pedal
B, #5, contrasting middle section
#6, [D]
C
F
C
c-Dor.
F m97
A’, #7, [T]
#8, [SD], material from Mvt. 1
#9, [T], intro
10.5. DAPHNIS ET CHLOË
10.5
Daphnis et Chloë (1912)
Source: [19].
10.5.1
Danse Guerrière
Form: ternary song form, ABA’. See Table 10.11 for the analysis.
10.5.2
Danse Générale
Form: ternary song form, ABA’. See Table 10.12 for the analysis. The chord structures in this
dance are based on two octatonic scales on the tonic and sub-dominant step, as demonstrated
in Tabel 10.13.
83
CHAPTER 10. MAURICE RAVEL
Table 10.11: Ravel, Daphnis et Chloë, Danse Guerrière
m
M
Pedal
H
Comment
92
M0
B7
A [T]
94
95
96
M1
M0
M0
b
..
.
C7 /B
C7 /B D7 /B
C7
[D]
[T]
[D]
98
99
101
102
103
M1
M0
M0
M1
M2
G7
G7 − A7 E7 − F ]7
C7
B7
G7
[V/V]
[D]
[T]
[V/V]
A
B [D]
104
84
105
M3
106
107
108
M3
M0/M2
109
110
111
112
M3
M3
M0/M1
114
M3
115
M0/M3
116
M2/M3
117
M0/M3
118
M2/M3
119
M0/M3
120
121
M0/M2/M3
M2
122
123
124
125
126
M0
M0
M0
M2
M3
127
128
129
130
M3
M3
⊥
M0/M2
⊥
f]
..
.
⊥
c
b
⊥
a
..
.
..
.
⊥
A7
E[7
f ]7
..
.
⊥
c
..
.
..
.
..
.
..
.
..
.
..
.
..
.
⊥
c]
..
.
⊥
f]
b
C7 − E[7
C7
[D]
F7
[T]
A[7
D[7
C7
[SD]
[D]
B[7 − E7
A7
B[7 − C7
F ]7
C]7
A’ [SD]
C]7
C]7
F ]7 − D]7
B7
[D]
[SD, II7 ]
II[D] V-III
I
10.5. DAPHNIS ET CHLOË
Table 10.12: Ravel, Daphnis et Chloë, Danse Générale
#
194
195
196
197
198
199
200
201
202
203
M
R
Pedal
V
M0
M1
M1
I
IV
M2
M2
M2
V
IV
204
205
206
207
208
209
M0
M0
M0’
M0’
M0
I
IV-I
IV-I
I
210
M1
I
211
M1
212
213
214
215
M1
M1
M2
M2
216
IV
I7
M2
V
IV
M2
I
c]
220
221
M2
V
I
V/IV
iV=I
I-V-I
Comment
F7 /A
A
a
C]7
G7
D]7
B[m/A
a
⊥
B7 − F7 − D7
A]m/A
F ]m7 /A − Am7
f]
⊥
e
c]
..
.
..
.
..
.
⊥
e
⊥
Trans.
C7 /F ]
D7 − Bm7
B[7 − E7
E[7 − E7
E[7 − E7 B[7 − Gm
C]7
B
C]7
A’
G]7 −
C]7
G]7
B[m7 − B[
E∅7 − B[7
d
Bm7 B7 − A[7 − F7 − D7 −
C7
Gm7 G7 − E7 − C]7 − B[7 −
C]7
217
218
219
H
b
a
⊥
C]7 − B7
B[ − A[ − G[ − E − D − C − A[−
E7
B[m/A
A − G7 /E − A
Coda
85
CHAPTER 10. MAURICE RAVEL
Table 10.13: Ravel, Daphnis et Chloë, Danse Générale chord structures
86
Scale
Pitch content
Chords
Comment
c]-Oct.
c] − d − e − f − g − g] − a] − b
[T]
used in #217
f ]-Oct.
f ] − g − a − a] − c − c] − d] − e
B[7
Gm7
C]7
B[m
A, Am
F ]7 , F ]m
C7
E[7
D]m7
[SD]
used in #203
used in #204
used in #207
used in #213
10.6. PIANO CONCERTO IN G
10.6
Concerto pour Piano et Orchestre (1932)
Source: [17].
10.6.1
Mvt. 1, Allegramente
Form: sonata form. See Table 10.14 and 10.15 for the analysis. The instrumentation is abbreviated as O for Orchestra and P for Piano (in the Melody column, with the secundary
element between brackets).
Table 10.14: Ravel, Concerto pour Piano et Orchestre, Mvt. 1 Allegramente
m
M
R/Scale
H
Comment
1
16
25
37
44
52
63
75
84
96
M1.1/1.2, O(P)
O(P)
M1.1/1.2, O
M1.2
M2.1
M2.2/2.3, O(P)
M2.2/2.3, OP
M3, (O)P
M3, (O)P
M3, O(P)
G-Pentat.
C −D
G-Pentat.
B-Aeol.
F ]-Phryg.-Dor.
G/D − D7
C/G − D7sus4
D − D7sus4
Bm7/F ]
F7alt
E-Ion.
9
E∆7
F ]m − C]m − F ]m
E7 − A
[0], Exp./Gr. 1,
[1], Tr. 1
[2]
[3]
[4], Gr. 2
[5]
[6]
[7]
[8]
[9]
10.6.2
h i
2
2
Mvt. 2, Adagio Assai
Form: ternary song form, ABA’. See Table 10.16 for the analysis. The instrumentation is
abbreviated as P for Piano, W W for woodwinds, Br for brass and Str for strings (in the
Melody column, with the secundary element between brackets).
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 column
stands for featuring the piano.
87
CHAPTER 10. MAURICE RAVEL
Table 10.15: Ravel, Concerto pour Piano et Orchestre, Mvt. 1 Allegramente (cont’d)
m
88
M
R/Scale
H
Comment
107
115
123
131
142
150
173
182
183
195
202
210
215
221
227
(O)P
(O)P
M1.2/2.2, (O)P
M1.2/2.2, (O)P
(O)P
(O)P
(O)P
P
M1.1, OP
M1.2, O(P)
M2.1, (O)P
M2.2, P
M2.3, O
O
M2.2, O(P)
B-Ion.
C]m7 − F ]97 − B∆7 /F ]
G-Ion.
E
C
A[
D/F ] − D7[10
4 /F ]
D7[10 − G]sus
7
E∆7
9/sus4
G7
E[97
G
B[-Ion.
D
G/D − D7sus4
F7 − B[
A[9
7
A7
A − D7
Aalt
7
[10], Dev., Tr. 2
[11]
[12], Gr. 1
[13]
[14]
[15]
[16] Tr. 3/Tr. 1
[17]
[18]
[19]
[20], Gr. 2
[21] h i
[22], 34
[23] h i
[24], 22
232
M2.3, O
[9
A[10
7 − D7
[25],
h i
241
256
263
M3, P
M3, (O)P
OP
G − C∆7 − Em7 − Am7
G
A7 /E
[26],
[27]
[28]
4
4
266
278
286
292
300
(O)P
(O)P
OP
(O)P
OP
A[9
7
D/A − Gm/B[
F
C
A[
[29], Recap.,
[30]
[31]
[32]
E[97 [33], Tr. 2
306
316
329
M1.1, OP
OP
M1.2, O(P)
C
G
G-Pentat.
C − G97 Em7 − B7
A97 − D7sus4
G
G-Ion.
3
h4i
[34], Coda
[35]
[36]
h i
2
2
, Tr. 2
10.6. PIANO CONCERTO IN G
Table 10.16: Ravel, Concerto pour Piano et Orchestre, Mvt. 2 Adagio Assai
m
M
R/Scale
H
Comment
1
19
M1.1, P
M1.2, P
E-Ion.
C]-Aeol.
E · · · (diat.) · · · G]7 −
C]m E7 − A B7 − E7 −
[0], A,
36
WW(P+Str)
E-Ion.
A E∆7 C]7 − D]m D]7
[1], Trans.
46
50
54
M2.1, P(WW)
M2.1, P(WW)
M2.2, P(Str)
C]-Aeol,
B-Aeol.
