My analysis for mm.33-51 of Die Mainacht by Brahms is as follows:
m.33- I64 V7
34- iii6 I64
35- I6 I_64
36- ii64 I43
37- IV6 IV
38- viio7/V V
39- V iii
40- vi IV vii65
41- vi vi6 I7
42- vi IV Fr6
43- I64 I7
44-IV7 bVI
45- V/V IIb N6
46-V7____
47- V7___
48- I7___
49- I7___
50- I7 IV64
51- iio42 I
I found the last nineteen measures of Die Mainacht, by Johannes Brahms to be very pretty, but not very exciting. I was not quite sure where the song’s climax is. It is either in mm.41-42 or m.45. I feel that measure 42 is the best choice, since there is a clear ascending line building up to it, but then m.45 is definitely climactic sounding as well. Whatever measure it is, they are both prepared by mixture chords, therefore creating tension and a heightened need to resolve and lead in to the end.
The phrases in this excerpt are very long, and make it seem to move slower than it actually does. I found the beginning of it (mm.33-38) to be too slow in evolving the musical line and progressing into the rest of the piece. If I were to perform this piece, at this particular section I would sing it as one phrase from mm.33-38, but I would be sure to keep the energy up, always driving the melody forward. Even though breaths would be very much needed, it would be imperative to not lose the line within the melody. Singers, myself included, often make the mistake of ending a “phrase” (or breathing for that matter) when the melodic line end and not the textual phrase. This singer (the co-author of the book, correct?) did a mediocre job of creating a noticeable phrase structure. I couldn’t tell from her performance what the correct answer was to question 3 in the workbook.
The piano postlude is very beautiful. It ends with a very hopeful feeling. The last line of text is “...And a lonely tear trembles, burning down my cheek” I find it interesting that Brahms chose to end with an ascending melody, contradicting the motion of a streaming tear. The ascending melodic line clearly refers to the text of mm.37-38 “…shall I find you on earth?” . Ending on this brighter note gives an allusion to more ethereal thoughts.
Thursday, February 28, 2008
A New Day, A New Hope
m. 33: I64
m. 34: iii6
m. 35: I6 vi I64
m. 36: ii65
m. 37: IV6 Iv7
m. 38: vii half diminished 7 of V v
m. 39: iii6 V of vi
m. 40: vi6
m.41: IV vii65
m. 42: IV Fr+6
m. 43: I64 V7 of IV
m. 44: IV7 V7 of N
m. 45: N (6)
m. 46: V7 (42)
m. 47: V7
m. 48: I7
m. 49: I7
m. 50:I7 IV64
m. 51: iii half diminished 42 I
Die Mainacht is a very sad poem and Brahms’s musical setting is a perfect match for the mood. The song climaxes in m.45 on the word hisser, when the singer is describing the hot tear which she has just shed thinking about how alone she is. The tense emotions are echoed in the harmony under the climax by an N chord, which lends a major feel to the note, which may be a borrowed technique from early music. Often time when a moment of absolute disappear occurred in a text the composer would switched to a major key and in that contrast from the minor the pain is shown. It has an extremely dramatic effect.
As far as musical and textual phrasing is concerned, I feel that Brahms could have done a bit better. For example in the poetic line Wann, o Lächelendes Bild, Welches wie Morgenrot durch die seele mir strahlt, find ich auf Erden dich? The singer is asking the smiling scene before her when the red dawn, which touches her soul, will she find him on earth? The poetic line is very beautiful and highly emotive, however right between the singers description of the scene and the way it affects her, Brahms end a phrase and begins a new one. This make it very difficult for a singer to convince an audience that the though continues. When performing this piece it is very pertinent that the sing should not let her face fall or let her concentration end with the musical phrase. Not the best example of a musical setting of a German text.
The piece ends with a short ascending piano postlude. I believe that here the piano is describing the sunrise and the major ending is hope for a new tomorrow, perhaps it is the new day, which will bring out sad sad singer a companion. I would certainly like to think so.
m. 34: iii6
m. 35: I6 vi I64
m. 36: ii65
m. 37: IV6 Iv7
m. 38: vii half diminished 7 of V v
m. 39: iii6 V of vi
m. 40: vi6
m.41: IV vii65
m. 42: IV Fr+6
m. 43: I64 V7 of IV
m. 44: IV7 V7 of N
m. 45: N (6)
m. 46: V7 (42)
m. 47: V7
m. 48: I7
m. 49: I7
m. 50:I7 IV64
m. 51: iii half diminished 42 I
Die Mainacht is a very sad poem and Brahms’s musical setting is a perfect match for the mood. The song climaxes in m.45 on the word hisser, when the singer is describing the hot tear which she has just shed thinking about how alone she is. The tense emotions are echoed in the harmony under the climax by an N chord, which lends a major feel to the note, which may be a borrowed technique from early music. Often time when a moment of absolute disappear occurred in a text the composer would switched to a major key and in that contrast from the minor the pain is shown. It has an extremely dramatic effect.
As far as musical and textual phrasing is concerned, I feel that Brahms could have done a bit better. For example in the poetic line Wann, o Lächelendes Bild, Welches wie Morgenrot durch die seele mir strahlt, find ich auf Erden dich? The singer is asking the smiling scene before her when the red dawn, which touches her soul, will she find him on earth? The poetic line is very beautiful and highly emotive, however right between the singers description of the scene and the way it affects her, Brahms end a phrase and begins a new one. This make it very difficult for a singer to convince an audience that the though continues. When performing this piece it is very pertinent that the sing should not let her face fall or let her concentration end with the musical phrase. Not the best example of a musical setting of a German text.
The piece ends with a short ascending piano postlude. I believe that here the piano is describing the sunrise and the major ending is hope for a new tomorrow, perhaps it is the new day, which will bring out sad sad singer a companion. I would certainly like to think so.
know what I don't want to do? BLOG
I remembered to include Roman Numerals this time. OK, it's in f sharp minor, let's start at measure one : i , iv43 III6, i i6 iio42, V64-53, VI6 ii7, iii i, V6, I VI, N6, N6, i64 V7, i
i would describe measures 1-4 as A, and 5-8 as B, and 9-12 as A'. This is especially hard to do because I did not find a recording of this piece, so I just have to try to sing it in my head. It is also hard becuase there's not a pattern in the chord progressions. The first phrase ends with a cadential 64. The second cadence is trying to be deceptive but kind of fails at it. The last cadence is an old school V7 to i. It's hard to call these phrases parallel or contrasting because that usually goes for two phrases, and there's three here. But I guess you could say A and A' are contrasting, if you wanted to.
As a performer I would completely fake out the audience with that almost deceptive cadence at the end of the second phrase. I would slow it way down and make the audience think the end was coming, and then smack them with that VI chord. I would also slow out the last beat of the neopolitan, stretch it out for as long as possible before landing on the one. As far as embellishing tones go, the only one I would focus on is that intense suspension in measures 2 and three. As a listener, I would sit back and enjoy. Maybe even dance around a little. That is all.
i would describe measures 1-4 as A, and 5-8 as B, and 9-12 as A'. This is especially hard to do because I did not find a recording of this piece, so I just have to try to sing it in my head. It is also hard becuase there's not a pattern in the chord progressions. The first phrase ends with a cadential 64. The second cadence is trying to be deceptive but kind of fails at it. The last cadence is an old school V7 to i. It's hard to call these phrases parallel or contrasting because that usually goes for two phrases, and there's three here. But I guess you could say A and A' are contrasting, if you wanted to.
As a performer I would completely fake out the audience with that almost deceptive cadence at the end of the second phrase. I would slow it way down and make the audience think the end was coming, and then smack them with that VI chord. I would also slow out the last beat of the neopolitan, stretch it out for as long as possible before landing on the one. As far as embellishing tones go, the only one I would focus on is that intense suspension in measures 2 and three. As a listener, I would sit back and enjoy. Maybe even dance around a little. That is all.
Die Mainacht
In Brahms Die Mainacht, the climax of the piece is at measure 41. The chords used to bring this out are a iv6 then to a V/IV. This phrase is sung earlier, so the performer would need to sing them in two different ways. I see it as singing the first one at a mf, but then at the second, sing it at a pp or p then cresendo into a f but still leaving some behind. In my opinion, this is a very affective technique. At that point of the song you want the audience to feel that your voice is lifting them out of their seat through the cresendo to you. So that then audience feels the hope and dispair that the singer feels. For the spot at Morgenrot you would not want to end. Morgenrot means literally "red morning" or dawn so both musically and contextually you would not want to spot. If you were singing about the sun setting, that is a different story, but for our purposes this is not the case. In performance, you would want to feel like there is a line going through the passage, so that you don't mistake the rest as a break in the phrase.
Brahms Take Two!
Here we are again!
Roman numerals:
33: I64 V7
34: iii6 I64
35: I6 vi
36: ii65 I7
37: iv6 IV
38: vii 1/2 diminished/ V V
39: V I65
40: vi IV vii65
41: vi vi6 I7
42: vi7 vi ii43 FR+6
43: I64 I7
44: iv7 ii65 bVI
45: V/V
46 and 47: V7
48 and 49: I7
50: I7 vi6
51: ii half diminished 42 I
Brahms creates a wonderful accompaniment for the singer of "Die Mainacht." Throughout the song Brahms colors the tone with I64, vi, and iii chords. These chords give an unsettling feeling that lacks resolution. Brahms approaches a climax in measures 28 through 30 but it does not happen. Instead, he brings the line back to ominous I64. The mood is quieted before the line "When, O smiling image, which like rosy dawn through my soul shines, shall I find you on earth?" This beautiful image of the speakers lover is a bittersweet lead-in to the tragic tear which burns down the speaker's face at the thought of her.
If I were performing this piece I would keeps the intensity going even if I took at breath before the high g natural in the last line. It would accentuate the word, "burning" and make it especially dramatic. The change in accompaniment relays the despair of the narrator though the strict quarter and eighth notes underneath the sweeping melody. When it returns to the original syncopated rhythm the audience can tell that the love is lost.
This postlude is a false unsatisfying sense of calm which pains the text beautifully. The ii half diminished 42 going to the I give a feeling of a doubtful resolution. The ending is melancholy for both the singer and the audience.
Brahms uses complex harmonies under a oozing melody to create the feeling of love long lost in "Die Mainacht." By using many minor chords and tonic seventh chords he avoids any kind of cadential resolution. The is a strong accompaniment for any singer as well as a helpful insight to the meaning of the piece.
