Schumann

Notes on schumann

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  • Created on: 24-05-10 18:11
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Schumann
Structure
1. Von F.L.U.MRounded binarya:18,ba:922
2. HaschemannRounded binary a:18,ba:920
3.F.MRondo the recurring part is called the refrain, parts that are different are
called the episodes. a:18,b:912,a:1320,c:2128,a:2936,b:3740,a:4148
4.F.M is a symmetrical rondo formA,B,A,C,A,B
5.There is balanced periodic phrasing: Von F.L.U.M:2,2,4 then 2,2,2,2,2,4
Haschemann:4,4 then,4,4,4 F.M:4,4,2,2,4,4,2,2,2,2,4,4,2,2,4,4
Rhythm
1. Rhythm reflects title
2. Von F.L.U.Mtriplet figuration in the middle part
3. Semiquaver figures in Haschemann
4. Syncopated chords in F.M
Tonality
1.V.F.L.U.M A section G major, B sectionG major hits of E minor in bar 12, A
section G major
2.HaschemannB minor, End of bar 11 in E minor with interrupted cadence in E
minor (not modulated probablypassing modulation) to get to C major then
back 1720 back to B minor.
3.F.MA: G major but lots of chromatic notes to colour the harmony but might
confuse you. Bar 4, 8 imperfect cadence in G major. Never clearly establishes
key.
B: E minorambiguous cadence at end VIIc typical of Romantic period.
C: No clear tonal centre chromatic unsettling effects
Melody
1.Von F.L.U.Mmelody in top right hand and counter melody in the left hand in
Breflects rhythm in A section.
2.Imitation in 34
3.Bar 5 same as 1,3. Bar 6same as melody but a tone down. 78 finishes the
melody.
4.912descending melody
5.1314 ascending melody leading back to A
6.Haschemann:34has a sequential idea not completely, 58 is a repeat, 910
based on motif in 12, 1112 based on 912, 13 and 14 are similar to bar 1.
Slight variations of each other. 15melody in right hand have countermelody in
left hand scalic chromatic.
7.F.M Melody different in each episode because each has to be contrasting
8.Melody switches to left hand bar 58. Right hand does a variation of left hand.
9. In B, melody in left hand, In C, melody in both hand in 6ths
10. Bar 2526, repeated a 4th lower 2728
Texture
1. Mostly polyphonic
Harmony
1.V.F.L.U.M: perfect cadence end of A section, V7I:1314B End of B and A
sections, there are perfect cadences to establish the key of G major.
2.Diminished 7th bar 1² and 3²
3.Dominant 7th ­ bar 4²
4.Bar 912 Circle of fifthsDescending melody
5.HaschemannDiatonic with chromatic flushes, not functional, not using I,IV,V
6.Bar 8perfect cadence V7I

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II(flatted 2nd chord)V becoming more ambiguous but
still clear, To get to C major go though E minor though the interrupted cadence
in E minor V(B major)VI(C major)
8.13²14¹:double pedal in left had tonic + dominant
9.C naturalF# augmented 4thtritone bar 1516
10. Bar 20perfect cadence
11. AG majoraugmentedbar 4,8 imperfect cadence
12. Bar 12BVIIcambiguous
13. CF# dominant 7th chord27, B major28, perfect chord in B major,
unrelated to G major, medianttypical of romantic relationship often used in
Romantic period.
14.…read more

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