Musanbk

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Musical Analysis
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Visiting the Great Composers
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5th Edition
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Frans Absil
January 2015
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Colophon
This musical analysis book contains compositions from the classical
symphonic and chamber music repertoire. It includes many masterworks by the great composers from the tonal music period.
This document has been created using the public domain LATEX computer typesetting program. The navigation links (printed in blue) in
the Adobe Acrobat Reader file (the pdf-file) were created using the
hyperref package from the LATEX distribution.
Free demo version:
This incomplete demo version e-book is offered free of charge. Order
and buy the full version of this music analysis E-book. See the website
for payment instructions.
Current edition:
Fifth Edition, January 2015.
Musical Analysis: Visiting the Great Composers, 5th Edition, Frans Absil
c
2005-2015
F.G.J. Absil, the Netherlands.
URL Website: http://www.fransabsil.nl
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by
any means, electronic or mechanical, including photocopying, recording, or any information storage
and retrieval system, without prior permission in writing from the Author.
ii
Contents
Colophon
ii
List of Figures
xiii
Preface
1
xvii
Introduction
1.1 What you will find in this book . . . . . . . . . .
1.2 How the musical analysis diagrams were created
1.3 How to read the analysis diagrams . . . . . . . .
1.3.1 Notation in the analysis tables . . . . . .
1.3.2 Two template musical forms . . . . . . .
1.3.3 Key relationship diagram . . . . . . . . .
1.4 Further reading . . . . . . . . . . . . . . . . . . .
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Johann Sebastian Bach

2.1 Vierstimmige Choralgesange . . . . . . . . . . . . . .
2.1.1 Nrs. 154-163 Herzlich tut mich verlangen . . . .
2.2 Cantata No. 12 Weinen, Klagen, Sorgen, Zagen, BWV 12
2.2.1 Movement 2. Lento . . . . . . . . . . . . . . . .
2.3 Cantata No. 78 Jesu, der Du meine Seele, BWV 78 . . . .
2.3.1 Movement 1 . . . . . . . . . . . . . . . . . . . .
2.3.2 Movement 2 Aria. Duetto Wir eilen . . . . . . .
2.4 Brandenburg Concerto No. 4, BWV 1049 . . . . . . . .
2.4.1 Mvt. 2 Andante . . . . . . . . . . . . . . . . . .
2.4.2 Mvt. 3 Presto . . . . . . . . . . . . . . . . . . .
2.5 Orchestral Suite No. 3, BWV 1068 . . . . . . . . . . . .
2.5.1 Mvt. 1 Ouverture . . . . . . . . . . . . . . . . .
2.5.2 Mvt. 2 Air . . . . . . . . . . . . . . . . . . . . .
2.5.3 Mvt. 3 Gavotte 1 . . . . . . . . . . . . . . . . .
2.5.4 Mvt. 4 Gavotte 2 . . . . . . . . . . . . . . . . .
2.5.5 Mvt. 5 Bourree . . . . . . . . . . . . . . . . . .
2.5.6 Mvt. 6 Gigue . . . . . . . . . . . . . . . . . . .
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1
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1
3
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9
12
14
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15
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15
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21
23
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23
28
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30
30
30
34
34
36
36
CONTENTS
3
iv
Joseph Haydn
3.1 String Quartet Op. 76, No. 1 in G Major . . . . . . . .
3.1.1 Mvt. 1 Allegro con spirito . . . . . . . . . . . .
3.1.2 Mvt. 2 Adagio sostenuto . . . . . . . . . . . . .
3.1.3 Mvt. 3 Menuetto presto - Trio . . . . . . . . . .
3.1.4 Mvt. 4 Allegro ma non troppo . . . . . . . . . .
3.1.5 Key relationship overview . . . . . . . . . . . .
3.2 String Quartet Op. 76, No. 2 in D Minor Quinten . . .
3.2.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . .
3.2.2 Mvt. 2 Andante o piu` tosto allegretto . . . . .
3.2.3 Mvt. 3 Menuetto allegro ma non troppo - Trio
3.2.4 Mvt. 4 Vivace assai . . . . . . . . . . . . . . . .
3.3 String Quartet Op. 76, No. 3 in C Major Kaiser . . . . .
3.3.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . .
3.3.2 Mvt. 2 Poco adagio; cantabile . . . . . . . . . .
3.3.3 Mvt. 3 Menuett allegro - Trio . . . . . . . . . .
3.3.4 Mvt. 4 Finale. Presto . . . . . . . . . . . . . . .
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39
39
39
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44
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47
47
48
48
52
52
54
56
56
56
61
61
64
Wolfgang Amadeus Mozart

4.1 Sonata in F Major KV 332 . . . . . . . . .
4.1.1 Mvt. 1 Allegro . . . . . . . . . . . .
4.1.2 Mvt. 2 Adagio . . . . . . . . . . . .
4.1.3 Mvt. 3 Allegro assai . . . . . . . .
4.1.4 Key relationship overview . . . . .
4.2 String Quartet in C Major No. 19 KV 465 .
4.2.1 Mvt. 1 Adagio - Allegro . . . . . .
4.2.2 Mvt. 2 Andante cantabile . . . . .
4.2.3 Mvt. 3 Menuetto Allegro . . . . . .
4.2.4 Mvt. 4 Allegro . . . . . . . . . . . .
4.3 String Quartet in B[ Major No. 22 KV 589
4.3.1 Mvt. 1 Allegro . . . . . . . . . . . .
4.3.2 Mvt. 2 Larghetto . . . . . . . . . .
4.3.3 Mvt. 3 Menuetto moderato . . . .
4.3.4 Mvt. 4 Allegro assai . . . . . . . .
4.4 String Quintet in C Major KV 515 . . . . .
4.4.1 Mvt. 1 Allegro . . . . . . . . . . . .
4.4.2 Mvt. 2 Menuetto Allegretto . . . .
4.4.3 Mvt. 3 Andante . . . . . . . . . . .
4.4.4 Mvt. 4 Allegro . . . . . . . . . . . .
4.5 String Quintet in G Minor KV 516 . . . . .
4.5.1 Mvt. 1 Allegro . . . . . . . . . . . .
4.5.2 Mvt. 2 Minuetto . . . . . . . . . . .
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67
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76
81
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86
86
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90
90
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100
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104
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106
106
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CONTENTS
4.5.3 Mvt. 3 Adagio ma non troppo . . . . . . . . . .
4.5.4 Mvt. 4 Adagio - Allegro . . . . . . . . . . . . .
4.6 Clarinet Quintet in A Major KV 581 . . . . . . . . . . .
4.6.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . .
4.6.2 Mvt. 2 Larghetto . . . . . . . . . . . . . . . . .
4.6.3 Mvt. 3 Menuetto . . . . . . . . . . . . . . . . .
4.6.4 Mvt. 4 Allegretto con Variationi . . . . . . . . .
4.7 Symphony No. 38 Prague KV 504 . . . . . . . . . . . .
4.7.1 Mvt. 1 Adagio - Allegro . . . . . . . . . . . . .
4.7.2 Mvt. 2 Andante . . . . . . . . . . . . . . . . . .
4.7.3 Mvt. 3 Finale presto . . . . . . . . . . . . . . .
4.8 Symphony No. 40 KV 550 . . . . . . . . . . . . . . . .
4.8.1 Mvt. 1 Allegro molto . . . . . . . . . . . . . . .
4.8.2 Mvt. 2 Andante . . . . . . . . . . . . . . . . . .
4.8.3 Mvt. 3 Menuetto allegretto - Trio . . . . . . . .
4.8.4 Mvt. 4 Allegro assai . . . . . . . . . . . . . . .
4.9 Symphony No. 41 in C Major Jupiter KV 551 . . . . . .
4.9.1 Mvt. 1 Allegro vivace . . . . . . . . . . . . . . .
4.9.2 Mvt. 2 Andante cantabile . . . . . . . . . . . .
4.9.3 Mvt. 3 Menuetto allegretto - Trio . . . . . . . .
4.9.4 Mvt. 4 Molto allegro . . . . . . . . . . . . . . .
4.10 Opera The Magic Flute KV 620 . . . . . . . . . . . . . .
4.10.1 Ouverture
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4.10.2 No. 1. Introduction Zu Hulfe
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4.10.3 No. 2. Arie Der Vogelfanger . . . . . . . . . . .
4.10.4 No. 3. Arie Dies Bildnis ist bezaubernd schon .
4.10.5 No. 4. Arie O zittre nicht . . . . . . . . . . . .
4.10.6 No. 5. Quintett . . . . . . . . . . . . . . . . . .
4.10.7 No. 6. Terzett Du feines Taubchen nur herein! .
4.10.8 No. 7. Duett Bei Mannern, welche Liebe fuhlen
.
4.10.9 No. 8. Finale . . . . . . . . . . . . . . . . . . . .
4.10.10 No. 17. Arie Ach, ich fuhls,
es ist verschwunden
5
Ludwig van Beethoven

5.1 Sonata Op. 2, No. 1 in F Minor . . . . . . . . . . . .
5.1.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . .
5.1.2 Mvt. 2 Adagio . . . . . . . . . . . . . . . . .
5.1.3 Mvt. 3 Menuetto and Trio, Allegretto . . .
5.1.4 Mvt. 4 Prestissimo . . . . . . . . . . . . . .
5.1.5 Key relationship overview . . . . . . . . . .
5.2 Sonata Op. 13 in C Minor Pathetique . . . . . . . .
5.2.1 Mvt. 1 Grave - Allegro di molto e con brio
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111
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115
117
117
117
121
121
124
124
124
125
130
130
134
134
134
140
140
143
143
144
145
151
151
154
156
156
156
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156
156
156
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173
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173
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177
177
179
179
179
v
CONTENTS
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183
185
185
189
189
189
192
192
196
196
197
203
203
207
207
210
210
210
211
215
215
218
220
220
220
224
224
228
230
230
230
Franz Schubert
6.1 Symphony No. 8 Unvollendete, D759 . . . . . . . . . . . . . .
6.1.1 Mvt. 1 Allegro moderato . . . . . . . . . . . . . . . . .
6.1.2 Mvt. 2 Andante con moto . . . . . . . . . . . . . . . .
6.1.3 Key relationship overview . . . . . . . . . . . . . . . .
6.2 String Quartet No. 14 in D Minor Death and the Maiden, D810
6.2.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . .
6.2.2 Mvt. 2 Andante con moto . . . . . . . . . . . . . . . .
6.2.3 Mvt. 3 Scherzo Trio . . . . . . . . . . . . . . . . . . .
6.2.4 Mvt. 4 Presto . . . . . . . . . . . . . . . . . . . . . . .
6.2.5 Key relationship overview . . . . . . . . . . . . . . . .
6.3 Song cycle Die Winterreise, Op. 89, D911 . . . . . . . . . . . .
6.4 String Quintet in C Major Op. 163, D956 . . . . . . . . . . . .
6.4.1 Mvt. 1 Allegro ma non troppo . . . . . . . . . . . . . .
6.4.2 Mvt. 2 Adagio . . . . . . . . . . . . . . . . . . . . . . .
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235
235
235
238
240
240
240
240
246
246
249
251
251
251
260
5.3
5.4
5.5
5.6
5.7
vi
5.2.2 Mvt. 2 Adagio cantabile . . . . . . . . . . . .

5.2.3 Mvt. 3 Rondo Allegro . . . . . . . . . . . . .
5.2.4 Key relationship overview . . . . . . . . . . .
Sonata Op. 27 No. 2 in C] Minor Quasi una Fantasia .
5.3.1 Mvt. 1 Adagio sostenuto . . . . . . . . . . . .
5.3.2 Mvt. 2 Adagio cantabile . . . . . . . . . . . .
5.3.3 Mvt. 3 Presto agitato . . . . . . . . . . . . . .
String Quartet in B[ Major, Op. 130 . . . . . . . . . .
5.4.1 Mvt. 1 Adagio ma non troppo Allegro . . .
5.4.2 Mvt. 2 Presto . . . . . . . . . . . . . . . . . .
5.4.3 Mvt. 3 Andante con moto ma non troppo . .
5.4.4 Mvt. 4 Alla danza tedesca, Allegro assai . . .
5.4.5 Mvt. 5 Cavatina, Adagio molto espressivo .
5.4.6 Mvt. 6 Finale Allegro . . . . . . . . . . . . . .
Symphony No. 5 in C Minor, Op. 67 . . . . . . . . .
5.5.1 Mvt. 1 Allegro con brio . . . . . . . . . . . .
5.5.2 Mvt. 2 Andante con moto . . . . . . . . . . .
5.5.3 Mvt. 3 Allegro . . . . . . . . . . . . . . . . . .
5.5.4 Mvt. 4 Allegro . . . . . . . . . . . . . . . . . .
Symphony No. 6 in F Major Pastorale, Op. 68 . . . .
5.6.1 Mvt. 1 Allegro ma non troppo . . . . . . . . .
5.6.2 Mvt. 2 Andante molto moto . . . . . . . . . .
5.6.3 Mvt. 3 Allegro . . . . . . . . . . . . . . . . . .
5.6.4 Mvt. 4 Allegro . . . . . . . . . . . . . . . . . .
Symphony No. 8 in F Major, Op. 93 . . . . . . . . . .
5.7.1 Mvt. 1 Allegro vivace e con brio . . . . . . .
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CONTENTS
6.4.3
6.4.4
6.4.5
7
Mvt. 3 Scherzo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Mvt. 4 Allegretto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Felix Mendelssohn-Bartholdy
7.1 A Midsummer Nights Dream Overture Op. 21
7.2 The Hebrides Overture Op. 26 . . . . . . . . .
7.3 Symphony No. 4 in A Major Italian Op. 90 .
7.3.1 Mvt. 1 Allegro vivace . . . . . . . . . .
7.3.2 Mvt. 2 Andante con moto . . . . . . .
7.3.3 Mvt. 3 Con moto moderato . . . . . .
7.3.4 Mvt. 4 Saltarello presto . . . . . . . . .
7.3.5 Key relationship overview . . . . . . .
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273
273
274
280
280
285
287
287
291
Robert Schumann
8.1 Symphony No. 1 in B[ Major, Fruhling,
Op. 38 . . . . . .
8.1.1 Mvt. 1 Andante - Allegro . . . . . . . . . . . . .
8.1.2 Mvt. 2 Larghetto . . . . . . . . . . . . . . . . . .
8.1.3 Mvt. 3 Scherzo - Trio . . . . . . . . . . . . . . . .
8.1.4 Mvt. 4 Allegro animato e grazioso . . . . . . . .
8.1.5 Key relationship overview . . . . . . . . . . . . .
8.2 Symphony No. 2 in C Major, Op 61 . . . . . . . . . . . .
8.2.1 Mvt. 1 Sostenuto assai - Allegro ma non troppo
8.2.2 Mvt. 2 Scherzo. Allegro vivace . . . . . . . . . .
8.2.3 Mvt. 3 Adagio espressivo . . . . . . . . . . . . .
8.2.4 Mvt. 4 Allegro molto vivace . . . . . . . . . . . .
8.3 Symphony No. 3 in E[ Major Rheinische, Op. 97 . . . . .
8.3.1 Mvt. 1 Lebhaft . . . . . . . . . . . . . . . . . . . .
8.3.2 Mvt. 2 Scherzo, sehr maig . . . . . . . . . . . .
8.3.3 Mvt. 3 Nicht schnell . . . . . . . . . . . . . . . .
8.3.4 Mvt. 4 Feierlich . . . . . . . . . . . . . . . . . . .
8.3.5 Mvt. 5 Lebhaft . . . . . . . . . . . . . . . . . . . .
8.4 Symphony No. 4 in D Minor, Op. 120 . . . . . . . . . . .
8.4.1 Mvt. 4 Langsam - Lebhaft . . . . . . . . . . . . .
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293
293
293
298
300
300
304
306
306
311
313
313
317
317
317
320
326
326
330
330
335
335
Johannes Brahms
9.1 German Requiem Op. 45 . . . . . . . . . . . . . . . .
9.1.1 Mvt. 1 Selig sind, die da Leid tragen . . . . . .
9.1.2 Mvt. 2 Denn alles Fleisch es ist wie Gras . . . .
9.1.3 Mvt. 3 Herr, lehre doch mich . . . . . . . . . . .
9.2 String Quartet Op. 51 No. 1 . . . . . . . . . . . . . .
9.2.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . .
9.2.2 Mvt. 2 Romanze poco adagio . . . . . . . . .
9.2.3 Mvt. 3 Allegretto molto moderato e comodo
9.2.4 Mvt. 4 Allegro . . . . . . . . . . . . . . . . . .
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339
339
340
340
344
344
344
347
352
352
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vii
CONTENTS
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356
358
358
358
363
363
363
363
371
373
373
378
380
380
386
388
388
393
10 Peter Ilyich Tchaikovsky

10.1 Symphony No. 4 in F Minor, Op. 36 . . . . . . . . . . . . . . .
10.1.1 Mvt. 2 Andantino in modo di canzona . . . . . . . . . .
10.1.2 Mvt. 3 Scherzo, Pizzicato ostinato, allegro . . . . . . . .
10.1.3 Key relationship overview . . . . . . . . . . . . . . . . .
10.2 Symphony No. 5 in E Minor, Op. 64 . . . . . . . . . . . . . . .
10.2.1 Mvt. 4 Finale, Andante maestoso Allegro vivace . . .
10.3 Symphony No. 6 in B Minor Pathetique, Op. 74 . . . . . . . . .
10.3.1 Mvt. 4 Finale, Adagio lamentoso . . . . . . . . . . . . .
10.4 Nutcracker Suite, Op. 71a . . . . . . . . . . . . . . . . . . . . .
10.4.1 Mvt. 1, Ouverture miniature . . . . . . . . . . . . . . .
10.4.2 Mvt. 2a, Danses caracteristiques, Marche . . . . . . . . .
10.4.3 Mvt. 2b, Danses caracteristiques, Danse de la Fee-Dragee
10.4.4 Mvt. 2c, Danses caracteristiques, Danse russe Trepak . .
10.4.5 Mvt. 2d, Danses caracteristiques, Danse Arabe . . . . . .
10.4.6 Mvt. 2e, Danses caracteristiques, Danse Chinoise . . . .
10.4.7 Mvt. 2f, Danses caracteristiques, Danse des Mirlitons . .
10.4.8 Mvt. 3, Valse des Fleurs Tempo di Valse . . . . . . . . . .
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395
395
395
396
401
401
402
402
407
407
409
409
409
409
414
414
416
416
419
419
422
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425
425
425
429
431
431
9.3
9.4
9.5
9.6
9.2.5 Key relationship overview . . . . . .

String Quartet Op. 51 No. 2 . . . . . . . . .
9.3.1 Mvt. 4 Finale, Allegro non assai . . .
String Sextet Op. 36 No. 2 . . . . . . . . . .
9.4.1 Mvt. 2 Scherzo, Allegro non troppo
Symphony No. 3 in F Major, Op. 90 . . . . .
9.5.1 Mvt. 1 Allegro con brio . . . . . . .
9.5.2 Mvt. 2 Andante . . . . . . . . . . . .
9.5.3 Mvt. 3 Poco Allegretto . . . . . . . .
9.5.4 Mvt. 4 Allegro . . . . . . . . . . . . .
Symphony No. 4 in E Minor, Op. 98 . . . .
9.6.1 Mvt. 1 Allegro non troppo . . . . . .
9.6.2 Mvt. 2 Andante moderato . . . . . .
9.6.3 Mvt. 3 Allegro giocoso . . . . . . . .
9.6.4 Mvt. 4 Allegro energico e passionato
11 Gabriel Faure
11.1 Requiem in D Minor, Op. 48 .
11.1.1 Mvt. 1 Introt et Kyrie
11.1.2 Mvt. 2 Offertoire . . .
11.1.3 Mvt. 3 Sanctus . . . . .
11.1.4 Mvt. 4 Pie Jesu . . . .
viii
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CONTENTS
11.1.5 Mvt. 5 Agnus Dei . . . . . . . .
11.1.6 Mvt. 6 Libera Me . . . . . . . .
11.1.7 Mvt. 7 In Paradisum . . . . . .
11.1.8 Key relationship overview . . .
11.2 Pelleas et Melisande, Suite Op. 80 . . . .
11.2.1 Mvt. 3 Sicilienne . . . . . . . .
11.3 Masques et Bergamasques, Suite Op. 112
11.3.1 Mvt. 1 Ouverture . . . . . . . .
11.3.2 Mvt. 2 Menuet . . . . . . . . .
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434
434
438
438
440
440
440
443
443
443
447
12 Giacomo Puccini
12.1 Opera Madama Butterfly . . . . . . . . . . . . . . . . . . . . .
12.1.1 Overture, Atto Primo (#14) Collina presso Nagasaki .
12.1.2 Atto Primo, (#57) E soffitto e pareti . . . . . . . . . . .
12.1.3 Atto Primo, (#813) Questa e` la cameriera . . . . . . . .
12.1.4 Atto Primo, (#1420) Qui verran: lUfficiale del registro
12.1.5 Atto Primo (#2126) Dovunque al mondo . . . . . . . .
12.1.6 Atto Primo (#2728) Una ghirlanda di fiori fresci . . . .
12.1.7 Atto Primo (#3741) Ecco. Ah! Quanto cielo! . . . . .
12.1.8 Atto Primo (#4261) Gran ventura . . . . . . . . . . . .
12.1.9 Atto Primo (#6164) Dovè? Eccolo là! . . . . . . . . . .
12.1.10 Atto Primo (#100110) Cio-cio-san! . . . . . . . . . . .
12.1.11 Atto Primo (#111-115) Bimba, bimba, non piangere . . .
12.1.12 Atto Primo (#116136) Viene la sera . . . . . . . . . . .
12.1.13 Atto Secondo, Parte Prima (#1216) Un bel d` . . . . .
12.1.14 Atto Secondo, Parte Prima (#90) Humming Chorus . .
12.1.15 Atto Secondo, Parte Seconda (#512) Oh eh! Oh eh! . .
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449
449
449
451
453
453
457
457
460
460
463
463
466
466
469
469
473
13 Gustav Mahler
13.1 Lieder eines fahrenden Gesellen . . . . . . . . . . . . . . . .
13.1.1 Wenn mein Schatz Hochzeit macht . . . . . . . . .
13.1.2 Gieng heut Morgens ubers
Feld . . . . . . . . . .
13.1.3 Ich hab ein gluhend
Messer . . . . . . . . . . . . .
13.1.4 Die zwei blauen Augen . . . . . . . . . . . . . . . .
13.1.5 Key relationship diagram . . . . . . . . . . . . .
13.2 Symphony No. 3 in D Minor . . . . . . . . . . . . . . . .
13.2.1 Mvt. 2 Tempo di Menuetto. Grazioso . . . . . .
13.2.2 Mvt. 3 Comodo. Scherzando. Ohne Hast . . . .
13.2.3 Mvt. 4 O Mensch! Gib Acht! . . . . . . . . . . .
13.2.4 Mvt. 5 Lustig im Tempo und keck im Ausdruck
13.2.5 Mvt. 6 Langsam. Ruhevoll. Empfunden . . . . .
13.3 Symphony No. 4 in G Major . . . . . . . . . . . . . . . .
13.3.1 Mvt. 3 Poco adagio Ruhevoll . . . . . . . . . . . .
13.3.2 Mvt. 4 Sehr behaglich . . . . . . . . . . . . . . . .
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475
475
475
475
479
479
482
482
484
486
493
497
497
502
504
504
504
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ix
CONTENTS
13.3.3 Key relationship overview . . . .
13.4 Symphony No. 5 in C] Minor - D Major
13.4.1 Mvt. 4 Adagietto Sehr Langsam .
13.5 Symphony No. 6 in A Minor Tragic . . .
13.5.1 Mvt. 3 Andante moderato . . . .
14 Claude Debussy
14.1 String Quartet Op. 10 . . . . . . . . . .
14.1.1 Mvt. 2 Assez vif et bien rytme .
14.2 Prelude a` laprès-midi dun faune . . .
14.3 Trois nocturnes . . . . . . . . . . . . .
14.3.1 No. 1 Nuages . . . . . . . . . . .
14.3.2 No. 2 Fetes . . . . . . . . . . . .
14.3.3 No. 3 Sirènes . . . . . . . . . . .
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15 Richard Strauss
15.1 Symphonic poem Don Juan, Op. 20 . . . . . . . .
15.1.1 Episode: Introduction and Don Juan 1 . .
15.1.2 Episode: Rejection 1 . . . . . . . . . . . . .
15.1.3 Episode: Countess and Rejection 2 . . . . .
15.1.4 Episode: Don Juan 2 . . . . . . . . . . . .
15.1.5 Episode: Anna and Rejection 3 . . . . . . .
15.1.6 Episode: Don Juan 3 . . . . . . . . . . . .
15.1.7 Episode: Carnival . . . . . . . . . . . . . .
15.1.8 Episode: Memories . . . . . . . . . . . . .
15.1.9 Episode: Don Juan 4 and Don Juan 5 . . .
15.1.10 Episode: Death . . . . . . . . . . . . . . .
15.1.11 Key relationship overview . . . . . . . . .
15.2 Symphonic poem Tod und Verklarung, Op. 24 . .
15.2.1 Part 1: Sick man lying on his cot . . . . .
15.2.2 Part 2: The battle between life and death
15.2.3 Part 3: Feverish delirium of life past . . .
15.2.4 Part 4: Transfiguration . . . . . . . . . . .
15.2.5 Key relationship overview . . . . . . . . .
15.3 Symphonic poem Till Eulenspiegel, Op. 28 . . . .
15.3.1 Introduction and exposition . . . . . . . .
15.3.2 Episode: Market Scene . . . . . . . . . . .
15.3.3 Episode: Love Scene . . . . . . . . . . . . .
15.3.4 Episode: Theology Professors Scene . . . . .
15.3.5 Episode: Happy Streetsong . . . . . . . . .
15.3.6 Recapitulation . . . . . . . . . . . . . . . .
15.3.7 Episode: Grandness . . . . . . . . . . . . .
15.3.8 Episode: The Court Scene . . . . . . . . . .
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509
509
509
510
513
513
513
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517
517
517
517
520
524
524
526
526
531
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533
533
534
535
535
539
539
539
542
544
544
546
546
548
548
548
551
551
556
556
557
559
561
561
564
564
564
566
CONTENTS
15.3.9 Epilog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 566
15.3.10 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . . 569
15.4 Eine Alpensinfonie, Op. 64 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571
16 Jean Sibelius
16.1 En Saga, Op. 9 . . . . . . .
16.2 The Swan of Tuonela, Op. 22
16.3 Finlandia, Op. 26 . . . . . .
16.4 Valse Triste, Op. 44 . . . . .
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17 Maurice Ravel
17.1 Pavane pour une infante defunte . . . . . . . . . . . .
17.2 String Quartet in F Major . . . . . . . . . . . . . . .
17.2.1 Mvt. 2 Assez vif - très rythme . . . . . . . .
17.3 Miroirs . . . . . . . . . . . . . . . . . . . . . . . . .
17.3.1 Mvt. 4, Alborada del Gracioso, Assez vif . . .
17.4 Rapsodie Espagnole . . . . . . . . . . . . . . . . . . .
17.4.1 Mvt. 1 Prelude a` la nuit . . . . . . . . . . . .
17.4.2 Mvt. 2 Malaguena

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17.4.3 Mvt. 3 Habanera . . . . . . . . . . . . . . .
17.4.4 Mvt. 4 Feria . . . . . . . . . . . . . . . . . .
17.5 Gaspard de la nuit . . . . . . . . . . . . . . . . . . .
17.5.1 Le gibet . . . . . . . . . . . . . . . . . . . .
17.6 Ma mère loye . . . . . . . . . . . . . . . . . . . . . .
17.6.1 Mvt 1 Pavane de la Belle au bois dormant . . .
17.6.2 Mvt 2 Petit Poucet . . . . . . . . . . . . . . .
17.6.3 Mvt 3 Laideronnette, Imperatrice des Pagodes
17.6.4 Mvt 4 Les entretiens de la Belle et de la Bete .
17.6.5 Mvt 5 Le jardin feerique . . . . . . . . . . . .
17.7 Daphnis et Chloe . . . . . . . . . . . . . . . . . . . .
17.7.1 Introduction . . . . . . . . . . . . . . . . . .
17.7.2 Danse Religieuse . . . . . . . . . . . . . . .
17.7.3 Nymphs dance . . . . . . . . . . . . . . . .
17.7.4 Danse Guerrière . . . . . . . . . . . . . . .
17.7.5 Lever du jour . . . . . . . . . . . . . . . . .
17.7.6 Pantomime . . . . . . . . . . . . . . . . . .
17.7.7 Danse Generale . . . . . . . . . . . . . . . .
17.8 Opera LEnfant et les Sortilèges . . . . . . . . . . .
17.8.1 Opening scene . . . . . . . . . . . . . . . .
17.8.2 Scene LEnfant: C
a mest e gal! . . . . . . .
17.8.3 Scene Le Fauteuil et La Bergère . . . . . . .
17.8.4 Scene LHorloge Comtoise . . . . . . . . .
17.8.5 Scene La Theière et La Tasse . . . . . . . .
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575
575
577
580
582
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585
585
589
589
591
592
592
592
596
596
596
600
600
602
604
604
604
604
604
608
608
612
612
614
614
614
616
616
619
619
622
626
626
626
628
628
630
xi
CONTENTS
17.8.6 Scene Le Feu . . . . . . . . . . . . . . .
17.8.7 Scene Les Pastoures et Les Patres . . . .
17.8.8 Scene LEnfant et La Princesse . . . . .
17.8.9 Scene LEnfant: Toi, le coeur de la rose
17.9 Piano Concerto in G . . . . . . . . . . . . . . . .
17.9.1 Mvt. 1, Allegramente . . . . . . . . . . .
17.9.2 Mvt. 2, Adagio Assai . . . . . . . . . . .
17.9.3 Mvt. 3, Presto . . . . . . . . . . . . . . .
18 Sergei Prokofiev
18.1 Classical Symphony (No. 1), Op. 25 . .
18.1.1 Mvt. 1 Allegro . . . . . . . . . .
18.1.2 Mvt. 2 Larghetto . . . . . . . .
18.1.3 Mvt. 3 Gavotte . . . . . . . . .
18.1.4 Mvt. 4 Finale . . . . . . . . . .
18.2 Peter and the Wolf Op. 67 . . . . . . . .
18.2.1 Introducing the characters . . .
18.2.2 The story develops . . . . . . .
18.2.3 Catching the wolf . . . . . . . .
18.2.4 Triumphal procession - March
18.2.5 Conclusion - Coda . . . . . . .
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19 Dmitri Shostakovich
19.1 String Quartet No. 1 in C Major, Op. 49
19.1.1 Mvt. 1, Moderato . . . . . . . . .
19.1.2 Mvt. 2, Moderato . . . . . . . . .
19.2 String Quartet No. 2 in A Major, Op. 68
19.2.1 Mvt. 2 Moderato con moto . . .
19.3 String Quartet No. 3 in F Major, Op. 73 .
19.3.1 Mvt. 2, Moderato con moto . . .
19.4 Symphony No. 1 in F Minor, Op. 10 . .
19.4.1 Mvt. 3 Lento . . . . . . . . . . . .
19.5 Symphony No. 9 in E[ Major, Op. 70 . .
19.5.1 Mvt. 1 Allegro . . . . . . . . . . .
xii
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630
633
633
635
636
636
636
640
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643
643
643
646
648
648
651
653
653
657
659
659
661
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663
663
664
664
667
669
669
669
669
672
672
672
675
677
677
679
Bibliography
681
Index
686
List of Figures
1.1
1.2
1.3
1.4
1.5
History timeline with classical music periods and composers

Sentence and period melody structure . . . . . . . . . . . . .
The sonata form in diagram . . . . . . . . . . . . . . . . . . .
The ternary song form in diagram . . . . . . . . . . . . . . .
Key relationship overview diagram . . . . . . . . . . . . . . .
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2
11
11
12
13
2.1
2.2
2.3
2.4
Bach, Cantata No. 12 Weinen, Klagen, Sorgen, Zagen, BWV 12

Bach, Cantata No. 78 Jesu, der Du meine Seele, BWV 78 . . . .
Bach, Brandenburg Concerto No. 4, BWV 1049 . . . . . . . .
Bach, Orchestral Suite No. 3 in D Major, BWV 1068 . . . . . .
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15
23
28
30
3.1
3.2
3.3
3.4
Haydn, String Quartet Op. 76, No. 1 in G Major . . . . . . . . . .

Haydn, String Quartet Op. 76, No. 1, key relationship overview
Haydn, String Quartet Op. 76, No. 2 in D Minor Quinten . . . .
Haydn, String Quartet Op. 76, No. 3 in C Major Kaiser . . . . . .
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42
47
48
56
4.1
4.2
4.3
4.4
4.5
4.6
4.7
4.8
4.9
4.10
4.11
4.12
4.13
4.14
Mozart, Sonata in F Major KV 332 . . . . . . . . . . . . . . . . . . . . . .

Mozart, Sonata in F Major KV 332, key relationship diagram . . . . . .
Mozart, String Quartet in C Major No. 19 KV 465 . . . . . . . . . . . . .
Mozart, String Quartet in B[ Major No. 22 KV 589 . . . . . . . . . . . .
Mozart, String Quintet in C Major KV 515 . . . . . . . . . . . . . . . . .
Mozart, String Quintet in C Major KV 515, key relationship diagram .
Mozart, String Quintet in G Minor KV 516 . . . . . . . . . . . . . . . . .
Mozart, Clarinet Quintet in A Major KV 581 . . . . . . . . . . . . . . . .
Mozart, Clarinet Quintet in A Major KV 581, key relationship diagram
Mozart, Symphony No. 38 Prague KV 504 . . . . . . . . . . . . . . . . .
Mozart, Symphony No. 40 in G Minor KV 550 . . . . . . . . . . . . . .
Mozart, Symphony No. 40, key relationship diagram . . . . . . . . . .
Mozart, Symphony No. 41 in C Major KV 551 . . . . . . . . . . . . . . .
Mozart, Opera The Magic Flute (Die Zauberflote) KV 620, Act 1 . . . . . .
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67
72
75
86
95
104
105
117
124
125
134
143
144
157
5.1
5.2
5.3
5.4
5.5
5.6
Beethoven, Sonata Op. 2, No. 1 in F Minor . . . . . . . . . . . . . . . . . .

Beethoven, Sonata Op. 2, No. 1, key relationship diagram . . . . . . . . .
Beethoven, Sonata Op. 13 in C Minor Grande Sonata Pathetique . . . . . .
Beethoven, Sonata Op. 27 No. 2 in C] Minor Quasi una Fantasia . . . . .
Beethoven, String Quartet in B[ Major Op. 130 . . . . . . . . . . . . . . .
Beethoven, String Quartet in B[ Major Op. 130, key relationship diagram
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175
179
183
189
196
210
xiii
LIST OF FIGURES
5.7
5.8
5.9
Beethoven, Symphony No. 5 in C Minor . . . . . . . . . . . . . . . . . . . . . . 211

Beethoven, Symphony No. 6 in F Major Pastorale . . . . . . . . . . . . . . . . . 220
Beethoven, Symphony No. 8 in F Major, Op. 93 . . . . . . . . . . . . . . . . . . 230
6.1
6.2
6.3
6.4
Schubert, Symphony No. 8 Unvollendete, D759 . . . . . . . . . . . . . .

Schubert, Symphony No. 8 Unvollendete, key relationship diagram . . .
Schubert, String Quartet No. 14 in D Minor Death and the Maiden, D810
Schubert, String Quintet in C Major Op. 163, D956 . . . . . . . . . . . .
7.1
7.2
7.3
Mendelssohn, A Midsummer Nights Dream Overture Op. 21 . . . . . . . . . . . 273

Mendelssohn, Overture Op. 21, key relationship diagram . . . . . . . . . . . . 274
Mendelssohn, Symphony No. 4 in A Major Italian Op. 90 . . . . . . . . . . . 280
8.1
8.2
8.3
8.4
8.5
Schumann, Symphony No. 1 in B[ Major Fruhling,
Op. 38 .
Schumann, Symphony No. 2 in C Major, Op. 61 . . . . . . .
Schumann, Symphony No. 2, key relationship diagram . .
Schumann, Symphony No. 3 in E[ Major Rheinische, Op. 97
Schumann, Symphony No. 4 in D Minor, Op. 120 . . . . . .
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294
306
318
319
335
9.1
9.2
9.3
9.4
9.5
9.6
9.7
Brahms, German Requiem Op. 45 . . . . . . . . . . .

Brahms, String Quartet Op. 51 No. 1 . . . . . . . . .
Brahms, String Quartet Op. 51 No. 2 . . . . . . . . .
Brahms, String Sextet Op. 36 No. 2 . . . . . . . . . .
Brahms, Symphony No. 3 in F Major, Op. 90 . . . .
Brahms, Symphony No. 4 in E Minor, Op. 98 . . . .
Brahms, Symphony No. 4, key relationship diagram
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339
344
358
363
367
380
393
10.1
10.2
10.3
10.4
10.5
10.6
Tchaikovsky, Symphony No. 4 in F Minor, Op. 36 . . . . . . . . . . .

Tchaikovsky, Symphony No. 4 in F Minor, key relationship diagram
Tchaikovsky, Symphony No. 5 in E Minor, Op. 64 . . . . . . . . . . .
Tchaikovsky, Symphony No. 6 in B Minor Pathetique, Op. 74 . . . .
Tchaikovsky, Symphony No. 6, key relationship diagram . . . . . .
Tchaikovsky, Nutcracker Suite, Op. 71a . . . . . . . . . . . . . . . .
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395
401
401
407
409
410
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235
240
244
251
11.1 Faure, Requiem in D Minor, Op. 48 . . . . . . . . . . . . . . . . . . . . . . . . . 426

11.2 Faure, Pelleas et Melisande, Suite Op. 80 . . . . . . . . . . . . . . . . . . . . . . . 440
11.3 Faure, Masques et Bergamasques, Suite Op. 112 . . . . . . . . . . . . . . . . . . . 443
13.1
13.2
13.3
13.4
13.5
13.6
13.7
13.8
Mahler, Lieder eines fahrenden Gesellen . . . . . . . . . . . . . . . .

Mahler, Lieder eines fahrenden Gesellen, key relationship diagram
Mahler, Symphony No. 3 in D Minor . . . . . . . . . . . . . . . .
Mahler, Symphony No. 4 in G Major . . . . . . . . . . . . . . . .
Mahler, Symphony No. 4, key relationship diagram . . . . . . .
Mahler, Symphony No. 5 in C] Minor - D Major . . . . . . . . .
Mahler, Symphony No. 6 in A Minor Tragic . . . . . . . . . . . .
Mahler, Symphony No. 6, key relationship diagram . . . . . . .
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477
482
483
504
509
509
513
516
14.1 Debussy, String Quartet Op. 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . 517

14.2 Debussy, String Quartet Op. 10, key relationship diagram . . . . . . . . . . . . 520
xiv
LIST OF FIGURES
14.3 Debussy, Trois nocturnes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524
15.1
15.2
15.3
15.4
Strauss, Symphonic poem Don Juan, Op. 20 . . . . . . . . . . . . .

Strauss, Symphonic poem Tod und Verklarung, Op. 24 . . . . . . .
Strauss, Tod und Verklarung, Op. 24, key relationship diagram . . .
Strauss, Symphonic poem Till Eulenspiegels lustige Streiche, Op. 28
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533
548
556
557
16.1 Sibelius, The Swan of Tuonela, Op. 22 . . . . . . . . . . . . . . . . . . . . . . . . 577

16.2 Sibelius, Finlandia, Op. 26, key relationship diagram . . . . . . . . . . . . . . . 582
17.1
17.2
17.3
17.4
17.5
17.6
17.7
17.8
Ravel, Pavane pour une infante defunte . . . . . . .

Ravel, String Quartet in F Major . . . . . . . . . .
Ravel, String Quartet, key relationship diagram
Ravel, Miroirs . . . . . . . . . . . . . . . . . . . .
Ravel, Rapsodie Espagnole . . . . . . . . . . . . . .
Ravel, Gaspard de la nuit . . . . . . . . . . . . . .
Ravel, Ma mère loye, 5 Pièces Enfantines . . . . .
Ravel, Concerto pour Piano et Orchestre . . . . .
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585
589
591
592
596
604
606
636
18.1 Prokofiev, Classical Symphony, Op. 25 . . . . . . . . . . . . . . . . . . . . . . . 646

18.2 Prokofiev, Peter and the Wolf Op. 67 . . . . . . . . . . . . . . . . . . . . . . . . . 653
19.1
19.2
19.3
19.4
19.5
19.6
19.7
Shostakovich, String Quartet No. 1 in C Major, Op. 49 . . . . .

Shostakovich, String Quartet No. 2 in A Major, Op. 6 . . . . . .
Shostakovich, String Quartet No. 3 in F Major, Op. 73 . . . . .
Shostakovich, String Quartet No. 3, key relationship diagram
Shostakovich, Symphony No. 1 in F Minor, Op. 10 . . . . . . .
Shostakovich, Symphony No. 9 in E[ Major, Op. 70 . . . . . . .
Shostakovich, Symphony No. 9, key relationship diagram . .
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663
669
669
672
672
677
679
xv
LIST OF FIGURES
xvi
Preface
This is the Fifth Edition of the book Musical Analysis: Visiting the Great Composers. This expanded edition is intended for conductors, composers, musicians, musicologists, music students and lovers.
A book with analysis diagrams and descriptions

The First Edition of this book was published on the internet almost a decade ago. That
edition contained a limited set of tables with harmonic, formal and melodic analyses and
was about one sixth the size of the current edition. The document proved most valuable as
a tool for music students and beginning composers.
In later editions, more composer chapters and masterpieces were added to the collection.
The document doubled in size and so did the number of monthly hits on the website. The
introduction of the Fourth Edition in 2013 saw a number of changes. The size once again
doubled to somewhat over 500 pages, and two different versions were introduced: an incomplete free of charge demo version, and an expanded, full edition for sale. All chapters
now opened with a minimum set of composer biographical data. Formal analysis overview
diagrams were added, showing the essential movement data (form, key, meter, number of
measures) and the relative proportion of the sections of a composition.
Also more detailed information was added to the analysis tables: instrumentation, shape
of melody, outer and inner voice movement, types of harmonic structures, counterpoint settings, and diatonic scale or mode types. This required a concise notation systems, described
in the introductory chapter. When the Fourth Edition appeared in November 2013, the free
version monthly number of hits steadily rose to an avarage of more than 5,000.
With the Fifth Edition the process is somewhat repeated. New masterpieces have been
added especially in the chapters that were disproportionally short. More complete multimovement compositions were included, yielding a total of around 735 pages, with more
than 260 movements from a collection of more than 80 compositions. To try and be complete
in this domain obviously is an illusion. However, the set of musical analyses in this e-book
is a carefully selected cross-section of the classical repertoire and the tonal must period,
between roughly 1700 and 1950. There exists no comparable set of detailed diagrams and
tables; therefore it is a unique document for those seriously interested in classical music and
motivated to delve into detailed aspects.
This book refrains from using musical notation. The reasons are twofold: first, with score
excerpts the file size would increase unacceptably. Secondly, although most of the music
discussed herein is now in the public domain, all possible copyright violations have been
prevented. The careful indication of measure numbers in the tables makes transfer of the
c
2005-2015
F.G.J. Absil, http://www.fransabsil.nl
Preface
analysis aspects back into the score an easy job and a learning experience at the same time.
Hopefully you will enjoy reading and benefit from the book contents. Using the book will
save you many hours of tedious score analysis and may serve as a comparative source for
your own interpretation of these compositions.
Document update history

This e-book is regularly updated. New composer chapters are created, new content and
analysis diagrams are added, notation is improved and errors corrected. Reader feedback is
taken into account. Therefore, new editions will appear on the website. Here is the document
history:
Vs. 1.0 (Jul 2005): First draft published on the internet.
Vs. 2.0 (Oct 2007): Many score analysis examples added. Typing errors corrected.
Vs. 2.4 (Sep 2009): Movement from Shostakovich symphony added.
Vs. 2.5 (Sep 2012): Several movements from Mahler symphonies added. Typing errors corrected. References added.
Vs. 3.1 (Nov 2012): Additional pieces and movements in many chapters. New chapters created for Beethoven, Faure, Sibelius and Puccini. Errors corrected and notation updated. Number of pages: 260. Published on the internet (full and demo version).
Vs. 3.2 (May 2013): Additions to the Bach, Beethoven, Schubert and Mendelssohn chapter.
Essential instrumentation markings added more consistently. Error corrections.
Vs. 3.3 (Aug 2013): Extensions to the introductory chapter. Existing analysis diagrams in the
Schumann chapter now in greater detail, new symphony movements added. Graphics
created (biographical data and formal analysis overviews). Error corrections and more
consistent notation.
Vs. 4.1 (Nov 2013): Haydn chapter with three string quartets created. Additional movements and more detailed analysis diagrams in the Bach, Mozart, Beethoven, Schubert,
Mendelssohn, Schumann, Tchaikovksy, Debussy and Ravel chapters. More extended
descriptions and graphical overview diagrams, instrumentation indicated in the tables.
Number of pages: 510. Published as Fourth Edition on the internet.
Vs. 5.1 (Jan 2015): There are new compositions included in the Mahler, Sibelius and Strauss
chapters. Additional movements in the Mozart, Schubert, Brahms, Faure, Puccini,
Mahler and Prokofiev chapters. Introduction of the key relationship diagrams. Published as Fifth Edition on the internet (full and demo version).
xviii
Chapter 1
Introduction
1.1
What you will find in this book
This e-book presents a number of diagrams, representing the musical analysis of compositions from the classical music repertoire. The diagrams are in the form of graphs and tables
and they cover a set of masterpieces from the tonal music period, i.e., starting with the Baroque
and ending with Impressionism and the late Romantic composers. A limited set of later works
(early to mid 20th century) is also included. During this era harmonies were based on chord
structures in thirds, and chord progressions were determined by specific root cycles and cadential formulas. Composers combined chord structures and harmonic progressions to control
tension and release, dissonance and consonance in their music. This system is also labeled as
functional harmony or common practice (the latter term is more strictly applied to music written
between the years 1750 and 1900, approximately).
The analysis diagrams cover a period of almost four centuries, as illustrated in Fig. 1.1.
The diagrams include symphony movements, opera pieces, chamber music works, songs
and solo instrumental pieces. To be complete is impossible; however, this book will present
a representative cross-section of the vast repertoire from that period.
Each chapter contains works from one specific composer (see the overview in Fig. 1.1).1
Chapters are ordered chronologically, according to composer date of birth. General information about the compositions was taken from the printed scores (see the bibliography
list at the end), or from [58, 69]. Terminology and analysis examples were adapted from
[52, 46, 47, 48].
1.2
How the musical analysis diagrams were created
Over the years I have analysed many orchestral and chamber music scores, in order to try
and understand the following aspects in the works by the great masters:
musical form: the structure of a musical piece, its subdivision into sections and their
proportionality (length);
1
The subsequent chapters have more detailed composer dates and working places. Health warning: from the
limited data set in this e-book the statistics show that the city of Vienna (Wien) is a most dangerous place for
composers to stay. They live shorter and usually die there. So heres a brief warning to musicians with career
ambitions: if you can, avoid the place!
c
2005-2015
CHAPTER 1. INTRODUCTION
Year
1600
1700
1800
1900
2000
(1845-1924) G. Faure
d
(1840-1893) P.I. Tchaikovksy

d
d
(1833-1897) J. Brahms D. Shostakovich (1906-1975)
d
dd
d
(1810-1856) R. Schumann
d
d
S. Prokofiev (1891-1953)
d
(1809-1847) F. Mendelssohn Bartholdy

M. Ravel (1875-1937)
d
d
d
d
(1797-1828) F. Schubert
d
d
(1770-1827) L. van Beethoven
d
d
(1756-1791) W.A. Mozart
d
d
(1732-1809) J. Haydn
d
d
(1685-1750) J.S. Bach
d
d
1600
1700
J. Sibelius (1865-1957)
d
d
R. Strauss (1864-1949)
d
C. Debussy (1862-1918)
d
G. Mahler (1860-1911)
d
G. Puccini (1858-1924)
d
1800
1900
2000
Common Practice
Impress.
Classical
Baroque
1600
1700
Late Rom.
Romantic
1800
Modern
1900
Year 2000
Figure 1.1: History timeline with classical music periods (bottom) and composers covered
chronologically in the chapters of this e-book (top).
1.3. HOW TO READ THE ANALYSIS DIAGRAMS

the relations between the keys (or tonal centres) within a movement;
the harmonic progressions: chord sequences imply varying chord dissonance and chord
root movement. Harmonic tension in a progression may be the result of vertically
stacked chordal functions (e.g., chorale style) or a byproduct of independent voice
movement (as in counterpoint settings);
the use of melodic material (varying from a short motif to a long and varied musical
sentence). Multiple statements of melodic material will occur, either as simple repeats,
slightly varied or thoroughly developed;
the instrumentation. Orchestral balance, achieving tension bows through dynamics
(soft-loud), clever use of instrumental ranges (middle tessitura or extremes), these all
contribute to the effect of a musical composition;
the detailed voice leading within a part; a part may move predominantly in upward and
downward steps, or in leaps. There may be high points, supporting a musical climax.
Upper and bass part voice leading are essential elements in musical compositions.
This analysis yielded a set of annotated scores in my music library. In addition, I created
coloured diagrams on graph paper, with a more or less proportional representation of the
musical form and harmony, melody and other aspects indicated.
Recently I decided to put these diagrams into electronic form and make them available
on the internet through my website.2 I chose to transform the diagrams into tables, losing
some of the information (such as specific colours for melodic material, the exact duration of
pedal points, and voice leading) on the way. However, I thought they might still be useful
as a reference source for musical analysis.
1.3
How to read the analysis diagrams
The analysis diagrams for a complete musical composition or for the individual movements
from a longer work are presented in more or less standardised tables, with as much detail
as possible. In many cases there is also a graphical overview of the total piece, showing the
larger scale structure. In this section the notation in the tables is explained; for reasons of
space in the table columns there are many abbreviations and special symbols. Then there
will be two model graphical representations of common musical forms, helping the reader
in understanding the analysis notation.
1.3.1
Notation in the analysis tables
See Table 1.1 to 1.4 for an explanation of the symbols, labels and abbreviations used in the
analysis diagrams. Table 1.5 shows a list of instrumentation and orchestration abbreviations
used in the diagrams.
When reading the tables one should take into account:
The exact start and ending of melodic material is not indicated.
2
The URL to the website homepage is http://www.fransabsil.nl. Look in the Document Archive to find this
Musical Analysis E-book as PDF file.
Table 1.1: Notation: symbols and labels in the analysis diagrams.

Label
Meaning
m
(112 m.)
M
M0
M1
M1
(M1)
M1.1
M1a
measure number
total number of measures in the movement
Melodic material (motif, theme, melody)
Motif, used as introduction
First main theme
Varied first theme
Vague reference to a theme
First theme from the first thematic group (sonata form)
First (a) phrase or motif from the first theme;
used in melodic analysis, in order to label subphrases and
distinguish period (abab) from sentence (aab) melodic forms
Second group theme, contrasting theme in sonata form
Melodic inversion of M1.1
Countermelody (subordinate melody in counterpoint setting)
Transitory melody of motif
Melody x with specific character, e.g., Ma: ascending motif,
MB : Butterfly theme, Md: dance melody, Ms: scalar motif
Gradual introduction of the melodic material below
M2
I(M1.1)
Mc, CM
Mt
Mx
5
..
.
R
H
...
<(Dm7 G7 )
S46
(C F G7 )/C
hB[m|Gi
Melodic material from the previous line is continued

Melodic material from the previous line ends here
Key or tonal centre
Harmonic progression
Extended constant harmony (typically over multiple measures),
e.g., an extended dominant 7th chord G7 . . . C
Harmonic riff (repeated set of harmonies)
Second inversion of triad chord (with root in the bass, e.g.,
C46 = C/G), used in cadences such as I(m)64 V7 I(m)
Pedal point (here C is the pedal note)
Bitonal chord structure, e.g., B[m over G (two stacked triads)
Table 1.2: Notation and abbreviations in the analysis diagrams: comments (last column). In
the detailed analysis tables the abbreviations are frequently used without period.
Label
d
2nd
h i Dev.
3
4
[A], [1]
A, B, A, B
A
Ac.
Aeol.
Alt.
appogg.
arp.
asc.
aug.
(a), (b)
bg.
cad.
ch.
chr.
clim.
c.m.
contr.
C&R
CSubj.
ctp.
D
desc.
Dev.
diat.
dim.
dom.
Dor.
dyn.
elab.
epis.
Exp.
ex.
ext.
Meaning
d
Deceptive cadence (e.g., G Am)

Intermediate harmonies (between two structurally more significant chords)
Secondary development (sonata form)
Meter
Rehearsal mark in the printed score
Sections in a longer form (printed in boldface in the tables)
Varied section in a longer form (also notated as A1, A1 )
Acoustic diatonic scale (with augmented fourth and minor seventh degree)
Aeolian (scale, diatonic mode)
Altered scale (with dominant 7th, ]9 = [10, ]11, [13)
Appoggiatura (stressed dissonance, also abbreviated as app.)
Arpeggio
Ascending
Melodic augmentation (longer durations), also abbreviated as augm.
Phrase from a musical sentence (e.g., M1=a+a+b)
Instrumental background
Cadences, cadential phrase
Chord
Chromatic
Climax (dynamic or musical texture)
Contrary motion (upper and bass part either opening or closing)
Contrasting
Call-and-Response
Countersubject (subsidiary theme in a fugue)
Counterpoint, i.e., independent (pitch and rhythm) voice movement in
various forms such as imitation, canon or fugue
Dominant axis material (themes in the dominant key)
Descending
Development in the sonata form
Diatonic (e.g., in diatonic parallel chords)
Melodic diminution (shorter durations), also diminuendo
Dominant, e.g., in g-dom-ped.
Dorian (scale, diatonic mode)
Dynamics (soft-loud)
Elaborated, elaboration
Episode
Exposition in the sonata form
Exact (e.g., in exact chromatic parallel chords)
Extension, extended (vertically in harmony or elongated in time)
Table 1.3: Notation and abbreviations in the analysis diagrams: comments (contd).
Label
Meaning
fin. st.
Gr.
~
Hk
d
~
Hk
i
i
imit.
improv.
Ion.
Lyd.
M
mv
i (%)
Pm
Mixolyd.
mod.
(N ), (N 6 )
Final statement of a theme or melody

Group (a group of related melodic material)
Diatonic parallel chords, e.g., C Dm7 Em7 F7
Chromatically exact parallel chords, e.g., Bm7 B[m7 Am7 A[m7
semitone step, chromatic (octave=twelve semitones)
Imitation (a motif or theme, repeating through different voices)
Improvisation
Ionian (scale, diatonic mode)
Lydian (scale, diatonic mode)
Mediant axis (third above key root)
Middle voice
i (&))
Chromatically ascending middle voice (descending: Pm
Mixo-Lydian (scale, diatonic mode)
Modulation
Neapolitan chord, i.e., major chord on lowered second step of scale
(frequently used in its first inversion N 6 )
Octatonic scale (eight pitches at alternating steps of one and
two semitones), also OctSc or OctaSc
Bass part descending (PB (%)for ascending)
Bass part chromatically ascending (PBi (&) for chromatically descending)
Pedal point on pitch g (more specifically: P D (g) and P T (c) for
dominant and tonic pedal point, respectively)
Parallel (diatonic or exact parallel chords)
Pedal point (e.g., c-tonic-pedal)
Pentatonic scale
Part or section of a movement
Root movement (here a 5th down, see notes in the text)
Series of symmetric root steps at ni (see notes in the text)
Recapitulation in the sonata form
Repeat (melodic phrase or section of movement)
Retransition (back to initial tonal key)
Rhythmic motif
Contrary motion (upper and bass part moving in opposite directions)
Contrary motion opening ((cm>) for closing)
Inverted chord structure (here the first inversion, with third in the bass)
Series of chords in first inversion
Series of chords in first inversion, with root progression Rn
Series of extended chord structures with function n (see notes in the text)
Scale, scalar (e.g., scalar runs)
Oct.-sc.
PB (&)
PBi (%)
P (g)
par.
ped.
Pent.
pt.
R5
~ ni
R
Rec., Recap.
Rep.
retrans.
rh.
(cm)
(cm<)
S6
[S6 ]
[S6 (Rn )]
~n
S
e
sc.
Table 1.4: Notation and abbreviations in the analysis diagrams: comments (contd).
Label
Meaning
SD
Seq.
st., stat.
subj.
susp.
sym.
sync.
T
th.
ton.
tr., trans.
Subdominant axis material (themes in the subdominant key)

Sequence (see the explanatory notes)
Statement
Main theme of a fugue, subject
Suspension (held-over dissonance in voice leading)
Symmetric harmonic structures
Syncopation
Tonic axis material (themes in the tonic key)
Theme.
Tonic, e.g., in c-ton-ped.
Transition, i.e., a musical phrase or subsection between
two major sections (e.g., between development and recapitulation)
Triplets
Unisono
Varied, variation
Whole-tone scale (also WhTSc)
tripl.
unis.
var.
Wh.t.-sc.
The harmonic progressions sometimes are reduced to the main chords that support the
structure (the functional harmony). When a detailed harmonic progression is cut short
in the tables, this is marked as S1 S2 , e.g., C Em7 /B E7[9 /G] Am F ]7 G7
is summarized as C G7 .
A harmonic sequence (more or less exact repeat of a short fragment) is frequently indicated by the notation Seq(32m;R7 ), occasionally abbreviated as Seq(3R7 ). This is a
sequence of 6 measures in total, consisting of a 2 measure pattern used 3 times. Each
repeat is at an upward tonal step (R7 ). This notation is based on the tonal positive and
negative root cycle system:3
R3 : root moving a third downward, R3 : root moving a third upward;
R5 : root moving a fifth downward, R5 : root moving a fifth upward;
R7 : root moving a second upward, R7 : root moving a second downward.
Pedal point (extended notes over multiple measures) on the pitch c in any part of a
score, but most likely in either bass or upper part) is indicated in general as P (c). A
tonic pedal, such as the pitch c in the key of C Major is marked as P T (c), a dominant
pedal, such as the pitch g in the same key likewise as P D (g). A double pedal point,
with tonic and dominant held simultaneously is marked as P (e[ b[) (in the key of
3
The root cycle system is a notion in the Schillinger System of Musical Composition [50]. This approach is most
useful for both musical composition and analysis, as it teaches the student to identify and apply (de-)stabilising
chord progressions and cadences in tonal and more modern styles.
Table 1.5: Notation: instrumentation and orchestration abbreviations used in the analysis
diagrams.
Label
Meaning
+
AFl
BCl
Brs
Bsn
Cel
Ch
Cl
DB
div
ECl
EHn
FHn
Fl
gliss
Glk
Hns
Hrp
LH
Ob
Perc
Pi
pizz
Pno
RH
Str
Tbn
Timp
Tpt
trem
Va
Vc
Vi
VS
WW
Orchestral doubling, e.g., WW+Str

Sequential instrumentation, e.g., in imitation Str-WW
Alto Flute (flute in G)
Bass Clarinet
Brass
Bassoon
Celesta
Choir
Clarinet
Double Bass, Contrabass
Divisi (Strings divisi)
Clarinet in E[
English Horn
French Horn
Flute
glissando
Glockenspiel
Horns
Harp
Left Hand (Piano)
Oboe
Percussion
Piccolo
Pizzicato (plucked strings)
Piano
Right Hand (Piano)
Strings
Trombone
Timpani
Trumpet
Tremolo
Viola
Violoncello
Violin
Soprano voice (mezzo-soprano, alto, tenor, bass)
Woodwind

E[ Minor). When the pedal is indicated between brackets, e.g., (P (c)), it is continued
from the previous line.
During the Late Romantic and Impressionist periods (after approximately 1875) a couple
of new musical elements appeared, and these require special markings in the analysis tables:
Extended chords, i.e., harmonic structures with chord functions beyond the 7th of the
chord. Until that period the occurrence of a dissonant 7th, 9th, 11th (equivalent to the
4th) or 13th was the result of either a suspension (held over from the previous chord) or
an appoggiatura. Proper suspension preparation and downward stepwise resolution
were essential. and such chords were used more or less in isolation. However, during
the Late Romantic and Impressionist period these dissonant chord functions started
9/11
to appear as static, extended harmonies, e.g., C79 , Dm7
or G[13
7 . Composers used
~en , with
sequences of these extended chords; in the analysis tables this is marked as S
n = 9, 11, 13 (the highest function in the extended chords).
Another feature is the use of parallel harmonies, parallel chord structures. This implies
that either the chord tension (indicated by the highest chord function) remains constant
as the root moves up or down a diatonic scale, or the chord structure remains constant
as the root moves in upward or downward intervals or semitone steps. The former is
~ , and an example of such as chord progression is C7 Dm7 Em7
indicated by Hk
d
~ (root leaps) or Hk
~ (root in semitone steps), and
F7 . The latter is marked as either Hk
e
i
9/11
9/11
9/11
an example is Em7 E[m7 Dm7 .
There is also the use of symmetric root movement. This implies that the octave is
subdivided symmetrically into units of either 2, 3, 4 or 6 semitones (these are the only
solutions), and the constant chord structure moves along these root steps, upward or
downward. Examples of such chord progressions are Dm7 F ]m7 B[m7 , or C7[9
[9
[9
A[9
7 F ]7 E[7 (symmetric root movement is very popular with extended dominant
~ 4i , the latter
chords). The former root movement is labeled in the analysis tables as R
~ 3i .
as R
1.3.2
Two template musical forms
A graphical representation of a composition will reveal its large scale structure; the relative
proportions of the main sections. Obviously, it is not representing the duration of sections,
since musical tempo is not taken into account in these graphs.
With the diagrams of two template musical forms we will illustrate some aspects of the
formal structure at multiple levels, including many symbols, defined in Table 1.1 from the
previous subsection. We will do that for the two most common musical forms, the sonata
form and the ternary song form. These form are discussed extensively in [52, 46, 47]. The
templates shown here contain the essence of those textbooks.
9
The sonata form
Figure 1.3 shows the graphical representation of the sonata form. 4 The structure is displayed
at four levels:
Section level: This is the highest level. The sonata form has the following sections: [Introduction], Exposition, Development, [False Recapitulation], [Secondary Development], Recapitulation, and Coda. Some sections are optional (indicated by dashed
lines in the diagram). The exposition will state the main themes of the sonata movement, the development sections will process this thematic material through variation
and modulation. Modulations (key and root changes) may be either carefully prepared
through cadences, or totally unexpected and in rapid succession. The development
may introduce new themes or skip some of the thematic material in the exposition:
in the diagram theme M2.2 does not return in the development. Transitions of any
length may be found between these major sections. Further explanation is given below.
Separation between sections is usually achieved by using standard closing harmonic
formulas, cadences.5
Group Level: This indicates the grouping of thematic and melodic material around certain
keys. In the sonata template there are typically two groups of thematic material (labeled as Gr1 and Gr2 in the diagram). When the sonata movement is in a major key the
first group themes are in the tonic key (T), the second group themes in the dominant
key (D). When the sonata form is in a minor key, the second group usually is in the
relative major key (M).
Theme/Melody/Subject: At this level individual melodies or subjects can be identified. A
group may contain one or more melodies or themes. The introduction may also contain
melodic material, often a signal-like motif (here labeled as M0 ). The numbers (here
subscripts) indicate the group and theme number: e.g., M2.1 is the first melody in the
second group, also called the secondary subject. In a group there may be multiple
statements of melodic material (exact or varied repeats; not shown in the template diagram for lack of space). Varied forms of a melody may be used and are marked by
accents: e.g., M10 in the transition between the exposition and the development, or
M100 in the false recapitulation. A vague reference to an earlier theme is indicated by
putting the melody number between brackets: e.g., the reference to the introductory
motif M0 in the transition between the two groups in the development. When multiple
melodies sound simultaneously (in a counterpoint setting with a main and countersubject,) or sound juxtaposed in a call-and-response setting, this is indicated by the forward
slash: e.g., M1/2 in the secondary development or M1/0 in the coda. Usually the number before the slash is the leading theme in such a parallel melodic setting.
Phrase/Motif: A melody or theme may be subdivided into smaller melodic units, such as
the phrase or motif. A motif is marked by a smallcaps letter: a, b, c, . . .. In classical music
there are two basic families of melodic structures, shown in Figure1.2: the sentence and
4
Always keep in mind that this is a template, an ideal description. Actual examples from the classical repertoire by the great composers may always deviate from this model. The model was constructed afterwards as an
academic approach to music.
5
Cadences, standardized harmonic formulas, close units at all sectioning levels, not only at the highest section
level. Transitions usually contain a closing cadence, leading into the next major section, as do melodies.
10

Sentence
a
a
Period
a
b
(a)
(b)
Figure 1.2: Classical music melody structure. (a) sentence, (b) period.
the period, see [52]. The sentence has the form: aab (see the Group 1 theme in the
exposition), the period consists of abab phrases (as is the case for the first melody in
the 2nd group in the exposition). Another approach is a binary subdivision of a theme
into antecedent and consequent.6 The motif grouping into antecedent-consequent for a
sentence is (aa) (b), and for a period (ab) (ab).
Of course, melodies may deviate from these two basic patterns (see the 2nd theme in
the 2nd group which has the form aaa). And obviously these phrases may be varied in
any section of the sonata form: see M2.1 in the development. And we may encounter
only a single motif from the basic melody in the development section: see M1 in the
second part of the development, where only the b-phrase is varied as bb0 b0 .
Sonata form:
Intro
I
@
@
M0
[Optional]
Exposition
Gr1 Gr2
Development
Tr. Gr2
Tr.
I
@
@
M1 M2.1 M2.2 M10 M2.1
aa0 b abab aaa0 6 aba0 ba0
FRec. 2nd Dev.
Recap.
Gr1
Gr1
Gr2 Retr. Gr1 Gr2
(M0 ) M10
M100
M1/2 M0
M1
Coda
M2.1 M2.2 M1/0
0 0
bb b
Level:
Section
Group
Theme/Melody
Phrase/Motif
Figure 1.3: The sonata form in diagram, with formal structure, notation and labeling at various levels (see description in the text).
So, respecting the structural hierarchy defined above, melodic material could be labeled
in a computer language style as: Exp::Gr2 ::M2.1 ::b (separating the 4-levels top-down by
double colons). In the tables you will find a less sophisticated notation, that skips the section
and group level, and will usually use neither subscripts, nor double colons. Therefore, the
musical analysis tables will use labeling such as: M1, M2.1, M1b, M2.1a. In case of notation
inconsistencies, this is usually in order to prevent overfull table columns.
The sonata form occurs frequently as the opening and closing (finale) movements of
extended, multi-movement compositions, such as the symphony and string quartet.
The ternary song form
The ternary song form, also called the ternary form or ABA form, consists of two more or less
similar outer sections A, separated by a contrasting middle section B. The second A section
6
The antecedent-consequent pair has some similarity to a call-and-response melody. The second half, the consequent, should have some reference to the opening phrase, the antecedent.
11
is usually varied (labeled A or A2 ) and the movement frequently may close with a coda. The
ternary song form is shown schematically in Fig. 1.4.
Ternary (song) form:
|| : A1
@
@
M1 I
0
aa b
[Optional] -
: || B
M1
I
@
@
M2
abab
A2
Tr(M2 )
bb
M1
Coda
M1/2
Level:
Section
Theme/Melody
Phrase/Motif
Figure 1.4: The ternary song form in diagram, with formal structure, notation and labeling
at various levels (see description in the text).
This form is subdivided into three structural levels:
Section: This highest level shows the ternary structure, with the two A-sections (here labeled as A1 and A2 ), and the middle section B. The first A-section may be repeated.
The dashed box around the Coda section indicates that it is optional.
Theme/Melody: Now, in general there is one theme or melody per section, so we dont
need the group structural level. In the template there is a main theme M1 , that is
repeated (2nd statement) within the opening section. However, that depends on the
length of the section, and a single statement is equally likely. Themes usually close
with a cadence. The theme in the middle section, M2 , is supposed to be a contrast to
the other melody. The section closes with a transition, that is based on the 2nd theme.
In the closing section, A2 , after a single statement of the opening theme, both themes
are combined in a simultaneous setting (M1/2 ), although a simple repeated statement
of the opening theme is just as likely. The coda usually contains a reference to either of
the themes, before closing with a cadence.
Theme/Motif: In the diagram the first theme, M1 , is a sentence (aa0 b), the contrasting middle
theme, M2 , is a period (abab). The transition is based on a variation of the second motif
from the middle theme.
The ternary song form is used in the middle movements of longer, multi-movement compositions, such as the symphony or string quartet. There it is often in the form of a Menuet
and Trio or a Scherzo and Trio, where both parts of the movement (so both the menuet and
the trio, or the scherzo and the trio) have a ternary structure. With a helicopter view, also
the sonata form might be interpreted as a ternary form, with the exposition as the first Asection, the development as the contrasting middle or B-section, and the recapitulation as
the second A-section. In general, the ternary song form movement is shorter than the sonata
form movement.
1.3.3
Key relationship diagram
For some of the works a key relationship diagram will be shown, according to the structural
functions of harmony approach presented [51]. This is a graphical representation of how the
12

keys move in a (multi movement) piece and represents the proximity or remoteness of the
moving keys. A similar diagram is used for the interpretation of key distance in Chapter 7
of [68].
The template key relationship overview diagram is shown in Fig. 1.5. It is centered
around the main key of C major. The horizontal axis is along the circle of fifths, with subsequent dominants (R7i ) to the right and subdominants (R7i ) to the left. The vertical axis represents symmetry and similarity, with relative minor submediant pairs (R3i ) in upward,
and parallel minor mediant relationships (R3i ) in downward direction. The proximity
to the root key is given by the Euclidean distance to the main key. In the template this
means that {G, F, Am, Cm} are most closely related to C major, then {Em, Dm, Gm, F m},
then {D, B[, A, E[}, etc. As we move outward from the centre the number of accidentals
increases, until we reach the enharmonically equivalent keys at the edges of the diagram.
These equivalent keys or multiple occurrences may be labeled with bezier curves with circles at the endpoints; two examples are shown in the diagram (G[ = F ] and Gm Gm).
Dm
Am
Em
Bm
tF ]
Symmetry axis
G]
C]
C]m
F ]m
G]m
D]
A]
D]m
A]m
F]
C]
F ]m
C]m
Submediant R3i
Relative minor
Cm
Fm
Gm
Am
Dm
Em
Bm
Subdominant R7i
A[
A[m
C[
C[m
E[
E[m
tG[
G[m
B[
B[m
- Dominant R7i
F
Fm
Gm
t
Dm
Am
Em
Parallel minor
Cm
Mediant R3i
D[
A[
E[
B[
D[m
A[m
E[m
B[m
Fm
Gm
Cm
- Circle of 5ths
Figure 1.5: Key relationship overview diagram
As the piece moves through a number of keys, the number of horizontal and vertical
steps between two keys indicates the proximity. A diagonal move, e.g., from C to Gm (C &
Gm), represents two steps. A surprise modulation in a development section of the sonata
form implicates a leap in this diagram. Since keys are shown multiple times, we will take
the shortest path between two keys; e.g., from C to Dm the shortest path is left-upward (,
two steps), whereas yields a distance of three steps. The enveloping rectangle around
all the keys used in a movement is a measure for the tonal stability. Of course, a feeling of
time, the slow or rapid succession of keys, is lost in this diagram.
In modal music, the key refers to either a major diatonic mode (Lydian, Ionian, Mixolydian) or a minor mode (Aeolian, Dorian).
13
1.4
Further reading
The material in this book is partly based on books on musical analysis I have read and studied in detail. The other part is my own system for concisely and consistently marking and
summarising in diagrams all the scores that I have studied over the years. Therefore, most
of the symbols for labeling at the detailed level are my own definition, while at the higher
structural levels there is more agreement with existing literature.
In case, the reader would like to delve further into these source documents and textbooks
for musical analysis, here is a brief list of references that cover the period of tonal music:
[12, 15, 25, 31, 46, 47, 48, 49, 50, 51, 53].7 However, none of these sources contains a collection
of detailed harmonic analyses of classical music movements and compositions, comparable
to the set in this e-book. That is, what makes this publication unique.
14
See the Bibliography at the end of this book for full references.
Chapter 2
Johann Sebastian Bach

Biographical data:
21-3-1685 in Eisenach
28-7-1750 in Leipzig
1600
1700
1800
1900
2000
Some general data and BWV numbers were taken from [70].
2.1
Vierstimmige Choralgesange
Source: [3]. Music for four-part choir.
2.1.1
Nrs. 154-163 Herzlich tut mich verlangen
This chorale melody has been set as a 4-part harmonisation multiple times: as chorale nr. 154
(BWV 135), 155 (BWV 153), 156 (BWV 161), 157 (BWV 244), 158 (BWV 244), 159 (BWV 244),
160 (BWV 244), 161 (BWV 246), 162 (BWV 270) and 163 (BWV 271).
See the harmonic analysis in Table 2.1 to 2.5. The end of a text phrase is indicated as Am,
corresponding to a fermata in the musical score.
2.2
Cantata No. 12 Weinen, Klagen, Sorgen, Zagen, BWV 12 (c. 1724)
Source: [1]. An overview of the formal analysis is shown in Fig. 2.1.

Mvt. 2 Lento: ternary (da capo) form (F m,
A
h i
3
2
, 92 m.)
B
Figure 2.1: Bach, Cantata No. 12 Weinen, Klagen, Sorgen, Zagen, BWV 12
c
2005-2015
CHAPTER 2. JOHANN SEBASTIAN BACH
Table 2.1: Bach, Choralgesang nrs. 154155 Herzlich tut mich verlangen
m
Nr. 154
0u
1
2
3
4
5
6
7
8
9
Am
Nr. 155
16
Comment
BWV 135
10
11
12
0u
1
2
3
4
5
6
7
8
9
10
11
12
|| : Am
Em F/A Em/G
E/G]
Dm/F E
Am F B7 /D E
: || Am
Am
B7 /D Em F B
C
F C]7 Dm Dm/F
A C/E
G C/E G
d
E/G]
Am7 /C D G
F/A C Dm7 /C G/B
Am/C E
relative major
BWV 153
Am
|| : E7 /D
Am/C C]7 Dm C /E
Dm/F Gm/B[ A Em/G
D]7 /F ] Am/E B7 /D] E7
: || Am
Am
G G7 /F Am/E B /D
C7 /E F C C/E
F C]7 /B[ A/C] Dm
A D7 /F ]
G F ] /A G/B
C
Am7 /C D G
Dm C/E D7 /F ] G
E7 /G] Am E
PB (%)
major
plagal cad.
plagal cad. to major
PBi (%)
2.2. CANTATA NO. 12 WEINEN, KLAGEN, SORGEN, ZAGEN, BWV 12
m
Nr. 156
0u
1
2
3
4
5
6
7
8
Comment
BWV 161
Am
|| : Em
Dm/F G F/A G7 /B C
E
Dm/F E
Am F B /D Em7
: || Am7
A Am
B /D C/E F B /D
C Am7 /C C C/E
F C7 A/C] Dm
Am
Am
With added flute part
major-minor
Em G/B Am/C Em E7
A7
F Dm/F E
Dm Am Dm/F G
E/G] Am E
9
10
11
12
Nr. 157
0u
1
2
3
4
5
6
7
8
9
10
11
12
PBi (%)
BWV 244
Bm D
|| : D
G D/F ] G/B D
A] /C]
Em7 /G A D
Bm Bm/F ] F ]7
: || Bm7
Bm
C] /E EM D/F ] G C] /E
G
Bm/D D
G7 D]7 Em Em/G
E7 /G]
B
A E/G] D/F ] A/E
B7 /D] E A D
Em D/F ] A4 A
relative major
relative major
major
relative major
17
m
Nr. 158
0u
1
2
3
4
5
6
7
8
C]m E
18
|| : E
A E/G] A/C] E
B] /D]
F ]m/A B E
C]m C]m/G] G]7
C]m : || C]m7
D] /F ] G]m7 A D] /F ]
E
C]m/D E E
A E F ]m F ]m/A
F ]7 /A]
C]
relative major
major
B B/D] E/G] B
E
C]m/E F ] B
A/C] E/B F ]m7 /A B
Nr. 159
6
7
8
9
10
11
12
Comment
BWV 244
9
10
11
12
0u
1
2
3
4
5
BWV 244
Dm F
|| : Dm
B[ F/A Gm F
Gm/B[ C F A/C]
Dm Dm/F A4 A7
: || Dm7
Dm
Gm F/A B[ Cm7 /G
d
Dm/F F F F7
Gm/B[ D7 /F ] Gm
G7 /B
D
C F/A C/G
Dm7 /F G C F
Gm F/A C7sus4 C7
F
relative major
major
relative major
m
Nr. 160
0u
1
2
3
4
5
Comment
BWV 244
Am
6
7
8
9
10
11
12
Nr. 161
0u
1
2
3
4
5
6
7
8
9
10
11
12
|| : Am
F C/E Dm C
D7 /F ] G C E/G]
Am B7 /D Am/E E7
: || Am7
Am
B7 /D] Em F7 /E[ B /D
d
C7 /E F m C C7
Dm/F E7 A7 /C] Dm
A B7 /D]
G G/B C/E G
C
A7 /C] D G
G7 /B C Gm/B[ Gm7
E7 /G] Am E
[5/[9
F7 = B7
relative major
plagal cad. to major
BWV 246
Am
|| : E
F G F/A C/G
E
Dm7 /F B7 /F E
Am F B7 /D E7
: || Am7
Am
B7 /D Em7 F B /D
F/A C C C
F C]7 Dm G]7 /D
A D7 /F ]
G G7 /F ] C/E Em7
C
Am7 /C D G
F/A Am B7 G/B Dm/A
E7 /G] Am E
relative major
major
19
m
Nr. 162
0u
1
2
3
4
5
Bm
Nr. 163
20
Comment
BWV 270
6
7
8
9
10
11
12
0u
1
2
3
4
5
6
7
8
9
10
11
12
|| : Bm
G D/F ] C]7 /E Bm/D
Em7 /G F ]m F ]m
Bm Bm/D B/F ] F ]7
: || Bm7
Bm
C]7 /E D/F ] G C] /E
d
D7
D7 /F ] G D
Em/G B7 /D] Em
E7 /G]
B
A C]m D/F ] A
Bm/D E A D
G/B D A/C]
Bm/D G]7 /B F ]
relative major
major
BWV 271
Bm
|| : D
G D/F ] Em D
F ]/A]
Em7 /G A D
Bm Bm/D F ]4 F ]7
: || Bm7
Bm
C]7 /E D/F ] G C] /E
D
Bm/D D D
G D]7 Em Em/G
E7 /G]
B
A Bm A/C]
Bm7 /D E A D
Em D/F ] A7 A7 /E
Bm/D Bm F]
relative major
relative major
major
2.2.1
Movement 2. Lento
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22
2.3. CANTATA NO. 78 JESU, DER DU MEINE SEELE, BWV 78
2.3
Cantata No. 78 Jesu, der Du meine Seele, BWV 78 (c. 1740)

Mvt. 1: Instrumental-Choral (Gm,
h i
I1
I 3 C3
C1
I2
C2
3
4
, 144 m.)
I 4 C4
I5 C5
I 6 C6
Mvt. 2 Aria. Duetto Wir eilen: ternary (da capo) song form (B[,
A
V1
V2
B V3
V4
h i
4
4
I7
, 98 m.)
V5
Figure 2.2: Bach, Cantata No. 78 Jesu, der Du meine Seele, BWV 78
2.3.1
Movement 1
Form: chaconne (repeating chord progression, ostinato motif). Two counterpoint motives
(M0, the chromatically descending ostinato motif and M1) are combined with the chorale
melody Jesu, der Du meine Seele (Mc) in a four part counterpoint, full of imitation. The analysis is shown in Table 2.6 to 2.8.
2.3.2
Movement 2 Aria. Duetto Wir eilen

23
Table 2.6: Bach, Cantata No. 78 Jesu, der Du meine Seele, Movement 1
m
Comment
1
3
5
7
9
13
17
19
21
23
25
29
31
33
M0
M0
M0
M0
M0/1
M0/c
I(M1)
M1
M0/c
Gm
Gm D/F ] Dm/F B[7 /F

C/E Cm/E[ F D7
Gm D/F ] Dm/F G[9
7 /F
C/E A7 /E[ Gm64 D7
Gm D Dm Am7 A7 D7
Gm D7[9 Dm7 C Cm D7
Gm A7 /C D Dm7 /F Gm7
A A7 A7 /G D7 /F ]
Gm D/F ] Dm/F
C/E Cm/E[ Gm64 D7 Gm
Gm Cm7 C7 F m D7 Gm
Cm A[/C G[9
7 /B Gm/B[
Am7 F m/A[ G7 Cm/G D7
Gm E[/G F ]7 Dm/F Gm7 /F
Instrumental: intro
chr desc motif, PBi (&)
E7 F ]7 /E[ Cm/E[ D7[9
37
39
41
43
45
M0
M0
M0
..
.
Gm D/F ] Dm/F B[7 /F

C/E Cm/E[ Gm64 D7[9
Gm D Dm
Am7 A7 D7 /F ]
Gm E[/B[ Cm7 /B[
49
51
53
55
57
60
62
64
65
67
69
71
72
24
M1
M1/c
I(M1)
..
.
..
.
M0/c
Chorale melody, line 1
Chor mel, line 2
35
46
47
Choir: imit
Instrumental: trans
chr desc motif, PBi (&)
D7[9 /A Dm7 /A
C/G Cm/G D7 /F ]
Gm A7 /C D Dm/F Gm7
A[9
7 A7 A7 /G D7 /F ]
Gm D/F ] Dm/F
C/E Cm7 /E[ Gm64 D
Gm Cm7 C7 F m D7
Choir: imit
Chor mel, line 3
Gm G[9
7 Cm A[/C
G[9
7 /B Gm7 /B[ A7 F m/A[
G7 Cm7 /G D7[9
Gm E[/G D7[9 /F ] Dm7 /F
Chor mel, line 4
E7 D7[9 /F ] Cm/E[ D7[9

Gm/D A[9
7 Dm7
D G/D Gm D A[9
7 /C]
Dm A
Instrumental: trans
Table 2.7: Bach, Cantata No. 78 Jesu, der Du meine Seele, Movement 1 (contd)
m
73
M0/3+4
..
.
..
.
M0/c
..
.
Dm
Dm G7 A7 Am7 /C Dm7
75
77
79
81
82
83
M0
89
M5
..
.
91
93
95
97
M0/c
99
101
103
105
M0
107
M0
..
.
..
.
..
.
..
.
M0/c
..
.
109
111
112
113
115
118
Em
A[9
7 /E
Gm
B[
F C/E Cm/E[
B[/D B[m/D[ F46 C7
Instrum: trans
F G7 /B C D7 /F ]
Choir: imit, Seq
Gm A7 /C Dm Gm
A[9
7 F ]7 /A Cm/G D7 /F ]
Gm B7 /A B[7 /A[
E[/G E[m/G[ B[64 F7
Seq(41m;R5 )
B[ F/A F m/A[
E[/G E[m/G[ B[64 F7
B[ C7 /E F G7 /B
Cm Am7 /E D7 /F ] Gm A7 /C
Instrum: trans
D7sus4 D/F ] Gm A7 D7 /F ]
Choir: imit
Chorale mel, line 6
Seq(41m;R5 )
Gm Gm7 /F Cm/E[
D7sus4 G7 /D Cm B7 /C
Cm G[9
7 /B C7 /B[
Gm
F7sus4 G7 /D C7sus4 F7 /A
B[ C7 /G F7sus4 B[7 E[ D7 /C
Gm A7 /G D7[9 /F ] Dm/F
Chorale mel, line 7

d-dom-ped
Instrum: trans
Gm7 /F C/E Cm/E[

(D D7 Gm)/D
122
M0
(A[9
7 D7 G7 E7 A7 )/D
Chor mel, line 5
C/E Cm/E[ F7 /E[

B[/D B[m/D[ E7 /D[ F46 C7
120
121
124
125
Choir: imit
E7 /D A7 /C]
Dm B[/D A[9
7 /C] Am7 /C
G7 /B Gm7 /B[ A7
Dm Gm7 /F
85
87
Comment
(D7 E[)/D
D7 G7 C7 F7
Seq(41m;R5 )
25
Table 2.8: Bach, Cantata No. 78 Jesu, der Du meine Seele, Movement 1 (contd)
m
129
131
134
136
138
140
142
143
26
Comment
M6
..
.
B[
B[ E[/G D7[9
Choir: imit
Gm Cm7 /E[ F m B[/D E[ A7 /C

G[9
7 Cm C7 /E D7 /F ]
Gm D/F ] Dm/F B[/F
C/E Cm/E[ A7 /E[ Gm64 D7
Seq(31m;R7 )
Gm D/F ] Dm/F G[9

7 /F
Instrum: coda
C/E Cm/E[ A7 /E[

Gm64 D7 G
(144 m.)
M0/c
M0
..
.
Gm
Chor mel, line 8

27
Table 2.9: Bach, Brandenburg Concerto No. 4, Mvt. 2 Andante

m
Comment
1
9
M1
M2
M2
M2
Em
Em
B E7
Am E D C7 B7
Em D7 G E7 Am E7
A, echo (C&R)
echo (C&R)
Seq(31m;R7 )
echo (C&R)
M2
M2
M2
Am
Am D7 G C7 F ]7 B7
Em F ]7
Bm F ]7 Bm C] B A
G7 F ]7
Bm A7 D B7 Em B7
B, solo, Seq(32m;R7 )
M1
M2
Em
Em F/A
B F ] E D G7
. . . Am/C B
A
Seq(31m;R7 )
Coda (71 m.)
18
28
37
45
55
61
68
2.4
Bm
Seq(31m;R7 )
echo
Brandenburg Concerto No. 4, BWV 1049 (1721)
Source: [2]. Music for orchestra (solo violin, two flutes or recorders, strings and continuo).
An overview of the formal analysis is shown in Fig. 2.3.
Mvt. 2 Andante: ternary song form (Em,
A
T1
3
4
, 71 m.)
Mvt. 3 Presto: tutti-soli form (G,

Intro
h i
S1
T2
h i
2
2
S2
, 244 m.)
T3
S3
T4 S4 T5
Coda
Figure 2.3: Bach, Brandenburg Concerto No. 4, BWV 1049
2.4.1
Mvt. 2 Andante
Form: ternary song form, ABA. Note the call-and-response (C&R) phrases and the frequent
use of single measure sequences with stepwise descending root, Seq(3 1m;R7 ), in the
episodes. See Table 2.9 for the analysis.
2.4.2
Mvt. 3 Presto
This closing fast movement has the characteristic juxtaposition of tutti with solo instrument
sections (two recorders and violin). See Table 2.10 for the analysis.
28
2.4. BRANDENBURG CONCERTO NO. 4, BWV 1049
Table 2.10: Bach, Brandenburg Concerto No. 4, Mvt. 3 Presto

m
Comment
1
23
41
47
53
57
M1
M1
M1
M1
G D G A7 D D7 G
. . . A7 D D
G G D 7 G D7
G Em A7
D A7 D A7
D E7 A7
Fugato-Intro (4 stat)
Tutti 1 (2 stat)
Solo 1, imit
Seq(32m;R7 )
imit
Seq(32m;R7 )
67
M1/2
75
127
138
152
159
167
Em
Am
Em
Em B7 Em B7 Em B7 Em
Tutti 3 (3 stat)
Seq(32m;R5 ), (4 stat)
Bm
F ]7 Bm E7 F ]7 Bm F ]7
Bm E7 Am D7 G Em A7
D D7 G G7 C G7
C D 7 G G7 C F G 7
M1
M1
GC
C
175
183
189
197
M1
M1
207
M1/2
M2
M1
237
M1
Tutti 2
Seq(32m;R5 )
M1
219
225
E7 F A7 Bm
G B7
Em B7 Em B7 Em A7
D A7 D7 G7 E7
Am B7 Em
. . . B7
Em A7 B7 Em B7 E7
Am B7 Em B
Em
D
Am
M1
M3
D A7 D D7 Em B7 Em
d
M2
M1/2
87
95
105
C
C
G
G
G7 C G7 C G7
D7
D 7 G D7 G D7 G
A7 D7
G
A7 D 7
G G7 C
G D7 G
G A7 D
G D7 G
D7
D7
G7 C E7 Am D7
DG
Solo 2 (violin)
Seq(32m;R5 )
imit
Solo 3, Seq(32m;R7 )
imit
Tutti 4, imit (3 stat)
Solo 4, Seq(32m;R7 )
Tutti 5, imit (3 stat)
Seq(32m;R7 )
Seq(22m;R5 )
Coda
imit (2 stat), (244 m.)
29
2.5
Orchestral Suite No. 3 in D Major, BWV 1068 (1731)
Source: [2]. Music for orchestra (3 trumpets, timpani, 2 oboes, strings and continuo). An
overview of the formal analysis is shown in Fig. 2.4.
Mvt. 1 Ouverture: ternary song form, ABCA form (D,
A
Mvt. 2 Air: AB form (D,
h ih i
4
4
2
2
, 122 m.)
A
h i
4
4
, 18 m.)
A B
Mvt. 3 Gavotte 1: AB form (D,
A
h i
2
2
, 26 m.)
h i
, 32 m.)
B
2
2
Mvt. 4 Gavotte 2: AB form (D,

A
Mvt. 5 Bourree: AB form (D,
h i
2
2
, 32 m.)
A B
Mvt. 6 Gigue: AB form (D,
A
h i
6
8
, 72 m.)
B
Figure 2.4: Bach, Orchestral Suite No. 3 in D Major, BWV 1068
2.5.1
Mvt. 1 Ouverture
Form: ternary song form, ABCA. This overture contrasts a maestoso A section with an elaborate counterpoint middle section (B and C), that is based on an ascending motif (M2), later
with addition of a quasi improvised, free melody (M3) in continuous 16th notes. The backgrounds are full of imitation (middle string voices). The trumpets provide accents, (unisono)
imitation, voice crossing and occasional support for the thematic material. See Table 2.11 and
2.12 for the analysis.
2.5.2
Mvt. 2 Air

30
2.5. ORCHESTRAL SUITE NO. 3, BWV 1068
Table 2.11: Bach, Orchestral Suite No. 3 in D Major, Mvt. 1 Ouverture

m
1
5
7
9
11
13
16
18
21
23
Comment
M1
M1
..
.
..
.
..
.
..
.
..
.
..
.
..
.
|| : (D Bm7 Em7 A7 )/D D C]7 /E

(D G]7 E7 )/D A/C] F ]m
A 44 (ab) tutti
(a): Ob+Vi
Bm7 E7 /G] A D]7 Am7
(b)
B7 /A Em/G F ]7 /A B Em7 Am/E
(b)
A]7 /E Bm F ]7
(b)
B7 /D] E C]m7 F ]m7 D
(c)
h i
Bm7 E7 /G] A E7
A A7 /G D/F ] D7 G Em7 /G
(d): Ob+Vi, Tpt accts
A7 /C] D A7 /G D/F ]
A7 /C] D A : ||
tutti
h i
2
2
|| : A7 D D7 /C G/B E7 /D
28
31
33
35
37
M2
..
.
M2
M2
A C]7 /E A7 /G D D7 /C
G/B E7 E7 /D A
A7 /C] D G7 C]7 F ]7
Bm Bm7 D7 G C]7
F ]m7 Bm7 A7 D
Tpt accts, cad

episode
tutti
38
40
M2
A A7 /G D/F ]
Em7 A7 /E <(D Em7 /G A7 )
DB
cad
42
M3
..
.
..
.
..
.
..
.
..
./2
D Bm Em7 /G A7
C, free 16th: Vi1
D E7 /D A/C] F ]m Bm7 /D E
Str bg
25
43
44
48
49
50
56
58
61
63
65
66
M3/2
..
.
..
.
..
.
4pt ctp: Ob+Str
A C] /G F ]7 Bm D]7 /F ] B7
Em7 A7 D7 G7
C]7 F ]7 Bm Em
F ]7 B7 E7 A7
D E7 A D/F ] C] E
A A7 /G D/F ] B B7 /A
tutti ctp, Seq(4R5 )

tutti, cad
tutti climax
E/G] E7 A D7
G]7 C]7 F ]m F ]m7 A7
Ob+Str ctp
D Em7 /G C]7 F ]
Bm Em7 C]7 /G F ] F ]7 /E
Tpt accts, climax
31
Table 2.12: Bach, Orchestral Suite No. 3 in D Major, Mvt. 1 Ouverture (contd)
m
Comment
68
M3
..
.
..
.
..
.
..
.
..
.
..
.
..
.
..
.
..
./2
Bm
Bm/D C]7 F ]7 /C]
Ob+Str episode
Bm Em F ] A] /E
(free 16th)
Bm C]7 F ]
cad
Bm F ]7 /A] Bm G C]7 /E F ]
Vi1, Str cad
M3/2
..
.
..
.
..
.
..
.
..
.
69
70
71
72
73
75
77
79
81
87
89
93
97
100
102
103
105
107
110
115
117
119
121
32
Bm C]7 /B F ]m/A D G]7 /B C]7
PB (&)
Em E7 /D A/C] A7
(cm<)
D7 G7 C] F ]m7 Bm Em7 A7
d
Ob accts
(D A7 Bm7 E7 A)/A A7
tutti climax
B7 E7 A7 D7
G Bm7 /C] D Em7 /G
A A7 D D7 G E7
ctp, Seq(4R5 )
A A7 D D7 /C G/B E
ctp
tutti climax, cad
E7 /D A/C] A7 D G7 C]7 F ]7
Bm Bm7 D7 G Em/G C]7
tutti climax
F ]m7 Bm7 Em7 A7 Bm7
M1
..
.
..
.
..
.
..
.
F ]m F ]7 /E B7 /D] B7
A A7 A7 /G D/F ]
Em A7 /E <(D Em/G A7 )
cad
D . . . D7 G C]7 /G
D/F ] B7[9 Em B7 E/G] E7
(ab): Ob+Str
h i
4
4
(ab): tutti
(A D A7 )/A Bm7 G/B Em7

A7 /C] A7 D D7
(G Em7 A7 )/G G/B A7 /C]
D G A D : ||
cad (122 m.)

33
Table 2.13: Bach, Orchestral Suite No. 3 in D Major, Mvt. 3 Gavotte 1

m
1
3
5
7
9
Comment
M.a
M.b
M.a
M.b
|| : D A7 /C] D C]
D/F ] Em7 /G D46 A7
D A7 /C] D E7
A/C] E7 A D A/C] D/F ]
Bm7 A64 E A : || : A7
A (aa): tutti (upbeat)

Ob+Str, cad
(aa): tutti, 2nd stat
Ob+Str
cad
11
13
14
15
16
17
19
21
I(M.a)
I(M.b)
M.a
M.b
M.a
M.b
22
23
24
25
I(M.a)
I(M.b)
2.5.3
Bm
D7 Bm7 Em7 C] /E F ]7
G D/F ] C]7 /G Em7
F ] Bm Bm7 /A
E7 /G] F ]7
Bm G A]7 /E Bm/D
Em Bm64 F ] Bm G
D7 /F ] B7 Em A7 /C]
D Bm C]7 /G E7 /G]
B (aa): Ob+Str, (cm>)
(a): Ob+Str
(aa): Ob+Str
tutti
A D D7 /F ]
Em7
A7
D Em7 /G A D : ||
Ob+Str, (cm>)
tutti, cad (26 m.)
Mvt. 3 Gavotte 1
Form: binary, AB form. In this straightforward, monothematic dance the full orchestra returns. Trumpets support the a-phrase from the main theme in the opening and closing tutti.
Oboes play unisono throughout. This theme returns in melodic inversion in the B section.
See Table 2.13 for the analysis.
2.5.4
Mvt. 4 Gavotte 2

34

35
Table 2.14: Bach, Orchestral Suite No. 3 in D Major, Mvt. 5 Bourree

m
Comment
1
3
5
7
M.a
M.b
M.a
M.b
|| : D D7 /C] F ]7 /C]
Bm E7 /B A/C] D/F ] A7
D Bm7 /D E/G] E7
A F ]m Bm/D E A : ||
A, Ob+Str, Tpt acct

tutti
cad
9
11
13
M.a
M.b
M.c
..
.
|| : A E7 /G] A A7 /G
D/F ] Em7 A D
G Em/B Bm/D Am/C C D] /F ]
B, Ob+Str, Tpt acct

tutti
Ob+Str, [S6 ]
Em D/A Em/G A] /C]

F ][9
7 . . . Bm F ]7 Bm
D/F ] D7 . . .
Ob+Str, Tpt acct
15
17
19
24
27
29
2.5.5
M.a
M.b
M.c
Bm
G A7 Bm A7 /C] D C]7 /D
D/F ] E7 A7 /G D/F ] A7 /E
D Bm E7 A7 D46 A7 D : ||
tutti, cad (32 m.)
Mvt. 5 Bourree
Form: binary, AB form. The oboes play unisono lead with the first violins. The trumpets
alternate between rhythmic accents and melodic support. The lower strings imitate the
bourree lead rhythm. See Table 2.14 for the analysis.
2.5.6
Mvt. 6 Gigue

36

37
38
Chapter 3
Joseph Haydn
Biographical data:
31-3-1732 in Rohrau
28-5-1809 in Wien
1600
1700
1800
1900
2000
The analysis of the Haydn string quartets in this chapter has been supported by detailed
examples or global descriptions in [51, 52, 46, 69]. 1 Haydn served as a Classical music period
example to many later composers, by more or less providing the templates for musical forms
such as the sonata, and longer, multi-movement forms, such as the symphony and the string
quartet. Applying analysis models to his works therefore implies comparing earlier work
with later models, and therefore occasionally yields peculiarities, that seem not to fit the
templates.
3.1
String Quartet Op. 76, No. 1 in G Major (1796/7)
Source: [22]. This opus number contains six string quartets. The three quartets analysed in
this chapter all consist of four movements in the conventional fast-slow-dance-fast tempo
pattern. An overview of the formal analysis is shown in Fig. 3.1. Note the length ratio of
the development section compared to the exposition-recapitulation pairs in the outer movements. These are not the extended developments, found in quartets by later composers in
the tonal music period.
3.1.1
Mvt. 1 Allegro con spirito
Form: sonata form. See Table 3.1 and 3.2 for the analysis. The lead instruments are indicated
in the tables, e.g., Vi1.
3.1.2
Mvt. 2 Adagio sostenuto

c
2005-2015
CHAPTER 3. JOSEPH HAYDN
Table 3.1: Haydn, String Quartet Op. 76, No. 1, Mvt. 1 Allegro con spirito
m
1
3
7
11
15
19
23
25
26
33
40
G D7 G
Introduction, cad
d
h i
2
2
M1.a
M1.a
I(M1.a)
..
.
G Am D7 Em A7 D E/G]
Am Bm E7 Am D7 G
<(C/G F ]7 G)
2nd stat, I(M1.a) in Vc

Va, I(M1.a) in Va
trans, g-ton-ped
G]7 Am F ]7 G C/G G
G]7 Am F ]7 G
C D7 G G/B C D7 G
Em F ]7 B Em A/C]
(g-ped)
M1.a
50
53
56
64
70
73
81
82
83
84
86
M2.2
89
91
93
96
M1.a
M1.a
M2.2
..
.
115
117
Comment
G Am D Em A/C] D
Am Bm E Am D G
112
M1.a
M1.a
36
38
40
43
46
102
106
108
M2.1
D D/F ] <(Em/G D]7 /A)

Em/G <(C]7 /G Dm/F )
<(Dm Gm)/D B[
[5/[9
E7 /D C]7 A[9
7 /C]
D G D/A A D
<(A7 D)/D F ] /A
D]7 /F ] Em C]7 /E D/F ]
G D/A D F ]
D]7 /F ] Em C]7 /E D/F ]
G D/A D F ]
D A D A7 D
M2.3
M2.2
..
.
..
.
D D/F ] Em/G G/B D7 /A

D7 /C G/B
[5/[9
Gm/B[ E7 /B[ A
A7 D/A D A7 D
D]7 Em A7 D A7
D
Em
D Em/G A7
Bm D/F ] E7 /G] A
Em F ] /A B7 Em D]
Em B B7 Em
Am7 D7 G7 C7
F ]7 B7
Em Am/E Em
Exp, Gr 1: Vc
Va
unisono climax
cad
trans to D
Gr 2: Vi1, a-dom-ped
(a-ped)
Vi1
unis arp, d-ped
Vi1, d-ton-ped
closing
closing 8va
cad
Dev: Va
Vi2
imit: Vi1-Vi2-Vi1
arp: R5 Vi1
arp: Vi1
E7 /D Am/C E7 /G]
Am A7 /G Dm/F A7 /C]
Dm G7 /F C/E G7 /B
climax
3.1. STRING QUARTET OP. 76, NO. 1 IN G MAJOR
Table 3.2: Haydn, String Quartet Op. 76, No. 1, Mvt. 1 Allegro con spirito (contd)
m
119
120
122
125
127
129
132
140
144
145
146
148
149
151
156
158
159
163
165
167
169
171
176
179
187
192
196
202
205
208
216
217
219
220
221
Comment
M1.a
..
.
C Dm/F
Vi1 ctp
M1.a
M1.a
I(M1.a)
M1.a
M1.a
..
.
..
.
[5/[9
G7 G7 /F C/E E7 /B[
A A7 D Dm/F F ][5
7 /C
Em
I(M1.a)
..
.
Seq(22m;R7 )
B
Em F7 B B7
Em F ]7 B7
Em Bm/D A/C] D
<(G C]7 )/D D7
d
Recap, Gr 1: Vc
stretto imit, [S6 (R3 )]
Am/C F ] /A D/F ] Bm/D
[S6 (R3 )]
S 6 (G Em . . . Bm G)
Em/G Am D7
G Em C Am G64 D7
<(C F ]7 )/G
[S6 (R3 )] (contd)
M1.a
M2.2
Gm
G
M2.3
..
.
M2.3
inv, par, Vi1+Va, d-ped
G Am D Em A7 /C] D
G G/B Em/G C/E
G]7 Am F ]7 G C/G G
G]7 Am F ]7 G
C D7 G G/B
C Am/C A/C]
Vi1 ctp
imit, Vc
(D E7 Am D)/D
(Em C D7 )/D
G Am D7
G D7 /F ] G <(Am G]7 /D)
Am/C <(F ]7 Gm/B[)
(Gm Cm Gm E[)/G
[5/[9
A7 /G F ]7 D7 /F ]
G Am/C G64 D7 G
<(D7 G)/G D7 /F ]
<(G D/F ]) <(G D7 /F ]) E7
<(Am E7 /G]) Am F ]7 G
<(D7 G) G7 /D
G]7 /B Am/C F ]7 /A G/B
Am7 /C D7 G G7 /D
G]7 /B Am/C C]7 D
D]7 Em D7 /F ] G
Am/C D7 G D G D7 G
cad
inv, par, Vi1+2, g-ped
trans, cad
imit, d-dom-ped
Vc, I(M1.a) in Vi1
unis arp, g-ped

cad
Vi1, g-ton-ped
Vi1 8va, g-ton-ped

closing
cad (225 m.)
41
Mvt. 1 Allegro con spirito: sonata form (G,

Exposition
h i
2
2
, 225 m.)
Development
Mvt. 2 Adagio sostenuto: ternary song form (C,

A
Recapitulation
h i
2
4
A
, 74 m.)
h i
, 200 m.)
Trio
Mvt. 4 Allegro ma non troppo: sonata form (Gm,

Exposition
h i
3
4
Mvt. 3 Menuetto presto: menuet and trio form (G,

Menuet
, 95 m.)
Development
2
2
Recapitulation
Coda
Figure 3.1: Haydn, String Quartet Op. 76, No. 1 in G Major
42

43
3.1.3
Mvt. 3 Menuetto presto and Trio
Form: menuet and trio form. See Table 3.3 for the analysis.
3.1.4
Mvt. 4 Allegro ma non troppo

44
Table 3.3: Haydn, String Quartet Op. 76, No. 1, Mvt. 3 Menuetto presto and Trio
m
Comment
h i
Menuetto. Presto
|| : G Am/C D7 G
A] Bm/D F ]7 Bm A7 D
3
4
1
5
M1a
M1b
G D Em/G D46 A7 D : || :
M2
..
.
..
.
..
.
D/F ]
(upbeat)
E[/G F/A Gm/B[ D C]7
[S6 ] , d-dom-ped
D Gm F/A E[/G Dm/F
parallel [S6 ]
Cm/E[ E[/G
Dm/F Cm/E[ B[/D
A /C <(C]7 D)
G Am/C D7 G
G E Am D7 G/B
G+ /B C B G7 /B
[S6 ] (contd)
[S6 ] (contd)
d-dom-ped
Vi1
Vc
Vi1
10
11
14
16
17
18
23
27
31
M1a
M1a
M1c
..
.
C F ] /A G D7 Em
Am/C G/D D7 G D G
41
M3a
Trio
|| : G D G
45
49
52
61
65
M3a
I(M3a)
M3a
M3b
..
.
35
37
69
71
Vi1
h i
3
4
G Em/G Em7 /G A D/F ] Em

D/A C] /E D G A7 D : || :
D7 /F ] G G7 /B C Am/C D7
GDG
C/E G
Am/C D G/B D7
G/D F ] /A G Am/C D7 G
(74 m.)
45

46
3.2. STRING QUARTET OP. 76, NO. 2 IN D MINOR QUINTEN
3.1.5
Key relationship overview
The key relationship diagram of this first string quartet is shown in Fig. 3.2. The first and
third movement stay close to or in the main key G major. The opening movement moves one
step in the horizontal (dominant-sudominant axis) and vertical (relative and parallel minor)
direction. The second, slow movement moves to the dominant (1) and the parallel minor (2)
key.
The closing movement has the widest key scope. It starts in G minor, moves to the relative major B[ (1) and then moves back and forth to its parallel minor (2). The development
starts to move further away from the main key along the vertical axis F m A[ A[m (3).
Then there is a remote leap A[m A. Using the double occurrence property, this move prepares for the return; first A Am (4) and then back to the (major) main key Dm Gm G
(5).
Mvt. 1 Allegro con spirito
Mvt. 2 Adagio
Am 2 *
Am @
Am

I

@1
C

3 ?6
Cm
Gm
1
C -G
@D
6
?
2
Dm
Cm
Gm

C
Cm
Gm
Dm
Am
E[
E[m
Mvt. 3 Menuetto
G
5
6
1 ?
B[
2 ?
6
B[m - F m
3 ?
A[
G[
D[
G[m
D[m
A[m

9

E
A t
C
Cm
E[
E[m
F]
Figure 3.2: Haydn, String Quartet Op. 76, No. 1, key relationship overview
3.2
String Quartet Op. 76, No. 2 in D Minor Quinten (1796/7)
Source: [22]. This string quartet has the standard set of four movements; opening sonata
form allegro - slow movement in ternary song form - menuet and trio - closing fast movement. However, the treatment of these is unusual and must have been an example and inspiration to later composers. The use of a short main motif, as the basis for a counterpoint sonata
setting (Mvt. 1), the canon and extended pedal point in Mvt. 3 and the mixed sonata/rondo
form of the last movement are rather unique. All the predictable elements are present in this
47

quartet, but with a special twist by Haydn.
Mvt. 1 Allegro: sonata form (Dm,
Exposition
h i
4
4
, 154 m.)
Recap.
Developm.
Co
Mvt. 2 Andante o piu` tosto allegretto: ternary song form (D,

A
h i
6
8
, 67 m.)
Mvt. 3 Menuetto allegro ma non troppo: menuet and trio form (Dm,
Menuet
h i
3
4
, 80 m.)
Trio
Mvt. 4 Vivace assai: sonata form (Dm,

Exposition (93 m.)
Recapitulation (103 m.)
h i
2
4
, 267 m.)
Developm. (54 m.)

Co
Figure 3.3: Haydn, String Quartet Op. 76, No. 2 in D Minor Quinten
3.2.1
Mvt. 1 Allegro
Form: sonata form. This quartet received its name Quintenquartett from the opening motif
(M1.a=Mq), that consists of two downward 5th leaps. This motif is used also as background
in the second thematic group from the exposition, and in intricate (stretto) counterpoint
settings. See Table 3.4 and 3.5 for the analysis.
3.2.2
Mvt. 2 Andante o piu` tosto allegretto

48
Table 3.4: Haydn, String Quartet Op. 76, No. 2, Mvt. 1 Allegro
m
1
3
5
7
9
11
13
15
17
20
22
23
25
27
28
30
32
34
36
38
40
41
45
47
49
53
57
59
61
63
65
68
69
71
M1a
Dm
Dm E7 /D A7 /E
M1b
M1a
M1b
M1b
M2.1/q
..
./Mq
Comment
Exp, Gr 1 Quinten-
Dm/F Dm A7 B[ A
Dm E7 /D A7 /E
Dm/F Dm A Dm/F
C]7 /E <(B[/D A/C]) D7 /C
Gm/B[ Dm/A A7 Dm
F Gm/B[ C7 F
motif M1a=Mq Vi1

2nd stat, 8va
(B[ Gm C7 )/B[ F/A F
Mq: Va-Vi1-Vc
downward [S6 ]
cad
Gr 2/Th 1, Vi1
G7 C7 Dm Gm F/C C
(C7 F D7 )/C
(Gm C7 )/B[ F/A
<(C7 F )/C
B[/D Am/C E /B[ F/A
/Mq
M1a
trans, Vi1
M2.2
(M1a)
..
./Mq
..
.
..
.
..
.
..
.
..
./Mq
..
.
Fm
A[
16th notes Vi1

Mq in Vi2
A[ D[/F E[/G E[7

A[/E[ B[m/D[ C C7 /E
Fm
F m B[m/D[
<(C F m)/C C
trans, c-dom-ped
D7 /F ] Gm C7 /B[ F/A F
d
I(M1a)
M1a
M1a/I
M2.1/q
..
./Mq
..
./Mq
..
./Mq
Gm/B[ F/C C7
B[/D Am/C G] /B Am/C D7
Gm C7 F Gm/B[ C7
F m E7 F m C7 /E B7 C/E
F m D[/F E[7 /G
Gm
B[
Dm
G7 C7 Dm Gm
Mq in Vc
F/C C7 <(F C7 )/F F

C7 /E F C7 /E F
climax c-dom-ped
D7[9 D7 /A Gm D
E[7 D
Cm F/C F7
B[ Cm/E[ B[
Dev, imit Vc
Vi1
orig+inv: Vi1+Vi2
Vi1 Mq in Vi2
[9
F7 B[ G[9
7 Cm A7 Dm
Seq(31m;R7 ), Vc-Va
C7 F Gm/B[
stretto imit: Vi2-Va
C] /E A7 <(Dm C] )
[5/[9
Dm E7 /B[
49
Table 3.5: Haydn, String Quartet Op. 76, No. 2, Mvt. 1 Allegro (contd)
m
72
74
75
77
80
83
Comment
M1a
M1a
M1a
M1a
M1a
A Dm E7 /G Am
Dm B[ Cm7 /E[ F
Gm7 /B[ A7 /C
B7 /D Cm/E[ C/E C + /E
F F + Dm/F B7[5 /F E
(E7[9 D]7 )/E
stretto imit: Vi1-Vi2-Va+Vc
85
89
93
95
I(M1a)
M1a/I
M1a
M2.1
<(E E7 /B F7 D]7 /C)

E
C G7 /C
C G/B Gm/B[ A7
Vc
orig+inv: Vi1+Vc
cresc Vi1
retrans, imit: Vi1-Vi2
99
M1a
Dm
Dm E7 /G A7 /E
Recap, Gr 1, Vi1
101
103
105
107
109
110
111
112
113
116
118
121
122
M1b
..
.
..
.
Dm/F Dm A7 B[ A7
Dm E7 /D A7 /E
Dm/F Dm A Dm/F
Gm
Gm
139
141
I(M2.2)
143
147
149
150
152
M2.2
Dm
B[
Dm
B[
downward [S6 ]
F G7 C D7
imit: Vi1-Vi2
Dm E /G Dm/A A7
<(Dm C] )/D <(Dm A)
Dm D7 Gm64 D7
Gm Am G] /B A7 /C]
d
imit, Seq(31m;R7 )
a-dom-ped
cad
trans, d-dom-ped
climax
(cm>)
Dm E /G Dm64 A7
<(B[ F7 /A)
D7 /F ] Gm A7 /G Dm
A Dm E7 A
A7 Dm A Dm A7 Dm
cad
Gr 2, imit: Vi1-Va, Mq:Vi2
Vi1
Vc
Vc, cad
D7[9 /F ] Gm C7 /E F
[5/[9
B[/D C] B[/D E7 /B[
Coda, Seq(21m;R7 ) Vi1

imit: Vi1-Vc
Dm
M2.2
2nd stat 8va
C] /E <(B[/D A/C]) B[/D

A/C] D7 /C
Gm/B[ D7 /F ] Gm C7
[5/[9
Gm E7 /B[
A7 Dm64 A7
Dm
M2.1/q
M1a
M1a
M1a
Vi1
Mq in 4ths Vi2
Mq in augm 5ths, e-ped
M1b
M1a
M1b
..
.
124
126
130
132
134
50
(A B[7 A G] A7 )/A
B[ D7 /A Gm E
A7 /C] Dm E /D A7
(Dm D7 Gm C]7 )/D
<(Dm A Dm A7 ) Dm
imit, a-dom-ped
cresc to climax
cad, (cm>)
Vc d-ton-ped
closing cad (154 m.)

51
Table 3.6: Haydn, String Quartet Op. 76, No. 2, Mvt. 3 Menuetto allegro ma non troppo and
Trio
m
1
5
9
12
14
16
19
23
27
31
39
45
50
53
61
65
69
73
78
3.2.3
M1
..
.
M2
..
.
..
.
M1
..
.
Comment
h i
Dm
Menuetto. Allegro ma non troppo

|| : Dm . . . A G] /D
A G] A Dm C]7 A7 . . .
A/C] A Dm : ||
|| : Dm E7 Dm/F E /G
Dm/A C7 /G F C7 /B[
Dm
F/A Gm A B[
<(C] Dm C] /E Dm/F )
Dm . . . A G] /D
D
Dm
D
M3
A, canon
A, canon
A G] A B[/D A Gm A7
Dm C] Dm . . . Dm : ||
M3
M4
3
4
Trio
|| : Dm . . . D
D . . . <(A7 Dm)/D
A/C] E7 A : ||
|| : A . . . <(Dm A A[9
7 )/A
Dm/A A . . .
Dm . . . Gm/D
Dm . . . D
D . . . <(A7 D)/D
G A7 D : ||
A, d-ton-ped
Vi1 climax, (d-ped)
cad
B, Vi1 a-dom-ped
(a-ped)
d-ton-ped
A, (d-ped)
Vi1 climax, (d-ped)
cad (80 m.)
Mvt. 3 Menuetto allegro ma non troppo and Trio
Form: menuet and trio form, 2-part canon. The menuet is a two-part canon; violin 1 and 2 in
parallel octaves are imitated by viola and cello in parallel octaves. The trio is full of tonic and
dominant pedal point. Both menuet and trio are in ternary song form (ABA). See Table 3.6
for the analysis.
3.2.4
Mvt. 4 Vivace assai

52

53
3.2.5

54

55
3.3
String Quartet Op. 76, No. 3 in C Major Kaiser (1796/7)
Source: [22]. This quartet is known as the Kaiserquartett (Emperor Quartet), because the
second movement is based on the song Gott erhalte Franz den Kaiser that Haydn used for
other, ceremonial occasions and therefore has untouchable royal status.
An overview of the formal analysis is shown in Fig. 3.1. Note how the length of the
development section in the finale movement has increased in length significantly, compared
with the surrounding exposition and recapitulation (which now is fairly short).1
Mvt. 1 Allegro con spirito: sonata form (C,
Exposition
Developm. Recap.
h i
4
4
, 121 m.)
Coda
Mvt. 2 Poco adagio - cantabile: theme and variations form (G,
h i
2
2
, 104 m.)
Theme Var. 1 Var. 2 Var. 3 Var. 4

Mvt. 3 Menuet allegro: menuet and trio form (C,
Menuet
h i
3
4
, 100 m.)
Trio
Mvt. 4 Finale. Presto: sonata form (Cm,

Exposition
h i
2
2
Development
, 189 m.)
Recap. Coda
Figure 3.4: Haydn, String Quartet Op. 76, No. 3 in C Major Kaiser
3.3.1
Mvt. 1 Allegro
Form: sonata form.. This movement is almost entirely monothematic; the first phrase of the
opening melody (M1a, abbreviated as M1). The other melodic element is the dotted 16th 32th note runs used as countertheme (M2) in the second statement of the exposition. See
Table 3.7 to 3.9 for the analysis.
3.3.2
Mvt. 2 Poco adagio; cantabile

1
Compare this sonata closing movement with the frst quartet from the series, and note the change in development section length.
56
3.3. STRING QUARTET OP. 76, NO. 3 IN C MAJOR KAISER
Table 3.7: Haydn, String Quartet Op. 76, No. 3, Mvt. 1 Allegro
m
1
2
3
4
5
6
7
8
10
11
13
14
15
16
18
19
20
21
23
24
25
26
29
31
33
34
35
36
38
43
Comment
M1(a)
M1b
M1
|| : G/B C F G7 C G/B
C Am G64 D7 G
C7 /E F B /D C C/E
Dm7 /F G7 C
C Dm G C/E
C Dm G C/E
<(F C)
<(G7 C Dm C)/C
Exp, Gr 1, main motif: Vi1

Vi1
Va
cad
2nd stat, par: Va+Vc
imit: Vi2/Vi1
imit Vc
trans, c-ton-ped
(G7 C)/C
<(G7 C) <(C G)/G
<(G D7 )
climax, g-ton-ped
Gr 2 imit: Vc-Vi1-Va
G7 /B C F ] G B7 /D]
Em G7 /B C E7 /B[
A[9
7 D7 /F ] G C] /E A7
(D G] D7 )/D
ctp Vc
d-dom-ped
(G C]7 D G]7 Am7 D7 )/D
(d-ped)
(G C]7 D)/D
G/B D7 /C G/B
(d-ped)
climax
M1/2
/2
M2
M2
..
.
M1
..
.
M1
M1
..
.
..
.
M1
..
.
..
.
E[
M1
..
.
..
.
..
.
<(D7 /C G/B) D7 /F ]
Em G] /B Am
cad
ctp Vi2
A7 /G D/F ] C/E
ctp, suspensions
F ]7 /E Bm/D Am/C
D7 /C G/B C] G64 D7
<(G D7 )
Gm D7 Gm B[7 /D
<(E[ B[7 /D) E[
<(E[/G B[7 /F )
[S6 ]
cresc to climax
climax, mod
cad
stretto imit: Vc-Va-Vi1
E[ B[7 E[/G B[7 /F

E[ B[m7 E[7 A[/E[
G
E[7 G/D D7
<(G D7 ) <(G D7 /F ])
1) G <(D G) <(D/F ] G)
7
E/G] Am B : ||2) G <(D7 G)
closing cad
repeat
57
m
45
46
47
49
M1/2
M2
M1
50
M1
51
M1
52
53
54
56
57
58
59
60
61
62
63
65
67
73
74
79
80
81
82
83
84
85
86
87
88
90
58
M1
..
.
..
.
M1
..
.
R
Am
Comment
G D7 G/B
(E7 Am D]7 E7[9 )/E
<(E7 Am) E7
E7 /G] Am
Dev, par: Vc/Va-Va/Vi2

Vi1 e-dom-ped
(e-ped)
imit, par
C]7 A7 /C] B[ Am7

C
Vi1
Dm/F G7 /B C G7
(False) Recap, Vi1

d
C B /D C Am/C D7
d
ctp, imit Vc
Em/G A7 /C] B[/D E7

Am
M1
..
.
..
.
Em
M1
M2
..
.
Em
M1(a)
M1b
M1
M1/2
/2
M2
M2
..
.
..
.
F/A B7 /D] E7[9 D]7 E7[9 /G]

Am C] /G Dm/F C] /E Dm
G7 /B C F ] /A G E
Vc Seq(31m;R7 )
A7 /C] Dm G] Am F ]
[9
B7 /D] Em F ][5
7 /C B B7
Em/B B7 Em/B
par: Vi1+Vi2
D]7
[5/[9
F7
/C
B B7[9
Em/B B7 Em/B
[5/[9
D]7 F7
/C B
(E B7 E B)/E E
<(B7 E B7[9 E)/E
2nd Dev: Vi1 eb-ped

par: Vi1+2, eb-ped
(B7 E B7 )/E
(Em B7 )/E Em . . . G/B
climax, eb-ped
Retrans, e-ped
C F G7 C G/B
C Am G64 D7 G
C7 /E F B /D C C/E
Dm7 /F G7 C
C Dm G C/E
C Dm G C/E
<(F C)
<(G7 C Dm C)/C
(True) Rec/Gr 1: Vi1

Vi1
Va
cad
2nd stat, par: Va+Vc
imit: Vi2/Vi1
imit Vc
trans, clim, c-ton-ped
(G7 C7 F C7 )/C
(c-ped)
F/C C]7 Dm C
Dm/F D7 /F ] G
g-ped
m
91
M1
..
.
92
93
95
96
97
98
M1
..
.
..
.
..
.
107
109
115
117
119
120
120
Comment
(C] G7 C D7 G)/G
par: Vi1+2, g-ped
(C]7 G7 C Cm G)/G
(F ] G7 C G) G Am
climax (g-ped)
(g-ped), cad
Dm7 /F C] /E Dm Am/C
Gr 2, (var), Va ctp
F7 /C G/B F/A
[S6 ] ,
B7 /A Em/G Dm/F
suspensions
G7 /F C/E F ] C46 G7
<(C G7 ) <(C G7 )/C
c-ton-ped
102
105
M1
C F C/G G7 F ] /A G7 /C
cad
C G7 C C] /E Dm
Coda, par, imit
E F C/G G
A[ F ]7 = D7[9 /F ] C46 G7
<(C G7 )
<(C G7 )
C/E G7
1) <(C G ) <(C G) C
7
G/B F/A Em7 /G D7 /F ] : ||
2) <(C G ) G C
7
stretto imit
closing cad
g-dom-ped
cad
ending 1)
[S6 ] , repeat
ending 2), (121 m.)
59

60
3.3.3
Mvt. 3 Menuett allegro and Trio
Form: menuet and trio form. Both the menuet and the trio are in ternary song form, ABA. A
fragment from the first theme is used a counterpoint motif for imitation (M1). See Table 3.10
for the analysis.
3.3.4
Mvt. 4 Finale. Presto

61
Table 3.10: Haydn, String Quartet Op. 76, No. 3, Mvt. 3 Menuett allegro and Trio
m
1
6
8
9
10
12
16
21
23
25
27
31
33
37
42
Comment
h i
M1
M1
..
.
..
.
M2
M2
Menuett. Allegro
|| : C Dm/F G7 /B C
C Am
M1
..
.
3
4
A, Vi1
imit: Vi1-Va/Vc-Vi2
G]7 Am F ]7 G
(M1)
46
47
48
52
M1
M1
M1
..
.
..
.
M2
M2
57
61
65
69
M3
M3
M3
M3
Am
77
81
85
89
M4
M4
93
97
99
M3
M3
Am
45
62
D7 /C G/B Am/C
E7 /D Am/C G64 D7
(G . . . F ] )/G
G . . . D7 G : ||
cad
app motif Vi1, g-ped
I(M2) asc Vc
|| : G . . . Cm/E[
B, imit: Vi1-Vc
A[/C D G7 /B Cm
[5/[9
D7 /A[ G
<(F ]7 G)
G[9
7
appogg
cad
motif imit, echoes
C Dm/F G7 /B C
C G7 Dm A7
Dm C]7 Dm B7 C
A, Vi1
par: Vi2+Vc, Seq(22m;R7 )
par imit: Vi1+2-Va+Vc
G7 /F C/E
Dm/F A7 /G Dm/F
C46 G7
C . . . G7
C . . . G7 C : ||
Trio
|| : Am Dm E7 Am
Am Dm B7 E : ||
|| : Am Dm C]7 Dm
Bm E7 /D Am/C F7 E
(cm<)
cad
Vi1 c-ton-ped
I(M2) asc Vc, cad
A, Vi1
climax
A E7 /G]
A Bm/D A/E E7
A E7 /G]
A/C] Bm/D A64 E7 A
(cm>), cad
Am Dm E7 Am
Am B[/D B7 /D]
Am64 E7 Am : ||
A
(N 6 )
cad (100 m.)
B
cad

63
3.3.5

64

65
66
Chapter 4
Wolfgang Amadeus Mozart

Biographical data:
27-1-1756 in Salzburg
5-12-1791 in Wien
1600
4.1
1700
1800
1900
2000
Sonata in F Major KV 332 (1783)
Source: [37].1 An overview of the formal analysis is shown in Fig. 4.1.

Mvt. 1 Allegro: Sonata form (F ,
h i
3
4
, 229 m.)
Exposition
Development Recapitulation
Mvt. 2 Adagio: ABAB form (B[,

A B
h i
4
4
, 40 m.)
A B
Mvt. 3 Allegro assai: sonata form (F ,
h i
Exposition (90 m.)
Development (57 m.)
6
8
, 245 m.)
Cda
Figure 4.1: Mozart, Sonata in F Major KV 332
4.1.1
Mvt. 1 Allegro
Form: sonata. This fast opening movement contains a multitude of themes in both subject groups. The short development starts with a new subject; the similarity with the other
sections lies in the transitions. The detailed analysis is shown in Table 4.1 and 4.2.
c
2005-2015
CHAPTER 4. WOLFGANG AMADEUS MOZART
Table 4.1: Mozart, Sonata in F Major KV 332, Mvt. 1 Allegro

m
Comment
M1
..
.
..
.
..
.
|| : F F7 B[/F Gm7 /F E /G
Exp/Gr 1 (a): RH
<(F Dm/F ) Gm7 C F B[/D B[
(b), imit RH-LH
F/A Dm Gm/B[ C7 F C7
cad
F C F/A C F C7
F C F/A C7 F C7
F C7 F A/C]
[9
Dm A[9
7 /E Dm/F G7 /D
(c) RH+LH par

cad
trans
(aa): arp
5
10
13
17
21
23
31
37
41
45
49
53
57
M2
..
.
M3
..
.
..
.
Dm
Cm
C
Cm
68
M4
94
102
110
116
122
127
M5
M5
133
M1
..
.
..
.
..
.
145
149
F/A G7 /B Am Dm/F G
(b)
C G/B G7 /B C G C
F/A G/B G7 /B C Dm/F G7 C
<(G7 Cm) F m7 B[7 E[7
LH triplets
(b)
trans
M4
142
(b): 16th arp

halfcad
Gr 2 (a)
A[7 D7 G7 A[ F ]7
<(G F ]7 ) G C]
77
80
82
84
86
90
137
/A[
64
67
71
[5/[9
Cm/E[ A[/C D7
<(G Cm) G
C . . . G C
F C G7 Am Dm/F C46 G C
cad
F/C C G7
Am Dm/F C/G B /F
Em G]7 Am Dm/F C/G B /F
Em G]7 Am Dm/F C46 G
<(C . . . G7 )
C E/G] Am Dm G C : ||
climax, RH: 16ths

LH: 16ths, P D (c)
cad
Dev
Cm
Dm
|| : <(C G) Dm/F G7 C G7no 3

<(C G) Dm/F G7 C
<(G7 Cm) F ]7 /A Gm/B[
D7 /F ] G C]7 /E Dm/F A7 /C] Dm
G] /B <(A G]7 ) A
Am G]7 C7 /G C7
F F7 B[/F Gm7 /F E /G
Rec/Gr 1 (a): RH
<(F Dm/F ) Gm7 C F B[/D B[
(b), imit RH-LH
F/A Dm Gm/B[ C7 F C7no 3
cad
F C F/A C F C7
F C F/A C7 F C7
(c) RH+LH par

cad
4.1. SONATA IN F MAJOR KV 332
Table 4.2: Mozart, Sonata in F Major KV 332, Mvt. 1 Allegro (contd)

m
153
155
163
167
173
177
181
183
185
189
193
Comment
M2
..
.
..
.
M3
..
.
..
.
..
.
Dm
F C7 F A/C]
[9
Dm A[9
7 /E Dm/F G7 /D
trans
(aa): arp
Cm
Cm/E[ F7[9 /E[
(aa): arp
B[m/D[ F/C B7
<(C B /F ) C G7 C
F C7no 3 /B[ F E F
(b): 16th arp

climax
Gr 2 (a)
B[/D C/E C7 /G
(b)
F Dm Gm/B[ C
Fm
213
216
218
219
220
222
226
LH triplets
(b) 8va
trans
D[7 G7 C7 D[ B7
<(C B7 ) C F ]
200
203
207
211
F C/E C7 /E F E F
B[/D C/E C7 /E F C7 F
<(C7 F m) B[m7 E[7 A[7
B[ F C7 Dm
Gm/B[ F46 C F
M4
M4
cad
B[/F F C7
Dm Gm/B[ F/C C7 /B[
F/A C]7 Dm
Gm/B[ F/C C7 /B[
F/A C]7 Dm Gm/B[ F46 C
<(F . . . C7 )
F A/C] Dm Gm C F
climax, RH: 16ths

LH: 16ths, f -ped
cad (229 m.)
69
4.1.2
Mvt. 2 Adagio

70
4.1. SONATA IN F MAJOR KV 332

71
4.1.3
Mvt. 3 Allegro assai
Form: sonata. The closing fast movement of this sonata is, like the opening movement, a
sonata form with melodic richness. It also introduces a new subject in the development
(M6). The key relations are similar (major vs. relative or parallel minor), but now the order
is different: tonic major, relative minor, dominant minor, parallel major (F Dm Cm C).
In the coda, there is the unexpected return of the first group, second theme, with transitory
character (M2). The analysis is shown in Table 4.3 to 4.5.
4.1.4
The key relationship diagram of this three-movement piano sonata is shown in Fig. 4.2.
Overall it has a limited key range envelope. Both sonata form movements are in the tonic
major key F . For a shortest path interpretation they require the double occurrence property
of the dominant minor Cm and the tonic minor F m key. The opening Allegro remains in the
dominant key area, the closing movement also reaches the subdominant domain with B[
and Gm (45). The middle movement has one counterclockwise loop through the dominant
key F (1) and one alternation with the tonic minor key B[m (2).
Mvt. 1 Allegro
t
Cm
Gm
Dm
B[
E[
HH C
Y
6 H 6
?
?t
5 F m 2,4 Cm
B[m
E[m
Mvt. 2 Adagio
Am
B[
*

6
?
2
B[m 1 F m

F mt6
A[
A[m
2 t
Cm
Gm
Dm
HH
YH
1,7
5H
6
?
H
j
H
F
E[
4 B[
6
B[m t F m
E[m
Am
C
3 6
?t
Cm
Figure 4.2: Mozart, Sonata in F Major KV 332, key relationship diagram
4.2
String Quartet in C Major No. 19 KV 465 (1785)
String quartet No. 19 KV465 is also known as the Dissonanzenquartett (Dissonance Quartet).
4.2.1
Mvt. 1 Adagio - Allegro
Form: sonata form. The slow (adagio) introduction with its 3-part stretto imitation opening
is the reason for giving this quartet its nickname Dissonance Quartet (Dissonanzenquartett):
the three stepwise descending entries are Va: a[, Vi2: e[, Vi1: a, repeated as a stepwise
72
4.2. STRING QUARTET IN C MAJOR NO. 19 KV 465
Table 4.3: Mozart, Sonata in F Major KV 332, Mvt. 3 Allegro assai

m
Comment
1
4
6
7
M1
|| : F . . . F/A
Gm/B[ F/C <(B[m/D[ F/C)
B7no 3 C
F . . . F/A
Exp/Gr 1 (a) RH 16ths

(b)
halfcad
2nd stat (a) RH 16ths

B7 E /B[ F ]7 /A Gm/B[ C7 F
<(C7 F ) C7
F Gm/B[ G/B
(b) halfcad
10
12
15
22
23
24
26
28
32
36
38
42
44
46
48
50
54
56
58
62
64
65
70
72
74
79
81
83
85
91
94
96
M1
..
.
M2
..
.
Dm
Dm
C A/C] Dm E7
C7 /B[ F/A C]7 Dm
F/A A/C] Dm E7
C7 /B[ F/A B[ F46 C7
<(F C7 ) F
Dm/F A7 /E
Dm A7 /C] Dm D7 /C G/B G7
Cm
C/Gno 1 G7 /F no 3 C/E G7 /D
C G7 /B C
F7 B7 Em7 Am7
G7 /D C G G7
Cm G/B B G[9
7 /B Cm
M2
F
M3
..
.
M4
..
.
Cm/E[ B[/D A[/C Gm/B[

[5/[9
F m7 /A[ D7 /A[ Cm64 G
Cm G/B B G[9
7 /B E7 /B[ F/A
M4
..
.
M5
..
.
[5/[9
M5
..
.
M1
..
.
Cm
trans, LH: 8ths

unisono
(cm>)
2nd stat, unis
(cm>)
trans arp
imit RH-LH
(ab)
(c)
trans, Seq(21m;R7 )
Gr 2 (a), LH: arp
(b) [S6 ]
cad
2nd stat (a) var
D7 /A[ Cm64 B7 /F Cm/E[ F m

Cm64 G7
<(C G7 ) C . . .
(b)
cad
(a) RH: 16ths, clim
F ] F m7 /C B7 G[9
7 /F
C/E F C46 G7
<(C G7 ) C . . .
(b)
F ] F m7 /C B7 G[9
7 /F
6
C/E F C4 G7
C/E Dm/F C46 G7
<(C G7 ) C : ||
(b)
|| : Cm . . . Cm/E[
Dev (a)
Dm7 /F C/G F m/A[ Cm/G

<(D7 /F ] Cm/G F m/A[ Cm/G)
(b)
(a) 2nd stat var
trans, climax
73
Table 4.4: Mozart, Sonata in F Major KV 332, Mvt. 3 Presto agitato (contd)
m
98
D7 /F ] Gm Cm <(G7 F m/A[)
106
M1
..
.
..
.
110
F7 Gm F7
112
M6
..
.
..
.
102
114
116
118
120
122
124
126
129
135
139
142
148
151
153
154
157
159
161
162
169
173
175
178
180
182
185
189
191
74
[5
G7 A[ G[9
7 <(C G7 /D[)
d
C7 Dm C7 <(F7 /A E[m/G[)
d
B[
B[ F/A E[/G D/F ]
(a) [S6 ]
E[/G Dm/F Cm/E[ B[/D
[S6 ]
C7 F7 B[ G[
E[m7 C7[9 /E F F7
(b)
d
B[ F/A E[/G D/F ]
(a) var, 16th arp
E[/G Dm/F Cm/E[ B[/D
[S6 ]
C7 F ]7 Gm Cm/E[
B[64 F7 B[
F ]7 /A Gm/B[ E7 C7[9 /B[
[5/[9
F m/A[ Dm7 B7 D[ G7 /D[
(C B E F F ] E )/C
C7 . . .
(b) LH-RH arp

cad
F . . . F/A
B7no 3 C
F . . . F/A
Rec/Gr 1 (a) RH 16ths

(b)
halfcad
2nd stat (a) RH 16ths
(b) halfcad
Gm
B7 E /B[ F ]7 /A Gm/B[
C7 F
<(C7 F ) C7
F A[5
7 /E[ D D7 Gm/B[ D7 /A
Gm D7 /F ] Gm G7 /F
cad
trans, LH: 8ths
imit RH-LH
(a)
(b)
(c)
trans, Seq(21m;R7 )
Fm
C/E C7 /B[ F/A C7 /G

F C/E F
B[7 E Am7 Dm
Gm7 C7 F B[ G/B C C7
F m C/E E7 C7[9 /E F m
F m E[/G D[/F Cm/E[
B[m7 /D[ G7[5 /D[ F m64 C
(b) [S6 ]
cad
M4
..
.
Seq(34m;R5 )
M1
..
.
..
.
M3
..
.
Comment
d
M6
..
.
..
.
M1
retrans, c-ped
climax
Gr 2 (a), LH: arp
Table 4.5: Mozart, Sonata in F Major KV 332, Mvt. 3 Allegro assai (contd)
m
193
195
197
199
200
206
208
210
215
217
220
222
227
232
233
235
237
239
241
M
M4
..
.
..
.
M5
..
.
Comment
F m C/E
2nd stat (a) 8va
E7 C7[9 /E A7 B[/D
[5/[9
G7 /D[ F m/C E7 /B[ F m/A[

F m64 C
<(F C7 ) F . . .
(b) var
cad
(a) RH: 16ths, clim
B /D B[m7 /F C7[9 /E
F/A B[ F46 C7
<(F C7 ) F . . .
(b)
B /D B[m7 /F C7[9 /E
F/A B[ F46 C7
F/A Gm/B[ F46 C7
<(F C7 ) F
F7 B[ B7 F46 C7
(b)
Dm
F Gm/B[ G/B
Coda, unisono
C A/C] Dm E7
C7 /B[ F/A C]7 Gm/D Dm
F A/C] Dm E7
C7 /B[ F/A B[ F46 C7
<(F C7 ) F : ||
(cm>)
2nd stat, unis
cad
closing (245 m.)
M5
..
.
M2
..
.
M2
Mvt. 1 Adagio Allegro: sonata form (C,

Intro
Exposition
h ih i
3
4
4
4
B1
A2
block chords, cad
, 246 m.)
B2
Recapitulation
Coda
h i
3
4
, 114 m.)
Cda
Mvt. 3 Menuetto Allegro: menuet and trio form (C,

Menuet
trans, climax
Development
Mvt. 2 Andante cantabile: ABAB Coda form (F ,

A1
(a) 2nd stat var
h i
3
4
, 103 m.)
Trio
Mvt. 4 Allegro: sonata form (C,

Exposition (137 m.)
h i
2
4
, 419 m.)
Developm. (53 m.)
Coda (47 m.)
Figure 4.3: Mozart, String Quartet in C Major No. 19 KV 465

75

downward sequence.1 The allegro main theme has M1(aab) sentence structure (2 + 2 + 4 m.),
where the longer b-phrase starts with the a-motif. In the allegro the first phrase from the
opening theme (M1a) returns in many disguises (variation, stretto imitation) in all sections
of the movement. The detailed analysis is shown in Table 4.6 to 4.8.
If the first two themes from the secondary group, M2.1 and M2.2, are considered together,
they may be interpreted as another M2(aab) (2 + 2 + 12 m) sentence structure. The group
returns in the recapitulation, but is not developed.
4.2.2
Mvt. 2 Andante cantabile

1
The other likely reason for its label Dissonance Quartet probably has to do with the wide leaps and the
diminished fifth leaps in the main themes of the other movements.
76
Table 4.6: Mozart, String Quartet in C Major No. 19 KV 465, Mvt. 1 Adagio - Allegro
m
1
5
9
27
29
31
35
39
42
44
48
51
53
56
60
65
67
69
71
75
78
84
88
91
100
103
Comment
Adagio
A[/C D7 /C G/B D7 /F ]
G[/B[ C7 /B[ F/A C7 /E
F m/A[ E[/G D7 Cm/E[
h i
3
4
Introduction
3pt imit, PB (&),
Seq(24m;R7 )
G7 C G 7
Am7 D7[5 /A[ G D7[9 /F ]
G7 D7[9 /F ] D7 /F ] G G7 . . .
13
15
17
23
M1
..
.
M1
..
.
..
.
M1
..
.
..
.
M2.1
..
.
..
.
..
.
M2.2
M2.2
M2.1
M1
M1
Allegro
|| : C F G/B G7 C/E G/B
cad (22 m.)

h i
4
4
Exp, Gr 1/Th 1 (aa): Vi1
C G/B Am F/A C7 /G
F A7 /E Dm D7 /F ] G G7
C G7 C
(b)
<(C7 /B[ F/A) C7 /B[ A7 D7
(b)
2nd stat: (aa), var
G7 Am Dm/F G7 C/E C
Dm/F G7 C G7
C G7 /F C/E G7 /D C Am7 /G
cad
(a): 4pt stretto imit
D7 /F ] D7 /C G/B D7 G D7 /A
G Em A7 D
<(C]7 /D D) <(A7 D)
trans to D
G D7 /A D D7 /C G/B
Gr 2/Th 1, (a): imit 16th
G7 E7 Am D7 G Bm7 /D
(b): Vi1, (a): Vc
C7 /E D7 /F ] B7 /D] Em
<(C Am/C) Am/C D7 /A
d
G G7 /B Am7 /C G64 D7
G Em E7 /G] A7 /C]
G/D G/B G7 /B
C Am7 /C G64 D7 <(G D7 )
G/B C Am7 /C D7 G
G7 /F C/E A7 /C] G64 D7
G <(D7 G)/G <(D7 G)
Am7 /C G7 /D C/E
[9
A[9
7 /G Dm/F G7 : ||
imit 16th, I(M1): Vi2+Vc

cad
Th 2: Vi triplets (3rds)
2nd stat: Vi2+Vc
imit
(a): 16th sc runs
climax, cad
(a) clos st: Vi2-Vi1, P T (g)
(a) imit: Va-Vc
(a): climax, repeat
77
Table 4.7: Mozart, String Quartet in C Major No. 19 KV 465, Mvt. 1 Adagio - Allegro (contd)
m
107
115
M1
121
125
128
132
M1
M1
M1
..
.
137
140
143
145
147
151
155
159
161
163
165
167
169
171
173
176
181
185
187
189
191
194
195
198
199
204
208
210
211
219
223
78
Comment
Am
|| : C7 /B[ . . . A7 . . . C]7 /G
[5/[9
B[64 F F7 B7 /F <(E7 Am)
Dev (a): 2pt im, PB (&)

clim, unis, cad
Dm
E7 F/C B7[9 E7 F/C B7[9

E7 . . .
[9
A[9
7 <(Dm A7 )
[9
[9
D7 . . . G7 . . .
Cm
M1
M1
M1
M1
M1
M1
F
G
M2.1
M2.1
M2.2
M2.2
M2.2
M2.1
..
.
M1
M1
<(Cm G[9
7 ) Cm C7 /E F m
B[7 /D E[ A[/C D7 G7 Cm
D7[9 /F ] . . .
G7 Cm D7[5 /A[ G7 Cm
<(G D7[9 )
G7 . . .
(C C7 F G7 C)/C
C C7 /B F/A Am7 /G
Dm/F A7 Dm D7 G G7
C A7 /C] Dm D7 /F ] G7
B7 /D] Em7
E7 /G] Am C7 /G F C7 /B[
F/A C7 /B[ A7 D
d
(a): Vc
(a): motif in stretto imit
stretto imit
climax, unis
halfcad
(a): Vc
(a): 4pt imit, retrans
Recap, Gr 1 (aa): Vi1+2
(b): Vi1, PB (&)
(a): 3pt imit
(a): Vi1+2
G7 Am D7
<(G D7 /F ]) <(G D7 ) G
C G7 /D G7 C7
A[9
7 Dm E7 Am
Dm7 /F C7 /G C7 /B[
F/A Dm/F
C/G Am Dm/F G7
C . . . Am7
A7 /C] D G[9
7 C D7 /F ]
C/G G C C7 /E
F Dm7 /F C46 G7
<(C G7 )
C/E Dm7 /F G7 C
2nd stat: Vi2+Vc

cad
imit
(a): 16th scalar runs
A[9
7 /E Dm/F D7 /F ]
C46 G7
<(C G7 )/C
C Dm7 /F C7 /G F/A
D7[9 /C Gm C7 F : ||
climax
cad
(a): 2pt imit, P T (c)
(a): Vc trans to SD
(a): climax, repeat
climax
trans, cad
Gr 2 (a): imit 16th
(b): Vi1, (a): Vc
cad
triplets th: Vi1+2 (3rds)
Table 4.8: Mozart, String Quartet in C Major No. 19 KV 465, Mvt. 1 Adagio - Allegro (contd)
m
227
232
235
238
241
244
Comment
M1
M1
(M1)
C7 /B[ <(F/A C7 /B[)

F/A C7 /E F F ]7 C46 G7
C G7 C F C46 G7
C G7 C F C46 G7
<(C (F C G7 )/C)
C
Coda (a): stretto imit

climax, cad, PB (%)
(a) repeat
(a): Vi1, P T (c)
(246 m.)
79

80
4.2.3
Mvt. 3 Menuetto Allegro
Form: menuet and trio form. The menuet is monothematic; its main motif (M1a) is varied
and developed in the middle section B. It even returns briefly as a transitory motif in the
trio. This trio uses the same monothematic approach; its melody has M2(aab) (4 + 4 + 8 m.)
sentence structure. The formal analysis is shown in Table 4.9.
4.2.4
Mvt. 4 Allegro

81
Table 4.9: Mozart, String Quartet in C Major No. 19 KV 465, Mvt. 3 Menuetto Allegro
m
1
5
7
11
13
M1
Mu
M1
Mt
17
21
M1
..
.
..
.
..
.
25
28
32
34
36
40
44
46
48
52
Comment
Menuetto
h i
3
4
|| : G7no 3 Am Dm7 G7
G7 . . .
C G7 /B C E7 Am D7 G
A7 D D7 /F ]
G C/E G64 D7 G G/B
d
Dm
M1
C
72
76
M2
..
.
A (a): Vi1
(u) unisono, forte
(b): 3p-im, Seq(21m;R7 )
trans, (c): Vi1
C D7 Em G C D7 G : ||
(d): Vi1, cad
|| : A[9
7 no 3 Dm Gm
B (a): unisono
E7 /B[
M1
Mu
M1
Mt
..
.
..
.
56
Dm64
A7
(a): Vi1
D 7 G C7 F
(a): Vc, Seq(22m;R7 )
F C]7 Dm C] /E
Dm/F D7 /F ] G
<(G7 /B C G)
(a): Vi1
G7no 3 Am Dm7 G7
G7 . . . G7 /F
C G7 /B C C7 F A7 D
A7 D G7 C Dm7 /F
D7 /F ] C/G G7 C C/E
d
F G7 Am C/E F G7 C
d
retrans, (a): Vi2+Va, P D (g)

A (a): 4pt imit
(u) unisono, forte
(b): 4p-im, Seq(21m;R5 )
Seq(21m;R7 )
trans, (c): Vi1
(d): Vi1
F G7 Am E
F Dm G7 C : ||
(d): Vi2, Va
cad, repeat
Cm
Trio
|| : Cm . . . G G7 Cm
A, (aa): Vi1 (a=I(a))
E[
E[7 /D[ A[/C <(E[7 /G A[)

E[ . . . B[/D E[ : ||
(b): Vi1, I(b): Va

cad, repeat
80
84
88
M2
M1
Fm
Cm
|| : E7 /D[ C7[9 F m
F ]7 D7[9 G
<(G Cm)/G G7
B I(aa): Vi1
halfcad
retr, menuet motif, P D (g)
92
M2
..
.
Cm
|| : Cm . . . D7[9 /C G/B
A, (a): Vc
[9
G[9
7 . . . C7 /E
F m C/G F/A D7[5 /A[
Cm64 G7 Cm : ||
(a)
(b)
60
62
64
96
100
102
82

83
4.2.5

84

85
4.3
String Quartet in B[ Major No. 22 KV 589 (1790)

Mvt. 1 Allegro: sonata form (B[,
Exposition
h i
3
4
, 208 m.)
Development
Mvt. 2 Larghetto: ABAB Coda form (E[,

A1
B1
A2
Recapitulation
2
2
, 90 m.)
B2 Cd
Mvt. 3 Menuetto Moderato: menuet and trio form (B[,

Menuet
Cod
h i
h i
3
4
, 103 (37+66) m.)
Trio
Mvt. 4 Allegro assai: sonata form (B[,
h i
Exp.
Recap.
Development
6
8
, 155 m.)
Coda
Figure 4.4: Mozart, String Quartet in B[ Major No. 22 KV 589
4.3.1
Mvt. 1 Allegro
Form: sonata form. The detailed harmonic analysis is shown in Table 4.10 and 4.11. There is
both a single main and secondary theme. It is the former theme that is used in the development section. The extended main theme has a M1.1(aab) (6 + 6 + 8 m.) sentence structure,
where the a-phrases are repeated in different parts, and the b-phrase has a first violin lead
over a cello tonic pedal point. A different approach is used for the transitory 1st group second theme which has a single phrase M1.2(aaaa) structure, with the first three statements in
the cello and the varied phrase in the lead violin.
4.3.2
Mvt. 2 Larghetto

86
4.3. STRING QUARTET IN B[ MAJOR NO. 22 KV 589
Table 4.10: Mozart, String Quartet in in B[ Major No. 22 KV 589, Mvt. 1 Allegro
m
Comment
1
7
13
21
24
26
29
39
42
45
50
53
59
M1.1a
M1.1.a
M1.1b
M1.1.b
B[
|| : B[ F7 /A B[ F
F F7 Dm F7 B[ Cm/E[ F7
<(B[ B[7 E[ F7 )/B[
F7 B[ D7 /F ] Gm B[7 /F
C/E B[/D A /C
Gm/B[ B7 C7
C7 F . . . C7 . . .
F/A F ]7 /A Gm/B[
B7 F/C C7 F
C7 F Gm/B[
F/A C7 /E F Gm/B[
F C7 F Gm/B[ C7 F/A
C7 F Gm/B[ F/C C
Exp, Gr 1/Th 1, Vi1

Vc
Vi1 appogg, P D (b[)
climax, (cm<)
61
64
66
72
77
81
M1.2
M1.2
M2.1
M2.1
Fm
M1.1
M1.1
M1.1a
M1.1a
131
137
142
151
M1.1a
M1.1a
M1.1b
M1.1.b
..
.
..
.
156
158
M1.1a
87
89
93
95
97
100
104
108
113
115
117
154
D[
Gr 2/Th 1, Vc
2nd stat, Vi1
imit Vi2-Va-Vc
F C7 Dm A7 B[ F7
Gm/B[ D7 G7 C7 F7
B[ F/C C7 <(F C7 )/F F : ||
close, Seq(31m;R3 )
triplets
P T (f )
<(F m E7 /F ) F m
F m A[/C A[7 /E[
A[7 D[/A[ G[/B[
Dev, Vi1, triplets, P T (f )

Gr 1, Vc
E[m
Fm
Gm
D
M1.1a
M1.1a
triplets
Gr 1/Th 2, Vc, P D (c)
Vi11, trans to D
E[
B[
M1.1a
B[
A[7 /C D[/F A[
B[ B[7 E[m/B[ G[5
7 C C7
[5
F m A7 D D 7
Gm Cm/E[ A7
B[/D F ]7 Gm/B[
A[5
7 /E[ . . .
<(D C]7 )/D
D7 G7 C7 F7 B[7
E[ G7 C F7
Cm/E[ C7 /E F7
(F7 B[ E7 F F7 )/F F7
B[ F/A B[ F
F Cm/E[ F7
<(B[ B[7 E[ F7 )B[ B[
F7 B[ D7 /F ]
imit
Vc
stretto imit
Vi+Va (cm),P (e[)
triplets, P T (d)
Seq(51m;R5 ), imit
Vi1+Vi2
retrans, P D (f )
Recap, Gr 1, Vi1+2
Vc+Va
P T (b[)
(cm<), climax
Gm B7 Cm/E[ E7
F m A7 B[m/D[ D7
E[ E[/G Cm/E[ C7
87
Table 4.11: Mozart, String Quartet in in B[ Major No. 22 KV 589, Mvt. 1 Allegro (contd)
m
161
173
176
179
187
193
Comment
M1.2
M1.2
M2.1
M2.1
B[
F F7 B[ . . . F7 . . .
B[/F B7 /D Cm/E[
E7 B[/F F7
B[ Cm/E[ . . .
F B[ E[ F7 B[/D
F7 /A B[ Cm/E[ B[/F F
Gr 1/Th 2, Va, P D (f )
F E[ B[/F F7
Coda, imit, climax
195
88
Gr 2, Vi1
Va
198
M1.1a
B[ D7 E[ B[7 E[ G7
202
204
C7 F7 B[7 Cm7 /E[ B[/F F7

<(B[ A7 )/B[ B[
(208 m.)

89
4.3.3
Mvt. 3 Menuetto moderato
Form: menuet and trio form, each with ABA Coda structure. The menuet main theme has
a regular M1(abab) period structure, the secondary theme has M2(aab) sentence structure.
Characteristic is the rapid (typically single measure) juxtaposition of forte-piano dynamic
contrast. The trio theme M3 also has sentence structure, M4 is another period. The trio
B-section has a motif in the lower three parts, answered by the lead violin. The detailed
analysis is shown in Table 4.12.
4.3.4

90
Table 4.12: Mozart, String Quartet in in B[ Major No. 22 KV 589, Mvt. 3 Menuetto moderato
m
Comment
M1
..
.
B[
Menuet
|| : B[ D7 /F ] G Cm7 /G D E[
A1 , ab): Vi1
5
7
9
13
15
19
23
25
28
31
34
36
1
10
14
23
27
29
32
36
40
44
49
53
61
63
65
Cm/E[ F ]7 Gm
Cm7 /E[ B[64 F7 B[ : ||
|| : <(F7 B[)
E[ B[ Cm Gm
Cm/E[ C7 /E F F7 A B[ F7
M2
M1
..
.
M1
M3
M4
..
.
M4
M4
M3
E[
a)
b), cad
B, aab): Vi1, Vc arp%
Va 16th arp%
B[ D7 /F ] Cm7 /G B[7 /F E[
A2 , ab): Vi1 varied
Cm/E[ F7 /A
B[7 /D E[ Cm/E[ B[/F
Cm/E[ F7 /C B[/D E[ B[/F B[7
B[/D F7 /C B[/D E[
B[/F F ]7 Gm B[/D
Cm7 /E[ F7 B[ : ||
a)
b)
Coda, a-motif,
call-and-response
Trio
|| : <(E[ B[7 /D) E[ G7 Cm7 F7
Cm7 /E[ Cm7 Cm7 /E[
B[/F F7 B[ F7 /A B[ F7 B[ : ||
|| : <(B[ A7 B[)
B[ A[7 B[m A[97 /G[
D[/F E[m7 /G[ A[7
G/B Cm/E[ G/B G7 /F
B[7 /F F7 B[7 /F F7 /E[ B[7 /D
<(E[ B[7 /D)
E[ C7 F m7 B[7 E[
F m7 /A[
F7[9 /A E[/B[ B[7 E[/B[
E[/B[ B7 Cm
B[/D Cm7 /E[ B[7 /D E[
B[ A7 B[7 E[ : ||
cad (37 m.)

A aab): Vi1
P (ce[), [S6 ]
B, Vi2+Va+Vc motif
(cm<)
Vi2+Vc
A, aa): Vi1
b)
P (f ), [S6 ] , climax
i (&), P (b[)
Pm
D
PB (%)
cad (66 m.)
91

92
4.3.5

93

94
4.4. STRING QUINTET IN C MAJOR KV 515
4.4
String Quintet in C Major KV 515 (1787)
Source: [35]. An overview of the formal analysis is shown in Fig. 4.5. Note the length of the
outer movements, in particular the closing rondo.
h i
4
4
, 368 m.)
Exposition (151 m.)
Dev. (53 m.)
Coda (47 m.)
Mvt. 2 Menuetto Allegretto: menuet and trio form (C,

Menuet
3
4
, 48+66=114 m.)
Trio
Mvt. 3 Andante: binary ABAB Coda form (F ,

A1
h i
B1
A2
Mvt. 4 Allegro: rondo form (C,
h i
3
4
, 128 m.)
B2
h i
2
4
, 539 m.)
Coda
Figure 4.5: Mozart, String Quintet in C Major KV 515
4.4.1
Mvt. 1 Allegro
Form: sonata form. The first group main theme has M1(aab) (4+4+10 m.) sentence structure,
over a steady 8th note background. Each motif has a call-and-response character, with an
ascending arpeggio in the cello answered by an upward leap plus appoggiatura motif in the
first violin. In the second statement the roles are reversed: arpeggio in 1st violin is answered
by the cello.
The transition to the second theme group contains an extended 8th note theme with two
components: a neighbouring note motif Mn and an alternating upward-downward motif
Ma. Both these will be used as a background to the second group theme, and in the development and coda. The analysis is shown in Table 4.13 to 4.15.
4.4.2
Mvt. 2 Menuetto Allegretto

95
Table 4.13: Mozart, String Quintet in C Major KV 515, Mvt. 1 Allegro

m
Comment
M1
..
.
..
.
M1
..
.
..
.
..
.
|| : C . . . G7 /D . . . G7 /B
Exp, Gr 1 aa): Vc-Vi1
C . . . C]7 Dm/F
b)
9
16
18
21
29
34
38
44
46
52
57
59
61
63
65
67
69
77
81
90
92
94
98
100
102
107
113
115
117
119
121
123
127
129
96
C46
Cm
M2/a
Ma
..
.
Mt2
..
.
..
.
..
.
..
.
..
.
halfcad
2nd st, aa): Vi1-Vc
G7 C]7 . . .
a) imit Vc-Vi1
A7 /E D7[9 /F ] G7 /D C7 /E
Seq(22m;R7 )
<(F C) D[/A[ F m/A[
b): Vi1, N46
Mt1
M1
Mna
..
.
G7 /F C/E F
G]7 Am
Dm/F C/G G7 /F C/E G
Cm . . . G7 /B G7 /D
D
G
G7 Am Dm/F Dm G7
Am F m <(D[/A[ A[7 )
F7[9 /A F ]7 /C A[7 C46 G7
C A7 Dm C7
F Dm C46 G7 C A7
Dm C7 F E7
Am G7 C F ]m B7
E Em A7 D Dm G7
C Am/C A7 /C]
D . . . A7 /C] A7 /E
D C] /E D A7
D D7 <(G D7 )
cad
a): 4pt imit, Neap cad
b)
trans
(cm<)
climax
Seq(31m;R7 )
aa): Vi1-Vc
a): imit VcVi1, clim
trans, Vi1
G C D7 /F ]
G Am/C G64 D
<(G D7 ) G C D7
G D]7 Em G]
cad
Gr 2 aa): (Vi1+2)/(Va1+2)
imit Vi-Va, Seq(32m;R7 )
Am C] D7 F ]
G D] Em G/B C C]7
<(G64 C]7 D7 )
D A/C] D7[9
G G/B C A7 /C]
(cm>), cad
PB (%)
D D7 /F ] G G64 D7
cad
G G+ /B C A7 /C]PB (%)
D D7 /F ] G D7[9 /F ]
cad
G D7 G . . . G/B
climax, (cm<)
G64
C/E
DG
G/B C/E G64 D7
cad
Table 4.14: Mozart, String Quintet in C Major KV 515, Mvt. 1 Allegro (contd)
m
131
143
148
152
160
167
171
174
177
180
183
185
189
193
197
201
203
205
214
219
222
228
230
234
238
240
243
245
247
249
252
Mn
..
.
M1
..
.
Mn
..
.
..
.
..
.
..
.
..
.
Ma
M2/a
Ma
M1
..
.
..
.
..
.
Mt1
..
.
Comment
<(G C)/G <(F ] G)/G
trans, Vi, P T (g)
G Am7 G/B . . .
C . . . G7 : ||
imit
climax
C]7 . . . B[/F . . .
Dev, aa): Vc-Vi1
D7[9 /C
Am
D7 /F ] . . .
C/G . . .
E7 /G] A Am E7
Am Dm/A E7 /G] Am/C
a)
b)
Seq(53m;R5 ),
Dm
[9
A[9
7 Gm A7 Dm
imit VcVi1,
Gm
Cm A7 D7[9 Gm
rapid modul
Cm
F m D7 B7 /F Cm/E[
Fm
B[m7 G7 /D[ C7[9 F m
A[
Cm
B[7 E[ A[
D7 G7 Cm C7 /B[ F m/A[
G G7 <(Cm/G D7 /F ] G)
<(G7 Cm)/G D7
G Am7 /C G7 /D C/E
G7 /D D7 /A G Am/E G7 /D
C . . . G7 . . .
Vi1
P D (g)
retrans, Vc
Rec, Gr 1, aa): Vc-Vi1
C]7 . . .
[9
D7[9 /F ] G[9
7 /D C7 /E
a): imit Vc-Vi1
<(F C) D[/A[ F m/A[
b): VI1
Am
G7 Am Dm G7
Am C]/G] G]7
cad
a): 4pt imit
C]m/G] E7 Am C7 /G
[5/[9
Dm7 /F D7 /A[
C/G G7 C A7
Dm C7 F Dm C46 G7
C A7 Dm C7
F D A[9
7 /C] Dm/A D7 /C
G/B D]7 Bm E7 A D7
G C7 F C] Dm/F D7 /F ]
b):
climax, cad
cad
trans
(cm<), clim
Seq(31m;R7 )
97
Table 4.15: Mozart, String Quintet in C Major KV 515, Mvt. 1 Allegro (contd)
m
255
263
268
277
279
281
287
288
290
292
294
298
302
305
307
309
311
313
317
318
322
Comment
M1
Mna
..
.
G . . . D7 /F ] . . . D7 /C
G/B D7 /A G D7 G7
G7 G[9
7 <(C G7 )/C
aa): Vi1-Vc
a): imit VcVi1, clim
P T (c)
C C7 /E F G7 /B
C F C46 G7
<(C G7 ) C C7
F F ] G
C G] Am C]
Gr 2 aa): (Vi1+2)/(Va1+2)
M2/a
Ma
..
.
Dm F ] G7
C G] Am C/E F F ]7
<(C/G F ] G7 )
C46 G7 C
Cm64 G D7 /F ] G7
C C/E F D7 /F ]
Mt2
..
.
..
.
..
.
..
.
..
.
Mn
..
.
Vi1+2
PB (%)
G G7 /B C G7
cad
C C + /E F D7 /F ]
PB (%)
G G7 /B C
imit Vi-Va, Seq(32m;R7 )
G[9
7 /B
cad
C G7 /B C . . . C/E
climax, (cm<)
F/A C46 G7
C C/E F/A D7[9 /F ]
cad
<(C G)/G (C D7 /F ])/G
Coda, 4pt imit, P D (g)

climax
Vi1, PB (%)
329
331
335
Ma
G D7[9 /C G7 /B
C/E Em Am Dm7 G7 C
F . . . D7 /F ] E7 /G] F7 /A
338
G7 /F C7 Dm7 /F D7[9 /F ]
341
M2/a
..
.
<(C G7 )/G
Vi/Va, climax
Am E7[9 Am A7
Dm A[9
7 Dm7 /F
C/G . . . G7
C C7 <(F C)/C
<(G7 C)/C C
Vc
Vi, P T (c)
345
347
349
353
360
98
Ma
Mn

99
4.4.3
Mvt. 3 Andante
Form: ABAB Coda, binary form. The A-section has a throughcomposed melody M1, that
may be spilt into a number of segments: 12 + 8 + 11 m. The setting (lead part, type of
background, rhythmical) is different for each segment. In the B-section we may discern two
melodies: M2(8 + 8 m.) and the much embellished M3(8 + 8 m.) with its syncopated background. The instruments are changng roles frequently. The analysis is shown in Table 4.16
and 4.17.
4.4.4
Mvt. 4 Allegro

100
Table 4.16: Mozart, String Quintet in C Major KV 515, Mvt. 3 Andante

m
M1
..
.
..
.
..
.
..
.
..
.
..
.
..
.
..
.
F B[ C7 F
M2
..
.
..
.
..
.
5
8
10
12
17
21
25
29
31
32
36
40
44
Comment
A, Vi1+2 par 3rds
d
<(Gm7 C F ) Gm/B[ F46 C7
Va answers
Dm C7 F/A
i (%)
Pm
C7 /E F B[ F46 C
cad
F Gm7 /B[ C7 F C7 F
Vi1-Va1 dialog, P D (c)
<(F/A C7 /B[) F/A Gm C7

F C7 F
C7[9 /E F B7 /D C/E
Seq(22m;R7 )
Am G64 D7 G C7 F
Dm/F C46 G7
climax
cad
C G7 C G7 Am Dm/F
B, Vi1
G D7 G G7 C7 F B7 C G
<(G7 C) F
Vc, 5pt ctp
G D 7 G C7 F B
Va1
47
48
M3
C Dm/F C46 G7
D7 /A G E7 /G] Am C/E Dm/F
50
51
53
56
60
M3
C46 G7
D7 /A G E7 /G] Am C/E Dm/F
C46 . . . F G7
(C Dm7 B C7 F Gm7 )/C
C7 . . .
63
M1
..
.
..
.
..
.
..
.
..
.
..
.
..
.
67
70
72
74
79
83
87
89
cad
Vi1 emb, sync
F B[ C7 F
Va1 emb
retrans, P D (c)
Vi1
A, Vi1+2 par 3rds
<(Gm7 C F ) Gm/B[ F46 C7
Va answers
Dm C7 F/A
i (%)
Pm
C7 /E F B[ F46 C
cad
F Gm7 /B[ C7 F C7 F
<(F/A C7 /B[) F/A Gm C7

Fm
F C7 F m
F7[9 /E[ B[m/D[

6
G[9
7 /D C/E Dm C4 G7
Seq(22m;R7 )
climax, cad
101
Table 4.17: Mozart, String Quintet in C Major KV 515, Mvt. 3 Andante (contd)
m
92
M2
..
.
..
.
..
.
..
.
<(C7 F ) C7 Dm Gm/B[
96
99
100
105
F Gm7 /B[ F46 C7

d
Vc, 5pt ctp
C F m7 B[ C7
Va1
d
F Gm7 /B[ F46 C7

G7 /D C A7[9 /C] Dm F/A Gm/B[
110
111
M3
F46 C7
G7 /D C A7[9 /C] Dm F/A Gm/B[
124
126
cad
<(F C7 ) Dm Gm C G7
M3
B, Vi1
C G7 C C7 F B[ E7
107
108
113
118
120
121
102
Comment
cad
Vi emb, sync
Va1 emb
F46 . . . Gm7 C7
Dm C46 G7 C F7 Gm/B[
F46 C7 /B[
F/A C7 /E F B[ F46 C7
trans
F B[/F F C7
F . . . C7 F
Coda, Va1 emb

Va1-Vi1 (128 m.)
climax

103
4.4.5
The key relationship diagram of the string quintet KV 515 is shown in Fig. 4.6. The opening
Allegro sonata form starts with the regular key pattern: main theme in the tonic major key
C, secondary group in the dominant key G. The unique feature here is that the second statement of this theme is in parallel minor Cm (1). The development opens in the relative minor
key Am (3), before modulating through a long sequence Am F m (35), and remaining
in the subdominant area for a while. The recapitulation alternates once more to the relative
minor key Am (8), before closing through the dominant.
Mvt. 1 Allegro
Gm
t
B[
B[m
D[
Dm
Am
Em
Y
H
8 6
? HH
F
C -G
*
6 7,9
5 1,6 ?
4

F m Cm
Gm
t
*
?
A[
E[
B[
Bm
D
Dm
Mvt. 2 Menuetto Allegretto
3
2
1
B[ - F - C - G
Mvt. 4 Allegro
Mvt. 3 Andante
1
F -C
6
?
2
Fm
Cm
- 1,4
C
G
3,6

F m Cm Gm
2
5

A[
E[
B[
Figure 4.6: Mozart, String Quintet in C Major KV 515, key relationship diagram
The menuet is in the tonic major key C and alternates with the dominant key G (1) in the
B-section. The trio is in the subdominant key F and alternates with its dominant key C (2)
and its subdominant key B[ (3). The slow third movement also has a limited key compass,
with noth A-sections in the tonic key F , and the B-section in the dominant key C (1). The
closing A-section sidesteps into the parallel minor key F m (2).
The closing rondo hardly modulates and has different keys for each section: the Asections remain in the tonic key C major, the C-section is in the subdominant key F . There is
symmetry in both B-sections: the first is in the dominant key G, alternating with its lowered
submediant major key E[ = [VI (2), the second has a similar movement C A[ C (5). The
coda has a brief segment in the subdominant F (6).
4.5
String Quintet in G Minor KV 516 (1787)
Source: [35]. An overview of the formal analysis is shown in Fig. 4.7. Note the relative short
development section in the opening sonata form movement. In the binary form slow adagio
movement (Mvt. 3) the B-sections are significantly shorter than the A-sections.
104
4.5. STRING QUINTET IN G MINOR KV 516
Mvt. 1 Allegro: sonata form (Gm,
h i
Exposition (96 m.)
4
4
, 254 m.)
Dev. (36 m.)
C (19)
Mvt. 2 Minuetto Allegretto: menuet and trio form (Gm,

Menuet
h i
3
4
, 43+47=90 m.)
Trio
Mvt. 3 Adagio ma non troppo: binary ABAB Coda form (E[,

A1
B1
A2
h i
4
4
, 82 m.)
B2 C
Mvt. 4 Adagio - Allegro: introduction - rondo form (Gm G,
h i h i
3
4
6
8
, 38+298 m.)
Adagio
A
C2
B1
C1
A
B2
Coda
Figure 4.7: Mozart, String Quintet in G Minor KV 516
105
4.5.1
Mvt. 1 Allegro
Form: sonata form. The formal analysis is shown in Table 4.18 to 4.20. The main theme
has an M1(abab) period structure. The a-phrase is an upward arpeggio Gm chord (d
g b[ d d d), followed by a chromatic descent (g f ] f e\ e[). The second amotif is the melodic inversion of the first: a=I(a). These two elements, the arpeggio chord
(upward and inverted) and the chromatic descent, return in many transitions. The second
group remains in the tonic minor key with theme M2.1, until the second theme M2.2, when
the relative major B[ enters. Both themes have the same rhythmical and M(aab) sentence
structure. However, melody M2.1 has more downward stepwise motion, while M2.2 opens
with another downward arpeggio.
Characteristic are the strong dynamic contrasts: accented tutti notes, forte measures followed by piano playing (no gradual changes). Also there are many irregular phrases (odd
numbers of measures, extending the tail of a melody). Most of the climaxes are in the transitory sections. The development is relatively short, with a number of sequences featuring
imitation. When the main theme returns in the recapitulation, there is a short secondary
development in the form of a sequence and a stretto imitation.
The coda presents both themes once more: M1 as a stretto imitation from the highest to
the lowest voice and a closing repeated statement of M2.1.
4.5.2
Mvt. 2 Minuetto

106
Table 4.18: Mozart, String Quintet in G Minor KV 516, Mvt. 1 Allegro

m
1
3
5
7
9
11
13
15
16
17
18
20
21
23
24
26
30
34
37
40
46
49
53
56
59
64
68
70
72
76
78
81
85
88
90
93
Comment
M1
..
.
..
.
M1
..
.
..
.
..
.
..
.
M1
Gm
Gm F ] /A F m/A[ C/G E[/G
Exp, Gr 1 (a): Vi1, [S6 ]
D7[9 /F ] Gm D7[9 A[9

7 /C] D7 /C
(b)
M1
M2.1
M2.1
M2.1
M2.1
M2.2
M2.2
M1
..
.
M1
M1
M1
Gm/B[ D7[9 /A D7
E[ Cm/E[ D7[9
a=I(a)
(b)
2nd stat, (a): Va1, [S6 ]
D7[9 /F ] Gm D7[9 A[9

7 /C] D7 /C
(b)
Gm/B[ A[/C G[9

7 /D
(a), N 6
Cm/E[ C7[9 /E
B[
Dm/F D7 /F ] Gm D7[9 /A
Gm A Gm64 D7
[9
A[9
7 D7
[9
Gm A[9
7 /G D7 /F ]
[9
[9
G[9
7 /F C7 /E F7 /E[ B[/D
6
A[/C Gm4 D7
Gm B[7 /D E[ B[7
6
E[ A[9
7 /C] Gm4 D7 Gm
Gm D7[9 Gm
Gm C7[9 /G F7sus4 F7
<(B[ C7[9 /E F7 ) B[
C7 /G B[64 F C7 C7[9
F7[9 F7 /E[
B[/D G7 Cm B[7
E[ B[ Cm/E[ B[64 F7
B[/D G7 Cm B[7
E[ C7[9 /E B[64 F7
<(B[ F7 )
B[ D7 /F ] Gm B[7 /D
E[ F7 /A B[ E[ B[64 F7 /A
<(B[ F7 )
B[ D7 /F ] Gm B[7 /D
E[ E[m F7 /A B[ . . .
Cm7 /E[ C7[9 /G B[64 F7
B[ E[/G B[64 F7
B[ B[7 /A[ E[/G E[m/G[
B[64 F7 <(B[ F7[9 )
d
B[ D7 /A Cm/G D7 /F ] : ||
PB (%)
(b) cad
trans, (a): Vi1+Vi2
Seq(5R5 ), PBi (&)
N 6 , climax, cad
imit: Vc-Vi1, cad
Gr 2 (aab): Vi1
(aab)
trans, (b): Vi1
(b): Vc
(aaba): Vi1
(b), cad
stretto imit, (aab): Va1-Vi1
climax, cad
final stat, imit (aa): Vc-Vi2
Seq(31m;R3 )
cad, 16ths
imit (aa): Vi2-Va1, climax
trans, Vi1+Vi2
Vi1, triplets
closing stat, (aa): Vi1
imit (aa): Vi1-Va1
PB (&)
107
Table 4.19: Mozart, String Quintet in G Minor KV 516, Mvt. 1 Allegro (contd)
m
124
125
127
130
133
135
137
139
141
143
144
145
147
149
151
154
156
158
159
161
162
164
108
Comment
d
95
97
99
101
107
111
115
119
123
M1
M1
M1
M2.1
M2.1
M2.1
M2.1
..
.
..
.
..
.
Cm
E[m
Fm
Gm
M1
M1
..
.
M1
M1
trans
A[ E[7 A[ C7[9 /E
F m C7[9 F m A[7 /C
D[ . . . D[7 B[[9
7
[9
E[m . . . B[7 E[[9
7 C7
F m . . . G7 /B[ C7 D7[9 /F ]
Gm . . . D7[9 G[9
7
[9 = A
C7[9 F7[9 B[[9
E[
7
7
7
D7[9
Dev, Vc, Seq(32m;R3 )

Vc
Vi1, Seq(34m;R7 )
Vc
Va1, Seq(51m;R5 )
imit: Va1-Vi2-Vi1, clim
Gm E[ Cm7 A /C A[9
7 /C]
M1
..
.
..
.
M1
..
.
G7 /F Cm/E[ G[9
7 /B
Gm
<(D C]7 )/D
retrans, (cm>), P D (d)
(D B7 Cm F7 )/D
(B[ F7[9 = D7[9 Gm D7 )/D
(ped)
Rec, Gr 1 (a): Vi1, [S6 ]
D7[9 /F ] Gm D7[9 A[9

7 /C] D7 /C
(b)
Gm/B[ D7[9 /A D7
E[ Cm/E[ D7[9
a=I(a)
(b)
(a): Va1, Seq(34m;R5 )
D7[9 /F ] Gm D /F Cm/E[
D7 G7
Cm A[/C G/B G /B[ D7 /A
[9
G[9
7 C7 G7 C7
F m F7 /A B[ B[7 /D
(b): Va1, 2nd dev

(b): Vi2
(a): Vc
imit (b): Vc-Va2
stretto imit (a/b): tutti
E[ A[ D[
G[9
7 Cm Gm/B[
[9
A[9
7 D7
[9
Gm A[9
7 /G D7 /F ]
[9
[9
G7 /F C7 /E F7[9 /E[ B[/D
A[/C Gm64 D7
Gm B[7 /D E[ B[7
6
E[ A[9
7 /C] Gm4 D7 Gm
Seq(31m;R5 )
trans, (a): Vi1+Vi2
Seq(5R5 ), PBi (&)
N 6 , climax, cad
16ths
imit (a): Vc-Vi1, cad
Table 4.20: Mozart, String Quintet in G Minor KV 516, Mvt. 1 Allegro (contd)
m
168
172
176
179
M2.1
M2.1
M2.1
M2.1
185
M2.2
..
.
188
191
193
195
197
201
205
207
208
210
213
215
216
218
222
225
227
230
232
234
235
Gm
Comment
Gm D7[9 Gm
Cm G[9
7 Cm
6
Cm/E[ A7 /E[ A[5
7 /E[ Gm4 D
[9
A[9
7 . . . D7 D7 /C
Gr 2 (aab): Vi1
(aab)
trans
imit (b): Vi1-Vc
Gm/B[ G/B A[/C
(aab): Vi1, PBi (%)
[9
G[9
7 D Cm/E[ A7 /E
D7 /F ] Gm A7 /C Gm64 D7 /C
(ab)
cad
Gm/B[ G/B A[/C F7[9 /C
M2.2
..
.
M1
B[m/D[ B[7[9 /D
Cm/E[ C7[9 /E Gm64 D7
<(Gm D7 )
M1
Gm D7 E[ G7 /B
Cm D7 /F ]
Gm A7 /C Gm64 D7
<(Gm D7 )
Gm D7 E[ G7 /B
C Cm D7 /F ]
Gm . . .
6
A7 /C A[9
7 /E Gm4 D7
Gm Cm/E[ Gm64 D7
Gm G7 /F C/E A[5
7 /E[
M1
M1
..
.
239
240
243
245
246
249
M2.1
M2.1
M2.1
238
Cm
M1
..
.
..
.
..
.
237
Gm
imit, (aab): Va1-Vi1

PBi (%)
climax, cad
imit (aa): Vc-Vi2
trans, Seq(31m;R3 )
cad
imit (aa): Vi2-Va1, clim
trans, Seq(31m;R3 )
Vi1, triplets
PBi (%), cad
(aa): Vi1, climax
imit (aa): Vi1-Va1
Gm64 D7 <(Gm F ]7 )
Gm G7 F Cm/E[ G7 /B : ||
[5/[9
Cm C7 /B[ F/A D7 /A[
Cm/G D7 /F ]
cad
trans, PBi (&)
Gm D7 /A F/A C/G Cm/G
Coda, stretto imit
[5
D7 /F ] E7[9 /F A[9
7 /E A7 /E[
climax, PBi (&)
[5
D7 E7[9 /D A[9
7 /C] A7 /G
D7 /F ] E7[9 /F Em7 Cm/E[

d
D7 E[ A[/C Gm64 D7
Gm A[5
7 /E[
Gm/D E7 /G] A D7 /F ]
[5/[9
Gm A7 /E[ Gm/D E7 A D7
<(Gm D7[9 ) Gm D Gm
N 6 , cad
(aa): Vi1
(b)
(aa): Vi1, P D (d)
cad (254 m.)
109

110
4.5.3
Mvt. 3 Adagio ma non troppo
Form: binary, ABAB form. The formal analysis is shown in Table 4.21 and 4.22.
Remarkable is the use of mutes (con sordino) in this slow, intimate movement. It is a
harmonically very rich setting, with lots of passing chords. In the tutti phrases all parts are
equally important. Occasionally there is a textural thinning, with solo instruments answering each others calls; see the b-phrase of the opening melody M1, which has an M1(abb)
structure.
The second theme M2(aaab) in the A1 section, with its descending stepwise phrases in
8th note rhythm repeated at higher pitches, is in the dominant minor key (B[m); in the latter
half it is repeated in the tonic minor key. The same melodic curve returns in the B section
theme M3, but now the steps occur in an appoggiature 16th note rhythm in major, and the
melody is used in imitation (see the second statement).
Just before the coda, there is a brief sidestep towards the subdominant area A[. The
coda itself is a weird combination of snippets from both melodies M1 and M3, but in a
rhythmically very condensed form.
4.5.4

111
Table 4.21: Mozart, String Quintet in G Minor KV 516, Mvt. 3 Adagio ma non troppo
m
Comment
M1
..
.
..
.
..
.
..
.
..
.
..
.
..
.
E[
E[ B[7 /D E[/G F m/A[ E[64 B[
A1 , (a): tutti
3
5
7
8
9
11
12
13
14
16
18
19
20
23
25
27
28
29
30
31
32
33
35
36
38
40
42
44
45
46
112
B[7 B[7 /D F m7 /E[ B[7 /D

<(A7 B[) D7 /C G/B D7 /F ] G
(F m D7 )/A[ E[/G F/C B[7 /D E[
A7 B[7 E[ F m/A[
E[64 B[7 Cm B[7 /D E[7 /G
B[m
(b): imit tutti
D7 E[ A /C B[7 E[ F m/A[
E[64 B[7 E[
B[ A7 F7
F7 /A E[/G C]7 D D7 Gm E
F (B[m F )/B[
climax, imit
cad
trans
(a):Vi1, P T (b[)
(B[m F m G[ B[m7 C7 )/B[
(a): Vi1, 16ths (ped)
(<(A7 B[m) (A7 G[ F7 B[m))/B[
(a): Vi1, climax (ped)
C7 /E[ B[m/F F7 G[ C[/E[

D[7 G[ F7 E7 B[m64 C F7
(b): Vi1, imit

climax, cad
B[ D7 Gm/B[ G7 /B
B1 , Vi1 16th app, stacc
Cm C7 F F7 /E[ B[/D F7 /C
B[ F/A Cm/E[ B[64 F7
B[ D7 Gm/B[ G7
PB (&)
[S6 ] , PB (&), cad
imit Va1-Vi2, leg arp
E[
Cm C7 F Cm7 Gm7 F7
<(B[ A7 ) B[
E[ Cm/E[ B[64 F B[ E[ B[/F
E[/G Cm/E[ B[64 F7 B[ F7
<(B[ F7 ) B[ A7 B[ B[7 /D
halfcad
trans, tutti
cad
cad
E[
E[ B[7 /D E[/G F m/A[ E[64 B[
A2 , (a): tutti
B[
M3
..
.
M1
..
.
..
.
..
.
..
.
..
.
F m/A[ D E[/G F m7 /C D7 E[
M3
..
.
climax, cad
M2
..
.
..
.
..
.
(b): imit Vi1-Vc
B[7 B[7 /D F m7 /E[ B[7 /D

<(A7 B[) D7 /C G/B D7 /F ] G
(b): imit Vi1-Vc
(F m D7 )/A[ E[/G F/C B[7 /D E[

A7 B[7 E[ F m/A[
d
E[64 B[7 Cm B[7 /D E[7 /G
climax, cad
Table 4.22: Mozart, String Quintet in G Minor KV 516, Mvt. 3 Adagio ma non troppo (contd)
m
48
49
50
51
53
55
56
57
58
60
62
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
..
.
..
.
M2
..
.
..
.
..
.
..
.
..
.
E[m
F m/A[ D E[/G F m7 /C D7 E[
(b): imit tutti
D7 E[ A /C B[7 E[ F m/A[
E[64 B[7 E[
B[m7 E[/B[ C7 /G F m Cm7
F/C D7 /C G/B Cm Cm7 A
B[ (E[m F )/E[
climax
cad
trans
(E[m Bm C[ E[m7 F7 )/E[
(a): Vi1, 16ths (ped)
(<(D7 E[m)
(a): Vi1, climax (ped)

d
F7 /A[ E[m/B[ B[7 C[ F [/A[

[5/[9
F7
G[7 C[ B7
[5/[9
F7
E[64 B[7
E[
M3
..
.
A[
E[
(M)
Comment
(D7 C[ B[7 E[m))/E[
M3
..
.
...
(a):Vi1, P T (e[)
(ped)
(b): Vi1, imit
climax
cad
E[ G7 /D Cm/E[ C7 /E
B2 , Vi1 16th app, stacc
F m F7 B[ B[7 /A[ E[/G B[7 /F

E[ B[/D F m/A[ E[64 B[7
E[ Cm/E[ C7[9 B[7 /D C7 /E
PB (&)
[S6 ] , PB (&), cad
F m F7 /E[ B[ Cm7 D7
<(E[ D7 ) E[
A[ F m/A[ E[64 B[
E[ A[ E[7 /B[
A[ F m/A[ E[64 B[7 E[ B[7
E[ B[7 E[ A7
B[ E[ F m/A[ E[64 B[7
A7 B[ E[ F m/A[
E[64 B[7 E[ A
E[64 B[7 E[/G A7
E[64 B[7 <(E[ B[7 /F ) E[
imit Va1-Vi2, leg arp

cad
trans, tutti
cad
climax, cad
Coda (M1/3)
imit
cad
closing cad (82 m.)
113

114
4.5.5

115

116
4.6. CLARINET QUINTET IN A MAJOR KV 581
4.6
Clarinet Quintet in A Major KV 581 (1789)
Source: [35]. An overview of the formal analysis is shown in Fig. 4.8. The third movement
menuet has two trios, and the final movement has a theme and variations form.
Mvt. 1 Allegro: sonata form (A,
h i
Exposition
4
4
, 197 m.)
Mvt. 2 Larghetto: ABA form (D,
h i
A1
B1
A2
3
4
, 85 m.)
Mvt. 3 Menuetto: menuet and trio form (A Am,

Menuet
Trio 1
h i
3
4
, 124 (32+41+51) m.)
Trio 2
Mvt. 4 Allegretto con Variationi: theme and variations form (A,

Th.
V. 1
V. 2
Coda
V. 3
V. 4
Ad.
h i
2
2
, 141 m.)
Coda
Figure 4.8: Mozart, Clarinet Quintet in A Major KV 581
4.6.1
Mvt. 1 Allegro
Form: sonata form. The opening theme M1 is a sort of chorale setting for strings (partly
in contrary motion), answered by the clarinet. The second theme from the first group has
M2(abc) structure, with the a-phrase ans ascending scale, and the b-phrase a characteristic
downward descending melodic sequence, that is re-used in imitiation in the strings. The
second group 1st theme has M3(aab) (2 + 2 + 3 m.) sentence structure. The transitory theme
M4(aaab) consists of a melodic sequence a-motif and 16th note runs in the b-phrase. The
last theme from this group has M5(abab) period structure. The development is based on the
first theme phrases only. The other melodic material returns in the recapitulation, with a
prominent role for M5 in the coda. The detailed analysis is shown in Table 4.23 and 4.24.
4.6.2
Mvt. 2 Larghetto

117
Table 4.23: Mozart, Clarinet Quintet in A Major KV 581, Mvt. 1 Allegro

m
1
5
M1.a
M1.b
A A/C] E7 F ]m Bm E7 F ]m
D A/C] Bm7 E7 A E7
9
13
17
19
22
25
26
M1.a
M1.b
M2
M2
..
.
29
31
35
(M2)
42
46
49
53
58
61
64
M3
M3
M4
M5
68
72
74
77
E
Em
86
88
92
100
110
118
M1
M1.a
M1.b
M1.b
M1.b
M1.b
Exp, Gr 1/Th 1, Str

Cl response
A A/C] E7 F ]m Bm E7 F ]m
D A/C] Bm7 E7 A E7
A E7
A F ]m7 /A E/G] D/F ] C]m/E
Bm/D A/C] <(G]7 /B E7 /G] A)
B E7 A D]7
E E/B B C]m F ]7 /A] Bm G]m
2nd stat, repeat

Cl response
A F ]m C]m E D]7 C]m/E

B A/C] G]m F ]m/A E F ]7
B Am7 /C B Am7 /C B B7
b)
b) Vi1
trans to D, a) Cl
E F ]m7 /E B7 /F ]
E F ]m7 /A E/B B7
E Em F ]7 /E B7[9 /D]
Em Am7 Dm7 G7 C
C + D]7 /C F ][9
7 /C]
E46 . . . B7
E A/E E/G] A F ]m7 /A B7
Gr 2/Th 1 aa): Vi1

b)
2nd st minor aa): Cl,
sync, b)
79
82
Comment
Gr 1/Th 2, a): Cl
bc)
[S6 ]
2nd stat, Str, a): Vc
climax, cad
ab) Vi1-Cl, P T (e)
E A/E E/G] A F ]m7 /A B7

6
C]m B7 /D] E F ][9
7 /C] E4 B7
E/G] B E/G] F ]m/A
E46 B7 E
ab) repeat
cad
E Em G7 /F
Dev
C C/E G7 Am Dm/F
cad
Gr 1/Th 1
G7 Am Dm7 /F C/E Dm7 G7

C G 7 C G7
C A7 Dm B7 Em C]7 F ]m
F ]7 /E (Bm E7 )/D A/C] D]7 /F ]
(E Am E Am E D]7 )/E E7
arpeggios, imit
arp, Seq(32m;R7 )
Seq(52m;R5 )
stretto, P D (e)
Table 4.24: Mozart, Clarinet Quintet in A Major KV 581, Mvt. 1 Allegro (contd)
m
117
121
125
128
131
134
136
139
147
155
159
165
167
169
173
177
M1.a
M1.b
M2
M2
..
.
A A/C] E F ]m Bm/D E A/C]

D A Bm7 E7 A E7
A F ]m7 /A E/G] D/F ] C]m/E
Bm/D A/C] G]7 /B E7 A7
D D/A A Bm G A F ]m
A
Am
G Em F ]m D Em C]7 D Bm/D
A/C] G]m7 /B F ]m/A E/G] B7 /F ]
E <(Dm/F E7 )
A D/A E7 A Bm/D A64 E7
A Am E7 /G] E7[9
[S6 ]
trans to T
Gr 2/Th 1
repeat in minor,
Am C7 F A7 /C] Dm E7[9 /G]
sync
M2
M3
M3
..
.
..
.
M5
..
.
..
.
..
.
Comment
d
Recap, Gr 1/Th 1
Gr 1/Th 2, Cl
[S6 ]
SD
Am B /D Am/E E
C]7 F ]m B/D] A64 E7
A
A D/A A A/C] D Bm/D E7

d
A D/A A A/C] D Bm/D E7
Coda, P T (a)
repeat (ped)
F ]m E/G] A Bm A7 /C] D B7 /D]
180
182
185
M1.b
E E7 A/E E7
A G] /B A/C] Bm/D E7 A7
D B7[9 /D] A64 . . . E7
193
M1.a
A E F ]m Bm/D A64 E7 A
[S6 ]
climax
fin stat (197 m.)
119

120
4.6.3
Mvt. 3 Menuetto
Form: menuet and trio form. In this movement there are two trios. The menuet is therefore
played three times (however, without repeats after the trios). The first theme M1 is played
in parallel thirds; the a-phrase between clarinet and violin 1, the b-phrase between viola and
cello.
Trio 1 omits the clarinet and features the lead violin; note the imitative legato downward
and upward leaps in the other string parts, and the simultaneous offbeat fp accents. The
clarinet returns in Trio 2 with an M5(aab) (1 + 1 + 2 m.) theme in small-scale sentence
structure. The (inverted) arpeggio a-motif is picked up by the leading parts in the string
(mostly violin 1, but occasionally the cello). The analysis is shown in Table 4.25.
4.6.4
Mvt. 4 Allegretto con Variationi

121
Table 4.25: Mozart, Clarinet Quintet in A Major KV 581, Mvt. 3 Menuetto and Trio
m
1
5
7
9
13
15
17
19
20
26
28
30
1
5
11
17
21
25
29
36
40
M
M1.a
..
.
Comment
Menuet
|| : A <(E7 A) F ]m Bm7 /D E E7 /D
A1
A/C] Bm F ]m/A E7 /G] A Bm/D

A/E E7 A
A Bm A E7 /B A
B, Str par 3rds
M1.b
..
.
..
.
..
.
F ]m/A C]m/G] F ]m B7 /D] E

[9
F ]m/A E/B G][9
7 /B] C]m C]7 /B
M1.b
M1.a
..
.
M3.a
M3.b
M4.a
M4.b
M4.a
M4.b
..
.
Am
C
Am
F ]m/A C]7 /G] F ]m B7 /D] E

F ]m/A E/B B7
E <(A/E E) A E7
A E7 A F ]m Bm/D E E7 /D
P D (e)
A2 , 2nd stat
A/C] Bm F ]m/A E7 /G] A Bm7 /D

A64 E7 A : ||
cad (32 m.)
Trio 1
|| : Am B7 /D E7 Am
B7 /D G7 C <(C G7 /B) C
Dm/F <(A7 /G Dm/F ) C46 G7 C : ||
|| : C C7 F A7 D D7 /F ] G B7
E <(D]/E E) E7 /D
Am B7 /D E7 Am
B7 /D E7 <(Am E7 /G]) Am
B[/D(N 6 ) <(F7 /E[ B[ D)
Am64 E7 A : ||
A! , no Cl
B
P D (e)
A2 , 2nd stat
Neap
(41 m.)
Menuet (play without repeats)

Trio 2
1
6
13
21
M5.a
M5.b
M5.a
M5.a
36
41
49
M5.a
M5.b
|| : A Bm7 /D E7 F ]m A/C]
6
Bm/D <(F ][9
7 /E Bm/D) . . . A4 A : ||
|| : <(E7 A/E) E <(E7 Am/E) E
<(B7 E) E7 . . .
d
A Bm7 /D E7 F ]m A/C]
Bm/D <(F ][9
7 /E Bm/D) A7 /E D/F ]
6
Bm7 /D A4 E7 A : ||
Menuet (play without repeats)
122
A1 , Cl
B, e-ped
e-ped
A2 , Cl
cad (51 m.)

123
4.6.5
The key relationship diagram of the Mozart clarinet quintet is shown in Fig. 4.9. Here sublime musical beauty and elegance meet key simplicity. The key scope is very limited; only
the opening sonata allegro moves somewhat further away from the tonic key. Note the repeated statements of the secondary theme in major and parallel minor (2) and (4).
The ternary form larghetto has the A-sections in the tonic key D, with the bridge in the
dominant major key A. The menuet and closing theme and variations use the major-minor
key juxtaposition, without modulation.
Mvt. 1 Allegro
D
Dm
5 1
A -E
2
63 ?
6
4 ?
Am
Em
Mvt. 2 Larghetto
D -A
Mvt. 3 Menuetto
A
Menuetto
Am Trio
6
?
Mvt. 4 Allegretto
con variationi
A
6
?
Am Var 3
Figure 4.9: Mozart, Clarinet Quintet in A Major KV 581, key relationship diagram
4.7
Symphony No. 38 Prague KV 504 (1786)
Source: [34]. The remarkable aspect of this symphony is that it only has three movement; the
typical third movement (menuet and trio) is missing.2 An overview of the formal analysis is
shown in Fig. 4.10. Note the limited length of the development section in the opening sonata
form movement, and the false recapitulation.
4.7.1
Form: sonata form. This movement opens with a slow adagio introduction, divided into
four segments: 6 + 9 + 12 + 9 m. The opening unisono motif Mu is followed by a string
melody Mi(abc) over the middle segments (note the syncopated repeated notes in Mi.b over
the tonic minor key).
The introduction bursts into the allegro with an opening theme M1, launched by a another series of syncopated dominant pedal notes M1.a., and the ascending motif M1.b. This
is answered by a descending scale in parallel consonants M1.c in woodwinds. There is tonal
2
Maybe this was rejected by a contemporary A&R manager or record producer in good old Austria. Instead
of Prague its nickname could have been Blague; who knows?
124
4.7. SYMPHONY NO. 38 PRAGUE KV 504
Mvt. 1 Adagio Allegro : sonata form (D,

Intro (36 m.)
h i
4
4
, 302 m.)
Exposition (106 m.)
Dev. (49 m.)
FR

Mvt. 2 Andante: ABA form (G,
A
h i
6
8
, 148 m.)
Mvt. 3 Finale presto: sonata form (D,

Exposition (152 m.)
A
h i
2
4
, 351 m.)
Development (64 m.)

Figure 4.10: Mozart, Symphony No. 38 Prague KV 504
ambiguity, balancing between G and the real major tonic key D. The major-minor approach
from the introduction returns in the allegro (and in the final movement).
The secondary theme has M2(aab) (2 + 2 + 4 m.) sentence structure; its second statement
is in minor. The development is based on the second and third theme (M1.c and M1.d) from
the first group and treated with counterpoint, imitation and sequential settings. Note the
sustained horn pedal point in the retransition. The detailed analysis is shown in Table 4.26
to 4.28.
4.7.2
Mvt. 2 Andante

125
Table 4.26: Mozart, Symphony No. 38 Prague, Mvt. 1 Adagio - Allegro

m
1
4
Mu
Mi.a
..
.
..
.
8
11
14
16
24
28
32
37
41
43
45
49
51
55
59
60
61
62
66
68
71
75
77
79
81
87
91
93
126
Mi.b
Comment
Adagio
<(D A)
F ]/A] Bm D/F ] G
Introduction
unis motif
B/D] Em A7
B7[9 /F ] <(Em/G D]7 /A) Em/G
Dm
(Mi.b)
M1a
M1b
M1c
M1a
M1b
M1a
M1d
..
.
G
D
D/A A A]7 Bm D7 /C G/B

D]7 /A G]7 D/A A7
contrast dyn
Dm . . . B[ . . . F7 . . . D7 /F ]
Gm . . . G]7 . . .
A[9
7 ...
<(A Dm)
Str sync, P (da)

P (da)
climax P D (a)
cad (36 m.)
Allegro
|| : D/F ] G Am D7 /F ]
G D/F ] Em A7
D A7
D D7 /F ] <(G D7 /A)
G D/F ] Em7 A7
D Em7 C]7 /E D/F ] A/C]
<(D Bm Em A/C]
Exp, Gr 1, Vi1: d-sync

Vi1 asc, str
WW+Brs, par scale
2nd stat, Vi1
cad
Vi2+Va par 3rds
tutti climax
D Em7 A7 )
d
M1d
..
.
..
.
..
.
M1a
M1b
..
.
..
.
..
.
..
.
..
.
intro a): Vi1
D Bm/D Em7 D A/C]

Bm Em7 Am7 D
Seq(4 12 m;R7 )
G7 C]7 F ]m7 Bm7
imit
Em7 A7 <(D A7 )
tutti climax, cad
<(D A) <(Bm F ]m)

<(G D) A
A+ /C] <(D A+ /C])
D A/C] Bm E7
halfcad, P D (a)
Vi1: a-sync
Str+WW imit
A D7 Bm/D
C]7 A/C] F ]m7 D/F ]
E A D7 G]7 C]m7 F ]m7
Gm
trans, Seq(42m;R7 )
Bm7 E7 Dm/F D7 /F ]
climax
Gm G]7 D7 /F ]
Gm/B[ G]7 /B A/C] C]7
trans to D, PBi (%)
Table 4.27: Mozart, Symphony No. 38 Prague, Mvt. 1 (contd)

m
95
97
105
109
112
116
121
123
125
127
129
133
135
M2
M2
M2
M1d
M1d
..
.
A
Am
A
Comment
F ]m Bm/D A/E E7
closing cad
A E7 /G] A C]m/E A B7 E
Am E7
Am C/E Am/C Bm7 E7
A E7 A Bm E7
A7 D7 E7 /G] Bm/D A/E E7
A Bm7 E F ]m7 Bm7 E7 A
D7 G]7 C]m7 F ]m7 Bm E7
Gr 2, aab): Vi1
minor aab): Vi1
A E F ]m C]m
D A D A64 E
A A7 <(D/A A7 )
D/A A7 F ]7 Bm E7 A F ]m
Bm/D E <(A E) A : ||
3rd stat, aa): Bsn

cad
Str+WW imit
tutti clim
cad
closing stat, P D (a)
closing cad
143
147
M1c
A/C] E7 A F ]7 /A] Bm
C]m D E A7
151
156
160
162
M1c
M1c/b
M1d/c
.. ..
./ .
D A7 D/F ] Em C]7 F ]7
G Em A]7 Bm G Em A
D Bm G]7
F ]m C]7 F ]7 Bm F ]7 B7
Str+WW imit
ctp, Seq(32m;R3 )
Em B7 E A E7 A7
D A7 D D7
G Bm7 /A E/G]
WW+Str ctp
Am C]7 /B F ]/A]
imit Vi2-Vi1
166
170
172
174
176
178
179
181
184
187
189
192
195
199
201
203
/
M1d
..
.
M1c/b
(M1c)
..
.
..
.
M1d
..
.
M1a
Dev, Gr 1, Str imit
Dm
Seq(34m;R7 ),
Seq(32m;R7 ),
Bm Em7 /D A/C]
Str+WW imit
Bm7 Em7 A7 D
C7 C] F ]m7 Bm7 Em7 A7
<(D A7 )
<(D A) <(Bm F ]m) <(G D)
A7
A/C] Dm A7 /C]
stretto, climax
retrans
cad
P D (a)
retrans, Vi 1, a-sync
Dm A7 /C] Dm B[ E7[5 /B[

(A A[9
7 Dm A7 Dm G]7 )/A
(A G]7 A F ]7 )/A
False rec, Hns ped

Str+WW ctp, P D (a)
scalar motif (ped)
(G C]7 Dm D]7 )/A
minor (ped)
(E C]7 D G]7 )/A
major (ped)
127
Table 4.28: Mozart, Symphony No. 38 Prague, Mvt. 1 (contd)

m
205
208
212
214
216
M1a
M1b
M1c
M1a
..
.
219
221
224
226
229
235
239
241
242
M1b
M1b
..
.
..
.
Comment
A . . . A7
cad, return to T
D D+ /F ] <(G D7]5 /F ])
D D/F ] Em7 A
D A7
D D/F ] G D/F ]
Recap, Gr 1, Vi1
Vi1 asc, Str
WW par scale
2nd Dev, d-sync
Gm D7 /F ] Gm E[m/G[
F <(B[/F F )
B[ F/A Gm7 C]7 /E
Dm/F B[7 E7[5 A
G7 C]7 F ]m7 Bm7 Em
Vi1, SD
mediant
Vi1
Str+WW imit
Seq(32m;R7 ),
A7 Gm/B[ G7 /B C
ctp, climax
C]7 Gm/D E[7 A7 /E

D/F ] Em/G F ]m/A A]7
Bm Em/G Bm7 /A A7
PBi (%)
cad
244
250
M2
D . . . A7 /C] . . . D A7 D
D/F ] G]7 D46 A
252
257
259
M2
M2
..
.
Dm
Dm A7 B[ G]7 Am E7
F/A C]7 /G Dm/F E7 /G A7
D <(A7 D)
minor aab): Vi1
A D G A7 /C]
Str imit
264
3rd stat, aa): Bsn
268
D Em/G D/A A7
270
272
274
276
278
281
284
287
290
292
296
299
M1d
M1d
Bm/D A/C] G/B A7

Bm/D C]7 A /C G/B Gm/B[ A[9
7
D G C]7 F ]m Bm7 Em A7 D
G7 C]7 F ]m Bm7 Em A7
<(D A7 ) <(Bm F ] ) <(G D)
G D46 A D
D7 <(G D7 )/D (G Gm D G]7 )/D
C]7 /D Bm Em/G A D
D F ]/C G D7 /F ] G D]7 /A
E C]7 /G D/F ] Bm Em7 /G A7
<(D A7 )
D
128
Gr 2, aab): Vi1
tutti climax
PBi (&) , cad
stretto imit
tutti, cad
closing clim, cad
P T (d)
(ped)
(ped)
closing cad
(302 m.)

129
4.7.3
Mvt. 3 Finale presto
Form: sonata form. The third and final movement opens with an arpeggio motif on the tonic
chord (M1a), imitated by the other strings, and closing with downward suspensions over
a series of first inversion chords ([S6 ] ). This a-motif is used extensively in the transitions
(imitations) and development (sequences). The second statement of M1 is in minor. The
climaxes are falling mostly on the tutti transitions, while the thematic material is orchestrated
lightly. The series of first inversiion chords return prominently in the development. The
movement concludes with a closing statement of M1; there is no coda. The analysis is shown
in Table 4.29 and 4.30.
4.7.4

130
Table 4.29: Mozart, Symphony No. 38 Prague, Mvt. 3 Finale presto

m
Comment
M1
..
.
..
.
|| : D G/B F ]m/A Em/G B7
Exp, Gr 1 a): Str im [S6 ]
<(Em B7 ) Em
b): Vi1
M1
..
.
..
.
Dm
Em F ]m/A Em/G D/F ] A7

<(D A7 ) D
<(D G D A7 )/D D
<(A D)/A A
Dm Gm/B[ F/A E G Gm7
a): Str imit [S6 ]

b): Vi1
trans, tutti clim, P T (d)
P D (a)
a): WW imit [S6 ]
<(C7 /E Gm7 /F ) C7 /E
b): Fl
a): WW imit
b): Fl
trans, tutti clim, PB (&)
M2
C7 F Gm/B[ F/A C7
<(F C7 ) F
F Am/E Dm D]7
<(E7 Am D]7 )/E P D (e)
<(E7 Am) E . . . E7
<(A D A E7 A)
<(A E7 ) A
D Bm Bm/D D] E7
<(A D A E7 A)
<(A E7 ) A
5
9
13
18
28
32
36
40
44
48
56
60
67
75
80
83
92
96
99
103
106
108
111
119
121
131
139
153
157
161
165
169
173
177
181
M2
D E7 F ]m Bm/D E7
A D/F ] C]m/E Bm/D A/C]
M1
..
.
M1
Dm
E7 D/F ] E7 /G]
A Bm/D A64 E
A Dm/F A/E Dm/F A/C]
<(Dm A7 ) D/F ] Dm/F
d
M1/c
M1/c
A
M1
M1
M1
M1
Bm
Am
cad
Gr 2, aa): Vi par 6ths
(b): WW
cad, (cm>)
2nd st aa): Fl+Vi 6ths
b): WW
cad
Gr 1, a): WW imit [S6 ]
(cm>)
cad
a): Str imit
trans, tutti climax
E7 F ]m Bm/D E7
<(A E7 ) A
<(A D A/E E7 )
A . . . : ||
cad
a): WW, Mc: Vi1 tripl
a): WW imit, Mc: Vi
tutti clos clim, P D (a)
A ...
A D/F ] C]m/E Bm/D A/C]
E7 /B . . .
E7 A Bm/D
F ]7 /C]
F ] Bm C] /E Bm/D A] /C]
Bm B7 /A E7 /G] E7
Am A7 /G D7 /F ] D7
Dev, tutti clim, P D (a)

WW, Seq(28m;R5 )
LoStr, tutti forte
WW imit [S6 ]
LoStr, tutti forte
WW imit [S6 ]
Str im, Seq(24m;R7 ),
trans
131
Table 4.30: Mozart, Symphony No. 38 Prague, Mvt. 3 Finale presto (contd)
m
185
189
193
197
201
205
208
211
215
217
221
225
229
233
237
241
245
253
257
264
272
277
280
288
293
296
300
302
304
306
308
314
318
328
336
132
Comment
M1
..
.
..
.
..
.
G C/E Bm/D Am/C G/B
Seq(54m;R5 ),
D D7 /C G/B F Dm/F
WW+Str imit [S6 ] , forte
Am
E Am Dm/F Am/C
[S6 ]
Bm
E E7 /D Am/C Em/G
F ] Bm Em/G Bm/D
[S6 ]
[S6 ]
(M1)
..
.
M1
..
.
Gm
M1
M1
B[
Dm
M2
M2
M1
..
.
C/E F ]7 G
Bm/D Em F ]
cad
retrans, a): WW imit
G C7 /E F ] B7 /D]
Em A7 /C]
Seq(32m;R7 )
D G/B F ]m/A Em/G B7
Rec, Gr 1, a): Str im [S6 ]
<(Em B7 ) Em
Em Am Bm/D D G64 D7
Gm/B[ . . .
Gm Cm/E[ Gm/B[
F7 . . .
F7 b[ Cm/E[ B[/D A /C
B[ Dm/A Gm7 G]7
<(A7 Dm G]7 )
<(A7 Dm) A . . . A7
<(D G/B D A7 D)
<(D A7 ) D
G Em Em/G G]7 A A7
<(D G/B D A7 D)
<(D A7 ) D
G A7no 3 Bm Em/G A
D G/B D/F ]
b): Vi1
a): Str imit
LoStr, tutti forte
2nd st, a): WW imit [S6 ]
LoStr, tutti forte
a): WW imit
trans, tutti forte, P T (d)
P D (a)
M1
Gm
A7 A]7 G/B C]7

D Em D46 A
D
Gm/B[ D/A Gm/B[ D/F ]
<(Gm D7 )/D
Gr 2, aa): Str par 6ths

b): WW in par 6ths
halfcad
2nd stat: WW+Str
b): WW
cad
Gr 1, a): WW imit [S6 ]
(cm>)
cad
a): Str imit
cad
trans, tutti forte, P D (d)
M1/c
M1/c
G/B Gm/B[ A7 Bm Em A
<(D A7 ) D
<(D G D46 A7 )
D ...
a): Hns, Mc: Vi1 tripl

a): WW+Brs imit
cl clim, arp (351 m.)

133
4.8
Symphony No. 40 in G Minor KV 550 (1788)
Source: [34]. An overview of the formal analysis is shown in Fig. 4.11. The outer movements
are in sonata form, with a short (Mvt. 1) and a significantly longer development section in
the finale. The ternary form second movement has a relatively short middle B-section.
Mvt. 1 Allegro molto: sonata form (Gm,
h i
Exposition (101 m.)
Dev. (39 m.)
2
2
, 299 m.)
FR (26 m)

Mvt. 2 Andante: ABA form (E[,
A1
h i
6
8
, 123 m.)
A2
Mvt. 3 Menuetto Allegretto: menuet and trio form (Gm,

Menuet
h i
3
4
, 84 m.)
Trio
Mvt. 4 Allegro assai: sonata form (Gm,

Exposition (125 m.)
h i
2
2
, 308 m.)
Development (81 m.)
Recapitulation (60 m.) Coda (34 m.)

Figure 4.11: Mozart, Symphony No. 40 in G Minor KV 550
4.8.1
Mvt. 1 Allegro molto
Form: sonata form. The opening movement is part of the classical music core curriculum;
listening courses will undoubtedly play this piece. The phrase structure of the main melody
is discussed in books on composition, the string section middle voices treatment in instrumentation classes.3
The main theme has M1(aab) (4+4+10 m.) sentence structure. The a-phrase may be subdivided into a(ccd); the appoggiature 8th notes in the c-motif are the prominent element in
this movement. This idea is used in cadences, transitions and throughout the development.
After two statements of the main theme there is a climax, that acts also as a transition
in the exposition and has multple statements in the recapitulation. The climax theme Mc
contains a melodic sequence Seq(4 1m;R7 ) in staccato 4th notes in the lead voice over a
steady 8th note background. The secondary theme has M2(ab) (4 + 4 m.) structure and is
full of descending chromatic steps. The detailed analysis is shown in Table 4.31 to 4.33.
4.8.2
Mvt. 2 Andante
Remember the 20th century pop hit by Waldo and his boom-tchi-ka band? Same piece of immortal music.
134
4.8. SYMPHONY NO. 40 KV 550
Table 4.31: Mozart, Symphony No. 40, Mvt. 1 Allegro molto

m
1
9
14
16
22
28
32
34
38
43
48
50
52
56
58
62
66
70
72
77
80
85
89
94
99
101
103
108
112
115
119
123
Comment
M1
..
.
..
.
M1
Mc
..
.
..
.
Gm
Gm . . . A7 /G D7 /F ] D7[9 Gm
Exp, Gr 1, aa): Vi
Gm <(A7 D7[9 )/C Gm7 /B[
b): Vi
E7 E[7
<(D C]7 ) D A7 Gm D7
Gm Cm7 /E[ F7
B[ F/A E[/G B[/F
Str+WW
tutti, P D (d)
2nd stat, a): Vi, WW
clim, trans, PB (&)
M2
..
.
B[
Cm/E[ B[/D
F
<(C G7 ) C7[9
<(F F7 B[m E7 )/F F
tutti clim
P D (f )
B[
G7 C F7 B[ Gm E7 F7
Gr 2, a): Vi-WW
A7 D G C F7 B[
Cm F7 B[
G7 C F7 B[ C7 F7
b): Vi, Str

2nd st 8va, a): WW-Str
A7 D7 G7 C7 F7 B[7
b): WW+Str
<(E[7 A[)/E[
E[7 E7 B[64 F7
B[ B[7 /A[ E[/G F7 /E[ B[/D
E[ F7
<(B[ F7sus4 F7 )
P (e[)
cad
clos, Str unis, PB (%)
cad
motif , a): WW imit
D7[9 Gm B[/F F7
a): Vi par, cad
<(B[ Cm7 /B[ F7 /A) B[
a) WW imit
D7[9 Gm7 Cm7 /E[ B[/F F7

<(B[ B[/D E[ F7 )
Gm E[ B[/F F7 <(B[ F7 )
<(B[ F7 ) B[ F ]7
a): Vi par, cad

climax, str unis
closing cad
F ]m
Gm F7 F ]m F7
F ]m C] F ]m G]7 /F ]
Dev, Gr 1
a): Vi, Seq(34m;R7 )
Em
G]7 /F ] C]7 /E] C]7 /E

F ]7 /E B7 /D] B7[9
Em B7 Em E7 Am A[9
7
a): Vi, PBi (&)

a): Vi
a): ctp, Seq(34m;R7 ),
Dm C]7 Dm D7 Gm G7
C G7 C C7 F F7
rapid mod, R5 , tutti

Seq(3R5 )
M2
..
.
..
.
M3
M1
..
.
..
.
..
.
M1
..
.
M1
..
.
Dm
135
Table 4.32: Mozart, Symphony No. 40, Mvt. 1 Allegro molto (contd)
m
127
131
134
140
147
153
157
160
162
164
166
172
177
179
184
188
191
195
198
201
203
207
211
215
217
221
136
Comment
B[ F7 B[ Gm7 Cm7
a): Vi, Seq(32m;R7 )
Am D7 Gm Em G]7
<(A Dm/A) A
cad, P (a)
F7 B[m G7 Cm
False rec, a): imit WW-Vi
F ]7 D7 D7[9
retrans , imit Str-WW

a): motif Str stretto, clim
Gm
D7[9 Gm C]7 D
D7 Gm C]7
(D Em C)/D
(Dm7 B[ C]7 A7 )/D
(B7 C]7 )/D D7
i (&), P (d)
Pm
D
(ped)
(ped)
M1
..
.
..
.
Gm
Gm . . . A7 /G D7 /F ] D7[9 Gm
Recap, Gr 1, aa): Vi
Gm <(A7 D7[9 )/C Gm7 /B[
b): Vi
E7 E[7
<(D C]7 ) D A7 Gm D7
Str+WW
tutti, P D (d)
M1
Mc
Mc
..
.
..
.
E[
M1
..
.
(M1)
..
.
..
.
Mc
..
.
..
.
Fm
Gm B[7 E[ B[7 /F
F7 /E[ B[7 /D B[7
E[ B[ A[/C E[/B[
F m/A[ E7 B[m7 C7
F m C7 G7 /B[
Vi, tutti clim, Seq(3R7 )
F m/A[ E7 /G
Vi stretto imit leaps
2nd stat, a): Vi
2nd stat: LoStr+Bsn,
F m B[7 E[ A[
d
Gm
Dm G7 A[7 /C D7
Gm Dm/F Cm/E[ Gm/D
3rd stat: Vi
(A7 F ]7 )/C Gm/B[

D
<(A E7 ) A7
<(D C]7 )/D D
cad, P (d)
Table 4.33: Mozart, Symphony No. 40, Mvt. 1 Allegro molto (contd)
m
226
229
231
233
235
237
239
241
245
247
251
254
261
265
269
273
277
281
283
285
293
297
Comment
M2
..
.
..
.
M2
..
.
..
.
..
.
..
.
..
.
Gm
Gm A D7
Gr 2, a): Vi-WW
G7 /F C/E E[7 D
Str, PBi (&)
F ]7 Gm A7 D7 G E[
A7 D7 Gm
Gm A7 D7
b): Vi, Str
M3
(M1)
M1
(M1)
M1
..
.
..
.
M1
2nd st 8va, a): WW-Str
Gm G7 C E[7 D7
F ]7 Gm A7 D7 G E[
b): WW+Str
<(B[7 E[)
B[7 B7
cresc to climax, PBi (%)
C7 B[m/D[ B7 /D Cm/E[
Seq(32m;R7 )
Gm
C]7 /E B[/D D7
Gm G7 <(Cm D7 Gm)
<(D7 Gm)
6
G[9
7 Cm Gm4 D7 Gm
<(D7 Gm)
6
G[9
7 Cm Gm4 D7 Gm
cad,P D (d)
closi, Str unis, PB (%)
a): WW imit
a) Vi1, tutti clim
a): WW imit
a): Vi1, tutti clim
Gm Cm D7 Gm A7 D7 /C
Gm/B[ G/B A[/C A7 /C]
Gm/D G7 /F C/E E[7
[9
Gm64 D7 Gm G[9
7 Cm D7
<(Gm D7 )
<(Gm D7 ) Gm
P T (g), climax, PBi (%)

PBi (&) (ped)
a) motif, Str imit
closing cad
(299 m.)
137

138

139
4.8.3
Mvt. 3 Menuetto allegretto - Trio
Form: menuet and trio form. Both parts have ternary song, ABA form structure. The ternary
structure is asymmetrical in the sense that the opening statement is not repeated literally; the
A2 section is some sort of wrap-up of the main theme.
The menuet melody starts with a hemiola phrase and has M1(aab) (3 + 3 + 8 m.) sentence
structure, with the b-phrase an extended variation of the second measure of the a-phrase.
The menuet middle section B has development character. The trio melody also has M2(aab)
(2 + 2 + 2 m.) sentence structure. The second statement and the trio contrasting middle
section treat the two motifs in imitative and (limited) developmental fashion. The analysis
is shown in Table 4.34.
4.8.4

140
Table 4.34: Mozart, Symphony No. 40, Mvt. 3 Menuetto Allegretto

m
1
4
7
9
11
13
15
18
21
26
28
30
32
35
37
40
Comment
M1
..
.
..
.
..
.
..
.
M1
..
.
..
.
..
.
..
.
Gm
Menuet
|| : Gm D7 Gm/B[
A1 , a): Fl+Vi, tutti
Gm D7 Gm
a)
E[ A7 /C]
b): WW+Vi
M2
49
M2
..
.
79
81
B[
Gm
M1
43
47
55
57
60
66
69
72
75
Dm
(M2)
M2
M2
..
.
Dm A7 B[ C7 /E D7 /F ]
tutti climax, (cm<)
Gm C]7 Dm E A7 B[
E7 A7 Dm : ||
|| : B[ A7 B[
cad
B, var/dev, aa): imit
Gm F ]7 Gm
Hns: P D (d)
E[ D7 E[ B7 C C]7
b:)
D C]7 D/F ] D7 /C
ctp, imit
Gm/B[ A7 /C
D7 /F ] Gm G7 /B
Cm D7[5 /A[ E[/G D7 /F ] Gm
A7 /C D7 Gm
Gm E[7 G C]7
Gm64 D Gm : ||
(imit)
climax, (cm<)
Trio
|| : G D7 G
Am/C D G
cad
A2 , clos st, a): WW, PBi (&)
a): Fl, closing cad
A1 , aa): Str
b)
G . . . D/F ] A7 Bm7
a): WW arpeggio imit
Em/G A7
<(D A7 ) D : ||
|| : D7 . . . G . . . E7
Am G Am/C D
GD
G D G D7 G
G D ...
b): Str+Ob
cad
B, a): CB-WW imit, var
cad
closing stat, aa): Str
b)
A2 , a): WW arpeggio imit
A7 /C D7
<(D7 G) : ||
b): Str+WW, clos cad (84 m.)
141

142
4.9. SYMPHONY NO. 41 IN C MAJOR JUPITER KV 551
4.8.5
The key relationship diagram of the well-known Gm symphony is shown in Fig. 4.12. The
opening movement has the regular exposition key pattern: main theme in the tonic minor
key Gm and the secondary theme group in the relative major key B[ (1). The development starts in the remote key F ]m (3), working its way into the subdominant domain using
sequences based on R5 cycles (35). The recapitulation moves through the lowered submediant key E[ = [VI (6) into the subdominant area (7), before returning home.
Mvt. 2 Andante
Mvt. 1 Allegro molto
4
Dmt
Am
Cm

Gm
Fm
HH
Y
H E[ 6
A[
4 C
Em
Bm
8
D

Dm 5
?
1B[ 2- F
F ]m
Fm 5
Cm
Gm
H
Y
H
1
j
H
6 H
A[
E[ B[
A ?