Roman numerals:
33: I64 V7
34: iii6 I64
35: I6 vi
36: ii65 I7
37: iv6 IV
38: vii 1/2 diminished/ V V
39: V I65
40: vi IV vii65
41: vi vi6 I7
42: vi7 vi ii43 FR+6
43: I64 I7
44: iv7 ii65 bVI
45: V/V
46 and 47: V7
48 and 49: I7
50: I7 vi6
51: ii half diminished 42 I
Brahms creates a wonderful accompaniment for the singer of "Die Mainacht." Throughout the song Brahms colors the tone with I64, vi, and iii chords. These chords give an unsettling feeling that lacks resolution. Brahms approaches a climax in measures 28 through 30 but it does not happen. Instead, he brings the line back to ominous I64. The mood is quieted before the line "When, O smiling image, which like rosy dawn through my soul shines, shall I find you on earth?" This beautiful image of the speakers lover is a bittersweet lead-in to the tragic tear which burns down the speaker's face at the thought of her.
If I were performing this piece I would keeps the intensity going even if I took at breath before the high g natural in the last line. It would accentuate the word, "burning" and make it especially dramatic. The change in accompaniment relays the despair of the narrator though the strict quarter and eighth notes underneath the sweeping melody. When it returns to the original syncopated rhythm the audience can tell that the love is lost.
This postlude is a false unsatisfying sense of calm which pains the text beautifully. The ii half diminished 42 going to the I give a feeling of a doubtful resolution. The ending is melancholy for both the singer and the audience.
Brahms uses complex harmonies under a oozing melody to create the feeling of love long lost in "Die Mainacht." By using many minor chords and tonic seventh chords he avoids any kind of cadential resolution. The is a strong accompaniment for any singer as well as a helpful insight to the meaning of the piece.
Analysis C
Okie Dokie...another fun night of blogging!
Here is my chordal analysis:
m33: I56 / V7
m34: iii6 / I64
m35: I6
m36: ii64 / I43
m37: IV6 / IV
m38: viifulldim7/V / V
m39: V / iii
m40: vi / IV / viihalfdim65
m41: vi / vi6 / I7
m42: vi7 / IV / ii43 / Fr+6 (?)
m43: I64 / I7
m44: IV7 / bVI
m45: V/V / IV6
m46: V7
m47: V7
m48: I7
m49: I7
m50: I7 / vi
m51: iifulldim42 / I
Whew!
Okay, so I thought this piece was lovely to listen to. I felt that the climax of the work took place on measure 45, although I realize 41 also makes sense. However, I chose 45 because, while 41 seems to be the big moment of the piece, chordal wise, the climax seems to continue through 45, at which point it moves to a progression of V7 chords, followed by I7 chords. This progression leads to the conclusion of the piece in a PAC, where as, if the climax was in measure 41, it would then go through a series of pre-dominants and then the V7 chords...which makes it feel anti-climactic.
I had not noticed when I originally listened to the work that the musical phrases and the verbal ones did not match up. However, when listening again with the score, it seemed obvious that "morgenrot" did not fall on the end of the musical phrase...indeed, below it is a lot of movement in the right hand of the piano and the bass moves in a subtle suspension to a ii64...not exactly a great musical end. I find it interesting, but it would make it more difficult to perform, while it would add interest to the listener, especially if one spoke German. You would believe that the next phrase would begin, but the movement in the piano spurs the singer to continue...as if not allowing the phrase to end, although the words seem to. It progresses it forward, and the singer would have to progress, perhaps almost follow the piano for a moment, and continue the song. Measure 44 is also not a phrase ending. The right hand is a bit deceiving, as it transitions from bass to treble clef at this moment and looks like it begins anew, but the underlying chords...a IV7, bVI, and V/V do not speak of a definitive end. They, again, seem to move the piece forward, even when the verbal line seems to have ended...keeping the tension in the piece high until the final moments.
The intricate harmonies of the work and the distinctive differences between the musical and the verbal phrases create movement of the piece. It doesn't lag, even when the voice seems rather cliche in its notes. The underlying harmonies push the piece...keeping it interesting and bold, with a taste of the classic.
PS - this computer says that it will save this draft as being put up at 12:44 am...however, it is really 11:44 pm...and I want it noted that this was in on time! Please note...thanks :)
Here is my chordal analysis:
m33: I56 / V7
m34: iii6 / I64
m35: I6
m36: ii64 / I43
m37: IV6 / IV
m38: viifulldim7/V / V
m39: V / iii
m40: vi / IV / viihalfdim65
m41: vi / vi6 / I7
m42: vi7 / IV / ii43 / Fr+6 (?)
m43: I64 / I7
m44: IV7 / bVI
m45: V/V / IV6
m46: V7
m47: V7
m48: I7
m49: I7
m50: I7 / vi
m51: iifulldim42 / I
Whew!
Okay, so I thought this piece was lovely to listen to. I felt that the climax of the work took place on measure 45, although I realize 41 also makes sense. However, I chose 45 because, while 41 seems to be the big moment of the piece, chordal wise, the climax seems to continue through 45, at which point it moves to a progression of V7 chords, followed by I7 chords. This progression leads to the conclusion of the piece in a PAC, where as, if the climax was in measure 41, it would then go through a series of pre-dominants and then the V7 chords...which makes it feel anti-climactic.
I had not noticed when I originally listened to the work that the musical phrases and the verbal ones did not match up. However, when listening again with the score, it seemed obvious that "morgenrot" did not fall on the end of the musical phrase...indeed, below it is a lot of movement in the right hand of the piano and the bass moves in a subtle suspension to a ii64...not exactly a great musical end. I find it interesting, but it would make it more difficult to perform, while it would add interest to the listener, especially if one spoke German. You would believe that the next phrase would begin, but the movement in the piano spurs the singer to continue...as if not allowing the phrase to end, although the words seem to. It progresses it forward, and the singer would have to progress, perhaps almost follow the piano for a moment, and continue the song. Measure 44 is also not a phrase ending. The right hand is a bit deceiving, as it transitions from bass to treble clef at this moment and looks like it begins anew, but the underlying chords...a IV7, bVI, and V/V do not speak of a definitive end. They, again, seem to move the piece forward, even when the verbal line seems to have ended...keeping the tension in the piece high until the final moments.
The intricate harmonies of the work and the distinctive differences between the musical and the verbal phrases create movement of the piece. It doesn't lag, even when the voice seems rather cliche in its notes. The underlying harmonies push the piece...keeping it interesting and bold, with a taste of the classic.
PS - this computer says that it will save this draft as being put up at 12:44 am...however, it is really 11:44 pm...and I want it noted that this was in on time! Please note...thanks :)
Die Mainacht, a nice piece, but it would be better for clarinet!
m. 33 - I 64 , V7
m. 34 - iii6 I64
m. 35 - I6 , vi
m. 36 - ii(1/2)o65 , V43/IV
m. 37 - IV6 , IV
m. 38 - viio7/V , V
m. 39 - V , V/vi
m. 40 - vi , IV , iio7
m. 41 - vi , vi6 , V7/IV
m. 42 - IV7, Fr+6
m. 43 - I64 , V7/IV
m. 44 - IV7 , V7/bII
m. 45 - bII , bII6
m. 46 - V7
m. 47 - V7
m. 48 - I(7)
m. 49 - I(7)
m. 50 - I(7) , IV64
m. 51 - ii (1/2)o 42 , I
Brahms does a great job of using lots of diverse chords in Die Mainacht to create an incredible sense of longing and desire throughout this short song which, even as the piano fades out, still has a tinge of desire shown in the E natural (7th of tonic chord) that pulls the conclusion of this piece almost into a V7/IV! The climax of this piece is incredible also, with a fantastic, peak. Brahms lets the vocalist take a huge gasp in the middle of it to continue the painful lament. Looking at the vocal part, it is easier to break up the piece into phrases. However, there are a number of really unique things Brahms does particularly with the connections of phrases in the accompaniment that really keep the flow of the piece moving.
I believe that the climax of the piece is quite a long one, spanning from measures 41-43. It is really important that the vocalist really makes the whole note in measure 41 grow. I see the high G natural in measure 45 as a last effort of the singer, or possibly a last tear, falling from their face. The accompaniment under the climactic portion of this piece is quite diverse, including a quite tumultuous right handed piano part over the quick V7/IV - IV chord into measure 42.
Measures 33-38 present a really difficult passage for the performer because at first glance, it may appear that Morgenrot represents a phrase ending. It is really important that the vocalist looks into the accompaniment and recognizes that there is absolutely no sign of a phrase ending, but instead the phrase continues on from a vi to a ii(1/2)o65...etc. Measure 44 also is a crucial place that the performer must remember to maintain the mood of the piece. They still have one last peak, and the intensity must not drop too much - the performer must counter-act the motion/lower pitch of the notes and their natural tendencies to be softer, etc.
The piano postlude in measures 48-51 is clearly the resolve of the piece, though the E naturals persistent throughout really keep the performance (and the audience) longing for a better resolve until the absolute final chord of the piece. While technically should be denoted as V7/IV chords, in my opinion these need to be looked on as embellishments that further contribute to the longing for resolve throughout this piece.
In conclusion, the theme throughout this work is longing for resolve. Brahms works really hard to take the piece into far off places, in one place setting up a huge tonicization of bII with a V7/bII. Brahms reflects the true phrasing in his accompaniment part while allowing the vocalist to rest. One of the really important things to remember about Brahms is that in certain points the piano part can become more important than the melody, or alternatively it can carry the melody. This longing for resolve is predominantly due to a lack of root position tonic triads, thick, dense chords, accidentals, and a continuous flow of music held up by the accompanying piano. It is a wonderful piece, though I am not fond of vocalists - I would love a clarinet transcription of the piece though! The pure tone of the clarinet, the ability for one to support longer, extended passages, and the incredibly large dynamic range of the clarinet would be absolutely perfect for this song!
m. 34 - iii6 I64
m. 35 - I6 , vi
m. 36 - ii(1/2)o65 , V43/IV
m. 37 - IV6 , IV
m. 38 - viio7/V , V
m. 39 - V , V/vi
m. 40 - vi , IV , iio7
m. 41 - vi , vi6 , V7/IV
m. 42 - IV7, Fr+6
m. 43 - I64 , V7/IV
m. 44 - IV7 , V7/bII
m. 45 - bII , bII6
m. 46 - V7
m. 47 - V7
m. 48 - I(7)
m. 49 - I(7)
m. 50 - I(7) , IV64
m. 51 - ii (1/2)o 42 , I
Brahms does a great job of using lots of diverse chords in Die Mainacht to create an incredible sense of longing and desire throughout this short song which, even as the piano fades out, still has a tinge of desire shown in the E natural (7th of tonic chord) that pulls the conclusion of this piece almost into a V7/IV! The climax of this piece is incredible also, with a fantastic, peak. Brahms lets the vocalist take a huge gasp in the middle of it to continue the painful lament. Looking at the vocal part, it is easier to break up the piece into phrases. However, there are a number of really unique things Brahms does particularly with the connections of phrases in the accompaniment that really keep the flow of the piece moving.
