Schubert- "Der Doppelganger" Notes

This is all the major points for the categories of:

  • Resources
  • Structure
  • Texture
  • Tonality
  • Harmony
  • Melody
  • Rhythm and Metre

For this set work. There is also some background info as well:)

For each point, if there needs be, I have also put examples like bar numbers next to them.

Relative? Means whether you can include this point in the 10 marker essay, eg whether or not this is a Romantic feature. I have put REL next to the background info if that is relevant as well.

I hope this helps x

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  • Created by: Mika
  • Created on: 21-04-14 14:39
Preview of Schubert- "Der Doppelganger" Notes

First 486 words of the document:

-Composed 1828 REL
-Text is from a poem by Heinrich Heine, "The Ghostly Double" REL
-Part of group of songs called "Swan Song" meaning that they were Schubert's last REL
-A `lied'- German song
Point Example Rel?
Resource -Tenor voice and piano
s -Full vocal range is wide (compound minor 6th) Y
-Tessitura low (account of "dark" text) Y
-Occasional high notes for dramatic effect Y
-Piano is low and dark with mostly bass clef for both hands Y
Structure -Text has three stanzas with four lines each
Y
-Each stanza is musically different- through composed
-The opening four chord progression reappears five times -Variant:
throughout as an ostinato and a variant of it also recurs. b9-12
Y
-Each line in V1 are in two bar phrases
Texture -Melodic homophony
Y
- Piano is almost entirely homorhythmic/ chordal with few -Except:
exceptions b13&23
-Piano has lots of parallel doubling- enhances sinister effect -ostinato
Y
with pp and thirdless chords chords
Tonality -B minor Y
-Diatonic
-Though there is a chromatically ascending phrase in V3 -b43-46 Y
-This continues to four bars of D#min which makes it a -b47-50
distant and striking tertiary relationship Y
Harmony -Functional
-Incomplete chords in the piano ostinato- bare fifths and no -Ostinat
Y
thirds o chords
-Slow harmonic rhythm- slow chord change suggests
Y
stillness, "still ist die Nacht", but later obsession and
desolation. -b1-31
-Very long inner dominant pedal (F#) in the piano -b32
Y
-The augmented 6th chord which follows the pedal is -b34-50
shocking but gradually gives way to the F# again, starting
another dominant pedal. -b13&23
-Some false relation
Y
-Tierce de Picardie at end (B minor to D major), a ray of hope?
Y
Ironic? -b59
-C major (Neapolitan 6th) in the middle of postlude shows
that he doesn't know what will happen.
Melody -Melody in the vocal part
-In each interlude the piano echoes the preceding vocal
phrase
-V1: Two bar phrases continually begins and ends on
monotone F# (word painting- "still") Y
Few leaps (4th or 5th) otherwise conjunct -b25
-V2: First time doesn't start on F# (D) -1clx:b31
Range expands upwards with more leaps with two vocal -2clx:b41
climaxes with the second having the highest note (G) Y
-V3: Begins on F# again though it ranges more widely with
climactic F# -Melism
-Syllabic with some melisma a: b9
"die" Y
-Low tessitura

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Rhythm -Strong syllables have longer notes on accented beats of the
and bar
Metre -3/4 metre…read more

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