In Mozart's String Quartet in D minor, K. 421, the third movement, Mozart uses chromatic embellishment even within the first ten measures. Analysis looks like this:
m.1 : i
m.2: CTd7
m.3: i
m.4: V
m. 5: VII
m.6: IV65
m. 7: VI #6
m. 8: III #5
m.9 : iid6, V7
m.10: i
In measures 14-19, Mozart uses chromatic voice exchange and a held "E" in the cello, prolonging the E minor tonic harmony.
m.22: i
m.23: V7
m.24: i+7
m.25: IV
m.26: VII
m.27: III
m. 28: iid
m. 29: V/V
The chromatic sequence in the cello in measures 1-10 is moved to the first and second violins in measures 22-29.
Measures 30-39 are the same as 1-10.
Thursday, May 08, 2008
adieu, adieu...you know the rest
hay, girl, hay!
mozart roman numeral crapnalysis:
key: d minor
m.1 i
m.2 iv43, i
m.3 i
m.4 V6
m.5 VII
m.6 IV65
m.7 Ger+6
m.8 V, i6
m.9 cadential 64
m.10 i
In measures 14-19 Mozart uses the cello's note (E) as the basis of a common tone modulation to the dominant key. The harmony prolonged here is a V/V chord.
ugh,this part's confusing
m.22 V7
m.23 V7/IV7
m.24 IV7
m.25 vii7
m.26 iii
m.27 vi
m.28 Ger+6
m.29 V
uh the violins play the same motive as the first two analyzed parts except for it's slightly chromatic in measures 22-29. That's really the only similar part I see. You probably shouldn't analyze measures 30-39 because it's the same as the first ten measure of the piece....unless you were bored and needed to waste time.
this bunny is cute. the end.
mozart roman numeral crapnalysis:
key: d minor
m.1 i
m.2 iv43, i
m.3 i
m.4 V6
m.5 VII
m.6 IV65
m.7 Ger+6
m.8 V, i6
m.9 cadential 64
m.10 i
In measures 14-19 Mozart uses the cello's note (E) as the basis of a common tone modulation to the dominant key. The harmony prolonged here is a V/V chord.
ugh,this part's confusing
m.22 V7
m.23 V7/IV7
m.24 IV7
m.25 vii7
m.26 iii
m.27 vi
m.28 Ger+6
m.29 V
uh the violins play the same motive as the first two analyzed parts except for it's slightly chromatic in measures 22-29. That's really the only similar part I see. You probably shouldn't analyze measures 30-39 because it's the same as the first ten measure of the piece....unless you were bored and needed to waste time.
August Rush and Schumann
In Schumann's "Widmung" we have some of his trademarks popping up everywhere. Throughout the first verse the infamous "three hand" accompaniment plays delicatly below the vocal line. Which builds up to "for which I float" then descends on the line "O my grave." There is a great big key change to start off the second verse, from Ab Major to E Major, as well as a new accompaniment. The accompaniment for the second verse continues in the "three hand" tradition of Schumann, but has steady chords on every beat in the highest voice and the lower voices holding out the root E the entire time. This gives the second verse a more driving feel. The vocal line slows from the previous verse, to longer drawn out phrases. The differences in the accompaniment and the voice make it so the voice can flow nicely above it, but still feel the pull of the song. It then changes key back to Eb major in the middle of the line "you raise me lovingly above myself," which only emphasizes the word 'lovingly.' With the return of the original key, the original accompaniment returns as well. The first verse is repeated up to the line "in which I float" and ends with the last line from the second verse "My good spirit, my better self."
Schumann did a wonderful job of taking a beautiful poem and setting it to music. It is simply a love song, but it is so much more than that at the same time. The words are beautiful in and of itself. However set to music the feeling is ten times more impressive. The love and passion that is stated in the lyrics are made more powerful by the music that surrounds it. I guess that is what music really is, all around us, making things more powerful. Looks like August Rush made a really great point. :-)
Schumann did a wonderful job of taking a beautiful poem and setting it to music. It is simply a love song, but it is so much more than that at the same time. The words are beautiful in and of itself. However set to music the feeling is ten times more impressive. The love and passion that is stated in the lyrics are made more powerful by the music that surrounds it. I guess that is what music really is, all around us, making things more powerful. Looks like August Rush made a really great point. :-)
Fryderyk Chopin: Mazurka in F minor, Op. 68, No. 4
Fryderyk Chopin’s Mazurka in F minor, Op. 68, No. 4 exhibits an astounding amount of chromaticism in such a short piece. Due to the sheer amount of chromaticism, a Roman numeral analysis is difficult to do. Therefore, one needs to pay attention to overall basic harmonic structure rather than literal every note harmonic analysis in order to comprehend where Chopin is harmonically taking the piece. Due to the latter characteristics of the piece, I feel that it may be easier for the listener to understand the piece if one would go through the piece in sections and observing each section in detail rather than just go through the measures labeling each Roman numeral. So, lets go through each section in basic harmonic and structural detail to get a better general understanding of the piece.
m. 1-8:
First phrase: m. 1-8, key of F minor, i
While there is a feeling of subphrases within these measures, divided in m. 1-2, m. 3-4, m. 5-6, and m. 7-8, the ideas flow seamlessly from one to another, due to the chromaticism and the descending stepwise motion of the harmonies and motives (such as the RH motif in m. 1-2 being used throughout these measures). A perfect authentic cadence in the key of i is perceivable in m. 8 with an F minor triad.
m. 9-14:
Second phrase: m. 9-14, elides to next phrase in m. 14, key of F minor, i
This second phrase is more or less a variation of the first phrase. A half cadence in the key of sharp III is present with an E7.
m.:1-14: parallel period
m.15-19:
Third phrase: m. 15-19, elides to next phrase in m. 19, key of A major, sharp III
m. 14-15 and m. 16-17 repeat each other, creating an emphasis on the repeated right hand motif and the key of A major, a key that is distantly related from F minor. There is a perfect authentic cadence in the key of sharp III in m. 19.
m. 19-23:
Fourth phrase: m. 19-23, key of F minor, i
The right hand motives of this section (right hand of m. 19-20, for example) are the exact same right hand motives used in m. 15-19, only transposed to the key of i, F minor. The perfect authentic cadence in the key of i in m. 23 is the most conclusive cadence in the piece.
m. 15-23: parallel period
m. 24-27:
Fifth phrase: m. 24-27, key of A flat major, III
This phrase has a sudden change from the previous phrase’s F minor key to this one’s A flat major key. However, the key then travels to C minor, the v of F minor, due to the perfect authentic cadence in the key of v in m. 27.
m. 28-31:
Sixth phrase: m. 28-31, key of C minor, v
The material from this measure is similar to the previous phrase, but this phrase ends in a half cadence in the key of v with a G major triad.
m. 24-31: parallel period
m. 31-39: Retransition, elides to m. 40
m. 40: same material as m. 1
As one listens to the piece, there is a sense of continuous forward motion melodically and harmonically, constant and often unstable harmonic traveling for a number of reasons. Aspects of the piece that contribute to the continuous forward motion and harmonic instability include heavy use of chromaticism (m. 14-15 for melodic and m. 2-4 for harmonic, for example), the use of inverted chords rather than root chords (F6 in m. 1, for example), the use of very dissonant chords (such as E full diminished 65 in m. 7), elisions (first beat of m. 14 and 19), and quick shifts in key (from F minor to A major in m. 13-15, A flat major to C minor in m. 26-29).
Another major aspect of this piece which contributes to perpetual musical motion is sequencing, which is present in m. 1-5, for example. This excerpt travels harmonically in a descending stepwise motion every 1 measure, starting from F minor 6 to G7 to G flat 7 to F7 and ending at E minor 7. Also, the motive/melody transposes by descending whole steps every two measures from m. 1-6. A similar sequence can be found in m. 7-11.
The sequencing from m. 32-39 feels even more complex than the previously explained one due to more melodic chromaticism, thus making harmonies more difficult to determine. The melody of the right hand transposes in a descending stepwise motion from m. 32-36 every two measures. Likewise, the harmonies also descend in stepwise motion every two measures in m. 32-36. The sequencing intensifies in m. 37-39, this time descending by stepwise motion every 1 measure rather than two measures.
As Chopin marks sempre legatissimo (m. 11) and sempre legato (m. 32), it is possible that the composer wishes for the performer to practice these markings in order to give the listeners even more of a sense of continuity and seamless flowing from one idea to the next. In addition to always legato playing, one must also observe the sotto voce (m. 1), which literally means “under voice.” Perhaps Chopin wishes for a lyrical, soft but projected and singing like sound to carry the melodies of the piece, which can be accomplished through closer contact to the keys and depressing the keys with slow motion. Flattening the fingers some may help create a singing like melody, as doing so would enable one to play on the key with more surface area, which promotes a full, rich sound as opposed to the tip which promotes a bright, pointed sound.
Apart from the feeling of continuous motion, the mood of the piece is strange in a sense that there are sudden key changes from major to minor keys, somewhat giving me the sense of bipolarity, changing from a more somber, gloomy and tranquil mood suddenly to a happy and robust mood, which is something I may expect from the music of Robert Schumann rather than Chopin. m. 9-14, for example, is generally in a quiet, sotto voce mood. Then, in m. 14 a sudden shift to A major, a distant sharp III relation, along with a crescendo bring the spirit of the piece up for a moment, only to return to the gloomy and somber F minor (after a tonicization of iv in m. 19-20) in the phrase in m. 19-23. I believe exposing the bipolarity along with the continuous motion will musically bring the piece to life and make it shine. Therefore, the performer should make the most of thedynamic markings and sudden mood shifts within musical reason of course (not going from pianissimo to fortissimo in a matter of a few beats! Do not do this!)
The marking D. C. dal segno senza fine in m. 40 is interesting, as it is asking the performer to return to m. 2 and continue playing, but without end. There is no fine marked in the score, so Chopin has not specified where one should conclude the piece and stop playing. For Chopin to write senza fine further supports the idea of continuous nonstop motion and traveling. Since the piece is to sound senza fine, a performer might be inclined to repeat the piece more than once. Of course, the piece must end at some point in recital, so eventually concluding in m. 23 may be the best option, as the perfect authentic cadence here in the tonic key of F minor is the strongest and most conclusive sounding cadence in the piece.
m. 1-8:
First phrase: m. 1-8, key of F minor, i
While there is a feeling of subphrases within these measures, divided in m. 1-2, m. 3-4, m. 5-6, and m. 7-8, the ideas flow seamlessly from one to another, due to the chromaticism and the descending stepwise motion of the harmonies and motives (such as the RH motif in m. 1-2 being used throughout these measures). A perfect authentic cadence in the key of i is perceivable in m. 8 with an F minor triad.
m. 9-14:
Second phrase: m. 9-14, elides to next phrase in m. 14, key of F minor, i
This second phrase is more or less a variation of the first phrase. A half cadence in the key of sharp III is present with an E7.
m.:1-14: parallel period
m.15-19:
Third phrase: m. 15-19, elides to next phrase in m. 19, key of A major, sharp III
m. 14-15 and m. 16-17 repeat each other, creating an emphasis on the repeated right hand motif and the key of A major, a key that is distantly related from F minor. There is a perfect authentic cadence in the key of sharp III in m. 19.
m. 19-23:
Fourth phrase: m. 19-23, key of F minor, i
The right hand motives of this section (right hand of m. 19-20, for example) are the exact same right hand motives used in m. 15-19, only transposed to the key of i, F minor. The perfect authentic cadence in the key of i in m. 23 is the most conclusive cadence in the piece.
m. 15-23: parallel period
m. 24-27:
Fifth phrase: m. 24-27, key of A flat major, III
This phrase has a sudden change from the previous phrase’s F minor key to this one’s A flat major key. However, the key then travels to C minor, the v of F minor, due to the perfect authentic cadence in the key of v in m. 27.
m. 28-31:
Sixth phrase: m. 28-31, key of C minor, v
The material from this measure is similar to the previous phrase, but this phrase ends in a half cadence in the key of v with a G major triad.
m. 24-31: parallel period
m. 31-39: Retransition, elides to m. 40
m. 40: same material as m. 1
As one listens to the piece, there is a sense of continuous forward motion melodically and harmonically, constant and often unstable harmonic traveling for a number of reasons. Aspects of the piece that contribute to the continuous forward motion and harmonic instability include heavy use of chromaticism (m. 14-15 for melodic and m. 2-4 for harmonic, for example), the use of inverted chords rather than root chords (F6 in m. 1, for example), the use of very dissonant chords (such as E full diminished 65 in m. 7), elisions (first beat of m. 14 and 19), and quick shifts in key (from F minor to A major in m. 13-15, A flat major to C minor in m. 26-29).
Another major aspect of this piece which contributes to perpetual musical motion is sequencing, which is present in m. 1-5, for example. This excerpt travels harmonically in a descending stepwise motion every 1 measure, starting from F minor 6 to G7 to G flat 7 to F7 and ending at E minor 7. Also, the motive/melody transposes by descending whole steps every two measures from m. 1-6. A similar sequence can be found in m. 7-11.
The sequencing from m. 32-39 feels even more complex than the previously explained one due to more melodic chromaticism, thus making harmonies more difficult to determine. The melody of the right hand transposes in a descending stepwise motion from m. 32-36 every two measures. Likewise, the harmonies also descend in stepwise motion every two measures in m. 32-36. The sequencing intensifies in m. 37-39, this time descending by stepwise motion every 1 measure rather than two measures.
As Chopin marks sempre legatissimo (m. 11) and sempre legato (m. 32), it is possible that the composer wishes for the performer to practice these markings in order to give the listeners even more of a sense of continuity and seamless flowing from one idea to the next. In addition to always legato playing, one must also observe the sotto voce (m. 1), which literally means “under voice.” Perhaps Chopin wishes for a lyrical, soft but projected and singing like sound to carry the melodies of the piece, which can be accomplished through closer contact to the keys and depressing the keys with slow motion. Flattening the fingers some may help create a singing like melody, as doing so would enable one to play on the key with more surface area, which promotes a full, rich sound as opposed to the tip which promotes a bright, pointed sound.
Apart from the feeling of continuous motion, the mood of the piece is strange in a sense that there are sudden key changes from major to minor keys, somewhat giving me the sense of bipolarity, changing from a more somber, gloomy and tranquil mood suddenly to a happy and robust mood, which is something I may expect from the music of Robert Schumann rather than Chopin. m. 9-14, for example, is generally in a quiet, sotto voce mood. Then, in m. 14 a sudden shift to A major, a distant sharp III relation, along with a crescendo bring the spirit of the piece up for a moment, only to return to the gloomy and somber F minor (after a tonicization of iv in m. 19-20) in the phrase in m. 19-23. I believe exposing the bipolarity along with the continuous motion will musically bring the piece to life and make it shine. Therefore, the performer should make the most of thedynamic markings and sudden mood shifts within musical reason of course (not going from pianissimo to fortissimo in a matter of a few beats! Do not do this!)
The marking D. C. dal segno senza fine in m. 40 is interesting, as it is asking the performer to return to m. 2 and continue playing, but without end. There is no fine marked in the score, so Chopin has not specified where one should conclude the piece and stop playing. For Chopin to write senza fine further supports the idea of continuous nonstop motion and traveling. Since the piece is to sound senza fine, a performer might be inclined to repeat the piece more than once. Of course, the piece must end at some point in recital, so eventually concluding in m. 23 may be the best option, as the perfect authentic cadence here in the tonic key of F minor is the strongest and most conclusive sounding cadence in the piece.
Chicka-chicka yea, my last blog, my last blog!
So words cannot even begin to describe my excitement for this blog. It's the last one! = ) So here it goes. (My brain is slightly fried due to end-of-the-year syndrome, so I'm going to be brief.)
I have been given Chopin's Mazurka in F minor, Op. 68, No. 4
Sweet lord does this have a ton of chromaticism. My brain was a little overwhelmed by all the accidentals at first, not gonna lie. Chopin uses B natural, A sharp, D natural, G flat, F flat,C flat, and E natural as embellishments of the melody, all within the first eight measures. As I began my attempt at a harmonic analysis, I found that such an analysis does not makes sense for this type of piece. There is just too much chromaticism that the Roman numeral analysis becomes ridiculous. But, a few measures, such as measure one (i6) do make sense with Roman numeral analysis.
Measures 9-15 are similar to measures 1-8. The bass line is nearly the same, with the second chord of the odd measures (9,11,13,15) having a new chromatic note in them. The melody is the same but with added eighth notes in the measure to allow for some new chromatic additions as well. In measures 32-40 something very interesting happens. Here we see several beats that have two different chromatic notes with the same letter name.In msr. 37 there's an F flat and F sharp and in msr. 38 there's an E flat and E sharp. This helps with the chromatic progression to msr. 40 where 'D.C. dal segno senza fine' is written.
This marking calls for the performer to return to measure 2 and play the piece again but without ending. There is no 'fine' marked in the score so the performer must choose how many times to play the piece and where to end. To me, measure 23 looks like the best spot to end since it has the most conclusive cadence of the piece(authentic cadence).
This piece contains a lot for just 40 measures and has a lot of fun chromaticism. I would never play for I think I'd probably mess up the majority of the accidentals along the way. Oh well, props to whoever can play this!
Peace. It's been real.
I have been given Chopin's Mazurka in F minor, Op. 68, No. 4
Sweet lord does this have a ton of chromaticism. My brain was a little overwhelmed by all the accidentals at first, not gonna lie. Chopin uses B natural, A sharp, D natural, G flat, F flat,C flat, and E natural as embellishments of the melody, all within the first eight measures. As I began my attempt at a harmonic analysis, I found that such an analysis does not makes sense for this type of piece. There is just too much chromaticism that the Roman numeral analysis becomes ridiculous. But, a few measures, such as measure one (i6) do make sense with Roman numeral analysis.