I believe that the climax of the piece is quite a long one, spanning from measures 41-43. It is really important that the vocalist really makes the whole note in measure 41 grow. I see the high G natural in measure 45 as a last effort of the singer, or possibly a last tear, falling from their face. The accompaniment under the climactic portion of this piece is quite diverse, including a quite tumultuous right handed piano part over the quick V7/IV - IV chord into measure 42.
Measures 33-38 present a really difficult passage for the performer because at first glance, it may appear that Morgenrot represents a phrase ending. It is really important that the vocalist looks into the accompaniment and recognizes that there is absolutely no sign of a phrase ending, but instead the phrase continues on from a vi to a ii(1/2)o65...etc. Measure 44 also is a crucial place that the performer must remember to maintain the mood of the piece. They still have one last peak, and the intensity must not drop too much - the performer must counter-act the motion/lower pitch of the notes and their natural tendencies to be softer, etc.
The piano postlude in measures 48-51 is clearly the resolve of the piece, though the E naturals persistent throughout really keep the performance (and the audience) longing for a better resolve until the absolute final chord of the piece. While technically should be denoted as V7/IV chords, in my opinion these need to be looked on as embellishments that further contribute to the longing for resolve throughout this piece.
In conclusion, the theme throughout this work is longing for resolve. Brahms works really hard to take the piece into far off places, in one place setting up a huge tonicization of bII with a V7/bII. Brahms reflects the true phrasing in his accompaniment part while allowing the vocalist to rest. One of the really important things to remember about Brahms is that in certain points the piano part can become more important than the melody, or alternatively it can carry the melody. This longing for resolve is predominantly due to a lack of root position tonic triads, thick, dense chords, accidentals, and a continuous flow of music held up by the accompanying piano. It is a wonderful piece, though I am not fond of vocalists - I would love a clarinet transcription of the piece though! The pure tone of the clarinet, the ability for one to support longer, extended passages, and the incredibly large dynamic range of the clarinet would be absolutely perfect for this song!
Hey, Make Way For Die Mainacht
Die Mainacht, Brahms, F# major for some crazy reason, Chords:
I64 V7 I64 I6 vi I64 ii6 V43/IV IV6 IV viio/V V V iii V7/vi vi IV vii halfdim65 vi vi6 V65/IV IV IV64 iv6 ii43 I64 V43/IV IV iv V7/N N N6 V7 I V7/IV V7/IV I V7/IV IV64 ii halfdim42 I
So here's what's going down here:
This chick is walking at night, and sees a pair of lovebirds cooing together like always. She's depressed, though, because she has yet to meet THAT GUY. She can't wait, though. She's pretty desperate and lonely, and tired of waiting for him. In the last stanza, she asks "when will I get my man?" and a lonely tear slides down her cheek. Except it doesn't just slide, it BURNS down her cheek.
How does the music reflect/add to this? I'll tell ya. One interesting thing about this is that the first root position tonic triad in this part is the last note the singer sings, in measure 48. This means all of the other tonic triads here are in inversion, delaying the feeling of resolution - like this poor chick's delayed meeting of her dream guy. We build to the first climactic moment of two - at Trane (tear) in m. 41-42 through a rising, hopeful line in the melody, and hold Trane through a series of suspensions. Then comes the "romantic" part - and this is how I would sing it to bring it out - we go to the real climax at m. 45, which is a Neapolitan harmony, on the word "heisser" (burning), which is not only the highest actual pitch the singer reaches, but the coolest because of the harmony it supports. The N6 here is a completely new harmony to the listener and really stresses the text - it's as if the poor timid chick, depressed and alone, steps out of her shell and reminds the guy, if he's listening, that her tear is BURNING down her cheek... like her burning passion for him. It also wakes him (and the other listeners) up and seems to be a sort of "hurry it up, will you?" message all inside this pivotal measure. The rest of the accompaniment is more subdued again, but very wistful and reflective, as if to say "Yeah, I wish you were with me, but you'll be worth waiting for." That's how I'd do ti.
No worries, chica. You'll get your guy someday. When he finally asks for directions, he'll find you.
PS - Mainacht backwards is Thcanaim. Neapolitan is Natilopaen. And Opera is Fun! So come see it. =)
I64 V7 I64 I6 vi I64 ii6 V43/IV IV6 IV viio/V V V iii V7/vi vi IV vii halfdim65 vi vi6 V65/IV IV IV64 iv6 ii43 I64 V43/IV IV iv V7/N N N6 V7 I V7/IV V7/IV I V7/IV IV64 ii halfdim42 I
So here's what's going down here:
This chick is walking at night, and sees a pair of lovebirds cooing together like always. She's depressed, though, because she has yet to meet THAT GUY. She can't wait, though. She's pretty desperate and lonely, and tired of waiting for him. In the last stanza, she asks "when will I get my man?" and a lonely tear slides down her cheek. Except it doesn't just slide, it BURNS down her cheek.
How does the music reflect/add to this? I'll tell ya. One interesting thing about this is that the first root position tonic triad in this part is the last note the singer sings, in measure 48. This means all of the other tonic triads here are in inversion, delaying the feeling of resolution - like this poor chick's delayed meeting of her dream guy. We build to the first climactic moment of two - at Trane (tear) in m. 41-42 through a rising, hopeful line in the melody, and hold Trane through a series of suspensions. Then comes the "romantic" part - and this is how I would sing it to bring it out - we go to the real climax at m. 45, which is a Neapolitan harmony, on the word "heisser" (burning), which is not only the highest actual pitch the singer reaches, but the coolest because of the harmony it supports. The N6 here is a completely new harmony to the listener and really stresses the text - it's as if the poor timid chick, depressed and alone, steps out of her shell and reminds the guy, if he's listening, that her tear is BURNING down her cheek... like her burning passion for him. It also wakes him (and the other listeners) up and seems to be a sort of "hurry it up, will you?" message all inside this pivotal measure. The rest of the accompaniment is more subdued again, but very wistful and reflective, as if to say "Yeah, I wish you were with me, but you'll be worth waiting for." That's how I'd do ti.
No worries, chica. You'll get your guy someday. When he finally asks for directions, he'll find you.
PS - Mainacht backwards is Thcanaim. Neapolitan is Natilopaen. And Opera is Fun! So come see it. =)
Mozart Piano Concerto
m.1-i, m.2-VI^6 and V^6, m.3-i and ii^o6/5, m.4-i^4/3 and V, m.5-VI^6 and ii^o7, m.6-iii and i, m.7-bVII nad V^6, m.8-I(4-3) and VI, m.9-N^6, m.10-N^6, m.11-i^6/4 and V, m.12-i.
I would suggest breaking this excerpt up into four different parts: A-m.1 to m. 4, B-m.5 to m.8, C-m.9 to m.12. Section A ends on a half cadence, section B ends on an Imperfect Authentic Cadence, and section C ends on a Perfect Authentic Cadence. It is difficult to put these into definitive sections because of the similarities of the rhythms for each section. They could be seen as parallel because of their rhythmic similarity and they all are the same length. Phrases A and B could be seen as parallel because A ends with a half cadence and B ends with an IAC and they both have similar thematic material. They could all be seen as contrasting because the harmonic rhythm changes to a slower chord change.
Mozart utilizes a lot of very interesting non-harmonic embellishing tones. These tones generally should be given more emphasis in performance situations like the upper neighbor e natural in measure 5. This is not expected because this excerpt of the piece is in f sharp minor and so we expect an e sharp. This gives the measure a semi-major feel. The chromatic passing tone a# in measure 8 should be emphasized because it is a resolution of a 4-3 suspension. A# is not in the key signature, so it needs to be more emphasized because of it's obvious majorness. The Neopolitans in measures 9 and 10 will get an emphasis in performance because it is not expected to play a bII and it is important to stress the oddity of this chord function. I think that any Ti Do movement or le sol movement should be emphasized because of its cadential importance. I think measure 8-10 would be a building up of tension because of the sudden move to a more major feel with the I and the N^6's. I think in performance, I would crescendo until measure 11 and then decrescendo to the end of the phrases.
mOzArT
Mozart, Piano Concerto in A Major, K 288, second movement, mm. 1-12
f# minor
Roman Numerals:
m. 1- i
m. 2- iv43, V65
m. 3- i, ii dim. 6
m. 4- V64-53
m. 5- VI6, viihd7/III
m. 6- III 2#-3, i
m. 7- IV65, V6
m. 8- I4-#3, VI
m. 9- N6
m. 10-N6
m. 11- V864-753
m. 12- i
Phrase diagram:
-First phrase 4 measures (2+2), (m.1-m.4) HC, we could call this section A
-Second phrase 8 measures (2+2+2+2), (m.5-m.12) PAC, we could call this section A'
There are only 2 phrases in this excerpt. On the end of the first phrase, there is a HC in measure 4, and the next cadence is on the end of the second phrase in measure 12. Why can't we say that there is a third phrase in the middle? Because, the third phrase would have to finish at measure 8 which is I64, VI can not be a CADENCE!!! Harmonic rhythm does not stop, it keeps going. Measure 9 looks (for some people, but not for me) like the beginning of the "third" phrase because it has the same rhythmic motive in both hands, but we have to follow the harmonic rhythm. A' is longer than A because Mozart was playing around with the motive and was expanding the second phrase with some modal mixture.
In measure 9 and 10, the roman numeral N6 is very AMBIGUOUS (I’ve never heard this word before...and I do not know if you can use it in this case). Mozart prepares listeners with I and VI and then N6 in the same rhythm in the beginning before the whole measure and in the next measure there is an N6 arpeggio!!! That is the culmination of the second phrase, and right before big V864-753 to i.
Performances issues:
I wish that I could play this very interesting piece. The good thing is that this section (m.1-m.12) is an introduction, a PIANO SOLO, so you could play with a lot of espressivo, ritardando, use a different colors for the phrases or what ever you like, but still in the Mozart style!!! I would play this as I explained in my phrases and sub phrases, so the audience can hear it very clear. In the second phrase I'd start in piano dynamic and build thru the measures till measure 9 ( N6) and in m. 10 bid crescendo to the V chord, decrescendo i.
