Beethoven’s energetic Piano Sonata in C Major begins with the very common Major I chord, but surprisingly changes to a secondary dominant. Following this secondary dominant are two measures of dominant chords. In turn, this prepares for the string mixture chords, which begin with bVII. This quickly moves into two measures that contain a string of sixteenth note chords, and moves into an unanticipated simple movement into a half cadence. The elements heard only in the first thirteen measures of this movement prepare the listener for the overall mood of the piece.
Once the listener arrives to measure 156, the first 13 measures are repeated. However, the recurring theme is in a new key. The mixture chords used at the beginning of the piece prepare for another set of mixture chords. The listener is familiar with the theme, but surprised to hear the new key. Beethoven uses the mixture chords to his advantage by leading into a new key.
The conclusion of the piece once again returns to the introductory theme. However, this theme is shortened and has a sense of being slightly quicker than the other two. The end has the same lead in of I V7/V, but uses a short lead in to the mixture chord. In addition, Beethoven reduces the amount of accidentals at the end. This tactic allows the listener to get a true sense of the overall key of the piece. Thus, despite the confusion in between, Beethoven ends and begins with the very well know Major I chord.
Friday, February 08, 2008
Nick's post
The piece “Die Mainacht” is an interesting piece. Die Mainacht means “The May Night” which is certainly suiting in this particular instance. The piece is about an individual wandering restlessly through the night. It seems as if the character is searching for happiness, or at least peace in his/her life throughout the course of the piece. The composer (Brahms) actually avoids giving us the tonic chord, making us feel that the character is wandering in search of something. One thing in particular I noticed about the phrase structure is that it is not really typical. The first phrase does not truly end until the final words “Busch zu Busch” meaning bush to bush. Brahms wants each stanza of the poem to be its own phrase, which is understandable. The key then changes, and the mood is a bit happier, and we find that this part of the poem is more uplifting as well. He actually throws in some mixture as well beginning in measure 9 and continuing to do so through the end of the phrase as he uses scale degrees b3, b6, and b7. All are used in measure 10. We also see a great deal of text painting in this piece. Words that have a sad infliction have diminished or minor chords such as the word “traurig” which means sadly. The happier portions use definite I and V chords which are more uplifting, like “Taubenpaar” meaning a pair of doves. Brahms also uses minor ascending triplets to emphasize the words “wende mich” which means to turn away. Finally, we can tell that he wants us to recognize the words for lonely tear “einsame Trane”. He does this by throwing us up with the singer on the high F# for 5 beats twice in the song. At the end of the piece, we can tell that the character has given up his/her search for the time being, but will continue to look onward for his/her happiness as the piece ends on an inauthentic cadence. The piece itself is quite interesting.
Die Mainacht - does it really need to be in F#...
Brahm's Die Mainacht is a really woeful piece of music, and is a love-sick first person account their woes. The song is set in a large metaphor of nature. In the second stanza of the text the 'pair of doves' are literally a couple (in love). The 'rosy dawn' (9) seems to represent the speaker's hopeful lover. The interesting thing about Brahm's use of the sun metaphor is that the sun inevitably rises each morning. We can infer that the speaker's chances are quite high because of this usage of text. This may be responsible for the general major-qualities of the piece, including the major postlude.
Brahms prolongs a deep sense of longing and anguish by avoiding the kind of cadences that we want. Furthermore, he even goes to avoid root position tonic triads to stretch out the piece and thus depict the character's restlessness. With the use of a wide palate of voicings and chords (bVII, bIII, viio, etc.) Brahms manipulates the mood of this piece very carefully. In m5 he uses a I6 chord that, while it isn't a real cadence, helps depict the character's longing. In measure 14 we feel like there should be some sort of root position tonic triad also, but Brahms instead begins a transition with mode mixture to the next phrase. The only bits and pieces of a root position tonic triad are the smooth 3-2-1 resolve in the soprano, and a V64-53 that almost goes to I but goes to V64 again. aaaaarggg! While this unsatisfying phrase ending taunts my expectant ears, it exemplifies text painting.
Given the current text, the character is wandering, and has not yet found their lover/soul mate. It is only proper that Brahms mimick this in his music by transitioning. If I were performing this piece, I would honestly build up (even exaggerate) the V64-53 figure as if it would resolve into the I. I think it is really important to convey these subtleties and make them the focal point of this piece. It is clear that the soprano resolves the phrase correctly while the piano does not. Because we know that what is really unique about this piece is its use (abuse?) of mode mixture to toy with our expectancy.
The most frequent rhythm is the quarter quarter quarter eighth eighth. I chose to break up the true phrases based on an analysis of this rhythm. Measure 14 seems to be the end of Phrase 1, unfortunately unresolved in the midst of mode mixture during the transition to the second phrase in D major. The second phrase ends at measure 26, and Phrase 3 continues until the end of this small work.
Considering the tempo of this work, these are quite long phrases. It is obviously going to be quite difficult to convey the arc of the phrase over such a long period of time. However, it is important to notice that there are intermediant places to basically 'refresh' your arc because of false-resolutions (m.8 in phrase 1). This piece will likely demand a keen understanding for the nuances in each phrase.
In measures 9-14 the mode mixture plays a crucial role in transitioning into the key change at measure 15. The bVII7. and bIII chords in measure 10, the i in measure 11 (2nd beat) and the i on the 3rd beat of measure 14 are all examples of mode mixture used in this passage. To me this feels kind of sequence-ish especially in measures 10-11 which helps to give the listener an idea of different keys. Given this introduction of strange keys, Brahms can smoothly slide into the D major phrase 2.
As I mentioned earlier, text painting plays a large role in connecting the singer's text with the feeling of the music in what the pianist plays and the pitches of the soprano line. 'trauerig' in m. 11 is on a ii half diminished 7 chord which is very tense and grating. The soprano sings down a diminnished ii triad also. This occurs on the word 'sadly' which, given the feeling of the ii chord, fits appropriately.
'Taubenpaar' in m. 17 is linked up with a very consonant background in the piano and soprano line. Given that 'Taubenpaar' is a pair of doves (or two lovers), there is no confusion that this is a pleasant thing, though it occurs only in passing, as the character moves on unsatisfied. 'Turn away' in measure 22 is actually my favorite instance of text painting. The dissonance, coupled with the flurry of ascending triplets in the piano really accurately paints the swift turn of the character.
Looking at the piece in general, it is clearly a lament. The character is unhappy because they are alone, and in the presence of lovers who are quite happy to be together. Brahms uses text painting coupled with mode mixture to cause and release tension throughout the piece. However, the piece concludes in F# major. This offers a bit of foresight into the matters of the character. We may infer that the character will soon find their mate someday. Also, Brahms uses the imagery of a "rosy dawn" (9) as a metaphor for the characters future lover. As the sun always rises, we may sleep soundly knowing that one day, this love-sick person will find the right person.
Thursday, February 07, 2008
Die Mainacht
“Die Mainacht,” a poem by Ludwig Heinrich Christoph Hölty (1748-1776) was set to music by Johannes Brahms (1833-1897). Brahm’s song tears at the heart through a rising melody which, with or without understanding of the lyrics, gives the listener the sense of a restlessness which grows into sorrow and tears. The climactic experience winds down naturally to the energy level of the opening and ends in a calming, cathartic tonic, like the calm after a burst of tears. Brahms’s music brings Holty’s poem to life, using harmonic color to bring tension to certain words and phrases. The poem is about a man who, when wandering between bushes at night, is reminded of his loneliness when a pair of joyful doves 
coo their delight, and so he turns away, preferring to cry in the shadows.
To depict the restlessness of the character, Brahms uses the piano introduction to establish a sense of restlessness and lack of direction. The repeated 3-eighth note motif creates an ongoing wandering feeling. The first tonic chord is used at the end of the piano introductions (m.1-2), just before the singer comes in. True cadences do not take place until the end of entire stanzas. This helps the music stay true to the poetry. He does this not only by avoiding an early cadence, but this creates a challenge for the performers, as they must maintain a sense of continuity and direction toward the end of the phrase/stanza. Another difficulty this creates is the likelihood the stanzas will feel entirely separate from one another because of their strict phrase relationships. Brahms uses the piano interludes to maintain movement and sense of continuity between the phrases, returning to the motive used at both the beginning and end, but varying the chords to create the emotional sense he wants to connect the stanzas with. Although Brahms creates a lot of this continuity in his writing, it is up to the pianist, after the singer completes each stanza, to treat the wandering motific interludes with a feeling of continuity.
Brahms uses harmonic mixture throughout the piece, firstly to prepare us for the key change in m. 15. Measure 9 introduces D natural, which not only creates an iv chord to color “nightingale,” but creates a sense of rising, as c# feels like the leading tone to d natural. Also of note, the e natural, the peak in the contour of this line is placed on the word “flotet,” or sings, which the singer could emphasize with a change in color, toward something brighter and more bird-like (perhaps with a vibrato emphasis). These mixture measures create a particular dreamlike sense, where, after the rising sense during talk of nightingale, the contour of “wandl’ich traurig von Busch zu Busch” or, “I wander sadly from bush to bush” rises to the word “traurig” (sadly) and falls in stepwise motion toward the end of the cadence. The performer should emphasize this D natural and the word “trauring” with a color change, and special attention to the dynamic changes Brahms included in the piano staff. Both times “einsame trane” (lonely tear) appears in the vocal line, the approach to the word “tear” is upward and stepwise, with the word “Trane” growing with a crescendo as the piano part grows, as a tear would well up in the eye as emotions intensify, and then falling in thirds, symbolizing the falling of the tear. The harmony through these measures, 29-31, is also a plagal cadence, outlining the words “lonely tear falls.” The plagal cadence, which is often associated with hymns because of being known as the “Amen Cadence” is cathartic hear, as crying is cathartic, and leads into the following piano interlude, which both returns to the original motif from the intro, and leaves us suspended with fermatas as we prepare for the next stanza.
The word “Traubenpaar,” or pair of doves, in m. 17 is outlined by a descending fifth, then sixth, then seventh into the word “their,” and finally, an octave during the word “delight” which very dramatically emphasizes the new change in mood which was introduced a few measures earlier when the Major Key was introduced. This major key helps to color the first half of this stanza with a more uplifting feeling when a pair of doves coo their delight at the character; but this does not last long because the lonely wanderer feels mocked by the joyful birds. Therefore, the music begins to return to minor just as the character “turns away” in measure 22, which Brahms colors with the a# and further intensifies with ascending triplets in the bass clef. Here, the vocalists would have to make sure to connect between the syllables of wen-de mich, which will emphasize this dissonance and bring more attention to both the change of mood in the text and music.
Also of note: the most active piano parts appear to take place during the words “but I turn away seeking darker shadows, and a lonely tear flows,” and “And the lonely tear trembles, burning, down my cheek,” both of the parts of the song which mention and describe actual tears. This suggests that, as the pianist is growing more active and involved, the vocalist should follow suit, as it is their job to portray the words, and must still be heard above the piano. These phrases should definitely be separated from the rest of the piece in some change, whether dynamically, or in use of color/intensity. The descending vocal line at the end of these phrases should be noted when considering dynamics (i.e, one should probably decrescendo, as the score suggests.) Also in the piano part here, repeated descending fifths take place during the growing concluding phrase in measure 44, and a V7/IV (just before measure 45) moves to iv, during the description of the tear. There is no Authentic Cadence until the very end, which is preceded by a few nocturnal eighth note measures, musically bringing us back to the mood that the piano established at the beginning of the piece, creating a sense in the listener of the piece continuing forever.