A[m A 3 E[m B[m
A

AU 2,7

C[
G[
D[
A
Am
C

t
Mvt. 3 Menuetto
Dm
GT
Em
Bm
F ]m - C]m
Am
Em
2,4,7
GmM - Dm
6
Am
B[
Fm H
A[
3,9
Cm - Gm
HH
j 6
E[
Dm
8
*

1B[
F
?
Figure 4.12: Mozart, Symphony No. 40, key relationship diagram
The Andante has both A-section in the tonic major key E[ and the middle section in
the parallel minor key E[m (3). Note the key progression along the minor third vertical
symmetry axis: B[ D[ (1) and E[m C (34), and the A-section symmetry D[ G[ B[
(2) and G[ C[ E[ (7). The menuet in Gm has the trio in the parallel major key G and a
very limited key range.
In the closing sonata form Allegro the main and secondary theme once again have the
regular minor-relative major Gm B[ (1) key relationship. The development quickly moves
to the dominant minor key Dm (2) and, using the enharmonic equivalence property, starts
a series of R5 and R5 root cycles and sequences, until the remote key C]m is reached (6).
Then there is the way back and a final stop in the subdominant area F m E[ Cm (79).
4.9
Symphony No. 41 in C Major Jupiter KV 551 (1788)
Source: [34]. An overview of the formal analysis of Mozarts last symphony is shown in
Fig. 4.13. Compared to the KV 550 Symphony No. 40, in the Jupiter symphony we have the
143

tonic major key C, a much longer development section in the opening movement and a very
long closing sonata form movement.
Mvt. 1 Allegro vivace: sonata form (C,
h i
4
4
, 313 m.)
Exposition (121 m.)
Development (68 m.)

Mvt. 2 Andante cantabile: ABA form (F ,
A1
A2
h i
3
4
, 101 m.)
Co
Mvt. 3 Menuetto Allegretto: menuet and trio form (C,

Menuet
3
4
, 87 m.)
Trio
Mvt. 4 Molto Allegro: sonata form (C,
h i
2
2
, 424 m.)
Exposition (157 m.)

Recap. (57 m.)
h i
Development (67 m.)

2nd Development (79 m.)
Coda (63 m.)
Figure 4.13: Mozart, Symphony No. 41 in C Major KV 551
4.9.1
Mvt. 1 Allegro vivace
Form: sonata form. The exposition of this opening movement is repeated. The exposition
opening theme is a period with call-and-response flavour on the local scale and a sentence
on the larger scale: M1(ccd) (4 + 4 + 6 m.), with c=a+b (2 + 2 m.). The unisono a-motif
has the characteristic upward fourth leaps with the 16th triplet scalar patterns, the b-motif
contains a series of appoggiaturas in the lead violins. In the c-phrase there is the middle
register strings 32th-note downward scalar pattern Ms, covering the interval of the fifth.
The first statement starts in m. 1 (there is no introduction), the second statement (m. 24 ff.)
has a woodwind countermelody Mc. Here the b-phrase is extended in a sort of miniature
development (variation b), acting simultaneously as a transition.
The secondary group consists of two themes: the lyrical first melody has M2(abab) (4 +
2 + 4 + 5 m.) period structure, with the characteristic ascending stepwise motion in the aphrase. In the transition from M2 to M3 the b-motif from M1 returns in diminution. The
second, more playful melody has M3(aaab) (2 + 2 + 2 + 4 m.) structure with an 8th note
rhythm. In the orchestration, note the frequent doubling of strings with bassoon for repeated
statements of thematic material.
The development starts with a simple unisono turn in the woodwinds, kicking off the
theme M3 in the new key. The b-phrase from M3 becomes the core element in the first
half of the development, with (stretto) imitative treatment in harmonic sequences. The false
recapitulation puts the main theme M1 back on the stage, acting as the main character in the
second half of the development. The recapitulation has the second statement of the main
144

theme in tonic minor Cm. These minor-major changes in tutti climaxes occur also at the end
of the exposition and recapitulation.
The detailed analysis is shown in Table 4.35 to 4.38.
4.9.2
Mvt. 2 Andante cantabile

145
Table 4.35: Mozart, Symphony No. 41 Jupiter, Mvt. 1 Allegro vivace

m
Comment
1
5
9
16
24
M1
Ms
M1/c
.. ..
./ .
.. ..
./ .
/
M1/c
.. ..
./ .
|| : C . . . G7 /D C G7 /B
G . . . C/E G7 /D C
(C F G7 C F G7 )/C
<(C G) C <(G C) G
C . . . G7 /B C G7 /F
Exp, Gr 1, a): unis, b): Str

ab): unis-Str
Ms): Vi2+Va, clim, P T (c)
trans, halfcad
2nd st, ab): Vi, Mc): WW
G ...
a): Vi
[9
[9
[9
A[9
7 D 7 G7 C7
F/A Em/G Dm/F F D7
G ...
b): Seq(41m;R5 )
trans to D
a): unis Str, Mc): WW
(G . . . C G7 C G7 )/G
Am/C G]7 /B Am/C A7 /C]
<(D G)/D D
G/B G]7 /B D7 /C no 3
b): Bsn+Str, P T (g)

cad
Ms): Vi2+Va, clim, cad
Gr 2/Th 1, a): Vi1
28
30
34
37
39
47
49
56
58
60
62
64
66
68
70
71
73
75
77
81
85
89
92
94
97
98
101
107
111
113
146
/
Ms
M2
..
.
..
.
..
.
..
.
..
.
..
.
Mv/(1)
Mv/(1)
M1
M1
..
.
M3
D7 /A D+ /A] Bm
D7 /F ] G D
b)
G G]7 D7 /Ano 3
a): Bsn+Vi1
D7 /A D+ /A] Bm
D7 /F ] G D7 /C
b)
G/B D]7 Em Am/C

G64 D7
G D7 /C
G/B Em7 Am7 D7 G
G D7 /C
G]7 /B Am/C G7 /D
Cm . . . C C +
(F B7 C)/C G64 D7
G . . . G7
C/G G Am/C D7
G ...
Fl+Bsn+Vi1
cad
Mv): Vi1, (M1b): LoStr
C E7 /D Am/C E7 /G]
Am Cm7 /G D7 /F ]
<(G D7 )
<(G D)
G E7 /G] Am D7 /F ]
G Am/C D
repeat
trans min-maj, clim, P (c)
clos, b): dim Vi+Bsn, P D (g)
b): dim WW+LoStr, Vi sync
cad
Gr 2/Th 2, aaa): Vi
b): Bsn+Vi
closing, tutti clim, P D (d)
cad
Table 4.36: Mozart, Symphony No. 41 Jupiter, Mvt. 1 Allegro vivace (contd)
m
114
116
116
121
123
129
133
135
137
139
143
145
147
149
151
153
155
157
161
165
167
171
173
175
177
179
181
183
185
187
Comment
G E7 /G] Am D7 /F ]
G Am/C D
<(G D) G : ||
repeat
cad
Ms: Vi1, cad
E[
B[
E[ <(B[7 E[)
<(E[ B[7 )
E[ B[7 /A[ E[/G B[7 /D
Dev, mod cad, WW unis

aaa), Vi, Str
bb) Str-WW imit
HiStr-LoStr, Seq(32m;R7 )
Fm
E[ C7 /B[ F m/A[ C7 /E
Gm
F7 D7 /F ] Gm D7 /F ]
(Ms)
M3
M3
..
.
..
.
..
.
..
.
M3
..
.
..
.
(M3)
M1/c
.. ..
./ .
/
M1/s
..
.
..
.
Ms
M3
..
.
..
.
E[
Gm
Gm7 C7 F m7 B[7
stretto imit, Seq(22m;R7 )
E[ A[ D G7
Cm . . . D7
Gm Cm/E[ F ]7 D7 /F ]
(stretto imit), Seq(2R7 )

cad
b): imit LoStr-HiStr
Gm C]7 /E A[9
7
Dm E7 Am
<(E D]7 )
E ...
E E7 /D E7 C7
F . . . E F46 C7
cad
b): WW
trans
False rec, ab): Str, Mc): Bsn
C7 . . .
(Am7 D7[9 )/D (Bm7 E7[9 )/E
Am B7 /A
a): Str, Mc): WW

2nd dev Seq(22m;R7 )
a+Ms): Vi
E/G] E7 /G A7 /G
Seq(32m;R7 ), PBi (&)
D/F ] Dm/F D7 /F G7 /F
C/E Cm/E[ D7[5 /A[
<(G D7 )
<(G D)
cad with Ms-motto

retrans, b): Vi1
<(G F ]7 )/G
b): WW, P D (g)
(G A7 Dm G7 )/G
C46 Dm7 /G G7
retrans (ped)
Str unis desc scale
147
m
189
193
197
203
212
216
220
222
224
225
227
235
237
244
246
248
250
252
254
256
258
259
261
263
265
269
271
274
276
279
282
285
287
148
Comment
M1
Ms
M1/c
.. ..
./ .
.. ..
./ .
.. ..
./ .
Cm
C . . . G7 /D C G7 /B
G . . . C/E G7 /D C
(C F G7 C F G7 )/C
<(C G7 ) C <(G C) G
Cm . . . B[7 E[ B[7
Recap, Gr 1 a): unis, b): Str

ab): unis-Str
Ms): Vi2+Va, clim, P T (c)
trans, halfcad
2nd st min, ab) Vi, Mc): WW
E[
B[7 . . . E7 F m C7
b): Vi imit
/
M1/c
..
.
Ms
M2
..
.
..
.
..
.
..
.
..
.
..
.
Mv/(1)
Mv/(1)
F m7 B[7 E[
F7 /A G7 /B Cm7 Gm/B[
A7 D7[5 /A[
G ...
trans, cad
a): Str unis, Mc): WW, P D (g)
(G C . . . G7 C G7 )/G
<(D7 /A G)
<(G C)/G <(G C)/G
C/E C] /E G7 /F no 3
b): Bsn+Str (ped)

motto (ped)
Ms): Vi2+Va, cad
Gr 2/Th 1, a): Vi1
G7 /D G+ /D] C/E
b)
C C] G7 /Dno 3
a): Fl+Bsn+Vi1
G7 /D G+ /D] C/E
Fm
M1
M1
..
.
G/B C G G7
G/B C G7 /F
b): Ob+Vi1
C/E E7 /G] Am Dm/F

C46 G7
C G7 /F
C/E Am Dm7 /F G7
C G7 /F
C]7 Dm/F C7 /G
Fm ...
D[/F C7[9 /E Cm/E[ G7 /D
C/E F C46 G7
C . . . C7
F/C C Dm/F G7
(C Dm C]7 F C7 )/C
Fl+Ob+Vi1
cad
Mv: Bsn+Vi1, (M1b): LoStr
b): dim Ob+LoStr, (ped),
F C]7 /G Dm/F A7 /C]

A[/C G7 /B
Vi1 sync
N 6 /V , cad
repeat, WW+Str
cad
trans min-maj, clim
PBi (&)
cad, climax
clos, b): dim WW+Vi, P T (c)
m
289
295
299
301
302
305
306
M
M3
Comment
<(C G7 )
C <(Dm G7 C)
C C] G7 /D C Am Dm/F G7
C Am Dm/F G7
Gr 2/Th 2, aaa): Vi
bb): Vi-(Fl)
closing, tutti climax
cad
(Ms)
C C] G7 /D C Am Dm/F G7
Am Dm/F C46 G7
<(C G7 ) C
repeat
Ms: Vi1, cad (313 m.)
149

150
4.9.3
Mvt. 3 Menuetto allegretto - Trio
Form: menuet and trio form, each with ABA Coda structure. The menuet main theme is
regular M1(aab) (4+4+8 m.) sentence structure; the a-phrase contains descending chromatic
steps, the b-phrase is a variation on this idea with a cadential closing. In the second Asection this theme is set as a variation with (stretto) imitation and contrary motion (closing
and opening).
The trio has call-and-response elements; its theme has M2(abab) (2 + 2 + 2 + 2 m.) period
structure. The call is a simple cadential formula for woodwinds and horns. The response
b-phrase with its embellished descending chromatic steps obviously has similarities with
the menuet theme. The middle section of both menuet and trio use extended pedal point
(with a pounding brass and timpani section) and are in dynamic contrast witht the outer
A-sections. The trio middle section takes the flute upward chromatic lead from the a-phrase
and develops that as an augmented melody; note how the first four measures (m. 6871)
yield the melodic pattern, that will become the main motif of the following closing movement (coincidence or design?). The analysis is shown in Table 4.39.
4.9.4
Mvt. 4 Molto allegro

151
Table 4.39: Mozart, Symphony No. 41 Jupiter, Mvt. 3 Menuetto Allegretto

m
1
5
9
13
17
21
23
24
28
30
32
36
40
44
46
48
50
52
56
60
62
64
66
68
72
76
80
82
84
86
Comment
M1
..
.
..
.
M1
..
.
Menuet
|| : C Gsus4
7 /F C G
A1 , a): Vi1 PLi (&), halfcad, P D (g)
F Gsus4
7 /D C G C
a)
<(G Gm D7 )
G/B Am/C D7 G : ||
(G F ]7 G G7 )/G
b): Vi, tutti clim

cad
B, a): Ob+Vi, Brs: P D (g)
(B7 C F ]7 B )/G
(Am7 D7 )/G
<(G C) G
|| : G F ] G7
i (&), (cm<), (ped)

Pm
(ped)
Str+Hns unis, clim, halfcad
A2 , a): WW+Str imit, (cm>)
M1
..
.
..
.
..
.
C B C7
M1
..
.
..
.
M1
M2
..
.
..
.
M2
M2
..
.
..
.
Am
F A7 D C]7 D
a) (cm<)
G D7no 3 G D7 G7
C F C46 G7 C
<(G F ] )
b): imit, (cm<), climax

cad
a): WW stretto imit
G[9
7 C] D A[/C
N 6 /V
G Gm A7 D7[5 /A[ G7
C C G7
<(C F ]7 G)
C/E Dm/F G7 C : ||
cad
b): WW+Vi dim, clim, Brs: P D (g)
closing cad
Trio
|| : G7 C
A1 , a): WW+Hns call
G7 /B C G
b): Ob+Str response, halfcad
G7 C
G C : ||
|| : (E7 Am D]7 D)/E
(B7 C D]7 E)/E
B7 E A7 D
G7 C
a) repeat
b) cad
B, a) WW+Vi1 augm, climax,
Brs+LoStr: P D (e)
i (&), Seq(22m;R )
trans, Str, Pm
7
A2 , a): WW+Hns call
G7 /B C G
b): Ob+Str response, halfcad
G7 C
<(G7 C) : ||
a) repeat
b): WW+Str, (cm<), (87 m.)
[Repeat menuet]
152

153
4.9.5

154

155
4.10
Opera The Magic Flute (Die Zauberflote)

KV 620 (1791)
Source: [36]. The analysis covers the overture, the complete first act, and an aria from the
second act. For an overview of the formal analysis of Act 1, see Figure 4.14
4.10.1
Ouverture
Form: sonata form. In the overture Mozart combines a 4-part fugue with the sonata form.
The slow introduction opens with the Freemason motif (M0, repeated triadic signals). The
fugue subject (theme M1) receives a countersubject (Mc) in the development, that becomes
more important as it progresses. The detailed analysis is shown in Table 4.40 and 4.41.
4.10.2
No. 1. Introduction Zu Hulfe
Vocal parts: Tamino and Die drei Damen. See Table 4.42 and 4.43 for the analysis.
4.10.3
No. 2. Arie Der Vogelfanger
Vocal part: Papageno. See Table 4.44 for the analysis.
4.10.4
No. 3. Arie Dies Bildnis ist bezaubernd schon
Form: ternary song, ABC. Vocal part: Tamino. See Table 4.45 for the analysis.
4.10.5
No. 4. Arie O zittre nicht
Form: recitative and aria. Vocal part: Konigin der Nacht. See Table 4.46 for the analysis.
4.10.6
No. 5. Quintett
Vocal parts: Drei Damen, Tamino and Papageno. See Table 4.47 and 4.48 for the analysis.
4.10.7
No. 6. Terzett Du feines Taubchen

nur herein!
Vocal parts: Pamina, Monostatos and Papageno. See Table 4.49 for the analysis.
4.10.8
No. 7. Duett Bei Mannern,

welche Liebe fuhlen
Form: AAB. Vocal parts: Pamina and Papageno. See Table 4.50 for the analysis.
4.10.9
No. 8. Finale
Vocal parts: Drei Knaben, Tamino, Priester, Papageno, Pamina, Monostatos and Sarastro. See
4.10.10
No. 17. Arie Ach, ich fuhls,

es ist verschwunden
Vocal part: Pamina. See Table 4.55 for the analysis.
156
4.10. OPERA THE MAGIC FLUTE KV 620
Adagio Allegro: sonata form (E[,

Overture,
Intro Exp.
Development
h i
2
2
, 227 m.)
Recapitulation
T 2nd Dev.
No. 1 Introduction Zu Hulfe,
Allegro: ABA form (Cm,
h i
4
4
B Damen
A Tamino
No. 2 Arie Der Vogelfanger, Andante: AA form (G,
h i
2
4
, 218 m.)
A Damen
, 50 m.)
Papageno
Intro
No. 3 Arie Dies Bildnis ist bezaubernd schon, Larghetto: ABC form (E[,
A Tamino
h i
2
4
, 63 m.)
No. 4 Arie O zittre nicht, Allegro maestoso Recitativ Arie Larghetto

Allegro moderato: ABC form (B[ Gm,
Intro
A Konigin
h ih i
4
4
3
4
, 103 m.)
No. 5 Quintett, Allegro Andante: ABCD form (B[,

A Allegro
h ih i
4
4
2
2
, 247 m.)
D1
D2 Andante
No. 6 Terzett Du feines Taubchen nur herein!, Allegro molto: ABC form (G,
A
4
4
, 71 m.)
No. 7 Duett Bei Mannern, welche Liebe fuhlen,
Andantino: AAB form (E[,

A
h i
h i
6
8
, 49 m.)
No. 8 Finale, Larghetto Andante Allegro Presto: mixed form (C G F ,

Larghetto
Recit Allegro Andante
Andte Sc. 16 Allegro Sc. 17

Allegro Sc. 19
h ih i
2
2
4
4
, 587 m.)
Andante (Flute)
Allegro Sc. 18
Larghetto
Presto
Figure 4.14: Mozart, Opera The Magic Flute (Die Zauberflote) KV 620, Act 1
157
Adagio - Allegro
Table 4.40: Mozart, The Magic Flute, Ouverture,
m
Comment
Mf
M0
..
.
..
.
E[
Adagio - Introduction
E[ Cm E[/G
F m7 /A[ E[7 /B[
Freemason motif
e[-ped
A[/C E[/B[ F m7 /A[
(e[-ped)
16
24
27
31
33
37
38
M1
M1
M1
E[
39
M1/Mc
..
.
..
.
..
.
1
4
8
10
12
43
45
47
49
51
53
58
64
68
72
74
78
82
84
90
97
158
A[/C E[m/B[ F7 /A E[7 /B[

A[/C F7[5 /B B[ F7[9 /A B[sus4
B[7
7
(M1)
Mt
M1
M1
M1
Mf
B[
Allegro - Fugue
E[ E[ Cm <(Gm/B[ F/A)
Gm/B[ C7 F B[7 E[ B[7
E[ B[7 E[/G Cm <(F m7 B[)
E[ F Dm Gm E[ B[ Cm7 F7
B[ F7 <(B[ Gm Cm F )
(B[ C7[9 F7 B[[9
7 )/B[
[9
sus4
(E[ F7 )/B[ B[7 B[7
(V4)
b[-ped
(b[-ped)
<(E[ B[7 )
Dev, CSubj
E[ Cm F7 B[ Cm A[ D7 Gm
Seq(31m;R3 )
A[ F m B[ E[ F m7 B[7
cad
A[ F m B[ E[ F7 /A B[
F7 /C B[/D Cm/E[ C7 /E
<(F E7 )/F F
G7 /B Cm F7 /A B[ E[7 /G F7
<(B[ F7 )
B[ F ]7 Gm E7 F m B[7 E[
E[ B[ E[ F
<(B[ F7 )
B[ F ]7 Gm E7 F m B[7 E[
E[ B[ E[ F
<(B[ B7 Cm F7 )/F
B[/D Cm/E[ B[/F F B[
repeat, inv
cad
cad
trans to D, f -ped
Seq(32m;R7 )
cad
Seq(31m;R7 )
cad
closing stat
Seq(31m;R7 )
cad
cresc, f -ped
closing cad
Adagio
B[
motif
Exp, Subj
(V1+V2)
(V3)
(contd)
Table 4.41: Mozart, The Magic Flute, Ouverture
m
103
109
113
117
121
125
128
132
136
140
M1/Mc
M1/Mc
M1/Mc
M1
144
149
151
154
M1/Mc
M1/Mc
M1/Mc
..
.
158
160
162
164
166
172
174
179
185
189
192
195
199
202
204
210
212
220
223
B[m
Cm
Gm
M1
M1
M1
M1
M1/Mc
(M1)
(M1)
Mt
(M1)
..
.
(M1)
..
.
(M1)
E[
Comment
Allegro - Fugue
[5/[9
<(B[m F7[9 ) D7
G[9
7
[9
[5
[9
Cm G7 Cm D7 G7
Cm B[ E[ D7[9
Gm Cm F7 B[
E[7 A7 D7 Gm
Cm A7 /C Gm/D D7
<(G7 /B A[/C) G[9
7
<(C7 /E D[/F ) C7[9
<(F7 /A G[/B[)
<(B[7 /D C[/E[) B[7
2nd Dev
(V1+V2)
(V3+V4)
CSubj, imit
stretto imit
cad
Seq(44m;R5 )
retrans
E[ B[7 E[ C7 F7 B[7
Cm C7 /E F m D7 /F ]
Gm Cm7 /G F m7 /A[ F7 /A B[7
<(E[ B[7 )
Recap
Seq(41m;R7 )
A[ F m B[ E[ F m7 B[7
A[ F m B[ E[ F7 /A B[
F7 /C F7 B[7 E[7
A[ E[ F m7 F7 /A
<(B[ A7 )/B[ B[
C7 F m B[7 E[ A[ B[7
<(E[ B[7 )
Seq(31m;R3 )
cad
repeat, inv
cad
Seq(32m;R5 )
cad
E[ B[/D Cm Gm/B[ A[ E[
B[7 /F E[ F m/A[ B[
<(E[ B[7 )
E[ B[/D Cm Gm/B[ A[ E[
B[7 /F E[ F m/A[ B[
<(E[ E7 F m7 /A[ B[7 )/B[
E[/G F m/A[ E[/B[ B[
<(E[ D[7no 3 Cm A[ E[64 B[)
E[ B[ Gm D /F
E[
Seq(32m;R7 )
cad
repeat
cad
cresc, b[-ped
closing cad
climax, cad
(227 m.)
159
Table 4.42: Mozart, The Magic Flute, No. 1. Introduction Zu Hulfe
1
7
10
12
14
17
23
28
31
34
40
47
49
55
63
79
87
94
104
110
117
120
128
134
139
141
139
147
153
161
167
160
Comment
h i
Cm
Allegro
Cm G[9
7
Cm G7 /D Cm/E[
d
M2.3
M2.4
M2.5
M2.4
M2.5
..
.
E[
A[
Gm
M4.1
..
.
cad
Tamino
halfcad
B[ D7 /C G/B Cm
M3.1
M3.2
M3.2
..
.
D[ D7 E[ C7 F m D7 E[ C7
F m F7 B[ G7 Cm G7 Cm
F m D Cm/G G Cm F m Cm64 G
Cm G[9
7
Cm G7 /D Cm/E[ F/A D7[5 /A[ G
E[/G A[ C7 /B[ F/A F + /A
M1.1
M1.2
..
.
M2.1
M2.2
..
.
4
4
D[/F (N 6 ) <(D7[9 /F ] Cm/G G7 )

A[ B[7 /D E[/G <(B[ E[) B[
E[ B[ E[ Cm F m7 B[
<(E[ B[7 )/E[ E[
<(E[ A[ E[ B[7 E[)
<(A[ B[m7 E[7 A[ D[ E[7 A[)
A[ F m B[7 E[ <(E[7 /D[ A[/C E[ A[)
<(A[ E[7 )
A[ F m B[7 E[ <(E[7 /D[ A[/C E[ A[)
A[ E[7 A[ F m C7 F m G7
Damen
e[-ped
var repeat
repeat
Cm D7 Gm <(D7 Gm)
[5
G[9
7 Cm A7 /E[ D
climax
cad
Allegretto
<(G D7 )
C]7 <(D A7 ) D
G Em C <(A7 /C] D) D7 /C
G/B G64 D7 G
G Em C <(A7 /C] D) D7 /C
h i
6
8
Damen
cad.
repeat
G/B G64 D7 /C
G/B G/B Am G/D D7 G B7
cad.
Allegro
C G7 C Dm G7 C D
h i
Damen
D7 <(G D7 ) G
(G D7 G G7 )/G
g-ped
(g-ped)
2
2
Table 4.43: Mozart, The Magic Flute, No. 1. Introduction Zu Hulfe
(contd)
m
174
178
185
188
M4.2
..
.
<(C Am7 Dm/F D7 /F ] G)

d
C Am F Dm G7 <(C G7 )
Am Dm/F C46 G7 C
<(C Am7 Dm/F D7 /F ] G)
M4.2
..
.
192
199
202
repeat
C Am F Dm G7 <(C G7 )
Am Dm/F C46 G7 C
<(Dm7 /D D7 /F ] G7 E7 /G] Am)
M4.3
..
.
206
208
213
Comment
Dm7 /D D7 /F ] G
<(C G7 /B C G7 )
C
closing
cad
(218 m.)
Table 4.44: Mozart, The Magic Flute, No. 2. Arie Der Vogelfanger
m
1
9
15
23
M.ab
M.ac
M.aa
M.cd
27
37
43
48
M.ab
M.ac
M.ac
M.d
Comment
Andante
G D G D D A7 /C] D
D G D7 /A G D <(D7 G)
<(G7 C Am/C D7 G)
<(D7 G) G D7 G
Introduction
G D G D D <(A7 /C] D)
G D7 /A G D <(D7 G)
G7 C D7 G <(D7 G)
G D7 G
Song: Papageno, 3 verses
(c: whistle call)

call+cad
cad (50 m.)
161
Table 4.45: Mozart, The Magic Flute, No. 3. Arie Dies Bildnis ist bezaubernd schon
m
Comment
Larghetto
E[ B[7 E[ A[ Gm
B[7 E[/G A[ E[/B[ B[7
A7 B[ E[ F m E[64 B[7 E[
Tamino
A
1
9
12
M1.aa
M1.b
16
M2.aa
<(B[ F7 B[ E[) B[ A7 /C
22
B[/D E7 /G F B F7 /E[ B[/D
28
M2.b
..
.
31
B[7 /A[ E[/G E7 Dm/F F7
34
40
43
45
49
M3.aa
M3.b
M4.aaa
B[
E[
50
M5
..
.
..
.
A[
A[ B[7 E[/G A[ E[64 B[
E[
A7 B[ E[ F m E[64 B[7
54
57
60
162
E[
B/f ; at/F F7 Gm B[7 /A[ E[/G

d
B[ B[7
(C7 F m B[7 E[ A7 B[)/B[
B[ A7 /C B[7 D
<(E[ B[7 )/E[
E[7
d
E[ A[ E[64 B[7 E[ A[
E[64 B[7 E[ <(B[7 E[)
B, appogg, b[-ped
(b[-ped)
32th notes, e[-ped
closing cad (63 m.)
Table 4.46: Mozart, The Magic Flute, No. 4. Arie O zittre nicht
m
1
5
Comment
h i
B[
Allegro meastoso
(B[ B[7 E[ E[m F7 )/B[
<(B[ F7 /A) B[
4
4
Introduction
b[-ped
cad.
Konigin der Nacht
Recitativ
11
18
21
28
34
40
42
45
51
56
60
M1
M2.a
M2.b
M2.c
..
.
M2.d
..
.
..
.
61
Gm
(B[ A7 )/B[ B[ C7 F F7 /E[

D D/F ] Gm A[/C D7[9
trans
h i
B[
Arie Larghetto
Gm Cm D7 /F ] Gm A7 /C D
D7[9 /F ] Gm F7 /A B[ F E[ B[/D
B[ F7 B[ B[7 F m/C G[9
7 /B
chromatism
Gm
Cm A[ B[ D/F ] Gm
A C/E F ]7 G E[7 D
D7[9 /F ] Gm G[9
7 /F Cm/E[ A7 /C D
Gm
3
4
16th notes
G7 Cm A7 /C D7
Cm
B[
E[ Cm/E[ D7 G[9
7 Cm
6
C]7 Gm4 D7
Allegro moderato
Gm F7 B[ F7
cad, retrans
h i
4
4
64
M3.a
B[ Cm/E[ F7 Gm F7 B[
68
72
74
81
87
94
98
M3.b
M3.c
M3.d
M3.e
C/E[ F7 Gm B[/D E[
Cm7 /E[ C7 /E F
<(B[ F7 ) B[ Cm7 /B[ B[7 /A[
E[/G B[7 /D E[ A /C B[ F7
B[ E[ E[/G Cm/E[ B[/F F7
B[ E[ Dm D7 Gm B[ B[/F F7
B[ F7 B[ Cm F7 B[
cad
coloratura section
clos cad (103 m.)
163
Table 4.47: Mozart, The Magic Flute, No. 5. Quintett

m
1
7
11
16
19
24
27
31
M1.a
M1.a
M1.b
M1.a
B[
35
41
45
49
M2.a
M2.b
M2.a
M2.b
53
62
66
70
74
M3.a
M3.b
M3.c
M3.b
M3.c
77
85
90
M4.a
M4.b
..
.
94
98
102
106
109
118
122
124
132
M4.c
M4.d
M5.a
M5.b
136
140
147
159
162
M6.a
M6.b
M6.c
M6.d
164
Gm
B[
Comment
Allegro
B[ B[/D Gm Cm7 F7
B[ F7 /E[ B[/D Gm Cm/E[ F7
B[ B[/D Gm Cm7 F7
B[ F7 /E[ B[/D Cm7 B[ F7 B[
(F F7 B[ F7 )/F
F7 /E[ B[/D Cm7 /E[ B[/F F7
B[ B[/D Gm Cm7 F7
B[/D Gm Cm7 F7 B[ C7 /E
h i
A
Papageno
Tamino
Papageno
Tamino
Pap. & Tam., f -ped
F <(B[ E7 F )/F
<(C7 /E F )
F (B[ E7 F )/F
B[ <(C F ) C
B, Drei Damen, f -ped

Pap. & Damen, c-ped
2nd stat, f -ped
<(F E7 /G) F A[5

7 /E[
D D7 Gm
C7 F Gm F/C C7 F A[5
7 /E[
D D7 Gm
C7 F Gm F/C C7
(All), bridge
unisono climax
F F7 B[ F Gm Cm F7
B[ E[ B[/F F7 B[ E[/B[
F7 B[ E[ B[
Drei Damen
cad
F7 B[ C7 F C7
F C7 F C7 F
F7 G Cm Cm/E[ B[/F F B[
B[ E[ Cm B[/F F7
<(B[ F7 )B[ B[
C7 F7 B[7 E[ A7 /E[
B[ Cm B[/F F7 /E[
<(B[ Cm B[/F F7 /E[)
B[ D7 Gm D7
Gm
Dm
Gm C A[5
7 /E[ D
D7 /F ] Gm <(E7 /G Dm/F ) E7 /G
Dm <(E7[5 /B[ A)
Dm E[7 /G Gm E7 /G
Dm64 A7 Dm
2
2
unisono climax
closing cad.
cad
All b[-ped
imit, Seq(1m; R5 )
cad
climax
trans, cad.
C, Papageno
Drei Damen, cad
Papageno
Drei Damen, cad
Table 4.48: Mozart, The Magic Flute, No. 5. Quintett (contd)

m
164
167
170
180
184
188
Comment
M6.e
M6.f
..
.
..
.
Gm
A[5
7 /E[ D D7 /F ]
<(Gm D7 /F ])
Gm <(B[ E[) <(D7 E[)
Papageno
Damen & Pap.
A /C B[ E /G F
B[
<(B[ G/B Cm F )
B[ F7 /A B[ E[ B[64 F
<(B[/D F7 /E[)
196
M7.a
..
.
200
203
207
M7.b
B[ Cm7 F7 Gm Cm F7
B[ D7 /F ] Gm C7 /E
<(F E7 /G) F
cad
Tam. & Pap.
clos cad (213 m.)
h i
1
5
M8.a
M8.a
Andante
B[ F Gm Dm E[ B[ F7 B[ F
B[ F Gm Dm E[ B[ A7 B[ F
9
13
M8.a
192
17
21
25
29
M8.b
..
.
D1 , All
d
B[ Cm F7 Gm Cm F Gm
d
B[
4
4
D2
PB (&)
Drei Damen
F B[ F7 Gm E[ B[ E[ F7 B[
B[ F Gm Dm E[ B[ A7 B[ F
d
F B[ F7 Gm E[ B[ E[ F7 B[
d
Tam. & Pap.

Drei Damen
(F B[ F7 )/F Gm E[ B[64 F B[
Tam. & Pap.
<(E[ B[/D) E[ B[64 F7 B[

<(F7 B[) B[
All
clos cad (34 m.)
165
Table 4.49: Mozart, The Magic Flute, No. 6. Terzett Du feines Taubchen nur herein!
166
Comment
1
11
17
22
27
M1.1
M1.2
M1.3
M1.4
M1.5
G <(D7 G) C/G G D/F ] G

A7 /C] Dm E /G Dm/A A7
D G/D D C]7
D C/E D7 /F ] D7
G C Am D G
A, Pam. & Monos., g-ped
32
41
45
M2.1
M2.2
M2.3
<(Am/C D7 G)
A D Bm Em7 /G A D
G <(D7 G)
B, Papageno
53
61
67
M3.1
M3.2
<(G/B Am/C D)
<(G D7 )
G <(D7 G)
C, Monos. & Papag.

imit
cad (71 m.)
cad
Table 4.50: Mozart, The Magic Flute, No. 7. Duett Bei Mannern, welche Liebe fuhlen
m
1
2
4
6
8
M
M1.a
M1.a
R
E[
Comment
E[ B[7
<(E[ B[)
E[ Gm A[ E[ B[ E[
B[ E[ B[7 E[
E[ B[/D Cm7 /E[ B[/F F7
A, Introduction
Pamina & Papageno
B[ B[7 /A[ E[/G Cm F m/A[ B[7

Cm E[/G F m7 /A[ E[/B[ B[7
<(E[ B[7 )
10
14
16
M1.b
18
20
22
24
M1.a
M1.a
<(E[ B[)
E[ Gm A[ E[ B[ E[
B[ E[ B[7 E[
E[ B[/D Cm7 /E[ B[64 F7
26
28
M1.b
B[ B[7 /A[ E[/G Cm F m/A[ B[7

Cm E[/G F m7 /A[ E[64 B[7
32
M2.1
<(E[ B[)
trans, cad
A, Verse 2, var
B, cad
d
36
38
M2.2
B[ E[ B[ Cm Gm A[ E[
F m B[ E[ Cm F m7 /A[ B[7
40
M2.2
..
.
B[ E[ B[ Cm Gm A[ E[
repeat, var
F m B[ E[ Cm F m7 /A[ B[7
<(E[/G F m/A[ B[7 /A[)
E[ B[7 E[
closing
cad (49 m.)
42
44
48
167
Table 4.51: Mozart, The Magic Flute, No. 8. Finale

m
1
10
19
23
25
31
35
M1.1
M1.1
M1.2
M1.1
..
.
18
21
33
M2.2
12
39
47
50
55
60
64
68
74
78
82
90
96
99
101
103
168
M2.3
M2.4
..
.
..
.
..
.
..
.
..
.
..
.
..
.
M2.5
..
.
Comment
Larghetto
C G7 C <(Dm7 /F C46 G7 C)
C G7 C Dm G <(C G)
G C D G
G F7 /F C]7 /E Dm G
h i
2
2
Introduction
Drei Knaben
Tamino
Drei Knaben
<(C G) G C
d
<(C G7 Am Dm7 /F C46 G7 C)

C46 G7 C
M2.1
..
.
..
.
..
.
Recitativ
C B[ C7 F A7 /C] Dm/F E7[5 /B[
cad (38 m.)

h i
4
4
Tamino, modul
A A7 /G F ]7
G
Bm G/B Am D7 G Am7 /C D7
Allegro
G F ] B7 /F ] Em B7 /D] Em
d
Gm
Cm
E[
Gm
A7 D G A7 /G D A
B[ D7 Gm
Priester & Tamino

d
B[7 E[ G/D G[13

7 Cm G
A[ B[7
E[ F m/A[ B[7 E[ B /D B7
Cm D7[5 G Gm D7[13 /F ] F ]7
Adagio
Andante
imit motif
Gm B[7 /F E[ F ]7 /A
B[m
B[m/D[ A7 /C B[m/D[ C7 /E
F m/A[ F7 /A B[m Cm G7
Gm
Cm D7 Gm B[/F
d
[9
E[ B[[9
7 /D Cm/E[ D7
Am
Gm C7 F C]7 Dm E7
modulation
Am A A7 /G Dm/F B7[9 Em
G7 /D C7 F Dm/F E7
Am F B7 /D Am64 E
Andante
Am Dm E7
Am G]7 /A Am B7[5 /F
Tamino
Table 4.52: Mozart, The Magic Flute, No. 8. Finale (contd)

m
105
108
110
114
121
Comment
M2.6
M2.6
Am
E Am F B7 /D Am64 E Am
A7 /G Dm/F B7[5 /F
E Am F B7 /D Am64 E Am
D7 /F ] G7 G7 /F C/E C7 F
G7 C
Chor & Tam., Brass
repeat
Andante - ABA-Coda
1
4
8
12
17
25
M3.1
M3.1
M3.1
M3.1
M3.2
M3.1
C G C/E F Dm/F C46 G

C G C/E F C/G G7
C G C/E F Dm/F C46 G
C G C/E F C/G G7
<(G7 C D7 G)
C G C/E F Dm/F G G/B
20
22
33
M3.3
M3.4
..
.
Cm
Cm A[ D7 /F G7
A[ Cm/E[ D7 /F G7
C D7 G/D C]7 /E D7
40
43
47
53
57
59
63
1
5
7
9
12
21
27
30
35
C
G
M3.5
..
.
..
.
M4.1a
..
.
..
.
M4.2
M4.3
M4.1
M4.4
A, Flute solo
2nd stat, var
Tamino
2nd stat
B
A
Sadness, minor
Coda
G G]7 Am A7 /G D/F ]
G F ]7 /G G
G
closing cad
Papageno whistle
Presto, Tamino
B7 /F C/E G7 B C
Adagio, cad
<(Dm/F C/G G7 C/E)

Dm7 /F C46 G7 C Am F ]7
closing cad (69 m.)
Andante - Sechzehnter Auftritt

G D7 G D
h i
G/B F ]/A] F/A D Am/C
[S6 ]
G/B Am/C G/D D7 G

G Am/C G/B Am/C G64 D7 G
(G D7 G)/G D G <(D7 G)
(A7 D A D A7 )/A D7
G Am/C G/B Am/C G64 D7 G
G <(G C D7 /F ])
<(G Am/C G/D F ]7 /C)
4
4
Pamina & Papageno
whistle
a-ped
climax, cad
cad (37 m.)
169

m
Comment
Allegro - Siebzehnter Auftritt

1
9
12
17
23
30
38
45
54
63
67
71
79
83
M4.5
..
.
..
.
M4.6
G <(D G) <(D/F ] G) C]7 /E
climax
D G]7 /B A
Pam., Monos. & Pap.

d-ped
D
D A D C]7 /E D D7
<(G D)
G D7 G Am/C G/D D7 G
G D7 G Am/C G/D D7
M4.7
..
.
unisono
cad
Chor
G D7 G/D D7 G Am G64 D7 G
D7 G/D D7 G Am/C G64 D7 G
M4.8
..
.
G D7 G D G D
Pamina & Papageno
Em E7 /D Am/C D D7 G
<(D7 G/D) G A7 D
imit, d-ped
G D7 G D G D
Em E7 /D Am/C D D7 G
M4.8
repeat
(86 m.)
Allegro maestoso - Achtzehnter Auftritt

1
5
9
14
20
25
32
41
M5.1
M5.2
..
.
M5.3
M5.4
C GC
F G C F C/E D7 G7 C
Chor
Papageno & Pamina
F ]7 /A G <(D7[5 /F ] G)
D7[5 /A[ G G7 C Dm/F G
C G/B C
C <(G/B C) G C <(G7 /B C G)
G D7 G G7 /B C G <(C G7 C)
<(C Am F G7 C)
fear
cad, climax
Chor
cad (44 m.)
Larghetto
1
6
12
19
25
29
170
M6.1
M6.2
..
.
..
.
F C7 Dm Gm/B[ C7
F Dm A Dm G7 C/G F ]7 /A D7
G G7 <(C C7 F/C) C G7
C E[ D7 G7 C C/E F
C/G G7 E7 /G] Am C/E F
F G D/F ] G G7
signal, Pamina
Sarastro

m
31
39
M6.3
..
.
..
.
43
B[ C7 Dm F B[ E[7 /B[ B7 C7
(46 m.)
h i
M7.1
M7.1
M7.1
M7.1
M7.1
M7.1
M7.1
M7.2
Allegro - Neunzehnter Auftritt

<(F C7 )
<(F C7 )
G7 <(C G7 )
C F ]7 /A <(D7 /F ] Gm) D D7
<(Gm D7 ) Gm E[/G F7 /A
<(B[ F7 ) B[ Gm C7
<(F C7 ) F Gsus4
G7
7
<(C G7 )
C F m/C Cm/E[ B[m/D[ A[/C C7
<(F m C7 ) F C7 F
F F7 /E C7 F Dm Gm7 /B[ C7 F
35
1
7
14
21
29
35
41
47
53
58
63
Comment
<(C G7 )/C
Pamina, c-ped
d
C D7[9 D B[ F7
B[
Gm B[/D Cm7 /E[ F7

d
Gm
B[
F
C
Fm
F
Sar. & Pam., mod
2
2
Monostatos, c-ped
Pam., Tam. & Mon.
imit
Chor & Mon., unis
unis, cad
Chor
Rezitativ
72
76
M7.3
G/B G7 /B C
F G7 F ]7 /A C C46 G7 C
Sarastro
(77 m.)
Presto
1
15
19
24
28
34
40
47
51
55
M8.1
M8.2
M8.3
M8.3
M8.4
..
.
C <(C G)
G7 C
C7 /B[ F/A
G7 C Am Dm7 /F G C
D7 /C G/B C Am Dm7 /F G C
D7 /C G/B C Am Dm7 /F G C
<(C Am Dm7 /F G)
cad
<(C C/G G)
C Am Dm G
<(C G7 ) C
cad
unisono.
closing cad (69 m.)
Chor, imit, clim

g-ped
repeat
171
Table 4.55: Mozart, The Magic Flute, No. 17. Arie Ach, ich fuhls,
es ist verschwunden
m
M1
..
.
Gm
Gm Cm/E[ D
5
7
9
11
13
14
16
20
22
26
27
30
32
35
38
172
M4
..
.
..
.
<(D E[7 A7[5 /E[)

D Dm A/C] F7 B[
M2
..
.
..
.
M3
..
.
..
.
Comment
B[
cad., climax
B[ F7 Gm B[/D B7 /D
Cm/E[ C7[9 /E F F/A B[
Gm
A7 /E[ B[/D E[/G B[/F C7 /E

B[/64 . . . F7
[9
B[ G[9
7 Cm C A7
f -ped
<(D7 Gm)
d-ped
<(D A7 /C) D7 Gm A7 D7
d
Gm A7 /C Gm/D D7
[5
E[ G[9
7 /F C/E A7 /E[
cad
D7 Gm F ]7 /C Gm/B[ A7 D7 Gm
A[/C(N 6 ) Gm/D D A7 /C]
Gm/D D7 <(Gm D7 )
Gm
Neap.
closing cad
imit, climax (42 m.)
Chapter 5
Ludwig van Beethoven

Biographical data:
17-12-1770 in Bonn
26-3-1827 in Wien
1600
1700
1800
1900
2000
The analysis of Beethoven compositions was supported by the information in [24].
5.1
Sonata Op. 2, No. 1 in F Minor (1795)
Source: [7].9 The first piano sonata by Beethoven has the subtitle: Joseph Haydn gewidmet,
Sonata pour le clavecin ou pianoforte (dedicated to Joseph Haydn, sonata for harpsichord or
pianoforte). This underlines both the by now established form of the multi-movement piano
sonata (another form created by Papa Haydn, as composers used to call him in reverence) and
the recent technological development of the pianoforte keyboard instrument.
Analysis of the Beethoven piano sonatas is supported by the formal analyses and descriptions in [23]. An overview of the formal analysis is shown in Fig. 5.1.
5.1.1
Mvt. 1 Allegro
Form: sonata form. This is a straightforward sonata form in minor, with secondary theme
(M2.1 to M2.3) in the relative major key. The development section is relatively brief, and
modulating to neighbouring keys. The codetta appears at the closing of the exposition and
the recapitulation. The detailed analysis is shown in Table 5.1 and 5.2.
5.1.2
Mvt. 2 Adagio

c
2005-2015
CHAPTER 5. LUDWIG VAN BEETHOVEN
Table 5.1: Beethoven, Sonata Op. 2, No. 1, Mvt. 1 Allegro

m
Comment
1
5
9
13
15
19
20
26
M1
M1
Fm
|| : F m C7 /E
F m C7 /G F m/A[ G7 /B[ C
Cm F m/C D7 /C B[m7
E[7 /B[ A[
<(B[m/D[ B[7 /D E[7 A[/C)
B[m/D[ B[7 /D
<(E[[9
7 A[)/E[ E[7 /D[
A[/C E[/G A[ D /F
Exp/Gr 1 (aa) main th

(b), halfcad
trans, LH-RH imit
mod to rel major
28
31
33
37
41
47
M2.1
M2.2
..
.
A[
[9
E[ D /F E[[9
7 /D[ A[ E[7
A[/C E[/G A[ E[7
A[/C E[m7 /D[ A[/E[ E[7 /D[
A[/C B[m7 A[/E[ E[7
6
<(A[ B[[9
7 /D A[4 E[7 )
E[7 A[ : ||
M2.3
49
55
61
63
69
74
78
81
89
93
97
M1
M2.1
M2.2
M2.1
M2.2
101
105
109
114
M1
M1
..
.
117
174
A[
[5/[9
B[m
Cm
A[
Fm
(M1)
Fm
Gr 2 (aa), e[-ped
(b): appoggiaturas
cresc
climax, (c): scalar runs
closing statement
codetta, cad
|| : A[ E[7 /G E7 C7 /G[
<(F7[9 B[m)/F F7[9 F7 /E[
[5/[9
B[m/D[ F7 /C B[m D7 /A[
<(G[9
7 Cm)/G
[9
G7 Cm F7[9 B[m E[[9
7
A[ D[ E[7 /B[ C
F m/A[ B[m B7
<(C F m C7 F m B )/C
<(C7[9 F m B )/C
(C . . . G[no 3 )/C B[m C7 /B[
F m/A[ B[7 /A[ E7
Dev
mod, f -ped
F m C7 /E
F m C7 /G F m/A[ G7 /B[ C
F m G[7 /F C /E[ F7[9 /E[
Recap/Gr 1 (aa)
(b): halfcad
trans, LH-RH imit
g-ped
LH, Seq(32m;R7 )
climax, c-ped
dim, (c-ped)
retrans
B[m/D[ B7
d
[5/[9
C F m/C C7 D[ G7
/D[
cad
5.1. SONATA OP. 2, NO. 1 IN F MINOR
Mvt. 1 Allegro: sonata form (F m,

Exposition
2
2
, 152 m.)
Recap
Development
Mvt. 2 Adagio: ABAB form (F ,

A
h i
B A
h i
3
4
Cd
, 61 m.)
Mvt. 3 Menuetto and trio, Allegretto: menuet and trio form (F m F ,

Menuetto
h i
3
4
, 73 m.)
Trio
Mvt. 4 Prestissimo: sonata form (F m,

Exposition
h i
2
2
, 196 m.)
Development
Recapitulation
Figure 5.1: Beethoven, Sonata Op. 2, No. 1 in F Minor
Table 5.2: Beethoven, Sonata Op. 2, No. 1, Mvt. 1 Allegro (contd)

m
119
125
127
129
131
132
140
146
150
151
Comment
M2.1
M2.2
..
.
..
.
M2.3
Fm
<(C7[9 F m)/C C7[9 /B[

F m/A[ E /G F m G[5
7 /D[
Gr 2 (aa)
(b): appoggiaturas
C G[5
7 /D[ C E7 /B[
F m/A[ E7 /B[ F m/A[ C/E
F m C7 /G
<(F m/A[ G7 /B[ F m/C C7 /B[)
[5/[9
<(F m G7 /D[ F m/C C7 )

F7 /A B[m E[7 /G A[ D[7 /F
G C7 /E F m D[
G7 /B[ C7 F m : ||
climax, (c): scalar runs

Codetta
climax
cad (152 m.)
175

176
5.1. SONATA OP. 2, NO. 1 IN F MINOR
Table 5.3: Beethoven, Sonata Op. 2, No. 1, Mvt. 3 Menuetto and Trio, Allegretto
m
1
5
9
11
15
19
21
24
29
35
41
45
49
51
55
59
61
63
66
69
5.1.3
Comment
M1
..
.
..
.
M1
M1
M1
Fm
Menuet
|| : G7 /F F m C7 /E F m F m7
A (a), (cm<)
A[
B[m7 A[ E[7 /G A[
(a), (cm<)
E[7 /G A[ B[m/D[
<(A[64 E[7 A[) : ||
|| : G7 A[ A7 B[m
B[m64 F7 B[m
B[m64 F7 <(B[m F7 )
B[m . . . B[m7 E B7 C
<(C7 F m) E7 B7
<(F m64 C7 F m) C7 F m : ||
(b)
cad
B (a) Seq(22m;R7 ),
RH-LH imit, cad
(b)
M2
M2
M2
M2
..
.
M2
M2
Fm
Trio
|| : F Gm G7 /F C/E C7 F
F Gm G7 C Dm G7 C F ]7
C46 G7 C : ||
|| : (C B C7 F )/C
C B C7 F
B[ C7 F/A
B[/D Am/C E /G Dm/F
C/E Am C7
F Gm G7 /F C/E C7 F
F/A Gm G7 C C7 F : ||
(a): LH-RH imit

clim, cad
A, RH: 8th note th
LH
B, RH
LH
[S6 ]
cad
RH
LH, cad (73 m.)
Mvt. 3 Menuetto and Trio, Allegretto
Form: menuet and trio form. Both the menuetto and trio are monothematic, with their
B section developing the main theme. In the trio the development technique is imitation
between right and left hand, in the trio it is repetition in the left hand. The menuet is repeated
after the trio. The analysis is shown in Table 5.3.
5.1.4
Mvt. 4 Prestissimo

177

178

5.2. SONATA OP. 13 IN C MINOR PATHETIQUE
5.1.5
The key relationship diagram is shown in Fig. 5.2. This early piano sonata has a very limited
key compass. Three of the four movements open in F m, then move first to the relative major
A[. The opening sonata movement is unconventional in the sense that there is a change to the
subdominant minor area B[m (1) at the start of the development, before the move towards
the minor dominant Cm (2). The third movement closes in the parallel major key F (2). The
closing movement confirms the standard pattern of going to the dominant domain Cm (2)
before alternating in the subdominant domain on the lowered submediant major [V I = D[
(4).
Mvt. 1 Allegro
B[m
Fm
Mvt. 2 Adagio
Cm
Dm H
Am
j
6 1 HH
F
C
HH
Y
6
?
D[ 1 H A[ 2 E[
Mvt. 3
Menuetto
F
Mvt. 4 Prestissimo
Fm
B[m
2
6
6
?
A[ 1
Fm

2Cm
?
D[ 1 A[ 3 E[
Figure 5.2: Beethoven, Sonata Op. 2, No. 1, key relationship diagram
5.2
Sonata Op. 13 in C Minor Pathetique (1798/1799)
Source: [7]. This piano sonata has the subtitle: Dem Fursten
Carl von Lichnowksy gewidmet,

Grande Sonata Pathetique pour le clavecin ou pianoforte; hence it is better known as the Pathetique
Sonata. This sonata has only three movements (fast-slow-fast). Analysis of the Beethoven
piano sonatas is supported by the formal analyses and descriptions in [23]. An overview of
the formal analysis is shown in Fig. 5.1.
5.2.1
Mvt. 1 Grave - Allegro di molto e con brio
Form: sonata form. A special feature of this sonata movement is that the slow introduction subject returns as transitions before the development, and before the coda. Contrast is
achieved through tempo changes and dynamics. There is frequent use of contrary motion
and pedal point (8th note tremolo octaves). The development opens in the remote key of E
minor, before moving towards more closely related keys. The detailed analysis is shown in
Table 5.4 to 5.6.
179
Table 5.4: Beethoven, Sonata Op. 13 Pathetique, Mvt. 1 Grave - Allegro
m
1
3
5
6
7
8
9
10
11
15
17
19
23
25
27
31
35
39
43
51
59
67
72
76
80
84
89
93
96
98
180
M0
M0
..
.
..
.
..
.
Cm
E[
Cm
M1.1
..
.
M1.2
M1.2
(M1.1)
..
.
M2.1
M2.1
..
.
..
.
..
.
M2.2
..
.
..
.
Comment
Grave
Cm F ]7 G B7 Cm
<(F ]7 G/B) F m/A[ B[7
E[ F m7 /E[ B7 F m/C
Introduction
(aa) (cm<)
(b) (cm<)
(a) pff -contrast, (cm<)
B7 B[m7 /D[ C]7 A[9

7 /G
(a)
D/F ] D7 /F ] B7 . . .
(a)
B7 Gm7 F m/A[
(a) cresc
M1.1
..
.
E[m
D[
E[
G7 A[
D7 /F C46 G[9
7
(b) climax
cad, lead chr desc
Allegro di molto e con brio

|| : <(Cm C7 F m B7 )/C
Exposition
Gr 1, lead asc, c-ped
Cm G7 /D Cm/E[ D /F
[5/[9
Cm/G D7 /A[ F ]7 G7
<(Cm C7 F m B7 )/C
(cm>)
(cm>), cad
2nd st, lead asc, c-ped
Cm G7 /D Cm/E[ D /F
[5/[9
Cm/G D7 /A[ F ]7
[5/[9
G Cm/G G7 Cm D7 /A[
[5/[9
G Cm/G G7 Cm D7 /A[
(G . . . E[7 )/G
(cm>)
(cm>), cad
arp
trans, Seq(34m;R7 ), ped
A[ . . . A7
B[ . . . <(B[ A )/B[
(E[m B[7 )/B[
E[m/B[ A[7
(D[ A[7 )/A[
b[-ped
Gr 2 (ab) b[-ped
(ab)
2nd stat: (ab)
A[7 . . . D[m F /C[
(b) Seq(34m;R7 )
B[7 . . . E[m B[m/D[
(b)
C7 . . . F m F m7
B[7 B7 Cm F m/A[ E[64 B[
E[ . . . E[7 /D[
(b)
cad
A[/C C7 /B[ F m/A[ F7 /E[

B[/D F m/C B[m B[7 /A[
E[/G E[+ A[ B[7
(cm<)
cad

Table 5.5: Beethoven, Sonata Op. 13 Pathetique, Mvt. 1 Grave - Allegro (contd)
m
101
105
108
110
113
121
125
129
Comment
M2.2
..
.
..
.
E[
E[ E[7 /D[
2nd stat
A[/C C7 /B[ F m/A[ F7 /E[
M1.1
133
135
M0
Gm
137
140
143
147
149
157
163
167
171
175
179
183
187
M1.1
M0
M1.1
M0
M1.1
Em
195
M1.1
..
.
199
201
203
207
211
215
219
Gm
F
Fm
G
M1.1
M1.1
M1.1
..
.
..
.
Cm
B[/D F m/C B[m B[7 /A[

E[/G E /G F m/A[ B[7
<(E[ Cm F m7 B[)
(E[ E[7 A[ B[7 )/E[
E[ E[7 /D Cm E[/B[
A[ Cm/G 1) D7 /F ] G7 : ||2) D7 /F ]
(cm<)
cad
trans
closing stat, e[-ped
clim, PB (&)trem
Tempo I.
Gm C] D Gm/B[
F ]7 /E[ Em64 B7
Trans
(aa) (cm<)
(b) (cm), cad

(Em D]7 Em)/E
Em F ]7 /E F ]7 /E[
(D C] D)/D D7
Gm/D G /D[
C7[9 . . . F . . .
[9
B7 G[9
7 C7
F m . . . F7[9 /F ] . . .
<(G D7 A[)/G
(G Dm G7 /B F ]7 )/G
<(G D7 A[)/G
(G Dm G7 /B F ]7 )/G
<(G7 F ]7 )/G
<(G7 . . . B[7 . . .) G[9
7
Development
e-ped
(e-ped)
d-ped
<(Cm C7 F m B7 )/C
Rec/Gr 1, c-ped
Cm G7 /D Cm/E[ D /F
[5/[9
Cm/G D7 /A[ F ]7 G7
<(Cm C7 F m B7 )/C
(cm>)
(cm>), cad
2nd st, lead asc, c-ped
Cm A[/C D[ G[ D[64 A[
tr, Seq(34m;R7 ),
B[7 E[m A[m E[m64 B[

C7 /B[ F m B[m F m64 G[5
7 /D[
C ...
(cm>)
(cm>)
LH, RH trem chr desc

trans
arp, N 6 , g-ped
(g-ped)
arp, N 6 , g-ped
(g-ped)
(g-ped)
retrans
181
Table 5.6: Beethoven, Sonata Op. 13 Pathetique, Mvt. 1 Grave - Allegro (contd)
m
221
229
237
243
247
251
253
258
260
262
265
270
272
274
277
285
289
295
297
298
299
303
304
182
Comment
M2.1
M2.1
..
.
..
.
M2.2
..
.
..
.
M2.2
..
.
..
.
Fm
(F m/C . . . C7 . . .)/C
F m/C . . . F m/A[ . . . G7
(Cm . . . G7 )/G
Gr 2 (ab) c-ped
(ab)
2nd stat: (ab)
G7 Cm7 F7
(b) Seq(42m;R7 )
Cm
[5/[9
D7 /A[
B[m7 E[7 A[
Cm64 G
Cm . . . C7[9 /B[ F m/A[ C7 /B[
F m/A[ C7 /G F m F7 /E[
G7 /D F m/C G7 /B C7 /B[
F m/A[ F m Cm64 G7
Cm . . . C7[9 /B[ F m/A[ C7 /B[
Cm
M1.1
..
.
(cm<)
cad
F m/A[ C7 /G F m F7 /E[
M1.1
M0
..
.
cad
Cm
G7 /D F m/C G7 /B C7 /B[
F m/A[ F m Cm64 G7
<(Cm A[m D7 /F G G7 )
<(C C7 F m B )/C
Cm Cm7 /B[ A[ Cm64 F ]7
(cm<)
cad
trans
closing stat, c-ped
clim, PB (&)trem
Grave
F ]7 G/B B7 Cm/E[
Coda
(aa) (cm<)
E7 F m/A[
F m Cm/E[ G7 /D Cm D7 /F G7
(a) (cm<)
(b) cad, lead chr&

<(Cm C7 F m B7 )/C
Gr 1, lead asc, c-ped
Cm Cm7 /B[ A[ Cm64

F ]7 . . . Cm64 G7 Cm
PB (&)
climax, cad (310 m.)

Mvt. 1 Grave - Allegro di molto e con brio: sonata form (Cm,

Int Exposition (126 m.)
, 310 m.)
h i
2
4
, 73 m.)
Mvt. 3 Rondo Allegro: rondo form, ABACABA Coda (Cm,

A
2
2
Coda
Mvt. 2 Adagio cantabile: ABA Coda form (A[,

B
4
4
Development (58 m.)
h ih i
h i
2
2
, 210 m.)
A Coda
Figure 5.3: Beethoven, Sonata Op. 13 in C Minor Grande Sonata Pathetique
5.2.2
Mvt. 2 Adagio cantabile

183

184

5.2.3
Mvt. 3 Rondo Allegro
Form: rondo, ABACABA Coda. This is a template rondo, with one exact repetition of
the A section,and two more slightly varied. Key relationships are straightforward. The C
section acts as a contrasting middle section; its subject (M3) is repeated multiple times, with
one-beat delay time shifts in either right or left hand. The analysis is shown in Table 5.7 and
5.8.
5.2.4

185
Table 5.7: Beethoven, Sonata Op. 13 Pathetique, Mvt. 3 Rondo Allegro

m
Comment
M1
..
.
..
.
..
.
..
.
Cm
Cm G7 Cm . . . G G7
A (a)
E[
31
33
37
41
44
48
51
54
58
M2.1
..
.
..
.
M2.2
M2.3
M2.2
M2.2
62
M1
79
M3
..
.
5
7
9
12
16
18
22
25
29
81
83
85
89
91
93
95
99
101
103
105
107
186
M3
..
.
..
.
M3
..
.
..
.
[5/[9
B7 /F Cm/E[ D7
/A[
(b)
Cm64 G Cm
cad
B7 /F Cm/E[ D7[5 /A[ Cm64 G
(b)
C7 F m G A[ C7 /G F m G
G Cm G Cm
C7 /B[ F m/A[ C7 /E F m
B[7 /A[ E[/G B[7 /D
(c)
clim, cad (cm<)
trans
<(E[ B[7 /A[ E[/G B[7 /D)
B (a): RH, LH: arp
E[ B[7 /A[ E[m/G[ B[/D
(a)
E[m B[/D C[7 F7[5 /C[

<(B[ E[m)/B[ B[ B[7 . . .
<(E[ B[7 ) E[ E[7 /G
A[ E[64 B[7 E[
B[7 /A[ E[/G A[/C F7[5 /C[ B[
B[7 /A[ E[+ /G A[ B[7
<(E[ B[7 /A[) E[ A[ B[7
<(E[ B[7 /A[) E[ A[ B7 /A[
Cm64 . . . G7 . . .
(b)
trans, triplets
tripl imit: RH-LH
cad
(a) block chords
(a): (cm<)
tripl imit: LH-RH
repeat 8ba
climax, cad
Cm
(see m. 117)
A[
A[ D[ G Cm
C (a) hands linked
F m B[m A[/C B[m/D[ D E[

A[ D[ G7 Cm F m A B[ E[
A[ D[ G Cm
(cm>), cad
(a) RH beat shift
(a) LH beat shift
F m B[m A[/C B[m/D[ D7 E[
(cm>), cad
A[ D[ G7 Cm
F m E[/G F m/A[ A7 B[ E[
A7 B[m E[7 A[ B[7 E[7
A[ D[ G7 Cm7
(a) RH beat shift

cad
trans, imit LH-RH
(a): RH 8va,,
F m7 B[m B[/D E[
LH: 8th notes, cad
A[ D[ G7 Cm7
F m D7 /F ]
<(G Cm G7 Cm)/G
(a): LH, RH: 8th

cad
trans, 16th arp, g-ped
E[m
E[

Table 5.8: Beethoven, Sonata Op. 13 Pathetique, Mvt. 3 Rondo Allegro (contd)
m
113
117
121
125
127
129
135
139
141
143
147
154
158
162
164
166
171
175
177
179
181
183
185
187
189
191
193
197
203
205
207
M1
..
.
..
.
Cm
M2.1
..
.
M2.2
M2.3
..
.
..
.
..
.
G
C
Cm
Cm
triplet arp (g-ped)

cad
Cm G7 Cm . . . G G7
A (a)
[5/[9
D7 /A[
(b)
Cm64 G Cm
B7 Cm E7 F m D7[5 /A[ G7
cad
(b): LH
<(C/E G7 /B C G7 /F )
B (a)
C/E G7 /B C
F F + Dm/F D7 /F ]
<(G D7 ) G G7
<(C G7 ) C C7 /E F C46 G7 C
G7 /F C/E F ]7 /C D7 /C G
tripl imit: RH-LH

(a) block chords
G7 /F Cm/E[ F m/A[ B[7 /A[ E[/G
(a) repeat 8ba
G[9
7 /F
trans
Cm G7 Cm . . . G G7
A (a)
[5/[9
/A[
Cm64 G Cm
B7 /F Cm/E[
Cm64 G7 Cm C7
(b): var 8th notes
<(F m C7 /G)
Coda, SD
Fm
[5/[9
D7 /A[
Cm64
G Cm C7 /G
<(F m C7 /G)
[5/[9
A[
Cm
(b)
cad
[5/[9
D7 /A[
Fm
(cm<)
<(Cm/E[ B[7 /F )
B7 G/B Bm G7
B7 /F Cm/E[ D7
(M1)
(M1)
G . . . G7 . . .
Cm64 . . . G7 . . .
F ]7 /C G/B F7 /C G7 /B
M2.2
..
.
..
.
..
.
Comment
B7 /F Cm/E[
M1
..
.
..
.
..
.
F m D7 /A[ Cm64 D7[9 /F ]

B7 /D Cm/E[ D /F G
<(Cm D7 /F G7 )
Cm/E[ D[/F E[7 /G . . .
A[ B[m7 /A[ A[
A[ B[m7 /A[ A[
[5/[9
D7 /A[ Cm64 no 1 G7 Cm
repeat 8ba
(cm<)
N 6 , climax
repeat 8va
clim, cad (210 m.)
187

188
5.3. SONATA OP. 27 NO. 2 IN C] MINOR QUASI UNA FANTASIA
5.3
Sonata Op. 27 No. 2 in C] Minor Quasi una Fantasia - Mondschein (1801)
Source: [8]. This piano sonata has the subtitle: Der Grafin Giulietta Guiccardi gewidmet, Sonata
quasi una Fantasia per il clavicembalo o pianoforte. However, it is better known under its nickname Mondscheinsonate. This sonata has three movements (slow-medium-fast). Analysis of
the Beethoven piano sonatas is supported by the formal analyses and descriptions in [23].
Mvt. 1 Adagio sostenuto: ABAB Coda form (C]m,
A
, 69 m.)
h i
, 60 m.)
3
4
Trio
Mvt. 3 Presto agitato: sonata form (C]m,

Exposition
2
2
A B C
Mvt. 2 Allegretto Trio: scherzo and trio form (D[,

Allegretto
h i
h i
4
4
, 199 m.)
Coda
Figure 5.4: Beethoven, Sonata Op. 27 No. 2 in C] Minor Quasi una Fantasia Mondschein
5.3.1
Mvt. 1 Adagio sostenuto
Form: binary form, ABAB Coda form. No sonata form as the opening movement, which is
unusual. Instead a slow first movement with binary structure. Characteristic are the continuous use of upward triplet 8th arpeggios in the right hand, the major-minor mode changes
and the frequent use of the Neapolitan 6th chord. The detailed analysis is shown in Table 5.9.
5.3.2
Mvt. 2 Adagio cantabile

189
Table 5.9: Beethoven, Sonata Op. 27 No. 2, Mvt. 1 Adagio sostenuto

m
1
5
9
11
13
15
17
19
21
23
27
30
34
M
M1.1
M1.1
..
.
Comment
C]m
C]m C]m7 /B A D/F ] G]7

C]m G]7 C]m F ]m E46 B
E Em
A, RH arp
G7 /D C Em/B F ]7 /A]
Bm C]7 /E Bm64 F ]
M1.2
..
.
..
.
M1.1
[5/[9
Bm
Bm B C7 /E F ]7
B C7 /E F ]7
F ]m
C]m
[5/[9
B, min-maj, N 6 , b-ped
B C][9
7 /G] C]/E] F ]m
6
G/B G][9
7 /B] F ]m4 C]7
F ]m C]7 F ] G]7
C]m D] D]7 /F G][9
7 ...
C]m/G] . . . C]m/G]
[5/[9
F 7 G][9
7 . . . G]7
(b-ped)
N 6 , cad
g]-ped
trans (g]-ped)
C]m G]7 C]m F ]m E46 B7

E B7 E G]7 /D] C]m
G]7 /B] C]m D/F ] G]7
42
46
49
M1.1
M1.1
C]m
E
51
M1.2
..
.
..
.
..
.
C]m
C]m C] D7 /F ] G]7
C]
D7 /F ] G]7
56
cad
G][9
7 A D]7 /F ] G]7
40
54
major-minor
[5/[9
[5/[9
C] F ]m
A
N 6 , cad
B, min-maj, N 6 , c]-ped
(c]-ped)
B7 /D] Em
57
58
A7 /C] D G]7 C]m

D]7 /F ] C]m64 G]7
cad
60
64
(M1.1)
C]m G]7 /B] C]m G]7

C]m G][9
7 C]m
Coda, LH
cad (69 m.)
190
C]m

191
5.3.3
Mvt. 3 Presto agitato
Form: sonata, The sonata closes with a fast movement, full of whirling, virtuoso 16th note
arpeggios, either as main subject in the right hand (M1) or as left hand accompaniment
(Alberti bass style in the second group subject M2.1 and in the transitions). There is some
tension-relieving contrast in the second group theme M2.2, with its contrary motion 8th note
chords in both hands. The coda contains tempo variations and quasi-improvised cadenzas.
The analysis is shown in Table 5.7 and 5.8.
5.3.4

192
Table 5.10: Beethoven, Sonata Op. 27 No. 2, Mvt. 3 Presto agitato

m
M1
..
.
C]m
|| : C]m . . . G]/B] . . .
5
9
15
19
21
25
29
31
33
36
41
43
47
49
53
55
57
61
63
66
69
71
75
79
83
85
87
91
95
M1
M2.1
..
.
..
.
..
.
[5/[9
D]7 /A
G]m
M2.2
M2.2
..
.
M2.3
F ]m
102
106
110
PB (&)
(b), g]-ped
(a), trans
G]m D]7 /A] G]m/B D]/F
(a) repeat 8va var
G]7 /F ] C]m/E F ]7 /E B/D]
(b) Seq(22m;R3 ), PB (&)
M1
..
.
C]m
Gr 2 (a): RH
trans, N 6
cad
(aa): RH, (cm)
(b)
(aa) repeat 8va
G]m C]m G]m/D] D]7 /C]

G]m/B A/C] G]m64 D]7
<(G]m D]7 )/G]
<(G]m D])/G]
G]m G]7 1) C]m : ||2) C]
(b) PB (&)
cad
retrans, g]-ped
C] . . . C]7 /B . . .
F ]m/A C]7 /E]
F ]m C]7 F ]m C]/E]
F ]m C]7 /E] F ]m D7 /F ]
G D7 /F ] G Bm/D C][9
7 /E]
Dev (a): RH arp
F ]m D G]7 /B]
C]m A D]7 D]/F
G] . . . G]7 C]m/G]
G] . . . G]7 C]m/G]
G] . . .
(b): LH
(b): LH
retrans, g]-ped
repeat 8va (g]-ped)
99
Exp/Gr 1 (a) RH arp,
C]7 /B . . . F ]m/A
<(G][9
7 . . . D]7 )/G] G]
C]m . . . F 7 . . .
D]/F . . .
G]m D]7 /A] G]m/B D]/F
E7 /D A/C] D]7 /C] G]m/B

A/C] . . .
G]m64 D]7 G]m A/C] . . .
6
A/C] A][9
7 /C G]m4 D]7
<(G]m D]7 )
G]m C]m G]m64 D]7
<(G]m D]7 )
M1
M2.1
M2.1
..
.
Comment
(a): RH
(a): LH 8ba
(a): LH N/I key
G] A D]7 /F ] G]
cad
C]m . . . G]/B] . . .
Rec/Gr 1 (a) RH arp,
[5/[9
D]7 /A
C]7 /B . . . F ]m/A
<(G][9
7 . . . D]7 )/G] G]
PB (&)
(b), g]-ped
193
Table 5.11: Beethoven, Sonata Op. 27 No. 2, Mvt. 3 Presto agitato (contd)
m
116
120
124
126
128
131
135
137
141
143
147
149
151
155
159
163
167
171
175
177
181
185
190
196
194
M
M2.1
..
.
..
.
..
.
Comment
C]m G]7 C]m G]/B]
Gr 2 (a): LH
C]m G]7 C]m G]/B]
(a): repeat 8va var
C]7 /B F ]m/A B7 /A E/G]
(b) Seq(22m;R3 ), PB (&)
A7 /G D/F ] G]7 /F ] C]m/E

D/F ] . . .
trans, N 6
M2.2
M2.2
..
.
M2.3
M1
M2.1
..
.
M2.3
(M1)
C]m64 G]7 A D/F ] . . .

6
D/F ] D][9
7 /F C]m4 G]7
<(C]m G]7 )
C]m F ]m C]m64 G]
<(C]m G]7 )
cad
(aa): RH, (cm)
(b)
(aa) repeat 8va
C]m F ]m C]m/G] G]7 /F ]

C]m/E D/F ] C]m64 G]7
<(C]m G]7 )/C]
C]m . . . C]7 /B
F ]m/A . . . C]m/E
F 7 . . . B]7 . . .
(b) PB (&)
cad
trans, c]-ped
<(C]m G]7 )
Coda (a): LH
C]m G]7 /F ] C]m/E G]/B]

C]m C]7 /B F ]m/A C]/G]
F ]m . . . D/F ] . . .
6
D][9
7 /F . . . C]m4 . . .
G] . . . G]7[9
<(C]m G]7 ) C]m
C]m
(a): RH 15va
(cm<)
solo RH arp, N 6
cad
chr sc, Adagio
Tempo I, cad
arp%& (199 m.)
LH-RH arp imit

195
5.4
String Quartet in B[ Major, Op. 130 (1826)
Source: [4]. This string quartet has the dedication: Dem Fursten
Nicolaus von Galitzin gewidmet. It is unusual in the sense that it consists of six movements, including two dances. An
Mvt. 1 Adagio ma non troppo Allegro: sonata form (B[,
Exposition (93 m.)
h ih i
4
4
3
4
, 233 m.)
Dev (38 m.)
Recap (81 m.)
Coda
Mvt. 2 Presto: scherzo and trio form (B[m B[,

(Presto)
Presto Trio
h ih i
2
2
6
4
, 106 m.)
Mvt. 3 Andante con moto ma non troppo: ABCABC Coda form (D[,
A
B C
A B C
, 88 m.)
h i
3
8
, 150 m.)
Coda
Mvt. 5 Cavatina, Adagio molto espressivo: ABA form (E[,

A
4
4
Coda
Mvt. 4 Alla danza tedesca, Allegro assai: ABA Coda form (G,
A
h i
h i
3
4
, 66 m.)
Mvt. 6 Finale allegro: sonata form (B[,

Exposition (108 m.)
h i
2
4
, 493 m.)
Development (114 m.)
Recapitulation (130 m)
Coda (140 m.)
Figure 5.5: Beethoven, String Quartet in B[ Major Op. 130
5.4.1
Mvt. 1 Adagio ma non troppo Allegro
Form: sonata form, This movement has a number of characteristics: first there is the contrast
between the slow (Adagio) and fast (Allegro) tempos. The introduction theme (M0) returns
several times, together with the tempo and meter juxtaposition. The main theme (M1) is accompanied by a countersubject (Mc), with its characteristic upward fourth leap. Both these
subjects return in the development. And, by the way, the main theme already is developed
(in a varied form M1) in the exposition and the recapitulation. The key relationships are
another remarkable feature: the second group theme (M2) is not in the usual dominant key
196
5.4. STRING QUARTET IN B[ MAJOR, OP. 130

(F , although that is suggested by the return of the introductory material in the exposition),
but in the lowered submediant key G[. Then the development start in D, yielding the symmetric root division B[ G[ D (the interval of the major third, 4i). In the recapitulation
there is the regular sidestep towards the subdominant axis (E[). Finally, the movement is
full of imitation and contrary motion. The detailed analysis is shown in Table 5.12 to 5.15.
5.4.2
Mvt. 2 Presto

197
Table 5.12: Beethoven, String Quartet in B[ Major Op. 130, Mvt. 1 Adagio ma non troppo
Allegro
m
1
3
4
5
8
10
11
12
13
15
18
20
22
24
25
29
31
35
37
39
41
43
45
49
53
55
57
198
M0
..
.
..
.
Comment
h i
B[
Adagio ma non troppo

|| : B[ Cm B[/D F B[
F7 /C B7 /D Cm/E[ F7
(a) Vi1, (cm)
F7 B[ F/A
Gm C7 F
(b), halfcad
d
Mt
..
.
..
.
..
.
..
.
M1
M2
M1
G7 Cm C7 /B[ F/A D
trans, imit: Vc-Vi2-
E[ B Cm C7 /E
Va-Vi1
Cm/E[ C7 /E F m
(cm>)
C7 /G F m/A[ A7
B[ F7 /C B[7 /D E[ F7[9
PB (%)
halfcad
Allegro
B[ F7 Cm F7
B[/D . . . A B[
Tempo I.
F C7 /E B[/D G
h i
4
4
VI1/Vi2, Seq(22m;R7 )
(cm<)
h i
3
4
(a): Vc, chr&
F/A C7 /G F E F B[ E
B[ F C7
M1/c
M1/c
Mt
Mt
Introduction ([[)
Exp/Gr 1 (a): unis, chr&
F F7 B[/D D /D
M1/c
M0
..
.
3
4
B[
G[
Allegro
F C7 /E . . . F/A
F/A E7 F7
B[ C7 /E F Cm7 B7
B7 Cm B[/D E7 B[/F F7
B[ E[/G C7 /E F F7
B[ Cm/E[ C7 /E F F7 /A
<(B[ F F7 )
B[ F ]7 Gm7 C7
F F7 B[/D E F F7 B[/D
F C7 F
G[ B[m7
G[ C D[
G[ . . .
h i
4
4
tutti, Seq(22m)
(cm)
tutti, Seq(22m;R7 )
(cm<), cad
trans, imit, (cm>)
repeat, var
tutti climax, (cm)
unisono
(cm), unis
Vc
Gr 2, Vi1 ([V I)
Vc
Allegro (contd)
m
59
M2
..
.
61
63
66
69
71
73
75
76
78
80
82
83
84
85
87
89
90
92
F7 /A[ B[m A[m7 /C[ A[7 /C

D[ D[7 /F G[ . . . D[7
G[ B[[9
7 E[m A[7
D[ D[7 E[m A[m7 /C[ A[7 D[7
G[ E[m7 /G[ D[/A[ G[/B[ D[7
G[ D[7 /F E[mD[ C D[/C[
G[/B[ A[m/C[ G[/D[ D[7
d
G[ A[m D[7 B[m7 D[7
M1
..
.
..
.
..
.
..
.
..
.
..
.
..
.
cad
imit
E[m . . . A[ D[
E[m D[7 G[ F G[/B[ D[7 /A[
B[[9
7 /D E[m7 A[7 /C
stretto, cresc
D[ G[ Cm7 F7
M0
M1/c
M3/c
M3/c
Mc
M3/c
Mc
M3/c
([[[[[[), Vi1 (dev)
97
99
106
110
113
116
119
123
125
trans
M1
..
.
M0
M1/c
Comment
C /G[ B[m/D[ A[7
(M1)
94
96
B[[9
7 /D E[m7 A[m7
(cm<)
F F m7 /E[ D[ D[7 /C[ D[/F
(cm<)
G[ C[ G[/B[ A[
G[ A[m7 D[7
<(G[7 E[m7 )
1) C[ G[/B[ A : ||2) C[ G[ F
tutti climax
Tempo I. Allegro
G[7 C[ D[/F G[ =
F]
Adagio Allegro
D D7 /C G/B C] D
D . . . <(C] D)
D . . . <(G/B D7 /C)
<(Am/C D) <(Am D7 ) G/B
<(G/D D7 ) D7 /F ] G
Am7 G . . . Re(A7 /G D/F ])
D7 <(G D7 ) <(Dm7 /F B /D)
Cm . . .
Cm . . . C/E . . . Cm F7 . . .
h ih i
unisono
3
4
4
4
Dev, Vc
Vi2/Vi1,
h ih i tempi
3 4
4 4 (]])
Vc
Vi2/Vi1
M3: Vc, Mc: Vi1
Vc/V1
Vc/Vi1
imit: Vi1-Vc
199
Allegro (contd)
m
132
134
136
137
138
140
141
143
144
146
149
150
152
153
157
158
159
161
163
165
167
169
171
173
177
179
180
182
186
188
189
190
200
Comment
M1/c
B[
B[ F7 /A F7 /E[
B[/D F7 B[ . . .
F F m Cm/E[ G Gm G
D[/F B[7 /D E[
A[/E[ F m7 /E[ E[+
B[7 E[ A[/E[ E[
Rec/Gr 1, Seq(22m;R7 ),
tutti, (cm)
climax
SD
Vi1/Vc
Vi1/Vc
E[
M1/c
M1/c
..
.
..
.
Mt
(M1)
..
.
+
A7 B[[9
7 /A[ E[/G F m7 E[
(M1)
M2
M1
M2
..
.
(M1)
M2/1
M1
..
.
..
.
..
.
D[
B[
A[ E[/G F m7 B[7
E[ B[7 E[ B[/D B[7 E[
E[ B[7 /D <(E[m B[[9
7 )
E[m E[7 /G A[ A[7 /G[
(cm<)
climax
trans, imit
<(D[/F A[ A[7 /G[)

D[/F B[m7 E[/B[ E[7
<(A[ A[7 D[/F )
A[ A[7 D[ D7 A[/E[
D /F E[7 /G[
A[[9
7 /G[ . . .
D[ G[/D[ C[ A[7 /C
D[ . . .
D[ D[+ G[/D[ C[/E[ E[7
climax, (cm)
C7 D[/F E[m7 /G[ E[7 /G

A[ A7 B[m Gm7 E7
F F7 /E[
B[ F7 B[ . . .
F7 B[ F/C C
F7 /C B[/D Cm7 /E[ C7 /E
F F7
B[ F F7 B[ D D7
climax, (cm)
([[[[) Vc
Gr 2, Vi1
imit: Vc-Va
Vi1
Vc
imit: Va-Vi2-Vi1
cad
tutti, (cm)
Gm G7 F F7 Gm
Cm7 /E[ F B[/F
B[ C/G F/C
F7 B[/D Cm7 /E[ C/E F7
Vi1
Allegro (contd)
m
191
193
195
197
198
199
200
201
202
203
205
207
208
213
215
216
217
220
222
224
226
228
M1
..
.
..
.
..
.
..
.
..
.
..
.
..
.
..
.
..
.
M1
M1/c
Comment
B[ F/A C7 /G F C7 /E F7 /E[
imit (dev)
B[/D E[ F7 B[ F7
B[/D F7 E[/G Dm7 /A B[ F7 /C
d
B[ C7 Dm/F F/A
B[/F F7 /C B[
Cm/E[ Dm/F Gm7 Cm7
D7[9 /F ] Gm7 C7 /E
stretto, cresc
F B[ E7 /G F7 /A
M0
..
.
B[
D7[9 /F ] Gm7 C7
(cm<)
F F7 B[ F F7
B[ E[ B[//D A7 F7 /C
B[ F7
<(B[7 /A[ E[/G) Gm/Dno 1 . . . C7 /G
(cm<)
tutti climax
cad
unis
Adagio Allegro
F D7 Cm B[/D
h ih i
A7 /C D Cm/E[ F7
A B[ F ]
Gm C7 /G F/A E[+ /G F/A
F + B[ F + B[/F F7
(B[ E7 F F ] G G7 Cm E7 )/F
(F F7 B[7 E[ E[m)/F
B[/F A /C B[ Cm/E[ C7 /E F F7
<(B[ F7 ) B[ F B[
3
4
4
4
Coda, Vi1
tempi, f -ped
(f -ped)
(f -ped)
cad
imit, cad (233 m.)
201

202
Table 5.16: Beethoven, String Quartet in B[ Major Op. 130, Mvt. 3 Andante con moto ma non
troppo
m
Comment
1
3
5
M1
D[
C7 C7 B[m/D[ C A[7 /E[

D[6 A[7 /C D[ G[ D[64 A[7
A, chr, imit: Vi2-Va

Va, Vc: 16ths
M1
..
.
..
.
7
8
9
10
11
13
15
16
17
18
19
5.4.3
M2
Mt
D[ A[7 /C D[ G[ A[7 B[m A[/C

d
A[
V1
<(B[m7 E[7 /B[ A[/C)
Vc: 16ths
B[/D[ E[m A[m B[/D

E[m A[/C D[ E[m/G[ A[ D[
A[ D[ E[ A[
cad
trans, pizz imit
A[/E[ E[7 A[ E[7 A[

F7 B[m A[7 E[7 /G A[/C
B[m/D[ A[/C D[ A[/C
E[7 /D[ A[ E[7 /G A[ A[7
E[7 /B[ A[ C/E C7
C7 F C7 F B[m/D[ C7 /E
F C7 /B[ G7 /B F/C C
B, Vi1, imit
imit: Bi1-Vi2-Va
tutti: 16ths
cad, (cm>)
Mvt. 3 Andante con moto ma non troppo
Form: binary, ABCABC Coda, A ternary structure is suggested by the key signatures (D[
A[ D[) in the score: this corresponds to the sections A-BC-ABC. However, based on the
thematic material, the six section structure (and therefore the binary division) is equally
likely. This slow movement is harmonically very rich, with many passing harmonies. Bass
patterns for violoncello are outspoken: continuous series of 16th notes, wide open voicing
arpeggios, walking bass in 8th notes. The analysis is shown in Table 5.16 to 5.18.
5.4.4
Mvt. 4 Alla danza tedesca, Allegro assai

203
troppo (contd)
m
20
M1
..
.
C G7 C F/C C7 F C7 /G F/C
23
25
26
27
28
29
M3
..
.
M3
..
.
30
31
32
34
36
(M3)
38
M1
39
40
41
42
43
44
A[
D[
D[
204
C, imit: Vi1-Va-Vc
A[64
B[m B[m7 /F
E[7 A[ E[7
]5
A[ E[7 /D[ A[/C E[7 A[ E[7 /D[
A[/C D[ A[/C E[7 /B[
climax
Vi1, Vc: arp
A[ D[ A[64 E[7
A[/E[ E[7 /D[ A[/C E[7 /B[
A[/C D[ A[7 /E[
Vi1, Vc: arp
D[/F G[ D[/A[ A[ A[m

B[7 /D E[m
B[ A[7 /C B[m7 /D[ A[7 /E[
D[ A[ A[7 D[ F Gm7 /F F7 /A
B[[9
7 E[ E[7 /D[ A[/C E[7
<(E[[9
7 B[7 /F [ E[7 ) A[7 /E[
imit: Vi2-Vi1
D[ A[7 /C
A, Vi1, Vc: 16ths
tutti: 16ths
trans
D[6 G[ A[7 B[m7 A[7 /C

D[ E[m A[7 /G[
M1
D[ G[ A[7 G[/B[ A[7 /C
M1
..
.
..
.
Va+Vc
Vi1, Vc: 16ths
<(B[m7 E[7 /D[ A[/C)

B[m7 /D[ E[7 /B A[m B[/D
E[m A[/C D[ D[/F
E[m/G[ A[7 D[
E[ A[ E[ A[7
45
46
48
50
51
52
53
54
Comment
M2
Mt
B[
D[/A[ A[7 D[ A[7 D[

B[7 /F E[m D[7 A[7 D[
E[m/G[ D[/F G[ F m7 D[/A[
E[m/B[ A[7 /C D[ E[m A[/C D[
A[7 /E[ D[ F/A
F7 B[ F7 /E[ B[/D E[/G F7
B[ C7 /E B[/F F
cad
trans, pizz imit
B, Vi1, imit
imit: Vi1-Va-Vi2
tutti: 16ths
cad, (cm>)
troppo (contd)
m
55
M1
..
.
..
.
M3
..
.
F C7 F B[/F F7 B[ F7 /C B[/D
58
59
60
61
62
63
64
65
66
67
68
69
70
71
73
74
76
77
78
79
80
82
83
84
85
86
87
88
M3
M1
M1
..
.
..
.
..
.
..
.
..
.
M3
..
.
..
.
Comment
C, imit: Vi1-Vi2-Va
F7[9 /E[ E[m A[7no 3 E[m/B[ B[m

D[
D[64 A[7 D[ A[7 /C

D[ A[7 /G[ D[/F A[7 /C D[ A[7 /E[
D[/F G[ D[/F A[7 /E[
D[ G[ D[64 A[7
D[ D[7 /A[ G[ D[7
G[ C[ G[/B[ D[7 /A[
G[ C[ G[/D[ D[
A[m7 /C[ G[/B[ F7 /A[ G[/B[
F7 /A[ B[m7 E[m A[m7 /C[ D[ G[
B[/F A[m7 /E[ Gm7 /D E7 /D[
C7 F7 /C F7 /D E7 /B[
C]7 /B[ C7 /G
C]7 /B[ A A7 C]7 /G A[
climax
Vi1, Vc: arp
Va, Vc: arp

Coda, imit: Vi1-Vi2
Vc: 8ths, PBi (&)
Vi2+Va, N/V
C7 /G[ F7
[9
9
9
B[[9
7 E[7 A[7 D[7
Seq(5R5 )
G[/D[ D[
A[7 /C D[/A[ A[7 /G[ D[/F
G[ A[/C D[
C[7 /G[ B[7 /F E[m A[7
D[/F A[7 D[ A[ D[ A B[
E[m C D[ G[/B[ C D[7 B[/D
E[m
B[/D E[m C D[
G[/B[ C D[7 /C[
G[/B[ A[ D7 E[m D /F E[m A[7
D[ G[ D[/F A[7 /E[
Vi1, Vc: arp
D[ D[7 G[/D[ D[
D[7 /C[ D[7 /F G[
d
A[7 B[m A[/C D[

E[m7 /G[ E[7 /G D[64 A[7 D[
tutti: 32ths, (cm<)

climax
cad (88 m.)
205

206
5.4.5
Mvt. 5 Cavatina, Adagio molto espressivo
Form: ternary song, ABA, This slow movement plays with short term dynamics. Under
a first violin lead there are many one- and two-measure crescendi-decrescendi. Most of the
movement is in slow quarter and 8th notes, with occasional contrary motion and a somewhat
longer crescendo towards a climax. The retransition changes the rhythm to triplet 8th notes
and touches upon a number of passing key centres. The analysis is shown in Table 5.19.
5.4.6
Mvt. 6 Finale Allegro

207
Table 5.19: Beethoven, String Quartet in B[ Major Op. 130, Mvt. 5 Cavatina, Adagio molto
espressivo
m
1
3
5
7
9
10
13
15
17
19
23
25
27
30
32
34
36
38
40
44
47
49
51
53
55
57
59
61
63
64
208
Comment
M1a
..
.
..
.
..
.
E[
E[ C7 /E F m B[7 E[ B[7 /F E[/G
A, Vi1
F m/A[ F7 /A B[ E[ B[7 /F
M1a
..
.
M1b
..
.
..
.
F m/A[ C7 /E F m E[/G Cm7 B[/D

E[ Cm7 B[/D
E[ B[7 E[ B[/F E[/G G7 Cm
Vi1
[5/[9
D7 /A[
Seq(3R5 )
E[/G Cm A[ E[/B[ B[ B[7 /A[
B, Vi2
E[/G Cm A[ E[/B[ B[ B[7 /A[
repeat Vi1
E[/G E[ Cm A[ F7 /A E[64 B[7

E[ B[7 E[ B[7 /F
E[/G Cm F m7 /A[ E[/B[ B[7 /A[
climax, cad
E[/G Cm A[ E[/B[ F7 /A B[7 /A[
repeat Vi1
E[/G E[ Cm A[ G7 Cm
F/A E[64 B[7 E[
E[ E[m7 /D[ C[ D[m7 /F [
climax
cad
trans, Vi1, triplets
A[m
G[ G[7 E[7 /D[ A[m E[/G A[m

D[m/F [ E[ D[m/F [
PBi (%)
climax
E[
E[ C7 /G B[7 E[ B[7 /F E[/G
A, Vi1
C[
M1a
..
.
..
.
..
.
(cm)
D7 /F C7 /G F m/A[ F/A
Cm/G F m7 Cm/G F m7
[9
[9
G[9
7 C7 F7
B[ B[97 . . .
M1b
M2
..
.
..
.
M2
..
.
..
.
M3
..
.
E[/G B[7 /F E[ B[/D B7 Cm
2nd stat, Vi2
F m/A[ A7 B[ E[/G B[7 /A[

E[/G B[7 /F E[ B[/D B7 Cm
(cm)
F m/A[ C7 /E F m E[/G Cm7 B[/D

E[ Cm7 B[/D
d
E[ B[7 E[ B[7 Cm F m/A[ B[7

E[64
(cm), climax
B[7 /F E[/G B[7 /D
E[7 /D[ A[/C A[m/C[ B[7

E[ B[7 E[
climax
cad (66 m.)

209
5.4.7
The key relationship diagram of this late string quartet is shown in Fig. 5.6. The outer sonata
form movements have the widest key scope and require the equivalence property in the
development section (Mvt. 1: G[ = F ], Mvt. 6: F ). The roots of the movements lie on the
vertical symmetry axis B[ B[m D[, with the exception of the Cavatina (Mvt. 5), which
is in the subdominant key E[. Note the limited span and the major third 4i symmetry axis
relationships in all four middle movements, where we see B[ Dm (1) and F D[, C Em
(1) and E[C[ (1) respectively. There are two such moves in the opening movement: B[G[
(2) and F ] D (3).
Mvt. 1 Adagio Allegro
Ft]
Am
Em
Bm
3
4
G
Cm
Gm
Dm
5
1,7
B[ - F
E[
A
Fm
E[m A B[m
A
2 AU
A[
D[ 6
G[ t
Mvt. 4 Alla Danza

2
Em

*

1
?

C
G
Am
F ]m
A
Am
Mvt. 2 Presto
Mvt. 3 Andante
Gm 1 Dm
B[
Cm
B[
E[
6
?
B[m
2-
B[m
Fm

1
A[
D[
Mvt. 5 Cavatina
Mvt. 6 Finale Allegro
A[
E[

A[m E[m

6
C[ 1 G[

Fm
@
3,5@
R Cm
Fm @
H
Gm

H
j 7
H
2
6

A[
E[
B[
4,6,8
D
Dm
t
-F1
Figure 5.6: Beethoven, String Quartet in B[ Major Op. 130, key relationship diagram
5.5
Symphony No. 5 in C Minor, Op. 67 (1807-8)
5.5.1
Mvt. 1 Allegro con brio
Form: sonata form. This symphony movement is another element in the classical music
canon. The two fermatas in the opening phrase are exercises in every conductors crash
course. The detailed analysis is shown in Table 5.20 and 5.21. The key motif from the main
theme, also known as the Fate motif (Schicksalsmotiv) will return in later movements of this
210
5.5. SYMPHONY NO. 5 IN C MINOR, OP. 67
Mvt. 1 Allegro con brio: sonata form (Cm,
h i
2
4
Exposition (124 m.)

Recap (55 m.)
, 502 m.)

2nd Dev (71 m.)
Coda - 3rd Dev (109 m.)
Mvt. 2 Andante con moto: theme and variations form (A[,

Var 1
Theme
Var 2
Mvt. 3 Allegro: scherzo and trio form (Cm,
Coda
h i
3
8
, 247 m.)
Var 3
h i
3
4
Coda
, 373 m.)
Trio
Scherzo
Scherzo
Coda
h i
Exposition (88 m.)
Development (67 m.)
Tempo I (54 m.)
Recap (88 m.)
2nd Dev (67 m.)
Coda (82 m.)
4
4
, 446 m.)
Figure 5.7: Beethoven, Symphony No. 5 in C Minor

symphony.1 Note that the movement has a secondary development in the coda.
5.5.2
Mvt. 2 Andante con moto

Beethoven is even praised for his visionary view on Morse signals: Ve Von ze Var!.
211
Table 5.20: Beethoven, Symphony No. 5, Mvt. 1 Allegro con brio

m
Comment
1
7
18
22
25
M1.a
M1
M1.a
M1
..
.
Cm
Cm B
A[/C Cm B7 <(G7 /B Cm)
G7 /B Cm D7[5 /A[ G
B7
<(B7 G7 Cm)
Exp, Gr 1/Th 1, Cl+Str

imit: Str
halfcad, tutti climax
imit: Str
(D7 B7 Cm B7 C7 )/C
(F m B7 C7 F m B7 )/C
Cm G7 Cm
(A7 F7[9 )/C B[/D
B[4
E[/B[ <(B[7 E[)
T cad, c-ped
(c-ped)
tutti climax, cad
trans to M, c-ped
Motto: Hns
Gr 2, dolce th: Str
C7 /E F m D[/F E[/G E[7 A[

F7[9 /A B[4 F7[5 /C[ F7[9 /C
<(<(B[7 E[) F m7 E[64 B[)
E[ . . . <(B[ E[)
cresc, PBi (%), e[-ped

cad, tutti climax
closing cad
34
40
44
53
59
63
75
83
94
110
125
130
143
146
151
154
158
175
179
195
204
211
215
228
240
248
253
265
269
273
277
284
212
M1.a
M1
M2
..
.
E[
M1.a
M1.a
M1
M1
..
.
..
.
Fm
M1
G
Fm
Cm
Dev, Gr 1, Hns
imit: WW+Str
imit: Str, g-ped
A A7 D 7
Gm
M3
M1.a
M1.a
M1
M1.a
M1
..
.
C7[9
F m . . . <(C7[9 F m)
D D7 /F ] G7
Cm <(G7 Cm)
Cm
Gm <(D7 Gm)
Gm D7[9 /A Gm/B[ F ]7 /C C]7
Gm/D C]7 /E D/F ]
D7sus4 D7 Gsus4
G7 C7sus4
7
<(F m/A[ G /B[ E /G F m/A[)
F m/A[ G[/B[ A /C B[m/D[
C[/E[ D[/F
F ]m . . . D/F ] . . .
D/F ] . . . B7 . . .
B7
imit: Str+WW
cresc, PB (%)
tutti, cad
Motto, climax, imit
trans
PB (%)
Cm G/D
A[/C Cm <(G[9
7 /B Cm)
[5
G7 Cm D7 /A[ G
G[9
7
Cm G7 Cm
Recap, Gr 1. tutti
imit: Str
halfcad, climax
imit: Str
cresc
(F m B7 Cm B7 C7 )/C
(F m C7 F m B7 )/C
T cad, c-ped
(c-ped)
Motto, tutti climax

Retrans
Table 5.21: Beethoven, Symphony No. 5, Mvt. 1 Allegro con brio (contd)
m
288
296
303
307
323
338
346
362
374
382
398
407
416
421
423
431
439
453
459
461
468
470
483
491
496
M
M1.a
M1
M2
..
.
M1.a
Fm
M1
..
.
E[
Cm . . . G7 . . . Cm
F ]7 G/D
Gsus4
7
C <(G7 C)
cad, tutti climax

trans, cad
Motto: Bsn
2nd Dev, Gr 2, g-ped
C7[9 F D7[9 G F m/A[ G[9

7 /B
[5
D7 . . . <(D G7 /D)
<(<(G7 C) Dm/F C46 G)
C . . . <(G C)
Seq(24m;R7 ), cresc
C F m/A[ C/E F m
D[/F . . . D7[9 /F ]
<(E[/G B[[9
7 )
Coda, 3rd Dev, epis 1

tutti climax
motto: Bsn+LoStr
cad, tutti climax

closing cad
motto dim: Str

d
Cm
G7 /B C/E F m G7
F m/A[ G7 F/A G/B
Cm D7 /A[ Cm/E[ F m F7 /E[
G7 Cm/E[ A[/C D7 /F G4 G
Cm D7 Cm/E[ F m <(G Cm)
cad
theme: Str, c-ped
cad
Epis 2, imit: WW-Str
Cm Gm A[ E[ <(F m Cm)
M1.a
M1
M1.a
Comment
E[ . . . Cm
M3
I(M3)
..
.
..
.
Cm
<(Cm64 G)
Cm Gm A[ E[ <(F m Cm)
<(Cm64 G) Cm
G . . . <(G7 Cm) G
cad
tutti climax
Cm
<(G Cm)
<(Cm G) C
Real coda, imit: Str

closing cad
(502 m.)
cad
213

214
Table 5.22: Beethoven, Symphony No. 5, Mvt. 3 Allegro

m
Comment
1
9
15
M0
M0
Cm
Cm D/F ] G7 Cm
Cm D/F ] C] D D7 /C
G7 /B Cm G/B Cm F ]7 G
Scherzo, Intro: Str

halfcad
19
27
M1
M1
..
.
E[m
Cm <(G7 Cm) Cm7 F m7 B[

E[m <(B[ E[m) E[m7
Horn theme
repeat: WW+Str
M0
cad, ambiguity
B[m
A[m D[ G[ C[ C[7 F m
<(B[ E[m) B[
B[m C/E F7 B[m F
53
57
60
M0
Cm
71
79
M1
M1
..
.
33
38
45
86
90
97
101
109
116
123
131
5.5.3
Fm
2nd stat: Str
<(G Cm) Cm7 F m B[

<(C F m) F m7 B[m
Horn theme
repeat: WW+Str
trans, g-ped
E[ A[ D[ D[7 Gm
<(C7[9 F m) C
M0
M1
Mt
M1
B[m C/E F m
G/B Cm D/F ]
C]7 D <(Em7 /D G[5
7 /C])
Cm
Cm D/F ] G
<(G7 Cm)
A[ Cm64 D[/A[ G[9
7
<(G7 Cm F m Cm/G G7 Cm)
<(G7 Cm Cm7 F m) F ]7
Cm/G <(G Cm) C7 F m G Cm
3rd stat: Str

(cm), g-ped
(g-ped)
trans, Str
Mvt. 3 Allegro
Form: ternary song form, scherzo and trio form. The analysis is shown in Table 5.22 and
5.23. The scherzo is repeated in a varied form and leads directly (attacca) into the final fourth
movement.
5.5.4
Mvt. 4 Allegro

215
Table 5.23: Beethoven, Symphony No. 5, Mvt. 3 Allegro (contd)

m
Comment
141
147
153
157
161
M3
M3
M3
M3
C
G
C
G
G C G7 /F C/E B /D C/E Am/C

D7 /C G/B C] D7 G E F G C
G7 C Em7 /B D7 /A G/B C/E
D7 G <(D/A G) D
G G7
Trio, A imit: Str

(imit: Str+Bsn)
(imit: tutti)
(repeat ending)
trans
169
174
178
182
189
194
M3
M3
M3
M3
C
F
C G7 /F C/E Em/B G7 C
C7 /E F C7 /B[ F/A
G7 C C7 F
<(G G7 C)/G
(C F G Em Am7 Dm G7 )/G
<(C G) C G G7
B, imit: Str+WW
(imit)
stretto imit
tutti climax, g-ped
trans, (g-ped)
cad+trans
G7 /F C/E Em/B G7 C
C7 /E F C7 /B[ F/A
G 7 C C7 F
<(G G7 C)/G
G7
6
G[9
7 D G7 Cm D Cm4 G
repeat, imit: Str

(imit)
stretto imit
WW, g-ped
retrans
PB (&)
Cm D/F ] G7 Cm G
Cm D/F ] C] D D7 /C
G7 /B Cm G/B Cm F ]7 G
Scherzo repeat
Str
halfcad
Cm <(G7 Cm) Cm7 F m7 B[

C <(F m C7 ) F m
WW theme
repeat: WW
D[ E[ A[ D[ D[7 B[m
<(C F m) C
Cm D/F ] G
<(G7 Cm)/G
G[9
7 D /A[ G7
<(Cm F m/A[ G7 )
Cm Cm7 F m G G7 Cm B
Cm Cm7 F m F ]7 Cm64 G7
cad, ambiguity
2nd stat: Str+Bsn
g-ped
motto: Hn (g-ped)
trans, cad
PB (&)
cad
M3
206
210
214
218
224
229
M3
M3
M3
M3
237
245
251
M0
M0
255
262
M1
M1
..
.
269
274
281
285
294
300
308
312
M0
M1
316
M1
324
339
M1
M0
..
.
..
.
344
355
360
216
C
F
C
Cm
Fm
Cm
<(Cm G) C7 /E F G
A[
A[
A[ D7[5 /A[ Cm/G G D7 /F ]
Coda, a[c-ped
3rd stat: Vi1 (c-ped)
Cm
Cm64 G D7[5 /A[ Cm64 G4
trans (c-ped)
Gsus4
7
(C
Am7 F )/G
(G C F )/G G7
major (cg-ped)
g-ped (373 m.)

217
5.5.5

218

219
5.6
Symphony No. 6 in F Major Pastorale, Op. 68 (1808)
Source: [5]. An overview of the formal analysis is shown in Fig. 5.8. Note that this symphony
has five movements.
Mvt. 1 Allegro ma non troppo: sonata form (F ,
h i
2
4
, 514 m.)
Exposition (138 m.)

Mvt. 2 Andante molto moto: ABBA Coda form (B[,
A1
B1
B2
A2
h ih i
3
4
2
4
, 140 m.)
, 264 m.)
Trio
Scherzo
Mvt. 4 Allegro: ABCABCBD form (D[ F m,
B1 C1 A2
B2 C2
h i
B1
A2
4
4
C1
Scherzo
Coda
, 155 m.)
B3
Mvt. 5 Allegretto: ABACABAD Coda form (F ,

A1
12
8
Coda
Mvt. 3 Allegro: scherzo and trio form (F ,
A1
A3
h i
6
8
, 264 m.)
B2
A4 D1
C1 D2
C2
Figure 5.8: Beethoven, Symphony No. 6 in F Major Pastorale
5.6.1
Form: sonata form. Movement 1 has the descriptive title Erwachen heiterer Empfindungen bei
der Ankunft auf dem Lande.2 The analysis is shown in Table 5.24 and 5.25.
5.6.2
Mvt. 2 Andante molto moto

2
For many years this opening motif was the radio station signature tune of the West-Deutscher Rundfunk
(WDR). It returns, somewhat in disguise though, in Alban Bergs opera Wozzeck.
220
5.6. SYMPHONY NO. 6 IN F MAJOR PASTORALE, OP. 68
Table 5.24: Beethoven, Symphony No. 6 Pastorale, Mvt. 1 Allegro ma non troppo
m
Comment
1
9
16
29
M1.a
M1.b
Mt1
M1
..
.
..
.
M1.a
M2
M2
M3
F C7 F C F
<(F F/A C7 /G F B[ F C)
<(C B ) B[ F
F ...
Exp, Gr 1, Vi1
32
43
47
53
67
84
93
111
115
127
135
Mt2
M1.a
139
151
163
175
182
191
197
209
212
228
237
243
247
255
M1.a
M1
M1
M1
M1
M1.a
M1
M1
M1
M1
M1.a
M1.b
M1.b
M1.b
trans motif: Vi1, c-ped

2nd stat: Ob, f c-ped
<(E7 F Gm7 F C F )/F
F
B[
D
G
E
(C F C7 )/C
<(F C7 )
F Dm F/C G7 /B
<(G7 C 6 )
G7 C 6 G7 /B C G7 /D
<(C F C G7 )
C F C G7
<(C F ]7 C G7 )/C
<(C G7 )/C
F C F B[
c-ped
cad, f -ped
trans: Vi1, mod to D
Gr 2, imit: Vi
cresc: WW
Str, climax
cad, triplets
retrans to T, c-ped
dim, closing
trans motif: Vi1
C 7 F F7
B[
D
D
D
D 7 G D G D7
G
E
E
E
E7 A E A E7
A D A E7
A G]7 A7
D Gm D7 G7
Dev, Gr 1, imit: Str-WW

arp down motif, b[-ped
(motif on 1,3,5) d-ped
(repeats) tutti climax
dim, trans
main theme: Vi1
arp motif, g-ped
(motif on 1,3,5) e-ped
(repeats) WW+Str climax
dim, trans
main theme: Vi1
also I(M1.b): WW+Str
263
275
M1.b
Mt3
C F 6 C7 F C7
(B[)/C
tutti climax, c-ped

retrans (c-ped)
280
283
289
291
300
308
M1.a
M1.a/b
M1.a/b
F C7 F
C
<(F B[/D C7 )
<(F B[ F C7 )
C
C F B[ F/A C7 /G
Recap, Gr 1, Str
solo arp
both themes as ctp
triplets
trans, c-ped
cresc
221
Table 5.25: Beethoven, Symphony No. 6 Pastorale, Mvt. 1 Allegro ma non troppo (contd)
m
312
318
322
328
346
362
372
392
396
404
416
424
428
430
438
442
450
462
470
478
494
507
222
Comment
M1
..
.
F <(C7 F )/F
final stat, tutti clim, f -ped
(C F C7 )/C
<(F C7 )/F
F Dm F/C G7 /B C7 /B[ B
<(C7 F 6 )
C7 F C7 /E F C7 /G
<(F B[ F C7 )
F B[ F C7
<(F B F C7 )/F
<(F C7 )/F
F . . . F7
c-ped
f -ped
trans: Vi1, triplets
Gr 2, imit: Str
triplets, cresc
WW+Str, climax
cad, triplets
trans to SD, f -ped
dim, closing
trans motif: Fl
Mt1
M2
M2
M3
Mt2
M1.a
M1.a
Mt2
Mt2
M1
M1.a
B[
E[ B[/D F7 B[ F7
B[ F7
<(B[ E B[ F7 )/B[
B[ C7
<(F B F C7 )/F
<(F Dm F/C C7 )
<(C7 F )/C C
<(C7 G7 /D C7 /E F C)
<(F C7 )
F C7 F
B[ F C F
cad
trans triplets, b[-ped
trans, f -ped
tutti climax
dimin
arp down motif: Vi1
closing cad
final stat: Vi1, imit: WW

223
5.6.3
Mvt. 3 Allegro
Form: scherzo and trio form or, alternatively, ternary song form. Movement 3 has the descriptive title Lustiges Zusammensein der Landleute (The cheerful peasant meeting). The analysis
is shown in Table 5.26 and 5.27.
5.6.4
Mvt. 4 Allegro

224
Table 5.26: Beethoven, Symphony No. 6 Pastorale, Mvt. 3 Allegro

m
1
9
13
17
25
29
33
41
45
49
53
60
64
68
72
75
M1
M2
M1
M1
M2
M1
M1
M2
M1
M1
M1
F
D
87
107
123
133
M3
M3
M3
M3
..
.
F
D
C
F
C
F
Comment
Allegro [Scherzo]
|| : F . . . Dm A
D . . . A Bm A
D . . . A D C
F . . . Dm A
D . . . A Bm A
D . . . A7 D
D ... G ...
C . . . G Am G
C . . . G7 C
F . . . C7
F ... C
C C7 /B[ F/A
Gm7 /B[ F46 C F
C C7 /B[ F/A
Gm7 /B[ F46 C
<(F . . . C7 ) F
h i
3
4
A1 , Str unis, imit

Str+Fl, d-ped
2nd stat., Str unis, imit
Str+Fl, d-ped
trans to D
Str+Ob, c-ped
final stat: Str
climax, WW+Str
tutti
cad
repeat
cad
trans, Str arp
F . . . <(C7sus4 F C7 F )
F <(C7sus4 F C7 F )
C Gsus4
C G7 C C7
7
F C7sus4 F . . . <(C7 F ) C7
d
B, Ob
2nd stat: Ob
Cl
FHn-Ob
Ob+Cl+FHn, f -ped
M1
(F C7 F C7 )/F C7
B[/F F/C C7 /G
F
h i
165
173
M4
M4
a Tempo Allegro [Trio]

<(F B[ F7 B[)
<(F B[ F7 B[)
181
189
191
193
195
197
M4/5
M4/5
M4/5
M4
<(F G7 C7 F C7 F )
C G7 C B7
C/E F C46 G7
C G7 C B7
C/E F C46 G7
C G C . . . G C . . . : ||
D, M4: Bsn+Va, M5: Vi

M4: Va+Vc, M5: WW
c-ton-ped
repeat
c-ton-ped
trans, Va+Vc, cg-ped
143
151
155
B[
trans
2
4
C, Vi (2x), f -ped
Vi (2x), Fl
225
Table 5.27: Beethoven, Symphony No. 6 Pastorale, Mvt. 3 Allegro (contd)

m
205
213
217
223
227
231
235
241
246
249
254
257
226
M1
M2
M2
M1
M1
M1
F
D
F
Comment
Tempo 1 [Scherzo]
F . . . Dm A
D . . . A Bm A Gm/B[
<(F Gm) F46 C7
F . . . B[ F
F . . . C
F . . . C
h i
Presto
F ...
F C . . . C7 /B[ F/A
Gm7 /B[ F46 C7
F C . . . C7 /B[ F/A
Gm7 /B[ F46 C7
Coda
climax, tutti unisono
F . . . C7 F . . . C7
3
4
A2 , Str unis, imit

Str, d-ped
WW, f -ton-ped
WW (f -ped)
Str unisono
cad
repeat
Str arp (264 m.)

227
5.6.5

228

229
5.7
Symphony No. 8 in F Major, Op. 93 (1812)

Mvt. 1 Allegro vivace e con brio: sonata form (F ,
Exposition (138 m.)
h i
3
4
, 372 m.)
Development (86 m.)

Coda (58 m.)
Figure 5.9: Beethoven, Symphony No. 8 in F Major, Op. 93
5.7.1
Mvt. 1 Allegro vivace e con brio
Form: sonata form. The coda contains a secondary development. The analysis is shown in
Table 5.28 and 5.29.
5.7.2

230
5.7. SYMPHONY NO. 8 IN F MAJOR, OP. 93
Table 5.28: Beethoven, Symphony No. 8, Mvt. 1 Allegro vivace e con brio
m
Comment
1
9
12
24
34
38
46
52
59
65
70
73
80
83
90
96
M1
|| : F C C7 . . . F C F
F/C C C7 F46 C7
F B[/D Gm7 /B[ C7 F B[/D
[5/[9
B[7 /F . . . B[7 /F = E7 /F
A7 /E
<(D A) G7 /B C F ]7 G G7
<(C G7 ) D B7 C A
F ]7 . . .
F ]7 B7 E7 D F ]7
G G7 /F C/E Am Dm G
C D /F <(C F )
G7 C G C7 F Dm C46 G
C D /F <(C F )
G7 C G C7 F Dm C46 G
<(C G7 )
C . . . : ||
Exp, Gr 1, Vi, c-ped

Vi1, T cad, f -ped
tutti climax (f -ped)
trans, mod
Gr 2, Vi
2nd stat: WW
D cad
cresc to climax
tutti climax, cad
(climax)
trans, ctp, dolce
repeat
trans, ctp, dolce
cresc to climax
tutti climax, closing cad
C
G7
C
Cm . . . F7 /C . . .
B[
(A[9
7 )
A7 Dm/A
A
Dm Gm A7 Dm A Dm D7
Dev, c-ped
Gr 1, imit: WW, c-ped
tutti climax
mod, imit: WW, c-ped
tutti climax, f -ped
b[-ped
imit: WW, a-ped
tutti climax, cad
main th motif: DB, mod
Gm G Cm A7 G7
Cm G7 C C7 F m64 C7
F m D /F B[m
mod, imit: Str-WW

mod, imit: Str-WW
tutti climax
103
107
111
115
123
127
131
135
143
150
156
159
163
167
179
183
M2
M2
D
C
Mt1
Mt1
Mt2
C
M1
M1
B[
M1
Dm
(M1)
..
.
(M1)
..
.
Gm
Cm
Fm
D[
G7 C7 F m C D[ A[7
D[ . . . B[m . . . B7 /C
B7 /C . . .
(F m F ]7 C7 )/C
retrans, climax
tutti climax, cad, c-ped
231
Table 5.29: Beethoven, Symphony No. 8, Mvt. 1 Allegro vivace e con brio (contd)
m
189
197
208
214
216
230
234
238
242
245
247
255
261
266
269
273
275
279
284
286
292
300
303
310
322
327
332
340
344
346
348
350
357
232
Comment
M1
M1
M2
M2
B[
F C 7 F C7 F
F C7 <(F C 7 F )
(F B[ G7 C)/F
C/E C7
F B7 . . . B7 /F
C7[9 F7
<(B[ F7 ) G7
C F7 B[ C7[9
F C7 F
C Am D7 Gm C F
B7 . . .
B7 C]7 F ]7 Gm B7 C
C C7 F Dm Gm7 C
F E7 <(F B[)
C7 F . . . F7
B[ Gm7 F46 C
F E7 <(F B[)
C7 F . . . F7
B[ Gm7 F46 C
<(F C7 )
F ...
Recap, Gr 1, Bsn+DB, climax

2nd stat: WW, dolce
cad, f -ped
cad
T cad, climax, f -ped
cad
Gr 2, Str
F ...
D[ <(A[7 D[)
D[ B[7 E[m C7 F m F
(F . . . B[m . . . B7 )/F
F C7 F C F C C7
F . . . C7 F/C
Coda, 2nd Dev, f -ped

WW, SD, d[-ped
trans, cresc
motif, climax, f -ped
cad
trans, imit: Str, cresc
Gm7 /F . . . G . . .
tutti climax
B[/D F B7 C
cad
F C7 F B[/D
[5/[9
G7 /D[ F/C
<(F C) F . . .
C F C7 F
cad
closing cad
dimin (372 m.)
Mt1
Mt1
Mt2
M1
Mt3
(M1)
Mt4
..
.
..
.
..
.
F
D[
F
2nd stat: WW T
T cad
cresc to climax
tutti climax
cad
trans, ctp: WW+Str, dolce
cad
repeat
trans, ctp: WW+Str, dolce
cad
cresc to climax
tutti climax, closing cad

233
234
Chapter 6
Franz Schubert
31-1-1797 in Lichtental (Wien)
19-11-1828 in Wien
1600
6.1
1700
1800
1900
2000
Symphony No. 8 Unvollendete, D759 (1822)
Source: [56]. This symphony received its name Unvollendete (Unfinished Symphony), since it
consists of two movements only. An overview of the formal analysis is shown in Fig. 6.1.
Mvt. 1 Allegro moderato: sonata form (Bm,
h i
3
4
, 368 m.)
Exposition (110 m.)
Recap (110 m.)
Coda (40 m.)
Mvt. 2 Andante con moto: ABAB-Coda form (E,

A1 (64 m.)
B1 (78 m.)
B2 (63 m.)
Coda (44 m.)
h i
3
8
, 313 m.)
A2 (63 m.)
Figure 6.1: Schubert, Symphony No. 8 Unvollendete, D759
6.1.1
Mvt. 1 Allegro moderato
Form: sonata form. The opening melody in the low strings (celli and basses) supports the
sinister character of the movment; it becomes the main element of the development. The
other themes from the exposition are repeated in the recapitulation, without development.
See Table 6.1 and 6.2 for the analysis.
c
2005-2015
CHAPTER 6. FRANZ SCHUBERT
Table 6.1: Schubert, Symphony No. 8 Unvollendete, Mvt. 1 Allegro moderato

m
Comment
1
9
13
16
22
M0
Bm
|| : Bm . . . F ] . . .
<(B Em)/B
<(Bm A]7 /G) C]7
[9
D Em/G A[9
7 D F ]7
<(Bm A]7 /G) C]7
Introduction: LoStr
Exp, Gr 1, b-ped
1st stat: WW
26
29
31
36
42
49
53
63
73
77
81
85
89
94
104
110
114
122
130
134
146
154
162
170
176
180
184
188
192
194
202
208
236
M1
M1
..
.
M2
M2
Gm
M2
..
.
M2
Em
M0
(M0)
(M0)
(M0)
..
.
D D7 G E 7 A F ]7
F ][9
7
D7 G E7 A <(F ]7 Bm)
F ]7 Bm . . . A D7
G . . . D7 . . . G
E7 Am D7
G D7 G E7 Am D
Cm Gm E[ E[[9
7 C]7 /E
A7 /C] Dm D G7 C
E7 /G] Am A7 D7 G
<(C]7 /E A7 )
G/D C G C G64 D7
G C E7 Am G64 D7 G
<(D7 G7 G]7 Am D7 G)
G . . . Bm/D F ]7 /C] Bm : ||
M0
(M0)
2nd stat: WW
Em
B7 C Am B7 /F ]
Em . . .
<(C F ][5
7 )/C F ]7 /C]
D7 B7 /D] E7 C]7 /E]
F ]7 . . . D][5
7 /A
C]m/G] . . . A D]m7 /F ] G]7
G]7 /B . . . Dm/A B[ Em A7
C]7 . . . Em/B C F ]m7 B7
Em . . . B7 /F ]
Em F ]m F ]7
Bm C]m C]7
d
F ]m D7 F ]m/A C]7 /G]
trans 1, Seq(31m;R7 )
Gr 2, 1st stat: Vc
2nd stat: Vi
trans 2, clim, tremolo
imit: Str,
Seq(34m;R5 )
tutti climax, cad
imit: Str-WW, d-ped
climax, trans 3, repeat
Dev
LoStr
Bsn+Vi, tremolo
Seq(32m;R7 ), PBi (%)
cresc to climax, tremolo
Trans 2, Seq(38m;R7 )
tutti climax
M0: WW+Str, climax
imit, Seq(24m;R5 )
tutti clim, Seq(34m;R5 )
Bm G7 Bm/D F ]/C]
Em C7
C/G A]7 /G A[9
7 /G
D/F ] A D F ] D/F ] A
D F ] . . . F ][9
7 ...
tutti climax
Retrans
6.1. SYMPHONY NO. 8 UNVOLLENDETE, D759
Table 6.2: Schubert, Symphony No. 8 Unvollendete, Mvt. 1 Allegro moderato (contd)
m
218
222
226
231
135
238
242
245
250
252
256
267
273
281
291
295
299
303
309
312
317
322
328
336
350
352
364
Comment
Bm
<(Bm Em)/B
<(Bm A]7 /G) C]7 /G
D G E7 /G] A[9
7 F ]7 /A B7
Em F ]7 /C Em E F ]7 /C
G Am/C D
Dm7 B7 /D E7 A A7
D B7 Em C][9
7
A7 D B7 Em <(C]7 F ]m)
C]7
F ]m . . . E7 A7 D
D . . . A7 D B7 Em A
D A7 D B7
Em A7 D G7 C/G Em F ]7
Em Bm/F ] G . . .
C]7 /E F ]m F ]7 B7 E
Recap, Gr 1
stat1: WW
M1
M1
M2
M2
F ]m
D
M2
..
.
B
M2
M2
M0
M0
(M0)
Bm
2nd stat: WW
trans 1
Seq(31m;R7 )
Gr 2, 1st stat: Vc
2nd stat: Vi
Seq(32m;R7 )
trans 2, climax, tremolo
imit, Seq(34m;R5 )
G]7 C]m F ]7 /A B
G]7 C][9
7 G]7 C]7
B/F ] E B7 E B46 F ]7 B
E G]7 C]m B46 F ]7 B
B (F ]7 B7 G]7 F ])/F ]
B F ]7 . . .
B G F ] Bm/D F ]7 /C]
imit: Str
2nd stat: WW
Trans 3
Bm . . . Bm64 F ]7
Bm <(Bm/D C][9
7 ) Bm/D
Bm64 F ]7
<(Bm . . . Em/B)
Bm/D F ]7 Bm
Coda, LoStr
cresc
climax, cad
WW+Str
tutti climax, cad
237
6.1.2

238
6.1. SYMPHONY NO. 8 UNVOLLENDETE, D759

239
6.1.3
The key relationship diagram is shown in Fig. 6.2. The opening movement is characterised
by the motion along the R3i symmetry axis (vertical), towards the lowered submediant, see
Bm G (1) and F ]m D (2) and towards the parallel minor G Gm (1) and B Bm (2).
The andante also shows the minor third key movement E G E C] (1-2) and F ]m Am
(4). This piece also reaches the lowered submediant key C = [VI (3) and the Neapolitan
lowered second degree key F (5). The shift from the relative minor key C]m D (3) is
another Neapolitan relationship.
Mvt. 1 Allegro moderato
B3
F]
?
- Bm
- F ]m

2

Em
G
1
?
Gm
F]
C]
Bm
F ]m @
C]m
I
2
6?
4 ?
G]m
B
@ 6? B
B
B
Dm
Dm
Am
6
?
Am
5
- Em
1
3
C
G
B Bm
BN
Figure 6.2: Schubert, Symphony No. 8 Unvollendete D759, key relationship diagram
6.2
String Quartet No. 14 in D Minor Death and the Maiden, D810

(1826)
Source: [55]. In German this chamber music piece is known as Der Tod und das Madchen.
An overview of the formal analysis is shown in Fig. 6.3. Note the length of the closing Presto
movement.
6.2.1
Mvt. 1 Allegro
Form: sonata form. The characteristic element in this movement is the stepwise descending
main theme rhythm 3 + 8t + 8t + 8t + 1 (three-quarter note, 8th note triplet and quarter
note, with strong articulation and often simultaneously in all string parts). The main theme
M1 is in the tonic Dm, the secondary theme M2 in the relative major key F . This theme is
presented in sequential and imitative settings. See Table 6.3 to 6.6 for the analysis.
6.2.2

240
6.2. STRING QUARTET NO. 14 IN D MINOR DEATH AND THE MAIDEN, D810
Table 6.3: Schubert, String Quartet No. 14 Death and the Maiden, Mvt. 1 Allegro
m
Comment
1
5
7
M1.a
M1.b
Dm
Dm Gm/D Asus4
Dm
7
Gm7 /B[ Dm/A
Gm7 F/A Gm7 Dm64 A
Exp, Th 1, (aabb)
M1.a completion
(cm)
14
M1.a
20
25
37
39
41
45
53
55
56
M1.a
M1/I(M1)
..
.
..
.
..
.
..
.
M1.a
M1
M1.a
M1
61
66
71
M2
M2
M2
73
76
M2
..
.
28
29
34
78
81
Dm A7 D7 E[/G E7 F/A A7
Dm A7 D7 E[/G E7 F/A A7
Dm A7 /C] Dm B[7
imit
repeat 8va
Vi1+Vc
Dm64 A A7
A7 B[ Gm Dm/A A7 Ab7
motif M1.a varied
Cm/G A[7 /G[ D[/F
D]7 F ]m/C] D]7 /C B7

A]7 B[7 Dm64 A7
Dm Gm/D Asus4
Dm
7
[9
E7 A7 (D Dm F )/A C7 /E
F C7 /E F B7
F m/C D7 /C C7
<(F C7 /E) F B7 B7 /D C7
closing to climax
F F/C C7 F C7
F . . . C7 F/C C7
D7[9 /C C7[9
Th 2, par. 3rds: Vi1+2

2nd stat
Vi1+2
Th 1, 2nd stat
trans, ctp
rel maj stat, imit
repeat
F m Cm A[64 E[7
D7[9 /C C7[9
d
F m Cm A[64 E[7
F F46 C7
Vi1+2
repeat 8va
241
Table 6.4: Schubert, String Quartet No. 14 Death and the Maiden, Mvt. 1 Allegro (contd)
m
83
86
90
M2
M2
M2
..
.
93
95
97
102
106
110
114
117
120
124
126
128
134
141
145
146
150
152
156
158
160
164
166
168
170
173
176
181
184
187
192
242
Comment
Am
F Bm/D E A7 /C] D E Em
A D7 /F ] G C7 /E F Bm/D E7
Am D7 C7 F B7
Seq(31m;R7 ), imit
Seq(31m;R7 ), imit
Seq(31m;R7 ), clim
M2/M1
M2
M2
E7 C7 /E F A7
Dm F7 /A B[ Am7 /E B7[5 /F
E7 Dm/E D]7 E7
A E7 /D A/C] E7
A E7 /D Am/C Em7 /G
E7 /G] E7 A/C] C
F Dm/F B[/F F
trans
both th, par 3rds
cresc to climax, unis
3pt [S6 ] , closing stat
F B7 /D B[/D Am64 E7
F
M2
..
.
E7 A[m E[ D7
C] E7 /B Am
M2
Am
G]7 E7 F Am64 E7
Am Am E Am
M2
M2/M1
..
.
F ]m
Bm
Em
3pt [S6 ]
M2/M1
M2
M2
I(M1.a)
I(M1.a)
Am
Dm
par 3rds: Vi1+2
C G]7
A C7 C]m/E C7 C]m/G]
C][9
7 /E]
D F ]m/A F7 F ]m/C] C]
F ]m C]7 F ]m/A C]7
F ]m G[5
7 /D C] F ]7
Bm G7 F ] B7[9 /D]
Em G/D D]7 Em64 B7
Em D]7 /E
Em C7 B D/F ] E7[9 /G]
Am F7 E G/B A[9
7 /C]
6
Dm . . . D4 A7
Dm C]7 /D
d
Dev, Th2, in 3rds
Th 1/2:Vc/Vi1
unis climax
trans, e-ped
Seq(32m;R5 )
unis climax
trans, d-ped
d
D7[9 E[/G E7[9 F/A F ][9

7
G/B B[7 A B[7
A ...
A (Dm E7 A7 )/A B[7
(A Dm E7 A7 )/A B[7 A7
Seq(32m;R7 ), retr
climax
a-ped, imit
(a-ped, imit)
m
198
202
209
211
213
217
223
229
234
237
239
241
243
245
248
250
252
254
255
260
267
270
272
276
278
282
284
286
292
Comment
M1.a
M1.a
M1
M2
M2
M2
M2
..
.
Dm
Dm Gm/D Dm
E7[9 A[9
7 D/A Dm/A A7
<(D A7 /C])
D G]7 B7 B7 /A Em/A A7
D A7 /C] D G]7 A7
D . . . A7 D A7
D . . . A7 D A7 B7[9 /A
[9
A[9
7 Dm Am7 /C C7 F D7
A7 Dm Am/C C7
Recap, Th 1
imit
trans, imit
M2
M2
M2
M2
M2
M2/M1
D
D
Dm
B[
M2
Seq(32m;R5 ), imit
Seq(31m;R7 ), clim
Seq(31m;R3 )
trans, solo: Vi1
Th 1+2, par 3rds
unis, cresc to climax
3pt [S6 ]
M2
M2/M1
F A/C] D A7
D A7 B[/D A7
Dm Em7 /G A Am D/F ]
G Gm Am/C D Dm G/B
C Cm F7 /A B[ Em/G A A7
Dm F G7 C Cm F7
B[/D Em7 A/C] E[7 /G F7 /A
B[ C7 D7 /F ] Gm A[ B[7 /D
[5/[9
E[ E[m B[m/F C7 /G[
F F7[9
B[ F7 /E[
F7[9 /E[ B[m/D[ F m7 /A[ F7 /A
B[ . . .
B[ . . . Gm/B[
repeat
Th 2, par 3rds: Vi1+Va
repeat
Vi1+2
Dm
E7 F E7 Dm/A A7
B[
A7 D[m A[ G7
Bm F ]7 D]7
6
A[9
7 . . . Dm4 A7
<(Dm C]7 ) . . . Dm
3pt [S6 ] , S46
par 3rds
243
Mvt. 1 Allegro moderato: sonata form (Dm,
h i
4
4
, 341 m.)
Exposition (141 m.)
Developm. (57 m.)
Coda (42 m.)
Mvt. 2 Andante con moto: theme and variations form (Gm,

Theme Var 1
Var 2
Var 3
Var 4
Var 5
2
2
, 172 m.)
Mvt. 3 Scherzo allegro molto: scherzo and trio form (Dm,

Scherzo (69 m.)
h i
h i
3
4
, 164 m.)
Trio (95 m.)
Mvt. 4 Presto: ABCABCA form (Dm,

A1 (89 m.)
h i
6
8
, 754 m.)
B1 (163 m.)
C1 (66 m.)
A2 (129 m.)
B2 (163 m.)
C2 (42 m.)
A3 (55 m.)
Coda (47 m.)
Figure 6.3: Schubert, String Quartet No. 14 in D Minor Death and the Maiden, D810
m
299
303
311
Comment
M1.a
Dm
B[/D
<(A7 /D B[/D Dm64 A)
<(Dm A7 )
Coda, d-ped
M1.a
313
316
I(M1.a)
M1.a
D7 E[/G E7 F/A A F7
<(B[ F7 )
318
I(M1.a)
B[7 A[ C7 B[
320
321
326
332
338
244
I(M1.a)
M1.a
M1.a
M1.a
imit
imit
imit
imit
D7 E[/G E7 F/A
A . . . Dm
Dm B[ E[m B[7 Dm64 A7
Dm B[ E[m B[7 Dm64 A7
Dm
closing climax
cad
cad, repeat 8ba
(341 m.)
245
Table 6.7: Schubert, String Quartet No. 14 Death and the Maiden, Mvt. 3 Scherzo allegro molto
and Trio
m
6.2.3
1
5
9
13
17
M1.a
M1.a
M1.a
M2
M2
23
29
33
37
M1.a
M2
M2
Dm
Am
A
Dm
Comment
Scherzo Allegro molto

Dm A/C] G/B A
G/D D D7 /C G/B E7[5 /B[ A
G/B[ A D7[9 Gm
C]7 Dm G]7 Am
B7 Am64 Am : || :
h i
Dm/F A D7[9 G C7[9 F

Dm/A E7 /B[ A E7 A
D7[9 /F ] Gm A[9
7 Dm
6
E7 Dm4 A Dm
Seq(33m;R7 )
3
4
Vi1+Vi2: 8va unis

cresc, (cm<)
Vi2
unis cad
imit: Vi2-Vi1
unis cad
Mvt. 3 Scherzo and Trio
Form: scherzo and trio. The trio is monothematic with an ABABA form. It has an ostinato
dominant pedal rhythm in the middle voices, labeled as Mop . See Table 6.7 and 6.8 for the
analysis.
6.2.4
Mvt. 4 Presto

246
Table 6.8: Schubert, String Quartet No. 14 Death and the Maiden, Mvt. 3 Scherzo allegro molto
and Trio (contd)
m
42
46
50
53
57
61
64
M1.a
M1.a
M1.a
M1.a
Comment
<(Gm Dm)/D
[5/[9
<(A7 B[) E7 /B[
[5/[9
E7 /B[ Dm64 A7 Dm
<(C]7 Dm)/D
[5/[9
A7
B[
[5/[9
E7 /B[ Dm64 A7
<(Dm A) Dm : ||
Vi1+Vi2: 8va unis

Va+Vc: 8va unis
cad
Vi1+Vi2: par. 3rd
Vc
cresc, (cm<)
unisono (68 m.)
Trio
69
75
80
83
85
91
96
99
101
109
117
M3
..
.
..
.
M3
..
.
..
.
M3
M3
M3
..
.
D A/C] Bm E7
A1: Vi1, Mop : Vi2
E7 /A A A7 /G D/F ] G]7no 3
C]7 /E Gm/D A7 /C]
D A7 D
d
D A/C] Bm E7 /B
cad
repeat: Va, var: Vi1
E7 /A A A7 /G D/F ] G]7
C]7 /E Gm/D A7 /C]
D A7 D
A7 D/A (A7 G]7 A)/A
A7 Dm B[ A
cad
B1: Vi1, Mop : Vi2
repeat, a-ped
D A/C] D/F ]
A2: Vi1, Mop : Vi2
125
129
133
137
141
M3
M3
A/C] F ]7 /C] G/B E7 /B

A7 G]7 A D
A7 D
(A7 G]7 E7 A)/A
A7 /C] Dm B[/D Dm A/C]
cad
B2 Va, var: Vi1,
Mop : Vi2, a-ped
repeat: Vi2, Mop : Va
149
157
M3
D A/C] D/F ]
G/B E7 /B A G]7 A7 D
A3: Vi2, Mop : Va

(164 m.)
247

248
6.2.5

249

250
6.3. SONG CYCLE DIE WINTERREISE, OP. 89, D911
6.3
Song cycle Die Winterreise, Op. 89, D911 (1827)
Source: [54]. Music for solo voice and piano.

Form: song sycle. Its all there in this song cycle: depiction of natural scenes such as
the flow of water, the wind and the tree, the mail delivery, human emotions such as hope,
cheer, courage, melancholy and despair, and finally the drone of death in Mr. Hurdy-Gurdy
(Der Leiermann). For the twenty-four songs from this cycle a formal analysis is shown in
Table 6.9 to 6.16. Formal elements (song sections) are shown in the first column, phrase
length (expressed in numbers of measures) in the second column. The keys and modulations
are shown in the third column. Characteristics are given in the fourth column. The tables do
not provide detailed harmonic analysis.
6.4
String Quintet in C Major Op. 163, D956 (1828)
Source: [55]. This late string quintet doubles the cello part, which is an unusual instrument
combination for the time period.1 An overview of the formal analysis is shown in Fig. 6.4.
Mvt. 1 Allegro ma non troppo: sonata form (C,
h i
4
4
, 445 m.)
Exposition (155 m.)
C (31 m.)
Mvt. 2 Adagio: ternary song form ABA (E F m,
12
8
, 94 m.)
Mvt. 3 Scherzo, presto: scherzo and trio form (C,

A
Trio, andante sostenuto (D[,
h i
3
4
, 212 m.)
A
h i
4
4
Coda
, 58 m.)
D C Cd
Mvt. 4 Allegretto: rondo ABAB Coda form (C,

A (46 m.)
A (99 m.)
h i
4
4
, 429 m.)
B (123 m.)
B (102 m.)
Coda (59 m.)
Figure 6.4: Schubert, String Quintet in C Major Op. 163, D956
6.4.1
Form: sonata form. See Table 6.17 to 6.20 for the analysis. The main theme group has two
themes: M1.1 with many appoggiaturas and a background in 4th and 8th notes. The M1.2
1
Other string quintets, e.g., by Mozart, double the viola part. Schubert copies the Boccherini instrumentation,
doubling the lower cello part. This yields a darker sound at times, but note the high register phrases in the cellos
in this quintet.
251
Table 6.9: Schubert, Die Winterreise

Form
m.
Key/H
Comment
1. Gute Nacht
I
A
B
C
6
9
8
9
I
A
B
C
6
9
8
9
I
A
B
C
6
9
8
11
7
Dm
Introduction
F B[
Dm
Interlude
F B[
Dm
Interlude
D
G D
D
Dm
Coda (105 m.)
2. Die Wetterfahne
I
A
B
C
6
5
4
A
B
C
5
5
9
Am
F A Am
Dm
A
B
C
5
7
11
Dm
F Gm A
D
Am
Introduction
unisono
C
Seq
Am
Coda (52 m.)
3. Gefrorne Thranen
I
A
B
8
13
9
Fm
F m A[
C A[m
Introduction
C
C
10
10
C A[m
C A[m
ambiguity N -chord
252
Coda (56 m.)
6.4. STRING QUINTET IN C MAJOR OP. 163, D956
Table 6.10: Schubert, Die Winterreise (contd)

Form
m.
Key/H
Comment
Introduction, RH arpeggio
4. Erstarrung
I
Cm
A
B
8
9
Cm
E[m
7
12
Gm
Cm
LH arpeggio
I
D
4
12
5
A[
Interlude, RH arpeggio
LH/RH arpeggio
RH arpeggio
Cm
A
B
8
9
E[
7
14
Gm
Cm
LH arpeggio
Coda, RH arpeggio (109 m.)
5. Der Lindenbaum
I
A
I
8
16
4
8
8
14
18
Introduction
Em
Interlude
Em
b-dom-ped
Em E
b-dom-ped
Coda (82 m.)
6. Wasserflut
I
A
4
10
F ]m
Introduction
I
B
4
10
A
F ]m
Interlude
Coda (32 m.)
253

Form
m.
Key/H
Comment
7. Auf dem Flusse

I
Em
Introduction
A
A
9
9
Em D]m
Em D]m
sudden, unprepared modulation (key shifts)

unprepared modulation
8
10
6
6
8
10
E
Em D]m
G]m
Em G F ]m
Em G Em
Coda (74 m.)
8. Ruckblick
10
Gm
Introduction
A
B
6
11
Gm Dm
Dm Gm
tonal ambiguity
12
9
G
Em
A
B
6
4
11
tonal ambiguity
Gm Dm
Gm
tonal ambiguity
Coda (69 m.)
9. Irrblick
254
I
A
A
4
12
12
Bm
Bm D Bm
Bm D Bm
Introduction
12
Bm C
harmonisation of Neapolitan chord
Bm
Coda (43 m.)

Form
m.
Key/H
Comment
I
A
B
6
14
10
Cm
Cm E[
Cm
Introduction, tonic pedal

tonic pedal
I
A
B
6
14
10
Cm E[
Cm
10. Rast
Interlude
tonic pedal
Coda (67 m.)
11. Fruhlingstraum
I
A
B
4
10
12
Introduction
Dm Gm Am
rapid key changes
17
A Am
I
A
B
5
10
12
Interlude
Dm Gm Am
rapid key changes
18
A Am
(89 m.)
12. Einsamkeit
I
A
B
8
9
12
AC
stressing the Neapolitan chord
13
G A C Bm
stressing the Neapolitan chord (48 m.)
Bm
Introduction, tonic pedal

tonic pedal
255

Form
m.
Key/H
Comment
13. Die Post

I
A
B
8
18
19
E[
D[ E[
Introduction, ton and

dom pedal, chrom
desc bass
I
A
B
8
18
19
E[
Interlude
D[ E[
(94 m.)
14. Der greise Kopf

I
A
B
C
6
6
13
A
B
C
6
4
5
Cm
Introduction
G
A[ E[ Cm
C
Cm
(45 m.)
Introduction, LH arpeggio
15. Die Krahe
256
Cm
8
2
Cm
E[
E[ C F D G
Cm
F m Cm
tonic pedal
Cm
Coda (43 m.)
shifting keys

Form
m.
Key/H
Comment
16. Letzte Hoffnung

I
4
6
11
13
E[
Introduction
through-composed
Cm
Cm E[m
key ambiguity
E[m
E[
(47 m.)
Introduction
17. Im Dorfe
I
A
B
13
11
A
C
7
6
7
D Dm D
GD
D Dm
D
(49 m.)
18. Der sturmische
Morgen
I
A
B
C
3
6
4
6
Dm
B[
Dm
Introduction, unisono
unisono
(19 m.)
257

Form
m.
Key/H
Comment
19. Tauschung
I
A
B
A
5
8
8
9
8
5
E
A
Introduction
F ]m chord on lyrics Taauschung

(44 m.)
20. Der Wegweiser

I
8
8
B
A
C
C
8
11
Gm
Seq
G
Em Gm
8
8
12
9
Introduction
shifting keys
Seq
Gm
chrom asc bass

chrom asc bass
Coda (84 m.)
21. Das Wirthshaus

I
6
6
B[ C
F m A[ F
258
Introduction
through-composed
f -dom-ped
Coda (31 m.)

Form
m.
Key/H
Comment
Introduction
22. Muth
I
Am
7
7
Am
A
6
6
6
6
E
A
EC
A
Am
Coda (46 m.)
23. Die Nebensonnen

I
5
6
4
6
Am
C Am
4
3
Introduction
Coda (33 m.)
24. Der Leiermann

I
8
8
6
B
A
B
Am
Introduction, ton+dom-ped throughout

simple I-V7 harmony
8
8
6
9
Coda (61 m.)
259

theme is accompanied by a triplet background. the secondary theme group consists of four
themes; the last theme M2.4 is the basis for the development. Here we also see a step-up in
the rhythm: M2.1 with 8th note (1st statement) and triplet background (2nd statement), M2.2
with a 6th note accompaniment, M2.3 going back to more sustained harmonic background,
however with occasional dotted 8th-16th groups. The development section applies many
modulations to M2.4 and its variations, with the speed of modulation stepping up towards
the end. Note the symmetrical key sequence Bm Dm F m A[.
6.4.2
Mvt. 2 Adagio

260
Table 6.17: Schubert, String Quintet in C Major Op. 163, Mvt. 1 Allegro ma non troppo
m
Comment
1
7
11
17
20
25
30
33
M1.1a
M1.1a
M1.1b
M1.1b
M1.1a
C D7[9 /C C
G C Dm/F A7 /F ] G
Dm E7 /D Dm
G7 /D C Dm/F G7 C
C + F ][9
7 /C B
B /D G7 . . . D]7
C46 C]7 /G G7
C F ]7 /C G E7[5 /B[ A
Exp, Gr 1/Th 1, c-ped,

Vi1
Vc1, d-ped
40
45
47
49
51
53
55
M1.1a
60
63
66
71
76
78
79
84
87
89
84
92
95
97
100
104
Dm E7 /D F/A
G/B Em7 /D
G7 /D C/E G]7 Am F ]7
G (A7 A7 G B[6 )/G
(B C)/G D7 F ]7
G A7 /G A7 G B[6
B C/G D7 F ]7 G F ]7 G
M1.2
M1.2
M2.1a
M2.1a
M2.1b
..
.
M2.1a
M2.1a
..
.
M2.1b
..
.
M2.2
g-ped
cad
2nd stat, elab, imit
imit: HiStr
triplets
Gr 1/Th 2, g-ped,
Va+Vc1
repeat
cad
E[ A[/E[ B[7 /E[ E[ Cm/E[

A[ F m/A[ G Cm/G G
E[ A[/E[ B[7 /E[ E[ E[7 /D[
C F G7 C Am/C F ]7
E[
Cm
E[
G/B C D7 G/D
Am/E G64 D7
E[ A[/E[ B[7 E[
A[ F m/A[ G G Cm/G G
E[ A[/E[ B[7
Cm
C
E[ . . . E[7 D[
A[ F m/A[ G G Cm/G G
C F G7 C
Vi1, c-ped
Am/C F ]7 C
G/B C D7 G64 D7
G C/G D7 G C/G D7
G F ]7 /A F ][9
7 /A]
(c-ped)
mod trans, cad
Gr 2/Th 2, g-ped, imit,
16ths
E[
Gr 2: Vc1+2, e[-ped
repeat
cad
2nd stat: Vi1+2, triplets
261
(contd)
m
106
110
112
Comment
M2.2
M2.2
B Em B Em
B G/B C D7
G C/G D7 G C/G D
2nd stat, imit: Vi1-Va
116
118
M2.3
G G/B
A[/C G64 D7 G
122
126
M2.3
M2.3
A[/C G64 D7
G]7 A A7 /G F ]7 G C
129
131
M2.3
..
.
G64 D7
G]7 A A7 /G
133
136
138
142
146
155
161
165
167
173
176
181
185
189
193
199
203
209
211
217
221
225
229
233
262
imit: Vi1-Va, g-ped

climax
Gr 2/Th 3: Vi1, triplets
repeat
Vi2
F ]7 G C/G G/D
C/E G]7 Am G64 D7
G . . . B G7 C G64 D
G . . . B G7 C G64 D
G . . . D7 G . . . D G
M2.4
M2.4
M2.1
M2.4
M2.4
M2.4
M2.4
M2.4
..
.
..
.
M2.4
M2.4
M2.4
M2.4
..
.
M2.4
B
Bm
F ]m
G]
A[
G]7 E A Bm E A
A C] A7 D A/E E
Em F ]7 /A] Bm F ]m/C]
F ]m G]7 A
C]m/G] D]m/F ] D][9
7
G] . . .
A[ A[7 /G[ D[/F E[7
A[ A[[9
7 /G[ D[/F E[7
imit: Vi2-Vc1
closing stat: Str

repeat 8va
Dev, Gr 2: Vi2+Va, a-ped
Str
imit, c]-ped
unisono triplets
imit
repeat
A[ A[7 /G[ D[/F D[
Em
F]
G[ D[/A[ D[m = C]m

A E46 B7
Em F ]7 G Em/G
Bm/F ] C]7 C][9
7
F ] . . . C][5
7
F ] F ]7 /E B/D] C]7 /B
F ] F ][9
7 /E B/D] C]7 /B
F ] F ]7 /E B/D] B
E B46 F ]7
B Bm G D46 A7
modulation, cad
imit
unisono triplets
imit
repeat
start rapid mod.
imit
(contd)
m
239
243
246
249
251
260
Comment
M2.4
..
.
..
.
..
.
Dm
D Dm E7 /G F C7 /E
triplets
Fm
F m E[7 /G
A[
A[m = G]m
imit
Em
C
E Em B7 /D] Em
G7 . . . D7[9 /A[
G . . . G7 C/G Gsus4
G7
7
climax, d b-ped
retrans
C F ]7 /C C
G7 /B C Dm/F D/F ] G
Dm G]7 Dm/F
G7 /D C/E Dm/A G/B
C C + F ][5
7 /C G/B C7 /B[
F B7 C A[5
7 /E[ D D7
268
273
277
283
285
295
M1.1
M1.1
M1.1
302
309
311
315
M1.1
M1.2
322
326
328
M2.1
M2.1
..
.
..
.
M2.1
M2.1
..
.
..
.
M2.2
..
.
..
.
330
332
338
343
347
349
351
354
358
362
366
368
372
C
A[
A[
Recap, Gr 1: Vc, c-ped

Vi1
mod to SD
Vc1+2
Gm . . . C]7 B[/D C/E Dm/F

C7 /G F/A B[ C]7 Dm B7
C (D[7 D7 E[ E F G7 )/C
C . . . G7 C B7 C
PB (%)
triplets
Va+Vc1, c-ped
cad
A[ (D[ E[7 )/A[ A[ B[m/D[

C F m/C C
A[ (D[ E[7 )/A[
Gr 2: Va+Vc, a[-ped
repeat: Va+Vc1
A[ . . . A[[9
7 /G[
F
A[
A[
F B[ C7 F Dm/F
C/E E G C46 G7 C
A[ (D[ E[7 )/A[ A[ B[m/D[
C F m/C C
A[ (B[ E[7 )/A[
2nd stat: Vi, triplets

Vi1+2, a[-ped
A[ . . . A[[9
7 /G[
F
C
F B[ C7 F Dm/F
B7 /F C/E F G7
C F/C G C F/C G
Retrans to T
c-ped, imit
C B7 /D B7[9 /D]
Am
E (E7 Am E Am)/E
E Em F G7
e-ped
263
(contd)
m
Comment
374
380
384
389
391
395
400
404
408
M2.2
M2.3
M2.3
M2.3
M2.4
M2.4
M2.1
C F/C G7 C F/C G C
D[/F C46 G7 C
D[/F C46 G7 C]7 D7sus4 D7 /C
G/B B7 C Dm7 /F
C46 G7 C]7 D7sus4 D7 /C
G/B B7 C Dm7 /F
C . . . E C7 F C46 G
C . . . E C7 F C46 G
C Dm G C (G7 C G7 )/C
Vi1, I(M): Vc1

Vi1, climax
Str
repeat 8va
imit: Vi2-Va-Vc1, c-ped
414
M1.1
..
.
C F ]7 G B[m
Coda, imit
[5
[5
G[5
7 /D[ C F7 /B B[ E[7 /A A[
6
A[7 C4 G
(C . . . G7 C . . . G7 C)/C
(F m G7 B7 G C)/C
cresc to climax
cad
c-ped
(445 m.)
421
425
429
439
264
M2.1
repeat

265
6.4.3
Mvt. 3 Scherzo
Form: scherzo and trio form. Both the scherzo and trio have a ternary ABA Coda structure.
Note the key, tempo, dynamics (soft) and meter change for the trio.
The trio has a kind of call-and-response phrase structure: two instruments play a fourmeasure stepwise descending phrase M4 in octaves, which is answered by a tutti sustained
chordal cadence. See Table 6.21 and 6.22 for the analysis.
6.4.4
Mvt. 4 Allegretto

266
Table 6.21: Schubert, String Quintet in C Major Op. 163, Mvt. 3 Scherzo
m
1
9
13
17
24
26
29
37
41
45
52
M1
..
.
M1
..
.
..
.
..
.
..
.
(M1)
57
65
73
81
91
99
107
115
119
123
127
Mt
M2
M2
M2
M2
Mt
131
M1
..
.
139
143
147
151
155
159
167
171
Comment
Presto
|| : <(C Gsus4
7 )/C C
aa): Vi1+Va, P (cg)
(F C)/C C7 /B[
(A Dm A)/A Dm C
<(G7no 3 C)
b): tutti chords

aa): Vi1+Vc1, P D (g) 8ths
(C F C G7 C)/C
a) P T (c)
(Gsus4
C G7 C F C)/C
7
cresc
<(A[/C B[m7 E[7 )
c): Vc2-(Vi1+Vi2) clim, N 6
A[/C A/C] B[/D B/D]

[5/[9
C/E A7 /E[ G/D
<(Dno 3 Em7 D7no 3 G)
G C/G G <(D7 G) : ||
cresc,PBi (%), [S6 ] arp

climax
a) 2-pt imit, trans, Vi1 8th
clim, P T (g)
|| : E[ . . . B[7 /D B[7no 3
E[ A[/E[ E[ B[7 /D B[7
E[ A[/E[ E[ B[7 /D B[7
E[ B E/B B F ]7 /A] F ]7
B E/B B F ]7 /A] F ]7
B ...
<(B7 . . . G[9
7 /B)
4
[9
<(C G7 /B)
[5/[9
E7 /B[ F/A D7 /A[ G
<(C 4 G[9
7 /B)
[5/[9
E7 /B[ F/A D7 /A[ G C
B, Mt=(M1a), imit
Vi1+Vi2 oct, P T (e[)
2nd stat
3rd stat, P T (b)
4th stat
Vc1+Vc2
|| : <(C Gsus4
7 )/C C
A, aa): Vi1+Va, P (cg)

b): tutti chords
E[
(F C)/C C7 /B[
(A Dm A)/A Dm C
B[ E[/G B[7no 3 E[
a): Vi2+Vc1 8va, P D (b[)
B[ E[/G B[7no 3 E[
a)
G
E[
M1
..
.
..
.
..
.
..
.
h i
3
4
climax, P D (g)
P D (g)
<(B[7 E[ B[7no 3 E[) Cm7 /E[

<(E[ F m7 B[)
c): Vc-(Vi1+Vi2), climax
E[/G E/G] F/A F ] A]

[5/[9
G/B A[ D7 /A[ C/G
cresc,PBi (%), [S6 ] arp

climax
267
Table 6.22: Schubert, String Quintet in C Major Op. 163, Mvt. 3 Scherzo (contd)
m
Comment
175
182
(M1)
<(Gno 3 Am7 G7no 3 C)

C F/C C <(G7 C)
a) 2pt-imit, trans, Vi1 8th

clim, P T (c)
187
M1
..
.
..
.
<(G4 C)/C
Coda, a): Vi1+Va, P (cg)
<(G4 C)/C
a) augm
(C7 F C)
(F ]7 G7 C)/C : ||
climax, (cm<)
cad (212 m.)
Trio Andante Sostenuto
C ([[[[[)
A[ (F m D[) B[m7
G[ D[A [7 D[
G[m D[ A[7 D[
D[ (B[m7 )
G[ D[ A[7 D[
G[m D[ A[7 D[
Va+Vc2 8va
tutti chords
191
198
202
1
5
9
13
16
20
M4
D[
4
4
Va+Vc2 8va
tutti chords
24
28
M5
M5
|| : B[m F D[ A[7 D[
B[m F D[ A[7 D[
D, Vi1+Vc2 8va
Va+Vc1 unis
32
36
40
M4
M4
C]m7 = D[m7 A B
Bm7 G A
D[64 A[7 D[ : ||
C Vi1+Vc2 8va, Seq(24m;R7 )

Va+Vc2 8va
43
47
M4
Bm7 G A
Am7 F G
Coda, Va+Vc2 8va,

Seq(24m;R7 )
Tempo I.
retrans (\\\\\)
51
268
M4
h i
h i
3
4
unis P D (g) (58 m.)

269
6.4.5

270

271
272
Chapter 7
Felix Mendelssohn-Bartholdy
Biographical data:
3-2-1809 in Hamburg
4-11-1847 in Leipzig
1600
7.1
1700
1800
1900
2000
A Midsummer Nights Dream Overture Op. 21 (1826)
Source: [30]. Music for orchestra. An overview of the formal analysis is shown in Fig. 7.1.
Overture: sonata form (A,
h i
2
2
, (686 m.)
Intro (8 m.) + Exposition (242 m.)

Coda (66 m.)
Figure 7.1: Mendelssohn, A Midsummer Nights Dream Overture Op. 21
Form: sonata. This is the overture from the stage music to the Shakespeare comedy. The
main characters from this play are depicted as thematic material; see the well-known I-ah
descending leap as part of the second group (labeled as M6, the most playful theme. Guess
the animal, and win a free ride!). The opening and closing sustained chords in contrary motion for woodwinds and horns are a well-known example of a plagal sequence, and very
hard to play in tune. The first main theme (M1) is played in staccato 8th notes by delightful
violins only (the same instrumentation is used by Tchaikovsky in the first movement of the
Nutcracker Suite, see Sec. 10.4). The lyrical contrast by the second group first theme (M2)
is obvious; it is held in quarter and half note durations mainly, written in block chord setting with moving middle voices and contrary motion between outer voices. The first group
c
2005-2015
CHAPTER 7. FELIX MENDELSSOHN-BARTHOLDY

themes M1 and M3 return in the development section; this frequently uses sequences and
imitation. Sustained chords and pedal notes in the transitions provide a more tranquil mood,
before the piece takes up the original tempo feel. See Table 7.1 to 7.4 for the analysis.
The key relationship diagram is shown in Fig. 7.2. This overture has a classical scope. It
opens in Em minor and through the parallel major E moves into the dominant domain
B Bm (1). The development starts in the dominant minor Bm, and then through its relative major D (2) reaches some more remote keys: the submediant minor C]m (3) and the
supertonic minor F ]m (4). Using the double occurrence of C]m in the diagram there is the
return to the main key, E Em (5). The closing section is in E major and shows the typical
excursion into the subdominant domain A (6).
F ]m
C]m t
G]m
6
?

- B1
- E
A
6
6
?
?
Em - Bm
Am
D]m
A]m
F]
C]
t
4
- C]m
F ]m
1
*

3,5
?

2 D

)

A
E
Figure 7.2: Mendelssohn, A Midsummer Nights Dream Overture Op. 21, key relationship
diagram
7.2
The Hebrides Overture Op. 26 (1830)

274
7.2. THE HEBRIDES OVERTURE OP. 26
Table 7.1: Mendelssohn, A Midsummer Nights Dream Overture Op. 21

m
Key
Comment
M0
E B Am E Em
Intro, WW+FHns: (cm<)
M1.a
M1.a
M1.b
..
.
Em
Em . . . B7 Em
Em B7 /D] Em C/E B
Em B7 Em
Em B7 /D] Em C/E B
[9
B F ][9
7 B E7
Exp, Gr 1/Th 1, Vi: 8ths stacc
Seq(32m;R7 ), Vi+Va
A D7[9 G
D]7 /A F ][9
7 /A] B7
Em B7 Em B7 /D]
2nd stat
<(Em D7 ) G F ] /A
Em/B B7 F ][9
7 /E
[9
B F ]7 B E7[9
cad, WW+Hns
Seq(32m;R7 ), HiStr: 8ths
8
12
16
20
24
26
30
32
36
38
41
43
47
49
53
55
58
60
62
70
78
86
90
92
94
96
98
106
114
122
130
M1.a
..
.
M1.b
..
.
A D7[9 G
F ] /A F ][9
7 /A] B7
Em B7 Em B7 /D]
M1.a
..
.
M2.aa
M2.bb
M3
M3
..
.
..
.
..
.
M1.a
..
.
B
Mt
Vi+Va
<(Em D7 ) G F ] /A
Em/B B7 F ][9
7 /E
<(Em D]7 /E)
Em F ] /A Em64 B
cad, WW+FHn
trans, Vi: 8ths
cad
<(E C]m E/G] B7 )

<(E <(A E) A) Am
E . . . <(B7 E)/E
E . . . <(B7 E)/E
[A] Gr 1/Th 2, tutti climax

plagal cad
trans, clim, imit, e-ped
2nd stat 8ba (e-ped)
E/B A/C] E/B B7[9 /A
PB (&), WW: b-ped
E/G] A]7 /G B7 /F ]
(cm<)
E B/D] A] /C] Em7 /B

F ][9
7 /A] C7 /G F ]7
B . . . B7 G]7
Str: repeat 8va (cm<)

cad
Seq(38m;R7 ), Str: 8ths,
C]m . . . F ][9
7 B7
E . . . C][9
/E]
7
F ]7
<(B E B7 E B
C]m F ]7 )
WW+Brs: sustained ch
[B] trans, Str: imit, WW: f ]-ped
Cl: trans th, PB (&)
275
Table 7.2: Mendelssohn, A Midsummer Nights Dream Overture Op. 21 (contd)

m
138
146
151
152
153
166
178
186
194
198
206
214
222
230
234
238
247
250
258
270
278
284
290
298
306
308
310
316
324
334
342
350
358
369
373
380
276
Key
M4.aa
<(B E/B C]m F ]7

d
M4.b
..
.
M4.aa
M5
..
.
M6.a
M6.b
(M6a)
M2.b
M2.aa
M2.b
M0
M1.a
Bm
M1/M0
F ]m
M5
M1/3/5
M1/3/5
M1.a
..
.
M1/M5
M1.a
M3
M3
M3
M3
M4
Comment
Em
Bm
D
C]m
D
F ]m
C]m
Gr 2/Th 1, Str, b-ped
B G]m F7 F ]97 G]7 /D]
Str+WW
C]m F ]7 /C]
B/D] G]m B/F ] F ]7
<(B A] B7 E
C] /G F ]7 /A])
B . . . C7 /E F ]7 B
cad
<(C]7 B7[9 )
E C][9
7 /E] . . . F ]7 /A]
B ...
<(B . . . C]7 /E) F ][9
7
<(B . . . G]m F ]7 )
C]97 . . . F ] . . .
B ... E B
B E/G] B/D] F ]7
B E/G] C]m/E F ]7
<(B . . . E) B
B
Str, Hns: b-ped, PB (%)

cresc
Brs
[C] Gr 2/Th 2 tutti: (I-Ah)
Str+WW
trans, cad
plagal cad, Brs-WW: imit
closing stat, tutti clim
<(Bm . . . F ][9
7 )
(Bm . . . G7 C][9
7 )/B
<(F ]m . . . C]7 )
(F ]m D7 F ]m)/F ]
B7[9
Em/G . . . F ]7 /A]
[5/[9
Bm . . . G7 = C]7
E7 /G] D]7 /A
[D] Development, Vi: 8ths

cad, Str: imit, WW: b-ped
Str/WW, f ]-ped
Str: imit, WW: f ]-ped
trans, WW: imit
tutti: 3 themes imit
E7 /B A/C]
G]7 G7 G]7 C]m A7
D
<(C]7 D) G7
C]m . . . A7
D . . . D/F ] Em/G
F ]m . . . F ]/A] F ]m/A
[9
<(G][9
7 C]m) G]7 G]7
[9
C][9
7 G]7 /B]
<(C]m . . . D]7 /F ] G]7 )
C]m
2nd stat: Str+WW

transition, WW+Brs
plagal cad, Brs-Str: imit

unisono arp&
Str, PB (%)
PB (%), cad
[E], tutti imit, df ]-ped
Seq(28m;R7 ), Str, c]-ped
Str+WW, d-ped
Seq(28m;R5 ), f ]-ped
Str: th+WW: inv, g]-ped
[F] trans: WW+Hns+LoStr
retrans, Str
cad

m
394
404
408
412
416
420
422
426
428
438
450
458
466
470
474
482
486
494
502
506
512
518
526
534
542
548
550
554
562
564
566
570
574
576
578
582
Key
Comment
M0
M1.a
M1.a
M1.b
..
.
E
Em
C]m B Am/C E
Em . . . B7 Em
B7 Em C B
Em . . . B7 Em
Em B7 Em C B
[9
B F ][9
7 B E7
Recap, WW+Hns, (cm<)

Gr 1/Th 1, Vi: 8th stac
Seq(32m;R7 ), Vi
A D7[9 G
F ]7 /A F ][9
7 /A] B7
Em . . . C/E . . .
C B7 /C C B7 . . .
<(E A E F ]m B]7 )
<(E E7 A B7 )
E C]m F ]7 B C][9
7
6
F ]m D]7 C]m E4 B7
<(E E7 A F ]7 B7 /D])
E B7 E B7 /D]
E . . . C][9
7 F ]m F ]7 B7
[9
E . . . C]7 F ]7 /A] E7 /D
F ][9
7 /C] Bm/D E7
A F ][9
7 /A]
B7 /D] E
<(E . . . F ]7 /A)
<(E C]m B)
F ]97 . . . B79
E . . . B7
E C]m F ]m/A B7
E E7
+WW bg
trans, Str imit, WW: b-ped
WW: trans th, PB (&)
Gr 2/Th 1, Str, e-ped
Str+WW
cad
2nd stat: Str+WW
+FHns
trans, WW+Brs
Hns: e-ped
cresc to climax (e-ped)
SD
climax, Brs: e-ped
[G] Gr 2/Th 2, tutti clim
Str+WW
trans, tutti climax, cad
trans, WW+Brs: imit, e-ped
cad
WW+Brs: imit, e-ped
C][9
7 . . . C]7 /E]
Str: imit, (cm<), c]-ped
F ]m F ]7 /A]
B Bm/D B7 /D]
E E7]5 A F ][9
7 B G]7 /B]
C]m F ]m E/B B7 /A
E/G] C]7 /G] F ]m/A
(cm>)
M1.a
(M1.a)
Mt
M4.aa
M4.b
M4.aa
M4.b
M5
M5
A
E
M6.a
M6.b
(M6.a)
M3
M3
..
.
..
.
+WW bg
tutti to climax
cad
E/B B7 /A
C][9
7 F ]m F ]7 /A]
6
E/B F ][9
7 /B E4 B7
tutti climax, (cm>)

cad
277

m
586
594
608
M2.aa
M2.bb
M0
620
624
628
M1.a
M1.b/M0
..
.
630
634
636
639
642
644
647
649
653
658
662
670
682
278
Key
Em
Comment
<(E C]m E/G] B7 )

<(E . . . A)
E
Gr 1/Th 2, tutti climax

plagal cad
tutti clim, imit arp&-(cm<)
Em . . . B7 Em
Em B7 Em C B
[9
B F ][9
7 B E7
[H] Coda, Vi: 8ths
A
G
F ]7 /A F ][9
7 /A] B7
Em . . . B7
M1.a/M0
..
.
Em
Em/B B7 F ][9
7 /E
Em Am/C
Em/B D]7 /A
Em/G D]7 /A
d
M0
Str/WW
Em . . . F ] /A
M2
Seq(32m;R7 ), Str/WW
D7[9
Em F ][9
7 B7
C]m A E46 B7
<(E C]m E/G] B)
<(E A)/E
E B Am E
[I] trans, WW+Brs, b-ped

(b-ped)
cad
[K] Cl+Bsn+Hn, closing
Str+LoWW
plag cad, e-ped
WW+Hns: (cm<) (686 m.)

279
7.3
Symphony No. 4 in A Major Italian Op. 90 (1833)
Mvt. 1 Allegro vivace: sonata form (A,
h i
6
8
, 588 m.)
Exposition (210 m.)

Coda (76 m.)
Mvt. 2 Andante con moto: ABAB form (Dm,
A
4
4
h i
3
4
, 223 m.)
A
Mvt. 4 Saltarello presto: sonata form (Am,

Exposition
, 103 m.)
Coda
Mvt. 3 Con moto moderato: ABAB form (A,

A
h i
h i
2
2
, 264 m.)
Development
FRec. Rec+2nd Dev.
Coda
Figure 7.3: Mendelssohn, Symphony No. 4 in A Major Italian Op. 90
7.3.1
Mvt. 1 Allegro vivace
Form: sonata form. The fast 6/8 meter, with the staccato 8th note accompaniment in the
woodwinds supports the Mediterranean flavour, suggested in the title. The main theme M1
has a dance character. In the contrasting second group there is subtle play with major and
minor in the first, more or less transitory, theme. The second theme M2.2 is the more prominent. The development modulates through many minor key, using a new theme (M3), that
is treated in counterpoint setting and sequences. After a brief false recapitulation, there is a
secondary development. The theme M3 is returns here in tutti climaxes with block chords.
And, most particular, in the recapitulation it returns once more, in a third development section that leads to a climax, when M3 is combined with the main theme M1. The melodic richness of this movement is expressed with yet another new theme M4 in the coda (although
it has some rhythmical simularity to M2.2). Finally, all themes are restated once more in the
tutti climax closing. See Table 7.5 to 7.8 for the analysis.
280
7.3. SYMPHONY NO. 4 IN A MAJOR ITALIAN OP. 90
Table 7.5: Mendelssohn, Symphony No. 4 Italian Op. 90, Mvt. 1 Allegro vivace
m
Comment
M1
..
.
..
.
..
.
..
.
..
.
A/E . . .
Exp, Gr 1 (a): Vi, WW bg
4
10
12
14
17
19
24
32
41
51
55
59
63
66
74
82
86
90
94
98
104
107
110
115
119
124
128
132
140
144
148
151
159
|| : A/E E7 A D/A E7
A A7 /G] D/F ] A/E
Bm7 /D D/F ] A/E
B7 /D] . . .
M1
..
.
..
.
E7 C][9
7 /E] Bm/F ] E7 /G]
A Bm7 A64 E7 A
A . . . F ]m . . . C]m
(c)
cad
trans (a): WW+Hns
E7 . . . A . . .
B7 . . . E7 . . .
A . . . E7 /G] E7
cresc, (cm<)
(a) 2nd stat, tutti clim
A D/F ] E7 A A7 /G]
d
B7 /F ] E7 F ]m E A
d
(M1)
E
Em
E
M2.2
..
.
M2.2
..
.
M2.2
M2.2
(M1)
min-maj
d
(M1)
..
.
M2.1
(b)
C]m
(b)
B7 /F ] E7 F ]m E7
A F ]m/A Bm D
B7 . . . E . . . C]m
F ]7 /A] . . .
B ...
B7 F ]m7 B7 E
B7 F ]m7 B7 Em
<(Em B) E/G]
A G]7 C]m B7 E E/D]
[5/[9
C]m F ]7 /C E46 B7
E B7 E
(c)
trans T to D
F ]7 /C] B/D] G]7 /F ]

C]m7 /E B46 F ]7
E A B7 E
(b)
(c), cad
(a) 2nd stat: Fl+Ob
E F ]7 /C] B/D]
B7 /A . . .
E/G] A C] F ]m
E/G] F ]m/A E46 B7 E
E/G] A C] F ]m
<(B7[9 /F ] E/G] F ]m/A)
C]m/G] G] C]m G]7
(b)
(c): Cl+Vi, a-ped
(a) 3rd stat: WW+Str
Str (cm>), cad
(a): Str, repeat 8ba
(a) tutti clim

[A]
Gr 2 Cl+Bsn, maj-min
Str
(cm<)
cad
(a) 1st stat: Cl+Bsn
trans, (a): Cl
281
Table 7.6: Mendelssohn, Symphony No. 4 Italian Op. 90, Mvt. 1 Allegro vivace (contd)
m
167
171
175
177
181
187
194
200
204
210
218
222
225
229
233
237
241
245
249
253
257
269
277
285
289
293
297
301
305
309
313
319
323
282
Comment
M1
..
.
..
.
..
.
E/B B7 /A
final stat, (a): Vi
E7 /G] A F ]m/A
[B] (a): tutti climax
(M2.2)
..
.
..
.
M2.1
..
.
M3
..
.
..
.
..
.
..
.
..
.
..
.
M3
M3/1.1
M1.1
..
.
M3
M3
M3
(M1)
B7 /A
C][9
7 /G]
F ]m B7
E7 /G] A F ]m/A
B7 /A C]7[9 /G] F ]m B7 E
1) <(E A/E E B E)
7
(a): tutti repeat

(a)
tr, (c): Cl+Bsn
<(B7 E)
[9
E F ][9
7 B E7
A F ]m D Bm E7 A : ||
Str
Am
2)
Dev, tr: Cl+Bsn
Dm
<(Dm A)
Dm . . .
Dm A7 Dm
Am
<(E7 Am)
E/G] Am
E7[9
Ob+Bsn
new theme, Str: imit (1)
Am
(2), WW+Tpt: accts
A7 Dm/F E7 Am
(3)
B7[9 Em B7[9 Em
(4)
G7 C/E D7[9 /C G/B E7 /G
Str: ctp, Seq(24m;R7 )
[9
A[9
7 D/F ] E7 /D A/C] Am
d
Bm
B
C
Em
F ]m
B7 C/E F ] B7
Em C]7 /E
<(Bm/F ] F ][9
7 )
B . . . B7 /A E/G] E7 /D
A/C] A7 D/F ] D7
C/G G7 (N/V )
C/E E7 /D A7 /C]
D/F ] F ]7 /E B7 /D]
Em B7[9
Em A D B7
Em B7[9
Em Bm/D C]7
F ]m/A C]7 F ]m
C] C]7 /B F ]m/A
C] C]7 /B F ]/A]
Str: ctp
Str, Seq(28m;R7 ),
WW-Brs: M1.1a
[C] False rec (a): clim
Seq(24m;R7 )
2nd Dev, tutti clim
repeat
repeat
(a): Str
tutti clim, min-maj
m
327
346
353
357
361
365
371
378
381
383
385
391
393
395
399
401
407
411
416
421
426
429
437
441
445
458
463
466
471
474
478
486
490
496
498
(M1)
..
.
Comment
C] . . . C]7
F ]m/C] . . . A/C] A7 /C]
A7 A7 /G F ]m A7 /E
<(D Em/G E7 )
retrans, c]-ped
Str (c]-ped)
cad
(a): Ob, tr to T, PB (%)
<(D/A Bm G]7 /B] F ]m/C])

F ]m . . . B7[9 /D]
cresc
A/E E7 A D/A E7
[D] Rec, Gr 1 (a): Vi
A A7 /G] D/F ] A/E
(b)
Bm7 /D D/F ] A/E B7 /D]
min-maj
E7 C][9
7 /E] Bm/F ] E7 /G]
min-maj
M1
..
.
..
.
..
.
..
.
M2.2
..
.
M2.2
..
.
M2.2
M2.2
M3
M3
..
.
M3
M1.1/3
..
.
..
.
Am
A Bm7 A64 E7 F ]m B7
E7 C][9
7 /E] Bm/F ] E7 /G]
A A/C] Bm7 /D Bm7
E E + C]m/E F ]m D/F ]
E Bm7 /A E7 /G] Bm7 /A
<(E7 /G] Bm7 /A) E7 /G]
A D E7 A
(c)
cad, (cm>)
trans, Vi, WW accts
A B7 B7 /A E/G]
A E/B B7 E7
A D E7 A
(b)
cad
(a): HiStr
D/F ] Bm E7 /G]
E7 /D . . .
A/C] D F ] Bm
A/C] Bm/D A64 E7 A
A/C] D F ] Bm . . . Bm7
Am/E E7 Am/E
Dm/A G7 E7
Am/E E7 Am
(b)
(c): tutti, d-ped
[E] (a): Vi+WW
cad
trans, (a): Str
3rd Dev: WW+Hns
Dm/A G7 C C7
F B[/F F (N )
<(Am/E E7[9 ) E7 /D
A/C] E7 /G] E7 /D
A7 /C] Bm7 A7 /E
Gr 2 (a): LoStr
WW+Brs, Str imit
Str+Brs, e-ped
final stat, (a): tutti clim
tutti climax
D/F ] A7 /G D/F ] A/E

D A7 /G D/F ] A7 /E
283
m
500
504
508
512
516
518
520
522
524
527
530
533
536
540
548
552
554
556
566
572
580
284
M1/3
..
.
A
M2.2
M3
M1
Comment
D . . . D7 /C]
(WW+Brs)-Str
Bm . . . Bm7 /A
E7 /G] <(E7 /G] Bm7 /A)
M4
M4
..
.
..
.
..
.
..
.
M1
M1
..
.
E7 . . . E7 /G]
A E7 /B A/C] Bm/D
E F ]m/A E7
A E7 /B A/C] B7 /D]
[F] Coda, trans: Str

(a): Vi2
(a:) Fl+Vi2
E F ]m/A E/G] Em/G

F ]7 B7 C][9
7 /E]
(b)
F ]m D A64 E7
F ]7 B7 C][9
7 /E]
F ]m D A64 E7
A/E E7 F ]7 /E
Bm/D E7 /D A/C] B7[9 /C
B7 . . .
E7 /G] C][9
7 /E] F ]m Bm/D
6
A4 E7
<(A . . . E7 ) A E7
A64 E7 . . .
A ...
<(A E7 ) A
(a): LoStr
(a): HiStr, tutti clim
cad
(c): Cl+Bsn
HiStr, tutti clim
(a), (588 m.)
7.3.2

285

286
7.3.3
Mvt. 3 Con moto moderato
Form: ABAB. The three A section themes are similar (M1.1, M1.2 and M1.3); they all start
with an upbeat 8th note pattern, have the same melodic shape, and nearly identical phrase
structure (abc). This a-phrase, the 8th note wavy pattern, returns in a varied form in the
transitions. The B section subject M2 has the classical combination of two bassoons and two
horns. The signal motif Ms, played in imitation by brass and string section, is the opening
motto from the B section theme. The coda, B section, presents the signal motif in tutti imitation, and a hint of the M1.a phrase in melodic inversion; this all at soft dynamics. See
Table 7.9 and 7.10 for the analysis.
7.3.4
Mvt. 4 Saltarello presto

287
Table 7.9: Mendelssohn, Symphony No. 4 Italian Op. 90, Mvt. 3 Con moto moderato
m
1
5
7
9
14
17
21
23
25
29
31
33
35
39
42
46
48
50
52
54
56
58
62
69
76
81
86
89
92
96
100
105
288
M1.1
..
.
..
.
..
.
|| : (E) E7 /D A/C] E7 A E7
A (]]]) (a): Vi, Str bg
F ]m A7 /C] D G7 /D A/C]
(b)
E7 /G] A E
halfcad
<(E7 /D A/C]) A
E/G] C]7 F ]m B7 E
<(A E)/E B7 E : ||
(C]7 ) F ]7 F ]7 /E Bm/D
(c) Hns: e-ped

(c), halfcad
tr, WW+Hns+Str, e-ped
(a): Vi+Ob, Str
Comment
d
M1.2
..
.
..
.
..
.
..
.
..
.
..
.
Bm
F ]m
<(C][9
7 F ]m)
D/F ] E7
M1.3
..
.
..
.
..
.
..
.
..
.
E7 F ]m E7 A A7 /G
(a): Fl+Vi1, clim
D/F ] A7 /G D/F ] A7 /C]
(b)
D A7 /C] D F ][9
7
(c)
F ]7 /A] Bm F ]7 /C]
(bb)
C][9
7 /B F ]m/A C]7 /E]
(c)
F ]m A7 D C][9
7
G][5
7 /D C]
(aa)
Bm C][9
7 /E] F ]m D
A/E E7 /D A/C] F ]7
(M1)
..
.
M2
..
.
..
.
Ms
Ms
Ms
<(Bm/D C]7 )
Bm C][9
7 /E] F ]m D
A64 E7 A
<(D A)/A E7 A
(c): Str+WW
cad
trans, (a): Fl+Vi1
<(D A)/A <(E7 A)

E7 . . . A
(a): Str, WW+Hns bg
|| : <(B7 /A E/G]) B7 /A
B (]]]]) Bsn+FHn 2x,
<(B7 /A E/G]) B7 /A
Vi-Fl: Mc
Em
E
C]7 /G] F ]m E7
F ]m/A E46 B7 E : ||
B7 /A Em/G
B7 E Am/C
<(E Am)
E (Am F ]7 E/G]) Am
cad
Brs-Str: signal, b-ped
cresc
e-ton-ped
climax
Table 7.10: Mendelssohn, Symphony No. 4 Italian Op. 90, Mvt. 3 Con moto moderato
(contd)
m
108
113
118
121
125
127
129
132
134
139
142
147
149
151
156
158
161
168
172
174
176
178
180
182
184
189
195
203
207
211
215
M2
..
.
..
.
(M1)
M1.1
..
.
..
.
..
.
M1.3
..
.
..
.
..
.
..
.
..
.
Bsn+FHn, Fl: Mc
<(B7 /A E/G]) B7
repeat, Vi1: Mc
C]7 /G] F ]m E7
F ]m/A E46 B7 E
(C]7 ) F ]m/A E7 /G]
trans (]]]) (a) Str imit
F ]m/A E7 /G] E E7 /D A/C]
A (a): Vi, Str bg
E7 A E7 F ]m A7 /C]
Bm
D G7 /D A/C] E7 /G] A
(b)
E <(E7 /D A/C])
A E/G] C]7 F ]m B7 E
<(A E) E46 B7 E
(C]7 ) F ]7 /E Bm/D
(c), Hns: e-ped

(c), halfcad
tr, WW+Hns+Str, e-ped
(a): Vi+Ob, Str
F ]7 /A] Bm F ]7 /C]
<(Bm/D C]7 ) C][9
7 /B
(bb)
F ]m/A C]7 /E] F ]m A7
(c)
F ]m
[5
(D C][9
7 G]7 )/D C]
<(C]7 F ]m) D/F ] E7
E7 F ]mE7 A A7 //G
(a): Fl+Vi1, clim
D/F ] A7 /G D/F ] A7 /C]
(b)
D A7 /C] F ][9
7 /A]
(c)
Bm C][9
7 /E] F ]m D
A/E E7 /D A/C] F ]7
I(M1)
<(B7 /A E/G]) B7
(M1)
..
.
Ms
..
.
Comment
M1.2
..
.
..
.
..
.
..
.
Bm C]7 /E] F ]m D
A64 E7 A
<(D A)/A E7 A
(c): Str+WW
cad
trans, (a): Fl+Vi
<(D A)/A <(E7 A) E7

E7 . . . A . . .
(a): Str, WW+Hns bg
B7 /A E7 A/E
B tutti imit, e-ped
B7 /A E7 A/E
B7 /A C]7 /G] F ]m E7
E7 . . . A
repeat (e-ped)
I(a): V1 (223 m.)
289

290
7.3.5

291

292
Chapter 8
Robert Schumann
Biographical data:
8-6-1810 Zwickau
29-7-1856 in Endenich (Bonn)
1600
1700
1800
1900
2000
Detailed score analysis of the Schumann symphonies was complemented with the formal
analysis presented in [21].
8.1
Symphony No. 1 in B[ Major Fruhling,

Op. 38 (1841)
Source: [57]. This symphony is known as the Spring Symphony (Fruhlingssinfonie).
An
overview of the formal analysis is shown in Fig. 8.1. Note the use of secondary development
sections in the outer sonata form movements. In the opening movement this
h isection is significantly longer than the primary development. The extended scherzo in 34 has two trio
sections in a different meter.
8.1.1
Mvt. 1 Andante - Allegro
Form: sonata form. This opening movement has a slow introduction (Andante), followed
by a faster Allegro, which is the actual beginning of the sonata form. See Table 8.1 to 8.3 for
the analysis.
The opening signal motif (M1s) with the characteristic rhythm (upbeat 41 + 14 . + 18 + 14 + 14 )
is the first phrase of the main subject (M1); it appears also in melodic augmentation and
diminution. The main theme has M1(abab) (4 + 4 + 4 + 4 m.) period structure, with rhythmic
diminution (the beat has changed from quarter notes in the introduction to 8th notes in the
Allegro). The a-phrase is set in tutti instrumentation with woodwinds and high strings lead,
the b-phrase consists of 16th notes descending violin patterns. This gives the main theme a
call-and-response flavour.
The secondary subject has a modfied M3(aabaab) (1+1+2+1+1+2 m.) period structure.
The first statement is by oboes and bassoons (note the open fifths in the bassoons). M4 is a
scalar motif in (dotted) 8th-notes, combining ascending and descending patterns, against a
steady 16th note background in the high strings (measured termoli).
c
2005-2015
CHAPTER 8. ROBERT SCHUMANN
Mvt. 1 Andante Allegro: sonata form (B[,

Intro (39 m.)
h ih i
2
4
4
4
, 515 m.)
Exposition (95 m.)
Dev (44 m.)
2nd Development (115 m.)
FR (24 m.)
Coda (134 m.)

Mvt. 2 Larghetto: ABACA-Coda form (E[,
A1
A2
A3
h i
3
8
, 123 m.)
Coda
Mvt. 3 Scherzo molto vivace: scherzo and trio form (Gm,

Scherzo (48 m.)
Trio 1 (184 m.)
Scherzo (48 m.)
Trio 2 (64 m.)
3
4
2
4
, 375 m.)
Sch. Coda (64 m.)
Mvt. 4 Allegro animato e grazioso: sonata form (B[,

I. Exposition (100 m.)
h ih i
h i
2
2
, 353 m.)
Development (63 m.)

Coda-2nd Dev (62 m.)
Figure 8.1: Schumann, Symphony No. 1 in B[ Major Fruhling,
Op. 38
294

8.1. SYMPHONY NO. 1 IN B[ MAJOR, FRUHLING,
OP. 38
Table 8.1: Schumann, Symphony No. 1 Fruhling,

m
Comment
Introduction
Intro FHn+Tbn (signal)
tutti climax, (cm<)
WW, Str tremoli
Seq(24m;R7 )
cad, M1-dim: Tpt
trans, M1-aug: FHn
M4 aug: Vi1, P T (d)
25
31
37
Andante un poco maestoso

B[
B[ E[ F7 /C B[
Dm/A A7
Dm G[9
7 Cm D7 /F G7
[9
Cm F7 B[ E[ F
B[ . . . E[/G(N 6 ) A7
(D D7 Gm C]7 D C]7 )/D
Piu` vivace (e poco a poco accelerando)
D D7 D7[9
F7 . . . F7sus4
F7
h i
h i
39
43
47
51
55
59
63
69
71
81
C
Am
Allegro molto vivace

|| : (B[ E[ B[ F7 B[)/B[
B[ D7 /F ] Gm . . . C7 F
E[ <(A[/C B7sus4 E[) E[
E[ B7 Cm . . . F7 B[
F7 . . . B[ E7 /F F
F7 A[7 D[ G7 /A[ A[
(D[ G[ A[7 D[ . . . D[7 )/D[
C
<(G7 C)/C . . . Am
Dm Am B /D E Am
F7 /A B[ B7 C7 F
1
4
5
6
10
14
21
85
89
91
93
96
99
101
106
110
114
118
120
126
M1s
B[
M2
M2
M1s
M1s
M4
M1
M1
(M1)
M1
M3
..
.
..
.
..
.
B[
C . . . Dm/F
cresc, P D (f )
climax, cad, Brs (39 m.)
2
4
Exp, Gr 1
M1a: WW+Vi1, P T (b[)
M1b: Vlns
M1a: WW+Vi1
M1b: Vlns
bridge
Vln+WW, P (d[)
[A] trans, P T (c)
Gr 2, M3a: WW
M3b: WW
C46 G7 C Gm/B[
d
M4
..
.
4
4
F . . . Gm/B[ F46 C7
Dm B[ Em C F + Dm
(E[ E7 )/G Am F B[+ Gm
C7[9 . . . Gm/D E[
E[7 A[ C7 F m
<(G[/B[(N 6 ) D[97 /C[ G[/B[)
G[/B[ B7 (F B7 C7 )/C
F B7
<(C7 B7 C7 )/F C7
F . . . : ||
Seq(31m;R7 ) PB (%)
Seq(31m;R7 ) PB (%)
PB (%)(contd)
tutti, to climax
trans, M4: clim, P T (f )
(cm)
cad (ped)
295
Mvt. 1 Andante - Allegro (contd)

m
Comment
134
138
142
146
150
158
166
174
M1
M1
M1/5
M1/5
(M1)
B[
B[ Gm B[ E[ B[
G[9
7
C Am C F C
A[9
7
Dm B[/D C]7 /E Dm/F
Gm E[/G F ]7 /A Gm/B[
Cm F7 Dm Gm7
(E[ G+ Cm A[5
7 )/E[
Dev, Str, Seq(38m;R7 )

WW
2nd stat Str
WW
M5=CM, Seq(28m;R5 )
2nd stat, Str+WW
Seq(34m;R7 )
178
186
194
198
M1
M1
(M1)
D ... A D ...
G . . . D7 G . . . A7 D
A7 . . . G]7 A
C7 . . . B7 C
[B] False Rec

2nd stat, climax
bridge
202
210
218
226
234
242
246
254
262
270
276
280
282
290
296
302
311
M1
M1
M1/5
M1/5
(M1)
M4
M4
M4
M4
2nd Dev Seq(38m;R7 ),

Str
Str/WW, Seq(28m;R5 )
2nd stat
Seq(34m;R7 )
M1s
M1
F . . . C7 F D7[9
G . . . D7 G E7[9
Am F7 /A G]7 /B Am7 /C
Dm B[/D A7 /C] Dm/F
Gm C7 Am Dm7
B[ B[+ Gm/B[ E7[5 /B[
(A D]7 E7 A Dm)/A D7[5 /A[
(G C]7 D7 G Cm)/G C7[5 /G[
F m Cm Gm Dm
Cm7 F7 B[7
Gm/B[ C7 /B[
F ]7 /A Cm/G
[5/[9
F ]7 . . . C7 /G[ . . .
B46 . . .
B[64 . . . F7 B[
B[ . . . Gm F B[
Dm64 A7 Dm
climax
M1 augm: FHn+Tpt
M1 augm: WW+Str
[C] climax
317
326
333
(M1)
M1
B[7 . . . A7 B[ D[7 A[7 D[

G[ . . . G[7
F ...
Recap, Gr 1
bridge, Str
cad
296
Dm
Gm
Cm
Am
Dm
Gm
A
B[
D[
imit, Seq(28m;R7 ),
WW, 2nd stat
imit
imit, Seq(24m;R7 )
retrans

OP. 38

m
344
348
351
355
Comment
M3
..
.
..
.
..
.
Dm
Gm Dm E /G A Dm
Gr 2, M3a: WW
357
359
362
365
369
373
376
381
M1
..
.
389
397
403
405
409
421
425
429
438
442
446
449
452
456
460
463
467
475
483
487
495
497
503
M1
..
.
..
.
M6
..
.
M6
..
.
M1s
B[/D E[ E7 /G F7
B[
B[ F Gm/B[ F46 C7
M3b: WW
F Cm/E[ B[/D A7 /C
d
B[
B[ Cm/E[ B[64 F7
Gm E[ Am F B[+ Gm
A[ A Dm B[ E[+ Cm
F7[9 . . . Cm/G A[
A[7 D[ F7 B[m
<(C[/E[(N 6 ) G[7 /F [ C[/E[)
C[/E[ E7 B[64 F7
cad
Seq(31m;R7 ) PB (%)
Seq(31m;R7 ) PB (%)
PB (%) (contd)
(B[ . . . Cm7 . . .)/B[
Coda Pt 1 M1: Vi1, P T (b[)
(F7 . . . B[7 )/B[ B7

C F7 /A B[ Cm7 /E[ C7[9 /E
B[64 B[m64 F7sus4 F7
(B[ Gm . . . Cm7 . . .)B[
cad
2nd stat Vi1, P T (b[)
tutti, to climax
(F7 . . . B[7 )B[

G7 /B C F ]7 /A] B
[5/[9
(E[m C[ C7 )/G[
(B[ <(E7 B[)/F B[/D
E[ B[/D F7 /C B[
climax
g[-ped
[D] trans, cad, P D (f )
Coda Pt 2, M6=M1b: Str
F7 /C B[ F F m
Cm/E[ G7 /D Cm G7 /B Cm
B[64 F7 F +
E[ B[/D F7 /C B[
cad
2nd stat: WW+Str
F7 /C B[ F F m
Cm/E[ G7 /D Cm G7 /B Cm
B[64 E7 /F F7
<(B[ B[7 E[ F7 )/B[
(B[ . . . F7 )/B[
B[ . . .
B[
<(B[ D7 Gm C7
F B7 Cm F7 )
<(B[ F ) B[
cad
trans, P T (b[)
Coda Pt 3, M1s: FHn+Tpt,
accts, b[-ton-ped
tutti accts
297

Note the frequent use of sequences in the development; this approach was already used
in the transitions in the second theme group. In m. 150 there appears a new theme M5, as a
countermelody to the main theme; the lyrical arpeggio character of this melody makes a nice
contrast with the stepwise motion in M1. After the false recapitulation [B] there is a much
longer secondary development section.
The melodic richness of the movement is once more confimed in the coda where the
chorale-like theme M6 appears. It has M6(aab) (4 + 4 + 6 m.) sentence structure. Note the
parallel thirds in the outer parts in the a-phrase and the contrary motion in the b-phrase.
8.1.2
Mvt. 2 Larghetto

298

OP. 38
299
8.1.3
Mvt. 3 Scherzo - Trio
Form: scherzo and trio form, rondo form, ABACA. This movement is remarkable for the two
trios (Trio 1 and Trio 2, B and C, respectively) in 2/4 meter. The scherzo (A section) in 3/4
meter is repeated at the opening of the movement (A1 ) and returns as a Coda, with a 2/4
meter section as closing. See Table 8.4 and 8.5 for the analysis.
The main subject has M1(aab) (2 + 2 + 4 m.) sentence structure. The first statement is
in the strings with strong unisono accents (sf ) in the a-phrase and closing contrary motion
in the b-phrase. The Trio 1 theme is a two-measure motif M2 in call-and-response setting,
with woodwinds and brass answering the strings. It also has a structure like a M2(aab)
(4 + 4 + 8 m.) sentence. In Trio 2 the melodic material consists of a ascending staccato
quarter note scale rising from the low to the high strings in imitation, over a steady quarter
note woodwind rhythm. It later is also presented as a melodi inversion, descending from
the violins.
8.1.4
Mvt. 4 Allegro animato e grazioso

300

OP. 38
Mvt. 3 Scherzo
1
5
9
13
17
25
31
33
37
41
45
1
17
33
49
61
65
75
83
91
109
125
137
141
151
159
167
M1
M1
(M1)
M1
M1
M1
M2
M2
M2
..
.
M2
M2
..
.
M2
Gm
Gm
Dm
D
F
Comment
Scherzo. Molto vivace
h i
|| : Gm C]7 D B[ E7 F
Dm A7 /E Dm/F Gm A
Dm G]7 A F B7 C
Gm D7 /A Gm/B[ Dm64 A7 Dm : || :
(F F7 B[ E7 F )/F
(F F7 B[ B[m G7 E7 )/F
F D7
Gm C]7 D B[ E7 F
Dm A7 /E Dm/F Gm A
Dm G]7 A F B7 C
Gm D7 /A Gm/B[ Dm64 A7 Dm : ||
A, Str
3
4
M1 var: WW+Str
cad
B, WW+Str, P T (f )
(ped)
cad
A, Str
M1 var: WW+Str
cad (48 m.)
Trio 1. Molto piu` vivace
h i
D Bm A G/D D/F ] G]7 A7 D

D Bm A G/D D/F ] G]7 A7 D
<(B[ Gm C7 F )
A, motif imit
2nd stat
B, motif imit
C7 /F F7 B[ C7 F C7 F7
B[ C7 F
D Bm Em C]7 /E Em C]7 D
D7 /F ] . . . G/B . . .
G]7 A/C] G]7
(A D <(G D))/A A64 . . . A7 D
<(B[ Gm C7 F )
C7 /F F7 B[ C7 F C7 F7
B[ C7 F
D Bm Em C]7 /E Em C]7 D
D7 /F ] . . . G/B . . .
G]7 A/C] G]7
(A D <(G D))/A A64 . . . A7 D
2
4
cad
C, trans
[G] D
climax, P D (a)
B, motif var imit
cad
C, trans
D
clim, P D (a) (184 m)
301
Mvt. 3 Scherzo (contd)

m
1
5
9
13
17
25
31
M1
M1
(M1)
M1
33
37
41
45
M1
M1
1
5
9
13
17
25
41
49
57
1
5
9
13
17
25
M3
I(M3)
M3
M3
M3
M3
I(M3)
M1
M1
M1
32
M1
46
(M3)
..
.
51
57
302
Gm
Gm
Dm
B[
Gm
Dm
Comment
Tempo I.
h i
Gm C]7 D B[ E7 F
Dm A7 /E Dm/F Gm A
Dm G]7 A F B7 C
Gm D7 /A Gm/B[ Dm64 A7 Dm
(F F7 B[ E7 F )/F
(F F7 B[ B[m G7 E7 )/F
F D7
A, Str
Gm C]7 D B[ E7 F
Dm A7 /E Dm/F Gm A
Dm G]7 A F B7 C
3
4
M1 var: WW+Str
cad
B, WW+Str, P T (f )
(ped)
cad
A, Str
M1 var: WW+Str
cad (48 m)
Trio 2
h i
|| : F7 B[ F7 /E[ B[/D
F/A B[7 6/A[ E[/G C7[5 /G[ F : || :
<(B[ B[7 /A[ E[/G)
<(G7 Cm)
F7 B[ D7 Gm B[7 E[ G7 Cm
<(Cm D7 ) <(B[m C7 ) F7
F7 . . . B[ E[ C7 /E F : ||
<(B[7 E[) <(G7 Cm)
Cm F Dm Gm E[ Cm F7 B[
A, imit, P D (f )
(final scherzo return)

Gm C]7 D B[ E7 F
Dm A7 /E Dm/F Gm A
Dm G]7 A F B7 C
Coda
(D D7 G C] D)/D
(D D7 Gm C]7 )/D
Come sopra ma un poco piu` lento
3
4
B, imit, P T (b[)
(cm>)
clim, Seq(42m;R3 )
Seq(28m;R7 )
C, climax, P T (b[)
cad (64 m)
A, Str
M1 var: WW+Str
cad (16 m)
B, P T (d)
(ped)
h i
2
4
D G]7 A]7 Bm D7 G
Quasi presto
G]7 D/A A]7 B G]7 A
D, (cm>)
E]7 F ] D]7 Em C]7 D

D/F ] Em7 /G A7 D
cad (64 m.)

OP. 38
303
8.1.5

304

OP. 38
305
8.2
Symphony No. 2 in C Major, Op. 61 (1846)
Source: [57]. An overview of the formal analysis is shown in Fig. 8.2. In its overall layout,
this symphony resembles the first symphony; there is the use of secondary development in
the long closing sonata movement, and the scherzo has two trios. However, note the double
coda section in the Allegro finale of the symphony.
Mvt. 1 Sostenuto assai Allegro ma non troppo: sonata form (C,
Intro (49 m.)
Exposition (60 m.)
6
4
3
4
, 347 m.)
Coda (76 m.)
Mvt. 2 Scherzo allegro vivace: scherzo form (C,

Scherzo (98 m.)
h i
2
4
, 397 m.)
Trio 1 (62 m.)
Trio 2 (75 m.)
Scherzo (61 m.)
Scherzo (62 m.)

Coda (37 m.)
h i
Mvt. 3 Adagio espressivo: ternary song form (Cm,

A1
h ih i
A2
2
4
, 128 m.)
Coda
Mvt. 4 Allegro molto vivace: sonata form (C,
h ih i
2
2
3
2
, 589 m.)
Exposition (118 m.)

Recap (50 m.)
Coda 1 (57 m.)
FR (36 m.)
D (28 m.)
Coda 2 (138 m.)
Figure 8.2: Schumann, Symphony No. 2 in C Major, Op. 61
8.2.1
Mvt. 1 Sostenuto assai - Allegro ma non troppo
Form: sonata form. This opening movement has a slow introduction (Sostenuto assai), followed by a faster Allegro, the actual beginning of the sonata form. See Table 8.6 to 8.9 for
the analysis.
The opening theme in the slow introduction has M0(aab) (4+5+5 m.) sentence structure,
with brass fanfare signal character. The background is continued 2-part quarter note patterns
in the strings. The transitory theme Mt1 (m. 15) has Mt(ab) (1 + 1 m.) structure, where the
b-motif announces the exposition main theme (note the similarity in rhythm and melodic
shape).
Considering this motif as the basic building block of the main subject, we find the structure M1(aabaab) (1 + 1 + 2 + 1 + 1 + 2 m.), a modified period. The first statement in the
exposition is by clarinets, bassoons and violins in two parts. The transition in [B] combines
the first transitory motif Mt1 with an ascending arpeggio measured tremolo motif Mt2 in unusono strings. Later in the development this second motif will return in standalone mode.
306
8.2. SYMPHONY NO. 2 IN C MAJOR, OP 61
Table 8.6: Schumann, Symphony No. 2, Mvt. 1 Sostenuto assai - Allegro ma non troppo
m
1
4
M0a
M0a
7
10
M0b
..
.
12
14
15
18
19
21
25
27
29
33
37
40
1
4
6
8
10
13
15
17
21
24
31
36
40
43
45
46
47
49
Comment
Sostenuto assai
h i
F C7 Dm7 /F G7 C/E G7 /F
C/E C]7 Dm7 Gm7 G] A7
Brs, 5th signal motif
6
4
Dm7 Gm7 C7
Dm7 /F B7 /F C D7 /A
Mt1
Mt1
Mt1
M0a
Am
M0
C/G G7no 3 /F C7 F F ]
C/G C
G F ]7 G C] Dm E /G A7
Dm D7 /C G/B
C7 /B[ F/A C/G F ] B7 /F C7
F B7 C/G C7 Dm7 /F Am C
Un poco piu` vivace
Am Dm Am E7 Am
F B[m F A7 Dm
G D7 G C7 /G C7
F ]7 /C C/G Gm Asus4
Dm/A A
7
F G F/A G/B F/C G7 /D
(G7 C F ]7 G[9
7 D7 G7 )/G
Allegro ma non troppo

|| : C D7
Mt1
M0a
M1
..
.
Introduction
F
Dm
G7 /B C7 /B[ F/A C/G C7 /B[

F/A C7 /E F G7 /F
C/E F ]7 /E[ G7 /D C
G7 /C Bm7 /D G7 /B C7 /B[
F/A C/G F/A C7 /E
F G7 C G7 /F C/E
(M0)
M1
Mt1+2
M2
M2
E[
G
C
G
<(G F ]7 )
G E[/G E7 /G F ] /A E[64 B[7
E[ B[7 /D E[ F7 /A B[ B[7 /D
E[ B[7 E[ E[7 D7
<(G F ]7 )/G
G7 C/G G7 C46 G7
C/G G7 /B C G/D G7 /C] G/D
G7 /E D7 /F ] G
Am/C G/D D]7
Em G7 /F C/E G/D
C]7 D7 /C G/B
WW
Brs cresc-dim
[A]
WW, Seq(22m;R3 )
cresc
Brs
climax, cad
Brs, P D (g) (49 m.)
h i
3
4
Exposition
Gr 1, WW+Str
WW
[B] trans, climax
cad
Gr 2, WW-Str imit
[C] 2nd stat, P (g)
cad, chrom
cresc to climax
307
(contd)
m
50
M1
..
.
52
54
55
58
M1/t2
M1/t2
Mt2
M2
Mt1+2
E
Am
84
88
90
Mt1+2
Mt2
..
.
Mt2
Dm
Mt1+2
G[
108
112
Mt1+2
D[
116
118
120
124
129
133
137
141
145
149
153
157
165
308
closing stat: WW+Str
repeat
E B7sus4 E E7 /D
Am/C E7 Am C7 /B
Am B7 /A A7 /G Dm7 /F Dm
E7 /D D D7 /C Gm/B[ C]7
A7 Dm D7 G G7 C C7
F <(E7 F ) B7
Dev, WW/Str
trans, imit: Str
cresc to climax
imit, Seq(42m;R5 )
[D] WW/Str
C <(B7 C) F ]
E[/G Dm/F C]7 Dm/F C/E
B/D] C/E B7
Seq(24m;R3 ),
imit: Str
[S6 ]
C/E B/D] B[/D

A/C] B[/D A/C] A7
Dm Dm7 D7 G/B
Seq(24m;R7 )
Cm A7 /C E7 /B[ F/A F7 /A
G[/B[ <(F7 G[) C7
d
D[ <(C7 D[) E[7 /B[

F [m/A[ E[m/G[ D[/F
Seq(24m;R3 )
C/E B[m7 /F C/E C7
Mt2
..
.
M2
M2
M2
M1/t2
Mt2
M1
Am/C G64 D7 G D7
100
104
114
Comment
G Am7 /C D G D7
G Am7 /C D7
1) G Am G/B C B : ||
2) G G
7no 3 /F
60
62
64
69
73
80
92
94
96
E[m
B[m
Fm
C]m
Am
Dm
F
Cm
D[/F C/E B/D]

B[/D A[m7 /E[ B[/D B[7
E[m F7 /E[ B[m/D[ F7 /A
B[m G[/B[ B7 C
F m D[7 /F B[m7 /A[ E[7 /G
Cm F7[9 /A B[m E[m7 /D[ A[/C
C]m F ]m7 /E D] G]m7 /F ]
C]7 F ]m Bm E7
Am F7 /A A Dm7 /C G7 /B
Em7 /D A[9
7 /C] Dm Gm C
F Am/E Dm F/C G]7 /B
G]7 C]7 F ]7 B7 G7
Cm <(G7 Cm) A[/C (N 6 )
[S6 ]
trans
cresc
climax, Vi1+Va
climax, Vi2+Vc
climax, WW+Vi1
WW
clim: WW+Str, P T (c)
(contd)
m
169
173
176
178
180
183
185
187
189
191
196
199
202
204
206
208
210
212
214
215
219
221
223
227
229
230
235
240
242
250
252
254
256
(Mt2 )
..
.
..
.
..
.
..
.
..
.
..
.
Mt2
M1
..
.
M2
..
.
Comment
D7 G (F ]7 G Cm Gm)/G
(A7 Gm7 A7 Dm C]7 Dm)/G
[E] Retrans
Vc, P D (g)
(A[ A A[ G A[)/G
(G Am7 G7 Cm C7 )/G
(F Dm D7 G E7 A7 )/G
(Dm A7 Dm F ]7 )/G
(G F ]7 G G7 )/G
M1
..
.
..
.
Mt1+2
(M1)
Mt1+2
(Cm G7 Cm Gm7 )/G

(A[ Gm F ] D7[5 /A[)/G
[5/[9
<(G D7 /E[)
C/E F ]7 /E[ G7 /D
(ped)
[F] Vc, cad
cresc to climax
<(C G7 ) C Bm/D D7 /C
Recap Gr 1, WW+FHn
G/B G7 /B C7 /B[ F/A C7 /B[

F/A C/E C7 /G Dm7 G G7 /F
C/E F ]7 /E[ G7 /D C G7
cad
G C7 Am/C D7 /C
G7 /B C7 /B[ F/A C/G C7 /B[
Am
Cm
A[
M2
C
F/A C/E C7 /G Dm7 G

C Gno 3 C/E
<(Am Dm/A A)
Dm/F E7 /D Am G] Am
Em/B B7 Em
<(Cm F m Cm)
Cm A[/C A7 /C B[m/D[ B /D
A[64 E[7
A[ E[7 A[ B[7 E[
F ]7 E[7 A[ B[7 E[7
A[ D7[5 /A[ G G7 /F C/E
C <(G7 C) <(F/C C7 ) F
(C F ]7 C)/G F ] Gm7 /B[ C
Dm C G]7 Am C7 /B[ F/A
(C F/A C)/G F ]7 G7 /F C/E
Dm/F C46 G
cad
trans, WW-Str unis
[G] WW-Str unis

cad
Gr 2, WW+Str imit
climax
2nd stat, P D (c)
cad, chrom
cresc
cad
309
(contd)
m
Comment
257
261
265
M1
<(C G7 C F G)
C C7 /B[ A
D/A A7 /G F B[/F F
closing stat: WW+Str

[H] trans
271
M1
..
.
Con fuoco
[9
<(Dm G[9
7 /F C/E A7 /G)
Coda
climax: WW+Vi1
Dm/F C]7 /B[ Dm/A

E7 /G F ]7 /C C]7 /B[
F ]7 /A D7 /C G/B Am/C Dm
Seq(31m;R7 )
277
278
279
281
283
285
286
290
293
295
299
305
309
311
312
316
318
320
322
324
326
332
310
M1
/M0
M0
M1
..
.
..
.
..
.
..
.
..
.
F
C
G/B C/E F C46 G

D7 /C G/B Am/C Dm
G/B C F
<(C/G G7 /F C/E F/A)
C/G Gm7 /F C7 /E
F C]7 G]7 /F D]7 /F ]
C/G Dm7 G7
(C C7 C]7 )/G Dm/F E7
Am A7 /G Dm/F E A7 /C]
Dm G7
C
cad
cad
climax:WW+Str
FHn
FHn (opening)
cad
[I] climax: WW
<(D7 /F ] G7 A7 /G] Am Am7 /G)

D/F ] C7 /G D/F ] Dm/A
d
E7 /G] F/A E7 /G] E7 /B[

F ]7 /A B7 /A[ C/G E7 /B[
F ]7 /A B7 /A[ C/G A[[9
7 /G[
6
D[/F (N ) A[7 /G[ D[/F F ]7
(C G C G[9
7 C G7 )/G
C <(G C)
climax (Brs)
(tutti climax)
P D (g)

The second group theme has an unusual layout, but has structural similarity to the main
theme; there is a basic chromatically ascending motif in 8th notes, set in imitation. The first
statement is in m. 24 and we may discern the following phrasing M2(abab) (2 + 3 + 2 + 5
m.).
8.2.2
Mvt. 2 Scherzo. Allegro vivace

311

312
8.2.3
Mvt. 3 Adagio espressivo
Form: ternary song form, A1 BA2 . The A sections are based on a lyrical melody with wide
leaps and appoggiaturas. The middle section B is a fugato for staccato strings (arpeggio-like
motif) and woodwinds (chromatically descending syncopating line). See Table 8.10 and 8.11
for the analysis.
The main melody has M1(ab) (4+4 m.) structure; there is a first statement in the tonic minor key Cm in violins and a varied repeat in the relative major key E[ in the lead oboe. This
longer segment closes with a climax and an 16th-note triplet arpeggio fanfare-like statement
in the horns with structure M2(aab) (1 + 1 + 4 m.). In the transition there is a lead melody in
the first violins, in 8th-note rhythm and ascending chromatism with M3(aab) (2 + 2 + 4 m.)
period structure.
8.2.4
Mvt. 4 Allegro molto vivace

313
Table 8.10: Schumann, Symphony No. 2, Mvt. 3 Adagio espressivo

m
Comment
M1
..
.
..
.
Cm
Cm A[ Cm/G
A1
3
5
7
9
11
13
15
17
20
23
26
28
30
32
35
37
39
41
44
48
51
53
56
58
62
63
64
65
66
67
314
M1
..
.
..
.
..
.
M2
M3
..
.
..
.
M1
..
.
..
.
M2
M1
..
.
2
4
Vi1+2
F m D7 G7 G7 /F C/E
E[
F m7 B[7 E[ E[/G
F m7 /A[ F7 B[ B[7 /A[
E[/G A[ F m
2nd stat: Ob
B[[9
7 /C[ B[/A[ E[7 /G A[
B[
E[
D7 /F E[/G F m7 /A[ B[7 /A[
[S6 ]
[9
E[/G B[7 /F E[[9
7 /F [ C7 /E F m
D7 E[/G F m7 /A[ B[7 E[
<(A[ E[) Cm7
B[ <(E[m B[) B[7 /A[
E[/G A[ F7 /A B[ B[7 /A[
climax: FHn, P T (e[)

trans, Vi1+Va
E[/G F7 /A B[ B[7 /A[
B[
E[/G C7 /G[ B[/F

(F7sus4 B[ E7 F7 )/F
B[ C7 /G F m
cad, P D (f )
imit: WW
D[ F7 /C[ B[ B[7 /A[

E[/G B[7 /F E[7 . . .
E[ G[9
7 /B A[/C E[7 /B[
<(A[ D[)/A[ A[ F7 /A[
[5/[9
E[/B[ E[+ /B Cm A7 /C] Gm/D
M1
Mc
..
.
..
.
..
.
..
.
h i
E[
PBi (%)
[N] Vi1, cad, P (a[)
Vi, PBi (%), P (g)
E[ C7[9 /E B[/F B[+ /F ]

[5/[9
Gm E7 /G] Dm/A B[7
G7 /B Cm F7[9 /A
(E[ F7[9 B[7 )/B[
PBi (%), P T (b[)

PBi (%), (cm>)
trans, WW
E[ G Cm F7 /A
[O] B, ctp: Str+WW,
B[ E[7 /G A[ C7 /E
chr desc (fugato)
F m B[7 /A[
E[/G G7 /F Cm/E[ E[7 /D[
A[/C D7 /F ]
Gm G7 /F C/E C7 /B[
Table 8.11: Schumann, Symphony No. 2, Mvt. 3 Adagio espressivo (contd)

m
68
Mc
..
.
..
.
M1/c
..
.
..
.
69
70
72
74
77
79
81
82
85
87
91
94
97
100
104
107
108
109
111
114
118
120
123
124
M3
..
.
M1
..
.
M3
M1
..
.
..
.
M1
M1
M3
..
.
Comment
F m/A[ A[7 /C
D[ F7 /A B[m D7 /F
E[7 /G F m E[ E[7
C7 F m/A[ D[7 /F (N 6 )
(G G+ Cm C7[9 F m D )/G
retrans, WW, P D (g)
(G G7 C7 F m B7[9 )/G
(Mc: Str)
(E[ F ]7 G Cm F ]7 )/G
G G7 /F
C
C/E F G G7 /F C/E F ]7
A2 , Str, P D (g)
G G7 /F C/E A7 /E[
G64 A7 /E D7 /F ]
G A7 /E Dm Dm/F B[ B[7 /A[
cad
imit: WW
G7 G7 /F C/E G7 /D C7 B[/D
E[ B[7 /F E[/G G7 F/A C7 /G
<(F B[m)/F F D7 /F
C/G C + /G] Am F ][5
7 /A] Em/B
PB (&)
PBi (%)
Vi, PBi (%)
C A7 /C]
G/D G+ /D] Em C][5
7 /E]
Bm/F ] G7
E7 /G] Am D7[9 /F ]
(C F ]7 G7 )/G
C
C C7 F m/C D[ F7[9 /C
D[ G7 C C + D[/F A[[9
7 /G[
D[/F B[/F G[5
7 /D[
<(C F m/A[ B7 /A[) C46 G7 C
PBi (%), (cm>)

trans, WW
Coda, Vi1
cad (128 m.)
315

316
8.3. SYMPHONY NO. 3 IN E[ MAJOR RHEINISCHE, OP. 97
8.2.5
The key relationship diagram is shown in Fig. 8.3. The first two movements have the widest
key envelope. They beautifully illustrate how Schumann moves away from the tonic key
and then, at the most remote point, uses an enharmonically equivalent key to return to the
central key area. In the opening Allegro this happens at Dm (F ] = G[) D[ (89) and
somewhat later at F m (D[m = C]m) Am Dm (1011). The second movement has the
peculiar F m E[m (C[ = B) C (34) key sequence.
The opening Allegro sonata form has the first theme group in the tonic key C, the secondary group in the dominant key G (3). The development section starts in the mediant
major key E (5) and then starts a long route through many keys, moving from the dominant
into the subdominant domain. In the recapitulation there is the move to the lowered submediant major key C Am Cm (A[ = [VI) (14) and the usual coda close by sidestepping
into the subdominant C F C (15).
The scherzo movement starts with complex keys movements from the tonic major key
C into the subdominant domain, passing through the lowered mediant major key E[ = [III
(1), on a journey through the minor keys F m E[m (3) . The movement has two trios, one
starting in the dominant key and moving to its relative minor G Em (11-12), the other does
the reverse Em G C F (15-16). The first trio retransition uses the intermediary lowered
mediant major key B[ = [III/G (13).
The third movement Adagio is in ternary song form and moves from the tonic minor Cm
to the relative major key E[ and its intermediary dominant key B[ (1). The last A-section
moves towards the parallel major key C (2).
In the closing Allegro sonata form movement the secondary theme group once again is in
the dominant key G, as is the start of the development (1). This wanders from the dominant
area DmAm (2), through the dominant and tonic minor GmCm (3) into the subdominant
domain A[ E[ (4). The dominant key acts as a kind of pivotal point in this movement.
8.3
Symphony No. 3 in E[ Major Rheinische, Op. 97 (1850)
Source: [57]. Schumann later in his life was appointed as symphony orchestra conductor in
the town of Dusseldorf,

and wrote this symphony for The Rhenish Festival. An overview
of the formal analysis is shown in Fig. 8.4. This symphony is unusual in the sense that it
consists of five movements. In the long opening movement note the approximately equal
length of the exposition and the development. The third movement has a long bridge section, compared to the outer A-sections. The tempo markings are in German, as opposed to
Italian in the earlier symphonies.
8.3.1
Mvt. 1 Lebhaft
Form: sonata form.. The movement opens with the heroic and majestic main theme; there
is no slow introduction as was the case for the earlier symphonies.1 The main theme is also
used in most of the transitions. A brief false recapitulation, with unisono horns markedly
1
Probably because of its title (Rheinische) this theme for many years was the signature tune of the WestDeutscher Rundfunk (WDR) regional news programme for Nord-Rheinland-Westfalen Hier und Heute, with
the music as background behind impressive helicopter footage of the industrial Ruhrgebiet (then still an active
coal mining and steel production centre). Only later I learned that it was a Schumann original.
317
Mvt. 1 Sostenuto Allegro
C]
F]

C]m
F ]m
Bm
Em
Am

A
E

1,6,13

Dm Am Em
Gm
Cm
Y
H
H
3
6
H
j
H
?
- 6
G
C
F H
B[
E[
2,7,15 12HH
6

j

E[m - B[m - F m Cm Gm

Y
H
HH

t

- D[
A[
B[
E[ 4
G[
14
9

B[m
E[m
G[m 10 D[m t A[m
D
8,11
Mvt. 2 Scherzo. Allegro vivace
Fm
Cm
Gm
A[
E[
B[
A[m
t
C[
C[m
3,7
E[m
B[m
G[
D[
G[m
D[m
10
17
Am
H
Y
16,18 HH ?
F -C -G
2,11

Gm
Cm
Fm
6
B[
E[
A[
1,5
13
Dm
-G
Fm
Cm
Gm
A[
? 1
E[ - B[
Dm
F
Fm
B[m
E[m
A[m
Mvt. 4 Allegro molto vivace
-C
12,15 4,9
Em HH Bm
j 14
H
6
?
Mvt. 3 Adagio espressivo

3
- 1,5,7
C
GH
D

*

H

6

H

2
j
H

Gm
Fm Cm
Dm

3
4

A[
E[
B[
A
- Am
Figure 8.3: Schumann, Symphony No. 2, key relationship diagram
318
Mvt. 1 Lebhaft: sonata form (E[,
h i
3
4
, 585 m.)
Exposition (185 m.)

FRecap (43 m.)
Coda (52 m.)
Mvt. 2 Scherzo, sehr maig: rondo, ABCACA Coda form (C,

A
A C
, 133 m.)
h i
4
4
, 55 m.)
A Cd
Mvt. 4 Feierlich: ternary, ABA Coda form (E[m,

A1
3
4
Coda
Mvt. 3 Nicht schnell: ternary, ABA Coda form (A[,

A
h i
h ih ih i
3
2
4
4
4
2
, 67 m.)
A2
Mvt. 5 Lebhaft: rondo, sonata, ABAC form (E[,

Exposition, A1 (98 m.)
Recapitulation, A2 (101 m.)
h i
2
2
, 329 m.)
Dev., B (56 m.)

Coda (74 m.)
Figure 8.4: Schumann, Symphony No. 3 in E[ Major Rheinische, Op. 97
319

(markirt) stating the opening motif from the main theme, could also be labeled as a retransition into the real recapitulation (there is no 2nd development). See Table 8.12 to 8.15 for the
analysis.
The main subject has a unique M1(abc) (6 + 8 + 4 m.) structure, where each phrase
has individual character: the a-phrase is the hemiola arpeggio on the tonic major chord E[,
the b-phrase a sequence with imitation and chromatic inner voice movement, and the cphrase a cadence into the dominant chord B[. The first group continues with a theme with
M2.1(aaab) (2+2+2+4 m.) structure, with the a-phrase an 8th-note scalar run starting on the
afterbeat (a great test for symphony orchestra synchronised playing in woodwind and string
section) and repeated twice in sequential setting, and the b-phrase a hemiola leap pattern,
reminiscent of the main theme M1a-phrase. The theme M2.2(aa) (4 + 4 m.) has transitory
character.
The second group contains a lyrical melody, opening in the mediant minor key Gm and
closing in the dominant major key B[, and with M3(abab) (4+4+4+4 m.) period structure.
The exposition closing theme M4 takes its rhythm (hemiolas) and melodic shape from the
opening theme M1a-phrase, and also has transitory character and function. In the coda these
two, M1 and M4, will be combined.
8.3.2
Mvt. 2 Scherzo, sehr maig

320
Table 8.12: Schumann, Symphony No. 3 Rheinische, Mvt. 1 Lebhaft

m
Comment
M1
..
.
..
.
..
.
E[
E[ . . . Cm7 /E[ F7 /E[
Exp, Gr 1/Th 1, a): Fl+Vi1
B[/D E[7 /D[ A[/C
PBi (&)
B[7 (Gm Cm7 )/B[
b), PB (&)
F7 /A (F7 B[7 )/A[

E[/G C7 /G[ F7 B[
F7 B[7 E[
E[/G Cm Gm/D Cm/E[
Gm/D
c), cad
trans
ac)
Gr 1/Th 2: WW+Str
D7 Gm B[7 /F E[
Seq(32m;R3 )
5
9
11
13
19
23
25
26
30
33
35
39
43
50
54
57
61
65
67
69
73
77
81
83
91
95
97
103
105
107
111
117
122
(M1)
M2.1
..
.
..
.
Gm
B7 /D Cm
D7
d
M2.2
M1
..
.
..
.
..
.
..
.
M2.1
M2.2
E[
M3
M3
..
.
Gm
M4
..
.
G A[/C D7
E[ Cm F7 /C A7 /C D7
Gm . . . F m F m7 F7 /A[
B[ F m/A[ F7 /A[
(B[ D Gm B[7 )/B[
E[ . . . Cm7 /E[ F7[9 /E[
cresc, P D (b[)
[A] 2nd stat: tutti clim
B[/D E[[9
7 /D[ A[/C
PBi (&)
B[7 (Gm B[7 C7 Gm)/B[
PB (&)
WW+Str, Seq(24m;R5 )
trans
F7 /A (F7 B[7 )/A[
Cm
Gm
B[
E[/G C7 /G[ F7
(B[ A7 B[)/B[ B7
Cm E[7 /B[ A[ C7 /G
F m D /F A7 /E[
D7 E[7 D E[7
<(D Gm C]7 )
cad, P D (b[)
tr, Seq(32m;R3 ),
WW+Str
WW+Str
[B]
D Gm/D
(F ]7 A7 D7 )/G Gm
D/G D7 /C Gm/B[
Gr 2/Th 1, a): WW
b):
2nd st, ab): WW+Vi1
Cm/E[ C7 /E
F B[
(B[ E[ C7 F F7 )/B[
cad
[C] Gr 2/Th 2, P T (b[),
(B[ E[ E[m B[)/B[

Gm F7 /A A7 Dm64 A7
M4M1
cad
321
Table 8.13: Schumann, Symphony No. 3 Rheinische, Mvt. 1 Lebhaft (contd)

m
127
131
135
139
143
147
153
165
173
177
185
193
201
203
205
209
211
213
216
220
222
225
231
232
236
239
243
247
253
256
259
266
322
M3
..
.
..
.
M2
M1
M3
(M1)
Gm
D D7 D7 /C Gm/B[
M2
M2
M3
..
.
..
.
..
.
..
.
..
.
..
.
..
.
D7 Gm Cm/G C7[5 /G[
B[
G
C
Fm
<(F F7 /E[ B[/D)

B7 /C Cm E[m
(B[ E[ E[m)/B[
(B[ C7 )/B[ F ]7
C7 . . . (B[ E7 B[)/F E[ F7
<(B[ B[/F F7 E7 )
B[ F7 <(B[ E7 F7 )
B[ . . . F ]7
G G7 A[/C G7
C C7 D[/F C7
C7 /B[ F m/A[
cad
[D] cl st: Str, f -ped
tutti climax
[E] imit
Dev: Bsn+LoStr, mod

[F] tutti climax
imit: WW+Str
C7 E[7 /G D[7 /A[

G7 /B[ C7 F m
B[m F m7 /E[ E[7 /D[
A[/C G[9
7 /B
Cm
Cm A[/C D D7 /C
Gm
Gm/B[ D7 /C Gm/B[ D7[9 /F ]
Seq(32m), P (b[)
Gm/B[ E[ E[
G/D Cm G/B C C7
F m/C C7[9 F m
G[/B[
cad
trans
Fm
M2
..
.
M2/3
..
.
Comment
D[7 /A[ E[m/G[ B[7 /F
Seq(32m;R3 )
B[
E[m
B[m
F
C[/E[ G7 /D[ (A[m F7[5 )/C[

B[ E[m/G[ D[7 /F C[/E[
B[ B[7 E[m
C[/E[ D[7 /F G[ E[m/G[ F7
B[m G[/B[ F m/A[ E[m/G[
B[m/F C /E[ C7[9 /E
F F7 B[m F7 /A B[7
B[7 E[m/B[ B[7 E[7
[G]
climax
Seq(32m), P T (f )
Seq(32m)

m
273
277
279
281
287
291
303
311
315
319
323
329
337
341
347
351
355
357
362
368
383
387
391
399
405
411
417
421
425
429
431
439
442
447
M1
..
.
A[m
A[m A[m/C[ B[7
E[m
B
E[m E[m/B[ A[7 /C

D[m C]m F ]7 /A]
[9
(B G]m C][9
7 F ] B7 )/B
B[
E[m
B[m
F]
[9
(E F ][9
7 B7 G]7 )
(C]7 C]7 )/B B7 B7[9
B[7 Am7 /C B[ B[[9
7 ...
[5
(E[m F7 E[m F7 )/B[
B[m E[7 A[m C]7
(F ] D]m G][9
7 )/F ]
M1
..
.
M1
M1
..
.
M3
(M1)
..
.
/F [ B[/D
[H] Bsn+LoStr
cad
tutti climax, P T (b)
(ped)
[I] LoStr, P D (b[)

tutti clim, P T (f ])
C][9
7
(C]
B
F ])/F ]
[9
F ]7 . . . G[7 . . .
d
(F B[m F7 G[)/F
B[m
(F7 B[m)/F G[/B[ A[/C

B[m/D[ . . . C7
F m D[/F Cm/E[ B[m/D[ A[/C
G /B[ G[9
7 /B
C C7 F m C7
F7[9 B[m F7 B[[9
7
Fm
E[
(M1)
(M1)
M1
..
.
..
.
[5/[9
F ][9
7
M3
..
.
Comment
E[
[K] WW+Str, P T (f )
trans
(E[ . . . C7 F m B[7 E[)/B[
[L] False rec, Hns,
(B[ E[)/B[ . . .
(G7 Cm)/G
A[ F m/A[ F m <(B[7 E[)
B[7 D Gm G7 /B Cm
Cm/E[ F7[5 /C[
P D (b[)
(E[ . . . F7 B[)/B[ E[7 /D[
[N] Rec tutti clim
[M] retrans
tutti, cresc
A[/C B[7 Gm Cm Cm7 /B[

F/A (F7 B[7 )/A[ E[/G C /G[
F7 B[
F7 /A B[7 G7 /B
Cm B[7 E[7 A[ G[9
7 C7
F m F7 F ]7
<(G Cm F7 F ]7 )
G ...
halfcad
trans
Seq(34m;R3 )
323

m
457
473
477
473
480
486
489
495
501
505
511
515
526
529
531
537
545
547
554
559
563
567
571
581
324
Comment
M3
M3
M4
Cm
(G Cm G[9
7 . . . Cm)/C
G7 G7 /F Cm/E[ F m/A[ F7 /A
B[ B[7 E[
(E[ A[ E[ F7 B[ B[7 )/E[
(E[ B[7 E[)/E[
Cm (B[/D D7 G D7 )/D
G Cm/G G7 . . .
Cm F7[5 /B <(B[7 /A[ E[/G)
(B[m E7 F m)/F A[m
(E[ A[ A[m E[)/B[
(A[ B7 )/B[ G7 /B Cm
F7 . . . (E[ A7 C7 E[)/B[
F m/A[ B[7 E[
[O] WW
2nd st: WW+Str
E[
M3
Cm
M2
(M1)
E[
(M1/4)
(M1/4)
..
.
M1
..
.
Vi1, P T (e[)
(ped)
Vi1
WW+Str
cresc, P (f )
[P] tr: Str, P D (b[)
trans, tutti climax
cad
F m/C E[/B[ B[7 /A[ E[/G

B[ B[7 E[
A[/C <(Cm7 /B[ F/A)
A[7 Cm/G A[7 /G[ F7
<(B[ E[ A[ B[7 E[)/B[
[Q] Coda, cad

climax: Hns
cresc
cad
[R] tutti, P D (b[)
E[ G7 /B Cm F7 /C B[ E[7 /D[
A[/C G7 /B C7 /B[ F7 /A B[7 /A[
E[/G E[64 B[7 /A[
cad
Hns, tutti clim
E[/G F7 /C E[64 B[7

E[ . . .
<(E[ B[) E[
cad
P T (e[)

325
8.3.3
Mvt. 3 Nicht schnell
Form: ternary song form, ABA Coda form. As was the case in the previous movement, the
lyrical main theme (M1) for clarinets and bassoons is contrasted by a string melody that has
a characteristic ascending staccato 16th motif. In the middle section and the coda these are
combined, and a free variation on M2 also returns as a first violins countertheme to the lead
melody. The stepwise moving M3, with its prominent use of contrary motion, acts as a kind
of concluding theme. The analysis is shown in Table 8.16 and 8.17.
In the analysis the opening melodic line is divided into two separate units: M1(ab) (2 + 2
m.) and M2(aab) (1 + 1 + 3 m.). Phrases from M2 will reappear throughout this movement,
to begin with the contrasting middle section. Here is is juxtaposed with the M3 motto, with
2-part parallel descending scalar melodic curve.
8.3.4
Mvt. 4 Feierlich

326
Table 8.16: Schumann, Symphony No. 3 in E[ Major, Mvt. 3 Nicht schnell

m
Comment
M1
..
.
A[
A[ <(D[ E[7 A[)
A a): Cl+Bsn
A[7 /G[ D[/F F7 /E[

B[m/D[ F m47
B[m A7 /C B[m/D[ E[7 A[
A[ B[7 E[
b) PB (&)
3
4
6
7
8
9
10
11
M2
..
.
..
.
..
.
18
19
..
.
12
13
14
16
17
20
21
22
23
25
26
27
29
30
31
32
33
34
35
F m7 /A[ B[7 /A[ E[/G G7
M2
..
.
..
.
M2/1
M3
..
.
..
.
M2
..
.
..
.
M2
M3
M2
M3
..
.
..
.
M2
a): Vi, Str imit
A[ A7
b): Vi+Fl
F m7 B[7 E7 F m7 /A[ E7 /G
F m B[7 E[
cad
B[m B[ E[ Cm/E[
[A] B, a): Fl+Vi
F [ E[m/G[
E[
Gm
[5/[9
F7
/C[
a)
E[/B[ E[7 /G A[
D[ E[7 C7 /E F m D[ E[7 A[
A[
A[ E /A[
b): WW+Str, PB (%)

cad
M1: Cl+Bsn, M2: Str
Bsn+LoStr, (cm>)
(F m C D )/A[ A
B[7 /A[ C7[9 /G Dm/F
(cm)
E[ B[/D Cm F
B[m A[/C E
((cm))
F m F7 /A B[7 /A[ C7 /G Dm/F

E[ F m/A[ B[ E[
Cm Gm64 D7 Gm
((cm))
cad
[B] a): Fl+Vi1
Cm D7[9 /C Gm/B[ Cm Gm Cm
d
A7 /C D7[9 Cm/E[ G7 /D
d
Fm
Cm D7 G[9
7
F m/A[ G7 E[/G A[ Cm/E[
Cm/E[ C7 /E F m D7 /F
G 7 C C7
F m A7 B[7 /A[ Cm/G
aa): Vi1+Fl
WW, (cm>)
[C] Str+WW
WW+LoStr, (cm)
Cm F7 B[m A[/C C7 /E
((cm))
F m F7 /A B[7 /A[ Cm/G B[/F

E[ A[ B[ E[ E[7
E[7
[D] climax, cad

retrans
327
Table 8.17: Schumann, Symphony No. 3 in E[ Major, Mvt. 3 Nicht schnell (contd)
m
Comment
36
A[
A[ <(D[ E[7 A[)
A, a): Cl+Bsn, M2: Vi1
38
M1/2
.. ..
./ .
A[7 /G[ D[/F F7 /E[

B[m/D[ F7 /C
b), M2 free, PB (&)
39
.
/ ..
40
41
42
43
44
45
47
48
49
50
52
328
.
M1/ ..
..
./
..
.
..
.
M3
M3
..
.
M1
M2
B[m A7 /C B[m/D[
E[7 A[ C7
[E] a): Ob+Cl, M2: Vi1
F m B[m
b): WW+LoStr
E[7 Cm7 A7 /C B[m
cresc, (cm<)
d
Cm E7 F m B[m/D[ B[7 /D
Cm/E[ E[7 A[
climax
(A[ B[m7 A7 B[m7 )/A[

(E[7 A[ A7 )/A[
[F] Coda, Bsn+Str, P T (a[)

(cm>)(ped)
(B[m7 E[7 A[ D[ A7 )/A[

(B[7 E[7 A[)/A[
(A[ D[ E[ A[ E[7 )/A[ A[
(A[ B[7 E[7 )/A[ A[
(cm)(ped)
a): Cl (ped)
WW+Str, cad (55 m.)

329
8.3.5
Mvt. 5 Lebhaft
Form: rondo, sonata form, ABAC. The closing movement can be interpreted as either a
binary rondo (ABAB) or sonata form movement. See Table 8.18 to 8.20 for the analysis.
The exposition main subject has M1(abab) (4 + 4 + 4 + 4 m.) period structure. On the
smaller scale there are single measure cells, with M1ab(cddcde) (2 + 1 + 1 + 1 + 1 + 2 m.)
structure. The next melody from the first theme group has M2(abab) (2 + 2 + 2 + 4 m.)
period structure, and a somewhat transitory character. It is followed by the third (modified)
period theme M3(ababc) (2 + 2 + 2 + 2 + 4 m.), where the c-phrase combines the rhythm from
the other two phrases in condensed form. The transitory motif M4 with its upward leaps is
set in imitation.
The second theme group contains a single subject in the dominant key B[ with sentence
structure M5(aab) (4 + 4 + 8 m.). The a-phrase is presented in stretto violin and woodwind
imitation, the brass dominate in the climactic b-phrase fanfare signals. This theme is the core
element in the development section, although a new theme enters the stage in the climax in
[D] (m. 130): M6(ab) (2 + 2 m.) for horns and low woodwinds lead. This last theme returns
in varied form in the Coda, just before the closing in the Schneller section.
8.3.6

330
Table 8.18: Schumann, Symphony No. 3 Rheinische, Mvt. 5 Lebhaft

m
Comment
M1
..
.
E[
E[/G F m B[7 /A[ E[/G
Lebhaft, A: WW+Str
3
6
9
11
14
17
20
21
23
27
34
36
38
39
42
44
47
52
57
59
61
63
64
66
72
76
78
79
80
86
88
91
93
<(A[ E[) F m Gm/B[ G/B

d
M1
..
.
Cm B[/D Cm7 F7 B[ E[
F m B[7 /A[ E[/G
M2
..
.
..
.
M3
..
.
..
.
Cm B[/D Cm7 F7 B[
B[7 E[ B[7 /D E[ E[/G A[
WW+Str
Cm C7[9 /B[ F m/A[ C7 /G
(cm<)
F m B[7 /A[ (E[ E[7 )/G

A[ F m/A[ F7 /A B[ E[
B[7 . . . E[ A[
WW+Str
<(A[ E[) F m Gm/B[ G/B

d
B[7 . . . E[ Cm D7 D7 /C
Gm/B[ E[ F F7 /E[
B[/D C7[9 /B[
B[7 F m7 /E[ B[7 /D E[ A[
C7[9 /B[
E[
B[
Cm
F m/A[ C7 /G
E[/G A[ F m7 /A[ B[7
E[ <(B[7 E[) B[/D F7 /C
B[/D C7 . . . F7 . . . F7 /E[
B[/D C7 /B[ F/A G7 /F
tutti climax
(cm<)
[A] tr, imit: Brs-(WW+Str)
stretto imit: Str+WW
(Cm F7 )/E[ B[/D

Cm F7 /E[ B[/D B[]5
7 /A[
M3
..
.
..
.
(cm<)
M2
..
.
M4
M5
..
.
..
.
..
.
2nd stat: WW+Str
A[
E[/G G7 /F Cm/E[ C/E

B[64 F7 /B[ B[
B[ . . . E[7 F m7 /E[ E[
<(B[m7 /D[ A[) B[m7 E[ A[
cad
climax
[B] Str+WW
<(B[m7 /D[ A[)
Fm
E[
B[m7 /D[ F7 /C B[m7

E[ A[ A[+ /G
<(D[/F C7 /E) <(F m D[7 )
B[[9
7 /D E[ A[7
A[+ G7 C7 /G A[7 F7 /A
d
B[m A[7 /B A[/C C +

D[ B[m/D[ C7 F7 /C[ B[7
cad
trans
P T (e[)
cresc, PBi (%)
P D (b[)
climax (ped)
331

m
98
103
106
110
118
122
126
128
130
133
138
150
154
156
159
162
165
166
168
172
180
182
184
187
188
190
192
197
202
204
206
208
212
217
221
222
332
M5
M5
M5
M5
M6
Comment
F ]m
A[m
F ]m/A C] F ]m D/F ] A D
B[/F E[ . . .
A[m F C F . . .
F7 G7 /B A7 B7 /D]
Em Bm/D C]7 C]7 /B
F ]m/A C]m/G] E[7 /G A[m
B[7 /A[ G7 A[m
E7 /G] C]7 /B F ]7 /A]
B F ] B/F ] F ]7
B ... F]
B[/F . . . B[7 /F . . . B[7
E[64 B[ E[64 A[ E[64 E[
[C] B, Dev: rapid mod
Em
F ]m
A[m
B
E[
M5
M1
..
.
E[
M2
..
.
..
.
M3
..
.
M2
..
.
..
.
M4
M5
..
.
..
.
M3
..
.
imit: WW
imit: WW, Seq(24m;R7 )
imit: WW+Str
imit
[D] Brs, climax

[E] tutti, P D (b[)
tutti climax
F m7 B[7 /A[ E[/G
[F] A, Rec WW+Str, clim
<(A[ E[) F m7 Gm/B[ G/B

Cm B[/D Cm7 F713 B[
B[7 E[ B[7 /D E[ E[/G A[
P T (e[)
halfcad
[G] WW+Str
Cm C7[9 /B[ F m/A[ C7 /G
(cm<)
F m B[7 /A[ (E[ E[7 )/G A[

F m7 /A[ F7 /A B[7 E[
<(B[7 . . . E[)
cad
Str
D D7 /C Gm/B[ E[
(cm<)
F7 /E[ B[/D C7[9 /B[

B[7 E[ B[7 /D E[ E[/G A[
WW+Str
Cm C7 /B[ F m/A[ C7 /G
(cm<)
B[
F m B[7 /A[ (E[ E[7 )/G

F m7 /A[ B[7
E[ <(B[7 E[) B[/D F7 /C
B[ C7 . . . F7 . . . F7 /E[
B[/D C7 /B[ F/A G7 /F
cad
tr, imit: Brs-(WW+Str)
[H] stretto imit: Str+WW
B[/D Cm F7 /E[ B[/D B[7 /A[
E[
E[/G G7 /F Cm/E[ C/E

B[64 F7 B[
B[ B[/D F m7 B[7
<(F m7 /A[ E[) F m7 B[ E[
<(F m7 /A[ E[)
F m7 B[7 E[ E[+ /D
cad
climax
WW+Str

m
225
231
233
235
237
241
244
251
255
257
259
263
265
267
271
277
280
283
287
291
295
299
303
307
311
313
315
319
323
Comment
Cm
B[
<(A[/C G7 /B) <(Cm D7[5 /A[)

F7[9 /A B[ E[7
E[7 D7 G7 /D F ]7 /E[
C7 /E F m F ]7
E[ E[+ /G A[ F m/A[ G7
C7 /G[ F7 B[7
B[7 . . . B[7 /F
B[7 /F . . . B[7 /E[
[I] trans
P T (b[)
cresc, PBi (%)
E[
C, Coda: Brs, climax
E[ . . .
M5: Str
E[
M1
..
./M5
..
./M5
..
.
E[
Cm G7 /F C7 /E . . .
F m C7 /B[ F m/A[ C7 /G
F m A[7 B[
F7 /A B[ E[7 /G A[ F m7 /A[
E[64 B[ <(E[64 F7 B[7 )
M4
..
.
E[64 B[7 E[64 C7 /B[

(F m7 B[7 E[)/B[
[5/[9
F7 /A E[m/B[ F7 /A D7 /A[
Cm/G G7 /F Cm/E[ C7 /E
F m C7 /B[ F m/A[ C7 /G F m
E[64 . . . F7[9 B[7
E[
M2
..
.
..
.
M6
climax
cad
[K]
b[-ped
Seq(22m;R7 )
imit: tutti (5)
Brs, P D (b[)
PB (&), P T (e[)
tutti cresc
climax, Brs signal arp
E[ <(B[ E[)
<(Cm B[ E[)
Schneller
imit: Str-WW
E[/G Cm7 A[
P T (e[)
A[/C C7 /B[ F m/A[ G7

F ]7 F7 /F Cm/E[ D
Gm A[7 A[ C F m F m7 /A[
E[64 . . . <(E[64 B[7 )
E[
(cm<)
imit: tutti climax
closing cad
(329 m.)
333

334
8.4. SYMPHONY NO. 4 IN D MINOR, OP. 120
8.4
Symphony No. 4 in D minor, Op. 120 (1841/1851)
Source: [57]. An overview of the formal analysis is shown in Fig. 8.5. Currently it only
contains the closing sonata movement.
Mvt. 5 Langsam Lebhaft: sonata form (Dm, D,
Intro Exposition
Development
h i
4
4
, 220 m.)
Recapitulation
Coda
Figure 8.5: Schumann, Symphony No. 4 in D Minor, Op. 120
8.4.1
Mvt. 4 Langsam - Lebhaft
Form: sonata form. The slow (Langsam) introduction to this finale uses thematic material
from the opening movement; i.e., the first violin 16th note motif, that also returns in the
accompaniment of the Lebhaft exposition section. The first group main theme, M1, is the basis
of the development section, full of counterpoint and stretto imitation. This theme is skipped
in the recapitulation, that restates the second theme from the first group (M2) and the second
group theme (M3), both in the tonic key. Another striking effect are the bell chords, played by
brass section in the exposition and recapitulation and returning as a tutti effect in the coda.
The coda is divided into three sub-sections, with increasing tempo (Schneller and Lebhaft,
Presto). See Table 8.21 to 8.23 for the analysis.
The main subject from the exposition has M1(aab) (2 + 2 + 4 m.) sentence structure. On
the smaller scale there are two elementary cells at work: the repeated 8th-note lead with
1
synchronised cadential tutti chords (c) and the dance-rhythm cell (d: 81 . + 16
+ f rac18 +
f rac18). This yields the alternative breakdown into single measures M1((cd)+(cd)+(dcdc)).
The second theme from the first group is in quarter note rhythm with wide leaps and using
a two-measure motif cell M2(aaa) (2 + 2 + 2 m.).
The leaps from M2 must have been the deliberate transitory introduction to the second
group subject M3: this combines the M1 dance rhythm with the leaps (wide upward, third
downward) from M2. This theme can be subdivided into M3(aabbc) (4 + 2 + 4 + 4 + 4 m.)
phrase structure. The a-phrase for lead flute, oboe and first violins starts on the offbeat and
has the dance rhythm on beat 3 and 4, against a 8th-note background in 2nd violins and
violas. The repeated and varied a is set as a string and woodwind imitation, and receives
a syncopated quarter note background. The b-phrase copies the a-phrase melodic shape
and rhythm in a sequential setting Seq(2 4m;R7 ), the c-phrase closes the melody with a
Seq(31m;R7 ) sequence.
The development is mainly based on the main subject M1, first in counterpoint setting.
From m. 88 onward it is combined with a countertheme, the markirt four-measure motif
M4(aab) (1 + 1 + 2 m.) for horns and violas. In the coda there is another Schumann regular:
the introduction of new melodic material after the exposition. Here it is the theme M6(aa)
(2 + 2 m.), juxtaposed with the bell-chord technique, used also in the earlier sections from
this movement. The ascending 8th-note imitative scales (from low to high register) in the
closing presto may be considered as a final new theme.
335
Table 8.21: Schumann, Symphony No. 4 in D minor, Mvt. 4 Langsam - Lebhaft

m
1
3
5
7
9
14
1
3
5
6
7
8
9
11
13
15
17
19
21
23
29
33
37
39
43
45
46
47
49
50
51
53
55
57
59
336
Dm
Comment
Langsam
h i
B[ Dm/A
[5/[9
E7 /G] E7 /B[ A
Dm G7 /D C
Dm7 /F B[ F
<(B[7 Gm/B[ A)
A7 . . .
Intro, Brs: signal,

Str: tremolo
[T] Brs: signal
cresc
tutti climax (16 m.)
Lebhaft
|| : D G/D D E7 A
Exp
Gr 1/Th 1, Seq(22m;R7 ),
C F/C F C/E D7 G
WW+Str
M1
..
.
..
.
..
.
..
.
M2
..
.
Bm
Em A7 /G D/F ] Em7 /D
D46 A7 D
D Am Em/G Bm
F ]7 Bm G7 C7
Em
F ]7 Bm7 /A E7 /G] Am7 /G

D7 /F ] G7 C7 F ]7
B7 Em C7 F7
M2
..
.
M3
M3
M3
M1
4
4
Em A7 /G D/F ] Em7 /D
d
D46 A G/B B7[9 /A
B7 Em7 /D A7 /C] Dm7 /C

G7 /B C7 F7 /A B7
<(E7 A)
<(B7[9 /D] Am/E B7[9 /F ])
[9
<(C][9
7 /E] Bm/F ] C]7 /G])
F ]7 B7 E7 A/E
<(E7 A/E)
E7 E7 /G] F ]7 /A]
G]7 /B] C]m A7 /C]
D Bm E7sus4 E7
E7 E7 /G] F ]7 /A]
G]7 /B] C]m A7 /C]
D Bm E7sus4 E7
A Bm7 /A E/G] F ]7 /A]
Bm C][9
7 /B F ]/A] G]7 /B]
C]m D7 /C] G/B A7 /C]
D B7 /D] A64 E7
<(A E) A D/A A : ||
[U] Seq(21m;R7 )
Gr 1/Th 2, Seq(26m;R5 ),
Vi1
2nd st: WW+Str
Gr 2/Th 1: WW+Str
Seq(24m;R7 )
Seq(31m;R7 ), imit
[V] WW-Str
trans 1: WW+Str cresc
PB (%)
climax, cad
repeat 8ba
PB (%)
climax, cad
Brs: bell ch, Seq(32m;R7 ),
WW+Str: asc scales
final stat
plagal cad
8.4. SYMPHONY NO. 4 IN D MINOR, OP. 120
Table 8.22: Schumann, Symphony No. 4 in D minor, Mvt. 4 Langsam - Lebhaft (contd)
m
62
66
69
72
75
76
78
80
82
86
88
90
92
93
95
97
99
100
102
104
106
110
113
119
123
127
129
133
135
136
137
139
140
141
143
145
147
Comment
Bm
<(G F ][9
7 )
Bm <(F ]7 Bm)
Dev, trans 2
[W] Ctp: WW+Str (4 3m)
M1
..
.
..
.
..
.
Bm/D F ]/C] <(C]m7 F ])

Bm <(F ]7 Bm)
Em
Bm/D F ]/C] Bm F ]/C]

<(G]7 /D C]7 F ])
B7 Em A7 D
G7 C]m F ]7 Bm
<(Em Bm) <(G D)
E7 /D Am/C D7 /C G/B
<(G7 Am/E D7 /F ])
G Am D7 /A G+
Em/G
stretto, Seq(41m;R5 ),
WW+Str
[X] stretto, plagal cad
trans 3
M1: WW+Str,
M4: Hns+Va
repeat
M2
..
.
F ]m
<(F ]m/C] B7 /D] Em)

Am7 /G Dm/F G7 /F C/E
F ]7 /E Bm/D G][5
7 /D C]
C] F ]m
cad
[Y] trans 3
Seq(32m;R7 )
Em
G][5
7 /D C] F ]m
[5
F ]7 /C B Em
M2
..
.
Gm/B[ A D/A
Recap: Vi1, P D (a)
<(B7 Em)/A <(C] F ]m)/A

(D+ G E7 E7[9 )/A
<(A7 D)/A
<(E7[9 /G] Dm/A E7 B)
<(F ][9
7 /A] Em/B F ]7 /C])
B7 E7
<(A7 D/A)
A7 A7 /C] B7 /D]
C]7 /E] F ]m D7 /F ]
G Em Asus4
A7
7
A7 A7 /C] B7 /D]
C]7 /E] F ]m D7 /F ]
G Em Asus4
A7
7
Dm Em7 /D A/C] B7 /D]
Em F ]7 /E B/D] C]7 /E]
F ]m G7 /F ] C/E D7 /F ]
G E7 /G] D46 A7
Seq(32m;R7 )
P D (a)
WW+Str (ped)
P T (d), Seq(24m;R7 )
M1
M1
M4/1
M4/1
..
.
M3
M3
M3
imit, Seq(31m;R5 )
[Z] WW+Str
trans 1: WW+Str cresc
PB (%)
climax, cad
repeat 8ba
PB (%)
climax, cad
Brs: bell ch, Seq(42m;R7 ),
WW+Str: asc scales
cad
337
Table 8.23: Schumann, Symphony No. 4 in D minor, Mvt. 4 Langsam - Lebhaft (contd)
m
149
152
156
160
162
164
168
170
Comment
M1
D <(A7 D)
final stat: tutti
Em
D
<(C B7 )
<(B7 Em A7 D)
[AA] Coda 1, trans 2

imit: Str+WW
C/E D7 /F ] G E7 /G]
D46 Dm64 Asus4
A7
7
<(B7 Em A7 D)
tutti cresc, bell effect

asc scales, clim, cad
repeat
C/E D7 /F ] G E7 /G]
D46 Dm64 A4 A
tutti cresc, bell effect

asc scales, clim, cad
M5
..
.
M5
..
.
172
174
176
178
180
182
184
186
188
1
6
8
10
12
14
15
17
18
338
Schneller
D F ]/A] Bm B7 /D]
Em Em7 /G D46 A
D F ]7 /E Bm/D B7 /A
Em/G D46 A
D D/F ] Em/G A7
F ]/A] Bm Em A7
D D/F ] Em/G A7
F ]/A] Bm Em A7
A7 . . . E7[9 /G] . . .
Presto
A D B7 Em A[9
7 /C] A7 /G
D/F ] D7 G/B B7 /D]
Em/G Em7 A[9
7 /C] A7 /G
D/F ] F ]/A] Bm B7 /D]
Em Em7 D46 A
D F ]
Bm/D B7 /A Em/G E7 /D
D46 A7
<(D G/D) D
Coda 2: tutti, (cm>)

cad
repeat, parts inversed
cad
trans 2, climax, (cm>)
repeat, climax, (cm>)
[BB] tutti clim, stop (194 m.)
Presto, asc scales
cresc, P D (a)
tutti climax (ped)
(cm>)
cad
(cm<)
cad
plagal cad (26 m.)
Chapter 9
Johannes Brahms
Biographical data:
7-5-1833 in Hamburg
3-4-1897 in Wien
1600
9.1
1700
1800
1900
2000
German Requiem Op. 45 (1868)
Source: [11]. Music for orchestra and choir. An overview of the formal analysis is shown in
Fig. 9.1.
Mvt. 1 Selig sind, die da Leid tragen, Ziemlich langsam und mit Ausdruck:
ABABA Coda form (F ,
Intro A
h i
4
4
, 158 m.)
A1
B1
Tr A2
Cod
Mvt. 2 Denn alles Fleisch es ist wie Gras, Langsam, marschmaig Allegro:
ABAC Coda form (B[m B[,
h ih i
A1 (75 m.)
B (52 m.)
C (105 m.)
3
4
4
4
, 337 m.)
A2 (79 m.)
Coda (34 m.)
Mvt. 3 Herr, lehre doch mich, Andante moderato: ABC form (Dm,
h ih i
Tr C
2
2
Figure 9.1: Brahms, German Requiem Op. 45
c
2005-2015
3
2
, 103 m.)
CHAPTER 9. JOHANNES BRAHMS
9.1.1
Mvt. 1 Selig sind, die da Leid tragen, Ziemlich langsam und mit Ausdruck
Form: ABA1 B1 A2 . The opening movement is without trumpets and violins; there is an optional organ (for pedal points and sustained bass lines). The positioning of A and B sections
yields a bridge form. The tonic pedal point from the introduction returns in the transitions
and coda. See Table 9.1 and 9.2 for the analysis.
9.1.2
Mvt. 2 Denn alles Fleisch es ist wie Gras, Langsam, marschmaig

340
9.1. GERMAN REQUIEM OP. 45
Table 9.1: Brahms, German Requiem Op. 45, Mvt. 1 Selig sind, die da Leid tragen
m
1
7
11
15
19
21
23
25
27
29
33
37
47
M3.1
..
.
65
71
(F F7 B[ B[m F F7 )/F
(C7 F7 B[ G7 F D[7 )/F
G[/D[ D[7 F46 C7 E7 /F F
Intro, 44 , LoStr, P T (f )
Str imit
cad
(F F7 B[ B[m)/F
A, Ch-Str
(F F7 B[)/F
Ch
80
M3.3
..
.
M3.2
..
.
Am C7 /B[ F/A G C
F B[ C
F B[ C C7
Str+Fl
F Gm7 /B[ C7 F B7 /D E7
[A] Ch+tutti
Am F7 B[m G7 C C7
<(A/C] C7 ) (C7 E7 Dm)/F
d
D[
(Str+Ob)-Ch
<(F B[ C C7 )
Ch-(WW+Brs)
D[ G[m A[ E[m A[7
[B] B, Ch+Str imit
G[[9
7 A[7 D[/F F7 B[m/D[
B[m D[7 /F G[ E[7 /G
A[7 D[7 G[ E[7 /G
+WW
climax
Ch+tutti imit
D[/A[ . . . A[sus4
A[7
7
D[ . . . G[
M4
..
.
h i
Dm Am Em F Dm
M3.2
..
.
75
83
86
88
Comment
M2
..
.
..
.
..
.
59
62
M1
..
.
..
.
..
.
43
50
52
55
(F B[ B[m F F7 )/F
[C] A1 , Ch+Str imit, P T (f )
(C7 F7 B[ B[m F m D[7 )/F
Ch+tutti (see intro)
G[/D[ D[7 F46 C7[9

D[
D[/F G[m A[ A[[9

7 /E[
E[[9
7 /G
[D] B1 , Ch+Str imit
D[+
A[ D[/F
F7 B[m
D[7 G[ E[7 /G
A[7 D[7 G[ . . . Eb7 /G
clim, stretto imit
92
94
D[/A[ . . .
A[sus4
A[7 D[ E[m7 /D[
7
cad
96
100
(D[ D[7 G[ C7 )/D[

D[ D[7 (F B7 C)/C C7 /E
Str, P T (d[) (see intro)

Ch+Str
341
Table 9.2: Brahms, German Requiem Op. 45, Mvt. 1 Selig sind, die da Leid tragen
m
106
108
111
113
116
119
122
124
127
133
136
138
140
144
148
150
152
342
Comment
M1
..
.
..
.
..
.
..
.
..
.
..
.
..
.
..
.
(F F7 B[)/F C7 F Dm
[E] A2 , Ch+WW+Hns
Am Em Dm/F Gm7 C7
(F F7 B[ E7 F )/F Dm
Am Em Dm Am C7 /B[
F/A G C F B[ C
+tutti
F Gm7 /B[ C F
Ch+WW
B7 /D E7 Am
B[m G7 C C7
tutti clim
<(A/C] C7 ) (C7 E7 Dm)/F
(Str+Ob)-Ch
M2
..
.
M2
..
.
..
.
Ch+Hns
F B[ C C7 A/C]
F ]m/A D Am Dm
Ch+Str
trans, WW-Str imit
Am/E Dm/F B[/D Gm

C7 . . . F F ]7 Gm F/A C7
tutti clim, cad
<(F F7 B[ C7 )/F
[F] Coda, tutti imit, P T (f )
<(F C7 ) F F/C
(cm<), climax
F F/C C7 F
Dm B[ F46 C7 F
(158 m.)
9.1. GERMAN REQUIEM OP. 45

343
9.1.3
Mvt. 3 Herr, lehre doch mich, Andante moderato
Form: ABC. The M0 motif is used as a rhythmic and melodic ostinato in the bass; it returns
on many scalar steps, also in melodic diminution. The themes M1 and M2 are in a call-andresponse setting for solo bass and full choir. The growing impatience of the pupil is expressed
in ever shorter note duration values in the background (starting with half notes and going
to quarter notes and triplets, and finally 8th notes and triplets). Another motif M2, derived
from the M2 melody, is used in imitation as orchestral backgrounds. The C section is full of
imitation and counterpoint over a continuous tonic pedal point (supported by the organ).
9.2
String Quartet Op. 51 No. 1 (1873)
Source: [9].
Mvt. 1 Allegro: sonata form (Cm,
h i
Exposition (83 m.)
Developm. (49 m.)
3
2
, 260 m.)
Coda (36 m.)
Mvt. 2 Romanze, poco adagio: ABAB Coda form (A[,

A
h i
3
4
, 96 m.)
Cd
Mvt. 3 Allegretto molto moderato e comodo: scherzo (ABA) and trio (CDC) form
(F m F ,
h ih i
4
8
3
4
, 146 m.)
Cd
Mvt. 4 Allegro: ABCABCA Coda, sonata form (Cm,

Exp, A1
Recap, A3
C1
Dev, A2
h i
2
2
, 248 m.)
C2
Cod
Figure 9.2: Brahms, String Quartet Op. 51 No. 1
9.2.1
Mvt. 1 Allegro
Form: sonata form. This opening movement shows the Brahms characteristic of already
varying and developing main themes in the second statement of the exposition and recapitulation. Therefore the real development is relatively short and based on the first themes of
both groups, M1 and M3, that also appear in combination. The backgrounds are full of ref344
9.2. STRING QUARTET OP. 51 NO. 1
Table 9.3: Brahms, German Requiem Op. 45, Mvt. 3 Herr, lehre doch mich
m
M0
Dm
M1
..
.
8
13
17
21
25
30
33
39
41
45
48
52
54
56
60
62
66
73
74
81
85
87
89
93
105
108
110
114
118
121
M2
..
.
..
./2
..
.
..
.
M1
..
.
Comment
h i
2
2
M1/0
..
.
..
.
M2
..
./2
..
.
A, bass motif
Dm Am F/A B[ F A
B-Solo, Hns+Str bg
B[ Gm7 E /G . . . A
A Dm . . . A Dm
F Am/C . . . B[ Gm Dm
cad
[A] Ch, Str+WW bg,
C B[ F E7 A Dm
M0: dim
E7 . . . C]7 Dm B[ A
d
B[
Dm Am/C B[ E7 /G A
B[no 5 B[7no 3 E[m B[ . . .
[B] B-Solo, WW bg
F ]7 /A] . . .
M2: WW+Str, 4ths tripl
(Bm B7 Em Bm)/B
d
[5/[9
E7 /B[ Asus4
A
7
B[ B[7 E[m/B[ B[7 B[7 /A[
Ch, Str bg 4th tripl
E[m/G[ . . .
cresc, (cm<)
B7 . . .
M2: WW climax
d
Dm
M1
..
.
..
.
M2
Am A7 /G B[/F E[m
cresc, (cm<)
C]7 /D F ]m/C]
(A7 Dm Am B[7 )/A
(Ano 3 Dm Am F A)/A
climax, P D (a)
[C] B-Solo, Str bg (ped)
Dm Gm/B[ E7 /G A
Dm A Dm B[ Dm
E7 /G Asus4
E7 /B[ A
7
Ch, WW+Str bg
C]m/G] . . . A
C]m/G] A G7 F ]7
A/F G]7 /D Dm64 A
Dm . . .
cad
trans, Vi, 4ths tripl, P T (d)
h i
3
2
M3/2
..
.
D Bm G]7 A7 Em
M1/2
..
./2
Dm
E7 /D C]7 D7 B7[9
E7 D7 G/D E7 /G Asus4
A
7
D D7 G/D E7 /G Asus4
A
7
Dm/A Gm Dm Am F ]7
M2: augm in B-solo

WW+Hns+Str
[D] B-Solo, WW: M2 imit
Gm E7 Dm Gm
Str: M2 echo
B, B-Solo, WW bg
345
Table 9.4: Brahms, German Requiem Op. 45, Mvt. 3 Herr, lehre doch mich (contd)
m
123
126
129
133
136
138
140
142
144
147
150
155
157
M
..
./2
/0
M3
..
.
Comment
F C/E F ]7 Gm E7
<(Dm Gm)
F B7 /F C/E (G7 C]7 )/B[
[E] Ch, WW+Str: bg
M1
M4
M4/2
M1
Dm
164
169
173
175
177
180
181
183
185
188
190
192
194
196
198
200
202
205
207
346
M5
..
.
..
.
..
.
M5
..
.
..
.
..
.
..
.
M5
..
.
..
.
..
.
..
.
F/A D7[9 /C B7 D[7 F/C

B[/F (Gm G )/B[ F46 C7
F/C F B[/F (Gm G )/B[
<(F46 C7 )
A/C] Dm
A/C] D7 /C G/B G7 /F
E7 E7 /D A7 /C] A[9
7 /G
[9
D/F ] <(F ]7 D/F ]) Dm/F E7
Dm/F E7 G]7 /D
G]7 /D . . .
M2 imit, (Str 8ths)

cad
WW+Hns+Str
cad
B-Solo, Str: 8ths tripl
[F] Ch, imit
(A D A7 D D7 )/A
(D] Em D Asus4
A7 )/A
7
Ch imit, trans, P D (a)
(D D7 G A7 )/D
h i
(D G]7 A A7 D E7 )/D
tutti bg, 8ths
stretto imit, (M2) clim

WW: 4th tripl
2
2
C, Ch imit, P T (d)
(C]7 D G A A7 )/D
(D G]7 A A7 )/D
(D G]7 C]7 )/D
(D D7 G A7 )/D
[G] tutti repeat, P T (d)
(D D7 G Am D7 G)/D
C D7 G G7 )/D
(C]7 Dm E7 A A7 )/D
(Dm B[ A7 Gm D7 Gm7 )/D
(A7 D D7 Gm)/D
(A[9
7 D G]7 )/D
[H] stretto imit, clim
(A A7 D G]7 E7 A)/D
(WW: 8ths)
(A A7 D G]7 C]7 )/D

(D D7 G D7 Em7 G C)/D
(Str: 8ths arp)
(G G7 C C]7 D7 )/D
(G D Em7 D)/D

erences to these themes, using small motifs in counterpoint settings and melodic inversion.
See Table 9.5 to 9.7 for the analysis.
The first subject has M1(abbbbc) (1 + 1 + 1 + 3 + 4 m.) structure. Both the a- and bphrase are based on ascending dotted-rhythm arpeggios in the violins; the b-phrase contains
a downward leap. The c-phrase is a tutti cadence. The second theme has M2(abab) (1 + 1 +
1 + 1 m.) period structure, with the a-phrase in half note, the b-phrase in quarter-note triplet
rhythm. The second group subject has M3(aabbc) (1 + 1 + 1 + 1 + 4 m.) structure, with
the a-phrase in afterbeat quarter note, the b-phrase in stepwise moving 8th-note rhythme,
and the c-phrase in legato quarter note arpeggios. M4 is a through-composed melody. full
of 8th-note arpeggios and dotted rhythm leaps. The last theme has an unbalanced sentence
structure M5(aab) (1 + 1 + 10 m.), with a long-winding tail for first violin.
9.2.2
Mvt. 2 Romanze poco adagio

347
Table 9.5: Brahms, String Quartet Op. 51 No. 1, Mvt. 1 Allegro

m
Comment
M1
..
.
Cm
|| : (Cm D7[9 Cm)/C
Exp/Gr 1, Vi1, P T (c)
(A[ F7 )/C B[m

A[ . . . G G[/B[ F
(D[ F m)/A[ B[m F m/A[ G7
C/G G7 /B C F m/A[
cad, climax
(aa): Vi1, M1: bg
(a): Vi2
C/G G7 /B C F ]7
G G/B D/F ]7 G
Cm D7[9 /F ] Cm/G
(a)
M1: Vc
Va+Vc, Vi1: 8ths bg
3
5
11
15
17
19
23
25
27
31
32
35
37
39
40
41
45
47
49
51
53
55
57
59
61
63
67
70
72
75
78
80
80
348
M2/1
M2
..
.
M1
..
.
[5/[9
5
M3
..
.
..
.
5
M3
..
.
..
./1
M4
M4
..
.
M5
..
.
..
.
M1
E[m
D7 /A[ F7 /A B[m
A[ A[m E[ E[m/G[
F7 B[7
F7[9 /E[ B[ B[[9
7 F7
B[7 E[m/B[ F m
trans, climax
[A] cad
Gr 2, Vi1+2 par,
E[m D[ D[7 /A[
Va: 8ths bg
G[/B[ C[ G[/D[
C[/E[ B[m/F F7
[9
B[[9
7 E[m E[7 /D[ A[m/C[
D]7 /C F ]m/C] D7 D]7
Va-Vi1
i (%)
trans, (cm), Pm
A/E F ]m A7 /G
D/F ] Dm/F A/C]
d
E[
<(Dm A)/A
B[7 /A[ Gm Cm7 /G F m7
6
[9
B[[9
7 /F E[/G A[m E[4 F7 B[
B[7 /A[ Gm Cm F m7
B[7 E[ A[ F m
F7 F7
<(E[/B[ F7 ) F7 /E[ B[/D
d
B[7 A[/C B[7 /D F7[9 /E[

F7 /E[ E[ F7 /C E[/B[
F7 /A E[/B[ F7 /C E[64 B[
E[ E[m/G[ F7[9 E[64
B[7 E[ E[m/G[
1) F ] Cm6 G : ||
7
7
4
2) F ] F Am6 Am
7
7
4
Vi, M1: arp%

cad
Vi1, climax
[B] stretto imit
Vi1
Vi1 quasi improv
cad
trans, Vc
repeat 1), cad
2), cad, (cm<)
Table 9.6: Brahms, String Quartet Op. 51 No. 1, Mvt. 1 Allegro (contd)
m
84
88
92
95
96
100
102
104
108
112
118
120
122
Comment
M1
M1
M3
M1
M3
M1/3
..
.
..
.
..
.
Am
Am/E F7 B[/D E7
Am/E F7 B[/D E7
Am Am/C B7 /D
C/E F B /D C B7 /D
C C7[9 F Am B7[9
Em . . . Am/C
G/B C/E D7 /F ] G C D7 /A
[9
G G[9
7 C Em F ]7
[9
Bm G7 Cm/E[ G][9
7
Dev, Va
imit: Vi1-Vcimit, Seq(28m;R5 )
M3
133
137
5
M1
..
.
..
.
141
143
149
151
155
157
160
164
166
169
172
174
177
179
181
182
G
C]m
M2
M2
..
.
M1
..
.
..
.
M3
..
.
..
.
..
.
Vi1+2
imit
Va: 8ths bg
Vc/(Vi1+2)
C]m A/E <(D G]7 )

[9
G][9
7 C]7 Bm/D
d
6
G][9
7 F ]m C]m4 G]7
[9
F ]m Bm C]7 Bm
124
129
139
C
Em
cad
d
Cm
D]7 G]7 . . . E7 . . .
F ]m7 /C] D/F ] A/E G][9
7 /D]
imit, cresc, (cm<)

retrans, climax
A[/C . . .
A[ D7[9 /A Cm/G
Recap, Vc
Gr 1, Vi1
D7[9 /F ] F7 F7 /E[ B[m/D[
+Vi2, PBi (&)
A[/C . . .
A[/C G G/B F ] F ]7 /A] Bm
D C] /E D/F ] G A[/C D
[9
G[9
7 /B Cm/E[ G7
C/G G7 /B C F m/A[
(cm<)
clim, cad
Vi1
Vi2
C/G G7 /B C C7 F/C
F/C E C7
F m G[9
7 /B F m/C
imit
Va+Vc, Vi1: 8ths bg
D[7 B[7 /D E[m D[
cresc
D[m A[ . . .
<(A[/C G)
G[9
7 Cm D7 /F ] G7
tutti climax
[C] cad
Gr 2, Vi2+1 par,
Cm/G G7 /D Cm E[/G
Va bg
B[7 E[/G A[ E[/B[

A[/C Gm64 D7
[9
G[9
7 Cm C7 F m
349
Table 9.7: Brahms, String Quartet Op. 51 No. 1, Mvt. 1 Allegro (contd)
m
186
188
190
194
196
198
200
202
204
208
212
214
216
220
224
226
232
238
242
244
252
350
M3
..
.
M4
M4
..
.
M1/3
Comment
C7 E[m/B[ C[7 C7
i (%)
trans, (cm), Pm
G[/D[ E[m G[7

B/D] Bm/D F ] Bm F ]
G7 /F Em7 Am7 /E Dm7
6
[9
G[9
7 /D C/E F m C4 D7 G
G7 /F Em7 Am7 Dm
cresc
climax, stretto imit
Vi1, climax
G7 C F Dm
D7 D7
C/G <(D7 C) D7 Em
M5
..
.
..
.
M1
M1
5
M3
M1
..
.
Fm
C
[D] stretto imit
Vi1
G7 F/A G7 /B D7[9
Vi1 quasi improv
D7 /A C/G D7 /F ] C/G D7 /A
C46 G7
C Cm/E[ D7[9 /F ] C46 G7
C Cm/E[ D7[9 /F ] Cm64 G7
cad
trans, Vc
repeat
C7[9 F m
[9
[9
G[9
7 C7 F m G7
C . . . F . . . F m D[/A[
Coda, Vc: 8ths bg, P D (c)

Vi1+2
clim, imit: (Vc+Va)-Vi
Cm64 G[9
7 F m D[/A[
6
Cm4 G[9
7
<(C C7 F D[/F . . . )
C
cad
climax
triplets (260 m.)

351
9.2.3
Mvt. 3 Allegretto molto moderato e comodo
Form: scherzo and trio, ABA-CDC Coda. The scherzo part covers the sections ABA, the
trio is the CDC section. The contrast lies in the rhythmic values and the minor-major key
relationship: whereas the basic rhythm of the scherzo is groups of 16th notes (note the descending character of the melodic material), the trio has an 8th note groove (in particular the
8th note a-pedal point for second violin, alternating between fingered note on d-string and
open 2nd string). The scherzo displays key ambiguity; the opening phrase balances between
tonic and dominant minor, the cadential F m chord is postponed until the second A section.
The transition near the end of the trio contains a melody, that is a reference to the M1 subject,
through melodic augmentation. See Table 9.8 and 9.9 for the analysis.
The A-section main subject has M1(aab) (4 + 4 + 6 m.) sentence structure, with characteristic 16th-note appoggiaturas and stepwise motion in the a-phrase and the dotted rhythms
in the b-phrase. The second theme is shorter, with M2(ab) (2 + 2 m.) structure in legato 16th
notes, and pedal point and chromatically descending background voices. The B-section subject has M3(aab) (1 + 1 + 2 m.) sentence structure. The theme M4(ab) (5 + 3 m.) has a stretto
imitation a-phrase (with a one-measure motif, the original in first violin, melodic inversion
in second violin).
9.2.4
Mvt. 4 Allegro

352
Table 9.8: Brahms, String Quartet Op. 51 No. 1, Mvt. 3 Allegretto molto moderato e comodo
m
1
3
5
7
8
9
13
15
17
19
M1.a
M1.a
..
.
27
30
32
33
38
43
46
51
M3
M3
M4
M4
56
58
60
M1.a
M1.a
..
.
..
.
M2
M2
M1
M1
63
64
66
68
70
72
76
78
80
83
Cm
Comment
Allegretto
h i
4
8
[9
F m || : G[9
7 F m G7 A[/C
D[ A[/E[ B[7 /F E[ F m
[9
G[9
7 F m G7 C7 /E
([[[[)
A, Vi1, 16ths
halfcad
repeat, var
[5/[9
M1.b
M2
M2
..
.
21
25
62
Bm
B[m
D[
F
Cm
Fm
F m D7 /F ] Cm/G D7 /A[
Cm64 G7 Cm
[9
G7 . . . E[[9
7 /G F7 /A
G[9
7 /B Cm F m7 G
(Cm D7 G7 C A[ B[ A[)/C
E[ D /F G7
(Cm D7 G7 C A[ B[ A[)/C
i (&), P (c)
Vi2, Pm
T
1) Cm
E[ A[ E[ D7 /F G7 Cm
D[/F F m : ||2) Cm
repeat 1), 2)
Cm C7 F ]7 Bm/F ]
C]7 F ]7
Bm B7 /A F7 /A B[m
C7 /E[ F7 D7 . . .
D[7 G[7 C[7 A[97 /C
A[7 . . . D[
G7 C7 F7 B[7 G7
C7 . . . F . . . D[/A[ F m
B, Vc, Seq(24m;R7 )
syncopes in bg
Vi1
[9
G[9
7 F m G7 A[/C
D[ A[/E[ B[7 /F E[ F m
[9
G[9
7 F m G7 C7 /E
cad
Vi2+Vc, Seq(3R7 )
i (&), P (c)
Vi1, Pm
T
trans, imit, triplets

Vi1+Va par, cad
imit
Vi1+Vi2
A, Vi1, 16ths
halfcad
repeat, var
F m C7 /G Am/A[ G7 /F
F m64 C7 F m G7 /F
F m64 C7 F m F46 C7
(F m G7 C7 F D[ E[ D[)/F
A[ G7 /B[ C7
(F m G7 C7 F D[ E[ D[)/F
A[ G7 /B[ C7 F m
F m Cm/E[ B[m
C7 B[m/D[ F m
C7 /E <(B[m F m)
B[m . . . F
cad
i (&), P (f )
Vi1, Pm
T
i (&), P (f )
Vi2, Pm
T
cad
[H] trans, imit
plagal cad
353
Table 9.9: Brahms, String Quartet Op. 51 No. 1, Mvt. 3 Allegretto molto moderato e comodo
(contd)
m
87
94
98
103
107
111
116
118
127
129
131
133
135
143
354
M3
..
.
..
.
M4
..
.
M3
(M1)
..
.
..
.
M3
Comment
Un poco piu` animato
h i
|| : F . . . Am/C . . . Dm/F
Vi1, P (a)
Am/E <(Dm/F A)
Seq(24m;R7 )
<(Cm/E[ G) B[m/D[
F F + Dm/F C46 G7 C : ||
<(C F C)/C
cad, repeat 1), 2)

D, Vi2+Vc (cm)
<(Em Am Em)/E
Am/E Em C7
F . . . A7 /C . . .
F7 B[ D7 /A Gm
C, VI1+Va var, P (a)

trans
3
4
([) C
F/C B7 /F F/C C7
F7 Gm F7 /A B[ D7 Gm
F/C B7 /F F46 C7
cad
<(F Dm F Am/C)
F ... Fm ...
Coda, Vi1, P (a)

Allegretto D.C. (146 m.)

355
9.2.5

356

357
9.3
String Quartet Op. 51 No. 2 (1873)

Mvt. 4 Finale, Allegro non assai: rondo form (Am,
A (58 m.)
A (55 m.)
B (57 m.)
B (42 m.)
h i
3
4
, 359 m.)
A1 (45 m.)
A2 (41 m.)
B1 (35 m.)
C (35 m.)
Figure 9.3: Brahms, String Quartet Op. 51 No. 2
9.3.1
Mvt. 4 Finale, Allegro non assai
Form: rondo (A-B-A1 -B1 -A-B-A2 ). See Table 9.10 to 9.12 for the analysis.
The sweeping main theme has M1(aab) (3 + 3 + 6 m.) sentence structure with characteristic appoggiatura hemiolas, that yield an association with Hungarian national music. This
subject is not only repeated in the later A-sections, but also returns in the transitions and
coda. Almost every time this theme is played, it is presented as a tutti climax. The theme
M2, in quarter note rhythm, is in the relative major key and has M2(aab) (2 + 2 + 6 m.) sentence structure. At the end of thematic statements we find harmonic sequences with stretto
character.
The B-section theme has M3(aab) (2 + 2 + 12 m.) structure, with the a-phrase in contrary
motion 8th note arpeggios and the long b-tail in contrary motion quarter note rhythm. M4
starts with one-measure cells and has M4(aaaab) (1 + 1 + 1 + 1 + 4 m.) structure.
The B1 -section uses the M3 theme for rapid modulations through a set of minor keys.
Then the parallel major key A appears until the return to minor in the coda. It is the A2 section where the main theme is treated in melodic diminution and augmentation. An alternative interpretation of this movement is a sonata form with ABA1 as exposition, B1 the
short development, AB the recapitulation, and A2 the start of the coda.
9.3.2

358
Table 9.10: Brahms, String Quartet Op. 51 No. 2, Mvt. 4 Finale, Allegro non assai
m
Comment
1
9
13
M1
M1
..
.
..
.
..
.
..
.
Am
Am Am/C E Em Em/G D
Dm/F <(E Am) E7
Am E Em D
A (aa): VI1, clim

(b), unis
[A] 2nd stat, (aa): Va
Dm <(A/C] Dm) Bm
(b), unis
19
25
28
31
34
37
43
45
49
53
59
63
65
67
69
71
75
79
83
87
91
94
97
98
100
108
116
120
129
M1
..
.
F B[7 E[/G A7 D G7 C F7
dim, Seq(4R7 )
M3
..
.
..
.
..
.
..
.
M4
M4
clim cad, Seq(3R7 )
B7[5 <(Am/C B7[5 /F ) A
M2
..
.
A7 D G7 C F7 B[/D E7
Am/C Dm Am64 E
F/A Dm7 D7 G7
G7 /F D7 /F ]
G7 G7 /F C/E C7 /B[
cad, (cm>)
[B] trans
[9
A[9
7 /C] Dm G7 /F C/E
F ]7 G . . . Gm
(b)
halfcad
Gm C7
[C] B, tutti clim, (cm)
(aa): Vi1
F Em/G Am7
d
G[9
7 /B C/E E7 F
B7 C/E G]7
[5/[9
Am
D7 /A[ C46 G7
C F/A Dm C]7
Dm F ]7 G7
C F Dm C]7
Dm F ]7 G G7
C G7 Am G[9
7 C7 F F ]7
G7 C/E <(F ]7 G7 /F C/E)
<(G]7 Am C]7 /G Dm/F )
C7[9 /E F D7 /F ]
C/G A7 /G G7
[5
C F ][9
7 . . . B7 /F
E . . . E7[9
cad
[D] (aa): Vc
(b)
2nd stat, (aa): Vi1
(b)
[E] Seq(2R7 ),
3pt syncopes
cad
[F] trans, imit, (cm)
unisono
Am E Em D
[G] A1 (aa): Vi1
Dm <(E Am)
E7 A D7 G C7 F B7
(b), unis
Seq(3R7 )
359
Table 9.11: Brahms, String Quartet Op. 51 No. 2, Mvt. 4 Finale, Allegro non assai (contd)
m
132
136
140
144
148
154
Comment
M2
..
.
Em
Em C7 F B Em
(aa): Vi1
M2
..
.
C7 F B7 E A7 D Gm D7[9
Gm G7 /B[ C7
C7 (F F7 )/C
(b)
[H] cad
(aa): Vi1, P D (c)
(Gm C7[9 )/C F G7

C Cm A7 /C A7 /C]
161
164
M3
Dm
Dm E7 A[9
7 Dm
E7[9 Am F ]7 B7[9
166
M3
..
.
..
.
..
.
..
.
Em
Em F ][9
7 G/D E7 /G]
171
175
178
182
184
186
196
201
205
210
214
222
225
227
229
234
238
242
246
251
256
262
264
360
M1
..
.
F ]m
imit, cresc
<(C] G][9
7 /B] C] F ]m/C]
tutti climax
Dm
<(A7 /C] E7 /D) A7 /C]
Am
B[/D B7 /D] Am7 /E A7 /E

Dm/F B7 /F ]
(E7 Am A7 Dm E7[9 )/E
PBi (%)
cad
[K] P D (e)
Am
Am D]7 E D]7
[L] A (a): Vi1, clim
Em C]7 D C]7
Dm <(E Am) E E7
Am E Em D
(a)
(b), unis
[M] 2nd stat, (aa): Va
Dm <(A Dm)
(b), unis
d
A7 D G7 C F7 B[/D E7
[N] Seq(3R7 )
F7 B[7 E[/G A7 D
dim, Seq(4R7 )
G7 C F B7[5 /F
<(Am/C B7[5 /F ) Am/C
A
M3
..
.
..
.
A F ]7 /A] Bm G][9
7 /B]
M1
..
.
..
.
..
.
..
.
M2
..
.
[I] B1 , imitation
[O] trans, P D (e)

(]]]) (aa): Vc
F ][9
7 Bm E7 /G] A
D]7 E Em
cad
Em A7 D
[P] B, tutti clim, (cm)
D
A
Dm/F
<(E D]7 )/E

E7 /D A/C] A7 /G
<(E7[9
A/C]) D]7
A64 E7
A D/F ] Bm A]7
cad
Table 9.12: Brahms, String Quartet Op. 51 No. 2, Mvt. 4 Finale, Allegro non assai (contd)
m
268
272
276
280
284
285
287
290
293
298
301
305
309
313
317
320
322
324
326
328
331
334
337
342
350
352
356
M4
M4
M1
M1
M1
Comment
Bm E E7
A D Bm A]7
Bm D]7 Em E7
A E7 D E7[9 A7 D]7
E7 A/C]
<(D]7 E E7 /D A/C])
<(C]7 /E] F ] F ]7 /E Bm/D)
A7 /C] D B7 /D] A64 E7
[Q] (aa): Vc
(b)
2nd stat, (aa): Vi1
Poco tranquillo
A F ]m Bm G]7
E A7 D/F ] B7 E/G] C]7
F ]m B7[9 /D]
A/E A7 D Em A7 D
(A F ]7 Bm B7 E E7[9 )/E
A A7 F ]7 Bm B7[9
E7 E7]5
A G][9
7 C]m
d
M1
..
.
M1
(M1)
M1
Am
[R] 3pt syncopes

Seq(2R7 )
cad
[S] A2 , imitation
(a): V1 dim
[T] P D (e)
[U] (a) Vi1, augm
E7[9 A/C] B7[9

C]m/G] G][9
7 /F ] C]m/E
4pt hemiolas
(a)
[9
C][9
7 F ]m/C] B7 /A
E/G] Am E/G]
Em/G F ]m F7
P D (e)
PBi (&)
Piu` vivace
Am E Em C]7 D
D A Dm D]7
[5/[9
E E7 Am A[9
/F
7 Dm B7
Am/C D]7 /A
Am/E . . . E Am
Am64 E Am
Coda (\\\)
Vi1, dim
[V] Va+Vc, P D (e)
Vi1 dim, climax
unisono
cad (359 m.)
361

362
9.4. STRING SEXTET OP. 36 NO. 2
9.4
String Sextet Op. 36 No. 2 (1866)

Mvt. 2 Presto giocoso: scherzo and trio form (Gm G,
h i
3
4
, 371 m.)
Scherzo (120 m.)

Presto (130 m.)
Primo tempo (108 m.)
C (12 m.)
Figure 9.4: Brahms, String Sextet Op. 36 No. 2
9.4.1
Mvt. 2 Scherzo, Allegro non troppo
Form: ternary song form (Scherzo - Presto - Primo tempo). Both the scherzo and the presto
(the trio) have the ternary ABA Coda structure. The M1 theme in the scherzo A section splits
the sextet into two subgroups: the three upper strings provide a block chord texture around
the theme, the three lower parts play pizzicato bass riffs in hoquetus technique. The same
subdivision returns in the trio A section. The scherzo can also be interpreted in terms of a
sonata form; the B section, with its counterpoint settings, modulations and varied rhythm
has the characteristics of a development. There is even a false recapitulation. The trio main
theme M4 contains many hemiolas. The Primo tempo section is a repeat of the scherzo, with
a coda (Animato). See Table 9.13 to 9.15 for the analysis.
The opening theme has M1(abc) (4 + 4 + 8 m.) structure with dissimilar phrases; the
connecting element is the pizzicato riff in the lower voices. M2 is a four-measure theme in
legato 8th notes, with three statements in an imitation counterpoint setting. On a somewhat
lareger scale the B-section subject has M3(aabc) (4 + 3 + 3 + 6 m.) structure.
The Part 2 Presto giocoso first theme has M4(aab) (4 + 4 + 8 m.) period structure. The
stepwise descending motif M5 in legato 8th note rhythmis used in a sequential setting.
9.5
Symphony No. 3 in F major, Op. 90 (1884)

Detailed score analysis of the Brahms symphonies was complemented with the formal
analysis presented in [20] and [26].
9.5.1
Mvt. 1 Allegro con brio
Form: sonata form. See Table 9.16 to 9.19 for the analysis. The movement opens with a
woodwind
h imotto M0 (there is no introduction): an arpeggio dotted whole note pattern (the
meter is 64 ) of an upward minor third leap, followed by an upward major sixth (three
notes covering the interval of the octave). This motto returns as the background in the first
363
Table 9.13: Brahms, String Sextet Op. 36 No. 2, Mvt. 2 Scherzo, Allegro non troppo
m
1
5
9
13
17
21
25
34
38
42
44
46
48
50
56
58
60
66
69
73
77
80
83
87
91
97
101
105
109
113
117
364
M1
..
.
..
.
M2
M2
M2
M3
M3
M3
..
.
..
.
I(M2)
Scherzo [ABA]
Part 1:
d
h i
2
4
A, Exp (a): Vi1
Cm F7 B[7 E[ B[
(b), syncopes
A7 D D7 Gm D
Am . . . A7
Dm . . . A7[9
Am G]7 /B Am/C E7 /G] A7
Dm . . . A7 Dm : ||
(c)
P D (a)
Vi1+Va1: unis triplets
Vc1, sync
Vi2+Va2 (repeat)
E[ E[7 B[[9
7 E[
[9
E E7 B7 E B E
C/E F G/B C F
B, Dev, imit
Gm
C]/E] F ]m D/F ] Gm
16ths, PBi (%)
E[/G E/G] F m/A[ A[7

<(G D7[9 )
G . . . <(G D7[9 )
stretto to climax
climax
imit
G D7[9 G D79
[A] False Recap (a): Vi1
Dm
E[
E
Seq(32m;Ri ), imit,
G C/E G/D F7
G D Bm D
F ]m F ]m/A
M1
M1
Comment
|| : Gm D7 Gm D
Gm
M1
..
.
M1
..
.
..
.
M2
M2
M2
Gm
Dm
Gm
arp%
(cm<)
Gm D7 Gm D
A, Recap (a): Vi1
Cm F7 B[7 E[ B[
(b)
Cm F7 Dm7
G7 Cm Gm64 D7
Gm . . . D7[9
Dm . . . A7 /C] D7
Gm . . . D Gm
<(F B[ D Gm)
F B[ A Dm C F
D A7 D Gm
(c)
cad
Vi1+Vi2: unis triplets
Va1, sync
Va2
trans
cresc to climax, (cm<)
(Gm E[)/G Cm F7 B[
[9
(Gm E[)/G G[9
7 Cm D7
Gm D7 Gm D Gm
Coda (a) dim imit, P T (g)

(a) dim imit, (ped)
closing cad
Table 9.14: Brahms, String Sextet Op. 36 No. 2, Mvt. 2 (contd)

m
121
127
134
137
144
148
M4.a
M4.b
M4.a
M4.b
153
160
165
169
173
177
181
M5
M4
M4
I(M5)
..
.
..
.
..
.
185
187
188
189
Bm
Comment
Presto giocoso [ABA]

<(Am/D D7 /C G/B)
Em/G F ] Bm Em A
D A G64 D G
<(Am/D D7 /C G/B)
Em/G A D G
<(C]7 F ]7 Bm)
Part 2: 34
A (aab): Vi1+2, P D (d)
tutti climax
cad
2nd stat (aab), P D (d)
D7 . . . E7 . . .
D/F ] Em/G A7 D7
<(G F ]7 /C)
C/E D G A7 /G
<(G F ]7 /C) Em
F ]7 . . . Bm
D7 /C . . . Bm
[B] B (aaa): Vi2+Vc1, Seq

(b)
(aab): Vi1 dim, P T (g)
E7 /D C]7
(a)
F ]7 /E Bm/D
(b)
G7 /F ] C]7 /E
A7 . . . Am D
(cm<)
<(Am/D D7 /C G/B)
Em/G F ] Bm Em A
D A G64 D
A (aab): Vi1+2, P D (d),

tutti climax
cad
h i
cad
2nd stat (aab)

[C] (aa): Vi1, Seq.
193
200
205
M4.a
M4.b
209
M4.a
<(G7 Am/C D7 )
trans, Vi1
215
Am/C D7 B7 /F ] Em
A, Seq(R7 ), clim, PB (%)
221
223
M4.a
..
.
..
.
E/G] Am D7
<(G Cm)/G
P T (g)
227
231
243
247
M4
M4
M4
(M1)
G Gm D . . .
G . . . Gm . . .
D Gm . . .
D A7 D
[D] Coda, Va1+2: unis dim

Va1+2: unis
Va2+Vc2, unis
Vi1 augm
219
C]/E] D/F ]
Gm
365
Table 9.15: Brahms, String Sextet Op. 36 No. 2, Mvt. 2 (contd)

m
251
255
259
263
267
271
275
284
288
292
294
296
298
300
306
308
310
316
319
323
327
330
333
337
341
347
351
355
359
363
367
366
Primo tempo [ABA]
Part 3:
d
h i
2
4
A (a): Vi1
Cm F7 B[7 E[ B[
(b)
A7 D D7 Gm D
Am . . . A7
Dm . . . A[9
7
Am G]7 /B Am/C E7 /G] A7
Dm . . . A7 Dm
(c)
P D (d)
Vi1+Va1: unis triplets
Vc1
Vi2+Va 2 (repeat)
E[ E[7 B[[9
7 E[
E E7 B7[9 E B E
C/E F G/B C F
B, imit
Gm
C]/E] F ]m D/F ] Gm
PBi (%)
E[/G E/G] F m/A[ A[7

<(G D7[9 )
G . . . <(G D7[9 )
stretto to climax
climax
imit
G D7[9 G D79
[E] False Recap (a): Vi1
Gm
M3
M3
M3
..
.
..
.
I(M2)
E[
E
Dm
M1
..
.
Seq(32m;Ri ), imit
G C/E G/D F7
G D Bm D
F ]m F ]m/A
M2
M2
Comment
Gm D7 Gm D
M1
..
.
..
.
M2
M2
M2
M1
..
.
..
.
M2
M2
M2
Gm
arp%
(cm<)
Gm D7 Gm D
A, Recap (a): Vi1
Cm F7 B[7 E[ B[
(b)
Cm F7 Dm7
G7 Cm Gm64 D7
Gm . . . D7[9
Dm . . . A7 /C] D7
Gm . . . D Gm
<(F B[ D Gm)
F B[ A Dm C F
D Gm
(c)
cad
Vi1+Vi2, unis triplets
Va1
Va2
Animato
Gm . . . F7 B[ D
Gm . . . D7 /C
Gm/B[ . . . D7 Gm
Coda
imit, clim, P T (g)
cresc to climax, (cm<)

cad
closing (371 m.)

h ih i
6
4
Mvt. 1 Allegro con brio: sonata form (F ,

Exposition (70 m.)
9
4
, 224 m.)
Dev. (49 m.)
Coda (43)
Mvt. 2 Andante; ternary song form (C,
A1
h i
4
4
, 134 m.)
A2
Cd
Mvt. 3 Poco Allegretto: scherzo and trio form (Cm A[,

Reprise
Trio
Scherzo
Mvt. 4 Allegro: sonata form (F m F ,
h i
2
2
3
4
, 163 m.)
Cd
, 309 m.)
Exposition (107 m.)

h i
Dev. (64 m.)

Coda (63 m.)
Figure 9.5: Brahms, Symphony No. 3 in F Major, Op. 90

group theme and in the transitions. The motto is also quoted in the last movement of this
symphony.
The first group subject M1 is a forceful sweeping melody with M1(aabbc) (2+2+2+2+4
m.) 12-measure structure for violins in octaves. Its a-phrase has some similarity with the
motto; at shorter note values we hear a downward arpeggio with the intervals of minor 6th
and major 3rd on the downbeats. It is a varied diminution inversion of the motto. The first
group theme has a characteristic background of continuous quarter note syncopations, and
the motto in both original form and as diminution. The transition to the second group [A]
presents the motto also in disguised form, as stepwise ascending scale, but with the minor
3rd - major 6th pattern still there.
The second hgroup
lyrical first theme M2.1 is played in the first statement by clarinet
i
9
and bassoon in 4 , in parallel thirds and sixths, over a tonic-dominant pedal point. It has
M2.1(aaab) (1+1+1+1 m.) structure with one-measure cells. The same instrumentation returns prominently in the second movement. A second theme M2.2 with a sequential flavour
[C] leads to the inversion of the theme M2.1 by the strings. The closing group combines the
motto M0 and M1, both in diminution and imitation.
h i
The development [E] starts with the lyrical theme, now in the 64 meter. Theme M2.2
is treated as a two-part canon [F], combining the original and invert form. In [G] there
is a development of the motto M0, over the syncopated quarter notes, and closing with a
stretto imitation of M1. The recapitulation is straightforward. The coda is based on the main
theme M1 and could also be considered a secondary development of the first group themes.
There is some new melodic material: M3 is a two-measure motif for woodwind and horns in
imitation over an ascending 8th note background, derived from the M1b-phrase. The same
approach is used in the three-measure theme M4.
367
Table 9.16: Brahms, Symphony No. 3, Mvt. 1 Allegro con brio

m
1
3
7
9
11
13
15
Comment
M0
M1/0
.. ..
./ .
.. ..
./ .
.. ..
./ .
F F7
F F m/A[ D[/F B7 /F
Exp 64 ([) motto: WW

Gr 1/Th 1(aa): Vi, P T (f ),
Cm/E[ F ]7 C7 /G
Sr: syncopes, (b)
F/A B7 F/C F7
(b), PB (%)
(B[ G[ G C7 )/B[
<(F/A F/C C7 )
F E /G F/A
(c)
/
M0
17
19
23
M0
M0
25
27
31
33
36
M0
40
42
44
45
46
47
48
M2.1
M2.2
M2.2
I(M2.1)
49
50
M0
M0/1
.
/ ..
53
55
56
D[
B[ B7[5 CA[9
7 /C] Dm G7
F/A C 4 C F A[7
D[ E[m7
M2.1
C]
sync, motto disguised

WW+Tbn, WW+Vi
[B] WW, PB (%)
d
[9
G[ G[5
7 A[ F7 /A B[m E[7
D[/F A[7 D[/F E7
(A G]7 )/A
A F Dm+7 D]7 /D
<(A E7 )/A
(A Bm7 E7 )/A (A E7 )/A

(A E7 A B] Bm E7 )/A
A C] G]7 C]
B/D] F ] B/D]
<(A G]7 )/A A/E D] /F ]
E7[9 A A]7 Bm/D G]7 /D
A/C] D]7 G]7 A
A A]7 Bm/D G]7 /D
A/C] F/C B7 A/C]
F/C B7 E7
Bsn+DB, Str imit

(]]]) trans, P T (a)
h i
Gr 2/Th 1 94 (aaab):
Cl+Bsn (1st stat), P (ae)
(aa): Ob+Va (2nd stat)
(ab)
[C] Ob, WW (cm)
Cl
Vi, Str (cm>)
h i
6
4
closing group, Ob
I(M1): WW dim imit
A F/A B7 /D] E7
A7 D7 G7
G7 G]7 Dm/A G]7
M0: Vi
Str: (cm<)
[D]
tutti dim, cresc to clim
58
59
61
M0
Gm7 /B[ Dm/A G]7

G]7 E7 /G]
Am/C F ]7 /C
63
65
68
70
M0/1
M1
I(M1)
Em/G F ] E46 B7 Am/C

F/C Am/C Dm D] /A
E7 F ] /A E7
Am . . . (C) : ||
368
[A] trans Vi, PB (%)P T (f ),

d
I(M1)
..
.
h i
WW: stretto im, cresc,
I(M1): WW dim
tutti clim, M1+I(M1): Str
closing
Table 9.17: Brahms, Symphony No. 3, Mvt. 1 Allegro con brio (contd)
m
71
77
M(1)
M2.1
..
.
..
.
..
.
79
80
81
82
83
88
M2.1
..
.
..
.
..
.
..
.
89
90
M2.2
..
.
..
.
85
86
87
92
94
95
96
98
99
101
103
105
107
109
112
116
118
120
124
128
130
132
M0
M0
..
.
M1
M0
M1/0
.. ..
./ .
.. ..
./ .
/
Comment
C]m
Am D D7 Cm G]7
<(C]m D] D]7 B]7 )/C]
Dev, tutti clim

[E] (a): Bsn+Va+Vc, P T (c])
(C] B] E]7 F ]m
(a), Str: Pm (%) (ped)
(C]7 F ]m F G]7 )/C]

<(C]m G]7 )/C]
G]m7 /B A C]m/E G]
<(C]m D] D]7 B]7 )/C]
(a): Vi1, P T (c])
(C] G]7 E]7 F ]m)/C]
(a), Pm (%) (ped)
(b)
(C]7 F ]m G]7 )/C]
E[
G[
E[
<(C]m B] )/C]
(b)
C]m G]7 /F ] C]m/E

A7 /G D7 /F ] A7 /G
D/F ] B7 /A E/G]
E /G D/F ] B7[5 /F
A E7 A E7 /B[ A C]7
Str cresc
[F] Canon, Seq(32m;R5 ),
D A7 D A7 /E[ D7[9 F ]
M2.2: WW, I(M2.2): Str
G F ]7 G D7 /A[
G D7 G D7 /A[
<(G D7 G D][5
7 /F ])
G D7[5 /A[ F/A F ][9
7 /B[
B D7 /C F ]/C] D7
E[ G7 /D[
C7 F m E[64 B[
E[ E[m/G[ B[m D[7
trans
Str: (cm>)
cad
[G] ([) FHn, Str: sync
6
E[[9
7 A[m/C[ G[4 D[
C7[9 /G F m/A[ E[64 B[7
G[
G[
E[ C[m
A[m7 /E[ F7 /E[
F7 F m7 F7 /E[ C7[5 /G[
Ob+FHn
cad
[H] retrans, WW+Str: imit
P T (f )
F A[7 D[ G[9
7
F F m/A[ D[/F B7 /F
Rec, motto: Fl+Ob

Gr 1/Th 1 (aa): Vi, P T (f ),
Cm/E[ F7 F ]7 C7 /G
Str: sync, (b), PB (%)
F/A B[7 B7 C/C F7

(B[ G[/B[ G C7 )/B[ F/A
(b)
(c)
369
m
136
Comment
F E /G F7 /A A7 B[m
M0
139
140
142
M0
M0
E[m7 A[7
G[/B[ D[
F ]/A] A
144
146
149
D B[+ /D Gm+7 C7 /G
D B[+ C]7 /G
<(D A7 )/D
151
153
154
155
156
157
M2.2
M2.2
I(M2.1)
158
M0
160
M0/1
.. ..
./ .
162
163
166
168
170
172
174
176
177
181
183
185
187
189
192
194
195
197
200
370
M2.1
Str: sync, motto disguised

FHn, Str imit
(]]) trans, Ob+FHn+Vi
d
D
F]
D
F
Dm
9
4
(aa): Cl+Bsn,
F D[/A[ G7 C7
I(M1): WW dim imit
F D[/F G7 /B
C7 A7 /C] D7 Gm
<(E[ Gm/D C]7 Gm/D)
Gm/D A7 /C]
Dm/F B /D
M0;: Vi
([) Vi, Str: (cm>)
h i
6
4
closing group, Ob
stretto cresc
[K] trans, cad
cresc to climax
tutti clim, M1+I(M1): Str
Dm/F Gm G]7 /D
A7 Dm A7 Dm
h i
P (da), (ab): WW
Cl
Ob
Am/C B /D Am/E E7
<(Dm/F B[/F )
M1
..
.
Gr 2/Th 1
D Em7 A7 D A7
F ] C]7 F ]
E/G] B7 E/G]
D/A C]7 D/A
C7[9 F C]7 (Gm E7 )/B[
F/A B7 E7 F
F ]7 Gm/B[ E7 /B[
F D[/A[ G7
M0
M0/1
/
M3
..
.
..
.
M1
..
.
[I] trans Vi, PB (%), P T (f )
Dm G]7 /B
F/C F7 /E[
D7[9 /C (Gm G7 )/C
C D[ D[7 B[7
Coda Bsn+FHn
(a): Vi, P D (c)
(a)
WW+FHn, (b) Str unis.
E[ E C]7 F ] D7 /F ]
i (%)
WW+FHn imit, Str: Pm
G G7 E7 /G] A C]7 /B[

A7 Gm
C7 A7 B[/D Gm
cresc, Str: imit, PBi (%)
C7 A7 B[ D B[m/D[
C7 Am/C D/B[ Gm/B[
stretto climax
climax
m
201
206
211
214
216
218
220
M4/2.2
M0
M1
Comment
<(E7 /B[ F/A C7 /B[ F/A)

C7 /B[ F/A F7 (B[ G7 F )/F
B7 /D F/C B7
Am/C C7
F
(B7 F )/F
F
[M] WW+Vi, sync
cad
FHn-WW: imit
P T (f )
(a): Vi (224 m.)
An instrumentation aspect is the use of two trumpets three trombones in this symphony:
these are used sparingly around the structural transitions and climaxes or the movements.
In this movement there are trombones in m. 3, 19, 68, 116, 122, 177, 183 and 196. The third
trombone often states the motto theme M0.
9.5.2
Mvt. 2 Andante

371

372
9.5.3
Mvt. 3 Poco Allegretto
Form: ternary song form, ABA Coda. This moderate tempo movement is a pinnacle of
romantic, lyrical and melancholy writing.1 The scherzo has an internal ternary structure, the
trio has binary structure. See Table 9.20 to 9.22 for the analysis.
The main theme (M1, first statement for high celli, in the reprise for solo French horn)
is sheer beauty; a textbook example of a melodic curve, with an extended M1(aabb) (2 +
2 + 3 + 4 m.) sentence structure. Note the irregular length phrases and the rhythmic flow
in the background (16th-triplets alternating in the violins and 16th-note arpeggio patterns
in violas). At each repeat of the main theme there are subtle differences in instrumentation
and background (such as the string arpeggios or the solo countersubject Mc). The motif M2
is based on a one-measure 16th note echappee melodic pattern, used in imitation and as a
sequence.
The trio theme M3, with its upward appoggiaturas, has a hesitant quality, and returns in
the coda, just before the final tutti climax. It has M3(aabaa) (1 + 1 + 2 + 1 + 1 m.) structure,
based one-measure cells. The strings answer this with an espressivo subject M4, with M4(aab)
(2 + 2 + 4 m.) sentence structure. Except for the two horns, there are no brass instruments in
this movement.
9.5.4
Mvt. 4 Allegro

Its a favourite for documentaries about lost grandeur in the Habsburg empire, or nature in central Europe.
I remember film footage about the river Donau, where the director did not want to end up with good old Johann
Strau, waltzing along the waterfront.
373
Table 9.20: Brahms, Symphony No. 3, Mvt. 3 Poco Allegretto

m
1
5
8
9
10
11
12
13
17
20
21
22
23
24
29
31
32
36
38
41
45
48
49
50
51
52
54
57
58
60
374
M1
..
.
..
.
..
.
..
.
..
.
M1
..
.
..
.
..
.
..
.
M2
..
.
..
.
M1
..
.
..
.
..
.
..
.
M3
..
.
..
.
Cm
Comment
Scherzo Poco Allegretto
h i
<(Cm D7 /F )
A, (a): Vc, Str: tripl
G[9
7 /B Cm F m/A[ F ]7
(a)
G Cm C7 /B[
(b)
3
8
([[[)
F m/A[ B[/F F m/A[

B[ E[7 D7 /F
(b)
A[ Cm/G D7 /F ] G7
G7 /F A7 /E[ G7 /D
<(Cm D7 /F )
PB (&)
cad, (cm<)
2nd st (aa): Vi1, Vc: Mc
G[9
7 /B Cm F m/A[ F ]7
(b), Str+WW bg
G Cm C7 /B[
(b)
F m/A[ B[/F F m/A[
Cm
B[ E[7 F m
[5/[9
D7 /A[ Cm64 G
<(C B7 ) C
cad
[A] B, Vc-Vi1
F7 B7 Em7 Am7
Seq(31m;R7 )
Dm7 B7[5 /F
E . . . D]7 /A
E Am B E7 Am
D]7 /F ] . . .
<(Cm D7 /F )
trans, Str
Str-WW, 16th tripl arp%
[B] A (aa): Fl+Ob+FHn,
G[9
7 /B Cm F m/A[ F ]7
(b), tutti bg
G Cm C7 /B[
A[
F m/A[ B[/F F m/A[
(b)
B[ E[7 D7 /F
[5/[9
D7 /A[ Cm64 G7
Cm A[m
cad
[C]
Trio
A[/E[ . . . B[7 /F [ B[7 /D
([[[[)
A, WW+FHn,
E[7 B[7 /D[
Vc: 16ths arp
(E[[9
7
E[[9
7 )/D[
B[7
F [7 B[7 E[
repeat 8ba
Table 9.21: Brahms, Symphony No. 3, Mvt. 3 Poco Allegretto (contd)

m
62
M3
..
.
..
.
M4
..
.
..
.
..
.
65
66
68
70
72
74
76
77
79
83
87
89
91
93
96
99
103
106
107
108
109
110
111
115
118
119
120
121
M3
M4
..
.
..
.
..
./M3
M1
..
.
..
.
..
.
..
.
Comment
A[/E[ . . . B[7 /F [ B[7 /D
[D] 2nd st var, WW,
E[[9
7 B[7 /D[
Str: 16ths arp%&
(E[[9
7
E[[9
7 )/D[
F]
B[7
F [7 B[7 E[ G]m/B
C]m7 /E C]7 /E] F ] B7 /D]
B, (a): Str
G]m7 C]7 /G F ]]5

7 B
(a)
E D]m/F ] C][9
7 /G] F ]7 /A] B
(b): climax, (cm>)
B[[9
7 /F
A[m/E[ E[
A[ . . . B[7 /D[ E[[9
7
B[7 B[7 /D
B[/D E[7 /D[ A[/C
[E]
A 3rd st, WW+Hns,
Str: 16ths arp (doubled)
B, (a): Str
F m7 B[7 E[+ A[
(a)
A[7 /C D[ A[/E[
(b), (cm>)
[5/[9
B[[5
/F
7 /E G7
[5/[9
G[7 E[/G D7 /A[
(M3): WW, PBi (%)
Scherzo Reprise
<(Cm D7 /F )
([[[)
[F] A, (aa): FHn
[5
G[9
7 /B Cm F m/A[ D7 /A[
(b)
A[
M1
..
.
..
.
..
.
..
.
..
.
Cm
G Cm C7 /B[
F m/A[ B[/F F m/A[
(b)
B[ E[7 D7 /F
A[ Cm/G D7 /F ]
G7 /F A7 /E[ G7 /D
<(Cm D7 /F )
PB (&)
G[9
7 /B
(b), Str+WW bg
Cm F m/A[
D7[5 /A[
2nd st (aa): Ob, Bsn: Mc,
G Cm C7 /B[
F m/A[ B[/F F m/A[
(b)
B[ E[7 F m
[5/[9
D7 /A[ Cm64 G
cad
375
Table 9.22: Brahms, Symphony No. 3, Mvt. 3 Poco Allegretto (contd)
m
122
127
129
130
134
136
139
143
146
147
148
149
150
152
154
156
159
376
Comment
M2
..
.
..
.
<(C B7 )/C C
[G] B, Bsn-Cl, P T (c)
F7 B7 Em7 Am7
Seq(31m;R7 )
Dm7 B7[5 /F
E . . . D]7 /A
E Am B E7 Am
D]7 /F ] F ]7
<(Cm D7 /F )
trans, Cl+Bsn
Str-WW: 16ths tripl arp%
[H] A, 3rd st (aa) Vi+Vc, Bsn: Mc
G[9
7 /B Cm F m/A[ F ]7
(b), tutti bg
M1
..
.
..
.
..
.
..
.
5
M3
..
.
..
.
Cm
G Cm C7 /B[
F m/A[ B[/F F m/A[
(b)
B[ E[7 F m
[5/[9
D7 /A[ Cm64 G
Cm . . .
cad
[I]
[5/[9
D7
/A[ Cm/G G7
Coda, WW+FHn augm
Cm . . . B7 /F
tutti
Cm/E[ A[/C F m/A[ F m

Cm64 G7 Cm
tutti climax, (cm<)

(cm>), cad (163 m.)

377
9.5.5

378

379
9.6
Symphony No. 4 in E minor, Op. 98 (1885)

Mvt. 1 Allegro non troppo: sonata form (Em,
h i
2
2
, 440 m.)
Exposition (136 m.)
Coda (46 m.)
Mvt. 2 Andante moderato: AABAB Coda form (E,

A
6
8
, 118 m.)
Mvt. 3 Allegro giocoso: sonata form (C,

Exposition (88 m.)
h i
h i
2
4
, 357 m.)
Coda (73 m.)
Mvt. 4 Allegro Energico e passionato: theme and variations / sonata form

(Em,
h ih i
3
4
3
2
, 311 m.)
Exp (64 m.)

Th V 13
Dev (64 m.)

V 47
V 811
V 1215
Rec (124 m.)
(Reprise V 13)
V 1622
V 2330
Coda (58 m.)
Figure 9.6: Brahms, Symphony No. 4 in E Minor, Op. 98

Detailed score analysis of the Brahms symphonies was complemented with the formal
analysis presented in [20] and [26].
9.6.1
Mvt. 1 Allegro non troppo
Form: sonata form. See Table 9.23 to 9.27 for the analysis. The exposition of this movement
opens directly with the gentle main subject M1, whose main characteristic is the descending
leap of the third motif (that becomes a sixth in its inversion). This interval is used in varied
forms of the theme (such as M1, the secondary statement), as accented backgrounds and in
transitions. The overall structure of the main subject is M1(aabc) (4 + 4 + 4 + 6 m.), with
the leaps in the a-phrase, the lead pedal point and 8th note rhythm in the b-phrase, and the
cadential closing c-phrase.
The contrasting marcato secondary subject (M2, unisono winds and brass, mixed rhythm
with staccato and 4th-note triplets) also has an arpeggio in thirds flavour. This might alternatively be considered a motto M2(ab) (2 + 2 m.) that introduces the lyrical (stepwise
vs. sweeping character) melody M3. This has M3(aaaa) (4 2 m.) structure (based on a
two-measure cell) with half note appoggiaturas as a starting point.
380
9.6. SYMPHONY NO. 4 IN E MINOR, OP. 98
Table 9.23: Brahms, Symphony No. 4, Mvt. 1 Allegro non troppo

m
Comment
M1
..
.
..
.
..
.
Em
(Em Am B7 Em)/E
Exp/Gr 1 (a): Str-WW imit
5
9
13
15
19
23
25
27
31
37
40
41
45
49
51
53
57
63
65
69
73
75
77
80
84
87
89
91
95
97
99
101
C G Dm Am
M1
..
.
..
.
..
.
..
.
..
.
..
.
B7[9 /D] Am/E F7 D7[9 /F ]
(b) PBi (%), Hns: P (c)
C/G G]7 Am E7 /B
6
(Am F ][5
7 )/C F ]7 Em4 B7
Em C F ]7 B7 /D] Em/G
PB (%)
cad
[A] 2nd st, (a): Str imit, var
C F ]7 /C G C]7 G
tutti imit
D G]7 /D A Am7
B7[9 /D] D7 F ]m/C] D7 /C
(b) cresc, PBi (&) , (cm<)
B7 Em/G A7 F ][9
7 /A]
B7[9 B7 /A Em/G F ]7 Bm7
tutti climax
Em7 Am7 D7 G7
d
Bm
M2
]5
F ][9
7 . . . G Bm D7
[9
G Bm F ]7 Bm/D
C G/D C/E
A7 /E[ G/D G/B G7 /F
F ] . . . Bm C] F ]
d
F ]7 Bm C]7 F ]7
G Em C]7 F ]7 Bm C]7
F ]7 Bm Em7 /G A7 D
M3/1
M3/1
M2
P D (f ])
[B] Gr 2, trans, Str imit
WW+Hns unis marcato

[C] (FHn+LoStr)/others
2nd st HiStr/others
Em F ]7 G Em7 F ]7
G . . . D7[9
WW+Brs, tutti climax
G B7[9 /D] Em64 B7

C . . . A[
C7 /B A]7 Bm7 /A E79 /G]
G7 A]7 /G F ]7
M2
M1
B
M4.1
M4.2
M4.3
..
.
(B F ]7 C][9
7 )/F ]
E + C]m F ]7 B
G]m7 C]7 F ] C]7 F ]7
B F ]7 E/B F ]7 B
C]m C]7 F ]7 /E B/D]
Bm7 /D G]7 C]7
Str-WW imit, PBi (&)

[D] tutti, episode gr,
P D (f ])
HiStr
Ob+FHn, Str: M1 imit
C]m7 /E F ]7 D]7 /C]
381
Table 9.24: Brahms, Symphony No. 4, Mvt. 1 Allegro non troppo (contd)
m
103
105
107
110
114
117
119
123
125
127
129
130
133
137
145
149
153
155
157
161
165
167
169
173
177
180
182
183
184
188
192
196
200
202
382
Comment
G]/B] G]7 C] C]7 /B

F ]/A] B F ]/A]
<(E7 G]7 )/G] . . . G7
B/F ]
<(C]7 E]7 )/E] . . . E7
G]m/D] E7 /D C]7
B/F ] F ]7 B E B F ]
(F ] B)/F ]
F ] D/F ] A7
Str arp, P (g])

[E] closing gr, WW+Hns
Str arp, P (e]), PBi (&)
tutti cresc, (cm<)
Str
WW echo, P (f ])
Str
D G <(D Bm)
tutti
..
.
M2
M2
M2
..
.
..
.
..
.
F ] Bm7 /F ] F ]
5
M1
..
.
..
.
M1
..
.
..
.
M1
..
.
..
.
..
.
..
.
5
M2
(M1)
..
.
(M2)
Em
F ]7 /A] F ]7 B
<(E F ])
tutti climax, P (f ])
G B7 Em D7 B7[9 /D]
(Em Am B7 Em)/E
[F] Dev, Str-WW imit

False Rec, (a): Str-WW imit
C G Dm Am
Gm
<(C7 F )/C
C7 /B[ F/A A7 /G D7 /F ]
Gm Cm D7[9 Gm
(b)
cad, PB (&)
[G] 2nd Dev, WW: var, Vi: Mc
E[ B[ B[m D[ A[
B[m
<(E[7 A[)/E[
E[7 /D[ A[/C C7 /B[ F7 /A
B[m E[m A[ D[ F7
(b)
cad, PB (&)
var, tutti
B[m E[m A[ D[/F F7
tutti stretto imit
B[m/D[ G[/B[ B[7 /D E[m
tutti climax
F ]7 /A] B F ]/A] Bm
d
F ]7 G F ]7 Em7
d
Bm
Cm
D[m
Dm
F ]sus4
F ]7
7
G ...
F m B C7 F m G[9
7
<(Cm A[)/C A[7 /C
cad
[H] Dev 2nd part, Str imit
WW, rapid mod
Str arp, (a): WW, P (c)
F ]m7 /C] . . . (F + A)/C]

(B[ G[+ B[7 )/D
(B B7 . . . )/D]
P (c]), PBi (%)

WW imit, P (d]b)
m
206
210
212
214
217
221
227
231
234
238
246
249
254
255
259
263
267
269
271
273
275
278
279
281
285
286
288
289
294
296
297
Comment
M2
..
.
..
.
M2/1
Em
F ]7 B7 E7 Am B G+ /B
[I] (a) Brs+Str climax
<(C F m) B[m
WW echo
E[7 /B[ A[ F m E[
D]7 A]7 /C] D]7 G]m
G]m C]m7 F ] B
(b) WW+Str
(b): tutti, P D (d])
WW/Str
G]m
(M1)
..
.
..
.
M1
M1
..
.
..
.
..
.
..
.
..
.
M1
..
.
..
.
..
.
..
.
..
.
..
.
E B B7 /F ] C]m
D]7 B[7 /F [ E[7 /D[ C7
[K] retrans, WW-Str imit
F7 C7 F7 /E[
Em
D7 G7 E7 /G] A7
F ]7 /A] B <(F ]7 B7[9 )
Seq(32m;R7 )
cad
Em . . .
C . . . C +
D]
[L] Rec/Gr 1, WW unis aug

Str arp
WW unis augm
G+ Em . . . G7
Str arp
C G Dm Am
Str-WW imit
B7[9 /D] Am/E F7 D7[9 /F ]
(b) PBi (%), Hns: P (c)
C/G E7 /G] Am E7[5 /B[
PB (%)
(Am F ][5
7 )/C F ]7
Em64 B7]5
Em C Am F ]7
cad
2nd stat, (a): Str imit, var
B G+ C D7[9 /C
(G Gm C]7 )/G
tutti imit
(D E7[9 )/D A Am
B7[9 /D] D7 F ]m/C] D7 /C
(b), PBi (&) , (cm<)
(B7 G C7 F ]7 )/B
P D (b)
B7 . . .
C Em G+ G]5
7
C . . . Em/G F G97
cad
trans, Str imit
M2
G7 F/A D7 /A[ G
C/E F ]7 /A]
B . . . B Em F ] B
[M] Gr 2, WW+Hns unis
383
m
301
305
308
309
312
315
317
M3/1
..
.
339
341
343
M4.2
M4.3
..
.
..
.
373
376
377
379
381
384
385
387
390
B7 Em Am Em Am F ]7
(Hns+LoStr)/others
Am F ]7 B7 F ]7 Am
F ]7 B7 /D] Em64 F ]7
B7 Em Am7 /C D7 /F ]
cad
G Em Am B7[9
cresc
WW+Hns, tutti climax
d
M4.1
C E7[9 /G] Am64 E7

F . . . D[
F7 /E Em7 /D C]7
C7 D]7 /C B7
(E B7 F ][9
7 B)/B
(F ]m F ]7 B7 )/B E
C]m7 F ]7 B F ]7 B B7]5
WW+Hns
Str-WW imit, PBi (&)
[N] tutti, episode gr,
P D (b)
HiStr
E B7 /D] A A+
A+ F ]7 B7 /A E/G]
C]7 /G F ]
D]7 /A G][9
7 /F ]
M2
M2
M2
..
.
G]m
M2
Em
(M1)
Comment
F ]7 Am7 B7[9
C . . . G7
M2
M2
M2
M1
347
349
351
354
358
361
363
367
369
M3/1
..
.
320
321
324
328
331
333
335
345
384
C]/E] C]7 F ] F ]7 /E
B/D] B E B/D]
<(A7 C]7 )/C] C7
(E B7 E)/B A E B
<(F ]7 A]7 )/A] A7
C]m/G] A7 /G F ]7
E/B B7 E A E
<(E B)/E
B G]m D]7 G]m
F7 B[7 E[7
A[m F7 B[7
<(B Em)
Am F ]7 /A G Em/G D
D7[9 . . . D7 Gm
F (N/I)
B7[9 . . .
<(B7[9 Em)
F ][9
7 /A] . . . B
Str arp, P (c])

WW+Brs, P (b)
Str arp, PBi (&)
cresc, (cm<)
Str
WW echo, P (b)
Str
tutti
[P] trans, tutti imit
Str imit
WW clim
Str imit
tutti climax, Str arp%
m
Comment
Em
Em Am F ]7 B7 /D]
[Q] Coda, tutti clim,
Em/B C/E G Bm/D
stretto imit
410
M1
..
.
..
.
..
.
..
.
..
.
..
.
412
394
397
400
402
406
408
D Dm/F F Am/C
B7[9 /D] Am/E F7 D7[9 /F ]
d
(b) tutti clim, PBi (%)

d
C/G E7[9 /G] Dm/A F ][9

7 /A]
d
Em/B B7[9 /A C/G G[9

7 /F
d
C/G E7[9 /G] Dm/A F ][9

7 /A]
d
Em64 . . . A]7 /C
B7[9
d
414
(C Am
Am)/C
418
420
421
426
428
431
434
Em F ][9
7 Em/G B7
Am/C B7 /D] Em C F ]7 /A
<(Em64 C) Em64 B7
Em Cm/E[ G/D Cm G
Cm/E[ G/D F ]/C] F ]m B7
<(Em B7 ) Em/B Am/C
F ]7 B7 <(Em B) Em
(cm<)
repeat, PBi (%)
cad
[R] tr, WW+HiStr, P (ce)
Str+WW, (cm>)
tutti, Str arp
closing
tutti cresc
385

The M4 theme group is used as a transitory episode. On a larger scale this melody has
M4(aaabbaaccd) ((1+1+2)+(2+2)+(2+2)+(2+2)+3 m.) structure: the a-phrase is the
stepwise descending dotted quarter note rhythm, the b-phrase contains chromatic stepwise
motion and quarter note triplets, the c-phrase uses the a-phrase rhythm for a neighboring
note motof, and the d-phrase concludes with an ascending 8th note legato string arpeggio
over trumpet pedal point.
The development starts with a (exceptionally early) false recapitulation, before taking on
the real development of the main theme. This movement is harmonically very rich, with
many sudden, intermediary modulations, (chromatically) ascending and descending bass
lines, dynamic curves, and contrary motion.
9.6.2
Mvt. 2 Andante moderato

386

387
9.6.3
Mvt. 3 Allegro giocoso
Form: sonata form, with rondo character. See Table 9.28 to 9.30 for the analysis.
The extended main subject in the exposition can be divided into three, completely different phrases M1(abc) (5 + 5 + 8 m.): the a-phrase in 8th notes, with contrary motion and
harmonized with triads; the b-phrase with 16th note staccato patterns and legato arpeggios;
and the c-phrase with sustained accented notes and triplets. The second phrase is presented
in varied form M1b as an intermediate group, before the second group theme enters.
The secondary theme has M2(abab) (2 + 2 + 2 + 5 m.) period structure, with the descending arpeggio from the a-phrase continued in the b-phrase. The second b-phrase is an
ascending 8th note arpeggio in sequence setting.
It is in the development, where the main theme first phrase M1a gets its rondo character;
most of the development is based on variations of the second phrase M1b. With the third
phrase M1c we have suddenly landed in the recapitulation. The second group now is presented in the subdominant key, which also holds for the first main theme statement M1a in
the coda, notwithstanding the extended dominant pedal g.
9.6.4
Mvt. 4 Allegro energico e passionato

388
Table 9.28: Brahms, Symphony No. 4, Mvt. 3 Allegro giocoso

m
Comment
1
3
6
9
11
16
19
M1a
M1b
M1c
M1b
..
.
..
.
..
.
C Em F G F/A G
C Em F Dm G Em F
B7 /F C/E C G B7 /F
C/E F ]7 /C G E[/G
B[ E[ B[7 E[ F m7 /A[
G G7 . . .
<(G B7 /F C/E C) G
Exp/Gr 1 (a): 8ths,

tutti clim, (cm)
(b): Str 16ths
[A] (b): Vi1+Fl,
<(G C/E) G G7
(intermediate group)
Dm Am/C B7 F/A
Brs: P D (g)
Em/G Dm/F C/E B /D

Am/C F/A Dm/F G7
C C7 /B F/A G F G
C C7 /B F/A Dm E Am/C
F ] /C G/B D Am/C G/B G
A E[/G B[7 B
Cm D7 G
[S6 ]
Str 16ths sc runs
(a): tutti clim
24
28
30
32
35
37
40
44
48
I(M1a)
M1b
52
58
63
69
76
78
80
85
M2
M2
89
M1a
..
.
91
93
106
109
113
115
117
119
M1b
..
.
..
.
M1b
..
.
(c) WW+Str 8th tripl
(b): tutti clim

[B] trans, LoStr unis
halfcad, WW+Str
C G D G Dm G C G
A D B Em G7
C G D G Dm G C G
A7 D D7 G G7 <(C G)
[5/[9
G7 /F C/E A7 /E[
[5/[9
G/D G7 /D[ Am/C
D G . . . A[5
7 /G
G C]7 Dm G
[B] Gr 2 (aa): Vi1, D

(b) Seq(22m;R7 )
[C] Var, (a): WW+Vi1
Va: 8th tripl
trans: Str
C Em F G F/A G
[D] Dev (a): tutti clim,
C Em F Dm G Em
F . . . Dm/F . . . D]7 /C
B7[5 /F C/E C G
8ths
tutti clim, 21 note imit
(b): tutti 16ths
(cm<)
D]7 /C B7[5 /F C E
Am
Am F Dm E
Am7 Dm B7 E
Am G]7 /D Am/C D]7 A
(a): V+Vc, (b): Vi

[E] (b): Bsn+Vi1
E G]7 /D Am/C D]7 /A
389
Table 9.29: Brahms, Symphony No. 4, Mvt. 3 Allegro giocoso (contd)

m
121
123
125
127
129
131
133
139
141
143
147
151
153
155
157
159
161
163
166
168
171
174
177
181
187
193
199
203
208
210
213
217
219
221
390
..
.
..
.
..
.
M1b
..
.
I(M1a)
(b): WW, [S6 ]

(a) P D (e)
A E7 /G Dm/F C7 /E
B[/D Am/C Gm/B[ A7
Dm Am/E Gm/D F7 /C
(b): HiStr, WW: 16th Mc,

syncopes
(b): LoStr
Em7 /B Dm7 /A C/G B7[9

E ...
A F ]m/A G] F ]m/A
tutti arp% imit

(a): WW unis clim, var
C]m
A E/G] F ]m
G]m7no 3 . . . C]m7
F ]m7 D]7 E A] /C] D]
G]7 /B] C]m A G] /B
(a): Str unis clim

(a): HiStr unis
D[
M1c
M1b
..
.
..
.
..
.
..
.
E B /D Am/C G/B
d
M1b
M1b
M1a
M1a
M1a
M1
..
.
Comment
F/A Em/G Dm/F E
M1a
M1a
E[
G]7 A D]7 /F ] G]
C]m/E B]7 /F ] C]m/E G]
C]m B]7 /F ] C]m/E G]7
C]m7 F ]m7 G]7
C]m7 F ]m7 D]7 G]
C]m7 G] C]m7 F ]m
D]7 G] C]m
D[ G[/B[ A[
D[ G[/B[ A[ F m
G[ C[7
F F m
D[/F . . . D[ G[
(b): Vi1
(a): LoStr, (b): Vi1
(a): LoStr
[F] (a): WW+Hns
(a): Bsn
retrans, (a/c): Bsn+FHn
E[7 D[/F G7 /F
G[9
7 . . . <(C]7 Dm)/G
(a): WW-Str (cm), P (g)

(ped)
E[/G B[ E[
B[7 E[ F m7 /A[ G7
G B7 /F C/E C
Rec/Gr 1, tutti, 8th triplets

(b): Ob-Hn-Vi1,
G B7 /F C Am/C G G7
(intermediate group)
<(G C/E) G G7
Dm Am/C B7 F/A
Brs: P (g)
Em/G Dm/F C/E B /D

Am/C F/A Dm/F G7
[S6 ]
Str 16th sc runs
Table 9.30: Brahms, Symphony No. 4, Mvt. 3 Allegro giocoso (contd)

m
224
226
228
231
233
237
242
247
253
258
264
268
272
276
278
280
282
286
288
292
295
299
305
307
311
313
314
317
326
331
337
343
347
351
Comment
I(M1a)
..
.
..
.
M1b
C C7 /B F/A G F G
(a): tutti climax
M2
M2
..
.
..
.
..
.
..
.
..
.
C Em F Dm G Em
Seq(31m;R7 )
F C G C Gm7 C F C
D G B7 /D E Am C7
F C G Gm C F C
Gr 2 (aa): Ob+Vi1, SD
(b) Seq(22m;R7 )
Var, (a): Hns+Str 8th tripl
F m C7 D7 E
Seq(31m;R7 )
(b): tutti 16ths

[G] trans, Str
WW
Am E7 F F7 B[ G
C Gm C C7 /B[
F/A D7[5 /A[ C/G C7 /B[
F/A D7[5 /A[ C/G
F E7 Cm/E[ D
(M1a)
tutti climax
[5/[9
C7 /G[
<(G C] )/G Gm
(Gm A7 D7[9 )/G
<(Gm C] )/G
(E F m G)/G
<(E[ G)/G
(G G+ Cm C7 F F ]7 )/G
(G G7 Dm F )/G
(Dm7 G Gm)/G C7
F Am B[ C B[/D C
(M1a)
M1a
..
.
..
.
M1b
M1c
M1a
A7 Dm B7 Em C7 F
Dm E Am/C
E /B[ F C E /B[ F
C E[7 A[/E[ E[7 C7 /E
C7 F G7 C
[H] Coda, Str-WW imit,

(a): WW imit, P D (g)
(a): WW imit
Str cresc 16ths
tutti cresc
(a): Str+Bsn+FHn, SD
F Am Gm
C Am Dm B[ E[ C
<(F G7 )/F F7
<(F7 B[)/F (B[ Dm)/F
G]7 /F <(E7 G]7 /D A/C])
E C/E . . . F/A . . .
Dm . . . G7
<(C F G)
F G Dm G C
Seq(31m;R7 )
[I] tutti clim, 21 note imit
(b): Str P T (f )
[K] (c): Brs, tutti clim
cad
closing, (a): Str unis
cad (357 m.)
391

392
9.6.5
The key relationship diagram is shown in Fig. 9.7. Only the first and third movement are
displayed in the diagram since the other two have simple and straightforward key relationships: tonic-dominant-tonic E B E in the second movement and minor-major-minor
Em E Em in the finale.
Mvt. 3 Allegro giocoso
Mvt. 1 Allegro non troppo
Em
Bm
F ]m
G]m
C]m
*
Dm
Gm

B[
B[m

D[
Fm
Cm
A[
E[
4 B
E[m
F]
Em
Bm
F ]m
C]m
*

A
6
Am
E
Em
Dm
B[
1
4
6
-C -G
F
Fm
B[m
B[
D[
B[m
tC]
Gm
Dm
2
A[m
Gm
D[m

1
6
- 6
Bm
Em
I
@
@D
G
Am
F
A[
Cm
Gm
E[
B[
Fm
Figure 9.7: Brahms, Symphony No. 4, key relationship diagram
The opening Allegro with sonata form has two characteristics: the symmetry relations
along the vertical axis with the relative major-minor and the minor third (3i) property. See
the Bm B D (1) and the Em Gm B[m sequence (2). The other remarkable fact is the
extended (chromatic) ascending key relationship Bm Cm D[m Dm Em (3).
The third movement is fairly regular, with its alternating moves towards dominant C
G C in the opening and towards the subdominant C F C in the closing section. The
exception is the middle section with the relative minor-major changes and the sequence
(C] = D[) E[ C, which is based on an enharmonic equivalence between two remote
keys.
393
394
Chapter 10
Peter Ilyich Tchaikovsky

Biographical data:
25-3- (17-4) -1840 in Wotkinsk
25-10 (6-11) -1893 in St. Petersburg
1600
10.1
1700
1800
1900
2000
Symphony No. 4 in F Minor, Op. 36 (1877)

Mvt. 2 Andantino in modo di canzona: ABA form (B[m,
A (125 m.)
h i
2
4
, 304 m.)
B (71 m.)
A (105 m.)
Mvt. 3 Scherzo, Pizzicato ostinato, allegro: ABCA Coda form (F A D[,
A (132 m.)
B (37 m.)
A (129 m.)
Coda (68 m.)
h i
2
4
, 414 m.)
C (48 m.)
Figure 10.1: Tchaikovsky, Symphony No. 4 in F Minor, Op. 36
10.1.1
Mvt. 2 Andantino in modo di canzona
Form: ternary song form, ABA form. The ternary structure of this slow movement may be
subdivided as follows: A:[A1 B1 A2 B2 ] B:[C1 D C2 ] A:[A3 B3 A4 ] Coda. The main theme
M1 may be deconstructed at two levels: on a larger scale this melody has M1(abab) (4 +
4 + 4 + 8 m.) period structure, where M1.b is a melodic sequence. On the smaller scale the
first phrase has M1.ab(ccb) (2 + 2 + 4 m.) sentence structure. The opening statements are
c
2005-2015
CHAPTER 10. PETER ILYICH TCHAIKOVSKY

for oboe and celli. In the thematic material there are numerous (descending) appoggiaturas.
another feature are the countermelodies during varied restatements of the melodies; these
are also full of (ascending) appoggiaturas. In the instrumentation there is regular doubling
at the octave.
The theme M2 has similarity to the M1.a motif and has M2(aaab) (4 + 4 + 4 + 12 m.) extended sentence structure. The B-section contrasting theme consists of a fourfold statement
of a short motif with appoggiaturas M3(aaaa) (2 + 2 + 2 + 2 m.) played first by woodwinds
in octaves (clarinets and bassoons), repeated by unisono strings in octaves. The analysis is
shown in Table 10.1 to 10.3.
10.1.2
Mvt. 3 Scherzo, Pizzicato ostinato, allegro

396
10.1. SYMPHONY NO. 4 IN F MINOR, OP. 36
Table 10.1: Tchaikovsky, Symphony No. 4 in F Minor, Mvt. 2 Andantino in modo di canzona
m
Comment
Andantino
1
6
M1
10
M1
..
.
14
18
22
24
26
30
34
38
42
50
58
62
73
75
78
82
84
86
90
94
98
B[m
/
D[
B[m
M1
..
.
M2
..
.
106
114
118
126
130
M3
([[[[[)
A:A1 , a): Ob, Str pizz
b), halfcad
B[m F G[ C7 /E[ F
a): Ob
B[m/D[ E[m7 A[7 D[

G[7 C7 F7
B[m/D[ F
b): Seq(32m;R7 )
2nd st, a): Vc, WW bg
B[m C7 /E[ F7 /E[
.
M1/ ..
.. ..
./ .
M1
..
.
B[m F G[ C7 /E[ F
B[m E[m G7 F
d
M1/c
.. ..
./ .
.
/ ..
M2
..
.
..
.
..
.
D[
B[m/D[ C7 F G7 /B[ F
b)
B[m/D[ B[m C7 /E[ F7 /E[
a)
B[m/D[ E[m7 A[7 /C D[

G[7 /B[ E[m7 F7 B[m
b): Seq(32m;R7 )
A[ G[ A[ E[m
[A] A:B1 (aa): Str unis
A[ G[ A[ D
(ab)
F ]m/C] F/C
cresc, (cm<)
A[/C . . .
A[+ /C = C + F7[9 /C
F7[9 /C
tutti clim, Str in 16ths

dim
[B] trans
(B[m F B[m)/B[ C7 /E[ F
A:A2 , Bsn, Str var
B[m E[m F B[m

F G7 /B[ F
(B[m F B[m)/B[ C7 /E[ F
halfcad
Vi+Va unis, WW bg
B[m C7 /E[ A[ D[
G[ C7 /E[ F7 B[m
Seq(32m;R7 )
A[ G[ A[ E[m
[C] A:B2 (aa): Str unis
A[ G[ A[ B/F ]
D F/C
<(D7 Gm C F ) C7 . . .
(ab), sym roots R3i

cresc, (cm<)
trans, WW+Hns
Piu` mosso
F C7 /G F C7 /E
Dm A7 Dm G7 C
([)
B:C1 (aa): Cl+Bsn
(aa) halfcad
397
(contd)
m
134
130
141
145
147
150
M
M3
M3
..
.
162
164
166
M3
156
158
170
174
178
180
182
186
190
199
204
206
208
212
216
M3
..
.
..
.
..
.
..
.
M1
..
.
Comment
A[
F C7 /E F C7 /B[
F/A C/E A Dm G C
A[ E[/G F m B[ E[
2nd stat (aa): Str unis,

(aa), WW PLi (%), halfcad
[D] clim, st 3, WW unis,
A[ D /F C
A[m/C[ B[7 E[7
i (%)
Str Mc Pm
(E[7 F m F7 B[m)/E[
B:D Str, tutti trans, P D (e[)
(E[7 A[ F7[9 B[m)/E[

d
(B[7 G7 A[)/E[
d
(F7 B[m G7 Cm)/E[

B[7 /D G[5
7 /D[ C
F
244
F C7 /E F C7 /G
d
D[
A7 /E Dm G7 C
(D[ A[7 F m E[7 A[[9
7 )/D[
B:C2 (aa): WW+Str, clim

(aa) halfcad
retrans, Str P T (d[)
(D[ A )/D[
(B[m A[7 E[7 A[7 )/D[
(D[ A[7 D[ C7 A[[9
7 )/D[
P T (d[)
B[m
M2
M1
(ped)
(F7 E[m7 G7 A[)/E[
M1
..
.
220
228
234
398
M3
..
.
..
.
..
.
..
.
154
D[
B[m
(D[ A[7 B[m)/D[

A[7 F7[9 . . .
rit
Tempo I
B[m F7 C7 F
([[[[[)
A:A3 , Vi1, Str+WW bg
B[m C7 /E[
F G7 /B[ F B[m
B[m/D[ F7 C7 /E[ F
WW 32ths runs
B[mE[m7 A[/C D[
G[7 /B[ E[m F7 B[m
Seq(32m;R7 )
A[ G[ A[ E[m
A[ G[ A[
B[m A[7 /G[ . . . F7 C /E[
[A] A:B3 (aa): Str unis

(a)
WW, trans
[5/[9
A[7
/D . . .
(contd)
m
Comment
M1
..
.
..
.
G[
(G[ D[7 G[)/D[ F7 /A[
Str, WW bg
B[m
283
287
M1
..
.
..
.
291
299
M1
M1
248
252
255
267
275
279
G[7 C[ E[7 /B[

A[m . . . E . . . A/C] . . .
F7 /C . . . F
d
Vc
B[m F7 G[ C7 /E[ F
A:A4 , Bsn Str pizz
B[m E[m7 E[ F C7 F
halfcad
B[m/D[ E[m7 A[/C D[

G[/B[ C7 F7
Seq(32m;R7 )
<(B[m G[7 /B[ B[m/F )

B[m
Coda, Vi1
Cl-Vc (304 m.)
399

400
10.1.3
The key relationship diagram is shown in Fig. 10.2. In the ternary song form Mvt. 2, Andantino in modo di canzona, both A-sections are in the tonic minor key B[m, alternating
with the relatve major key D[ (1,3). The middle section starts on the regular dominant major key F , alternating with A[ (2). Near the end there is an excursion towards the lowered
submediant major key G[ = [VI (4).
Mvt. 3 Scherzo,
Pizzicato ostinato
Mvt. 2 Andantino in
modo di canzona
E[
B[
F

E[m
B[m
* 6

4
1,3 ?