Good night,
Никола Петровић
f# minor
Roman Numerals:
m. 1- i
m. 2- iv43, V65
m. 3- i, ii dim. 6
m. 4- V64-53
m. 5- VI6, viihd7/III
m. 6- III 2#-3, i
m. 7- IV65, V6
m. 8- I4-#3, VI
m. 9- N6
m. 10-N6
m. 11- V864-753
m. 12- i
Phrase diagram:
-First phrase 4 measures (2+2), (m.1-m.4) HC, we could call this section A
-Second phrase 8 measures (2+2+2+2), (m.5-m.12) PAC, we could call this section A'
There are only 2 phrases in this excerpt. On the end of the first phrase, there is a HC in measure 4, and the next cadence is on the end of the second phrase in measure 12. Why can't we say that there is a third phrase in the middle? Because, the third phrase would have to finish at measure 8 which is I64, VI can not be a CADENCE!!! Harmonic rhythm does not stop, it keeps going. Measure 9 looks (for some people, but not for me) like the beginning of the "third" phrase because it has the same rhythmic motive in both hands, but we have to follow the harmonic rhythm. A' is longer than A because Mozart was playing around with the motive and was expanding the second phrase with some modal mixture.
In measure 9 and 10, the roman numeral N6 is very AMBIGUOUS (I’ve never heard this word before...and I do not know if you can use it in this case). Mozart prepares listeners with I and VI and then N6 in the same rhythm in the beginning before the whole measure and in the next measure there is an N6 arpeggio!!! That is the culmination of the second phrase, and right before big V864-753 to i.
Performances issues:
I wish that I could play this very interesting piece. The good thing is that this section (m.1-m.12) is an introduction, a PIANO SOLO, so you could play with a lot of espressivo, ritardando, use a different colors for the phrases or what ever you like, but still in the Mozart style!!! I would play this as I explained in my phrases and sub phrases, so the audience can hear it very clear. In the second phrase I'd start in piano dynamic and build thru the measures till measure 9 ( N6) and in m. 10 bid crescendo to the V chord, decrescendo i.
Good night,
Никола Петровић
Die Mainacht
Chord Analysis:
m. 33: I64 V7
m.34: iii I64
m. 35: I6 vi I64
m.36: IV V42/IV
m. 37: IV6 IV7
m. 38: V65/V V
m. 39: I iii III7
m. 40: vi IV viio65
m. 41: vi6 V/IV
m. 42: IV
m. 43: I64 V7/IV
m. 44: V7/N
m. 45: N N6
m 46: V7
m 47: V7
m 48: I V7/IV
m. 49: I
m. 50: V7/IV IV64
m. 51: ii half dim. 42 I
The climax of "Die Mainacht" occurs in measure 41 when the soprano sings the high F#. At this point in the song, the harmony is a vi6 to a V/IV. This chord progression was foreshadowed earlier in measure 36. The first root position one chord that occurs in this section is measure 48. This is informative because it allows the singer to observe that this section has different harmonies. It allows the performer to be aware of the unique chords that underly the solo. Phrasing does appear to be different from the pianist and the singer. The word "Morgenrot" would not be a good ending place. I see it as a break or a pause. The word literally means rosy dawn, and the singer actually continues to sing the purpose of the dawn. In addition, when Morgenot is sung a iv chord is being played underneath it. Measure 44 is not a phrase ending. The word "heisser" is an adjective describing a tear. There is a comma after the word to imply that there is more description. In addition, the chord being played in that measure is a V7/N. It's a unique chord but it is actually leading up to two more measure of Neapolitan chords. It's not ending a phrase, but rather its becoming a climax to one. If I were performing it I would try to create a sense of anticipation, letting my audience know that the phrase continues. Harmonically, the chords structures seem to travel from a the tonic to dominant, to predominant that finally tonic chords. It is a basic chord progression, but it is also a gratifying one. It is a very intense performance for the singer, so the postlude serves as a sense of calmness and stillness.
m. 33: I64 V7
m.34: iii I64
m. 35: I6 vi I64
m.36: IV V42/IV
m. 37: IV6 IV7
m. 38: V65/V V
m. 39: I iii III7
m. 40: vi IV viio65
m. 41: vi6 V/IV
m. 42: IV
m. 43: I64 V7/IV
m. 44: V7/N
m. 45: N N6
m 46: V7
m 47: V7
m 48: I V7/IV
m. 49: I
m. 50: V7/IV IV64
m. 51: ii half dim. 42 I
The climax of "Die Mainacht" occurs in measure 41 when the soprano sings the high F#. At this point in the song, the harmony is a vi6 to a V/IV. This chord progression was foreshadowed earlier in measure 36. The first root position one chord that occurs in this section is measure 48. This is informative because it allows the singer to observe that this section has different harmonies. It allows the performer to be aware of the unique chords that underly the solo. Phrasing does appear to be different from the pianist and the singer. The word "Morgenrot" would not be a good ending place. I see it as a break or a pause. The word literally means rosy dawn, and the singer actually continues to sing the purpose of the dawn. In addition, when Morgenot is sung a iv chord is being played underneath it. Measure 44 is not a phrase ending. The word "heisser" is an adjective describing a tear. There is a comma after the word to imply that there is more description. In addition, the chord being played in that measure is a V7/N. It's a unique chord but it is actually leading up to two more measure of Neapolitan chords. It's not ending a phrase, but rather its becoming a climax to one. If I were performing it I would try to create a sense of anticipation, letting my audience know that the phrase continues. Harmonically, the chords structures seem to travel from a the tonic to dominant, to predominant that finally tonic chords. It is a basic chord progression, but it is also a gratifying one. It is a very intense performance for the singer, so the postlude serves as a sense of calmness and stillness.
this is not fun time!
Okay let's get this overwith.
key: f# minor
m. 1: i
m. 2: iv43, V65
m. 3: i, i6, iidim6
m. 4: i64, V
m. 5: VI6, iidim7
m. 6: iii, i
m. 7: IV65, V6
m. 8: I, VI
m. 9: N6
m. 10: N6
m. 11: i64, V
m. 12: i
I separated this excerpt into 3 phrases. Each phrase is comprised of 4 measures. The first two phrases are contrasting (a, b) and the third phrase goes back to something similar to a so I called it a'. Each phrase begins with a dotted eighth, sixteenth, eighth note diddy that makes the phrases sound similar to each other. The harmonic progressions as well as the rhythms differ enough from each other to be seen as contrasting phrases. The first two phrases end on a half cadence and the last ends on perfect authentic cadence. The minor third chord at the beginning of measure 6 is a very ambiguous chord, it could also be seen as a seven diminished chord.
I'm just going to focus on the right hand/melody line performance wise because, uh i'm not really a pianist. There seem to be a lot of neighboring tones going on in this excerpt. So that gives the melody some nice flair. When the right hand gets to measures 9 and 10 and the harmony changes to the Neapolitan sixth predominant chords one could slow down that part for dramatic effect, it would sound scrumptulescent.
key: f# minor
m. 1: i
m. 2: iv43, V65
m. 3: i, i6, iidim6
m. 4: i64, V
m. 5: VI6, iidim7
m. 6: iii, i
m. 7: IV65, V6
m. 8: I, VI
m. 9: N6
m. 10: N6
m. 11: i64, V
m. 12: i
I separated this excerpt into 3 phrases. Each phrase is comprised of 4 measures. The first two phrases are contrasting (a, b) and the third phrase goes back to something similar to a so I called it a'. Each phrase begins with a dotted eighth, sixteenth, eighth note diddy that makes the phrases sound similar to each other. The harmonic progressions as well as the rhythms differ enough from each other to be seen as contrasting phrases. The first two phrases end on a half cadence and the last ends on perfect authentic cadence. The minor third chord at the beginning of measure 6 is a very ambiguous chord, it could also be seen as a seven diminished chord.
I'm just going to focus on the right hand/melody line performance wise because, uh i'm not really a pianist. There seem to be a lot of neighboring tones going on in this excerpt. So that gives the melody some nice flair. When the right hand gets to measures 9 and 10 and the harmony changes to the Neapolitan sixth predominant chords one could slow down that part for dramatic effect, it would sound scrumptulescent.
Longest night of my life....
Brahms' Die Mainacht's last verse says, " When, O smiling image, which like rosy dawn through my soul shines, shall I find you on earth? And the lonely tear trembles, burning, down my cheek."
The chordal analysis for measure 33-51 are as follows.
m. 33 - I 64 , V7
m. 34 - I64
m. 35 - I6 , vi , I64
m. 36 - ii6 , V43/IV
m. 37 - IV6 , IV
m. 38 - V7/V , V
m. 39 - III6 , V/vi
m. 40 - vi , IV , vii65
m. 41 - vi , vi6 , V/IV
m. 42 - IV , Fr+6
m. 43 - I64 , V7/IV
m. 44 - IV7 , V7/N
m. 45 - N , N , N6
m. 46 - V7 , V42
m. 47 - V7
m. 48 - I , I7
m. 49 - I7 , I
m. 50 - I7 , IV64
m. 51 - ii half diminish 42 , I
This blog may actually manage to top the awfulness of last week's seeing as it is being written after opening night.
The climax of this piece is quite obvious. The F in measure 41 is obviously being built up to both by the melody and the harmony. The word means tear which would seem to mean that the last verse is meant to focus in on that word, the display of the singer's sadness. It is not only built up to and then held but it is also brought down from by and arpeggio, not simply a jump. I found it interesting when doing the chordal analysis that this song really does not use very many root position one chords. The first one in this last verse is found in measure 48 on the word cheek. It is also the last word of the piece. To me this means that the singer has finally resolved his or herself to come kind of end. It enforces the idea of completeness and conclusion at the end of the song even though it is a sad thought that it concludes with. I do not think that the word Morgenrot in measure 38 is the end of a phrase. If I were to perform this piece I would think of it more as a breath point, a moment to collect my thoughts on the rest of the line and a way to add emphasis to the word Dawn. Measure 44 also does not feel like the end of the phrase because the idea is immediately repeated with text. I feel like this is used simply as a growing point for the singer/performer to gather all their emotion into the next note, the chromatic claim that is intensified by the use of the Neopolitan chord. The final use of the one chord in the end I believe is used to help the listener and the performer come to some kind of peace. The song never does but I think that the composer was trying to show that even apart from the text there is some kind of hope and resolution. If I was performing this piece I would use the piano's conclusion to reform my thinking and thus my facial expression from the tenseness that is shown in the final plea in measures 45-48 to the resolve and calmness of the repeated one chord in order to show a sense of peace.