[2], B, Seq.(2 × 4m, R−7
58
60
62
Br+WW(P+Str)
Br+WW(P+Str)
M2.2, Str(P)
66
P(WW+Br+Str)
G]alt
7 − C]m7
alt
F ]7 − Bm7
D7 − G
Em7 − A7 − D
B[97
B79
Em G − C
Am7 − D7 − G
]5/[9
9
G[9
7 E[7 Em/G G7
[5]
74
M1.1, WW(P+Str)
E · · · (diat.) · · · G]7 −
[6+7], A’
91
M1.2, WW(P+Str)
97
WW(P+Br)
103
Str(P+WW)
E-Ion.
d
d
h i
3
4
[3]
[4], bitonal: P(G[)+O(E[)
Bitonal: P(G)+O(E)
C]-Aeol.
C]m E7 − A B7 −
[8]
[9], Coda
E
C]97 − F ]m7
G]m − F ]m7−
E
[10] (108 m.)
89
CHAPTER 10. MAURICE RAVEL
Table 10.17: Ravel, Concerto pour Piano et Orchestre, Mvt. 3 Presto
m
M
R/Scale
H
Comment
G[T ]
G∆7 /D − D∆7 − G
G Em − A7
G
C
Am
G∆7 /D − D∆7 − G
[0], Intro, Cadence
Riff
[1], Riff
Riff
[2]
Cadence
[3], Exp., Gr.1̃
[4]
M2, P3
P3
P3
P3
P3
P3
P3
Dm7
Dm7 − G7 − C
D7 /A − Em7 Bm7 − E
Em7 Dm7−
G7 − C C7 − F D7 /F ]
B − G7 /B − B
B7 F7]11 B7 − E∆7
E 6 E7 B7
B7 F7 B7 − E 6 E7 − A
A − F ]7 B7sus4 −
E∆7 B7 − B7 − B7
E∆7 C]7
G]m/D] − E]7 /D] − G]m/D]
E7 /G] − C]7 − F ]m
G7 /B − E7 − B7sus4 /A
P3
D7 /C − E[
Chr. Sc.
E[/G
E[ C A F ]
[14], Dev., Riff
Symmetric roots
Riff
[15], Riff
[16], Riff,
c] = d[-Ped.
[17], Riff, d[-Ped.
[18],Riff, c]-Ped.
[19], Riff,
c] = d[-Ped.
1
17
23
25
33
37
46
57
66
76
79
90
95
108
115
128
136
140
144
152
P1
M0, P1
P1
M0, P1
G
M1, P2
M1, P2
⊥, P2
P2
P2
C
M2
B-Mixol. [D]
154
90
C
G
E-Aeol.
C
d
E[ [SD]
F]
162
170
182
M1/M2
M1/M2, P4
M1/M2, P4
C/E
A/C]
190
198
206
M1/M2, P4
M1/M2, P4
M1/M2, P4
B[m/D[
F ]m/C]
E[7 /D[ A7 /C]
[5], Riff (Seq)
[6], Riff
Cadence
[7], Gr. 2
[8], Glissando
[9]
[10], Gliss.
[11], Chr. Sc.+Cad.
[12], Chr. Sc.
Cadence
[13], Chr. Sc.
Chr. Sc.
10.6. PIANO CONCERTO IN G
Table 10.18: Ravel, Concerto pour Piano et Orchestre, Mvt. 3 Presto (cont’d)
m
M
R/Scale
H
Comment
214
219
229
237
245
255
M0, P5
M0, P5
M1, P5
M1, P5
M2, P5
P5
G [T]
[20], Rec., Riff
Riff
[21], Gr. 1
[SD]
G/D
E7 /D G/D D7
C D7 /C
C D7 /C D−
G B[7 − G B7 − G] C − A
E[∆7 C7 − F ]m F ] E[7 Am
268
274
284
287
295
303
P6
P6
M1
P7
P7
[T]
[SD]
[D]
[SD]
[T]
B7 /A D7 A7 /G D7 /C F7
C7 /B[ F ]7 /A] A7 /C] C7 /E G7
B∆7 C]/F ]
D]
G
G/D − D∆7 − G
[24], Coda, Seq.+Chr. Sc.
Seq.+Chr. Sc.
[22], Gr. 2
[23], Seq(2 × 6m)+Gliss.
[25], Riff, Chr. Sc.
[26], Riff, Chr. Sc.
Cadence (306 m.)
91
CHAPTER 10. MAURICE RAVEL
92
Chapter 11
Richard Strauss
11.1
Op. 20 Don Juan (1888)
Source: [27]. 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
See Table 11.3 for the detailed harmonic analysis.
11.1.3 Don Juan 1
See Table 11.4 for the detailed harmonic analysis.
11.1.4 Anna
See Table 11.5 for the detailed harmonic analysis.
11.1.5 Don Juan 2
See Table 11.6 for the detailed harmonic analysis.
11.1.6 Carnival
See Table 11.7 for the detailed harmonic analysis.
11.1.7 Don Juan 3
See Table 11.8 for the detailed harmonic analysis.
11.1.8 Death
See Table 11.9 for the detailed harmonic analysis.
93
CHAPTER 11. RICHARD STRAUSS
Table 11.1: Strauss, Op. 20 Don Juan, formal analysis
94
m
Episode
Key
(m) Theme/Motif
1
9
31
40
44
46
52
Introduction
Don Juan 9
E
66
Transition
(5) DJ Vigour + DJ Triads
(9) DJ Heroic 1, (18) DJ Triads, (23) DJ Scales + DJ Triads
(31) Car 2, (37) DJ Vigour
(40) DJ Scales
(44) Zerlinchen
(46) Countess
(50) DJ Vigour, (54) DJ Vigour, (53) Rejection,
(56) DJ Heroic 1, (57) DJ Scales, (62) DJ Vigour
(66) Rejection,(75) DJ Scales
71
111
129
149
Countess
Rejection
Rejection
G
E
C
C]m
G]
B
A
C]m
Em
(90) Countess
Countess
(151) Countess, (153) DJ Vigour
169
185
Don Juan 1
C
E[
(169) DJ Heroic 1, (176) DJ Scales, (182) Rejection
(185) DJ Heroic 1 + DJ Triads, (186) DJ Scales
197
232
268
296
Anna
Gm
G
Rejection
Transition
(197) Anna 1
(232) Anna 2 + Anna 1, (233) Rejection, (252) Anna 2
(268) Anna 2 + Rejection
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
365
386
398
409
421
Carnival
Transition
D
G
C]m
A
Dm
Em
(351) Rejection, (353) Carnival 1, (357) DJ Heroic 2
(367) Carnival 1, (379) DJ Vigour, (382) DJ Triads
(386) Carnival 2, (393) DJ Heroic 2
(401) DJ Heroic 2, (402) Carnival 2
(403) DJ Scales, (411) DJ Triads
(430) Zerlinchen, (437) Countess, (443) Anna 2,
(447) Countess, (458) DJ Vigour
474
Don Juan 3
E
490
510
543
556
569
Transition
C]m
E
C
F
E
(474) DJ Vigour, (476) DJ Heroic 1, (479) DJ Triads,
(486) DJ Scales
(490) Carnival 2
(510) DJ Heroic 2, (521) DJ Heroic 2
586
Death
Em
(558) Carnival 2, (564) DJ Vigour, (568) DJ Scales
(564) DJ Scales
(606 m)
11.1. OP. 20 DON JUAN
Table 11.2: Strauss, Introduction and Don Juan 0, harmonic analysis
m
H
Comment
1
9
13
C − B − E C]m − F ] 7 −
E/B A]◦7 /B − E/B − A∆7 − E/G]
G7 E7[9 /G] E7 /B G]∅7 − C][9
7 − F ]m
Introduction
Don Juan 0, Heroic
17
23
B − B7 /A − B7[9 − C − D]◦7 − C − F ][9
7 /C−
6
6
E /B − B7 − E − E7 − A − C]m7/G] − E7[9 /B−
31
37
D/A − D7 /A[ − Cm/G − D7 /F ] − F7 − A[9
7 −
G/D − D7 − G
B[/D − B7 −
d
Triads
A
d
40
52
55
62
d
E − C − E/B − B7 − C]m −
B, Zerlinchen, Countess
G]∆7 B]m7 G][9
7 E]m G]m7/F ]
G[9
Em
Gm7/F
− C7 /E − F7 /E[ − B[/D C7[9 /C]−
7
F7 /C − C]∅7 − F ]7 −
C
D
Table 11.3: Strauss, Countess, harmonic analysis
m
H
Comment
71
F ]97 −
D
90
B6
101
111
129
149
156
163
− F ]7 /E − B/D] − F ]7 /E − B/D]−
G]m7 − C][9
7 − F ]7 −
B − F ]7 /E − B/D] − F ]7 /E − B/D]−
B7 − E − D]◦7 − A/E−
[9
A − C][9
7 − F ]m − C]7 − D/F ] − D−
[9
B∅7 − E7 /D − F ]7 − A7 − B7[9 /D] − G]7 −
C]m C]∅7 − F ][9
7 − B7 /F ] − C]7 /G]−
Em − F ]7 /E − Em − C/E−
Em − F ]7 /E − Em − D]7 /A]−
Countess theme
E, Countess
Countess (developed)
F, Countess (developed)
G
d
D]7 (= A7 ) − B7 −
95
CHAPTER 11. RICHARD STRAUSS
Table 11.4: Strauss, Don Juan 1, harmonic analysis
m
169
175
177
185
189
H
Comment
d
C/E D]◦7 − C/E − Em − C7 /E G7 /B −
4−G −E −
F/A − Dm7/A − Gsus
7
7
7
A − D]◦7 − A − E7 /G] − C G7 − C B[ − B[7
E[ − F7 /E[ − E[ E[m − C[7 /E[ − E[m
G]7 (= A[7 ) − D7 (= G]7 ) − C][9
7 /D − C]7 − F ]m
H, DJ Heroic 1
DJ Heroic 1 + Triads
I
Table 11.5: Strauss, Anna, harmonic analysis
m
197
208
221
232
H
Comment
Gm C]◦7 (= A7) − D7 −
A[9
7
C7[9 )
d
Gm C]◦7 (=
=
− D[/A[ − A[7 −
F/A − E◦7 − F − E◦7 − F/C−
A◦7 (= F7[9 ) − B[m G]◦7 (= E7[9 = D[[9
7 ) − Bm/F ]
Am/E − F7 /C−
d
G D7 − C/E E7 − Am − D7 −
d
268
G D7 − Em F ][9
7 − Bm/D
E7 /D − C]∅7 (= A97 ) − F ]7 −
B B7[9 − E7[9 B7[9 F ]7 /G] E7 /G]−
274
E[7 /G − A[ D7 − Em Am7/C − D7 − G E7 − A
252
d
d
290
D7 − E[ − A[/C
G/D Em7/D − D7 Am7/D − D7 −
296
G D7 − A∆7 /G − A∅7 /G − Am7/G − D7 − G
K, Anna 1 theme
Anna 1
Anna 1 (cont’d)
L, Anna 2 theme
M, Anna 2
Anna 2 (cont’d)
Anna 2, Neap. key
Neap. interm. key (cont’d )
Dom-ped.
