I am prest with frustration with Dido and Aeneas, I thought after music history we could be done with this, guess not.
Chord analysis:
m. 1 - i, vii, i
m. 2 - V, iv6, i6
m. 3 - iv, i64, V7
m. 4 - i---
m. 53 - vi6, V, i,
m. 54 - i64, vi, iv42
m. 55 - viiº7, V--
m. 56 - i---
This song is a continuous variation, in particular a passacaglia. There are a series of 21 statements of the theme with one transposition that is repeated twice. This transposition is found in measures 45 through 52 over the words "languish". The idea of languish is the theme of this song and from what else I have heard seems to be the theme of the opera.
In general this song does not have any form of variation in the melody line, probably because it is pasacaglia. The text and melody line seem to repeat over and over again. There are often some embellishing tones to further have you feel the anguish of the singer. The descending minor line helps the singer feel the sadness that she is feeling. The word "Guess'd" is held out for much longer than any other word in the entire piece. I think this is because Purcell really wanted to focus not only on the pain but also on the idea that the singer does not want anyone to know the pain or shame she is feeling. He uses alot of sharp 4s and other embellishing tones to add to this.
If I were to perform this piece I would use the continuous variation to give me a sense of propelling forward so I can see an end to my languish. I would use the embellishing tones and Fi's to help me understand the tonal sense of the piece, meaning the notes used to help reinforce the sadness. Peace and I are strangers grown. This would be a hard way to finish a song, there is no sense of a positive spin. This kind of reminds me of the ending speech in Taming of the Shrew, it is all about women submitting to men, not exactly a happy idea for me, and this has no sense of a happy coming out of the song.
FINALLY IT"S ALMOST SPRING BREAK.
Thursday, March 20, 2008
Why would you want to play 21 variations!!!????
080320
Blog #8
George Frideric Handel (1685-1759)
Chaconne in G Major, from Trois Lecons (Three Lessons)
P.100 CD 2.1
There is a theme and 21 variations each lasting 8 measures long. All of the variations are supposed to be repeated but the recording that came along with the anthology did not play the repeats. Some of the variations have a first and second ending. The different variations include eight notes, triplets, and sixteenth notes that alternate in the left and right hand. The variations use upper, lower and double neighbor tones. The time signature switches as between ¾ and 9/8. Some variations feel as if they should be grouped together because the right hand plays maybe eight notes and a harmonic progression in the left hand and in the next variation the left hand would play eight notes and the right hand would play the harmonic progression
Roman Numerals in the key of g major:
I I, V6 V6, vi7/V, V, I6 I6, IV I6 viidim6, I I64, V7, I4-3 I
In variations 1-8 the same chord progression or similar is used. As the variations change and less harmonic chords are played it still sounds like the same because on the downbeat of each measure is the same as the original progression. The variations with lots of moving embellishments have less harmonic chords played but it still plays the same chords that are supposed to be played on the downbeat. The harmonic variation is shown in the rhythm of the progressions. A measure that started with a quarter beat and then half beat would vary to half beat, quarter beat measure or a quarter beat, dotted quarter beat, and eight beat measure, or a quarter beat and half beat rest, or quarter beat then quarter beat rest and then another quarter beat.
Variation 9, 10, 14, and 16 Roman Numerals:
i, v6, iv6, V, I, iv, i64, i
Variation 11, 12, 13, and 15 Roman Numerals for the first 4 measures:
i iv6, VII III6, VI ii6, V i6
Neapolitans: m102 (variation 12), m109 (variation 13)
Secondary dominants: m131, m133 (variation 16)
Secondary leading-tone chords: m.85 (variation 10), m131 (variation 16)
Minor v: m74 (variation 9), m114 (variation 14)
The harmonic progressions in the g minor variations are the same as the variations in g major except for chords that change when a key changes from major to minor. The descending bass line descends down a major second to the next measure. There is chromaticism in the 3rd and 4th measures of the progression. To make it a V the f-sharp needs to be changed in the minor key.
This Chaconne uses continuous and sectional variations. For continuous it has a ternary form where the first A section is major then the B section is in the parallel minor and the second A section goes back to the major key. The theme is clearly stated and the variations are easy to tell, aside from the variations being labeled. When it goes to the minor key the meter slows down. It has a change of character compared to the first section with all the moving notes. In the all of the variations there is a ground bass. In the minor section it uses the continuous technique of repeating the melodic phrase. Chaconnes tend to be continuous with a statement and a repeating harmonic progression. But Chaconnes also are hard to tell the division because the variations seem to all flow together.
Blog #8
George Frideric Handel (1685-1759)
Chaconne in G Major, from Trois Lecons (Three Lessons)
P.100 CD 2.1
There is a theme and 21 variations each lasting 8 measures long. All of the variations are supposed to be repeated but the recording that came along with the anthology did not play the repeats. Some of the variations have a first and second ending. The different variations include eight notes, triplets, and sixteenth notes that alternate in the left and right hand. The variations use upper, lower and double neighbor tones. The time signature switches as between ¾ and 9/8. Some variations feel as if they should be grouped together because the right hand plays maybe eight notes and a harmonic progression in the left hand and in the next variation the left hand would play eight notes and the right hand would play the harmonic progression
Roman Numerals in the key of g major:
I I, V6 V6, vi7/V, V, I6 I6, IV I6 viidim6, I I64, V7, I4-3 I
In variations 1-8 the same chord progression or similar is used. As the variations change and less harmonic chords are played it still sounds like the same because on the downbeat of each measure is the same as the original progression. The variations with lots of moving embellishments have less harmonic chords played but it still plays the same chords that are supposed to be played on the downbeat. The harmonic variation is shown in the rhythm of the progressions. A measure that started with a quarter beat and then half beat would vary to half beat, quarter beat measure or a quarter beat, dotted quarter beat, and eight beat measure, or a quarter beat and half beat rest, or quarter beat then quarter beat rest and then another quarter beat.
Variation 9, 10, 14, and 16 Roman Numerals:
i, v6, iv6, V, I, iv, i64, i
Variation 11, 12, 13, and 15 Roman Numerals for the first 4 measures:
i iv6, VII III6, VI ii6, V i6
Neapolitans: m102 (variation 12), m109 (variation 13)
Secondary dominants: m131, m133 (variation 16)
Secondary leading-tone chords: m.85 (variation 10), m131 (variation 16)
Minor v: m74 (variation 9), m114 (variation 14)
The harmonic progressions in the g minor variations are the same as the variations in g major except for chords that change when a key changes from major to minor. The descending bass line descends down a major second to the next measure. There is chromaticism in the 3rd and 4th measures of the progression. To make it a V the f-sharp needs to be changed in the minor key.
This Chaconne uses continuous and sectional variations. For continuous it has a ternary form where the first A section is major then the B section is in the parallel minor and the second A section goes back to the major key. The theme is clearly stated and the variations are easy to tell, aside from the variations being labeled. When it goes to the minor key the meter slows down. It has a change of character compared to the first section with all the moving notes. In the all of the variations there is a ground bass. In the minor section it uses the continuous technique of repeating the melodic phrase. Chaconnes tend to be continuous with a statement and a repeating harmonic progression. But Chaconnes also are hard to tell the division because the variations seem to all flow together.
Bee-th-oven
Uggghhhh....is it spring break yet?
Okay so this Beethoven piano thing is a rondo. We haven't covered this yet, but I did me some readin' and I learned about this herre rondo form.
The workbook wanted me to do a harmonic analysis and form diagram, so I "happily" obliged.
A, parallel period, F Major
m.1 I6, iihalfdim
m.2 I6
m.3 IV, V/IV
m.4 IV
m.5 V
m.6 I
m.7 V, I
m.8 V HC
m.9 -14 same as m.1-6
m.15 ii6, V
m.16 I PAC
B, some may say this is in C Major
m.17 V, VI42
m.18 V7
m.19 ii, V
m.20 V/V
m.21 V7
m.22 V/V
m.23 V7
m.24 V/V
m.25 V, vi
m.26 V6, V/V
m.28 V HC
Return of A with PAC m.29-36
C, yeah I don't know what to say about this section...it's kinda in a rounded binary form annnd it might also be in D major here? I'm not exactly sure.
m.37 IV65
m.38 III43
m.39 III65
m.40 ii43
m.41 vi6
m.42 ii
m.43 vi6
m.44 ii
m.45 vi6
m.46 ii, vi43
m.47 III, ii43
m.48 vi, III
m.49 vi
m.50 iii
m.51 IV
m.52 I
m.53 IV
m.54 I6
m.55 ii
m.56 vi6
m.57 Vdim, vi
m.58 III
m.59-63 same as m.37-43
m.64 viidim65
m.65 vi, III65
m.66 vi
F Major, this part acts like a bridge that goes back into the A section; it has an improvisational feel to it.
m.67 V42
m.68 I64
m.69 V64
m.70 I
m.71 V7
m.72 ii64
m.73 ii64
m.74 V HC
A
Same as first A section. It includes a short coda tagged on at the end that repeats the D-T gesture twice.
m.91 V
m.92 I
m.93 V7
m.94 I
I hear this piece as a five-part rondo form. ABACA. When I listened to it I heard three distinct parts which would constitute to a five-part rondo form. This also could be viewed as a seven-part rondo form because of the end of the C section. The part that returns to F major could be seen as separate and independent from the C section therefore making it a new letter, D. It would fit in the form ABAC(A)DA. The A in the parentheses is not actually heard in this piece but I am sure someone could make a case for seven-part rondo form with that little bridge section. And to take it even further, this piano piece can also be see as composite ternary form, ABA. The A sections would remain the same as in the rondo forms, but the B section would be drastically longer. It would include both the B and C letters of the five-part rondo form.
Measures 1-36 (ABA in five-part rondo) alone makes up a rounded binary form. I think it looks like a textbook example of rounded binary form. The only part that is not quite typical of the form is in the last two measures of the B section. The last two measures is basically an embellishment of the V chord with sixteenth notes. this technique is used in rondo forms to cue in the listener that the main tonic key or main theme is going to make a come back. This form can also be heard in measures 37-66, section C in five-part rondo. And like I said above measures 67-74 act as a bridge to section A...not typical in rounded binary forms.
the phrase rhythm of the A sections are all 8 measures long. The B section, which I see as one long phrase, is consisted of 12 measures. There is only a four measure difference between the two but you can definitely hear it when listening to the piece. It seems like it takes forever before the B section to get to a cadence, whereas with the A section the cadence comes naturally after 8 measures. Now the C section is a whole different story! I could not find a consistent phrase rhythm within the C section, but I did find that if you break it down into rounded binary form (aba') then you could see it. The a and b sections both have a phrase rhythm of 12 measures long, which, again, tends to make one feel like the cadence is far away. The repeat of a has a phrase rhythm of 8 measures which then leads into the bridge.
yay spring break!
Okay so this Beethoven piano thing is a rondo. We haven't covered this yet, but I did me some readin' and I learned about this herre rondo form.
The workbook wanted me to do a harmonic analysis and form diagram, so I "happily" obliged.
A, parallel period, F Major
m.1 I6, iihalfdim
m.2 I6
m.3 IV, V/IV
m.4 IV
m.5 V
m.6 I
m.7 V, I
m.8 V HC
m.9 -14 same as m.1-6
m.15 ii6, V
m.16 I PAC
B, some may say this is in C Major
m.17 V, VI42
m.18 V7
m.19 ii, V
m.20 V/V
m.21 V7
m.22 V/V
m.23 V7
m.24 V/V
m.25 V, vi
m.26 V6, V/V
m.28 V HC
Return of A with PAC m.29-36
C, yeah I don't know what to say about this section...it's kinda in a rounded binary form annnd it might also be in D major here? I'm not exactly sure.
m.37 IV65
m.38 III43
m.39 III65
m.40 ii43
m.41 vi6
m.42 ii
m.43 vi6
m.44 ii
m.45 vi6
m.46 ii, vi43
m.47 III, ii43
m.48 vi, III
m.49 vi
m.50 iii
m.51 IV
m.52 I
m.53 IV
m.54 I6
m.55 ii
m.56 vi6
m.57 Vdim, vi
m.58 III
m.59-63 same as m.37-43
m.64 viidim65
m.65 vi, III65
m.66 vi
F Major, this part acts like a bridge that goes back into the A section; it has an improvisational feel to it.
m.67 V42
m.68 I64
m.69 V64
m.70 I
m.71 V7
m.72 ii64
m.73 ii64
m.74 V HC
A
Same as first A section. It includes a short coda tagged on at the end that repeats the D-T gesture twice.
m.91 V
m.92 I
m.93 V7
m.94 I
I hear this piece as a five-part rondo form. ABACA. When I listened to it I heard three distinct parts which would constitute to a five-part rondo form. This also could be viewed as a seven-part rondo form because of the end of the C section. The part that returns to F major could be seen as separate and independent from the C section therefore making it a new letter, D. It would fit in the form ABAC(A)DA. The A in the parentheses is not actually heard in this piece but I am sure someone could make a case for seven-part rondo form with that little bridge section. And to take it even further, this piano piece can also be see as composite ternary form, ABA. The A sections would remain the same as in the rondo forms, but the B section would be drastically longer. It would include both the B and C letters of the five-part rondo form.