The chordal analysis for measure 33-51 are as follows.
m. 33 - I 64 , V7
m. 34 - I64
m. 35 - I6 , vi , I64
m. 36 - ii6 , V43/IV
m. 37 - IV6 , IV
m. 38 - V7/V , V
m. 39 - III6 , V/vi
m. 40 - vi , IV , vii65
m. 41 - vi , vi6 , V/IV
m. 42 - IV , Fr+6
m. 43 - I64 , V7/IV
m. 44 - IV7 , V7/N
m. 45 - N , N , N6
m. 46 - V7 , V42
m. 47 - V7
m. 48 - I , I7
m. 49 - I7 , I
m. 50 - I7 , IV64
m. 51 - ii half diminish 42 , I
This blog may actually manage to top the awfulness of last week's seeing as it is being written after opening night.
The climax of this piece is quite obvious. The F in measure 41 is obviously being built up to both by the melody and the harmony. The word means tear which would seem to mean that the last verse is meant to focus in on that word, the display of the singer's sadness. It is not only built up to and then held but it is also brought down from by and arpeggio, not simply a jump. I found it interesting when doing the chordal analysis that this song really does not use very many root position one chords. The first one in this last verse is found in measure 48 on the word cheek. It is also the last word of the piece. To me this means that the singer has finally resolved his or herself to come kind of end. It enforces the idea of completeness and conclusion at the end of the song even though it is a sad thought that it concludes with. I do not think that the word Morgenrot in measure 38 is the end of a phrase. If I were to perform this piece I would think of it more as a breath point, a moment to collect my thoughts on the rest of the line and a way to add emphasis to the word Dawn. Measure 44 also does not feel like the end of the phrase because the idea is immediately repeated with text. I feel like this is used simply as a growing point for the singer/performer to gather all their emotion into the next note, the chromatic claim that is intensified by the use of the Neopolitan chord. The final use of the one chord in the end I believe is used to help the listener and the performer come to some kind of peace. The song never does but I think that the composer was trying to show that even apart from the text there is some kind of hope and resolution. If I was performing this piece I would use the piano's conclusion to reform my thinking and thus my facial expression from the tenseness that is shown in the final plea in measures 45-48 to the resolve and calmness of the repeated one chord in order to show a sense of peace.
Piano Concerto in A Major, K. 488, II. Adagio, m. 1-12
Roman Numeral Analysis – Piano Concerto in A Major, K. 488, II. Adagio m.-12
Key: F sharp minor
m. 1-4: i, iihalfdiminished42, V65, i, i64, ii(half)diminished6(5) (F sharp at beginning of second beat makes possibility of hearing half diminished), V64-53
m.5-7: VI6, viihalfdiminished7/III, IIIsharp2-3, i, IV65, V6
m.8-12: I4-3, VI, N6, V864-753, i
As the workbook states, the phrase structure of this excerpt is indeed difficult to analyze. First, the harmonies in m.5-6 function as tonic extension, but there is tonicization of III. The III does shift back to i in m. 6, strengthening the idea of III acting simply as tonic extension and adding harmonic interest in the phrase. Next, m. 5 – 8 feels like it could be a phrase as a whole, but the tonic extension at m. 8 from I4-3 to VI makes the end of m. 8 feel longing to continue and creates some harmonic ambiguity of establishing scale degree one since the V6 in m. 7 resolves to i m. 8, which then shifts to VI, another possible scale to resolve to from a dominant function chord, also in m. 8. Furthermore, VI’s ability to act as the fifth scale degree to flatII gives the feeling that the piece could continue in the key of flatII, which is what Mozart does by beginning m. 9 with the frequently occurring dottedeighth-sixteenth-eight note motif that begins the first phrase in m. 1 (it happens four times – m. 1, 5, 9, and 11, although m.11 is closing material as part of a cadential V864-753) which suggests the beginning of new phrases. However, Mozart does not continue the piece in flatII and uses N6 as a predominant to the cadential V864-753 in m. 11. Another issue is that, in contrast with the frequently recurring first motif of the piece, there is material from this passage only occurs once throughout this excerpt (sixteenth notes of m. 7, material in m 2-4).
One possible phrase diagram could be the following:
-It is a parallel period.
-m. 1-4 is one phrase, ending in a half cadence.
---Listeners may hear m. 1-2 as one subphrase, and the last beat of m.2-4 as a
second subphrase.
-m.5-12 is another phrase, ending in perfect authentic cadence.
---The first subphrase is m 5-7. The second subphrase is m. 7-8, and the last
subphrase is m. 9-12.
We can sum up the idea like this:
Phrase A - m. 1-4 Half Cadence
Subphrases:
a - m. 1-2
b - m. 2-4
Phrase A' - m. 5-12 Perfect Authentic Cadence
Subphrases:
a' - m. 5-6
c - m. 7-8
a’’ - m. 9-12
This beautiful passage requires much espressivo from the performer. Mozart does many inventive and unconventional things with the harmonic progressions and non-chordal embellishments for his time period, which calls for special attention to certain areas. Also, the beginning of this movement is a piano solo, which enables the pianist to give extra attention to portions of this excerpt without the troubles of staying together with the orchestra until the orchestra comes in at m. 12. The A natural of the second beat of m. 8 is a high point and a non-chordal accented embellishment, which could be stressed (but not accented!) in a caressing way. The traveling from I4-3 to VI then to N6 is quite a shock to listeners. The N6 of m. 9 is quite a color change and more distantly related to the tonic key than any of the other harmonic changes of the piece, so a change in tone and dynamics when one arrives at m. 9 – perhaps a soft, warm sound – would expose the beauty of the special N6 chord. The pianist could change the mood gradually to the warm, soft sound as the N6 is being approached from the harmonic changes of m. 8. On a final note, the proper release of tension in a sigh type of manner would be very musically satisfying. (For example, the release of sharp 2 to 3 in m. 6, the release of V64-53 of m. 4 and release of V864-753 of m. 11-12).
Key: F sharp minor
m. 1-4: i, iihalfdiminished42, V65, i, i64, ii(half)diminished6(5) (F sharp at beginning of second beat makes possibility of hearing half diminished), V64-53
m.5-7: VI6, viihalfdiminished7/III, IIIsharp2-3, i, IV65, V6
m.8-12: I4-3, VI, N6, V864-753, i
As the workbook states, the phrase structure of this excerpt is indeed difficult to analyze. First, the harmonies in m.5-6 function as tonic extension, but there is tonicization of III. The III does shift back to i in m. 6, strengthening the idea of III acting simply as tonic extension and adding harmonic interest in the phrase. Next, m. 5 – 8 feels like it could be a phrase as a whole, but the tonic extension at m. 8 from I4-3 to VI makes the end of m. 8 feel longing to continue and creates some harmonic ambiguity of establishing scale degree one since the V6 in m. 7 resolves to i m. 8, which then shifts to VI, another possible scale to resolve to from a dominant function chord, also in m. 8. Furthermore, VI’s ability to act as the fifth scale degree to flatII gives the feeling that the piece could continue in the key of flatII, which is what Mozart does by beginning m. 9 with the frequently occurring dottedeighth-sixteenth-eight note motif that begins the first phrase in m. 1 (it happens four times – m. 1, 5, 9, and 11, although m.11 is closing material as part of a cadential V864-753) which suggests the beginning of new phrases. However, Mozart does not continue the piece in flatII and uses N6 as a predominant to the cadential V864-753 in m. 11. Another issue is that, in contrast with the frequently recurring first motif of the piece, there is material from this passage only occurs once throughout this excerpt (sixteenth notes of m. 7, material in m 2-4).
One possible phrase diagram could be the following:
-It is a parallel period.
-m. 1-4 is one phrase, ending in a half cadence.
---Listeners may hear m. 1-2 as one subphrase, and the last beat of m.2-4 as a
second subphrase.
-m.5-12 is another phrase, ending in perfect authentic cadence.
---The first subphrase is m 5-7. The second subphrase is m. 7-8, and the last
subphrase is m. 9-12.
We can sum up the idea like this:
Phrase A - m. 1-4 Half Cadence
Subphrases:
a - m. 1-2
b - m. 2-4
Phrase A' - m. 5-12 Perfect Authentic Cadence
Subphrases:
a' - m. 5-6
c - m. 7-8
a’’ - m. 9-12
This beautiful passage requires much espressivo from the performer. Mozart does many inventive and unconventional things with the harmonic progressions and non-chordal embellishments for his time period, which calls for special attention to certain areas. Also, the beginning of this movement is a piano solo, which enables the pianist to give extra attention to portions of this excerpt without the troubles of staying together with the orchestra until the orchestra comes in at m. 12. The A natural of the second beat of m. 8 is a high point and a non-chordal accented embellishment, which could be stressed (but not accented!) in a caressing way. The traveling from I4-3 to VI then to N6 is quite a shock to listeners. The N6 of m. 9 is quite a color change and more distantly related to the tonic key than any of the other harmonic changes of the piece, so a change in tone and dynamics when one arrives at m. 9 – perhaps a soft, warm sound – would expose the beauty of the special N6 chord. The pianist could change the mood gradually to the warm, soft sound as the N6 is being approached from the harmonic changes of m. 8. On a final note, the proper release of tension in a sigh type of manner would be very musically satisfying. (For example, the release of sharp 2 to 3 in m. 6, the release of V64-53 of m. 4 and release of V864-753 of m. 11-12).