d
Table 11.6: Strauss, Don Juan 2, harmonic analysis
m
313
327
331
343
96
H
Comment
G G7 /F − C/E G7 − C/E G
F ]◦7 −
G G7 − C/E C]◦7 /E − F ]m D]◦7 /F ] − G]m
[9/[13
G7 /D F ]7
DJ Heroic 2
Anna 2
O, DJ Heroic 2
P
11.1. OP. 20 DON JUAN
Table 11.7: Strauss, Carnival, harmonic analysis
m
H
Comment
379
386
402
409
417
421
430
D Em7 − D D7 /C − G/B D/A
E7 /G] − A G A7 − D7 −
G Am − G∆7 G7 − C7 /E B[ B[7 /A[ − E[/G
C]◦7 /E(= A[9
7 ) − G◦7 /B[ E[m A◦7 /E[ − F m
[9
[9
G]7 B7 G]7 −
C]m F ]m − E/B B7 /A − E7 /A − A
A7 −
Dm − Am − B[∆7 C7 /E − C7 − E◦7 −
[9
D[/F B[7 (= E7 ) A[7 /G[ F ]◦7 (= A[[9
7 = D7 )
[9
[9
C]◦7 (= A7 ) B◦7 /D(= C]7 ) B◦7 Em/B−
B7[9 B[7 E◦7 C, /E[
Carnival 1 theme
Carnival 1 (cont’d)
Q, Carnival 1
Carnival 1 (cont’d)
R
S
T, DJ Heroic 2
447
B7[9 B7 −
351
365
d
U, Zerlinchen
Countess, Anna 2
V, Countess, DJ
Table 11.8: Strauss, Don Juan 3, harmonic analysis
m
474
H
Comment
C B − E A]◦7 /E(= F ][9
7 ) − E − A − E/G]
d
490
B7 − C]m − A7 /C] C]m C G]m7 − G]◦7 (=
Bm F ]7 − Bm/D F ]m7/E−
G]7 /F ] B7 /D] − E7 /B F ]m/A − B79 /F ]−
W, DJ Vigour, DJ Heroic 1
E7[9 )−
d
508
510
521
529
537
543
549
556
569
E/G] − B7 − C]m − E7[9 /F (= C][9
7 )
C][9
/E]
−
D/F
]
7
]5/[9
G∆7 /B − E7[9 /D − A/C] − F ]7
E/B B7 − E
E/B − B7 − E/B B7 /A − E/G] B/F ]−
X, Carnival 2
Carnival 2 (cont’d)
Carnival 2 (cont’d)
Y, DJ Heroic 2
Z, DJ Heroic 2
d
E A/E F ]m7 D]7 /G − E/G] D]7 /G − G]m B7 /A−
E/G] B7 /F ] C][5
7 /E] − F ]m
[9
A/E − F ]7 − Bm/D G7 −
C G7 − C G7 − C G7 E7[9 /B[−
[5/[9
Am7 D/A A/C] − F ]7 /C − E/B − C7 /B[−
Am7 − A7 − B◦7 (= E7[9 /G])
F Dm7/F F/A B[/D F ]7 − B7 − E
6
E/B E7[9 /B − B7 F ][9
7 − E /B − C7 /B[−
Aa
Bb, Countess 2, Intro
Cc
d
A7 G]◦7 /B(= E7[9 ) F ]7 − B7 −
97
CHAPTER 11. RICHARD STRAUSS
Table 11.9: Strauss, Death, harmonic analysis
m
586
596
11.2
H
Comment
Am F ]∅7 /A−
Em
Dd
Symphonic poem Tod und Verklärung (1889)
Source: [27]. Form: Symphonic poem. See Table 11.10, 11.11 and 11.12 for the analysis.
Table 11.10: Strauss, Symphonic poem Tod und Verklärung
m
1
8
16
21
29
35
37
42
49
52
67
74
79
97
101
106
110
113
98
M
R
H
Comment
Cm
E[ Cm/E[
D∅7 /A[ − Cm F m7 B◦7 /A[ − F m/A[
D[7 /C[ C7 /E
E7 D D7 − E[/G E[7
A[m B[∅7 /A[ − E[[9
7 −
Pt. 1, c-ton-ped.
c-ped (cont’d)
A
M1.1
M1.2
M1.1
M1.2
M1.1
A[m
A[
C
M1.1
M2.0
M2.0
M2.1
M2.2
M2.3/2.2
M2.3/2.2
⊥
Cm
Cm
B[m
Fm
C Dm7/C − B◦7 −
C7 B7 /F ] D7 −
G7
G7 − C/G C7 − F Cm/G − D7 − G[5
7
Cm D[m/F [
E/B D7 − G
G[9
7
Cm G/B E◦7
F/A
Cm − F7 /A−
B[m G∅7
C7 D∅7 /A[
B
C
g-dom-ped.
D, g-ped (cont’d)
Pt. 2
E, g-dom-ped.
G
11.2. SYMPHONIC POEM TOD UND VERKLÄRUNG
Table 11.11: Strauss, Tod und Verklärung (cont’d)
m
118
125
129
133
137
142
144
148
150
155
158
162
170
187
198
201
207
215
227
231
236
244
247
257
263
273
277
285
290
296
302
310
317
321
326
330
335
M
R
H
Comment
M2.3
M2.4
M2.4
M2.4
M2.4
⊥
M2.4
M2.1
M2.2
⊥
M2.4/2.3
M3.1
Am
Gm
Imit.
