Brahms Piano Quintet in F minor, Op. 34: movement III

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  • Brahms Piano Quintet in F minor, Op. 34: movement III
    • Instrumentation
      • This is a piano quintet i.e. pianos with a string quartet - 2 violins, viola and a cello
      • Wide range used - particularly evident in bars 146-157
  • Dynamics
    • Brahms Piano Quintet in F minor, Op. 34: movement III
      • Instrumentation
        • This is a piano quintet i.e. pianos with a string quartet - 2 violins, viola and a cello
        • Wide range used - particularly evident in bars 146-157
  • Rhythm/Meter
    • Dotted rhythms e.g. in 2/4 time sections such as bars 13-22
  • Harmony
    • Diatonic
    • Use of pedal points e.g. bars 1-12 in the cello part
    • Plagal cadence (IV-I)  e.g. bars 253-254
  • Structure
    • The Trio has a ternary structure within itself (bars 194-225 section A, bars 226-241 section B, bars 242-261 section A).
  • Dramatic dynamic changes e.g. pp-ff in bars 18-23
    • Dynamics
    • Begins in compound duple (6/8). Sometimes changes to simple duple (2/4) e.g. bars 13-22
      • Rhythm/Meter
        • Dotted rhythms e.g. in 2/4 time sections such as bars 13-22
    • Syncopated pattern in 6/8 time sections demonstrated in bars 3-5 violin 1 and viola parts
      • Fugato theme is bars 67 - 100
        • Scherzo has 4 themes A, B, C and Fugato (these keep coming back)
          • Structure
            • The Trio has a ternary structure within itself (bars 194-225 section A, bars 226-241 section B, bars 242-261 section A).
          • Theme A is bars 1-12
      • Bars 105-108 in violin 2 the melody is augmented (the original melody is in bars 18-21)
        • Melody
          • Theme A (bars 1-12) rising melody in C minor, syncopation, marked pp, violin and viola play in octaves at bar 9 and is imitated by piano
      • Section A (bars 194-225) - 16 bar melody in C major on piano then repeated by strings
        • Section B (bars 225(2)- 241) - legato melody with staccato bass (at bar 233 it is reversed)
          • Section A (bars 242 - 261) - low tessitura. First 11 bars of melody from first section returns.
            • Melody
              • Theme A (bars 1-12) rising melody in C minor, syncopation, marked pp, violin and viola play in octaves at bar 9 and is imitated by piano
      • Texture
        • Fugato from bars 67-100 which builds up in to a 5 part contrapuntal texture in bar 84
        • Sometimes in unison e.g. violin 1 and viola parts bars 13-18 (1)
      • Includes imitation e.g. violin and viola part at bar 9 imitated crotchets by piano later on in piano part
        • Texture
          • Fugato from bars 67-100 which builds up in to a 5 part contrapuntal texture in bar 84
          • Sometimes in unison e.g. violin 1 and viola parts bars 13-18 (1)
      • Sometimes monophonic e.g. first 2 bars
        • Scherzo is in C minor but modulates to the mediant, E flat minor, at bar 100, then E flat major at bar 109, then back to E flat minor at bar 125. This is a tertiary relationship.
          • Tonality
            • Functional tonality i.e. tonality defines the structure
            • Trio begins in C major and modulates to B major in the last 5 bars of Section A

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