Flat Six seems to be an important interval as it is the relationship between the two keys involved in the piece, which is emphasized often during the minor parts of the piece whenever there is a d natural. Perhaps the major section of the piece could be considered a large-scale tonicization of the flat six chord. This is reflected on during the last measure of the piece, where the final eighth note in the piano’s wandering motive is a d natural. The pianist could linger a smidge on this D natural to bring out the tritone and reminded us of the brief, but joyful section with the pair of birds, before concluding.
coo their delight, and so he turns away, preferring to cry in the shadows.To depict the restlessness of the character, Brahms uses the piano introduction to establish a sense of restlessness and lack of direction. The repeated 3-eighth note motif creates an ongoing wandering feeling. The first tonic chord is used at the end of the piano introductions (m.1-2), just before the singer comes in. True cadences do not take place until the end of entire stanzas. This helps the music stay true to the poetry. He does this not only by avoiding an early cadence, but this creates a challenge for the performers, as they must maintain a sense of continuity and direction toward the end of the phrase/stanza. Another difficulty this creates is the likelihood the stanzas will feel entirely separate from one another because of their strict phrase relationships. Brahms uses the piano interludes to maintain movement and sense of continuity between the phrases, returning to the motive used at both the beginning and end, but varying the chords to create the emotional sense he wants to connect the stanzas with. Although Brahms creates a lot of this continuity in his writing, it is up to the pianist, after the singer completes each stanza, to treat the wandering motific interludes with a feeling of continuity.
Brahms uses harmonic mixture throughout the piece, firstly to prepare us for the key change in m. 15. Measure 9 introduces D natural, which not only creates an iv chord to color “nightingale,” but creates a sense of rising, as c# feels like the leading tone to d natural. Also of note, the e natural, the peak in the contour of this line is placed on the word “flotet,” or sings, which the singer could emphasize with a change in color, toward something brighter and more bird-like (perhaps with a vibrato emphasis). These mixture measures create a particular dreamlike sense, where, after the rising sense during talk of nightingale, the contour of “wandl’ich traurig von Busch zu Busch” or, “I wander sadly from bush to bush” rises to the word “traurig” (sadly) and falls in stepwise motion toward the end of the cadence. The performer should emphasize this D natural and the word “trauring” with a color change, and special attention to the dynamic changes Brahms included in the piano staff. Both times “einsame trane” (lonely tear) appears in the vocal line, the approach to the word “tear” is upward and stepwise, with the word “Trane” growing with a crescendo as the piano part grows, as a tear would well up in the eye as emotions intensify, and then falling in thirds, symbolizing the falling of the tear. The harmony through these measures, 29-31, is also a plagal cadence, outlining the words “lonely tear falls.” The plagal cadence, which is often associated with hymns because of being known as the “Amen Cadence” is cathartic hear, as crying is cathartic, and leads into the following piano interlude, which both returns to the original motif from the intro, and leaves us suspended with fermatas as we prepare for the next stanza.
The word “Traubenpaar,” or pair of doves, in m. 17 is outlined by a descending fifth, then sixth, then seventh into the word “their,” and finally, an octave during the word “delight” which very dramatically emphasizes the new change in mood which was introduced a few measures earlier when the Major Key was introduced. This major key helps to color the first half of this stanza with a more uplifting feeling when a pair of doves coo their delight at the character; but this does not last long because the lonely wanderer feels mocked by the joyful birds. Therefore, the music begins to return to minor just as the character “turns away” in measure 22, which Brahms colors with the a# and further intensifies with ascending triplets in the bass clef. Here, the vocalists would have to make sure to connect between the syllables of wen-de mich, which will emphasize this dissonance and bring more attention to both the change of mood in the text and music.
Also of note: the most active piano parts appear to take place during the words “but I turn away seeking darker shadows, and a lonely tear flows,” and “And the lonely tear trembles, burning, down my cheek,” both of the parts of the song which mention and describe actual tears. This suggests that, as the pianist is growing more active and involved, the vocalist should follow suit, as it is their job to portray the words, and must still be heard above the piano. These phrases should definitely be separated from the rest of the piece in some change, whether dynamically, or in use of color/intensity. The descending vocal line at the end of these phrases should be noted when considering dynamics (i.e, one should probably decrescendo, as the score suggests.) Also in the piano part here, repeated descending fifths take place during the growing concluding phrase in measure 44, and a V7/IV (just before measure 45) moves to iv, during the description of the tear. There is no Authentic Cadence until the very end, which is preceded by a few nocturnal eighth note measures, musically bringing us back to the mood that the piano established at the beginning of the piece, creating a sense in the listener of the piece continuing forever.
Flat Six seems to be an important interval as it is the relationship between the two keys involved in the piece, which is emphasized often during the minor parts of the piece whenever there is a d natural. Perhaps the major section of the piece could be considered a large-scale tonicization of the flat six chord. This is reflected on during the last measure of the piece, where the final eighth note in the piano’s wandering motive is a d natural. The pianist could linger a smidge on this D natural to bring out the tritone and reminded us of the brief, but joyful section with the pair of birds, before concluding.
OMG!?!?!?!?!?!?!?!? Brahms
The text is very important in this song. So, if I decide to sing this song I'd make sure that my diction is very clear. Music is fit into the poetry. This piece is great example of modal mixture and text painting. If you would like to understand the poem you would have to know German very well, because English version is really poor ( so good luck).
The phrase structure is:
-2 m. of piano introduction
-voice starts on SOL DO (wann der )I64
-2+3+3+3+3 =IAC
Chords:
I64, V I64, I64 V7, iii I64, I64 vi, IV V43/V, IV6 IV, viihd7/V V, V iv, flatVII7 flat III,
viidim i6 iihd65, V64-53-64-53 i minor IAC.
The cadence is on the end of the phrase.
traurig-sadly m11 D natural in the soprano sounds very sad ( VIflat), also leads to the key of D
taubenpaar-pair of doves m.17 I6 whit 9-8 goes to V64
wende mich-turn away m.22 vii43 /vi goes to vi6
Authentic cadence on the end.
The phrase structure is:
-2 m. of piano introduction
-voice starts on SOL DO (wann der )I64
-2+3+3+3+3 =IAC
Chords:
I64, V I64, I64 V7, iii I64, I64 vi, IV V43/V, IV6 IV, viihd7/V V, V iv, flatVII7 flat III,
viidim i6 iihd65, V64-53-64-53 i minor IAC.
The cadence is on the end of the phrase.
traurig-sadly m11 D natural in the soprano sounds very sad ( VIflat), also leads to the key of D
taubenpaar-pair of doves m.17 I6 whit 9-8 goes to V64
wende mich-turn away m.22 vii43 /vi goes to vi6
Authentic cadence on the end.
The Chase..and some other tid bits
I haven’t really got the hang of this whole analysis thing, but here we go! Beethoven’s Piano Sonata in C Major reminds me of a race, which continually builds through the first thirteen measures until it peaks with an intense run and crescendo in measures nine through eleven. This theme is repeated several times throughout the piece, seeming to appear from nowhere, as if Beethoven just fell into it again. It originally has the roman numerals in C Major: I I V6 V6 bVII bVII V42/iv iv V7 V7 IV6 V7 IV6 V7 i V…I think. I found measure 10 particularly hard to “diagnose,” if you will! Which makes sense, as it is during the most intense section of the run which goes up and down the C minor scale. The minor bit here adds interest to the pieces and suspense to the chase. The mixture chords incorporated also add interest the piece. They are used to surprise and tension.
After this section, the piece slows down a bit and returns to its original pianissimo. It has the same intensity, but it feels lazier compared to the beginning. It then enters a dolce section, which feels as if a resolution has been found. This peace is soon interrupted by the rapid eighth and sixteenth notes of the chase. In measure 156, Beethoven brings home the original theme, reinforcing the urgency of the chase. It is almost the exact same as the beginning, but differs in the resolution, which goes to a bVI, ending the theme with more suspense in a mixed chord. It then goes on, making the listener feel lost in the accidentals dispersed throughout the quick succession of sixteenth notes in measures 167 through 174. I found it difficult to figure out the roman numerals for this section. I am somewhat guessing in my answers, not because I was lazy, as Austin’s stalker would claim, but because I had trouble distinguishing if it was a new key signature or simply mixture chords. I erred on the side of mixture chords, because I feel it would help with the confusion Beethoven is obviously trying to create in his fast-paced sonata. I know that it ends in I and begins in i…but the middle is a bit hazy, combining bVI and bVII chords in measures 168 through 171.
The very end of the piece brings the theme back once again, at least the first half. But it turns quickly into punches of chords, ending in a I, to let the piece resolve cleanly. I love that the work begins and ends with the same chord progression and theme, and enjoyed that the race finally ended in measure 300, as the elaborate run concludes a with definitive end to the chase and the movement.
After this section, the piece slows down a bit and returns to its original pianissimo. It has the same intensity, but it feels lazier compared to the beginning. It then enters a dolce section, which feels as if a resolution has been found. This peace is soon interrupted by the rapid eighth and sixteenth notes of the chase. In measure 156, Beethoven brings home the original theme, reinforcing the urgency of the chase. It is almost the exact same as the beginning, but differs in the resolution, which goes to a bVI, ending the theme with more suspense in a mixed chord. It then goes on, making the listener feel lost in the accidentals dispersed throughout the quick succession of sixteenth notes in measures 167 through 174. I found it difficult to figure out the roman numerals for this section. I am somewhat guessing in my answers, not because I was lazy, as Austin’s stalker would claim, but because I had trouble distinguishing if it was a new key signature or simply mixture chords. I erred on the side of mixture chords, because I feel it would help with the confusion Beethoven is obviously trying to create in his fast-paced sonata. I know that it ends in I and begins in i…but the middle is a bit hazy, combining bVI and bVII chords in measures 168 through 171.
The very end of the piece brings the theme back once again, at least the first half. But it turns quickly into punches of chords, ending in a I, to let the piece resolve cleanly. I love that the work begins and ends with the same chord progression and theme, and enjoyed that the race finally ended in measure 300, as the elaborate run concludes a with definitive end to the chase and the movement.
Extended Analysis A or "Hensel and Gretel"
The first eight measures of "Neue Liebe, neues Leben" exhibit an array of varying techniques that slowly weave the story of "New Life, New Love" into a beautiful textile of depth and wonder. Although the first eight measures are filled with unsettling exclamations about the state of the individuals heart, and the lack of clarity he has regarding what he considers his new life, there is a musical contrast seen in the parallel period that comprises the first eight measures. Not only is there structure in the form of the parallel period but the commonplace falling third sequence is not often associated with a lamenting heart, at least not in a major key ( at least not in my experience). Despite the seemingly off color of the melody, the musicality emphasizes the text. The half cadence at the end of measure 4 complements the text as he questions what is ailing his love, and the PAC that concludes the period is a strong close to his thought. In relation to the antecedent, the consequent adapts the same falling third sequence, but the rhythm varies in that the eighth note pattern shifts to a quarter note falling pattern, giving in a firmer, more certain feel, perhaps reflecting the lover's ironic certainty that he is in fact sure that he does not know his love any longer.
In regards to the climax of the piece I would probably divide the conclusion into a two phrases: one from 64b-68a and the second from 68a-73. This is in essence the product of all the pieces build up, when the singer belts his highest note, when he finally realizes he's found his love and the song ends happily ever after, until the next big tenor graces the stage. There is a HUGE dynamic shift in the section attributing to the tremendous joy now felt by our prince charming. the harmonics in our first defined section include a mixture of IAC's to indicate the lack of finality. The repetition of "las mich los" clearly lends to the emphasis of his pleas and these are complemented by the progressing harmonies between the voice and piano, mainly the diminished vii and ii chords in the last build up before section b in measure 68. Once section b takes off, and the mixture chord in 69 launches the singer into his final approach to the money note, the contrast between the two sections is fully fleshed out. Apart from completing the climax, the harmonic progression in a, continues through to b. The greatest effect of all this is to create the needed tension and uncertainty that make the climax that much more effective and exclamatory. The chromatic passing tones in the build up to the climax highlight the textual painting that the music successfully portrays.