H
M1.2
G
M1.2
M1.1
M1.2
⊥
M2.3
M1.1
⊥
M1.1
M1.2/2.0
M1.2/2.0
M2.0
Em
D
G
E7[9 /B B∅7 /A D7[9 /C Cm/E[
Gm F ]◦7 − Gm
Gm E◦7 /D[ − F7 /C − B[m G◦7 /F [−
A[7 /E[ − D7[9 − G/D
[9
D7[9 A[9
7 − D7 − G/B − C7 /B[−
F/A B[/ A[ − E[/G A[[9
7 /G[−
D[/F
Cm
Cm/G G7 − F ]◦7 − G7 C7[9 −
F E◦7 /G − G7 −
F ]◦7
D∅7 /F D◦7
B[7 B[7 D D7
G6 Am7/G G − F ]◦7 − G
G7 − Em7
F ]∅7 /E − B7[9 − Em − A7 −
D Am7 − D7 −
G D7 − G E7[9 − A D7[9
G
D◦7 B[7 −
E[ D − Gm C7 − F m B[7 −
E[/G D[7 /G[−
G[ D∅7 /C − F7 /A − E[m/B[ A7 G7 /F −
B 6 /F ] − F ]7 − B G]m7−
C]m − F ]7 − B7 − E C∅7 /E
C7 − F D7 −
Gm G]7 − C]m − F ]7
A[9
7 /G − D/F ] B[/D − B7 −
E B7 − E
B[7 /F D◦7 E
D∅7 /F B[∅7 /F [−
E[7
E[7 −
A[ B[7 /A[
C/E − D∅7 /F − C7 /G−
F m/A[ D[/F − D◦7 /F − E7[9
A D7 /A C]7 /E]−
Cm
E[
G[
B
E
Gm
M2.0
M2.0
M2.3
M2.3/1.2
M1.2/2.0
M3.1
M3.1
E
A[
I
K
g-dom-ped.
g-ped. (cont’d)
g-ped (cont’d)
L
Pt. 3
Imit.
Imit.
M, imit.
Imit.
Imit.
Pt. 4
O
P
Q
Imit.
R
e[-dom-ped.
e[-ped. (cont’d)
99
CHAPTER 11. RICHARD STRAUSS
Table 11.12: Strauss, Tod und Verklärung (cont’d)
m
339
342
346
354
356
363
365
381
383
391
397
402
411
420
432
437
442
450
453
457
461
467
471
475
481
487
491
100
M
R
M1.2/2.3
M1.2/2.3
M3.1
M2.1
M2.2
D[
Cm
⊥
M2.2/2.4
C
M3.1
M1.2/3.1
M1.2
M3.1
M3.1
M3.1 1.2
M3.1/1.2
M3.1/1.2
M3.1
M3.1
M3.1
M3.1
M3.1
H
Comment
D]∅7 /F ] C]7 /G]−
F ]m7/A
Em C]7 A7 /G F ]7 C][9
7
E G]7 /D]
D7 −
D[ E[7 /D[ D[7 − G[/D[
F/A
Am7 D]7 /A A[9
7 G◦7 − Am7 Am
Cm D7 /A−
Cm/G Gm − G7 − F ]◦7 −
G[9
7 − Cm/G
C7 − F G7[9
F ]◦7
F ]◦7
Dm7 G7
U
Imit.
G7
G7 G7 −
C D7 /C E◦7 − F B◦7 − C
Am7/C − G7
AM 7/G − D7 /F ] − G7 /F − C/E
Dm7/F − G − G7 −
C A[9
7
D B7[9 −
G]◦7 − F/C B7 E[ F7 /C
B[ A[
C/G
G7
C A[/C
C Am/C
C
a-ped.
W, a-ped. (cont’d)
a-ped. (cont’d)
g-dom-ped.
g-dom-ped. (cont’d)
g-ped. (cont’d)
g-ped. (cont’d)
Pt. 5, c − g-ped.
c − g-ped (cont’d),
imit. (augm)
c − g-ped. (cont’d)
Y, c − g-ped. (cont’d), imit.
Z
Aa
g-dom-ped.
Augm.
Bb
Cc (501 m)
Chapter 12
Gustav Mahler
Detailed score analysis of the Mahler symphony movements was complemented with the
formal analysis presented in [6].
12.1
Lieder eines fahrenden Gesellen (1885)
Source: [10].
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 über’s Feld
Form: AABC. See Table 12.2 for the analysis.
12.1.3 Ich hab’ ein glühend 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.
101
CHAPTER 12. GUSTAV MAHLER
Table 12.1: Mahler, Lieder eines fahrenden Gesellen, 1. Wenn mein Schatz Hochzeit macht
m
M
R
H
Comment
1
5
14
Dm
Dm
Dm E∅7 /D Gm7 /D E∅7 /D
Dm C D7 − Gm/D − Dm
A 24 , d-ton-ped.
d-ped. (cont’d)
#1, d-ped. (cont’d)
[9
B[∆7 A[9
7 B[∆7 A7 B[
b[-ped.
B[
b[-ped. (cont’d)
30
M0
M1/M0
M2/M0
..
.
..
./M0
..
.
38
⊥
M0
E[/B[ A∅7 D∅7 /A[ G7 − Cm
A[∆7 /C Gm/D − D7−
Gm
#2
g-ped.
22
28
44
57
64
71
74
77
89
102
M3
⊥
M4
M1
M2
M0
..
.
..
.
⊥
M0
Gm
E[
F
Dm
Gm
E[ F m − B[7 − E[ B[7 − E[
Gm/B[ Cm B[
C7 − F Gm − C7
h i
B
h i
6
8
#3, e[ − b[-ped.
#4, c-dom.ped.
h i
Dm Gm/D
Dm Am/C Gm/D Dm
A’ 24 #5, d-ton-ped.
d-ped. (cont’d)
d-ped. (cont’d)
B[∆7 A[9
7 B[ E[∆7 /B[
#6, b[-ped.
A∅7 D∅7 /A[ − G7 − Cm
A[/C Gm/D D7 −
Gm
#7, g-ped. (96 m.)
12.1. LIEDER EINES FAHRENDEN GESELLEN
Table 12.2: Mahler, Lieder eines fahrenden Gesellen, 2. Gieng heut’ Morgens über’s Feld
m
M
R
H
Comment
1
11
M1
⊥
D
A #8, a-dom.-ped.
#9
23
27
M2
D
G/D − A7 − D A7 − D/A Bm/D−
Em7 − E7 − A7 − D/A
G Em − A7 B7 /A − Em − A[9
7 −
9
A7
30
39
M1
⊥
D
G/D − A7 − D A7 − D/A
Em7 − E7 − B7 /A − Em−
A7 − D/A − A7 − D/A
G Em − A7 B7 /A − Em − A97 −
C]97 − F ]/C] C]97 − F ]/C] − B
A #11, a-dom.-ped.
#12
B
4−B
F ]sus
7
4 − F ] − B/F ]
F ] C] − F ] C]sus
7
B #14, b − f ]-ped.
#15
#16, f ] − c]-ped.
F]
B/F ]
C]97 −
F ] B D]7 − G]m − C]7 −
F]
C #17, f ]-ton.ped.
51
56
M1
M2
64
75
85
M1
M3
⊥
B
103
110
118
118
124
M1
F]
M1
⊥
F]
#10
#13
(127 m.)
103
CHAPTER 12. GUSTAV MAHLER
Table 12.3: Mahler, Lieder eines fahrenden Gesellen, 3. Ich hab’ ein glühend Messer
m
1
5
12
20
26
32
41
46
53
62
65
68
75
M
M0
M1
M1’
M2
⊥
M0
R
Dm
H
Comment
Dm
Dm
Dm
Dm
Gm
Gm
h i
9
8
B[ E7 /G] − A7−
D7 − Gm − A7 −
E∆7 Dm+7 − Dm7 − Dm6
E∅7 − A7
C7 G7 − Cm7 − D7[9 − Gm D7 −
#19, d-ton.-ped.
A, d-ped. (cont’d)
#20
M2
M2
G
G − C G∅7 − Gm+7 − Cm Gm
C/G G7 Em C]∅7
B #22, g-dom.-ped.
g-ped. (cont’d)
g-ped. (cont’d)
..
.
⊥/M0
M3
M0
C]7 D]7 C]7
B7 B[ D7[9
E[m/B[ A[m F7
E[m/B[ E[m
C
C
E[m
h i
4
4
#24
#25
(81 m.)
Table 12.4: Mahler, Lieder eines fahrenden Gesellen, 4. Die zwei blauen Augen
m
M
R
H
Comment
1
9
14
17
28
31
M1/M0
M1/M0
M0
M2
⊥
Em
Em D − G B7 − Em
Em D7 − G F/A − Am7 − B7 −
Em
C Cm G[9
7 −C
Cm C7[9 − F m − G[9
7 −
C Cm C Cm
A #26
37
41
45
50
57
F
M3
M3
M2
⊥
M0
104
C
Fm
Cm C7 − F/C
F
B[/F − C7 − F B[/F − C7 −
F m F F7 − B[/F − C7[9 −
F C7 − F B[/F − F C−
F F B[m/F −
Fm
#27
#28
B #29, c-dom.ped.
f -ton.-ped.