Measures 9-15 are similar to measures 1-8. The bass line is nearly the same, with the second chord of the odd measures (9,11,13,15) having a new chromatic note in them. The melody is the same but with added eighth notes in the measure to allow for some new chromatic additions as well. In measures 32-40 something very interesting happens. Here we see several beats that have two different chromatic notes with the same letter name.In msr. 37 there's an F flat and F sharp and in msr. 38 there's an E flat and E sharp. This helps with the chromatic progression to msr. 40 where 'D.C. dal segno senza fine' is written.
This marking calls for the performer to return to measure 2 and play the piece again but without ending. There is no 'fine' marked in the score so the performer must choose how many times to play the piece and where to end. To me, measure 23 looks like the best spot to end since it has the most conclusive cadence of the piece(authentic cadence).
This piece contains a lot for just 40 measures and has a lot of fun chromaticism. I would never play for I think I'd probably mess up the majority of the accidentals along the way. Oh well, props to whoever can play this!
Peace. It's been real.
Widmung
Schumann's "Widmung" is a song roughly translated to "Dedication" which features the setting of a poem by Friedrich Ruckert. The text of the poem in relation to the musical exposition of the ideas is best studied after the large-scale musical form is established. "Widmung" is in A B A form, and although it is reminiscent of rounded binary form, the B section consists of completely independent harmonic material including a different key altogether and thus the piece fits the definition of a ternary form better. More specifically, this is a form of simple ternary because the sections of the piece do not take on any additional musical forms. The text alone is mysterious and beautiful. The poem can be looked at both in a subjective and objective manner and most certainly through a mix of the two. The undefined "you" that the author is speaking of is portrayed mainly in a positive light and is often made the center of the speakers existence and source of joy. There are a few verses however that speak of the "you" of third party in quite the opposite light. The contrast is so stark that the speaker associates the third party with death and even goes as far as blaming this party for his death while only a few verses earlier he was praising it as if it was heaven. The nature of these lyrics and the lack of clarity as to whether the author was even referring to a person or an object, feeling, desire or other aspect of existence.
The text however does give ample material for a setting to music that reflects the beauty and emotion that the poem exudes. For example, the key change from Ab Major to E Major occurs when the text is referring to the postlude of the poems section about death. While one typically associates death with minor modes and life with major modes, Schumann takes a different approach and gives the lines of text that talk about the "you" being rest and peace and a gift from heaven and sets them to an entirely separate major mode in the middle of the major A sections. In addition to the key change, the accompaniment takes on a much more peaceful and steady driving tone as the fluid moving eighth note arpeggios are replaced with chordal quarter note passages that accentuate the sturdiness and certainty of the speakers words that he has found rest and gentle peace. The modulation is direct and hence lacks a transition. The piano accompaniment suddenly shifts keys, rhythmic patterns simply to accentuate the romantic ideas that the B section elaborates. Schumann. The text painting that plays a crucial role in this piece is found in the abnormal key change and the rhythm shift that accentuates and pulls out the ideas of love and completion in the text. From a chromatic perspective, the techniques used including flat chords seem to appear at sections during which the text refers to mysterious ideas. For example when heaven is mentioned, the chromaticism comes into play perhaps to accentuate the mysteriousness of heaven. If I were to perform this, I would make a point to make the contrast between the A and the B sections very distinct and to make sure I adequately convey the emotions through my facial expressions and bodily movements. The communication of emotions in this piece is crucial to its delivery in my opinion. Strict adherence to the dynamic will also beautifully supplement the composition techniques.
The text however does give ample material for a setting to music that reflects the beauty and emotion that the poem exudes. For example, the key change from Ab Major to E Major occurs when the text is referring to the postlude of the poems section about death. While one typically associates death with minor modes and life with major modes, Schumann takes a different approach and gives the lines of text that talk about the "you" being rest and peace and a gift from heaven and sets them to an entirely separate major mode in the middle of the major A sections. In addition to the key change, the accompaniment takes on a much more peaceful and steady driving tone as the fluid moving eighth note arpeggios are replaced with chordal quarter note passages that accentuate the sturdiness and certainty of the speakers words that he has found rest and gentle peace. The modulation is direct and hence lacks a transition. The piano accompaniment suddenly shifts keys, rhythmic patterns simply to accentuate the romantic ideas that the B section elaborates. Schumann. The text painting that plays a crucial role in this piece is found in the abnormal key change and the rhythm shift that accentuates and pulls out the ideas of love and completion in the text. From a chromatic perspective, the techniques used including flat chords seem to appear at sections during which the text refers to mysterious ideas. For example when heaven is mentioned, the chromaticism comes into play perhaps to accentuate the mysteriousness of heaven. If I were to perform this, I would make a point to make the contrast between the A and the B sections very distinct and to make sure I adequately convey the emotions through my facial expressions and bodily movements. The communication of emotions in this piece is crucial to its delivery in my opinion. Strict adherence to the dynamic will also beautifully supplement the composition techniques.
Chopin
Due to the large amount of chormaticism embedded in Chopin's Mazurka in F minor, Op. 68, No. 4, it is difficult to apply harmonic analysis. The chromaticism can be seen straight away in measures 1- 8. The embellishments played here are B natural, D natural, A#, Fb, Gb, Cb, E natural, A natural, G #, and F#. It is definitely identifiable that the section is in F minor, but chord analysis is not really necessary. Beginning at measure 2, every two measures there is a sequence. The phrase desecends by a whole step at each new seqence. In addition, the last two measures of this entire phrase ends in a i chord at measure eight.
Measures 9 - 14 are similar to measures 1 - 8. The only difference is that it's set higher. But it has the sequence pattern. However, the cadence at the end of measure 14 is a half cadence in the key of A major. The modulation to the new key occurs by sequential chromaticism.
The section that consists of measures 15 - 23 begins in A major, but at measure 19 modulates back to F minor. This continues and there is a solid ending pac in F minor in measure 23.
At the beginning of the phrase in measures 24 - 32, the key is set in Ab major. Ab major is of coruse the relative major of F minor.
From measure 32 - 35 there is a desecending fifths sequence. Measures 32-40 is a very interesting phrase in general because some measures there will be two different chromatic notes with the same letter name. For example, in measure 36 there is an Eb and an E#, and in measure 38 there is a D natural and a Db. At measure 40 the performer returns to measure 2, but it's interesting because there is no official fine. The best place to end this piece would be at measure 23 because it holds a sold F minor chord, the key the piece originally begins with.
Measures 9 - 14 are similar to measures 1 - 8. The only difference is that it's set higher. But it has the sequence pattern. However, the cadence at the end of measure 14 is a half cadence in the key of A major. The modulation to the new key occurs by sequential chromaticism.
The section that consists of measures 15 - 23 begins in A major, but at measure 19 modulates back to F minor. This continues and there is a solid ending pac in F minor in measure 23.
At the beginning of the phrase in measures 24 - 32, the key is set in Ab major. Ab major is of coruse the relative major of F minor.
From measure 32 - 35 there is a desecending fifths sequence. Measures 32-40 is a very interesting phrase in general because some measures there will be two different chromatic notes with the same letter name. For example, in measure 36 there is an Eb and an E#, and in measure 38 there is a D natural and a Db. At measure 40 the performer returns to measure 2, but it's interesting because there is no official fine. The best place to end this piece would be at measure 23 because it holds a sold F minor chord, the key the piece originally begins with.
LAST ONE!
This is my last blog entry (huzzah!), and today we are discussing Schumann (the crazier of the two Schu's) and his lovely piece, Widmung.
The larger form of this piece is Ternary, your typical A B A, and this form is made doubly obvious by the seemingly strange key change from Ab major to E major. Actually, this is closer than it first appears. Schumann must have read about Beethoven and his crazy chromatic mediant fetish; E major is an enharmonic respelling of Fb major, the flat major VI to Ab's tonic I.
The key change itself is a text-painting device: as we approach the key change (remember, down a third from tonic) the singer's line is "you my grave, [down] into which I cast my grief." And then we change key, using a nifty common-tone modulation, Ab-->G#, and the accompaniment becomes less florid and more supportive, grounded. The singer explains that "you are rest, you are peace, you are bestowed upon me [down] from heaven." The accompaniment is more solid and chordal - if it were minor, I would say it's solemn like a funeral march - the major gives this much more hope and joy, even though we're kind of still in the death-theme textwise.
Then, just as cliche and text-painting-y, the key changes back (up) to Ab (with another common-tone modulation, C#-->Db) on the perfect line, "you raise me lovingly [up] above myself." Oh Schumann. How cute is that. (PS - anyone else hear the Josh Groban song with that line?)
A final interesting note is that one Schu here steals from another Schu - part of Schubert's "Ave Maria" is quoted in the last measures, twice. The do-ti-do-mi-re-do of that melody is set in a ground-bass type of ti-la-le-sol-do falling progression. The chromaticism describes an otherworldly serenity and happiness, as if the singer is still in disbelief at their luck and contentment.
And that's all for this piece. I will almost miss blogging with you guys. Have a great summer, all! Ciao!
LAST BLOG EVER! Hip Hip Hooray!
Okay, so I'm pretty excited that for my last piece to annalyze, I got Robert Schumann's "Widmung" or "Dedication" from the song cycle Myrten! I really like this song, partly because I heard it about twenty times during German diction! It's a really beautiful song, with wonderful lyrics that truly describe Schumann's devotion to his wife, at least I hope it's to her and not a girlfriend! That would kind of ruin the romance of this song!
The words speak of devotion and call his, hopefully, wife his soul, heart, bliss, and pain. He calls her his world. The music has lovely romantic runs in the intro to prepare the listener for the romantic nature of the work.
At the key change, the second verse begins. I wouldn't say that the tone of the text truly changes significantly, but the accompaniment certainly changes significantly and while I understand that it adds interest and diversity to the song, but I'm not sure it's a good change, only because the choppy nature of the triples make it more difficult to bring across the romantic feel of the song and keep the legato in the voice. A good singer can provide a wonderful counterpart to the accomaniment, which makes a nice texture, but a not-so-good singer might make the line choppy as well, something to watch for.
The Gb's in measures eight through nine I think are used to emphasize the word "Himmel," or heaven, and the heavenly and unusual nature of his wife. Also, the piece is in ABA form.
Okay, I think I'm done. So, I'm signing out! Ciao!
The words speak of devotion and call his, hopefully, wife his soul, heart, bliss, and pain. He calls her his world. The music has lovely romantic runs in the intro to prepare the listener for the romantic nature of the work.
At the key change, the second verse begins. I wouldn't say that the tone of the text truly changes significantly, but the accompaniment certainly changes significantly and while I understand that it adds interest and diversity to the song, but I'm not sure it's a good change, only because the choppy nature of the triples make it more difficult to bring across the romantic feel of the song and keep the legato in the voice. A good singer can provide a wonderful counterpart to the accomaniment, which makes a nice texture, but a not-so-good singer might make the line choppy as well, something to watch for.
The Gb's in measures eight through nine I think are used to emphasize the word "Himmel," or heaven, and the heavenly and unusual nature of his wife. Also, the piece is in ABA form.
Okay, I think I'm done. So, I'm signing out! Ciao!
Last Blog!
Yeah!
Chopin's Mazurka in F minor uses many chromatic harmonic techniques. For example, in measures 10-13, the is a chromatic falling fifths pattern, going from G to Gb to C to Cb. Also, in measure 29, a German 6 chord is reinterpreted enharmonically as a V7 chord. In measures 24-29 there is a modulation to a chromatic-mediant related key. Finally, in measures 11-14, there are chromatic passing tones embellishing the opening melody.
Sorry this is crappy, I have 5 billion more things to get done.
Chopin's Mazurka in F minor uses many chromatic harmonic techniques. For example, in measures 10-13, the is a chromatic falling fifths pattern, going from G to Gb to C to Cb. Also, in measure 29, a German 6 chord is reinterpreted enharmonically as a V7 chord. In measures 24-29 there is a modulation to a chromatic-mediant related key. Finally, in measures 11-14, there are chromatic passing tones embellishing the opening melody.
Sorry this is crappy, I have 5 billion more things to get done.
WIDMUNG! the end!
Widmung by Robert Schumann was written in 1840 as a part of his song cycle Myrthen. The title translates to "dedication" with text written by Friedrich Rückert. The song is clearly in an A B A' form which means that it is probably rounded binary but with a closer look at the B section we see or hear that the B section is in a completely different key and very very different than the A section which probably means that it is Ternary form. It is probably simple ternary form because the there are not binary forms within the larger ABA form. When the A section returns it is more of an A' because the cadence ends differently. The poem itself is very romantic. It talks about the composer or poet's love, and the fact that they are their world. It makes the title interesting because it could be that Schumann was dedicating this song or the song cycle to his wife or it could be that he is simply discussing how he dedicates himself to his wife. When the key change happens the text takes a turn to a more peaceful idea that is represented by longer notes and a steadier accompaniment, with the words, you are rest, you are peace. The modulation is a direct modulation, it is very abrupt with a sudden change of piano style. The Gb5 that is found in measures 8 and 9 was probably used to portray the idea of heaven which is the text that accompanies this section. The composer probably chose a chromatic note because heaven is not a stable idea, no one really knows what it is, and not everyone believes in it. When I sang this piece for proficiencies I really tried to think about the contrasting sections and why the composer would have chosen to make similar text so different.
last. blog.
Soooo you know what time it is? Cause I do--yep, you've got it, it's last blog EVER time. I cannot contain the excitement right now. So, without further ado, here it goes.
The chord progression of the first 10 measures of the third movement of Mozart's String Quartet K. 421 is as follows (in D minor):
(measure) 1: i
2: iv6
3: i
4: V6
5: vii0
6: iv6
7: Gr+6
8: V7
9: V 65-43
10: i
The harmonies employed with this chromatic descending bass line is primarily that of tonic, subtonic, and dominant harmonies.
The analysis for measures 11-20 is as follows:
11: vii half diminished7/V
12: V
13: V
14: II
15: vii half diminished/II
16: II
17: vii half diminished6
18: v7
19: V
20: vii half diminished/V
The name of the device used in the cello part of measures 14-19a is called pedal point. The harmony prolonged throughout this part of the piece is V.
The harmonic progression of measure 22-29 is as follows:
22: V7
23: V7/iv
24: V7/vii
25: V7/III
26: V7/VI
27: VI
28: Gr+6
29: V
Wow, this section has a LOT o' secondary dominant harmonies...
The progression in the harmonies of the violins in 22-29 are similar to the descending chromatic bass line in measures 1-10. Measures 30-39 do not need to be analyzed because they are, indeed, an exact repeat of measures 1-10.
I'M FINISHED!!!!!!!!
The chord progression of the first 10 measures of the third movement of Mozart's String Quartet K. 421 is as follows (in D minor):
(measure) 1: i
2: iv6
3: i
4: V6
5: vii0
6: iv6
7: Gr+6
8: V7
9: V 65-43
10: i
The harmonies employed with this chromatic descending bass line is primarily that of tonic, subtonic, and dominant harmonies.
The analysis for measures 11-20 is as follows:
11: vii half diminished7/V
12: V
13: V
14: II
15: vii half diminished/II
16: II
17: vii half diminished6
18: v7
19: V
20: vii half diminished/V
The name of the device used in the cello part of measures 14-19a is called pedal point. The harmony prolonged throughout this part of the piece is V.
The harmonic progression of measure 22-29 is as follows:
22: V7
23: V7/iv
24: V7/vii
25: V7/III
26: V7/VI
27: VI
28: Gr+6
29: V
Wow, this section has a LOT o' secondary dominant harmonies...
The progression in the harmonies of the violins in 22-29 are similar to the descending chromatic bass line in measures 1-10. Measures 30-39 do not need to be analyzed because they are, indeed, an exact repeat of measures 1-10.
I'M FINISHED!!!!!!!!
LAST BLOG EVER! (sorry for the enthusiam, Prof.)
Widmung is the first song of 26 in Schumann’s song cycle Myrthen. This cycle was a gift, dedicated to his wife on their wedding day, hence the name Widmung, meaning dedication. This song speaks of all the aspects of love. It speaks of the good and the painful side of an all encompassing love.
This song is mostly made of root position and inverted I V and IV chords, giving it a very stable sound, strengthening the theme of love in the song.
The overall structure of this song is ABA.
A: AbM mm.1-13
B: EM mm.14-29
Return of A: AbM mm.30-44
The roman numeral analysis for mm. 8-9 is
m.8 IV6 v
m.9 IV
The purpose of the Gb5 in these two measures could have to do with text painting. The translation for the text in measures 8 and 9 is “ in which I float”. Therefore, the flatted G that is outside the normal tonal structure of the key (Ab), could suggest an “other worldliness”.
I have had the privilege of performing this song before. And when I learned this song, I made sure that over the fast-paced and smooth accompaniment, I didn’t make the melody too choppy sounding. It is hard in this song, especially with the German language, to keep a smooth line that continues even through glottals and rests. It is also hard to stay calm vocally when singing this song. With such a swooping and seemingly fast-paced piano accompaniment, by the return of A, I always had to remind myself not to speed towards the end.
This song is mostly made of root position and inverted I V and IV chords, giving it a very stable sound, strengthening the theme of love in the song.
The overall structure of this song is ABA.
A: AbM mm.1-13
B: EM mm.14-29
Return of A: AbM mm.30-44
The roman numeral analysis for mm. 8-9 is
m.8 IV6 v
m.9 IV
The purpose of the Gb5 in these two measures could have to do with text painting. The translation for the text in measures 8 and 9 is “ in which I float”. Therefore, the flatted G that is outside the normal tonal structure of the key (Ab), could suggest an “other worldliness”.