In regards to the climax of the piece I would probably divide the conclusion into a two phrases: one from 64b-68a and the second from 68a-73. This is in essence the product of all the pieces build up, when the singer belts his highest note, when he finally realizes he's found his love and the song ends happily ever after, until the next big tenor graces the stage. There is a HUGE dynamic shift in the section attributing to the tremendous joy now felt by our prince charming. the harmonics in our first defined section include a mixture of IAC's to indicate the lack of finality. The repetition of "las mich los" clearly lends to the emphasis of his pleas and these are complemented by the progressing harmonies between the voice and piano, mainly the diminished vii and ii chords in the last build up before section b in measure 68. Once section b takes off, and the mixture chord in 69 launches the singer into his final approach to the money note, the contrast between the two sections is fully fleshed out. Apart from completing the climax, the harmonic progression in a, continues through to b. The greatest effect of all this is to create the needed tension and uncertainty that make the climax that much more effective and exclamatory. The chromatic passing tones in the build up to the climax highlight the textual painting that the music successfully portrays.
I can't hear the bass, but I can hear the pickerel
Beethoven’s famous Piano Sonata in C Major, Op. 53 (Waldstein) is a treasure in itself. From the very first note the piece engages the listener from with fast, repeating, and distinctly clear notes. Beethoven’s realization of a driving force is simple: eighth notes. The eighth notes in the first theme prove to be one of the most characteristic “repeating note” passages in piano literature. Even so, for a pianist this piece is treacherous. Waldstein is no push-over: between the intricate scales, tenacious flexibility, and distinguishing the left hand from right the piece is thorny to say in the least. Thorny to say that even the opening C major chord is disputed between being labeled as I [tonic] or IV [in leading to the G major chord in mea. 3]
Like most compositions, Beethoven has a theme: eighth notes. And sixteenths. And triplets. But does all this have substance? The triplet is a development of the rhythm found initially in measure 3 and throughout the whole piece. For example, in the measures 110-11 the left hand begins to move in triplets rather than sixteenths. Beethoven sets this up with the eighth, two sixteenths, quarter figure, transforming a duple feel into a triplet feel. Later still in measure 142 the sixteenth notes replace the faster triplets as the section moves on.
Beethoven has a habit of recycling his thematic material. In his first theme is composed of two sections: repetitive eighth notes (in the left hand) and a quarter tied to four sixteenth notes finishing with a quarter note (descending line in the right hand). The second part of the first theme (measure 4) is later built on in measure 23, a prolongation of the original statement made in measure four. In measure 92 the development continues: the key changes, the mood changes, and the listeners are now enveloped into Beethoven’s mastery of the tonal language. These new keys, inversions, and modes make the entirety of the work stretch over a brief 10 minutes. Small chorales often gap the rigid and rapid succession of notes, granting the audience a small time in which to breathe. Of course, each performer’s own persona plays the most vital part in deciding whether the piece will be purely pandemic or pleasurable.
The Musician’s Guide recording has Sergio Monteiro playing the piano. Although a well accomplished pianist and fluent on his instrument, Monteiro’s performance left me wondering: does Beethoven anticipate much liberty to be taken with Waldstein? I realize that creatively and professionally individuals make all sorts of decisions about music: when to cut off, the attack of notes, how long is the correct length to hold a fermata, how fast (or slow) to take Holst’s Mars. I enjoyed Monteiro and his interpretation but felt it was too free, too flowing and the sound of his instrument was distracting. Perhaps it was a period instrument. Even so, I decided to venture out and find a new instrumentalist (and in part to the breaks one encounters when listening to the many tracks strung together!). Using DePauw’s subscription to the music collection database at Naxos Music Library I found an excellent performance of Beethoven’s Waldstein by Mari Kodama, performed on PentaTone classics records. Simply put, her touch is beautiful. Her runs are clean, light, but driven. Her chords full, her chorales warming and tender. Then Kodama slams back into the driving eighth notes to take the piece home. Again, nothing personal about the performers or absolute about either performance – I just prefer Kodama’s interpretation to Monteiro’s.
Live long and prosper.
Extended Analysis A
m. 56-77 BbM: I-V6-vi-iiib-IV-I6-V43-I-I-V6-vi-iii6-vi-I6-?-vi-vii-I-ii-I6-viio65/ii-ii6-V64(53)-I-V65-ii-V6/bIII-bIII-V6/iv-iv-ii6-I-V65-I-V7-I64-vii65/ii-ii6-I6-V7-I
There is an example of a parallel period in the first eight measures of the piece. It ends in a half cadence at the end of the first phrase. The first phrase is also an example of a falling thirds sequence. The first phrase along with the falling third sequence returns in the last verse of the piece. In the last verse of “Neue Liebe, neues Leben” the first part is a contrasting period. The first phrase goes from m. 56-60a while the second phrase from m. 60b-64. An imperfect authentic cadence separates the two phrases. There a falling third sequence in m. 57-58, which is also in the very beginning of the piece. The entire first phrase is presented in the very beginning of the piece in a parallel period. In the last line leading up to the climactic high G, Hensel uses repetition of the vocal line. The first phrase of the repetition is m. 64b-68a, and the second phrase is m. 68b-73. The second phrase begins a half step higher then it begins to move up building towards the high G. There are mixture chords in the second phrase as well, which were not in the first phrase. There is also another sequence in the second phrase in m. 68b-71a, ascending seconds with a 5-6 LIP. The second phrase builds up with the help of the mixture chords and ascending second sequence up to high G on a IV chord, which then goes down the scale to a I chord. Hensel adds in an Ab to a minor chord to clue the listener into some foreshadowing of the upcoming mixture chords. I think as a performer I don’t think the singer could have brought the dissonances out much more, since it is mainly with the piano. I think the piano part is gorgeous, and everything flows very nicely. As an alto, this is obviously not a piece I would choose to perform, however I think it is a very beautiful piece where the piano and voice interact in a very interesting way. I like that the phrases come back, but are almost camouflaged within the music. I really love the words as well, and the last line “Love, Love, Set me free!” practically takes my breath away.
There is an example of a parallel period in the first eight measures of the piece. It ends in a half cadence at the end of the first phrase. The first phrase is also an example of a falling thirds sequence. The first phrase along with the falling third sequence returns in the last verse of the piece. In the last verse of “Neue Liebe, neues Leben” the first part is a contrasting period. The first phrase goes from m. 56-60a while the second phrase from m. 60b-64. An imperfect authentic cadence separates the two phrases. There a falling third sequence in m. 57-58, which is also in the very beginning of the piece. The entire first phrase is presented in the very beginning of the piece in a parallel period. In the last line leading up to the climactic high G, Hensel uses repetition of the vocal line. The first phrase of the repetition is m. 64b-68a, and the second phrase is m. 68b-73. The second phrase begins a half step higher then it begins to move up building towards the high G. There are mixture chords in the second phrase as well, which were not in the first phrase. There is also another sequence in the second phrase in m. 68b-71a, ascending seconds with a 5-6 LIP. The second phrase builds up with the help of the mixture chords and ascending second sequence up to high G on a IV chord, which then goes down the scale to a I chord. Hensel adds in an Ab to a minor chord to clue the listener into some foreshadowing of the upcoming mixture chords. I think as a performer I don’t think the singer could have brought the dissonances out much more, since it is mainly with the piano. I think the piano part is gorgeous, and everything flows very nicely. As an alto, this is obviously not a piece I would choose to perform, however I think it is a very beautiful piece where the piano and voice interact in a very interesting way. I like that the phrases come back, but are almost camouflaged within the music. I really love the words as well, and the last line “Love, Love, Set me free!” practically takes my breath away.
Theory is addictive!
I did a little background research and found out that this particular piece was composed in 1804 and dedicated to count Ferdinand von Waldstein.
Let's get right down to it. I did the specific roman numeral analysis as requested by the workbook, so let's do that first.m. 1-13
C: I_I-II42_V_V_bVII_bVII-I42_IV6_iv6_V7-iv6_V-iv6-V-iv6_V7_i_V
m. 167-174
C: i_bVI_bII_bVII_bIII_iv7-iio42-II43-#IVhalfo7_V7_I
Just so you know that I know, all of the chords with a b or a # in front of it is a mixture chord.
When the main motive occurs again at measure 156, it is almost identical save for the chord at the fermata. This is a V chord in the first occurence, but a bVI chord in the second. This, to paraphrase the workbook, creates a "sensation of surprise." This sensation occurs because the listener has already heard the motive the first time (and, for almost all of us, we've probably heard this piece before, anyway...), and therefore the motive has already left an impression on the listener. When it resolves to a bVI then, the listener is at least intrigued.
When the motive is finally heard again, it is in the last 8 measures of the piece. At this point it is like the music is trying to retreat from the listener's ear. The similar sections appear an octave higher. The dynamics are also worthy of note, as well as the chords, which are similar, but not the same as before.
I don't know what else to put, or if I'm doing this right or not! (Maybe you could give me a few pointers...)
The last 22 measures of this song are a repetition of an earlier melody heard in the piece. The rhythm of the melody is a repeated quarter note, eighth eighth, quarter quarter sequence that gives it a very driven motion. This fast paced tempo reflects the last sentiment of the lover that is stated in the text “love, love, let me free!”
When someone finds themselves inconveniently in love, there are a multitude of conflicting emotions involved. The melody, in the already ameable key signature of B major, is very beautiful and easy to follow which signifies the warmth of new love. Yet, the driving motion of the melody mentioned before, along with the continuous eighth note accompaniment of the piano can be seen as the turbulence within the lovers incarcerated heart. This is harmonically reinforced by the use of dissonances as the last phrase reaches a climax on the high G. Although not all of these harmonic interruptions are the work of modal mixture, they still have an unsettling affect within musical line. However modal mixture does pop up now and then, such as the bIII chord found in measure 70. The bIII chord adds harmonic tension just before the high G, the climax.
This was a difficult piece to analyze because the chords aren’t very apparent. However, I admire Hensel’s use of precedence of motion and dissonance over harmonic development.
If I were to perform this piece I would slow it down a bit in the measures after 64. This way it would sound more anguished and really milk the two “lass mich los” before measure 71.Without any knowledge of the text anyone might mistake this for a happy ending at the pace the singer is going on the recording.
When someone finds themselves inconveniently in love, there are a multitude of conflicting emotions involved. The melody, in the already ameable key signature of B major, is very beautiful and easy to follow which signifies the warmth of new love. Yet, the driving motion of the melody mentioned before, along with the continuous eighth note accompaniment of the piano can be seen as the turbulence within the lovers incarcerated heart. This is harmonically reinforced by the use of dissonances as the last phrase reaches a climax on the high G. Although not all of these harmonic interruptions are the work of modal mixture, they still have an unsettling affect within musical line. However modal mixture does pop up now and then, such as the bIII chord found in measure 70. The bIII chord adds harmonic tension just before the high G, the climax.
This was a difficult piece to analyze because the chords aren’t very apparent. However, I admire Hensel’s use of precedence of motion and dissonance over harmonic development.
If I were to perform this piece I would slow it down a bit in the measures after 64. This way it would sound more anguished and really milk the two “lass mich los” before measure 71.Without any knowledge of the text anyone might mistake this for a happy ending at the pace the singer is going on the recording.
The Waldstein Story Sonata
First of all, let’s take care of the specific analysis business. Mixture chords are in bold.
m. 1-13 in C major:
I I V⁴₂/V V6 V6 bVII bVII V⁴₂/IV IV6 iv6 V7 iv6 V7 iv6 V7 iv6 V7 i V
m. 167-174 in C major:
i bVI bII (?) bVII bIII iv7 vii°⁴₂ V64/V vii°7/V V7 I
The opening theme in measures 1-13 and its subsequent repetitions/variations later on seemed to tell a story. The textbook purpose of a mixture chord is to evoke emotion and surprise by clouding the stability of the tonic area, often creating tension and tonal insecurity. I suppose this remains true for Beethoven in the Waldstein sonata, but for me, the mixture chords functioned more like mood setters for a good story. A story which I’m now going to tell you.