#30, f -ped. (cont’d)
f -ped. (cont’d)
#31 f -ped. (cont’d)
f -ped. (cont’d)
f -ped. (cont’d) (67 m.)
12.2. SYMPHONY NO. 4
12.2
Symphony No. 4 (1900)
Source: [11].
12.2.1
Mvt. 3 Poco adagio Ruhefoll
Form: ternary form, ABA1 B1 A2 Coda. See Table 12.5 to 12.7for the analysis.
12.2.2
Mvt. 4 Sehr behaglich
Form: song (Gedicht aus “Des Knaben Wunderhorn”). See Table 12.8 to 12.9 for the analysis.
12.3
Symphony No. 5 (1904)
Source: [12].
12.3.1
Mvt. 4 Adagietto Sehr Langsam
Form: ternary form, A1 BA2 . See Table 12.10 for the analysis.
12.4
Symphony No. 6 (1906)
Source: [12].
12.4.1
Mvt. 3 Andante moderato
Form: ABA1 B1 A2 . See Table 12.11 to 12.13 for the analysis.
105
CHAPTER 12. GUSTAV MAHLER
Table 12.5: Mahler, Symphony No. 4, Mvt. 3 Poco adagio Ruhefoll
m
1
11
14
17
21
23
25
M
R
H
Comment
M1
..
.
⊥
M2/M1
..
.
G
G − D7 − G D 7 − G
A.a1,
A]◦7 − Bm A7 −
D − D7 /C − G/B − Am7 /C − D−
G − D7 − G
A.a2, countermelody
43
47
51
62
M4
29
33
37
66
68
70
72
74
76
79
81
84
87
89
93
98
107
⊥ / Ms
115
119
123
131
⊥
M1’
M1’/CM
d-ped. pizz.
#1 A.a3
C/E − E7 − Am7 − A7 − D
Em7 − A7 − D E7 − Am7 − D7 −
Em
G−D
A.b, d-dom.ped.
Em − Am/C − G/D − G
C − Am/C − G/D − D7 −
G D7sus4 − G B−
Trans., bells motif
Em − Am/E − Em − Am7 /E−
#2 B.a1
D7[9
d
− G − D7 −
Em7 − D]◦7 − C/E − G/D−
A7 /C] − F ][5
7 /C − Em/B − B7 −
Em − A/E − Am+7 /E−
Em − F ]7 − F ]m − Em
Em − Am7 /E − F ]m7 /E − Em7 −
C/E − Am/E − E7 −
d
Fm
Am7 − E◦7 − C7[5 /G[ − B[/F − G∅7 /F −
C7 − F m/C − C7 − Dm7 /C − C7−
e-ped., chr.desc.
B.a2, e-ped.
#3
Dm
Dm
D[7 − F/C − B◦7 − B[7 −
Dm7 Gm/D−
Dm
D7 Am − E7 Dm B[7
Clim., chr. desc. motif
B.b
Closing theme
G
G − D7 − G/D D7 − C/G − D
#4 A1
Mc
M6/M7
..
.
106
d
G − D7 − Em7 /D − G/B−
M5
..
.
..
.
..
.
⊥
M4’
M5’
M5”
M5’
..
.
4
4
Bm − G/D − D7 −
G/B − Am7 /C − D7 −
⊥
M2’/M1
..
.
..
.
..
.
..
.
⊥
M3
h i
h i
2
2
, d-ped.
D − G − B/F ] − F ] − Bm
d
A7 − D7 − Em Am − D−
G − D7 − G − G/D − D7 −
G − D7 − G − C − E7 − Am−
Development
Countermelody
12.4. SYMPHONY NO. 6
Table 12.6: Mahler, Symphony No. 4, Mvt. 3 Poco adagio Ruhefoll (cont’d)
m
137
143
149
151
155
159
163
171
179
183
188
192
195
197
199
202
204
205
207
210
212
222
227
230
234
236
238
243
245
251
255
260
M
R
H
M1’
G
G/D − D − G/D − D7 − G − D7 −
d
M1’/CM
..
.
⊥
M1”
..
.
⊥
M4’/M5’
⊥
M5’
..
.
Comment
#5, diat. par. triads
G − D7 − G − D7 /A − G − D7 −
Countermelody
Em7 − G/D − D7 −
G − B7 /D] − Em/G − C/G − D7 −
G − D7 − B[ − B∅7 − Bm−
Ctp. dev.
Am/C − F ]◦7 /C − G/D − D7 −
G − D − G D7[9 −
4−
Gm − B[sus
7
Trans.
h i
#6 B1 .a1 44 , Dev.
chr. desc.
E[
Gm
E[ − Cm/E[ − Gm/D−
D7[9 D − G − Gm−
B7]5 − E]◦7 − B7 − A/C]−
C]m
C]m/G] − F ] − F ]7 − B7 −
C]m − F ]m/C] − C]m
#7 B1 .a2
Countermelody
F ]m/C] − A7 /C]−
E[7 /D[ − E7 /D − F7 /E[−
A/E − E7 /B − E∅7 /B[−
D/A − Dm/A−
E7 − Am/E − E7 − F ]m7 − E7 −
#8
Clim., chr. desc. motif
B1 .b Trans., f ]-ped.
M4’/CM
..
.
⊥
M4”/CM
⊥
M5’
..
.
d
⊥
F ]m
B7[5 /F − B7[9 /D]−
F ]m7 −
F ]m F ] − D/F ] − F ] D−
M1’
..
.
..
.
..
.
⊥
M1’
..
.
..
.
G
G − D7 − G−
#9 A2
D7 /A − Bm − D7 /A − G − D/F ]−
Theme+variations
⊥
M1’
⊥
h i
3
4
, d-ped.
B∅7 /F − E7 − E∅7 /B[ − A−
G
Cm/E[ − A[5
7 /E[ − D−
Am/C − Am − D/F ]
G − D7 − G
h i
3
8
, Var. 1, d-ped.
D7 − G/B − D7 − G − Am/C
Am/C − Am − E7[9 − F ]7 − Bm
A7 − D − Am/C − D7 /A − D7 −
G − D7 − G D7 − G/D − C]◦7 −
D7 − D]◦7
Var. 2, d-ped.
107
CHAPTER 12. GUSTAV MAHLER
Table 12.7: Mahler, Symphony No. 4, Mvt. 3 Poco adagio Ruhefoll (cont’d)
m
263
267
269
270
271
275
278
282
283
285
287
288
294
299
307
315
318
320
326
332
338
344
353
108
M
R
H
Comment
M1’
..
.
..
.
E
E/B − B7 E/B−
#10
⊥
M5”
⊥
M1’
M5”
..
.
⊥
2
4
, Var. 3, b-ped.
B/F ] − C]/E] − A]◦7 /E−
G
B/D] − Dm − A/C] − E + /B]−
A]◦7 − B−
D7 − C]7 − F ]7 −
−C7 − B − B[7 − F/A − A[7 −
G/D − Am − D7 − G/D−
C/E − E7 − A7
G/D − C]◦7 − D−
C/E − A]◦7 − Bm/D − Dm7 −
E7 − Cm − D7 −
d
CM
⊥
M1”
M3
E
M3/S1
MM3/S2
M5’
..
.
⊥
M5’
h i
G
Climax
Diminuition
Chr. desc. bass
Var.
h i 4, d-ped.
3
4 , Augmentation
#11, d-ped.
h i
4
4
G D7 /A − G − D7 /F ] −
Em − Am7 − D7 − G − Am − Dm
C G − F − C − Dm7 − C
G − D7sus4 − G
Motif m. 45
Bells motif, d-ped.
E
E6
E 6 E − B7sus4 −
E 6 − F ]m7
#12 Coda, climax
Bells and signals, e − b-ped.
Bells+Signal motif
#13
Trans. (m. 37+m. 131)
C G F/C
D−G
G/D − Em − G/D − Em − D
(353 m.)
12.4. SYMPHONY NO. 6
Table 12.8: Mahler, Symphony No. 4, Mvt. 4 Sehr behaglich
m
M
R
H
Comment
1
9
11
12
M1
G
G D7 − G − Am 6 7 6
D7 − G/D − C 9 − D/F ]−
C/E − Bm/D − Am/C−
G D7 − G − D7sus4 /G − G
Intro, d-ped.
17
20
22
25
31
35
V/M1
..
. /M1
..