I have had the privilege of performing this song before. And when I learned this song, I made sure that over the fast-paced and smooth accompaniment, I didn’t make the melody too choppy sounding. It is hard in this song, especially with the German language, to keep a smooth line that continues even through glottals and rests. It is also hard to stay calm vocally when singing this song. With such a swooping and seemingly fast-paced piano accompaniment, by the return of A, I always had to remind myself not to speed towards the end.
Sic hoc adfixum in obice legere potes, et liberaliter educatus et nimis propinquus ades
Analysis:
mea. 1 – i
mea. 2 – iv6
mea. 3 – i
mea. 4 – V6
mea. 5 – VII
mea. 6 – IV6
mea. 7 – Gr+6
mea. 8 – V7 i6
mea. 9 – V64-53
mea. 10 – i
mea. 11 – vii*7/V
mea. 12 – v
mea. 13 – v7
mea. 14 – II
mea. 15 – vii*/II
mea. 16 – II7
mea. 17 – vii*6
mea. 18 – v7
mea. 19 – i
mea. 20 – vii*7/V
mea. 21 – i V
mea. 22 –
mea. 23 – I
mea. 24 – IV
mea. 25 – VII7
mea. 26 – V7/VI
mea. 27 – VI
mea. 28 – Gr+6
mea. 29 – V
mea. 30-39 – literal repeat of mea. 1-10
The harmonies of the chromatic descending bass line are relatively tame; only a IV6 in mea. 6 and the German augmented 6th chord in mea. 7 pop out as examples of mode mixture; otherwise, the chords develop as one would expect for a classical composer (even the famous cadential 6/4). The B section of this movement has a pedal point in the cello, which provides a dramatic backdrop for the rather odd chords that progress on top of it. It’s a developmental section that flirts with major keys and provides an obvious shift in harmony versus the first section. I say “dramatic” because the kinds of chords created are II and v, both of which, in theory terms, are like saying ‘666’ to religious fanatics. (that’s an overstatement, but you get the idea). Nevertheless, Mozart comes out of this section, reaffirms his domination of minor keys and then gives a repeat of section A. I like that kind of analysis where there’s not a repeat, but writing out the original melody. In theory, it looks like there’s been more work done than I’ve actually accomplished. Anyways…
Key points: be aware of your role within the chord. Because strings are not equally tempered, those darned inner voices can make the difference between the light and proverbial sludge. Leading tones are huge and help set up important chord shifts when Mozart writes for non-diatonic chords (aka mode mixture). As always, play what is written but be creative and constantly have opinions about performance and interpretation – make your recording stand out from the rest!
さいごのブログ＜－last blog
080508
Blog #14
II. Extended analysis
A. Wolfgang Amadeus Mozart, String Quartet in D minor, K. 421, third movement (p. 157) CD 2.74
Roman Numerals
Key: Dm
M1: i
M2: iv43
M3: i
M4: V6
M5: vii
M6: IV6
M7: Gr6
M8: i64
M9: V64-53
M10: i
In measure 14-19 the cello holds out the same note, so it’s a pedal point. The chords above are changing but the pedal point doesn’t take part in the harmonic framework. A dominant chord is prolonged.
M22: V7
M23: V7/iv
M24: iv
M25: vii7
M26: III
M27: vi
M28: Gr6
M29: V
The motive is passed around from the first violin, second violin and the viola and cello play some harmonic stuff that isn’t fun to play. In m22-29 the second violin comes in first and then the first responds rather in m1-10 the first violin plays first and the second and viola interact after the first violin states something. The tendency is to just go down the scale with the motive. Measures 30-39 is exactly the same as the opening in measures 1-10. With the DC it gives a strong ending with an authentic cadence.
I played this before, it was pretty fun, and like the seconds and violas get to come out a more than usual and interact with the first compared to some other quartets where the first violin hogs the spotlight.
Blog #14
II. Extended analysis
A. Wolfgang Amadeus Mozart, String Quartet in D minor, K. 421, third movement (p. 157) CD 2.74
Roman Numerals
Key: Dm
M1: i
M2: iv43
M3: i
M4: V6
M5: vii
M6: IV6
M7: Gr6
M8: i64
M9: V64-53
M10: i
In measure 14-19 the cello holds out the same note, so it’s a pedal point. The chords above are changing but the pedal point doesn’t take part in the harmonic framework. A dominant chord is prolonged.
M22: V7
M23: V7/iv
M24: iv
M25: vii7
M26: III
M27: vi
M28: Gr6
M29: V
The motive is passed around from the first violin, second violin and the viola and cello play some harmonic stuff that isn’t fun to play. In m22-29 the second violin comes in first and then the first responds rather in m1-10 the first violin plays first and the second and viola interact after the first violin states something. The tendency is to just go down the scale with the motive. Measures 30-39 is exactly the same as the opening in measures 1-10. With the DC it gives a strong ending with an authentic cadence.
I played this before, it was pretty fun, and like the seconds and violas get to come out a more than usual and interact with the first compared to some other quartets where the first violin hogs the spotlight.
mozart string quartet in D minor
Let me start by pointing out that this quartet is obviously inferior to Haydn's op. 17 no. 3 quartet in E flat major. Ok, now that that is taken care of.
The first ten measures, in D minor, have these roman numerals
i IV64 ii042 i i V6 vii
IV6 Ger6 V V42 i ii V7 i
The device used in the cello part is a pedal tone. It is being used to prolong the harmony of V7/V. That's handy because the pedal tone is the root of that chord. Measures 22-29 are where Wolfgang falls for secondary dominants. It goes:
V7 V7/IV V7/vii V7/III V7/VI VI Ger6 V
This is a falling fifths sequence for a while. Wolfgang probably would not have gotten a good grade had he been in Spiegey's theory class, he hardly resolved anything correctly. In the first violin part the chordal seventh resolves up a seventh, then that leading tone resolves in the viola part, then the chordal seventh is resolved down a half step (yay) and everything is back to normal. In the second violin part the leading tone is resolved by the violist (cuz they know how to do it right), then the chordal seventh is right, but then the leading tone is resolved by the violist again (we have to do all the work). The violinists are playing in canon, started in the second violin part, with the second part a fourth up. It worked out into nice chromatic lines for both of them. How handy. Measures 30-39 are the same as the beginning, everything is the same as the beginning. He prolly just couldn't think of anything new. Or maybe he had somehwere to be.... we will never know. The end.
The first ten measures, in D minor, have these roman numerals
i IV64 ii042 i i V6 vii
IV6 Ger6 V V42 i ii V7 i
The device used in the cello part is a pedal tone. It is being used to prolong the harmony of V7/V. That's handy because the pedal tone is the root of that chord. Measures 22-29 are where Wolfgang falls for secondary dominants. It goes:
V7 V7/IV V7/vii V7/III V7/VI VI Ger6 V
This is a falling fifths sequence for a while. Wolfgang probably would not have gotten a good grade had he been in Spiegey's theory class, he hardly resolved anything correctly. In the first violin part the chordal seventh resolves up a seventh, then that leading tone resolves in the viola part, then the chordal seventh is resolved down a half step (yay) and everything is back to normal. In the second violin part the leading tone is resolved by the violist (cuz they know how to do it right), then the chordal seventh is right, but then the leading tone is resolved by the violist again (we have to do all the work). The violinists are playing in canon, started in the second violin part, with the second part a fourth up. It worked out into nice chromatic lines for both of them. How handy. Measures 30-39 are the same as the beginning, everything is the same as the beginning. He prolly just couldn't think of anything new. Or maybe he had somehwere to be.... we will never know. The end.
Widmung by Schumann
Widmung is probably the most performed worked of Schumann's song repetoire. The song is ABA, or ternary. The word Widmung means dedication and the poem as follows is a deication of love. The modulation at measures 13-14 suggests the contrast in the text. The first stanza talks about the painful side of love, but at the key change the text discusses the peacefulness of love. The key change is by a chromatic mediant. The Gb text paints the word "float".
In the first phrase, the performer would want to make sure that they would not climax on on the word "Seele" as one would need to make sure there will still be energy for the word "Herz". On Schmerz, a softer dynamic would need to be used as well as floating the word "schwebe". In the B section, a feeling of rubato and ever changing dynamics would serve very well in this piece. On the word "himmel" (heaven) would need to be mf or less, because this is not a Handel Heaven but a reflective feeling. This piece is one of the most teasured and enjoyable pieces in all of lieder.
In the first phrase, the performer would want to make sure that they would not climax on on the word "Seele" as one would need to make sure there will still be energy for the word "Herz". On Schmerz, a softer dynamic would need to be used as well as floating the word "schwebe". In the B section, a feeling of rubato and ever changing dynamics would serve very well in this piece. On the word "himmel" (heaven) would need to be mf or less, because this is not a Handel Heaven but a reflective feeling. This piece is one of the most teasured and enjoyable pieces in all of lieder.
ludwig
Beethoven's piano sonata in C Major Op. 53
The roman numerals for measures 79-83 in E minor are:
iv V/iv iv ii065 i64 V i II i64 V7
For measures 84-87 (first ending) in C major
I ii6 I64 vii06 I I II
and for measures 86-90 (seond ending) in d minor
v iv III64 vii7 i VI III vii7 i
He used a melodic sequence in measures 80-81, c a f#, b g e, a f# d#, e.
Here he was just arpeggiating chords of e minor, which helps establish that key. He elaborated on this melodic idea in the following measures, adding a scalar figure with the same rhythm. The first of these ends on a nice e again, but in preparing for the modulation Beethoven changes the second so that it is spelling out C major chords and it ends predictably in C major. For the two measures of the first ending Beethoven emphasizes the key change by playing repeated C major chords, but surprisingly in the last beat plays a D major chord. This matches exactly the two measure introduction to the piece.
The second ending begins with a C major chord again, but this time only for a beat so that the transition to d minor can be established. One way that he shows this new key is in the bass line, which has a rising and slowing progression to the D in measure 88. He also uses that same arpeggiating sequence in the melody, this time using D minor chords, to establish the key. Finally in measures 90 and 91 the D minor chord is played as the C major chord was at the very beginning and the first ending, firmly landing the listener in the neopolitan key.
The roman numerals for measures 79-83 in E minor are:
iv V/iv iv ii065 i64 V i II i64 V7
For measures 84-87 (first ending) in C major
I ii6 I64 vii06 I I II
and for measures 86-90 (seond ending) in d minor
v iv III64 vii7 i VI III vii7 i
He used a melodic sequence in measures 80-81, c a f#, b g e, a f# d#, e.
Here he was just arpeggiating chords of e minor, which helps establish that key. He elaborated on this melodic idea in the following measures, adding a scalar figure with the same rhythm. The first of these ends on a nice e again, but in preparing for the modulation Beethoven changes the second so that it is spelling out C major chords and it ends predictably in C major. For the two measures of the first ending Beethoven emphasizes the key change by playing repeated C major chords, but surprisingly in the last beat plays a D major chord. This matches exactly the two measure introduction to the piece.
The second ending begins with a C major chord again, but this time only for a beat so that the transition to d minor can be established. One way that he shows this new key is in the bass line, which has a rising and slowing progression to the D in measure 88. He also uses that same arpeggiating sequence in the melody, this time using D minor chords, to establish the key. Finally in measures 90 and 91 the D minor chord is played as the C major chord was at the very beginning and the first ending, firmly landing the listener in the neopolitan key.
Sunday, May 04, 2008
A String of Pearls
mm.
Eb:
11 - Iadd6
12 - Iadd6 bVII7 V7/IV
13 - IV IVmaj7 IV7
This excerpt is pretty tricky because of the chromaticisms especially in measure 12. Looking at the D7-Db7 is particularly interesting because, though the parallel fifths are diminished, it is kind of an awkward chord progression. The Eb7 chord in a tonic of Eb is also a bit jarring, though looking at the Ab chord (IV) in the next measure, it becomes clear that this Eb7 chord is functioning as a secondary domninant (V7/IV).
Eb:
11 - Iadd6
12 - Iadd6 bVII7 V7/IV
13 - IV IVmaj7 IV7
This excerpt is pretty tricky because of the chromaticisms especially in measure 12. Looking at the D7-Db7 is particularly interesting because, though the parallel fifths are diminished, it is kind of an awkward chord progression. The Eb7 chord in a tonic of Eb is also a bit jarring, though looking at the Ab chord (IV) in the next measure, it becomes clear that this Eb7 chord is functioning as a secondary domninant (V7/IV).
Thursday, May 01, 2008
pirate skulls and bones
sticks and stones and beethovens...
roman numeral analysis, fun!
EM
m.79 iv64, IIIhalfdim
m.80 iv, iidim6
m.81 i6, V7
m.82 i, iv
m.83 III6, ii
CM
m.84 I, iv
m.85 iii6, ii
m.86 I
m.87 I
FM
m.86 V, I6,IV
m.87 iii64, ii
m.88 vi, I6 , IV
m.89 iii6, ii
m.90 I
There is a two measure harmonic pattern that is in each key. It's in measures 82-83, 84-85, and 88-89. The two beat sequential pattern is repeated many times throughout measures 80-89. the first two measures of the sequence goes down by a half step then after that it looks as if the sequence goes down by way of falling thirds.
The two sequences are layered on top of each other in this excerpt. You could say that the shorter melodic sequence acts as a way to connect the longer harmonic sequence. the melodic sequences also provides a link between keys by introducing or reintroducing notes of the upcoming key within the sequence.
roman numeral analysis, fun!
EM
m.79 iv64, IIIhalfdim
m.80 iv, iidim6
m.81 i6, V7
m.82 i, iv
m.83 III6, ii
CM
m.84 I, iv
m.85 iii6, ii
m.86 I
m.87 I
FM
m.86 V, I6,IV
m.87 iii64, ii
m.88 vi, I6 , IV
m.89 iii6, ii
m.90 I
There is a two measure harmonic pattern that is in each key. It's in measures 82-83, 84-85, and 88-89. The two beat sequential pattern is repeated many times throughout measures 80-89. the first two measures of the sequence goes down by a half step then after that it looks as if the sequence goes down by way of falling thirds.
The two sequences are layered on top of each other in this excerpt. You could say that the shorter melodic sequence acts as a way to connect the longer harmonic sequence. the melodic sequences also provides a link between keys by introducing or reintroducing notes of the upcoming key within the sequence.
Analysis for Jerry Gray and Eddie de Lange, "A String of Pearls"
m. 11: i(6/5)
M.12:i (6/5) II7 flat ii7
M. 13: vi
harmonically this excerpt is not exactly simple but functionally it is very important. It leads us back from a previous section to the close of the piece. Most of these chords shares a common tone between them, or move apart in no bigger motion than a second allowing for the composers so bend the rules of resolution.
The piece ends with motion from an E chord to a B to a C. the interesting thing about these final two chords is that every note of the B chords resolves up to the C and all no more than a second creating a very interesting, almost incomplete sound.
m. 11: i(6/5)
M.12:i (6/5) II7 flat ii7
M. 13: vi
harmonically this excerpt is not exactly simple but functionally it is very important. It leads us back from a previous section to the close of the piece. Most of these chords shares a common tone between them, or move apart in no bigger motion than a second allowing for the composers so bend the rules of resolution.
The piece ends with motion from an E chord to a B to a C. the interesting thing about these final two chords is that every note of the B chords resolves up to the C and all no more than a second creating a very interesting, almost incomplete sound.
Ludwig van Beethoven, Piano Sonata in C major, Op. 53 “Waldstein”, first movement: Allegro con brio
Roman Numeral Analysis: m. 78-90
m. 78-83: [III] [E major]: I, V7/iv, iv64, V7/iv, iv, ii6 diminished, V864-753, i, i6, iv, V864-753
m. 84-87: [III]: I: I, I6, IV, V864-753, [1st ending: I]: I, [second ending: IV]: I6, IV, V864-753
m. 88-90: [IV]: vi, I6, IV, V864-753, I
The first movement of Ludwig van Beethoven’s Piano Sonata in C major, Op. 53 “Waldstein” exhibits sequencing of melody and harmony in m. 82-90. The harmony follows a falling thirds pattern, going from E minor (m. 82) to C major (m. 84), skipping A minor, then finally arriving at D major (m. 90). The same quarter note-eighth note-eighth note etc. melody with the first run of it starting from the third beat of m. 80 going to m. 83, is used and transposed to fit diatonically within all of the harmonic changes all the way up to m. 90. The melody is played a total of three times.
In context of the piece, the melodic and harmonic sequence functions to seamlessly transition the piece from E major to F major to start the development. In doing so, Beethoven still manages to maintain much melodic and musical interest in this excerpt. The change from C major to F major the second time the section is repeated is unexpected and interesting. Therefore, the performer should make much musically speaking out of the shift from C major to F major (m. 86-90). Beethoven writes in crescendos that go into softer markings piano (m. 86-87) and pianissimo (m. 88-89). These dynamics add to making the moment musically interesting, so they should be observed, almost exaggerated in the crescendo markings to the piano or pianissimo markings.
m. 78-83: [III] [E major]: I, V7/iv, iv64, V7/iv, iv, ii6 diminished, V864-753, i, i6, iv, V864-753
m. 84-87: [III]: I: I, I6, IV, V864-753, [1st ending: I]: I, [second ending: IV]: I6, IV, V864-753
m. 88-90: [IV]: vi, I6, IV, V864-753, I
The first movement of Ludwig van Beethoven’s Piano Sonata in C major, Op. 53 “Waldstein” exhibits sequencing of melody and harmony in m. 82-90. The harmony follows a falling thirds pattern, going from E minor (m. 82) to C major (m. 84), skipping A minor, then finally arriving at D major (m. 90). The same quarter note-eighth note-eighth note etc. melody with the first run of it starting from the third beat of m. 80 going to m. 83, is used and transposed to fit diatonically within all of the harmonic changes all the way up to m. 90. The melody is played a total of three times.
