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Musical Analysis

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Visiting the Great Composers

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Version 2.5

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Frans Absil
September 2012

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Preface
This book is continuously under development. Always look for the
latest edition. Gradually, more musical analysis examples from the
masterworks will be included. It has been downloaded almost 15,000
times over a 3-year period up to August 2012.
This document is 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.
Document history:
Vs. 1.0 (Jul 2005) First draft published.
Vs. 2.0 (Oct 2007) Many score analysis examples added. Typing errors corrected.
Vs. 2.4 (Sep 2009) Shostakovich Symphony example added.
Vs. 2.5 (Sep 2012) Mahler Symphony examples added. Typing errors corrected. References added.

c
2005-2012
F.G.J. Absil, the Netherlands.
URL Website: http://www.fransabsil.nl

ii

Contents
List of Tables

ix

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 diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1
1
1
2

Johann Sebastian Bach


2.1 Brandenburg Concerto No. 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.1.1 Mvt. 2 Andante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.1.2 Mvt. 3 Presto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

5
5
5
5

Wolfgang Amadeus Mozart


3.1 String Quintet in C Major KV 515 (1787) .
3.1.1 Mvt. 1 Allegro . . . . . . . . . . . .
3.1.2 Mvt. 4 Allegro . . . . . . . . . . . .
3.2 String Quintet in G Minor KV 516 (1787) .
3.2.1 Mvt. 1 Allegro . . . . . . . . . . . .
3.2.2 Mvt. 2 Minuetto . . . . . . . . . . .
3.3 Symphony No. 40 KV 550 . . . . . . . . .
3.3.1 Mvt. 2 Andante . . . . . . . . . . .
3.4 Symphony No. 41 Jupiter KV 551 (1788)
3.4.1 Mvt. 2 Andante Cantabile . . . . .

Franz Schubert
4.1 Symphony No. 8 Unvollendete .
4.1.1 Mvt. 1 Allegro moderato .
4.1.2 Mvt. 2 Andante con moto
4.2 Song cycle Die Winterreise . . .

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15
15
15
15
15

Felix Mendelssohn-Bartholdy
5.1 A Midsummer Nights Dream . . .
5.2 Symphony No. 4 Italian . . . . . .
5.2.1 Mvt. 1 Allegro vivace . . . .
5.2.2 Mvt. 2 Andante con moto .
5.2.3 Mvt. 3 Con moto moderato
5.2.4 Mvt. 4 Saltarello presto . . .

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27
27
27
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27

iii

CONTENTS
6

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35
35
35
35
35
35
41
41
42
42
42
42
48
48

Johannes Brahms
7.1 German Requiem Op. 45 . . . . . . . . . . . . . . . . .
7.1.1 Mvt. 1, Selig sind, die da Leid tragen . . . . . . .
7.1.2 Mvt. 2, Denn alles Fleisch es ist wie Gras . . . . .
7.1.3 Mvt. 3, Herr, lehre doch mich . . . . . . . . . . .
7.2 String Quartet Op. 51 No. 1 . . . . . . . . . . . . . . .
7.2.1 Mvt. 1, Allegro . . . . . . . . . . . . . . . . . .
7.2.2 Mvt. 2, Romanze Poco Adagio . . . . . . . . .
7.2.3 Mvt. 3, Allegretto Molto Moderato e Comodo
7.2.4 Mvt. 4, Allegro . . . . . . . . . . . . . . . . . .
7.3 String Quartet Op. 51 No. 2 . . . . . . . . . . . . . . .
7.3.1 Mvt. 4, Finale, Allegro non assai . . . . . . . .
7.4 Symphony No. 4 Op. 98 . . . . . . . . . . . . . . . . .
7.4.1 Mvt. 1, Allegro non troppo . . . . . . . . . . .

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51
51
51
51
51
55
55
55
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55
62
62

Peter Ilyich Tchaikovsky


8.1 Nutcracker Suite . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8.1.1 Mvt. 1, Ouverture miniature . . . . . . . . . . . . . . . .
8.1.2 Mvt. 2, Danses caracteristiques, Marche . . . . . . . . . .
8.1.3 Mvt. 2, Danses caracteristiques, Danse de la Fee-Dragee
8.1.4 Mvt. 2, Danses caracteristiques, Danse russe Trepak . . .

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65
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65
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65

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69
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69
69
69

10 Maurice Ravel
10.1 String Quartet in F . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10.1.1 Mvt. 2, Assez vif - tr`es rythme . . . . . . . . . . . . . . . . . . . . . . .
10.2 Miroirs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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73
73

iv

Robert Schumann
6.1 Symphony No. 1 . . . . . . . . . . . . . .
6.1.1 Mvt. 1, Andante - Allegro . . . . .
6.1.2 Mvt. 2, Larghetto . . . . . . . . . .
6.1.3 Mvt. 3, Scherzo . . . . . . . . . . .
6.1.4 Mvt. 4, Allegro animato e grazioso
6.2 Symphony No. 2 . . . . . . . . . . . . . .
6.2.1 Mvt. 3, Adagio espressivo . . . . .
6.3 Symphony No. 3 . . . . . . . . . . . . . .
6.3.1 Mvt. 1, Lebhaft . . . . . . . . . . .
6.3.2 Mvt. 4, Feierlich . . . . . . . . . . .
6.3.3 Mvt. 5, Lebhaft . . . . . . . . . . .
6.4 Symphony No. 4 . . . . . . . . . . . . . .
6.4.1 Mvt. 4, Langsam - Lebhaft . . . . .

Claude Debussy
9.1 Prelude a` lapr`es-midi dun faune .
9.2 Trois nocturnes . . . . . . . . . . .
9.2.1 No. 2 Fetes . . . . . . . . . .
9.2.2 No. 3 Sir`enes . . . . . . . .

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CONTENTS
10.2.1 Mvt. 4, Alborada del Gracioso . . .
10.3 Rapsodie Espagnole . . . . . . . . . . . . .
10.3.1 Mvt. 1, Prelude a` la nuit . . . . . . .
. . . . . . . . . .
10.3.2 Mvt. 2, Malaguena
10.3.3 Mvt. 3, Habanera . . . . . . . . . . .
10.3.4 Mvt. 4, Feria . . . . . . . . . . . . . .
10.4 Ma m`ere loye . . . . . . . . . . . . . . . . .
10.4.1 Pavane de la Belle au bois dormant
10.4.2 Petit Poucet . . . . . . . . . . . . . .
10.5 Daphnis et Chloe . . . . . . . . . . . . . . .
10.5.1 Danse Guerri`ere . . . . . . . . . . .
10.5.2 Danse Generale . . . . . . . . . . . .
10.6 Piano Concerto in G . . . . . . . . . . . . . .
10.6.1 Mvt. 1, Allegramente . . . . . . . . .
10.6.2 Mvt. 2, Adagio Assai . . . . . . . . .
10.6.3 Mvt. 3, Presto . . . . . . . . . . . . .
11 Richard Strauss
11.1 Op. 20 Don Juan . . . . . . . . . . . . .
11.1.1 Introduction and Don Juan 0 .
11.1.2 Countess . . . . . . . . . . . . .
11.1.3 Don Juan 1 . . . . . . . . . . .
11.1.4 Anna . . . . . . . . . . . . . . .
11.1.5 Don Juan 2 . . . . . . . . . . .
11.1.6 Carnival . . . . . . . . . . . . .
11.1.7 Don Juan 3 . . . . . . . . . . .
11.1.8 Death . . . . . . . . . . . . . .
11.2 Symphonic poem Tod und Verklarung

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12 Gustav Mahler
12.1 Lieder eines fahrenden Gesellen . . . . .
12.1.1 Wenn mein Schatz Hochzeit macht
12.1.2 Gieng heut Morgens ubers

Feld .
12.1.3 Ich hab ein gluhend

Messer . . . .
12.1.4 Die zwei blauen Augen . . . . . . .
12.2 Symphony No. 4 . . . . . . . . . . . . .
12.2.1 Mvt. 3 Poco adagio Ruhefoll . . .
12.2.2 Mvt. 4 Sehr behaglich . . . . . . .
12.3 Symphony No. 5 . . . . . . . . . . . . .
12.3.1 Mvt. 4 Adagietto Sehr Langsam .
12.4 Symphony No. 6 . . . . . . . . . . . . .
12.4.1 Mvt. 3 Andante moderato . . . .

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101
101
101
101
101
101
105
105
105
105
105
105
105

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13 Sergei Prokofiev
115
13.1 Classical Symphony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
13.1.1 Mvt. 1, Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
v

CONTENTS
14 Dmitri Shostakovich
14.1 Symphony No. 1 . . .
14.1.1 Mvt. 3, Lento .
14.2 Symphony No. 9 . . .
14.2.1 Mvt. 1, Allegro
Index

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117
117
117
117
117
123

List of Tables
1.1
1.2

Notation convention in the diagrams . . . . . . . . . . . . . . . . . . . . . . . .


Notation convention in the diagrams (contd) . . . . . . . . . . . . . . . . . . .

2
3

2.1
2.2

Bach, Brandenburg Concerto No. 4, Mvt. 2 . . . . . . . . . . . . . . . . . . . .


Bach, Brandenburg Concerto No. 4, Mvt. 3 . . . . . . . . . . . . . . . . . . . .

5
6

3.1
3.2
3.3
3.4
3.5
3.6

Mozart, String Quintet in C Major KV 515, Mvt. 1


Mozart, String Quintet in C Major KV 515, Mvt. 4
Mozart, String Quintet in G Minor KV 516, Mvt. 1
Mozart, String Quintet in G Minor KV 516, Mvt. 2
Mozart, Symphony No. 40 in G minor, Mvt. 2 . . .
Mozart, Symphony No. 41 Jupiter, Mvt. 2 . . . .

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8
9
10
11
12
13

4.1
4.2
4.3
4.4
4.5
4.6
4.7
4.8
4.9
4.10

Schubert, Symphony No. 8 Unvollendete, Mvt. 1


Schubert, Symphony No. 8 Unvollendete, Mvt. 2
Schubert, Die Winterreise . . . . . . . . . . . . .
Schubert, Die Winterreise (contd) . . . . . . . .
Schubert, Die Winterreise (contd) . . . . . . . .
Schubert, Die Winterreise (contd) . . . . . . . .
Schubert, Die Winterreise (contd) . . . . . . . .
Schubert, Die Winterreise (contd) . . . . . . . .
Schubert, Die Winterreise (contd) . . . . . . . .
Schubert, Die Winterreise (contd) . . . . . . . .

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16
17
18
19
20
21
22
23
24
25

5.1
5.2
5.3
5.4
5.5
5.6

Mendelssohn, A Midsummer Nights Dream Overture . . .


Mendelssohn, Symphony No. 4 Italian, Mvt. 1 . . . . . .
Mendelssohn, Symphony No. 4 Italian, Mvt. 2 . . . . . .
Mendelssohn, Symphony No. 4 Italian, Mvt. 3 . . . . . .
Mendelssohn, Symphony No. 4 Italian, Mvt. 4 . . . . . .
Mendelssohn, Symphony No. 4 Italian, Mvt. 4 (Contd) .

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28
29
30
31
32
33

6.1
6.2
6.3
6.4
6.5
6.6

Schumann, Symphony No. 1 Fruhling,

Mvt. 1 . . . . .
Schumann, Symphony No. 1 Fruhling,

Mvt. 2 . . . . .
Schumann, Symphony No. 1 Fruhling,

Mvt. 3 . . . . .
Schumann, Symphony No. 1 Fruhling,

Mvt. 4 . . . . .
Schumann, Symphony No. 1 Fruhling,

Mvt. 4 (contd)
Schumann, Symphony No. 2, Mvt. 3 . . . . . . . . . . .

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36
37
38
39
40
41

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LIST OF TABLES
6.7
6.8
6.9
6.10
6.11
6.12

Schumann, Symphony No. 3 Rheinische , Mvt. 1 . . . . . . . . . . . . .


Schumann, Symphony No. 3 Rheinische, Mvt. 1 (contd) . . . . . . . .
Schumann, Symphony No. 3 Rheinische, Mvt. 1. Development section
Schumann, Symphony No. 3 Rheinische, Mvt. 4 . . . . . . . . . . . . .
Schumann, Symphony No. 3 Rheinische, Mvt. 5 . . . . . . . . . . . . .
Schumann, Symphony No. 4 in D minor, Mvt. 4 . . . . . . . . . . . . .

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43
44
45
46
47
49

7.1
7.2
7.3
7.4
7.5
7.6
7.7
7.8
7.9
7.10
7.11

Brahms, German Requiem Op. 45, Mvt. 1 . . . . . .


Brahms, German Requiem Op. 45, Mvt. 2 . . . . . .
Brahms, German Requiem Op. 45, Mvt. 3 . . . . . .
Brahms, String Quartet Op. 51 No. 1, Mvt. 1 . . . . .
Brahms, String Quartet Op. 51 No. 1, Mvt. 2 . . . . .
Brahms, String Quartet Op. 51 No. 1, Mvt. 3 . . . . .
Brahms, String Quartet Op. 51 No. 1, Mvt. 4 . . . . .
Brahms, String Quartet Op. 51 No. 1, Mvt. 4 (contd)
Brahms, String Quartet Op. 51 No. 2, Mvt. 4 . . . . .
Brahms, Symphony No. 4, Mvt. 1 . . . . . . . . . . .
Brahms, Symphony No. 4, Mvt. 1 (contd) . . . . . .

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52
53
54
56
57
58
59
60
61
62
63

8.1
8.2
8.3
8.4

Tchaikovsky, Nutcracker Suite, Mvt. 1 Ouverture . . . .


Tchaikovsky, Nutcracker Suite, Marche . . . . . . . . . .
Tchaikovsky, Nutcracker Suite, Danse de la Fee-Dragee
Tchaikovsky, Nutcracker Suite, Danse russe Trepak . .

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66
67
68
68

9.1
9.2
9.3

Debussy, Prelude a` lapr`es-midi dun faune . . . . . . . . . . . . . . . . . . . .


Debussy, Trois nocturnes, No. 2 Fetes . . . . . . . . . . . . . . . . . . . . . . .
Debussy, Trois nocturnes, No. 3 Sir`enes . . . . . . . . . . . . . . . . . . . . . .

70
71
72

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10.1 Ravel, String Quartet, Mvt. 2 Assez vif - tr`es rythme . . . .


10.2 Ravel, Miroirs, Mvt. 4 Alborada del Gracioso . . . . . . . .
10.3 Ravel, Rapsodie Espagnole, Mvt. 1 Prelude a` la nuit . . . .
10.4 Ravel, Rapsodie Espagnole, scales and modes . . . . . . . .
. . . . . . .
10.5 Ravel, Rapsodie Espagnole, Mvt. 2 Malaguena
10.6 Ravel, Rapsodie Espagnole, Mvt. 3 Habanera . . . . . . . .
10.7 Ravel, Rapsodie Espagnole, Mvt. 4 Feria . . . . . . . . . . .
10.8 Ravel, Rapsodie Espagnole, Mvt. 4 Feria (contd) . . . . . .
10.9 Ravel, Ma m`ere loye, Pavane de la Belle au bois dormant .
10.10Ravel, Ma m`ere loye, Petit Poucet . . . . . . . . . . . . . .
10.11Ravel, Daphnis et Chloe, Danse Guerri`ere . . . . . . . . . .
10.12Ravel, Daphnis et Chloe, Danse Generale . . . . . . . . . .
10.13Ravel, Daphnis et Chloe, Danse Generale chord structures
10.14Ravel, Concerto pour Piano et Orchestre, Mvt. 1 . . . . . .
10.15Ravel, Concerto pour Piano et Orchestre, Mvt. 1 (contd) .
10.16Ravel, Concerto pour Piano et Orchestre, Mvt. 2 . . . . . .
10.17Ravel, Concerto pour Piano et Orchestre, Mvt. 3 . . . . . .
10.18Ravel, Concerto pour Piano et Orchestre, Mvt. 3 (contd) .

viii

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74
75
76
77
78
79
80
81
82
82
84
85
86
87
88
89
90
91

11.1 Strauss, Op. 20 Don Juan, formal analysis . . . . . . . . . . . . . . . . . . . . .

94

LIST OF TABLES
11.2 Strauss, Introduction and Don Juan 0, harmonic analysis
11.3 Strauss, Countess, harmonic analysis . . . . . . . . . . . .
11.4 Strauss, Don Juan 1, harmonic analysis . . . . . . . . . . .
11.5 Strauss, Anna, harmonic analysis . . . . . . . . . . . . . .
11.6 Strauss, Don Juan 2, harmonic analysis . . . . . . . . . . .
11.7 Strauss, Carnival, harmonic analysis . . . . . . . . . . . .
11.8 Strauss, Don Juan 3, harmonic analysis . . . . . . . . . . .
11.9 Strauss, Death, harmonic analysis . . . . . . . . . . . . . .
11.10Strauss, Symphonic poem Tod und Verklarung . . . . . .
11.11Strauss, Tod und Verklarung (contd) . . . . . . . . . . . .
11.12Strauss, Tod und Verklarung (contd) . . . . . . . . . . . .

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. 95
. 95
. 96
. 96
. 96
. 97
. 97
. 98
. 98
. 99
. 100

12.1 Mahler, Lieder eines fahrenden Gesellen, 1. . . . . . . . . . .


12.2 Mahler, Lieder eines fahrenden Gesellen, 2. . . . . . . . . . .
12.3 Mahler, Lieder eines fahrenden Gesellen, 3. . . . . . . . . . .
12.4 Mahler, Lieder eines fahrenden Gesellen, 4. . . . . . . . . . .
12.5 Mahler, Symphony No. 4, Mvt. 3 Poco adagio . . . . . . . . .
12.6 Mahler, Symphony No. 4, Mvt. 3 Poco adagio (contd) . . . .
12.7 Mahler, Symphony No. 4, Mvt. 3 Poco adagio (contd) . . . .
12.8 Mahler, Symphony No. 4, Mvt. 4 Sehr behaglich . . . . . . . .
12.9 Mahler, Symphony No. 4, Mvt. 4 Sehr behaglich (contd) . . .
12.10Mahler, Symphony No. 5, Mvt. 4 Adagietto . . . . . . . . . .
12.11Mahler, Symphony No. 6, Mvt. 3 Andante moderato . . . . .
12.12Mahler, Symphony No. 6, Mvt. 3 Andante moderato (contd)
12.13Mahler, Symphony No. 6, Mvt. 3 Andante moderato (contd)

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102
103
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112
113
114

13.1 Prokofiev, Classical Symphony, Mvt. 1 . . . . . . . . . . . . . . . . . . . . . . . 116


14.1 Shostakovich, Symphony No. 1, Mvt. 3 . . . . . . . . . . . . . . . . . . . . . . . 118
14.2 Shostakovich, Symphony No. 9, Mvt. 1 . . . . . . . . . . . . . . . . . . . . . . . 119
14.3 Shostakovich, Symphony No. 9, Mvt. 1 (contd) . . . . . . . . . . . . . . . . . . 120

ix

LIST OF TABLES

Chapter 1

Introduction
1.1

What you will find in this book

This booklet presents a number of diagrams, representing the musical analysis of a number
of compositions from the classical music repertoire. The diagrams are in the form of 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
is also included.
Each chapter contains works from one specific composer. Chapters are ordered more or
less chronologically. General information about the compositions was taken from the printed
scores, or from references [24] and [29].

1.2

How the musical analysis diagrams were created

Over the years I have analysed many musical scores, in order to try and understand the
following aspects in the works by the great masters:
musical form;
the relations between the keys (or tonal centre) within a movement;
the harmonic progressions,
the use of melodic material (varying from a short motif to a long and varied musical
sentence);
the instrumentation;
the detailed voice leading within a part.
This analysis has yielded a set of annotated scores in my music library. As a byproduct 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. I chose to transform the diagrams into tables, losing some of the information
(such as specific colours for melodic material and the exact duration of pedal points) on the
way. However, I thought they might still be useful as a reference source for musical analysis.
1

CHAPTER 1. INTRODUCTION

1.3

How to read the diagrams

The diagrams are presented in more or less standardised tables. See Table 1.1 and 1.2 for an
explanation of the labels and symbols used in the diagrams.
Table 1.1: Notation convention in the diagrams
Label

Meaning

m
(112 m.)
M
M0
M1
M1
(M1)
M1.1
M2
I(M1.1)
CM
5
..
.

