YOUR NAME

Fanshu Sun

TH101: Model Composition and Tonal Analysis

ASSIGNMENT 24
Due Tuesday, December 4

1. EXAM PREPARATION QUIZ [DUE NEXT CLASS]

As you know, Sections 3 and 4 of your exam are built around a set of eight chord progressions. You’ve
already realized these progressions in keyboard style for HW21 and 22.

For this quiz, I will play ONE of the first three progressions and you will write down the progression in
Roman numerals and figured bass. To succeed on this quiz, you must:

• MEMORIZE the Roman numerals/figured basses of the first three progressions.

• Learn to recognize those three progressions by ear.

On Blackboard, under “FINAL EXAM,” I’ve posted two aids.

One is a sheet giving the “recommended voice leading” for all eight progressions, along with the
correct RN and figured bass for each. (You’ll be playing each of the progressions for a grade before
the term is over; that’s your last two homework assignments. If your HW22/23 had voice-leading or
chord ID problems, you should consult this sheet moving forward.)

The other is a folder of sound recordings of each progression. Though I STRONGLY recommend
memorizing these at the piano (remember—you’ll be playing them for a grade soon!), you can use
these as memorization tools as well. Or you can use them with a friend to quiz one another.

2. ANALYSIS [DUE NEXT CLASS]

We will spend Tuesday’s entire class discussing a song for voice and piano that Schubert composed in
1823—“Du bist die Ruh” (“You are repose”). A score is on blackboard, as are links to several excellent
performances. And the last page of the handout has the text, a fairly faithful line-by-line translation,
and a breakdown of how Schubert turns the poem’s five stanzas into a large three-part form (A+A+B).

Once you’ve read the text and gotten the song into your ears, you’ll be ready to tackle these analyti-
cal questions:

1. Schubert’s seven-bar opening features a bass line that descends through the upper tier (^1–^7–^6–^5)
and then candences on tonic. Although the texture is extremely spare, analysis is made a bit
tricky by an abundance of prominent non-chord tones. In the spaces below, give a RN/figured
bass analysis of the chord progression. Two hints: (1) all of the chords are from the Big 18; (2)
Schubert’s descending bass progression is not exactly the same as the one given in your “Step-
wise Motion in the Upper Tier” handout.

RN/ Figured bass

Bars 1–2 I Bar 5 I6/4(Cadential

six-four)

Bar 3 V6 Bar 6 V7

Bar 4 IV6
 TH101 – Assignment 23 (p. 2)

2. Give an exact RN/figured bass analysis of the chord in m. 16 (which recurs in m. 20 and elsewhere):

viio4/3 of V

3. In mm. 21–24, the descending ^1–^7–^6–^5 bass returns, and now it concludes with a tonic six-four (m. 23)
moving to V7 (m. 24). Whenever we’ve seen these two chords together, the I6/4 was always acting as a
a “cadential six-four,” which has a dominant function. However, many analysts feel that the I6/4 in m.
23 does NOT have a dominant function or merely serve as an embellishment to V7. Curiously, the
chord seems to feel...well...like a real tonic (despite its inversion!).

I’m curious if you agree. But whether or not you agree, I’d like you to listen to the passage carefully
and offer some thoughts, grounded in specific musical details, why we might not hear m. 23 as a
cadential six-four.

In m.23, the melody on down beat is E, a tonic. And the chord doubles the tonic, making it sounds like tonic
chord.

m.22-23 and m.24-24 can be considered as a parallel period. m.22-23 is the antecedent and m.24-25 is the
consequent. They can be considered as two separated unites and each of them ends with a cadence, so m.23
is not related to m.24. There must have a cadence in m.22-23, so m.23 can feel like a tonic instead of a
dominant.

4. In the B-section, Schubert moves from tonic E-flat major to the key of C-flat major (m. 55), where he
unfurls a chain of suspensions en route to the song’s climax. How would you describe the expressive
effect of this key change?

Before the key change, the music is sad and depressive. After it changes to C-flat major, it sounds more bright
and powerful.

