2 8 Vocal Forms Assignment 28.4 1, Analysis of a recitative-aria pair; Bach, * : and “Schafe konnen sicher weiden” (, Wein der Pales Opfer’ proviea Roman numeral ana for measures 4-10 o oe Ar rhs rectave modulate? enanags 9) 4-10 ofthe recitative. Begin in F major. To which key 7 1 und dt das ganze LandvomVivat shall, atch deatsché-neFéd fa Eh-rea Grow een evi ® ier ow i Vijiv iv? VoIP ‘anton: Andsine the whol land with "Via echoes even this eat eto honor ou Saxon hero to tity and passion B, Lookat the entre rectative in the anthology, along with the test's translation provided there, List two instances of text painting, and indicate how each is set. Students should identify two of the following: |. The word “Freud” (“joy”) in measures 8-9 s set with an ascending line of sixteenth notes (after Primarily eighth-note motion). 2 The insistent repeated "Nein! Nein!” (mm. 2-3) is declaimed on a ‘Spoken emphatically, eane. orange $3. There isan upward leap to “Vivat.” shouted or{ollows. In the second row, indicate sat . Listen tothe aria, and complete the form &F0F are tonally stable and which modulaton st lo, Which passages are tone fi I sshction oor Bevo a ems ror te besning nd ending uh oy sections that modulate, mark the Roman ® (acap) ca pa [voeal_[ at vocal 5-17 aya 21-26 | 26-30 [41 wm [e |[atoc |e = Tr pet [i 1 Il, Analysis of recitative, Handel, “Thy rebuke hath broken his heart, from Messiah, mm. 1-10 0. A. Provide a harmonic analysis on the piano to hear key changes, Expect direct modulations without cadential gestures Begin in F minor. 1 Tenor solo a score Listen tothe recording or work through the passage ath ta pivot chord; determine changes of ey y ‘Tip re-buke hah broken Hishear; Hes fall of heav-imess, Heit full of betray oles is S 2Wi (thing orvtiw © ‘Thy rebuke hath broken His heart; He look-ed for some wey VEE i BB, List three musical factors that help portray the sadness ofthe text. 1. The excerpt moves through a series of tonicized minor keys that provide harmonic tension by rising (F minor to G minor, ending the excerpt in A minor). 2. There isa stepwise chromatic descent in the bass line in measures 1=4, a typical way of depicting sadness, ‘3. The measure-long cadential 2:4 in measures 7-8 does not resolve, but moves to another dominant- function harmony ina new hey, as 4, The E5-Br4-E4 tritone motion in the opening of the melody and the many minor thirds may alS0 tepresent sadness, 896) Part IT Chromatic Harmony and Form Oe)r ou gsignment 28.2 oa Schubert, “Der Lindenbaum” 1, (anthology) tenn tthe song, read the poem by Withelm Mal for a agery Ua might be reflected int a aig a Peer iceataatN we musi. Then listen tothe song while following the sere ssl loes or does not match what you anticipated. poctiostructare «p the poem consists of six strophes, with th same rhyme scheme. rhyme scheme here, using lowercase letters: __abeb sate (What story does the poem ell? ‘ayvenderer nal is site of earlier joys, in the shade of a linden tree. Presumably, he met his tend there and they carved their initials into the bark. When he returns, however, the night !8 ‘and unwelcoming, and the call of the tree to find rest there is almost threatening (could “rest” mean death?) 5) What shifts of mood in the story might suggest contrasting sections in the musical form? wo might expect the musical treatment of strophes 3 and 5, with images of darkness and stormy wands, to contrast with the setting ofthe Second two strophes, with references to sweat dreams and fond memories. B, Musical form {a Inthe score, mark the beginning of each strophe, aswell as musical phrases, cadences, and sections {headin the chart on the back ofthis page. Trace the progression of keys, and relate any key change t0 the poem. Use the Comments column for observations on ext painting or any ther aspect ofthe setting (texture, repeated phrase, harmony, ete). (2) The setting ofstrophe 5 prolongs 2 mixtrechord—vhich one? How bas this element of mixture been prepared maseally by a prominent neighbor-tone motive inthe introduction and elsewhere? tive, or VI (mixture chord) to V. An expansion ofthis neighbor-tone | climax of the song: measures 45-58. Here the neighbor motive is res. It appears in the vocal ine as well ag