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)
Second theme (contrasting theme in sonata form)
Melodic inversion of M1.1
Countermelody (subordinate melody in counterpoint setting)
Gradual introduction of the melodic material below

R
H

Melodic material from the previous line is continued


Melodic material from the previous line ends here
Key or tonal centre
Harmonic progression

When reading the tables one should take into account:


The exact start and ending of melodic material is not indicated.
A sequence of roots in the column R indicates a quick modulation taking place (within
the timespan of a few measures).
The harmonic progressions frequently are reduced to the main chords that support the
structure (the functional harmony).
A harmonic sequence (more or less exact repeat of a short fragment) is frequently indicated by the notation Seq(3 2m; R7 ). 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:
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 are indicated as c-ton-ped or (for a tonic pedal) g-dom-ped (in case of a
dominant pedal). When the pedal is indicated between brackets, e.g., (c-ped), it is
continued from the previous line.
2

1.3. HOW TO READ THE DIAGRAMS

Table 1.2: Notation convention in the diagrams (contd)


Label

Meaning

[T] , [SD] , [D]


<(Dm7 G7 )
(a), (b)
Exp.
Dev.
Rec.
Tr.
Retrans.
Gr.
A, B
A
(N )
h[A],
i #1

Tonic, sub-dominant and dominant tonal axis material


Harmonic riff
phrase from a musical sentence (e.g., M1=a+a+b)
Exposition in the sonata form
Development in the sonata form
Recapitulation (also abbreviated as Recap.)
Transition (also abbreviated as Trans.)
Retransition (back to initial tonal key)
Group (a group of related melodic material)
Sections in a longer form
Varied section in a longer form
Neapolitan chord (major chord on lowered second step)
Rehearsal mark in the printed score
Meter
Statement (also abbreviated as St.)
Sequence (see the explanatory notes)
Symmetric harmonic structures
Imitation
Counterpoint
Pedal point (e.g., c-tonic-pedal)
Rhythmic motif
Unisono
Chromatic
Ascending
Descending
Melodic augmentation (longer durations)
Melodic diminuition (shorter durations)
Whole-tone scale
Octatonic scale

3
4

Stat.
Seq.
Sym.
Imit.
Ctp.
Ped.
Rh.
Unis.
Chr.
Asc.
Desc.
Aug.
Dim.
Wh.t.-sc.
Oct.-sc.

CHAPTER 1. INTRODUCTION

Chapter 2

Johann Sebastian Bach


2.1

Brandenburg Concerto No. 4 (1721)

Source: [1].

2.1.1

Mvt. 2 Andante

Form: ternary form, ABA. See Table 2.1 for the analysis.
Table 2.1: 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(Question-Answer)
Echo(Q-A)
Seq(3 1m; R7 )
Echo(Q-A)

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(3 2m; R7 )

M1
M2

Em

Em F/A
B F ] E D G7
Am/C B

A
Seq(3 1m; R7 )
Coda

18
28
37
45
55
61
68

2.1.2

Bm

Em

Seq(3 1m; R7 )
Echo

Mvt. 3 Presto

See Table 2.2 for the analysis.

CHAPTER 2. JOHANN SEBASTIAN BACH

Table 2.2: Bach, Brandenburg Concerto No. 4, Mvt. 3 Presto


m

Comment

1
23
41
47
53
57

M1
M1
M1

M1

G
G
G

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(3 2m; R7 )
Imit.
Seq(3 2m; R7 )

67

M1/M2

D A7 D D7 Em B7 Em
d

Tutti 2
Seq(3 2m; R5 )

Em
Am

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

Em B7 Em B7 Em B7 Em

Tutti 3 (3 stat.)
Seq(3 2m; R5 ), (4 stat.)

M1
M1

Bm
Bm
GC
C

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

175
183
189
197

M1

M1

C
C
G
G

207

M1/M2
M2

75

M2
M1/M2

87
95
105

127
138
152
159
167

Em
D
Am
M1

M1
M3

219
225

M1

237

M1

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(3 2m; R5 )
Imit.

Solo 3, Seq(3 2m; R7 )


Imit.
Tutti 4, imit. (3 stat.)
Solo, Seq(3 2m; R7 )
Tutti 5, imit. (3 stat.)
Seq(3 2m; R7 )
Seq(2 2m; R5 )
Coda

Imit. (2 stat.), (244 m.)

Chapter 3

Wolfgang Amadeus Mozart


3.1

String Quintet in C Major KV 515 (1787)

Source:[15].

3.1.1

Mvt. 1 Allegro

Form: sonata form. The formal analysis is shown in Table 3.1.

3.1.2

Mvt. 4 Allegro

Form: rondo form. The formal analysis is shown in Table 3.2.

3.2
3.2.1

String Quintet in G Minor KV 516 (1787)


Mvt. 1 Allegro

Form: sonata form. The formal analysis is shown in Table 3.3.

3.2.2

Mvt. 2 Minuetto

Form: ternary form (3-part song form). The formal analysis is shown in Table 3.4.

CHAPTER 3. WOLFGANG AMADEUS MOZART

Table 3.1: Mozart, String Quintet in C Major KV 515, Mvt. 1 Allegro


m
1
21
46
69

M1.1

C G7 C C G

115

M1.1
M1.2
M1.1-1.3
M1.4-1.5
M2.1/M1.5
M1.5
M2.2

131

M1.4

152
171

M1.1
M1.4
..
.
..
.

M1.5
M2.1

94

193
197

Cm
Am
D
G

Comment
Exp., Gr. 1

Cm F C G7
Am D[(N ) C/G A7
D
D7 G
G
D7
G D7
d

Transition
Gr. 2
Seq(3 2m, R7 )

G G7

Tr., g-ton-ped.

Am Dm

A7 B[/F D7 C/G E7
Am A7 Dm

Dev.
C

Gm Cm

D7 Gm G7 Cm

Seq. (contd)

Fm
B[7 E[

C7 F m

Seq. (contd)

G7 Cm D7
G G7
d

C
Am
G
G7 C G7
C

C G7
Am D7
G
c-ton-ped.
C
C/G G7
C

Rec., Gr. 1

305

M1.1
M1.2
M1.1-1.3
M1.4-1.5
M2.1/M1.5
M1.5
M2.2

322

M1.4

C/G D7 /F ]

Coda, g-dom-ped.

205
230
255
281

341

M2.1/M1.5

353

M1.4

Seq.
Gr. 2

C/G G7 Am
A7 Dm G7
C F/C C G7 C

c-ton-ped. (368 m.)

3.2. STRING QUINTET IN G MINOR KV 516 (1787)

Table 3.2: Mozart, String Quintet in C Major KV 515, Mvt. 4 Allegro


m

Comment

1
17
42
58
74

a
b
a
c
T1

A (102 mm.)

Trans.

103
120
136
162
184

M1
M2
M3
M4
T2

B (109 mm.)

212
228
253
269
285

a
b
a
c
T1

297
321
333

C (61 mm.), Seq(3 8m, R7 )


Seq(6 2m, R5 )
Trans.

358
375
393
419
441

M1
M2
M3
M4
T2

B (109 mm.)

467
477
493
521

a
a

F
C

(M3=a)
Trans.

Trans.

T1

A (85 mm.)

(M3=a)
Trans.
Coda (73 mm.)

(539 m.)

CHAPTER 3. WOLFGANG AMADEUS MOZART

Table 3.3: Mozart, String Quintet in G Minor KV 516, Mvt. 1 Allegro


m

Comment

1
9
18
30
34
40
49
64
76

M1
M1
T1
M2
M2
T2
M2
M1
T3

Gm

Gm D7
Gm D7
A[9
7 D7 Gm

Exp., Gr. 1

85

M1

97
107

M1
M2
M2
M2

123

10

Gm
B[

F7 B[
C7 F7
B[ E[ F7
B[ F7
B[ F7
d

Cm
E[m
Fm
Gm
Gm

133
141
156
168
172
176
185
210
213
222

M1
M1
T1
M2
M2
T2
M2
M1
T3
M1

Gm

235
243

M1
M2

Gm

Gm
Cm
Gm

Trans., Seq(R5 )
Gr. 2
Trans.
Imit.
Fin. St., Imit.
Trans.

B[ G7

Codetta, Imit.

A[ F m D[ B[7

Dev.
Seq(3 4m, R7 )
Seq. (Contd)
Seq. (Contd)
Seq(R5 )
Retrans., d-dom-ped., imit.

D7
G7 C7 F7 B[7 E[7
D 7 D7
Gm D7
Gm Cm
A7 D7 Gm

Recap., Gr. 1
Trans., Seq(R5 )
Gr. 2

G7 Cm
Cm A7 D7
Gm Cm D7
Gm D7
Gm D7
Gm D7

Trans.
Imit.
Fin. St., Imit.
Trans.
Codetta, Imit.

Gm D
Gm D Gm

Coda, Imit.
d-dom-ped. (254 m.)

3.2. STRING QUINTET IN G MINOR KV 516 (1787)

Table 3.4: Mozart, String Quintet in G Minor KV 516, Mvt. 2 Minuetto


m

Comment

1
5
14

M1
M2
M1
M1
M2

D7
Gm A7 Dm A7 Dm
G7 Cm B[7 E[
G7 Cm A7 D7
D7
Gm G7 Cm A7 D7 D7 Gm

Allegretto, Pt. 1

26
30

Gm
Dm
Cm E[
Cm
Gm

1
7
20

M1
M2
M1

G
D
Am
C Am G

A7
D A7 D
E7 Am
G7 C E7 Am D G
A7 D

32
35

M1
M2

G D7
Em Am7 D7 G

Pt. 2
Pt. 3
(43 m.)
Trio, Pt. 1
Pt. 2
Seq.
Pt. 3
(47 m.)

11

CHAPTER 3. WOLFGANG AMADEUS MOZART

3.3

Symphony No. 40 in G minor KV 550 (1788)

Source: [14].

3.3.1

Mvt. 2 Andante

Form: ternary form, three-part song form. The formal analysis is shown in Table 3.5.
Table 3.5: Mozart, Symphony No. 40 in G minor, Mvt. 2, Andante

12

Key

Comment

Phrase

1
9
20
28
37

M1
M1
M2

E[
E[
B[
G[ F7
B[

Sentence: 2 + 2 + 4 m
2+2+8m
Sentence 2 + 2 + 4 m
Sequence (neg. cycles R5 )
Cadential material 4 + 7 + 5 m

Part 1, 1st statement


2nd Statement
Contrasting theme
Transition
Closing

53
57
63
69

M2
M2
M2

E[(m)
D[ E[ F
G7 C
C B[7

Much varied and inverted


Sequence R7

Part 2

74
82
86
94
99
108

M1
M1
M2
M1

E[
E[
F m E[7
A[ B[7
C[ B[7
E[

Sentence: 2 + 2 + 4 m
2+2m
Subdominant 4 + 4 m
Subdominant 2 + 3 m
Sequence (neg. cycles R5 )
Cadential material 4 + 3 + 9 m

Retransition
Part 3, 1st statement
2nd Statement
3nd Statement
Transition
Closing

3.4. SYMPHONY NO. 41 JUPITER KV 551 (1788)

3.4

Symphony No. 41 Jupiter KV 551 (1788)

Source: [14].

3.4.1

Mvt. 2 Andante Cantabile

Form: ternary form, three-part song form. The formal analysis is shown in Table 3.6.
Table 3.6: Mozart, Symphony No. 41 Jupiter, Mvt. 2 Andante Cantabile
m

Key

Comment

Phrase

1
11
19
28
32
39

M1
M1
M2

F B[ C
F
Cm
C

Sentence: a(2) + a0 (2) + b(6) m


a(2) + a0 (2) + b(4) m
Sentence a(2) + a0 (2) + b(5) m

Part 1, 1st statement


2nd Statement
Contrasting theme
Transition

45
51

M2
M2

Closing

Dm
E[m B[m F m
Cm Dm Gm
Dm A7 C7

Contrasting theme

Part 2

F B[ C
F

Sentence: a(4) + a0 (7) + b(5) m

56
60
76
80
87
92

Sequence
Cadential material 4 + 3 + 9 m

M1

M1

F
F

Sequence R5
Retransition

Sequence
Cadential material
a(3) + b(7) m

Part 3, 1st statement


Transition

2nd statem., Closing

13

CHAPTER 3. WOLFGANG AMADEUS MOZART

14

Chapter 4

Franz Schubert
4.1

Symphony No. 8 Unvollendete (1822)

Source: [22].

4.1.1

Mvt. 1 Allegro moderato

Form: Sonata. See Table 4.1 for the analysis.

4.1.2

Mvt. 2 Andante con moto

Form: A1 B1 A2 B2 . See Table 4.2 for the analysis.

4.2

Song cycle Die Winterreise (1827)

Source: [21].
See Table 4.3 to 4.10 for the formal analysis.

15

CHAPTER 4. FRANZ SCHUBERT

Table 4.1: Schubert, Symphony No. 8 Unvollendete, Mvt. 1 Allegro moderato


m

16

Key/H

Comment

1
9
22
31
42
53
63
73
85
94
104

M0
M1
M1

Bm

Introduction
Exp., Gr. 1, 1st stat.
2nd stat.
Trans. 1
Gr. 2, 1st stat.
2nd stat.
Trans. 2, tremolo
Seq(3 4 m)
Chords
d-dom-ped.
Trans. 3,

110
122
134
146
170
176
184
202

M0
(M0)
(M0)

M2
M2

Bm
F ]7 Bm D7
G
Gm

M2
G
M2
G F ]7 Bm

M0
(M0)
(M0)

218
231
238
256
267
281
291
303
312
322

M1
M1

328
336
334

M0
M0
(M0)

M2
M2

B7 Em
C
F ]7
C]m/G] Dm/A Em/B B7
Em
Em Bm
F ]m Bm Em A7
D F ] F ]7
Bm B7
Em D
F ]m E A7
D
Em

M2
B

Dev.
Tremolo
Tremolo
Trans. 2, Seq(3 8m, R7
Seq.
Seq.
Retrans.
Recap., Gr. 1, 1st stat.
2nd stat.
Trans. 1
Gr. 2, 1st stat.
2nd stat.
Trans. 2, tremolo
Seq(3 4 m)
Chords

M2
Trans. 3,
Bm

Coda
(368 m.)

4.2. SONG CYCLE DIE WINTERREISE

Table 4.2: Schubert, Symphony No. 8 Unvollendete, Mvt. 2 Andante con moto
m

Key/H

Comment

1
16
32
45
56

a1
a1
b1
a1

E
E G E
E C]m
E

A1

64
82
96
111
121
139

a2
a2
a2

142
157
173
186
252

a1
a1
b1
a1

205
223
237
252

a2
a2
a2

268
280
300

a1

Trans.
C]m
C]
C]m
D
G
C

B1

E
E G E
E A F ]m
A

A2

Seq.
Retrans.

Trans.
Am
A
Am
F

B2

E
E G] E
E

Coda
Trans.
(313 m)

Retrans.

17

CHAPTER 4. FRANZ SCHUBERT

Table 4.3: 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

18

Coda (56 m.)

4.2. SONG CYCLE DIE WINTERREISE

Table 4.4: 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.)

19

CHAPTER 4. FRANZ SCHUBERT

Table 4.5: Schubert, Die Winterreise (contd)


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

Unprepared modulation
Unprepared modulation

Em G F ]m
Em G Em

Unprepared modulation
Unprepared modulation

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

20

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.)

4.2. SONG CYCLE DIE WINTERREISE

Table 4.6: Schubert, Die Winterreise (contd)


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

21

CHAPTER 4. FRANZ SCHUBERT

Table 4.7: Schubert, Die Winterreise (contd)


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


Form

m.

A
B
C

6
6
13

A
B
C

6
4
5

Key/H

Comment

Cm

Introduction

G
A[ E[ Cm
C
Cm

(45 m.)

Introduction, LH arpeggio

15. Die Krahe

22

Cm

8
2

Cm
E[

E[ C F D G

Cm

F m Cm

Tonic pedal

Cm

Coda (43 m.)

Shifting keys

4.2. SONG CYCLE DIE WINTERREISE

Table 4.8: Schubert, Die Winterreise (contd)


Form

m.

Key/H

Comment

16. Letzte Hoffnung


I

E[

4
6

Cm

11

13

Introduction
Through-composed

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.)

23

CHAPTER 4. FRANZ SCHUBERT

Table 4.9: Schubert, Die Winterreise (contd)


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

24

Introduction
Through-composed
f -dom-ped.

Coda (31 m.)

4.2. SONG CYCLE DIE WINTERREISE

Table 4.10: Schubert, Die Winterreise (contd)


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.)

25

CHAPTER 4. FRANZ SCHUBERT

26

Chapter 5

Felix Mendelssohn-Bartholdy
5.1

A Midsummer Nights Dream Overture (1826)

Source: [13]. Form: Sonata. See Table 5.1 for the analysis.

5.2

Symphony No. 4 Italian (1833)

Source: [13].

5.2.1

Mvt. 1 Allegro vivace

Form: Sonata Form. See Table 5.2 for the analysis.

5.2.2

Mvt. 2 Andante con moto

Form: ABAB. See Table 5.3 for the analysis.

5.2.3

Mvt. 3 Con moto moderato

Form: ABAB. See Table 5.4 for the analysis.

5.2.4

Mvt. 4 Saltarello presto

Form: Sonata form. See Table 5.5 and 5.6 for the analysis. M0 is the saltarello rhythm (groups
of three eight notes).

27

CHAPTER 5. FELIX MENDELSSOHN-BARTHOLDY

Table 5.1: Mendelssohn, A Midsummer Nights Dream Overture


m

Key/H

1
8
41
62
78
98
122
138
166
198
222
230
247

M0
M1

E
Em
Em B
E
E F ]7
B C]m E
F ]7 B F ]7
B
B
B
B
B
B

M4
M5
M6
M2
M0

250
270
290
298
316
334
358
373

M4

Bm
F ]m
Em
Bm A7
D
C] A7 D F ]
G]7
C]m

394
404
436
458
486
518
542
586

M0
M1
M1
M4
M5
M6
M3
M2

E
Em
C E B7
E
E
E
E B7
E

620

M1

Em

644
658
682

28

M2
M3
M1

M1
M1
M1
M1
M1
M2

Phrase

Em B7
C]m E
E

Exposition
Gr. 1 Th. 1
[A] Gr. 1 Th. 2
Transition

Sequence
AA
AB

[B] Transition
Gr. 2 Th. 1
Transition
[C] Gr. 2 Th. 2
Transition

[D] Development

[E]
Sequence
[F]
AABA

AB

ABA
d

M2
M0

AABA
BA

Comment

Recapitulation
Gr. 1 Th. 1
Transition
Gr. 2 Th. 1
Transition
[G] Gr. 2 Th. 2
Transition
Gr. 1 Th. 2
[H] Coda
[I]
[K]
(686 m.)

5.2. SYMPHONY NO. 4 ITALIAN

Table 5.2: Mendelssohn, Symphony No. 4 Italian, Mvt. 1 Allegro vivace


m

Comment

1
24
51
66

M1.1
M1.1
M1.1

A E7
A F ]m C]m E7 A B7 E7
A E7
A B7 E C]m
F ]7 B7
E B7 Em B7
E F ]7 B7
E B7 /A
E/G] B7 E F ]m
E]m/G] G] C]m F ]7
E/B B7 E
B7 E E7 A

Exp. Gr. 1, 1st st. (a+b)


Trans. (a)
2nd stat., (a+c)
Trans. TonDom.
(a)
Tr.+Gr. 2
1st stat.
2dn st.+M1.1(b)
3rd stat.
Tr.,(a)
Final stat., (a)
1): Tr., (c)

E7 Am A
Dm
E7 Am B7 Em G7 C
E7 Am B7 Em
Bm/F ] F ]7 Bm/F ] F ]7
B B7 E E7 A A7 D D7
C/G G7 C B7
Em B7 Em
C]7 F ]m
C]
C] C]7 F ]m A A7
D F ]m B7

Dev., Tr.

A/E E7
A E7
A B7 E7
A E7 /D
A/C] F ] Bm
Am/E G7 C C7 F
E7 Am E7 /D
A/C] E7 A A7 D Bm

Rec. Gr. 1, (a+b)


Trans.
Gr. 2
+M1.1(b)

E7 A
A/E F ]7 Bm E7 A
B7 E7
A E7
A

Coda

90
110
124
140
159
167
187
210
222
225

M1.1
M2.1
M2.2
M2.2
M2.2
M1.1
M1.1
M2.2

C]m
E
EA

M2.1

M3.1
M3.1
M3.1
M3.1/1.1
M1.1
M3.1
M3.1
M1.1

Am
Dm
Am
Am Em
Bm

M1.1

371
391
407
421
437
458
478
486

M1.1

M2.2
M2.2
M2.2
M3.1
M3.1
M1.1/3.1

A Bm
Am

512
536
548
557
572
580

M4.1
M1.1
M1.1
M2.2
M3.1
M1.1

257
269
285
297
313
319
327
357

C
Em
F ]m

AD
A

New theme, ctp.

(a)
False rec., (a)

(a)
Retrans.
(a), back to Ton.

(Dev. Th.)
Final st., (a)

(c)
(a), (588 m.)

29

CHAPTER 5. FELIX MENDELSSOHN-BARTHOLDY

Table 5.3: Mendelssohn, Symphony No. 4 Italian, Mvt. 2 Andante con moto
m
1
4
12
20
28

Comment

Dm

A7
Dm A7
Dm
A Dm E7 A7
Dm
A7 Dm E7 A7
Dm A7
Dm E7 A E7 Am B7[5 /F

A, Intro
(a)
(a)
(b)

E7 A A7
D Em A7 D A/C] D]/F ]
E7[9

B, e-Dom-Ped.

M1.1
M1.1
M1.2
M1.1
M1.2
M1.1

36
45
49
57

M2
(M2)

59

M1.1
(M1.1)
M1.1
(M1.1)

Am

M2
(M2)

66

A
D

30

M1.1

Trans.
A

D
G

A A7 D
E 7 A7 D 7 G
B7 Em A7 D/F ] G
D/A A7

B, a-dom.ped.

Dm

A7 Dm E7 /G A Dm
C]7 A[9
7
Dm D7[9 Gm
E7 /D A7 /C] A Dm

Coda

Dm

85
86
94
97

Trans.

Am A7 B[/D
D]7 B7 E7 A7
Dm A[9
7
Dm
A[9
7

71
74
78

(b)

(103 m.)

5.2. SYMPHONY NO. 4 ITALIAN

Table 5.4: Mendelssohn, Symphony No. 4 Italian, Mvt. 3 Con moto moderato
m

1
15

M1.1

A
F ]m B7 E

21

M1.2
..
.

Bm

35
39
42
50
56
58
69
76

M1.3
..
.

F ]m
A

83
90
92
96
100
108
121
125

M2

(M1.1)

B7 E
A

127
141

M1.1

A
F ]m B7 E

147
161
165
168
176
182
186
195
203
210
219

M1.2
..
.

M1.3
..
.

B7 /A E/B
B7 E
Em
E

Bm
F ]m
A

B7 E
F ]7 Bm

A
B7 /A F ]m E7

Comment
A
Trans., e-dom-ped

C]7 F ]m
D/F ] E7
E7 A A7 D F ]7

Trans.

B7 /A E/G]

B7 /A Em/G
B7 E Am
E Am E E/G] Am
B7 /A E/G] B7 /A E/B

b-dom-ped

E7
E7 A A E E7 /D A/C]
B7 E
F ]7 Bm

e-ton-ped

Trans.
A
Trans., e-dom-ped

C]7 F ]m
D/F ] E7
E7 A A7 D F ]7
Bm C]7 F ]m A/E
E7 A
E7 A E7 A
E7 A

M1.1
M2

E7 A A E E7 /D A/C]

Bm C]7 F ]m A/E
E7 A
E7 A E7 A
E7 A

M1.1
M2
..
.

Trans.

B7 /A E7 A/E B7

(223 m.)

31

CHAPTER 5. FELIX MENDELSSOHN-BARTHOLDY

Table 5.5: Mendelssohn, Symphony No. 4 Italian, Mvt. 4 Saltarello presto


m

Comment

1
6
20
22
26
30
34
41

M0
M1

Am

Exp-Gr. 1, a-ton-ped.
St. 1-3 (a-ton-ped)

M1
M1
M1

E
A
Am

53

M2.1

Am
E7 Am Am
E7 Am (a-ped) B7
E BE
B7 E A E7
Am B7 Am E
Am E7 Am
G7 C A7 Dm E7 Am
D7 G F7 Em/B B
B7 Em B7 Em

61

Em

M1

M2.2/M0

97

M2.3

101
105
110
115
122
133
143
148
156
159
163
166
175

M1/M0
M1
M1
M1.2
M1.2
M1.2

M0-M1.2
M0-M1.2
M0
M1.2
M1.2

179
183

M1/M0
M1/M0

Gr. 2, b-dom-ped.

F ]7 B7
C G C Am/C B7 Em
E7 /G]

M2.2
(M0)

72
76
80
84

193

32

(M0)

St. 4, e-ton-ped.
St. 5, a-ton-ped.
St. 6, e-dom-ped.
Trans.

Am
Em

Em
A
G
D
Gm
Am
Em
Am
Dm
G
GC
Am
Em
Am

Am D7
Em Em/B B7
Em Am F ]7 B7
Em B Em G C B Em
Em/B B
Em D]7 /A Em

Trans.
Gr. 1, Final Stat.

Em
A Dm/A
G A7 /C]
D C]7 /G D
D7 Gm/B[ D7 Gm
E7 Am B7 Em G7 C
F ]7 B7 Em/B
D7 G A7 D D7 G D7
E7 /G] Am
A A7 Dm
D D7
G G7 C B7 Em C7 F
E7 Am

Development
Gr. 1a-ton-ped.
g-ton-ped.
d-ton-ped.
New theme, imit.
Imit.

B Em/B A]7 /E B
E7 Am/E B7[5 /F E
E7 Am
BE

Tr. (False Rec.), b-dom-ped.


e-dom-ped.

e-ton-ped.

Imit.
Imit.
Imit.
Imit.
Stretto

5.2. SYMPHONY NO. 4 ITALIAN

Table 5.6: Mendelssohn, Symphony No. 4 Italian, Mvt. 4 Saltarello presto (Contd)
m

Comment

195
200
210
214
222
226
230

M1.2
M1.2
M1
M0
M1
M1.1
M0

Am

E7 Am/E
E7 Am B7 Em E7 Am
E7 Am/E E7
A7 D D7 B7[5 /F
Am/E E7 Am
E7 /G A7[9
Dm/F B7[5 /F Am/E E7

Rec. (2nd Dev.), e-dom-ped.


(e-ped)
(e-ped.)

234
242
244
252
254
258

M0
M0
M0
M1
M1

D
Am
Dm
Am

Am E
Dm/A Am
Am/E E Am E7 Am
Am/E E Am
G]7 Am
G]7 Am E7 Am

Trans.
Coda, a-ton-ped.
(a-ped)

a-ton-ped.
(a-ped), (264 mm.)

33

CHAPTER 5. FELIX MENDELSSOHN-BARTHOLDY

34

Chapter 6

Robert Schumann
Detailed score analysis of the Schumann symphonies was complemented with the formal
analysis presented in [8].

6.1

Symphony No. 1 Fruhling


(1841)

Source: [23].

6.1.1

Mvt. 1, Andante - Allegro

Form: sonata form. See Table 6.1 for the analysis.

6.1.2

Mvt. 2, Larghetto

Form: rondo form. See Table 6.2 for the analysis.

6.1.3

Mvt. 3, Scherzo

Form: rondo form, ABACA. See Table 6.3 for the analysis.

6.1.4

Mvt. 4, Allegro animato e grazioso

Form: sonata form. See Table 6.4 and 6.5 for the analysis.

35

CHAPTER 6. ROBERT SCHUMANN

Table 6.1: Schumann, Symphony No. 1 Fruhling,

Mvt. 1 Andante - Allegro


m

R/H

Form

Comment

1
6
15

M1
M2

B[
Dm G7 Cm F7
B[ D D7 F7

Intro

Andante
Seq.(R7 )
(39 m.)

1
33
43

M1

B[ E[ F7 A[7 D[ D7
C
Am F C F

Exp., Gr. 1
Trans.
Gr. 2

A-A-B(seq)-A

57
72
80
96
112
128
140
164
180
196
208
232
251
270

M1
M5

M1
M1
M5

M4

279
295
306

M1

321
335
343
367
391
400
419
429
445

36

M3
..
.

M4

M1
M2

M3
..
.

M1
M1
M6
M6
M1

Dm C7
G[/B[ C7
F

B
C
Trans.

Bb C
Dm Gm Cm
Dm E[ E[7
D G A7 C7
F G Am
Am Dm Gm
Am B[ B[7
A G Fm
Cm F7 B7 C7
B[/F F7
B[
Dm

Dev.

B[7 D[7 G[ G[7


F
Dm B[ F B[

Rec., Gr. 1
Trans.
Gr. 2

False Rec.
Dev (contd)

Seq(3 R7 )
Seq(3 R5 )
Seq(3 R7 )
A-A-B(seq)
Seq(3 R7 )
Seq(3 R5 )
Seq(3 R7 )
Seq(3 R7 )
Seq(3 R5 )

Intro
B(seq)-A
A
B
C

Gm F7
C[/E[ F7
B[ F7
B[ C7
B[/B[ B[
E[
E[ F7
B[
B[

Coda

(477 m.)

6.1. SYMPHONY NO. 1

Table 6.2: Schumann, Symphony No. 1 Fruhling,

Mvt. 2 Larghetto
m

Comment

1
7
15
20

M1

M1

E[

E[ B[7 E[7 A[ Cm F7 /C
B[ E[7 A[ D7 G7 Cm E[/B[ B[7
G7 C7 F m B[7 G7 Cm
F7 E[/B[ B[7 E[

25
28
33
36

M2

M2

C F m/C B7 C
D7 G7 C G7 C C7
A Dm/A G]7 A
A/E B7 E7 A E7 A F7

B, c-ton.-ped.
g-dom.-ped.
a-ton.-ped.
e-dom.-ped.

41
51

M1

B[

B[ F7 B[7 E[ Gm C7 F B[7 /A[ E[/G


F7 /A D7 Gm E[ E7 B[/F F7

B[
Gm
E[
Fm
G

B[ D7 /A
Gm B[7 /F
E[ D7 /F G/B
C7 /B[ F m/A[ G7 /B[ C/E
F m D7[9 G D7 G D7 G
E[7 A[ A[m E[/B[ B[7

C, Imit.
Imit.
Imit.

E[

E[ B[7 E[7 A[ E[/G Cm F7 /C

55
57
59
62
66
75
78

87

M1
..
.
..
.

92
98

M1

84

102
108

Imit.

B[ E[7 /D[ A[/C


B[7 /D D7 G7 Cm
F m7 /A[ F7 /A E[/B[ B[7
G7 /B C7 F m B[7 G7 Cm F7 /A
E[/B[ B[7 E[
E[

A[/E[ B[7 E[ E[7 A[ F7 B[7


E[ A7 /C E[/B[ B[7 E[ D Gm D

Coda, e[-ton.-ped.

37

CHAPTER 6. ROBERT SCHUMANN

Table 6.3: Schumann, Symphony No. 1 Fruhling,

Mvt. 3 Scherzo
m

Motif

Comment

1
1
17
25

a(8m)+a(8m)
a(8m)+a(8m)
b(8m)+b(8m)
a(8m)+a(8m)

Dm
Dm
F
Dm

A1,

c(16m)+c(16m)
c(8m)+c(8m)+d(8m)+d(8m)
d(10m)
e(18+16m)
c(8m)+c(8m)+d(8m)+d(8m)
d(10m)
e(18+16m)

D
F
D
D
F
D
D

B, Trio 1,

1
17
25

a(8m)+a(8m)
b(8m)+b(8m)
a(8m)+a(8m)

Dm
F
Dm

A2, Tempo 1,
f -ped.

1
9
9
49

f(8m)+f(8m)
f(8+8+16+8m)
f(8+8+16+8m)
f(8+8m)

B[
E[ Cm F F
E[ Cm F F
B[

C, Trio 2,
Seq.
Seq.
Retrans

1
17
33
45

a(8m)+a(8m)
b(16m)
c(12m)
d(20m)

Dm
D
D
D

A3, Coda,

1
33
65
75
109
141
151

38

h i
3
4

f -ped.
h i
2
4

Trans.
a-ped.
Trans.
a-ped.

h i
2
4

h i

h i
3
4

h i
3
4

3
4

6.1. SYMPHONY NO. 1

Table 6.4: Schumann, Symphony No. 1 Fruhling,

Mvt. 4 Allegro animato e grazioso


m

Comment

1
7
15
19
31
43
50
58
66
74
84

M0
M1
M1
M1

B[

Exp
Gr. 1/Th. 1

M2
M2
M1
M0
M0
M0

Gm
Dm

B[F
B[ D7 Gm B7 C7 F7
B[7
E[ F7 B[ DG Cm/E[ B[/F F7
B[ B[7 E[ F7 B[ D
Gm D Gm A
Dm A Dm
[9
G[9
7 C7
F B7 C
F C7 F D7 /F ] Gm G7 /B C
F C7 F D7 /A Gm C7 F
F/C C7 F
C7 F B[ F/C C7 F F7
F F7 /E[ D[ A[7 D[
D[ B[7
E[m
D[ E[7 F7
G G7 /F Cm E7 /B[
A Dm B7 Em C]7 F ]m E[7
A[m
E[7 A[7 F7 B[7 G7 C7
F7sus4 F7
Cm7 /E[ F7

Dev.

92
103
111
117
123
139
153
159

F D[
M0
M0
M0

M0
M0

E[m
Cm
A[m

B[
180
184
192
196
206
208
221
228
236
244
252
260
268

M1
M1
M1
M1

B[

M2
M2
M1
M2
M2
M2

Cm
Gm
B[

B[ C7 F
B[ D7 Gm B7 C7 F F7
B[7
E[ F7 B[ B7 Cm D7 G Cm/E[
B[/F F7
B[ B[7 E[ F7 B[ G
Cm G Cm D
Gm D Gm
C7 F7
B[ E7 F
B[ C7 F7
B[
F7 B[ E[ B[/F F7

Tr. 1
Gr. 1/Th. 2
Tr. 2
Gr. 2

Retrans.

Imit., Seq.(3 4m; R7 )


Imit., Seq.(3 4m; R7 )
Stretto
Seq.(3 4m; R7 )
Tr. 3
Recap., Gr. 1,Th. 1

Tr. 1
Gr. 1, Th. 2

Gr. 2

Retrans.

39

CHAPTER 6. ROBERT SCHUMANN

Table 6.5: Schumann, Symphony No. 1 Fruhling,

Mvt. 4 Allegro animato e grazioso (contd)


m
275
283
294
299
303
307
319
323
339

40

Comment

B[ G[

B[ B[7 /A[ G[ D[7 G[


G[ E[7 A[7 F7 B[7
G7 Cm C7 B[7 F7
B[ B[7 /A[
G[ D[7 G[ C]7 F ]
B7 A[7 D[7 B[7 E[7 C7 /E
B[7 /F F7
B[ F7 B[ F7
B[

Coda
Imit., Seq.(3 4m; R7 )

M0

G[
M0
B[
M0

Imit., Seq.(3 4m; R7 )

(353 m.)

6.2. SYMPHONY NO. 2

6.2

Symphony No. 2 (1846)

Source: [23].

6.2.1

Mvt. 3, Adagio espressivo

Form: ternary form, A1 BA2 . See Table 6.6 for the analysis.
Table 6.6: Schumann, Symphony No. 2, Mvt. 3 Adagio espressivo
m

R/H

Form

Comment

1
9
20
26
35
44

M1
M1
M2
M3
M1
M2

Cm E[ B[7
E[ B[7 E[
E[ B[
E[ F7
B[
A[ F7 /A[

A
A
B

A1

48
56

M1
M1

E[/B[ B[7
Cm B[7

C
D

B, contrast

74

M1

E[ B[ E[ A[
F m E[ F m D[/F
G G7

g-dom.-ped.

82
91
100

M3
M1
M2

C G D7
G
F D7 /F

A2 , transition
Imitation

104
112

M1
M1

C/G G7
Am G7

Chrom. bass, climax

118

M1
M3

62

Trans.
Imitation

Coda
(128 m.)

41

CHAPTER 6. ROBERT SCHUMANN

6.3

Symphony No. 3 Rheinische (1850)

Source: [23].

6.3.1

Mvt. 1, Lebhaft

Form: sonata form. See Table 6.7 and 6.8 for the analysis. The detailed harmonic analysis of
the development section is presented in Table 6.9.

6.3.2

Mvt. 4, Feierlich

Form: ternary form, A1 BA2 . See Table 6.10 for the analysis.

6.3.3

Mvt. 5, Lebhaft

Form: rondo/sonata form, ABAC. See Table 6.11 for the analysis.

42

6.3. SYMPHONY NO. 3

Table 6.7: Schumann, Symphony No. 3 Rheinische, Mvt. 1 Lebhaft


m

R/H

Comment

1
19
25
35
43
53
57
75
77
83

M1

E[

M2.1
M2.2
M2.3/M1

Gm

Exp., Gr. 1 (ABAB)/Th. 1


Trans.
Gr. 1/Th. 2

M1

E[

M2.1
M2.2

Cm
Gm

95
103
111
127
139
143
153
165
177

M3
M3
M4
M3

Gm
Cm
B[
Gm

M2
M2/M1
M3
M1

B[

Trans.
Final statements Gr. 1

B[

Final stat. Gr. 2

185
193
201
215
231
239
253
259

M2
M2
M3
M3
M2
M2/M3

M3

G G7
C C7
Fm

Dev. Gr. 1

273
281
295
311
319
329

M1
M1

A[m
B
B7 B[ B[7
E[m
G[
F ]7 F7

Gr. 1

337
351

M3
M3

B[m
Fm

Gr. 2
Trans.

M1
M1

G[/B[ F7
B[
E[7

Return of Th. 1
Trans.
Th. 1
Trans.

Gr. 2 (AABA)/Th. 1
Gr. 2/Th. 2

Gr. 2
Trans., Seq.
Gr. 1
Trans.
Trans., Seq.

Trans

Trans.

43

CHAPTER 6. ROBERT SCHUMANN

Table 6.8: Schumann, Symphony No. 3 Rheinische, Mvt. 1 Lebhaft (contd)


m

44

R/H

Comment

368
375
387
399

M1
M4
M4
M1

E[ C7
Fm
Cm

False Recap., Gr. 1


Gr. 2

411
429

M1

E[
Cm A[ F m G7

Recap. Gr. 1
Trans., Seq.

457
473
489

M3
M4
M3

Cm
E[
Cm

Gr. 2

505
515

M2
M2/M1

E[

Gr. 1

526
547
563

M1/M4
M1/M4
M1

E[

Coda

E[

(585 m.)

Trans.

6.3. SYMPHONY NO. 3

Table 6.9: Schumann, Symphony No. 3 Rheinische, Mvt. 1 Lebhaft. Harmonic analysis of
the development section
Development 2nd Group themes
m
H

m
H

m
H

185
G

222
C
V

188
G[9
7
R5
225
Fm
Im)

193
C

237
F7

196
C7[9
R5
239
B[

202
Fm
(IV m
244
B[7

212
G7
V

213
Cm
Im)
(IV m

217
D7

252
F7
V

253
B[m
Im)
(IV m

258
C7

245
E[m
(IV m

218
Gm
(IIm
Im)

259
F
I)
Development 1st Group themes

m
H

260
F7

265
B[7

271
E[7

273
A[m
(IV m

280
F ]7

281
B
N/V

294
B7
V /V

304
B[7
V7

311
E[m
Im)
(IV m

m
H

318
C]7

319
F]

329
F ]7

337
F7

350
C7
V

368
E[/B[

V /V

V7

351
Fm
Im)
(IIm

361
F7

N/V

343
B[m
(IV m
Im)

II7

I46

m
H

379
B[7
V7 )

45

CHAPTER 6. ROBERT SCHUMANN

Table 6.10: Schumann, Symphony No. 3 Rheinische, Mvt. 4 Feierlich


m

Comment

1
8
13
18

M1
M1
M1
M1

E[m

E[m B[7 E[m A[m


E[m

A1 , 44
Imit. 3
Imit. 2, b[-dom-ped.
Imit. 3, e[-ton-ped.

23
26
30
32
35
38
40

M1
M1

45
50
52
58
67

46

A[m

B[m
E[m

M1
M1
M1
M1

B[m
A[
A[ E[m

M1

E[m

M1

E[m
C7 F7 B[m B[7
E[m
F7
B[m
E[7 A[
E[7 A[ B[ E[m
B[7 E[m
B[7 E[m A[m
E[m
B7 E B[7 E[m B[
E[m

h i

B,

h i
3
2

, Imit. 3

Imit. 3
Imit. 3
Imit. 2
Imit. 4
A2 ,

h i
4
2

, Imit. 2

Imit. 3
(67 m.)

6.3. SYMPHONY NO. 3

Table 6.11: Schumann, Symphony No. 3 Rheinische, Mvt. 5 Lebhaft


m

Comment

1
17
27
39
47
57
72
80

M1
M2
M3
M2
M4
M5
M3

E[

F m7 B[7 E[
B[7 E[
B[7
B[7 E[
F7
B[/D
B[m7 E[ A[
D[/F C7 /E F m B[7

A (a)
(b)
(c)
(b)
Trans.
(d)
(c)
Trans., e[-ped., b[-dom-ped.

F ]m D E[
A[m
F
F 7 G 7 A7
B7 Em C]7
F ]m C]m/G] E[7 A[m
E[7 A[m F ]7
B
B[7 /F
E[/B[

B, Dev.

98
108
110
116
122
126
130
138
150

E[ B[
B[
A[
Fm
E[
E[m

M5
M5
M5
M6

Em
F ]m G]m
A[m B
B
E[

M5

154
162
172
184
192
202
217
225
244

M1
M2
M3
M2
M4
M5
M3

E[

255
271
299
315
323

M1/M5
M4
M2
M6

E[

E[ B[
B[
E[
Cm
E[

F m7 B[7 E[
B[7 E[
B[7
B[7 E[
F7
B[/D
F m7 B[ E[
A[/C G7 /B Cm
B[7 /F
E[/B[
Cm B[ E[
B[7
E[

Imit.
Seq(3 R7 )
Imit.

b[-dom-ped.
A (a)
(b)
(c)
(b)
Trans.
(d)
(c)
Trans.
C. Coda
Imit.(5)
Schneller, Imit.
(329 m.)

47

CHAPTER 6. ROBERT SCHUMANN

6.4

Symphony No. 4 in D minor (1841/1851)

Source: [23].

6.4.1

Mvt. 4, Langsam - Lebhaft

Form: sonata form. See Table 6.12 for the analysis.

48

6.4. SYMPHONY NO. 4

Table 6.12: Schumann, Symphony No. 4 in D minor, Mvt. 4 Langsam - Lebhaft


m

Comment

Dm

B[ Dm/A E7 A
Dm G7 C
Dm Gm/B[ A A7

Langsam

7
1
9
11
23
29
37
43
51
57
62
66
78
82
88
92
99
105
113
119
133
141
147
152
156
160
164
168
172
180
1
14

M1

M2
M3
M3
M3

Bm Em
A

M1
M1
M1
M1
M4/M1
M4/M1
M2
M2
M3
M3
M3

A7 D
Seq.

A
A
Bm
Bm

<(G F ][9
7 )
Bm

D
M1

M5

Em
D

M5
D
D

Lebhaft, Seq.
Seq(2 6m; R5 )

E7 A
B7 C]7
F ]7 B7 E7 A/E
E7
A Bm C]m D
E7 A

Bm D
G
Em
F ]m Em
D
D

(16 m.)

Em A7
A7 D
E7 F ]7
B7 E7 A7 D/A
A7
Dm Em F ]m G
A7 D
<(C B7 )
Em A7 D
E7 D/A A7
D
E7 D/A A7
D
A7 E7
A D B7 Em A7 D
E7 D/A A7 D

Seq(2 4m; R7 )
Seq(R5 )
Trans. 1
Bell effect, Seq(3 2m; R7 )
Trans. 2
Ctp.(4 3m)
Trans. 3, Seq(R5 )

Trans. 3, Seq.
a-dom-ped.
a-dom-ped.
Ped., Seq(2 R7 )
Seq(3 R5 )
Trans. 1
Bell effect, Seq(3 2m; R7 )
Trans. 2
Bell effect
Bell effect
Schneller
Trans. 2 (194 m.)
Presto, Scales
(26 m.)

49

CHAPTER 6. ROBERT SCHUMANN

50

Chapter 7

Johannes Brahms
7.1

German Requiem Op. 45 (1868)

Source: [4].

7.1.1

Mvt. 1, Selig sind, die da Leid tragen, Ziemlich langsam und mit Ausdruck

Form: ABA1 B1 A2 . See Table 7.1 for the analysis.

7.1.2

Mvt. 2, Denn alles Fleisch es ist wie Gras, Langsam, marschmaig

Form: AAB. See Table 7.2 for the analysis.

7.1.3

Mvt. 3, Herr, lehre doch mich, Andante moderato

Form: ABC. See Table 7.3 for the analysis.

51

CHAPTER 7. JOHANNES BRAHMS

Table 7.1: Brahms, German Requiem Op. 45, Mvt. 1, Selig sind, die da Leid tragen
m

1
15
19
27
29

Comment

F C7 F

Introduction,

F B[/F B[m F
F Dm Am Em F
B[ C F

A, Chorus

F F7 B[m C7

Chorus [A]

M1

M2
..
.

37

47
55
59

M3.1
M3.2

65

M4

74

80
88
92

M3.3
M3.2

119

M1
..
.
..
.

127
136

M2

144
150

M2

111

52

4
4

, f -Ped.

Sec. Motive

A/C] C7 Dm/F C7

Chorus

D[

D[ G[ E[7 /G
A[7 D[7 Eb7 /G
D[/A[ Ab7 D[ G[

B, Chorus [B]
Imit.

F F7 C7 /F F7 B[

A1 , f -Ped. (intro), Chorus [C]

F m D[7 F/C C7[9


D[

96
106

h i

D[/F G[m E[7 /G


A[7 D[7 Eb7 /G
D[/A[ Ab7 D[ G[

B1 , Chorus[D]
Imit.

D[7 G[/D[ D[7 F/C C7 /E

d[-Ped. (intro)

F F7 B[

A2 , Chorus [E]

F Dm Am Em F
F E7 Am B[m G7 C7
d

A/C] C7 Dm C7
F ]m/A Dm Am Dm C7

Chorus
Trans.

F F7 B[/F C7 F C7
F F/C C7 F

Coda, Chorus, [F]


(158 mm.)

7.1. GERMAN REQUIEM OP. 45

Table 7.2: Brahms, German Requiem Op. 45, Mvt. 2, Denn alles Fleisch es ist wie Gras
m

Comment

M0

B[m

E[m B[m G[ C7 F F

A,

23
43
55
75

M1
M0
M1
M2
..
.

G[

B[m G[ C7 F Gm7/F G7 /F F
F G7 /F C7 D[ B7 F7[9
B[m C[ F7 F B[ A7 B[
G[ D[7 G[ C[ C7 D[

(a), Chorus [A]


(b), f -Ped. [B]
(a), Chorus
Chorus [C]

D[ C]7 D/F ] E[m/G[ F7


G[ C[/G[ C[m/G[ G[ D[7 G[

Chorus [D]

B[m

E[m B[m G[ C7 F F

A, Intro [E]

B[

B[m G[ C7 F Gm7/F G7 /F F
F G7 /F C7 D[ B7 F7[9
B[m C[ F7 F B[ A7 B[
B[ A Dm Cm/E[ B[m/F F

(a), Chorus [F]


(b), f -Ped. [G]
(a), Chorus
Chorus, Trans. [H]

91
107

127

M0

147
167
179
198

M1
M0
M1
M2

206

M3

219
224
233

M3

M4
..
.

245
253
261
267
276
291
296
303
319
329

M3
..
.

M3

M3
..
.

B,
F

B[m
B[

h i
3
4

h i
4
4

, Intro

, Allegro, Chorus

Dm Em F
B[7 G[/B[ F/C C7 F
F C C7 /B[ F m/A[ B[m

Seq(3 2m; R7 ) [I]


Climax
Dim.+Aug., Chorus [K]

C F Gm
C7 F ]7 B7 Am F7 /A
B[m G[ B/D]

Dim.+Aug.
Trans.
Imit., Chorus [L]

Em Am Dm B[ E[/G
B[/F B[7 E[ A[ Cm F7 B[
Gm Am B[
B[7 E[m C[ B[/F F7

Stretto imit.
Climax
Seq(3 2m; R7 ) [M]
Climax

B[ E[

Coda, Seq(4 4m; R5 ) [M]

F7 B[ Cm7 F7 B[ B[7
E[/B[ F79 B[

b[-Ped.
b[-Ped. (337 mm.)

53

CHAPTER 7. JOHANNES BRAHMS

Table 7.3: Brahms, German Requiem Op. 45, Mvt. 3, Herr, lehre doch mich
m

M0

Dm

M1

48
58
66
81
93

M2

M1
M1
M2

Dm

105
118
129
138
142
144
147
150
157

M3
M1
M3

D
Dm
F

M1
M4

M4
M1

Dm

B[

193
196
207

54

4
4

Bass Motive

Solo

Am/C E7 /G A Dm E7 /G A
B[ F ]7 /A] Bm E7 /B[ A
d

164

183

h i

M1
M2

M5
..
.
..
.
..
.

Comment

Dm E7 /G A Dm

17
33

173

Chorus [A]
Solo [B]

B[ E[m/B[ B7 Am A7 /G
B[/F F ]m/C] A7 Dm/A Am
A Dm/A A Dm
E7 /G A C]m/G] G]7 /D Dm A
Dm

Chorus
a-Ped.
Solo, a-Ped. [C]
Chorus
d-Ped.

D B7[9 /D] E7 D7 G/D A D


Dm/A F ]7 Gm Dm Gm
F B7 D[7 F/C C7
F/C F B[/F Gm/B[ F/C C7
A/C] Dm
A/C] D7 /C G/B
E7 E7 /D A7 /C] A[9
7 /G
D/F ] F ][9

D/F
]

Dm/F
E7
7
G]7 /D

h i

4A
A D/A Asus
7
7

Chorus, Trans, a-Ped.

D D7 G/D A7 D E7 C]7 D

h i

D D7 G/D E7 A7 Dm

d-ped. (contd) [G]

3
2

Solo
Solo, M2 Imit. [D]
Chorus, (M2) Imit. [E]
Solo
Chorus, Imit. [F]
Stretto Imit., (M2) Climax

2
2

, Chorus Imit, d-Ped.

Gm/D A7 D D7 Gm/D
A[9
7 D D D7 G/D G7 C
G/D D Em7 /D D

Stretto Imit., Climax [H]


(208 mm.)

7.2. STRING QUARTET OP. 51 NO. 1

7.2

String Quartet Op. 51 No. 1 (1873)

Source: [2].

7.2.1

Mvt. 1, Allegro

Form: Sonata. See Table 7.4 for the analysis.

7.2.2

Mvt. 2, Romanze Poco Adagio

Form: ABAB. See Table 7.5 for the analysis.

7.2.3

Mvt. 3, Allegretto Molto Moderato e Comodo

Form: ABA. See Table 7.6 for the analysis.

7.2.4

Mvt. 4, Allegro

Form: A1 BC1 A2 BC2 A3 -Coda. See Table 7.7 and 7.8 for the analysis.

7.3

String Quartet Op. 51 No. 2 (1873)

Source: [2].

7.3.1

Mvt. 4, Finale, Allegro non assai

Form: Rondo (A-B-A1 -B1 -A-B-A2 ). See Table 7.9 for the analysis.

55

CHAPTER 7. JOHANNES BRAHMS

Table 7.4: Brahms, String Quartet Op. 51 No. 1, Mvt. 1 Allegro


m

Comment

1
11
15

M1
M2
M2

M1
5
M3

Cm F7 /C B[m A[ G F
F m G7
C
F ]7 G7
Cm F7 /A B[m A[ E[m
F7 B[7 E[m
E[m F7 B[7 E[7

Exp.-Gr. 1

23
31
37
45
53
56
75
80
80
84
96
100
104
112
118
119
129
133
137
151
155
164
174
178
186
194
204
216
224
232
252

56

E[m

B7 A7 /G D Dm A
B[7 /A[ E[/G B[7 /A[
E[ A[ F m F7
E[/B[ F7 B[7 F7 E[/B[ B[7
E[ B[7 E[
F ]7 Cm/G G7
F ]7 F7 Am/E Am

Tr. 1

Dev.

M4
M4
M5
M1

E[

M1
M3

Am
C
Em
G
C]m

Am/E F7 B[/D E7 Am B /D
C C7 F B7
Em D7 /F ]
G F ]7 Bm G7 Cm G]7
C]m D G]7

F ]m

C]7 Bm/D G]7 C]7


F ]m7 /C] D/F ] A/E G]7 /D]

M3/M1

Trans. 1
Gr. 2

Trans. 2
1)
2)

Retrans.

M1
M2
M2
M1
5
M3

Cm

A[/C
D7[9 /A Cm/G A[/C D
G[9
7 /B Cm
G7 C F m C7
F m A[/C G
G[9
7 Cm G7
Cm
d

M4
M4
M5
M1
5
M1/M3

Fm
C

Recap.
Gr. 1

Tr. 1

A[7 F ]7 B Bm F ]
G7 /F C/E G7
C F Dm D7
C/G D7 G7 D7 C/G G7
C F ]7 C/G G7 Cm G7

Tr. 1

[9
[9
C7[9 F m G[9
7 C7 F m G7
C F F m D[/A[ Cm/G G[9
7 C
C7 F D[/F
C

Coda - Tr. 1

260 mm.

7.3. STRING QUARTET OP. 51 NO. 2

Table 7.5: Brahms, String Quartet Op. 51 No. 1, Mvt. 2 Romanze Poco Allegro
m

Comment

1
7
13
17
19
25

M1
M1

A[

A[ D[/F A[/E[ B7[9 E[7


A[ D[ A[/E[ B7[9 E[
C/E E[7
A[ B[7 E[7
A[ A[/E[ E[7 A[ A[/E[
E[7

A - (a)
(a)
(b)

A[m B[7 /D E[
B A]7
F ] B7 Em
C[ F7 B[7 E[m
E[7 E[7 A[m
E D]7 E
B E7 Am
B[7 E[7 A[m
E/B
A[/E[ F mE[/G E[7

B - (a)
(a)
(b)

M1

27
29
31

M2
M2
M3

35
37
39

M2
M2
M3

A[m
B
Em
E[m
A[m
E
Am
A[m

43
A[

A[ D[/F A[/E[ B7[9 E[7


A[ D[ A[/E[ B7[9 E[
C G Cm7 E[7
A[ D[ D[m
A[ A[/E[ E[7 A[ A[/E[
E[7 A[7

(a)
Trans.

(a)
(a)
(b)
Retrans.

49
55
61
65
67
74

M1
M1

75
77
79
81
83

M2

M2

D[m
E
E[m
G[
A[

A[ E[7
E B7 E
B[7 /F F7
G[/B[ D[7 /F G[
E[ A[7 D[ B[7 E[7

B - (a)

86
90
92

M1

A[

A[ A[7 D[ E[7 A[7


C]m A E C[ D[m
A[/C E[7 A[

Coda

A[

M1

A - (a)
(a)
(b)
(a)
Trans.

(a)

57

CHAPTER 7. JOHANNES BRAHMS

Table 7.6: Brahms, String Quartet Op. 51 No. 1, Mvt. 3, Allegretto Molto Moderato e Comodo
m

1
5
9
15
19
25

M1
M1

27

M3

M3

Cm
Bm

M4
M4

D[
F

56
60
66
70
76
80
83
85

M1
M1
M2
M2
M1
M1

Cm
Fm

87
95

M1

32
35
38
46
54

118
127
135

Cm
Fm

M2
M2

B[m

107

58

M1

Comment

F m G7 A[/C B[7 E[
F m G7 C7 F m D 7 G7 C
[9
G7 E[[9
7 F7 G7 Cm G7
Cm D7 /F G7
Cm D7 /F G7 Cm
Fm

h i
4
8

Seq (3 R7 )

1)
2)

Cm C7
F ]7 Bm/D C]7 F ]7
Bm B7 F7
B[m C7 F7
D7
D[7 G[7 C[ A[7 D[
G7 C7 F7 B[7 G7 C7 F
Fm
F m G7 A[/C B[7 E[
F m G7 C7 F m C7 F m C7
F m G7 /F C7
F m G7 /F C7 F m
F m C7 B[m
F m C7 B[m
F m B[m
F

(a ped) F Am Dm/F
A Cm/E[ G B[m/D[ F
Dm/F C/G G7 C
C F/F C Em Am/E Em
Am/E Em C7
(a ped) F A7 /C
Ff B[ D7 /A Gm F/C C7 F
F/C C7

h i

(a ped) F Dm F Am/C F F m

3
4

Un poco piu animato

B
A

Coda (146 mm.)

7.3. STRING QUARTET OP. 51 NO. 2

Table 7.7: Brahms, String Quartet Op. 51 No. 1, Mvt. 4, Allegro


m

Comment

1
7
13
21

M1.1
M1.2
M1.1
M1.2

Cm

G7 A[ G7 Cm A7 /E[
D Dm G7 F m
F m B[7 Cm D7 /A[ Cm/G
Cm F m G Cm G7

A1

33
41
46
50
58

M2
M3.1

M3.2

Cm E[m
E[
B[m

Cm G Cm E[m B[
B[7 E[
C7 F7 B[m
F7 B[7 E[7 F7 B[7
E[ A[ D[

B
Imitation

68

M1.1

70
82
86

M1.1

94
102
110

E[

Transition

Seq(3 2m; R5 )
Seq(3 2m; R5 ),
unis/chr.

B7

Cm

F7 B[7 B[7 E[ F7 B[
A[ E[ B[ F
F7 D7 /F ] Cm/G E F m

C1 , b[-dom.-ped.
Seq(4 1m; R5 )
Transition

M1.1
M1.1

Cm
C]m

F m G[9
7 Cm A[ A[7
C]m D]7 E/G] E7

A2 , 2pt imitation
4pt imitation

M1.1

Am Em
Am

Am B7 C F ]7 B7 Em
E7 Am B7 E (m. 120)

E[

2pt imitation

59

CHAPTER 7. JOHANNES BRAHMS

Table 7.8: Brahms, String Quartet Op. 51 No. 1, Mvt. 4, Allegro (contd)
m

124
132
137
141
149

M2
M3.1

M3.2

159

M1.1

161
172
180

M1.1
M1.1

193

M1.1

205
209

Comment

Am Cm
C
Gm

Am E Am Cm G
G7 C
A7 D7 Gm
D7 G7 C7 D7 G
C F B[

B
Imitation

M1.2

215

G]7

Em Cm

D7 G7 Am D7
G7 C]7 F ]7 B F ]7
Em/B G7 C D7 /C D7 /F ]

C2 , g-dom.-ped.
Seq(3 2m; R5 )
Transition

Cm

G7 Cm A7 Dm

A3

B[ F G A[
A[/C G7 Cm A7
D Dm G7 C/G

F m Cm

F m D[ B[m G7 A[

M1.1

244

60

M2

D7 G F m
D7 Cm/G G

225
231

Seq(3 2m; R5 )
Seq(3 4m; R5 ),
unis/chr.

Cm

Cm F m G7 Cm
C7 F m B7 Cm
Cm D7 /A[ Cm/G G Cm

see m. 3
Seq(3 2m; R3 ),
see m. 12
Transition, see m. 17-20
Coda
c-ton.-ped.
(248 m.)

7.3. STRING QUARTET OP. 51 NO. 2

Table 7.9: Brahms, String Quartet Op. 51 No. 2, Mvt. 4, Finale, Allegro non assai
m

Comment

1
13
25
37
45

M1
M1

Am

Am E7
Am
E7
F Dm7 G7
G7 C/E G

M2

59
71
75
91
100

M3

F
C

116
129
132
140
144

M1

Am

M2

Em
F

161
166
173
184
186

M3
M3

196
210
222
234
238

M1
M1

251
264
268
284

M3

293
309
320
328

M1

334

M1

352
359

M1

Am

Gm C7 F G7
C C]7
Dm G7 C C]7 Dm
G7
C F ]7 B7 E E7

Seq.

Seq.

Am
B7
Em D7
Gm C7
F C A7 A7

A1
Seq.

Dm
Em
F ]m
Dm
Am

Dm B7
Em
G]7 C] A4
Dm B7
E7

B1 , Imitation

Am

Am E7
Am

E D]7
E7 A E Em

D
A

Em A7 D E7
A A]7
Bm E7 A A]7 Bm
E7 A/E E7

M2

M2

M1
Am

e-dom.-ped.

Seq.
e-dom.ped.
B

Seq.

A F ]m B7 A/E A7 D
A/E E7
A

A2 , Imitation

Am D]7
E E 7 Am A7 Dm B7 /A
Am/E E
Am

Coda, Diminished
e-dom.-ped.
Diminished

Augm.
e-dom.-ped.

61

CHAPTER 7. JOHANNES BRAHMS

7.4

Symphony No. 4 in E minor, Op. 98 (1885)

Source: [3].
Detailed score analysis of the Brahms symphonies was complemented with the formal
analysis presented in [7] and [9].

7.4.1

Mvt. 1, Allegro non troppo

Form: Sonata. See Table 7.10 and 7.11 for the analysis.
Table 7.10: Brahms, Symphony No. 4 in E minor, Mvt. 1 Allegro non troppo
m

Comment

1
19
37
45
53
57

M1
M1

Em

Em B7
Em F ]7
B7 F ]7
G F ]7 Bm
F ]
Bm

Exp. Gr. 1, asc. bass


[A] desc. bass
[B] Gr. 2
[C]
d

DB

F ]7 Bm F ]7
G B7
C F ]7
B F ]7
B F ]7
B F ]7
B C]7
B/F ]
B/F ] A7
D/F ] F ]7 B E F ]

M1
M1

Em
Gm

B
B7 Em D7
Gm F7

169
184
188

M1
M2

B[m
Bm
Cm

206
217
227

M2
M1

Em
G]m

65
73
77
87
91
95
99
110
119
125
137
145
157

62

Bm
M2
M3
M3
M2
M2
B
M4.1
M4.2
M4.3
M2
M2
M2

B[m F ]7
G
F m G Cm
D[m Dm E[m E[
F ]7 B7 E D]7
G]m F ] B B7 G]m
D]7 D7 E7 F ]7 B7

[D]

[E]

[F] Dev.
False, recap., desc. bass
[G] variation
Imitation
[H]
Rapid mod.
[I]
[K] Retrans, Seq(R7 )

7.4. SYMPHONY NO. 4 OP. 98

Table 7.11: Brahms, Symphony No. 4 in E minor, Mvt. 1 Allegro non troppo (contd)
m

Comment

246

M1

Em

Em B7

[L] Rec. Gr. 1, asc. bass

273
297
301

M1
M2
M3

Em B7 C F ]7
B B7
Em

309
317
321
331
335
339
343
352
363

M3
M2
M2
M4.1
M4.2
M4.3
M2
M2

B7 Em B7
C E7
F B7
E/B B7
E B7
E B7
E F ]7
E/B
E/B D]7

369
377

M2
M2

G]m
Em Gm

G]m B[7
B Em D7 Gm F ]7 B7

394

M1

Em

Em B7

402
414
421
426

desc. bass
[M] Gr. 2

[N]

[O]

[P]
[Q] Coda, asc. bass

Am/E B7
C B7 Am/E
F ]7 Em/B B7
Em

(440 m.)

63

CHAPTER 7. JOHANNES BRAHMS

64

Chapter 8

Peter Ilyich Tchaikovsky


8.1

Nutcracker Suite (1892)

Source: [28].

8.1.1

Mvt. 1, Ouverture miniature

Form: binary form, A1 B1 A2 B2 . See Table 8.1 for the analysis.

8.1.2

Mvt. 2, Danses caracteristiques, Marche

Form: ternary form, A1 BA1 CA2 BA2 . See Table 8.2 for the analysis.

8.1.3

Mvt. 2, Danses caracteristiques, Danse de la Fee-Dragee

Form: ternary form, A1 BA2 . See Table 8.3 for the analysis.

8.1.4

Mvt. 2, Danses caracteristiques, Danse russe Trepak

Form: ternary form, ABA. See Table 8.4 for the analysis.

65

CHAPTER 8. PETER ILYICH TCHAIKOVSKY

Table 8.1: Tchaikovsky, Nutcracker Suite, Mvt. 1 Ouverture miniature


m

Comment

1
9
17
21
25
32
39

M1.1
M1.1
M1.2
M1.2

B[

B[ C7 F B[ F7
B[ C7 F B[ F7 B[
D7 Gm D7 Gm
C7 F C7 F
C7 F F/C
B[ C7 F7 B[ D7
E[ F ]7 Gm A7 /E[ D G7 /B Cm C7 /E

A1

45
57
70
79

M2
M2
M2

F C7 F A7 Dm G7 C7
F C7 F F7 /E[ B[/D F7 B[ A7
Dm D7 Gm A7 Dm Gm7 /B[ C7
F C7 F F C7 F

B1

90
98
107
111
115
123
129

M1.1
M1.1
M1.2
M1.2

135
147
160
169

M2
M2
M2

66

Gm
F
B[

M1.1
F
Dm
B[
B[
Gm
F
B[

M1.1
B[
Gm
B[

Tr. 1, Dom. ext.


Tr. 2

Cad.

B[ C7 F B[ F7
B[ C7 F B[ F7 B[
D7 Gm D7 Gm
C7 F C7 F
C7 F F/C
B[ C7 F7 B[ D7
E[ F ]7 Gm A7 /E[ D G7 /B Cm C7 F

A2

B[ F7 B[ D7 Gm C7 F7
B[ F7 B[ B[7 E[/G D7
Gm D7 Gm E[ C7 F7
B[ F7 B[

B2

Tr. 1, Dom. ext.

Cad. (183 m.)

8.1. NUTCRACKER SUITE

Table 8.2: Tchaikovsky, Nutcracker Suite, Danses caracteristiques, Marche


m

Comment

1
5
9
13
17
21
25
29
33
37

a
b
a
b
cd
ce
a
b
a
b

G Em Bm G Em
Am D/F ] G F ]7 /A B7 Em A7 /C] D
G Em Bm G Em
Am Bm C Em F ]7 /A] B
B/F ] Em Em Am F ]7 B
B/F ] Em Em Am D D7
G Em Bm G Em
Am D/F ] G F ]7 /A B7 Em A7 /C] D
G Em Bm G Em
Am Bm C G/B Am D7 G

A1

41
45

M2
M2

Em

Em E7 Am B7 Em E7 A F ]7 Em
Em E7 Am B7 Em E7 A F ]7 Em

C, e-ton-ped.

49
53
57
61
65
69
73
77
81
85

a
b
a
b
cd
ce
a
b
a
b

G Em Bm G Em
Am D/F ] G F ]7 /A B7 Em A7 /C] D
G Em Bm G Em
Am Bm C Em F ]7 /A] B
B/F ] Em Em Am F ]7 B
B/F ] Em Em Am D D7
G Em Bm G Em
Am D/F ] G F ]7 /A B7 Em A7 /C] D
G Em Bm G Em
Am Bm C G/B Am D7 G

A2

Em
G

Em
G

Seq(3 1m, R7 )
B
A1

Seq(3 1m, R7 )

Seq(3 1m, R7 )
B
A2

Seq(3 1m, R7 ),
(88 m.)

67

CHAPTER 8. PETER ILYICH TCHAIKOVSKY

Table 8.3: Tchaikovsky, Nutcracker Suite, Danses caracteristiques, Danse de la Fee-Dragee


m

1
5
9
13
17

a
b
a
a

Comment

Em

Em F ]7 A]7 D]7
Em A]7 D]7 Em
[5
F ][5
7 /A] F ]7 B F ]7 /C B
Em A]7 D]7 Em
B/F ] Em Em Am F ]7 B

Intro, e-ton-ped.
A1 , e-ton-ped.

Em

e-ton-ped.
Trans, Seq(3 1m, R7 )

21
25
29
33

c
c
c

C]7 /B B Em/G
C]7 /B B Em/G
C]7 /B B Em/G
B7

B1 , b-dom-ped.
b-dom-ped.
b-dom-ped.
B2 , retrans.

37
41
45
49

a
b
a
a

Em A]7 D]7 Em
[5
F ][5
7 /A] F ]7 B F ]7 /C B
Em A]7 D]7 Em
F ]7 B E7 A D7 G B7 Em

A2 , e-ton-ped.
e-ton-ped.
Coda, Seq(3 1m, R7 ),
(52 m.)

Table 8.4: Tchaikovsky, Nutcracker Suite, Danses caracteristiques, Danse russe Trepak

68

Comment

1
9
17
25

a
a
a
a

G
G
G
G

33
41
49

b
b
c

D Em A7 F ]m Bm Em E7 A7 D
D Em A7 F ]m Bm Em E7 A7 D
Cm/E[ A7 D Cm/E[ D G

B, bridge

57
65
73

a
a

G D
G C G
G D

A, g-ton-ped.
g-ton-ped., plagal cad.
Coda, g-ton-ped.,
(84 m.)

D
C G
D
C G

A, g-ton-ped.
g-ton-ped., plagal cad.
A, g-ton-ped.
g-ton-ped., plagal cad.

retrans.

Chapter 9

Claude Debussy
9.1

Prelude a` lapr`es-midi dun faune (1895)

Source: [5]. Form: ternary form, ABC. See Table 9.1 for the analysis.

9.2

Trois nocturnes (1899)

Source: [5].

9.2.1

No. 2 Fetes

Form: ternary form, A1 BA2 . See Table 9.2 for the analysis.

9.2.2

No. 3 Sir`enes

Form: ternary form, ABC. See Table 9.3 for the analysis.

69

CHAPTER 9. CLAUDE DEBUSSY

Table 9.1: Debussy, Prelude a` lapr`es-midi dun faune


m
1
5
11

M
M1

M1

R
E [SD]

[D]
[T]

21

70

Comment

A97 C]m7 F ]7

h i

E7alt F ]7 E7alt
D7 G7 /D B713 E 6 C]7
A]7 F ]7 G]7 B7
A]7 C]7
E 6 C C]m7 C79
B7 Am7 D7 Cm
E7 B7 E713 F ]7 E7 F ]7 B
C]7 G7

26
31

M1
M1
M1
M1

34

M1

B[7 = E7 F ]7

37
41

M2
M2

B7 E7
E7 D96

44
47
51
55
63

M2
M3
M3
M4

M4

74
75

M3
M4

79
83
86
90

M1
M5
M1
M5

94
100
102

M1
M1

106

M1

[D]
[D]

[T]
[T]
A[
D
[D]

E
[SD]
[D]
[D]
[T]

9
8

[A] (]]]]),
hSubdom.-plagal
i
6
8

Dom.-auth.
Climax1,
h ih i tonic
9
8

12
8

Dom.
h i h ih i
12
8

9
8

12
8

Trans., Seq(2 3m, R3 ),


Wh.t.-sc.
h i
3
4

B
d

G7 B[7 E[7
D[6 A[7 A7 E[7
A[ A[7
<(D[ E[7 /G) F ]m7 B7
Am7 D
4
<(D[ E[7 /G) E[m7 A[sus
7
E[m7 A[7
D[6
D[7

h i

E(7) C]m7 F ]7
Am7 A7 C79
E[7 Cm7 F7sus4
G]m7 G]7
G]7
<(E7 C7 ) G]7 G]7 F ]7
<(C]7 A]7 )
C]7
C7 = F ]7 F ]m B7
E E C F ]7 E

A 44 (]]]])
(\\\\)

4
4

(\\\\)
Climax 2
([[[[)
([[[[[)
Climax 3

h i
3
4

h i

(]]]])
h i
9
8

12
8

(110 m.)

, tonic focus

9.2. TROIS NOCTURNES

Table 9.2: Debussy, Trois nocturnes, No. 2 Fetes


#

Rhythm/Scales/Comment

M1,M2

F D[

open 4ths/5ths,
ex. par. D79

1
2
3
4
5
6

M1,M2
M1

D E[ D[
A
D[
F A
BE
E

diat. parallel
Rh1, Rh3, wh. tone, ion.
chromatic

9
A1 , 12
8 / 8 , Rh1,
dor./alt.
Rh1, hwh.i tone
h i
9
Rh2( 15
8
8 ), mixo-lyd.

D
E

diatonic
diat., chrom.

M5

C]

Rh2, ion, build climax


Rh2, Rh3, ion., chrom.,
build climax
Rh2, Rh1, climax

10

M6

A[

pedal (D[97 B[97 E79 )

B, 24 , Rh4, dor.,
mixo-lyd., start climax,
bitonal flavour

11

M6

E
G]

pedal (E79 D[97 )

Rh4, dor., mixo-lyd.,

M6

B[
A[

M6,M1

B[
E
A[

A[ G]

7
8

M3,M4
M5
M4,M5
..
.

diatonic

i h i

Rh2
Rh3, mixo-lyd.
Rh2, ion., start climax

h i

build-up
12
13

pedal (B[97 )

Rh4, dor., mixo-lyd.,


build-up

pedal

(D[97

B[97

E79 )

Rh4, dor., mixo-lyd.,


climax

14

M1

D[ D

ex. par. D79

15
16

M7
M6

E[
E[

ex. par. D79


diat. parallel

17

M1

diat. parallel

18
19
20
21
22

M3
M3,M6
M3,M6
M3,M6,M2

C]
C] B[
D[
A
A

h i h i

A2 , 68 / 98 , Rh1, alt.,
start climax
Rh1, hRh2,
i hclimax
i
15
Rh2( 8 - 98 )
h

ih i

9
Rh2( 15
8 - 8 ), mixo-lyd.,
start climax
Rh1, Rh2, climax
Rh2, haeol.,
i h chrom.
i
3
Rh2( 4 - 24 )

Rh2

71

CHAPTER 9. CLAUDE DEBUSSY

Table 9.3: Debussy, Trois nocturnes, No. 3 Sir`enes


m

Scales/Comment

F] A C

F ]69 A69 C96

#0, mixo-lyd.,
appoggiaturas
#1, M1(CorA)
#2, octatonic, app.,
M1(Str)(WW), M2(choir),
start climax
#3, octaton., tango,
M2(choir), climax
#4, mixo-lyd.,
M2(choir)
#5, echos, app.,
M2(WW)(Hns)(Str),
M3(choir),
climax
#6,
M2(Str+WW)
#7, wh.tone,
Heavy str+WW, M4(Tpt)
#8, app.
M3(choir)

8
22

M1
M1,M2

C E[ F ] A
B

ex. par. C79


B79 G97

34

M2

BDE

40

M2

E F ] C] E[

B7 D79 E79
exact parallel
ex./diat. par. S79

50

M2,M3

D[

D[97 A97 E[97 B79

72

M2

A[

A[97 D79

80

M4

Bm7/D D7]11

87

M3

D[ A B E[

S79

101

M2

G
C]

E7
F ]97

111

M2,M4

B7 G7 /B

125

M2,M1,M4

B7 G7 /B
exact parallel

135

M1,M2,M4

B7 G7 /B

72

#9,
M2(WW)(choir)
#10, octaton./wh.t., echos,
M2(choir)(Hns)(Str),
M4(Tpt)
#11, echos,
M2(Str)(choir), M1(Str),
M4(CorA)
#12, M1(Str),
M2(choir), M4(Tpt)

Chapter 10

Maurice Ravel
10.1

String Quartet in F major (1903)

Source: [18].

10.1.1

Mvt. 2, Assez vif - tr`es rythme

Form: Three-part form, ABA. See Table 10.1 for the analysis.

10.2

Miroirs (1905)

Source: [20].

10.2.1

Mvt. 4, Alborada del Gracioso

Form: ternary song form, ABA. See Table 10.2 for the analysis.

73

CHAPTER 10. MAURICE RAVEL

Table 10.1: Ravel, String Quartet in F major, Mvt. 2 Assez vif - tr`es rythme
m

Comment

1
13
21

M1
M2

A
C]
A

Modal, A-Aeolian
C]-Dorian
A7 F ]7

C]
A
C/F ]
B[

C]7
A-Aeolian

EA

Symmetric-modal

A, 1st stat., pizz.


[A], 1st stat., arco
[B], fragments from M1 and M2
Transition
[C], transition, tremolo
[D], 2nd stat., climax, pizz.
[E], 2nd stat., arco
[F]=T[B]
Transition
[G], transition, tremolo, M1 fragments

M3 d-Dor.

E[

Chromatic-parallel

104
115

M2

A[ C]
C

A[7 C]m
C7 F ]7

120

M3

F7 G7 /F

B, [H], 1st stat., arco, lyrical


Accompaniment based on M2
[I]
[J], pizz. M1 fragments
Arco M2 fragments
[K], 2nd stat., M1 background

E G]
A
C]
A E[
C
A

Modal, A-Aeolian
C]-Dorian
A7 E[7
Symmetric-parallel
Modal

A, [L], retrans., pizz.


[M], 3rd stat., climax, pizz.
[N]=[A], 3rd stat.
[O], trans., M1 and M2 fragments
[P], tremolo, M1 fragments
Pizz. (198 m.)

30
40
52
60

M1
M2

69
89

129
150
162
170
179

74

M1
M2
M1

B[7 G7

10.2. MIROIRS

Table 10.2: Ravel, Miroirs, Mvt. 4 Alborada del Gracioso


m
1
12
22
31
38
43
52
58
62
71
79
85
91
105
111
116
120
126
131
137
141
145
151

M1
M1
M1
(M2)
M2
M1

M3
M3
M3
M3
M4

Scale/Mode

Comment

d-Phryg.
b[-Ion./g-Aeol.
b[-Phryg.
d[-Ion./b[-Aeol.

D 7 A7 D 7 D
Cm7 Gm7 Cm7 B[7 E[7
B[7 F7 B[7
B[7 F7 B[7

A[a] 68 ([)
[b]
[a], b[-ped.
h i
[b] 98

D[ A[7 D[ E7
G] C]m G]
C]7 F ]m G7 Em
Em7 A7
alt D
D7alt Aalt
7 E7

h i

Bm7
A[9
7
G69
F ]alt
7
C][5
7

B [a]

g]-Phryg.
b-Aeol./d-Ion.
d-Mixolyd.
b-Aeol.

h i

6
8

[c] (]]]]), g]-ped.


(]])
[b]
[a]

166
170
174
181
185
191
196
200
209
213
219

3
4

(]])

[b]
b f ]-ped

C]alt
7

M4

A7 E7 B7 F ]7

M5

b f ]-ped.
[c],
h i f ]-ped.
6
8

C][5
7

M4
M4
d-Ion.

C]7
D6

[b]
b f ]-ped
hd
i a-ped.
9
8

157
162

h i

M5

(M2)

M2
M1

c]-Phryg.

b-Aeol.
d-Mixolyd.

M1
M1
d-Mixolyd.

, a-ped.

A7
D/A A7

[c]
a-ped.

E[ B[7 E[
F ] G]7 F ]7
C] C]7 Am C] C]7
C]7
C]7 F ]m G7 Em
Em7
D7alt A7 D7
Am7 A7 B7
F ]7 E7 D7
G[9
7 /C

A
h i[a] (\\)

D A7 D

6
8

[c] , c]-ped.
(]]]])
(]])
[b]
[a]

h i
9
8

[a]

h i
6
8

(229 m.)

75

CHAPTER 10. MAURICE RAVEL

10.3

Rapsodie Espagnole (1907)

Source: [20].

10.3.1

Mvt. 1, Prelude a` la nuit

Form: ternary song form, ABA. See Table 10.3 for the analysis. The scales and harmonies
used are specified in Table 10.4.
Table 10.3: Ravel, Rapsodie Espagnole, Mvt. 1 Prelude a` la nuit
m
1
4
8
14
16
18
22
28
32
37
41
44
46
54
56
61

10.3.2

Scale/Mode

M0
..
.
..
.
..
./M1
..
./
..
.
..
.

d-Gypsy-Oct.

..
./M2
/M2
(M0)

M0

Comment
Intro #0 (M0: downward scalar riff)

B[7 B7
B[7 B7

#1
A #2, [D]

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
A]7 E7 B[7

#3

Gm7 A7 D7
Gm7 A7 D7
C7[9
F6
E[alt
7

B #4

C]alt
7
B[alt
7
B[7 B7
A

A #7
#8, [T]
#9
(63 m.)

#5
#6, [SD]

Mvt. 2, Malaguena

See Table 10.5 for the analysis. The scales and harmonies used are specified in Table 10.4.

10.3.3

Mvt. 3, Habanera

Form: ABAC. See Table 10.6 for the analysis. The scales and harmonies used are specified in
Table 10.4.
76

10.3. RAPSODIE ESPAGNOLE

Table 10.4: 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

77

CHAPTER 10. MAURICE RAVEL

Table 10.5: Ravel, Rapsodie Espagnole, Mvt. 2 Malaguena


m

Scale/Mode

Comment

M0
..
.
..
.

a-Aeol.

Am7

#0 (M0: scalar riff)

7
13
19
25
28

#1
d-Oct./Gypsy

A7 C D+
A[9
7 B[/D
alt
A7
Aalt
7 A7 /G

#2
#3
#4
#5

(M0)

35
40
46
52

M1
M1

b-Aeol.

F ][9
7 G7 /F ]
[9
[9
F ][9
7 Bm7 F ]7 B7 E7 D7 A7
F ]7
F ]7 G7 G]7 A7 B[7 F ]alt
7 E7

#6 (]])
#7
#8
#9

62
65
68
73

M1
M1

d]-Phryg.

D] E F ] G]m B7
A]m B C]m D] E F ]
D] C]m7
D]m C][9
7 C]7

#10 (]]]]])

B[7 /D
alt
Aalt
7 B[7 A7
Aalt
7
Am F/A A/C]

#13 (\\\\\)
#14
#15
(94 m.)

78
83
88
93

78

c]-Oct.
M2
d-Oct./Gypsy
M0

#11
#12

10.3. RAPSODIE ESPAGNOLE

Table 10.6: Ravel, Rapsodie Espagnole, Mvt. 3 Habanera


m
1
7
9

Scale/Mode

Comment
#0, c]-ped.
#1, c]-ped. (contd)

f ]-Aeol.

D 7 G7
C]
C]7 D7 E7 D7 E7 F ]

M1
..
.

f ]-Phryg

19
25

M2

30

13
14

34
35
40
44
48
44
56

G
F ] G7 F ] D 7

#2, f ] c]-ped.

f ]-Ion.

F ] D]m7 A/C] G]m7 C]7 F ]


F ]m F ]

#3, c]-ped.
#4

M1
..
.

f ]-Aeol.