Our story starts with a journey. Beethoven opens with a series of fast eighth notes at an even but lively pace - The protagonist is traversing a new road, in a new land he’s never been to. Almost immediately, we move to a borrowed chord – V⁴₂/V, followed by V6. This motion doesn’t stray very far from C major, but it does wander far enough from tonic early enough as to prepare the listener for some unexpected tonic areas (aka mixture chords). The protagonist is eager to explore this new place, but feels somewhat unsure of what to expect. A little “birdcall motive” (measures 3-4, 7-8, 158-159, 162-163, and others) of falling 16th-note scalar passages seems both to encourage and forewarn the protagonist. We move to the first mixture chord - bVII, Bb major – which isn’t so much a surprise as a continuation of the protagonist’s mixed excitement and uncertainty. Another borrowed chord takes us to F major, and we hear the birdcall again (m. 7-8). But this time, the bird has become distinctly aware of some nearby danger, and frantically flies down at the protagonist – indicated by the quick V7 - iv6 harmonies and 16th-note runs in the right hand between F and B, a tritone apart. Eventually the bird’s erratic flight forces the protagonist off the road (m. 11) and a cautious unison arpeggio of C minor (i) in the next two measures illustrates the dust settling, as both traveler and bird wait to see if the coast is clear. The return to C major in measure 14 lets us know that all is well.
Many measures later (156 -174) we find the protagonist and bird resting together by the road, having become friends on the journey and experienced some interesting tonal areas and met some new theme material along their way. In measure 156 the opening music is repeated, as if the two friends are remembering their meeting and reflecting on it. In measure 167 the cautious C minor chord is repeated, but instead of resting on G as in measure 13, Beethoven holds a unison Ab (bVI). It seems that now, instead of waiting once more for the dust to settle and to watch for danger, the traveler, having experienced it already and now looking back, sees this moment as a life lesson, to look back on and appreciate. The cautious motive of measures 167-168 is repeated in 169-170, but this time Db major (bII) is arpeggiated, followed by unison Bb (bVII). It seems as if the traveler is saying, “You know, this has been an eventful journey, but a good one. I’m glad I started down this road.” And with those thoughts, he meanders happily back to C major through a harp figure in measures 171-173, from bIII to secondary dominants and eventually a nice V7 – I authentic cadence.
It’s strange to describe a piece this way - birds and traveling and stange new places... well, you know, I did go to China over winter term - but I think the story is a better illustration of the effect the mixture chords have, rather than saying “the Le in the bass adds tension to a tense measure”. While they do add “surprise” and “tonal variation” it’s much easier to comprehend from a narrative with the emotions built in.
I hope this covers everything from the questions… see you Monday!
m. 1-13 in C major:
I I V⁴₂/V V6 V6 bVII bVII V⁴₂/IV IV6 iv6 V7 iv6 V7 iv6 V7 iv6 V7 i V
m. 167-174 in C major:
i bVI bII (?) bVII bIII iv7 vii°⁴₂ V64/V vii°7/V V7 I
The opening theme in measures 1-13 and its subsequent repetitions/variations later on seemed to tell a story. The textbook purpose of a mixture chord is to evoke emotion and surprise by clouding the stability of the tonic area, often creating tension and tonal insecurity. I suppose this remains true for Beethoven in the Waldstein sonata, but for me, the mixture chords functioned more like mood setters for a good story. A story which I’m now going to tell you.
Our story starts with a journey. Beethoven opens with a series of fast eighth notes at an even but lively pace - The protagonist is traversing a new road, in a new land he’s never been to. Almost immediately, we move to a borrowed chord – V⁴₂/V, followed by V6. This motion doesn’t stray very far from C major, but it does wander far enough from tonic early enough as to prepare the listener for some unexpected tonic areas (aka mixture chords). The protagonist is eager to explore this new place, but feels somewhat unsure of what to expect. A little “birdcall motive” (measures 3-4, 7-8, 158-159, 162-163, and others) of falling 16th-note scalar passages seems both to encourage and forewarn the protagonist. We move to the first mixture chord - bVII, Bb major – which isn’t so much a surprise as a continuation of the protagonist’s mixed excitement and uncertainty. Another borrowed chord takes us to F major, and we hear the birdcall again (m. 7-8). But this time, the bird has become distinctly aware of some nearby danger, and frantically flies down at the protagonist – indicated by the quick V7 - iv6 harmonies and 16th-note runs in the right hand between F and B, a tritone apart. Eventually the bird’s erratic flight forces the protagonist off the road (m. 11) and a cautious unison arpeggio of C minor (i) in the next two measures illustrates the dust settling, as both traveler and bird wait to see if the coast is clear. The return to C major in measure 14 lets us know that all is well.
Many measures later (156 -174) we find the protagonist and bird resting together by the road, having become friends on the journey and experienced some interesting tonal areas and met some new theme material along their way. In measure 156 the opening music is repeated, as if the two friends are remembering their meeting and reflecting on it. In measure 167 the cautious C minor chord is repeated, but instead of resting on G as in measure 13, Beethoven holds a unison Ab (bVI). It seems that now, instead of waiting once more for the dust to settle and to watch for danger, the traveler, having experienced it already and now looking back, sees this moment as a life lesson, to look back on and appreciate. The cautious motive of measures 167-168 is repeated in 169-170, but this time Db major (bII) is arpeggiated, followed by unison Bb (bVII). It seems as if the traveler is saying, “You know, this has been an eventful journey, but a good one. I’m glad I started down this road.” And with those thoughts, he meanders happily back to C major through a harp figure in measures 171-173, from bIII to secondary dominants and eventually a nice V7 – I authentic cadence.
It’s strange to describe a piece this way - birds and traveling and stange new places... well, you know, I did go to China over winter term - but I think the story is a better illustration of the effect the mixture chords have, rather than saying “the Le in the bass adds tension to a tense measure”. While they do add “surprise” and “tonal variation” it’s much easier to comprehend from a narrative with the emotions built in.
I hope this covers everything from the questions… see you Monday!
Fanny
In the measures 56-63 of Fanny Mendelssohn Hensel's piece, "Neue Liebe, neues Leben," the harmonic language includes a falling thirds sequence in the progression of I-V6-vi-iii6-IV-I6-V43-I. This follows the typical tonic-predominant-dominant-tonic progression and is repeated in the next 4 measures as the same progression but with a ii in place of the V43, a V7 in place of the next I, and surprisingly then to a IV and V instead of the expected tonic I. With this harmonic language in mind and when taking into account the melody of each set of four measures, it is reasonable to state that the first 8 measures of this section constitute a parallel period. This also becomes apparent when one notices the presence of a half cadence at the end of the first four bars and a perfect authentic cadence at the conclusion of the next few bars after the surprising elongation of the predominant and dominant in measure 64. Hensel varies the melody of the consequent phrase in addition to the harmonic structure by adding chromatic eighth notes on the second two beats of measure 60, 61, and 62. These notes serve as chromatic passing tones that help to propel the melody forward with a sense of hope--this is quite appropriate seeing as the text is, "ach, wie gross!" (alas--how great!). As stated before, the event that occurs in measure 64 is the surprising elongation of the predominant-dominant figure, when one expects to hear a return to the tonic. This most likely occurs because the text is a repetition of "laß mich los" ("let me free") and the tension of being held captive by love can be felt in the IV-V elongation.
It would seem that the logical way to divide the phrase into segments beginning in measure 64b with "laß mich los" would be to begin there and end that phrase in measure 68. The next phrase would then go from the second half of measure 69 (with, again, "laß mich los") and conclude with the end of the vocal line in measure 73. This division is apparent in both the melody as well as the piano accompaniment. The second phrase is different, however, because the first "laß mich los" in measure 69 is a minor third higher than the other in measure 64. Then, the music takes a dramatic turn with the second half of measure 70 when Hensel builds up to a high G5 through the use of chromaticism. This is then resolved down to a B through a scale beginning on the same high G. The harmonic analysis of this section reveals a secondary dominant, a vii65 diminished/ii on beat four of measure 66. Perhaps this is because at this point, the vocalist is directly singing the world "love" and because he feels captured, there is a distinct shift in the harmonic color because of the attitude toward love.
A noticeable use of dissonance occurs on the downbeat of measure 68 and the word "los" on a C#. This also serves as a chromatic lower neighbor to the following D. Perhaps this dissonance is placed purposefully on the word "lost" to create a sense of tension and disorder. Another instance of dissonance occurs on the first beat of measure 72 on the "let" of "let me free, creating an almost pleading sense of sadness. The singer does a good job on the recording of conveying this sense of pleading, though I think I would emphasize it more if I were performing it. The singer also seems to take a bit of rubato in measure 72, which I think is quite fitting though it is not marked in the music. I would probably do this as well if I were performing this, though I don't plan on performing it anytime soon because A) I am not a man and B) I am a violist.
When asked to comment on his opinion of Fanny Mendelssohn Hensel, Paul McCartney simply did this:
It would seem that the logical way to divide the phrase into segments beginning in measure 64b with "laß mich los" would be to begin there and end that phrase in measure 68. The next phrase would then go from the second half of measure 69 (with, again, "laß mich los") and conclude with the end of the vocal line in measure 73. This division is apparent in both the melody as well as the piano accompaniment. The second phrase is different, however, because the first "laß mich los" in measure 69 is a minor third higher than the other in measure 64. Then, the music takes a dramatic turn with the second half of measure 70 when Hensel builds up to a high G5 through the use of chromaticism. This is then resolved down to a B through a scale beginning on the same high G. The harmonic analysis of this section reveals a secondary dominant, a vii65 diminished/ii on beat four of measure 66. Perhaps this is because at this point, the vocalist is directly singing the world "love" and because he feels captured, there is a distinct shift in the harmonic color because of the attitude toward love.
A noticeable use of dissonance occurs on the downbeat of measure 68 and the word "los" on a C#. This also serves as a chromatic lower neighbor to the following D. Perhaps this dissonance is placed purposefully on the word "lost" to create a sense of tension and disorder. Another instance of dissonance occurs on the first beat of measure 72 on the "let" of "let me free, creating an almost pleading sense of sadness. The singer does a good job on the recording of conveying this sense of pleading, though I think I would emphasize it more if I were performing it. The singer also seems to take a bit of rubato in measure 72, which I think is quite fitting though it is not marked in the music. I would probably do this as well if I were performing this, though I don't plan on performing it anytime soon because A) I am not a man and B) I am a violist.
When asked to comment on his opinion of Fanny Mendelssohn Hensel, Paul McCartney simply did this:
Extended Analysis A
The first 8 measures of the second half of the final verse of Hensel's "Neue Liebe, neues Leben" start out similarly as the beginning of the piece. The first four measures contain a falling third sequence and end in a half cadence, while the next four measures also have a falling third sequence, with the addition of chromatic passing tones, and end surprisingly on a four chord in measure 64. This might be a little far fetched, but I like to think of this surprise as breaking free from the "stereotypical" phrase endings, just as the text is talking about breaking free from love.
For measures 64b-73, I would definitely split the excerpt into two phrase units, one from 64b to 68a, and the second from 68b to 73. The main difference between the two units is that the first follows a nice (PD)-D-T harmony with a secondary dominant(vii dim 7/ ii) at the end of measure 66, and the second unit is filled with modal mixture- specifically VI65, ii, VII6, bIII, I6, I+6, IV, bIII/ii, ii6, biv dim, I64, V, I.
Hensel uses a lot of dissonance in building up the tension from measure 64b thru the end of measure 71. For instance, there is a vii dim7/ii on beat four of measure 66, which suspends into measure 67. While the bass note changes to Eb on beat one, the rest of the chord does not resolve to ii until the second half of the beat, and then goes on to pass thru more dissonance on beat two into the second half of that beat. Also, beat one of measure 68 contains an A. Eb and C#, which are passing tones forming a suspension into beat two. Finally, on the last beat of measure 70, there is an odd augmented I chord, and on beat four of measure 71, what appears to be a flat iv dim chord. This leads into measure 72, where we finally are back to a nice I chord followed by an even nicer V-I PAC, where we hear the singer come to terms with being free from love. In performance, I would definitely emphasize beat one's suspension in 67, as it is there where the tension temporarily resolves. I would also emphasize the augmented chord in measure 70, as that is the final building block into the climactic G in measure 71, which will soon bring resolution.