Measures 1-36 (ABA in five-part rondo) alone makes up a rounded binary form. I think it looks like a textbook example of rounded binary form. The only part that is not quite typical of the form is in the last two measures of the B section. The last two measures is basically an embellishment of the V chord with sixteenth notes. this technique is used in rondo forms to cue in the listener that the main tonic key or main theme is going to make a come back. This form can also be heard in measures 37-66, section C in five-part rondo. And like I said above measures 67-74 act as a bridge to section A...not typical in rounded binary forms.
the phrase rhythm of the A sections are all 8 measures long. The B section, which I see as one long phrase, is consisted of 12 measures. There is only a four measure difference between the two but you can definitely hear it when listening to the piece. It seems like it takes forever before the B section to get to a cadence, whereas with the A section the cadence comes naturally after 8 measures. Now the C section is a whole different story! I could not find a consistent phrase rhythm within the C section, but I did find that if you break it down into rounded binary form (aba') then you could see it. The a and b sections both have a phrase rhythm of 12 measures long, which, again, tends to make one feel like the cadence is far away. The repeat of a has a phrase rhythm of 8 measures which then leads into the bridge.
Strawberry Short Cak
You’d better be limber for this performance: “Twinkle twinkle little star” was never more technical. Through variations upon variations Mozart does what no other could (or should) – over-think simple melodies. Although wonderful and beautiful to a small child, the main theme loses its newness much like the infamous “Song that Never Ends.” Repetition and lack-of-newness are the villains during a variation composition, looming and bearing down on one’s creative approach. Sometimes leaving itself open to individuals with massive amounts of time (or the clinically insane) the challenge is exactly how to overcome those monstrous villains. Thank goodness Mozart decided on only 12 ways to pronounce his musical prowess.
Basic synopsis of variations:
I. RH has 16th notes; LH has melody
II. RH melody; LH 16th notes
III. RH triplets; variation moves away from strict melodic repetition
IV. LH triplets in lower tessitura of pianoforte; RH melody
V. RH melody; syncopation incorporated along with chromaticism
VI. RH is melody & accompaniment which moves to LH but back to RH; if not melody, 16th notes
VII. Resembles III variation in that it moves away from strict melodic interpretation, but harmonic structure prevalent
VIII. Slower than any previous movement and in a minor key
IX. Melody played as a round between LH & RH (i.e. Row Your Boat)
X. Builds intensity, possibly preparing ending; extremely flashy and chromatic
XI. Exact opposite to what is expected – backs off building tension and works (very well) as a release point for entire piece; sets up the explosion of notes in XII
XII. LH is frantic while RH plays skeleton melody and is fastest/flashiest/most annoying of all movements
I applaud thee, Mr. Mozart, for beating a dead horse (but beating it well). Some of the variations are but inversions of previous ideas (i.e. I and II) but most are complete ideas unto themselves. Still, those complete ideas reminisce on earlier thoughts producing a work that feels segmented but belonging together, if not simply for the melody “Twinkle Twinkle Little Star.” (obvious, I know)
A performer should do exactly what Mozart puts on the page, and do it to extremes. What makes this piece is performing the variants as psychotically frantic as possible and then playing the next movement as slow as painfully possible. Contrast, my dear Watson, is the key! Unless you want your audience to 1) fall asleep or 2) slash your tires. Definitely a piece I could see individuals holding a grudge about if not performed well; taking all those repeats can become tedious if not done with taste. That being said, be cautious of not taking repeats...people have been black-listed for less.
But in our accepting reality we know that Mozart is a true genius, endeavoring in work that will push the coming centuries of music. Although simplistic in construction his variations as a group create a wonderful composition that one can come back to again and again.
Passacaglia-my new favorite word
"Ah, Belinda, I am prest" is from Henry Purcell's Dido and Aeneas. This is the first of Dido's tragic arias in this opera. She laments how she is filled with torment and will languish her grief. It is a perfect example of a passacaglia, a form of continuous variation. The bass line consists of a repeating four bar phrase the repeats throughout the entire piece. It moves C-Bnat-C-G-A-E-F-G-G-C. This repeats from msr. 1-44, with a slight alteration at msr. 32, where an extra C and Bnat have been added to the beginning of the line. This theme changes slightly at msr. 45 when the song changes keys and the bass line moves down a fourth. The theme returns to its original key in msr. 53. But at msr. 77, the bass line moves down an octave and the tenor takes over the original bass line, so that the aria finishes with the variation in doubled in the lower parts.
The theme coincides with the vocal line in some places and not in others. In the very beginning of the song, the first vocal phrase enters midway through the bass theme and ends with the theme. (its second time through) This kind of pattern with the vocal line entering in the middle of the bass them and finishing with it is seen throughout the song. But there are places where the vocal line doesn't begin nor end with the theme, like in msr. 11-17.
The vocal line is embellished in many ways to portray Dido's lamenting. She sings many B naturals, which clash with the harmony, adding tension. Purcell uses dotted rhythms, which to me seem like it's here trying to sing without crying, breaking up the line slightly. Purcell also uses A naturals and F sharps, like in msr. 45-47 in the vocal line and harmony to bring out "languish" and "grief". I also like the long line he gives to "languish" in msr. 49-52-the drawing out of the melody on this word really gives the listener the feeling of aching and grieving.
Purcell brilliantly uses the bass line to portray his theme in this song. It is a great example of passacaglia-such a fun word to say-variation. How he manages to write a beautiful aria over a continuous repeating bass line is incredible and is worth noticing.
The theme coincides with the vocal line in some places and not in others. In the very beginning of the song, the first vocal phrase enters midway through the bass theme and ends with the theme. (its second time through) This kind of pattern with the vocal line entering in the middle of the bass them and finishing with it is seen throughout the song. But there are places where the vocal line doesn't begin nor end with the theme, like in msr. 11-17.
The vocal line is embellished in many ways to portray Dido's lamenting. She sings many B naturals, which clash with the harmony, adding tension. Purcell uses dotted rhythms, which to me seem like it's here trying to sing without crying, breaking up the line slightly. Purcell also uses A naturals and F sharps, like in msr. 45-47 in the vocal line and harmony to bring out "languish" and "grief". I also like the long line he gives to "languish" in msr. 49-52-the drawing out of the melody on this word really gives the listener the feeling of aching and grieving.
Purcell brilliantly uses the bass line to portray his theme in this song. It is a great example of passacaglia-such a fun word to say-variation. How he manages to write a beautiful aria over a continuous repeating bass line is incredible and is worth noticing.
Chicka-what?/ Chaconne
The rhythmic patterns prevalent in Handel's Chaconne in G Major (set of variations) are very important and prominent throughout the piece. As the set progresses, the rhythmic value of each variation gets smaller. This begins with the very first Variation with the introduction of eighth notes in the right had and a quarter half note pattern in the left. Variation 2 takes the quarter half note pattern in the right hand and the eighth notes then shift to the left hand. Variation 3 introduces the rhythmic value of the triplet with the same quarter half note pattern in the left hand. The right hand takes that pattern in variation 4 and the left hand picks up the triplets. Variation 5 introduces the sixteenth notes in the right hand with a quarter note (then two quarter rests) pattern in the left. In variation 6, the right hand picks up what the left hand was doing and the left hand plays sixteenths. The pattern for the rest of the variations is usually the same, meaning that in one variation the left hand will be playing what the right hand is in the next variation and vice versa. Sometimes, both hands are playing sixteenth notes in what would seem to be a frenzy of notes. Variations often group into groups of twos and fours as well. These include:
Pairs: Var. 1 and 2; Var. 3 and 4; Var. 9 and 10;
Threes: Var. 19, 20, and 21
Fours: Var. 5, 6, 7, and 8; Var. 11, 12, 13, and 14; Var. 15, 16, 17, and 18
The fact that patterns are exchanged between hands is the common bond that holds those groupings together as well an apparent feeling of musical "flow" or "connection" between the variations.
The harmonic analysis of the theme is as follows:
m. 1: I
m. 2: V6, V64
m. 3: VI7, ii
m. 4: V
m. 5: I6
m. 6: IV, I6, vii diminished6
m. 7: IV, I64, V7
m. 8: I
The harmonic structure of the following 8 variations is virtually the exact same as the theme. The texture of the variations change, however, especially due to the rhythmic patterns that are used. The theme is much more regal and prelude-like than the rest of the variations. Therefore its texture is more embellished and thick in the opening chords, almost like a fanfare. Some of the variations seem less thick as far as texture is concerned because they contain fast-moving note figures such as triplets and sixteenth notes.
The descending bass line in variations 9, 10, 14, and 16 are all set in a descending pattern of a second. This may include rhythmic variations, but in all cases, the bass line is descending by the interval of a second. In variations 11, 12, 13, and 15, the bass line is set by a series of sequences. In variation 11, for example, there is a falling fifths sequence that sets the bass line. There is chromaticism most notably in variation 16 in the bass line. From measure 129 to 130, the bass line (on the strong beats) descends by a half step until the beginning of measure 132. Examples of the following chords occur in these measures:
Neapolitans: mms. 84 and 102 (variations 10 and 12)
Secondary dominants: mms. 131 and 133, ii half diminished/V (variation 16)
Secondary leading-tone chords: mms. 75 and 83, vi chord (variations 9 and 10)
Minor v: mms. 74 and 82 (variations 9 and 10)
These types of progressions are not evident in the major key progressions because the major keys do not lend themselves to this type of weird mixtury-type things. This piece would be in binary form if it were soley based on harmonic complexity--the A sections are comprised of rather simple, predictable harmonies, and the B section is much more complex, including many of the chords used above.
Examples of continuous as well as sectional variations are abundant in this Chaconne. There are more continuous sections than there are sectional, but I'll go through some of both. Variations 3, 6, 8, and 19 are all sectional and the rest are continuous. Most of the time, the continuous sections are characterized by moving notes such as sixteenth notes that flow into the next variation. The sectional variations usually mark the ending of some kind of rhythmic pattern or character of the piece--for example, the end of variation 8 ends the first major key section of the piece and variation 9 begins the section of variations that are in a minor key. Overall, this piece is a brilliant example of a theme and variations and is quite interesting to examine as well as to listen to.
Now I seriously have to go because I've written way too much. And I really need one of these if I'm going to keep on living:
Pairs: Var. 1 and 2; Var. 3 and 4; Var. 9 and 10;
Threes: Var. 19, 20, and 21
Fours: Var. 5, 6, 7, and 8; Var. 11, 12, 13, and 14; Var. 15, 16, 17, and 18
The fact that patterns are exchanged between hands is the common bond that holds those groupings together as well an apparent feeling of musical "flow" or "connection" between the variations.
The harmonic analysis of the theme is as follows:
m. 1: I
m. 2: V6, V64
m. 3: VI7, ii
m. 4: V
m. 5: I6
m. 6: IV, I6, vii diminished6
m. 7: IV, I64, V7
m. 8: I
The harmonic structure of the following 8 variations is virtually the exact same as the theme. The texture of the variations change, however, especially due to the rhythmic patterns that are used. The theme is much more regal and prelude-like than the rest of the variations. Therefore its texture is more embellished and thick in the opening chords, almost like a fanfare. Some of the variations seem less thick as far as texture is concerned because they contain fast-moving note figures such as triplets and sixteenth notes.
The descending bass line in variations 9, 10, 14, and 16 are all set in a descending pattern of a second. This may include rhythmic variations, but in all cases, the bass line is descending by the interval of a second. In variations 11, 12, 13, and 15, the bass line is set by a series of sequences. In variation 11, for example, there is a falling fifths sequence that sets the bass line. There is chromaticism most notably in variation 16 in the bass line. From measure 129 to 130, the bass line (on the strong beats) descends by a half step until the beginning of measure 132. Examples of the following chords occur in these measures:
Neapolitans: mms. 84 and 102 (variations 10 and 12)
Secondary dominants: mms. 131 and 133, ii half diminished/V (variation 16)
Secondary leading-tone chords: mms. 75 and 83, vi chord (variations 9 and 10)
Minor v: mms. 74 and 82 (variations 9 and 10)
These types of progressions are not evident in the major key progressions because the major keys do not lend themselves to this type of weird mixtury-type things. This piece would be in binary form if it were soley based on harmonic complexity--the A sections are comprised of rather simple, predictable harmonies, and the B section is much more complex, including many of the chords used above.
Examples of continuous as well as sectional variations are abundant in this Chaconne. There are more continuous sections than there are sectional, but I'll go through some of both. Variations 3, 6, 8, and 19 are all sectional and the rest are continuous. Most of the time, the continuous sections are characterized by moving notes such as sixteenth notes that flow into the next variation. The sectional variations usually mark the ending of some kind of rhythmic pattern or character of the piece--for example, the end of variation 8 ends the first major key section of the piece and variation 9 begins the section of variations that are in a minor key. Overall, this piece is a brilliant example of a theme and variations and is quite interesting to examine as well as to listen to.
