Der Doppleganger by Schubert - Complete Summary

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  • Created on: 10-05-13 14:13
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Piece:
Der
Doppleganger
Composer:
Francis
Schubert
Melody
Point
Bar
number
Voice
moves
narrowly
within
a
minor
Verse
1
7th
e.g.
beginning
on
a
monotone
F#
(word
painting
for
`stillness')
Few
leaps
of
a
4th/5th
Verse
1
Conjunct
movement
+
outlining
of
Verse
1
triad
Range
expands
upwards
in
V2
in
Verse
2
response
to
`aloft'
Represents
poet's
devastating
recognition
of
himself
Verse
3
begins
on
a
monotone
F
sharp
Verse
3
From
the
2nd
line
of
verse
3,
the
range
Verse
3
is
wider
than
verse
1
with
climactic
top
F#
Syllabic
Five
note
melisma
on
`so
long
ago'
for
emphasis
Occasionally
2
notes
on
a
single
syllable
Harmony
Point
Bar
number
Functional
harmony
with
unusual
aspects
for
the
1820s
e.g.
incomplete
chords
-
1st
chord
last
a
3rd
and
is
ambiguous
-
2nd
chord
B
minor
Vb
without
C#
Slow
harmonic
rhythm
e.g.
3
bars
of
V7c
and
falling
interlude
at
bars
12-14
12-14
Long
dominant
pedal
(F#)
At
the
start,
nearly
until
the
end
of
verse
2
German
augmented
6th
chord
formed
Bar
51
by
C
nat
+
E
+
G
G
moves
back
to
F#
to
anticipate
start
of
another
dominant
pedal
False
relation
Bar
13

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Page 2

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Neapolitan
chord
replaces
expected
Bar
59
(halfway
through
postlude)
incomplete
V7c
Neapolitan
1st
inversion
=
neapolitan
6th
frequently
encountered
Closing
tonic
pedal
gives
strong
sense
End
of
finality
TDP
with
plague
inflections
­
ray
of
End
light/ironic?
Tonality
Point
Bar
number
B
minor
No
major
key
passages
Although
2nd
+
3rd
chords
contain
A
natural
à
hinting
D
major
Contradictory
A#
in
4th
chord
Chromatically
ascending
phrase
in
Verse
3
(Bars
43-46)
verse
3
-
This
key
(D#
minor)
is
a
major
3rd
above
the…read more

Page 3

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Often
has
2
`real'
parts
­
double
octaves
at
top,
middle,
bottom
Chords
with
6/7
notes
4
part
harmony
with
doublings
`Schatz'
end
of
verse
1
­
Bar
12
Parallel
octaves
between
highest
+
lowest
notes
are
not
illegal
consecutive
notes
+
hollow
thirdless
chords
enhance
sinister
effect
Structure
Point
Bar
number
Heine's
poem
has
3
stanzas
­
each
with
4
lines
Each
stanza
is
set
differently
for
maximum
effect
aka
through-
composed
Through-composed
Piano
has
intro,
postlude
+
2
Halfway
through
stanza
1-
Bars…read more

Page 4

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Instrumentation
Point
Bar
number
Piano
Voice…read more

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