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Wednesday, February 02, 2005

from Schumann's, Album of the Young, "Wild Rider" op. 68 No. 8

The two strongest structural phenomena I noticed in this piece were tonality, and register. The piece starts out in A minor and then shifts to F major at measure 10. It then returns to A minor at measure 17. What helps the listener notice this is also the register change. In the beginning of the piece the main melody line is played in the right hand while the left hand supports it with eighth notes and rests. At measure 10 the main melody line goes down to the left hand and is played in a much lower register while the right hand supports it, and then returns back to the way it was originally played at measure 17.

6 comments:

bodony said...

WOW GREAT JOB! As a listener I always like register changes, as shown in ur piece. It really adds some continuity to the piece for me when I hear melodic gestures in different register, thus, creating some interesting textures.

mvittorio said...

Good job picking out the register changes. It's helpful to visualize the changes by the identification of hands related to the registers.

John Styx said...

This is one of the pieces I can recognize right away from a non-vocal standpoint and I think your analysis is spot on. The register change is the most striking phenomena, with a melodic line the varies from right to left hand and then back again. Also you noted that the two sections are not of equal length, another interesting point of this piece.

FluteBunny10 said...

I agree - I remember listening to my sister practice this piece repeatedly when she was younger. As far as what the first chapter in the Temko discusses, this piece is pretty basic - tonality and the register changes are clearly the most influential.

Spoonaloompa said...

Check the measure numbers - pickups are confusing but I just went with the numbers later in the piece.

Good job.

Liz said...

Good job! I agree with everyone in that it's such a basic, straightforward piece - very easy to analyze. Don't forget about the half and PAC cadences!