Now I seriously have to go because I've written way too much. And I really need one of these if I'm going to keep on living:
Friday, March 14, 2008
Der Lindenbaum - I posted this at 11:30, but it messed up and didn't do it somehow
Thanks to German Diction, here is Dietrich Fischer-Dieskau singing this piece (with perfect consonants and puckered vowels): http://www.youtube.com/watch?v=ZDFo_2SL0a8
Schubert's piece consists of six strophes, set poetically
aabb ccdd eeff...
and musically
a b a' b' a'' b''.
In this poem, the author reminisces about a tree where he has grown up, and finds himself needing to journey away from that spot, but misses it still. The phrase structure of each a b group is:
a b
( a )( a ) ( b )( b' )
2 PACs HC PAC
where a consists of two identical phrases, and b has two phrases which start the same but end differently. (Schubert, preferring to keep his listeners interested, did not stick with this exact framework for every strophe, but this is generally true.)
The first two strophes are in a very stable E major, and work to set the stage. "So, there's this tree..." Unlike the very mobile intro, the accompaniment for the opening two stanzas is very block-chordal, making space for the singer to tell the story. Then as we move to stanza 3, ('Ich musst auch heute wandern') the same a melody is sent but now in E minor, allowing for all that lovely text-painty mixture chord stuff to happen. This seems to reflect the singer's reluctance to leave this place of such happiness and memories. We return to E major for stanza 4, with that same b melody with a slightly more embellished piano part, while the singer speaks as the tree, fondly calling him back to that peaceful spot.
In stanza 5 things get weird - we tonicize bVI (C natural) and maintain a minor mode feeling for all of this stanza. This is appropriate, since the singer is recalling a time when he walked past it in the dark and a cold wind blew, removing his hat, which he left behind. It is strange that Schubert sets the tree parts so warmly, and the singer, determined to avoid his special peaceful spot, must acheive his goal with a bunch of strange, unsettled-feeling harmonies. At this point the book authors want me to mention that this tonicization of b6 (Le) was foreshadowed in the intro, with the "La-sol" motive in measures 2, 20 and 24.
In the final stanza, the singer goes back to reminiscing, in warm E major, with triple-y but still simple accompaniment. This only serves to drive home how much he really wishes to say, especially when Schubert prolonged the phrase in measures 73-76 by repeating "you would have found peace". This is clearly the longing of the singer to stay by his special tree. Why must he go? Because the song cycle is titled "Winter Journey". So we can't stay in the same place (or warm) for long.
Interesting fact: "Linden tree" is actually what my middle name, Lindsey, is supposed to mean
Schubert's piece consists of six strophes, set poetically
aabb ccdd eeff...
and musically
a b a' b' a'' b''.
In this poem, the author reminisces about a tree where he has grown up, and finds himself needing to journey away from that spot, but misses it still. The phrase structure of each a b group is:
a b
( a )( a ) ( b )( b' )
2 PACs HC PAC
where a consists of two identical phrases, and b has two phrases which start the same but end differently. (Schubert, preferring to keep his listeners interested, did not stick with this exact framework for every strophe, but this is generally true.)
The first two strophes are in a very stable E major, and work to set the stage. "So, there's this tree..." Unlike the very mobile intro, the accompaniment for the opening two stanzas is very block-chordal, making space for the singer to tell the story. Then as we move to stanza 3, ('Ich musst auch heute wandern') the same a melody is sent but now in E minor, allowing for all that lovely text-painty mixture chord stuff to happen. This seems to reflect the singer's reluctance to leave this place of such happiness and memories. We return to E major for stanza 4, with that same b melody with a slightly more embellished piano part, while the singer speaks as the tree, fondly calling him back to that peaceful spot.
In stanza 5 things get weird - we tonicize bVI (C natural) and maintain a minor mode feeling for all of this stanza. This is appropriate, since the singer is recalling a time when he walked past it in the dark and a cold wind blew, removing his hat, which he left behind. It is strange that Schubert sets the tree parts so warmly, and the singer, determined to avoid his special peaceful spot, must acheive his goal with a bunch of strange, unsettled-feeling harmonies. At this point the book authors want me to mention that this tonicization of b6 (Le) was foreshadowed in the intro, with the "La-sol" motive in measures 2, 20 and 24.
In the final stanza, the singer goes back to reminiscing, in warm E major, with triple-y but still simple accompaniment. This only serves to drive home how much he really wishes to say, especially when Schubert prolonged the phrase in measures 73-76 by repeating "you would have found peace". This is clearly the longing of the singer to stay by his special tree. Why must he go? Because the song cycle is titled "Winter Journey". So we can't stay in the same place (or warm) for long.
Interesting fact: "Linden tree" is actually what my middle name, Lindsey, is supposed to mean
Thursday, March 13, 2008
Clara Schumann's "Liebst du um Schönheit"
Chosen Passages:
First Passage: m. 11-18
Roman Numeral Analysis:
m. 11-14
D Flat Major I: I, V7, I V7, I, i6, viifulldiminishedvii/V, V
m. 15-18
D Flat Major I: vi, (ii43), viifulldiminished43/iii, iii6, IV, (VL G, B natural, D natural), viifulldiminshed43, I6, ii, V7, I (after cadence: V7 leading to next phrase)
Secon Passage: m. 27-first beat of m. 36
Roman Numeral Analysis:
m. 27-30
D Flat Major I: I, V7, I, V7, I, i6, viifulldiminished43/V, V
m. 31-33
D Flat Major I: vi, (ii43), viifulldiminished43/iii, iii6, IV, (VL G, B natural, D natural), viifulldiminished43, I6
m. 34-first beat of m. 36
D Flat Major I: ii6, vi64, ii7, V864-753 (with two passing chromatic chromatically altered chords inbetween the i64 and V7, analyzed literally as VL (G, A D) viifulldiminished7/V), I
Structure of the Song: Modified Strophic Verse
m. 1-2 Introduction
m. 3-10 A
m. 11-18 A’
m. 19-26 A
m. 27-36 A’’
m. 37-41 Coda
Clara Schumann’s song “Liebst du um Schönheit” is a modified strophic form, which means that material in each verse is slightly altered from the original verse. The song follows a structure of Introduction, A, A’, A, A’’, Coda. A is a contrasting period that ends in a half cadence with an F Major chord that suggests movement as a V to the key of the sixth scale degree, B Flat minor. However, each time the V/vi happens in the A sections, Clara Schumann modulates back to the key of D Flat Major immediately after the F Major chord and before entering the next phrase. These modulations occur in the last two beats of m. 10 and m. 26. A’ is a contrasting period ending in an imperfect authentic cadence in the tonic key of D Flat Major. A’’ is also a contrasting period ending in a perfect authentic cadence in the tonic key of D Flat Major. The song does not modulate outside of the tonic key of D Flat Major. Every period begins with the same motives. The jump by the fourth in the four quarter notes in the third beat of m. 3 to the second beat of m. 4, and the do, ti, la, sol in the quarter note, dotted quarter note, eighth note, half note, half note rhythm are the motives that are always repeated at the beginning of each period (or section), with slight rhythmic alterations to adjust to text. A’ and A’’ are more similar to each other than A, and the two A sections are identical, with differences only in text.
The song “Liebst du um Schönheit” conveys the singer’s feelings of the way the singer feels about someone that loves her. If the person loves her for shallow things such as beauty, youth, and riches, then the singer does not want to have a loving relationship with this person. However, if this person loves the singer for who she his and for the sake of love, then the singer wants to start and maintain a lifelong relationship with this person. The love of the song is especially felt in m. 27-36. The contrasting period of m. 27-36, A’’, is when the singer declares in the text:
If you love for love, oh yes, do love me!
Love me ever, I’ll love you evermore!
Prior to A’’, the text describes the singer’s feelings about if this person loves for the wrong reasons such as riches and physical beauty. A’’ is special in that the text discusses for the first and only time in the piece about if this person loves the singer for the right reasons, for the sake of true love. Clara Schumann makes use of a number of compositional techniques to portray this shift in the text. First, the composer marks “Bewegter” above m. 27 and lasts for the rest of the piece. This marking means more emotional, which means that the rest of the piece should be played more emotionally, naturally. Clara Schumann helps the performers with the written in “Bewegter” by using musical markings where emphasis and text painting is needed. Some examples include m. 27-28, where she writes a hairpin that crescendos to “Liebe” in the text, and m. 31, where she marks accents over the notes with the text “Liebst du um Liebe,” which emphasizes the words translated “if you love for love” and suggests more emphasis on those words. The greatest example in this excerpt is m. 34-36 where the text is “dich lieb ich immer dar!”, translating to “Love me ever, I’ll love you evermore!” m. 34-36 is the musical and dynamic climax of the piece, with the voice m. 34 marked forte and to ritard to first beat of m. 36. Both the singer and pianist free to take as much time as desired to create a full sound and make this section of the piece emotional and emphatic for love. Furthermore, the piano part in m. 34-35 goes through a strong, firm and chordal harmonic progression of ii6, vi64, ii7, V864-753 (with two passing chromatic chromatically altered chords inbetween the i64 and V7, analyzed literally as VL (G, A D) viifulldiminished7/V) to emphasize the section further. The chromaticism of m. 35 especially requires extra attention, for chromaticism is always special in the realm of classical music, and nothing else like this has occurred in the song before. The chromaticism is portraying the beauty of love in the midst of the climax, so it must be musically respected.
Other examples of Clara Schumann using chromaticism include m. 15-16 with the harmonic progression vi, (ii43), viifulldiminished43/iii, iii6, IV, (VL G, B natural, D natural), viifulldiminshed43, I6. Chromaticism is used to emphasize “Liebe den Frühling” (love the spring) in m. 15. The piano echoes the same progression transposed diatonically a third down to the tonic key of D Flat Major in m. 16. This same progression is used in m. 31-32, but rather than spring, it is emphasizing love with the text “Liebst du um Liebe, o ja mich liebe . . .” (If you love for love, oh yes do love me!).
From a performance aspect, the performers should feel free to caress any cases of chromaticism in the song with emphatic love, perhaps with a warm, long (as in held for every ounce of its note value) and round sound as if it were the most beautiful thing in the world. Another aspect of the piece worth noting is that the dynamic marking of the A (m. 1-10) is piano, then A’ introduces mezzo forte in m. 15 and lasts through the second A (m. 19-26). Then A’’ and the coda are forte. This dynamic growth overtime makes the text more meaningful. More specifically, it is emphasizing the shift from the singer talking about the person loving for the wrong reasons to the talking about the person loving for the right reasons. Performers should take careful note of this gradual dynamic growth and make the arrival of A’’ a joyful experience for both themselves and performers and the listeners. On a final note with aspects of performing techniques, the piano part of this piece is important and is not simple accompaniment. The voice functions as the one to speak the news of the love of the person in love with singer, and the piano functions as the musical and rhythmic drive to make the text of the singer more important and meaningful by helping harmonically (with chromaticism in m. 35, for example) in key words in the singer's text. Therefore, there are a number of things the pianist must keep in mind when performing the piece. First, the pianist should make sure the eighth notes are driving the song rhythmically and musically, for the piano part is always in constant motion and is vital to keep the drive of the vocal line for the coming of A’’ through the dynamics and text and the arrival of the final climax. Also, the pianist must be aware of important text and harmonic changes such as the aforementioned chromiticsm in m. 35 so he or she can emphasize that area musically with the singer when such an occasion comes. Next, the introduction must begin the previously described musical drive of the piece smoothly by the pianist starting slow then working quickly but seamlessly his or her way up to the tempo before the introduction ends. Finally, the pianist must conclude the piece beautifully, for he or she is tasked with playing the final five measures without anyone singing.