. /M2
..
. /⊥
V/Mv’
..
. /M2
Am − Am6 − Am7
E7[9 /A − Am−
M3
⊥
M1’
57
63
66
70
72
V
⊥
V
⊥
Vc
Em
76
M3’
80
87
93
V/M1
V
V
..
.
..
.
V’
..
. /M2
..
.⊥
Vc
97
99
101
104
106
112
B∅7 /A − B[∆7 − E7 /A − A∅7 − D7 −
G D7sus4 − G − B − G − B−
F ]sus4 /B − B +5 6 7 − Em/B−
#2, V1.b
Bm − Em Bm − C − Am
Close V1.c, diat.par.
Bm Am Bm − D − Bm − G − Bm−
Am − F − F ]∅7 −
Em Em − F∆7 /E − Em Bm−
#3, Interlude
7
Vc/⊥
40
47
48
95
#1, Verse 1, V1.a
Bm
Em
#4
Em − F ]∅7 /E − F∆7 − F7 − Em−
Em − F − C − F ] − B−
Em/B − F∆7 F7 −
B7 /F ] − Am7 − −F ]∅7 − Am−
Em Em − D
Close V2.c, diat.par.
Bm
Bm Bm7 − C∆7 − Bm − Am−
#7, Interlude
G
Bm
G D7sus4 − G − D9 − G − D7 − G
Bm F ]m − G/F ] − D[/F ]−
Bm/F ] − C][9
7 − F ]m−
Verse 3, V3.a
#8, V3.e
V3.f
Em
Em − Em+7 − E∅7 − A/E − E + −
D
Em − B/D]−
D/A − A7 − D/A − E7[9 −
#5, Verse 2, V2.d
#6, V2.d’
#9
A7 − Dm/A − Gm − A[5
7 −
[5/[9 d
Dm
Gm − A7
−
B[∆7 Am/C − B[ Dm Am − B[
Gm − D(no3)−
#10, V3.c, diat.par.
Trans.
109
CHAPTER 12. GUSTAV MAHLER
Table 12.9: Mahler, Symphony No. 4, Mvt. 4 Sehr behaglich (cont’d)
m
114
120
122
125
129
136
138
142
148
153
158
162
165
169
174
184
110
M
R
H
Comment
M3
⊥
Bm
M4
..
.
Bm
Em/B Bm − Am − C − F −
E
E C]m7 /E − B7sus4 −
E B sus4 − E
#11, Interlude
b-.ped.
#12, e-ped.
e-ped.
e-ped.
⊥
M 40
E − G]7 /B] − C]m/E − B7 −
E − B7 − E
e-ped.
E
E B7 − E − F ]m
F ]m7 − D]∅7 /F ] − A − D]∅7 −
E
#13, Verse 4, V4.a
f ]-ped.
#14, V4.a’, e-ped.
G]m
E
E − G]m − D]7 − G]m − F ]m−
B7 − E−
C]/m − E B7sus4 − B7 − E−
B7sus4 − E B7
g]-ped.
e-ped.
#15, V4.g, e-ped.
V4.c’
E − B7 − E
Coda, e-ped.
(184 m.)
E
V/M1
⊥
V/M1’
..
.
⊥
V/M4
Vc’/M4
M4’
7
12.4. SYMPHONY NO. 6
Table 12.10: Mahler, Symphony No. 5, Mvt. 4 Adagietto Sehr Langsam
m
M
1
3
6
M1
⊥
12
16
19
23
M1’
⊥
(M1)
M2
26
30
33
⊥
39
M3
..
.
..
.
..
.
..
.
..
.
..
.
..
.
⊥
44
47
52
56
60
63
68
72
74
78
80
85
91
95
99
R
H
Comment
F
Am
F − Dm/C − Gm7 /B[ − F/A − D[7 /A[−
G7 D7[9 − Gm F − C4
A1 ([)
Am
F F/C − E7[9 − E7 − F B[/D−
Am/E D]◦7 − E7 −
Am F/A Am
C7 /G − F
F
d
(M2)
Cm
Tr.
Gm7 /B[ D7 /F ] E7 /G] − F/A G∅7 /B[
F/C − C7[9 −
F Gm7 /F − F Gm/B[ − C − F
Asc. bass
Climax 1, c-dom.ped.
Dm/F − B◦7 − Cm
B
Cm/E[ C∅7 A∅7 /C − F7 −
G[
E
D
9
G[ A[[9
7 − D[7 E[m7 /D[
([[[[[[)
D[ A[ E[m7 /B[ − A[7 /C
Mel. in 8va
B[m B[7 − E[m − A[7 − D[7 − C7[9
Climax 2 (%), desc. bass
E/B − B7 − E7 −
(]]]]), desc. bass
d
B7 /A Bm7 /AA7 − Bm7 /A A7 −
(]]), a-dom.ped.
D+
E − E7 /D−
A7 − G]7 − C]7 −
F
M1
..
.
⊥
(M3)
M2
⊥
d
F/C Am7
F Dm7 /C − Gm7 /B[−
F/A − D∅7 /A[ − G7 G∅7 −
D7 /F ] − Gm
F/A − C4 G7 − C
C7 /G − F F/A − Gm7 /B[
D7 /F ] − E∅7 /G − E7 /G] − G∅7 /B[ − B∅7
F/C (Dm7 ) F/C Dm7 F/A − C7 /G−
F
desc. bass
A2 ([)
c-dom.ped.
c-ped. (cont’d)
Asc. bass
Climax 3, c-dom.-ped.
(103 m.)
111
CHAPTER 12. GUSTAV MAHLER
Table 12.11: Mahler, Symphony No. 6, Mvt. 3 Andante moderato
m
M
R
H
1
M1
..
.
E[
E[ B[[13
7 − E[/B[
5
8
10
14
18
21
23
25
28
36
38
⊥
M1
..
.
..
.
⊥/M0
42
45
47
49
Mt1
Mt2
Mt1+2
Mt1
56
60
63
65
Mt1+2
M2
⊥
M3/Mt2
..
.
..
. /Mt2
..
.
..
.
⊥ /M0
34
68
70
72
75
78
81
84
88
93
95
112
M4/Mt1
.. ..
./.
.
⊥/ ..
Mt1’
A.a, Main theme
d
F∅7 − F m − E[ − B[[9
7 −
[5/[9
C∅7 /B[ − C7 /E − A[m − B[[9
7 −
E[ − E[[9
−
F
/C[
−
B[
−
E[
7
∅7
7
#87, e[-ped., M1+Ctp.
Gm
E[ − B[ − E[ − F m/A[ − A◦7
E[m − E[
Gm Dm − Gm−
M0: 3rd/6th-motif
#88 A.b
E[
A∅7 /G − Gm−
A∅7 − E[/G − A[7 −
E[ B[]11
7 − E[/B[ − F∅7 − F − E[
Seq.+Ctp. (imit.)
#89 A.a1
⊥
M1’
..
.
⊥/M0
M2/M0
..
.
Comment
B[[9
7 /A[ − E[/B[ − B[7 −
Em
Am
Em
E[ − E[[9
7 − F m7 /A[−
E[ − Cm7 /B[ − Eb/G − Cm − G B[7
#90
4 − E[ − Cm/E[−
E[ B[sus
7
F∅7 − F m7 − C[7 /E[ − E[[9
7 −
A[/E[ − D◦7 E[m−
C[7 /E[ E[
#91 Trans., leap motif
desc. 8th motif
Em Am − Em − Dm − F/C−
Am Am − B∅7 − Am
B∅7 − C∆7 − Am7 − B∅7 − Am
Em − F ]∅7 /A − Em − B7[13 /D]−
#92 B.1, Dev. 1
Elegy
Seq.+Ctp. (imit.)
A/C] − F ]∅7 /C − E/B − F ][5
7 /A]−
chr. desc. bass.
[5/[9
B7
Bm
E
closing phrase
/A − E/G] − Em/G−
Bm B[/D−
#93
Gm+7 − C∆7 − F ]∅7 − Bm7 − Em7 −
Am7 /C − F ][5
7 /C Em/B − B∅7 −
[9/sus4
B7 − F ]7
/B
6
E E9 −
B sus4 − E
Ctp.+Seq. (imit.)
closing phrase
e − b-ped.
4 −E
B −sus
7
[5
B7 G][9
7 − F7 −
#95
closing phrase
7
#94 B.2, Pastorale,
12.4. SYMPHONY NO. 6
Table 12.12: Mahler, Symphony No. 6, Mvt. 3 Andante moderato (cont’d)
m
100
105
109
M
R
H
Comment
M1/CM
..
