Schubert- Der Doppelganger

- Harmony

- Melody

- Texture

- Structure

- Tonality

- Rhythm and Metre

- Performing Forces and Handling

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  • 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

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