For measures 64b-73, I would definitely split the excerpt into two phrase units, one from 64b to 68a, and the second from 68b to 73. The main difference between the two units is that the first follows a nice (PD)-D-T harmony with a secondary dominant(vii dim 7/ ii) at the end of measure 66, and the second unit is filled with modal mixture- specifically VI65, ii, VII6, bIII, I6, I+6, IV, bIII/ii, ii6, biv dim, I64, V, I.
Hensel uses a lot of dissonance in building up the tension from measure 64b thru the end of measure 71. For instance, there is a vii dim7/ii on beat four of measure 66, which suspends into measure 67. While the bass note changes to Eb on beat one, the rest of the chord does not resolve to ii until the second half of the beat, and then goes on to pass thru more dissonance on beat two into the second half of that beat. Also, beat one of measure 68 contains an A. Eb and C#, which are passing tones forming a suspension into beat two. Finally, on the last beat of measure 70, there is an odd augmented I chord, and on beat four of measure 71, what appears to be a flat iv dim chord. This leads into measure 72, where we finally are back to a nice I chord followed by an even nicer V-I PAC, where we hear the singer come to terms with being free from love. In performance, I would definitely emphasize beat one's suspension in 67, as it is there where the tension temporarily resolves. I would also emphasize the augmented chord in measure 70, as that is the final building block into the climactic G in measure 71, which will soon bring resolution.
"Neue Liebe, neues Leben" by Fanny Mendelssohn Hensel
Roman Numeral Analysis:
Text example 18.15 – m. 1-4: B flat Major: I, V6, vi, iii6, IV, I6, V43, I, V64-53 – Analysis from text
Text example 18. 23: m. 69-71: B flat Major: ii, V6/flatIII, flatIII, V65(3-# passing harmony)/IV, IV, (IVaugmented, ii6, VL chord – this is chromatic movement of voices to further lead to the V64-53, so measure 71 could be seen as one big IV with passing harmonies) text states m. 69-71 is ascending seconds with 5-6 LIP
The whole end, m. 56-77
m. 56-61: B flat Major: I, V6, vi, iii6, IV, I6, V43, I, V64-53, I, V6, vi
m. 62-66: B flat Major: iii6, IV, I6, ii, V74-3, I, IV6, V6, I, V43, I6, vii65/ii
m. 67-71: B flat Major: ii6, V64-53, I(7-8)(2-3), V65/ii, ii, V6/flatIII, flatIII, V65(3-# passing harmony)/IV, IV, (IVaugmented, ii6, VL chord – passing harmonies in one big IV of m. 71)
m. 72-77: V64-53, I, (I64), V7, I64, V7, I64-53, vii65/ii, ii6, I6, V7, I(9-8)(4-3)
The harmonic analysis of the first eight measures shows that there is a falling thirds with alternating first inversion chords in both the first phrase (m. 1-4) and the second phrase (m. 5-8) .The first phrase ends in a half cadence, while the second phrase ends in a perfect authentic cadence in the tonic key, B flat Major. The two phrases together make a parallel period. Passing tones and harmonies in the first phrase include the alternating first inversion chords (V6, iii6 m. 1-3), the V43 (m. 4), and the V64-53 motion for the half cadence (m. 4). For the second phrase, passing tones and harmonies include first inversion chords (V6, iii6, m. 5-6), the second chord of m. 7 (strictly analyzing notes of that beat, it spells a vii6 chord, but listeners probably will not hear that. Rather, it is probably heard as expansion of I6), and the V7(4-3) motion leading to the perfect authentic cadence (m. 7-8). Melodically, the same quarter note-eighth note-eight note-quarter note-qaurter note motif (from anacrusis to second beat of m. 1 for example) is repeated several times in these first eight measures, as the melody is largely built upon this motif. Aside from the first phrase ending in a half cadence and the second ending in a perfect authentic cadence, the differences in the end of the each phrase are in the change in melodic contour and notes at the end of each phrase. The cadences for each phrase match the text well also. The first phrase (m. 1-4) ends in half cadence due to its representation of the singer asking his heart the question, “What is besieging you so?” The singer is compelled to ask this question, as he is shattered in a loss and the troubles of loving the woman he loves, as is suggested in the text throughout the piece. The perfect authentic cadence of the following phrase supports the statement that he does not know his life anymore.
M. 56-63 leading up to m. 64 exhibit nearly identical harmonic and melodic contour as m. 1-8, save for a few extra melodic chromatic passing tones in the voice and piano (m. 61 and 62, for example) and different text. However, in an unexpected turn of events, the cadence of m. 63 ends deceptively in a IV6, going along with the text that the cadence ends in, “laß mich los,” which translates to, “set me free!” The singer’s desire to be free grows, and the singer continues repeat this text, building in tension and dynamics. An IAC is met in m. 68, but the singer is compelled to proclaim his (or her) desire to be free once again and builds up to a larger fortissimo in m. 71 on to end in a full perfect authentic cadence in m. 73. Indeed, the singer wanting to be set free from his love is portrayed well in the music. Frequently changing harmonies ascending stepwise in pitch occur (refer to harmonic analysis and m. 64-77), the singer’s quarter note-fifth down quarter none- sixth up-quarter note motif whenever “laß mich los” is stated ascends in pitch when it is repeated (m. 64, 65), and the arpeggiating patterns in the piano always arpeggiate upwards, ascending in pitch along with the voice and harmonies. A large shift in dynamics (from forte to fortissimo m. 68-71) and ascending chromaticism also are present, especially in the harmonic changes and the stepwise motion of the bass notes of the piano in m. 68-71. All these factors create a feeling of much movement, and a desire to change and be set free. The piano continues the forward motion created in m. 73-75 and finally slows down to conclude the piece in an IAC (m. 76-77). I feel the performance on the CD ends too softly; there are no dynamic markings in the score after the fortissimo in m. 71, and the pianist in the recording ends in a piano dynamic. To match the great motion created from m. 64-73 and respect the markings in the score more closely, I think the performers should end the piece in m. 76-77 with a more firm and full sound.
The two phrases from m. 64-73 both create tension and excitement, but at different levels. In the first phrase (m. 64-68), tension begins building right at the beginning of the repetition of “laß mich los,” with the aforementioned continuous ascending pitches, harmonies and arpeggiations and stepwise bass of the piano up to its imperfect authentic cadence in m. 68. Accented dissonances (m. 68 on I(7-8)(2-3) and first beat m. 67), diminished vii chords (vii65/ii m. 66) and chromaticism (m. fourth beat m. 66, first and fourth beat m. 67, and first and third beat m. 68) add to the excitement. However, the amount of excitement in the second phrase builds up even further than the first did, with the continuous ascending motion becoming chromatic (in the bass of m. 68-first beat of m. 72), chromatic passing tones (fourth beat of m. 70), augmented chords (IVaugmented of second beat m. 71), and a large shift of dynamics to fortissimo (m. 71) creating the greater tension. The increase in the colors of harmonic qualities and great shift in dynamics stress the desire of wanting to break free of the singer’s troubles through love. The text, “Liebe, Liebe” (m. 66-67) are words that display strong emotional meaning and are at the climax of both the first and second phrase of m. 64-73. Therefore, the dissonances of the each phrase should be made present with a full, firm sound in performance. However, I do not think there should be rubato during the first “Liebe, Liebe” (m. 67), as the piece still has to build up to the largest climax of the piece, the “Liebe, Liebe” of m. 71. When the performers finally get there (m. 71), progressively more emphasis on each chord is a possibility, as the chords in the piano of m. 71 are special and making the second pronunciation of “Liebe, Liebe” quite meaningful. With text being repeated a second time like this, the singer is really serious about what he is singing. Then, the piano can resume tempo at the perfect authentic cadence of m. 73.
Text example 18.15 – m. 1-4: B flat Major: I, V6, vi, iii6, IV, I6, V43, I, V64-53 – Analysis from text
Text example 18. 23: m. 69-71: B flat Major: ii, V6/flatIII, flatIII, V65(3-# passing harmony)/IV, IV, (IVaugmented, ii6, VL chord – this is chromatic movement of voices to further lead to the V64-53, so measure 71 could be seen as one big IV with passing harmonies) text states m. 69-71 is ascending seconds with 5-6 LIP
The whole end, m. 56-77
m. 56-61: B flat Major: I, V6, vi, iii6, IV, I6, V43, I, V64-53, I, V6, vi
m. 62-66: B flat Major: iii6, IV, I6, ii, V74-3, I, IV6, V6, I, V43, I6, vii65/ii
m. 67-71: B flat Major: ii6, V64-53, I(7-8)(2-3), V65/ii, ii, V6/flatIII, flatIII, V65(3-# passing harmony)/IV, IV, (IVaugmented, ii6, VL chord – passing harmonies in one big IV of m. 71)
m. 72-77: V64-53, I, (I64), V7, I64, V7, I64-53, vii65/ii, ii6, I6, V7, I(9-8)(4-3)
The harmonic analysis of the first eight measures shows that there is a falling thirds with alternating first inversion chords in both the first phrase (m. 1-4) and the second phrase (m. 5-8) .The first phrase ends in a half cadence, while the second phrase ends in a perfect authentic cadence in the tonic key, B flat Major. The two phrases together make a parallel period. Passing tones and harmonies in the first phrase include the alternating first inversion chords (V6, iii6 m. 1-3), the V43 (m. 4), and the V64-53 motion for the half cadence (m. 4). For the second phrase, passing tones and harmonies include first inversion chords (V6, iii6, m. 5-6), the second chord of m. 7 (strictly analyzing notes of that beat, it spells a vii6 chord, but listeners probably will not hear that. Rather, it is probably heard as expansion of I6), and the V7(4-3) motion leading to the perfect authentic cadence (m. 7-8). Melodically, the same quarter note-eighth note-eight note-quarter note-qaurter note motif (from anacrusis to second beat of m. 1 for example) is repeated several times in these first eight measures, as the melody is largely built upon this motif. Aside from the first phrase ending in a half cadence and the second ending in a perfect authentic cadence, the differences in the end of the each phrase are in the change in melodic contour and notes at the end of each phrase. The cadences for each phrase match the text well also. The first phrase (m. 1-4) ends in half cadence due to its representation of the singer asking his heart the question, “What is besieging you so?” The singer is compelled to ask this question, as he is shattered in a loss and the troubles of loving the woman he loves, as is suggested in the text throughout the piece. The perfect authentic cadence of the following phrase supports the statement that he does not know his life anymore.
M. 56-63 leading up to m. 64 exhibit nearly identical harmonic and melodic contour as m. 1-8, save for a few extra melodic chromatic passing tones in the voice and piano (m. 61 and 62, for example) and different text. However, in an unexpected turn of events, the cadence of m. 63 ends deceptively in a IV6, going along with the text that the cadence ends in, “laß mich los,” which translates to, “set me free!” The singer’s desire to be free grows, and the singer continues repeat this text, building in tension and dynamics. An IAC is met in m. 68, but the singer is compelled to proclaim his (or her) desire to be free once again and builds up to a larger fortissimo in m. 71 on to end in a full perfect authentic cadence in m. 73. Indeed, the singer wanting to be set free from his love is portrayed well in the music. Frequently changing harmonies ascending stepwise in pitch occur (refer to harmonic analysis and m. 64-77), the singer’s quarter note-fifth down quarter none- sixth up-quarter note motif whenever “laß mich los” is stated ascends in pitch when it is repeated (m. 64, 65), and the arpeggiating patterns in the piano always arpeggiate upwards, ascending in pitch along with the voice and harmonies. A large shift in dynamics (from forte to fortissimo m. 68-71) and ascending chromaticism also are present, especially in the harmonic changes and the stepwise motion of the bass notes of the piano in m. 68-71. All these factors create a feeling of much movement, and a desire to change and be set free. The piano continues the forward motion created in m. 73-75 and finally slows down to conclude the piece in an IAC (m. 76-77). I feel the performance on the CD ends too softly; there are no dynamic markings in the score after the fortissimo in m. 71, and the pianist in the recording ends in a piano dynamic. To match the great motion created from m. 64-73 and respect the markings in the score more closely, I think the performers should end the piece in m. 76-77 with a more firm and full sound.