.
..
.
E[
E[/G − B[[5
7 − E[
#96 A1 , Main Th.+Ctp.,
F m7 /E[ − B[7 − E[ E[[9
7
e[-ped.
111
114
⊥
115
M5/Mt
..
.
⊥
Mt1+2
..
.
119
121
124
127
128
130
132
137
142
144
146
150
153
157
160
163
165
167
168
169
173
177
179
181
182
Mt1
..
.
⊥
M2
..
.
⊥
M2
..
.
..
.
⊥
M1’/CM
...
..
.
..
.
..
. / Mt1
⊥/⊥
CM/M3’
..
.
..
.
⊥
Mt2/1
F m7 /E[ − A[m − E[
[5/[9
F∅7 − F m − B[7 − F7
[5/[13
A∅7 − G7
/D[
− B[7 −
C
C − Dm7 /C − C
#97 B1 .1, Dev. Misterioso
A
F/A − G/B − C
Dm7 /F − C − Dm7 /C − C
A − F ]m7 − Bm7 /A − E7 − A
#98 B1 .2, Pastorale
Bm7 − B∅7 −
A − F ]m7 /A − G][9
7 /A−
a-ped.
[5/[9
B7 /A
Am
− E7 −
A Bm7 /D − E7[9 /D − A − Dm−
A − Am − Em7/G − F
C]m
Dm − B∅7 − Am − B7[9
Am − F ]∅7 /A − D7 /A − F ]∅7 /A−
C]m − G]9∅7 − F ]m/C]−
C]∅7 −
9/[13
F ]7
− F ][9
7 −
#99 B1 .3, Elegy
Seq.+Ctp. (imit.)
#100 B1 .4, Elegy
Seq.+Ctp. (imit.)
Bm
Bm7 − C]7 − F ]−
Bm − F ]7 − B − F ][5
7 /A]
Climax
B
B − F ]m − B − F ]7 −
#101 A2 . Main Th.+Ctp.
B − C]m7 − B − C/E−
B/F ] − F ]sus4 − B/F ] − Em
7
E[
B/D] − G7 /D − C]m−
Desc. bass
F ][9
7 − E]◦7
[5/[9
F ]7 − B7[5 − G]5
/C[−
7 − C − F7
E[/G Cm7 − Gm−
#102
A[ − B[7 /D − Gm − Cm7 − F7 −
Seq.+Ctp.
B[7
F m − B[7[9 −
[5/[9
A∅7 − B[7 − F7
− B[7 − B[[9
7 −
closing phrase
113
CHAPTER 12. GUSTAV MAHLER
Table 12.13: Mahler, Symphony No. 6, Mvt. 3 Andante moderato (cont’d)
m
185
188
190
194
201
114
M
(M1’)
(M3’)
⊥
(M3)
R
H
Comment
A[/E[ − F7 − F∅7 − E[ − F79 /A−
#103, Coda, e[-ped.
d
E[/B[ − G7 /B − Cm − G7 −
A[m − F m7 /A[−
E[
(201 m.)
Chapter 13
Sergei Prokofiev
13.1
Classical Symphony (1917)
Source: [16].
13.1.1
Mvt. 1, Allegro
Form: Sonata. See Table 13.1 for the analysis.
115
CHAPTER 13. SERGEI PROKOFIEV
Table 13.1: Prokofiev, Classical Symphony, Mvt. 1 Allegro
m
M
R
H
Comment
1
M1.1
D
11
M1.1
C
Cadential closing
Dev.
d
17
28
36
42
46
54
66
74
M1.2
M1.2
(M1.2)
D
Bm
M2.1
M2.1
M2.1
A
(C)
A
A
D − A7 − D A7 −
Bm D−
C G7 − C
F ]∅7 /B − A−
D A7 − D F ]7
Bm F ]m − Bm Bm7 −
E7 Bm−
E7 −
A F − B−
A F − C − F − C F ]m − Bm − E−
A D∆7 − Bm7 − E7−
A D∆7 − Bm7 − E7 − A E7 − A
87
M1.1
D
D A − Dm
d
G7 −
M1.2
M1.2
A[
F
A[ E[7 −
F A7
F ]∅7 /B Em B7 F7[5 /C − B−
111
115
M2.1
M2.1
E
C
E/B B7 /A −
C/G F ]7 −
119
M2.1
B
B/F ] F ]7 /E −
123
127
M2.1
M2.1
G
C
G/D D7 /F ] −
C7 /G F
142
146
150
116
C
M1.2
D
159
167
172
179
M1.2
B
187
191
194
202
(M2.1)
(M2.1)
D
Bm
D
Trans.
e-dom-ped.
Gr. 2
Imit.
Imit. (cont’d)
Mod. trans.
d
d
d
Stretto
d
M1.1
Mod. trans.
Modulating trans.
d
95
99
103
131
Exp. Gr. 1
Modulating trans.
Am C/G G7 − Am Dm7 − G7 − C
Retrans.
C G7 − C
F ]∅7 /B A−
D A7 − D F ]7 − Bm
Recap.
Mod. trans.
d
B B7 − C
Em7 − A7 −
D B[ − E
D B[ − F
Trans.
d
Bm F ] − Bm F ]7 −
G∆7 Em7 − A − 7−
D G∆7 − Em − A7 − D A7 −
D A7 − D
Coda
Cadential closing
Cad. closing (cont’d)
(207 m.)
Chapter 14
Dmitri Shostakovich
14.1
Symphony No. 1 (1924-5)
Source: [25].
14.1.1
Mvt. 3, Lento
Form: ternary, ABA’. See Table 14.1 for the analysis1 . The main element in this slow movement is the combination of chromatic stepwise movement (both in the lead melody and in
the 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 movement
from the symphony is analysed, the same melodical material returns in the other movements.
14.2
Symphony No. 9 (1945)
Source: [26].
14.2.1
Mvt. 1, Allegro
Form: Sonata. See Table 14.2 and 14.3 for the analysis.
1
Analysis of this movement was suggested to me by Bill Dobbins, professor at the Eastman School of Music,
and jazz composer and arranger.
117
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 chromatic
melody)
9
15
M1’
M2
D[ E[ Cm − C79 /E −
Dm/F − D/F ] − B7sus4 − E/G]−
21
25
29
33
39
M2-M0
M2’
M1/M3
M0
M0
G[/B[ F ][9
7
C/F ] A[[5
7 /D−
D[ E[7 − A[7 −
D[∆7
B[/D
44
M4
F ]7 /A] − B7
47
51
59
63
67
73
75
79
M5
M6
M5-M0
⊥
M6
81
87
89
92
95
101
M1/M3’
M0
M1/M3
⊥/M0
M0
M1/M6
111
114
M1-M0
M0
118
d
]11/13
−
[#1] Trans., Seq.,
chr. asc. bass
[#2] ”Minor 3rd motto”
[#3] Chr. desc. bass
[#4] Tutti
[#5]
[#6] Closing with echoed
motto
[#7]
Em
Em
Em
[5
F ][5
7 /A] − B7
G[ − E[ − C−
E7 − G/C] − F/D] − F m7 − F ]
B/F − G]/E−
Em − G − Em/B − A−
F ]7 /E − A[[5
7 /D−
B [#8] Vc+Db lyrical theme
[#9] Ob signalling theme
[#10] Hi strings, lyrical
[#11] Symmetrical roots
[#12] Brass
[#13]
[#14] Vc+DB
[#15] Clar.
D[
D[ E[ − E[m − F7 − G[
E[/G − A[7[9
D[
B[∅7 − Cm7 − G[/D[
B[/D
E[ F7[5 /B − B[ A[97 − A[]5
7 −
A’ [#16] Solo vln.
Tpt motto
[#17] Hi str + ww
[#18]
[#19] Echoed motto in brass
[#20]
4−
D[ A[sus
7
sus
4
A[7
− D[
[#21] Coda, div. str. + ww.
Echoed motto (120 mm.)
M5
M4
14.2. SYMPHONY NO. 9
Table 14.2: Shostakovich, Symphony No. 9, Mvt. 1 Allegro
m
M
R
H
Comment
1
8
12
16
22
30
37
45
M1.1
M1.2
M1.1’
E[
E[
Cm B[7 −
Exp., Gr. 1, also I(M1.1)
B[7 − E[7 − A[
Am
Am G7
E[
B[ F7 − B[ F/A
Bridge
Symmetric Harmony
Tr. 1
also I(M1.1)
Gr. 2, b[ − f -ped.