Extended Analysis C
m. 33 – I64 V7
m. 34 – iii6 I64
m. 35 – I6 vi
m. 36 – ii64 I43
m. 37 – iv6 IV
m. 38 – viio7/V V
m. 39 – V I64
m. 40 – vi IV vii65
m. 41 – vi vi6 I7
m. 42 – vi7 ii43 Fr6
m. 43 – I64 I7
m. 44 – iv7 bVI
m. 45 – V/V
m. 46 – V7
m. 47 – V7
m. 48 – I7
m. 49 – I7
m. 50 – I7 vi6
m. 51 – iio42 I
In Brahms’ “Die Mainacht” the climax is in measure 41 on the F# on the word “tears”. This phrase occurs earlier in measure 29, in fact the chords underneath the voice is the same; however the piano part is altered. In measure 41 the piano part is accelerated a bit leading up to the high F# and then the downwards fall of the voice. I think that in this piece especially the performer needs to be aware of what is going on in the piano part. The chords in the bass are the only reliable way to keep the tempo, while the treble part in the piano is all over the place and it does not always fall on the same beat as the voice, which can easily throw off a beginner vocalist. In terms of the word “Morgenrot” in measure 35, the musical phrase is not complete when the vocalist stops. There is not a cadence and ends on a predominant vi chord, then continues onto a ii65 chord, which does not give the feeling of conclusiveness. This is a place where the vocalist needs to stay aware of the difference between the vocal line and the piano line. Again in measure 44 there is no cadence but there is a pause in the text line. I would lean in to the chord a little more to prepare for the bVI mixture chord. I love how the vocal line falls while saying the words “trembles, burning, down my cheek.” It paints a vivid picture of sadness and the face of the singer during that line. Then after this line concludes the piano line slows down and brings back the rhythmic pattern from the beginning of the piece. The piano line goes to the unexpected iio42 chord before resolving to a I chord at the end, following the patter of this piece. Over all this song is a very curious piece, with many accidentals and mixture chords and a few augmented sixth chords. However its like the lyrics fit just right, the song is about sadness, and the music behind it takes it to another level adding a bit of mystery to it.
m. 34 – iii6 I64
m. 35 – I6 vi
m. 36 – ii64 I43
m. 37 – iv6 IV
m. 38 – viio7/V V
m. 39 – V I64
m. 40 – vi IV vii65
m. 41 – vi vi6 I7
m. 42 – vi7 ii43 Fr6
m. 43 – I64 I7
m. 44 – iv7 bVI
m. 45 – V/V
m. 46 – V7
m. 47 – V7
m. 48 – I7
m. 49 – I7
m. 50 – I7 vi6
m. 51 – iio42 I
In Brahms’ “Die Mainacht” the climax is in measure 41 on the F# on the word “tears”. This phrase occurs earlier in measure 29, in fact the chords underneath the voice is the same; however the piano part is altered. In measure 41 the piano part is accelerated a bit leading up to the high F# and then the downwards fall of the voice. I think that in this piece especially the performer needs to be aware of what is going on in the piano part. The chords in the bass are the only reliable way to keep the tempo, while the treble part in the piano is all over the place and it does not always fall on the same beat as the voice, which can easily throw off a beginner vocalist. In terms of the word “Morgenrot” in measure 35, the musical phrase is not complete when the vocalist stops. There is not a cadence and ends on a predominant vi chord, then continues onto a ii65 chord, which does not give the feeling of conclusiveness. This is a place where the vocalist needs to stay aware of the difference between the vocal line and the piano line. Again in measure 44 there is no cadence but there is a pause in the text line. I would lean in to the chord a little more to prepare for the bVI mixture chord. I love how the vocal line falls while saying the words “trembles, burning, down my cheek.” It paints a vivid picture of sadness and the face of the singer during that line. Then after this line concludes the piano line slows down and brings back the rhythmic pattern from the beginning of the piece. The piano line goes to the unexpected iio42 chord before resolving to a I chord at the end, following the patter of this piece. Over all this song is a very curious piece, with many accidentals and mixture chords and a few augmented sixth chords. However its like the lyrics fit just right, the song is about sadness, and the music behind it takes it to another level adding a bit of mystery to it.
Mozart, Neapolitan Style
The chord analysis of the first 12 bars of the second movement of Mozart's Piano Concert in A Major, K. 488 is as follows (with primarily two or three chords to each measure):
m. 1: i, i
m. 2: iv43, V65
m. 3: i, i6, ii diminished 6
m. 4: i64
m. 5: VI6, ii7
m. 6: III, i
m. 7: IV, V, IV65
m. 8: i, VI
m. 9: N6
m. 10: N6
m. 11: i64
m. 12: i
At first glance, it appears that this segment of the piano concerto should be divided into three segments. This, however, is difficult to do. There are several questions that arise when deciding how it should be divided. First of all, where are the cadences and what kind of cadences are they? The first cadence seemingly occurs between the end of measure 3 and the beginning of measure 4. The type of this cadence, however, is hard to determine. What kind of cadence occurs from a ii diminished 6 to a i 64? Perhaps this is just a predominant function that leads us to the cadential 64. It is difficult to know what to call this, however, and therefore this could be interpreted as not the true end of a phrase. The next phrase would seemingly begin at measure 5 and continue to the end of measure 8. This is a logical grouping, because the melody in measure 5 is a transposition of measure 1. There also arise questions here when the rhythm of measure 5 differs from the rhythm of measure 1. The cadence type at the end of this phrase is also troubling, seeing as it is from a IV65 to a i--this is perhaps another predominant-tonic function that cannot be labeled and therefore could be analyzed differently. The third section begins at measure 9, with a repeated transposition of the motives in measures 1 and 5. This goes on with variation to the end of measure 12, the conclusion of the excerpt. The cadence here is more clear-cut: measures 9 and 10 contain Neapolitan 6ths which correctly resolve to a cadential 64, and therefore the cadence is clear. It is certainly difficult to determine those sections, but I would call them A, A prime, and A double prime. Perhaps when looking at the movement as a larger entity, one could simply call this the A section without needing to divide it into subsets.
It is difficult to know whether one should call all of these phrases parallel or contrasting. Because they all begin with the same motivic material, one would be inclined to call them parallel. However, the rest of each phrase is completely different from the others, therefore leading one to believe that they are contrasting. The second phrase key area and cadence are difficult to determine because there are so many accidentals. How is one to determine which notes are non-chordal and which notes belong to the chord? There are a couple of ambiguous roman numerals. In measure 6, the first chord is difficult to determine because of the B#. However, I looked at this as a C natural and analyzed it as a III chord. Perhaps there are other ways to analyze this. The i chord at the beginning of measure 8 is also ambiguous because there are a couple of B's. I looked at those B's as non-chord tones and analyzed it as a i chord.
These complex harmonies require a certain attention to performance--which notes should the performer emphasize? In my opinion, one of the most important embellishing notes occurs in measure 6, with the B# that leads up to the C. This is part of the surprising III chord and should be emphasized by the performer. There are also various neighboring and passing chromatic tones in measure 7 (A#, E#) that are unique and should be emphasized, creating a feeling a flow for the listener. From measures 8-10 the G natural should certainly be brought out, seeing as it is the note that creates the unique Neapolitan 6th. In sum, the harmonic nuances of this piece create a beautiful atmosphere that is capable of making even heartless killer Javier Bardem in "No Country for Old Men" weep.
m. 1: i, i
m. 2: iv43, V65
m. 3: i, i6, ii diminished 6
m. 4: i64
m. 5: VI6, ii7
m. 6: III, i
m. 7: IV, V, IV65
m. 8: i, VI
m. 9: N6
m. 10: N6
m. 11: i64
m. 12: i
At first glance, it appears that this segment of the piano concerto should be divided into three segments. This, however, is difficult to do. There are several questions that arise when deciding how it should be divided. First of all, where are the cadences and what kind of cadences are they? The first cadence seemingly occurs between the end of measure 3 and the beginning of measure 4. The type of this cadence, however, is hard to determine. What kind of cadence occurs from a ii diminished 6 to a i 64? Perhaps this is just a predominant function that leads us to the cadential 64. It is difficult to know what to call this, however, and therefore this could be interpreted as not the true end of a phrase. The next phrase would seemingly begin at measure 5 and continue to the end of measure 8. This is a logical grouping, because the melody in measure 5 is a transposition of measure 1. There also arise questions here when the rhythm of measure 5 differs from the rhythm of measure 1. The cadence type at the end of this phrase is also troubling, seeing as it is from a IV65 to a i--this is perhaps another predominant-tonic function that cannot be labeled and therefore could be analyzed differently. The third section begins at measure 9, with a repeated transposition of the motives in measures 1 and 5. This goes on with variation to the end of measure 12, the conclusion of the excerpt. The cadence here is more clear-cut: measures 9 and 10 contain Neapolitan 6ths which correctly resolve to a cadential 64, and therefore the cadence is clear. It is certainly difficult to determine those sections, but I would call them A, A prime, and A double prime. Perhaps when looking at the movement as a larger entity, one could simply call this the A section without needing to divide it into subsets.
It is difficult to know whether one should call all of these phrases parallel or contrasting. Because they all begin with the same motivic material, one would be inclined to call them parallel. However, the rest of each phrase is completely different from the others, therefore leading one to believe that they are contrasting. The second phrase key area and cadence are difficult to determine because there are so many accidentals. How is one to determine which notes are non-chordal and which notes belong to the chord? There are a couple of ambiguous roman numerals. In measure 6, the first chord is difficult to determine because of the B#. However, I looked at this as a C natural and analyzed it as a III chord. Perhaps there are other ways to analyze this. The i chord at the beginning of measure 8 is also ambiguous because there are a couple of B's. I looked at those B's as non-chord tones and analyzed it as a i chord.
These complex harmonies require a certain attention to performance--which notes should the performer emphasize? In my opinion, one of the most important embellishing notes occurs in measure 6, with the B# that leads up to the C. This is part of the surprising III chord and should be emphasized by the performer. There are also various neighboring and passing chromatic tones in measure 7 (A#, E#) that are unique and should be emphasized, creating a feeling a flow for the listener. From measures 8-10 the G natural should certainly be brought out, seeing as it is the note that creates the unique Neapolitan 6th. In sum, the harmonic nuances of this piece create a beautiful atmosphere that is capable of making even heartless killer Javier Bardem in "No Country for Old Men" weep.
Mozart Piano Concerto Excerpt
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Blog #5
Mozart, Piano Concert in A Major, K488, second movement, mm.1-12
Here are the Roman Numerals in f-sharp minor for measures 1-12:
M1 – i
M2 – ii half 42 V 42
M3 – i iv
M4 – i64 V
M5 – vi6 iihalf7
M6 – III i
M7 – iv65 V6
M8 – i4-3 VI
M9 – N6
M10 – N6
M11 – i64 V64-53
M12 – i
I was able to find a recording of the concerto on Naxos Music Library. There are multiple versions available to listen to. In these twelve measures it feels like there could be two or three phrase. The first phrase is in measures 1-4. This theme is varied in measures 5-8, and at the beginning of measures 9. In the middle of measures 4 and 5, and 8 and 9, there are two eight note rests, but it feels like the performer could make those rests longer to be more expressive. Since this movement is an adagio and is in a minor key it sounds very pensive and contemplative. The phrases have similar motives but vary a little with the rhythm. The phrases end with half cadence and the last cadence has a five chord suspension going to a one chord right as the orchestra enters. Some notes feel like they could be held out longer as if played with a tenuto. It was difficult to figure out some of the roman numerals since there are many embellishing tones and it’s hard to decide which notes belong to the chord. The Neapolitan sixth chord in measures 9 and 10 are a bit surprising, but sound kind of odd and from outterspace. I think it’s odd that the chord is held out for two whole measures. It feels like we are getting to much Neapolitan since the left hand plays the same thing. I think the b-sharp in measure 6 sounds accented more, and when it goes up to the c, there was more emphasis on the b-sharp than on the c. I enjoy listening to adagios and slower movements. It’s relaxing and the performer can be very expressive.