In context of the piece, the melodic and harmonic sequence functions to seamlessly transition the piece from E major to F major to start the development. In doing so, Beethoven still manages to maintain much melodic and musical interest in this excerpt. The change from C major to F major the second time the section is repeated is unexpected and interesting. Therefore, the performer should make much musically speaking out of the shift from C major to F major (m. 86-90). Beethoven writes in crescendos that go into softer markings piano (m. 86-87) and pianissimo (m. 88-89). These dynamics add to making the moment musically interesting, so they should be observed, almost exaggerated in the crescendo markings to the piano or pianissimo markings.
First Theory paper...now blog....will this night ever end?
Well at least this blog is a short one.
Chords:
m. 11 : I ( +6 )
m. 12: vi 65
II
ii ( + b6)
I7
m. 13: IV
IV65
IV º65 (?)
Measure 12 which is the transition between the two measures of text we were asked to analyze. The interesting thing about this measure is all the chromaticism that is used, including a major II, shortly followed by a minor ii. We would expect that because a ii usually serves as a predominant that the following chord would be a V chord, but it is not, instead we have a tonic chord.
The final two chords to me seem rather out of place, having a B major chord in E flat major, now that's just weird. and then we have the slide up the C major chord. Guess that's just how they did it back then. The fact that the E flat is held above the B major chord makes it an even more interesting ending.
Chords:
m. 11 : I ( +6 )
m. 12: vi 65
II
ii ( + b6)
I7
m. 13: IV
IV65
IV º65 (?)
Measure 12 which is the transition between the two measures of text we were asked to analyze. The interesting thing about this measure is all the chromaticism that is used, including a major II, shortly followed by a minor ii. We would expect that because a ii usually serves as a predominant that the following chord would be a V chord, but it is not, instead we have a tonic chord.
The final two chords to me seem rather out of place, having a B major chord in E flat major, now that's just weird. and then we have the slide up the C major chord. Guess that's just how they did it back then. The fact that the E flat is held above the B major chord makes it an even more interesting ending.
Shortest Blog Ever
Sorry Spiegs, but the paper is taking precedence over this blog...so it's gonna be really quick!
"A String of Pearls"
by Jerry Gray and Eddie de Lange
m11 - i65
m12 - i65 - II7 - V7/IV
m13 - IV
This is a transitional measure which allows the composer leeway, no idea how to spell that, with the chromaticism, which he uses a lot! measure twelve, especially is rather confusing with LOTS of accidentals! The composers used close movements between the notes to accentuate the closeness of the chromaticisms.
"A String of Pearls"
by Jerry Gray and Eddie de Lange
m11 - i65
m12 - i65 - II7 - V7/IV
m13 - IV
This is a transitional measure which allows the composer leeway, no idea how to spell that, with the chromaticism, which he uses a lot! measure twelve, especially is rather confusing with LOTS of accidentals! The composers used close movements between the notes to accentuate the closeness of the chromaticisms.
Ok, so here’s the thing…this is going to be a rather short blog…what can you do? I have a theory paper to write ,people!
Measures 79-90 of Piano Sonata in C major, Op. 53, by Beethoven are a whirlwind of 16th notes and chromaticisms.
Here is the roman numeral analysis for it:
E minor
79 iv64 III
80 iv iidim
81 i6 III
82 i iv
83 III ii
Cmajor
84 I I6
85 iii6 ii
86 I
87 I
F major
86 V I6 IV
87 iii6 ii
88 vi I6 iv
89 iii6 ii
90 I
Measures 79-90 of Piano Sonata in C major, Op. 53, by Beethoven are a whirlwind of 16th notes and chromaticisms.
Here is the roman numeral analysis for it:
E minor
79 iv64 III
80 iv iidim
81 i6 III
82 i iv
83 III ii
Cmajor
84 I I6
85 iii6 ii
86 I
87 I
F major
86 V I6 IV
87 iii6 ii
88 vi I6 iv
89 iii6 ii
90 I
Blog
Brief Analysis A, Jerry Gray and Eddie de Lange's "A string of Pearls":
Qualities for each chord: m.11- I+6
m. 12- II7, flatII+flat7, I+7
m. 13- IV, IV65
m. 14- I+6
m. V7, I+6
It seems that in measures 11-13, each chord is ascending through means of a chromatic sequence until we reach m.13 and move to the IV. The bflat would want to move to keep moving down chromatically, but instead goes up to a c natural which feels awkward since the harmony just went cflat, bflat, you would want to keep moving down two more half steps, but you get that Aflat chord which acts as more of a dominant function since there were two chords built on D and Dflat, even with the interrupting tonic, the Aflat still comes across with a little dominant feel until the fourth beat.
Qualities for each chord: m.11- I+6
m. 12- II7, flatII+flat7, I+7
m. 13- IV, IV65
m. 14- I+6
m. V7, I+6
It seems that in measures 11-13, each chord is ascending through means of a chromatic sequence until we reach m.13 and move to the IV. The bflat would want to move to keep moving down chromatically, but instead goes up to a c natural which feels awkward since the harmony just went cflat, bflat, you would want to keep moving down two more half steps, but you get that Aflat chord which acts as more of a dominant function since there were two chords built on D and Dflat, even with the interrupting tonic, the Aflat still comes across with a little dominant feel until the fourth beat.
theory, theory everywhere!
m. 79-83
EM::
m.79 - VI I7
m.80 - IV iv
m.81 - i64 V7
m.82 - I IV
m.83 - ?
m. 84-87 (1st ending)
CM::
m.84 - I VI
m.85 - V
m.86 - I
m.87 - I V/V(?)
m. 86-90 (2nd ending)
FM::
m.86 - V I6 IV
m.87 - V6
m.88 - VI IV
m.89 - ?
m.90 - I
The sequence in this section is stated twice. The first time is in m.82-85 in the bass (it is stated twice the second time down a third), and the second time is in m.86-89 (repeated down an octave). There is also a sequence in the treble voice that is a measure and a half to two measures. This sequence is repeated four times (m.80-81, 82-83, 84-85, 88-89). Beethoveen certainly kept the listener guessing with all the key changes in such a small section. But they occured smoothly and easily with key transitions.
When I hear Beethoveen I think virtuosity, which is just what this piece offers. This is a great piece for an accomplished pianist. Obviously I am not a pianist myself, but as a fellow musician and listener, I really am impressed by what one can do on the piano. This is a very impressive piece, and one that I would be very interested to see it performed.
EM::
m.79 - VI I7
m.80 - IV iv
m.81 - i64 V7
m.82 - I IV
m.83 - ?
m. 84-87 (1st ending)
CM::
m.84 - I VI
m.85 - V
m.86 - I
m.87 - I V/V(?)
m. 86-90 (2nd ending)
FM::
m.86 - V I6 IV
m.87 - V6
m.88 - VI IV
m.89 - ?
m.90 - I
The sequence in this section is stated twice. The first time is in m.82-85 in the bass (it is stated twice the second time down a third), and the second time is in m.86-89 (repeated down an octave). There is also a sequence in the treble voice that is a measure and a half to two measures. This sequence is repeated four times (m.80-81, 82-83, 84-85, 88-89). Beethoveen certainly kept the listener guessing with all the key changes in such a small section. But they occured smoothly and easily with key transitions.
When I hear Beethoveen I think virtuosity, which is just what this piece offers. This is a great piece for an accomplished pianist. Obviously I am not a pianist myself, but as a fellow musician and listener, I really am impressed by what one can do on the piano. This is a very impressive piece, and one that I would be very interested to see it performed.
Blog
Beethoven's Waldstein Sonata's first movement uses both harmonic and melodic sequences to modulate keys between sections. In measures 78-87, there is a modulation from the end of the E Major codetta of the exposition back to the C Major beginning of the exposition. In these few measures, there is a melodic sequence consisting of a quarter note two eighth notes in a downward motion motive. But there is also a harmonic sequence, where the harmony starts on E and goes up by a step to get to C.
Also, the second time through this part, continuing through measure 90, there is a modulation to D minor for the development. The melodic sequence is the same motive, and this time the harmonic sequence starts on a Bflat chord and goes down by steps to get to D.
Also, the second time through this part, continuing through measure 90, there is a modulation to D minor for the development. The melodic sequence is the same motive, and this time the harmonic sequence starts on a Bflat chord and goes down by steps to get to D.
i wish all the blogs were this short
Soo...I have brief analysis A- Jerry Gray and Eddie de Lange's "A Sting of Pearls"
msr. 11: I add 6
msr.12: iv65; bII7; ii; I7
msr. 13: IV; IV65
There is some interesting chromaticism in measure 12 with a D7-Db7 chord. It's kinda awkward, but it works for the song. The use of the major flat II and the minor ii give this transition measure a different feel. It ends with an incomplete sounding E chord with the B resolving up to the C.
msr. 11: I add 6
msr.12: iv65; bII7; ii; I7
msr. 13: IV; IV65
There is some interesting chromaticism in measure 12 with a D7-Db7 chord. It's kinda awkward, but it works for the song. The use of the major flat II and the minor ii give this transition measure a different feel. It ends with an incomplete sounding E chord with the B resolving up to the C.
Beethoven Piano Sonata in C Major Op. 53
measures 79-83
key: E minor
iv64, V7/iv | iv, ii6 | V64-53 | i, i6, iv | V64-53
measures 84-87
key: C Major
I, I6, | IV, V64-53, | I( first ending) | (second ending) I6, IV | V864-753
measures 88-90
key: D Minor
vi, I6 | IV, V64-53 | I
The sequencing in the allotted measures is found in a couple ways. Mainly through the repetition of the same melodic patterns through the three key areas. The movement from E minor to C major to D major follows the pattern of a falling thirds sequence and moves the two-beat long melodic sequence that highlights the musical passage.
The shifts and small transitions between the keys are accomplished gracefully through the use of a fluid melodic line that modulates through the phrases with a steadily moving piano accompaniment. There are no firm cadences or coda's that would normally work to give each key area its own unique and distinctive feel. Instead, the music seems, in my opinion to be going for a subtle key change, and that it so accomplishes through the smooth connections between phrases that Beethoven utilizes through the falling third sequences. In addition, crescendos and other dynamic markings give this section a very animated feel and take the focus off of the key area shifts and move them instead to the emotions of the melody and dynamics. If I were to perform this piece I would be sure to focus my attention to the dynamics and make sure each transition to a new key area was smooth as the music seems to intend it to be.
key: E minor
iv64, V7/iv | iv, ii6 | V64-53 | i, i6, iv | V64-53
measures 84-87
key: C Major
I, I6, | IV, V64-53, | I( first ending) | (second ending) I6, IV | V864-753
measures 88-90
key: D Minor
vi, I6 | IV, V64-53 | I
The sequencing in the allotted measures is found in a couple ways. Mainly through the repetition of the same melodic patterns through the three key areas. The movement from E minor to C major to D major follows the pattern of a falling thirds sequence and moves the two-beat long melodic sequence that highlights the musical passage.
The shifts and small transitions between the keys are accomplished gracefully through the use of a fluid melodic line that modulates through the phrases with a steadily moving piano accompaniment. There are no firm cadences or coda's that would normally work to give each key area its own unique and distinctive feel. Instead, the music seems, in my opinion to be going for a subtle key change, and that it so accomplishes through the smooth connections between phrases that Beethoven utilizes through the falling third sequences. In addition, crescendos and other dynamic markings give this section a very animated feel and take the focus off of the key area shifts and move them instead to the emotions of the melody and dynamics. If I were to perform this piece I would be sure to focus my attention to the dynamics and make sure each transition to a new key area was smooth as the music seems to intend it to be.
ベートーヴェン <--- Beethoven
080501
Blog #13
B. Ludwig van Beethoven, Piano Sonata in C Major, Op. 53 (Waldstein), first movement, mm. 74-92 (p. 40) CD 1.55
Roman numerals
Key: III EM
M79: I
M80: IV, ii6
M81: i64, V7
M82: I, I6, iv
M83: V86-75
Key: CM
M84: I, I6, IV
M85: V
M86: I
M87: I
Key: IV FM
M86: V, I6, IV
M87: V
M88: VI, I6, IV
M89: I64,
M90: V864-753
There is a sequence in the three keys. It appears in m. 81 and goes through till m85 and then again in m86 till 89. It is in groups of 2 measures and it is transposed down a third. The sequences helps it transition from EM to CM to FM then to DM. It has a forward motion moving it towards the new key in the development.
This piece sounds pretty neat and makes me want to practice. Weird!
Blog #13
B. Ludwig van Beethoven, Piano Sonata in C Major, Op. 53 (Waldstein), first movement, mm. 74-92 (p. 40) CD 1.55
Roman numerals
Key: III EM
M79: I
M80: IV, ii6
M81: i64, V7
M82: I, I6, iv
M83: V86-75
Key: CM
M84: I, I6, IV
M85: V
M86: I
M87: I
Key: IV FM
M86: V, I6, IV
M87: V
M88: VI, I6, IV
M89: I64,
M90: V864-753
There is a sequence in the three keys. It appears in m. 81 and goes through till m85 and then again in m86 till 89. It is in groups of 2 measures and it is transposed down a third. The sequences helps it transition from EM to CM to FM then to DM. It has a forward motion moving it towards the new key in the development.
This piece sounds pretty neat and makes me want to practice. Weird!
Tchaikovsky is waiting...
Harmonic analysis for measures 79-90:
Key of E minor:
mea. 79 – iv vii/iv
mea.80 – iv ii6
mea. 81 – V64-53
mea. 82 – i6 ii6
mea. 83 – V64-53
Key of C Major:
mea. 84 – I ii65
mea. 85 – V64-53
mea. 86 (1st ending) – I
mea. 87 – I V42/V
Key of F Major:
mea. 86 (2nd ending) – V I6 IV
mea. 87 – V64-53
mea. 88 – vi IV
mea. 89 – vi V7
Key of D minor:
mea 90 – i6
This excerpt from Beethoven’s famous Piano Sonata in C Major, Op. 53 Waldstein, mm. 79-90 happens at the end of the exposition, transitioning from E minor to D minor. I say “E minor” rather than “E Major” (as the book states) because of the repeated E minor chords throughout mm. 79-83. Even so, transitioning from one sharp key to one flat key is a simple process for Beethoven as he simply does what any sane composer would and should do: cycle through the circle of fifths. Beginning in E minor, Beethoven shifts in measure 83 to the key of C Major, a surprising but effective modulation. Using the majorness of C to his advantage, the modulation to the key of F is accomplished through another sequence happening between measures 83-86 (second ending). As quickly as Beethoven shifts into the F Major he shifts back into D minor, again surprising but foreshadowed. In measure 97 Beethoven repeats (for the 4th time in a row) a cadential 6/4 in the respective key, after which he typically modulates o the appropriate key. In measure 88, however, Beethoven does not modulate but introduces a deceptive cadence in the key of F, a D minor chord (vi). Two bars later when the listener again hears the major V7 the audience is expecting the following chord to either 1) go back and reaffirm tonic or 2) hear another deceptive cadence. Well, Beethoven, being the crafty person he is, does both. His cadence, although seemingly a deceptive cadence (V going to vi) is actually the preparation for his new key, the key of D minor. But by the time the listener realizes this the point has come and gone, leaving the audience in awe of Beethoven’s glory.
Wednesday, April 30, 2008
A short Blog?!?!?!?!? There is something just in this world
I will follow suit with my title and make a short blog.
The chords for measures 11-13 are:
vi65
vi43
vi42
I hear the notes as a Cm7 instead of Eb as the book says.
Measure 12:
Vi65
iiiadd2
VII7
bVII7
I7 or V7/IV
measure 13:
bv
bv6
V43
V65 with b7
This pop piece puts me in a good mood being so short. The last two chords give a short of ta-dah feel to me. The ending chord has a jazzy feel with the C, but you might not here that as a jazzy tonic, but a Cm7. The Eb and Bb help the tonic feeling. Leading into it the Bmajor 7 definetly gives the jazz feel. In the jazzy feel the second to last chord gives it a sliding feel to the last chord.
Now on to the finishing touches to LEIDERKRIES OP.39.
The chords for measures 11-13 are:
vi65
vi43
vi42
I hear the notes as a Cm7 instead of Eb as the book says.
Measure 12:
Vi65
iiiadd2
VII7
bVII7
I7 or V7/IV
measure 13:
bv
bv6
V43
V65 with b7
This pop piece puts me in a good mood being so short. The last two chords give a short of ta-dah feel to me. The ending chord has a jazzy feel with the C, but you might not here that as a jazzy tonic, but a Cm7. The Eb and Bb help the tonic feeling. Leading into it the Bmajor 7 definetly gives the jazz feel. In the jazzy feel the second to last chord gives it a sliding feel to the last chord.
Now on to the finishing touches to LEIDERKRIES OP.39.