First Passage: m. 11-18
Roman Numeral Analysis:
m. 11-14
D Flat Major I: I, V7, I V7, I, i6, viifulldiminishedvii/V, V
m. 15-18
D Flat Major I: vi, (ii43), viifulldiminished43/iii, iii6, IV, (VL G, B natural, D natural), viifulldiminshed43, I6, ii, V7, I (after cadence: V7 leading to next phrase)
Secon Passage: m. 27-first beat of m. 36
Roman Numeral Analysis:
m. 27-30
D Flat Major I: I, V7, I, V7, I, i6, viifulldiminished43/V, V
m. 31-33
D Flat Major I: vi, (ii43), viifulldiminished43/iii, iii6, IV, (VL G, B natural, D natural), viifulldiminished43, I6
m. 34-first beat of m. 36
D Flat Major I: ii6, vi64, ii7, V864-753 (with two passing chromatic chromatically altered chords inbetween the i64 and V7, analyzed literally as VL (G, A D) viifulldiminished7/V), I
Structure of the Song: Modified Strophic Verse
m. 1-2 Introduction
m. 3-10 A
m. 11-18 A’
m. 19-26 A
m. 27-36 A’’
m. 37-41 Coda
Clara Schumann’s song “Liebst du um Schönheit” is a modified strophic form, which means that material in each verse is slightly altered from the original verse. The song follows a structure of Introduction, A, A’, A, A’’, Coda. A is a contrasting period that ends in a half cadence with an F Major chord that suggests movement as a V to the key of the sixth scale degree, B Flat minor. However, each time the V/vi happens in the A sections, Clara Schumann modulates back to the key of D Flat Major immediately after the F Major chord and before entering the next phrase. These modulations occur in the last two beats of m. 10 and m. 26. A’ is a contrasting period ending in an imperfect authentic cadence in the tonic key of D Flat Major. A’’ is also a contrasting period ending in a perfect authentic cadence in the tonic key of D Flat Major. The song does not modulate outside of the tonic key of D Flat Major. Every period begins with the same motives. The jump by the fourth in the four quarter notes in the third beat of m. 3 to the second beat of m. 4, and the do, ti, la, sol in the quarter note, dotted quarter note, eighth note, half note, half note rhythm are the motives that are always repeated at the beginning of each period (or section), with slight rhythmic alterations to adjust to text. A’ and A’’ are more similar to each other than A, and the two A sections are identical, with differences only in text.
The song “Liebst du um Schönheit” conveys the singer’s feelings of the way the singer feels about someone that loves her. If the person loves her for shallow things such as beauty, youth, and riches, then the singer does not want to have a loving relationship with this person. However, if this person loves the singer for who she his and for the sake of love, then the singer wants to start and maintain a lifelong relationship with this person. The love of the song is especially felt in m. 27-36. The contrasting period of m. 27-36, A’’, is when the singer declares in the text:
If you love for love, oh yes, do love me!
Love me ever, I’ll love you evermore!
Prior to A’’, the text describes the singer’s feelings about if this person loves for the wrong reasons such as riches and physical beauty. A’’ is special in that the text discusses for the first and only time in the piece about if this person loves the singer for the right reasons, for the sake of true love. Clara Schumann makes use of a number of compositional techniques to portray this shift in the text. First, the composer marks “Bewegter” above m. 27 and lasts for the rest of the piece. This marking means more emotional, which means that the rest of the piece should be played more emotionally, naturally. Clara Schumann helps the performers with the written in “Bewegter” by using musical markings where emphasis and text painting is needed. Some examples include m. 27-28, where she writes a hairpin that crescendos to “Liebe” in the text, and m. 31, where she marks accents over the notes with the text “Liebst du um Liebe,” which emphasizes the words translated “if you love for love” and suggests more emphasis on those words. The greatest example in this excerpt is m. 34-36 where the text is “dich lieb ich immer dar!”, translating to “Love me ever, I’ll love you evermore!” m. 34-36 is the musical and dynamic climax of the piece, with the voice m. 34 marked forte and to ritard to first beat of m. 36. Both the singer and pianist free to take as much time as desired to create a full sound and make this section of the piece emotional and emphatic for love. Furthermore, the piano part in m. 34-35 goes through a strong, firm and chordal harmonic progression of ii6, vi64, ii7, V864-753 (with two passing chromatic chromatically altered chords inbetween the i64 and V7, analyzed literally as VL (G, A D) viifulldiminished7/V) to emphasize the section further. The chromaticism of m. 35 especially requires extra attention, for chromaticism is always special in the realm of classical music, and nothing else like this has occurred in the song before. The chromaticism is portraying the beauty of love in the midst of the climax, so it must be musically respected.
Other examples of Clara Schumann using chromaticism include m. 15-16 with the harmonic progression vi, (ii43), viifulldiminished43/iii, iii6, IV, (VL G, B natural, D natural), viifulldiminshed43, I6. Chromaticism is used to emphasize “Liebe den Frühling” (love the spring) in m. 15. The piano echoes the same progression transposed diatonically a third down to the tonic key of D Flat Major in m. 16. This same progression is used in m. 31-32, but rather than spring, it is emphasizing love with the text “Liebst du um Liebe, o ja mich liebe . . .” (If you love for love, oh yes do love me!).
From a performance aspect, the performers should feel free to caress any cases of chromaticism in the song with emphatic love, perhaps with a warm, long (as in held for every ounce of its note value) and round sound as if it were the most beautiful thing in the world. Another aspect of the piece worth noting is that the dynamic marking of the A (m. 1-10) is piano, then A’ introduces mezzo forte in m. 15 and lasts through the second A (m. 19-26). Then A’’ and the coda are forte. This dynamic growth overtime makes the text more meaningful. More specifically, it is emphasizing the shift from the singer talking about the person loving for the wrong reasons to the talking about the person loving for the right reasons. Performers should take careful note of this gradual dynamic growth and make the arrival of A’’ a joyful experience for both themselves and performers and the listeners. On a final note with aspects of performing techniques, the piano part of this piece is important and is not simple accompaniment. The voice functions as the one to speak the news of the love of the person in love with singer, and the piano functions as the musical and rhythmic drive to make the text of the singer more important and meaningful by helping harmonically (with chromaticism in m. 35, for example) in key words in the singer's text. Therefore, there are a number of things the pianist must keep in mind when performing the piece. First, the pianist should make sure the eighth notes are driving the song rhythmically and musically, for the piano part is always in constant motion and is vital to keep the drive of the vocal line for the coming of A’’ through the dynamics and text and the arrival of the final climax. Also, the pianist must be aware of important text and harmonic changes such as the aforementioned chromiticsm in m. 35 so he or she can emphasize that area musically with the singer when such an occasion comes. Next, the introduction must begin the previously described musical drive of the piece smoothly by the pianist starting slow then working quickly but seamlessly his or her way up to the tempo before the introduction ends. Finally, the pianist must conclude the piece beautifully, for he or she is tasked with playing the final five measures without anyone singing.
Shumann's "Liebst du um Schonheit"
Clara Schumann's "Leibst do um Schonheit" is a great example of a simple four couplet poem set to a convincing and affective accompaniment. She uses text painting and the repetition of the poem to her advantage by repeating the same chord progression of I vi42 V to convey the difference in meaning in each stanza. The melody is approximately the same contour. However, the differences in rhythms enhance certain words. For example, each "liebst" or love is accented by either a half or quarter note on the first syllable so that the singer may lean into this word and make it more expressive. Also the phrase ending in "Perlen klar" extends nicely into the climax of measure 27 and the last couplet.
The accompaniment becomes more rich in 27. The eighth notes continue but in both hands of the accompaniment now. This lets the audience know that this is the most importance stanza in the entire poem. The relationship between the two hands parallels the importance of love for loves sake. The two hands seem to be speaking to each other like two lovers. Shumann emphasizes the past word "evermore" with her postlude. The last four measure slowly fade out as if she is imitating the expansion of time.
I love how Shumann progresses her way through the build of the poem. The first and third couplets have subtle endings to their lines. However, the "jades har" and immderdar" meaning "clear pearls" and "evermore" are ornamental and expand to the entire range of the piece. These are exciting and are backed by either a forte or a swell under the singer. These add to the liquid movement of the song as a whole. The retards in measures 26 and 34 are lead ins to what Schumann believes is the most important lines of the poem.
Schumann uses her form and textual painting talent to enhance the meaning behind this simple poem. She exemplifies the poems simple quadruplet format by a musical form which repeats throughout the poem. She also uses familiar chord progressions and dynamics to highlight certain words she feels are at the heart of the poems reason. Finally, she concludes with a confident ending and moves into a disintegrating postlude representing time.
The accompaniment becomes more rich in 27. The eighth notes continue but in both hands of the accompaniment now. This lets the audience know that this is the most importance stanza in the entire poem. The relationship between the two hands parallels the importance of love for loves sake. The two hands seem to be speaking to each other like two lovers. Shumann emphasizes the past word "evermore" with her postlude. The last four measure slowly fade out as if she is imitating the expansion of time.
I love how Shumann progresses her way through the build of the poem. The first and third couplets have subtle endings to their lines. However, the "jades har" and immderdar" meaning "clear pearls" and "evermore" are ornamental and expand to the entire range of the piece. These are exciting and are backed by either a forte or a swell under the singer. These add to the liquid movement of the song as a whole. The retards in measures 26 and 34 are lead ins to what Schumann believes is the most important lines of the poem.
Schumann uses her form and textual painting talent to enhance the meaning behind this simple poem. She exemplifies the poems simple quadruplet format by a musical form which repeats throughout the poem. She also uses familiar chord progressions and dynamics to highlight certain words she feels are at the heart of the poems reason. Finally, she concludes with a confident ending and moves into a disintegrating postlude representing time.
Have a Rainbow day!
Awful singers aside, I feel that George and Ira Gershwin’s “’S Wonderful” is a great piece!
The song is most fairly represented as having a verse-refrain considering its two distinct
sections, each of which are repeated. Since the A section does not re-appear after the B, the chorus, I could not belong to a rounded binary, however one could argue it to be a Simple Binary. Considering it’s popular nature, in addition to the general publics ignorance that the A section even exists, I stick strong beside my verse-refrain identification of the song.
Of these two main sections, I feel the second, the chorus, is definitely the more harmonically stable of the two. In the verse, the harmonies are filled with chromatic tones and borrowed chords and the harmonic rhythm are very fast. All of these factors propel the melody forward as if it is trying to get to the chorus quickly. Because of this tonal ambiguity and the quick and persistent rising dissonance in the accompaniment the listener’s ears are never given the chance to catch-up or settle on any particular harmony.
An interesting motive appears in the bass of the accompaniment when examined closely. In the first eight measures, the bass repeats a descending four-note scale which it completes every two measures. The motive is shifted up or down every time it is repeated by a second. In the next eight measures, the bass life fills itself in and while still following the initial pattern, it adds a parallel counter-melody with itself a perfect octave apart.
The song is most fairly represented as having a verse-refrain considering its two distinct
sections, each of which are repeated. Since the A section does not re-appear after the B, the chorus, I could not belong to a rounded binary, however one could argue it to be a Simple Binary. Considering it’s popular nature, in addition to the general publics ignorance that the A section even exists, I stick strong beside my verse-refrain identification of the song.
Of these two main sections, I feel the second, the chorus, is definitely the more harmonically stable of the two. In the verse, the harmonies are filled with chromatic tones and borrowed chords and the harmonic rhythm are very fast. All of these factors propel the melody forward as if it is trying to get to the chorus quickly. Because of this tonal ambiguity and the quick and persistent rising dissonance in the accompaniment the listener’s ears are never given the chance to catch-up or settle on any particular harmony.
An interesting motive appears in the bass of the accompaniment when examined closely. In the first eight measures, the bass repeats a descending four-note scale which it completes every two measures. The motive is shifted up or down every time it is repeated by a second. In the next eight measures, the bass life fills itself in and while still following the initial pattern, it adds a parallel counter-melody with itself a perfect octave apart.
I guess it really is Wonderful!
I really do love this piece, especially the nice jazzy feel that's introduced to what is really more of a Broadway song...great mix, if you ask me! Anyway, I actually have managed to lose my CDs in the hell hole that is my room, so I looked this song up on itunes to find a copy. And I downloaded one, thinking it would be good...the ten second preview had a sexy jazz feel...however, when I got the song, I found that she (Diana Krall) hadn't even bothered to include the verse in her rendition...what does that tell us? It tells us that that is not the important part of the song. I was surprised...because, seeing as how this is a great example of a verse-refrain form, and the verse actually tells a story to introduce the refrain about her wonderful life of four leaf clovers and all that jazz, I couldn't believe the verse would be so insignificant as to leave out entirely. Now, it's true, I only knew this song because of the refrain, however, when I looked through the stead repetition of the verse chords in 2 measure blocks, and the nice step-wise motion that occurs throughout the verse, I was surprised that it would be treated so harshly...it seemed pretty sweet to me! It is by far more stable than the refrain, because it incorporateds the same two measures repeating over and over to ground the listener in a steady beat and melody, and the rhythm is simple and concise.
Then I found another version...by the way, this blog has already cost me two bucks!...and this one had the verse. And I really liked the verse...it had such a cutesy bit to it, which contrasts nicely with the jazzy verse. It sets up the song in key, story, and melody to enter into a more unstable piece with a swing in the dotted rhythms and more adventurous chords, such as the Csharpfullydim in measures 31 and 39 and the natural E in the and B in measure 47 to create the slightly off-putting G chord. There are also a number of add 6 chords, which add a slight tang to the feeling of the "wonderful" life...such as in measures 33 (Bb7 add 6) and 41 (Bb add 6). Interestingly, these add 6 chords do not appear on the words it's wonderful or it's awfully nice...instead they fall on the lines "You SHOULD care for me" and "It's what I love to see," emphasizing the singer's wishses and desires...rather than the actual truth. Does this mean that she or he is living in a fantasy world and these tangy add 6 chords are the foreshadowing of perhaps an over-exaggeration on their part? I'm not sure...but it does add interest to the piece and a slight question in my mind as to the wonderfulness of his or her life. However, it definately adds the the jazzy quality of the work and the interesting chord progressions, which turn a simple Broadway verse into a funny and rhythmically stimulating refrain!
I also really like how the bridge connecting the refrain repition plays off the verse in measures 49 and 50, with the repeated quarter notes on D that should be like the verse, yet have the swing accompaniment underneath to combine the two characters of the entire piece in two short measures!
Therefore, I believe the verse is essential to the piece and not only has Diana Krall butchered it in her self-proclaimed "best" album, which is anything but the best, but we, the people have done a disserve to this piece by merely memorizing and huming the tune of the jazzed-up, sexed-up refrain. Indeed, the verse is the rock to this beat. The verse is the more stable of the two and provides the foundation for the rest of the piece, not to mention the story to explain the "wonderful." Indeed, the piece is a VERSE-refrain form...it's in the title...verse even comes first! So let's don't forget about it from now on. Okay? Thanks!
PS - If I were to perform this piece, and I would do a damn better job than Diana Krall, whoever she is!, then I would make sure to make my voice change charcter between the verse and the refrain to emphasize their differences, but in the two measures, 49 and 50 that connect the two, as previously discussed, I would try to create a Broadway feel again in the melody to contrast with the accompaniment. I would also add a bit of gruffness to my voice in the refrain to emphasize the sultry mood and chords!
Ciao!
Then I found another version...by the way, this blog has already cost me two bucks!...and this one had the verse. And I really liked the verse...it had such a cutesy bit to it, which contrasts nicely with the jazzy verse. It sets up the song in key, story, and melody to enter into a more unstable piece with a swing in the dotted rhythms and more adventurous chords, such as the Csharpfullydim in measures 31 and 39 and the natural E in the and B in measure 47 to create the slightly off-putting G chord. There are also a number of add 6 chords, which add a slight tang to the feeling of the "wonderful" life...such as in measures 33 (Bb7 add 6) and 41 (Bb add 6). Interestingly, these add 6 chords do not appear on the words it's wonderful or it's awfully nice...instead they fall on the lines "You SHOULD care for me" and "It's what I love to see," emphasizing the singer's wishses and desires...rather than the actual truth. Does this mean that she or he is living in a fantasy world and these tangy add 6 chords are the foreshadowing of perhaps an over-exaggeration on their part? I'm not sure...but it does add interest to the piece and a slight question in my mind as to the wonderfulness of his or her life. However, it definately adds the the jazzy quality of the work and the interesting chord progressions, which turn a simple Broadway verse into a funny and rhythmically stimulating refrain!
I also really like how the bridge connecting the refrain repition plays off the verse in measures 49 and 50, with the repeated quarter notes on D that should be like the verse, yet have the swing accompaniment underneath to combine the two characters of the entire piece in two short measures!
Therefore, I believe the verse is essential to the piece and not only has Diana Krall butchered it in her self-proclaimed "best" album, which is anything but the best, but we, the people have done a disserve to this piece by merely memorizing and huming the tune of the jazzed-up, sexed-up refrain. Indeed, the verse is the rock to this beat. The verse is the more stable of the two and provides the foundation for the rest of the piece, not to mention the story to explain the "wonderful." Indeed, the piece is a VERSE-refrain form...it's in the title...verse even comes first! So let's don't forget about it from now on. Okay? Thanks!
PS - If I were to perform this piece, and I would do a damn better job than Diana Krall, whoever she is!, then I would make sure to make my voice change charcter between the verse and the refrain to emphasize their differences, but in the two measures, 49 and 50 that connect the two, as previously discussed, I would try to create a Broadway feel again in the melody to contrast with the accompaniment. I would also add a bit of gruffness to my voice in the refrain to emphasize the sultry mood and chords!
Ciao!
'S mazinggg
The Gershwin’s brothers ‘S Wonderful is in verse-refrain form. Before the verse starts there is a little 4 measure intro at the beginning, then the verse starts at measure 5 and goes until measure 28. The verse has a simple four quarter note whole note melody. From there the refrain starts up and does a syncopated rhythm thing until the end of the piece. Like some others said, verse-refrain is typified by the refrain. The refrain is the most recognizable part. If you have seen the movie An American in Paris the version of ‘S Wonderful only comprises of the refrain. You can see that version, sung by Gene Kelly and Georges Guetary, here (don’t worry this link actually works!)
The harmonic structure of the refrain is actually more stable than verse. It includes a lot of tonic and dominant chords. The harmonic structure of the verse is unstable because very two measures the same melody is repeated except for it goes up a whole step. It creates this feeling of uncertainty…when is this sequence going to end?
The three chords from the verse I have chosen to analyze are the C#dim chord in the third beat of measure 31, the Bflat7 (add6) chord in measure 33, and the Edim chord in the third beat of measure 57. The C#dim chord elongates the C7 chord that comes before and after it; it also creates some nice dissonance. The Bflat7 chord adds more depth to just the regular old V chord. And the Edim chord near the end of the piece offers a surprising embellishment in between the ii chords that go straight to V and then eventually a I chord that ends the piece. In measure 47 Gershwin uses a Enatural5 chord thing...going from the chord symbols above the music it looks like the way they tried to harmonize that chord among the Eflat majorness of everything is by simply by saying that the chord is intended to be a Gmajor chord.
The harmonic structure of the refrain is actually more stable than verse. It includes a lot of tonic and dominant chords. The harmonic structure of the verse is unstable because very two measures the same melody is repeated except for it goes up a whole step. It creates this feeling of uncertainty…when is this sequence going to end?
The three chords from the verse I have chosen to analyze are the C#dim chord in the third beat of measure 31, the Bflat7 (add6) chord in measure 33, and the Edim chord in the third beat of measure 57. The C#dim chord elongates the C7 chord that comes before and after it; it also creates some nice dissonance. The Bflat7 chord adds more depth to just the regular old V chord. And the Edim chord near the end of the piece offers a surprising embellishment in between the ii chords that go straight to V and then eventually a I chord that ends the piece. In measure 47 Gershwin uses a Enatural5 chord thing...going from the chord symbols above the music it looks like the way they tried to harmonize that chord among the Eflat majorness of everything is by simply by saying that the chord is intended to be a Gmajor chord.
Oh lindenbaum, Oh lindenbaum.....
Even though all of us vocalists have spent many long class periods in German diction singing it over and over, I still find “Der Lindenbaum” From Winterreise by Franz Schubert to be a very lovely song. To summarize (very) briefly, it is a song about a man and a Linden tree that has been a central part of his life. It is a symbol of his emotional and spiritual growth. At the beginning of this strophic poem, the poet sets a very lovely scene with flowing fountains and the like. Schubert obviously composed this in a major key, the key of E major to be exact. There is nothing a great interest in the harmony at this beginning point of the song (mm.9-24), it is mostly I’s and V’s with a couple of unresolved… V/V’s? All I can say about the V/V’s is that perhaps Schubert did it intentionally so as not to let us fall into the security of the major key, because after the first 25 measures/ two stanzas, he switches to e minor. This happens to reflect the ominous nature of the text: “I had to pass it again today in the dead of night. And even in the darkness I had to close my eyes”.
Then, as the workbook states midway through strophe 5 there is a prolonged bVI chord (m.49 and on). I found this chord to be upsetting and very ominous. It really made you want the key to return to a “normal” E major. The fast-paced sixteenth note motion in the bass gives it a swooping feeling, like the wind in the text.
In terms of text painting elsewhere in the song, I was surprised that Schubert didn’t do more for the word “rauschten” or rustled. When reading the poem I assumed that at that part it would be a bit more jarring. I guess Schubert wanted a more serene sound at that point. The text mentions the tree calling to the man, and at that point the key switches back to major providing a warmer beckoning tone.
If I were to perform this I would definitely kick the tempo up a notch! I was about to die of boredom during parts of this song! Ugh! Albeit, the slower tempo help create a nostalgic feel but does not do to much for entertainment. Other than that, I feel that this is a good performance.
Then, as the workbook states midway through strophe 5 there is a prolonged bVI chord (m.49 and on). I found this chord to be upsetting and very ominous. It really made you want the key to return to a “normal” E major. The fast-paced sixteenth note motion in the bass gives it a swooping feeling, like the wind in the text.
In terms of text painting elsewhere in the song, I was surprised that Schubert didn’t do more for the word “rauschten” or rustled. When reading the poem I assumed that at that part it would be a bit more jarring. I guess Schubert wanted a more serene sound at that point. The text mentions the tree calling to the man, and at that point the key switches back to major providing a warmer beckoning tone.
If I were to perform this I would definitely kick the tempo up a notch! I was about to die of boredom during parts of this song! Ugh! Albeit, the slower tempo help create a nostalgic feel but does not do to much for entertainment. Other than that, I feel that this is a good performance.
Schubert's Der Lindenbaum
Schubert's Der Lindenbaum is one of the most recognizable songs in the lieder repetoire. It is valued for its simplicity, but as for much of Shubert's repetoire, it is much more complex than it appears. The song is divided into three strophes and one b section. There is a very consistant rhyme scheme, every to lines rhyme. The images envoked are that of a tree in the night as the main character of the story walks past the tree during his winter's journey, Winterreise. When the main character talks about the cold wind blowing in his face, the music has a change to minor key, even though in the second verse there is a minor section while he talks about tye dead of night. Schubert uses a simple technique by using a major key when the narrator is happy, such as when he says "I dreamed many a sweet dream", and minor when the narrator is not happy, such as "the cold gust blew into my face" The phrases are aligned perfectly to convey the singers mood. The key progression goes from D major, in the bass key which is what I am using, to D minor, then D major, and the b section is D major but it uses a bVI chord and there is a minor feel to the B section. Again the poems mood follows the key progression. By the use of text painting, Schubert achieves the effect of the wind, and depending on where the mood of the poem the mind becomes minor at the B section and major in the beginning. The best use of text painting is used at the beginning by effecting as I said the wind motive. Schubert uses repeating 6ths to achieve this and in the B section, it feels much more minor. He uses the 6ths going down the scale as well. The chords sit aroud I V I V7 I. The vocal line also just floats above the accompaniment. Schubert's Der Lindenbaum is a stunning addition to the Winterreise cycle.
Different Interpretations of Schumann
In Clara Schumann's "Liebst du um Schonheit," the music coincides with the repetitive, exaggerated poetry. Ruckert's poem contains four couplets, each helping to build to the climax of the last couplet, which seems to hold the main idea of this song: love for love's sake. It could definitely be the two and a half minute theme-song for Isis and Osiris. Schumann sets Ruckert's poem very well by emphasizing the most important word, liebe, consistently using a vi 42 chord with a lowered fifth, then resolving it to the dominant. She writes this every time the poet says "oh do not love me." Although the "liebe" is the same, the text immediately preceeding ("oh do not") is modified rhythmically. Schumann keeping the same basic "ab" idea of the strophes in this song, but making minor changes classifies it as a modified strophic song.
One characteristic of this song is the major III used in measure 10 on "Haar," unusual for a major key. But then Schumann quickly switches back to the expected minor iii. Perhaps this part is trying to musically explain the poet's hesitation to ask for the love she really wants. The next line that rhymes textually does not follow the same harmony. Measure 17&18 goes from I-V, a typical progression. This is how the modified strophic works, rhyming in one way (with the words), but differing in another way (harmonically). Ironically, the form of the song captures the nervous excitement of the poem and the character's desire for love, but only if it's for the right reason (conflicting feelings).
The climax to the song, starting in measure 27 is the same as the lines before (I, vi 42-5, V) but given stronger dynamic and tempo markings in the vocal line. The pianist doesn't need directions to get a stronger feeling because the texture thickens, any additional direction would make it difficult for the singer to be expressive or heard. The next measures, 31-33, Schumann uses motivic parallelism to support the repetitive, almost desperate text. Schumann's writing implies that the performers should be prepared to have a different interpretation for each measure. I wouldn't look at it as one long phrase, but rather as seperate declarations leading up to the "I'll love you evermore." My conclusion is provoked not only the motivic parallelism, but also the directions in the score. The accent marks in ms. 31 suggest that Schumann was more concerned with portraying text and a certain mood or idea in this section and was less concerned with the musical line.
Measures 34-36 are very different from the rest of the song, especially in the piano. The entire song the piano has had block chords with arpeggiation, lots of non-harmonic tones- in general pretty elaborate. Starting in measure 34, eighth notes plunk out the necessities of the chords: iihd65, I64, V7, I, giving the singer a chance to finish. The piano goes back into its original complicated texture in measures 36-38, but really "winds-down" a measure before the final cadence.
If I were to perform this song, I would not worry about the line so much and pay more attention to the dynamics and important words such as "nicht" and "liebe." I think that the "flowery" accompaniment is meant to be the nature portrayed in the poetry and how in the end, even nature(piano) succumbs to love(voice). Yes, I know it's very cheesy but it was the time. I wonder how a modern cynical audience would react to this interpretation. I only say this because I remember talking about "art for art's sake" in Dr.Balensuela's seminar last year- I think that can kind of be interpreted in this song! and I think our modern inclination is to say that such a romantic interpretation "waters-down" art. So perhaps your personal position on that particular topic could influence a performance of this song. For instance, if you wanted to take the cynical route, I could imagine a sarcastic interpretation. Especially with fantastical references and the personification of nature in the poem. One way to pull off this interpretation would be to emphasize the modification of when the vocal line starts, sometimes starting the phrase on the downbeat, sometimes on the off-beat. Writing that modification, Schumann paints the overall hesitation of the song- but it could also be perceived as indecisiveness, or anxiousness. If I were to perform the "hesitation" interpretation, I would start the phrases that come in on the off-beats "piano , or mezzo-piano." If I were to sing the sarcastic version, I would come in stronger, almost as a response to piano's block chord on the downbeat.
One characteristic of this song is the major III used in measure 10 on "Haar," unusual for a major key. But then Schumann quickly switches back to the expected minor iii. Perhaps this part is trying to musically explain the poet's hesitation to ask for the love she really wants. The next line that rhymes textually does not follow the same harmony. Measure 17&18 goes from I-V, a typical progression. This is how the modified strophic works, rhyming in one way (with the words), but differing in another way (harmonically). Ironically, the form of the song captures the nervous excitement of the poem and the character's desire for love, but only if it's for the right reason (conflicting feelings).
The climax to the song, starting in measure 27 is the same as the lines before (I, vi 42-5, V) but given stronger dynamic and tempo markings in the vocal line. The pianist doesn't need directions to get a stronger feeling because the texture thickens, any additional direction would make it difficult for the singer to be expressive or heard. The next measures, 31-33, Schumann uses motivic parallelism to support the repetitive, almost desperate text. Schumann's writing implies that the performers should be prepared to have a different interpretation for each measure. I wouldn't look at it as one long phrase, but rather as seperate declarations leading up to the "I'll love you evermore." My conclusion is provoked not only the motivic parallelism, but also the directions in the score. The accent marks in ms. 31 suggest that Schumann was more concerned with portraying text and a certain mood or idea in this section and was less concerned with the musical line.
Measures 34-36 are very different from the rest of the song, especially in the piano. The entire song the piano has had block chords with arpeggiation, lots of non-harmonic tones- in general pretty elaborate. Starting in measure 34, eighth notes plunk out the necessities of the chords: iihd65, I64, V7, I, giving the singer a chance to finish. The piano goes back into its original complicated texture in measures 36-38, but really "winds-down" a measure before the final cadence.
If I were to perform this song, I would not worry about the line so much and pay more attention to the dynamics and important words such as "nicht" and "liebe." I think that the "flowery" accompaniment is meant to be the nature portrayed in the poetry and how in the end, even nature(piano) succumbs to love(voice). Yes, I know it's very cheesy but it was the time. I wonder how a modern cynical audience would react to this interpretation. I only say this because I remember talking about "art for art's sake" in Dr.Balensuela's seminar last year- I think that can kind of be interpreted in this song! and I think our modern inclination is to say that such a romantic interpretation "waters-down" art. So perhaps your personal position on that particular topic could influence a performance of this song. For instance, if you wanted to take the cynical route, I could imagine a sarcastic interpretation. Especially with fantastical references and the personification of nature in the poem. One way to pull off this interpretation would be to emphasize the modification of when the vocal line starts, sometimes starting the phrase on the downbeat, sometimes on the off-beat. Writing that modification, Schumann paints the overall hesitation of the song- but it could also be perceived as indecisiveness, or anxiousness. If I were to perform the "hesitation" interpretation, I would start the phrases that come in on the off-beats "piano , or mezzo-piano." If I were to sing the sarcastic version, I would come in stronger, almost as a response to piano's block chord on the downbeat.
'S Wonderful!
The form of 'S Wonderful is a basic verse-refrain form. This means that the piece begins with the verse, followed by a refrain, and ends with the refrain. Unlike the forms we previously learned, this form does not return. The first part obviously holds the verse, and is almost similar to a recitative. This is seen through the basic musical stature of the verse. This piece in particular has the same melodic sequence every two measures until the end of the verse. The verse also explains a story, it prepares for the refrain. In addition, the verse is not well known, unlike the refrain. The refrain then follows the verse. Usually, in this form, the refrain is well-known. This happens to be the case with this Gershwin song. The refrain expresses the singer's feelings. it's almost the reaction that follows the story claimed in the verse.
Harmonic stability is more common in the verse than the refrain. The verse has a simple feeling to it, because of the predictability of the bass line. In addition, Gershwin tends to use more basic chords in this section of the piece. He didn't anything too out of the ordinary. However, the refrain begins with a basic Eb Major chord and the moves directly into a C#0 chord. The virtues jazz definitely shine when the piece enters the refrain.
In measures 5-13, at every two measure interval the bass begins a step higher, then proceeds with the same downward pattern. In measures 13-20, the same pattern is expressed on beats 1 and 3 in two measure intervals. However, once a new interval begins the provess begins a step down. While this occurs in the bass, the melody keeps a basic pattern every two measures. It repeats a note for four beats, then on the down beat of the next measure moves a third down.
Two diatonic chords that are apparetn are the C#o chord that leads to the Bb7(add6) chord. Both chords repeat on a very jazzy and well-known area of the piece. The C# chord is played on the phrases "'S marvelous" and "'S paradise." It just emphasizes the singer feels about the situation of love, a feeling of bliss. The Bb7(add6) serves the same purpose by just enhancing a magical feeling. Another diatonic chord is the Dm6 chord. It accompanies and begins the phrase "You can't blame..." I really enjoy this emphasis because the chord illustrates how the performer has almost lost control over these feelings, he or she is not at fault, they have overcome him or her.
The E natural in measure 47 emphasizes the word glamorous, by harmonizing the E natural with a G major chord. It's a highlight because it sounds different from other areas of the piece, because it steps away from a jazz feeling to a more classical sound.
Harmonic stability is more common in the verse than the refrain. The verse has a simple feeling to it, because of the predictability of the bass line. In addition, Gershwin tends to use more basic chords in this section of the piece. He didn't anything too out of the ordinary. However, the refrain begins with a basic Eb Major chord and the moves directly into a C#0 chord. The virtues jazz definitely shine when the piece enters the refrain.
In measures 5-13, at every two measure interval the bass begins a step higher, then proceeds with the same downward pattern. In measures 13-20, the same pattern is expressed on beats 1 and 3 in two measure intervals. However, once a new interval begins the provess begins a step down. While this occurs in the bass, the melody keeps a basic pattern every two measures. It repeats a note for four beats, then on the down beat of the next measure moves a third down.
Two diatonic chords that are apparetn are the C#o chord that leads to the Bb7(add6) chord. Both chords repeat on a very jazzy and well-known area of the piece. The C# chord is played on the phrases "'S marvelous" and "'S paradise." It just emphasizes the singer feels about the situation of love, a feeling of bliss. The Bb7(add6) serves the same purpose by just enhancing a magical feeling. Another diatonic chord is the Dm6 chord. It accompanies and begins the phrase "You can't blame..." I really enjoy this emphasis because the chord illustrates how the performer has almost lost control over these feelings, he or she is not at fault, they have overcome him or her.
The E natural in measure 47 emphasizes the word glamorous, by harmonizing the E natural with a G major chord. It's a highlight because it sounds different from other areas of the piece, because it steps away from a jazz feeling to a more classical sound.
Derrrrr Tree?!
In times of joy and sadness
|: It always drew me near. :|
Come to me weary traveler,
|: You'll find your peace with me. :|
And still I hear it whispering
|: You'd find your peace with me. :|
Schubert's Der Lindenbaum, arguably one of the most popular, thereby recognizable songs of the Winterreise song cycle plunges into a pool of deep, intimate, and thereby complex sort of simplicity. For it seems as though the writer's central idea of remembrance, coincides with the Linden tree and how this simple act of natural beauty can evoke so much emotion through the gentle reminder of past events. The rejected lover in the song cycle is, in essence rehashing a journey that has already taken place.
The song is set up in a major mode and is accompanied by simple piano flourishing that seems to dance around the text as it paints a vivid picture of the past. The piano by no means overpowers the voice but certainly plays a character all on its own floating with the phrases almost like the past that the singer has traveled to to relive, or even more appropriately, the gentle rustling of the piano accompaniment may represent the linden tree and that vantage point of the past that the singer is recollecting. Only for a very brief moment does the mode shift form major to minor; when the singer talks of passing the tree in darkness. This further emphasizes the role of the linden tree as the life and the foundation for the memories and the idea that the piano represents the linden tree and thus enters a minor mode when it becomes absent from the singer.
|: It always drew me near. :|
Come to me weary traveler,
|: You'll find your peace with me. :|
And still I hear it whispering
|: You'd find your peace with me. :|
The song is set up in a major mode and is accompanied by simple piano flourishing that seems to dance around the text as it paints a vivid picture of the past. The piano by no means overpowers the voice but certainly plays a character all on its own floating with the phrases almost like the past that the singer has traveled to to relive, or even more appropriately, the gentle rustling of the piano accompaniment may represent the linden tree and that vantage point of the past that the singer is recollecting. Only for a very brief moment does the mode shift form major to minor; when the singer talks of passing the tree in darkness. This further emphasizes the role of the linden tree as the life and the foundation for the memories and the idea that the piano represents the linden tree and thus enters a minor mode when it becomes absent from the singer.
um gershwin. he wrote this.
gershwinnnnnn
Those two Gershwin brothers wrote "'S Wonderful!" for a musical, I think it was Porgy and Bess. Anyway, this song is such a perfect example of a verse refrain it should be in the dictionary. It starts with a nice little four bar piano intro, and then it goes to the verse, which starts at measure five and lasts until measure twenty nine, when the refrain starts. The refrain begins with the chorus, which goes from measures 29-32, and then the bridge from measures 43-52, then its the chorus again until the end. The refrain is significantly more stable harmonically, it has a slower harmonic rhythm than the verse. The verse also uses a lot more nondiatonic chords than the refrain does. It really works for the verse to be more harmonically unstable, because that's where the interest is. In the verse the melody itself is really boring, so the chord changes under the stable notes keep the listener hooked. In the opening section a falling fifths sequence is used, often it is only the latter half of the first of the two bar pair, so don't let that fool you. There's still falling fifths in there, you just have to look for them. That was a good choice in those falling fifths, they are always popular. So remember how I said that the refrain has a more boring harmony than the verse? Well, that doesn't mean that it's one hundred percent boring. For instance, in measures 31 and 32 (and 39 and 40) George writes a C# diminished chord, which is used to embellish the word "marvelous". The word is held on a single note in the vocal part, so to add interest there is a fun little chord progression with the c# dim to a c chord back to a c # dim, just to keep you interested. Then he used a Bb add 6 chord in measures 33 and 34, under the words "you should care for me", which is what IS so wonderful and so marvelous in the song, so it's kind of the point of the song. It needs some emphasis, because it is the whole reason for singing the song. The added sixth chord is saying "HEY! hey you! listening to this song! this is the point" Then Gershwin gets really funky, he decided to randomly go to G major. I know, it sounds crazy right? Well, George was man. So crazy. So there he is, chilling out in G major in measures 44-48, and he goes ii, I64, V42, vi 43, V7. So this is when the words are going "You've made my life so glamorous" and "My dear, it's four lear clover time". These are really happy words. I mean, the whole song is pretty happy, but these words aren't even like "oh it used to suck but now" instead these words are totally focused on the awesomeness that is now. So I guess George thought that to really emphasize this glee, he should put it in an even happier key. So he did. Ok last question! So he uses that e minor chord in measure 47, and it's crazy because the piece is in E flat major and then all the sudden it's an e minor chord. But he harmonizes it as a vi of the G major section, and keeps that crazy E natural out of the bass line. That would really mess the listener up so George wanted to prevent that. All in all, I think that George was a pretty fabulous writer, although I have questions about Ira. Who has ever said to their significant other "You've made my life so glamorous?" or "My dear, it's four leaf clover time". I don't think those are very good love song lyrics.
Schumann's musial translation of textual nuance
Schumann's "Liebst du um Schoneit" is a short song setting of a poem Friedrich Ruckhert. The poem is also brief, with four stanzas and considerable repetition between them. In each stanza, Ruckert repeats the phrase "If you love for...(adjective) oh do not love me!" followed by a panged suggestion to love the epitome of the given adjective. Overall, the poem is self-defeating and states that the speaker possesses little beauty, ..., or ... Overall, Schumann does a great job of emulating the structure and contents of the poem using thematic repetition, mode mixture, and text painting to enrich the emotional content of this piece. There are several nuances that the vocalist must attend to in order to ensure a thorough and rewarding performance.
