A.schoenberg-FundamentalsOfMusicalComposition by Unknown

Author:Unknown
Format: epub

SMALL FORMS THE SCHERZO 157 tion are again repeated (m. 64-68) and then liquidated into scale lines (m. 70-78). A codetta, repeated and liquidated, concludes the movement. String Quartet, Op. 18/2, Scherzo. The A'-section contains an extended recapitulation. An enriched cadence starts in m. 22, within which, paradoxically, the end (m. 27-30), looks like a transposition of the beginning. There follows a codetta of four measures, motivally remote, which is repeated, interchanging the position of the parts as in multiple counterpoint. A smaller codetta (m. 38-39), repeated and liquidated, brings the movement to an end. String Quartet, Op. 18/6, Scherzo. A codetta begins in m. 30, featuring closely related motive-forms. After frequent repetitions, the rhythm is condensed to equal eighth-notes in m. 39, which are finally liquidated into scale lines and broken chords. String Quartet, Op. 59/2, Allegretto. In m. 17 the harmony settles down in a way that suggests the beginning of an episode, although it can also be interpreted as a kind of sequence of the preceding four measures. The segment, m. 21-28, repeated in m. 29-36 (where it overlaps the beginning of the recapitulation, m. 36) possesses the independence of an episode, but functions here as a remodulation (Neapolitan triad, followed by V and I). The A-scction ends on VII (the subtonic of e minor). Hence, the recapitulation is changed considerably and its ending reaffirmed with added codettas. The last of these (m. 48-49), an augmentation of m. 47, can be considered as a writtenout ritardando, such as performers conventionally supply to make the ending of a piece distinct. String Quartet, Op. 74 ( Harp Quartet), Presto. In m. 17 a long episode in the Neapolitan region begins. Its partial repetition remodulatcs. The recapitulation (m. 37) quotes only three measures of the beginning, and continues with a liquidating form of m. 3 to another episode on a pedal G (m. 43). This is partly repeated on a pedal ( (m. 51). A series of codettas follows, but the usual form of the cadence is avoided. One may venture the hypothesis that this is intentional to provide an opening for the transition (m. 423) which connects this movement with the last movement. Symphonies Nos. 1 , 2 and 4 also exhibit extensions in the recapitulation, and codettas. The last codetta in the Scherzo of the Second Symphony is augmented, like a ritardando. Symphony No. 3, Scherzo. The recapitulation, besides an extension, has a very long coda section (beginning in m. 115) comprising fifty-two measures, which elaborates and liquidates two codetta-like segments. Brahms, Sextet, Op. 18, Scherzo. In the recapitulation, the twelve measures of the A-section are extended to eighteen by stubbornly repeating a circumscribing figure while the harmony changes below it. Brahms, