- Slow tempo - slow moving harmony/homophony.
- Bare 5ths.
- Minor Key.
- Stepwise - static melody on F#'s.
- Repetitive - ostinato.
- Melismatic on some phrases eg. b54-55, but mostly syllabic.
- Sehr Langsan - very slow.
- Low tessitura - both play in the bass clefs (piano) - low in the range of the instrument.
- Through composed.
- pp mostly, fff in the climax (b31)
- Fragmented vocal line.
- Inner dominant pedal on F#'s for 40 bars.
- Beginning and ending of every phrase = F#.
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- Art song.
- Romantic period (dynamics, piano, expression)
- Expressive piece.
- Lyrics - German text.
- Voice and piano (tenor, low tessitura for both.)
- Close expressive union between music and text (deeper than simple word painting) - Schubert explored particularly deep emotions.
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- 3 verses to the poem (bars 5, 25 and 43)
- Music is through composed.
- Introduction, 2 brief interludes (b13+14, 23+24) and a postlude.
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- Singer starts to break free from the F#'s in the second verse but remains in the piano.
- Bar 31 climax - F# followed by chromaticism into next bar.
- F# is the dominant.
- Pedal note on F# for 40 bars.
- Bar 41, F# disappears - voice reaces G (highest notes - words imply the singer realised he sees his Doppelganger - doom).
- Chromatic progression from B-D# has F# in every chord (modulation to D# minor).
- Tonic and dominant return in bars 47-50.
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- Last two chords are major - tierce de piccardie.
- Chromatic lead back to tonic in bar 51 (singers spirit is broken)
- C major chord is a neopolitan chord - augmented 2nd.
- Piano postlude
- plagal cadence
- tierce de piccardie
- tonic pedal.
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