Schubert- Der Doppelganger
- Harmony
- Melody
- Texture
- Structure
- Tonality
- Rhythm and Metre
- Performing Forces and Handling
- Created by: Sommer Ledger
- Created on: 09-04-14 12:40
View mindmap
- Schubert
- Harmony
- Functional harmony
- Slow harmonic rhythm- suggests stillness
- Internal pedal of F#
- Augmented sixth chord (Bar 41)
- False relation (Bar 13)
- Neapolitan sixth chord
- Closing tonic pedal gives strong sense of finality
- Tierce de Picardie follows plagal inflection
- Melody
- Word setting is syllabic
- Verse 1- voice narrowly within minor 7th- monotone F# (Bar 5)- few leaps of a 4th or 5th with some stepwise movement
- Verse 2- range expands upwards
- Verse 3- begins on monotone F# , from second line it ranges more widely than verse 1 with a climactic top F# in Bar 52
- 5 note melisma for emphasis and occasional 2 notes to a single sylable
- Texture
- Homophonic texture
- Parallel doubling
- Voice has main melodic interest
- Piano part is almost entirely homorhythmic/ chordal
- Some four-part harmony with doublings
- Structure
- Song is through- composed
- Piano plays introduction, postlude and 2 brief interludes
- 3 stanzas- each consists of 4 lines
- Opening four- chord progression reappears several times as an ostinato and a variant of it also recurs
- Tonality
- Mostly B minor- suits sinister text
- No major key passages- 2nd and 3rd chords of ostinato 2 contain A natural which hints D major however 4th chord with A# is contradictory
- Chromatically- ascending phrase in verse 3 continues to D# and 4 bars of D# minor- this key is a major 3rd above tonic B minor, distant and striking tertiary relationship
- Rhythm and Metre
- Strong syllables have relatively long notes on accented parts of bar and/or beat
- Weaker syllable have relatively short and unaccented notes
- Metre is simple triple 3/4
- Performing Forces and Handling
- Didn't specify tenor, baritone or bass
- Full vocal range is wide- B below tenor C to G an octave and a minor 6th higher
- Tessitura frequently low- voice in bottom 5th of range- occassional impassioned use of high notes is all more dramatic
- Piano part mostly low and dark with bass clefs for both hands
- Harmony
Comments
No comments have yet been made