Thursday, April 24, 2008
W. A. Mozart: String Quartet in D minor, K. 421, First Movement: Allegro
Part C. of MTGW
Exposition: m. 1-41
First Tonal Area: m. 1-14, key of i, D minor
Phrase a: m. 1-4, HC in key of i with A6
Phrase a’: m. 5-8, PAC in key of i with D minor triad
Phrase b: m. 9-10, HC in key of i with A major triad
Phrase b’: m.. 11-14, HC in key of i with A major triad
Independent Transition to Second Tonal Area: m. 15-24
Second Tonal Area: third beat of m. 24-35, key of III, F major (Typical key change)
Phrase c: m. 25-28, PAC in key of III, F major triad
Phrase c’: m. 29-32, PAC in key of III, F major triad
Closing material for previous phrase, extension of cadence: third beat of m. 32-35, PAC in key of III, F major triad
Phrase d: third beat of m. 35-37, PAC in key of III, F major triad
Phrase d’: third beat of m. 37-39, PAC in key of III, F major triad
Closing Theme, Coda: third beat of m. 39-41
Exposition Notes
W. A. Mozart’s String Quartet in D minor, K. 421 is in sonata form. A typical key change a major key sonata form piece would go to in the exposition is the key of III, the relative major, and Mozart does indeed take the piece to the relative major key of F major in m. 24 with the PAC in the key of III with an F major triad. There are significant differences between the two themes in the first tonal area. First, they differ significantly in rhythm; the first theme of the FTA is driven by a rather slow eighth note pulse (see violin 2 and viola part of m. 1-4, for example). The second theme of the FTA, however, is driven by quick sixteenth notes (see violin 2 and viola of m. 24-25, for example). Second, the moods of each theme differ significantly; The first theme’s D minor key along with its slower rhythm create a somewhat somber, gloomy, and heavier character to the theme. The second theme of the FTA has fast, light, sixteenth notes and is in the key of F major, which makes the second theme lighter hearted, joyful, and playful in mood.
I believe the closing material of m. 39-41 is better labeled as a codetta since the joyful, light mood of the closing material is reminiscent of the FTA’s second theme, and the triplet sixteenth rhythm have been experienced before in m. 29 and 31.
Part E. of MTGW
Development: m. 42-70Tonally unstable, continuous harmonic and melodic motion
The development and the exposition are clearly divided harmonically since the development begins with an E flat major chord, a chord quite distant from D minor and the relative major of D minor, F major. Some motives used in the development section include the use of the one the piece begins with in the melody of m. 1-4. The difference is that rather than starting in the minor key of D minor, the motif is first played with a major chord quality of E flat major in m. 42, the beginning the development section. Another motif in the development used that was previously used in the exposition is the five sixteenth note-eighth note motif of m. 39-41 in the exposition, for it is used much in the development from m. 59-69. Of particular note is m. 67-69, where this motif is passed and played from one instrument immediately following the other taking turns playing it. For example, in m. 67, the viola first plays the motif, then the violin 2 right after the viola finishes playing the motif, then the violin 1 follows suit, etc.
Part D. of MTGW
Recapitulation: m. 70-117
First Tonal Area 2: m. 70-second beat of m. 83
Phrase a: m. 70-73, HC in key of i with A6
Phrase a’: m 74-77, PAC in key of i with D minor triad
Phrase b: m. 78-79, HC in key of i with A major triad
Phrase b’: m. 80-second beat of m. 83. HC in key of i with A major triad
Independent Transition to Second Tonal Area 2: m. 84-93
Second Tonal Area 2: m. 94-105, key of i, D minor (Typical key of Recapitulation)
Phrase c’’: m. 94-first beat of m. 98
Phrase c’’’: third beat of m. 98-m.102
Closing material for previous phrase, extension of cadence: third beat of m. 102-105
Phrase d’’: m. 106-first beat of m. 108, PAC in key of i, D minor triad
Phrase d’’’: m. 108-110, PAC in key of i, D minor
Closing Theme, Coda: third beat of m.110-115, extended Coda compared to exposition
Coda of Piece: third beat of m. 115-117
Recapitulation Notes
The recapitulation is, as expected, repeated material from the exposition. A typical key relation of the FTA2 going to STA2 is to remain in the key of i, and Mozart keeps the whole recapitulation in D minor. Of course, Mozart needed to alter some sections to have the recapitulation remain in D minor, especially since the original FTA and STA change key from D minor to the relative major key of F major. For example, rather than using something like the first inversion V/III chord in the third beat of m. 14, Mozart uses a startling C sharp fully diminished 7 chord for the recapitulation from the FTA2 to the STA2 in m. 83, which creates an unexpected shock to the listeners, yet still gives the listeners a sense of musically traveling since nothing like it has been experienced before in the piece. The most shocking difference between the first STA of the exposition and STA2 of the recapitulation is the key difference; STA is in F major, and STA2 is in D minor! The minor quality takes some of the joyful, light hearted charm of the F major STA away, creating a slightly more serious, somber mood than before, yet Mozart retains all of the motifs from the STA to STA2.
From a performance standpoint, the piece contains much musical value, as many pieces of Mozart do. The general feel of the piece is generally somber and gloomy, enshrouded by the D minor key quality set by the pace of the FTA of the exposition and the FTA2 of the recapitulation, among other sections such as the STA2 of the recapitulation and the serious, sudden forte ending in the coda of the piece in m. 116-117. This Mozart piece has some Beethoven qualities in it (including the darker mood of the piece), with sudden shifts in dynamics from forte to piano, and fortepianos and sforzandi marked in the score. The startling C sharp fully diminished 65 in m. 83 is an example of a chord shocking the audience in a Beethoven manner. The dynamics of the piece are a must to keep the spirit and shock of the piece alive, and other sections more expected of Mozart like the light hearted F major section of the STA in the exposition should be played as the mood is; light, and in a fun manner.
Exposition: m. 1-41
First Tonal Area: m. 1-14, key of i, D minor
Phrase a: m. 1-4, HC in key of i with A6
Phrase a’: m. 5-8, PAC in key of i with D minor triad
Phrase b: m. 9-10, HC in key of i with A major triad
Phrase b’: m.. 11-14, HC in key of i with A major triad
Independent Transition to Second Tonal Area: m. 15-24
Second Tonal Area: third beat of m. 24-35, key of III, F major (Typical key change)
Phrase c: m. 25-28, PAC in key of III, F major triad
Phrase c’: m. 29-32, PAC in key of III, F major triad
Closing material for previous phrase, extension of cadence: third beat of m. 32-35, PAC in key of III, F major triad
Phrase d: third beat of m. 35-37, PAC in key of III, F major triad
Phrase d’: third beat of m. 37-39, PAC in key of III, F major triad
Closing Theme, Coda: third beat of m. 39-41
Exposition Notes
W. A. Mozart’s String Quartet in D minor, K. 421 is in sonata form. A typical key change a major key sonata form piece would go to in the exposition is the key of III, the relative major, and Mozart does indeed take the piece to the relative major key of F major in m. 24 with the PAC in the key of III with an F major triad. There are significant differences between the two themes in the first tonal area. First, they differ significantly in rhythm; the first theme of the FTA is driven by a rather slow eighth note pulse (see violin 2 and viola part of m. 1-4, for example). The second theme of the FTA, however, is driven by quick sixteenth notes (see violin 2 and viola of m. 24-25, for example). Second, the moods of each theme differ significantly; The first theme’s D minor key along with its slower rhythm create a somewhat somber, gloomy, and heavier character to the theme. The second theme of the FTA has fast, light, sixteenth notes and is in the key of F major, which makes the second theme lighter hearted, joyful, and playful in mood.
I believe the closing material of m. 39-41 is better labeled as a codetta since the joyful, light mood of the closing material is reminiscent of the FTA’s second theme, and the triplet sixteenth rhythm have been experienced before in m. 29 and 31.
Part E. of MTGW
Development: m. 42-70Tonally unstable, continuous harmonic and melodic motion
The development and the exposition are clearly divided harmonically since the development begins with an E flat major chord, a chord quite distant from D minor and the relative major of D minor, F major. Some motives used in the development section include the use of the one the piece begins with in the melody of m. 1-4. The difference is that rather than starting in the minor key of D minor, the motif is first played with a major chord quality of E flat major in m. 42, the beginning the development section. Another motif in the development used that was previously used in the exposition is the five sixteenth note-eighth note motif of m. 39-41 in the exposition, for it is used much in the development from m. 59-69. Of particular note is m. 67-69, where this motif is passed and played from one instrument immediately following the other taking turns playing it. For example, in m. 67, the viola first plays the motif, then the violin 2 right after the viola finishes playing the motif, then the violin 1 follows suit, etc.
Part D. of MTGW
Recapitulation: m. 70-117
First Tonal Area 2: m. 70-second beat of m. 83
Phrase a: m. 70-73, HC in key of i with A6
Phrase a’: m 74-77, PAC in key of i with D minor triad
Phrase b: m. 78-79, HC in key of i with A major triad
Phrase b’: m. 80-second beat of m. 83. HC in key of i with A major triad
Independent Transition to Second Tonal Area 2: m. 84-93
Second Tonal Area 2: m. 94-105, key of i, D minor (Typical key of Recapitulation)
Phrase c’’: m. 94-first beat of m. 98
Phrase c’’’: third beat of m. 98-m.102
Closing material for previous phrase, extension of cadence: third beat of m. 102-105
Phrase d’’: m. 106-first beat of m. 108, PAC in key of i, D minor triad
Phrase d’’’: m. 108-110, PAC in key of i, D minor
Closing Theme, Coda: third beat of m.110-115, extended Coda compared to exposition
Coda of Piece: third beat of m. 115-117
Recapitulation Notes
The recapitulation is, as expected, repeated material from the exposition. A typical key relation of the FTA2 going to STA2 is to remain in the key of i, and Mozart keeps the whole recapitulation in D minor. Of course, Mozart needed to alter some sections to have the recapitulation remain in D minor, especially since the original FTA and STA change key from D minor to the relative major key of F major. For example, rather than using something like the first inversion V/III chord in the third beat of m. 14, Mozart uses a startling C sharp fully diminished 7 chord for the recapitulation from the FTA2 to the STA2 in m. 83, which creates an unexpected shock to the listeners, yet still gives the listeners a sense of musically traveling since nothing like it has been experienced before in the piece. The most shocking difference between the first STA of the exposition and STA2 of the recapitulation is the key difference; STA is in F major, and STA2 is in D minor! The minor quality takes some of the joyful, light hearted charm of the F major STA away, creating a slightly more serious, somber mood than before, yet Mozart retains all of the motifs from the STA to STA2.
From a performance standpoint, the piece contains much musical value, as many pieces of Mozart do. The general feel of the piece is generally somber and gloomy, enshrouded by the D minor key quality set by the pace of the FTA of the exposition and the FTA2 of the recapitulation, among other sections such as the STA2 of the recapitulation and the serious, sudden forte ending in the coda of the piece in m. 116-117. This Mozart piece has some Beethoven qualities in it (including the darker mood of the piece), with sudden shifts in dynamics from forte to piano, and fortepianos and sforzandi marked in the score. The startling C sharp fully diminished 65 in m. 83 is an example of a chord shocking the audience in a Beethoven manner. The dynamics of the piece are a must to keep the spirit and shock of the piece alive, and other sections more expected of Mozart like the light hearted F major section of the STA in the exposition should be played as the mood is; light, and in a fun manner.
Mozart is fab.
seeing as this is a sonata, there are three section. Our WONDERFUL book decided to make it unavoidably clear where those three big distinctions were, like we couldn't find anything ourselves. So the easy thing for me to do now would be to tell you what was given to me. The exposition is from measures 1-41 the development is from measures 42-70 and the recapitulation is from measures 71-117. We begin in measure 1 in D minor, and we actually have what I consider to be two themes in our first tonal area, Mozart can do stuff like that. We reach our transition into our second tonal area in measure 15 and we get to our new tonal area by measure 25 (of course it is in the relative major of F what else would it be). Well we chill in our second tonal area for a bit but at measure 33 we enter into our closing theme. onward!
We are not at the development which begin in E flat major. he decides to first pick on our first theme from our first tonal are. there are two main motives in this development which are variations on ones which we have already heard. the first is in m. 42 of the development which is a play on the opening motive of the first tonal area. the second is in m. 60 and is a play on the motive in m40 in our closing theme of the exposition. and thats enough about that.
We are graced with the reappearance of our original first tonal area in the recap. however not every think is as is has been. we continue along on our merry way until we reach the transition in m. 84. since we have to stay in our original key this time, D minor, the transition need to...well not transition. so we thats exactly what we don't do...transition that is. well we change things up starting in m. 87 and we hear new transitional material until m. 92. this is now a longer transition and has sort of messed everything up, but not enough for M-dogg to handle. we get back like I said in m. 93, but we begin our second tonal area (which is really the same tonal area as our first) on the measure in 95 as opposed to half way through the measure. Mozart takes care of the change of stress and he goes on to treat us to a nice bit of closing material followed by a coda which brings us to the end of Wolfgang Amadeus Mozart's String Quartet in D minor, k. 421, first movement.
We are not at the development which begin in E flat major. he decides to first pick on our first theme from our first tonal are. there are two main motives in this development which are variations on ones which we have already heard. the first is in m. 42 of the development which is a play on the opening motive of the first tonal area. the second is in m. 60 and is a play on the motive in m40 in our closing theme of the exposition. and thats enough about that.
We are graced with the reappearance of our original first tonal area in the recap. however not every think is as is has been. we continue along on our merry way until we reach the transition in m. 84. since we have to stay in our original key this time, D minor, the transition need to...well not transition. so we thats exactly what we don't do...transition that is. well we change things up starting in m. 87 and we hear new transitional material until m. 92. this is now a longer transition and has sort of messed everything up, but not enough for M-dogg to handle. we get back like I said in m. 93, but we begin our second tonal area (which is really the same tonal area as our first) on the measure in 95 as opposed to half way through the measure. Mozart takes care of the change of stress and he goes on to treat us to a nice bit of closing material followed by a coda which brings us to the end of Wolfgang Amadeus Mozart's String Quartet in D minor, k. 421, first movement.
Blog # ... whatever is near the end
Mozart String Quartet #15.
We are so close to the end but this blog seems to be one of the longest ones we have seen all semester. Guess they're trying to shove all the good stuff in at the end.
The book has already divided the piece into the three sections for us. The first being the exposition in measures 1-41. And like most Sonata forms there is of course the first and second tonal area. The first being measures 1- 8 which consists of an initial a followed by an a' both 4 measure phrases. There is then a very significant ( at least in length ) transition, that feels very tonally unstable. The second tonal area begins in measure 25 and concludes in measure 31. It is followed by another short transition that leads into the closing material, measures pick up to 36 until 41. As the first key is d minor we expect that the second tonal area will be in the relative major, in this case F Major, which Mozart follows through with. The two sections differ not only in key but in their general feel as well. If I was a performer I would feel more drawn to the emotional contrast between the two keys, we all know that minor is a much more depressing key, but the style of both sections seems to highlight this idea. I believe that it is a closing theme because it is before a strong cadence instead of after one. The book then leads us to the recapitulation, measures 71-117, an odd choice, since we are studying sonata form, we should look at the sonata the way it is written. So, I decided to do it in order and go straight to the development. The development starts in E flat Major and begins with the development of the first tonal area. It begins by developing the motive from the first measure and goes on to develop some of the themes from the closing theme, or I guess it would be to say the closing theme. Then we move into the recapitulation. The recapitulation returns with a pretty much unchanged first tonal section. The second tonal section we should anticipate to be the same motives but transposed into the minor, original key instead of the relative major. The transition should also be the same but should not leave the key of one so will probably have some kind of different ending. The second tonal area is indeed in the same key however the difference is that during the recapitulation the transition is shortened by a half a measure, there is not a strong cadence because there is no reason to declare the new key, instead the second theme area tonal area thing begins at the begin of measure 94 instead of in the middle of the measure, like it was in measure 25. From the beginning of the transition we see that we are going to be staying in the key as it starts on a D in the first violin part instead of on a C, which it did the first time. We then conclude with some nice closing themes like we did in the exposition followed by a coda to give us a nice strong conclusion. Gotta love Mozart, and strings :).
We are so close to the end but this blog seems to be one of the longest ones we have seen all semester. Guess they're trying to shove all the good stuff in at the end.
The book has already divided the piece into the three sections for us. The first being the exposition in measures 1-41. And like most Sonata forms there is of course the first and second tonal area. The first being measures 1- 8 which consists of an initial a followed by an a' both 4 measure phrases. There is then a very significant ( at least in length ) transition, that feels very tonally unstable. The second tonal area begins in measure 25 and concludes in measure 31. It is followed by another short transition that leads into the closing material, measures pick up to 36 until 41. As the first key is d minor we expect that the second tonal area will be in the relative major, in this case F Major, which Mozart follows through with. The two sections differ not only in key but in their general feel as well. If I was a performer I would feel more drawn to the emotional contrast between the two keys, we all know that minor is a much more depressing key, but the style of both sections seems to highlight this idea. I believe that it is a closing theme because it is before a strong cadence instead of after one. The book then leads us to the recapitulation, measures 71-117, an odd choice, since we are studying sonata form, we should look at the sonata the way it is written. So, I decided to do it in order and go straight to the development. The development starts in E flat Major and begins with the development of the first tonal area. It begins by developing the motive from the first measure and goes on to develop some of the themes from the closing theme, or I guess it would be to say the closing theme. Then we move into the recapitulation. The recapitulation returns with a pretty much unchanged first tonal section. The second tonal section we should anticipate to be the same motives but transposed into the minor, original key instead of the relative major. The transition should also be the same but should not leave the key of one so will probably have some kind of different ending. The second tonal area is indeed in the same key however the difference is that during the recapitulation the transition is shortened by a half a measure, there is not a strong cadence because there is no reason to declare the new key, instead the second theme area tonal area thing begins at the begin of measure 94 instead of in the middle of the measure, like it was in measure 25. From the beginning of the transition we see that we are going to be staying in the key as it starts on a D in the first violin part instead of on a C, which it did the first time. We then conclude with some nice closing themes like we did in the exposition followed by a coda to give us a nice strong conclusion. Gotta love Mozart, and strings :).