C]7 D7 E7 D7 E7 F ]

#5

f ]-Phryg

G7
F ] D7 G7 F ] D]m7

#6, f ] c]-ped.

M3
M3
M3
M3

a-Aeol.
f -Aeol.
a-Aeol.
f -Aeol.

<(E7 F7 ) A
G7 <(C7 G7 ) B[ D7 F ]
<(E7 F7 ) A
G7 <(C7 G7 ) B[ D7 F ]
F ]m F ]

#7, e-ped [T]


#8, c]-ped [SD]
#9, e-ped [T]
#8, c]-ped [SD]
#11, c]-ped. (61 m.)

79

CHAPTER 10. MAURICE RAVEL

10.3.4

Mvt. 4, Feria

Form: ternary song form, ABA. See Table 10.7 and 10.8 for the analysis. The scales and
harmonies used are specified in Table 10.4.
Table 10.7: Ravel, Rapsodie Espagnole, Mvt. 4 Feria
m
1
4
7
14
17
27
30
33
34
40
43
47
51
59
62
66
69
71
77
79
84
89
93
99

80

Scale/Mode

h i

c-Mixolyd.
M1
M1
e[-Mixolyd.
M2
M1
M2
M3

M2
M4
M4
M5 (2)
M5
M5/M4
M2
M1

f ]-Mixolyd.
b-Mixolyd.
d-Mixolyd.
c-Ion.

Comment

Cm7 C79
C7]11
C79 E[97 /G
E[7
E[97
E[97 F ]7
F ]7 B7
F ]7 B7
D79 /F ]
C6
9/sus4
<(C 6 G7
)
9/sus4
6
<(C G7
)
9/sus4
6
<(C G7
)
9/sus4
6
<(C G7
)
9/sus4
6
<(C G7
)

A #0 68 , g-dom.-ped.
g-ped. (contd)
#1, c g-ped.
#2, g-ped.
#3, e[ b[-ped.
#4
#5
[SD]
#6, c g-ped.
#7
#8
#9
#10

c-Mixolyd.

C7
#11

f ]-Phr/Gyp
M6

M6

c]-Phryg.

F ]m7 C]7
<(F ]m7 C]7 )
B7 Em7 A7
B7 /D A7 F7
<(F ]m7 C7 )
F m7 B[7 Em7 G]7
C]7 G7

B #12

#13
#14

h i
3
4

(]]])

10.3. RAPSODIE ESPAGNOLE

Table 10.8: Ravel, Rapsodie Espagnole, Mvt. 4 Feria (contd)


m
103
109
112
116
121
123
124
126
131
133
137
145
149
154
160
164
168
172
175
177
181
185
189

Scale/Mode

Comment

M7/M0
M7
M0
M2

f ]-Phryg.

#15 (M0: downward scale riff)


#16
#17
#18 h i
C #19 68 (\\\)

M2
M1
M3

M2
M5 (2)
M5/M4
M4
M2/M1

f ]-Mixolyd.

C][9
7 G7
C][9
7
B[7
B[7
B[7
F ]7 B7
<(F ]7 B7 )
F ]7
D79 /F ]
<(C 6 G7 )
4)
<(C7 Gsus
7
9/sus4
<(C7 G7
)
4)
<(C7 Gsus
7
C7
E79 A[9
7
Dm7 D7

M0
M3

M1

M2

d-Mixolyd.
c-Ion.

c-Mixolyd.

c]-Phryg.
c-Ion.

G7 /D D7
F79
E[ D]97
<(C]m G]7 )
C
B[7 /A[ C

#20
#21 [T]
#22
#23
#24
#25
#26
#27 [SD], d-ped.
#28
#29
#30 [D]
#31 [T]
#32 (190 m.)

81

CHAPTER 10. MAURICE RAVEL

10.4

Ma m`ere loye (1911)

Source: [20].

10.4.1

Pavane de la Belle au bois dormant

Form: ternary song form, ABA. See Table 10.9 for the analysis.
Table 10.9: Ravel, Ma m`ere loye, Pavane de la Belle au bois dormant
m

Comment

1
5

M1
M2

A
E

Am7
Em7

A, a-Aeol., muted str., pizz., thin structures (2p)


Arco strings

M3

Em7 A

B, Pizz. strings

13
17

M1
M2

Dm7
Em7 Am

A, #1, a-Aeol., Melodic tension now S9


Arco strings

10.4.2

DE
EA

Petit Poucet

Form: ternary song form, ABA. See Table 10.10 for the analysis.
Table 10.10: Ravel, Ma m`ere loye, Petit Poucet
m
1
5
12
22
32
40
51
55
60
67
75

82

M
M1
M2
M1
M2
M1

H/Scale

Comment

A, [T] intro, muted str., parallel

E[
G
C E[
A[

c-tonal/modal (Aeol.)
c-Dor./Aeol.
e[-Dor.
g-pedal
c-Aeol.
a[-Dor.

#1, [T]
#2, [D]
#3, [T], unisono climax
#4, [SD]

D
DG

D7[10 , d-ped
d-pedal

B, #5, contrasting middle section


#6, [D]

C
F
C

c-Dor.
F m97

A, #7, [T]
#8, [SD], material from Mvt. 1
#9, [T], intro

10.5. DAPHNIS ET CHLOE

10.5

Daphnis et Chloe (1912)

Source: [19].

10.5.1

Danse Guerri`ere

Form: ternary song form, ABA. See Table 10.11 for the analysis.

10.5.2

Danse Generale

Form: ternary song form, ABA. See Table 10.12 for the analysis. The chord structures in this
dance are based on two octatonic scales on the tonic and sub-dominant step, as demonstrated
in Tabel 10.13.

83

CHAPTER 10. MAURICE RAVEL

Table 10.11: Ravel, Daphnis et Chloe, Danse Guerri`ere


m

Pedal

Comment

92

M0

B7

A [T]

94
95
96

M1
M0
M0

b
..
.

C7 /B
C7 /B D7 /B
C7

[D]
[T]
[D]

98
99
101
102
103

M1
M0
M0
M1
M2

G7
G7 A7 E7 F ]7
C7
B7
G7

[V/V]
[D]
[T]
[V/V]

B [D]

104

84

105

M3

106
107
108

M3
M0/M2

109
110
111
112

M3
M3
M0/M1

114

M3

115

M0/M3

116

M2/M3

117

M0/M3

118

M2/M3

119

M0/M3

120
121

M0/M2/M3
M2

122
123
124
125
126

M0
M0
M0
M2
M3

127
128
129
130

M3
M3

M0/M2

f]
..
.

c
b

a
..
.
..
.

A7
E[7
f ]7

..
.

c
..
.
..
.
..
.
..
.
..
.
..
.
..
.

c]
..
.

f]
b

C7 E[7
C7

[D]

F7

[T]

A[7

D[7
C7

[SD]
[D]

B[7 E7
A7
B[7 C7
F ]7
C]7

A [SD]

C]7
C]7
F ]7 D]7
B7

[D]
[SD, II7 ]
II[D] V-III
I

10.5. DAPHNIS ET CHLOE

Table 10.12: Ravel, Daphnis et Chloe, Danse Generale


#
194
195
196
197
198
199
200
201
202
203

Pedal

V
M0
M1
M1

IV
M2
M2
M2

V
IV

204
205
206
207
208
209

M0
M0
M0
M0
M0

I
IV-I
IV-I
I

210

M1

211

M1

212
213
214
215

M1
M1
M2
M2

216

IV

I7

M2

V
IV

M2

c]

220
221

M2

V
I
V/IV
iV=I
I-V-I

Comment

F7 /A

C]7
G7
D]7
B[m/A

B7 F7 D7
A]m/A
F ]m7 /A Am7

f]

c]
..
.
..
.
..
.

Trans.

C7 /F ]
D7 Bm7
B[7 E7
E[7 E7
E[7 E7 B[7 Gm
C]7

C]7

G]7
C]7
G]7
B[m7 B[
E7 B[7
d

Bm7 B7 A[7 F7 D7
C7
Gm7 G7 E7 C]7 B[7
C]7

217
218
219

C]7 B7
B[ A[ G[ E D C A[
E7
B[m/A
A G7 /E A

Coda

85

CHAPTER 10. MAURICE RAVEL

Table 10.13: Ravel, Daphnis et Chloe, Danse Generale chord structures

86

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

10.6. PIANO CONCERTO IN G

10.6

Concerto pour Piano et Orchestre (1932)

Source: [17].

10.6.1

Mvt. 1, Allegramente

Form: sonata form. See Table 10.14 and 10.15 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).
Table 10.14: 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]

10.6.2

h i
2
2

Mvt. 2, Adagio Assai

Form: ternary song form, ABA. See Table 10.16 for the analysis. The instrumentation is
abbreviated as P for Piano, W W for woodwinds, Br for brass and Str for strings (in the
Melody column, with the secundary element between brackets).

10.6.3

Mvt. 3, Presto

Form: sonata form. See Table 10.17 and 10.18 for the analysis. The letter P1 in the M column
stands for featuring the piano.

87

CHAPTER 10. MAURICE RAVEL

Table 10.15: Ravel, Concerto pour Piano et Orchestre, Mvt. 1 Allegramente (contd)
m

88

R/Scale

Comment

107
115
123
131
142
150
173
182
183
195
202
210
215
221
227

(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
O
M2.2, O(P)

B-Ion.

C]m7 F ]97 B7 /F ]

G-Ion.
E
C
A[

D/F ] D7[10
4 /F ]
D7[10 G]sus
7
E7
9/sus4
G7
E[97

G
B[-Ion.
D

G/D D7sus4
F7 B[
A[9
7
A7
A D7
Aalt
7

[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
[23] h i
[24], 22

232

M2.3, O

[9
A[10
7 D7

[25],

h i

241
256
263

M3, P
M3, (O)P
OP

G C7 Em7 Am7
G
A7 /E

[26],
[27]
[28]

4
4

266
278
286
292
300

(O)P
(O)P
OP
(O)P
OP

A[9
7
D/A Gm/B[
F
C
A[

[29], Recap.,
[30]
[31]

[32]
E[97 [33], Tr. 2

306
316
329

M1.1, OP
OP
M1.2, O(P)

C
G
G-Pentat.

C G97 Em7 B7
A97 D7sus4
G

G-Ion.

h4i

[34], Coda
[35]
[36]

h i
2
2

, Tr. 2

10.6. PIANO CONCERTO IN G

Table 10.16: Ravel, Concerto pour Piano et Orchestre, Mvt. 2 Adagio Assai

R/Scale

Comment

1
19

M1.1, P
M1.2, P

E-Ion.
C]-Aeol.

E (diat.) G]7
C]m E7 A B7 E7

[0], A,

36

WW(P+Str)

E-Ion.

A E7 C]7 D]m D]7

[1], Trans.

46
50
54

M2.1, P(WW)
M2.1, P(WW)
M2.2, P(Str)

C]-Aeol,
B-Aeol.

[2], B, Seq.(2 4m, R7

58
60
62

Br+WW(P+Str)
Br+WW(P+Str)
M2.2, Str(P)

66

P(WW+Br+Str)

G]alt
7 C]m7
alt
F ]7 Bm7
D7 G
Em7 A7 D
B[97
B79
Em G C
Am7 D7 G
]5/[9
9
G[9
7 E[7 Em/G G7

[5]

74

M1.1, WW(P+Str)

E (diat.) G]7

[6+7], A

91

M1.2, WW(P+Str)

97

WW(P+Br)

103

Str(P+WW)

E-Ion.

h i
3
4

[3]
[4], bitonal: P(G[)+O(E[)
Bitonal: P(G)+O(E)

C]-Aeol.

C]m E7 A B7

[8]
[9], Coda

C]97 F ]m7
G]m F ]m7
E

[10] (108 m.)

89

CHAPTER 10. MAURICE RAVEL

Table 10.17: Ravel, Concerto pour Piano et Orchestre, Mvt. 3 Presto


m

R/Scale

Comment

G[T ]

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


Symmetric roots
Riff
[15], Riff
[16], Riff,
c] = d[-Ped.
[17], Riff, d[-Ped.
[18],Riff, c]-Ped.
[19], Riff,
c] = d[-Ped.

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

G
M1, P2
M1, P2
, P2
P2
P2

M2

B-Mixol. [D]

154

90

G
E-Aeol.
C

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]

[5], Riff (Seq)


[6], Riff
Cadence
[7], Gr. 2
[8], Glissando
[9]
[10], Gliss.
[11], Chr. Sc.+Cad.
[12], Chr. Sc.
Cadence
[13], Chr. Sc.
Chr. Sc.

10.6. PIANO CONCERTO IN G

Table 10.18: Ravel, Concerto pour Piano et Orchestre, Mvt. 3 Presto (contd)
m

R/Scale

Comment

214
219
229
237
245
255

M0, P5
M0, P5
M1, P5
M1, P5
M2, P5
P5

G [T]

[20], Rec., Riff


Riff
[21], Gr. 1

[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

268
274
284
287
295
303

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.

[22], Gr. 2
[23], Seq(2 6m)+Gliss.

[25], Riff, Chr. Sc.


[26], Riff, Chr. Sc.
Cadence (306 m.)

91

CHAPTER 10. MAURICE RAVEL

92

Chapter 11

Richard Strauss
11.1

Op. 20 Don Juan (1888)

Source: [27]. Form: Symphonic poem. See Table 11.1 for the formal analysis.

11.1.1 Introduction and Don Juan 0


See Table 11.2 for the detailed harmonic analysis.

11.1.2 Countess
See Table 11.3 for the detailed harmonic analysis.

11.1.3 Don Juan 1


See Table 11.4 for the detailed harmonic analysis.

11.1.4 Anna
See Table 11.5 for the detailed harmonic analysis.

11.1.5 Don Juan 2


See Table 11.6 for the detailed harmonic analysis.

11.1.6 Carnival
See Table 11.7 for the detailed harmonic analysis.

11.1.7 Don Juan 3


See Table 11.8 for the detailed harmonic analysis.

11.1.8 Death
See Table 11.9 for the detailed harmonic analysis.
93

CHAPTER 11. RICHARD STRAUSS

Table 11.1: Strauss, Op. 20 Don Juan, formal analysis

94

Episode

Key

(m) Theme/Motif

1
9
31
40
44
46
52

Introduction
Don Juan 9

66

Transition

(5) DJ Vigour + DJ Triads


(9) DJ Heroic 1, (18) DJ Triads, (23) DJ Scales + DJ Triads
(31) Car 2, (37) DJ Vigour
(40) DJ Scales
(44) Zerlinchen
(46) Countess
(50) DJ Vigour, (54) DJ Vigour, (53) Rejection,
(56) DJ Heroic 1, (57) DJ Scales, (62) DJ Vigour
(66) Rejection,(75) DJ Scales

71
111
129
149

Countess

Rejection

Rejection

G
E
C
C]m
G]

B
A
C]m
Em

(90) Countess
Countess
(151) Countess, (153) DJ Vigour

169
185

Don Juan 1

C
E[

(169) DJ Heroic 1, (176) DJ Scales, (182) Rejection


(185) DJ Heroic 1 + DJ Triads, (186) DJ Scales

197
232
268
296

Anna

Gm
G

Rejection
Transition

(197) Anna 1
(232) Anna 2 + Anna 1, (233) Rejection, (252) Anna 2
(268) Anna 2 + Rejection

313

Don Juan 2

(314) DJ Heroic 2, (327) Anna 2, (330) DJ Heroic 2,


(337) DJ Heroic 2, (343) DJ Heroic 2, (344) DJ Vigour

351
365
386
398
409
421

Carnival

Transition

D
G
C]m
A
Dm
Em

(351) Rejection, (353) Carnival 1, (357) DJ Heroic 2


(367) Carnival 1, (379) DJ Vigour, (382) DJ Triads
(386) Carnival 2, (393) DJ Heroic 2
(401) DJ Heroic 2, (402) Carnival 2
(403) DJ Scales, (411) DJ Triads
(430) Zerlinchen, (437) Countess, (443) Anna 2,
(447) Countess, (458) DJ Vigour

474

Don Juan 3

490
510
543
556
569

Transition

C]m
E
C
F
E

(474) DJ Vigour, (476) DJ Heroic 1, (479) DJ Triads,


(486) DJ Scales
(490) Carnival 2
(510) DJ Heroic 2, (521) DJ Heroic 2

586

Death

Em

(558) Carnival 2, (564) DJ Vigour, (568) DJ Scales


(564) DJ Scales
(606 m)

11.1. OP. 20 DON JUAN

Table 11.2: Strauss, Introduction and Don Juan 0, harmonic analysis


m

Comment

1
9
13

C B E C]m F ] 7
E/B A]7 /B E/B A7 E/G]
G7 E7[9 /G] E7 /B G]7 C][9
7 F ]m

Introduction
Don Juan 0, Heroic

17
23

B B7 /A B7[9 C D]7 C F ][9


7 /C
6
6
E /B B7 E E7 A C]m7/G] E7[9 /B

31
37

D/A D7 /A[ Cm/G D7 /F ] F7 A[9


7
G/D D7 G
B[/D B7

Triads
A

40
52
55
62

E C E/B B7 C]m

B, Zerlinchen, Countess

G]7 B]m7 G][9


7 E]m G]m7/F ]
G[9
Em
Gm7/F
C7 /E F7 /E[ B[/D C7[9 /C]
7
F7 /C C]7 F ]7

C
D

Table 11.3: Strauss, Countess, harmonic analysis


m

Comment

71

F ]97

90

B6

101
111
129
149
156
163

F ]7 /E B/D] F ]7 /E B/D]
G]m7 C][9
7 F ]7
B F ]7 /E B/D] F ]7 /E B/D]
B7 E D]7 A/E
[9
A C][9
7 F ]m C]7 D/F ] D
[9
B7 E7 /D F ]7 A7 B7[9 /D] G]7
C]m C]7 F ][9
7 B7 /F ] C]7 /G]
Em F ]7 /E Em C/E
Em F ]7 /E Em D]7 /A]

Countess theme
E, Countess
Countess (developed)
F, Countess (developed)
G

D]7 (= A7 ) B7

95

CHAPTER 11. RICHARD STRAUSS

Table 11.4: Strauss, Don Juan 1, harmonic analysis


m
169
175
177
185
189

Comment
d

C/E D]7 C/E Em C7 /E G7 /B


4G E
F/A Dm7/A Gsus
7
7
7
A D]7 A E7 /G] C G7 C B[ B[7
E[ F7 /E[ E[ E[m C[7 /E[ E[m
G]7 (= A[7 ) D7 (= G]7 ) C][9
7 /D C]7 F ]m

H, DJ Heroic 1
DJ Heroic 1 + Triads
I

Table 11.5: Strauss, Anna, harmonic analysis


m
197
208
221
232

Comment

Gm C]7 (= A7) D7
A[9
7

C7[9 )

Gm C]7 (=
=
D[/A[ A[7
F/A E7 F E7 F/C
A7 (= F7[9 ) B[m G]7 (= E7[9 = D[[9
7 ) Bm/F ]
Am/E F7 /C
d

G D7 C/E E7 Am D7
d

268

G D7 Em F ][9
7 Bm/D
E7 /D C]7 (= A97 ) F ]7
B B7[9 E7[9 B7[9 F ]7 /G] E7 /G]

274

E[7 /G A[ D7 Em Am7/C D7 G E7 A

252

290

D7 E[ A[/C
G/D Em7/D D7 Am7/D D7

296

G D7 A7 /G A7 /G Am7/G D7 G

K, Anna 1 theme
Anna 1
Anna 1 (contd)

L, Anna 2 theme
M, Anna 2
Anna 2 (contd)
Anna 2, Neap. key
Neap. interm. key (contd )
Dom-ped.

Table 11.6: Strauss, Don Juan 2, harmonic analysis


m
313
327
331
343

96

Comment

G G7 /F C/E G7 C/E G
F ]7
G G7 C/E C]7 /E F ]m D]7 /F ] G]m
[9/[13
G7 /D F ]7

DJ Heroic 2
Anna 2
O, DJ Heroic 2
P

11.1. OP. 20 DON JUAN

Table 11.7: Strauss, Carnival, harmonic analysis


m

Comment

379
386
402
409
417
421
430

D Em7 D D7 /C G/B D/A


E7 /G] A G A7 D7
G Am G7 G7 C7 /E B[ B[7 /A[ E[/G
C]7 /E(= A[9
7 ) G7 /B[ E[m A7 /E[ F m
[9
[9
G]7 B7 G]7
C]m F ]m E/B B7 /A E7 /A A
A7
Dm Am B[7 C7 /E C7 E7
[9
D[/F B[7 (= E7 ) A[7 /G[ F ]7 (= A[[9
7 = D7 )
[9
[9
C]7 (= A7 ) B7 /D(= C]7 ) B7 Em/B
B7[9 B[7 E7 C, /E[

Carnival 1 theme
Carnival 1 (contd)
Q, Carnival 1
Carnival 1 (contd)
R
S
T, DJ Heroic 2

447

B7[9 B7

351
365

U, Zerlinchen
Countess, Anna 2
V, Countess, DJ

Table 11.8: Strauss, Don Juan 3, harmonic analysis


m
474

Comment

C B E A]7 /E(= F ][9


7 ) E A E/G]
d

490

B7 C]m A7 /C] C]m C G]m7 G]7 (=


Bm F ]7 Bm/D F ]m7/E
G]7 /F ] B7 /D] E7 /B F ]m/A B79 /F ]

W, DJ Vigour, DJ Heroic 1
E7[9 )

508
510
521
529
537
543
549
556
569

E/G] B7 C]m E7[9 /F (= C][9


7 )
C][9
/E]

D/F
]
7
]5/[9
G7 /B E7[9 /D A/C] F ]7
E/B B7 E
E/B B7 E/B B7 /A E/G] B/F ]

X, Carnival 2
Carnival 2 (contd)
Carnival 2 (contd)
Y, DJ Heroic 2
Z, DJ Heroic 2

E A/E F ]m7 D]7 /G E/G] D]7 /G G]m B7 /A


E/G] B7 /F ] C][5
7 /E] F ]m
[9
A/E F ]7 Bm/D G7
C G7 C G7 C G7 E7[9 /B[
[5/[9
Am7 D/A A/C] F ]7 /C E/B C7 /B[
Am7 A7 B7 (= E7[9 /G])
F Dm7/F F/A B[/D F ]7 B7 E
6
E/B E7[9 /B B7 F ][9
7 E /B C7 /B[

Aa

Bb, Countess 2, Intro


Cc

A7 G]7 /B(= E7[9 ) F ]7 B7

97

CHAPTER 11. RICHARD STRAUSS

Table 11.9: Strauss, Death, harmonic analysis


m
586
596

11.2

Comment

Am F ]7 /A
Em

Dd

Symphonic poem Tod und Verklarung (1889)

Source: [27]. Form: Symphonic poem. See Table 11.10, 11.11 and 11.12 for the analysis.
Table 11.10: Strauss, Symphonic poem Tod und Verklarung
m
1
8
16
21
29
35
37
42
49
52
67
74
79
97
101
106
110
113

98

Comment

Cm

E[ Cm/E[
D7 /A[ Cm F m7 B7 /A[ F m/A[
D[7 /C[ C7 /E
E7 D D7 E[/G E[7
A[m B[7 /A[ E[[9
7

Pt. 1, c-ton-ped.
c-ped (contd)
A

M1.1
M1.2
M1.1
M1.2
M1.1

A[m
A[
C

M1.1
M2.0
M2.0
M2.1
M2.2
M2.3/2.2
M2.3/2.2

Cm

Cm

B[m
Fm

C Dm7/C B7
C7 B7 /F ] D7
G7
G7 C/G C7 F Cm/G D7 G[5
7
Cm D[m/F [
E/B D7 G
G[9
7
Cm G/B E7
F/A
Cm F7 /A
B[m G7
C7 D7 /A[

C
g-dom-ped.
D, g-ped (contd)
Pt. 2
E, g-dom-ped.


11.2. SYMPHONIC POEM TOD UND VERKLARUNG

Table 11.11: Strauss, Tod und Verklarung (contd)


m
118
125
129
133
137
142
144
148
150
155
158
162
170
187
198
201
207
215
227
231
236
244
247
257
263
273
277
285
290
296
302
310
317
321
326
330
335

Comment

M2.3
M2.4
M2.4
M2.4
M2.4

M2.4
M2.1
M2.2

M2.4/2.3
M3.1

Am
Gm

Imit.
H

M1.2

M1.2
M1.1
M1.2

M2.3
M1.1

M1.1
M1.2/2.0
M1.2/2.0
M2.0

Em
D
G

E7[9 /B B7 /A D7[9 /C Cm/E[


Gm F ]7 Gm
Gm E7 /D[ F7 /C B[m G7 /F [
A[7 /E[ D7[9 G/D
[9
D7[9 A[9
7 D7 G/B C7 /B[
F/A B[/ A[ E[/G A[[9
7 /G[
D[/F
Cm
Cm/G G7 F ]7 G7 C7[9
F E7 /G G7
F ]7
D7 /F D7
B[7 B[7 D D7
G6 Am7/G G F ]7 G
G7 Em7
F ]7 /E B7[9 Em A7
D Am7 D7
G D7 G E7[9 A D7[9
G
D7 B[7
E[ D Gm C7 F m B[7
E[/G D[7 /G[
G[ D7 /C F7 /A E[m/B[ A7 G7 /F
B 6 /F ] F ]7 B G]m7
C]m F ]7 B7 E C7 /E
C7 F D7
Gm G]7 C]m F ]7
A[9
7 /G D/F ] B[/D B7
E B7 E
B[7 /F D7 E
D7 /F B[7 /F [
E[7
E[7
A[ B[7 /A[
C/E D7 /F C7 /G
F m/A[ D[/F D7 /F E7[9
A D7 /A C]7 /E]

Cm

E[
G[
B
E
Gm

M2.0
M2.0
M2.3
M2.3/1.2
M1.2/2.0
M3.1

M3.1

A[

K
g-dom-ped.
g-ped. (contd)
g-ped (contd)
L
Pt. 3
Imit.
Imit.
M, imit.
Imit.
Imit.
Pt. 4
O
P
Q
Imit.
R

e[-dom-ped.
e[-ped. (contd)

99

CHAPTER 11. RICHARD STRAUSS

Table 11.12: Strauss, Tod und Verklarung (contd)


m
339
342
346
354
356
363
365
381
383

391
397
402
411
420
432
437
442
450
453
457
461
467
471
475
481
487
491

100

M1.2/2.3
M1.2/2.3

M3.1

M2.1
M2.2

D[

Cm

M2.2/2.4
C
M3.1
M1.2/3.1
M1.2
M3.1
M3.1
M3.1 1.2
M3.1/1.2
M3.1/1.2
M3.1
M3.1
M3.1
M3.1
M3.1

Comment

D]7 /F ] C]7 /G]


F ]m7/A
Em C]7 A7 /G F ]7 C][9
7
E G]7 /D]
D7
D[ E[7 /D[ D[7 G[/D[
F/A
Am7 D]7 /A A[9
7 G7 Am7 Am
Cm D7 /A
Cm/G Gm G7 F ]7
G[9
7 Cm/G
C7 F G7[9
F ]7
F ]7
Dm7 G7

U
Imit.

G7
G7 G7
C D7 /C E7 F B7 C
Am7/C G7
AM 7/G D7 /F ] G7 /F C/E
Dm7/F G G7
C A[9
7
D B7[9
G]7 F/C B7 E[ F7 /C
B[ A[
C/G
G7
C A[/C
C Am/C
C

a-ped.
W, a-ped. (contd)
a-ped. (contd)
g-dom-ped.
g-dom-ped. (contd)
g-ped. (contd)
g-ped. (contd)
Pt. 5, c g-ped.
c g-ped (contd),
imit. (augm)
c g-ped. (contd)
Y, c g-ped. (contd), imit.

Aa
g-dom-ped.
Augm.
Bb
Cc (501 m)

Chapter 12

Gustav Mahler
Detailed score analysis of the Mahler symphony movements was complemented with the
formal analysis presented in [6].

12.1

Lieder eines fahrenden Gesellen (1885)

Source: [10].

12.1.1 Wenn mein Schatz Hochzeit macht


Form: three-part song form, ABA. See Table 12.1 for the analysis.

12.1.2 Gieng heut Morgens ubers


Feld
Form: AABC. See Table 12.2 for the analysis.

12.1.3 Ich hab ein gluhend


Messer
Form: ABC. See Table 12.3 for the analysis.

12.1.4 Die zwei blauen Augen


Form: two-part song, AB. See Table 12.4 for the analysis.

101

CHAPTER 12. GUSTAV MAHLER

Table 12.1: Mahler, Lieder eines fahrenden Gesellen, 1. Wenn mein Schatz Hochzeit macht
m

Comment

1
5
14

Dm

Dm
Dm E7 /D Gm7 /D E7 /D
Dm C D7 Gm/D Dm

A 24 , d-ton-ped.
d-ped. (contd)
#1, d-ped. (contd)

[9
B[7 A[9
7 B[7 A7 B[

b[-ped.

B[

b[-ped. (contd)

30

M0
M1/M0
M2/M0
..
.
..
./M0
..
.

38

M0

E[/B[ A7 D7 /A[ G7 Cm
A[7 /C Gm/D D7
Gm

#2
g-ped.

22
28

44
57
64
71
74
77

89

102

M3

M4
M1
M2
M0
..
.
..
.

M0

Gm

E[
F
Dm

Gm

E[ F m B[7 E[ B[7 E[
Gm/B[ Cm B[
C7 F Gm C7

h i

h i
6
8

#3, e[ b[-ped.

#4, c-dom.ped.
h i

Dm Gm/D
Dm Am/C Gm/D Dm

A 24 #5, d-ton-ped.
d-ped. (contd)
d-ped. (contd)

B[7 A[9
7 B[ E[7 /B[

#6, b[-ped.

A7 D7 /A[ G7 Cm
A[/C Gm/D D7
Gm

#7, g-ped. (96 m.)

12.1. LIEDER EINES FAHRENDEN GESELLEN

Table 12.2: Mahler, Lieder eines fahrenden Gesellen, 2. Gieng heut Morgens ubers

Feld
m

Comment

1
11

M1

A #8, a-dom.-ped.
#9

23
27

M2

D
G/D A7 D A7 D/A Bm/D
Em7 E7 A7 D/A
G Em A7 B7 /A Em A[9
7
9
A7

30
39

M1

D
G/D A7 D A7 D/A
Em7 E7 B7 /A Em
A7 D/A A7 D/A
G Em A7 B7 /A Em A97
C]97 F ]/C] C]97 F ]/C] B

A #11, a-dom.-ped.
#12

B
4B
F ]sus
7
4 F ] B/F ]
F ] C] F ] C]sus
7

B #14, b f ]-ped.
#15
#16, f ] c]-ped.

F]
B/F ]
C]97
F ] B D]7 G]m C]7
F]

C #17, f ]-ton.ped.

51
56

M1
M2

64
75
85

M1
M3

103
110
118
118
124

M1

F]

M1

F]

#10

#13

(127 m.)

103

CHAPTER 12. GUSTAV MAHLER

Table 12.3: Mahler, Lieder eines fahrenden Gesellen, 3. Ich hab ein gluhend

Messer
m
1
5
12
20
26
32
41
46
53
62
65
68
75

M
M0
M1
M1
M2

M0

R
Dm

Comment

Dm
Dm
Dm
Dm
Gm
Gm

h i
9
8

B[ E7 /G] A7
D7 Gm A7
E7 Dm+7 Dm7 Dm6
E7 A7
C7 G7 Cm7 D7[9 Gm D7

#19, d-ton.-ped.
A, d-ped. (contd)
#20

M2
M2

G
G C G7 Gm+7 Cm Gm
C/G G7 Em C]7

B #22, g-dom.-ped.
g-ped. (contd)
g-ped. (contd)

..
.
/M0
M3
M0

C]7 D]7 C]7


B7 B[ D7[9
E[m/B[ A[m F7
E[m/B[ E[m

E[m

h i
4
4

#24

#25
(81 m.)

Table 12.4: Mahler, Lieder eines fahrenden Gesellen, 4. Die zwei blauen Augen
m

Comment

1
9
14
17
28
31

M1/M0
M1/M0
M0
M2

Em

Em D G B7 Em
Em D7 G F/A Am7 B7
Em
C Cm G[9
7 C
Cm C7[9 F m G[9
7
C Cm C Cm

A #26

37
41
45
50
57

F
M3
M3
M2

M0

104

Fm

Cm C7 F/C
F
B[/F C7 F B[/F C7
F m F F7 B[/F C7[9
F C7 F B[/F F C
F F B[m/F
Fm

#27
#28
B #29, c-dom.ped.
f -ton.-ped.
#30, f -ped. (contd)
f -ped. (contd)
#31 f -ped. (contd)
f -ped. (contd)
f -ped. (contd) (67 m.)

12.2. SYMPHONY NO. 4

12.2

Symphony No. 4 (1900)

Source: [11].

12.2.1

Mvt. 3 Poco adagio Ruhefoll

Form: ternary form, ABA1 B1 A2 Coda. See Table 12.5 to 12.7for the analysis.

12.2.2

Mvt. 4 Sehr behaglich

Form: song (Gedicht aus Des Knaben Wunderhorn). See Table 12.8 to 12.9 for the analysis.

12.3

Symphony No. 5 (1904)

Source: [12].

12.3.1

Mvt. 4 Adagietto Sehr Langsam

Form: ternary form, A1 BA2 . See Table 12.10 for the analysis.

12.4

Symphony No. 6 (1906)

Source: [12].

12.4.1

Mvt. 3 Andante moderato

Form: ABA1 B1 A2 . See Table 12.11 to 12.13 for the analysis.

105

CHAPTER 12. GUSTAV MAHLER

Table 12.5: Mahler, Symphony No. 4, Mvt. 3 Poco adagio Ruhefoll


m
1
11
14
17
21
23
25

Comment

M1
..
.

M2/M1
..
.

G D7 G D 7 G

A.a1,

A]7 Bm A7
D D7 /C G/B Am7 /C D
G D7 G

A.a2, countermelody

43
47
51
62

M4

29
33
37

66
68
70
72
74
76
79
81
84
87
89
93
98
107

/ Ms

115
119
123
131

M1
M1/CM

d-ped. pizz.

#1 A.a3

C/E E7 Am7 A7 D
Em7 A7 D E7 Am7 D7

Em

GD

A.b, d-dom.ped.

Em Am/C G/D G
C Am/C G/D D7
G D7sus4 G B

Trans., bells motif

Em Am/E Em Am7 /E

#2 B.a1

D7[9

G D7

Em7 D]7 C/E G/D


A7 /C] F ][5
7 /C Em/B B7
Em A/E Am+7 /E
Em F ]7 F ]m Em
Em Am7 /E F ]m7 /E Em7
C/E Am/E E7
d

Fm

Am7 E7 C7[5 /G[ B[/F G7 /F


C7 F m/C C7 Dm7 /C C7

e-ped., chr.desc.
B.a2, e-ped.
#3

Dm
Dm

D[7 F/C B7 B[7


Dm7 Gm/D
Dm
D7 Am E7 Dm B[7

Clim., chr. desc. motif


B.b
Closing theme

G D7 G/D D7 C/G D

#4 A1

Mc
M6/M7
..
.

106

G D7 Em7 /D G/B

M5
..
.
..
.
..
.

M4
M5
M5
M5
..
.

4
4

Bm G/D D7
G/B Am7 /C D7

M2/M1
..
.
..
.
..
.
..
.

M3

h i

h i
2
2

, d-ped.

D G B/F ] F ] Bm
d

A7 D7 Em Am D
G D7 G G/D D7
G D7 G C E7 Am

Development
Countermelody

12.4. SYMPHONY NO. 6

Table 12.6: Mahler, Symphony No. 4, Mvt. 3 Poco adagio Ruhefoll (contd)
m
137
143
149
151
155
159
163
171
179
183
188
192
195
197
199
202
204
205
207
210
212
222
227
230
234
236
238
243
245
251
255
260

M1

G/D D G/D D7 G D7
d

M1/CM
..
.

M1
..
.

M4/M5

M5
..
.

Comment
#5, diat. par. triads

G D7 G D7 /A G D7

Countermelody

Em7 G/D D7
G B7 /D] Em/G C/G D7
G D7 B[ B7 Bm

Ctp. dev.

Am/C F ]7 /C G/D D7
G D G D7[9
4
Gm B[sus
7

Trans.
h i

#6 B1 .a1 44 , Dev.
chr. desc.

E[
Gm

E[ Cm/E[ Gm/D
D7[9 D G Gm
B7]5 E]7 B7 A/C]

C]m

C]m/G] F ] F ]7 B7
C]m F ]m/C] C]m

#7 B1 .a2
Countermelody

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

#8
Clim., chr. desc. motif
B1 .b Trans., f ]-ped.

M4/CM
..
.

M4/CM

M5
..
.

F ]m

B7[5 /F B7[9 /D]


F ]m7
F ]m F ] D/F ] F ] D

M1
..
.
..
.
..
.

M1
..
.
..
.

G D7 G

#9 A2

D7 /A Bm D7 /A G D/F ]

Theme+variations

M1

h i
3
4

, d-ped.

B7 /F E7 E7 /B[ A

Cm/E[ A[5
7 /E[ D
Am/C Am D/F ]
G D7 G

h i
3
8

, Var. 1, d-ped.

D7 G/B D7 G Am/C
Am/C Am E7[9 F ]7 Bm
A7 D Am/C D7 /A D7
G D7 G D7 G/D C]7
D7 D]7

Var. 2, d-ped.

107

CHAPTER 12. GUSTAV MAHLER

Table 12.7: Mahler, Symphony No. 4, Mvt. 3 Poco adagio Ruhefoll (contd)
m
263
267
269
270
271
275
278
282
283
285
287
288
294
299
307
315
318
320
326
332
338
344
353

108

Comment

M1
..
.
..
.

E/B B7 E/B

#10

M5

M1
M5
..
.

2
4

, Var. 3, b-ped.

B/F ] C]/E] A]7 /E

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
G/D C]7 D
C/E A]7 Bm/D Dm7
E7 Cm D7
d

CM

M1
M3
E
M3/S1
MM3/S2
M5
..
.

M5

h i

Climax
Diminuition
Chr. desc. bass
Var.
h i 4, d-ped.
3
4 , Augmentation
#11, d-ped.
h i
4
4

G D7 /A G D7 /F ]
Em Am7 D7 G Am Dm
C G F C Dm7 C
G D7sus4 G

Motif m. 45
Bells motif, d-ped.

E
E6
E 6 E B7sus4
E 6 F ]m7

#12 Coda, climax


Bells and signals, e b-ped.
Bells+Signal motif
#13

Trans. (m. 37+m. 131)

C G F/C
DG
G/D Em G/D Em D
(353 m.)

12.4. SYMPHONY NO. 6

Table 12.8: Mahler, Symphony No. 4, Mvt. 4 Sehr behaglich


m

Comment

1
9
11
12

M1

G D7 G Am 6 7 6
D7 G/D C 9 D/F ]
C/E Bm/D Am/C
G D7 G D7sus4 /G G

Intro, d-ped.

17
20
22
25
31
35

V/M1
..
. /M1
..
. /M2
..
. /
V/Mv
..
. /M2

Am Am6 Am7
E7[9 /A Am

M3

M1

57
63
66
70
72

Vc

Em

76

M3

80
87
93

V/M1
V
V
..
.
..
.
V
..
. /M2
..
.
Vc

97
99
101
104
106
112

B7 /A B[7 E7 /A A7 D7
G D7sus4 G B G B
F ]sus4 /B B +5 6 7 Em/B

#2, V1.b

Bm Em Bm C Am

Close V1.c, diat.par.

Bm Am Bm D Bm G Bm
Am F F ]7
Em Em F7 /E Em Bm

#3, Interlude

Vc/

40
47
48

95

#1, Verse 1, V1.a

Bm
Em

#4

Em F ]7 /E F7 F7 Em
Em F C F ] B
Em/B F7 F7
B7 /F ] Am7 F ]7 Am
Em Em D

Close V2.c, diat.par.

Bm

Bm Bm7 C7 Bm Am

#7, Interlude

G
Bm

G D7sus4 G D9 G D7 G
Bm F ]m G/F ] D[/F ]
Bm/F ] C][9
7 F ]m

Verse 3, V3.a
#8, V3.e
V3.f

Em

Em Em+7 E7 A/E E +

Em B/D]
D/A A7 D/A E7[9

#5, Verse 2, V2.d


#6, V2.d

#9

A7 Dm/A Gm A[5
7
[5/[9 d

Dm

Gm A7

B[7 Am/C B[ Dm Am B[
Gm D(no3)

#10, V3.c, diat.par.


Trans.

109

CHAPTER 12. GUSTAV MAHLER

Table 12.9: Mahler, Symphony No. 4, Mvt. 4 Sehr behaglich (contd)


m
114
120
122
125
129
136
138
142
148
153
158
162
165
169
174
184

110

Comment

M3

Bm

M4
..
.

Bm
Em/B Bm Am C F
E
E C]m7 /E B7sus4
E B sus4 E

#11, Interlude
b-.ped.
#12, e-ped.
e-ped.
e-ped.

M 40

E G]7 /B] C]m/E B7


E B7 E

e-ped.

E B7 E F ]m
F ]m7 D]7 /F ] A D]7
E

#13, Verse 4, V4.a


f ]-ped.
#14, V4.a, e-ped.

G]m
E

E G]m D]7 G]m F ]m


B7 E
C]/m E B7sus4 B7 E
B7sus4 E B7

g]-ped.
e-ped.
#15, V4.g, e-ped.
V4.c

E B7 E

Coda, e-ped.
(184 m.)

V/M1

V/M1
..
.

V/M4
Vc/M4
M4

12.4. SYMPHONY NO. 6

Table 12.10: Mahler, Symphony No. 5, Mvt. 4 Adagietto Sehr Langsam


m

1
3
6

M1

12
16
19
23

M1

(M1)
M2

26
30
33

39

M3
..
.
..
.
..
.
..
.
..
.
..
.
..
.

44
47
52
56
60
63
68
72
74
78
80
85
91
95
99

Comment

Am
F Dm/C Gm7 /B[ F/A D[7 /A[
G7 D7[9 Gm F C4

A1 ([)

Am

F F/C E7[9 E7 F B[/D


Am/E D]7 E7
Am F/A Am
C7 /G F

(M2)
Cm

Tr.

Gm7 /B[ D7 /F ] E7 /G] F/A G7 /B[


F/C C7[9
F Gm7 /F F Gm/B[ C F

Asc. bass
Climax 1, c-dom.ped.

Dm/F B7 Cm

Cm/E[ C7 A7 /C F7
G[

E
D

9
G[ A[[9
7 D[7 E[m7 /D[

([[[[[[)

D[ A[ E[m7 /B[ A[7 /C

Mel. in 8va

B[m B[7 E[m A[7 D[7 C7[9

Climax 2 (%), desc. bass

E/B B7 E7

(]]]]), desc. bass


d

B7 /A Bm7 /AA7 Bm7 /A A7

(]]), a-dom.ped.

D+

E E7 /D
A7 G]7 C]7
F

M1
..
.

(M3)
M2

F/C Am7
F Dm7 /C Gm7 /B[
F/A D7 /A[ G7 G7
D7 /F ] Gm
F/A C4 G7 C
C7 /G F F/A Gm7 /B[
D7 /F ] E7 /G E7 /G] G7 /B[ B7
F/C (Dm7 ) F/C Dm7 F/A C7 /G
F

desc. bass
A2 ([)

c-dom.ped.
c-ped. (contd)
Asc. bass
Climax 3, c-dom.-ped.
(103 m.)

111

CHAPTER 12. GUSTAV MAHLER

Table 12.11: Mahler, Symphony No. 6, Mvt. 3 Andante moderato


m

M1
..
.

E[

E[ B[[13
7 E[/B[

5
8
10
14
18
21
23
25
28

36
38

M1
..
.
..
.
/M0

42
45
47
49

Mt1
Mt2
Mt1+2
Mt1

56
60
63
65

Mt1+2
M2

M3/Mt2
..
.
..
. /Mt2
..
.
..
.
/M0

34

68
70
72
75
78
81
84
88
93
95

112

M4/Mt1
.. ..
./.
.
/ ..
Mt1

A.a, Main theme


d

F7 F m E[ B[[9
7
[5/[9
C7 /B[ C7 /E A[m B[[9
7
E[ E[[9

F
/C[

B[

E[
7
7
7

#87, e[-ped., M1+Ctp.

Gm

E[ B[ E[ F m/A[ A7
E[m E[
Gm Dm Gm

M0: 3rd/6th-motif
#88 A.b

E[

A7 /G Gm
A7 E[/G A[7
E[ B[]11
7 E[/B[ F7 F E[

Seq.+Ctp. (imit.)
#89 A.a1

M1
..
.
/M0
M2/M0
..
.

Comment

B[[9
7 /A[ E[/B[ B[7

Em
Am
Em

E[ E[[9
7 F m7 /A[
E[ Cm7 /B[ Eb/G Cm G B[7

#90

4 E[ Cm/E[
E[ B[sus
7
F7 F m7 C[7 /E[ E[[9
7
A[/E[ D7 E[m
C[7 /E[ E[

#91 Trans., leap motif


desc. 8th motif

Em Am Em Dm F/C
Am Am B7 Am
B7 C7 Am7 B7 Am
Em F ]7 /A Em B7[13 /D]

#92 B.1, Dev. 1


Elegy
Seq.+Ctp. (imit.)

A/C] F ]7 /C E/B F ][5


7 /A]

chr. desc. bass.

[5/[9

B7
Bm

closing phrase

/A E/G] Em/G

Bm B[/D

#93

Gm+7 C7 F ]7 Bm7 Em7


Am7 /C F ][5
7 /C Em/B B7
[9/sus4
B7 F ]7
/B
6
E E9
B sus4 E

Ctp.+Seq. (imit.)
closing phrase

e b-ped.

4 E
B sus
7
[5
B7 G][9
7 F7

#95
closing phrase

#94 B.2, Pastorale,

12.4. SYMPHONY NO. 6

Table 12.12: Mahler, Symphony No. 6, Mvt. 3 Andante moderato (contd)


m
100
105
109

Comment

M1/CM
..
.
..
.

E[

E[/G B[[5
7 E[

#96 A1 , Main Th.+Ctp.,

F m7 /E[ B[7 E[ E[[9


7

e[-ped.

111
114

115

M5/Mt
..
.

Mt1+2
..
.

119
121
124
127
128
130
132
137
142
144
146
150
153
157
160
163
165
167
168
169
173
177
179
181
182

Mt1
..
.

M2
..
.

M2
..
.
..
.

M1/CM
...
..
.
..
.
..
. / Mt1
/
CM/M3
..
.
..
.

Mt2/1

F m7 /E[ A[m E[
[5/[9

F7 F m B[7 F7
[5/[13
A7 G7
/D[

B[7

C Dm7 /C C

#97 B1 .1, Dev. Misterioso

F/A G/B C
Dm7 /F C Dm7 /C C
A F ]m7 Bm7 /A E7 A

#98 B1 .2, Pastorale

Bm7 B7
A F ]m7 /A G][9
7 /A

a-ped.

[5/[9
B7 /A

Am

E7
A Bm7 /D E7[9 /D A Dm
A Am Em7/G F

C]m

Dm B7 Am B7[9
Am F ]7 /A D7 /A F ]7 /A
C]m G]97 F ]m/C]
C]7

9/[13
F ]7

F ][9
7

#99 B1 .3, Elegy


Seq.+Ctp. (imit.)
#100 B1 .4, Elegy
Seq.+Ctp. (imit.)

Bm

Bm7 C]7 F ]
Bm F ]7 B F ][5
7 /A]

Climax

B F ]m B F ]7

#101 A2 . Main Th.+Ctp.

B C]m7 B C/E
B/F ] F ]sus4 B/F ] Em
7

E[

B/D] G7 /D C]m

Desc. bass

F ][9
7 E]7
[5/[9
F ]7 B7[5 G]5
/C[
7 C F7
E[/G Cm7 Gm

#102

A[ B[7 /D Gm Cm7 F7

Seq.+Ctp.

B[7
F m B[7[9
[5/[9
A7 B[7 F7
B[7 B[[9
7

closing phrase

113

CHAPTER 12. GUSTAV MAHLER

Table 12.13: Mahler, Symphony No. 6, Mvt. 3 Andante moderato (contd)


m
185
188
190
194
201

114

M
(M1)
(M3)

(M3)

Comment

A[/E[ F7 F7 E[ F79 /A

#103, Coda, e[-ped.

E[/B[ G7 /B Cm G7
A[m F m7 /A[
E[
(201 m.)

Chapter 13

Sergei Prokofiev
13.1

Classical Symphony (1917)

Source: [16].

13.1.1

Mvt. 1, Allegro

Form: Sonata. See Table 13.1 for the analysis.

115

CHAPTER 13. SERGEI PROKOFIEV

Table 13.1: Prokofiev, Classical Symphony, Mvt. 1 Allegro


m

Comment

M1.1

11

M1.1

Cadential closing
Dev.

17
28
36
42
46
54
66
74

M1.2
M1.2
(M1.2)

D
Bm

M2.1
M2.1
M2.1

A
(C)
A
A

D A7 D A7
Bm D
C G7 C
F ]7 /B A
D A7 D F ]7
Bm F ]m Bm Bm7
E7 Bm
E7
A F B
A F C F C F ]m Bm E
A D7 Bm7 E7
A D7 Bm7 E7 A E7 A

87

M1.1

D A Dm
d

G7
M1.2
M1.2

A[
F

A[ E[7
F A7
F ]7 /B Em B7 F7[5 /C B

111
115

M2.1
M2.1

E
C

E/B B7 /A
C/G F ]7

119

M2.1

B/F ] F ]7 /E

123
127

M2.1
M2.1

G
C

G/D D7 /F ]
C7 /G F

142
146
150

116

M1.2

159
167
172
179

M1.2

187
191
194
202

(M2.1)
(M2.1)

Bm
D

Trans.
e-dom-ped.
Gr. 2

Imit.
Imit. (contd)
Mod. trans.

Stretto

M1.1

Mod. trans.

Modulating trans.
d

95
99
103

131

Exp. Gr. 1
Modulating trans.

Am C/G G7 Am Dm7 G7 C

Retrans.

C G7 C
F ]7 /B A
D A7 D F ]7 Bm

Recap.
Mod. trans.

B B7 C
Em7 A7
D B[ E
D B[ F

Trans.

Bm F ] Bm F ]7
G7 Em7 A 7
D G7 Em A7 D A7
D A7 D

Coda
Cadential closing
Cad. closing (contd)
(207 m.)

Chapter 14

Dmitri Shostakovich
14.1

Symphony No. 1 (1924-5)

Source: [25].

14.1.1

Mvt. 3, Lento

Form: ternary, ABA. See Table 14.1 for the analysis1 . The main element in this slow movement is the combination of chromatic stepwise movement (both in the lead melody and in
the bass and inner voices) and the melodic interval of the minor third (three chromatic steps,
also in the melodic brass motto and in lower voices). Although here only one movement
from the symphony is analysed, the same melodical material returns in the other movements.

14.2

Symphony No. 9 (1945)

Source: [26].

14.2.1

Mvt. 1, Allegro

Form: Sonata. See Table 14.2 and 14.3 for the analysis.

1
Analysis of this movement was suggested to me by Bill Dobbins, professor at the Eastman School of Music,
and jazz composer and arranger.

117

CHAPTER 14. DMITRI SHOSTAKOVICH

Table 14.1: Shostakovich, Symphony No. 1, Mvt. 3 Lento


m

Comment

M1

D[

D[ E[/G A[7

A Oboe lead (i chromatic


melody)

9
15

M1
M2

D[ E[ Cm C79 /E
Dm/F D/F ] B7sus4 E/G]

21
25
29
33
39

M2-M0
M2
M1/M3
M0
M0

G[/B[ F ][9
7
C/F ] A[[5
7 /D
D[ E[7 A[7
D[7
B[/D

44

M4

F ]7 /A] B7

47
51
59
63
67
73
75
79

M5
M6
M5-M0

M6

81
87
89
92
95
101

M1/M3
M0
M1/M3
/M0
M0
M1/M6

111
114

M1-M0
M0

118

]11/13

[#1] Trans., Seq.,


chr. asc. bass
[#2] Minor 3rd motto
[#3] Chr. desc. bass
[#4] Tutti
[#5]
[#6] Closing with echoed
motto
[#7]

Em

Em
Em
[5
F ][5
7 /A] B7
G[ E[ C
E7 G/C] F/D] F m7 F ]
B/F G]/E
Em G Em/B A
F ]7 /E A[[5
7 /D

B [#8] Vc+Db lyrical theme


[#9] Ob signalling theme
[#10] Hi strings, lyrical
[#11] Symmetrical roots
[#12] Brass
[#13]
[#14] Vc+DB
[#15] Clar.

D[

D[ E[ E[m F7 G[
E[/G A[7[9
D[
B[7 Cm7 G[/D[
B[/D
E[ F7[5 /B B[ A[97 A[]5
7

A [#16] Solo vln.


Tpt motto
[#17] Hi str + ww
[#18]
[#19] Echoed motto in brass
[#20]

4
D[ A[sus
7
sus
4
A[7
D[

[#21] Coda, div. str. + ww.


Echoed motto (120 mm.)

M5
M4

14.2. SYMPHONY NO. 9

Table 14.2: Shostakovich, Symphony No. 9, Mvt. 1 Allegro


m

Comment

1
8
12
16
22
30
37
45

M1.1
M1.2
M1.1

E[

E[
Cm B[7

Exp., Gr. 1, also I(M1.1)

B[7 E[7 A[
Am
Am G7
E[
B[ F7 B[ F/A

Bridge
Symmetric Harmony
Tr. 1
also I(M1.1)
Gr. 2, b[ f -ped.

55
68
76
82

M2.1
M2.2
M2.1

86
90
98
102
104
108
112
118
123
126
134
142
150

E[

M1.3

M1.1
M2.1

E[
B[

G
B[

B[ F7 B[ F m7 /A[ Em F ]7
G F ]7
B[ F7
A D B B[

I(M1.1)
M1.1
I(M1.1)
M1.2

G[
G F]

I(M1.1)
M1.1

A
B[

G[
Bm F ]7 D7 /F ]
F]
G7 /F ] A[7 /E[ B/F ]
Cm F ]7 /C Dm7 /C B7
A Bm7
Dm E[m G

C]
D
A

Em E7[10
C] E7[10 C]m E7[10
D
A E 7 A E7

M1.3
M2.1
M1.1
M2.1

g d-ped.
b[ f -ped.
Tr. 2
Dev., f ]-ton-ped., aug.
f ]-ped. (contd)
f ]-ped. (contd)
f ]-ped. (contd)
c-ped., bridge
a-ton-ped., aug.
a-ped. (contd)
Tr., oct.-sc.
g]-dom-ped.
a-dom-ped.
a-ton-ped., aug.
Retrans.

119

CHAPTER 14. DMITRI SHOSTAKOVICH

Table 14.3: Shostakovich, Symphony No. 9, Mvt. 1 Allegro (contd)


m
154
161
166
170
174
180
182
192
198
203
212
218
228
230
244

120

Comment

M1.1
M1.2

E[
E

Recap.

M1.3
M1.1

M2.1
M2.1

M2.2

E[

E[
C]m B
Gm
E7 /G] = B[7
E[
A B7 E
A[ E[7 A[ F m
A[ E[7 A[
E[m7 /G[
F B7 Em B[7

M1.1

E[

M1.1
M2.1
M1.1

A[

E[
G7
B[7
E[
G7 A[7 B[7 E[

Bridge
a[-ped., symm.
a[-ped. (contd)
a[-ton-ped.
a[-ped. (contd)
e[-dom.-ped.
Coda
Tr. 1

(247 m.)

BIBLIOGRAPHY

Bibliography
[1] J.S. Bach, The Six Brandenburg Concertos and the Four Orchestral Suites, Dover Publications, Inc., New York, ISBN 0-486-23376-6, 1976 5
[2] J. Brahms, Complete Chamber Music for Strings and Clarinet Quintet, Dover Publications, Inc., New York, ISBN 0-486-21914-3, 1968 55
[3] J. Brahms, Complete Symphonies in Full Score, Dover Publications, Inc., New York,
ISBN 0-486-23053-8, 1974 62
[4] J. Brahms, German Requiem in Full Score, Dover Publications, Inc., New York, ISBN
0-486-25486, 1987 51
[5] C. Debussy, Three Great Orchestral Works in Full Score, Dover Publications, Inc., New
York, ISBN 0-486-24441-5, 1983 69
[6] C. Floros, Gustav Mahler III: Die Symphonien, Breitkopf & Hartel, Wiesbaden, ISBN
3-7651-0210-5, 1985. 101
[7] C. Floros, C.M. Schmidt, G. Schubert, Johannes Brahms: Die Symphonien, Sudienbuch
Musik, Bestellnummer ED 8711, Schott Musik International, Mainz, ISBN 3-7957-87114, 1998. 62
[8] H.Gal, Schumann Orchestral Music, BBC Music Guides, British Broadcasting Corporation, London, ISBN 0-563-124323-7, 1979. 35
[9] J. Littlewood, The Variations of Johannes Brahms, Poetics of Music Series, Plumbago
Books, London, ISBN 0-9540123-4-8, 2004 62
[10] G. Mahler, Songs of a Wayfarer and Kindertotenlieder in Full Score, Dover Publications,
Inc., New York, ISBN 0-486-26318-5, 1990 101
[11] G. Mahler, Symphonies Nos. 3 and 4 in Full Score, Dover Publications, Inc., New York,
ISBN 0-486-26166-2, 1989 105
[12] G. Mahler, Symphonies Nos. 5 and 6 in Full Score, Dover Publications, Inc., New York,
ISBN 0-486-26888-8, 1992 105
[13] F. Mendelssohn Bartholdy, Major Orchestral Works, Dover Publications, Inc., New
York, ISBN 0-486-23184-4, 1975 27
[14] W.A. Mozart, Later Symphonies, Full Orchestral Score of Symphonies 35-41, Dover
Publications, Inc., New York, ISBN 0-486-23052-X, 1974 12, 13
121

BIBLIOGRAPHY
[15] W.A. Mozart, Complete String Quintets with the Horn and Clarinet Quintet, Dover
Publications, Inc., New York, ISBN 0-486-23603-X, 1978 7
[16] S. Prokofiev, Four Orchestral Works, Dover Publications, Inc., New York, ISBN 0-48620279-8, 1974 115
[17] M. Ravel, Concerto pour Piano et Orchestre, Editions Durand & Cie., Paris 87
[18] M. Ravel, Quartet in F major, for two violins, viola and cello, Score no. 539, Internationial Music Company, New York 73
[19] M. Ravel, Daphnis and Chloe, Dover Publications, Inc., New York, ISBN 0-486-25826-2,
1988 83
[20] M. Ravel, Four Orchestral Works in Full Score, Dover Publications, Inc., New York,
ISBN 0-486-25962-5, 1989 73, 76, 82
[21] F. Schubert, Complete Song Cycles, Dover Publications, Inc., New York, ISBN 0-48622649-2, 1970 15
[22] F. Schubert, Four Symphonies in Full Score, Dover Publications, Inc., New York, ISBN
0-486-23681-1, 1978 15
[23] R. Schumann, Complete Symphonies in Full Score, Dover Publications, Inc., New York,
ISBN 0-486-24013-4, 1980 35, 41, 42, 48

[24] K. Schweizer, A. Werner-Jensen, Reclams Konzertfuhrer,


Philipp Reclam Jun. GmbH &
Co., Stuttgart, ISBN 3-15-010434-3, 1998 1
[25] D. Shostakovich, Symphonies Nos. 1 and 5 in Full Score, Dover Publications, Inc., New
York, ISBN 0-486-28368-2, 1995 117
[26] D. Shostakovich, Symphonies No. 9 and 10 in Full Score, Dover Publications, Inc., New
York, ISBN 0-486-28801-3, 1995 117
[27] R. Strauss, Tone Poems Series 1: Don Juan, Tod und Verklarung, Don Quixote, Dover
Publications, Inc., New York, ISBN 0-486-23754-0, 1979 93, 98
[28] P.I. Tchaikovsky, Nutcracker Suite in Full Score, Dover Publications, Inc., New York,
ISBN 0-486-25379-1, 1987 65

[29] A. Werner-Jensen, Reclams Kammermusikfuhrer,


Philipp Reclam Jun. GmbH & Co.,
Stuttgart, ISBN 3-15-010437-8, 1997 1

122

Index
AAB form, 46
AABC form, 94
AB form, 94
ABA form, 4, 37, 38, 50, 59, 63, 67, 70, 74, 76,
77, 81, 94, 98, 110
ABAB form, 13, 24, 50, 59
ABABA form, 46, 98
ABAC form, 38, 70
ABACA form, 31
ABACABA form, 59
ABC form, 46, 94
ABCABCA form, 50
Baroque music, 1
binary form, 59

song, 98
song cycle, 13, 94
string quartet, 50, 67
string quintet, 6
symphonic poem, 63, 86, 91
symphony, 1113, 24, 31, 37, 38, 44, 57, 98,
108, 110
ternary form, 4, 6, 11, 12, 37, 38, 59, 63, 67, 70,
74, 76, 77, 81, 94, 98, 110
tonal centre, 1
tonal music, 1
two-part song, 94
voice leading, 1

concerto, 4, 81
form, 1
functional harmony, 2
harmonic progression, 1
Impressionism, 1
instrumentation, 1
melody, 1
modulation, 2
musical analysis, 1
orchestral music, 63, 67, 70, 76, 77
overture, 24, 59
requiem, 46
Romantic music, 1
rondo form, 6, 31, 38, 50
root cycle, 2
sequence, 2
sonata form, 6, 13, 24, 31, 38, 44, 50, 57, 81,
108, 110
123