Das Wandern, from Lieder by Schubert
strophic song,
simple harmony: moves back and forth between I and V
Erl Konig
conversational: tells a story( 4 voices…child….father….erlkonig…..narrator)
narrator frames story by coming in at the beginning and the end
this was revolutionary because of the piano part
it isn’t a strophic song even though the poem is
music isn’t the same for voice
unusual phrase structure
1. In der Fremde (I)
During the coda, there is dissolution.
He takes the essence of the material, keeps the foundation, but not the ornamentation.
The dissolution occurs before a cadence.
Inverted counterpoint.
Texture: consists of interesting piano arpeggiation style.
M.13 piano doubles the voice.
Accompanimental line never changes throughout the piece.
2. Intermezzo
Off beat rhythms between the piano and voice, creating and instable

relationship between the vocalist and the pianist.
The melody is transferred from the voice to piano and back,

Hire a custom writer who has experience.
It's time for you to submit amazing papers!

order now

intertwining the two musicians.
The second verse has extreme tonal instability, allowing word

painting and driving the piece towards resolution.
Begins on an unstable I 6-4 chord.
Voice and piano have their own melodies.

3. Waldesgesprach
The only piece that is conversational(lyrics)
The part of the male is in E major, and the witch’s key is c major, but she steals his key later in the piece( she is mimicking him, mocking him by stealing his key and words)
4. Die stille
V1 = Professing happiness to world
V2 = Introspective
V3 = Modulates; wishes he was a bird; pleas for freedom [Waltz displays happiness]
Texture: Piano doubles voice most of the time; mm. 16 becomes denser harmonically (blocked chords in from beat to beat)
There is a tag = used to extend phrase, popular in jazz
Added tritone 2nd measure from the end
5. Mondnacht
Story – The sun has set, moon is up, describes nature and bird
every phrase untill the last one is an antecedent(ends openly)
Strophic – Music is the same for each verse (*hymns are most known strophic pieces)
Doesn’t begin on tonic
Contains augmented octave (Ascending/Descending melodic minor scale)
Intro foretells the text, a frame of the song; descending harmonically
mm. 47-48, intro repeated
6. Schoene Fremde
texture: constant 16th notes in right hand till 3rd phrase where left hand enters on 16ths
Constant texture driving forward
Bass doubles/echoes melody in different intervals
Text: Longing for lover/homeland, sounds hopeful
Contains open antecedent
Bass and soprano doubles 6th
7. Auf einer Burg
subject: trapped in a castle, describes what he sees: knight in the castle, wedding that passes by(bride weeps)
harmony: a minor not C. (avoids the tonic)
8. In der Fremde (II)
Strophic Form
Piano has its own movement & motif
two ideas going on in the tonality
Majority is in C Major, but the half cadences are in a minor
9. Wehmut
Intro’s (mm.1-2) is insistent throughout piece
Octaves for sixteenth notes; boom-chuck motion for the eighth notes
Open-ended phrases; clear antecedent and consequent
M25 kind of closed consequent
Elision into coda
10. Zwielicht
The piece begins harmonically ambiguous. As the piece develops, the harmony becomes more clear and obvious.
builds antecedent phrases on top of each other(keeps the listener on edge) which reflects the subject of the piece( very paranoid EX:“ if you have a favorite, don’t let it graze alone)
Textural development – the piece starts in a contrapuntal texture and ends with a chordal texture.
The piano accompaniment contains the melody within it.
11. Im Walde
key structure is odd. doesn’t depend on diatonic tonal relationship goes down a step abruptly
unusual form A repeats but changes to an unrelated key B which is more stable, then just ends
texture: end es away: prominent rhythm dissolves like his memories( the lyrics are about his memories)
12. Fruehlingsnachtsolidly in a single key( non -modulatory)
solidly in a single key( non -modulatory)
texture: dense but organized (16th note triplets are almost always there)
words: very final “she is yours, she is yours” but the music does not reflect this
The first piece was in f# minor and this piece is in F# Major.
Intro, A, B, Intro, A’, Coda
(13). Lied
avoidance of tonic
strange phrase structure
bass-line avoids downbeat for an extensive amount of time
A 9 m. long divided by 3 bar phrases which is odd (like a palindrome)
Music for strings, Percussion and Celesta
follows a pattern back and forth circle of 5ths
EXCEPT for the mysterious c sharp…
gets stuck on e flat emphasized and repeated(because it’s the furtherst away from the starting TT and it’s the climax of the piece
no real key
reverses pattern(reduced to a 1 note pattern) inverts contour of original melody fragmented
La Mer
Not written in a specific key, is tonal but without having a distinct tonal center ?
Very rhythmically unclear. No specific down beat to follow.
Few specific motifs to follow, they show up for a very short amount of time, but re-appear throughout the piece
Uses pentatonic scale
New melodies without transposition
ABA form on both macroscopic and microscopic levels
Phrases end the same way they begin
difficult to write because it was the first piece he wrote after his partner died 🙁
structure: beginnings= endings
Das Buch Der Hangenden Garten, Schoenberg
piano doubling and imitating
piano part: takes until m. 15 to cadence(different from voice) goes all through next phrase
ending of 1 phrase is the simultaneous beginning of another phrase
Invertible Counterpoint
Two melodies which can switch position from top to bottom + bottom to top and still maintain good (?whatever that means?) counterpoint rules.
The relationship between two or more voices independent in rhythm and contour and interdependent in harmony.
Passing Tone-
Approached by step
Resolved by step in the same direction
Neighbor Tone
Approached by step
Resolved by step in the opposite direction
Approached by skip (cats)
Resolved by step in the opposite direction (kittens)
Incomplete Neighbor Tone
approached by a skip
resolved by a step in the opposite direction
Direct 5th’s
When soprano and bass move in similar motion and the soprano skips and lands on a perfect fifth with the bass.
Melodic Inversion
Each interval of a melody is inverted so that the end results in a mirror image of the original.
Escape Tone-
Approached by step
Resolved by leap in the
Strength is weak
Pivot Chord
chord that occurs in the key you are modulating from and the key you are going to(shared chord tonic and modulatory key)
Harmonic Rhythm
relative duration of chords
Cross Relation
adjacent chords: different chromatic versions of the same note in different voices EX: G sharp and A flat
Contrary 5th
2 voices move to a 5th in contrary motion
Augmented 6th
has a +6 interval
solved by .5 step in contrary motion to the dominant octave
3 different kinds: FR. GER. IT.

French: Built with two tritones from the augmented sixth interval
German: Dom7 built on the interval
Italian: built with the tonic of the key

Approached by unison
Resolves by step downward
the way this class makes me feel
Approached by unison
Resolved by half step upwards (?)
Approached by step
Resolves by unison
A phrase which ends relatively open + requires a consequent to end it
Phrase that follows on antecedent
Has sub-dominant function; In first inversion; triad = built on lowered 2nd scale degree
Contrapuntal Inversion
Two voices move along and eventually top switches to bottom & vice versa
Basic layout of Fugue
Exposition = The entrance of all voices n subject episodic material, transitional/Developmental
Restatement of subject, or main theme
May include short coda to balance piece
Episodes/Middle entries