The two phrases from m. 64-73 both create tension and excitement, but at different levels. In the first phrase (m. 64-68), tension begins building right at the beginning of the repetition of “laß mich los,” with the aforementioned continuous ascending pitches, harmonies and arpeggiations and stepwise bass of the piano up to its imperfect authentic cadence in m. 68. Accented dissonances (m. 68 on I(7-8)(2-3) and first beat m. 67), diminished vii chords (vii65/ii m. 66) and chromaticism (m. fourth beat m. 66, first and fourth beat m. 67, and first and third beat m. 68) add to the excitement. However, the amount of excitement in the second phrase builds up even further than the first did, with the continuous ascending motion becoming chromatic (in the bass of m. 68-first beat of m. 72), chromatic passing tones (fourth beat of m. 70), augmented chords (IVaugmented of second beat m. 71), and a large shift of dynamics to fortissimo (m. 71) creating the greater tension. The increase in the colors of harmonic qualities and great shift in dynamics stress the desire of wanting to break free of the singer’s troubles through love. The text, “Liebe, Liebe” (m. 66-67) are words that display strong emotional meaning and are at the climax of both the first and second phrase of m. 64-73. Therefore, the dissonances of the each phrase should be made present with a full, firm sound in performance. However, I do not think there should be rubato during the first “Liebe, Liebe” (m. 67), as the piece still has to build up to the largest climax of the piece, the “Liebe, Liebe” of m. 71. When the performers finally get there (m. 71), progressively more emphasis on each chord is a possibility, as the chords in the piano of m. 71 are special and making the second pronunciation of “Liebe, Liebe” quite meaningful. With text being repeated a second time like this, the singer is really serious about what he is singing. Then, the piano can resume tempo at the perfect authentic cadence of m. 73.
"Die Mainacht" by J. Brahms
Brahms does an exquisite job conveying the text of "Die Mainacht" though his accompaniment and contour of the melody. The first definite key change in measure thirteen shows the change of thought of the singer. It also begins a new image of happy nature with the "pair of doves" juxtaposed with the previous image of the wandering, sad speaker. This cadence is especially important because it makes the rest of the second inversion tonic chords stick out as unsettling. It would be easy as a performer to relay this feeling of hopelessness and uncertainty with this accompaniment because the melody is very exposed just like the person observing this scene. The accompaniment is strong and smooth while the melody is very soaring and at parts seems detached because of the large range covered by the singer.
If I were to perform this piece it would be crucial to breath and connect the phrases according to the text. Brahms helps this feeling of movement by carrying the line forward and forcing the singer to attach each thought rather than giving specific rests for breathing purposes. A good example of this is measures thirty-three through thirty-eight. The line, "When, O smiling image, which like rosy dawn through my sould shines, shall I find you on earth?" must all be delivered on the same breath or else it will not make sense. It would also be extremely distracting and draw away from the dramatic sadness of this line if the singer were to breath in the middle of the phrase. This connection also allows for a stronger entrance on the next line, " And the lonely tear trembles, burning, down my cheek." This phrase also prepares the audience for the climax of the piece in measures forty-four and forty-five. Most singers would chose to breath in the last beat of forty-four in preparation for the high g natural at the beginning of measure forty-five. I also would breath there in order to highlight the repetition of the word "heisser." However, this is not a phrase ending. It should be treated as a strong reiteration of the speakers melancholy existence. The fact that Brahms chooses this word as the climax of the piece proves that is it extremely important to keep the intensity even if the singer takes a breath. Another way Brahms helps continue this feeling through these two measures is the pull from the d sharp to the d natural and the g sharp to the g natural. So, automatically the audience is waiting for that high note in forty-five and should not be distracted by the breath that comes before it. This same pattern is foreshadowed in measures twenty-eight through thirty. These measures preapare the audience for a climax, but it does not happen. I would perform this as if the speaker is about to give up but then retreats back into her thoughts in order to truly express the despair she feels. In fact, Brahms chooses to end this phrase with I64 chord to continue the unsettling melancholy into the third verse. The postlude serves as a return to the monotony of the singer's mind. Also, by ending with a V42/V into a I the audience is left with a feeling of doubtful resolution. This cadence also brings to mind all of the unsettling I64 chords throughout the piece, and it makes the final cadence very bittersweet and almost unfulfilling because it is so sad. The image I have in my mind is of a lonely person in a dark street dissapearing into the shadows to dwell on their unhappiness.
This work is a supurb example of text painting, and the purpose of mixed mode chords. Brahms does not employ these aspects to jolt his audience, or to be shocking. He inserts them slyly to convey the feelings of the speaker. They also point out the important words realted to the feelings of the singer whereas these images may be lost without such a harmonization.
If I were to perform this piece it would be crucial to breath and connect the phrases according to the text. Brahms helps this feeling of movement by carrying the line forward and forcing the singer to attach each thought rather than giving specific rests for breathing purposes. A good example of this is measures thirty-three through thirty-eight. The line, "When, O smiling image, which like rosy dawn through my sould shines, shall I find you on earth?" must all be delivered on the same breath or else it will not make sense. It would also be extremely distracting and draw away from the dramatic sadness of this line if the singer were to breath in the middle of the phrase. This connection also allows for a stronger entrance on the next line, " And the lonely tear trembles, burning, down my cheek." This phrase also prepares the audience for the climax of the piece in measures forty-four and forty-five. Most singers would chose to breath in the last beat of forty-four in preparation for the high g natural at the beginning of measure forty-five. I also would breath there in order to highlight the repetition of the word "heisser." However, this is not a phrase ending. It should be treated as a strong reiteration of the speakers melancholy existence. The fact that Brahms chooses this word as the climax of the piece proves that is it extremely important to keep the intensity even if the singer takes a breath. Another way Brahms helps continue this feeling through these two measures is the pull from the d sharp to the d natural and the g sharp to the g natural. So, automatically the audience is waiting for that high note in forty-five and should not be distracted by the breath that comes before it. This same pattern is foreshadowed in measures twenty-eight through thirty. These measures preapare the audience for a climax, but it does not happen. I would perform this as if the speaker is about to give up but then retreats back into her thoughts in order to truly express the despair she feels. In fact, Brahms chooses to end this phrase with I64 chord to continue the unsettling melancholy into the third verse. The postlude serves as a return to the monotony of the singer's mind. Also, by ending with a V42/V into a I the audience is left with a feeling of doubtful resolution. This cadence also brings to mind all of the unsettling I64 chords throughout the piece, and it makes the final cadence very bittersweet and almost unfulfilling because it is so sad. The image I have in my mind is of a lonely person in a dark street dissapearing into the shadows to dwell on their unhappiness.
This work is a supurb example of text painting, and the purpose of mixed mode chords. Brahms does not employ these aspects to jolt his audience, or to be shocking. He inserts them slyly to convey the feelings of the speaker. They also point out the important words realted to the feelings of the singer whereas these images may be lost without such a harmonization.
Rockin' out to Beethoven
Beethoven uses many repeating motives throughout his Waldstein Sonata. The exhilarating motive which he opens the piece with exemplifies a very effective use of mixture chords to create a feeling of excitement and go-go. The piece opens with a strong tonic chord and fast moving eighth notes that add to the excitement. The motive builds in the bass with the use of accidentals and passing tones. Each time the bass gets settled it is up rooted again and pushed foreword. The alternations between the mixture chords give the piece a sort of pulling feeling, the dark vs. the light and good.
In the return to this motive in m. 156-170 the sections begin exactly alike. It isn’t until the 12th measure of the motive when things begin to get funky. The closing of this section is extended by none other than... MIXTURE CHORDS!! Instead of repeating the half cadence of the original motive, Beethoven mixes things up and stretches the cadence out, moving from I to bVI to a half-diminished vii7 to a bIII to a iv and finally a V I yeah for PACs!
Go Beethoven and mixture chords!
In the return to this motive in m. 156-170 the sections begin exactly alike. It isn’t until the 12th measure of the motive when things begin to get funky. The closing of this section is extended by none other than... MIXTURE CHORDS!! Instead of repeating the half cadence of the original motive, Beethoven mixes things up and stretches the cadence out, moving from I to bVI to a half-diminished vii7 to a bIII to a iv and finally a V I yeah for PACs!
Go Beethoven and mixture chords!
i wish my post was as good as tiffypoo's
Fanny Mendelssohn Hensel’s piece “Neue Liebe, neues Leben” is a beautiful and sad tale of love. The first eight measures in 56-77 work as a parallel period. The first phrase, ending on the first half of measure sixty, is a cadential 64, ending on the word “Weise”. The second cadence is an imperfect authentic cadence on the word “los” in measure sixty four. The harmonies are identical for the first three measures in each phrase, changing only for the cadence. Hensel employs an ascending fifths sequence in alternating first inversions, making the bass descend in a stepwise motion. There is an accented passing tone in measure 63, a B flat on beat three that is being used to accent the German word for let, changing the lyrical line to “love, let me free”. I would divide measures 64b-72 into phrase units by ending phrase one at the first half of 68. The first of those phrases has a secondary dominant on the fourth beat of measure sixty six, a vii065/ii leading to a ii6 on the downbeat. It also contains a mixture chord on the downbeat of measure 68, at the cadence. There is a major seven chord leading to the one chord. The second phrase begins with a secondary dominant, a V65/ii leading to a ii. That is followed by another secondary dominant, the V65/bIII going to a bIII. This repetition of secondary dominants in this passage serves to destabilize tonic. That gives the music an unsettled and tortured feeling, which appropriately matches the repetition of “love, let me free” in the lyrics. The climax is reached by a chromatic style chord progression that includes a quicker harmonic rhythm, in measure seventy one. IV goes to IV+ to ii6 to #iv07, resolving to a I64 on the downbeat. The chromatic movement in the left hand piano part added to the sustained high G in the voice creates increasing tension. The tension is added to in performance by a subtle accelerando in measure seventy one, and a ritard in measure seventy two, the denouement. This enhances the picture to the listener of reaching without having caught, or, as in this specific song, trying to escape love and failing. Hensel writes a chromatic passing tone, the f sharp, on the fourth beat of measure seventy, which I would choose to stretch to make the climb up to the high g even more dramatic. Hensel uses accented dissonance in measure sixty eight, on the cadence. As a performer I would not linger on this beat, and instead let it propel the audience forward into the build up of the climax. There is also a suspension in measure sixty eight, adding more to the unfinished feeling of the cadence. A diminished seventh chord is used in the fourth beat of measure seventy one, to accentuate the unhappiness of the lyrics as much as possible. An augmented triad is used in measure seventy one as well, on beat two. It serves to continue the chromatic line and increase tension with its dissonance. So the dissonance, in passing tones, mixture chords, secondary dominants, etc. in this piece can really make you sad. Don’t listen. Be happy.