Blog #5
Mozart, Piano Concert in A Major, K488, second movement, mm.1-12
Here are the Roman Numerals in f-sharp minor for measures 1-12:
M1 – i
M2 – ii half 42 V 42
M3 – i iv
M4 – i64 V
M5 – vi6 iihalf7
M6 – III i
M7 – iv65 V6
M8 – i4-3 VI
M9 – N6
M10 – N6
M11 – i64 V64-53
M12 – i
I was able to find a recording of the concerto on Naxos Music Library. There are multiple versions available to listen to. In these twelve measures it feels like there could be two or three phrase. The first phrase is in measures 1-4. This theme is varied in measures 5-8, and at the beginning of measures 9. In the middle of measures 4 and 5, and 8 and 9, there are two eight note rests, but it feels like the performer could make those rests longer to be more expressive. Since this movement is an adagio and is in a minor key it sounds very pensive and contemplative. The phrases have similar motives but vary a little with the rhythm. The phrases end with half cadence and the last cadence has a five chord suspension going to a one chord right as the orchestra enters. Some notes feel like they could be held out longer as if played with a tenuto. It was difficult to figure out some of the roman numerals since there are many embellishing tones and it’s hard to decide which notes belong to the chord. The Neapolitan sixth chord in measures 9 and 10 are a bit surprising, but sound kind of odd and from outterspace. I think it’s odd that the chord is held out for two whole measures. It feels like we are getting to much Neapolitan since the left hand plays the same thing. I think the b-sharp in measure 6 sounds accented more, and when it goes up to the c, there was more emphasis on the b-sharp than on the c. I enjoy listening to adagios and slower movements. It’s relaxing and the performer can be very expressive.
Die Mainacht- Round 2
Measures 33-51: I64, V7, iii, I64, I6, vi, ii, i, IV6, IV, ii, V, iii, vi, IV, vii065, vi, vi6, IV64, iv65, I64, I, IV, iv, N, N6, V, V6, iii, I, V, I, I, IV64, ii042, I.
The climax of "Die Mainacht" is in measure 45 where Brahms emphasizes the word "heiser" by placing a Neopolitan harmony underneath. This makes it sound more "burning" and upsetting. Additionally, Brahms intensifies the shock quality by creating a descending vocal line for the climax- an unusual move. I think most people would disagree with me and say that measures 39-43 are the climax, but I think that the lighter harmonic color doesn't hold a candle to the climax coming in measure 45 with the angry neopolitan. Earlier in the piece, you hear many d naturals- Brahms way of preparing the listener for the nasty ending with the neopolitan.
The first root position tonic triad on a downbeat in this section is in measure 38 with the dominant harmony. I think Brahms does this to allow the poet to state his question, although I don't think he wanted the singer to lose the phrase he's been creating. As I mentioned in my earlier blog, I don't really believe that the phrase ends until the piano is done in measures 49-51. This music is all about the connection between the pianist and the vocalist, so phrases can be intertwined and rely on eachother. (That's also how Brahms can get away with making phrases so long, you wouldn't see phrases like this in Handel.)
I disagree with the workbook saying that "it is absolutely necessary for performers to determine from the accompaniment where true phrases occur." I agree if we're only talking about this period, but like I said, I don't think Handel would've cared that much about the accompaniment of an aria. In the case of "morgenrot" - it is not the end of a phrase, Brahms communicates in a number of ways: 1. The moving piano part implying to move forward 2. The word "morgenrot" means rosy morning- the morning implies a new day, if it were night, maybe it'd be the end of a phrase, the poet's obviously got more to say about his morning. 3. The harmony is not cadential or even close to sounding complete- Brahms has a reason for doing this.
I would not interpret measure 44 as a phrase ending. Once again Brahms creates a moving piano part with moving harmonies, and it wouldn't make sense for someone to state a complete thought that way lyrically. I think Brahms just wanted this to be a forethought to measure 45. As if the poet is at first stating his revelation quietly to himself in measure 44 and then crying for attention in measure 45. I would move forward in measure 44 and take more time in measure 45, as a performer.
The piano postlude is VERY important, structured mostly of diatonic harmonies, except for the diminished ii42 right before the final I. This piano part finishes the "wandering" where the singer left off. The movement of wandering paints the scene for the listener while they're still thinking about what the poet said. The listener is then given extra time and reminded of the bitter ending by the mixture chord with the fermata, right before the cadential return to tonic. If I were the pianist, I'd really "ham it up" in this section, especially since you don't have to worry about the singer anymore. I would use a lot of rubato and really emphasize the fermatas in the last measure.
The climax of "Die Mainacht" is in measure 45 where Brahms emphasizes the word "heiser" by placing a Neopolitan harmony underneath. This makes it sound more "burning" and upsetting. Additionally, Brahms intensifies the shock quality by creating a descending vocal line for the climax- an unusual move. I think most people would disagree with me and say that measures 39-43 are the climax, but I think that the lighter harmonic color doesn't hold a candle to the climax coming in measure 45 with the angry neopolitan. Earlier in the piece, you hear many d naturals- Brahms way of preparing the listener for the nasty ending with the neopolitan.
The first root position tonic triad on a downbeat in this section is in measure 38 with the dominant harmony. I think Brahms does this to allow the poet to state his question, although I don't think he wanted the singer to lose the phrase he's been creating. As I mentioned in my earlier blog, I don't really believe that the phrase ends until the piano is done in measures 49-51. This music is all about the connection between the pianist and the vocalist, so phrases can be intertwined and rely on eachother. (That's also how Brahms can get away with making phrases so long, you wouldn't see phrases like this in Handel.)
I disagree with the workbook saying that "it is absolutely necessary for performers to determine from the accompaniment where true phrases occur." I agree if we're only talking about this period, but like I said, I don't think Handel would've cared that much about the accompaniment of an aria. In the case of "morgenrot" - it is not the end of a phrase, Brahms communicates in a number of ways: 1. The moving piano part implying to move forward 2. The word "morgenrot" means rosy morning- the morning implies a new day, if it were night, maybe it'd be the end of a phrase, the poet's obviously got more to say about his morning. 3. The harmony is not cadential or even close to sounding complete- Brahms has a reason for doing this.
I would not interpret measure 44 as a phrase ending. Once again Brahms creates a moving piano part with moving harmonies, and it wouldn't make sense for someone to state a complete thought that way lyrically. I think Brahms just wanted this to be a forethought to measure 45. As if the poet is at first stating his revelation quietly to himself in measure 44 and then crying for attention in measure 45. I would move forward in measure 44 and take more time in measure 45, as a performer.
The piano postlude is VERY important, structured mostly of diatonic harmonies, except for the diminished ii42 right before the final I. This piano part finishes the "wandering" where the singer left off. The movement of wandering paints the scene for the listener while they're still thinking about what the poet said. The listener is then given extra time and reminded of the bitter ending by the mixture chord with the fermata, right before the cadential return to tonic. If I were the pianist, I'd really "ham it up" in this section, especially since you don't have to worry about the singer anymore. I would use a lot of rubato and really emphasize the fermatas in the last measure.
"Die Mainacht"
33 - I64; V7
34 - iii6; I64
35 - I6; vi
36 - ii half-diminished 65; V43/IV
37 - IV6; IV
38 - viio7/V; V
39 - V; V/vi
40 - vi; IV; ii7
41 - vi; vi6; V7/IV
42 - IV7; Fr6
43 - I64; V7/IV
44 - IV7; V7/bII
45 - bII; bII6
46 - V7
47 - V7
48 - I7
49 - I7
50 - I7 , IV64
51 - ii half-diminished 42; I
With little exposure to Brahms, and certainly this aria, I was pleasantly surprised by "Die Mainacht". I found the extent to which the music reflected the text and the nature of the individual was quite superb. In regards to a climax at the end of the piece however, I did not by any means feel like there was a distinct or any definite climax. If I had to posit a guess, assuming there is even a correct answer, I would point to the phrase from measure 40-43. Although a similar if not identical phrase appears in measures 27-30, a combination of the location of the phrase in the text, the text itself, and the following phrases give the line from measures 40-43 a greater semblance of climax. The harmonic color gives a slow chromatic buildup to the high F sharp followed by a chordal descent from said climax giving the line a feeling of an intense buildup of emotion followed by a quicker release signifying almost a relief of sharing the hurts that pang the singer. The chromatic buildup in the beginning anticipates the explosion at the top and serve to intensify the release as the singer exclaims "And the lonely tear", sharing her grief. As stated previously, this harmony is foreshadowed in measures 27-30.
The first appearance of a root position tonic triad appears in measure 5 at the end of the first phrase. This might affect the manner in which I approach the performance in the sense that the tonality is in play from the start, the constant grounding to the tonic provides a reminder and allows for a freer performance. The word "Morgenrot", meaning red dawn, is approached with a tonic triad to end the phrase. This seems to be a very weak, if not confusing manner in which to deal with such a phrase. In my mind a red dawn is a beautiful thing, not to take away from the beauty of a red dawn, but I find it more mysterious, and a tonic triad seems to me to be a more simple and predictable end to a phrase. Perhaps I would approach it with more embellishments to highlight the mysterious nature of a red dawn, or even just to confirm the pure beauty of it. Odd phrase endings happen more than once. The phrase ending at measure 44 has the semblance of a phrase ending but picks up again in the next measure with flat II chords. The phrase ending in 44 on the D. The piano postlude coupled with the ritard. seem to adequately sum up the emotions of the singer. As a performer, I would adjust my facial expressions and body movement to reflect the emotion of the postlude.
34 - iii6; I64
35 - I6; vi
36 - ii half-diminished 65; V43/IV
37 - IV6; IV
38 - viio7/V; V
39 - V; V/vi
40 - vi; IV; ii7
41 - vi; vi6; V7/IV
42 - IV7; Fr6
43 - I64; V7/IV
44 - IV7; V7/bII
45 - bII; bII6
46 - V7
47 - V7
48 - I7
49 - I7
50 - I7 , IV64
51 - ii half-diminished 42; I
With little exposure to Brahms, and certainly this aria, I was pleasantly surprised by "Die Mainacht". I found the extent to which the music reflected the text and the nature of the individual was quite superb. In regards to a climax at the end of the piece however, I did not by any means feel like there was a distinct or any definite climax. If I had to posit a guess, assuming there is even a correct answer, I would point to the phrase from measure 40-43. Although a similar if not identical phrase appears in measures 27-30, a combination of the location of the phrase in the text, the text itself, and the following phrases give the line from measures 40-43 a greater semblance of climax. The harmonic color gives a slow chromatic buildup to the high F sharp followed by a chordal descent from said climax giving the line a feeling of an intense buildup of emotion followed by a quicker release signifying almost a relief of sharing the hurts that pang the singer. The chromatic buildup in the beginning anticipates the explosion at the top and serve to intensify the release as the singer exclaims "And the lonely tear", sharing her grief. As stated previously, this harmony is foreshadowed in measures 27-30.