And is C-flat entirely new—have we perhaps seen the note C-flat in some prominent place earlier in the
song? If so, where?

There's C-flat in m.24,26 m.49,51.

 TH101 – Assignment 23 (p. 3)

5. Schubert had lousy handwriting. And one of his worst habits was to draw accent signs REALLY big and
diminuendo hairpins REALLY small...so that they were basically indistinguishable. This has made
editors crazy for almost two hundred years.

And during those years, some scholars have wondered whether the diminuendos in m. 59 and 73 were
really supposed to be accent marks on the second chord. Imagine the song with the accent rather than
the hairpin. How would the artistic effect of the final stanza change? Might there even be a broader
impact on the song as a whole?

The stanza will end in forte instead of pp. The diminuendo hairpins make the stanza sound peaceful and
satisfied, while the accent may make it sound more strong and powerful.

The accent keep the song in a intense emotion, make its feature more like a man, While it sounds more like
song by a woman if using the hairpin.

6. In the most basic sense, this is a love poem. But so is the one that Schubert set in the song that
precedes this one in the Op. 95 set (”Das sie hier gewesen”). I’ve given you the opening of that song,
along with its first stanza, on the next page. A link to a recording is on Blackboard.

I want you to listen to the opening of that other song, and compare its overall mood to that of “Du bist
die Ruh’.” Use this comparison to consider what KIND of “love song” we’re dealing with here. What is
the general expressive tone or character of “Du bist die Ruh’”? If you heard this song without the text,
would you suspect it was about romantic ardor? Schubert could’ve set this text a dozen different ways.
What kind of additional layers of meaning does Schubert add to the text by setting it THIS way?

The mood of "Das sie hier gewesen" is happiness and peace; the mood of "Du bist die Ruh" is sadness and
longing. So the "love song" we deal here is a song of missing the lover.

The tone is missing and longing.

I will consider it as about romantic ardor. The song is in Eb major, and the mood of this key is deep feeling and
heavy. Also, the song is slow with many minor intervals, making it deeply attached.

Schubert put words that used to describe the lover( Friede, Sehnsucht, stillt,etc.) on Tonic to give them sense
of warm and back, to show the sense of belonging.
Words that used to describe the his own emotion and wishes( Schmerz, Kehr,etc.) are put on Dominants to
show his eager.

WHEN YOU’RE DONE, EMAIL THIS PDF DIRECTLY TO YOUR TA!

 TH101 – Assignment 23 (p. 4)

SUPPLEMENT 1: TRANSLATION and FORM

“Kehr ein bei mir” (”Come to Me” or “Stay with Me”)
Friedrich Rückert (1788–1866)
Translation © Emily Ezust [with modifications]

Du bist die Ruh’, You are repose, (I’ve used green type here to show
der Friede mild, the mild peace, correspondences between key words
die Sehnsucht du, you are longing, in German and English. Where there
und was sie stillt. and what stills it. were two such words, I used red as well.)
A
Ich weihe dir I consecrate to you
voll Lust und Schmerz full of pleasure and pain
zur Wohnung hier as a dwelling here
mein Aug' und Herz. my eyes and heart.

Kehr’ ein bei mir, Come to me,

und schließe du and close
still hinter dir quietly behind you
die Pforten zu. the gates.
A'
Treib’ andern Schmerz Drive other pain
aus dieser Brust! out of this breast!
Voll sei dies Herz May my heart be full
von deiner Lust. with your pleasure.

Dies Augenzelt, The temple of my eyes,

B von deinem Glanz by your radiance
(x2) allein erhellt, alone is illumined,
O füll es ganz Oh fill it completely!

SUPPLEMENT 2: SONG FOR COMPARISON Daß der Ostwind Düfte That the East Wind blows scents
“Das sie hier gewesen” (”That you were here...”), the song before “Du Hauchet in die Lüfte, gently in the air
bist die Ruh’” in the same published set. Dadurch tut er kund, makes it known to me
Daß du hier gewesen. that you were here.