More Sonata Form
Mozart's String Quartet in D Minor is in Sonata Form.
The exposition takes place in measure 1-41 and starts in D minor. In measures 12-24 there is a transition that takes the second tonal area into F Major, or III, just as expected. The two tonal areas vary much more than just the key. The first is much broader while the second has more fast notes. The first seems more sorrowful and lamentish than the dancelike second. When performing this piece, I would bring these differences out by playing more rubato in the first area while playing the second as strictly what is written. There are a few parts of the exposition that contain typical quartet textures. In measures 1-6, the first violin plays a solo part while the others accompany, and in measures 32-33, the first violin and cello play a duet while the second violin and viola accompany. Additionally, in measures 12-14, a motive is passed through the quartet. In measure 106, a codetta starts to end the exposition, and follows a PAC.
Measures 42-69 are the development and retransition. The development begins in Eb major and develops the material from the very beginning of the piece. Along with the motive from measures 1-2, the motives from measures 9-10 and 25-26 are also developed in this section. Here we also see many typical string quartet textures. In measures 42-45, there is one instrument playing a solo while the other three accompany, and in measures 55-58, the first violin and cello play a duet. In measure 69 a motive is passed through the instruments, and in measure 52, the violins play a duet. Then, in measure 65, the retransition starts, which is signified through the use of frequent C sharps.
The recapitulation starts in measure 70. This time, the second tonal area stays in the tonic. Although there is a transition similar to the exposition, it doesn't modulate to F major. The second tonal area is also different as it starts two beats off than in the exposition, which may show that beats one and three were equally important when this piece was written. At the end of this section there is a repeat, and so the last bar in the first ending modulates to Eb Major to get back to the beginning of the development. The second time through however, there is a coda to end the movement.
The exposition takes place in measure 1-41 and starts in D minor. In measures 12-24 there is a transition that takes the second tonal area into F Major, or III, just as expected. The two tonal areas vary much more than just the key. The first is much broader while the second has more fast notes. The first seems more sorrowful and lamentish than the dancelike second. When performing this piece, I would bring these differences out by playing more rubato in the first area while playing the second as strictly what is written. There are a few parts of the exposition that contain typical quartet textures. In measures 1-6, the first violin plays a solo part while the others accompany, and in measures 32-33, the first violin and cello play a duet while the second violin and viola accompany. Additionally, in measures 12-14, a motive is passed through the quartet. In measure 106, a codetta starts to end the exposition, and follows a PAC.
Measures 42-69 are the development and retransition. The development begins in Eb major and develops the material from the very beginning of the piece. Along with the motive from measures 1-2, the motives from measures 9-10 and 25-26 are also developed in this section. Here we also see many typical string quartet textures. In measures 42-45, there is one instrument playing a solo while the other three accompany, and in measures 55-58, the first violin and cello play a duet. In measure 69 a motive is passed through the instruments, and in measure 52, the violins play a duet. Then, in measure 65, the retransition starts, which is signified through the use of frequent C sharps.
The recapitulation starts in measure 70. This time, the second tonal area stays in the tonic. Although there is a transition similar to the exposition, it doesn't modulate to F major. The second tonal area is also different as it starts two beats off than in the exposition, which may show that beats one and three were equally important when this piece was written. At the end of this section there is a repeat, and so the last bar in the first ending modulates to Eb Major to get back to the beginning of the development. The second time through however, there is a coda to end the movement.
God Bless Naxos.
First Section AKA Exposition::
d minor
1st Theme – m. 1-8
Trans. – m. 9-24 (maybe..?)
2nd Theme – m. 25-41
Second Section AKA Development::
Eb Major – d minor
1st Theme – m. 42-50
Trans. – m. 51-58
2nd Theme – m. 59-70 (return to d minor in second theme)
Third Section AKA Recapitulation
d minor
This quartet is a gorgeous work by Mozart in the sonata-form. There is some evidence of imitation (Josquin, anyone?) throughout the parts, as well as the solo line being passed from voice to voice. I love the way the piece moves and flows smoothly. I love the way that the voices fit together and intertwine. In this piece timing is everything; there are many times where a phrase is repeated from the violin to viola to cello to bass, then back up again. I like that tag-team kind of feel.
From the exposition to the development there is a strange change of key, d minor to Eb Major. This is certainly something interesting, and I would love to know what Mr. Mozart was thinking while writing it. Of course he makes a smooth transition back into the heavily embellished recapitulation to the starting key of d minor.
While I really did enjoy listening to this piece and picking it apart, I felt that the repeats could get to be too much. This piece is pretty long as it is, and certainly shows off the performers’ talents, so I feel like the repeat in the recapitulation could be taken out. However that is coming from a vocalist, take from that what you must. I found a recording of it on Naxos by the Klenke Quartet and you can tell how intone with one another they are. It is truly a piece of art and wonderful to listen to. They work together so masterfully, as if they were carrying on a conversation through the music.
d minor
1st Theme – m. 1-8
Trans. – m. 9-24 (maybe..?)
2nd Theme – m. 25-41
Second Section AKA Development::
Eb Major – d minor
1st Theme – m. 42-50
Trans. – m. 51-58
2nd Theme – m. 59-70 (return to d minor in second theme)
Third Section AKA Recapitulation
d minor
This quartet is a gorgeous work by Mozart in the sonata-form. There is some evidence of imitation (Josquin, anyone?) throughout the parts, as well as the solo line being passed from voice to voice. I love the way the piece moves and flows smoothly. I love the way that the voices fit together and intertwine. In this piece timing is everything; there are many times where a phrase is repeated from the violin to viola to cello to bass, then back up again. I like that tag-team kind of feel.
From the exposition to the development there is a strange change of key, d minor to Eb Major. This is certainly something interesting, and I would love to know what Mr. Mozart was thinking while writing it. Of course he makes a smooth transition back into the heavily embellished recapitulation to the starting key of d minor.
While I really did enjoy listening to this piece and picking it apart, I felt that the repeats could get to be too much. This piece is pretty long as it is, and certainly shows off the performers’ talents, so I feel like the repeat in the recapitulation could be taken out. However that is coming from a vocalist, take from that what you must. I found a recording of it on Naxos by the Klenke Quartet and you can tell how intone with one another they are. It is truly a piece of art and wonderful to listen to. They work together so masterfully, as if they were carrying on a conversation through the music.
More Mozart...can we ever get enough?
To answer my title...No! I still love him, even if this piece is purely instrumental!
Okay, so I have to admit I really liked this, despite it's lack of lyrics. It had a wonderful melody, and I loved the way Mozart continued to move the melodic motive between the four instruments, allowing us to hear it in different octaves and intervals, adding to the depth of the sound.
Down to the nitty gritty:
The first 41 measures are the exposition of the sonata. The first theme is in measures 1 through 8, followed by a transition that ends in measure 24, leading to the second theme, from measures 25 to 33. It then has a closing theme that lasts until measure 41, when the entire exposition is repeated.
The exposition has a lot of really cool stuff going on! It is very dramatic at the beginning with the held D that then slurs down and octave, with the low grouped eighth notes pressing beneath it. Mozart then ups the drama in measure 6, as he takes the melody up into the higher notes of the atmosphere, keeping them grounded by the ever-present pulsing violin 2 on D4. Then comes the transition, which is wonderfully playful, especially with the long runs that shift down gradually to the four instruments (ex. measures 12 - 14). Then fun, winding section ends with a huge chord that almost surprises the listener after the cascading runs of the previous three measures. It grabs your attention, and keeps it, as it continues toward the second theme. But before we get there, there is some serious fun going on in measure 23 with little jumps in the violin 1 part, which sounds like skipping, at least to me...it feels like Mozart saying, "here we go, second theme, I can't wait!" Then comes the second theme, which is very different from the first to emphasize his kind of ADD-like attitude, ending with more fun runs...can't get enough! And he makes them sound so grounded with the other three parts that continue bold patterns on the chords. And, finally, the closing theme has a wonderful "chase" in measures 37 - 39...not really sure how to describe it more than just a race to the finish line, but then he steals it away, as it preceeds a repeat of the entire exposition.
Okay, now for the meat of the sandwich! Here comes the development, where Mozart takes everything and musses it up a bit! The development is even more dramatic than the exposition, especially the beginning, which uses a hard hit chord to emphasize its beginning and then continues with lots of close chromatic chords in the violins and faster notes in the bass, just to mix things up from the norm. Not to mention the low bass is pushing the lower octaves, adding an intensely deep sound...Awesome! Okay, then it picks up, propelling the movement forward with many groups of eighth notes, sixteenth notes, and syncopations in all four voices. It also has a lot of chromaticism, especially in measures 50 and 52. Mozart not only brings back the first and second themes and then plays with them, but he also plays around with motives in different hands again...kind of tying the piece together in a small way.
Finally, he brings back the other piece of bread for our sandwich...and, for those of you who don't know, I have recently found out that I am allergic to wheat and can no longer eat bread, possibly causing my weird analogies to sandwiches. Anyway, the bread is back, perhaps with some mayo and mustard on this side, as it is a bit expanded from the original.
Alright, that's about all I have to say...I really like this piece...fun to listen to...and now bed!
Okay, so I have to admit I really liked this, despite it's lack of lyrics. It had a wonderful melody, and I loved the way Mozart continued to move the melodic motive between the four instruments, allowing us to hear it in different octaves and intervals, adding to the depth of the sound.
Down to the nitty gritty:
The first 41 measures are the exposition of the sonata. The first theme is in measures 1 through 8, followed by a transition that ends in measure 24, leading to the second theme, from measures 25 to 33. It then has a closing theme that lasts until measure 41, when the entire exposition is repeated.
The exposition has a lot of really cool stuff going on! It is very dramatic at the beginning with the held D that then slurs down and octave, with the low grouped eighth notes pressing beneath it. Mozart then ups the drama in measure 6, as he takes the melody up into the higher notes of the atmosphere, keeping them grounded by the ever-present pulsing violin 2 on D4. Then comes the transition, which is wonderfully playful, especially with the long runs that shift down gradually to the four instruments (ex. measures 12 - 14). Then fun, winding section ends with a huge chord that almost surprises the listener after the cascading runs of the previous three measures. It grabs your attention, and keeps it, as it continues toward the second theme. But before we get there, there is some serious fun going on in measure 23 with little jumps in the violin 1 part, which sounds like skipping, at least to me...it feels like Mozart saying, "here we go, second theme, I can't wait!" Then comes the second theme, which is very different from the first to emphasize his kind of ADD-like attitude, ending with more fun runs...can't get enough! And he makes them sound so grounded with the other three parts that continue bold patterns on the chords. And, finally, the closing theme has a wonderful "chase" in measures 37 - 39...not really sure how to describe it more than just a race to the finish line, but then he steals it away, as it preceeds a repeat of the entire exposition.
Okay, now for the meat of the sandwich! Here comes the development, where Mozart takes everything and musses it up a bit! The development is even more dramatic than the exposition, especially the beginning, which uses a hard hit chord to emphasize its beginning and then continues with lots of close chromatic chords in the violins and faster notes in the bass, just to mix things up from the norm. Not to mention the low bass is pushing the lower octaves, adding an intensely deep sound...Awesome! Okay, then it picks up, propelling the movement forward with many groups of eighth notes, sixteenth notes, and syncopations in all four voices. It also has a lot of chromaticism, especially in measures 50 and 52. Mozart not only brings back the first and second themes and then plays with them, but he also plays around with motives in different hands again...kind of tying the piece together in a small way.
Finally, he brings back the other piece of bread for our sandwich...and, for those of you who don't know, I have recently found out that I am allergic to wheat and can no longer eat bread, possibly causing my weird analogies to sandwiches. Anyway, the bread is back, perhaps with some mayo and mustard on this side, as it is a bit expanded from the original.
Alright, that's about all I have to say...I really like this piece...fun to listen to...and now bed!
Mozart SONATA!
Mozart String Quartet in D Minor, K. 421 first movement
Element Measures Key/Mode Comments
Exposition 1-41 D minor with elements of A major reveals main melodic material
First Theme 1-14 D minor ends in HC
phrase a 1-4 D minor ends with IAC
The first section of this string quartet is play book throughout the first 41 measures. This string quartet is in sonata form and the first 41 measures are fairly predictable as far as the generally accepted exposition form goes. The movement is in D minor and from this part of the sonata, the expected second key area is the relative major key which is III of the D minor, or F major. Mozart does indeed modulate the key to A in measure 24 with the PAC consisting of the F major triad. Not only do the first few themes differ in key but they also have a drastically different feel mainly accentuated by the rhythmic acceleration that occurs between the two phrases. The second key area adopts a faster less stable sound that is driven my quick moving sixteenth notes. This is different from the slower first key area that has a driving bass of mainly staccato eighth notes. The character of the first movement of the first movement is slower and coupled with the minor key it gives the feelign of mourning, sadness and grief. As the movement speeds up however and shifts into the new key with the faster rhythms, it carries a lighter more playful and fun mood that is easily distinguishable from the first key area. The closing theme is much more accurately called a codetta because it branches from the original key material and elongates the cadence in preparation for the next section of music. The repeating notes in the Viola 2 and the arpeggios in the viola serve to elongate this cadence.
Measures 70 - 117 feature the recapitulation section of the piece as the tonal key is reintroduced and elements of the original theme are re expressed. The elements presented in the exposition including the two tonal areas are reintroduced in the recapitulation yet this time, the entire recapitulation remains in the key of tonic or D minor. This means that the light hearted bouncy section of the second tonal area is played this time around in D minor removing a lot of the cheeriness of the exposition and expanding upon the sadness and somberness of the piece. The movement ends in a somewhat humorous way as the virtuosity of the orchestral parts and the piano are kind of laughed at as the piece ends in a simple abrupt quarter note value chord that surprisingly ends the piece. Although there is definite buildup to the final cadence it is quite surprising.
The development section found in mm. 41 - 70 in comparison with the nature of the previous sections is not tonally stable by any means. There is no definite cadence or anything resembling such and the general feel of the section is of lost abandonment or a search for home, however sad it may be, through some, if any means. Although it is unstable, this movement consists of melodic material taken from previous movements including the original phrase found at the beginning of the first tonal area in the exposition. Although there are hints of key shifts to the III it generally stays in the D minor register with scattered chords in the III. If performing this piece I would adapt the second tonal area as the focal point because I believe it fleshes out the somber mood of the piece and represents the fleeting joy when it is reintroduced in a minor key, as if the only happiness the audience was looking for again was sucked in by all of the other somber sections and there was nothing left. i would therefore cherish the introduction of the III second tonal area of the exposition and accentuate the rhythms throughout the piece to help the audience get a crisp feel of the emotions. In addition a huge part of this piece are the dynamics which help set the mood.
Element Measures Key/Mode Comments
Exposition 1-41 D minor with elements of A major reveals main melodic material
First Theme 1-14 D minor ends in HC
phrase a 1-4 D minor ends with IAC
The first section of this string quartet is play book throughout the first 41 measures. This string quartet is in sonata form and the first 41 measures are fairly predictable as far as the generally accepted exposition form goes. The movement is in D minor and from this part of the sonata, the expected second key area is the relative major key which is III of the D minor, or F major. Mozart does indeed modulate the key to A in measure 24 with the PAC consisting of the F major triad. Not only do the first few themes differ in key but they also have a drastically different feel mainly accentuated by the rhythmic acceleration that occurs between the two phrases. The second key area adopts a faster less stable sound that is driven my quick moving sixteenth notes. This is different from the slower first key area that has a driving bass of mainly staccato eighth notes. The character of the first movement of the first movement is slower and coupled with the minor key it gives the feelign of mourning, sadness and grief. As the movement speeds up however and shifts into the new key with the faster rhythms, it carries a lighter more playful and fun mood that is easily distinguishable from the first key area. The closing theme is much more accurately called a codetta because it branches from the original key material and elongates the cadence in preparation for the next section of music. The repeating notes in the Viola 2 and the arpeggios in the viola serve to elongate this cadence.
Measures 70 - 117 feature the recapitulation section of the piece as the tonal key is reintroduced and elements of the original theme are re expressed. The elements presented in the exposition including the two tonal areas are reintroduced in the recapitulation yet this time, the entire recapitulation remains in the key of tonic or D minor. This means that the light hearted bouncy section of the second tonal area is played this time around in D minor removing a lot of the cheeriness of the exposition and expanding upon the sadness and somberness of the piece. The movement ends in a somewhat humorous way as the virtuosity of the orchestral parts and the piano are kind of laughed at as the piece ends in a simple abrupt quarter note value chord that surprisingly ends the piece. Although there is definite buildup to the final cadence it is quite surprising.
The development section found in mm. 41 - 70 in comparison with the nature of the previous sections is not tonally stable by any means. There is no definite cadence or anything resembling such and the general feel of the section is of lost abandonment or a search for home, however sad it may be, through some, if any means. Although it is unstable, this movement consists of melodic material taken from previous movements including the original phrase found at the beginning of the first tonal area in the exposition. Although there are hints of key shifts to the III it generally stays in the D minor register with scattered chords in the III. If performing this piece I would adapt the second tonal area as the focal point because I believe it fleshes out the somber mood of the piece and represents the fleeting joy when it is reintroduced in a minor key, as if the only happiness the audience was looking for again was sucked in by all of the other somber sections and there was nothing left. i would therefore cherish the introduction of the III second tonal area of the exposition and accentuate the rhythms throughout the piece to help the audience get a crisp feel of the emotions. In addition a huge part of this piece are the dynamics which help set the mood.