in measures $0 $3 This element of mixture has been prepared by the CHB motive stated frat in tho introduction inthe righthand (m. 2, then Inthe lft (rm. 4), and nthe vocal ine In measures 16-19, The neighbor rate shifts tothe half-step version when mixture i introduced Inthe A’ section, where the motive tecomes CEB in measures 26 and 28. Another “foreshadowing” element Is the use of BF In the Introduction (m. 4), which hints at the prolonged Cto come. Strophe 5 prolongs the C#-B me motive appears at the emotional drawn out in the bass line to span 14 measu Chapter 28 Vocal Fornis 887EY a | ONES rounic | [uance [rams [MEASURES None | | TYPE. | staorHe | FORMAL | aoe section | 7 Emajor | HC Ritiog figure none | intro | 25 On tree : - PAC Statement of fagy 1 a la ee (objective) PAC Repeated phrase | T = 13416 (almost exeog | ; . ae HC Parallel period (gy, 21-24 PAC Scaring line with ~~. Pleasant memories E minor Minor key fores [none interlude 25-28 ‘add shadows PAC Dark night; triplets ’ y 29-32 Could A > lullaby Cyou wl find E Fy 3308 PAC. Repeated phrase ] a B 37-40 | Emajor | HO Branches rustle ] | | | ] Te T4144 PAC. Parallel period ] none very brief 45 bv interlude 15 B c 46-49 Dc Oscillates between Vi ‘and bVI; frigid wind | ld 50-53 no cadence} Wind takes away hist | (or HC?) none interlude 53-58 HC Horn calls 6 a a 59-62 Pac Return to simpler texture (strophe 3) a 63-66 PAC 6 b 67-70 He ] repeated | be 11-76 Pac. Parallel period with phrase extension none coda/ 77-82 postlude ac | __ Se (9898) Part m1 Chromatic Harmony end Formv Seite jgnment 28.3 nis: Brahms, “Die Mainacht” Q (anthology) ys 7 sist while lowing the sere in our anthology ryan form » sry describe the story ofthe poem. What do we know about the speaker and where the action takes 0) at does he oF She hea, ses and do? pel peraon is wendering sodly outdoors at night, contemplating lost love. The moon is shining on AB ps ond iawn, and the nightingale sings. The doves have found mates, but our character has not. ps2 a penker seeks @ darker, shadowy ares, and a tear runs down his/her cheek. oes the poem have a. consistent rhyme scheme? Are ther any recutrent images that might ave ations {for the form of the song? Js no consistent rhyme scheme that would imply a parallel musical setting. A recurring image of Treat however: might imply a parallel setting at the ends ofstrophes 3 and 4 3. Harmonic analysis {n) One way Brahms depicts the restlessness ofthe main characteris by avoiding the root-positon tonic (Fad on the downbeat. Wheres the frst downbeat oot-poston tonic triad? itappeers at the end of the song, on the last sylable the singer sings (m. 48). (2) Find each cadence, then list the measure numbers for each phrase inthe chart provided. Identify the cadence type and Key area, and include a Roman numeral to show the relationship to the main key of ‘hework Use the “Comments” column to indicate ifthe melody and accompaniment eadence in different nations, o other details, Then list the letters forthe main sections ofthe form in column 1. [rama Fon | wEASUHES | CADENCETRE | RE CONTENTS in 18 THC Fe major i o14 PAC, Fé minor (| Melody cadences in mm. 12-13: le accompaniment on beat 3 of m, 14 iB 1519 | THC D major ov 20-26 | THC Fi minor (@ | 2-32 | HC Fi minor (i) | Melody cadences in mm. 30-31; both minor | ‘and major cadential § present in m. 31 x 33:38 | THC Ff major (1) | 39-48 | PAC F¥ major (1) | Two measures of V7 before resolving | to tonic Codetts7 | 48-61 Fé major () | Tonle prolonged: ends with "Romantic tld plagal cadence,” fit-1 Chapter 28 Vooa! Formson. 0 de a Roman numeral analysis for measures ‘ ° (8) Pr umd die Noch - ti-gall 5 z ‘Translation: And the nightingale tas, wander sly from bush to bush (4) How does mixture in the harmonic progression in measures 9-14 prepare for the key change at 15? |n measures 9-14, the piece shifts to the parallel minor; almost every harmony is @ mixture chord ‘A.good number of Dis are introduced in measures 9-11, which prefigure the D major of the middle section (@ tonicization of a mixture chord: VD. (5) What dramatic harmony colors the climax in measure 45? What harmonies and embellishments prepare this chord in the preceding measure? Where has this harmony been foreshadowed (or prepared tonally) earlier in the song? The climax occurs on “heisser" in measure 45 tis an arpeggiated root-position Neapolitan harmory, preceded by a minor iv (colored by 8-8 and 4-3 suspensions) and V7/bI1 in the previous measure. This harmony was foreshadowed earlier by elements of mixture. Most striking is the Gk (3 ofthe tonic kay) fon "wende mich” in measure 22, arguably the musical climax ofthe B. section. Also, the secondary dominant to II (D-FE-A-C) was foreshadowed by the Di (mixture) in measures 9-14 and the key ofthe B section: D major. (© Choose three specific key words or phrases and be prepared to discuss in class how their harmonic setting, texture, contour, register, and other aspects reflect text painting. (2) “Traurig” (sadly; m. 11) leaps to modal Dt over a half-diminished chord, “Taubenpear” (pair of doves; m. 17): the piano RH is cooing (!) and LH is “paired” (two voices). (b) “wende mich" (turn away; m. 22) features a high Gi (b2 of tonic key) and dramatic leap down @ seventh. "Suche dunklere Schatten" (seeking darker shadows; mm, 23-26): At (k8) colors the chord ualities via mixture as the voice moves into a lower, darker register. (©) “einsame Tréne” (lonely tear; measures 28-30, 40-42) ig set with an ascending vocal ine, crescendo, 9-8 suspensions in piano; e point of high drama, Part IM Chromatio Harmony and Formjgnment 28.4 . jnatyis Honeel, “Bitte” , poetic analysis read the poem provided below the Orig he letters beside each line, PAB® 342, Analyze th ‘Ye the rhyme scheme with lowercase letters, quent ay not Conder "mir and fr g ‘hye; discse in cla 88. o ‘ting the scene in this poem, which might nduence the plete part gidents should Ist three ofthe following 8, explain how each is set using mixture. fo Measure 2, “dunks” (ard), eot withi6 {«) Motion through VI and HI in measures Myo slone hol sway forever and ever {@ AIM returns in messure 13 to the seme text. 8 highlights “untathomably west night” and (gn measure 12, the voice has an eccen sweet night.” ted incomplete neighbor tone on Cb G8) to highlight B. Harmonic analysis ( to the song while following the score, the n provide a Roman i 9-16, Circle the Roman numeral of ti ‘numeral analysis in A> major for 9 of any chord whose quali cabelising tones. For example, the first splable of “ise” in ‘a ee, ao Hint: Watch for ‘pa the harmony from the eighth-note second sable. Meas rea git aiioaty ia ie C. Form {@) Compare the form of the poem’ first strophe with the form of ts setting. i ‘onsider the punctuation and whether Hensel made any changes. Is there bs bs case pare? ee e . Is there a cadence at each line ending? ‘ite es” or no” beside the text to identify where Hensel employed cadences, then identify the cadence typeon the score, (0) The form of tis song is (circle one): ABA’ AAB through-composed armonie choices in measures 9 and 13, propel the song forward and correspond with ‘text? How might an’ ‘understanding of the cadences affect your ‘performance? proached from a Cs dominant seventh chord—Vi/8VI, setting up @ deceptive cadence with mixture—but the tonic pitch is harmonized with a secondary dominant to iv. This ntiates a repetition ofthe text that leads to another deceptive cadence—this time with a lowered eae ntore chord) inating another partial repetition tothe ia rather wack aver cadence (vii24-1), In performance, the hierarchy of these ‘cadences should be made clear by means of sree timing inthe ial cadence, Messe 9 might inate forward maton 19 the repetition, and measure 13 might be colored more darkly forthe mixture chord. (o)How do the hi repetitions in the inmeasures 8-9, the cadence is apy ‘Chapter 28 Vocal Forms | S44@uve Owe @ D1 “Bitte” “Please” Cadence? ‘Weil’ auf mir, du dunkles Auge, a ‘Dwell on me, you dark eyes nO ‘Ube deine ganze Macht, b Exert your entire power, yes Emste milde triumerreiche, © Solemn, tender, dreamy, 0 ‘Unergriindlich siisse Nacht. b ‘Unfathomably sweet night. _ yes ‘Nimm mitdeinem Zauberdunkel ‘Take with your dark magic no Diese Welt von hinnen mir, e ‘This world away from me, yes. ‘Dass du iiber meinem Leben, Binsam schwebest flr und fr, ‘That over my life no ‘You alone hold sway forever and ever. _ yes EF B42) Part Chromatio Harmony and Formassignment 