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Assignment 1
main theme, which Mahler uses liberally to compose the movement. For the intents of
this assignment, I will be referring specifically to measures 1-38, and measures 72-103.
The main theme in this movement is essentially just an F major scale ascending
Each time it occurs, it is played twice: the first iteration is in the first violins, after
which point the melody moves to another instrument. In measure 10, it is the
violoncellos, whereas in measure 86, the second violins start the melody, which is then
A few differences are immediately discernible between the opening A section and
the returning A’ section at mm. 72: First is the fact that in the opening section, the motive
appears three times- the first as an antecedent, the next as a consequent that actually helps
the modulatory process from F major to A minor, followed by a perfect authentic cadence
in A minor (mm 19), and the third as a second “consequent” (mm 23) back in global
tonic. However, when compared to the ending A’ section, you see that there are only 2
iterations of the motive- the first at mm. 73, and the second at mm. 86. One can infer that
this is the case because this passage does not modulate- so there is no need for a second
consequent phrase.
Another, perhaps less easily noticeable difference in the two passages is the
melodic contour: Unlike mm. 3, where you have SDs (1 4 3 | 3 2), mm. 75 changes it
on melodies. However, Mahler also achieves this effect by changing the texture of the
strings in mm. 78. He writes in a pizzicato for the violoncello and bass, mostly plucking
once every other beat, whereas in the opening A section, only the bass plays pizz.
Another consequence of this technique is that the melody gives a “lighter” impression,
This essay has demonstrated how Mahler’s use of a single theme with some
variety results in the creation of an entire movement. It has shown many, but not all, of
the instances where Mahler uses the motif developed in the beginning of this movement,