Mozart String Quartet, D minor
The Exposition of Mozart's String Quartet No. 15 in D minor consists of the first 41 bars of the movement. This Exposition is, of course divided up into a FTA and a STA (First and Second Tonal Areas). The FTA is from bar 1-14, and at this point the FTA transitions independently (with no previous themes) to the STA until bar 25 when the STA begins. Overall the FTA can be broken up into pairings of aa and bb in terms of phrases, which end up being short, around 4 bars. For example, a from mm. 1-4 is repeated from mm. 5-8 though with different voicing (a'). Measures 9-14 become a bit more irregular, especially with the 2 bar phrase mm. 9-10 which ends on an A major triad (V).
The FTA is expectedly in D minor (i), while the second tonal area overall is in its relative major, F major. The STA can be characterized by much faster, staccato sextuplets that each voice takes turns propelling the entire ensemble. While the FTA can be characterized as far more melodramatic, with chromaticism and many contrasting dynamics, the STA moves more horizontally with no dynamic markings for multiple measures at a time.
The transition between the two tonal areas is distinctly chromatic, with lots of syncopation that both help smooth the transition to F major.
The development section, which begins in measure 42-70 expectedly toys around with the themes of the first two tonal areas in the exposition. There is no real distinct tonatlity to the development predominantly because of the abundance of chromaticisms and flirtations with leading tones and such.
Finally, the recapitulation which comes in measure 70-end rather suddenly is the capo of the piece verbatim. As the FTA of the recap (d minor) ends in measure 83, the transition this time, is actually a dependent transition, because it uses themes throughout the entire movement. In measure 94, the STA is repeated, however in the key of D minor (i) instead of F major (relative major). This is expected, since we know that the piece will end soon, and it needs to be in the true tonic.
The biggest thing to convey in performing this piece is the contrasting moods between the FTA and STA themes. While the FTA is quite somber, the STA hurries forward especially with the rapid sextuplets. Particularly at the end of the piece when the STA area is in D minor instead of F major, it is important to make this interesting variation clear.
The FTA is expectedly in D minor (i), while the second tonal area overall is in its relative major, F major. The STA can be characterized by much faster, staccato sextuplets that each voice takes turns propelling the entire ensemble. While the FTA can be characterized as far more melodramatic, with chromaticism and many contrasting dynamics, the STA moves more horizontally with no dynamic markings for multiple measures at a time.
The transition between the two tonal areas is distinctly chromatic, with lots of syncopation that both help smooth the transition to F major.
The development section, which begins in measure 42-70 expectedly toys around with the themes of the first two tonal areas in the exposition. There is no real distinct tonatlity to the development predominantly because of the abundance of chromaticisms and flirtations with leading tones and such.
Finally, the recapitulation which comes in measure 70-end rather suddenly is the capo of the piece verbatim. As the FTA of the recap (d minor) ends in measure 83, the transition this time, is actually a dependent transition, because it uses themes throughout the entire movement. In measure 94, the STA is repeated, however in the key of D minor (i) instead of F major (relative major). This is expected, since we know that the piece will end soon, and it needs to be in the true tonic.
The biggest thing to convey in performing this piece is the contrasting moods between the FTA and STA themes. While the FTA is quite somber, the STA hurries forward especially with the rapid sextuplets. Particularly at the end of the piece when the STA area is in D minor instead of F major, it is important to make this interesting variation clear.
Mozarts String quartet in D minor is a lovely piece in sonata form. The first section or “P” (mm. 1-8 ) begins with a haunting and legato line in the first violin, accompanied by a stark eighth note pattern from the violin and viola parts. This eighth note rhythmic motive gives the piece motion, pushing it forward as it grows in intensity and complexity. This is followed by the transition (mm.9-15) which ends with an imitated motive (?) in all four parts. The second theme extends from measure 15 to measure 33. It is then followed by a coda from 34 to the end. The second theme area features a wider variety of harmonic and rhythmic techniques than the first section.The development is in the key of Eb Major and includes measures 42-70ish This is moodier than the exposition.The recapitulation, as is expected, returns to the themes presented in the exposition. However, this time the transition does not lead us away from the original key of D minor. Then we have “S” which is in the same key since we haven’t modulated. It then ends with a shorter coda than in the exposition, sequencing upwards, concluding with a strong PAC. The end!
PS. Yay for Mozart! I really liked this piece. It had a wide range of emotions displayed and even though it has a lot of repeats and was kinda long, I was never bored. :)
PS. Yay for Mozart! I really liked this piece. It had a wide range of emotions displayed and even though it has a lot of repeats and was kinda long, I was never bored. :)
Ich Grolle Nicht und Im Rhein im heiligen strome
As you may know I am a big Mozart fan, so this being a Mozart piece makes this blog easier. The exposition of this piece is from measures 1 through 41; however the first theme is in measures 1 through 8. In the second key area, the expected key is III, but Mozart is not confined to the rules of music writing like we are. The next key area is bVII. In case I wrote that incorrectly, it cadences in C major, I think calling it VII would mean C# major, which is not the case. The first and second themes vary in the way of their quality. The first sounds much gloomier than the second. The second themes rhythm is much more free and jumpy giving it a peppier feel than first. I believe that the section at the end is better defined as a codetta than a closing theme. I don’t feel that the music is substantial enough on its own for a closing theme, even if it is a little long.
Measures 23 and 24; 30 and 31, the violin I plays a melody while the other accompany. Measures 15 and 16, the outer voices play a duet, measures 12 and 13 show a motive being passed through the voices.
In section D, the entire piece is in the tonic key. At the beginning of the second section, a D minor chord is played to secure the d minor-ness. The entry differs from the exposition, as well as the rhythm.
The development begins in Eb major, with help of octave Eb’s in the violin and an Ab in the cello. At measure 43 there is a do- ti motion in the violin that is repeated that could be a motive. It is repeated in all voice but the 2nd violin. The retransition is at measure 53, all of the voices come in at separate times. This might be to give the feeling of the instruments coming together to the end. Measure 42 to measure 43, the 1st violin plays a melody while other accompany. A violin cello duet in 58 – 62; 42 – 49, the do-ti motive passed through the voices; however I could not find a violin one and two duet, but I am sure there is one in there. Even in my time as a string player I never played in a quartet or at least not one of consequence, but I know the challenge is for all of the musicians to be on the same page musically. Stragglers are not welcome here. I find this string quartet quite interesting for a myriad of reason, most of which I have had to tell you already. Goodnight my dear colleagues and remember:
Im wunderschönen monat mai… we won’t have to do these blogs anymore. Even though I must admit when they are Mozart they are fun.
Measures 23 and 24; 30 and 31, the violin I plays a melody while the other accompany. Measures 15 and 16, the outer voices play a duet, measures 12 and 13 show a motive being passed through the voices.
In section D, the entire piece is in the tonic key. At the beginning of the second section, a D minor chord is played to secure the d minor-ness. The entry differs from the exposition, as well as the rhythm.
The development begins in Eb major, with help of octave Eb’s in the violin and an Ab in the cello. At measure 43 there is a do- ti motion in the violin that is repeated that could be a motive. It is repeated in all voice but the 2nd violin. The retransition is at measure 53, all of the voices come in at separate times. This might be to give the feeling of the instruments coming together to the end. Measure 42 to measure 43, the 1st violin plays a melody while other accompany. A violin cello duet in 58 – 62; 42 – 49, the do-ti motive passed through the voices; however I could not find a violin one and two duet, but I am sure there is one in there. Even in my time as a string player I never played in a quartet or at least not one of consequence, but I know the challenge is for all of the musicians to be on the same page musically. Stragglers are not welcome here. I find this string quartet quite interesting for a myriad of reason, most of which I have had to tell you already. Goodnight my dear colleagues and remember:
Im wunderschönen monat mai… we won’t have to do these blogs anymore. Even though I must admit when they are Mozart they are fun.
Mozart quartet in D minor
Exposition: m. 1 -41
First Theme: m. 1 - 12 HC d minor
Transition: 13 - 24
Second Theme: 25 - 32, key: F major (III), PAC
Closing Theme: 34 - 41, Fmajor, HC
For a Sonata set in a minor key the expected second key area is III, or sometimes a v. And, as expected, this movement modulates to the key of F major (III) at measure 24. The first theme definitley has a more serious characterization, while the second theme is lighter and emits a very pleasent feeling. In addiiton, the second theme tends to build on a certain musical thought. It is a string of 16th notes that when each time its played is given a bit of an extension. The last section should be labeled as a closing theme because it carries a new introduced theme till the end. Also, codettas tend to be slightly unstable harmonically, and there is no sign of instability harmonically. As for typical quartet strng textures, m. 29 - 32 is when there is a solo in one section and the others accompany, and m. 12 - 14 is an example of a motive being passed along by each part.
The development begins in eb minor. Despite the new minor key, the first four measures are familiar to the listener because it takes from the very beginning of the first theme, 42 - 45. Another motive from the first theme that appears in the development is the descending four sixteenth notes that leads into two descending eighth notes. This occurs in measure 59 -62. The last motive that can be seen is the trill effect with the dotted eighth note. This occurs from m. 42 - 57 in each part. Lastly, the retransition begins at measure 66 - 69.
The recapitulation is in D minor, even for the second theme. It does not make the usual modulation to III. The first tiheme is from m. 70 - 81 ending in an HC. The transition begins in 82 and continues in D minor. The transition ends in a pac, at measure 94 which begins the second theme. Second theme is pretty much the same other than the fact that is in d minor. This section ends at measure 1o2 with a pac. Lastly, the closing theme begins here and ends with a pac at measure 117.
First Theme: m. 1 - 12 HC d minor
Transition: 13 - 24
Second Theme: 25 - 32, key: F major (III), PAC
Closing Theme: 34 - 41, Fmajor, HC
For a Sonata set in a minor key the expected second key area is III, or sometimes a v. And, as expected, this movement modulates to the key of F major (III) at measure 24. The first theme definitley has a more serious characterization, while the second theme is lighter and emits a very pleasent feeling. In addiiton, the second theme tends to build on a certain musical thought. It is a string of 16th notes that when each time its played is given a bit of an extension. The last section should be labeled as a closing theme because it carries a new introduced theme till the end. Also, codettas tend to be slightly unstable harmonically, and there is no sign of instability harmonically. As for typical quartet strng textures, m. 29 - 32 is when there is a solo in one section and the others accompany, and m. 12 - 14 is an example of a motive being passed along by each part.
The development begins in eb minor. Despite the new minor key, the first four measures are familiar to the listener because it takes from the very beginning of the first theme, 42 - 45. Another motive from the first theme that appears in the development is the descending four sixteenth notes that leads into two descending eighth notes. This occurs in measure 59 -62. The last motive that can be seen is the trill effect with the dotted eighth note. This occurs from m. 42 - 57 in each part. Lastly, the retransition begins at measure 66 - 69.
The recapitulation is in D minor, even for the second theme. It does not make the usual modulation to III. The first tiheme is from m. 70 - 81 ending in an HC. The transition begins in 82 and continues in D minor. The transition ends in a pac, at measure 94 which begins the second theme. Second theme is pretty much the same other than the fact that is in d minor. This section ends at measure 1o2 with a pac. Lastly, the closing theme begins here and ends with a pac at measure 117.
Monster Mozart Sonata
Phew. Here goes.
Overview of Mozart's 15th String Quartet in D minor, K. 421:
EXPOSITION (m. 1-41)
FTA - m. 1-8
- two four-measure phrases, IAC and PAC in i
transition - m. 9-24
- modulates to III with PAC in F major at m. 24
STA - m. 25-32
- two four-measure phrases, two PACs in III
KL (closing theme) - m. 33-41
- a series of PACs in III, followed by retransitional (the first time) or transitional (the second time) material in m. 41
DEVELOPMENT (m. 41-69)
- opens with development of FTA "octave + accompaniment" motive (originally found in m. 1, 5); developed starting in Eb major, the Neapolitan key to i, in m. 42-45
- goes on to develop another FTA motive, the "trill + chromatic neighbor" motive (originally found in m. 2, 6); developed in m. 46-49
- finally, develops motive from closing theme, the "arpeggio + staccato sixteenths" motive (originally found in m. 35, 37, 9-40); developed in m. 59-69
retransition - m. 66-69
- prolongation of A major (including long, held A (V) in cello in m. 67-69) announces return to FTA in m. 70
RECAPITULATION (m. 70-117)
FTA - m. 70-77
- remains relatively untouched, back to D minor (i)
transition - m. 78-93
- maintains same motives but does not modulate away from i
STA - m. 94-102
- mostly the same, except in i rather than III, and starts in the middle of m. 94, rather than at the beginning as in m. 25 - also, ends after downbeat of m. 102
KL - m. 102b-112
- mostly the same, except in D minor, with several PACs in i this time, including "arpeggio + staccato 16ths" motive from before. After 112, there is a repeat sign - so this may also serve as a transition, once again, for the development, or (as in the recording I heard, where they chose not to repeat the development) as a transition to the coda
Coda - m. 112-117
- basically just a typical cadential extension, lots of V - i, with the "arpeggio + staccato 16ths" motive used and partially developed once more, before the very end.
---
Additional notes and tying-up of loose ends:
The tonal areas (i - III, etc.) are fairly typical and well-tonicized.
I chose to label the KL as such because of the coda at the end, and because of the repeats - it isn't just a coda, and if it is, what does that make m. 112-117? An addenda? I don't think so.
Hope that's all. Good grief.
Good night all.
Overview of Mozart's 15th String Quartet in D minor, K. 421:
EXPOSITION (m. 1-41)
FTA - m. 1-8
- two four-measure phrases, IAC and PAC in i
transition - m. 9-24
- modulates to III with PAC in F major at m. 24
STA - m. 25-32
- two four-measure phrases, two PACs in III
KL (closing theme) - m. 33-41
- a series of PACs in III, followed by retransitional (the first time) or transitional (the second time) material in m. 41
DEVELOPMENT (m. 41-69)
- opens with development of FTA "octave + accompaniment" motive (originally found in m. 1, 5); developed starting in Eb major, the Neapolitan key to i, in m. 42-45
- goes on to develop another FTA motive, the "trill + chromatic neighbor" motive (originally found in m. 2, 6); developed in m. 46-49
- finally, develops motive from closing theme, the "arpeggio + staccato sixteenths" motive (originally found in m. 35, 37, 9-40); developed in m. 59-69
retransition - m. 66-69
- prolongation of A major (including long, held A (V) in cello in m. 67-69) announces return to FTA in m. 70
RECAPITULATION (m. 70-117)
FTA - m. 70-77
- remains relatively untouched, back to D minor (i)
transition - m. 78-93
- maintains same motives but does not modulate away from i
STA - m. 94-102
- mostly the same, except in i rather than III, and starts in the middle of m. 94, rather than at the beginning as in m. 25 - also, ends after downbeat of m. 102
KL - m. 102b-112
- mostly the same, except in D minor, with several PACs in i this time, including "arpeggio + staccato 16ths" motive from before. After 112, there is a repeat sign - so this may also serve as a transition, once again, for the development, or (as in the recording I heard, where they chose not to repeat the development) as a transition to the coda
Coda - m. 112-117
- basically just a typical cadential extension, lots of V - i, with the "arpeggio + staccato 16ths" motive used and partially developed once more, before the very end.
---
Additional notes and tying-up of loose ends:
The tonal areas (i - III, etc.) are fairly typical and well-tonicized.
I chose to label the KL as such because of the coda at the end, and because of the repeats - it isn't just a coda, and if it is, what does that make m. 112-117? An addenda? I don't think so.
Hope that's all. Good grief.
Good night all.
Mozart and Sunshine
Whoa! Mozart's String Quartet in D minor, K. 421 ....
Exposition= m.1-41
First Theme= m.1-8 (1-4, 4-8)
Transition= m. 9-24 (dependent)
Second Theme= 24-41 (24-33)
Coda= 33-41
This movement is in D minor. At first, I thought maybe the random C Major chord in measure 14 was the second tonal area, but if you look at it, it's pretty tonally unstable after that random chord. Almost as if Mozart's saying "Come on Miffy, grab the corn puffs- we're going to Iowa!" ????? RANDOM! In measure 24, Mozart actually modulates to the expected area of III, F Major, the relative major of D minor. Typical of Sonata form. The reason I think this is the actual modulation is 1. it's more typical 2. it's more tonally stable than the C Major chord 3. Look at the motion after the modulation: I, I6, V etc. Mozart is establishing key.
These themes do contrast in ways other than just keys. For instance, the second theme has more rhythmic crescendos that switch between the voices. The character changes from having the melody in the FT derive from descending Octave leaps, to having a more step-wise melodic motion in the ST; giving the ST a naturally happier feeling. The transition preludes this happier feeling very nicely by giving the 32nd notes in the first violin in measure 23. So the whole quartet is pretty sad, maybe their socks didn't get a chance to fully dry in the laundry and their left toe is still feeling the after-effect. Until the first violin says in m.23 w/his 32nd notes "don't worry! pruny lint is in style this season, take off your socks!" To which, the whole quartet rejoices in the barefoot, linty bliss of F major. As a performer, I would make sure that these sections have stark contrasts and that the chord in m. 14 is a big surprise. The first violin also has the job of introducing happiness in measure 23, so he needs to follow the slurs and make it as cute as possible.
The end is better defined as a closing theme, because it's a little longer than what I would call a codetta and it has "themes" and motives of its own that are passed throughout the voices.
An example of a passage where a solo part is played while everyone else accompanies is measures 25-29, where the first violin has the melody. An example of a first violin/cello duet can be found in m.34-35. And an example of a motive being passed throughout the quartet can be found in m. 12-14.