The first appearance of a root position tonic triad appears in measure 5 at the end of the first phrase. This might affect the manner in which I approach the performance in the sense that the tonality is in play from the start, the constant grounding to the tonic provides a reminder and allows for a freer performance. The word "Morgenrot", meaning red dawn, is approached with a tonic triad to end the phrase. This seems to be a very weak, if not confusing manner in which to deal with such a phrase. In my mind a red dawn is a beautiful thing, not to take away from the beauty of a red dawn, but I find it more mysterious, and a tonic triad seems to me to be a more simple and predictable end to a phrase. Perhaps I would approach it with more embellishments to highlight the mysterious nature of a red dawn, or even just to confirm the pure beauty of it. Odd phrase endings happen more than once. The phrase ending at measure 44 has the semblance of a phrase ending but picks up again in the next measure with flat II chords. The phrase ending in 44 on the D. The piano postlude coupled with the ritard. seem to adequately sum up the emotions of the singer. As a performer, I would adjust my facial expressions and body movement to reflect the emotion of the postlude.
Extended Analysis C: Brahms
Here's my chord analysis, I apologize for any mistakes:
F#Major
msr. 33: I64; V7
msr. 34: iii6; I64
msr. 35: I6; vi;
msr. 36: ii65; I7
msr. 37: iv6; IV
msr. 38: vii halfdim7/V; V
msr. 39: V; I65
msr. 40: vi; IV; vii65
msr. 41: vi; vi6; I7
msr. 42: vi7; vi; ii43; FR+6
msr. 43: I64; I7
msr. 44: iv7; ii65; bVI
msr. 45: V/V
msr. 46: V7
msr. 47: V7
msr. 48: I7
msr. 49: I7
msr. 50: I7; IV64
msr. 51: iihalfdim42; I
For Brahms's "Die Mainacht" I am looking at the song's final stanza. Here we see the climax in measure 41 with the high F# with the arpeggiated fall downward in 42 and up to the C in msr. 43. We saw this before in msr. 29, but that was the end of the second stanza. Here this repeat of that pattern is a set up for the end of the piece. This was set up by the V chord is msr. 39-one of the few root triads in the piece. To keep up for a dramatic ending, the harmony flows through msrs. 43-45 with a bVI and mode mixture of the V/V chord. Brahms moves from msr. 47-48 with an authentic cadence of V-I, while the piano postlude uses the I7 chord to build to an unusual ending of a plagal cadence with the iihalfdim42-I. Backing up a bit to msr. 33 to the word "Morgenrot." What's interesting here is that the pause in the text doesn't coincide with the phrase ending. The phrase actually ends in msr. 38 with the half cadence on "dich?". When performing this bit, as a singer, i would make the eighth rest at the end of 35 more of a lift than an actual breath as to continue the line all the way through to "dich" to end the question. Same in msr. 44, I would treat the rest after "heisser" as a lift or slight pause, to continue the line to the end. This is the awesome dramatic end of "And the lonely tear trembles, burning, down my cheek." I would really emphasize the harmonic embellishments in msr. 45 and bring out the sadness in this ending, making full use of the piano dynamic and ritard in the postlude.
F#Major
msr. 33: I64; V7
msr. 34: iii6; I64
msr. 35: I6; vi;
msr. 36: ii65; I7
msr. 37: iv6; IV
msr. 38: vii halfdim7/V; V
msr. 39: V; I65
msr. 40: vi; IV; vii65
msr. 41: vi; vi6; I7
msr. 42: vi7; vi; ii43; FR+6
msr. 43: I64; I7
msr. 44: iv7; ii65; bVI
msr. 45: V/V
msr. 46: V7
msr. 47: V7
msr. 48: I7
msr. 49: I7
msr. 50: I7; IV64
msr. 51: iihalfdim42; I
For Brahms's "Die Mainacht" I am looking at the song's final stanza. Here we see the climax in measure 41 with the high F# with the arpeggiated fall downward in 42 and up to the C in msr. 43. We saw this before in msr. 29, but that was the end of the second stanza. Here this repeat of that pattern is a set up for the end of the piece. This was set up by the V chord is msr. 39-one of the few root triads in the piece. To keep up for a dramatic ending, the harmony flows through msrs. 43-45 with a bVI and mode mixture of the V/V chord. Brahms moves from msr. 47-48 with an authentic cadence of V-I, while the piano postlude uses the I7 chord to build to an unusual ending of a plagal cadence with the iihalfdim42-I. Backing up a bit to msr. 33 to the word "Morgenrot." What's interesting here is that the pause in the text doesn't coincide with the phrase ending. The phrase actually ends in msr. 38 with the half cadence on "dich?". When performing this bit, as a singer, i would make the eighth rest at the end of 35 more of a lift than an actual breath as to continue the line all the way through to "dich" to end the question. Same in msr. 44, I would treat the rest after "heisser" as a lift or slight pause, to continue the line to the end. This is the awesome dramatic end of "And the lonely tear trembles, burning, down my cheek." I would really emphasize the harmonic embellishments in msr. 45 and bring out the sadness in this ending, making full use of the piano dynamic and ritard in the postlude.
Extended Analysis C
m33: I64, V7
m34: iii6, I64
m35: I6, vi, I64
m36: ii65, I43
m37: IV6, IV
m38: II6, iii6
m39: V, iii, III7
m40: vi, IV, vii65
m41: vi, vi6, I7
m42: I, IV, It6, Fr6
m43: I64, I7
m44: I, vi7, iv, bVI
m45: N6
m46: V7
m47: V7
m48: I7
m49: I7
m50: I7, vi6
m51: ii42, I
The climax of this piece is in measure 41 on the high F sharp, supported harmonically with a vi into a I7. This has already happened once in the piece, but unlike before where it ended into a whole bar of rest plus a fermata, this time it continues on to come to the piece's end. Also, just before this, we see a root position chord on the downbeat for the first time in this section- a V chord on beat one of Measure 39. As a performer, I would probably play this very strongly, as it is a very firm chord that starts a climb to the climax.
In most of this section, there are really no strong cadences. Although there appear to be some from looking at the text, like "Morgenrot" in measure 35, the harmonies never really form cadences- this spot ends on a I vi I64. Also, in measure 44, the text looks like there should be a cadence, but there is just a iv to a bVI. At these spots, I would probably try to sing almost through the words, as if leading into the next word, even though there is a rest in between.
Finally, there is the piano postlude. While it isn't the strongest version of a cadence, it does still cadence with a vi-ii-I, bringing the piece to a definite end. Instead of using a nice major IV-V-I, it proceeds mostly in minor, showing the emotion of the text-sad and lonely. I would make sure to bring out this factors by emphasizing the ritardando and slowing almost excessively to the end.
m34: iii6, I64
m35: I6, vi, I64
m36: ii65, I43
m37: IV6, IV
m38: II6, iii6
m39: V, iii, III7
m40: vi, IV, vii65
m41: vi, vi6, I7
m42: I, IV, It6, Fr6
m43: I64, I7
m44: I, vi7, iv, bVI
m45: N6
m46: V7
m47: V7
m48: I7
m49: I7
m50: I7, vi6
m51: ii42, I
The climax of this piece is in measure 41 on the high F sharp, supported harmonically with a vi into a I7. This has already happened once in the piece, but unlike before where it ended into a whole bar of rest plus a fermata, this time it continues on to come to the piece's end. Also, just before this, we see a root position chord on the downbeat for the first time in this section- a V chord on beat one of Measure 39. As a performer, I would probably play this very strongly, as it is a very firm chord that starts a climb to the climax.
In most of this section, there are really no strong cadences. Although there appear to be some from looking at the text, like "Morgenrot" in measure 35, the harmonies never really form cadences- this spot ends on a I vi I64. Also, in measure 44, the text looks like there should be a cadence, but there is just a iv to a bVI. At these spots, I would probably try to sing almost through the words, as if leading into the next word, even though there is a rest in between.
Finally, there is the piano postlude. While it isn't the strongest version of a cadence, it does still cadence with a vi-ii-I, bringing the piece to a definite end. Instead of using a nice major IV-V-I, it proceeds mostly in minor, showing the emotion of the text-sad and lonely. I would make sure to bring out this factors by emphasizing the ritardando and slowing almost excessively to the end.
Sweet Home Arkansas
I have discovered an excellent recording of Mozart’s Piano Concerto in A Major, K. 488 (second movement, m.1-12). Found on Naxos’ Online Music Library and performed by Alain Lefèvre, it is a gripping and moving opening statement to the Adagio portion of this concerto.
The chord analysis is as follows:
m.1 – i
m.2 – ii*(half)4/2 V6/5
m.3 – i-6 ii6
m.4 – V6/4-5/3
m.5 – VI6 ii*(half)7
m.6 – iii i
m.7 – IV6/5 V6
m.8 – I4-3 VI
m.9 – N6
m.10 – N6
m.11 – V6/4-5/3
m.12 –i
The recording I’ve had the pleasure of listening to takes a slower tempo than some other recordings I’ve heard, but does a wonderful job of accentuating the accidentals. Especially at points of tension/release (m. 6) the emphasis brings new colors and emotions that flood the mind when listening to the work. I imagine Mozart writing this piece and thinking, “Hmmm…a C# in measure 6 is what they expect, but if I lower the note to a C [or B#] and then resolve…much better…”
Mozart takes the work to an undiscovered arena when, in measure 8, he tonicizes to a major I (F# major chord) and transitions into a major VI (reminiscent of the minor key) but then slaps a bII (Neapolitan!) into the texture for the following two measures. Again, Mozart creates this proud statement but then backs his intensity off and looks skyward to the heavens as he arpeggiates a G major chord. However, Mozart is no “head-in-the-clouds” type of guy as he reverts to his typical cadential 6/4 to finish the cadence and begin the orchestra’s initial entrance to the movement.
It’s careful attention to detail like those suspensions and preparation of the Neapolitan chord that make the composition (and Mozart, of course) special. The (seemingly) transparent texture in which the piano is written gives a very open, inviting and dreamy aura to the entire opening section. The wide spacing in the left hand and single melody line in right hand are so lax in complexity that the piece sounds simple – simple to compose and simple to play. Not much to something that has a lot of notes, right?
Mozart compositionally kicks guys like Rachmaninoff in the head – he doesn’t need a fistful of notes to make music.
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