55
68
76
82
M2.1
M2.2
M2.1
86
90
98
102
104
108
112
118
123
126
134
142
150
E[
M1.3
C
M1.1
M2.1
E[
B[
d
G
B[
B[ F7 − B[ F m7 /A[ Em F ]7 −
G F ]7
B[ F7 −
A D B B[−
I(M1.1)
M1.1
I(M1.1)
M1.2
G[
G − F]
I(M1.1)
M1.1
A
B[
G[
Bm F ]7 D7 /F ]
F]
G∆7 /F ] A[7 /E[ B/F ]
Cm F ]7 /C Dm7 /C B7
A Bm7
Dm E[m G
C]
D
A
Em E7[10
C] E7[10 C]m E7[10
D
A E 7 A E7
M1.3
M2.1
M1.1
M2.1
g − d-ped.
b[ − f -ped.
Tr. 2
Dev., f ]-ton-ped., aug.
f ]-ped. (cont’d)
f ]-ped. (cont’d)
f ]-ped. (cont’d)
c-ped., bridge
a-ton-ped., aug.
a-ped. (cont’d)
Tr., oct.-sc.
g]-dom-ped.
a-dom-ped.
a-ton-ped., aug.
Retrans.
119
CHAPTER 14. DMITRI SHOSTAKOVICH
Table 14.3: Shostakovich, Symphony No. 9, Mvt. 1 Allegro (cont’d)
m
154
161
166
170
174
180
182
192
198
203
212
218
228
230
244
120
M
R
H
Comment
M1.1
M1.2
E[
E
Recap.
M1.3
M1.1
⊥
M2.1
M2.1
⊥
M2.2
E[
E[
C]m B
Gm
E7 /G] = B[7
E[
A − B7 − E
A[ E[7 − A[ F m
A[ E[7 − A[
E[m7 /G[
F B7 − Em B[7 −
M1.1
E[
M1.1
M2.1
M1.1
A[
F
E[
G7
B[7 −
E[
G7 − A[7 − B[7 − E[
Bridge
a[-ped., symm.
a[-ped. (cont’d)
a[-ton-ped.
a[-ped. (cont’d)
e[-dom.-ped.
Coda
Tr. 1
(247 m.)
BIBLIOGRAPHY
Bibliography
[1] J.S. Bach, The Six Brandenburg Concertos and the Four Orchestral Suites, Dover Publications, Inc., New York, ISBN 0-486-23376-6, 1976 5
[2] J. Brahms, Complete Chamber Music for Strings and Clarinet Quintet, Dover Publications, Inc., New York, ISBN 0-486-21914-3, 1968 55
[3] J. Brahms, Complete Symphonies in Full Score, Dover Publications, Inc., New York,
ISBN 0-486-23053-8, 1974 62
[4] J. Brahms, German Requiem in Full Score, Dover Publications, Inc., New York, ISBN
0-486-25486, 1987 51
[5] C. Debussy, Three Great Orchestral Works in Full Score, Dover Publications, Inc., New
York, ISBN 0-486-24441-5, 1983 69
[6] C. Floros, Gustav Mahler III: Die Symphonien, Breitkopf & Härtel, Wiesbaden, ISBN
3-7651-0210-5, 1985. 101
[7] C. Floros, C.M. Schmidt, G. Schubert, Johannes Brahms: Die Symphonien, Sudienbuch
Musik, Bestellnummer ED 8711, Schott Musik International, Mainz, ISBN 3-7957-87114, 1998. 62
[8] H.Gál, Schumann Orchestral Music, BBC Music Guides, British Broadcasting Corporation, London, ISBN 0-563-124323-7, 1979. 35
[9] J. Littlewood, The Variations of Johannes Brahms, Poetics of Music Series, Plumbago
Books, London, ISBN 0-9540123-4-8, 2004 62
[10] G. Mahler, Songs of a Wayfarer and Kindertotenlieder in Full Score, Dover Publications,
Inc., New York, ISBN 0-486-26318-5, 1990 101
[11] G. Mahler, Symphonies Nos. 3 and 4 in Full Score, Dover Publications, Inc., New York,
ISBN 0-486-26166-2, 1989 105
[12] G. Mahler, Symphonies Nos. 5 and 6 in Full Score, Dover Publications, Inc., New York,
ISBN 0-486-26888-8, 1992 105
[13] F. Mendelssohn Bartholdy, Major Orchestral Works, Dover Publications, Inc., New
York, ISBN 0-486-23184-4, 1975 27
[14] W.A. Mozart, Later Symphonies, Full Orchestral Score of Symphonies 35-41, Dover
Publications, Inc., New York, ISBN 0-486-23052-X, 1974 12, 13
121
BIBLIOGRAPHY
[15] W.A. Mozart, Complete String Quintets with the Horn and Clarinet Quintet, Dover
Publications, Inc., New York, ISBN 0-486-23603-X, 1978 7
[16] S. Prokofiev, Four Orchestral Works, Dover Publications, Inc., New York, ISBN 0-48620279-8, 1974 115
[17] M. Ravel, Concerto pour Piano et Orchestre, Editions Durand & Cie., Paris 87
[18] M. Ravel, Quartet in F major, for two violins, viola and cello, Score no. 539, Internationial Music Company, New York 73
[19] M. Ravel, Daphnis and Chloe, Dover Publications, Inc., New York, ISBN 0-486-25826-2,
1988 83
[20] M. Ravel, Four Orchestral Works in Full Score, Dover Publications, Inc., New York,
ISBN 0-486-25962-5, 1989 73, 76, 82
[21] F. Schubert, Complete Song Cycles, Dover Publications, Inc., New York, ISBN 0-48622649-2, 1970 15
[22] F. Schubert, Four Symphonies in Full Score, Dover Publications, Inc., New York, ISBN
0-486-23681-1, 1978 15
[23] R. Schumann, Complete Symphonies in Full Score, Dover Publications, Inc., New York,
ISBN 0-486-24013-4, 1980 35, 41, 42, 48
[24] K. Schweizer, A. Werner-Jensen, Reclams Konzertführer, Philipp Reclam Jun. GmbH &
Co., Stuttgart, ISBN 3-15-010434-3, 1998 1
[25] D. Shostakovich, Symphonies Nos. 1 and 5 in Full Score, Dover Publications, Inc., New
York, ISBN 0-486-28368-2, 1995 117
[26] D. Shostakovich, Symphonies No. 9 and 10 in Full Score, Dover Publications, Inc., New
York, ISBN 0-486-28801-3, 1995 117
[27] R. Strauss, Tone Poems Series 1: Don Juan, Tod und Verklärung, Don Quixote, Dover
Publications, Inc., New York, ISBN 0-486-23754-0, 1979 93, 98
[28] P.I. Tchaikovsky, Nutcracker Suite in Full Score, Dover Publications, Inc., New York,
ISBN 0-486-25379-1, 1987 65
[29] A. Werner-Jensen, Reclams Kammermusikführer, Philipp Reclam Jun. GmbH & Co.,
Stuttgart, ISBN 3-15-010437-8, 1997 1
122
Index
AAB form, 46
AABC form, 94
AB form, 94
ABA form, 4, 37, 38, 50, 59, 63, 67, 70, 74, 76,
77, 81, 94, 98, 110
ABAB form, 13, 24, 50, 59
ABABA form, 46, 98
ABAC form, 38, 70
ABACA form, 31
ABACABA form, 59
ABC form, 46, 94
ABCABCA form, 50
Baroque music, 1
binary form, 59
song, 98
song cycle, 13, 94
string quartet, 50, 67
string quintet, 6
symphonic poem, 63, 86, 91
symphony, 11–13, 24, 31, 37, 38, 44, 57, 98,
108, 110
ternary form, 4, 6, 11, 12, 37, 38, 59, 63, 67, 70,
74, 76, 77, 81, 94, 98, 110
tonal centre, 1
tonal music, 1
two-part song, 94
voice leading, 1
concerto, 4, 81
form, 1
functional harmony, 2
harmonic progression, 1
Impressionism, 1
instrumentation, 1
melody, 1
modulation, 2
musical analysis, 1
orchestral music, 63, 67, 70, 76, 77
overture, 24, 59
requiem, 46
Romantic music, 1
rondo form, 6, 31, 38, 50
root cycle, 2
sequence, 2
sonata form, 6, 13, 24, 31, 38, 44, 50, 57, 81,
108, 110
123