Schumann: Melody

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  • Schumann: Melody
    • No. 1
      • Thematic feature of rising minor 6th leap
        • Followed by stepwise decent
          • Bars 1-2 and elsewhere
      • Bass melody borrows features of the opening bars
        • Bars 9-12
      • Melodic sequence
        • Bars 9-12
    • No.3
      • Almost entirely conjunct
        • Leaps onto accented notes such as the appoggiaturas in bar 2 and the sforzando dominant seventh in bar 15
      • Thematic use of the figure of four conjunct semiquavers
        • Ascending or descending
        • Appears as a sequence in bar 2
      • Unusual decent of minor 7th
        • Bar 9
        • Generated by the 8ve transposition of the semiquaver phrase in the second half of the bar
        • High position of Gmaj chord in bar 9 is close to the hand position of the previous bar
        • Overall shape of the melody from bar 9 is a descent
          • Emphasised by accents at bars 9 and 11 and culminating with the Neapolitan chord at bar 13 (lowest melody note of piece)
    • No.11
      • Mostly diatonic apart from chromaticism in the 2nd bar of A section
      • Modified version of opening melody in bass
        • Bars 5-8 below a new phrase in the topmost melody.
      • B section has a very disjunct bass melody
        • Bar 9
        • 8ve leaps - treated in sequence
      • Second half of C section
        • Bars 25-28
        • 2 bar phrase with semitone movement which spans a diminished 4th and is then treated in sequence
    • General
      • Rudolf Reti - ''The Thematic Process in Music'
        • Melodies of Kinderscenen are derives from the first piece in set
          • Rising 6th followed by a group of 4 descending conjunct notes can be traced through the various pieces
          • In No.3, the crotchet B natural has been detached from the 4 descending notes
            • Space filled with a similarly-shaped phrase one note higher
          • No. 11 also begins on B
            • 4 note descent is immediately heard in the alto on the principle beats
              • Filled in with chromatic notes
              • Reappears conspicuously at its original pitch in the second phrase of the melody


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