Let's move on to the development, shall we? ( I know, I'm going out of order from what the book told us to do, but why do they have us do the recap first?) The development spans measures 42-70 and starts with a an Eflat Major chord. The first motive developed here, we first heard in the opening of the exposition. Remember the descending octave leaps? I guess somebody didn't find soggy toe lint so attractive...sad. This motive is developed through "flirting" with different keys. Ex: m. 55 with Csharps and m. 58 with Fsharps. Another developed motive is the dotted eighth, sixteenth- two eight notes rhythm. It reappears throughout the piece. Another motive we saw in the first movement is augmented a bit in the development. Look at m.25 in the first violin, now look at m. 59, it's the same idea, only with a half note beginning and the motive eliding into the next measure. The retransition begins in m.65. An example of solo/accompaniment is in the first violin of m.55. An example a passed motive is in m.67-69. An example of a first/second violin duet is in m.64-65.
The recapitulation is in measures 70-117.
First theme= 70-77
Transition= 77-94
Second Theme= 94-102
Closing Material= 102-117
The entire recap is in D minor. This is possible by the recurring motive placed in the transition that holds the Csharp, the leading tone to D minor that is going to confirm the listener that at the cadence in 94, they are indeed in D minor. Ironically, this is the same motive used in all three sections by the first violin, initially in m.23. The entry of the second theme is different in the recap because it falls on the downbeat of measure 24, where as in the exposition, it came in on beat 3. The reason this is possible is because of the preparation leading up to this entry. In the exposition, there was a lot of syncopation leading up to the second theme. In the recap, Mozart starts to place longer note values on the downbeats to emphasize meter and lead to greater unification as we reach a cadence and the end of the piece. For the rest of the recap, the rhythm is shifted forward to emphasize downbeats and the buildup of a cadence. This is especially apparent in the cello, where almost no emphasis of meter existed in the exposition until the double bar. In the second theme and closing material of the recap, the cello really helps to emphasize rhythmic stability to move toward the end of the piece. Mozart's writing here can be analyzed historically through careful thought of the classical era and enlightenment's role in influencing art of this time. Enlightenment philosophers would have said that the world is in order and harmony and would have placed much focus order and laws with an optimistic perspective of the world. Hence Mozart's orderliness, and need to establish order near the end of the recapitulation. The end of the recapitulation is designed to be able to repeat through the constant motivic repetition throughout the voices. This motion give the listener the idea that maybe the end is not quite there, perhaps more material may be introduced. The performers may choose to play it either way, Mozart probably designed it that way to add some enlightenment optimism and to ensure a longer piece so that the dinner party could last longer and get rich people more wasted and convinced to give him more money. The movement ends with a strong D minor PAC on forte.
Exposition= m.1-41
First Theme= m.1-8 (1-4, 4-8)
Transition= m. 9-24 (dependent)
Second Theme= 24-41 (24-33)
Coda= 33-41
This movement is in D minor. At first, I thought maybe the random C Major chord in measure 14 was the second tonal area, but if you look at it, it's pretty tonally unstable after that random chord. Almost as if Mozart's saying "Come on Miffy, grab the corn puffs- we're going to Iowa!" ????? RANDOM! In measure 24, Mozart actually modulates to the expected area of III, F Major, the relative major of D minor. Typical of Sonata form. The reason I think this is the actual modulation is 1. it's more typical 2. it's more tonally stable than the C Major chord 3. Look at the motion after the modulation: I, I6, V etc. Mozart is establishing key.
These themes do contrast in ways other than just keys. For instance, the second theme has more rhythmic crescendos that switch between the voices. The character changes from having the melody in the FT derive from descending Octave leaps, to having a more step-wise melodic motion in the ST; giving the ST a naturally happier feeling. The transition preludes this happier feeling very nicely by giving the 32nd notes in the first violin in measure 23. So the whole quartet is pretty sad, maybe their socks didn't get a chance to fully dry in the laundry and their left toe is still feeling the after-effect. Until the first violin says in m.23 w/his 32nd notes "don't worry! pruny lint is in style this season, take off your socks!" To which, the whole quartet rejoices in the barefoot, linty bliss of F major. As a performer, I would make sure that these sections have stark contrasts and that the chord in m. 14 is a big surprise. The first violin also has the job of introducing happiness in measure 23, so he needs to follow the slurs and make it as cute as possible.
The end is better defined as a closing theme, because it's a little longer than what I would call a codetta and it has "themes" and motives of its own that are passed throughout the voices.
An example of a passage where a solo part is played while everyone else accompanies is measures 25-29, where the first violin has the melody. An example of a first violin/cello duet can be found in m.34-35. And an example of a motive being passed throughout the quartet can be found in m. 12-14.
Let's move on to the development, shall we? ( I know, I'm going out of order from what the book told us to do, but why do they have us do the recap first?) The development spans measures 42-70 and starts with a an Eflat Major chord. The first motive developed here, we first heard in the opening of the exposition. Remember the descending octave leaps? I guess somebody didn't find soggy toe lint so attractive...sad. This motive is developed through "flirting" with different keys. Ex: m. 55 with Csharps and m. 58 with Fsharps. Another developed motive is the dotted eighth, sixteenth- two eight notes rhythm. It reappears throughout the piece. Another motive we saw in the first movement is augmented a bit in the development. Look at m.25 in the first violin, now look at m. 59, it's the same idea, only with a half note beginning and the motive eliding into the next measure. The retransition begins in m.65. An example of solo/accompaniment is in the first violin of m.55. An example a passed motive is in m.67-69. An example of a first/second violin duet is in m.64-65.
The recapitulation is in measures 70-117.
First theme= 70-77
Transition= 77-94
Second Theme= 94-102
Closing Material= 102-117
The entire recap is in D minor. This is possible by the recurring motive placed in the transition that holds the Csharp, the leading tone to D minor that is going to confirm the listener that at the cadence in 94, they are indeed in D minor. Ironically, this is the same motive used in all three sections by the first violin, initially in m.23. The entry of the second theme is different in the recap because it falls on the downbeat of measure 24, where as in the exposition, it came in on beat 3. The reason this is possible is because of the preparation leading up to this entry. In the exposition, there was a lot of syncopation leading up to the second theme. In the recap, Mozart starts to place longer note values on the downbeats to emphasize meter and lead to greater unification as we reach a cadence and the end of the piece. For the rest of the recap, the rhythm is shifted forward to emphasize downbeats and the buildup of a cadence. This is especially apparent in the cello, where almost no emphasis of meter existed in the exposition until the double bar. In the second theme and closing material of the recap, the cello really helps to emphasize rhythmic stability to move toward the end of the piece. Mozart's writing here can be analyzed historically through careful thought of the classical era and enlightenment's role in influencing art of this time. Enlightenment philosophers would have said that the world is in order and harmony and would have placed much focus order and laws with an optimistic perspective of the world. Hence Mozart's orderliness, and need to establish order near the end of the recapitulation. The end of the recapitulation is designed to be able to repeat through the constant motivic repetition throughout the voices. This motion give the listener the idea that maybe the end is not quite there, perhaps more material may be introduced. The performers may choose to play it either way, Mozart probably designed it that way to add some enlightenment optimism and to ensure a longer piece so that the dinner party could last longer and get rich people more wasted and convinced to give him more money. The movement ends with a strong D minor PAC on forte.
4:21
The exposition of Mozart's String Quartet in D minor (K. 421) is quite the sonata formed mold. Dedicated to Joseph Haydn, these quartets are the cornerstone of chamber music repertoire and are frequently performed. The "Haydn" quartets are some of Mozart's most famous, including the 'Hunt' quartet (K. 458) and the 'Dissonance' quartet (K. 465).
Both themes within the exposition are packed with rhythmic intensity, and rightfully so, due to the slow tempo notated by Mozart. There is a chaconne bassline played within the first tonal area (m. 1-24), accentuated by the upper strings and their short but repeated melody. The second phrase (m. 25-40) is much different with a longer melody, more elaboration and extended types of variation, including all voices. What makes it most interesting, however, is the different types of articulation and bowing Mozart implies/directs, creating interesting texture and balance within the quartet.
The development begins in E flat, quite a stark difference from the original D minor. Two prevalent themes exist within the section, the first resembling the FTA of the A section whereas the second resembling the STA of the A section. The first again contains the chaconne-ish bass and creates disposition for the listener, pushing its way towards a welcome resolution in bar 59, a G minor chord. Here the second theme takes charge and introduces a new melody, eventually moving the tonal area back to the original key of D minor.
Finally, we arrive at the recapitulation, and as expected is back in the key of D minor and is nearly a literal repeat of the exposition. Again, as expected the B area has modulated to the key of D minor and embellishments have been altered accordingly.
Although simple and straightforward, Mozart's quartet poses considerable difficultly for the ensemble. The tempo is slow, leading to one of two problems: 1) speed up 2) slow down. Take time and use a metronome to watch those troubled spots that may lead to significant tempo fluctuation. That's not to say the entire piece should be at the same steady tempo (as liberty should be taken to emphasize cadential moments) but when that liberty and expression is introduced it is important to start in the original tempo. That being said, emphasize the difference between dotted quarter/eighth note figures and triplets. It's always been a problem and will continue to pose trouble. Plus, that difference can make or break a good performance of this piece. Alongside tempo and rhythmic accuracy, the articulation (especially unison sections) must be addressed. Careful attention to details and style will pay off eventually and can create a one-of-a-kind performance.
Both themes within the exposition are packed with rhythmic intensity, and rightfully so, due to the slow tempo notated by Mozart. There is a chaconne bassline played within the first tonal area (m. 1-24), accentuated by the upper strings and their short but repeated melody. The second phrase (m. 25-40) is much different with a longer melody, more elaboration and extended types of variation, including all voices. What makes it most interesting, however, is the different types of articulation and bowing Mozart implies/directs, creating interesting texture and balance within the quartet.
The development begins in E flat, quite a stark difference from the original D minor. Two prevalent themes exist within the section, the first resembling the FTA of the A section whereas the second resembling the STA of the A section. The first again contains the chaconne-ish bass and creates disposition for the listener, pushing its way towards a welcome resolution in bar 59, a G minor chord. Here the second theme takes charge and introduces a new melody, eventually moving the tonal area back to the original key of D minor.
Finally, we arrive at the recapitulation, and as expected is back in the key of D minor and is nearly a literal repeat of the exposition. Again, as expected the B area has modulated to the key of D minor and embellishments have been altered accordingly.
Although simple and straightforward, Mozart's quartet poses considerable difficultly for the ensemble. The tempo is slow, leading to one of two problems: 1) speed up 2) slow down. Take time and use a metronome to watch those troubled spots that may lead to significant tempo fluctuation. That's not to say the entire piece should be at the same steady tempo (as liberty should be taken to emphasize cadential moments) but when that liberty and expression is introduced it is important to start in the original tempo. That being said, emphasize the difference between dotted quarter/eighth note figures and triplets. It's always been a problem and will continue to pose trouble. Plus, that difference can make or break a good performance of this piece. Alongside tempo and rhythmic accuracy, the articulation (especially unison sections) must be addressed. Careful attention to details and style will pay off eventually and can create a one-of-a-kind performance.
モーツァルト <--that says Mozart in japanese
080424
Blog #12
C. Mozart, String Quartet in D minor, K. 421, first movement, mm. 1-41
Exposition: mm 1-41; d minor and F major
First theme: mm 1-8 ; d minor
Phrase a: mm1-4; d minor; ends with an IAC
Transition: mm 9-24; modulation from d minor to F major
Second theme: mm 24-33; F major; has a closing theme
Closing theme: 34-41
Since this movement is in D minor, the expected second key area is in III, so F major. This modulation happens from measures 9-24. There is added chromatic notes and it is fully in F major at measure 24. The second theme sounds more uppy and cheerful, possibly because of the change of key. The second violin, viola and cello play a steady metronome for the melody of the first violin, with the cello playing on the first and third beats and the viola and 2nd violin playing sixteenth notes with a sixteenth note rest at the beginning of the beats where the cello plays on the 1st and 3rd beats. In the second theme the melody get passed around to the different instruments rather than the 1st violin playing the melody all the time. The voices are conversing with each other than in the first theme. I feel like to perform these in some places it feels natural to move your body and more/step forward on some of the long notes that maybe are emphasized more. Maybe that helps with the communication too because this is a string quartet with only 4 people playing. The definition of codetta is a small coda, and coda is following a strong cadence and bring it to an end, but I feel like this isn’t the case. At the first and second ending it doesn’t feel like a strong cadence. It feels more like a closing theme than a codetta.
One instrument plays a solo part while the others accompany: mm 1-4; mm 25-28
The first violin and cell play a duet, with accompaniment in the second violin and viola: mm 32-35
A motive is passed through the quartet, with each instrument playing it in turn: mm 12-14
D. Mozart, String Quartet in D minor, K. 421, first movement, mm 70-117
Recapitulation: mm 70-117; D minor
First theme: mm 70-77 ; D minor
Phrase a: mm 70-73; D minor; Identical to mm. 1-4
Transition: mm 78-93
Second theme: mm 94-102
Closing theme: mm 102-117
The entire recapitulation is in the tonic key D. This is different than the exposition because the second theme modulated into III, but in this recapitulation it stayed in the tonic key. The end has a forward motion, partly because the viola has all the repeated arpeggios pushing it forward.
E. Mozart, String Quartet in D minor, K. 421, first movement, mm 42-70
Development: mm 42-70, E-flat major
The development begins with an E flat chord. There are three motives in this development section that are repeated throughout. One starts from measure 53 on. It’s a half note, dotted quarter note and an eight note theme. It goes around to the different voices sort of like a round and as if the instruments are conversing. Another theme is in measure 46 on, the viola and cello plays that motive throughout the development. The recapitulation begins at measure 70 because it has the return of the themes from the exposition in the same order. This second large section has a repeat with a first and second ending. When you play the first ending it is 1 measure added of that motive, but when you play the second ending it has a few more measures of those sixteenth notes that the first violin plays. So it sounds different the second time and signals that is coming to an end, if you didn’t already feel like it should be coming to an end after listening to all of the movement.
One instrument plays a solo part while others accompany: mm 42-45
The first violin and cello play a duet, with accompaniment in the second violin and viola: mm 56-58
A motive is passed through the quartet, with each instrument playing it in turn: mm 53-58
The first and second violins play a duet: mm 45-49
This piece sounds like a lot of fun to play. I really like the second theme in the exposition, maybe because it sounds so cheerful.
Blog #12
C. Mozart, String Quartet in D minor, K. 421, first movement, mm. 1-41
Exposition: mm 1-41; d minor and F major
First theme: mm 1-8 ; d minor
Phrase a: mm1-4; d minor; ends with an IAC
Transition: mm 9-24; modulation from d minor to F major
Second theme: mm 24-33; F major; has a closing theme
Closing theme: 34-41
Since this movement is in D minor, the expected second key area is in III, so F major. This modulation happens from measures 9-24. There is added chromatic notes and it is fully in F major at measure 24. The second theme sounds more uppy and cheerful, possibly because of the change of key. The second violin, viola and cello play a steady metronome for the melody of the first violin, with the cello playing on the first and third beats and the viola and 2nd violin playing sixteenth notes with a sixteenth note rest at the beginning of the beats where the cello plays on the 1st and 3rd beats. In the second theme the melody get passed around to the different instruments rather than the 1st violin playing the melody all the time. The voices are conversing with each other than in the first theme. I feel like to perform these in some places it feels natural to move your body and more/step forward on some of the long notes that maybe are emphasized more. Maybe that helps with the communication too because this is a string quartet with only 4 people playing. The definition of codetta is a small coda, and coda is following a strong cadence and bring it to an end, but I feel like this isn’t the case. At the first and second ending it doesn’t feel like a strong cadence. It feels more like a closing theme than a codetta.
One instrument plays a solo part while the others accompany: mm 1-4; mm 25-28
The first violin and cell play a duet, with accompaniment in the second violin and viola: mm 32-35
A motive is passed through the quartet, with each instrument playing it in turn: mm 12-14
D. Mozart, String Quartet in D minor, K. 421, first movement, mm 70-117
Recapitulation: mm 70-117; D minor
First theme: mm 70-77 ; D minor
Phrase a: mm 70-73; D minor; Identical to mm. 1-4
Transition: mm 78-93
Second theme: mm 94-102
Closing theme: mm 102-117
The entire recapitulation is in the tonic key D. This is different than the exposition because the second theme modulated into III, but in this recapitulation it stayed in the tonic key. The end has a forward motion, partly because the viola has all the repeated arpeggios pushing it forward.
E. Mozart, String Quartet in D minor, K. 421, first movement, mm 42-70
Development: mm 42-70, E-flat major
The development begins with an E flat chord. There are three motives in this development section that are repeated throughout. One starts from measure 53 on. It’s a half note, dotted quarter note and an eight note theme. It goes around to the different voices sort of like a round and as if the instruments are conversing. Another theme is in measure 46 on, the viola and cello plays that motive throughout the development. The recapitulation begins at measure 70 because it has the return of the themes from the exposition in the same order. This second large section has a repeat with a first and second ending. When you play the first ending it is 1 measure added of that motive, but when you play the second ending it has a few more measures of those sixteenth notes that the first violin plays. So it sounds different the second time and signals that is coming to an end, if you didn’t already feel like it should be coming to an end after listening to all of the movement.
One instrument plays a solo part while others accompany: mm 42-45
The first violin and cello play a duet, with accompaniment in the second violin and viola: mm 56-58
A motive is passed through the quartet, with each instrument playing it in turn: mm 53-58
The first and second violins play a duet: mm 45-49
This piece sounds like a lot of fun to play. I really like the second theme in the exposition, maybe because it sounds so cheerful.
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