28.5 is: Schubort, atin a est, musical texture, and form “Dor Nougioniggm "90" (“Curiosity”), from Die schone cyde tells the story of a young mi isso ng mil peat ofthe millers acghten des kt! Wtnered bcd bok toa cl, wh ‘phe rhyme scheme for each strophe is 0 | BuGussicNeaNT : SOLAR IDEAS SomLARTO —T cuARACTIRISTICS SHARED flower, star, 2 amen Strophes 1 and 2 share — nature images ‘gardener, star, 1 a ; Proinessn nial unanswered question 5 brook, brook, silent, 5 Sera laa eae Both ere addressed to the brook ‘brook? self? | possi a ovale inert | nee Stands alone in providing | guestion possible answers [5 brook, brook, strange, 3 Same first ine; similar last then self _ | asks question two lines {@) Now listen to the song, and locate the setting foreach strophe. For each, provide a formal designation (A,B,C, ete) and measure numbers. STROPHE: 1 2 3 4 [5 | intro | A A 8 c a postlude masunes: | 1-4 5-12 jaar [asse [sca [4sse | 52-55 (#) What “character” is represented by the piano accompaniment figures instrophes 3 and 5? The flowing sixteenth notes represent the brook addressed in these strophes, (6) How does the musical texture of strophe 4 differ from the rst, and what is the significance ofthis change of texture? This strophe is set with a recitativertke texture. Here tn strophes 3 and 5, is silent, and the voice is accomps eighth and sixteenth notes over sustained chords in m ‘The singer's melody contrasts the two possible answers the babbling ofthe brook, portrayed by sixteenths anied by sustained chords. The voice sings rapid reasures 33-34, more like recitative than Lied. to.the question: “yes” (FB) with “no” (D8). Chapter 28. Vocal Forms1B. Harmonic setting Jon might represent asking a question? COT in party CO What apes ofthe harmonic motion ih ST nse PTE 5 ae nomsteet ‘a subphrase on the highest pitch this fap jon, end hd Measures 1-2 seem to be asking thegiiry (measures 6-12 and 19-20) both mov from teh ease an ically the act of asking @ question. Further, tne hen, ‘tenicized dominant—perhaps representing harmon! : eyboard interlude after the second phrase ends on ‘asking a question and getting no answer. an unstable V7 followed by silence, as thoy 2) The meter, tempo, and aesmpaniment patterns change when the singe dre the bodk ey zm. 28). Where is there mode mixture in this passage, and what does it in ‘The mode mixture, in measure 25, may represent the brook not ai fey ba foreshadowing of the word “Nein” in measure 35, since both feature the D4. (3) What key area appears with the word ‘Nein’ (no) in measure \key? How is the modulation accomplished? ae IVT of B major); the rrodulatin i get ‘When “Nein” is sing, the key changes abruptly to G major toby os ofS maar wih anes deat thelaverd suman. The le ead facilitated by the common tone (G0 between the chords. (@) Provide Roman numerals for measures 40-42, beginning in G major. How does Schubert get back tp ‘the tonic key in measure 42 forthe question tothe brook? () 35? How does it relate tothe previons G wievi=fo or B: Gr vi j ‘The modulation back is by @ Gré (GI-D}-EE-B), which results from adding an E¥ to @ G major chord, resolving to a V3:§ in B major. (5) There is one last surprising harmonic twist inthis song, in measure 50. What chord represents the ‘answer to “Brook, does she love me?" The singer does not take that answer as the final one, and repeats the ‘ending of the phrase to attain a tonic endence. What do you think the answer is: ja” or “nein? Instead of the expected tonic chord in B major in measure 50, the bass slides up a half step to Fx, bringing in @ Vivi (DEF ACH), which resolves to vi in an enhanced deceptive move before repestng ‘and resolving to B major. Given the poetry and songs ofthe rest of the cycle, the answer's surely “no- The emphasis on mixture throughout this passage and the Dk of “nein” imply that thsi the Part IIL Chromatic Harmony and Formment 28.6 . pssia™ mélodio: Fauré, L pronch “Aprés un réve,” mm, 24-30 ie ge a Roman numeral analysis fo the fll — prow forthe following passage. oP ts en-tvow-vraiet leurs nu = 6s, aplen = Ns wy ve I Nf ne ‘ ean The shes parted her oud ors splendors unknown, dn ight lined. gudents may hear the major-quallty toni triad In measure $0 as moving toward a