G[
D[
Fm
A[
Em
Bm
Gm
B[
1,2 6
?
A

Dm Am

F
C

5
B[m F m

4
D[
F ]m
A[
Cm
E[
Figure 10.2: Tchaikovsky, Symphony No. 4 in F Minor, key relationship diagram
Mvt. 3, Scherzo, Pizzicato ostinato, clearly reflects the major third (4i) symmetric root
layout. Both A-sections start on the tonic major key F . The middle sections start on A (2) and
D[ (4), respectively. All sections move back and forth towards a major third distant major
key (the closing section moves through all three related major keys F A F D[ F ),
except for the B-section, that alternates with the relative minor key F ]m (3).
10.2
Symphony No. 5 in E Minor, Op. 64 (1888)

Mvt. 4 Finale, Andante maestoso Allegro vivace: sonata form (E Em,
Introduction (58 m.) Exposition (70 m.)
2nd Dev. (62 m.)
h ih ih i
4
4
Development (74 m.)
2
2
6
4
, 565 m.)
False Rec. (32 m.)
C1 (32 m.) Coda2 (61 m.)

Figure 10.3: Tchaikovsky, Symphony No. 5 in E Minor, Op. 64
401
10.2.1
Mvt. 4 Finale, Andante maestoso Allegro vivace
Form: sonata form. The sonata form is not very evident to identify in this movement. The
main theme from this symphony (Das Schicksalsthema), here labeled as M0, returns prominently in the introduction, at the end of the development and the recapitulation section, and
in the coda.
The main theme has M0(aabbaabb) structure with all phrases of equal length, i.e., two
measures, the a-phrase (dotted quarter note with two 16th notes) as a characteristic motif,
and suggesting a period structure on the larger scale.
The sonata main theme (m. 58 ff.) also has M1(aabb) period structure with short twomeasure phrases; note the group of accented downbow quarter notes for strings. The contrasting theme (arch-shaped scalar stepwise motion in dotted quarter note 8th note rhythm)
then brings four-measure phrasing; this pattern is continued in M3(aa) (4 + 4 m.). The development section starts with a new theme, M4, which returns in the secondary development
section. It has M4(abab) (4 + 4 + 4 + 8 m.) period structure, the last b-phrase being a sequence. The Coda (m. 546 ff.) brings a closing two-measure signalling motif M5, first played
by oboes and trumpets, and repeated by the horns. See Table 10.4 to 10.6 for the analysis.
An alternative formal analysis yields MA1 MA2 MA3 (measures 1-57, 58-171, 172-201, 202425, 426-471, 472-565, respectively), where M is the main theme and the development theme
is incorporated as closing theme (part of the second group of themes) of the exposition. The
development element is now the elaborated and varied restating of all themes in A2 and in
the coda, A3 .
10.2.2

402
Table 10.4: Tchaikovsky, Symphony No. 5, Mvt. 4 Finale

m
1
5
9
13
16
20
24
28
32
36
39
44
46
58
63
65
70
74
80
82
86
90
97
106
114
118
128
136
140
144
148
156
164
169
172
180
Comment
M0
..
.
..
.
M0
E A E . . . C]m
Intro, main theme: Str
B D][9
7 G]m A]7 B F ] B
A E F ]m7 D]7 E C]m
B D][9
7 G]m A]7 B F ]
B <(C]7 B7 Em) B7
<(Em G) Am F ]7 B7
E A E . . . A]
M0
..
.
..
.
A D]7 E F ]m E A]
B D][9
7 G]m A]7 B F ]
d
Em
M1.aa
M1.bb
M1.aa
M1.bb
M1.aa
Em
M2/(1)
M2/(1)
M3
M3
M4.a
M4.b
M4.b
M0
2nd st: WW, tripl, PB (&)
B D][9
7 G]m A]7 B F ] B
M0
M4
M4
..
.
PB (%)
[A] tr, signal: Brs, P D (b)
A
D
Em
D
B <(C]7 B7 Em) B7
<(C G) F ]7 G
G <(F ]7 Em)/G Em/G
trans, Brs, climax
<(Em Am Em) . . . F ]7
<(Em F ]7 B)
<(Em . . . F ]7 /A)
<(C D7 )/C
C Am7 G Em G Em Am
G F ]7 Em C G Em B
Em A7
D F ]7 Bm B7 Em B
Em A7 D F ]7 Bm/D B7
<(E7 F ]7 E7 A]7 Bm)/E
<(A7 B7 A7 D]7 Em)/A
(A7 Em C]7 B7 )/A
Em/G
Exp, Gr 1/Th 1: Str, P (g)
[C] P (g)
2nd st: tutti cl, staccato

[D] WW, P (c)
tutti climax, asc bass
trans, (cm<)
[E] Gr 2: LoStr/WW
repeat: WW-Str, var
[F] imit: Str, P D (e)
rep: WW+Str var, P D (a)
[G] tutti climax, (cm<)
trans, P (g)
A7 /G D/F ] A7 /E D A7 /G
A7 /G D/F ]
[H] Dev, new th: WW

2nd stat: WW, PB (%)
C]7 F ]m D7 G E7 A
Seq(32m;R7 )
[B]
F ]7 Bm A7 Bm F ]m E
<(C/E G7 /F )
<(C Em F A7 Dm7 G)
[9
C A[9
7 Dm B7 Em7 A
F ]m B7 G7 /B G7 /D
C F/A C . . . F C Am
<(G Am G D]7 Em)
Seq, climax
[I] imit: Str-WW
Str, PB (%)
[K] Seq(32m;R7 )
cresc to climax
Brs, climax, (cm)
[L] PB (%)
403
Table 10.5: Tchaikovsky, Symphony No. 5, Mvt. 4 Finale (contd)

m
188
196
M0
202
206
210
214
218
M1.aa
M1.bb
M1.aa
M1.bb
M1/c1
..
.
224
227
230
Em
C
M1
234
242
250
258
266
282
M4/c2
M4/c
M4/c2
M4/c
296
304
312
316
321
324
328
332
340
348
M1/c3
M1/c3
M1.bb
M1.aa
Em
M2/(1)
M2/(1)
M3
M3
..
.
..
.
356
360
364
368
378
386
390
395
398
406
404
M4
M4
..
.
M4.a
M4.b
F]
E[m
F[
Em
A
D
Em
F ]m
G]m
F]
Comment
C F/A C F C Am
<(G Am G D]7 Em)
2nd stat: Brs, (cm)

PB (%)
<(Em G D]7 )
<(Em F ]7 /C C D7 /C)
<(C G C) Am7 /G
<(C7 Am7 /G)
C7 /B[ . . . G7 /B Em/B
[M] Rec: tutti, (cm)

WW+Str, P (c)
[N] repeat: tutti, clim
C7 . . . C]7
Gm7 /D C]7 /E B[m7 /F
C]7 /G F ]
tutti climax, PBi (%)
F ]/C] B F ]7 /E B/D] F ]7
<(F ]/C] B) B[[9
7
[13
B[7 /F E[m B[[13
7 E[m B[7
B[7 E[m(7) A[m7 D7 E[m
F [ = E . . . Em/G
F ]7 . . . Am/E Am D]7 /A
2nd Dev, Str, Mc: Cl

2nd stat: WW+Str
Bsn+Str, Mc: Fl, clim
[P] WW+Str, PB (&)
trans, dim
[Q] dim contd
Em
Em
<(C D7 )/C
C Am7 G Em G Em Am
G F ]7 Em C G Em B
Em A7
D F ]7 Bm B7 Em B
Em A7 D F ]7 Bm/D B7
<(E7 F ]7 E7 A]7 Bm)/E
<(A7 B7 A7 D]7 Em)/A
Rec, Gr 1, Mc: WW+Vi

repeat, tutti climax (ctp)
WW, P (c)
tutti climax, PB (%)
trans, (cm<)
[R] Gr 2: WW-Str
repeat, var
[S] imit: Str, P D (e)
rep var: WW+Str, P D (a)
(A7 Em C]7 B7 )/A
[T] Seq(34m;R7 )
(Em B7 C]7 /B C][9

7 )/B
(F ]m C]7 D]7 /C] D][9
7 )/C]
G]m/B
C]7 /B F ]/A] C]7 /G] F ] C]7
C]7 /B F ]/A]
cresc to clim, PB (%)

tutti climax, P D (c])
[U] trans, P (b)
dev th: WW, PB (&)
2nd stat
F7 B[m G[7 C[ A[7 D[
[V] Seq(32m;R7 )
WW+Str, Mc: Brs,
B[7 E[m D[7 E[m B[m A[

<(E/G] B7 /A)
<(E G]m A C]7 F ]m7 B)
[O] trans: WW+Str
Seq, climax
[W] imit: Str-WW
Str
Table 10.6: Tchaikovsky, Symphony No. 5, Mvt. 4 Finale (contd)

m
414
419
422
426
432
436
444
448
452
456
460
464
472
478
482
486
490
494
497
499
501
504
507
510
512
515
518
522
526
531
534
538
546
554
562
M4.b
..
.
M0
M0
M0
..
.
Em
[X] Seq(32m;R7 )
A]m D]7 B7 /D] B7 /F ]

E7 /G] Am/E
(Em . . . Bm7 Em B7 )/B
Em/B Am7 B7[9 Em
B C]7 B Em B7 Em A9 B
C]7 B7 Em F ]m G+ A
cresc to climax
Brs, tutti clim, P D (b)
PB (&)
Brs, clim, PB (%),
P D (b)
B79 Em B79
<(C/E G)
C G Am Em F ]m C D Am
D C F ]7 Em F ]7 F ]7
B
(climax)
[Y] climax
trans, (cm)
<(E A E) C]m
Coda, main th: Str
closing
B7 G]m C]m B7 F ]7 B7
A D7 E F ]m7 D E C]m
B D]7 G]m C]m7 B F ]97 B
<(E A E) F ]97
d
F
E
M5
[9
E C][9
7 F ]m D]7 G]7 C]
M1/2
..
.
M1/2
M4
Comment
M0
..
.
..
.
M0
..
.
[Z]
[Aa] 2nd stat: Ob+Brs,
9
[9
B D][9
7 G]m F ]7 B D]7
[9
<(C]m B D]7 )
G]m B7 E B]
C]m E46 C]m B
[Bb] (climax) PB (%)

cad, climax, (cm<)
E7 C]7 F ]m C]97
Presto
F ]m A B F ]m C]m E/B
Em E A A]7 B G] F ]m
E7 C]7 F ]m C]97
F ]m A B F ]m C]m E/B
<(C7 /B[ F/A)
C7 /B[ (E C]7 F ]m)/B
B7 F ]7 C] G7 B/F ]
E B7 G C]7 Am B
<(E Bm C]7 F7 B)
E
<(E A)
WW+Str, cresc to clim
E
E
climax, PB (%)
h i
2
2
, (cm<)
[Cc] repeat
cresc to climax
tutti climax
trans
[Dd] (cm<)
P
h Ti(e)
6
4 Brs, clim (ped)
[Ee] desc-asc lead
close (565 m.)
405

406

10.3. SYMPHONY NO. 6 IN B MINOR PATHETIQUE,
OP. 74
10.3
Symphony No. 6 in B Minor Pathetique, Op. 74 (1893)

Mvt. 4 Finale, Adagio lamentoso: ABACAB Coda form (Bm,
A1
B1
A2
C A3
h i
3
4
, 171 m.)
B2 Coda
Figure 10.4: Tchaikovsky, Symphony No. 6 in B Minor Pathetique, Op. 74
10.3.1
Mvt. 4 Finale, Adagio lamentoso

407

408
10.4. NUTCRACKER SUITE, OP. 71A
10.3.2
The key relationship diagram is shown in Fig. 10.5. The Finales ternary form structure is
reflected in the key relationships. The outer A-sections are in the tonic minor key Bm, the
contrasting middle section is in the relative major key D.
Mvt. 4 Finale
Bm
6
?
Figure 10.5: Tchaikovsky, Symphony No. 6, key relationship diagram
10.4
Nutcracker Suite, Op. 71a (1892)
Source: [67]. This suite for orchestra contains pieces from the original ballet music. An
10.4.1
Mvt. 1, Ouverture miniature
Form: binary form, A1 B1 A2 B2 . This overture is known for its string section instrumentation:
there are neither celli nor contrabasses, while all higher string instruments (violins and violas) are playing divisi. This adds to the light (miniature?) character of the movement (for
a similar instrumentation, see Mendelssohns Midsummer Nights Dream Overture, Sec. 7.1).
The main theme has a regular M1(abab) (2 + 2 + 2 + 2 m.) period structure. Melody M1.2
is a four-measure motif, acting as middle sentence in a larger scale structure. The B-section
presents a new theme with an unfamiliar M2(abb) (4 + 2 + 8 m.) structure, where the second
b-phrase with its stepwise ascending 16th-note turnaround patterns leads to a climax. See
10.4.2
Mvt. 2a, Danses caracteristiques, Marche

409
Mvt. 1 Ouverture miniature, Allegro giusto: ABAB form (B[,

A1
B1
A2
h i
2
4
, 183 m.)
B2
Mvt. 2 Danses caracteristiques

2a) Marche, Tempo di marcia: ABACABA form (G,
A1
B A1
C A2
2c) Danse russe Trepak: ternary ABA Coda form (G,

B
B1
h i
2
4
, 52 m.)
A2 B2
h i
2
4
, 84 m.)
Co
h i
3
8
2d) Danse Arabe: ABABAB Coda form (Gm,

A1
, 88 m.)
A2
4
4
B A2
2b) Danse de la Fee-Dragee: ternary ABA form (Em,

A1
h i
A3 B3
, 102 m.)
Cod
2e) Danse Chinoise: ABA Coda form (B[,
h i
4
4
, 32 m.)
A1 B A2 C
2f) Danse des Mirlitons: ABACA form (D,
A1
B A2
h i
2
4
A3
Mvt. 3 Valse des Fleurs: ABA Coda form (D,

Intro (33 m.) A (100 m.)
A (72 m.)
, 77 m.)
h i
3
4
, 341 m.)
B (84 m.)
Coda (51 m.)

Figure 10.6: Tchaikovsky, Nutcracker Suite, Op. 71a
410
Table 10.7: Tchaikovsky, Nutcracker Suite, Mvt. 1 Ouverture miniature

m
Comment
1
5
9
13
17
19
21
23
25
M1.1
M1.1
M1.2
M1.2
B[
B[ E[/G E[ C79 F
B[ E[ B[ F7 B[
B[ E[/G C79 F
B[ E[ B[ F7 /E[ B[/D
D7 /F ] Gm D7 /C Gm7 /B[
A7 /C Gm64 D7 Gm
C7 /E F C7 /B[ F/A
B[ F/C C C7 F
<(C7 /G[ F ) F G[7 /E
A1 , ab):: Vi1
ab)
2nd stat: Vi1, 16th accomp
30
33
37
39
41
45
49
53
57
61
65
70
75
77
83
90
98
107
111
115
120
123
129
131
Gm
F
B[
(cm<), Seq(5R7 ), clim

[B] WW, 16th accomp
B[ D7 E[ E7 F F ]7
Gm A[5
7 /E[ D
G7 /B Cm G Cm/E[ C7[9 /E
cresc, climax
Tr2 : Str
F B[ B[/D F ]7 /E[ C7 /E
B1 , a): Vi1
<(C79 /B[ F/A F )

C]7 /B[ Dm/A G7 C7
F B[ B[/D F ]7 /E[ C7 /E
b), 16th-notes
b): PL (%), climax
[C] 2nd stat: Vi1
<(C79 /B[ F/A F )

F7 /E[ B[/D A7
Dm <(D7 Gm) <(A7 Dm)
(cm>)
Dm G[5
7 /D[ F/C C]7 /B
(cm<), PBi (&) , cresc
Gm7 C7 <(F A7 Dm C7 )
<(C7 F ) F . . . C7 F
tutti climax
cad
B[
B[ C7 F B[ F7
B[ C7 F B[ F7 B[
D7 Gm D7 Gm
C7 /E F C7 /B[ F/A
<(C7 /G[ F ) F G[7 /E
G7 /D A[/C E[7 /D[ F/C
B[ C7 F7 B[ D7
[D] A2 : tutti (see m. 1-8)

Vi1 (see m. 9-16)
[E] Fl (see m. 17-20)
Cl (see m. 21-24)
Tr1 , dom ext (see m. 25-29)
(cm<), Seq(5R7 ), clim
WW (see m. 33-38)
E[ F ]7 Gm A7 /E[ D
G7 /B Cm C7 F
cresc, climax (see m. 39-40)

[F] Tr2 : Str (see m. 41-44)
M2
..
.
M2
..
.
..
.
M1.1
M1.1
M1.2
M1.2
M1.1
..
.
Tr1 , dom ext
G7 /D A[/C E[7 /D[ F/C

B[ Cm/G C7 /G B[/F F7
M1.1
..
.
M2
..
.
[A] Fl
cad
2nd stat: Cl
Dm
Gm
F
B[
411
Table 10.8: Tchaikovsky, Nutcracker Suite, Mvt. 1 Ouverture miniature (contd)

m
135
139
143
147
151
155
160
165
167
169
173
412
Comment
M2
..
.
B[
B[ E[ E[/G G]7 F7 /A
B2 , a): Vi1
<(F79 /E[ B[/D B[)

F ]7 /E[ Gm G7 C7
B[ E[/G E[ G]7 F7 /A
b)
b), PL (%), climax
[G] 2nd stat: Vi1
M2
..
.
M2
..
.
Gm
B[
<(F79 /E[ B[/D B[)

B[7 /A[ E[/G E[ D7
Gm <(G7 Cm) <(D7 Am)
Gm C7[5 /G[ Dm/F F ]7 /E
E[ C7 /E F7
<(B[ D+ Gm F7 )
<(B[ F7 ) B[
(cm<), PBi (&) , cresc

[H] tutti climax
tutti climax, cad (183 m.)

413
Table 10.9: Tchaikovsky, Nutcracker Suite, Danses caracteristiques, Danse de la Fee-Dragee

m
1
5
7
9
11
13
15
17
19
Ma
Mb
Ma
Ma
Comment
Em
<(Em F ]7 A]7 D]7 )/E

(Em F ]7 D]7 A]7 D]7 )/E
(A]7 D]7 Em F ]7 Em)/E
[9
F ][5
7 /A] D]7 /A Em/G F ]7
G]7 /F ] F ]7 B F ][5
7 /C B
(Em F ]7 D]7 A]7 D]7 )/E
(A]7 D]7 Em F ]7 Em)/E
F ]7 Em E7 A
D7 G B/F ] Em
Intro, Str pizz, P T (e)

A1 : Cel, (ped)
Str: 8th pizz (ped)
BCl, (cm<)
2nd stat: Cel, P T (e)
(ped)
[A] trans, Seq(31m;R7 )
tutti cad
21
25
29
33
35
Mc
Mc
Mc
C]7 /B B Em/G
C]7 /B B Em/G
C]7 /B B Em/G
B7 D7 B7 F7
[9/[13
B7
D7 B7 D7 B7
B1 , P D (b)
(ped)
(ped)
B2 retrans, Cel
solo cadenza arp
37
39
41
43
45
47
Ma
Mb
Ma
(Em F ]7 D]7 A]7 D]7 )/E

(A]7 D]7 Em F ]7 Em)/E
[9
F ][5
7 /A] D]7 /A Em/G F ]7
[5
G]7 /F ] F ]7 B F ]7 /C B
(Em F ]7 D]7 A]7 D]7 )/E
(A]7 D]7 Em F ]7 Em)/E
[B] A2 : Cel, P T (e),

Str: 16th arco (ped)
BCl, (cm<)
49
51
Ma
F ]7 B E7 A
D7 G B7 Em
Coda, Seq(31m;R7 )
tutti cad (52 m.)
10.4.3
2nd stat: Cel, P T (e)

Str: 16th arco (ped)
Mvt. 2b, Danses caracteristiques, Danse de la Fee-Dragee
Form: ternary song form, A1 BA2 . This dance has become part of the classical music canon.
The unique orchestration aspect is the use of the celesta; the story is that Tchaikovsky saw
this novelty in Paris, liked the sound, and then decided to use the instrument in this ballet
music. Also note the very low bass clarinet, answering the celesta phrases.
The main melody has M(abab) (4 + 4 + 4 + 4 m.) period structure, with the b-phrase as a
melodic and harmonic sequence. The middle section has a larger scale constrasting melodiy
with a modified Mc(ababa) (2 + 2 + 2 + 2 + 4 m.) period structure, and extended use of pedal
point. See Table 10.9 for the analysis.
10.4.4
Mvt. 2c, Danses caracteristiques, Danse russe Trepak

414

415
10.4.5
Mvt. 2d, Danses caracteristiques, Danse Arabe
Form: ABABA Coda form, rondo form. This folk dance has a (g d)-pedal point (tonic and
dominant) throughout, played by violas and cellos. The introduction A returns twice as a
transitory interlude. The opening motif M0 is a four-measure phrase in three-part sectional
voicing for English horn and two clarinets. The main rondo melody appears in the B-section
and has M1(ab) (4 + 4 m.) structure. The oboe countertheme M2 in the B3 section contains a
chromatically descending [1 7 7 [6 5]-motif. See Table 10.10 for the analysis.
10.4.6
Mvt. 2e, Danses caracteristiques, Danse Chinoise

416
Table 10.10: Tchaikovsky, Nutcracker Suite, Danses caracteristiques, Danse Arabe

m
Comment
h i
Gm
3
8
1
5
M0
Allegretto
Gm . . .
Gm . . .
14
22
M1
M1
Gm . . .
Gm . . .
B1 , Vi
[A] 2nd stat, var
33
M0
Gm . . .
A2 , trans: EHn+2Bsn, 2
42
M1
..
.
[9
(Gm G7 G[9
7 D7 )/G
[B] B2 , Vi: var
46
48
50
P (gd)
A1 , Intro: Va+Vc (mute),
EHn+2Cl, 2
(D7[9
D[7 C D[7 )/G

(C D[7 Cm Gm)/G
(Gm A[9
7 Gm)/G
54
57
M1
..
.
..
.
(Gm A7 A[)/G
(A7 A[ G . . . Gm . . .)/G
NB: intermediary major
61
65
M0
Gm . . .
Gm . . .
[C] A3 , trans: EHn+2Cl,

Str (open), 2 stat
69
70
78
M2
M1/
M1/2
Gm
Gm . . .
Gm . . .
B3 Ob: desc motif

Vi1+Va, WW: arp response
[D] 2nd stat, M2: EHn 8ba
86
88
90
92
94
97
M0
M1
M0
M1
M0
<(Gm Cm)/G
G
<(Gm Cm)/G
G
(Gm Cm G)/G
G
[D] Coda, Cl
Bsn: app, NB: major
2nd stat
52
2nd stat
(Gm . . . F ]7 Gm)/G
3rd stat, NB: major

morendo (pppp) (102 m.)
417

418
10.4.7
Mvt. 2f, Danses caracteristiques, Danse des Mirlitons
Form: ABACA form. This dance is a feature for the three flutes, that play 3-part parallel lines
(sectional harmony) in the A- and B-sections. The C-section is a contrasting middle section,
with the brass dominating this tutti.
The main theme has M1(abab) (4 + 4 + 4 + 4 m.) period structure. The contrasting
theme in the bridge, set for English horn, has M2(aab) (2 + 2 + 4 m.) sentence structure. The
C-section presents a four-measure 16th-note staccato motif M3 for brass section with lead
trumpets. In the repeat (m. 51 ff.) there is a tutti orchestration with high strings doubling the
trumpet melody at the octave. See Table 10.11 for the analysis.
10.4.8
Mvt. 3, Valse des Fleurs Tempo di Valse

419
Table 10.11: Tchaikovsky, Nutcracker Suite, Danses caracteristiques, Danse des Mirlitons
m
1
3
7
9
11
15
Comment
h i
Moderato assai
D ...
D A7 D G/D D/A E7 A7
A97 /C] D A97 /E D/F ]
E7 /G E7 /G] A
D A7 D G/D D/A E7 A7
A97 /C] D E]7 F ]m G]7 A
b), cresc, PB (%)

clim, halfcad
2nd stat, a): 3Fl
b), cresc, PB (%)
M1
..
.
M1
2
4
A1 , Str: pizz
a): 3Fl
19
25
M2
A97 . . .
A7 . . .
[A] B, EHn: arp
27
M1
..
.
D A7 D Bm7 /D D/A E7 A7
A2 , 3Fl, Str: bg
A97 /C] D A97 /E D/F ]

E7 /G E7 /G] A
cresc, PB (%)
clim, halfcad
[B] 2nd stat: 3Fl
C]7 D C]7 /E D/F ]

E7 /G A D
cresc, PB (%)
clim, cad
<(F ]m C]7 )
<(F ]m C]7 )
<(F ]m C]7 )
<(F ]m C]7 )
<(F ]m C]7 )
[C] C, Tpt+Brs, tutti

P (f ] c])
[D] Tpt+tutti
3Fl: retrans
A3 , 3Fl, Str: bg
A97 /C] D A97 /E D/F ]

E7 /G E7 /G] A
cresc, PB (%)
clim, halfcad
[E] 2nd stat: 3Fl
C]7 D C]7 /E D/F ]

E7 /G A D
cresc, PB (%)
clim, cad (77 m.)
31
33
35
39
41
M1
..
.
43
47
51
55
60
M3
M3
M3
M3
62
M1
..
.
64
66
70
74
76
420
M1
..
.
F ]m

421
10.4.9

422

423
424
Chapter 11
Gabriel Faure
Biographical data:
12-5-1845 in Pamiers (Ariège)
4-11-1924 in Paris
1600
11.1
1700
1800
1900
2000
Requiem in D Minor, Op. 48 (1877-90)
Source: [18]. Music for orchestra and choir; this is the final version, orchestrated in 1900. An
The orchestration is for winds, brass, percussion, strings and organ; the general setting
is light. In the string section the violas and celli are the main parts, playing divisi in two
subgroups; doubling the register of the choir. Violins are often used for effect, playing countermelody, and contrabasses give local extra support (cello group 2 is playing the bass part).
Although the work is orchestrated for full orchestra, there are many tacet parts in the individual movements, see the instrumentation overview in Table 11.1 (the score shows all
staves on every page, although many remain empty). The result is a most transparent orchestration. The vocal parts are for mixed choir (sopranos, altos, tenors and basses) and solo
soprano and baritone. The organ part contains numerous errors (flats, sharps, compare with
the string parts). There are climaxes in every movement, but no extended loud sections will
be found.
Most melodies are diatonic. The same holds for the harmony. Occasionally there are
exact parallel chord structures on symmetrically distributed roots, especially on dominant
chords under a chromatic melody. This concerns dominant 7th chords S7 with roots distributed at the (minor R3i or major R4i ) third, e.g., alternating <(D7 B7 ) sequences (see
Mvt. 7).
11.1.1
Mvt. 1 Introt et Kyrie, Molto largo Andante
Form: introduction ABC. The longer opening movement has vocal solos (tenors in the A section, sopranos in the A and C section), brass tutti support (see the instrumentation overview
in Table 11.1). See Table 11.2 and 11.3 for the analysis.
c
2005-2015
CHAPTER 11. GABRIEL FAURE
Mvt. 1 Introt et Kyrie, Molto largo Andante: ternary song form (Dm,
Intro. A
h i
4
4
Mvt. 2 Offertoire, Adagio molto: ternary song form, ABA Coda (Bm D,
I
h i
3
4
A B
h i
4
4
, 38 m.)
Mvt. 5 Agnus Dei, Andante - Molto largo: ABCA form (F ,

I A
h ih i
B A C
, 93 m.)
h ih i
6
4
2
2
, 136 m.)
Mvt. 7 In Paradisum, Andante moderato: ABACA form (D,

A
4
4
3
4
Mvt. 6 Libera Me, moderato: ternary song form, ABA (Dm,

A
h i
3
4
, 59 m.)
A
Figure 11.1: Faure, Requiem in D Minor, Op. 48
426
4
4
, 62 m.)
Mvt. 4 Pie Jesu, Adagio: AABA form (B[,

A
h ih i
A C
Mvt. 3 Sanctus, Andante moderato: ternary song form, ABA (E[,

A
, 91 m.)
3
4
, 95 m.)
11.1. REQUIEM IN D MINOR, OP. 48
Table 11.1: Faure, Requiem in D Minor Op. 48, Instrumentation overview. (m: muted strings)
Movement:
Instruments:
Flute 1-2
Clarinet in B[ 1-2
Bassoon 1-2
Horn in F 1-2-3-4
Trumpet in F 1-2
Trombone 1-2-3
Timpani
Harp 1,2
Violin 1,2
Viola 1,2
Cello 1,2
Contrabass
Organ
Soprano solo
Baritone solo
Sopranos
Altos
Tenors
Basses
1
Introt
et Kyrie
2
Offertoire
+
+
+
+
+
+
+
3
Sanctus
+
+
+
+
+
+
+
+
+
+
+
+
+
+
m
m
+
+
+
+
+
5
Agnus
Dei
6
Libera
Me
+
+
7
In paradisum
+
+
+
m
+
+
+
+
+
+
+
+
+
4
Pie
Jesu
+
+
+
+
+
+
+
+
+
+
+
m
m
m
+
+
+
+
+
+
+
+
+
+
+
427
Table 11.2: Faure, Requiem in D Minor Op. 48, Mvt. 1 Introt et Kyrie
m
1
7
13
16
M1
..
.
..
.
Dm
Comment
Molto largo
Introduction
Dm Am/C F/C
Choir: Requiem aeternam
B[ F/A B[ E[/G F F7 /E[
[A] et lux perpetua, climax
E[ F7 /E[ G[/D[ D[7 F/C

A7 /C] B7 /D A
[B] luceat eis
Andante moderato
18
24
26
28
33
34
35
37
38
39
40
42
43
44
46
47
48
50
54
58
61
67
69
428
M2.a
..
.
M2.a
..
.
M2.b
..
.
..
.
M3.a
..
.
M3.a
..
.
M4
..
.
M2.a
..
.
<(Dm Am A/C])
A Stat 1, T: Requiem aeternam
Dm F B[9 C7
F7 B[7 E7 /B[ Dm64 A7
<(Dm Am A/C]) Dm
[C]
E/G] Am Dm7 /C
E7 /G] Am F
C/E B7 /D] Em B[/D
[D]
Stat 2, T: Requiem aeternam
T: et lux perpetua
Am/C Am64 E7
Am F ]7 E7 /G] Am
C]7 /G F/A Gm7 /B[
A[9
7 Dm/A G/B F7 /C
B[/D E[/G
[E] Trans
Stat 1, S: Te decet hymnus
F7 /A B[+ C/E D/F ]

Gm E[ Cm7 F7 /A F7 /E[
B[/D Dm/F E[/G
Stat 2, S: et tibi reddetur
Brs+Str climax
F7 /A B[+ C/E D/F ]

Gm Dm64 A Dm
(F Dm F A+ )/F
[F] B Ch: exaudi, clim, P D (a)
F ]m/A A+ B[m/F F +
B[m/F F F + /A A+
diminuendo
<(Dm Am A/C])
[G] C Stat 1, Ch: Kyrie
Dm F/A B[9 C7
F7 B[7 E7 /B[ Dm64 Am
[H]
Table 11.3: Faure, Requiem Op. 48, Mvt. 1 Introt et Kyrie (contd)
m
71
M4
..
.
..
.
M4
..
.
..
.
75
78
81
82
85
86
89
11.1.2
Comment
d
<(F ]7 /A A7 )
Ch: Christe eleison, clim, P D (a)
B[/D F C + F/A A7
[J] Coda, Ch: Christe eleison
Dm A
E[/B[ B[ E7 no 5 /G A
Dm A
chr asc,
choir unisono
repeat Ch: eleison
E[/B[ B[ E7no 5 /G A7
[K]
E7[5
D7 /F ] Gm
Em7 E7 /G]
Dm/A E7 no 3 Dm
(91 m.)
Mvt. 2 Offertoire, Adagio molto

429

430
11.1.3
Mvt. 3 Sanctus, Andante moderato
Form: ABA, ternary song form.

Both A-sections are characterized by extended pedal point and the continuous ostinato
16th note arpeggio background patterns in harp and violas. The choir is set as a call-andresponse in M1 and M2, with unisono tenors and basses answering the soprano calls. These
lower voices are accompanied by a countermelody in the high violins (first unisono, later
in octaves). The melody is slightly varied each time reaching slightly higher (first a second,
then minor and major third in [A], and finally a fifth in [B]). In [C], the order changes: first
there is the soprano call, while the violins act as a connection to the lower voices response.
The middle B-section is the movement climax with the three unisono brass motif Mb
statements (this Hosanna section never fails to impress and lead to goose bumps), and the
block chords in harp, strings and organ. The coda, the A-section has the only entrance of
the altos, in a choir tutti over an extended tonic pedal. See Table 11.4 for the analysis.
11.1.4
Mvt. 4 Pie Jesu, Adagio

431
Table 11.4: Faure, Requiem in D Minor Op. 48, Mvt. 3 Sanctus, Andante moderato
m
1
3
5
7
9
11
13
15
17
19
23
27
29
31
M1
M1
M1
M1
M1
M1
M1
M1
M2
M1
M2
/Mc
M2
39
41
/Mc
M2
..
.
..
.
42
44
48
Mb
M3/b
M3/b
33
35
38
52
53
54
55
57
432
M4
..
.
/Mc
Mc
Comment
E[
E[/G
(E[ E[6 E[ A[7no 3 )/G
(E[ E[6 E[ A[7 )/G
(E[ E[6 E[ A[7no 3 )/G
(E[ E[6 E[ A[7 )/G
(E[ E[6 E[ A[7no 3 )/G
C7 /G B[7 /A[
(E[ E[6 E[ A[7no 3 )/G
C7 /G B[7 /A[
Gm Dm/F E7 /G C7 /G D/F ]
(D/F ] Bm G7 D)/F ] B[7
(E[ E[6 Gm A[7 )/G
E[/G C7
(E[ E[6 Gm A[7 )/G
A, Harp+Va: 16ths, P (g)

St 1: S: Sanctus
TB unis, Vi: 8ths
St 2: S
TB unis, Vi: 8ths
[A] S: dominus
TB unis, Vi
S
TB unis, Vi
[B] S: Sanctus
TB unis: Deus
[C] S: Pleni sunt, P (g)
Mc: Vi
TB unis: Gloria, P (g)
D
E[
B[m
E[/G C7
B[m/D[ G[7 D[64 A[7
Mc: Vi
[D] S: Hosanna
B[7 /A[ Gm B[7 /F
E[
C7 /E B[7 /F E[/G A[7

B[sus4
B[7
7
PB (%)
cresc
E[ E[/G F m7 E[7 /G A[
<(E[ E[/G F m7 E[7 /G A[)
<(E[ E[/G F m7 E[7 /G A[)
[F] B, Brs unis, climax

TB: Hosanna
S: stat 2
E[ . . .
E[ . . .
A=Coda P T (e[)
(TB): Sanctus
E[ . . .
E[
<(E[ B[sus4
7 )/E[ E[
(SA): imit
Vi
(62 m.)

433
11.1.5
Mvt. 5 Agnus Dei, Andante
Form: introduction ABCA (Coda). This movement opens and closes with a sweet melody
Mc for high strings and organ. This ascending arpeggio-like syncopated becomes a countersubject, interwoven with the main melody M1. The A section has an inner AABA structure
(see the three statements of the main theme and the bridge subsection with melody M2. The
transition from the A to the B section is based on symmetrically distributed roots starting on
the dominant chord of the main key R4i : C E A[.
The first contrasting B section contains a double statement of M3, with downward chromatic lead voice over a harmonic sequence. See Table 11.5 to 11.6 for the analysis.
11.1.6
Mvt. 6 Libera Me, Moderato

434
Table 11.5: Faure, Requiem in D Minor Op. 48, Mvt. 5 Agnus Dei, Andante
m
1
3
5
6
8
10
11
13
15
17
19
21
23
24
26
27
29
31
33
35
36
37
38
44
Mc
..
.
h i
Andante
F F7 /A B[9 E7 /G
/
M2
M2
..
.
..
.
..
.
Mc
M1/c
.. ..
./ .
.. ..
./ .
.. ..
./ .
/
Mt
M3
3
4
Intro, Vi+Va unis
F7 /A G7 /B F/C C79 /G Am/C

Dm F/A C79 Dm C79
[S6 ]
F F7 /A B[9 E7 /G
A, T: Agnus Dei, Mc: Va
F7 /A G7 /B F/C C79 /G
Dm F/A C79 Dm C79
F F7 /A B[9 E7 /G
d
F7 /A G7 /B F/C C79 /G
Dm D7 E7 Am D79 E79
/
M1/c
.. ..
./ .
58
50
51
53
Comment
M1/c
.. ..
./ .
56
48
..
.
..
.
..
.
M3
..
.
46
Am
Am/C
[S6 ]
[A] st 2, T: dona eis,
Am/C
Mc: Vi+Va unis
Am (Cm7 F ]7 D]7 )/C

F ]7 /C G]7 /B Am/C
Am (Cm7 F ]7 D]7 )/C
[B] bridge, Ch: Agnus dei,

~ %
Hk
i
[B] bridge, Ch: Agnus dei,
F ]7 /C G]7 /B
~ %
Hk
i
d
F7 /C Cm7 /B[ D7 /A E[/G
tutti climax, Brs, PB (&)
B[4
[C]
B[ B[/F Dm/F
Am Dm7 C7
F F7 /A B[9 E7 /G
F F7 /A B[9 E7 /G
Org
st 3, T: Agnus Dei, Mc: Va
F F7 /A B[9 E7 /G
Mc: Vi+Va unis
Am4
F7 /A Dm/F
d
B[7 C7 /B[ Dm7 /A

E7 Am7 /G Dm97 /F C/E G7
C E/G] C/E Em/G C/E
A[
A[ Cm C[/E[
[E] B, Seq(32m;R7 ),
G[ B[m A/C] = B[[/D[
Ch, PLi (&)
F [ = E A[m
A[m/C[ C[7 D[m E[7
A[ Cm C[/E[
st 2, Ch: cum sanctis, Brs
G[ B[m A/C]
Seq(32m;R7 ), PLi (&)
[D]
trans, T: sempiternam
S: Lux aeternam, sym R4i
E G]m/B A[/C F m7 /C E[7
435
Table 11.6: Faure, Requiem Op. 48, Mvt. 5 Agnus Dei, Andante (contd)
m
Comment
60
M4
..
.
..
.
Fm
(F m B[m7no 3 F m)/F C/E
[F] Ch: cum sanctis, P T (f )
62
64
66
69
74
80
84
85
87
89
90
91
92
436
(F F m D[)/F E7no 5
Dm
M5
..
.
..
.
Mc
..
.
..
.
..
.
(F m D[ D Dm)/F
Am7 /E B[7 /D A
Dm Am/C B[7 A
Brs, tutti clim
Molto largo
Dm Am/C F/C
h i
B[ F m/A[ D[/A[ D[/F
[H] Et lux, tutti climax
A7 /E Dm Dm7 /C E7 /B[
Dm64 A7
PB (&)
cad
1. Tempo
D D7 /F ] G9 C]7 /E
h i
D7 /F ] E7 /G]
[S6 ]
[G] trans, clim, HiStr unis

4
4
C, Ch: Requiem, Brs unis
3
4
A=Coda, HiStr unis
D7 /A C]7 /E F ]m/A
Bm D/F ] A97
D Bm7 A7 D
Brs, cad (93 m)

437
Table 11.7: Faure, Requiem in D Minor Op. 48, Mvt. 7 In Paradisum, Andante moderato
m
1
3
10
13
15
18
20
23
26
28
30
34
35
39
42
44
46
48
51
53
11.1.7
Comment
D6 . . .
D6 . . . <(Em7 /D Asus4
7 )
A
S: In paradisum
<(Em7 /D Asus4
7 )
6
sus4
D A7 D/F ] Em7
D7 B7 D7
B7 D7
[A] in tuo adventu
G Bm7 /F ] E7
B, Ch: Jerusalem
M1
..
.
M2
M3
..
.
E7 /D E7 /B D/A F
F ]m/A A7
M4
D6 Em7 /D Asus4
7
<(D6 Em7 /D Asus4
7 )
6
sus4
D A7
M5
..
.
..
.
..
.
F ]m
<(C][13
7 D Bm7 )
[C]
A, Harp
S: Chorus angelorum
[D] C, S: et cum Lazaro
D7 /C D7 /A B7
d
D
M6
trans, et per
[B]
C]7 /G] D/F ] C]m7
cresc
F/A Bm7 F/C

F ]m/A A7
[E] climax
Ch: Requiem
<(D6 Bm/F ])
<(D6 Bm/F ])
D6 . . . D
A=Coda,
[F] Ch: aeternam
(59 m.)
Mvt. 7 In Paradisum, Andante moderato
Form: introduction ABACA. The main characteristic of the closing movement are the continuous staccato 16th note arpeggio figures in the accompaniment for organ and (later) harp.
There is a long, through-composed melody M1M6.The mood is light, dolce and expressing relief and joy in paradise. The angelic choir obviously is represented by the sopranos
(tenor Tony Soprano absent, attending business in another department). The strings play
with mutes. Harmonically there is the two-measure tonic-dominant riff in the A sections.
11.1.8

438

439
11.2 Pelleas et Melisande, Suite for Orchestra Op. 80 (1892)

Mvt. 3 Sicilienne, allegretto molto moderato: rondo form (Gm,
A
A C
h i
6
8
, 86 m.)
A
Figure 11.2: Faure, Pelleas et Melisande, Suite Op. 80
11.2.1
Mvt. 3 Sicilienne, Allegretto molto moderato
Form:
rondo, ABACA. See Table 11.8 for the analysis. This well-known dance movement in
h i
6
8 meter has a main melody with regular M1(abab) (2 + 2 + 2 + 2 m.) period structure. The
secondary theme M2 in the contrasting B-section picks up the rhythm and the shape from
the last b-phrase of the main melody. It is a 2-measure motif, repeated four times and leads
into a transitory climax with theme M3, repeated once.
The second contrasting theme in the C-section is another M4(abab) (4 + 4 + 4 + 4 m.)
period structure, opposing the lead celli (with a melody that has similarities to M1) with
descending patterns in the woodwinds..
11.2.2

440
11.2. PELLEAS
ET MELISANDE,
SUITE OP. 80
Table 11.8: Faure, Pelleas et Melisande, Suite Op. 80, Mvt. 3 Sicilienne
m
Comment
1
4
6
8
10
12
14
16
M1.a
M1.b
M1.a
M1.b
M1.a
M1.b
M1.a
M1.b
Gm
Gm Gm7 /F Gm6 /E Dm/F

<(B[ C7 /B[) D
Gm Gm7 /F F m7 /E[ G7 /D
C7 C7 D7 Gm
<(B[ C7 /B[) D
C7 C7 D7 Gm
A ([[) main th, : Fl
18
20
22
24
26
28
30
32
M2.a
M2.a
M2.a
M2.a
M3
M3
34
36
38
40
M1.a
M1.b
M1.a
M1.b
Gm

<(B[ C7 /B[) D
C7 C7 D7 Gm E[
[D] A main th: Fl

Fl+Vi1
2nd stat: Vi1
cad
44
48
54
58
62
64
66
68
M4.a
M4.b
M4.a
M4.b
M3
M3
E[
(E[ E[7 Cm F7 E[ Cm)/E[

(B[7 Gm B[7 )/B[
(E[ E[7 Cm F7 )/E[
<(A7 C[7 E[)/E[
F79 E7 /G A7 D
F79 E7 /G Am7 A7 D
F79 E7 /G A[9
7 D
F79 E7 /G D7 /F Cm7 /E[ D7
[E] C ([[[) P T (e[),

WW, P D (b[)
2nd stat: Str
P T (e[)
[G] conclusion, clim
70
72
74
M1.a
M1.b
M1.a
Gm

<(B[ C7 /B[) D
[H] A main th: Fl
76
M1.b
77
80
83
E7 E[7 F713 B[ B[7

E7 E[7 D7 Gm
E7 E[7 F713 B[
E7 E[7 D7 Gm
F79 E7 /G A7 D
F7 E7 /G Am7 A7 D
F79 E7 /G A[9
7 D
F7 E7 /G D7 /F Cm7 /E[ D7
cad
[A] 2nd stat: Vi1
Fl+Vi1
cad
B 2nd theme: Str
[B]: repeat WW+Str
(cm<)
[C] conclusion, clim
(cm>)
repeat
repeat
C7 C7 D7
E[
Gm
E[ E[7 E[/B[ B[sus4

7 /A[
E[ D7 Gm Gm7 /F Cm7 /E[ D7
Gm <(Gm Cm)/G Gm
[K] Coda: Cl
FHn+Vi2, (cm<)
cad (86 m.)
441

442
11.3. MASQUES ET BERGAMASQUES, SUITE OP. 112
11.3 Masques et Bergamasques, Suite for Orchestra Op. 112 (1919)

Mvt. 1 Ouverture, allegro molto vivo: sonata form (F ,
Exposition
Development
h i
2
2
, 246 m.)
Recapitulation
Mvt. 2 Menuet, allegretto moderato: ternary song form (F ,

A
h i
3
4
, 103 m.)
Figure 11.3: Faure, Masques et Bergamasques, Suite Op. 112
11.3.1
Mvt. 1 Ouverture, Allegro molto vivo
Form: sonata. See Table 11.9 and 11.10 for the analysis. The main theme has an overall
M1(ab) (16 + 8 m.) structure, where the a-phrase is subdivided into four statement of a
4-measure a-motif, each time repeated at a higher starting pitch. The b-phrase is a sort of
conclusion, leading into a descent and closing with a cadence.
The second theme M2(aaa) is a melodic sequence, Seq(3 4m;R7 ), set in imitation for
woodwinds and strings; it opens with three repeated quarter notes followed by an upward
octave leap. The contrasting theme in the second exposition group has M3(aab) (4 + 4 + 6
m.) sentence structure, with strings instrumentation in octaves. Like M1, the a-phrase is
repeated at a higher pitch.
The development starts with a new theme M4, a staccato arpeggio in quarter notes, presented in descending and ascending form in imitation for woodwinds. It continues by developing the theme M2. The main theme M1 returns in the recapitulation, as do the melodic
sequences of M2 and the three a-phrase statements of M3. The coda is based on a constantly
ascending climatic variation of the main theme M1.
11.3.2
Mvt. 2 Menuet, Tempo di minuetto. Allegretto moderato

443
Table 11.9: Faure, Masques et Bergamasques, Suite Op. 112, Mvt. 1 Ouverture
m
1
9
17
21
25
33
37
39
43
47
51
55
59
65
69
73
77
81
86
88
89
92
102
110
117
121
127
134
138
142
144
145
146
444
Comment
M1.a
..
.
<(F C7 /G)
Exp, Gr 1/Th 1 aaaa: Vi1
Am C713 /B[ Am C7 /B[

D79 C/G D7 /F ]
9/sus4
9/sus4
C G7
G13
C7
7 C7
<(F C7 /G)
cad
[1] 2nd stat, aa): WW+Vi1
M1.b
M1.a
..
.
(M1)
M2
..
.
M3
..
.
M3
M3
..
.
..
.
M1
M4
M4
(M2)
(M2)
(M2)
M2
..
.
..
.
..
.
F/A F7 /A Gm7 /B[ G[9

7 /B
9/sus4
[9
F/C D7 /F ] C7
C713
(F B[ Dm)/F D7 /C C7
F Dm7 /F B7 /C C7
F F7 /A B[ B[7 E[
a): climax
cad
[2] trans, M1: Vi2, Mt : WW
E[97 /D[ C C7]5 /E

9/+5
F F7
/E[ D Em7
i (%)
melodic sequence, Pm
Gr 1/Th 2, imit: Str-WW
D7 /F ]
<(G G7 D7 /F ])
[3] trans: WW
9
F/A F G13
7 C7
Gr 2/Th 1 in D, a) Str
A
Am
C Am B7[13 Em
+
D7 /F ] E
E7 F7
E A A/E
E Am Em F7
a)
b)
[4] Fl+Cl
Vi1
G7 /F Am7 /E G7 /D F/C
PB (&)
B[ C7 /B[
B[/F F7 Gsus4
G13
7
7
9
<(C C7 Dm7 G7 )C
[5] cl clim, P T (c)
C
F
Dm
F
Dm
C7 /E F A7 /C] Dm
<(Gm7 Dm) E[/G E7 /G] A
F B[/D C7 F/C
Dm Gm/B[ A7 Dm
G7 C Cm F7 B[
Gm Dm Dm/A
[6] Dev, imit: Vi1, I(M): Bsn

motif imit: Vi1-WW
[7] motif imit: WW
imit: Str
[8] Cl+Bsn
B[7 G7 /B F/C
Dm B7 /D Dm7 Am/E
Dm7 /F
F7 D79 /F ] C46 G97 G7
C G/B C79
climax, cad
[9] retrans
Table 11.10: Faure, Masques et Bergamasques, Suite Op. 112, Mvt. 1 Ouverture (contd)
m
152
160
168
172
174
179
182
188
192
194
202
206
210
214
218
Comment
M1.a
..
.
<(F C7 /G)
Recap, Gr 1, aa): Vi1
Am C713 /B[ Am C7 /B[

F/A F7 /A B[ G[9
7 /B
9/sus4
[9
F/C D7 /F ] C7
C713
(F B[ Dm)/F D7 /C C 7 F
Dm7 /F B7 /D C7
F F7 /A G97 /B Em Em7 /G
aa)
[10] WW+Vi, climax
PBi (%), cad
trans, Vi1, Mt : WW
cad
[11] imit: Str-WW
B[
Am7 Am7 /C Dm7 Dm7 /F

G7 F/A A]7 G7 /B
<(C C7 B7 ) C C7
B[/D B[ F/C C7 F7
trans, WW
[12] Gr 2: Str
D
Dm
F Dm E7 Am
A7 B[+
7 Em7 /B A
A D
A Dm Am F7 /A
[13] WW
Str
M1.b
(M1)
M2
..
.
M3
..
.
222
M3
M3
..
.
225
229
M1
..
.
235
238
241
B[ C7 /B[ Dm/A C7 /G Dm/F

d
E[ F7 /C (E[ Gm7 )/B[ B[m C7
climax, cad
<(F Dm Gm7 C7 )/F
[14] Coda: Vi, P T (f )
(Gm7 C7 F )/F B[
F/C B7 /D C7
F
445

446
11.3.3

447

448
Chapter 12
Giacomo Puccini
Biographical data:
22-12-1858 in Lucca
29-11-1924 in Brussels
1600
12.1
1700
1800
1900
2000
Opera Madama Butterfly (1902-1904)
Source: [39]. The analysis presented in this chapter is incomplete; it contains major sections
and arias from the first act, and fragments from the second act (to be completed). Returning melodic material is labeled with either characters (e.g., Mb: Butterfly, Mp: Pinkerton) or
with a mood (e.g., Mf: fugue subject, Mj: Japanese pentatonic). Through-composed vocal
melodies are labeled Mv. The lyrics are indicated in italic (first words), to facilitate keeping
track of the vocal parts.
12.1.1
Overture, Atto Primo (#14) Collina presso Nagasaki
Form: fugue. The overture starts with a four-part fugue for strings, woodwinds and horns.
The fugue subject Mf consists of two phrases: the a-phrase is the accented repeat of an embellished minor third leap and an ascending scale in 16th notes. The b-phrase is a descending
melodic sequence. This fugue theme will return throughout the first act in brief snippets, in
particular the a-phrase. Writing a fugue as introduction to this late romantic, impressionistic seems like an anachronism, reminding us of the classical period (in particular Mozart
operas). The fast tempo with its many 16th note patterns and the leaps in the countersubject
leads to a hurried mood.1
The transition motif Mt with its staccato and accented 16th notes is another connecting
element, returning in the first act. In #2 it is played first in a tutti climax setting. Both elements, Mf and Mt are repeated in #3, but now the fugue subject a-phrase has a chromatically
descending pizzicato 8th note pattern in the high strings as countersubject; this accompaniment will return later in the act. See Table 12.1 for the analysis.
1
Maybe the sense of urgency in the opening fugue is meant to expose latecomers in the opera theatre. Carriages that got held up in the evening Milan traffic?
c
2005-2015
CHAPTER 12. GIACOMO PUCCINI
Table 12.1: Puccini, Madama Butterfly, Overture

[#]+m
0
0+4
0+8
0+12
1
1+2
1+5
1+8
1+10
1+13
1+15
2
2+1
2+2
2+3
2+4
2+6
2+7
2+9
3
3+4
3+7
3+9
4
4+1
4+2
4+3
4+4
4+5
450
Mf
Mf
..
.
Mf
..
.
Mf
..
.
Mt
Mt
..
.
..
.
Mf
Mf
..
.
Mt
Mt
..
.
..
.
Cm
Comment
Allegro
h i
Cm G7 Cm
Gm F m E[ D Cm
Gm D7 Gm
Fugue subject, (a): Vi

(b): Seq(41m;R7 )
(a): Va, countersubj: Vi
Dm/F Cm/E[ Gm/B[ E7

D7 Gm
Cm G7 Cm
(b), [S6 ]
Gm/B[ F m/A[ E[/G

G7 /F Cm
Gm/B[ D7 Gm
(b), [S6 ]
2
4
([[[)
(a): Bsn+Vc, 3pt Str+WW
(a): Cb+Bsn, 4pt fugue
Dm/F B[/D Cm/E[ F7 /C

B[/D Gm/B[ D7 /C
(b): Seq(41m;R7 ), [S6 ]
Gm/B[ F ]7 /A
Gm/B[ F/A E[/G
Cm/E[ B /D
trans, tutti clim,

~ , [S6 ]
Hk
d
Cm/E[ B[/D A[/C
~ &, [S6 ]
Hk
d
Gm/B[ F m/A[ E[/G D7 /F

Cm/E[ B[/D F7 /C
Si alza il sipario
B7 . . .
G[9
7 ...
Gm G[9
7
Cm G7 /F Cm/E[
(curtain raising)
Vi+HiWW unis
HiWW 16ths unis&
16th asc run
(a): HiWW, HiStr: PBi (&)
E[7 /G Cm7 /E[ D7 /F G[9

7
Cm/E[ A7 /C G[9
7
Cm/E[ B7 /D
Cm/E[ B[/D A[/C
Cm/E[ B7 /D
(b): Seq(41m;R7 )
tutti clim, [S6 ]
~ &, [S6 ]
Hk
d
Cm/E[ B[/D A[/C

Gm/B[ F m/A[ E[/G
D7 /F Cm/E[ B[/D A[/C
~ &, [S6 ]
Bsn+Str, Hk
d
12.1. OPERA MADAMA BUTTERFLY
12.1.2
Atto Primo, (#57) E soffitto e pareti

451

452
12.1.3
Atto Primo, (#813) Questa e` la cameriera
Vocal parts: Goro, Pinkerton and Suzuki. Form: ABA. The delicate transition for woodwinds
in #8 is followed by a dialogue between Pinkterton & Goro (#89, 1213) and a solo for Suzuki
in the middle section (#1011). The overall structure of this section therefore is ternary.. In #8
there is extended use of syncopated 4th notes: first for clarinets and later for middle register
strings. Fugue subject a-phrase fragments Mf underline the dialogue, often in imitation. The
transition in #10 is also based on the fugue subject, as is the retransition at the beginning of
#12. The background to the Suzuki monologue is with light staccato 8th notes with gracenotes, in #11 briefly interrupted by sustained string chords. See Table 12.2 and 12.3 for the
analysis.
12.1.4
Atto Primo, (#1420) Qui verran: lUfficiale del registro

453
Table 12.2: Puccini, Madama Butterfly, Act 1 (813) Questa e` la cameriera

[#]+m
Comment
Andante lento
B D]m7 /C] B7
G]m7 D]m7 B7
B ...
intro, Fl, Cl sync

G: Questa e`, Cl sync
h i
3
4
(]]]]])
8
8+2
8+4
Mt1
Mv
Muovere un poco
([[[[[)
8+7
8+11
..
./f
/ f
A[97 . . . E[m7 /B[ A[97

A[97 . . .
Str, syncopes
P: I nomi?
Mt1
1. Tempo
B7 D]m7 /C] B7
G]m7 B
(]]]]])
trans, 2nd stat, Ob
Fl
Allegro
Em . . .
(a): HiStr, LoStr pizz, PBi (&)
9
9+2
10
10+3
10+5
10+7
10+11
10+13
11
11+4
11+6
11+9
11+11
11+13
12
12+2
12+4
12+6
454
Mf
..
.
..
.
Mv
Mf
Mv
..
.
..
.
..
.
Mf
..
.
..
.
Em
h i
2
4
(])
C7 B7 /A Em/G C
(G Am7 )/G
G G7
C G/B Am7 G7 /D
C G7 /D C D7 A
9/sus4
G B7
...
d
B C]m
(b) Seq(21m;R7 ), P D (g)

(a): WW imit
Suz: Sorride, Fl+Str stacc
WW imit
Suz: Schiude, Cl, Str
E/G] F ]m7 /A F ]m7
Em
B7 /F ] Bm/F ] Em Bm/D
Str 8th stacc
C7 Bm7 /F ] Em Bm/D
C7
B Em C7 B7 /A
(a): HiStr, LoStr pizz, PBi (&)
Em/G C
(G Am7 )/G
G G7
(b) Seq(21m;R7 ), P D (g)
Table 12.3: Puccini, Madama Butterfly, Act 1 (813) Questa e` la cameriera (contd)
[#]+m
12+9
12+10
12+13
12+14
13
13+1
13+8
13+ 10
M
5
Mt2
Mv
..
.
Mv
Comment
Am
Andante Allegro moderato

C D7 /C
G/B F/A E/G]
Dm/F Am/C
A
Pink & Goro
Fl+Vi, [S6 ]
G: Se non
Bm7 E7
Am
<(G97 A]7 B7 Dm)/G
cad
B7 Em Dm C
G7 C G7
h i
6
8
, P & G, P D (g)
Str
h i
2
4
trans, Str unis
455

456
12.1.5
Atto Primo (#2126) Dovunque al mondo
Vocal parts: Pinkerton, Sharpless. The structure of this section is that of a song for Pinkerton with four slightly varied verses (Mp) and a bridge in #24. This cowboy song (il Yankee
vagabondo) is in praise of the good old imperialist nature. The introduction #21 and the coda
#25 are for brass and woodwinds, paraphrasing the U.S.A. national anthem Mu. The modulating bridge with its shifting roots is a dialogue between the two singers. The connecting
element in both verses and bridge is the transitory subject Mt, quoting the rhythm from the
anthem. See Table 12.4 for the analysis.
12.1.6
Atto Primo (#2728) Una ghirlanda di fiori fresci

457
Table 12.4: Puccini, Madama Butterfly, Act 1 (2126) Dovunque al mondo

[#]+m
21
21+2
21+4
21+6
21+8
21+12
21+13
22
22+4
22+6
Mu
..
.
G[
Mt
Mp
..
.
Mp
..
.
..
.
..
.
Comment
Allegro sostenuto
h i
G[ G[7 /F E[m7 B[7
Intro, USA, Tpt+Brs
E[m7 A[7 D[ D[m

G[m7 C[7 A[7 D[7no 3
G[69 D[7
G[ D[7 /A[ G[6 /B[ D[97 /C[
WW+Brs
Vi
V1, Pink: Dovunque
E[m7 /B[ D[/A[ E[m7 D[7 /F

A[7 D[ D[7
G[69 D[7 /A[ G[/B[ D[97 /A[
V2, Pink: Affonda
3
4
([[[[[[)
G[6 D[7 /C[

[9/[13
E[7
/B[ D[m/A[
G[m D[m/A[ E[[7

[5/[9
A[7 /E[[no 7
D[7no 3 G[69 D[7 /A[
G[/B[ D[9 /A[ G[6 D[7 /C[
bitonal flavour
EHn+Va
V3, Pink: Affonda
E[7 /B[ A[ C]m F ]m

Em7 F ]m/A
PL (%)
climax
24
24+3
24+5
24+8
24+11
24+12
Mt
Mt
Mt
Mt
Mt
D[7no 3 G[69 D[7 D7no 3

G97 E79 /G] A E[no 3
A[69 E[7 /B[ E7no 3
A97 F ]97 /A] Bm7
A7 /C A[97
<(D[97 A[97 )/D[ D[
Bridge, Fl+Va, P: La vita

PBi (%)
Sharpl: E` un facile
Pink+Sharpl
25
Mp
..
.
G[ D[97 /A[ G[6 /B[ D[7 /C[
V4, Pink: Vinto+WW+Str
E[m/B[ D[/A[ E[m7 /G[ F m

A[97 D[ . . . D[7
G[69 D[7 /A[
G[7 /B[ C[ A[97 /C
halfcad
Str imit
Sharpl: E` un facile
G[ G[7 /F E[m B[7
Coda USA, Tpt+Brs
E[m A[7 D[ D[7 /C[
WW+Brs, P+Sh: America
G[/B[ E[m/B[ F7 /C[

B[7 /F
tutti climax
22+8
22+9
23
23+3
23+7
23+11
25+4
25+7
25+12
25+14
26
26+2
26+4
26+5
458
Mt
Mp
..
.
Mt
Mu
..
.
..
.
G
A[
D[
G[
halfcad, P (d[)

459
12.1.7
Atto Primo (#3741) Ecco. Ah! Quanto cielo!
Vocal parts: Goro, Butterfly, Sharpless and Friends of Buterfly (Le Amiche). The allegro in #37 has
an Asian flavour, with the vocal melody Mg doubled in staccato bassoon and pizzicato violas
and celli. Staccato clarinets and tremolo violins play parallel perfect fifths. The transition
in #38 is a local climax with unisono subject Mt, supported by choral accents (Le Amiche:
Ah!), exclaiming their admiration for the sky and sea. The dialogue between Butterfly (first
appearance in this opera) and the female choir in #39 is a long sequence with impressionistic
augmented chords.
The string and woodwind romance) subject Mr (with its characteristic descending stepwise contour 1 7 6 = 1) will return at the end of the first act in the love duet between
Butterfly and Pinkerton, based on the love theme Mb=Ml first presented here in #40 with two
statements. At the end there is a climax, before the closing pentatonic love theme theme Ml
in the transition in #41 for staccato piccolo and flute, harp and glockenspiel over tremolo
strings; a vey light texture with a tranquil-sad undertone. This is a remarkable section in a
harmonic sense: we see the dominant 9th chords S79 in inverted position, both as first and
second inversion (chordal function 3 or 5 in the bass). See Table 12.5 for the analysis.
12.1.8
Atto Primo (#4261) Gran ventura

460
Table 12.5: Puccini, Madama Butterfly, Act 1 (3741) Ecco. Ah! Quanto cielo!
[#]+m
37
37+3
37+7
38
38+3
38+8
39
39+2
39+4
39+6
39+8
Mg
..
.
B[m
Mt
Comment
Allegro
h i
B[madd9
2
4
...
Goro: Ecco+Ch: Ah!,
G[7 . . .
E[m E[m6 F no 3
E[m7 B[mno 3
F7[9 <(B[m6 G7 /D[)
G[7 F
Mg: Bsn+Va+Vc pizz,

Vi trem
trans, WW+Str, clim
Ch: Ah!, WW+Vi1+Vc
Ch
Largo
h i
4
4
F +
Mr
Mr
Mr
..
.
40+2
40+4
40+6
40+8
40+9
40+10
40+12
41
41+2
41+3
Mb/c
.. ..
./ .
/
Mb/c
.. ..
./ .
.. ..
./ .
.. ..
./ .
/
Ml
..
.
G[
([[[[) augmented ch
A[ A[7
B[ B[7 G+
C C7 A+
Ch Amiche: Quanto cielo!, Vi

Seq(52m;R7 ), Fl (\\)
Butt+Fl+Vi
9 /F ] B [5 /F
D D7
7
E E7 C +
Butt+Fl+Vi
h i
6
4
Sostenendo a tempo
40
([[) Asian
G[
G[97 /B[
D[7 /A[
D[97
G[ A[7 /G[ F m7 B[m

E[m7 A[7 D[97
G[ G[7 /B[ D[7 /A[ D[7
([[[[[[)
Butt: damor+Str sol,

Ch: Gioa a te
PL (%)
B[7 /F [ E[m7 B[m/D[

A[m7 /C[ C7 B[m/D[
d
A[97 /E[ G[/B[

A[m D[13
7
Voc+HiStr unis
climax, cad
Largo
h i
(G[6
4
4
A[m7 )/G[
d
(G[ D[97 E[m)/G[ B[m

E[m = G[6 B[m/D[ G[6
trans (Love theme)
Pentat: Fl+Pi+Harp+Glk,
Butt: Siam giunte, P T (g[)
Str trem, cad
461

462
12.1.9
`
Atto Primo (#6164) Dovè? Eccolo la!
Vocal parts: Wedding Guests, Ensemble. The festive music Mf (from #11, 59 and 60) is repeated
in #61 in the higher octave (octave imitation between oboe and bassoon) with an intricate dialogue (call-and-response) between soloists and divided choir. The friends and relatives of
Butterfly are admiring Pinkerton. The key has shifted to G major, there is a different harmonization with augmented dominant S7]5 chords, and a tonic-dominant pedal in bass clarinet,
harp and timpani. At the last b-phrase there is a tutti crescendo to a climax, with repeated
16th note turn motives.
At #62 there is a change of key, returning to B[ major. with ascending and descending
quintuplets (flute, clarinet and harp) over staccato 8th note patterns, and a dominant f trill
(flute and oboe). The greedy relatives are looking for booze. The party climax is reached
in#63, continuing the symmetric root characteristic: the keys are R3i : B[ G D[. The
choir of relatives now sings the theme Mf in imitation, over a steadily stepwise ascending
woodwind scale in quarter notes and the alternating tonic-dominant pedal point pattern.
In #64 normality is returning (Order in the room, please!). There is a setting with threepart sectional harmony (a jazz type of setting with parallel motion in all voices, stepwise and
leaps). The lyrical lead voice has a wavy pattern with embellished ascending and descending
arpeggios. The abbreviated third statement of this theme closes the section, while calming
down. (The rehearsal numbers jump from #64 to #73). See Table 12.6 for the analysis.
12.1.10
Atto Primo (#100110) Cio-cio-san!

463
Table 12.6: Puccini, Madama Butterfly, Act 1 (6164) Dovè? Eccolo là!
[#]+m
Comment
h i
2
4
61+3
61+5
61+7
61+9
61+11
61+15
61+17
Mf
..
.
..
.
..
.
..
.
..
.
..
.
..
.
62
62+7
Mv
B[
63
Mf
..
.
..
.
..
.
..
.
Mv
D[
63+2
63+4
63+6
63+8
63+12
63+14
64
64+2
64+4
64+6
64+8
64+10
64+12
64+14
64+16
464
Mv
..
.
..
.
Mv
..
.
..
.
Mv
(a): WW+Va imit, Ch: Dovè?,
G97 Gm7 G97 D79 G7 D7]5
(b); WW+Str, Ch: Goro,
G97 Gm7 G97
(b)
<(Gsus4
G97 ) G97
7
WW+Str, Ch: Ecco
C79 /G
61+21
61+27
D[
(]) B &P & Ch (All)
G D+ Em D7]5
Em D7 G97 D7]5
G D+ Em D7]5
Em D7 G97 D7]5
9/sus4
F7
...
...
F7 . . .
Lo stesso movimento
B[69 . . .
Cm B[69 F7 B[69
P (gd)
(a) (ped)
D[ A[ B[m/D[ A[7
tutti cresc
clim,
h i WW+HiStr: 16ths, G: Per
2
4 (]) B &P & Ch (All)
WW+Hns+HiStr, Ch: Vino,
P D (f )
([[[[[) B & Ch (Relatives
(a) Ch, P (d[a[)
D[ A[7 D[ A[97
WW (4ths%)+LoStr
D[ A[ B[m/D[ A[7
(a)
D[ A[7 D[ A[97
<(D[ A[m)
<(D[ A[m)
D[97 . . . F/C
(b) Hns+Ch,
(b)
climax, arp&, G: Per
a tempo
F 6 Dm7 /C
([) P & S & Ch

sect harm, (a) S: O amico
C Dm/A Gm7 Dm/A

d
WW+Str trem
E7 /B[ Dm4 C7 Dm
G7 C79
F 6 Dm7 /C
(b)
Am7 /C Dm/A Gm7 Dm/A
WW+Str trem
G]7 /B[ A[9

7
6 /C C
D7[9 G[9
F
7
7
6
<(F9 C7 ) F 6
(b)
2nd stat, (a): S: Non piu`
(a): Vi, B: Mamma, P T (f )

465
12.1.11
Atto Primo (#111-115) Bimba, bimba, non piangere
Vocal parts: Pinkerton, Butterfly, Suzuki. This section is a transition to the long final duet of
the first act. After the wedding guests have left, Pinkerton asks Butterfly to stop crying, and
re-assuring her of his admiration. Then there is the prayer of Suzuki in #113, just before the
fugue theme Mf sets in once more in #114, over the chromatically descending pizzicato bass
line. See Table 12.7 for the analysis.
12.1.12
Atto Primo (#116136) Viene la sera

466
Table 12.7: Puccini, Madama Butterfly, Act 1 (111115) Bimba, bimba, non piangere
[#]+m
111
111+3
111+5
111+7
111+8
111+9
111+10
112
112+1
112+2
112+5
112+7
113
113+4
114
114+3
114+5
115+
115+5
Mv
..
.
..
./a
..
.
..
.
..
.
Comment
Andante affetuoso
h i
E/G] E7no 3 Dm7 /C
WW+Va, P: Bimba
A97 G97 A7 Cm7
P & B, trans
Vi,
Gm/B[ A7 Cm
Gm7 /B[ A7 Cm
d
Gm7 /B[ A7 Gm/B[ D7

E[ B[ Cm G7
Cm
a tempo
Cm7 F m Cm/E[
([[[)
Str, B: Non piango
B[/D Gm/B[ E[ Cm
B[6 Cm A[7 /C B[/D
Cm B[ Cm B[6
d
A[ G7 /B
<(Am/C G7 )
Un po piu` mosso
WW+Harp
16th, B: Mi han
h i
2
4
Suz: E Izaghi
Mv
Mf
Mf
Mf/v
4
4
G/B E7[5 /B[ Asus4

A7
7
Mv
..
.
..
.
..
.
..
.
Em
Allegro moderato
Em B7 /A
(G Am7 )/G
G7 . . .
F ]97 . . . Bm/E F ]m7 /E
E713 E7no 3
(a): Vi, PBi (&)

(b): Cl Seq(21m;R7 ),
(a): WW imit, Str sync
(a): WW imit, PB (&)
Str &, cad
467

468
12.1.13
Atto Secondo, Parte Prima (#1216) Un bel d`
Vocal parts: Butterfly. In this lyrical solo aria Butterfly is hoping and waiting for the return
of and re-uniting with Pinkerton (in vain, as it turns out). The main melody Mb1 descends
over one octave, opening with a very light woodwind and (tremolo) high muted strings
background; the solo violin is doubling the vocal lead. After the first statement A1 , there are
several bridge sections (B and C), with the shape of the melody suggesting sighs of hope;
Mb2 and Mb3 both have multiple upward-downward arcing phrases.
The series of woodwind syncopations in #13 underlines the feeling of expectation. as do
the pizzicato afterbeats in the middle strings. This mood is continued in #14 with the syncopations now in the muted trumpets and monotonously repeating 16th notes in the vocal
lead. The A2 section in #15 presents the second statement of the main melody, now doubled
with unisono woodwinds and strings (mutes off). The 2-part harmony is subtly moving
from muted trumpets to oboes and then French horns, all in syncopated accent patterns.
With a transitional crescendo and ascending lead there is the final exclamation of Butterfly:
I must keep my doubts and anxiety to myself, while the unisono orchestra finishes the main
theme, this time descending from a very high register downwards over two octaves. This
final statement has a tonic pedal and the syncopated harmonies now in three parts moving
from trombones to horns. See Table 12.8 for the analysis.
12.1.14
Atto Secondo, Parte Prima (#90) Humming Chorus
469
Table 12.8: Puccini, Madama Butterfly, Act 2, Part 1 (1216) Un bel d`

[#]+m
12
Mb1
..
.
G[
Comment
Andante molto calmo
h i
G[ D[/F E[m D[
A1 , B: Un bel d`, WW+Vi1,
3
4
([[[[[[)
12+4
12+6
A[m F7 B[m7 E[m7 /G[

D[7 G[
Vi2 trem
12+8
12+12
12+16
Mb2
Mb2
Un poco mosso
B[m7 B[m97 G[ B[m
F m7 F m97 D[ F m
E[m C7 /B[ E[m7 /D[
B
B: Poi la nave+WW+Vc
B: romba+WW+Str
a tempo
C1
13
13+4
13+7
13+12
13+15
Mb3
..
.
..
.
..
.
Mb4
14+4
15+4
15+6
15+8
15+10
16
16+4
16+6
470
Mb1
..
.
Mb5
Mb1
..
.
2
4
<(F m/A[ G7 /D[)

<(F m/A[ G7 /D[)
14
15
Fm
h i
Fm
G[
B[m
G[
F m/C . . . G7 /B[ F m
WW syncopes
A[/C D[ A[/C
A[ . . . C
Str
Sostenendo molto
C2
F m F m7
Lento
<(D[6 C7 /B[) D[7
B: Chi sarà?, Tpt mute sync
Andante come prima
h i
G[ D[ E[m D[
A2 , B: morire,
A[m F7 B[m7 E[m7 /G[

D[97 G[
E[m B[m
<(B[m E[m) B[m
tutti unis climax

H: TptObFHn
trans, B: Tutto questo, Str trem
tutti climax, plagal cad
Largamente
(G[6 D[ E[m D[97 )/G[
closing
A3 , B: laspetto, P T (g[)
(A[m F7 G[7 D[13

7 )/G[
D[13
G[
7
tutti unis climax,

PL (&), cad
h i
4
8
3
4

471

472
Table 12.9: Puccini, Madama Butterfly, Act 2, Part 2 (512) Oh eh! Oh eh!
[#]+m
4+5
4=11
5
5+5
5+7
12.1.15
Mm
Mt1
Mt2
Comment
Un poco meno
h i
B[97 . . . B79 . . .
C79 . . .
trans, Ch: Oh eh!, Cl+Bsn

~
Str, Hk
Meno ancora
h i
4
4
(]]]])
e
2
4
(C79 F C7sus4 C7 Dm7 )/C

F/A B[ F/A Dm7 C/E
C F ... A...
([) trans
Ob, Str, P D (c)

WW unis
Atto Secondo, Parte Seconda (#512) Oh eh! Oh eh!
Vocal parts: Sailors (Marinai) (tenors in two parts). Most of this section is instrumental, depicting dawn. The sailors sing their cries Mm in imitation over an ascending set of exact
parallel dominant chords S79 . The second part of the transition is #5, the mooring of the ship.
Starting from #6 there is environmental mood music, with birds whistling in the garden
background.2 A number of themes and subjects is presented in juxtaposition and imitation
over a set of symmetrically distributed roots. Theme Mh, first presented by muted French
horn, has a quarter note arpeggio and signal character. The sweet Mw theme has a pentatonic flavour, a reference to Butterfly (waiting for Pinkerton arriving on the ship). It is in the
high woodwinds and violins, the second statement in parallel perfect 5ths. One could say
the the juxtaposition of Mh and Mw also expresses West-faces-East. Subject Me, first played
in #7 by muted French horn, has an alternating stepwise shape and represents expectation
during sunrise (the same theme has been used in Act 1). The R4i symmetrically distributed
roots are: D F ] B[ and the key keeps alternating between these three during the dawn
scene, finally settling on D.
During #9 there is more rhythmic activity (from an 8th note countermelody to 16th and
32th note ascending runs) and a gradual crescendo, to explode in the brillantemente section,
full of tutti themes, imitation and background arpeggios. In #10 there is the climactic sunlight theme, played by the full orchestra (doubled in hidden form in the descending 16th
note arpeggios in high woodwinds and strings).
After a brief unisono 16th note run transition in #11 the climax returns briefly, now over
the signal theme Mh in imitation. A transitional pentatonic motif Mt3 sets in, with a statement starting in high woodwinds and repeated at the lower octaves, while there is a general
diminuendo as the scene is closing. See Table 12.9 and 12.10 for the analysis.
2
Whistling birds: nowadays an easy job with digital sampling. Imagine an 1904 premiere performance with
local variete artists behind the curtains.
473
Table 12.10: Puccini, Madama Butterfly, Act 2, Part 2 (512) Oh eh! Oh eh! (contd)
[#]+m
6
6+5
6+8
7
7+5
7+ 9
7+13
7+15
8
8+2
8+5
9
9+4
9+6
Mh
Mw
Me
Mh
Mw
Mt3
Mh/c
Mh
Mh
Mh
9+8
10
10+4
10+8
10+12
10+14
10+15
10+17
10+18
10+20
10+21
Mh
Me
Me
Me
Ms
Ms
Ms
..
.
..
.
11
11+5
11+9
11+12
12
12+3
12+4
12+9
Mh
Mt3
Mt3
Mt3
10+19
474
F]
B[
D
F]
D
Comment
Allegro moderato
h i
D/A . . .
Bm7 /F ] = D6 /F ]
(D D6 D)/A E7 /B
<(D/A Bm)
F ]/C] F ]9 /A]
F ]/C] F ]6 /A]
F ]6 /C] = G[6 /D[ E[m G[/D[
A[/E[
G[/D[ = F ]/C] D]m
<(F ]/C] D]m)
B[/F . . .
D/A . . .
F ]/C] . . .
B[/F . . .
Brillantemente
D6 /A . . .
<(Bm D/A)
<(F ]/C] E/B) F ]/C]
<(A[/E[ G[/D[)
A/E D A/E F ]m
A7 /G F ]m A/E Bm7 /D
A/E D A/E F ]m
A/E F ]m Bm7 /D
FHn (mute), LoStr trem
2
4
(]]]) Birds whistling
WW stacc+Vi pizz
FHn, Str pizz+trem
FHn (dawn)
Fl+Harp, Str trem
(par perfect 5ths)
EHn+Bsn+FHn
([[) WW, Mc: Bsn+Vc: 8ths
(]]) Tpt-(FHn+Vc) im, 16ths
Ob+Vi2, 32th runs
WW+Vi1, PL (%), cresc
(sunshine)
tutti imit, Harp+Str: arp
LoWW+FHn, WW+Str: arp
tutti cresc
LoWW+Brs+LoStr sun
unis, tutti cresc
2nd stat, tutti climax
accented notes
A/E F ]m
A/C] F ]7 /C no 3 B7
G]7 A7 . . .
D ...
<(F ]m/A Bm/D) F ]m/A
D6 D
D6 D
D96 . . .
WW+HiStr: 16th run unis

tutti clim, imit, 16th arp
Ob, pentatonic, dim
Fl+Cl, Str pizz
Bsn+Va, Vi 16th arp
Vi arp, dim
Chapter 13
Gustav Mahler
Biographical data:
7-7-1860 in Kalischt
18-5-1911 in Wien
1600
1700
1800
1900
2000
Detailed score analysis of the Mahler symphony movements was complemented with
the formal analysis presented in [19].
13.1 Lieder eines fahrenden Gesellen (1885)

Source: [28]. Music for solo voice and orchestra. Mahler also wrote the lyrics for this set of
four songs. An overview of the formal analysis is shown in Fig. 13.1.
13.1.1 Wenn mein Schatz Hochzeit macht

Form: ternary song form, ABA. This slow opening song is full of tempo (including many
fermatas), meter and rhythm changes. It has a melancholic mood; the composer writes for
the singer: Leise und traurig bis zum Schluss (Soft and sad until the end). The instrumentation
is dominated by woodwind, strings, harp and occasional French horns. The strings apply
techniques such as muted playing, divisi and some interesting occurrences of violin voice
crossing. See Table 13.1 for the analysis.
13.1.2 Gieng heut Morgens ubers

Feld

c
2005-2015
CHAPTER 13. GUSTAV MAHLER
Table 13.1: Mahler, Lieder eines fahrenden Gesellen, 1. Wenn mein Schatz Hochzeit macht
m
1
5
10
14
17
22
28
30
32
34
38
44
46
48
50
54
56
57
58
59
64
68
71
73
74
77
81
85
89
476
Comment
M0
M1/0
..
./
Dm
Dm . . .
Dm . . .
A 24 , Cl, P T (d)
Voc: a, P (da)
(E7 Gm7 E7 )/D

(Dm C B[7 D79 Gm)/D
Dm . . .
[13
<(B[7 A[9
7 )/B[ B[ A7
(a), P T (d)
[1] (b) P (da)
trans, WW climax
Voc, P (b[)
M0
M2
..
./0
..
.
..
.
[9/[13
B[ A7
Gm
M0
M3
..
.
..
.
..
.
..
.
M4
..
.
E[
M1
..
.
..
.
Dm
M0
M2
..
.
M0
Gm
h i
B[
WW, (ped)
E[7 /B[ A7
[2] Voc, PBi (&)
D7 /A[ D7[5 /A[ G7

A[7 /C Gm/D D7
Gm . . .
WW+Str clim, P T (g)
E[
[3] B
E[ E[
~
Voc: a, Str: [S6 ] ,Hk
d
(F m B[ E[ B[7 F m)/E[
P T (e[)
<(E[ B[7 )/E[ E[6 B[
(a)
Gm/B[ Cm Gm/B[
Cm7 B[7
Am/C Gm/D C7 /E F
(b)
[4] Voc, P D (c)
D7 /C Gm
<(C7 Gm7 )/C
trans, WW+Str
Dm . . .
[5] A
Gm/D . . .
(a), (ped)
(Dm B[7 B7 Am Dm)/D

(C D7[9 Gm)/D
Dm . . .
(B[7 A[9
7 B[)/B[
(b), (cm>), P T (d)

(ped)
WW climax (ped)
[6] Voc+Str, P (b[)
E[7 /B[ A7 D7 /A[ D7[5 /A[

G7 Cm A[/C Gm/D D7
Gm
Voc, PBi (&)
h i
6
8
, P (e[b[)
h i
2
4
, Voc: a, P (da)
[7] climax, P T (g) (96 m.)
13.1. LIEDER EINES FAHRENDEN GESELLEN
1. Wenn mein Schatz Hochzeit macht:

ABA form (Dm,
h ih i
2
4
6
8
, 96 m.)
A
2. Gieng heut morgens ubers
Feld, In gemachlicher Bewegung:

AABC form (D,
A
h i
2
2
, 127 m.)
3. Ich hab ein gluhend
Messer, Sturmisch,
wild:
ABC form (Dm,
h ih i
9
8
4
4
, 81 m.)
C
4. Die zwei blauen Augen, Mit geheimnisvoll schwermuthigem

Ausdruck.
Ohne Sentimentalitat: AB form (Em,
A
h i
4
4
, 67 m.)
B
Figure 13.1: Mahler, Lieder eines fahrenden Gesellen
477

478
13.1.3 Ich hab ein gluhend

Messer
Form: ABC. This stormy, wild (sturmisch,
wild) song brings in the full orchestra. The characteristic upward arpeggio opening motif (M0) with tonic or dominant pedal returns a couple
of times, as transitions. The lead voice is characterized by the upward diatonic (a-phrase)
vs. descending chromatic phrases (b-phrase, frequently as the familiar 1 7m76 [65
sequence). Ostinato 8th note patterns in the backgrounds support tension. This is the perfect song for the compulsory murderer; only the middle section brings temporary relief. See
Table 13.2 for the analysis.
13.1.4 Die zwei blauen Augen

479
Table 13.2: Mahler, Lieder eines fahrenden Gesellen, 3. Ich hab ein gluhend
Messer
m
Comment
1
5
9
12
16
18
M0
M1
M1
M2
..
.
..
.
Dm
<(Dm C]7 )/D

Dm E7 /G Dm/A Dm B[
E7[5 /G] A[9
7 Dm/F A A7
Dm . . . Dm+7
D7[9 /F ] Gm Dm/A E7 /A A7
Dm E7 /B[ E[7 . . .
[19] 98 , arp% ff , P T (d)

A Voc: a (ped)
(b)
<(Dm+7 D7 G E7 Dm)/D
(b), chr& (ped)
Gm Gm+7 Gm7 E7 /G
<(A[9
7 /C] Gm/D)
[5/[9
E7 A7
Gm
<(Gm F ]7 )/G
[21] chr&
22
26
28
30
33
35
38
41
46
50
53
57
59
62
64
67
68
72
75
78
480
M0
..
.
[20] Voc: aa, P T (d)
chr&
climax, P T (g)
(Gm E7 G[9
7 E[7 Cm7 )/G
F ]7 /G . . .
C
M2
M2
..
.
..
.
G ...
G C . . . G7
(Gm+7 G7 C A7 Gm)/G
[9/sus4
C/G . . . G7
Dm97
9/+5
G7
Dm97 G97 Dm97
E Em . . . C]7
..
.
/M0
M3
M0
h i
[5/[9
E[m
C]7
F ]7 D]7 E G]m7
[13
C]7 B[ <(B7 B[)
D7[9
E[m/B[ A[m7 . . . B[7 A[m7
[5
A[[9
7 A[7 F7
<(E[m D )/B[
B[7 E[m
[22] B, trem, P D (g)

Voc: a, (ped)
(b), chr&
[23] (a) P D (g)
(b)
tutti climax, chr%
[24] C (b)
h i
4
4
trans
[25] Voc: &
arp& (81 m.)

481
13.1.5
The key relationship diagram is shown in Fig. 13.2. Note how all four movements end in
a different key from the starting point. The first song loops through a set of keys in the
subdominant area, including the Neapolitan (lowered supertonic major key) E[ (2) for the
B-section. The others seem to be spiraling outwards to more remote keys. Note how the last
two songs end on the lowered supertonic minor key [IIm.
2. Gieng heut morgens ubers
Feld
1. Wenn mein Schatz Hochzeit macht
1,3
Gm
Cm
2
E[
Dm
6
B[
- F ]
Bm
F ]m
3. Ich hab ein gluhend
Messer
Dm
F
Fm
Am
@
R
@
4. Die zwei blauen Augen
Cm
Dm
Am
Em

A[
A[m
E[
E[m
F

+
C
Cm
Gm
F m
Figure 13.2: Mahler, Lieder eines fahrenden Gesellen, key relationship diagram.
13.2
Symphony No. 3 in D Minor (1896)
Source: [27]. An overview of the formal analysis of this very long symphony in six movements is shown in Fig. 13.3. Note the disproportional length of the opening movement; the
sonata form is preceded by a very long introduction. The development section has roughly
three times the length of the exposition. Mahler grouped the movements into two parts,
where the opening movement is Part I (1. Abtheilung), and the other movements are bundled
into Part II (2. Abtheilung). The analysis here covers only the second part.
The movements have subtitles in German, not written in the score. The instrumentation requires a huge symphony orchestra with quadruple or more winds (4 flutes, 4 oboes, 5
clarinets, 4 bassoons), brass (8 horns, 4 trumpets, 4 trombones, contrabass tuba), a large percussion section, a very large complement of strings (written in the score), alto solo, womens
choir and boys choir. Yet the orchestration is subtle, with limited tutti phrases for a conscious acoustic effect. There is a lot of mixed instrumentation, and splitting up longer
melodies into shorter, hoquetus style fragments for solo instruments or sections. Mahler
wants some instruments to sound in the distance (in der Ferne aufgestellt) and from a high
482
13.2. SYMPHONY NO. 3 IN D MINOR
Mvt. 1 Kraftig. Entschieden: sonata form (Dm,
h i
4
4
, 875 m.)
Introduction
Exposition (96 m.)
Intro (272 m.)
Development
Recap

Mvt. 2 Tempo di Menuetto. Grazioso: ABABA Coda, menuet and trio form
(A F ]m,
h ih ih ih i
3
4
3
8
A (49 m.)
2
4
9
8
, 279 m.)
B (41 m.)
B (73 m.)
A (53 m.)
A (43 m.)
C (20)
Mvt. 3 Comodo. Scherzando. Ohne Hast: ABABCDEBC Coda form (Cm,

A (68 m.)
B (52 m.)
B (45 m.)
Coda (34 m.)
Mvt. 4 O Mensch! Gib Acht!: ABAB form (Dm,
h i
2
2
, 147 m.)
Mvt. 5 Lustig im Tempo und keck im Ausdruck: ABA Coda form (F ,

A
Part 1 (91 m.)
h i
4
4
, 120 m.)
Cda
Mvt. 6 Langsam. Ruhevoll. Empfunden. Part 14 form (D,
Part 3 (54 m.)
, 590 m.)
D (27 m.) E (58 m.)
C (72 m.)
2
4
A (90 m.)
C (91 m.)
B (53 m.)
h i
h i
4
4
, 328 m.)
Part 2 (106 m.)