From the first few vocal lines, it becomes clear that Schumann intends to unite poetry with music. After a brief 2 bar piano introduction, the first phrase, "If you love for beauty" is translated to music almost perfectly. Schumann stresses the first syllable of beau-ty with a Db which is exactly how the word is spoken. Through this emphasis, she also is able to translate the overall exclamation of the remark. Interestingly in the second half of the line "oh do not love me," the I turns to a i which is a prime example of mode mixture. This minor one coincides with the rather gloomy defeatist attitude of the speaker. The minor i is also rather unexpected, which parallels the rather deviated consequent phrase. As the borrowing from the minor i coincides with withe the remorseful previous statement, there is also borrowing from the minor mode that helps reflect the positive outlook in each of the seconds stanzas. As you can see in measure 9 for example, the III is another example of mode mixture when describing beauty, treasure, etc. Mode mixture also plays a crucial role in text painting, through adding additional effect to the words in the original poem.
I have chosen to analyze the first stanza's worth of music in order to further explain the mode mixture that is used throughout (as the stanzas are fairly similar).
mm. 1 I V43 V7
mm. 2 I V43 V7
mm. 3 I V43 V7
mm. 4 I V43 V7
mm. 5 I i
mm. 6 vio6 V
mm. 7 ii
mm. 8 vi43
mm. 9 I III
mm. 10 III V
As you can see in measure 6, the vio6 is also contributing to the tension created by the i in the previous measure.
The second stanza begins fairly similarly with no harmonic or textural changes for the first four bars (mm. 11-14) other than a slight melodic syncopation in measure 13, suggesting increased intensity. The descending bass notes from Bb-Eb are a suggestion of some sort of sequence - descending seconds.
mm. 15 vi ii
mm. 16 IV v7/V
mm. 17 V
mm. 18 I
This first stanza is the first of three that include mode mixture to stress the absence of beauty, youth, and treasure respectively. The fourth and final stanza however, has a far more positive outlook, as the vocalist exclaims "If you love for love, oh yes, do love me!" Interestingly, while the text is clearly far more positive, Schumann does not alter her use of the i in measure 31. This may be an example of foreshadowing, or some sort of darker undercurrent to the song, suggesting that the speakers love is and will not be reciprocal. Also in this final stanza, the tempo picks up, while the piano accompaniment begins to be more skeletal. While in the first three stanzas, the piano was quite thick, it hardly outlines the underlying chords.
The lighter accompaniment, coupled with the accents in the vocal line suggest that it is the vocalists turn to really increase their intensity and take a leading role in delivering the final, crucial lines of the poem. Text painting that occurs in the vocal line is pretty straight-forward, however I feel that this is constrained significantly because of the repetition throughout the piece. Words like 'treasure,' 'youth,' and 'beauty,' while they receive special treatment with mode mixture, as mentioned previously.
While this song is short and laid out simply, it is important to notice the subtleties within the piece and how closely they are written to modelo Ruckert's poem.
From the first few vocal lines, it becomes clear that Schumann intends to unite poetry with music. After a brief 2 bar piano introduction, the first phrase, "If you love for beauty" is translated to music almost perfectly. Schumann stresses the first syllable of beau-ty with a Db which is exactly how the word is spoken. Through this emphasis, she also is able to translate the overall exclamation of the remark. Interestingly in the second half of the line "oh do not love me," the I turns to a i which is a prime example of mode mixture. This minor one coincides with the rather gloomy defeatist attitude of the speaker. The minor i is also rather unexpected, which parallels the rather deviated consequent phrase. As the borrowing from the minor i coincides with withe the remorseful previous statement, there is also borrowing from the minor mode that helps reflect the positive outlook in each of the seconds stanzas. As you can see in measure 9 for example, the III is another example of mode mixture when describing beauty, treasure, etc. Mode mixture also plays a crucial role in text painting, through adding additional effect to the words in the original poem.
I have chosen to analyze the first stanza's worth of music in order to further explain the mode mixture that is used throughout (as the stanzas are fairly similar).
mm. 1 I V43 V7
mm. 2 I V43 V7
mm. 3 I V43 V7
mm. 4 I V43 V7
mm. 5 I i
mm. 6 vio6 V
mm. 7 ii
mm. 8 vi43
mm. 9 I III
mm. 10 III V
As you can see in measure 6, the vio6 is also contributing to the tension created by the i in the previous measure.
The second stanza begins fairly similarly with no harmonic or textural changes for the first four bars (mm. 11-14) other than a slight melodic syncopation in measure 13, suggesting increased intensity. The descending bass notes from Bb-Eb are a suggestion of some sort of sequence - descending seconds.
mm. 15 vi ii
mm. 16 IV v7/V
mm. 17 V
mm. 18 I
This first stanza is the first of three that include mode mixture to stress the absence of beauty, youth, and treasure respectively. The fourth and final stanza however, has a far more positive outlook, as the vocalist exclaims "If you love for love, oh yes, do love me!" Interestingly, while the text is clearly far more positive, Schumann does not alter her use of the i in measure 31. This may be an example of foreshadowing, or some sort of darker undercurrent to the song, suggesting that the speakers love is and will not be reciprocal. Also in this final stanza, the tempo picks up, while the piano accompaniment begins to be more skeletal. While in the first three stanzas, the piano was quite thick, it hardly outlines the underlying chords.
The lighter accompaniment, coupled with the accents in the vocal line suggest that it is the vocalists turn to really increase their intensity and take a leading role in delivering the final, crucial lines of the poem. Text painting that occurs in the vocal line is pretty straight-forward, however I feel that this is constrained significantly because of the repetition throughout the piece. Words like 'treasure,' 'youth,' and 'beauty,' while they receive special treatment with mode mixture, as mentioned previously.
While this song is short and laid out simply, it is important to notice the subtleties within the piece and how closely they are written to modelo Ruckert's poem.
Der Lindenbaum
"Der Lindenbaum" from Winterreise by Franz Schubert contains 6 strophes. It has a very consistent rhyme scheme, with every other line of the poem rhyming. In the beginning of the song, it is in E major and seems very peaceful, just like the tree swaying peacefully by the fountain. It is written very subjectively, with the author telling us a tale from his experience. You can picture him sitting under the tree on a nice sunny day daydreaming. But then it becomes dark, where we switch to E minor. Soon it returns to a peaceful E major, but again the weather changes to cold and windy and the key switches back and forth to a dreary E minorish prolongation of a bVI for awhile until we return to E major as he escapes the cold.
Again, the poem has a very consistent rhyme scheme, with every two lines rhyming, which is reflected in the music. Each phrase is two lines of poetry, and therefore every pair of phrases rhyme. Looking at the entire song we see that each strophe contains a stanza of poetry, although the first two and second two seem to mesh together, while the fifth and sixth are their complete own individual sections
Taking a look at the key, we see that the first two strophes are in E major, as the poem is very peaceful and positive. However, at the third strophe, it is now nighttime and dark, where we switch to a sadder E minor. In strophe four we return to E major, as the tree is tempting the man with happiness and peace., but in strophe five the wind begins to blow and he loses his had. Musically we appear to be in E minor, but it actually a prolongation of a bVI chord, reflecting unstableness, until he escapes the unknown and we return to E major.
There are many instances of text painting in Schubert's song. For example, in measure 36, he closes his eyes to the temptation of the tree, which is finalized with a PAC, almost as to say that his decision is strong and final. Also in measure 71 into 72 we move upward by stepwise motion as the branches rustle, as if the wind is rustling them right up the scale.
Again, the poem has a very consistent rhyme scheme, with every two lines rhyming, which is reflected in the music. Each phrase is two lines of poetry, and therefore every pair of phrases rhyme. Looking at the entire song we see that each strophe contains a stanza of poetry, although the first two and second two seem to mesh together, while the fifth and sixth are their complete own individual sections
Taking a look at the key, we see that the first two strophes are in E major, as the poem is very peaceful and positive. However, at the third strophe, it is now nighttime and dark, where we switch to a sadder E minor. In strophe four we return to E major, as the tree is tempting the man with happiness and peace., but in strophe five the wind begins to blow and he loses his had. Musically we appear to be in E minor, but it actually a prolongation of a bVI chord, reflecting unstableness, until he escapes the unknown and we return to E major.
There are many instances of text painting in Schubert's song. For example, in measure 36, he closes his eyes to the temptation of the tree, which is finalized with a PAC, almost as to say that his decision is strong and final. Also in measure 71 into 72 we move upward by stepwise motion as the branches rustle, as if the wind is rustling them right up the scale.
Wonderful! Marvelous!
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Blog # 7
George and Ira Gershwin, “S Wonderful!” (p.94) Track 1.91
In the musician’s guide anthology that came with our text books there is a score of “S Wonderful!” by George Gershwin and lyrics by Ira Gershwin. I was told that the recording that we have is horrible, but it sounds fine to me because I don’t really have much background with jazz and vocal music.
It has a four measure introduction and 2 major sections that each repeat. The first section is from measures five till twenty-eight, and the second section is from measures twenty-nine till sixty. These sections have clearly marked beginnings and endings because of the repeat signs. The second section is the refrain. This song is a verse-refrain form. The refrain repeats and it stands out clearly. “’S Wonderful, ‘Smarvelous, You should care for me!” is the refrain that lasts for eight measures. There is also another eight measure phrase that has the same melody as the refrain but different lyrics. The male and female vocalists switch every eight measures. In the first section is more contemplative sounding and the motives last two measures long. First the male vocalist sings and then it repeats the same melody and harmony but the female vocalist sings different lyrics. There are lots of flatted accidentals added verses more naturals and sharps added in for the second section. I feel like the second section feels more harmonic stable and feels more up beat because of the accompaniment and jazziness. The first section the male sings first and then the second time the female sings, rather in the second section they alternate and take turns and the second time during the repeat they switch.
There are c-sharp diminished chords that have a forward motion going to the B-flat seven (add six) chord in the refrain that contribute to the jazziness feeling of this song. Those chords are played on the popular part “S marvelous, you should care for me.”
The E-natural in measure forty-seven sounds extremely held out and exaggerated. He really emphasizes it and because it’s an accidental it sticks out even more. It’s a g major chord that harmonizes the e-natural, which would be a major three chord.
Overall I really enjoyed this piece. Usually I hate vocal music but this piece is cute and the jazz is enjoyable and pleasant to listen to. And I can understand the lyrics since it’s in English!
Blog # 7
George and Ira Gershwin, “S Wonderful!” (p.94) Track 1.91
In the musician’s guide anthology that came with our text books there is a score of “S Wonderful!” by George Gershwin and lyrics by Ira Gershwin. I was told that the recording that we have is horrible, but it sounds fine to me because I don’t really have much background with jazz and vocal music.
It has a four measure introduction and 2 major sections that each repeat. The first section is from measures five till twenty-eight, and the second section is from measures twenty-nine till sixty. These sections have clearly marked beginnings and endings because of the repeat signs. The second section is the refrain. This song is a verse-refrain form. The refrain repeats and it stands out clearly. “’S Wonderful, ‘Smarvelous, You should care for me!” is the refrain that lasts for eight measures. There is also another eight measure phrase that has the same melody as the refrain but different lyrics. The male and female vocalists switch every eight measures. In the first section is more contemplative sounding and the motives last two measures long. First the male vocalist sings and then it repeats the same melody and harmony but the female vocalist sings different lyrics. There are lots of flatted accidentals added verses more naturals and sharps added in for the second section. I feel like the second section feels more harmonic stable and feels more up beat because of the accompaniment and jazziness. The first section the male sings first and then the second time the female sings, rather in the second section they alternate and take turns and the second time during the repeat they switch.
There are c-sharp diminished chords that have a forward motion going to the B-flat seven (add six) chord in the refrain that contribute to the jazziness feeling of this song. Those chords are played on the popular part “S marvelous, you should care for me.”
The E-natural in measure forty-seven sounds extremely held out and exaggerated. He really emphasizes it and because it’s an accidental it sticks out even more. It’s a g major chord that harmonizes the e-natural, which would be a major three chord.
Overall I really enjoyed this piece. Usually I hate vocal music but this piece is cute and the jazz is enjoyable and pleasant to listen to. And I can understand the lyrics since it’s in English!
Wilhelm Muller - The Original Tree Hugger
In Schubert’s “Der Linderbaum” story is told through music and a poem by Wilhelm Muller. The poem tells a story of a man and childhood place where he found comfort, but as he grows and leaves home he leaves the place. The place he loves is by a tree, where throughout the years he found comfort and rest from the world. The poem is set up into six different strophes that have no consistent rhyme scheme. The story shifts when he realizes he has to leave the tree, even when it could still offer support and comfort.
During the first and second strophe the singer tells about the times he spent with the tree and the comfort it offered. The music helps depict this scene with slow flowing bass and similar rhythmic structure. This section is also in E Major. In the third strophe a more recent memory of having to turn away from the tree and leave it behind during a dark night is told. The music here shifts to e minor giving it a very eerie and spooky sound. However it shifts back to E Major for the fourth strophe with the tree speaks out to the singer. This leads the listener to believe that comfort may be found again, but Schubert has the bass part speed up and add modal mixture (iv7) to the fifth strophe. This is when the singer turns his back and doesn’t turn back. He knows he has made a choice and sticks with it. The modal mixture in the piano adds to the anger and distraught expressed by the singer. In the sixth and final strophe the piano part slows to the original key and speed. The singer becomes nostalgic, returning to the same opening melody. He sings of being far from that place he once loved, and having regrets for leaving that night the tree called to him. The piano part expands a major I chord all the way through to the last chord, ending in the original key.