Fanny Mendelssohn Hensel’s piece “Neue Liebe, neues Leben” is a beautiful and sad tale of love. The first eight measures in 56-77 work as a parallel period. The first phrase, ending on the first half of measure sixty, is a cadential 64, ending on the word “Weise”. The second cadence is an imperfect authentic cadence on the word “los” in measure sixty four. The harmonies are identical for the first three measures in each phrase, changing only for the cadence. Hensel employs an ascending fifths sequence in alternating first inversions, making the bass descend in a stepwise motion. There is an accented passing tone in measure 63, a B flat on beat three that is being used to accent the German word for let, changing the lyrical line to “love, let me free”. I would divide measures 64b-72 into phrase units by ending phrase one at the first half of 68. The first of those phrases has a secondary dominant on the fourth beat of measure sixty six, a vii065/ii leading to a ii6 on the downbeat. It also contains a mixture chord on the downbeat of measure 68, at the cadence. There is a major seven chord leading to the one chord. The second phrase begins with a secondary dominant, a V65/ii leading to a ii. That is followed by another secondary dominant, the V65/bIII going to a bIII. This repetition of secondary dominants in this passage serves to destabilize tonic. That gives the music an unsettled and tortured feeling, which appropriately matches the repetition of “love, let me free” in the lyrics. The climax is reached by a chromatic style chord progression that includes a quicker harmonic rhythm, in measure seventy one. IV goes to IV+ to ii6 to #iv07, resolving to a I64 on the downbeat. The chromatic movement in the left hand piano part added to the sustained high G in the voice creates increasing tension. The tension is added to in performance by a subtle accelerando in measure seventy one, and a ritard in measure seventy two, the denouement. This enhances the picture to the listener of reaching without having caught, or, as in this specific song, trying to escape love and failing. Hensel writes a chromatic passing tone, the f sharp, on the fourth beat of measure seventy, which I would choose to stretch to make the climb up to the high g even more dramatic. Hensel uses accented dissonance in measure sixty eight, on the cadence. As a performer I would not linger on this beat, and instead let it propel the audience forward into the build up of the climax. There is also a suspension in measure sixty eight, adding more to the unfinished feeling of the cadence. A diminished seventh chord is used in the fourth beat of measure seventy one, to accentuate the unhappiness of the lyrics as much as possible. An augmented triad is used in measure seventy one as well, on beat two. It serves to continue the chromatic line and increase tension with its dissonance. So the dissonance, in passing tones, mixture chords, secondary dominants, etc. in this piece can really make you sad. Don’t listen. Be happy.
Extended analysis....the long one
Fanny Mendelssohn Hensel’s “Neue Liebe, neues Leben” begins with what is described in our workbook as an antecedent and consequent phrase. The first four measures conclude with a half cadence, while the second four measures conclude with a perfect authentic cadence. The consequent portion is really not that different from the antecedent. In fact, the first three measures are exactly the same. It is not until the line (translated) “ I do not know you anymore” that the melody changes. This change in harmony is represented by the idea that the singer does not know his lover anymore. There is then a “B” section which the workbook does not ask us to analyze, and then a return of the “A” section which is where the analysis picks up again.
In measure 64 there is a repetition of the line “let me go” and a sudden change of harmony. There is no key change or anything of that sort but the type of accompanament changes which I think is meant to show the singer’s distress at the fact that he can not leave his love even though she has changed. I would break up this last phrase at measure 68 half way through the measure with the I chord. It seems that here is the natural break and is where the whole phrase is repeated a second time after it. There are many embellishing tones and a few mode mixture chords used to emphasize the distress that the singer/lover is feeling. Some examples include the use of the bIII in measure 71 and the viio65/ii used in measure 66 and also the c sharp used in measure 68. All of these are used to build up the tension that is eventually resolved with the descending run of notes in measure 72, a final plea for his lover to set him free, ending with a conclusive perfect authentic cadence.
In measure 64 there is a repetition of the line “let me go” and a sudden change of harmony. There is no key change or anything of that sort but the type of accompanament changes which I think is meant to show the singer’s distress at the fact that he can not leave his love even though she has changed. I would break up this last phrase at measure 68 half way through the measure with the I chord. It seems that here is the natural break and is where the whole phrase is repeated a second time after it. There are many embellishing tones and a few mode mixture chords used to emphasize the distress that the singer/lover is feeling. Some examples include the use of the bIII in measure 71 and the viio65/ii used in measure 66 and also the c sharp used in measure 68. All of these are used to build up the tension that is eventually resolved with the descending run of notes in measure 72, a final plea for his lover to set him free, ending with a conclusive perfect authentic cadence.
Fischer-Dieskau singing Brahms is better than cupcakes
In Brahms' "Die Mainacht," the poetry plays a large part in how the song is structured. The character in this poem is the typical overly-depressed musician, who is really a hopeless romantic at heart. The character goes through three different stages in this song (please keep in mind that poetry is subjective and can have multiple meanings or interpretations) : 1. The character wanders about in nature and "sets the scene" to unload his depression on any willing listener. 2. The character witnesses beauty and love around him but only feels more bitterness about being alone. 3. The character has a major pity-party about not being able to find his soul-mate here on earth. Let's look at each of these sections individually.
One way Brahms sets his music to fit the poetry is (as mentioned in the book) by inverting almost every chord. Also, the Brahms creates ridiculously long phrases in this song to portray the unending search of the character. For instance, let's look at the chords of just the first 8 measures: I64, V, I64, V7, iii, I64, I6, vi, iihd65, IV7, iv, and finally a V. Personally, I don't even really consider this a half cadence because the V continues into measure 9 and starts a new phrase with the poetry, making it sound even more unfinished than the traditional half cadence and also straddling the singer with the responsibility of carrying on the true phrase which does not end until measure 14. (Luckily the singer gets to bow out halfway through m.13). If I had the voice to sing this piece, I would try to make this first section keep moving without any resolve until the middle of 13.
The second section Brahms creates a very obvious switch of mood to fit the poetry by modulating to D major at m.15. This is pretty sudden considering the listeners have just been hit with a minor i chord to end the first section. This section is perhaps the most romantic part of the song. The poet is speaking of the beauty of nature and a pair of doves. Brahms' really plays up this romance by using chords with a prettier harmonic color, setting the voice a little bit higher, and putting the staccato eight notes in the bottom of the piano part with legato right hand soaring above it. To me, this represents the character's beating heart and genuine wish for true love. Speaking of the cooing of the doves, Brahms uses a V/V42 going to a V6; the character has happy, yet unfinished thoughts about love. His true ambivalent feelings come out in measure 21 when the character says "but I turn away, seeing darker shadows." Brahms dabbles in b minor starting in m.21 and uses darker harmonic colors to fit the "darker shadows" such as the viid7 chord in m.22 or the vi6 going to i in m.24. Brahms ends this section with a half cadence in m. 26 under the word "shadows." This gives the listener an intense idea of the real emotions the character is going through just by looking at the doves and feeling alone. If I were singing this piece, I would, once again, treat this individual section as one long phrase and try to keep the momentum going until m.26. I would also color my tone differently depending on the poetry, for instance : "pair of doves" should be a lighter color than "shadows."
I know this must be a strange interpretation to categorize m.27-33 in section 3, but I really think that it acts as a transition to section 3 and that the half cadence and fermata in m. 32 is used as a dramatic effect to make the character's feelings of loneliness, impatience, and searching more exposed to the listener. Measure 33 begins similarly to the first section of the piece with a I64 chord and a similar melodic line, but this section has more root position chords- perhaps to confirm what the poet mentioned earlier in the poem about his loneliness. Maybe at this point the poet isn't searching quite as much and is just stating his need for stability instead of displaying his instability. Measures 33-38 look like this: I64, V7, iii, I64, I6, vi, iid, i, IV6, IV, iid, V. Although this cadence sounds a little more complete than the previous half cadences, this phrase still continues through until the end. Brahms implies this long phrases by his use of the half cadence, the moving piano part, and the unfinished thought in the poetry. The next line starts with "and" then the character re-states what he already said about the flowing tear, only this time it's more descriptive and final. The singer must be more sustained and have a larger sound because of the thicker texture Brahms placed in the piano. Where does the phrase really end? Although the singer ends in measure 48 with a I chord and the poetry is over, the great thing about music is that the music becomes part of the poetry. The character isn't actually done speaking until the piano expresses final thoughts in measures 49-51. I think this is why Brahms placed a fermata over the rest and the final I chord. The singer must hold on to his audience through his nonverbal communication all the way until the end of the fermata, and the pianist must finish the piece by giving the listener a contrary statement. What do I mean by contrary statement? Well, the singer's final line is descending to represent the character's tear and the piano part has an ascending line with mostly happy chords (only one fully diminished ii chord in the last measure) to give contrast and show that the character really is alone.
Before I end, I really must recommend that everyone who reads this (who am I kidding?) go listen to Fischer-Dieskau sing this song. In my opinion, his interpretation is top-notch and his never-ending phrases are to-die-for. And his "Schatten" is perfect! He does a great job at text painting.
One way Brahms sets his music to fit the poetry is (as mentioned in the book) by inverting almost every chord. Also, the Brahms creates ridiculously long phrases in this song to portray the unending search of the character. For instance, let's look at the chords of just the first 8 measures: I64, V, I64, V7, iii, I64, I6, vi, iihd65, IV7, iv, and finally a V. Personally, I don't even really consider this a half cadence because the V continues into measure 9 and starts a new phrase with the poetry, making it sound even more unfinished than the traditional half cadence and also straddling the singer with the responsibility of carrying on the true phrase which does not end until measure 14. (Luckily the singer gets to bow out halfway through m.13). If I had the voice to sing this piece, I would try to make this first section keep moving without any resolve until the middle of 13.
The second section Brahms creates a very obvious switch of mood to fit the poetry by modulating to D major at m.15. This is pretty sudden considering the listeners have just been hit with a minor i chord to end the first section. This section is perhaps the most romantic part of the song. The poet is speaking of the beauty of nature and a pair of doves. Brahms' really plays up this romance by using chords with a prettier harmonic color, setting the voice a little bit higher, and putting the staccato eight notes in the bottom of the piano part with legato right hand soaring above it. To me, this represents the character's beating heart and genuine wish for true love. Speaking of the cooing of the doves, Brahms uses a V/V42 going to a V6; the character has happy, yet unfinished thoughts about love. His true ambivalent feelings come out in measure 21 when the character says "but I turn away, seeing darker shadows." Brahms dabbles in b minor starting in m.21 and uses darker harmonic colors to fit the "darker shadows" such as the viid7 chord in m.22 or the vi6 going to i in m.24. Brahms ends this section with a half cadence in m. 26 under the word "shadows." This gives the listener an intense idea of the real emotions the character is going through just by looking at the doves and feeling alone. If I were singing this piece, I would, once again, treat this individual section as one long phrase and try to keep the momentum going until m.26. I would also color my tone differently depending on the poetry, for instance : "pair of doves" should be a lighter color than "shadows."
I know this must be a strange interpretation to categorize m.27-33 in section 3, but I really think that it acts as a transition to section 3 and that the half cadence and fermata in m. 32 is used as a dramatic effect to make the character's feelings of loneliness, impatience, and searching more exposed to the listener. Measure 33 begins similarly to the first section of the piece with a I64 chord and a similar melodic line, but this section has more root position chords- perhaps to confirm what the poet mentioned earlier in the poem about his loneliness. Maybe at this point the poet isn't searching quite as much and is just stating his need for stability instead of displaying his instability. Measures 33-38 look like this: I64, V7, iii, I64, I6, vi, iid, i, IV6, IV, iid, V. Although this cadence sounds a little more complete than the previous half cadences, this phrase still continues through until the end. Brahms implies this long phrases by his use of the half cadence, the moving piano part, and the unfinished thought in the poetry. The next line starts with "and" then the character re-states what he already said about the flowing tear, only this time it's more descriptive and final. The singer must be more sustained and have a larger sound because of the thicker texture Brahms placed in the piano. Where does the phrase really end? Although the singer ends in measure 48 with a I chord and the poetry is over, the great thing about music is that the music becomes part of the poetry. The character isn't actually done speaking until the piano expresses final thoughts in measures 49-51. I think this is why Brahms placed a fermata over the rest and the final I chord. The singer must hold on to his audience through his nonverbal communication all the way until the end of the fermata, and the pianist must finish the piece by giving the listener a contrary statement. What do I mean by contrary statement? Well, the singer's final line is descending to represent the character's tear and the piano part has an ascending line with mostly happy chords (only one fully diminished ii chord in the last measure) to give contrast and show that the character really is alone.