Part 4 (48 m.)
Cd (27 m)
Figure 13.3: Mahler, Symphony No. 3 in D Minor
483

gallery (in der Hohe postiert).1
13.2.1
Mvt. 2 Tempo di Menuetto. Grazioso

Nowadays this may imply positioning the soloist somewhere in the concert hall corridor, watching the
conductor on a video monitor for coordination. Then off to the bar in the lobby to wait for the finale and the call
to take a bow.
484

485
13.2.2
Mvt. 3 Comodo. Scherzando. Ohne Hast
Form: rondo, A1 B1 A2 B2 C1 DEB3 C2 Coda. The subtitle of this fairly long movement is: Was
mir die Thiere im Walde erzahlen.2 It is based on the Wunderhorn poem Ablosung. As this
rondo progresses, sections with a different character start to become the returning element:
three Scherzando A-sections are combined with three (unequal) Pastorale B-sections, to give
way to two Posthornepisode C-sections. The D- and E-section have some similarity with the
A-section. See Table 13.3 to 13.9 for the analysis.
This movement has a number of returning elements, first put forward individually in the
separate rondo sections, later used in variation, juxtaposition, or combination:
Birdcall. There are three short motifs with a similar total duration (two quarter notes)
and pitch pattern (upward leap downward leap): B1 with upward fifth downward
1
1
fourth leap in 18 + 16
+ 16
+ 14 rhythm, B2 with upward fourth downward third leap
1
1
1
1
in 8 t + 8 t + 8 t + 4 triplet rhythm, and B3 with upward downward octave leap in
1
4 16
+ 14 rhythm. The first statement is for either regular B[-clarinet (B1 and B3 ) or
the higher E[-clarinet. Later these birdcall appear in other instrumentats.
Galloping brass, in polka style. Frequently three (muted) trumpets play a set of triads
in the form of a stepwise moving theme Mg in gallop style (steady 8th notes with afterbeat accents). In the later sections, starting in m. 148 ff., this rhythm is used as a gallop
variation ML
g in lower brass and string parts, or in modified form for woodwinds.
A deliberate indetermination between major and minor. Mahler does this by either
using incomplete chords with the third missing (S(m)no 3 ; there are many open 15
fifths), or by manipulating the 9th extension of the dominant seventh chord. When
this is V79 this suggests the major key (e.g., G97 has the addition of the a = 9, the sixth
degree of the C major scale). On the other hand V7[9 suggests a minor key (G[9
7 contains
the a[, the lowered sixth degree of the C minor scale). Interestingly, there is occasional
application of a crossover, i.e., using the V7[9 in a major key context, and the reverse.
Brass signals. These occur as either short arpeggio signals Ms in solo or section brass
instruments, or as the long solo for the flugelhorn Mf in the Posthornepisoden. Near the
end, these signals take over the character of birdcalls.
A wide range of moods: see the performance indications Scherzando. Ohne Hast, Sehr
gemachlich, Mit geheimnisvoller Hast!, Lustig, Grob!, Sehr drangend, etc.
The A1 -section opens with the birdcall motif B1 against a pizzicato string background.
The piccolo set in with a light, bouncy melody M1 , interrupted by more birdsong (B2 and
B3 ). In m. 20 the next returning idea sets in: the polka gallop theme Mg for three trumpets.
In [1] there is the U-texture, the combination (unification) of the legato 16th patterns from
the M1 melody (with descending lead voice) and the 8th note pounding pizzicato rhythm
from the gallop. The second gallop phrase in m. 30 ff. shows another recurring element:
~ ) or as a series of 1st inversion chords
diatonic parallel triads, either in root position (Hk
d
6
([S ] ). During the second U-texture (m. 61 ff.) we hear the first brass signal Ms for horn in F.
Both the M1 theme and the Mg lead part are characterized by embellished descending
stepwise motion: in M1 we find the basic melody structure g f e[ d c (from 5th
2
This German subtitle inevitably reminds us of another musical hit song: Talk to the animals.
486

degree to root in minor), in Mg there is d (e[ d) c b[ a (1st statement in m. 20) and
g f e[ d c b[ a[ g (2nd statement in m. 30). Even the second subject M2 [2] has
this melodic shape: (g c e[) g f e d c (g), now in major and starting with an
upward arpeggio. This makes M1, Mg and M2 related themes. Within that framework, the
entire A1 -section may be considered as the first verse of the birdsong, with the subdvision
(4) + 19 + 10 + 19 + 8 + (7) = 67 m.
The first Pastorale B1 -section brings the theme Mp, which is four measures long in its basic
form. It is presented as a counterpoint (5-part imitation) setting for strings and woodwinds.
As it reaches a climax (m. 84 ff.) there are the arpeggio signals in staccato 8th notes for horns
and trumpets, over an extended dominant pedal point.
Returning to the lighter mood of the A2 -section [6], the main theme M1 for flutes in
parallel thirds is accompanied by a pianissimo countersubject in first violins. The woodwinds take over the gallop idea in [7]; because of the instrumentation it also has some of the
character of M2. In m. 140 the clarinets play M3, a four-measure melody, with the opening
dotted 8th 16th rhythm as a new feature (the rest is a variation of M1). Once again we find
the underlying descending stepwise motion in M3: (g a[) g f e[ d. The section
ends with a climax and a hilarious chromatically descending 16th note staccato pattern in
unisono brass, bassoons and low strings. In [9], like in [2], there is the subsection in the
parallel major key, with melody fragments reminding of both M2 and birdcall in clarinet
and oboe. E.g., there is stepwise descending motion in m. 177, 181, 186 and 190, and these
statements open or close with birdcall, see m. 179, 183184, 185 and 189. The brief cello
fragment in m. 195 contains the M1-stepwise structure, but now there is chromatic descent
(c d e f g) a g] g f ] f (d), copied in the horn background.
h i The B2 -section is an abbreviated variation on the first Pastorale. The meter remains
2
4 , woodwinds and horns are playing 8th note triplets over an extended timpani tonicdominant P (cg) pedal point. The transition [1213] sums up the previous A-section melodic
material, while calming down and preparing for the first C1 -section. The flutes in [12] play
descending steps in parallel third, a variation on M1. The C1 Posthornepisode has an extended
solo for flugelhorn Mf over a sustained high strings harmonic background. There are two
interuptions by flutes and strings, playing a lead melody in parallel thirds, M1 in F major
[15] and M4 in the parallel minor key F m [16], respectively. M4 with its ascending stepwise motion may als be considered the melodic inversion of M1 in disguise. The second
and third flugelhorn melody statements get support from a horn countermelody in parallel
consonants (3rds and 6ths).
Section D [17] has the descending steps in paralel thirds played by tremolo violins over a
dominant pedal point, with the solo flute answering on the afterbeat. In [19], the E-section,
the combination of the bass-gallop ML
g and the cheerful woodwind melody M3 returns,
first heard in m. 140 and 148 in the A2 -section. The section closes with the build-up to a
climax in [22], first heard in m. 158 ff.
Section B3 kicks off with a brief gallop and signal statement [23], but then continues
with the second counterpoint imitative setting of the Pastorale theme Mp [24], copying the
approach used in m. 72 ff. After the climax in [25] there is a transition (m. 466 ff.) with
trumpet signals, woodwind birdcall over a violin divisi tremolo background, leading into
the second Posthornepisode. This C2 -section [27] is shorter than the first. The parallel third
phrases are now provided by violins [28] and, once again, horns [29]. In [30] fast 16ths string
patterns and woodwind birdcall imitations prepare for the final transition. In [31] there is
487
Table 13.3: Mahler, Symphony No. 3, Mvt. 3 Comodo. Scherzando. Ohne Hast
m
1
3
5
9
12
14
16
18
20
22
24
26
28
30
32
34
38
42
46
48
50
53
55
57
59
61
64
69
73
75
77
80
84
87
488
Cm
B1
M1 1
B2
M1
B3
Mg
B3
Mg
U
..
./M
/
0
B2
M01 /B3
Cm
U/Ms
B3
Mp
..
.
..
.
..
.
..
.
..
.
Comment
Comodo. Scherzando. Ohne Hast
h i
Cm . . .
Cm . . .
<(Cm G7no 3 ) Cm
Gm/B[ B[ A[6
<(Gm E[+ )
A[ F m Gno 3 Cmno 3
C D[ Cm Gno 3
<(A[ E[)
Gm E[+ Gm A[
Gm Dmno 3 G(m)no 3
D G[5
7 no 3 Cm
Str pizz
Cl Birdcall
Fl
2
4
([[[) A1
E[-Cl Birdcall
Fl
Cl, Bsn bg
Cl
Tpt Gallop
[1] WW PL (&), Str pizz
M02
B3
D Cm/G G[9
7 no 3
<(A[ Cm/E[)
B[ A[ Gm F m
E[ D Gno 3
(C G F C Dm7 G C)/C
Cl Birdcall, Bsn bg
~
Tpt Hk
d
C G F C Dm7 G C)/C
<(Am7 C)/C
(Em7 B[+ C F ]+ )/G
(Am7 A7 Am4 D7 )/G
(G Am7 A]7 G7 )/G C
(Cm+7 Gm F + A[+ )/C
(Am7 D7 G7 )/C
<(Cm C)
(D7 F7 B C no 3 )/C
(D7[5 G7 Cm D[ Cm)/G
G[9
7 no 3 . . . C no 3
Ob, [S6 ] (ped)

Cl
Fl+Ob, P D (g)
(Fl+Ob)/Vi1 (ped)
cad
[3] Ob, Vi+Hrp bg, P T (c)
(ped)
tr, Vi1 Birdcall, min-maj (ped)
cad
WWPL (&), Ms: FHn, P D (g)
WW, Str triplets, cad
Listesso tempo
B1
G C F C/G G7 /B C
[4] P1: LoStr+Bsn
G/B F ] /A G Am D7
P2: Vi2+Va, ctp imit
[2] (\\\) Str+Hrp, [S6 ] , P T (c)
h i
6
8
, Pastorale
G G7 C
G7 C F C
P3: Ob+Cl
<(G7 F ]7 G7 C)
P D (g)
G C F C
G7 C Am D79 /F ]
P4: Ob+Cl, Hns Mc, climax

P5: LoStr+Bsn
Table 13.4: Mahler, Symphony No. 3, Mvt. 3 Comodo. Scherzando. Ohne Hast (contd)
m
89
93
95
98
101
106
111
121
124
128
130
132
134
136
138
140
142
144
146
148
150
152
154
158
162
164
168
170
172
176
180
182
184
Ms
Mp
Ms
Mp
M1/c
/
B2
Cm
Ms: Hns-Tpts clim, P D (g)

(ped)
Mp: Str PL (%)(ped)
(ped)
Ms: Tpt (ped)
Mp: Vi-(Ob+Cl) cad (ped)
tr, Fl, Str imit 15, P T (c)
Gut hervortretend
A2
(Cm G7 )/G <(Cm Gm)/G

F m/C Cm Gm B[ A[6
<(Gm E[+ )
[6] M1: Fl, Mc: Vi1, P D (g)
B[[9
7
E[
Em
E[
Cm
M2/B
..
.
..
.
..
.
(C A[7 Em D[ F ]7 )/G
(C A[7 A7 D[ G[ B[m)/G
(C A[7 A7 Gm C D[)/G
(F m G F F ]7 )/G
(G C G97 C D7 G7 C)/G
<(Dm7 G97 C)/G
C96 . . .
B[7
Gm A[
Cm Gm F m Cm/E[
<(D7 Cm)
Gm E[+ Gm B7
M0g
M0g /3
/
U
..
.
Comment
F7]5
M01
M3
M0g
M3/L
g
/
h i
2
4
([[[)
Cl+Ob Birdcall
Vi, Str+Fl bg
Vc, Str bg
[7] WW Gallop
C7no 3 A[ B7
Cm E[7 /D[ C
A[ D[ G[/D[
B[ A[ G D7 /F ]
Gm D7[5 /A[ F7 /A B[7
E[6 E E[ C[
B/D] G7 B/D] C
Em177!6
C E/B C E[ E[m E[
(+) )/B[
(F B[7 E[ B[[9
7 E[
G[9
7 Cm
<(D7[5 G7 Cm F ]7 )/G
i (&)
Bsn Pm
Cl
Str (cm<)
~
WW Hk
d
i (&), P i (%)
Hn: Pm
B
M3: Cl, ML
g : Tbn
D7 /A G7 /F D7 /A G[5
7 /D[
D7 /A G7 /F D7 /A G7
G[9
7 no 3 . . .
(C G F C Dm7 G C)/C
trans, WW+Str
climax
(WW+Str)/Brs unis i &
~ , P T (c)
[9] (\\\) Cl, Str Hk
d
(C G F Em)/C
(ped)
(Dm7 G7 C)/C
(ped)
(Am C A[ C)/C
Pi (ped)
i (&)
Hns, climax, Tpt Pm
(clim)
Mg: Hns, M3: Vi, P D (b[)
Tpt+WW
WW+Str, P D (g)
489
m
188
190
192
194
195
197
199
203
206
Comment
..
.
(A E + D C]m )/A
(B7 E7 )/A
(A B[7 B7[13 C 6 )/A
A+ B[7
B Gm/B[ F + /A A[+
(Am7 D7 Dm7 G7 )/C
<(Cm C7 )
(D7[5 G7 Cm D[ Cm7 )/G
<(G[9
7 no 3 Cm)
Ob, Tpt+Va [S6 ] , P T (a)

(ped)
i (%)(ped)
Cl+Vi PLi (&), Tpt Pm
(M1)
0
B1
B3
U
B3
C
Cm
i (&)
Vc, Hns Pm
Tpt Birdcall, cad, P T (c)
trans, Cl, min-maj (ped)
[11] WW PL (&), clim, P D (g)
WW
B2 , Pastorale var
211
213
215
217
219
221
225
229
232
234
236
238
240
242
244
246
248
252
490
Ms
..
.
..
.
..
.
..
.
Ms
M1/c
.. ..
./ .
.. ..
./ .
/
M1/c
/
M0g /c
/
Ms /1
0
B1
C]7 /D[ =
Fm
E[[9
7 /D[
WW+Hns tripl, Timp P (cg)
<(D[/A[ B7 /F )
Str+WW (ped)
B[7 /D[ = A7[9 /C]
WW+Hns (ped)
F m/A[ B7 /F
WW+Str (cm<)(ped)
C no 3 A[7 D[7 G
C no 3 D[7 G C no 3
C7[9 no 3,no 7 . . .
Ein wenig, . . . , langsamer
(F m C7 <(F m C7 ))/C
Brs+WW tripl, climax (ped)

Tpt P T (c)
([[[[)
[12] tr, M1: Fl par 3rd, Mc: SVi,
(D[7 B[m7 Cm7 )/C
P D (c)
(E[6 D[7 )/C

<(Cm D[/A[)
(Cm F m Cm7no 3 B7 )/C
F m Cm7 B[m/D[ F m7 /C
B[m7
Cm A[+ Cm D[7
Cm G7no 3 Cm
9/11
A[ Cm7 D[ Gm7 /B[
F m/C F ] Gm7 G]
(ped)
Vi, P D (c)
Ob/Vc/Vi1
[13] Fl/Cl
Tpt/WW
Cl-Fl, Vi PLi (%)
m
256
263
267
269
272
274
277
285
289
291
293
297
301
304
310
314
316
318
310
322
326
328
332
335
344
Mf
..
.
..
.
..
.
..
.
..
.
C1
(G]7 F . . . )/C
[14] Flg solo, Vi bg, P D (c)
(F ] C7no 3 )/C
(ped)
h i
6
8
([) Posthornepisode
(end ped)
Am C7no 3 /G F Dm7 /F
C7no 3 /G F Am C7no 3 /G
F . . . C7 /G . . . F . . .
<(F C7no 3 F C)/C
Fm
F
Fm
M4
/
Ms
Sehr gemachlich
(B[ F . . . )/C C7no 3 /G
M4
..
.
Mf
..
.
..
./Mc
.. ..
./ .
Comment
(F Gm7 G] F )/C
M1
..
.
Mf
..
./Mc
.. ..
./ .
/
climax
[15] Fl par 3rds, P D (c)
F C7no 3 F
(F m C7[9 no 3 F m F ] )/C
(C7no 3 F no 1 F C7 )/C
maj-min, P D (c)
Flg (ped)
(C F C7 F )/C
Flg/Hns par 3rds
(C7sus4 F B[ F no 1 B7 )/C
C7 . . . F . . .
a tempo
cad
h i (end ped)
2
4
F m C7
[16] Fl+Vi par 3rds, P D (c)
(Dm7 D]7 C C + )/C

(F C7 )/F C7 /E
F G[ A[ E7
F m G[ F7 F7]5 )
Wieder Zeit lassen
(ped)
min-maj
Vi, Str, P D (c)
(ped)
h i
6
8
B[ F C7no 3 F
C7no 3 F
F C7 F C7
Mc: Hns par 3rds
Am/C B[ F no 1 /C B7
C7 F7sus4 C7 F . . .
F no 3 . . .
Tpt
491
m
347
351
355
357
358
362
364
366
369
370
372
(M1)
..
.
..
.
M1/B
Mg/c
/
(M1)/c
/
Mg/c
/
Fm
Comment
Mit geheimnisvoller Hast!
(F m . . . B[7 )/C
[17] Vi trem par 3rds, P D (c)
Cm B[+ E[/B[ D[/A[
PLi (&)
<(Cm D[m+7 )/C

Cm F m7 G[+ G[5
7
F m G G[ F
Cm A[+ Cm D[7
Cm G7no 3 Cm
A[/C Cm7 /B[ D[7 B[m7
Cmno 3
E[ D[/F Cm B[m
A[ G Cmno 3
min-maj
374
378
382
386
388
390
392
394
396
398
400
402
406
410
412
414
416
418
420
424
429
492
/
M3/B3
ML
g
ML
g
M3/L
g
/
M3/L
g
/
M3/L
g
/
A[
E[
Cm
F/C G[/D[ F/C E7

F/C G[/D[ F/C E7
<(A[9
7 Dm)
(B[ C B[7 )/F
d
(M3)
2
4
([[[[)
Vc, Pi+Vi PLi (&)

[18] Hns/Ob
Cl/SVi
Hns/Vc
E ([)
Lustig
M3/L
g
h i
C7[9
C7[9
(F G[7 F7 )/F
(E[ F Gm7 Cm)/F
(B[ Cm Gm7 F7 )/F
B[/F G[7 F m C[7
B[/F Am A[ B[+
B C B G
G/B D]7 G/B G+
A[ E[7
A[ B[m7 E[[9
7
1776
A[
[5/[9
G[7 G7 B[13
/F [
7 /A[ B[7
[5/[9
(B[7 B[7 no 3 E[ B[)/B[
+
B[[9
7 E[/B[ E[
G[9
7 Cm
<(Dminf ive G7 Cm F ]7 )/G
[5
[9
D7 /F ] G[5
7 /D[ D7 /F ] G7 /B
[9
G7 no 3 . . .
[19] WW/(Tpt+Bsn)
(Fl+Cl)/Tbn
[20] Vi/Cl, Str bg
WW-imit, Str 16th tppedf
(ped)
Hns
i (&)
LoStr, Vi Pm
Cl/Tbn
[21] ([[[[) Vi/FHn, P (a[e[)
Fl+Vi PLi (&)(ped)
[22] Vi/Hns, P D (b[)

([[[) WW
tutti climax, P D (g)
trans
(WW+Str)/Brs unis i &

a tutti climax, with horns and trombones playing an augmented version of the B3 birdcall,
dying away into a horns only signal in the high register.
The coda [32] opens with an 8th note (triplet) tonic-dominant pedal point (first timpani,
then low strings and woodwind) and brass signals. The C major key seems clear now, until
the major-minor ambiguity returns for the last time in [33]; this issue is never resolved as the
final chord consists of root and fifth only, no third. Mahlers idea of a cliffhanger, undoubtedly!
The strings use a wide range of techniques in this movement: pizzicato vs. arco, bowing
with the wood col legno (batuto) (see m. 24, 247, 418), combination of muted and unmuted
string (see violins in m. 34, 122), off-the-string bowing spring. Bogen (m. 95), multiple divisions getheilt (in particular the violins, which go up to divisi a 4, fierfach getheilt, see m. 248,
466, 541), playing on specific strings (e.g., G-Saite, sul G in m. 69), multiple stops Doppelgriff (m. 111), on the fingerboard Griffbrett, sul tasto (m. 121) or near the bridge am Steg, sul
ponticello (m. 347), solo playing (solo violin m. 229), tremolo (see m. 466, 541).
13.2.3
Mvt. 4 O Mensch! Gib Acht!

493
m
432
436
438
441
447
449
452
454
456
460
462
464
466
470
474
478
485
489
494
498
504
510
514
521
529
533
541
545
535
494
M
Mg 0 /s
/
Mp
..
.
..
.
..
.
..
.
M5
Mf/c
.. ..
./ .
/
0
B3
B3
Comment
Grob!
B3 (\\\)
C F/A C/G C
F7 /A G7 /B Em7 /G C/G
D7 /F ] G Am7 /E D7 /A G
[23] Hns/Tpts, LoStr 16th
C/E F/C G7 C
[24] P2: Hns imit
P1: WW ctp
Dm7 /F G7 C
Ms
..
.
..
. /B1
/
Mf
..
.
Fm
G7 C Am7 F Gsus4
C
7
P3: Tpt
G C F7 /A D7 /F ]
(C A[7 E D[)/G
(F ]7 F D C]7 G[ E[)/G
B7 /A G[/D[ D[7 /C[ A[+ /E
E[]5
7 /D[ B7
B7 . . .
D7 G]7 C]7
P4: LoStr+Bsn
[25] Brs, tutti clim, P D (g)
timp P (cg)
buildup Seq(31m;R7 )
cresc
[26] tutti climax
~
trans, Tpt, Vi trem Hk
B7 /C C7 /B[
~
Vi1 trem Hk
e
F7 /E[ . . .
(G7 F m B[ G[5
7 )/C
Tpt/Cl Birdcall
Ob-Cl, P D (c)
Wieder sehr gemachlich
C2
(F C7no 3 F C7 )/C
[27] Flg solo, Vi bg, P D (c)
(F C7 F )/C
B[/F F
(C7 F C7sus4 C7 G]7 F )/C
(C7[9 F F m)/C G[9
7 . . . )
<(F C7 )/C
(ped)
h i
6
8
([) Posthornepisode
[28] Vi par 3rds, Str, P D (c)

maj-min
[29] Flg/Hns par 3rd, P D (c)
(F C7 F G] C7 . . .)/C
F ...
Wieder lebhaft, und schneller . . .
(ped)
F (m)no 3 . . .
F (m)no 3 . . .
E[m . . .
E[m . . .
D[no 3 . . .
[30] Fl, Str 16ths

WW imit, cresc
[31] tutti climax, Str trem
Hns+Tbn augm Birdcall
h i
2
4
m
557
562
568
575
579
583
Comment
Ms
..
.
Sofort wieder Tempo I.

C no 3 . . .
Coda (\)
[32] Hns+Tbn, Timp P (cg)
<(C no 3 Dm7 C)/C

9/sus4
G7
...
(C A[ C Cm A[+ )/C
<(Cm C)
C(m)no 3
Tpts (ped)
Brs+WW, cresc
[33] WW+Brs imit, clim (ped)
min-maj (clim, ped)
(590 m.)
(Ms/1)
495

496
13.2.4
Mvt. 5 Lustig im Tempo und keck im Ausdruck
Form: ternary song form, ABA1 Coda. This cheerful and lively movement has the subtitle:
Was mir die Engel erzahlen. The lyrics (21 lines) are from the song cycle Des Knaben Wunderhorn, subdivided into three stanzas (verse 1 to 3). See Table 13.10 to 13.12 for the analysis.
Like the previous movement, here we see the combination of a number of elements:
The bells motif MB .3 This effect is played by real bells and the boys choir (BCh)
singing: Bimm bamm, and near the end also by the womens choir (WCh).
The main theme, a lively descending scale pattern M0 in staccato dotted 8th note
rhythm. This returns in the vocal solo melody ML121
as the a-phrase, and in melodic
v
inversion in the instrumental backgrounds. The opening line in the verses has Mv (aab)
(2 + 2 + 2 m.) sentence structure.
The chorale phrases MC for womens choir, full of contrary motion.
In the contrasting middle section there are the staccato 8th note chords in the horns,
combined with the legato ascending 16th note runs MR in (triple) clarinets, later flutes.
A transitory theme Mt in the celli leads into this setting.
The B-section also has a new vocal melody for alto-solo (lines 10, 12, 13 and 14). The
second half of this section leads to an extended tutti climax with chromatically descending middle voices, playing an exact parallel set of triads (F E E[) (F ]m
F m) E (m. 7072).
The harmony consists of mainly triads, with an occasional 7th chord. In the orchestration
there are no timpani, nor violins.
13.2.5
Mvt. 6 Langsam. Ruhevoll. Empfunden

3
Watch hilarious Peter Sellers in the Pink Panther Strikes Again movie, impersonating hunchback Quasimodo
and shouting The bells, the bells! on the Paris appartment balcony.
497
Table 13.10: Mahler, Symphony No. 3, Mvt. 5 Lustig im Tempo und keck im Ausdruck
m
1
4
5
6
7
9
11
13
15
17
19
Comment
MB
M0 /MB
..
.
. / ..
.
/ ..
..
ML1
v /.
.. L2
. /
L3
L4
MC
F6 ...
F Dm
A1 , BCh+Bells
WW
Gm/B[ Gm C/E
(cm<)
F C7
cad
F F/A Gm F
[1] Verse 1, a): WCh+WW
F F/A C F
F C B[/F F
D A D C/E G
a)
b)
WCh
C F/C C Am C7
WCh, WW+BCh, P D (c)
/M0,B
.
ML5 / ..
F C B[/D
v
L5
MC /
C/E F
d
WCh
20
/ M0
C7 Dm C/E B[/D
WCh/WW
22
MvL6
F Am7
[2] Verse 2, a) WCh, (cm>)
23
24
25
26
28
30
32
34
35
36
37
38
39
40
41
43
45
46
498
..
.
..L7
. /I(M0 )
B[/D F C7no 3
/
L8
MC
..
. / M0,B
..L9
.
..
./M
a): WCh/M0 : WW, (cm<)
B[7 /A E /G F
D A D C/E G
WCh
C F Am Dm
WCh+WW/BCh
B[ A D C/E G
0,B
/
Mt / M0
.. ..
./ .
.. ..
./ .
/
ML10
v /MR
..
. /M
F Am/C
Dm
Dm7 /C F/A Gm/B[

C Cm/B[
WCh/BCh+LoWW
A[9
7 Dm/F
[3] B, Str+Hrp
Am Gm/B[ B[7 /A
E7 /G C]7 /E F
E A[9
7
6
Dm Dm+7
/
MvL11 /MB
Em7
E[7 E[7 E[m7
<(Dmadd4/9 D)
L12
MC
Dm C B[
Am Gm Am
B,R
Alt-Solo/Cl, Hns stac

Alt-Solo/WCh+Cl
Cl-Ob
WCh/BCh
~ , S(3p)
Alt+Str+Harp Hk
d
(contd)
47
MB /M0
.
/ ..
49
51
52
Comment
<(Dm B[)
(WCh+BCh)/LoWW, P T (d)
Dm B[ Gm B[/D
F/A Cm7
Dm D7
(WCh+BCh)/LoStr
E[7 E[7
Alt-Solo/WCh+Fl
55
ML13
v /MR
..
. /MB,R
.
/ ..
56
ML11
v /MB
<(E[madd9 B[)
Alt/BCh
58
ML14
C
B[7 C B[/D
~ , (cm)
Alt+Str+Harp Hk
d
53
75
76
78
81
..
.
.. L12
.
..
.
/M0,B
MB /M0
.. ..
./ .
.. ..
./ .
.. ..
./ .
.. ..
./ .
.. ..
./ .
.. ..
./ .
/
M0
/
82
ML15
v /MB
84
L16
86
ML18
C
88
59
61
62
63
65
67
69
71
72
73
[5] Alt/Fl
A47
Am/E Gm/D Am/C B[

Dm C B[
Am Gm Am
<(Dm B[)
<(Dm B[)
Alt/BCh+LoWW, P T (d)
[6] (WCh+BCh)/LoWW (ped)
<(Dm B[)
tutti, cresc, build, P T (()d)
Dm1]77[6
~ & (ped)
tutti climax, Hns Hk
e
E[7 /D Cm7 F ]m
(climax, ped)
[5/[9
no 3
i (&), (ped)
Pm
E[7 /D B[7 Dm B[]5

7
i (&), ped)
(Pm
G7 /D Em7 /D E[m7 /B[

<(E7 /D C 9 E[7 /C])
Dm B[ Gm Cm7 /E[
Cm7 Am/C E[7 F7
i (&), ped)
(Pm
B[+ E[7 /B[ B[7 B[
A2 , Verse 3, WCh/BCh, P T (b[)
B[+ Gm/B[ E[/B[ B[
(ped)
D A C G D
[8] WCh imit
A E A Am
BCh
D7 B[7
B[
[5/[9
B[7 no 3
[7] trans, Hn+Vcl, Str

cad
499
(contd)
m
Comment
90
ML18
v /M0
.. L19 ..
.
/.
.. ..
./ .
.. L19 ..
.
/.
..
./
..
./ML20
F F/A C/E B[/D
WCh/WW, (cm>)
C/E Dm/F C/G
BCh
92
93
94
95
96
B[7 /A C/G B[/F

F Gm7 /D Am/C C7 /B[
WCh/LoStr
DmA E /G F
(cm<)
D A D C/E G
[9] WCh
Gsus4
7 /C
/M0
100
L21
ML20
0 /MC
F Am B[/D F Gm/B[
BCh/WCh (cm>)
102
M0 /
F/C C7 F/A F
LoStr+LoWW, Tbn
104
ML21
C
Dm C/E E7
WCh+BCh
F E /G F/A
Gm7 /B[ C
cad
F Dm7
[10] Coda WW+Hns
B[ A Dm Gm/B[
F 9 /C C7
<(F Dm/F )
cad
(WCh+BCh)/Hns, P T (f )
<(F Gm7 /F )
F
(WCh+BCh)/HiWW (ped)
(WCh+BCh)/Cl (120 m.)
98
105
106
107
108
109
110
114
118
500
..
.
M0
..
.
MB /M0
.. ..
./ .
/
G7 /B C Am

501
13.2.6

502

503
13.3
Symphony No. 4 in G Major (1900)

Mvt. 3 Poco adagio, Ruhevoll: ABABA Coda form (G,
A (61 m.)
B (45 m.)
Coda (38 m.)
Mvt. 4 Sehr behaglich: song form (G,
h i
I1
V2
4
4
2
2
3
4
3
8
2
4
A1 (72 m.)
A2 (93 m.)
Int V1
h ih ih ih ih i
4
4
I2 V3
, 353 m.)
B1 (43 m.)
, 184 m.)
I3
V4
Co
Figure 13.4: Mahler, Symphony No. 4 in G Major
13.3.1
Mvt. 3 Poco adagio Ruhevoll
Form: ternary song form, ABA1 B1 A2 Coda. This slow movement has a large scale approach.
The first A section, for strings only, introduces and repeats the first subject M1, but each
time the lead voice changes parts, while a new countermelody is added and shorter note
values are used (8ths). Throughout the movement the lower strings change from pizzicato
to arco and back, providing a stable groove in 4th notes. The woodwinds start playing in
the transition to the B section; the oboe takes over the lead part (M4), answered by a most
lyrical violin melody, full of portamento and a perfect melodic curve (M5). The section A1
and B1 develop the earlier subjects, while introducing new countermelodies in polyphonic
settings (either contrasting instrumentation or ranges). A peculiarity of this movement is,
that it contains a theme and variations form (in the A2 section) within a higher level ternary
structure. Returning elements are the chromatically descending theme (Ms, blasted out by
trumpet and oboes during the first climax), and the bell effect in lower strings and harp in
the transitions. See Table 13.13 to 13.15 for the analysis.
13.3.2
Mvt. 4 Sehr behaglich

504
13.3. SYMPHONY NO. 4 IN G MAJOR
Table 13.13: Mahler, Symphony No. 4, Mvt. 3 Poco adagio Ruhevoll

m
1
6
11
14
15
17
21
23
25
29
33
35
37
Comment
M1
..
.
..
.
..
.
M2/1
..
.
G D7 G6 Bm
A.a1,
62
M4
66
68
70
72
74
76
78
79
81
83
84
87
89
93
98
103
DB pizz
D D7 /C
G/B Am7 /C D
G D 7 G6
cad
A.a2, Vi1 (M2=Mc)/Vc,
Vc+DB pizz
G D7 Em7 /D G/B
[1] A.a3, Ob/Vi

d
C/E E7 Am7 A7 D
Bsn+Hns bg
Em7 A7 D
E7 Am7 D7
Em
<(G D)
A.b, Str, P D (d)
Em Am/C G64 D G
C Am/C G64 D7
G6 . . . D7sus4 G B
Va+Bsn
cad
trans, Hrp+LoStr: bell motif
Em Am/E Em Am7 /E
[2] B.a1, Ob, WW+Hns
M5
..
.
..
.
..
.
M4
M5
D7[9 G D7
Vi1: aab
Em7 D]7 C/E G/D
PB (&)
A7 /C] F ]7[5 /C Em64 B7
Ob-Vi1
Em A/E Am+7 /E
Em F ]7 F ]m Em
(Em Am7 )/E
(F ]m7 Em7 )/E
C/E Am/E E7
P T (e), chr&
M5
M5
..
.
Fm
/Ms
Dm
Mc
Vc, P D (d)
A]7 Bm A7
Bm G/D D7
G/B Am7 /C D7
M2/1
..
.
..
.
..
.
..
.
..
.
M3
4
4
D7 G D/F ] G
43
47
51
h i
Am7 E7 C7[5 /G[

B[/F G7 /F
(C7 F m C7 Dm7 C7 )/C
D[7 F/C B7 B[7
Dm7 Gm/D
Dm
D7 <(Am E7 ) . . .
Dm . . . B[7
i (%), (ped)
B.a2, Ob, Pm
Fl-Cl
[3] Hn, Mc: Vi1
Vi1
tutti clim, chr& motif
B.b
Fl-Vi1: clos th, FHn: chr&
505
Table 13.14: Mahler, Symphony No. 4, Mvt. 3 Poco adagio Ruhevoll (contd)
m
Comment
G D7 G/D D7 C/G D
[4] A1
115
M6/7
..
.
119
123
131
137
M1
M1/c
M1
A7 D7 Em Am D
G D7 G G/D D7
G D7 G C E7 Am
(G D G D7 G D7 )/D
143
M1/c
..
.
G D7 G D7 /A G D7
Vi1/Vi2 countermelody
Em7 G/D D7
G B7 /D]
Em/G C/G D7
WW+Fhn+Str, ctp dev
107
149
151
153
155
159
163
171
h i
2
2
, Cl, P D (d)
D G B/F ] F ] Bm
d
M1
..
.
..
.
Vc, development
Bsn+Str, countermel
~ , P D (d)
[5] Cl+Bsn: Hk
d
G D7 B[ B7 Bm
Am/C F ]7 /C G/D D7
G D G D7[9 . . .
. . . Gm B[sus4
7
trans, FHn+Ob
[6] B1 .a1 44 Dev, WW+
FHn: chr&
Vc-Vi2
h i
179
183
188
M4/M5
M5
E[
Gm
E[ Cm/E[ Gm/D
D7[9 . . . D G Gm
B7]5 E]7 B7 A/C]
192
195
M4/Mc
..
.
C]m
C]m/G] F ] F ]7 B7
C]m F ]m/C] C]m
[7] B1 .a2 Vi, climax

(Cl+LoStr)/Ob
F ]m/C] A7 /C]
E[7 /D[ E7 /D F7 /E[
A/E E7 /B E7 /B[
D/A Dm/A
E7 Am/E E7 F ]m7 E7
Tpt/Vi1
B7[5 /F B7[9 /D]

F ]m7
F ]m . . . F ]
D/F ] F ] . . . D
tuitti clim, chr& motif

B1 .b trans, Vi+Va, P T (f ])
G D7 G
[9] A2
D7 /A Bm D7 /A G D/F ]
Theme+variations,
B7 /F E7 E7 /B[ A
Str bg, DB: pizz
197
199
202
204
205
207
210
212
217
222
227
230
234
236
506
M4/Mc
M5
..
.
F ]m
M1
..
.
..
.
..
.
A[5
7 /E[
Cm/E[
D
Am/C Am D/F ]
[8] Vi, Str bg
h i
3
4
, Vc, P D (d)
13.3. SYMPHONY NO. 4 IN G MAJOR
Table 13.15: Mahler, Symphony No. 4, Mvt. 3 Poco adagio Ruhevoll (contd)
m
238
243
245
249
251
255
258
260
263
267
269
270
271
275
278
282
283
285
287
288
294
296
299
303
307
315
318
320
326
332
338
344
353
M
M1
..
.
..
.
..
.
M1
..
.
M1
..
.
..
.
M5
M1
M5
..
.
R
G
Comment
G D7 G
h i
D7 G/B D7 G Am/C
Str bg, Vc: pizz
3
8
, Var 1, Vi1, P D (d),
Am/C Am E7[9
F ]7 Bm
A7 D Am/C D7 /A D7
G D7
Var 2, Vi2, P D (d),
G D7 G/D C]7
D7 D]7
E/B B7 . . . E/B
Vc+DB:
h i pizz
[10] 24 , Var 3, Ob, P D (b),
B/F ] C]/E] A]7 /E
Fl, Vi1: ctp
B/D] Dm A/C] E + /B]

A]7 B
D7 C]7 F ]7
C7 B B[7 F/A A[7
G/D Am D7 G/D
C/E E7 A7
tutti climax
Vi1, diminution
PBi (&)
Var
h i 4, WW+Str, P D (d)
3
4 Brs: augm, clim
G/D C]7 D
C/E A]7 Bm/D Dm7
E7 Cm D7
d
Mc
..
.
M1
M3
E
M3/S1
M3/S2
M5
..
.
M5
[11] P D (d)
h i
4
4
G . . . D7 /A G D7 /F ]
trans, Va (m. 37+m. 131)
Em Am7 D7
(G Am Dm)/G
C . . . G
F C Dm7 C
G D7sus4 G6
FHn+Va, motif m. 45
E
E6
E 6 . . . E B7sus4
<(E 6 F ]m7 )/E
[12] Coda, tutti clim, Str: arp

DB bell, Brs signal, P (eb)
bell+signal motif
[13] Vi1
C . . . G . . . F/C
DG
G/D Em G/D Em D
Vc+D: bell motif, P D (d)
DB+Hrp
(353 m.)
507

508
13.4. SYMPHONY NO. 5 IN C] MINOR - D MAJOR
13.3.3
The key relationship diagram is shown in Fig. 13.5. In Mvt. 3, Poco adagio, all A-sections
start on the tonic major key G (1,3,5). The contrasting B-sections start excursions into remote
keys: the dominant minor key Dm (2) and through the lowered submediant major key E[ =
[VI towards the furthest point F ]m (4). The Variations sections start the alterations with the
submediant major key E (6).
Mvt. 3 Poco adagio
4
Bm
F ]m C]m
Am
Em
Fm
Cm Gm
A[

E[ B[
Dm
1,3,5
*

Mvt. 4 Sehr behaglich

F ]m
C]m
8 G]m
*

A
E H
YH B
H 2,4,7
1
Am 3,5 Em - Bm
*

H
YH
H
6
HH

j

HG
C
D
Cm
Gm
Dm
Figure 13.5: Mahler, Symphony No. 4, key relationship diagram

In the song, Mvt. 4 Sehr behaglich, the verses start on the tonic major key G, the submediant minor Em (3) and major key E (78), respectively. All interludes start from the mediant
minor key Bm (2,4,7). The third verse contains the most key changes (47). The movement
closes in the major key E, alternating with its mediant minor key G]m (8). The overall compass of this closing movement is limited.
13.4
Symphony No. 5 in C] Minor - D Major (1904)

Mvt. 3 Adagietto, Sehr langsam: ABA form (F ,
A1
h i
4
4
, 103 m.)
A2
Figure 13.6: Mahler, Symphony No. 5 in C] Minor - D Major
13.4.1
Mvt. 4 Adagietto Sehr Langsam
Form: ternary song form, A1 BA2 . This most beautiful slow movement, Adagietto, is also
known for two other reasons: as the gloomy main title music in the Visconti movie Death in
Venice4 and in conductor contests for the longest performance duration (look on the internet
4
Remember Dirk Bogarde as ageing composer Gustav von Aschenbach, with died black hair washing out in
the rain, while stalking young Tadzio through the narrow streets of cholera-stricken Venice? Thats the one.
509

for whos leading the competion currently). The orchestration is for strings and harp only.
Note how the lead melody is moving through the string parts, with carefully planned octave
doubling in the high range. And there is ample use of appoggiaturas. See Table 13.16 for the
analysis.
13.4.2

510
13.4. SYMPHONY NO. 5 IN C] MINOR - D MAJOR
Table 13.16: Mahler, Symphony No. 5, Mvt. 4 Adagietto Sehr Langsam

m
1
3
6
8
12
14
16
19
23
54
56
60
63
66
68
72
74
78
80
82
85
91
93
95
99
Am
F Dm/C Gm7 /B[ F/A D[7 /A[
A1 Hrp+Str bell ch ([)

Vi1: a, Str
G7 D7[9
Gm E7 F F/A C 4 C 6
F F/C E7[9
(b)
(M1)
M2
M3
..
.
..
.
..
.
..
.
..
.
..
.
..
.
..
.
..
.
52
Am
39
50
Comment
M1
..
.
47
M1
..
.
27
29
33
44
Cm
G[
Vc: b, N 6
Vi2: c
[1] trans
Vi1: a
D7[9 /F ] E7 /G E7[9 /G] F/A

G7 /B[ F46 C7[9
F Gm7 /F F Gm/B[ C F
(b) PB (%)
climax 1, cad, P D (c)
Vi2: c, cad
Dm/F B7 Cm . . .
[2] B, Vi1
Cm/E[ C A7 /C F7
i (%)
Va-Vi1, Pm
G[ . . . A[[9
7
([[[[[[) Vi2+Va
D[97 E[m7 /D[
Vi1
E[m7 /B[ A[7 /C
Vi1+Vi2: 8va par
B[m B[7 E[m A[7 D[7

[5/[9
C7[9
climax 2 (%), PB (&)

(]]]]), PBi (&)
E/B B7 E7
B7 /A Bm7 /A F ]7 /A A7 Bm7 /A
(]]), Vi1, P D (a)
A7 D+ E E7 /D
[5
(A7 G][9
7 )/A C]7 /G] C]7 /G
Vi+Vi2
PB (&)
F/C Am7 /G
F . . . Dm11
7 /C Gm7 /B[
[3] A2 ([) trans

Vi2: 1
F/A D7 /A[ G7 G7
D7[9 /F ] Gm E7 F F/A
C 4 G7 C
C . . . C7 /G F F/A Gm7 /B[
PBi (&)
(b)
Vc, P D (c)
[4] Vi1 (c-ped), cresc
D7[9 /F ] E7 /G E7[9 /G] F/A

F/A G7 /B[ B7
F 6 /C . . . F/A C7 /G
F
i (%), P (%)
Pm
B
PBi (%)
climax 3, P D (c)
(103 m.)
Vc: a
D[ E[m A[
(M3)
M2
..
.
E7 F B[/D
Am/E D]7 E7
Am F/A Am . . .
Am C7 /G F F7 /A Gm7 /B[
d
(M2)
M1
..
.
511

512
13.5. SYMPHONY NO. 6 IN A MINOR TRAGIC
13.5
Symphony No. 6 in A Minor Tragic (1906)

Mvt. 3 Andante moderato: ABABA Coda form (E[,
A
A1
B1
h i
4
4
, 201 m.)
A2
Coda
Figure 13.7: Mahler, Symphony No. 6 in A Minor Tragic
13.5.1
Form: ABA1 B1 A2 Coda. This moderate tempo movement may have been a textbook example for Hollywood composers and orchestrators; there are sweeping melodies (wide leaps,
chromatic steps), polyphonic settings combining main themes with countersubjects (with a
Leitmotiv flavour), melodic sequences, contrasting orchestral densities (tutti vs. thinned out
sections, such as those labeled Elegy and Pastorale), stepwise moving middle voices (horns
and lower brass, for example) and huge dynamic climaxes. Melodic phrases from main
themes are distributed over several parts within a section, most of the time with doubling
between woodwinds and strings. Tonal centres move frequently, although note the larger
structure zones in either major or minor keys. See Table 13.17 to 13.19 for the analysis.
13.5.2
The key relationship diagram is shown in Fig. 13.8. In Mvt. 3, Andante moderato, all three
A-sections are predominantly in the tonic major key E[. The first alternates with the mediant
minor key Gm (1), the closing section moves from the lowered submediant major towards
the tonic (B = C[ = [VI) E[ (7). The contrasting B-sections contain more key changes
and widen the key compass: the first opens in Em (2) and ends on the lowered supertonic
major (Neapolitan) key E = [II (34), the last B-section opens in the submediant major key
C (5) and ends with Bm B (67), the latter being the intermediate Neapolitan chord key of
the dominant B = [II/V . Note the use of the vertical minor third (3i) symmetrical root axis
E[ C A and the perfect fifth (7i) horizontal axis Am Em Bm.
513
Table 13.17: Mahler, Symphony No. 6, Mvt. 3 Andante moderato

m
1
5
7
9
10
12
14
17
21
24
26
28
Comment
M1
..
.
..
.
M1
..
.
..
.
/0
M2/0
..
.
E[
[13
E[ B[[5
7 E[ B[7 E[/B[
A.a, Main theme: Vi 1
38
40
M1
..
.
..
.
..
.
..
.
/M0
42
45
47
49
Mt1
Mt2
Mt1+2
Mt1
56
59
60
63
65
Mt1
Mt2
M2
M3/t2
..
.
..
. /t2
..
.
..
.
/0
32
34
36
68
70
72
75
78
81
514
F7 F m E[ B[[9
7 E[/B[
[5/[9 d
[5/[9
B[7
C7 /B[ C7 /E
A[m B[[9
7
E[ E[[9
F7 /C[ B[7
7
Ob: 3rds
[87] Vi1+2: ctp, P T (e[)
(E[ E[[9
7 F m7 F7 )/E[
Gm
E[ . . . B[+ E[ F /A[
[5/[9
F m/A[ F7
/E[ . . . A7 E[
Gm . . . Dm7
E[
Gm7 A7 /G B[7
Gm A7 E[/G A[7
]11
E[ B[[5
7 E[ B[7 E[/B[
[5/[9
(F7 F )/B[ E[ B[7
Em
Am
Em
WW: Seq+ctp (imit)

[89] A.a1 , FHn
Vi1+WW: ctp
B[[9
7 /A[ E[/B[ B[7
WW+LoStr: ctp
[5
E[ E[[9
7 F m7 /A[ F7 F7
[90] Vi2, Fl: chr%
E[ A7 Cm7 /B[ Eb/G

Cm G . . . B[7
Ob
E[ . . . B[sus4
E[ Cm/E[
7
F7 F m7 C[7 /E[ E[[9
7
A[/E[ D7 . . . E[m
C[7 /E[ . . . E[
[91] tr, EHn+Vc: leaps

Cl+Vc: 8th note&
WW+Str
closing phrase
Em . . . Am7 Em
Dm F/C
Am . . . Em7 Am Dm/A Am
B7 C7 Am7 B7 Am
Em F ]7 /A Em B7[13 /D]
[92] B.1,Dev 1, Ob
Cl
Elegy, FHn
WW: Seq+ctp (imit)
Fl+Vi1, WW+LoStr
A/C] F ]7 /C E/B F ][5

7 /A]
climax, PBi (&)
[5/[9
B7
Bm
E[
Ob: 3rd/6th-motif
[88] A.b, EHn,WW
/A E/G] Em/G
Bm . . . B[/D
[93] tutti climax
Gm+7
tutti: ctp+Seq (imit)

Vi1-Fl-Ob, closing phrase
C7 F ]7 Bm7 Em7
<(Am7 F ][5
7 )/C Em/B B7
[9/sus4
B7 . . . F ]7
/B
13.5. SYMPHONY NO. 6 IN A MINOR TRAGIC
Table 13.18: Mahler, Symphony No. 6, Mvt. 3 Andante moderato (contd)

m
84
M4
..
. / t1
.. ..
./ .
/
Mt1
E ...
M1/Mc
M1/Mc
..
.
..
.
..
.
E[
86
88
93
95
100
103
105
107
109
111
113
115
117
119
121
124
127
128
130
132
135
137
141
143
145
146
149
151
153
156
158
E96
[94] B.2, Pastorale, FHns

Tpt, P (eb)
<(B7sus4 E)
B sus4
E
7
[5
B7 . . . G][9
7 F7
FHns/WW
[95] Vi1, Str bg
closing phrase
E[/G B[[5
7 E[
E[ F m7 /E[ B[7
E[ B[[5
7 E[ E[7
[96] A1 , th+ctp,
WW+Str
WW+Str, P T (e[)
E[64 B[7 E[ E[[9

7
F m7 /E[ A[m E[
F7 F m A7 B[7
[5/[9
[5/[13
F7
B[7 A7 G7
/D[
M5/Mt
..
.
..
.
Mt1+2
Mt1
..
.
..
.
M2
..
.
..
.
M2
..
.
..
.
..
.
..
.
Comment
(C Dm7 C)/C
[97] B1 .1, Dev Misterioso
(Dm7 C)/C C7 /B
Str+WW: ctp
F/A G/B C
Dm7 /F (C Dm7 C)/C
A F ]m7 Bm7 /A E7 A
Bm7 B7
(A F ]m7 G][9
7 )/A
[98] B1 .2, Pastorale,

FHn-(CBsn+LoStr)
P T (a)
[5/[9
(B7
Am
E7 )/A
(ped)
<(A Bm7 )/A A F ]m7 /A

Bm7 /D E7[9 /D A Dm
A . . . Am . . . Em7/G
[99] B1 .3, Elegy, Ob
F Dm Am7 Dm7 B7
WW: Seq+ctp (imit)
B7[9
C]m
Am
Am F ]7 /A
D7 /A F ]7 /A
C]m . . . G]97
[100] B1 .4, Elegy
G]7 (F ]m C]7 )/C]

9/[13
(F ]7
Bm
F ][9
7 Bm7 )/F ]
Bm7 <(C]7 F ])/C]
tutti: Seq+ctp (imit)

tutti climax
C][9
7
F ] Bm
F ]7 B F ][5
7 /A]
515
Table 13.19: Mahler, Symphony No. 6, Mvt. 3 Andante moderato (contd)

m
160
163
165
167
168
169
171
173
Comment
M1/c
..
.
..
.
..
.
..
. / t1
.. ..
./ .
B F ]m B F ]7
[101] A2 . Main th+ctp,
B C]m7 /B B C/E
WW+Str
179
181
182
/
Mc/3
..
.
..
.
Mt2/1
185
(M1)
177
188
190
194
201
(M3)
(M3)
B/F ] F ]sus4
B/F ] Em
7
E[
B/D] G7 /D C]m
PB (&)
F ][9
7 E]7
Ob+FHns
F ]7 E]7 F ]7 B7[5
[5/[9
G]5
/C[
7 C F7
E[/G F m E[6 Cm7 Gm
[102] WW+Str
A[ B[7 /D Gm Cm7 F7
Seq+ctp, FHn: chr%
B[7 . . .
F m B[[9
7
[5/[9
A7 B[7 F7
B[7 B[[9
7
Str, closing phrase
(A[ E7 F7 F7 E[)/E[ F79 /A
[103] Coda, P T (e[),
E[/B[ G7 /B Cm G7
(A[m F m7 )/A[ . . .
E[
WW+Str: ctp
Cl, Str ctp
(201 m.)

Em
Bm
F ]m
Gm
Dm
B[
B[m
Fm
Cm
D[
A[
1 Gm
*

B[

E[
C]m 4 A[m
B t
6
A
G]m
E 3A B t

YH A
H
?
HAU 6
Am - Em - Bm
2
5A
tE
C]m

t
D
Dm
F
E[m
B[m
Fm
F]
C]
G]
Figure 13.8: Mahler, Symphony No. 6, key relationship diagram
516
Chapter 14
Claude Debussy
Biographical data:
22-8-1862 in St.-Germain-en-Laye
25-3-1918 in Paris
1600
14.1
1700
1800
1900
2000
String Quartet Op. 10 (1893)

Mvt. 2 Assez vif et bien rytme: ABCAD Coda form (D,
A1
A2
h ih
6
8
15
8
, 177 m.)
Cd
Figure 14.1: Debussy, String Quartet Op. 10
14.1.1
Mvt. 2 Assez vif et bien rytme
The form of this movement is rather unique, although it might be characterised as ABCAD
Coda form. An opening riff motif is used in many disguises in this piece: as an isolated
theme, as background, as theme in augmentatIon and varied. Other themes are based on a
framework using chord root, major seventh and minor seventh (yielding embellished chromatic descending themes). See Table 14.1 and 14.2 for the analysis.
14.1.2
The key relationship diagram is shown in Fig. 14.2. Much of this movement (the B- and Csection) involves keys on the subdominant axis C E[(m) F ]m. The opening A-section
is on the tonic major key G, the second A-section starts on the lowered supertonic major
(Neapolitan) A[ (2), quickly returning to the subdominant axis.
c
2005-2015
CHAPTER 14. CLAUDE DEBUSSY
Table 14.1: Debussy, String Quartet Op. 10, Mvt. 2 Assez vif et bien rytme
m
1
3
5
9
13
19
23
25
27
33
37
41
47
50
54
56
60
64
68
70
74
78
86
90
94
98
100
103
108
112
116
120
518
Comment
A1
(B[7]5
M0
M0
M1.a
M1.a
M1.b
M1.b
M1.a
M1.a
M0
E[
M0
M0
C
M0
M0
M2
M2
M0
A[
E[m
M0
M0
h i
6
8
(]) pizz
G7
B[7 )/D
G B[7 /D
<(G D7 = B[97 /D)
<(G D7 )
<(C D7 /F )
F ]7 F7 B[+ B[m7
D79 /C D[97 /C[ G4
<(C D7 /F )
E7 /B
<(G D7 )
<(G D7 )
<(G D7 ) G D[/F
<(G B[7 ) G7
Va: riff motif solo

repeat
V1 (Va: riff )
repeat
E[
E[ E[7 . . . B[[9
7
E[ E[7 . . . B[[9
7
<(E[ F m) E[ D[
C
C A[7 /C D7 B[97
C A[7 /C D7 B[97
<(E F ) E D D[
B ([[[), bell ch, 16th trem

V1: riff motif augm
repeat
trans
bell ch, 16th trem
~ 2i
2nd stat, R
repeat
~
climax, Hk
<(A[/C B A[/C B[7 )

E[6 /B[
<(A[ A[7 A[ B[7 )
G D7 /G Cm D F m6
<(Cm D B[)
B[7
E[m G[
G[7 G[7
B[m D[
D[7 D[7
C, Vc: contr th
trans
repeat
climax, trans
2nd stat: V2, V1: riff
repeat
Vc: riff solo
trans
2nd st: V1+Va, V2: riff

~
riff with Hk
d
trans
bell ch, 16 th trem
V1: riff -like motif
bell ch, 16 th trem
2nd stat
14.1. STRING QUARTET OP. 10
Table 14.2: Debussy, String Quartet Op. 10, Mvt. 2 Assez vif et bien rytme (contd)
m
Comment
124
128
132
136
140
145
M0
M0
F ]m
<(F ]m B7 )
C]m7 /E
<(F ]m B7 )
C][9
7
(d g])-tritone
(d g])-tritone (contd)
A2 , V1: riff motif aug
148
150
152
154
(M0)
D 15
8 (]) pizz
irregular meter:
9+6 8th notes
156
M3
..
.
<(G B D D[ F m)
<(G Dm7 Em F7 Em)
<(G97 G7 G13
7 G7 Dm/G)
<(A7 Em7 A7 /E G7
A7 /G Em7 )
A7 /G
157
158
160
162
164
168
170
173
(M0)
(M0)
2nd stat
to climax
unisono clim
dim, trans
C]]5
7
F + B + /D] C + /B
]5
]5
C]]5
7 A7 F ]7
<(C]7 C]7 )/E]
<(D7 /F ] D7 /A)
9/11
<(G Bm7 D7 B[97 )
B[97
(d e[)-tremolo
G
arco, climax
~
Hk
i
~ 3/4i
R
V2+Va
V2+Vc
dim, trans
Coda
h i
6
8
, 16th trem
cl cad pizz (177 m.)
519

Mvt. 2 Assez vif et bien rytme
F ]m t
Bm
D
C]m
3 B
B
B
Dm
Am
F
Fm
B Em
BBN
C

G

Cm
Gm

A[ H
E[ 1
2 HH
j
B[
A[m
E[m
B[m
F]
C]
Bm
F ]m t
C]m
Figure 14.2: Debussy, String Quartet Op. 10, key relationship diagram
14.2
Prelude a` laprès-midi dun faune (1895)

520

`
14.2. PRELUDE
A` LAPRES-MIDI
DUN FAUNE
521


522

`
14.2. PRELUDE
A` LAPRES-MIDI
DUN FAUNE
523
14.3
Trois nocturnes (1899)
No. 1 Nuages, Modere: AAABA Coda form (Bm,
A1
A2
A3
A4
h i
6
4
, 102 m.)
No. 2 Fetes, Anime et très rythme: ABA Coda form (A,

A1
I A
6
8
15
8
ih ih ih i
2
4
9
8
3
4
, 279 m.)
A2
No. 3 Sirènes, Moderement anime: ABC form (B,
h ih
12
8
, 146 m.)
C
Figure 14.3: Debussy, Trois nocturnes
14.3.1
No. 1 Nuages

524
Coda
14.3. TROIS NOCTURNES

525
14.3.2
No. 2 Fetes
Form: ternary song form, A1 BA2 Coda. Characteristic for this piece is on the one hand the
contrast between diatonic, modal scales (Ionian, Dorian, Mixolydian modes) and chromatic
phrases, and on the other hand the use of cross rhythms. There are frequent meter changes
h i
and the mixing of straight and triplet 8th notes (the combination of parallel meters 34 and
h i
9
8
). The middle section B is known for its continuous use of pedal (a[ = g]), modal theme
introduced by muted trumpets (playing parallel triads, with a bitonal flavour), and gradual
buildup to a tutti climax. Subtle references to the middle section are made in the Coda. See
14.3.3
No. 3 Sirènes

526
Table 14.3: Debussy, Trois nocturnes, No. 2 Fetes

m
1
3
9
11
13
15
23
27
29
Comment
Fm
F m/C no 3 . . .
F m/C . . . <(Dm7 D[13
7 )
D[97 E[97 D[97 A97 B[97
D[97 E[97 D[97 B[97
D[97 G[97 D[97 E[97
9/]11
9/]11
D7
. . . E[7
...
<(E[7 D[)/D[
<(A E Gm F m)
A1 , 44 Vi: triplets
EHn+Cl: f -Dor sc, tripl
Str div: exact par tripl
Fl+Ob: g-Alt-sc
M1
M1
M1
D
A
<(A G Em)
M1
<(A E Gm F m)
33
35
39
41
44
48
50
53
M1
M2
58
62
M2
D[
68
69
70
78
..
.
..
.
..
.
M3
82
86
90
94
98
102
104
M4
M3
M4
M3
M4
M3
66
67
<(A G Em)
A[sus4
E7
7
9/sus4
D[ A[7
<(A[97 /D A[97 /E[)
D[
<(C7sus4 A[7 )
<(F A/C] D
E[7 /B[ D79 /A C79 )
F A/C] D A F D79 F7
<(A/E F + F ]m
D]7 /A] E7 /B E7 )
h i
[1] Bsn+Vc: d-Wh.t.-sc

Brass
climax
i
h accts
15
[2] 8 WW: ex par
h i
9
Fl+Ob: a-Mixolyd, Str: ex par
h8 i
15
h 8i
9
8
2nd stat, WW: ex par
Fl+Ob: a-Mixolyd, Str: ex par
[3]
EHn+Cl: d[-Ion sc
WW: c-Wh.t.-sc+d[-Ion sc
Fl: d[-Ion diat par
[4] Ob, Str: chrom
Fl+Ob
A/E F + F ]m
D]7 C]m/G] A
E
D
E
C]
A]7 Em/B C
A]7 G] E7 /G]
<(F ]m B79 G][5
7 /D)
<(A]7 /E D][9
7
F ]m7 /C] D79 /C) B79
E ...
E + /B C]m7 /B
D ...
D F ]m7 /C] D]7 /C B79
<(E 6 E7 E7 )
C]97 B7[5 /D]
9/]11
C][5
/D]
7 /E] B7
[5] WW: f ]-Dor-sc

tutti climax, (cm<)
2m repeat, acceleration
[6] WW+Hns, dim
On+EHn: e-Ion-sc
[7] WW+Hns
WW: b-Ion-sc, P (a)
[8] WW, cross-rhythms
Str, build to climax,
diatonic+chrom
527
Table 14.4: Debussy, Trois nocturnes, No. 2 Fetes (contd)

m
106
108
110
M3
114
116
124
128
132
140
144
148
156
160
164
170
A[m
M5
..
.
M5
(M5)
M5
..
.
174
178
182
186
190
M1
M1
M6
198
202
208
210
M1
D[
D
E[
214
216
220
224
229
232
236
240
236
248
528
M1
M2
(M5)
(M5)
C]
Comment
C]97 B7[5 /D]

9/]11
C][5
/D] A]m/E]
7 /E] B7
<(E]7 A]m/E] G]m7
9/]11
C]7 /B G]97 /B] B7
/D])
9/]11
9
<(G]7 /B] B7
/D])
[9] tutti climax
A[m6 . . .
A[m6 . . .
[10] B 24 , Hrp, P (a[e[)

Tpt (mute): a[-Dor-sc
B[7 /A[
<(G]7 E7 /G]) E7[9 /G]
(G]7 E79 G]7 )/G]
D[/A[
<(D7 B[7 )/A[ B7 /A[
A[m6 . . .
b[-Mixolyd-sc, P (a[)
b-Dor-sc (ped)
[11] WW: b-Dor-sc, P (g])
d[-Mixolyd-sc (ped)
[12] WW+Hns: f -Dor-sc
[13] Brs: a[-Dor, tutti clim
B[7 /A[
<(E79 G]7 )/G]
<(D[97 /F E7 D]7 D7[5 )
b[-Mixolyd, P (a[)
b-Dor-sc
tutti climax, retrans
D[97 E[97 G[97 E[97

<(D[97 E[97 G[97 A[97 )
D79 E79 G97 E79
<(D79 E79 G97 A97 )
<(E[97 G[97
E[97 G[97 A[97 G[97 )
<(E[97 G[97 A[97 G[97 )
E[97 . . .
<(A C]m7 E7 D B[97 )
[14] A2 68 Fl: mixed modi,

g-Alt, e[-Mixolyd, c-Alt
Fl: g]-Alt, e-Mixolyd, c]-Alt
[15] Vi, exact par
<(A G Em)
[17]
<(A C]m7 E7 D B[97 )
<(A G Em)
G]sus4
...
7
[9
C]7 . . .
<(C]7 D7 C]7 /E])
C](7) . . .
B[97 . . .
C](7) . . .
D[97 . . .
C](7) . . .
WW+Str: chrom, par

cad
h i
h i
clim, 2m rep, acc

[16]
h i Tpt accts b[-Aeol, P (e[)
15
8 , trans, P (e)
h i
9
Fl+Ob: a-Mixol, diat
i 8
15
, repeat, P (e)
h 8i
9
8
Fl+Ob: a-Mixol, diat

[18] P (g])
WW, tutti climax
[19] LoStr, dim, PBi (&)
Hns-WW: f -Aeol
LoStr, dim, PBi (&)
[20] Tpt-WW: a[-Aeol
LoStr, dim trans, PBi (&)
Table 14.5: Debussy, Trois nocturnes, No. 2 Fetes (contd)

m
252
256
260
264
266
269
274
M
(M4)
..
.
(M5)
R
A
Comment
<(A E Gm D B[97 )/A
h i h i
<(A E Gm)
A E Gm B[+ E7 /B[
<(A E Gm)
A(7) . . .
<(F + A/E D]7 )
A ...
diat par
[21] Hns+WW
3
4
2
4
Coda, WW
LoTStr triplets, PBi (&)

P T (a) (279 m.)
529

530
14.3.4

531

532
Chapter 15
Richard Strauss
Biographical data:
11-6-1864 in Munchen
8-9-1949 in Garmisch-Partenkirchen
1600
15.1
1700
1800
1900
2000
Symphonic poem Don Juan, Op. 20 (1888)
Source: [63]. Form: symphonic poem. Music for orchestra. This symphonic poem has the
German title: Tondichtung (nach Nicolaus Lenau) fur
groes Orchester and is dedicated by
Strauss to Meinem lieben Freunde Ludwig Thuille.
Symphonic poem (E Em,
h i
2
2
, 606 m.)
Intro+DJ 1 E
R 1 G] Countess B
R 2 C]m
DJ 2 C A E[
m1
m 50
m 123
m 169
m 71
Anna Gm G
R3
DJ 3 C
Carnival D G A Dm
m 197
m 268
m 313
m 352
M Em
DJ 4 E
DJ 5 E C F E
Death Em
m 434
m 457
m 510
m 586
Figure 15.1: Strauss, Symphonic poem Don Juan, Op. 20

The thematic material can be classified, based on the main characters in the story or
sentiments (labeled with subscripts):
Don Juan: The introduction starts with the vigorous unisono theme in arpeggio ascending
16ths and dotted-8th16th MVDJ . This is followed in the Don Juan 1 section by the first
c
2005-2015
CHAPTER 15. RICHARD STRAUSS

heroic theme MH1
DJ , stated by the strings. Later in the piece, in the Don Juan 3 section,
1
there is the second heroic theme MH2
DJ for unisono French horns. Motifs from both
heroic themes will return throughout the piece as transitions or in imitative settings.
The vigorous 16ths will also frequently return at the start of a new episode.
Zerlinchen: In some descriptions of the piece there is mention of three romantic conquests,
the first being the peasant girl named Zerlinchen. However, this name is puzzling. Apparently Strauss himself did not give a clue, nor did he use the name. I could not
identify a separate female love conquest theme, unless it is the dotted 8th-16th transitory motif just before the entrance of the Countess. I will use the label MZ for this
motif.2
Countess: The elegant theme with its characteristic descending 4th note triplets for high
strings and woodwinds is labeled MC . Also this theme is used in shorter fragments,
e.g., for solo violin.
Rejection: This is no real theme but a sentiment, expressed in descending chromatic lead
voices. This can be in standalone mode: MR , but also in the middle or at the end of
the other themes. It represents the rejection by the ladies, both the Countess Elvira
and Anna. The opposite feeling, aspiration of the next amorous conquest is expressed
by ascending chromatism, MiR (inverted rejection), and is usually hidden in moving
middle voices, but occasionally also expressed in melodic solo fragments. The chromatic lines also occur in diminution MdR (shorter note values) and augmentation MaR ;
this may also hold for the inverted, ascending chromatic lines. Maybe it is coincidental, but also the basic 8th note (triplet) riff in the Carnival episode has a descending
chromatic lead voice, similar to the rejection motif in diminution; therefore it will be
labeled as MRc .
Anna: This potential lover is supported by two themes. The first is in minor Gm, with
ascending arpeggios and descending chromatism (get the idea? See the above) and
played by lower strings: M1A . The opening motif from this theme returns in diminution
as repeating instrumental figure below the second theme, which is a gentle theme in G
major: M2A , played by the solo oboe.
Note that all these melodies are through-composed themes; there is no regular sentence
or period phrasing, although short motifs may be identified. Such motifs will appear frequently as separate fragments in transitions and imitative developmental sections., using
mixed instrumentation.
The detailed harmonic and melodic analysis is shown in Table 15.1 to 15.4.
15.1.1
Episode: Introduction and Don Juan 1 (m. 149, 49 m.)
This symphonic poem opens with the vigorous Don Juan theme MVDJ , that will return many
times in the piece. The vigour theme consists of four motifs: a) unisono string upward
1
This famous second heroic Don Juan theme, with its well-known unisono horn section instrumentation has
become an alltime Hollywood film composer trick in, well, these heroic moments that require an amplification
through music. Just in case the movie theater audience may have forgotten who will win in the end and which
leading actor was first on the payroll.
2
The possible existence of this separate motif for Zerlinchen (a Bavarian musical avatar?) is of minor importance. It is not an essential fact in the musical analysis of the Don Juan symphonic poem.
534
15.1. SYMPHONIC POEM DON JUAN, OP. 20

arpeggio in 16ths (labeled MdVDJ ), b) tutti signal scalar motif in 8th note triplets and opening
contrary motion, c) signal motif as triad with upbeat dotted 8th-16th note leading to the
highest pitch (MVDJs , d) closing motif with cadential feeling.
The a-motif will be used many times in transitions, often in imitative setting. The triad
signal c-motif with its fanfare-like quality will reappear in many sections, in combination
with other motifs. The falling triplet theme with appoggiaturas in winds and imitated by
the strings closes the introduction.3
It is followed in m. 8 by the first Don Juan 1 section, with two statements of the first heroic
theme MH1
DJ in the violins. The eight-measure theme can be subdivided into: a) ascending
arpeggio motif (4 m.), b) highest point motif with long appoggiaturas, descending (2 m.), b)
varied motif (2 m.). Characteristic here are the repeated 8th-note triplets in the woodwind
background.4
The second statement of this heroic theme a-motif in m. 17 combines it with the triplet
theme Mt from the introduction. This idea is continued in the [A] section, a tutti climax with
themes in combination and imitation. The vigorous theme returns in m. 31. The section
concludes with a transition [B] with both the transitory very brief Zerlinchen motif and the
first announcement of the Countess theme.
15.1.2
Episode: Rejection 1 (m. 5070, 21 m.)
In [C] our hero starts his first amorous adventure with the abbreviated vigorous theme
and receives the first rejection, expressed by the chromatically descending lead voice in the
woodwinds. Note the harp quoting the a-motif from the first heroic theme. Then there is juxtaposition of the vigour and variations of the rejection theme. In m. 67 this can be observed
as an extended chromatic descent in augmentation in woodwinds and tremolo strings.
15.1.3
Episode: Countess (m. 71122, 52 m.) and Rejection 2 (m. 123168, 46 m.)

3
Appoggiaturas play a major role in the melodic material of Don Juan and its development. In the score there
are a multitude of these, also in simultaneous combinations; it goes beyond the scope of this book, but I did a
statistical analysis of the appoggiaturas in the piece. I created lists showing the type of appoggiatura (upwarddownward, chromatic-diatonic), the chordal function they were applied to (root, third, fifth, etc), and which
combinations were used (direction parallel or contrary). My goal was to compare the practical use by Strauss
with the rules from the theory of harmony books. An interesting exercise that was!
4
These woodwind triplets require triple-tonguing (t-k-t, or t-t-k) and good rhythmic coordination in the section. The rhythm always reminds me of the
movement of the Mendelssohn
Symphony No. 4 Italian.
opening

2
The triplets in the Strauss Don Juan yield a 12
flavour
(the
real
meter
is
)
and
a
slight
tarantella dance-like
8
2
quality, that will return in the Carnival section.
535
Table 15.1: Strauss, Don Juan, Op. 20

m
1
3
5
7
MVDJ
Mt
13
15
MH1
DJ
..
.
..
.
17
MH1
DJ /Mt
11
Comment
Introduction Allegro molto

C D B Em/G B/F ]
E E/G] E46 B7 E
E ...
E E7 /D] C]m F ][5
7 /C
Don Juan Vigour theme

a): Str unis, b:) tutti, (cm<)
c+d): cresc
WW-Str: unis tripl&
tutti clim, PBi (&)
Don Juan 1
(E A]7 E)/B
Don Juan 1st Heroic theme

a): Vi, WW: triplets
A7 E/G]
G7 E7[9 /G] E7 /B
G]7 C][9
7 F ]m
b)
b)
H10
B B7 /A B7[9
a): Brs/WW, Str triplets
21
MDJ /Mt
(C D]7 C F ][5
7 )/C
a): Vi+Va
23
MH1
DJ /Mt
MH1
DJ
E 6 /B
E7
[A] tutti climax, triplets
E7[9 /B
a): (WW+Str)/Tpt imit
27
29
30
31
33
37
38
40
42
44
..
.
MVDJ
MVDJ
B7
E6
A C]m7 /G]
D/A
E
MZ
D7 /A[ Cm/G
D7[9 /F ] F7 A[9
7 /E
G/D D7 G
G6 G6 /B
B[
B[/D E[7 /D[ F ]7 B7
E A/C]
E C 0 ]7 Em7 /D C
(D]7 C F C)/C
d
(cm<), PLi (%), PBi (&)

c) Brs+HiStr
WW+Brs, HiStr unis tripl
a): Str unis
b): tutti (cm<), PBi (&)
[B] trans, accts imit
Zerlinchen: Vi-Ob
46
48
49
(MC )
MZ
E46 B7
C]m F ]m/C] C]m
F ]7 /A G][9
7 /A
Countess: WW+Str
Str
WW
50
V0
MDJ
Rejection 1 molto vivo

C]m/G] G]/B]
[C]
a): HiStr unis
A]7 C]7 /G D]7

G] B]m7
D]7 /B] E]m G]m7 /F ]
bc): Str+WW(cm<), PBi (&)

d): HiStr triplets, WW stac
WW /Harp Seq(22m;Ri )
D7 /B Em Gm7 /F
WW/(Harp-Tpt)
Gm7 /F C7 /E F7 /E[
B[/D E7 /C] . . .
(LoWW+LoStr)/Brs, PBi (&)
51
52
53
55
57
59
536
..
.
MR /MH1
DJ
MR /MH1
DJ
.. ..
./ .
/
G]
Table 15.2: Strauss, Don Juan, Op. 20 (contd)

m
62
64
66
MVDJ
M0R
71
73
79
81
83
85
89
90
92
94
96
98
101
103
105
107
109
111
113
115
117
123
127
129
133
137
141
145
R
0
M0C
M0C
MC
..
.
..
.
..
.
MC
..
.
..
.
..
.
F7 /C C]7 F ]7
ab): LoStr unis

cd): Str unis, PLi (%)
Rejection var, Str trem, P (e)
Countess tranquillo
F ]97 . . .
F ]97 . . . F ]7
(F ]7 G7 F ]7 G]m7 )/F ]
F ]7 . . .
<(F ]7 G7 F ]7 G]m7 )/F ]
(F ]7 D]7 E]7 B]7 )/F ]
F ]7 F ]+
(B 6 F ]7 )/B
[D] Str trem+WW, P D (f ])

i (%)
a): Solo Vi, LoStr: Pm
Str (P D (f ]))
i (%)
a): Solo Vi, WW: Pm
Str
~
PLi (%), Hk
i
a): Cl+FHn, WW: 4th tripl
B 6 F ]7 /E
a): Vi imit
(B B + G]m7 )/D] F ]7 /E
ab) / b): (Cl+FHn+SVi)
(B B + G]m)/D]
G]m7 C]97 F ]7
(B 6 F ]7 )/B
[E] a): Cl+FHn+SVi+Vc
B 6 F ]7 /E
a): Vi imit
(B
B+
G]m7 )/D] F ]7 /E
(B B + )/D] A]7 /C] B7

(E D]7 A)/E
A6 C][9
7
Vi/(Cl+FHn+SVi+Vc),
b) / b)
dev, a:) SVi+Va+Ob
F ]m C][9
7 D/F ]
/MiR
MdC /Ma,i
R
.. ..
./ .
.. ..
./ .
.. ..
./ .
.. ..
./ .
/
Comment
(F7 ) C]7 . . .
B
MC
..
.
..
.
..
.
C]m
(D B7 )/D
a): Cl+FHn imit
E7 /B E7 /D F ][9
7 /A]
b): Str chr+appogg, %
Rejection 2 piu` vivente

A7 . . . B7[9 /D] D]7 /B]
G]7 . . .
inv, tutti imit

a): Cl+Va+Vc
C]m . . . C]m/E C]m/G]
[F] (dev) cresc
9
C]7 F ][9
7 F ]7
Tpt, tutti imit
<(B7 /F ] B7 ) B7 /A
C]7 /G] C]7 /B
C]7 . . . C]7 /E]
(stringendo)
537

538
15.1.4
Episode: Don Juan 2 (m. 169196, 28 m.)
The first heroic Don Juan theme MH1

DJ is back in [H] (m. 169), as a full abb-statement against
the familiar woodwind and horns 8th note triplet background we already saw in m. 9 ff. Each
statement is commented by a solo trumpet, playing an ascending chromatic 8th note triplet
scale (new aspirations?). In m. 181 these triplets are picked up in imitation by woodwind
and horns, and there is simultaneous ascending and descending scalar fragments, combined
into closing contrary motion. In [I] the a-phrase from the first heroic theme (trumpets) is
juxtaposed with the aspiration triplets (oboe, violins and celli), leading into a tutti imitation
(m. 189 ff.) and climax (m. 193196).
15.1.5
Episode: Anna (m. 197267, 71 m.) and Rejection 3 (m. 268312, 45 m.)
In [K] there is the first Anna theme in Gm; its four-measure a-phrase is an arpeggiated upward octave leap (viola and cello), followed by a gradual chromatic descent (preplanned
rejection?). The b-phrase is also four measures long, and is backed up by a series of appoggiaturas in solo flute (upward-downward, hope-rejection pairs). The second, slightly
varied statement (m. 208 ff.) already has the b-phrase as an explicit rejection. The appoggiatura flute is now answering snippets (c- and d-phrase) from the opening vigorous theme
in brass imitation (m. 215232). Note the subtlety in the 4th note syncopated violin top voice
in the background: twice a chromatic ascent, then twice a descent (once again: aspirationdisappointment pairs).
In [L] the key changes to G major and the background is set by a combination of the
first Anna theme a-phrase (imitation in cello and viola) and the rejection chromatically descending steps in horns. The solo oboe play the lyrical, gentle second Anna theme with abbc
phrasing (4 + 2 + 2 + 5 m.). The second statement in [M] is slightly varied.
Rejection 3 starts in m. 268 with two motifs combined: a varied a-motif from the second
Anna theme (clarinet) and augmented rejection chromatic descent in flute, bassoon and harp.
These are developed in imitation, while the a-phrase from the first Anna theme returns in the
cello background riff (m. 274).
Section [N] is a transition molto tranquillo, with flute and first violins quoting the Anna
2 a-phrase, which keeps ascending. A string section upward arpeggio imitation, using the
Anna 1 a-phrase closes this amorous disillusion.
15.1.6
Episode: Don Juan 3 (m. 313351, 39 m.)

539

m
Comment
Gm
Anna
Gm . . . C]7 /G
1st theme
[K] a): Va+Vc, Str sync
b): Va
Fl app, Str+Hns, P D (d)
M1A
0
MR
F m C]7 D C]7
(D D7 G C]7 )/D
(D D7[9 Gm C] D7[9 )/D
(Gm . . . C]7 E7 )/G
(D[ B[7 A[7 )/A[
215
MVDJ
F/A E7 /B[ F/A
cd): Tpt, Fl app
217
221
MVDJ
E7 /G F/C
A7 B[m
FHn
c): Hns, Str tripl%
224
226
232
MVDJ
(M1AR )/MR
..
. /M2
G]7 Bm/F ] F7 Am/E

F7 /C F7[9 . . .
G ...
c): Tpt, Fl app, PBi (&) ,

imit
[L] a): Vc/FHn, P (g d)
197
201
203
205
208
213
236
244
248
252
258
263
266
268
272
M
M1A
..
.
/
0
(M2A )
M2A /(M1A )
.. ..
./ .
.. ..
./ .
/
0
M2A /MR
/
0
G . . . D7 /G . . .
C/E . . . E7
Am . . . D7
abb): Ob: 2nd Anna theme

c)
a) FHn augm
G . . . D7 . . .
[M] ab): Ob /Vc, P (g d)
(Em F ][9
7 )/E
ca): Ob, PB (&)
(Bm E7 )/D
C]7 F ]7 /C]
c): Ob
a): Ob+Fl
Rejection 3
B . . . B7[9 E7[9
B7[9 F ]7 /C] E7 /G]
themes combined
a): WW+Harp
282
286
288
292
12 /M
MA
R
.. ..
./ .
... / ...
/
0
M2A /MR
/
G E7 A D7
E[ A[/C
(G . . . Em7 )/D
(D7 Am7 D7 )/D
296
302
306
(M2A )/M1A
/
(M1A )
G . . . D7 . . .
(A[7 A7 Am97 )/G D7
G
274
278
540
a): Va+Vc, Str sync

Vi, Cl+Hns
E[7 /G E[ A[ D7
th mix, imit, N
Em Am7 /C D7
d
N6
a): Ob/WW, Va P D (d)
[N] trans, a): Str+Fl PL (%)
WW, P T (g)
a): Str imit, arp%

541
15.1.7
Episode: Carnival (m. 352433, 82 m.)

542

543
15.1.8
Episode: Memories (m. 434456, 23 m.)
Other friends return in the reminiscences starting in m. 434. The Countess appears twice: first
in English horn and bassoon (a-phrase, m. 437), later in [V] in woodwind imitation (m. 447
455). The second Anna theme is played by solo violin (m. 443447), in abb-phrasing, with the
b-phrase becoming the rejection motif MR ). The [V] section has sustained tremolo strings
throughout.
15.1.9
Episode: Don Juan 4 (m. 457509, 53 m.) and Don Juan 5 (m. 510585, 76 m.)

544

545

m
556
558
561
564
565
566
569
571
572
573
577
Comment
F ...
F ...
Dm7 /F . . . F/A
B[
[Bb] tutti clim, N/E, P (f )

c): WW+Brs (see m. 30 ff.)
WW+Hns, HiStr unis
a): Str unis (see m. 37 ff.)
B[/D E[7 /D[ C]m/G]

A7 /G F ]7 B7 E
(E E7[9 )/B
b): tutti (cm<), PBi (&)

(c) cad
[Cc] trans, P D (b)
(B7 F ][9
7 )/B
(E 6 C7 )/B
(A7 G]7 G7 F ]7 )/B
B7 . . .
Str-WW tripl% imit,

stringendo
i (&)
tutti (cm<), PLi (%)Pm
tutti climax
MVDJ
MVDJ
..
.
(Mt )
..
.
(MR )
581
B7 . . .
586
595
596
600
603
Death tempo primo - poco a poco piu` lento (Coda)

Am . . .
Vi trem&
F ]7 /A
plagal cad
(Em G]7 )/E
[Dd] WW+Brs
Em . . .
Bsn arp&
Em
Str trem+pizz (606 m.)
15.1.10
(MaR )
Em
WW+Brs 4th triplets
Episode: Death (m. 586606, 21 m.)
The symphonic poem closes with a plagal cadence in the tonic minor key Em. Sustained
chords support descending string tremoli. In [Dd] theres a final descendng chromatic step
in augmentation (a sigh of rejection or relief?), followed by the downward bassoon arpeggio
(the inversion of the opening phrase from the first heroic Don Juan theme?) and three short
(pizzicato) tonic chords.
15.1.11

546

547
15.2
Symphonic poem Tod und Verklarung,

Op. 24 (1889)
Source: [63]. Music for orchestra.

The English title is Death and Transfiguration, the full German title is Tod und Verklarung,
Tondichtung fur
grosses Orchester, meinem lieben Freunde Friedrich Rosch zugeeignet. The poem
by Alexander Ritter was later added as a kind of program note; its five sections are a guideline for the formal interpretation of this composition. Form: symphonic poem. This piece
may also be interpreted as a sonata form.
An overview of the formal analysis is shown in Fig. 15.2. The symphonic poem can be
subdivided into four parts, with a very long third section (Part 3: Feverish delirium of life past,
development) that covers sections three and four from the original poem. The themes will
be described in the subsequent sections.
Symphonic poem (Cm G C,
Part 1 Cm
Part 2
m1
m 67
h i
4
4
, 501 m.)
Part 3 G (modulation - development)

m 187 3A
3B
3C
3D
3E
3F
Part 4: C
m 397
Figure 15.2: Strauss, Symphonic poem Tod und Verklarung, Op. 24
15.2.1
Part 1: Sick man lying on his cot (m. 166)
See Table 15.5 for the analysis. The piece opens with the Death Rhythm (Todesmotiv) Rd, a set
of afterbeat 8th notes and triplets, played by middle register strings and timpani. The triplet
rhythms will return in the battle with death themes.
In [A] (m. 16) we hear the first theme a short lyrical motif Ml in woodwinds (first flute,
then clarinet) with descending 8th note characteristics (stepwise motion with occasional
leaps). Note the ascending chromatic stepwise motion in the oboe middle voice; this is
another feature of this symphonic poem and it will be used extensively. Section [B] (m. 29)
brings the cantabile main theme Mc for oboe and later first violins, answered by Ml in flute.
The theme Mc is characterized by an unpward octave leap, followed by quarter note downward steps. Sections [C] and [D] are juxtapositions of the death rhythm Rd (the last time in
the French horns) and woodwind imitative statements of Ml. In [D] the ascending middle
voices are in parallel thirds for violins and clarinets, over tremolo low strings.
15.2.2
Part 2: The battle between life and death (m. 67186)

548

15.2. SYMPHONIC POEM TOD UND VERKLARUNG,
OP. 24
Table 15.5: Strauss, Symphonic poem Tod und Verklarung, Op. 24

m
1
6
10
14
16
17
21
23
29
35
37
42
46
48
49
52
58
62
Rd
..
.
..
.
Ml
Rd
Mc
Ml
Mc
Ml
..
.
Rd
Ml
Md
Cm
A[m
C
Comment
Part 1 Largo
E[ Cm/E[ Cm
h i
([[[) Sick man lying in bed

Rd: Vi2+Va, P T (c)
<(Cm D7 /A[)
Rd: timp, Str (cm), (ped)
Cm A[/C F m7
<(F m7 B7 /A[) F m/A[
D[7 /C[
D[7 /C[ . . .
Re(D[7 /C[ C7 /E) C]7 /D
E7 D D7[5 E[/G E[
A[m . . . B[7 /A[ E[[9
7
A[ . . . F m
(C . . . Dm7 B7 )/C
C7 . . .
Rd: Vi2+Va, (ped)

Rd: timp, Str (cm), (ped)
[A] harp 16th triplets arp
i (%)
Ml: Fl-Cl, Ob Pm
Rd: timp, Str (cm), P T (c)
Rd: Cl+Vi2+Va
[B] Ml: Ob, harp%&, SD
Ml: Fl, Hns
Mc: Vi, Hns Pm (%), P T (c)
i (%)
[C] Ml: Fl-Cl, Ob Pm
<(C B7 /F ]) Gm7
[9
A[13
7 D7
[9/[13
G7
...
(G7 . . . C C7[9 )/G
[5/sus4
(F Cm D7 G7
)/G
[5
G7 . . .
Ml: Bsn, Str (cm)

Ml: Cl, Str PLi (&)
Md: timp, P D (g)
i (%)
[D] Ml: EHn-Ob, Str trem+Pm
i (%)(ped)
Vi+Cl Pm
Rd: Hns (ped)
4
4
549

550

OP. 24
15.2.3
Part 3: Feverish delirium of life past (m. 187396)
See Table 15.6 to 15.8 for the analysis. In a feverish delirium the man sees his life passing by;
in Part 3A the cantabile melody Mc reappears in augmentation (half-note rhythm). In brief
transitional phrases (m. 207212) and [N] (m. 227235) the lyrical opening motif Ml (abbreviated version in quarter note triplet imitation) and the battle theme Mb (stretto imitation)
return, respectively. Part 3B (etwas breiter) develops this 8th note triplet theme Ml, juxtaposed
with the theme Mc, in lighter, somewhat playful mood and as a moment of relaxation.
An 8th note triplet descending figure in the violins (m. 254) announces another wave
of fever in Part 3C: in the appassionata section the fever theme Mf (chromatically ascending triplets, referring to the death rhythm) is combined with an augmented version of the
cantabile (youth) theme. This is continued [P] with Mc now in the original quarter note
rhythm. The death rhythm sounds clearly in trombones and timpani in m. 271. The continuation has development character, with combinations of the feverish theme Mf (in varied
form with ascending 8th notes), the battle motif Mb (in unisono trombones) and the death
rhythm (in 2-part settings in either woodwinds of high strings). There is counterpoint and
there rapid changes of instrumentation as the themes are passed on to different orchestral
sections.
Letter [S] is an extended tutti climax, with themes combined, counterpoint setting and
(stretto) imitation. The unisono ascending triplets in low woodwinds and low strings over a
sustained dominant pedal in [T] lead into the first complete appearance of the Transfiguration theme Mt (the a-phrase, m. 321)) in Part 3D.5 Note the bell chord setting of the theme in
brass and woodwinds. The a tempo, ma un poco agitato in [U] is accompanied by the offbeat
16th-note patterns in the violins that were heard first in Part 2 [H] (m. 125 ff.), while combining the cantabile theme Mc (but now chromatically descending in quarter notes) with the
other chromatically descending theme Md (8th note rhythm). In [V] the development comes
to a close with another statement of Mt in a tutti climax in m. 356, with both an a- and a
b-phrase, that acts as a retransition.
In a sonata form interpretation [W] may be seen as the recapitulation; the original tempo
and Death Rhythm (timpani) from the introduction return, as do the chromatically descending lead note patterns in juxtaposed woodwinds and strings (in the introduction these were
diatonic and chromatic steps in contrary motion strings). The extended pedal on a turns
out to be a tonic pedal, that kicks-off a set of bell chords when for the last time the Allegro,
molto agitato mood returns as does the battle theme Mf in m. 381. This part concludes with a
combination of the chromatically descending theme Md and the ascending scalar theme Ms.
15.2.4
Part 4: Transfiguration (m. 397501)

5
The Richard Strauss Transfiguration theme was kindly borrowed my mr. John Williams, Hollywood resident, as the love theme for the movie Superman.
551
Table 15.6: Strauss, Tod und Verklarung, Op. 24 (contd)

m
187
193
195
197
199
201
205
207
213
215
M
Mc
..
.
..
.
..
.
Mc
Ml
Mc
..
.
219
223
227
231
Mc
Mb
236
238
240
241
242
244
246
247
249
250
252
254
Ml
Mc
Ml
Mc
Ml
Ml
Ml/c
Ml
257
259
261
263
267
271
552
Mc/f
.. ..
./ .
/
Mc/f
..
. /
/Rd
Comment
Part 3A meno mosso

(G6 . . . Am7 . . . )/G
(]) Feverish delirium of life past

Mc: Fl augm, Vi2 tripl, P T (g)
(G]7 A7 )/G
i (%)
Pm
A[9
7 /G G/D F ]7 /E F ]7
Pm (%)
G/7 /F ] G7 /F
Em7 F ]7 /E
B7[9 /D] Em6 A7
Em6 A7
D ...
Am D7 D7]5
(G . . . D7 )/G
PBi (&)
G . . . G[9
7
A D7[9
G ...
G[9
7 D7 /F B[7
(ped)
Part 3B Etwas breiter

E[ B[7 /A[ E[/G D Gm
Gm D Gm C7
F m Cm7 /B[ F m/A[
E[ A[
F m E[/B[ B[7 /A[
E[/G B[7 /A[ E[/G B[
E[ D[ G[ D[7 /C[
G[/B[ D[7 /C[ G[/B[ D[
G[ F B[m
D7 /C F7[9 /A
E[m/B[ E[[9
7
G7 /F . . .
([[[)
Ml: WW+Hns triplets
Mc: Vi
Ml: WW+Hns triplets
Part 3C Appassionato
B 6 /F ] F ]7
(\\\)
Mc: Ob+Hn+Vc, Mf: Fl+Vi
B 6 /F ] F ]7 /C]
B B7 /A] G]m7 G]7
C]m F ]7
[P] Mc: FHn+Vi, Mf: WW
B7 E
C]7 /E
Rd: Tbns+Timp, climax
Em
D
G
E[
G[
Mc: Vi1-Vc imit

Va-Vi1 imit
trans, Ml: Va-Vi1 imit tripl
Fl-Cl imit par 3rds
[M] Mc: Vi2-Vi1 imit, P D (g)
[N] Mc: Bsn-Vi2 mit

Mb: WW+Str stretto, (cm<)
Mc: Vi
Ml: Vi
[O] Ml: Vi
Ml: Vi, Mc: Ob+Va+Vc
Ml: Vi 8th tripl&

OP. 24

m
273
276
Mf
277
279
281
283
285
Mf
Rd
Mf
Rd
Mf
..
.
..
.
..
.
..
.
Mb
Rd
Mf
Mb/Rd
.
Mbc/ ..
287
289
290
294
295
296
297
300
301
302
304
306
310
313
317
321
325
326
327
330
335
337
338
339
Gm
Ml
Mt
..
.
C7 F C/E
Dm7 D7[9
Mf: Vi+Va
d
Gm D Gm G7
A[7 A[7
C]m G]m7 C]m
[9
F ][9
7 A7 /G
6
D /F ] DmA
[Q] Hns+Vc 8th%, ctp

Rd: Tbns
Mf: Str, ctp
Rd: Tbns, tutti climax
Mf: LoWW+Hns+Str imit
B7
E
Mf
Comment
D/F ] B[7 /D B[7
/
Mcf/Rd
..
.
Mt
..
.
A[
<(E 6 B7 /F ] B7 )
[R] Mf: Cl+Str, imit
E E7 /D]
E7 /D F ]sus4
7 /C]
B[7 /F
D7 /F B[[9
7 /F
E E7 /D]
E7 /D F ]sus4
7 /C]
D7 /F
PBi (&)
D7 /F
B[7 /F [ . . .
E[7 . . .
Mc: WW, Rd: HiStr, clim

tutti climax
climax contd, P D (e[)
E[7 . . .
E[7
stretto imit (ped)

[T] Mf: LoWW+Str unis% (ped)
Part 3D Tempo I. sehr breit

<(A[ B[7 )/A[ A[
Mt.a: Tpt+Hrp+HiStr, bell ch,
B[7 /A[ Gm D[7 /F

C/E
<(D7 /F C7 /G) F m/A[
D[/F D7 /F E7[9
A A7 /G] B7 /A A/E
B7 /A A7 /G]
B7 /F ] C]7 /E]
<(D]7 /F ] C]7 /G])
Mb: Tbns
Rd: WW, Str trem, clim
PBi (&)
[S] Mb: Tbns, Rd: WW, Str trem
climax
HiStr sync
Ml: Fl+Vi1 augm
Mt.a: Brs+Va+Vc, clim, PB (&)
i (%)
[U] Vi 16ths, Pm
553

m
342
343
344
345
346
348
350
352
353
356
357
358
359
360
362
365
366
370
374
379
381
382
383
385
387
389
391
393
554
Mc/d
.. ..
./ .
.. ..
./ .
.. ..
./ .
.. ..
./ .
.. ..
./ .
.. ..
./ .
.. ..
./ .
/
Mt
..
. /Ms
..
. /
Comment
F ]m7 /A
Mc: WW+Vi PLi (&),
B7 /A B7 /A C] E7[9 /G]
Md: Bsn+Tu+LoStr
F/C Am/C
D7 /C D7 /C E7
A]7 /E Em C]7 /B
[V] tutti imit
C]7 A7 /G Asus4
7 /G F ]7
C][9
7 /E]
D[
Rd
..
.
Mb
Md
..
.
..
.
Md/s
/
Cm
E]7 E G]7 /D]

D7 . . .
D[
Mt.a: Ob+Brs+Vi, tutti clim,
E[7 /D[ D[
Ms: Hns, P T (d[)
E[7 /D[
[5/[9
(D[[9
)/D[
7 G[ E[7
(B[7 A[7 G[ B[7 )/D[
F/A . . .
(ped)
b
retrans, Str 16th trem
P (a)
Part 3E Tempo der Einleitung

Am7
<(Am7 D]7 )/A B[7 /A
Largo
[W] Hns (ped)
Rd: timp, Str, Cb trem
[9
(A[9
7 Gm A7 F m)/A
[9
(B7 . . . A7 )/A Am7
Part 3F Allegro, molto agitato
(Am B[m F m Am Em)/A
(Cm A[7 G)/A
(Cm A7 D7[9 )/A
(Cm A7 Gm G[9
7 )/G
EHn+Cl, (ped)
P T (a)
(F ]7 G[9
7 Cm)/G
(ped)
(C7[9 F D7 )/G
(B[7 E7 G7 Gm7 )/G
F ]7 /G . . .
F ]7 /G . . .
(ped)
(ped)
[X] Md: WW+Vi, P D (g),
Ms: Hns+Vc, PLi (%)(ped)
bell chords (ped)

Mb: WW+Tpt+Str
i (%), P (g)
Md: WW+Vi, Pm
D

OP. 24
555
15.2.5
The key relationship diagram of the symphonic poem Tod und Verklarung, Op. 24 is shown
in Fig. 15.3.
tE 9
B t
10
4
Gm
Dm
Am
Em H Bm
HH
A 6 6
j

A

C
B[
F
G
D
A
12 5
*
2 6
3
? AAU

B[m - F m
Dm
1 Cm Gm

7

E[
D[
A[
B[
F
11

1
D[m A[m
E[m
B[m
Fm

8
tE
B
G[
D[
A[
t
G
Figure 15.3: Strauss, Tod und Verklarung, Op. 24, key relationship diagram
The key changes throughout this piece show a simple-complex-simple pattern :
Part1: The piece starts in the tonic minor Cm and follows a clockwise loop through the
fairly remote lowered submediant minor A[m (1) and the parallel major C (2).
Part 2: This section involves a somewhat more remote excursion into the subdominant
domain, starting with the subtonic minor B[m (3) and then creating a loop F m Am
Gm Cm (4) of minor keys only.
Part 3: The development character of this sectionis also clear from the modulation path.
Starting in G (5) there first is a clockwise loop with limited envelope GEmDG (6).
But then follow some more distant modulations: we see major third related keys (4i),
see GE[ (7) and E A[ (11), intermediate dominant keys, see (G[ = F ])B E (89)
and A[ D[ (11), the latter being the Neapolitan (lowered supertonic major) key of the
minor tonic Cm. We need the double occurrence property twice for the interpretation.
And finally, there is the interesting sidestep E Gm E (10). The development takes
us to the corners of this key relationship diagram.
Part 4: The closing part is static in the parallel major key C. This yields a large scale
key pattern Cm G C for this symphonic poem.
15.3
Symphonic poem Till Eulenspiegel, Op. 28 (1894-95)
Source: [64]. Music for orchestra. Form: symphonic poem.

The composer labeled Till Eulenspiegels lustige Streiche (the full title, Till Eulenspiegels
merry pranks) with the subtitle Nach alter Schelmenweise - in Rondeauform. Well, however hard
you search, its impossible to discover rondo elements in this piece that has more the structure of the sonata form. Somewhat artificial though, it is possible to find opening theme
556
15.3. SYMPHONIC POEM TILL EULENSPIEGEL, OP. 28

statements with an exposition character, development sections (plural), a recapitulation and
a coda (indicated in the analysis). However, it makes more sense to indicate the story-telling
episodes, the Streiche, although Strauss himself refused to give detailed indications about the
depicting of these pranks.
There are two central elements in this piece. Harmonically, there is the juxtaposition
(and sometimes the combination) of diatonic and chromatic settings. But more important,
there is the intricate use of only five themes that support the story-telling. Two of these are
returning frequently in many disguises and are characterized as Till - The Adventurer MA ,
and Till - The Mocker MM . The adventurer theme is the infamous French horn theme MA :
c % f g [g]] a (3) b[ [b] d & c a f c a f c f (rising to the top note
d and then descending on a series of harmonic overtones). The mockery theme for clarinet
MM : a & f [b] % c [c]] f & [g]] % a has the reverse shape: descending arpeggio,
followed by ascending (chromatic) leading tones. Note that the mockery theme also contains
a hint towards the Death sentence motif (large downward leap f g]), that appears at the end
of the symphonic poem.
Variants of these themes will be labeled with a superscript, e.g. hurried variant of the
adventurer theme MhA . Both Till themes contain non-diatonic tones (shown above in square
brackets). The other three melodies are the Sermon theme MS (later used by the judges in
court), the Theology Professors theme MP , and the Happy Streetsong MH , both used to help the
story along.
Symphonic poem (F ,
Introduction
h i
6
8
h ih ih i
4
8
6
8
, 657 m.)
F Market Scene F Dm
Sermon
m 51
m1
Love Scene
h i
6
8
A[ Gm G
m 208
Recapitulation
m 429
2
4
h i
6
8
h i
2
4
B[
m 179
Theology Professors Am
Streetsong
m 293
m 375
F Grandness Dance F
m 485
h ih i
2
4
6
8
A[
Court Scene F m
Epilog F
m 577
m 632
Figure 15.4: Strauss, Symphonic poem Till Eulenspiegels lustige Streiche, Op. 28
15.3.1
Introduction and exposition (m. 150, 50 m.)
The introduction starts with the Once upon a time variant MoM , the regular 8th note augmentation of the mocking theme, set for the strings (from here on, Till Eulenspiegel is abbreviated
as TE). Then, as a sort of exposition we here four statements of the adventurer theme MA and
then hurried (ascending chromatic 8th note rhythm) variant in #2, ascending to a climax,
before the solo clarinet in D plays the mockery theme MM .
557
Table 15.9: Strauss, Symphonic poem Till Eulenspiegels lustige Streiche, Op. 28
m
1
4
MoM
6
12
14
20
21
26
31
MA
M0A
M0A
MhA
..
.
46
MM
66
68
71
73
75
77
79
81
85
87
89
90
91
558
MA
35
39
51
55
59
61
63
A
C]
M0M
M0M
MM /MsM
.. ..
./ .
/
MhM
..
.
MhA
/MhM
MtM
..
. /Ms
M
/
MsM
M0M
Comment
Gemachlich
h i
F7]5
4
8
([) Introduction
F
B[ F46 C7
F ...
Vi1, Str, cad

Cl
h i
6
8 Exp
F/C . . .
C F
F/C . . .
Dm
Dm/F . . . F7
Am/C . . . C7
C7 . . . Gm7 /C
TE-Adventurer: FHn, Vi trem

full cad, WW+Hns+Str pizz
2nd stat, FHn, Vi trem
WW+Hns+Str pizz
[1] 3rd stat, Ob, Vi trem
4th stat, Cl, Vi, WW cad
[2] Bsn+LoStr, 8ths chr%, P D (c)
C7 . . . F m F ]
C7 . . . C
Immer sehr lebhaft
]5/[9
B[7 (= C7 no 1 ) F/A F
WW+Hns+Str, cresc
climax on dominant (ped)
tempo
]5/[9
E7 . . . E7
A
[5/[9
E7 . . . G]7
C]
[9
F ]m B7 G]7 C]
A Dm D][5
7 G]7
(F E7 F F ]7 Dm7 )/C
Epis: Market Scene

i (&)
[3] Str+WW, Pm
i (&)
Hns, Str+WW, Pm
WW imit, Str PLi (%)
(B7 C79 B7 /C
C79 B7 /A A[7 C7
TE-Mocker, Cl, WW, tutti
[4] FHn+Vc, WW imit, P D (c)

cresc, PL (%)
[5] climax, WW+Str unis
F Gm7 C7
F
F C + F Gm7 G]
F
F/C C7 F F7
WW+Str+Hns imit
Str unis dim, tutti clim
8ths chr%
Vi-LoStr
[6] trans, WW imit, str
B[ Dm7 /A
C]7 /G Dm/F
E7 B[/D
G7 /D[ C7 C7 /B[
F/A C7 F C7 F C7
WW imit, PB (&)
WW imit, (cm<)
WW+Str imit

The closing cadence before #3 demonstrates how the intermediate harmonies are determined by the (chromatic) voice leading. Lets consider the woodwind and string section
voicing in m. 47-51 in more detail:
m. 47
g]
e = f[
d[
b[
B[7
m. 49
%
a
%
f
&
c
&
a
F/A
g]
e = f[
d[
b[
g[
G[97
% a
% f
& c
& a
& f
F
m. 49
c
a
f
m. 50
d]
[5/[9
B7 /D]no 1
&
&
&
%
m. 51
b
g]
d
e
E7
The two upper voices in the left diagram are chromatically ascending, the two lower
are descending; this yields the intermediate leading tone chord B[7 that is equivalent to
]5/[9
the dominant 7th chord C7 no 1 (root missing). The target chord is the tonic chord in first
inversion S 6 = F/A. The diagram in the centre shows the same procedure for approaching
[5/[9/[13
the tonic chord in root position; now the cadence yields G[97 (= C7
no 1 ) F . Finally,
on the right we see the combined reading of m. 49-51 (although the actual string section
setting of the target chord is different); here the combination of m. 49 and 50 yields the chord
[5/[9
B7 /D]no 1 = F/D], i.e., the inverted German augmented 6th chord in the new key of A
major. Similar intermediate chords will occur many times in the harmonic analysis of this
symphonic poem, and are part of the chromatic setting.
15.3.2
Episode: Market Scene (m. 51178, 128 m.)

559

560
15.3.3
Episode: Love Scene (m. 208292, 85 m.)
The Love Scene episode main theme in #1517 is another variation on the adventurer theme
MlA , with a sentence structure MlA (aab). The 2nd statement, in #17, starts in G major, is
combined with the romantic version of the mockery theme MrM , and at the end returns to G
minor. In #18 his efforts turn out unsuccessful and TE gets upset. He gets into a rage and the
low voices play the angry variant of the mockery theme MaM . This mood of anger reaches a
climax in #19, with four statements of MaM , with alternating directions of the bass part. See
15.3.4
Episode: Theology Professors Scene (m. 293374, 82 m.)

561
Table 15.10: Strauss, Till Eulenspiegels lustige Streiche, Op. 28 (contd)

m
191
192
193
194
196
199
203
205
207
E[ C7 /E
B[/F E[ C]7 Dm
Gm7 F7
B[ B[64 F7
<(B[ Gm/B[) D/F ]
D/F ]
B[64 F7 B[ Gm/B[
MsM
..
.
A[
208
209
211
213
215
MrM
MrM
MrM
MsM
217
218
219
221
222
223
225
229
MrM
MrM
232
236
241
243
245
249
253
255
257
261
263
265
562
(MlA )
/MsM
MrM /MsM
MlA
..
.
..
.
..
.
MlA
..
. /MrM
..
.
/MhA
0
MhA
MaM /MhA
/
Comment
d
MsM
M0M
0
MsM
D[
B[ B[7 /D C]7
A[64
Cl, Str
Bsn
cad
trans, Vi1, cad
[14] Hns+Tpt+Vi1 (mute)
Str trem
Vi1
Vi1 gliss&
Erstes Zeitmass
h i
G Am7 /G G
A[ B[m7 /A[ A[6 E7
D[/F B[m7 /F A[ E7
D[/F (G[6 D[7 E[m7 )/D[
Cl, WW, Romance

Ob, WW
6
8
Epis: Love Scene
~
Fl, WW+Str Hk
d
A[
E
Gm
Gm
Dm
D[6 A[7
B[m A[6
D[/F B[m7 /F A[6 E7
D[/F Dm7 B7
B7
B79 . . .
+
E B 6 D][9
7 C D7
Gm D7 E7 D7
[15] Ob
mod
Vcl+Hns,
WW+Vi imit
[16] WW+Str imit
(a): Fl+Vi1, Love affair
Gm D7
(a)
Gm Cm
(b)
(D7 Gm Am B[)/D
(C D7[9 )/D
G Em G/D D7 /A D7
~ , PL (%), P D (d)
Hk
d
climax
[17] 2nd st, (a): EHn+Via
G D7 /A G64 D
(a), MM : Fl+Cl imit
G/B Gm
Cm
Gm/D D7[9
G[9
7 /B
C] Dm E/B
Cm F ]/C] F + E79 /G]
maj-min, climax, (cm<)

MA : BCl+Bsn+LoStr
[18] Hns-WW, (cm<)
TE is rejected
MM : Bsn+Brs+LoStr,
MA : WW+HoStr

563
15.3.5
Episode: Happy Streetsong (m. 375428, 54 m.)
However, TE is not in the mood for long arguments and escapes in a lighthearted, happy
and cheerful streetsong in #26. The new theme is MH , with a sentence structure MH (aab),
and played by violins and clarinets. The second statement ends early with a foreboding of
the death sentence motif (downward leap) in the clarinets. Then, an augmented version of
the mockery theme leads into the retransition of #2728, with cadences on the dominant key
C major.
15.3.6
Recapitulation (m. 429484, 56 m.)
The original material returns in the recapitulation, with the horn adventurer theme MA over
tremolo high strings. After three statements in F D B[ there is the romantic version of
the mockery theme MrM for the clarinets. The transition in #29 repeats the horn theme over a
slowly chromatically descending bass, and with a crescendo. In #30 there is the exact repeat
of segments from the exposition, including the unisono climax in m. 475 ff., preparing for
another prank.
15.3.7
Episode: Grandness (m. 485576, 92 m.)

564

565
15.3.8
Episode: The Court Scene (m. 577631, 55 m.)
The atmosphere turns sour in #38, the key changes to F minor. The judges, trombones,
horns and string in the lower register with hammering offbeat accents, do the interrogation,
and TE answers (mockery theme in clarinet and woodwinds, but becoming more timid by
the third question). In #39 the threatening mood from #14 returns, and then there is the
death sentence, depicted by the unisono major 7th leap downward in bassoons, horns and
trombones. The hanging from the gallows happens in #40; note the downward woodwind
arpeggios, but then, subtly, there is the reappearance of the major key in the pizzicato strings
and muted horns. See Table 15.11 for the analysis.
15.3.9
Epilog (m. 632657, 25 m.)

566
Table 15.11: Strauss, Till Eulenspiegels lustige Streiche, Op. 28 (contd)

m
577
582
585
590
594
597
598
602
605
608
613
615
618
624
632
637
641
642
643
644
647
650
652
555
Fm
Fm ...
F B[7 F/A
F m . . . D[
F B[7 A
Fm ...
F
F m . . . B7 /F
F m A[/C F m/A[
etwas breiter - klaglich
MM
MM
M0M
Comment
A[97 )F m
M0M
MoM
..
.
..
.
..
.
M00a
(MsM )
MM
Epis: Court Scene

[38] LoWW+Brs+Str accts
Cl, WW TE answers
2nd question, accts
Cl, WW
3rd question
Cl (short answer)
[39]
h i
2
4
threat
<(F m
C[/E[ C7 /G F m/C . . .
unisono leap: f & g[
F/G[ . . .
G[97 . . .
F ...
(Hns+Tpt+Vi) mute (#14)

Str trem
[40] Bsn+LoBrs, Death sentence
Cl, Tbns
Cl+WW, Hanging
min-maj, Str pizz
Epilog. Doppelt so langsam
Coda
F F7]5 B[ F46 C7 F
(a) Str
F . . . C . . . B7 /D
(bb) (cm<)
A[/C
(c) Str+WW, [S6 ]
F ]7 /A Gm/B[ G]7 /B
F46 C7
F ...
F ...
Sehr lebhaft
C7 . . .
F B[7 F
F B[97 F D[7 F
h i
4
8
Cl+Hns
BCl
h i
6
8
tutti cresc
WW unis, TE lives
567

568
15.3.10

569

570
15.4. EINE ALPENSINFONIE, OP. 64
15.4 Eine Alpensinfonie, Op. 64 (1911-15)

Source: [65]. Form: symphonic poem. Music for orchestra. See Table 15.12 to 15.13 for the
analysis. Currently the analysis covers only the beginning of the symphony and includes
the sections: Nacht, Sonnenaufgang and Der Anstieg.
571
Table 15.12: Strauss, Eine Alpensinfonie, Op. 64

[#]+m
h i
4
4
Nacht - Lento
0
1
1+4
2
3
4
5
6
B[m
B[m E[m F m/A[ E[m7
Dm Gm F7 B[m
11
<(B[m11
7 G[7 B[m7 )
11
<(B[m7 B[m)
6
B[m11
7 G[9
M1
M1
..
.
G[69
D[97 B[/F
Sonnenaufgang - Festes Zeitma, maig langsam

7
7+4
8
8+4
9
10
11
11+2
M2.1
M2.2
M2.2/2.1
M2.2/2.1
M1/2.2
M1
B[
D[
A/E E7 A
D/A E7 Bm7 E7
(A G]7 A6 G]7 E7 A
D/A E7 A)/A
D[ A[7 D[ B[m/D[ A7
B[m/D[ B[ <(G[ G[7 )
E7 B[7 /F F ]m G7 E
E[/B[ B[4 B[
Der Anstieg - Sehr lebhaft und energisch

11+5
12
12+2
13
14
14+3
14+5
15
15+2
16
16+2
17
17+3
17+4
17+5
572
M3.1
M3.1
M3.2
M3.1/3.2
..
.
M3.1
..
.
..
.
Comment
E[
E[ B[ B[7 /A[ E[/G A[

B[ E7 F m Em/G
D[/A[ Cm B[
B[ E7 B[7 E[[5
7 B[7
G[ F m/A[ Cm E[/G D[
F m A[ Em F ]mB[7
E[/G B[7
E[/G E7 F m B[7 E[
E[/B[ B[7 E[/B[ B[ E7
F m A[[9
7 D[ B7 Cm E7
D[/A[ F ]m <(F ]7 /G Gm)
Gm F ]7 E[/G E7 B[[5
7
- ([[[[[)
B[-Aeol desc scale

Brass, asc signal
low arp, P T (b[)
triplet arpeggios
asc signal, dim imit
16th nt arp, G[-Ion sc
arp+asc sc runs
h i
4
4
- (\\\\\)
Desc sc theme
P T (a)
(ped)
([[[)
signal dim, climax

h i
4
4
- ([[[)
imit
trans
climax
imit
E[7 /G A[/C B7
Cm/E[ D[ A7 /C
E[/B[ B[7
P D (b)
15.4. EINE ALPENSINFONIE, OP. 64
Table 15.13: Strauss, Eine Alpensinfonie, Op. 64 (contd)

[#]+m
Comment
18
19
20
M3.3
M3.3/3.4
E[
E[ B[ E[
E[
E[ <(B[7 E[)
Distant horns
triplets and arp
h i
4
4
Eintritt in den Wald

21
21+9
22
22+7
23
24
25
25+5
26
26+3
27
28
28+3
29
30
30+8
31
31+2
31+5
32
32+4
32+6
33
34
34+2
35
M4
M3.1/4
M4
M3.1/4
M4
Cm
F m D[ CmA [ E[7 F ]7
A C
M4
M4
M4
M3.1
..
.
..
.
..
.
..
.
..
.
M3.1
..
.
..
.
Cm
Am F m
Fm
Em F m D[
B7 /F
Cm
A[m E7 E B/F ] F ]7
B[/F A7 B[ E[ D[ E[7
A[ A[/C
A[
E[ F m A[m F ]7 E[ C[
C[ F [ F B7 Em Em7 /D C7
E[
E[ F7 /E[ E[
<(A/C] E[) G7
A[ E[7 /B[ A[/C B7
- ([[[)
arpeggios, Hns
(arp)
(arp)
(arp)
(arp)
(arp)
h i
3
2
trans
h i
2
2
trans
P (e[)
(ped)
([[[[)
A[/C F [/A[ E[7 A[ E[7 /B[

A[/C F [/A[ E[7 /G A[ D
Gm <(F ]7 Gm) A7 /E[
ctp dev
D A7 /C D F ]7 Gm
E[/G C7[9 /G F m7 /A[
G7 /B A[/C B[7 /D E7 E[7 /G
A[ E[7 /B[ A[/C A[7 /G[
E[
B[/F
B[7 E[
(To be continued)
ctp dev
573
574
Chapter 16
Jean Sibelius
8-12-1865 in Hameenlinna
20-9-1957 in Jarvenpaa
1600
1700
1800
1900
2000
16.1 En Saga, Op. 9 (1892, rev. 1901)

c
2005-2015
CHAPTER 16. JEAN SIBELIUS

576
16.2. THE SWAN OF TUONELA, OP. 22
16.2 The Swan of Tuonela, Op. 22 (1893, rev. 1900)

Andante molto sostenuto: rondo form (Am,
S1 S2 Sf
S3
Sf0
h i
9
4
, 102 m.)
S4
Figure 16.1: Sibelius, The Swan of Tuonela, from the Lemminkainen Suite, Op. 22
This piece, a tone poem, is part of the Lemminkainen Suite, Op. 22. The characteristic
feature is the solo English horn against various string section textures (muted, tremolo, col
legno). The English horn plays a returning main theme (M1) and a quasi improvised free
melody (Mf). The strings answer with contrasting themes (M2, M3, and M4). See Table 16.1
for the analysis.