toncization of Fr pareulrly when the Bb (the seventh ofthe chor) entersonthe last beat (not shown here) B, List three harmonic features that give this passage a characteristic sound quite different from the Geman Lieder you have studied. Explain what is mmusual about each Students may list any of the following: +. The minor key is given @ modal flavor by avoiding the leading tone in measure 25; rather than. employing the diatonic VII chord, Fauré has eltered the quality to 0 minor vi chord 2, The downbeat of measure 26 has an augmented triad although it might be explained via embelishing tones, the augmented triad occure elsewhere inthe song and is part ofthe style. 4. The secondary dominant to iv in measure 26 instead goes to Neapolitan chord. The Neapolitan ire 29 with a seventh added, which is unusual, harmony reappears in measu ‘The cadence ofthe phrase (mm. 29-30) is ofa Romantic plage type witha hal-diminished fi-chord substituting for the dominant in moving to the toni Chapter 28 Vocal Forms | 948«Neue Liebe, newes Leben” 0) yrreading the poem in yur antholog Think ig, i t ight interpret them musically if yoy, yell as the ways you mis] eae Were the structure and meaning ofthe tet swe ay She ceore Appyal he sls you hae devel the composer. Next, listen to hel sone eng endl cee, oes, ng Ped in recent chapters to analyze form, harmony, phrase struct text ph numbers, reproducing musical examples yg, painting. Support each point you make by giving measure analytical markings, or erating charts or graphs. U., Analytical writing: Hensel, “Now in ‘Write e short analytical paper about this song: Begi ‘Your essay should include the following: its re ‘+ A deseription ofthe form ofthe song an ‘and musical rhyme, poetic and musical strophe structure, obj characteristics of contrasting sections, andall changes of Key, he detailed harmonic analysis ofa least two sections of your choice, with a discussion ofthe dramatg eae of any mixture or chromaticism and its possible relation to the text, + Analysis of motives, text painting, and/or embellishment of repeated motives. 2 i piano accompaniment, including chang discussion of the relationship between the vocal line an t Derwent boas ine sng pope snd chang oftextare that respond wih form ents on how your analysis ofthis song, ¢ A discussion ofthe dramatic structure, including comments 0 may have enriched your ideas about its interpretation and how you would shape the large-scale structure of your performance, Jaton tothe form of the text, including rhyme sch abjectve versus subjective lines of ex, Form of song: A B A’ Form of text: three strophes, each with a rhyme scheme of ababccdd. The abab rhyme scheme is terpreted by Hensel as a paralel phrase structure (compare m. 2's “geben” with m. 6's *Leben," for ‘example). Likewise, the two e's are parallel (compare “liebtest” in m. 10 with “betrabtest” in 12), as. are the two d sections, The large-scale structure of each verse might be interpreted as two-part, A (abab) B (ccdd). With three strophes, we might expect the song to be in strophic form, with each verse having an A B form, Instead, Hensel presents a large A B A’ form forthe song, where the inital A corresponds to strophe | and the first half of strophe 2. The contrasting B section (m. 26b) sets the second half of Strophe 2 and the frst half of strophe 3. The B section is marked by @ change from the arpeggiated accompaniment of the opening to driving reiterated chordal accompaniment. The return of A’ {r. 560) sets the second half of strophe 3; n order to balance the length ofthe initial A section, A’ incorporates a great deal of text repetition. The A section moves from tonic to the medient (D miner ‘and back: B begins in the tonic and moves to the relative minor and stays there, The retum of A’ ‘marked by a return to the tonic key. Students may wish to dlacuss the sequential nature ofthe melodies, Text painting includes use of chromatic incomplete neighbors to highlight significant words: licbtest« (loved) in measure 10 and “betrubtest* (troubled) in measure 12; reiterated chords and a descending chromatic bass line to Portray °y | rush to scape her”: the melodic downward leaps messure 26 and 30; and the unexpected half:note rhythms of meso ,