I really like this piece; it expresses things that I think everyone feels. If I were to sing it I think I would want it to go a little quicker during the first two strophes, since that is the happy part of the song. I feel like that could have a quicker tempo, and when the third strophe comes I would slow down. I love the angst and contrast between the fifth and the sixth strophe. I personally do a lot of sad songs, oh the wonders of being a mezzo, so I think this would be a great piece to perform!
During the first and second strophe the singer tells about the times he spent with the tree and the comfort it offered. The music helps depict this scene with slow flowing bass and similar rhythmic structure. This section is also in E Major. In the third strophe a more recent memory of having to turn away from the tree and leave it behind during a dark night is told. The music here shifts to e minor giving it a very eerie and spooky sound. However it shifts back to E Major for the fourth strophe with the tree speaks out to the singer. This leads the listener to believe that comfort may be found again, but Schubert has the bass part speed up and add modal mixture (iv7) to the fifth strophe. This is when the singer turns his back and doesn’t turn back. He knows he has made a choice and sticks with it. The modal mixture in the piano adds to the anger and distraught expressed by the singer. In the sixth and final strophe the piano part slows to the original key and speed. The singer becomes nostalgic, returning to the same opening melody. He sings of being far from that place he once loved, and having regrets for leaving that night the tree called to him. The piano part expands a major I chord all the way through to the last chord, ending in the original key.
I really like this piece; it expresses things that I think everyone feels. If I were to sing it I think I would want it to go a little quicker during the first two strophes, since that is the happy part of the song. I feel like that could have a quicker tempo, and when the third strophe comes I would slow down. I love the angst and contrast between the fifth and the sixth strophe. I personally do a lot of sad songs, oh the wonders of being a mezzo, so I think this would be a great piece to perform!
Wilhelm Muller - The Original Tree Hugger
In Schubert’s “Der Linderbaum” story is told through music and a poem by Wilhelm Muller. The poem tells a story of a man and childhood place where he found comfort, but as he grows and leaves home he leaves the place. The place he loves is by a tree, where throughout the years he found comfort and rest from the world. The poem is set up into six different strophes that have no consistent rhyme scheme. The story shifts when he realizes he has to leave the tree, even when it could still offer support and comfort.
During the first and second strophe the singer tells about the times he spent with the tree and the comfort it offered. The music helps depict this scene with slow flowing bass and similar rhythmic structure. This section is also in E Major. In the third strophe a more recent memory of having to turn away from the tree and leave it behind during a dark night is told. The music here shifts to e minor giving it a very eerie and spooky sound. However it shifts back to E Major for the fourth strophe with the tree speaks out to the singer. This leads the listener to believe that comfort may be found again, but Schubert has the bass part speed up and add modal mixture (iv7) to the fifth strophe. This is when the singer turns his back and doesn’t turn back. He knows he has made a choice and sticks with it. The modal mixture in the piano adds to the anger and distraught expressed by the singer. In the sixth and final strophe the piano part slows to the original key and speed. The singer becomes nostalgic, returning to the same opening melody. He sings of being far from that place he once loved, and having regrets for leaving that night the tree called to him. The piano part expands a major I chord all the way through to the last chord, ending in the original key.
I really like this piece; it expresses things that I think everyone feels. If I were to sing it I think I would want it to go a little quicker during the first two strophes, since that is the happy part of the song. I feel like that could have a quicker tempo, and when the third strophe comes I would slow down. I love the angst and contrast between the fifth and the sixth strophe. I personally do a lot of sad songs, oh the wonders of being a mezzo, so I think this would be a great piece to perform!
During the first and second strophe the singer tells about the times he spent with the tree and the comfort it offered. The music helps depict this scene with slow flowing bass and similar rhythmic structure. This section is also in E Major. In the third strophe a more recent memory of having to turn away from the tree and leave it behind during a dark night is told. The music here shifts to e minor giving it a very eerie and spooky sound. However it shifts back to E Major for the fourth strophe with the tree speaks out to the singer. This leads the listener to believe that comfort may be found again, but Schubert has the bass part speed up and add modal mixture (iv7) to the fifth strophe. This is when the singer turns his back and doesn’t turn back. He knows he has made a choice and sticks with it. The modal mixture in the piano adds to the anger and distraught expressed by the singer. In the sixth and final strophe the piano part slows to the original key and speed. The singer becomes nostalgic, returning to the same opening melody. He sings of being far from that place he once loved, and having regrets for leaving that night the tree called to him. The piano part expands a major I chord all the way through to the last chord, ending in the original key.
I really like this piece; it expresses things that I think everyone feels. If I were to sing it I think I would want it to go a little quicker during the first two strophes, since that is the happy part of the song. I feel like that could have a quicker tempo, and when the third strophe comes I would slow down. I love the angst and contrast between the fifth and the sixth strophe. I personally do a lot of sad songs, oh the wonders of being a mezzo, so I think this would be a great piece to perform!
Gershwin 'S Wonderful...our recording of it...not so much
Okay, I'm going to start my blog with a mini rant. What is up with the singers on our recording of this song?! I seriously got half way through and had to turn it off-it was THAT upsetting. I mean, the woman didn't even say "emosh" and "devosh" right. (She said "mosh" as in mosh pit instead of a shortening of "emotion" XO angry face) So, I did the same thing that I just saw that Natalie did. I found the clip of the song from "Funny Face" (a classic, everyone should watch it) since I knew that I like Fred Astaire and Audrey Hepburn's version. Oh and "An American in Paris" also features this song with a nice tap dance from Gene Kelly, a fun little touch for the movie's set up of the song. Anyway....
" 'S Wonderful" is a textbook example of verse-refrain style. The verse is, of course, rarely heard and actually consists of a male and female line. But it is the refrain of this song that everyone knows so well. The refrain does not occur until measure 29, so there are 28 measures of Gershwin wonderfulness that hardly anyone knows about. So I'm going to pay tribute to the forgotten verse for a moment. Here's a fun little tid bit for ya-the verse is actually the more stable of the two sections. It opens with some nice staccato quarter note chords and the harmonic structure is pretty predictable. If you break it up into two-bar units, you will see that the harmony moves up or down by a second (major and minor) throughout the verse. The vocal line follows the pattern of one measure with four quarter notes and a measure of a whole note a third lower. Then this two measure pattern moves up a second and eventually back down. This verse also sets up the whole story line-as tradition would have it. So I find it quite tragic that we never hear it. On to the refrain!
Gershwin has lots o' jazzy fun with the refrain. The melody is quite simple and repetitive, but he uses some interesting harmonies to spice things up. For example, m. 31 has a C#dim. chord (oh and we're in Eb major) on the word "marvelous". This adds a jazzy feel and also distinguishes "marvelous" from the preceding "wonderful." He uses harmony to add texture to mm. 33 on "You should care for me" with a Bb7 add 6. This adds a sense of happiness that the person feels about their special someone caring for him/her. And my last example is in mm. 49 with a slightly mood altering Dm6 chord. This shifts the mood to feeling blissful. ("you can't blame me for feeling this amorous" and "from now on my heart's working overtime") Aaaannnnd the grand finale! Ok not really, but it's the highlight of the song. Measure 47 has the most interesting harmonization of the song. Gershwin places a G major chord with and E natural 5. Whoa. Hold on just a minute. This really switches up the jazzy feeling to a more sort of classical, lovey-dovey feeling. After all, they are completely enamored with each other.
So, this song truly 'S Wonderful. But I highly recommend listening/watching the scene from "Funny Face" or "An American in Paris" to get a true feeling of what this song is about...not the recording that goes with our anthology. And for a really jazzy version, look up Ella Fitzgerald singing it with Teddy Wilson. Plus she sings part of the long lost verse. = )
" 'S Wonderful" is a textbook example of verse-refrain style. The verse is, of course, rarely heard and actually consists of a male and female line. But it is the refrain of this song that everyone knows so well. The refrain does not occur until measure 29, so there are 28 measures of Gershwin wonderfulness that hardly anyone knows about. So I'm going to pay tribute to the forgotten verse for a moment. Here's a fun little tid bit for ya-the verse is actually the more stable of the two sections. It opens with some nice staccato quarter note chords and the harmonic structure is pretty predictable. If you break it up into two-bar units, you will see that the harmony moves up or down by a second (major and minor) throughout the verse. The vocal line follows the pattern of one measure with four quarter notes and a measure of a whole note a third lower. Then this two measure pattern moves up a second and eventually back down. This verse also sets up the whole story line-as tradition would have it. So I find it quite tragic that we never hear it. On to the refrain!
Gershwin has lots o' jazzy fun with the refrain. The melody is quite simple and repetitive, but he uses some interesting harmonies to spice things up. For example, m. 31 has a C#dim. chord (oh and we're in Eb major) on the word "marvelous". This adds a jazzy feel and also distinguishes "marvelous" from the preceding "wonderful." He uses harmony to add texture to mm. 33 on "You should care for me" with a Bb7 add 6. This adds a sense of happiness that the person feels about their special someone caring for him/her. And my last example is in mm. 49 with a slightly mood altering Dm6 chord. This shifts the mood to feeling blissful. ("you can't blame me for feeling this amorous" and "from now on my heart's working overtime") Aaaannnnd the grand finale! Ok not really, but it's the highlight of the song. Measure 47 has the most interesting harmonization of the song. Gershwin places a G major chord with and E natural 5. Whoa. Hold on just a minute. This really switches up the jazzy feeling to a more sort of classical, lovey-dovey feeling. After all, they are completely enamored with each other.
So, this song truly 'S Wonderful. But I highly recommend listening/watching the scene from "Funny Face" or "An American in Paris" to get a true feeling of what this song is about...not the recording that goes with our anthology. And for a really jazzy version, look up Ella Fitzgerald singing it with Teddy Wilson. Plus she sings part of the long lost verse. = )
Schizophrenic = Schubert
Franz Schubert’s composition “Der Lindenbaum” from Winterreise is a beautiful work…about a tree. Well, not a tree directly (as who claims devotion to a plant?) but those memories to which the tree symbolizes. The performer must take the role Schubert creates and hold this tree on the highest pedestal possible, for the words of love now past are embedded upon it (although you have inadvertently mauled the tree’s bark in the process… such details are of little concern). Even with the tree damaged, Schubert finds a way to unveil the kindness and compassion entrenched in those memories depicted on the tree and by doing so creates a colorful palate of memories that any listener can take part.
Rather bluntly, a harmonic analysis of this work is not much interesting. The entire composition is based upon I going to V… and that’s it. Honestly, the almost the entire piece is I V I V I (with minor [ha!] variations/chords other than tonic or dominant sprinkled sparsely). Instead of playing with the text on a chord-by-chord basis Schubert inflects the varying stanzas into large-idea sections, literally changing key to emulate the different emotions.
The first two stanzas starting “By the fountain” and “I carved on its bark” are in E major, depicting joys and sweet memories. However the stanza beginning with “I had to pass it again today” is in e minor, the dread here being the passing of the tree “in the dead of night.” This stanza leads one to believe something bad or frightening happened at night or somehow Schubert wanted to show how even passing the tree in darkness created a clamor of emotion. “Even in the darkness I had to close my eyes”… a clear indication that something terribly frightening and unpleasant happened to that individual with which he continues to struggle. It is the performer’s duty to convey this sense of dread and despair convincingly and with a personal conviction. Unlike previous sections which had introductions to prepare the mood, the performer must instantaneously recall the good of the tree; as if the sun jumped out from behind the tree, glowing and warming all things. The tree beckons, “Come here…you will find your peace!” But a peace was not meant to be, as the sun drops quickly and the frigid wind cuts the skin and whips your hat away– you take hot pursuit to find your hat, not looking back or giving the tree a second glance. Here is yet another key change where one finds himself in musing, attempting to recall the offer the tree gave you: “Come here, to me, friend, here you will find your peace!” You ponder whether it was a good idea to leave that tree in plight. Eventually (through much repetition) you concede that you would have found satisfaction at the tree and “hear the rustling” of the leaves calling you. This all is still not enough to recall you to that spot, but apparently you’re in high enough spirits to end on an E major chord.
Overall, Schubert’s Der Lindenbaum has a lot to offer to the performer. As for analyzing, not so much: the only somewhat interesting section is from measures 45-57 where the harmonic progression leads from bVI to V, back and forth until the end of that section. It’s a strophic verse composition that has introductions/interruptions metered in at places that help effectively set the mood. If the performer can visualize himself (or herself) as the individual recalling these events they will be better suited to concoct a convincing portrayal of the music and captivate an audience. It’s a difficult proposition, especially in a foreign language but one that every musician must overcome, whether vocal or instrumental: reach the audience by any means possible.
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