577
Table 16.1: Sibelius, The Swan of Tuonela, from the Lemminkainen Suite, Op. 22
m
1
5
7
9
11
12
14
16
18
23
27
29
31
36
44
47
49
54
58
578
M1
M2
M3
M2
M1
M2
M3
Mf
..
.
..
.
Comment
Am
B[m
Am
Gm B[m/F G[ E[m7 /D[
B[m+7 /F
F ]m7 Em/G B/F ] Em7
Bm+7
Intro, 94 , str sordegno

1st solo stat, Seq(27m;R7 )
Low str, arp motif
[1]
Am Cm/G A7 /G A[ F m7
Cm+7 /G
G]m7 F ]m C]/G] A+ C +
F ]7 /E C Bm Am/C
2nd solo stat

[2] climax
Free solo mel, quasi improv
<(Dm7 G7 ) D[7 G[7
[3]
C7 E[m7 /B[ A[7

E[m/G[ C[7 G[/D[
F7
str tremolo
<(F ]7 Em) F ]7 Bm F ]m
B7 /D Am/E D7 /F
[4] 3rd solo stat

Seq(33m;R3 )
D7 /F Cm/G F7 /A[
F7 /A[
F ]m C]m D] Em G]m
G]m = A[m F7 Gm7
(str tremolo)
[5] (str tremolo)
Em
Am
C]
C
G[
M1
M1
..
.
Am
E[m
G]m
Mf
..
.
61
65
70
73
75
82
84
M2
M4
M4
Am
93
97
98
101
M3
M2
h i
Free solo melody, str pizz
F7 G]m7 F ]m7 A
A C F ]7
[6] climax
Am+7
Am
(F ]7 Am E7 Am)/A
Am
F ]7
imit
[7] a-ped
Str unis, (a-ped)
Solo lead
[8] col legno+trem, (a-ped)
Am
Em7 Dm A/E E7[13 Am/E
Am+7
Am
[9] Coda
str lead, climax
(102 m.)
16.2. THE SWAN OF TUONELA, OP. 22

579
16.3 Finlandia, Op. 26 (1899, rev. 1900)

580
16.3. FINLANDIA, OP. 26

581

The key relationship diagram is shown in Fig. 16.2. The piece does not open in the main key,
which is F m. The closing key is the relative major A[. The opening section moves through
a set of symmetrically related minor keys F ]m Am Cm along the vertical (minor third,
3i) axis.
Bm
F ]m
Dm
Am
2
F m - Cm

3
A[
E[
Figure 16.2: Sibelius, Finlandia, Op. 26, key relationship diagram
16.4 Valse Triste, Op. 44 (1903, rev. 1904)

582
16.4. VALSE TRISTE, OP. 44

583
584
Chapter 17
Maurice Ravel
Biographical data:
7-3-1875 in Ciboure (St.-Jean-de-Luz)
28-12-1937 in Paris
1600
1700
1800
1900
2000
Compositions by Ravel still can be approached with a classical music harmonic analysis
approach. Chord structures are based on the interval of the third and root progressions can
be identified in terms of positive and negative cycles. However, labeling the diatonic modes
of the lead voices often is a better tool to classify the structure of his compositions. Extended
chords and diatonic parallel chord movement are then derived from these modes. Since
there is frequent use of extended pedal point, indicating this pitch makes more sense than
labeling the root of the current key. We also regularly see the use of bitonal chord structures.
17.1 Pavane pour une infante defunte (1899)

Source: [43, 45]. This piece exists in two versions: for solo piano and for orchestra. An
Pavane pur une infante defunte, Lent: rondo ABACA form (G,
A
h i
4
4
, 72 m.)
A
Figure 17.1: Ravel, Pavane pour une infante defunte
Form: rondo form, ABACA. The main theme consists of an a-phrase, that is answered by
a similar b-phrase with a melodic sequence (stepwise downward). The woodwind present
M3 with oboe and bassoon as outer voices in contrary motion; this effect is repeated by
the strings. The melodic material is in Ionian (major) and Aeolian (minor) mode. Closing
cadences at the end of phrases use diatonic and exact parallel. See Table 17.1 for the analysis.
c
2005-2015
CHAPTER 17. MAURICE RAVEL
Table 17.1: Ravel, Pavane pour une infante defunte

m
Comment
M1
..
.
G C7 Bm/D Em C7 Am
A (]), (a): Hns, G-Ion
D7 G7 C7 F ]7
Bm F ]7 Bm
(b): Seq(31m;R7 )
8
11
M2
Am97 D713 Em D7
Em E79 D79 Bm
[A] Hns+Vi1
13
17
20
M3
M3
..
.
(G7 C]7 Em7 Am9 )/B Bm9

Bm7 /A <(Em97 A97 D)
B7 C7 /E Em7 /A
B, WW, D-Ion, P (b)

diat par, halfcad
[B] Str
A97 D7 G7 Bm7
<(Em97 A97 D) E79 D79
C79 D79 E79 G7 D7
[C] exact par, cadence
G C7 Bm/D Em C7 Am
A, (a): Fl+Cl, G-Ion

(b): Seq(31m;R7 )
4
6
23
25
27
28
M1
..
.
31
33
Bm G7 Am97 F ]7
Bm F ]7 Bm
35
38
M2
Am97 D713 Em D7
Em E79 D79 G7
[D] Fl+Ob
40
44
48
50
54
58
M4
M4
M4
M4
Gm
Gm7 <(Dm7 G13

7 )/G C/E
[9/[13
13
Cm7 <(Gm7 C7 ) F G7
[9/[13
9/sus4
C D7
D7
D7 Gm
Gm7 <(Dm7 G13
)/G
C
7
[9/[13
13
Cm7 <(Gm7 C7 ) F G7
[9/[13
9/sus4
C D7
D7
D7 Gm
C ([[), WW-Str, G-Aeol

cresc to climax
[E] chr middle voice
2nd stat: WW-Str
60
M1
..
.
G C7 Bm/D Em C7 Am
[F] A (]), (a): Fl+Vi, G-Ion

(b): Seq(31m;R7 )
63
65
Bm G7 Am97 F ]7
Bm F ]7 Bm
67
70
M2
Am97 D713 Em D7
Em E79 D79 G7
586
climax, chr mid voice
Hns+Vi1
closing cad (72 m.)

17.1. PAVANE POUR UNE INFANTE DEFUNTE

587

588
17.2. STRING QUARTET IN F MAJOR
17.2
String Quartet in F Major (1903)

Mvt. 2 Assez vif - très rythme: ABA form (A,
A
h ih i
6
8
3
4
, 198 m.)
Figure 17.2: Ravel, String Quartet in F Major
17.2.1
Mvt. 2 Assez vif - très rythme

589

590
17.2. STRING QUARTET IN F MAJOR
17.2.2
The key relationship diagram is shown in Fig. 17.3. The second movement opening A-section
starts with the ladder-like pattern Am C]m A C] (12). Then there is the move towards
the relative major key C, before returning through the lowered supertonic major (Neapolitan) key B[ (3) and the dominant key E (4).
Mvt. 2 Assez vif - très rythme
E
4 t
2
C]

1
Bm
F ]m C]m
t

t

E
D
A

Dm 5,8
Am

Em

*

?
F 7 C
G
3
F]
B[m
Fm
Cm
Gm
D[
A[
E[
B[
E[m
B[m
Em
G
Gm
B[
D[m t A[m
Figure 17.3: Ravel, String Quartet, key relationship diagram

The B-section opens in the lowered submediant major key F = [VI. From there it modulates to the remote key D[m = C]m (6), and returns to the tonic along the path C F Am
(78). The A-section repeats the ladder pattern of keys.
591
17.3 Miroirs (1905)

Source: [43]. Music for piano, music for orchestra. An overview of the formal analysis is
shown in Fig. 17.4. Note the length of the contrasting middle section, relative to the outer
A-sections.
Mvt. 4 Alborado del Gracioso, Assez vif: ABA form (D-modal,
A
h ih ih i
6
8
9
8
3
4
, 229 m.)
A
Figure 17.4: Ravel, Miroirs
17.3.1
Mvt. 4, Alborada del Gracioso, Assez vif
Form: ternary song form, ABA. In the outer sections this piece in Iberian mood is full of
two-measure harmonic riffs and rhythmical accents in the introduction and transitions. The
middle section (B) uses longer note values (typically quarter and 8th notes) and a lyrical,
quasi-improvising solo melody at a slower tempo in order to create contrast. The typical
Spanish flavour is supported by the minor modes, such as the Phrygian mode. This piece
also exists in an orchestral version. See Table 17.2 and 17.3 for the analysis.
17.3.2

592
17.3. MIROIRS
Table 17.2: Ravel, Miroirs, Mvt. 4 Alborada del Gracioso, Assez vif
m
1
5
9
12
16
22
26
31
35
37
39
41
M1
M1
M1
d-Phryg
<(D7alt . . . A]9 E ]9 )
A (a)
b[-Ion/g-Aeol
d[-Ion/b[-Aeol
71
M3
g]-Phryg
M2
..
.
...
Dno 3 . . .
Cm97 Gm97 Cm97
Cm97 <(B[7 E[7 /B[)
alt
<(B[alt
7 . . . F7 )
B[ . . .
[9/13
<(B[7 F7
F79 )
[b]
h i
9
8
climax
b-Aeol/d-Ion
d-Mixolyd
b-Aeol
climax
<(G] C]m97
G] . . .
9/11
<(C]7 F ]m7 G]7
(c) (]]]]), P T (g]):

16th triplets
(]])
C]7 F ]m)
G7 Em97 E7 G7 C]7
Em97 . . . A7 . . .
alt
<(D7alt . . . Aalt
7 E7 )
D ...
6
8
(b)
(a) trans riff
h i
3
4
(]]) solo
(Bm7 )
B (a)
Bm97
block chords
solo
block chords
solo
block chords
M4
9
C]alt
7 ... F]
M5
..
.
..
.
Asus4
A97 A7
7
M3
(b)
2nd stat 8ba
(a) trans riff, P T (b[)
h i
M4
M3
([) intro
<(D[ A[7 D[97 A[13

7 )
D[ E7
...
(G] )
Am7 . . .
(Em)
G69 . . .
(Em7 C]7 )
F ]alt
7 ...
C][5
7 ...
M3
6
8
D7alt )
B[ B[7 /A
<(D[7 D/D[ E[m7 /D[)
M1
Aalt
7
h i
F7alt
M1
..
.
56
58
62
66
128
129
Comment
b[-Phryg
(M2)
127
<(D7alt
43
47
52
75
79
82
85
89
91
97
105
111
115
120
126
Scale/Mode
[5/13
E7sus4 E7
E7
A7 F ]97 B7 /F ]
F ]sus4
F ]97 . . .
7
(b) LH
P (bf ])
LH
P (bf ])
(c) climax, P D (f ])
(ped)
(ped)
(ped)
593
Table 17.3: Ravel, Miroirs, Mvt. 4 Alborada del Gracioso, Assez vif (contd)
m
Scale/Mode
Comment
h i
6
8
131
137
141
145
151
157
162
M4
C][5
7
M4
C]alt
7 ...
6
D ...
d-Ion
[9/sus4
M5
166
168
170
172
174
178
181
185
189
191
196
200
202
206
209
211
213
219
222
225
594
(M2)
..
.
M2
M1
...
c]-Phryg
b-Aeol
d-Mixolyd
M1
(M4)
M1
d-Mixolyd
(ped)
(b) LH
P (bf ])
LH
P
i
h (da)
9
8 P D (a)
<(Bm7 A7
A7 )
D/A A7 D/A
(c) climax
retrans, P D (a)
<(E[ F7[5 E[alt

7 )
E[ . . .
<(F ] G]alt
7 )
A (a) (\\)
F ]7 . . .
C] C]alt
7 C] Am
C] G97 . . .
C] . . .
<(C]7 F ]madd9 )
<(G7 Em97 )
Em97 . . .
<(D7alt Aalt
7 )
Am7 . . .
E[[5
7 /A . . .
B7 /A . . .
[9/13
G]97 no 3 F ]7
[9/13
13
E7 D7
[9/[13
[5/[9
G7
/C . . . G7
h i
6
8
(c) P T (c]): 16th triplets

climax, glissando
(]]]]) P T (c])
(]])
(b) cresc to climax
(a) trans riff
LH
hclimax
i
9
8
riff
h i
6
8
<(D Aalt
7 )D
(a)
<(D A7 ) D
[9/13
A7
... D
(229 m.)
climax
17.3. MIROIRS
595
17.4 Rapsodie Espagnole (1907)

Source: [45]. This music for orchestra, a collection of three Spanish dances and a prelude,
is an orchestration masterpiece; it contains so many delicate effects and should be study
material for every orchestrator. An overview of the formal analysis is shown in Fig. 17.5.
Mvt. 1 Prelude a` la nuit, très modere: ABA form (D-modal,
A
3
4
, 63 m.)
Assez vif: ABBA form (A D-modal,

Mvt. 2 Malaguena,
A
h i
h i
3
4
, 94 m.)
Mvt. 3 Habanera, Assez lent et dun rythme las: ABAC form (F ]-modal,
A
h i
2
4
, 61 m.)
A C
h ih i
Mvt. 4 Feria, Assez anime: ABA form (C F ]-modal,

A
6
8
3
4
, 190 m.)
Figure 17.5: Ravel, Rapsodie Espagnole

The outer sections are in ternary form; the fourth movement is the longest. Note the
relative length of the middle section in the closing movement. The second movement has a
varied ternary structure,
17.4.1
Mvt. 1 Prelude a` la nuit
Form: ternary song form, ABA. Characteristic for this movement is the four-note ostinato
riff (M0: f edc], downward scalar steps in the octatonic scale), sounding in the strings
and occasionally doubled in other instruments. This motif returns in the later movements of
this Rapsodie Espagnole. The scales and harmonies are specified in Table 17.4. See Table 17.5
for the analysis.
17.4.2
Mvt. 2 Malaguena

596
17.4. RAPSODIE ESPAGNOLE
Table 17.4: Ravel, Rapsodie Espagnole, scales and modes

Scale/Mode
Pitch content
Harmonic structures
Used in [#]
Mvt. 1
d-Gypsy
d-Octatonic
d e f g] a b c]
d e f g g] b[ b c]
0, 1, 2, 7, 9
0, 1, 3, 5, 6, 8, 9
d-Aeolian
d e f g a b[ c
B7 C]m7 C]7
[T]: B[7 E7 C][10
7 ,
[9
[SD]: E[[9
C
7
7
Gm7 C7 F 6
Mvt. 2
a-Aeolian
d-Gypsy
d-Octatonic
d]-Phrygian
c]-Octatonic
abcdef g
See above
See above
d] e f ] g] a] b c]
c] d] e f ] g a b[ c
Mvt. 3
f ]-Aeolian
f ]-Phrygian
f ]-Ionian
a-Aeolian
f -Aeolian
f ] g] a b c] d e
f ] g a b c] d e]
f ] g] a] b c] d] e]
See above
f g a[ b[ c d[ e[
Mvt. 4
c-Mixolydian
c-Ionian
f ]-Phrygian
f ]-Gypsy
c d e f g a b[
See above
See above
See above
4
0, 6
2, 13
2, 13
10
11
E7 C]7
G7
1, 5
2, 6
3
7, 9
8, 10
0, 3, 4, 5, 10, 11, 19, 20, 25
6, 21, 31
12, 13, 15, 30

12
597
Table 17.5: Ravel, Rapsodie Espagnole, Mvt. 1 Prelude a` la nuit, très modere
m
Scale/Mode
M0
..
.
..
.
d-Gypsy-Oct
4
8
14
16
18
22
28
32
37
41
44
46
54
56
61
598
..
./M1
..
./
..
.
..
.
..
./M2
/M2
(M0)
M0
Comment
Intro, M0: Str & scalar riff
B[7 B7
Str+Ob
B[7 B7
[1] Str+EHn
[2] A, D, M0: Vc+EHn, M1: Cl
d-Gypsy
C]m
d-Oct
d-Aeol
d-Oct
g-Oct
M0/M1
d-Gypsy
d-Oct
d-Oct-Gypsy
A]7 E7 B[7
HiStr trem
A]7 E7 B[7
[3] Vi+Cl, LoStr trem
Gm97 A[10
7 D7
9
Gm7 Aalt
7 D7
C7[9
F6
E[alt
7
[4] B, M2: Str, M0: WW, climax

2nd stat
[5] Vi+Fl
Va
[6] SD, Clarinet cadenza
C]alt
7 ...
B[alt
7
B[7 B7
A
[7] A, M0: Cel, M1: Vi+Va

[8] T, Bassoon cadenza
[9] VI+Va
(63 m.)

599
Table 17.6: Ravel, Rapsodie Espagnole, Mvt. 3 Habanera, Assez lent et dun rythme las
m
1
7
9
12
14
16
M1
..
.
..
.
Scale/Mode
Comment
f ]-Aeol
<(D7 G7 /C])
C]
C]7 D7 E7 D7 E7 F ]
A, Str, Cl: P D (c])

[1] Hns+Tpt: P D (c])
WW, Fl+Str: P D (c])
f ]-Phryg
G7
F ] G 7 . . . F ] D7
[5/[9
C]7
F ] D7
[2] P (f ]c])
(ped)
19
21
25
M2
f ]-Ion
F ] D]m7 A/C]
G]m7 C]7 F ]
F ]m . . . F ] . . .
[3] B, HiStr, P D (c])

(ped)
[4] mode change (ped)
30
M1
..
.
..
.
f ]-Aeol
C]7 D7 E7 D7 E7 F ]
[5] A, Cl+HiStr
f ]-Phryg
G7
BCl
F ] D7
[5/[9
C]7
F ] D]m7 /F ]
[6] P (f ]c])
BCl (ped)
34
35
37
40
44
47
48
44
55
56
17.4.3
M3
M3
M3
M3
a-Aeol
f -Aeol
a-Aeol
f -Aeol
[9/]11
E7 <(F7 E7 )/E F7
A
[5
[9
[5
G7 <(C7 G7 )
B[/D D7 F ]
E7 <(F7 E7 )/E F7 A
[9
[5
G[5
7 <(C7 G7 )
B[/D D7 F ]
F ]m . . . F ]
[7] C, WW+Hrp, P D (e), T

[8] Fl, P D (c]), SD
[9] Str+Hrp, P D (e), T
[10] Hns, P D (c]), SD
[11] P D (c]) (61 m.)
Mvt. 3 Habanera
Form: ABAC. The habanera rhythm ( 18 triplet + 18 + 18 ) and frequent use of pedal point (in
middle and upper voices) characterize this movement. Strings use a wide range of playing
techniques (muted, on the fingerboard, pizz, portamento, harmonics, on a specific string,
divisi). The scales and harmonies used are specified in Table 17.4. See Table 17.6 for the
analysis.
17.4.4
Mvt. 4 Feria
600

601
17.4.5

602

603
17.5 Gaspard de la nuit (1908)

Source: [43]. Music for piano. An overview of the formal analysis is shown in Fig. 17.6.
Mvt. 2 Le gibet, Très lent: ABA form (E[m,
A
h i
4
4
, 52 m.)
A
Figure 17.6: Ravel, Gaspard de la nuit
17.5.1
Le gibet
Form: ternary song form, ABA. This very slow tempo piece is kept at low volume: between
ppp and mf (climax in m. 17). Three short motifs return various times; the A section subjects
M0 and M1 are treated with parallel chord settings. Remarkable is the continuous use of the
b[ = a] pedal note throughout the piece. See Table 17.7 for the analysis.
17.6 Ma mère loye, 5 Pièces Enfantines (1911)

Source: [45]. Music for orchestra. This suite contains five fairy tales from Mother Goose. An
17.6.1
Mvt 1 Pavane de la Belle au bois dormant, Lent
Form: ternary song form, ABA. The opening slow movement is a miniature dance (pavane),
with very light orchestral textures (solo lead instruments, muted and pizzicato strings); there
is a slight increase in tension towards the end through interval relations between melody and
other middle voices and 9th chord structures. The second melodic statement, M2, is a varied
melodic inversion of M1. See Table 17.8 for the analysis.
17.6.2
Mvt 2 Petit Poucet, Très modere

604
`
17.6. MA MERE
LOYE
Table 17.7: Ravel, Gaspard de la nuit, Mvt. 2 Le gibet, Très lent

m
1
3
6
8
10
12
15
17
19
20
21
23
24
25
26
28
30
32
35
37
40
42
43
48
50
Comment
Très lent
h i
4
4
E[m
M0
M1
M0
M1
M0
M0
<(E[m7 C[7 D[6 A[[9

7 ) E[m7
sus4/[9
]11
[13
G[7 /B[ <(B[7
B[7 )
6
E[m7 C[7 D[ A[[9
7 E[m7
G[]11
/B[
7
sus4/[9
<(B[7
B[[13
7 )
sus4
sus4
<(E[7 B[7 )
sus4/[9
<(E[7
E[[13
7 )
sus4/[9
[9
E[7
E[7
F [97 /A[ . . .
9/[13
<(F [97 B[m7 D7
A[[9
7 )/A[
[9/13
M2
M2
M0
..
.
M1
M0
[9/13
A [[[[[[[] intro, P D (b[)

e[-Aeol, LH: exact par
RH (ped)
LH: exact par (ped)
RH: 2pt (ped)
RH+LH (ped)
RH+LH, climax
trans, par ch (cm>)
~ &
Hk
i
E7
/G = G7
...
13
13
9
G7 C7 F ]7 B[13
7
13 )
<(D][10
G]
7
7
[9/13
C]7
[9/[13
A7
[9/13
C]7
B[]11
7
[9/]11/13
11
9
Gm7 E[7 E[7
B [\\\\\\] par ch (cm>),

~ &, P (a])
Hk
i
(ped)
RH, c]-Alt sc= g-Ac sc
A[97 /C
A [[[[[[[] RH+LH (ped)
A[97 /C
G[13
7 /B[
G[97 /B[ G[13
7
sus4 A[9/]11 )/B[
(G[13
B[
7
7
7
<(E[m7 C[7 D[6 A[[9
7 )
E[m7
(ped)
trans, contrary par ch
LH, c-Alt sc, (ped)
(ped)
close, LH (ped)
(52 m.)
LH (ped)
RH, P D (b[)
605
1. Pavane de la Belle au bois dormant, Lent: ABA form (A-modal,
h i
4
4
, 20 m.)
A B A
2. Petit Poucet, Très modere: ABA form (C-modal,
A
h ih i
2
4
3
4
, 79 m.)
3. Laideronnette, Imperatrice des Pagodes,

Mouvement de Marche:
h i
2
ABA form (F ]-modal (Pentatonic), 4 , 204 m.)
I
4. Les entretiens de la Belle

et de la Bete, Mouvement de Valse modere:
h i
3
ABA Coda form (F ), 4 , 172 m.)
A
5. Le jardin feerique, Lent et grave: ABA form (C,

A
Coda
h i
3
4
, 56 m.)
A
Figure 17.7: Ravel, Ma mère loye, 5 Pièces Enfantines
Table 17.8: Ravel, Ma mère loye, 1. Pavane de la Belle au bois dormant, Lent
m
Comment
1
5
M1
M2
Am
Em
<(Am7 G7no 3 ) Am
<(Em7 F ]7 )/E . . .
A, Fl: a-Aeol, pizz muted Str, 2pt-S

Fl, arco Str, chr middle voice
M3
..
.
Em7 C C7 F Em/G
B, Cl, pizz Str
11
12
13
16
17
M1
M2
606
C7 Dm/F Em7
A7 Am
Dm
Em
Am
<(Dm97 G)
Em
<(Em7 F ]7 )/E Am
[1] A, Fl: a-Aeol, mel tension, S 9

Vi1, arco Str (20 m.)
`
17.6. MA MERE
LOYE
607
17.6.3
Mvt 3 Laideronnette, Imperatrice des Pagodes, Mouvement de Marche
Form: ternary song form, ABA. This lively march is full of pentatonic melodies (M1, M2,
and M4) and motifs (Mt and M3), using the f ] pentatonic scale (the piano, black keys).
While the A sections move in lively 16th note rhythms, the middle section eases down, with
its quarter and half note rhythms and lyrical, quasi-improvising flute lead melody. And
once, again, there are brief quotes from the first movement (the chromatic middle voice).
17.6.4
Mvt 4 Les entretiens de la Belle et de la Bete, Mouvement de Valse modere

608
`
17.6. MA MERE
LOYE
Table 17.9: Ravel, Ma mère loye, 3. Laideronnette, Imperatrice des Pagodes, Mouvement de
Marche
m
1
9
13
16
21
24
32
38
46
50
54
56
65
69
83
93
109
113
115
119
121
M1
M1
Mt
M2
..
.
..
.
..
.
..
.
..
.
C]
C4 . . .
6/9
C]4 . . .
9/sus4
C]7
...
6/9
C]4 . . .
9/sus4
G]7
9/sus4
<(C]7
G]m7 /B) C]sus4
7
<(C]m7 D]m7 )/C] F ]97
C]m
123
135
137
M3
142
149
157
M1
M1/3
Mt
6/9
9/]11
<(B/F ] F ]7
[9
C][9
7 /E] A]7
9/sus4
G]7
6/9
C]4
Intro, muted Str trem, P T (c])

[1] A, Pi: f ]-Pent (ped)
[2] Pi-Fl: f ]-Pent (ped)
Fl
[3] Pi+Fl+Cel, trans
[4] (a): Ob, f ]-Pent
[5] (b): Fl, Pent-WhTSc
[6] (c): Fl-EHn, quote Mvt 1
...
C]sus4
C]7
7
F]
9 )
<(F ]69 E7
F ]69
[7] Flts, cresc, f ]-Pent

tutti climax
D]m
D]m11
7 ...
11
D]m7 . . .
D]m11
7 ...
(A]m97 . . . C]m7 )/A]
[8] B, WW+Str unis, f ]-Pent

[9] Cl, Str bg, P (d]a])
[10] Cel-Cl imit, 3rd st, (ped)
[11] Fl, P D (a])
M3
M3
M3
M4
..
.
..
.
..
.
..
.
..
.
Comment
(D] A]m7 D]m7 F ]m7 )/A]

(A]m97 . . . C]m7 )/A]
(ped)
(D]m7 G]7 D]m7 C]m)/A]

(D] C]m D] A]m7 )/A]
D]m
<(D][9
7 . . . G]m)/A]
(F ] A]m7 )/A]
D]m7 . . .
[12]
D]m11
7 ...
9/sus4
G]7
...
9/sus4
<(C]7
G]m7 /B) C]97
[14] A, Cel: f ]-Pent, P T (d])

WW+Str imit, tutti bg
[15] Pi+Fl+Cel, trans
[13] Cl+Va, P (d]a])
609
Table 17.10: Ravel, Ma mère loye, 3. Laideronnette, Imperatrice des Pagodes, Mouvement de
Marche (contd)
m
165
171
179
183
187
189
198
610
M2
..
.
..
.
..
.
..
.
..
.
C]m
<(C]m7 D]m7 )/C] F ]97
Comment
<(B/F ]
9/]11
F ]7
)
[9
C][9
7 /E] A]7
9/sus4
G]7
6/9
C]4
F]
[16] (a): Ob, f ]-Pent

[17] (b): Fl, Pent-WhTSc
[18] (c): Fl-EHn, quote Mvt 1
...
C]sus4
C]7
7
9 )
<(F ]69 E7
6
F ]9
[19] Flts, cresc, f ]-Pent

`
17.6. MA MERE
LOYE
611
Table 17.11: Ravel, Ma mère loye, 5. Le jardin feerique, Lent et grave

m
Comment
M1
..
.
..
.
..
.
C C7 /E Dm9 Em7 F 9
~ , PB (%)
A (a) Str, Hk
d
3
4
5
9
14
18
20
23
25
26
27
29
31
33
36
40
42
44
48
50
G7 F/A G7 /B
Am7 /C Em/G
M2
..
.
M3
..
.
..
.
M3
..
.
..
.
Em
M1
M2
..
.
17.6.5
Am97 Em97 Am97 Dm9 G/D

Dm7 Am7 Dm7 Gsus4
7
9 G9 F )/F
<(F7
7
(b)
(b) cresc to climax
[1] Cl+Va, EHn+Va, P (f )
9 G9 )/F
(F7
7
Em G97 Em
Fl+Vln, 3rd stat

tutti climax
Em Dm7
[2] B (a): Cel+Vi1, e-Phryg/Aeol
C]m Bm E7
(a): e-Mixolyd
C]m F ]m97 Bm7

<(D7 C]m Bm7 )
<(E C]m7 Bm7 )
~
(b) climax, Hk
d
<(G]m F ]m D]7 )
(a): Va, e-Ion
G F Dm <(G Em Dm)
<(G Em Dm7 )
[3] Vi+Va+Cel, e-Phryg, cresc

tutti climax, (cm<)
C7 Em7 F7 G Am
Dm7 Em F7 G Am97
9 ...
F7
[4] A, Str, (cm>)
9
F7
<(C 6 Gsus4
7 )/C C
tutti
[5] tutti climax, P T (c) (56 m.)
WW+Str, P (f c), cresc
Mvt 5 Le jardin feerique, Lent et grave
Form: ternary song form, ABA. The closing slow movement has two highly lyrical outer
sections, that are full of diatonic parallel chords and a stepwise ascending bass in the string
section. Then, through a repeated ascending motif M2, these lead to a maestoso tutti climax.
The contrasting middle section presents a number of modal scales, played by solo string
instruments and doubled with celesta. In the coda the climax is supported by the pedal
notes played as a bell effect. See Table 17.11 for the analysis.
17.6.6

612
`
17.6. MA MERE
LOYE
613
Table 17.12: Ravel, Daphnis et Chloe, Introduction

[#]+m
h i
4
4
Lent
0
1
1+3
1+5
2
2+4
3
3+4
4
4+3
4+7
Comment
A
Mb
M0
Mb
M0
M1
..
.
..
.
..
.
6/9/]11
(]]])
A7
. . . (E-Ionian scale)
6/9/]11
A7
...
6/9/]11
A7
...
F79 /A . . .
9/]11
G7
...
9/]11
D[7
/F . . .
A, Str: bell chord in 5ths

Fl: birdsong, Ch: ch in 4th
Hns in 4th
FHn: main theme D&C
Ob: birdsong
Fl+Bsn: 2nd stat, Str: trem
F79 <(Cm7 F7alt )/F
B, FHn, triplets
<(B713 D]alt
7 )/D]
WW+Str, build-up to clim
A6 /C] . . .
Str: triplet trem
9/]11/13
G7
/B . . .
9/]11
G7
/B . . .
tutti climax
easing down
17.7 Daphnis et Chloe, Ballet in three parts (1912)

Daphnis et Chloe is a ballet in three parts. Source: [44]. Music for orchestra and choir. The
analysis presented here is incomplete. However, it contains all the dances and sections that
Ravel used in his two orchestral suites, plus a number of additional ballet scenes.
17.7.1
Introduction
Form: binary, AB. The main characteristics are the long note opening string bell chord,
adding overtones in 5ths (1 5 9 6 3 7 ]11, yielding the E-Ionian scale), birdsong
for solo woodwinds and the Daphnis et Chloe main themes (M0 and M1). Parallel chords on
neighbouring steps for choir and horns. The B section is a build-up to the main theme M1 in
tutti climax. See Table 17.12 for the analysis.
17.7.2
Danse Religieuse

614
17.7. DAPHNIS ET CHLOE

615
17.7.3
Nymphs dance
Form: ABAC. In this scene the theme from the introduction returns in three statements,
depicting the nymphs, that will start a slow dance, until they discover Daphnis. Tremolo
strings provide the background. Then there is the beautiful, somewhat haunting choir, humming in the distance, with lots of parallel chromatic stepwise movement. See Table 17.13 for
the analysis.
17.7.4
Danse Guerrière

616
Table 17.13: Ravel, Daphnis et Chloe, Nymphs dance

[#]+m
Comment
h i
4
4
Modere
70
70+4
71
72
73
alt
<(G]alt
7 F ]7 )
G]alt
7 ...
F ]alt
7 ...
E7alt . . .
9
B[13
7 /D . . . B[7 /D
M
M
M
Str: tremolo
Fl: intro theme (see #1)
FHn: 2nd st, PB (&): WhTSc
Cl: 3rd stat
WW+Hns, Str: gliss
h i
6
8
Lent et très souple de mesure

74
74+4
75
76
77
78
79
80
M1b
d[
M
M0
81
D[67 . . .
D[+ . . .
[9/]11/13
D[7
D[alt
7 ...
<(E[m7 /G[ D[]5
7 ) E[m7 /G[
[9/]11/13
E[7
...
G97 G7 . . .
9/]11/13
D[7
/F . . .
9
B7 /D] . . .
9/]11
C7
...
A[13
7 /C
82
[9/]11
C7
Mv
Mv
Mv
Mv
Mt
Mt
Mt
([[[[[) 3 nymphs dance
WW: S7 parallel (see #4)

Tpt, Str: desc trem
Ob+Cl
Str: desc trem
Str: S5 parallel
Fl: intro th, Str: trem
Cl+Va: main theme D&C
WW: S5 par
Str: asc trem,
...
h i
3
4
(\\\\\)
WW+Str
Choir: distant voices
Meme mouvement
83
83+5
84
84+4
85
86
87
87+2
87+3
87+4
88
88+2
89
89+2
90
90+2
91
91+2
Three nymphs
C]97
B79
Am6/+7
Am
Gm
6
9
Am C]7 Gm7 B79 F m6
F m6 A7 E[m7 G97 C]m6
A A]m F ]
<(G7 . . . G]7 )/B . . .
Bm97 G]m97 Am F ]97 Em
9/sus4
Em C/E E7
Em7 /D Am7 /C Am7 /C

Bm7 Am97 F ]7 /A
G7 Am7 /G
9/[5
F ][13
7 C7
9/[5
[5
C]7 . . . D7 /C C7 . . .
9/[5
(C7 B7[5 C7[5 C][5
7 )/C
(F m7 F7 G)/C
(F + B[ B C A]m B[)/C
(D]m F ] G] D7 )/C
(B A D]m+7 D+ )/C
(A]m C A[ F D]m)/C
T: 1st stat (par desc)

A: 2nd stat
S: 3rd stat
(cm<)
climax, P (b)
S; 4th stat
par S5
par S7
trans, FHn-Tpt
chr asc, P T (c)
PBi (%), (ped)
Tpt
chr asc, P T (c)
FHn-Tpt
Str: gliss, chr%
617

618
17.7.5
Lever du jour
Form: ABAC. The main features of this scene are the virtuoso whirlwind arpeggios (32ths),
the slowly rising melodic lightwaves through the strings and woodwinds and the intertwining birdsong, until finally the main theme emerges. See Table 17.14 for the analysis.
17.7.6
Pantomime

619
Table 17.14: Ravel, Daphnis et Chloe, Lever du jour

[#]+m
Comment
h i
4
4
Lent
155
155+4
156
(]])
<(D79 /A C79 /F ]) Mixolydian

]11
[9
D][9
7 C7 /F ] D]7
G69 /D
Bsn+DB: theme, Vi1: birdsong
G69 /D
Bsn+LoStr, Vi1+Pi: birdsong
G69 /D
D96
D96
EHn+Bsn+LoStr+Va
clim, Pi: birds, WW+Str: 32ths
Cl+Va, Str bg+32ths
D96
Bcl+Vc: countersubject
hA1,
i Fl-Cl: 32ths, Str bg
3
4
158+3
M1
..
.
..
.
M2
..
.
159
159+1
160
160+4
M2
M2
Am97
Am97 Em97 Bm97 Em97
G]m97 C]97 /E] B96 /D] C]97
9
9
B79 Am97 F ]alt
7 C]7 /E D]7
B Pi: birdsong, Str bg+32ths

Cl+Bsn+Va+Vc
i (%)
BCl+Va, ECl: birds, Pm
cresc-decr
161
M2
..
.
D96
A2, Vi1+2, Choir: ch in 4ths,
C96
9/sus4
Am97 A13
7 A7
C]13
/E]
7
[5/[9
C]13
/E]
7 /E] B7
WW: 32ths, build to climax

Vi+Fl+Bcl, Pm (%)
tutti climax
trans, Str: 32ths
Em97
E79
9/sus4
A7
C, theme D&C, WW: 32ths

Cl: 32ths, Str bg
Bsn+LoStr: theme,
156+2
156+4
157
158
162
162+2
163
164
165
166
167
167+2
167+4
167+6
168
169
169+3
M0
M1
..
.
..
.
..
.
..
.
..
.
9/sus4
A7
9/sus4
A7
G69
+Va, WW: 32ths
G69
+Vi2, build to climax
Em11
7
D96
tutti climax, WW+Str: 32ths
D96
D96
BCl+Va, Str bg
h i h i
3
4
Retenez
170
171
620
+Vi1+Brs, all WW: 32ths
Mt
D7 C7]11
[5/[9
F ]7 /A F ]7
9
8
trans, Ob

621
Table 17.15: Ravel, Daphnis et Chloe, Danse Generale chord structures
17.7.7
Scale
Pitch content
Chords
Comment
c]-Oct
c] d e f g g] a] b
T
used in [217]
f ]-Oct
f ] g a a] c c] d] e
B[7
Gm7
C]7
B[m
A, Am
F ]7 , F ]m
C7
E[7
D]m7
SD
used in [203]
used in [204]
used in [207]
used in [213]
Danse Generale
Form: ternary song form, ABA. The chord structures

in this closing movement, a fast exh i
5
uberant and ecstatic dance in irregular meter 4 , are based on two octatonic scales on the
tonic and subdominant step, as demonstrated in Table 17.15. Ostinato triplet patterns are
juxtaposed with 16th note runs, and both appear as series of chromatic parallel 3-part chords
(extended chord functions). The main Daphnis et Chloe theme returns here as M0 in the middle B section. The choir joins the orchestra in the second A section, gradually building up
to an enormous closing climax. Note the diminished fifth relationship between chords and
roots in #219. See Table 17.16 to 17.18 for the analysis.
622
Table 17.16: Ravel, Daphnis et Chloe, Danse Generale

[#]
Ped
Comment
h i
4
4
(]]]) transition
~
Tpt, tutti, Hk
Lent
6/]11
A9
193
Anime
194
195
195+1
196
196+4
197
197+2
197+4
198
M0
M1
IV
199+1
200
M2
201
M2
..
.
..
.
201+4
201+7
202
202+2
203
203+2
203+5
c]
M1
..
.
198+2
199
201+2
5
4
]11/13
F7
/A
9/]11
F7
/A
9/]11
F7
/A
9/[5
C]7
9/]11
C]7
]5
<(G7 G]7 /B])
M2
..
.
..
.
..
.
IV
204
Mt
204+3
205
205+2
Mt
a
..
.
..
.
..
.
IV
204+1
a
..
.
..
.
..
.
..
.
..
.
f]
..
.
..
.
..
.
h i
~
A, WW: triplets Hk
i
AFl+Vi
~
WW: tripl Hk
i
Cl+Va
~
Hns+Tpt: tripl Hk
i
AFl+Vi2, Str: tripl
<(G]5
7 G]7 /B])
h i
9
<(D]]5
7 B7 )
D]]5
7
D]]11
7 A]m
A]m/A
tutti cresc
h i to clim
~ &
trans 54 WW+Str: tripl Hk
i
~
Tpt-Hns: tripl Hk
i
WW: triplets
A]m/A
~ , ae-bass riff
Str: tripl Hk
i
[9/]11/13
A]m/A (= Eno 7
2
4
A]m/A
ECl
~
Cl+Tpt, Str: tripl Hk
i
A]m/A
~
WW+Str: 16th/tripl Hk
i
(A]m B7 F7 D7 )/A
h i
(B7 D7 )/A
A]m/A
h4i
cresc
5
4
tutti clim, Brs: tripl (ae-riff)
A]m/A
~ , cresc
WW+Str: 16th/tripl Hk
i
<(F ]m7 Am7)/A
tutti climax, triplets (ae-riff)
<(F ]m7 Am7)/A

A
~
clim, WW+Str: 16th+tripl Hk
i
~ &
Tpt: tripl Hk
i
C/F ]
B, Hns+WW: triplets
C7 /F ]
VI+Va: D&C
(C7 C7[9 F ][9

7 )/F ]
Bsn+Vc, WW: 16th&
(D7 D7 Bm7 F ])/F ]

(D Bm7 )/F ] Dm/F
Vc: 2nd stat, WW: tripl

Bsn+Vc, WW: 16th&
623
Table 17.17: Ravel, Daphnis et Chloe, Danse Generale (contd)

[#]
Ped
Comment
206
206+1
207
207+1
208
208+2
209
M3
M3
IV-I
B[7 /E
(B[7 E7[10 )/E B[7 /E
E[97 E7
<(E[97 E7[10 )/E[
<(E[97 E7[10 /G])
<(B[97 Gm7 )
C]97
Bsn+Hns+Vc: Dorcon,
Tpt-WW: triplets
WW+Hns+Str: 2nd st
WW+Brs: tripl, clim
~
WW: tripl Hk
i
IV-I
209+6
M0
..
.
209+10
210
210+2
I
M1
210+4
211
M1
211+2
212
M1
212+2
M1
213
213+2
214
M1
214+2
215
215+2
216
216+1
M2
M2
I7
216+2
216+3
624
M2
IV
c]
..
.
..
.
..
.
..
.
..
.
..
.
..
.
..
.
..
.
..
.
e
..
.
..
.
]11/13
C]97 C]7
]11/13
C]7
[5/[9
3
4
Tpt+Str: th D&C
~
tutti clim, tripl Hk
i
~ &
Str+WW: tripl Hk
i
A
C]7
C]7
h i
h i
5
4
Str bg
BCl+Vc
[5/[9
C]7
[9/]11
G]7
/C]
~
Hns: triplets Hk
i
G]7 /C]
~
Tpt: triplets, WW: 16th Hk
i
[5/[9
C]7
[5/[9
C]7
9/sus4
G]7
/C]
9/sus4
G]7
/C]
Cl+Va
Tpt+Vi2, Choir
~
Cl+Vi1, Tpt-WW: tripl Hk
i
A]m/E7
~
Cl+Vi1, Tpt-WW: tripl Hk
i
~ , cresc
Str+WW: 16th/tripl Hk
i
WW unis, Brs+Str: triplets
(A]m B[+ )/E
~
WW: 16ths, Brs+Str: tripl Hk
i
E7
E7 B[7 /E
Bm7 /A
B7 /F ] A[7 /E[ F7 /C
D7 /A B/F ]
A[7 /E[ F7 /C D7 /A
B7 /F ] A[7 /E[
C7
WW: unis, tutti climax

~ , cresc
WW: 16ths, Str: tripl Hk
i
tutti climax
WW+Str: 16ths (cm<)
cresc
WW, tutti climax
Table 17.18: Ravel, Daphnis et Chloe, Danse Generale (contd)

[#]
Ped
217
217+1
217+2
217+3
M2
218
218+4
218+6
219
219+1
219+2
219+3
219+4
219+5
219+6
220
M2
220+4
221
221+4
I
V
V/IV
IV=I
I-V-I
a
..
.
..
.
Comment
Gm7
G7 E79 C]7
B[7 G7
9
E7 C]7 B[7
G97 E79
C]7
tutti climax
WW+Str: 16ths (cm<)
<(C]7 B7 )/B
<(E]m7 /G] D]m)
G][13
7 /F ] F ]/C
B[/E E/B[
A[/D B[7 /A[
G[/C C/G[
E/B[ B[/E
D/A[ E7 /D
C/G[ F ]/C
A/E[ Gm/B[ E7 /B[
<(B[m/A E7alt )
Coda 34 bf ]-riff,
Brs: tripl, WW: 16th, g]d]-riff
B[m/A
Hns: tripl, WW: 16ths
<(A
A
G]5
7 )/E
cresc
WW: unis, tutti climax
h i
tutti, cresc, (cm<),

WW: 16ths, Brs+Str: tripl
build-up to final climax
tutti climax
tutti climax
625
Table 17.19: Ravel, LEnfant et les Sortilèges, Opening scene

[#]+m
0
1
2
G
[V]
3+3
3+4
3+5
4
4+2
5
5+4
6
6+3
17.8
M1
..
.
M1
Comment
Tranquillo
h i
g-pentatonic scale (par 4ths/5ths)

g-pent.
g-pent.
Introduction, 2Ob
DB: harmonics countersub
VMS : LEnfant
Piu` animato
h i
Am97 Bm/D
WW: Maman motif,
Bm97 C]m/E C]m97

D]m7 /F ] E[m97 A[7 F m97
B[m97 F m97
[10/]11
[9/13
B[m97 E[7
A[7
]9
9
<(C] F ]7 )
<(E B[m) A7no 3
F ]m7no 3 C]m7 G]m7 A7
F ]m7no 3 Am97 Bm/D
dim, Seq(3R7 )
8
8
(])
4
4
Str bg
Hns+WW
WW+Str accts
WW
Str: diat par
WW
Opera LEnfant et les Sortilèges (1925)
Source: [41]. This opera is full of unique orchestration effects, that support the story and
its set of haunting and comical wallpaper characters, that come alive in the nightmarish
dream of the main character, the child (national TV news banner: Youngster on lude; sniffing
wallpaper glue, or, how safe are our homes?). In the analysis diagrams the beginning of vocal
lines is indicated as [V] (due to the operatic, story-telling and fragmented character of the
vocal lines, the individual statements have not been marked in the tables). The melodic
material for the orchestra instruments is labeled as usual with M1, etc. This analysis covers
the first half of the opera.
17.8.1
Opening scene
Vocal parts: LEnfant (mezzo-soprano) and Maman. Two hoboes, playing meandering high
8th note patterns in parallel fourths and fifths set the (Oriental) mood. The Maman motif is
characterized by a falling fourth in the lead voice; it is an instrumental (non-singing) part.
17.8.2
Scene LEnfant: C
a mest e gal!
626
`
17.8. OPERA LENFANT ET LES SORTILEGES
627
Table 17.20: Ravel, LEnfant et les Sortilèges, Scene Le Fauteuil et La Bergère

[#]+m
16
16+4
17
17+2
17+4
17+6
17+7
17+8
17+9
18
18+2
18+4
18+8
19
20
20+2
20+8
17.8.3
M3.1
M3.1
..
.
..
.
..
.
M3.2
..
.
M3.1
Gm
Comment
Presto
h i
diminished 5th intervals

octave leaps
trans, intro, Bsn

CBsn
Lento maestoso
h i
<(Gm+7
2
4
A[5
7
3
4
D79 )
(\)
([[) Duet: Fauteuil/Bergère
(F A[ B E[m)/D
9
<(Gm+7 A[5
7 D7 )
A, Pno+VB +VS , P (gd)

Pno: RH arp%&
2nd stat
(F A[ B E[m)/D
Pno: RH arp%&
Em+7/9
(E[+ D+ D[)/A
Am Dno 3
Pno: RH
cad, Pno+Str pizz
Cm97 (Dor scale)
B, Le Fauteuil
EHn+Vi, Seq(32m;R7 )
B[m97
A[m97 . . .
D7[9
Cl+Hrp
Bsn+Pno
Tbns
9
<(Gm+7 A[5
7 D7 )
+7
[5
<(Gm A7 D79 )
9 ... C
C7
7
9/sus4
D7
A, Pno repeat, P (gd)

Duet, WW accts
cad, Str acct
Scene Le Fauteuil et La Bergère
Form: ternary song, ABA. Vocal parts: Le Fauteuil (bass) and La Bergère (soprano). This
is a charming and elegant dialogue between soprano and bass, accompanied by piano. The
middle section is a harmonic sequence with descending stepwise melody in woodwinds and
doubling. See Table 17.20 for the analysis.
17.8.4
Scene LHorloge Comtoise

628
`
629
17.8.5
Scene La Theière et La Tasse
Form: ternary song, ABA. Vocal parts: La Theière (tenor) and La Tasse (mezzo-alto). After
being launched by a grunting trombone and counterbassoon, heres another dialogue, in a
competitive high tea setting, over a cakewalk dance rhythm. The contrasting middle section
is pure Oriental parody (fake Japanese lyrics over celesta in pentatonic parallel fourth triplets
and string pizzicati). In the closing section the two elements (British and Oriental) are united
in a tutti climax. See Table 17.21 for the analysis.
17.8.6
Scene Le Feu

630
`
Table 17.21: Ravel, LEnfant et les Sortilèges, Scene La Theière et La Tasse

[#]+m
28
28+8
29
29+4
30
30+3
30+4
30+6
[V]
B[m
M5.1
M5.1
..
.
..
.
Comment
Allegro non troppo
B[m
<(B[m G[7 )
E[7 A[m6 C[+
E[7 hBm|A[mi
hBm|A[mi F7 D[7 /F [
intro, Tbn-CBsn
LoBrs: muted riff
La Theière, WW+Brs+Pno
Fl+Hns+Tpt: accts
2nd stat
C[
Tpt-Bsn: accts
Cm/G G97
C7 Gm/D E[7 C7
climax
h i
4
4
([[[[[[[) British
B ([) Oriental
31
31+2
32
32+2
32+4
32+6
M5.2
..
.
..
.
..
.
..
.
Gmadd4
C79 no 3
La Tasse, Cel: tripl par 4ths,
F 6 . . . F7 B[6 . . .
Str: pizz
<(Am7 Gmadd9 ) Em11

7
Am7 E7 Am7 B7 /D
G7 Dm7 /C D7
<(G97 Gm7 ) C79 F
cad
A ([[[[[[[) Instrumental
33
33+3
33+5
34
34+2
34+4
34+6
35+1
35+3
36
36+4
36+6
37
38
M5.1
..
.
M5.1
..
.
..
.
..
.
..
.
B[m
B[m6
]11/13
E[7
Tbn: solo
A[m6/11
hGm|E[7 i E[97 A[m6/11
A[m6/11
Tbn: solo
9/11
F [m7
FHn-Tpt-Tbn: accts
Cm/G A[7 F7 /A
G7 /B[ G/B C7
FHn-Tpt-Tbn: accts
WW+Brs
D[]11
7
G7 Dm7 /C
9/sus4
D7 G7 Gm7 C7
([) Duet: Tasse/Theière
<(A[m]11 F )
A[m]11 Bm]11 Dm F ]m A
9 F
C7
Coda, tutti, triplets

climax
cad
Interlude
h i
f -pentatonic scale
A9 /C]
LEnfant, Cel
LoWW+Hrp+Pno+DB
3
4
Transition
631

632
`
Table 17.22: Ravel, LEnfant et les Sortilèges, Scene Les Pastoures et Les Patres
[#]+m
50
50+1
51
51+4
52
53
54
55
55+4
Am
[V]
M7.1a
M7.1bb
M7.1c
M7.1b
M7.1c
Comment
Moderato
Introduction
C 9
hE|Ci
Hns+Vln
~ S 5 %&
Fl+Cl: Hk
i
Am11
P (ae)
7
Am11
P (ae)
7
[10
<(E7 D7[10 E7 D7 Am)
<(Dm D) Am11
7 Em7
]11
<(Am C7 )
6
F7
Dm D Am11
7 Em7 Am
A, folk dance, Ch+Pno

Choir
cad, +Bsn+Cl, 15-ped
Pno+WW, P (da)
Ob, P (ae)
P (f c)
cad, Fl, 15-ped
h i
2
4
(\)
B (]]]) Instrumental
56
57
58
59
60
60+7
61
61+5
17.8.7
M7.2
M7.3
M7.2
M7.1b
M7.1a
M7.1b
Am
hBm A C]m|Ai
hBm A C]m|Ai
hBm A C]m|Ai
hBm A C]m|Ai
WW+Tpt par, P (ae)

ECl (ped)
Solo Voice, Pno+WW
2 Soli, +Tpt (ped)
Rallentando Piu` lento
C (\\\)
Am11
7
Cl, WW+Hns
Str
Pno, P (ae)
Pno+WW
Dm97
C/E
C/E
Am11
7
<(E7[10 D7[10 E7[10 D7[10 Am)
Scene Les Pastoures et Les Patres
Form: binary form, AB Coda. Vocal parts: Les Pastoures et Les Patres, choir. The introduction is a 16th note triplet exact parallel glissando in flutes and clarinets. A small drum
provides the groove for this pastoral folk dance. The choir is divided into humming voices
for continuous harmonic support and parts with lyrics (sections or solos). The accompaniment is mainly by piano (playing ringing open intervals in bith hands) and woodwinds.
The middle section is for the orchestra instruments, playing in parallel S46 triads and parallel
thirds (the choral harmonic support carries on here). Note the continuous use of root-fifth
pedal point (15-ped) and the frequent use of diatonic parallel in this scene. See Table 17.22
for the analysis.
17.8.8
Scene LEnfant et La Princesse

633

634
`
Table 17.23: Ravel, LEnfant et les Sortilèges, Scene LEnfant: Toi, le coeur de la rose
[#]+m
Comment
h i
4
4
Andante
73
73+5
73+7
74
74+1
74+2
74+3
74+4
74+6
74+7
M9.1
..
.
M9.2
..
.
..
.
..
.
..
.
E[
<(E[ E[69 E[7 )/B[
17.8.9
M9.3
A, 2Cl+Bsn+3Vi1, P D (b[)
B[sus4
7
<(E[
Cm7 )/B[
Cm7 /B[ A[/C E[
Gm Gm7 /F
B, Ob+2Cl+FHn+3Vi1
Cm7 /E[ E[7 /D Gm7

E[7 Cm7 B[97 /C
Cm
Cl+Bsn+Vi1
Cm Cm7 /B[ A[7

A[7 F m7 /A[ A[7 /C
<(E[ . . . A[67 ) E[
closing cad
h i
3
4
Poco animato
74+11
([[[) LEnfant
E[+
. . . hF |E[7 i
([[[) trans
Voc, tutti climax
Scene LEnfant: Toi, le coeur de la rose
Form: binary song, AB. Vocal part: LEnfant (mezzo-soprano), aria. This is a lovely, delicate
short ballad, full of melancholy, with tonal character and popular hit potential. The accompaniment is brilliant in its simplicity and beauty: three solo violins play steady 4th notes,
doubled with sustained chords in woodwinds and occasionally a single French horn. Thats
enough to move a sensitive listener. See Table 17.23 for the analysis.
635
17.9
Concerto pour Piano et Orchestre (1932)
Source: [42]. An overview of the formal analysis is shown in Fig. 17.8. The opening sonata
form movement has a long development section; compare this with the relative length of the
development section of the closing movement.
Mvt. 1 Allegramente: sonata form (G-modal,
h i
2
2
, 334 m.)
Exposition (106 m.)

Recap (40 m.)
C (28 m.)
Mvt. 2 Adagio assai: ABA Coda form (E-modal,

A
Mvt. 3 Presto: sonata form (G-modal,

Intro (36 m.)
Recap (54 m.)
Exposition (117 m.)
h i
3
4
, 108 m.)
Cd
h i
2
4
, 306 m.)
Development (60 m.)
Coda (38 m.)

Figure 17.8: Ravel, Concerto pour Piano et Orchestre
17.9.1
Mvt. 1, Allegramente
Form: sonata form. See Table 17.24 and 17.25 for the analysis. The instrumentation is abbreviated as O for Orchestra and P for Piano (in the Melody column, with the secundary
element between brackets).
17.9.2
Mvt. 2, Adagio Assai

636
17.9. PIANO CONCERTO IN G
Table 17.24: Ravel, Concerto pour Piano et Orchestre, Mvt. 1 Allegramente

m
R/Scale
Comment
1
16
25
37
44
52
63
75
84
96
M1.1/1.2, O(P)
O(P)
M1.1/1.2, O
M1.2
M2.1
M2.2/2.3, O(P)
M2.2/2.3, OP
M3, (O)P
M3, (O)P
M3, O(P)
G-Pentat.
C D
G-Pentat.
B-Aeol
F ]-Phryg-Dor
G/D D7
C/G D7sus4
D D7sus4
Bm7/F ]
F7alt
E-Ion
9
E7
F ]m C]m F ]m
E7 A
[0] Exp/Gr 1,
[1] Tr 1
[2]
[3]
[4] Gr 2
[5]
[6]
[7]
[8]
[9]
107
115
123
131
142
150
173
182
183
195
202
210
215
(O)P
(O)P
M1.2/2.2, (O)P
M1.2/2.2, (O)P
(O)P
(O)P
(O)P
P
M1.1, OP
M1.2, O(P)
M2.1, (O)P
M2.2, P
M2.3, O
B-Ion
C]m7 F ]97 B7 /F ]
G-Ion
E
C
A[
D/F ] D7[10
D7[10 G]sus4
7 /F ]
E7
9/sus4
G7
E[97
G
B[-Ion
D
G/D D7sus4
F7 B[
A[9
7
221
227
h i
A7
[10], Dev, Tr 2
[11]
[12] Gr 1
[13]
[14]
[15]
[16] Tr 3/Tr 1
[17]
[18]
[19]
[20] Gr 2
[21] h i
[22] 34
O
M2.2, O(P)
A D7
Aalt
7
[23] h i
[24] 22
232
M2.3, O
[9
A[10
7 D7
[25]
241
M3, P
G C7 Em7 Am7
[26]
256
263
M3, (O)P
OP
G
A7 /E
[27]
[28]
266
(O)P
A[9
7
[29] Recap
278
286
292
300
(O)P
OP
(O)P
OP
D/A Gm/B[
[30]
[31]
[32]
[33] Tr 2
G-Ion
F
C
A[
E[97
2
2
h i
3
h4i
4
4
h i
2
2
Tr 2
637
Table 17.25: Ravel, Concerto pour Piano et Orchestre, Mvt. 1 Allegramente (contd)
m
306
316
329
638
R/Scale
Comment
M1.1, OP
OP
M1.2, O(P)
C
G
G-Pentat
C G97 Em7 B7
A97 D7sus4
G
[34] Coda
[35]
[36] (334 m.)

639
17.9.3
Mvt. 3, Presto
Form: sonata form. See Table 17.26 and 17.27 for the analysis. The letter P1 in the M column
stands for featuring the piano.
640
Table 17.26: Ravel, Concerto pour Piano et Orchestre, Mvt. 3 Presto

m
R/Scale
Comment
GT
G7 /D D7 G
G Em A7
G
C
Am
G7 /D D7 G
[0] Intro, cadence

riff
[1] riff
riff
[2]
cadence
[3] Exp/Gr 1
[4]
M2, P3
P3
P3
P3
P3
P3
P3
Dm7
Dm7 G7 C
D7 /A Em7 Bm7 E
Em7 Dm7
G7 C C7 F D7 /F ]
B G7 /B B
B7 F7]11 B7 E7
E 6 E7 B7
B7 F7 B7 E 6 E7 A
A F ]7 B7sus4
E7 B7 B7 B7
E7 C]7
G]m/D] E]7 /D] G]m/D]
E7 /G] C]7 F ]m
G7 /B E7 B7sus4 /A
P3
D7 /C E[
chr sc
E[/G
E[ C A F ]
[14] Dev, riff

symm roots R3i
riff
[15] riff
[16] riff,
P (c] = d[)
[17] riff, P (d[)
[18] riff, P D (c])
[19] riff,
P (c] = d[)
1
17
23
25
33
37
46
57
66
76
79
90
95
108
115
128
136
140
144
152
P1
M0, P1
P1
M0, P1
C
G
M1, P2
M1, P2
, P2
P2
P2
G
E-Aeol
C
M2
B-Mixol. D
154
E[ SD
F]
162
170
182
M1/M2
M1/M2, P4
M1/M2, P4
C/E
A/C]
190
198
206
M1/M2, P4
M1/M2, P4
M1/M2, P4
B[m/D[
F ]m/C]
E[7 /D[ A7 /C]
214
219
229
237
245
255
M0, P5
M0, P5
M1, P5
M1, P5
M2, P5
P5
GT
SD
G/D
E7 /D G/D D7
C D7 /C
C D7 /C D
G B[7 G B7 G] C A
E[7 C7 F ]m F ] E[7 Am
[5] riff (Seq)

[6] riff
cadence
[7] Gr 2
[8] glissando
[9]
[10] gliss
[11] chr sc+cadd
[12] chr sc
cadence
[13] chr sc
chr sc
[20] Rec, riff

riff
[21] Gr 1
[22] Gr 2
[23] Seq(26m)+gliss
641
Table 17.27: Ravel, Concerto pour Piano et Orchestre, Mvt. 3 Presto (contd)
m
268
274
284
287
295
303
642
R/Scale
Comment
P6
P6
M1
P7
P7
T
SD
D
SD
T
B7 /A D7 A7 /G D7 /C F7
C7 /B[ F ]7 /A] A7 /C] C7 /E G7
B7 C]/F ]
D]
G
G/D D7 G
[24] Coda, Seq+chr sc

Seq+chr sc
[25] riff, chr sc
[26] riff, chr sc
Cadence (306 m.)
Chapter 18
Sergei Prokofiev
Biographical data:
11 (23) -4-1891 in Sonzowka
5-3-1953 in Moscow
1600
1700
1800
1900
2000
Classical harmonic analysis will fail in many pieces by Prokofiev. His chord structures
and progressions are frequently based on non-traditional principles (non-diatonic chord
structures, bitonality, etc.); see [32] for an overview of his techniques. Formal analysis and
key/root identification is still applicable to a subset of his compositions, deliberately written
in a more or less tonal style.
18.1
Classical Symphony (No. 1), Op. 25 (1917)
Source: [38]. This symphony is based on the classical template four-movement form: sonata
allegro slow second movement scherzo and trio very fast closing sonata movement.
The harmonic idiom is kept very simple (and therefore atypical of later Prokofiev compositions): note the use of triads, 7th chords and the rare use of extensions and chromatic
alterations. The instrumentation has an early Classical Period (Haydn) flavour, with strings
and two-player woodwind section dominating. An overview of the formal analysis is shown
in Fig. 18.1.
18.1.1
Mvt. 1 Allegro
Form: sonata form. This opening movement obeys closely to the classical sonata form model.
The exposition contains two thematic groups, in the tonic and dominant key respectively.
The development contains modulating sections, melodic augmentation and imitation (including a stretto). There is a recapitulation with coda closing. The instrumentation is light,
with strings and woodwinds dominating, and occasional brass support for climaxes. A remarkable feature is the key sign change in the development, that only returns to the original
two sharps (D major) during the recapitulation. See Table 18.1 and 18.2 for the analysis.
The first group theme has M1.1(ab) (4 + 4 m.) structure. The a-phrase is in the tonic
major D, in 8th note rhythm over a simple tonic-dominant-tonic I V I harmony. The
c
2005-2015
CHAPTER 18. SERGEI PROKOFIEV
Table 18.1: Prokofiev, Classical Symphony, Mvt. 1 Allegro

m
1
3
7
11
15
19
23
26
28
32
36
40
42
46
52
54
58
62
65
66
72
74
78
M1.1
M1.1
M1.2
..
.
M1.2
(M1.2)
M2
M2
..
.
..
.
M2
91
95
Intro (]]) Str unis

d
C
D
D/F ] A7 /E D A D A/E
<(Bm/D A/E Bm/D) D
C G/D C G7 C G/D
]5
F ]7 /B C7
A7 /C] A
<(D A7 )
d
<(D A7 ) F ]7
Bm
G F ]7 G A] /E Bm
<(Bm F ])
<(Bm Bm7 /F ]) Bm E
<(E7 F ]m E7 )
E7 F ]m E D7 Bm
E7 . . .
A G]7 F
B
A G]
cad, (cm<)
[3] 2nd stat, (a): WW
(a): Bsn+Vc
[4] trans, Fl+Vi1, P (d)
<(F C)
[8] (b), plagal cad
F ]m C] F ]m7 A
C] Bm E
A G] D7
Bm97 E713 E7
A . . . D7 Bm7 E7
A . . . D7 Bm7 E7
(b): Fl
cad
[9] 3rd stat, (a): VI1
M1.1
Dm
M1.2
Dm A Dm Am/E
[12] Dev (\\) (a): Vi1
A[ . . . E[[9
7
M1.2
(M1.1)
F . . . A[9
7
<(F ]7 /B Em7 F ]7 /B)
<(B7 F ][5
7 /C B7 )
111
115
M2
M2
E
C
E/B . . . B7 /A
C/G . . . F ]7
119
M2
B/F ] . . . F ]7 /E
644
M2
mod trans, P (g)

[13] imit: WW+Str
99
103
107
123
[10] tutti clim, cad

[11] tutti clim, closing
<(G7 Am7 /C) G7

A[
[5] trans lead%, P D (e)

[6] Gr 2 (a): Vi1
[7] Hns+LoStr unis arp
2nd stat, (a): Vi1
A E7 F ]m E7 D E7 A
d
Exp, Gr 1 (a): Vi1, HiStr bg

mod trans, P (d)
[1] 2nd stat, (a): Vi1
mod trans, P (b)
[2] (a): WW
(a): Bsn+Vc
82
87
Comment
[15] Hns+LoStr aug, climax

Vi+Fl (augm)
d
G/D G D7 /F ]
imit (contd)
[14] mod tr, (b): WW
(b): WW+Str
[16] Hns+LoStr
[17] Fl+Vi (sync, 1beat del)
18.1. CLASSICAL SYMPHONY (NO. 1), OP. 25
Table 18.2: Prokofiev, Classical Symphony, Mvt. 1 Allegro (contd)

m
127
M2
C7 /G E /G F
146
148
150
154
157
159
163
167
169
171
177
179
183
187
189
194
198
202
205
stretto, tutti climax

d
Am C/G Am7 /G G7
Am Dm97 D/G G7
C ...
[18] retrans, climax

cad
[19] clos, unis arp
C G7 /D C G C
[20] Rec, Gr 1 (a): Vi1
<(F ]7 /B Bm)
F ]7 /B C]m A7 /G A
<(D A7 )
mod trans, (b): Vi1

cad, (cm<)
[21] (]]) (a): WW
<(D A7 ) F ]7
(a): Bsn+Vc
131
134
138
142
Comment
M1.1
..
.
M1.2
..
.
G F ]7 G F ][5
7 /E Bm
M1.2
..
.
M1.2
M2
M2
..
.
..
.
Bm
B C] B F ]7 B B7
[22] (a): WW
C C/E Em7
A[9
7
A7 Em A7
D C] B[
E
D C]
WW-Va imit
[23] Cl+Vc-Va
cad, (cm<)
[24] Gr 2 (a): Vi1
[25] WW+LoStr unis arp
(a): Vi1
B[ F B[ F
[26] (b)
Bm F ] B
(b): Fl
cad, (cm<)
m7 F ]7 G7 Em97 A7
D G7 Em A7
D Bm Em97 A7
d
D A7 Bm A7 G A7
D
[27] cad
[28] Coda tutti climax, cad
[29] cad closing
climax, (cm<) (207 m.)
645
Mvt. 1 Allegro: sonata form (D,

Exposition
h i
2
2
, 207 m.)
Development
Mvt. 2 Larghetto: ABABA form (A,

I A
Recapitulation
Cd
h i
3
4
, 71 m.)
A B AC
Mvt. 2 Gavotte (expanded version),

non troppo allegro: scherzo and trio form,
h i
ABABAB Coda form (D G,
A
B1
B2
4
4
, 120 m.)
A B3
Coda
Mvt. 4 Finale. Molto vivace: sonata form (D,

Exposition
h i
2
2
, 225 m.)
Figure 18.1: Prokofiev, Classical Symphony, Op. 25
melodic curve is descending, using stepwise motion in the first measure, leaps in the second
and then a closing arpeggio on staccato notes. The instrumentation is violins and violas;
note the closing contrary motion in the first two measures. The b-phrase is in the relative
minor Bm, over a tonic pedal and changing the instrumentation (adding low strings and
woodwinds).In its basic form the theme M1.2 is two measures long with structure M1.2(ab):
the a-cell has the characteristic upward sixth leap at the end on beat 3 and 4, the b-cell has
diatonically descending motion. Prokofiev plays with these two elementary cells already in
the exposition. The first statement is in imitation in the woodwinds: flute-(oboe+clarinet)(bassoon+cello), yielding a total melodic structure M1.2((ab)+(ab)+(aab)). This approach is
repeated in the second statement in [3], m. 28. In the transition [4] the total length is stretched
by fragmenting the cells.
The secondary group theme has sentence structure M2(aab) (2 + 2 + (2 or 4) m.): the aphrase contains the light and playful downward octave leaps, the b-phrase is a downwardupward arpeggio in the first statement in [6] and a more lyrical four-measure phrase in the
second statement [78]. So the overall structure is M2(aab1 aab2 b2 ). In the third statement
[9], the b1 -phrase is varied, becoming arpeggio-flavoured cadences with tutti climax at the
end of the exposition.
18.1.2
Mvt. 2 Larghetto

646

647
Table 18.3: Prokofiev, Classical Symphony, Mvt. 3 Gavotte. Non troppo allegro
m
1
5
9
13
Comment
M1.1
D Em B/F ] F ]7 G
A (]]) (ab): Vi+WW, (cm>)

d
|| : D A Bm F ]m C]7 D
M1.2
D A7 C]/G] G] A7 D
D A Bm F ]m C]7 D
M1.2
(G G[9
7 Em7 Bm7 )/G
(G G[9
7 Em7 F ]7 G)/G
(G G[9
7 Em7 Bm7 )/G
(G G[9
7 Em7 F ]7 G)/G
[2] B1 , (a): WW 4th, P (gd)

(a): WW
[3] (a): Str, Mc: WW P (gd)
(a): WW
D Em B/F ] F ]7 G
D Dm A/C]
21
25
29
33
M2
M2/c
/
37
41
M1.1
M1.2
43
45
47
M1.1
C]m C Bm11
7 A
Bm/D F ]m7 C]/E]
G] A[5
7 /E[ D
49
M1.2
D A Bm F ]m C]7 D
18.1.3
stat 2, (aa): HiStr

(bb): Str+WW, clim
cad
(bb): Str+WW, clim, cad
D A7 C]/G] G] A7
D Gno 3 : ||
17
20
53
[1] stat 1, (aa): HiStr
[4] A (]]) (ab): Vi+WW, (cm>)

var, (a): HiStr+WW
(a)
(a): Str+WW, clim, cad
(b): WW
d
D A7 C]/G] G] A7 D
[5] stat 2, (aa): HiStr

(bb): Str+WW, clim, cad
Mvt. 3 Gavotte
Form: scherzo and trio, ABABAB Coda form. This gavotte is the new expanded version. See
The A-section theme M1.1(ab) (2 + 2 m) is characterized by the pesante 4th note octave
leaps and contrary motion. The M1.2 subject is derived from the first theme, but contains
more scalar, stepwise motion in 8th notes. It has M1.2(aab) (2 + 2 + 4 m.) sentence structure.
A characteristic feature of this section are the many deceptive cadences. Once again, strings
and wind dominate the orchestration, with occasional brass support in the cadences.
The B-sections act as contrasting trios, and contain extended tonic-dominant pedal point,
with continuous 4th note rhythm. The B1 melody [2] has regular period M2(abab) (2 + 2 +
2 + 2 m.) structure. The theme in B2 [6] has M3(ab) (4 + 4 m.) structure.
18.1.4
Mvt. 4 Finale
648
Table 18.4: Prokofiev, Classical Symphony, Mvt. 3 Gavotte. Non troppo allegro (contd)
m
Comment
57
M3
..
.
(G Em7 Dm7 G7 Am7 )/G
[6] B2 (]) (a): Str, P (gd)
59
61
65
67
69
71
73
M1.1
77
M1.1
..
.
79
81
83
85
86
87
89
91
99
97
99
101
103
104
M3
..
.
117
119
M1.2
..
.
..
.
..
.
A[5
7 /E[ Em7 B/F ]
[7] A (]]) (a): Vi1+WW, (cm>)

(b)
var, (a): HiStr+WW
M2/c
.. ..
./ .
retrans
(ab): Str+WW, cad
C]m F ]7 G
D/F ] Dm A/C]
(a)
(a): Str, Mc: WW, P (cg)
B[ Cm G/D Dm D7 E[
d
107
113
M1.1
..
.
105
111
M1.2
M1.1
..
.
109
C G7no 3 C
G/B Am E7 /D D/G
(C Gsus4
C G E7 )/G
7
(F Am7 Em F G)/C
C G] /B Am
E7 /D D G G7 /F
M2/c
/
C]m C Bm11
7 A
Bm/D F ]m7
(a)
(a): Str+WW, clim, cad
C]/G] A]m C]/G]

Em7no 3 /A A D
(b), cad
(G Em7 Dm7 G7 Am7 )/G
[8] B3 (]) (a): Str, P (gd)
G G7 (C G7no 3 C)/C
G/B Am E7 /D D/G
(C Gsus4
C G E7 )/G
7
(a)
(a): Str, Mc: Bsn, P (cg)
(F Am7 Em F G)/C
C G] /B Am
E7 /D D
retrans
cad
G Em A[5
7 no 3 /E[
[9] Coda (]]) (a): WW, (cm>)
D C/E B ]9 /D
d
C]mF ] F ]7 G
d
D A Bm
(b): WW
var, (a): WW
F ]m C]7 D
d
D A7 C]/G] G] A7
(bb): Str+WW
D . . . C] A]m C]/G]
Em7 /A A7 D
(b): Bsn+DB
cad (120 m.)
649

650
18.1.5

651

652
18.2. PETER AND THE WOLF OP. 67
18.2 Peter and the Wolf Op. 67 (1936)

Peter and the Wolf is both a ballet and an introduction to the instruments from the orchestra.1
Source: [38]. An overview of the formal analysis is shown in Fig. 18.2. The piece may be
subdivided into a number of sections. The long opening section introduces the characters
and instruments. Then the story develops in the next three sections.
Introducing the characters (226 m.)
Peter
P+B
Bird
B+D
Duck
Cat
Grandfather
Wlf
The story develops (91 m.)

Cat
Cat
Duck
WCB
Catching the wolf (175 m.)

Peter
P+B W Peter
W Hunters
Bird
Triumphal Procession (March) - Coda (71+47=118 m.)

Peter
Hnt+Wlf
GC Coda
Figure 18.2: Prokofiev, Peter and the Wolf Op. 67
Form: symphonic tale. See Table 18.5 to 18.7 for the analysis. Each character in the story
has its own theme and instrumentation: [1] M1, Peter, strings; [2] M2, Bird, flute; [6] M3,
Duck, oboe; [11] M4, Cat, clarinet; [15] M5, Grandfather, bassoon; [9] M6, Wolf, French horns;
[35] (M7), Hunters, percussion.
18.2.1
Introducing the characters (#019)
The Peter subject has M1(abab) (2 + 2 + 2 + 2 m.) period structure in 8th note rhythm;
the first statement is in first violins, the repeat in the second violins. The Bird theme has
M2(aab) (2 + 2 + 4 m.) sentence structure. The a-phrase is in staccato 8th note rhythms, the
b-phrase consists of legato 16th note arpeggios. This theme nicely illustrates a procedure that
Prokofiev uses in the quasi-tonal composition style: creating sequences of non-diatonically
related triads (or more generally, chords in thirds) by chromatic pitch alteration in the voices.
In M2, this implies the harmonic progression:
[2]
[2]+4
[2]+6
g % g] &
g
% a[ &
g
& f]
e
e
e
& e[ &
d
d
c %
c]
&
c
&
c[
=
b
b
C C]m
C
A[m
G
Bm
This piece is so well-known as a music education tool for children, that it suffers somewhat from overexposure. Many celebrities have lent their voice to the story-teller part. Global dumping of CD releases enables the
customer to find this piece as bonus gift with used car sales (Peter and the Golf). Rumour has it that there exists
a Michael Jackson adaptation, probably called Pete It.
653
Table 18.5: Prokofiev, Peter and the Wolf Op. 67

[#]+m
1-2
1
1+8
2
2+4
3
3+6
4
4+4
5
5+5
6
6+4
6+9
6+13
7
7+8
8
8+4
8+8
8+12
9
9+4
10
11
11+4
11+8
12
12+5
13
13+7
13+11
14
14+4
14+7
654
M
M1
M1
R
C
M2
M2
M1/2
M1/2
M3
M3
F
A[
A[
(M3)
(M2/3)
(M2)/3
(M2)/3
(M2)/3.2
M4
M4
E
G
M4
M4
H
Introducing
the
characters

+7
C Cm |A[ E[6
E[
Bm D7 /A
G G7

C Cm+7 |A[ E[6
E[ Bm D7 /A G G7
C <(G]7 C]m G G7 C
(C C]m) C A[m+7
C A[m+7 G7 G
<(C C]m G) <(C G+ )
G7 G
D 7 G 7 C G7 C7 F
F D[ D[7 D[97 A[
A[ Em G7 C
C C]m G G7 C
]5
6
A[6 B[[9
7 E[7 A[ E[7 G
6
6
A[ B[m7 A[ E[
A[6 E[7 A[6 G7
A[6 B[m7 A[6 E[ E[/D[
Bm G7 /B C
C G+ /B E[7 /B[
<(A[6 E[)
]5
6
A[6 B[[9
7 E[7 A[ E[
6
A[ G7 A[ E[
A[ F7 /A B[m4 G/B
Cm A/C] Dm C[/E[
<(E 6 Em)
G C Am/C A7 /C] D G
G C A/C] G/D D G
<(D7 G)
G7 C F7 Dm97 D79 Gsus4
7
C F7 D7]9 Am7 G7 C
[5/[9
F ]7 F ]/A] F ]7 /A]
G7 /D D7 /C G7 /B (F ])
G7 /B D7alt /C G7 /B F ]7
B E7 C]7 F ]sus4
B
7
<(F ]7 B) B7
sus4 E
E A7 F ][10
7 B7
Comment
Peter (Str.)
2nd stat
trans
Bird (Fl solo)
trans
Peter & Bird
trans
Duck (Ob)
2nd stat
trans, P (c)
(Str)
Bird & Duck
trans, e[-ped
Bird & Duck, P D (e[)
PBi (%), climax
Cat (Cl)
trans
2nd stat
trans
3rd stat
Duck & Bird
Table 18.6: Prokofiev, Peter and the Wolf Op. 67 (contd)

[#]+m
Comment
15
15+7
16
17
18
18+5
19
19+5
19+9
M5
M5
Bm
Bm(7) A7 F ]7 F ][9
7 C]7
Bm F ]m A7 F ]7
F ][9
7 C]7 B[ A B[/D A/C]
B[ G[97 D[ Am C7 /G F
Bm(7 ) A7 F ]7
F ][9
7 C]7 Dm F ] Bm
Gm F 9 /G F m D[7 Am7
Dm C 9 /D C D7
Gm F 9 /G Gm
Grandfather (Bsn)
2nd stat
20
20+7
21
21+5
21+8
22
23
24
24+4
25
25+4
26
26+4
27
27+8
M4
M3.2
28
28+4
29
30
30+3
30+4
30+8
31
31+3
32
M5
M6
M6
M6
B[
Bm
Gm
A
A[
M3
M4
M4
M6/4
M6/(1)
Fm
M1
(M1)
M1/(2)
M1/(2)
M6
M1
A[
Gm
Dm
C
The story develops

A/C] D <(D7 E7 ) D]7 /F ]
<(A[7 /E[ E[7 )
A[ F7 /A B[m4 G7 /B Cm
A[5
7 /C] Dm C[/E[
<(C]m7 /E Em)
[5/[9
C]7 <(F ]7
F ]7 )
Cm A[/C
<(A[6 G7 E[ G7 )
(A[ Cm G E[)/E[ A[
G C Am/C A7 /C] D7
G D7 (no3) G
C F Dm7 D7 G G7 C
G7 (no3) C
(F m E[7 )/F
(F m E[7 )/F
Catching the wolf
D B[]9
7 F
]11
F7 Dm97 Dm7 /G (Am F )/C
C]7 C7 G
C A[7 (Bm . . . F m)
A[m Gm F ]m F m
E[ A[
(G]m . . . C]m) Bm
[9/13
Gm G7
F7
[9/13
Dm D7
C7
C (Cm . . . F m) E[6
trans
3rd stat
P D (f ])
Wolf (Hns)
2nd stat
3rd stat
Cat
Duck
trans
cresc to climax
dim
Duck
Cat
Wolf & Cat

Wolf & Bird
Peter
trans
Peter
Peter & Bird, chr
chr desc
chr desc
Wolf, climax
Peter, chr desc
655
Table 18.7: Prokofiev, Peter and the Wolf Op. 67 (contd)

[#]+m
33
34
35
35+7
35+11
36
37
38
39
40
41
42
42+12
43
43+4
44
44+8
45
46
47
48
48+5
48+7
49
50
51
51+11
52
53
54
54+1
54+3
54+4
656
M7
M7
M8
M8
A[
E
C
M1
M1
M8
M6
M8
M5/4
M5/4
Bm
M1
M1
M3
A[
C
Comment
hB|Gi (C hB|Gi) C
... G
[9/[13
[9/[13
<(A[m G7
/B) F m G7
[9/[13
F m E[7no 3 E[m F7
Dm F7
F7 E[97 D7 F7 G7 /F
Dm7 /C
<(D[ C/G)
<(D[ C/G)
Am <(D C]/G]) G7 C
A[ Cm E[7 G7 A[ E[ A[
E7 G]m/B B7 /A D]7 E
B C]m B D]m7 E
E/G] Em/G D/F ] Dm/F
climax (Brs mute)

trans, Vi solo
Tbn, Wolf struggling
Tbn (Brs mutes off)
Str downbows
trans, dim
Wolf
Hunters (Perc)
WW, cresc, clim (Timp)
Tpt+Hn+Perc
trans
Bird
Triumphal procession - March

<(C G+
7 )
6
<(C Am7 /G) A[]9
7 E[
E[ Bm D7 /A G G7
<(C G+
7 ) <(C B/F ])
Em D9 Em G+ /D] B /D
<(D[ C/G) D[ G7 C
9/sus4
Bm B E7 C]97 F ]7
B
B C]97 C]m7 G]m7
B/F ] F ]7 B
Conclusion - Coda
C A[]9
7 E[
E[ BmD7 /A G G7
9
<(D[ A[+
7 ) <(D[ C/G)
D[ C/G D[ G7
<(C hB|Gi) Em
<(A[6 G E[7 G7 ) A[/E[
[9/]11
G[7
E[m11
7 no 3 Cm/E[
Em7no 3 Dm7 Em7 /B F ]m7 /A
B[m/ D[ A[m7 B[7 /D G97 C
C F m/C C
trans
Peter, Hns 3-pt augm

Hunters, Tpt
with Wolf
Grandfather & Cat
Peter tutti
(Brass, tutti)
trans, Bird
trans
Duck
(cm<)
(tutti)
Closing climax

After the second statement of the Bird theme, M1 and M2 are combined [4] by segmenting
both themes into their individual phrases.
The Duck subject for low register oboe (quack) [6] is another sentence, M3(aab) (2 +
2 + 4 m.). The quacking is even more obvious in M3.2 [9] with the accented e[ pedal. The
low clarinet plays the Cat theme [11], a regular period M4(abab) (2 + 2 + 2 + 2 m.). The
Gransfather theme for bassoon [15] is irregular M5(ab) (4 + 2 m.). Finally, the Wolf theme for
three French horns [19] is presented: it consists of two one-measure cells that are juxtaposed
M5(abaaaba). The harmonies illustrate a combination of diatonic parallel triads and the
abovementioned chromatic voice movement:
[19]+1 diat
chrom
chrom
diat [19]+7
b[
&
a[
a[
%
a
&
g
g
&
f
f
&
e
.
d
&
c
%
d[
%
d
&
c
Gm
Fm
D[
Dm
C
In a sonata form interpretation, the first section might be considered the exposition.
18.2.2
The story develops (#2027)

657

658
18.2.3
Catching the wolf (#2842)
In this section Peter gets involved in the fight; the first statement is played by clarinet and
violins in the key of D major [28]. When he teams up with Bird the original key C major
returns [30, 32], as a contrast to the minor keys for the Wolf theme [31, 35, 37]. The struggling
of Wolf in order to free himself from the rope is accompanied with a minor key motif M7 for
trombone [35], juxtaposed with repeated fortissimo chords in all orchestral sections. Note
the string section series of downbows in [35+11].
In [38] the Hunters come on stage, with support from the percussion (bass drum, piatti,
snare drum, tambourine and timpani patterns). There is a pizzicato quarter note riff for the
strings on alternating chords <(D[ C/G) with a diminished fifth leap downward in the
bass and wide upward leaps in the lead violins. On top of this riff pattern we hear a forceful
theme M8(aabccddd) ((1+1)+2+(1+1)+(1+1+2) m.), played first by unisono woodwinds
[39], later horn and trumpet [40].
18.2.4
Triumphal procession - March (#4348)

659

660
18.2.5
Conclusion - Coda (#4954)
All is well in the coda, returning to the initial key C major with another ben tenuto, energico
statement of the Peter theme for brass, over a steady quarter note riff in the strings and
sustained chords in the woodwinds (tutti orchestration). This setting is briefly interrupted
by Bird [51] and Duck patterns [53]. The piece closes in a tutti climax, starting with contrary
opening motion in [54].
661
662
Chapter 19
Dmitri Shostakovich
Biographical data:
25-9-1906 in St. Petersburg
9-8-1975 in Moscow
1600
1700
1800
1900
2000
With Dmitri Shostakovich traditional analysis, especially classifying chord structures

and progressions, becomes troublesome. Many of his chord structures are not built on thirds,
there are bitonalities, and non-diatonic additions to chord structures (determined by voice
leading). However, formal analysis (classifying phrases and sections) and key root sequence
identification is still possible. But always keep in mind that the value of traditional analysis
is limited in his music.
19.1
String Quartet No. 1 in C Major, Op. 49 (1935)
Source: [59]. An overview of the formal analysis is shown in Fig. 19.1. Note the short
development section in the opening sonata movement.
Mvt. 1 Moderato: sonata form (C,
h i
Exposition
Dev.
3
4
, 121 m.)
Recapitulation
Mvt. 2 Moderato: Theme and variations form (Am,

Th. V1 V2
V3
V4 V5
V6
h i
4
4
, 85 m.)
V7
Figure 19.1: Shostakovich, String Quartet No. 1 in C Major, Op. 49
c
2005-2015
CHAPTER 19. DMITRI SHOSTAKOVICH
19.1.1
Mvt. 1, Moderato
Form: Sonata. The exposition first group divides the string quartet into upper three string
parts (note the equal rhythms, chromatism and the series of first inversion chords) and the
cello (diatonic, stepwise axcending motion). The second group starts with a groove, presented by the cello (upward glissandi leaps) and the viola (steady 8th note pedal point),
with the melody M2 in the lead violin. The roles are reversed in the second statement.
The brief development section opens with the second group
After the transition
h groove.
i
4
there is a varied statement of the main theme M1 in the new 4 meter. The recapitulation
continues this meter, until the secondary theme is presented in the original triple meter. See
19.1.2
Mvt. 2, Moderato

664
19.1. STRING QUARTET NO. 1 IN C MAJOR, OP. 49
Table 19.1: Shostakovich, String Quartet No. 1, Mvt. 1 Moderato

m
1
6
11
15
20
21
24
28
29
37
47
51
54
62
65
M
M1.1
M1.1
M1.1
M1.2
..
.
M1.1
M2
Mt
M2
M2
67
71
74
77
80
85
M2
Mt
M1.1
88
94
97
99
107
108
M1.1
110
118
M2
R
C
Cm
C
E[
E[
Em
C
A[
M2
Comment
C . . . F/A
Dm . . . G
C7 F G
C F m/A[ . . .
F ]7
Cm . . .
h i
[2] Vi1
(E F7 Em7 A)/E
G
C6 . . . G
<(E[6 B[9 )
G7 /F Cm/E[ B[/D
B[m7 /D[
<(E[6 B[9 )
D[ Dm
D[ B[7
[S6 ] , P (e)
i (&)
Pm
[3] trans, (cm)
[4] Gr 2, Vi1, P (g)
[5] trans
imit Vi1-Va
[6] 2nd stat, Vc, P (g), groove
[7] trans
[8] cad.
<(E[6 B[9 )
E[7 /D[
Em B
Em/B F7 /E B /D
D]7 C]7
G/D C/E Gsus4
7 /D
Dev, Gr 2, Vi1, P (g), groove

trans
h i
[9] 44 Gr 1
C . . . F/A G F/A
Em/B
A[ E[7
<(A[6 E[9 )
B[m Gm F m Em
G[5
7
i (&)
[11] Recap, Gr 1, Vc, (cm>), Pm
<(C G)/C
C
[14] Coda, P (cg)

closing (121 m.)
3
4
i (&), (cm>)
Exp, Gr 1, Vc, Pm
[S6 ]
[1] 2nd stat, Vc, [S6 ] , PB (%)
trans, [S6 ]
i (&)
[10] retrans, Pm
h i
[12] 34 Gr 2, groove, P (c)

Va
[13] trans
665

666
19.1. STRING QUARTET NO. 1 IN C MAJOR, OP. 49
19.1.3

667

668
19.2. STRING QUARTET NO. 2 IN A MAJOR, OP. 68
19.2
String Quartet No. 2 in A Major, Op. 68 (1944)

Mvt. 2 Recitative and Romance: ternary song form (B[,
Rec. Romance
h i
3
4
, 123 m.)
Recit.
Figure 19.2: Shostakovich, String Quartet No. 2 in A Major, Op. 6
19.2.1
Mvt. 2 Moderato con moto
Form: ternary song form, ABA-Coda. This movement features the lead violin, that plays
long through-composed melodies (M1, M2, and M3), that may be subdivided into shorter
phrases. The background in the outer sections consists of sustained harmonies in the lower
three string parts, with subtle dynamic markings and changes (a series of dcrescendi).
The middle section contains more movement in the supporting voices. The rhythm is
synchronised, when all strings play sectional harmony in series of first inversion chords
([S6 ] ). From [42] onwards, there is a build-up to the main climax; note the use of more 8th
note patterns, the off-beat and syncopated rhythm. The key remains static: B[ major. See
19.3
String Quartet No. 3 in F Major, Op. 49 (1946)

Mvt. 2 Moderato con moto: ternary song form (Em,
A
h i
3
4
, 196 m.)
Figure 19.3: Shostakovich, String Quartet No. 3 in F Major, Op. 73
19.3.1
Mvt. 2, Moderato con moto

669
Table 19.2: Shostakovich, String Quartet No. 2, Mvt. 2 Recitative and Romance
[#]+m
31
32
33
34
M1.1
M1.2
M1.3
M1.4
B[
35
36
37
37+5
38
39
39+4
40
40+4
40+5
40+6
41
41+6
42
42+3
43
44
45
45+4
45+8
46
47
48
48+2
49
670
M2.1
..
.
..
.
M2.2
..
.
M2.3
M2.4
..
.
..
.
M2.5
M2.6
..
.
..
.
M3.1
M3.2
M3.3
Comment
Adagio (recitative)
F7 /E[
F C/E C7 /E
F7 /E[
F B[
Vi1 recitative
Vi1, Vc
(romance)
h i
B[ . . . B[[9
7
Vi1, P T (b[)
3
4
G[/B[ E[m7 /D[ B[ A7 A[7 /G[

d
G[9
7 /F A[m E[7 /E E7 /D Dm7
F E[ Dm E[m Cm A[
D7 Cm/E[ B[97 B[ Dm7 /F Gm
[S6 ]
climax
Am7 /G B[7
F ][10
7 no 1 B7 no 3 A /C
A /C D7 /C
D7 /C E[7 /D F m97 F7 /C E[7 /D
Cm97 /B[ A Am11
7
S2 -series
Vc
D7 Dm7 D7
Dm7 E[m B[7 /F
F/A G/B A[/C B[/D E7 /D G/D
G[/D[ F 4 E7
G[ B[m Em7 B[7 D7[9 B[7
E[m+7 B[[9
7 E[m7
d
[S6 ]
Va syncopes
Vi1+Vc, climax
G[ B C/G A A7
climax
G/D G[ F m Em E[m
B[/D A/C] A[/C G/B B[/F
ex parallel
[S6 ]
Adagio (recitative)
B[7 /A[
B[7 /A[
B[/F
F E[ Dm E[m F [
F7[9 /C F7 /E[
F7 /E[ F B[
Vi1 M3.1=M1.1
[S6 ]
(123 m.)
19.3. STRING QUARTET NO. 3 IN F MAJOR, OP. 73

671
19.3.2
The key relationship diagram is shown in Fig. 19.4. The ternary form of the Mvt. 2 is reflected
in the keys used. The outer sections are in the tonic minor key Em, the middle B-section in
the supertonic major key F ] (1). The closing A-section moves to the parallel major key E,
when the B-section texture returns (2).
Mvt. 2 Moderato con moto
E2
B 1
1 F]

) Bm
Em
F ]m
6
?
Figure 19.4: Shostakovich, String Quartet No. 3, key relationship diagram
19.4
Symphony No. 1 in F Minor, Op. 10 (1924-5)

Mvt. 3 Lento: ternary song form (D[,
A
h i
4
4
, 120 m.)
Figure 19.5: Shostakovich, Symphony No. 1 in F Minor, Op. 10
19.4.1
Mvt. 3 Lento
Form: ternary, ABA. See Table 19.3 and 19.4 for the analysis.1 The main element in this slow
movement is the combination of chromatic stepwise movement (both in the lead melody
M1 and in the bass and inner voices) and the melodic interval of the minor third (three
chromatic steps, also in the melodic brass motto M0 and in lower voices). Although here
only one movement from the symphony is analysed, the same melodical material returns in
the other movements.
The main theme is stated twice by the solo oboe, with a string section bowed tremolo
background (sustained notes in celli and bass). At [1] a solo cello takes the lead with M2,
which has similarities with M1; alternating chromatically ascending and descending motives
are juxtaposed. Just before [3] there is the first statement of the descending minor third motto
M0 by the trumpets. From here on it is combined with the other thematic material.
The middle section [8] presents the lyrical theme M5 in the lower strings; this creates a
melodic arch, consisting of wide leaps and groups of chromatically ascending and descending steps. The oboe sgnal theme M6 [6] leads into the seond statement of the lyrical theme in
the high strings, which now has the M0 motto as a countertheme in bassoon and low strings.
1
Analysis of this movement was suggested to me by Bill Dobbins, professor at the Eastman School of Music,
and jazz composer and arranger.
672
Table 19.3: Shostakovich, Symphony No. 1, Mvt. 3 Lento

m
1
5
9
13
15
16
19
21
24
25
27
29
31
33
35
37
39
42
44
47
49
51
55
57
59
61
63
65
66
67
69
71
M1
M1
..
.
D[
/
M6
I(M6)
Lento
D[ G7/D E[ E[m
F7 G[ E[/G A[+ A[[9
7
D[ C[m/D E[ D[m7 /E
A ([[[[[)
Ob PLi (&), Str bg, PBi (%)
2nd stat, Ob, PBi (%)
/
M0
M4/0
M5/0
..
. /0
.. ..
./ .
.. ..
./ .
Comment
B[7 G[+ Cm7 D[
M2
M2
/0
M2
M1/3
/
M1/0
.. ..
./ .
M5
M6
..
.
Em
F7[13 /E[ C79 /E

Dm/F D/F ] B7sus4
[13/sus4
E/G] D]7
/A
G[/B[ E[ C/F ]
F ][9
7
C/F ] C7 /F E
A[m/E[ A[7[5 /D
D[ B[[9
7 /D
E[7 A[7
D[7 C[m/D
~ &
[2] Fl+Vi, Hns Hk
i
Tpt: Minor 3rd motto (3i &)
[3] Ob+Vi2, PBi (&) ,
cresc to clim
[4] M1: WW+Vi, M3: Hns,
tutti climax
[5] M0: Tpt, PBi (%)
Gm/D F713 /E[

D[m/E B[7 C7 C]7
B[/D . . .
D[[9
7 ...
]11/13
B[mno 3 F ]7 /A] B7
PBi (%)
[6] closing, M0: Tpt imit
LoStr echoes
[7] Bsn+Va, M0: Tpt
[1] tr, Vc PLi (%), Seq, PBi (%)
Largo
EmG F ]/C]
Em/B C7]5 /E
Em B[m/F E[7 /C F/F ]
B (\\\\\)
[8] lyrical th: Vc+Db
Am/E A7 /E
B[m/F B7 /F ] Em
[5
F ][5
7 /A] B7
i (%), P i (%)
Str bg Pm
B
E79 /G] B[m+7 /A
M0: Bsn+LoStr
G[ F/A E[ D/F ]
[11] symmetrical roots, PLi (&)
C F ]m B[/D Cm
E/G] E[ B[ Bm
E7 F ][10
7
G/C] F ]/D A[/E
F m7 G7 /F F ]
unis chr&
[9] Ob signal theme
[10] M5: HiStr, M0: Tpt
[12] Tpt
Hns, PLi (%), climax
673
Table 19.4: Shostakovich, Symphony No. 1, Mvt. 3 Lento (contd)

m
73
75
77
79
81
M5
M4/0
M1/3
.. ..
./ .
D[
Comment
B/F G]/E
Em G F ]/C]
Em/B E/B[ A F ]m/B
F ]7 /E A[[5
7 /D
[13] Str PLi (&), (cm>)

[14] Vc+DB, HiStr trem
Lento
D[ D7 E[
A ([[[[[)
i (&), P i (%)
[16] Solo Vi, Pm
B
84
87
89
92
95
99
101
104
106
//0
M1/3
/0
M0
M1/6
/
M6
E[m7 F7 G[
E[/G A[+ A[[9
7
D[ C[m/D E[
D[m/E B[7 C7 C]7
B[/D . . .
B[m7 . . .
[9
E[ F7[9 B[[5
7 B[7
[5
E[7 /D F7 /B B[
9
E[]5
7 E[m7 A[7
111
115
M1/0
M0
<(D[ A[sus4
7 )/D[
D[
674
[15] M4: Cl, M0: LoStr
M0: Tpt motto

[17] M1: HiStr+WW, M3: Hns
[18] M0: Tpt
[19] trans, motto: Hns-Tu imit
LoStr
[20] M1: LoStr, M6: Tpt
i (&)
Tpt, WW par Pm
[21] Coda, div Str + WW imit,

P T (d[), Str imit (120 mm.)

In the last A-section and coda themes are combined, and the motto M0 is transferred from
brass to strings (imitations from high to low).
19.4.2

675

676
19.5. SYMPHONY NO. 9 IN E[ MAJOR, OP. 70
19.5
Symphony No. 9 in E[ Major, Op. 70 (1945)

Mvt. 1 Allegro: sonata form (E[,
Exposition
h i
2
2
, 247 m.)
Development
Recapitulation
Coda
Figure 19.6: Shostakovich, Symphony No. 9 in E[ Major, Op. 70
19.5.1
Mvt. 1 Allegro

677

678
19.5. SYMPHONY NO. 9 IN E[ MAJOR, OP. 70
19.5.2
The key relationship diagram is shown in Fig. 19.7. The opening movement sonata form
structure is respected in the scheme of keys. The exposition has the first group in the tonic
major key E[, the secondary group in the dominant key B[. Both keys take a sidestep to
their relative submediant major key, C (1) and G (2), respectively.
Mvt. 1 Allegro
F
Fm
A
A
A Cm
A
A[ AU E[
A[m
C[
C[m
D
Gm
- B[
H
Y
H
E[m B[m
4

G[
C]
G[m
3,6
-A
D[m
7
H
j
H
Figure 19.7: Shostakovich, Symphony No. 9, key relationship diagram

The development starts in the key of G[ = F ] and moves outward into more remote keys
(36). The recapitulation first has a sidestep into the lowered supertonic (Neapolitan) major
key E = [II (7), before taking the familiar excursion into the subdominant domain A[ F
(8) before returning home. Note the many occurrences of groups of minor third (3i) related
keys, used in this movement.
679
680
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1989. ISBN 0-486-25962-5. 225 pp.
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685
Index
AAB form, 156
AB form, 34, 36, 614, 635
ABA form, 11, 28, 52, 61, 90, 140, 151, 207,
266, 313, 326, 352, 363, 373, 395, 414,
431, 453, 475, 497, 509, 526, 592, 596,
604, 608, 612, 622, 628, 630, 669, 672
ABAB form, 100, 111, 189, 287, 409
ABABA form, 246, 340, 416, 504, 513
ABABAB form, 648
ABAC form, 330, 600, 616, 619
ABACA form, 300, 419, 438, 440, 585
ABACABA form, 185
ABC form, 156, 344, 425, 479, 633
ABCA form, 30, 434
ABCABC form, 203
ABCAD form, 517
Alberti bass, 192
antecedent, 11
aria, 156, 635
parallel, 9
clarinet quintet, 117
Classical music, 39, 449
coda, 10
common practice, 1
concerto, 28, 30, 636
counterpoint, 5, 10
countersubject, 10
dance, 34, 196, 280, 414, 419, 616, 622
dance
folk, 416
deceptive cadence, 5
development, 5
development
secondary, 10, 211, 230, 280, 402
development, 10
exposition, 5, 10
finale, 156
ballet music, 409, 614, 653
form, 1
Baroque music, 1
fugue, 5, 7, 156, 449
binary form, 34, 36, 100, 111, 189, 203, 409,
functional harmony, 1, 7
614, 633, 635
bourree, 36
gavotte, 34, 648
gigue, 36
cadence, 10
group, 10
cadential formulas, 1
call-and-response, 5, 10, 28, 95, 118, 144, 151, habanera, 600
293, 300, 463
harmonic progression, 3
canon, 52
hemiola, 358, 363
cantate, 15, 23
hoquetus, 363, 482
chaconne, 23
choir music, 15, 339, 425, 460, 463, 473, 614, Impressionism, 1, 449, 460
633
instrumentation, 3
chorale, 3, 15, 23
introduction, 10
chord structures in 3rds, 1
inversion
chords
harmonic, 6
extended, 9
melodic, 4
686
INDEX
sequence, 7
sonata form, 9, 10, 39, 48, 56, 67, 72, 86, 95,
main motif, 47
106, 117, 124, 130, 134, 144, 156, 173,
596
malaguena,
179, 192, 196, 210, 220, 230, 235, 240,
march, 409, 608
251, 273, 280, 293, 306, 317, 330, 335,
melody, 3, 10
344, 358, 363, 380, 388, 402, 443, 548,
menuet and trio form, 12, 44, 52, 61, 81, 90,
556, 636, 640, 643, 657, 664
121, 140, 151, 177
song cycle, 251, 475
modulation, 10
string quartet, 11, 39, 47, 56, 72, 86, 196, 240,
motif, 10
344, 358, 517, 589, 663, 669
musical analysis, 1
string quintet, 95, 104, 251
string sextet, 363
Neapolitan chord, 6
subject, 10
subject
octatonic scale, 6, 596, 597, 622
secondary, 10
opera, 156, 449, 626
orchestral music, 28, 30, 273, 339, 409, 425, suite, 409, 440, 443, 604
440, 475, 524, 533, 548, 556, 571, 577, symmetric root movement, 9
symphonic poem, 533, 548, 556, 571
585, 592, 596, 604, 614, 653
symphonic tale, 653
ostinato, 23, 246, 344, 396, 479, 596, 622
symphony, 11, 124, 134, 143, 210, 220, 230,
overture, 30, 156, 273, 409, 443, 449
235, 280, 293, 306, 317, 335, 363, 380,
pavane, 585, 604
395, 401, 407, 482, 504, 509, 513, 643,
pedal point, 7
672, 677
period, 4, 11, 90, 106, 117, 144, 151, 293, 306,
313, 320, 330, 347, 363, 388, 395, 402, ternary form
409, 414, 419, 440, 648, 653, 657
See ternary song form, 11
phrase, 10
ternary song form, 9, 11, 28, 30, 52, 61, 140,
piano music, 67, 173, 179, 189, 251, 585, 592,
156, 203, 207, 215, 224, 266, 313, 326,
604
363, 373, 395, 414, 431, 453, 475, 509,
526, 592, 596, 604, 608, 612, 622, 628,
recapitulation, 6, 10
630, 669, 672
recapitulation
theme, 10
false, 10, 280, 317, 363, 386
theme and variations form, 504
recitative and aria, 156
tonal centre, 3
requiem, 339, 425
tonal music, 1
Romantic music, 1, 449
tone poem, 577
rondo form, 185, 300, 330, 358, 388, 416, 440, transition, 7, 10
486, 585
root cycle, 1, 7
variation, 10
vocal duet, 156, 457, 628, 630
saltarello, 287
vocal quartet, 156
scherzo and trio form, 12, 215, 224, 246, 266,
vocal quintet, 156
300, 352, 363, 373, 648
vocal solo, 156, 251, 469, 475
section, 10
vocal trio, 156, 453, 460, 466
sentence, 4, 10, 76, 81, 86, 90, 95, 106, 117, 121,
voice leading, 3
125, 134, 140, 144, 151, 298, 300, 306,
330, 335, 347, 352, 358, 373, 395, 396,
419, 443, 497, 564, 646, 648, 653, 657
key relationship diagram, 12
687

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Visiting the Great Composers

Johann Sebastian Bach

Wolfgang Amadeus Mozart

Ludwig van Beethoven

5.2.2 Mvt. 2 Adagio cantabile . . . . . . . . . . . .

Mvt. 3 Scherzo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

10 Peter Ilyich Tchaikovsky

9.2.5 Key relationship overview . . . . . .

17.4.2 Mvt. 2 Malaguena

History timeline with classical music periods and composers

Bach, Cantata No. 12 Weinen, Klagen, Sorgen, Zagen, BWV 12

Haydn, String Quartet Op. 76, No. 1 in G Major . . . . . . . . . .

Mozart, Sonata in F Major KV 332 . . . . . . . . . . . . . . . . . . . . . .

Beethoven, Sonata Op. 2, No. 1 in F Minor . . . . . . . . . . . . . . . . . .

Beethoven, Symphony No. 5 in C Minor . . . . . . . . . . . . . . . . . . . . . . 211

Schubert, Symphony No. 8 Unvollendete, D759 . . . . . . . . . . . . . .

Mendelssohn, A Midsummer Nights Dream Overture Op. 21 . . . . . . . . . . . 273

Schumann, Symphony No. 1 in B[ Major Fruhling,

Brahms, German Requiem Op. 45 . . . . . . . . . . .

Tchaikovsky, Symphony No. 4 in F Minor, Op. 36 . . . . . . . . . . .

11.1 Faure, Requiem in D Minor, Op. 48 . . . . . . . . . . . . . . . . . . . . . . . . . 426

Mahler, Lieder eines fahrenden Gesellen . . . . . . . . . . . . . . . .

14.1 Debussy, String Quartet Op. 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . 517

Strauss, Symphonic poem Don Juan, Op. 20 . . . . . . . . . . . . .

16.1 Sibelius, The Swan of Tuonela, Op. 22 . . . . . . . . . . . . . . . . . . . . . . . . 577

Ravel, Pavane pour une infante defunte . . . . . . .

18.1 Prokofiev, Classical Symphony, Op. 25 . . . . . . . . . . . . . . . . . . . . . . . 646

Shostakovich, String Quartet No. 1 in C Major, Op. 49 . . . . .

A book with analysis diagrams and descriptions

Document update history

What you will find in this book

How the musical analysis diagrams were created

(1840-1893) P.I. Tchaikovksy

(1809-1847) F. Mendelssohn Bartholdy

1.3. HOW TO READ THE ANALYSIS DIAGRAMS

How to read the analysis diagrams

Notation in the analysis tables

Table 1.1: Notation: symbols and labels in the analysis diagrams.

Melodic material from the previous line is continued

1.3. HOW TO READ THE ANALYSIS DIAGRAMS

Deceptive cadence (e.g., G Am)

Final statement of a theme or melody

1.3. HOW TO READ THE ANALYSIS DIAGRAMS

Subdominant axis material (themes in the subdominant key)

Orchestral doubling, e.g., WW+Str

1.3. HOW TO READ THE ANALYSIS DIAGRAMS

Two template musical forms

1.3. HOW TO READ THE ANALYSIS DIAGRAMS

FRec. 2nd Dev.

Gr2 Retr. Gr1 Gr2

M2.1 M2.2 M1/0

Key relationship diagram

1.3. HOW TO READ THE ANALYSIS DIAGRAMS

Figure 1.5: Key relationship overview diagram

Johann Sebastian Bach

Source: [3]. Music for four-part choir.

Nrs. 154-163 Herzlich tut mich verlangen

Cantata No. 12 Weinen, Klagen, Sorgen, Zagen, BWV 12 (c. 1724)

Source: [1]. An overview of the formal analysis is shown in Fig. 2.1.

CHAPTER 2. JOHANN SEBASTIAN BACH

2.2. CANTATA NO. 12 WEINEN, KLAGEN, SORGEN, ZAGEN, BWV 12

With added flute part