Before I end, I really must recommend that everyone who reads this (who am I kidding?) go listen to Fischer-Dieskau sing this song. In my opinion, his interpretation is top-notch and his never-ending phrases are to-die-for. And his "Schatten" is perfect! He does a great job at text painting.
extendeeeeeeeeeeed anal-y-sis
I believe the first eight measures of the piece is a parallel period. Both phrases start with similar harmonic material. The differences are in the cadences. The first phrase ends on a half cadence and the second ends on a perfect authentic cadence. Also both phrases share this cute little eighth note quarter note sequence doo-da thing. Something else I noticed about these first eight measures...the text for the first phrase end on questions so the harmonic language ends on a half cadence to signify the uh questionability of the text, if that makes sense at all, and the text in the second phrase are two statements so the harmonic language end on a PAC. In measure 64, which comes right after a repetition of the first eight measures of the piece, you expect the harmonic structure to resolve to tonic. What happens instead is the structure goes to a PD figure that leads to D and then it finally resolves to T. The reason for this may be because of the text "let me free". That phrase is repeated several times in the piece so I think a tonic chord would just cut that declaration short.
The first two measures of the first phrase is mainly comprised of the PD function while the last two measures goes to D and T. The main difference between the two parallel phrases are the cadences. The first phrase looks like it ends on tonic but then it goes straight to a vi so the harmonic structure wants to go on, but the end of the second phrase sound like there is a rit. and it ends on a very strong tonic chord. Also, in the second phrase the first few measures do an ascending 2nd thing that heightens the emotional feeling of the text. There's a secondary dominant in the first phrase too, 4th beat of ms.66....just thought I 'd throw that in there.
Most of the accidentals are just chromatic passing tones. In the part with the ascending 2nds (ms.69-71) the bass pitches are 5-6 suspensions. As mentioned before there is a secondary dominant in ms.66 (viidim65/ii), the same secondary dominant is also in ms.75, both resolve down to a ii chord. Performance wise I would pay attention to the secondary dominants because they just add the certain je ne sais quoi. In conclusion, the use of secondary dominants in this piece can be quite startling. (i.e. Britney Spears, see picture below, found the secondary dominants in hensel's piece so surprising she almost dropped Sean Preston OMG!!)
The first two measures of the first phrase is mainly comprised of the PD function while the last two measures goes to D and T. The main difference between the two parallel phrases are the cadences. The first phrase looks like it ends on tonic but then it goes straight to a vi so the harmonic structure wants to go on, but the end of the second phrase sound like there is a rit. and it ends on a very strong tonic chord. Also, in the second phrase the first few measures do an ascending 2nd thing that heightens the emotional feeling of the text. There's a secondary dominant in the first phrase too, 4th beat of ms.66....just thought I 'd throw that in there.
Most of the accidentals are just chromatic passing tones. In the part with the ascending 2nds (ms.69-71) the bass pitches are 5-6 suspensions. As mentioned before there is a secondary dominant in ms.66 (viidim65/ii), the same secondary dominant is also in ms.75, both resolve down to a ii chord. Performance wise I would pay attention to the secondary dominants because they just add the certain je ne sais quoi. In conclusion, the use of secondary dominants in this piece can be quite startling. (i.e. Britney Spears, see picture below, found the secondary dominants in hensel's piece so surprising she almost dropped Sean Preston OMG!!)
Brahms "Die Mainacht"
Johannes Brahms, "Die Mainacht" (p.54) 1.63
It's a very beautiful and lovely piece. To me it sounds very soothing and reflective as well. As I was listening to this it calmed me down. The title is try translated to May Night and the story of the poem maybe is that there is a woman seprated by someone she cares a lot about. She is wandering around outside and she is reminded of this significant other when she sees a pair of doves. The words in the poem give the texture that she is being tormented from sepration and is longing to the day she finds him again.
Brahms does not use root-position triads on the downbeats. He first does this in measure 2 before the soloist comes in. The true phrase divisions are located where the stanzas begin and end. The ends of the phrases have authentic cadences. This combines the poem and the music to make the music match the text rather the text to match the music. There is mixture in measures 9-14 and a strong cadence in measure 13. After the cadene there is a short piano interlude that sets up for a new key at measure 15.
There are some text painting words like "traurig" meaning sadly that uses a mixture and goes in a downward motion in the melody. Another is "taubenpaar" meaning pair of doves and the text painting makes it look like a pair and the wide jumps gives an image of birds soaring. The word "wende mich" translates to turn away and is shown with the large leap and the eight note and doted quarter is the physical motion of turning. In the text "suche dunklere Schatten" it translates to seeking darker shadows and is shown with a sudden dynamic marking dropping to piano and getting softer and slowing down. The text "einsasme Trane" meaning lonely tear appears twice and has a downward motion in the melody and a pause that invisions a tear dropping. The piano postlude ends the poem and gives a feeling of contemplating and comming to a final decision and confirming it with an authentic cadence at the end.
It's a very beautiful and lovely piece. To me it sounds very soothing and reflective as well. As I was listening to this it calmed me down. The title is try translated to May Night and the story of the poem maybe is that there is a woman seprated by someone she cares a lot about. She is wandering around outside and she is reminded of this significant other when she sees a pair of doves. The words in the poem give the texture that she is being tormented from sepration and is longing to the day she finds him again.
Brahms does not use root-position triads on the downbeats. He first does this in measure 2 before the soloist comes in. The true phrase divisions are located where the stanzas begin and end. The ends of the phrases have authentic cadences. This combines the poem and the music to make the music match the text rather the text to match the music. There is mixture in measures 9-14 and a strong cadence in measure 13. After the cadene there is a short piano interlude that sets up for a new key at measure 15.
There are some text painting words like "traurig" meaning sadly that uses a mixture and goes in a downward motion in the melody. Another is "taubenpaar" meaning pair of doves and the text painting makes it look like a pair and the wide jumps gives an image of birds soaring. The word "wende mich" translates to turn away and is shown with the large leap and the eight note and doted quarter is the physical motion of turning. In the text "suche dunklere Schatten" it translates to seeking darker shadows and is shown with a sudden dynamic marking dropping to piano and getting softer and slowing down. The text "einsasme Trane" meaning lonely tear appears twice and has a downward motion in the melody and a pause that invisions a tear dropping. The piano postlude ends the poem and gives a feeling of contemplating and comming to a final decision and confirming it with an authentic cadence at the end.
"Die Mainacht" by Mo
Brahms' piece "Die Mainacht" (The May Night) is very beautiful and has great examples of text painting and modal mixture. The story is of a lonely wanderer trying to find some peace and light in a dark and cold world. The phrasing used is very interesting since it revolves around the poetry itself. Apart from the clear places to breathe, (during rests) the performer must give the feeling of a continuous line for the entire phrase to give the true feeling of what the narrator is saying. An example is in measure 13 where the first strong cadence occurs, at the end of the first stanza. The performer must give a fluid line of text for an entire stanza to make the phrase. Brahms also suggests the restlessness of the main character by avoiding the root-position tonic triad on the downbeat, as in msr. 6. This suggests to the performer that he/she must understand the restlessness and use this avoidance as a chance to express that feeling to the listener. The first clear use of text painting is in msr. 11 with the word "traurig," meaning sadly. Brahms uses mixture with the use of a D natural to give the feeling of sadness that comes with aimless wandering. This is part of a mixture that leads to a key change in msr. 15, the start of the second stanza. The key change goes well with this stanza and helps give the listener a feel for the darker mood. On the phrase "suche dunklere Schatten," the A natural and half step to G# in the melody along with the switching from F natural back to F# and use of B# and D# in the bass portray the darkness of the shadows the wanderer seeks. The harmonic tone of the piano postlude helps to close the poem as well as lead to the final authentic cadence.
Mainacht By Andrew Chapin
In Johannes Brahms’ Die Mainacht tells the story where the main character of the story is walking on a May night (hence Mainacht) trying to find solace from the world and to find comfort from her sorrows by walking at night. Brahms establishes a sense of restlessness by avoiding root position chords, this begins at measure two. The phrasing is very interesting and unique, it seems as if the entire stanza is the entire first phrase. The performer would have to divide the phrase into sub-phrases. There are some obvious times to breathe and break, but there should always be a sense that the line of the phrase keeps moving to the end of the phrase. The first strong cadence is at the end of measure thirteen. There is also some wonderful instances of text painting. Such as on the word “traurig” (sadly) there is some major motion then a soft diminished seventh chord on “traurig.” On the word “Taubenpaar” (pair of doves) the bass line is in eighth notes suggesting the “fluttering” of the doves and the treble line has a sequence going down from C, and in between high A’s suggesting a flying feeling. On the word “suche dunklere Schatten” the note on schatten is low suggesting the darkness of the phrase and the low point of the characters feelings. The postlude I feel, is like a sense of giving up, because there is no real strong declamatory ending to the piece.
Monday, February 04, 2008
Schubert Mass No. 6 in Eb, Kyrie, mm. 158-164
Here is a sample analysis of what I'm looking for in your essays.
The rolling, pastoral rhythms of the previous section continue through the first three measures of this excerpt. The key of Eb major also lends a pastoral feel, used by Wagner as a nature key in the ring cycle. The texture suddenly shifts to the long dotted-halves of the final four measures. The text, “eleison” is Greek for “have mercy on us.” This whole section, the Kyrie of the mass, is about asking God (Lord and Christ respectively) for mercy, forgiving humankind for sins. This final iteration of “eleison” is harmonized with a plagal extension using the borrowed minor iv chord. The “real” V – I cadence of the movement has already occurred before this excerpt begins, followed by an arpeggiation of the tonic chord with the rolling rhythms mentioned above. The use of the minor iv chord on the final “eleison” is not the first time Schubert uses mode mixture in this movement. Throughout the Kyrie minor four chords color the happiness and joy of the Eb major key with pleading and fear, like the tremulous quaver in a sincere “thank you.” The sopranos and tenors slide up by a half-step in a melisma of “lei” that then resolves back to their starting notes. This half-step neighbor motion sounds like a little cry, or perhaps a sigh of fearful gratitude. Schubert already sets the minor chord off with the hairpin dynamics on that particular harmony. I would have the sopranos and tenors stronger in the mix than the altos and basses, and would experiment with using portamento on the upward half-step motion to indicate the emotional insecurity of that motion.
The rolling, pastoral rhythms of the previous section continue through the first three measures of this excerpt. The key of Eb major also lends a pastoral feel, used by Wagner as a nature key in the ring cycle. The texture suddenly shifts to the long dotted-halves of the final four measures. The text, “eleison” is Greek for “have mercy on us.” This whole section, the Kyrie of the mass, is about asking God (Lord and Christ respectively) for mercy, forgiving humankind for sins. This final iteration of “eleison” is harmonized with a plagal extension using the borrowed minor iv chord. The “real” V – I cadence of the movement has already occurred before this excerpt begins, followed by an arpeggiation of the tonic chord with the rolling rhythms mentioned above. The use of the minor iv chord on the final “eleison” is not the first time Schubert uses mode mixture in this movement. Throughout the Kyrie minor four chords color the happiness and joy of the Eb major key with pleading and fear, like the tremulous quaver in a sincere “thank you.” The sopranos and tenors slide up by a half-step in a melisma of “lei” that then resolves back to their starting notes. This half-step neighbor motion sounds like a little cry, or perhaps a sigh of fearful gratitude. Schubert already sets the minor chord off with the hairpin dynamics on that particular harmony. I would have the sopranos and tenors stronger in the mix than the altos and basses, and would experiment with using portamento on the upward half-step motion to indicate the emotional insecurity of that motion.
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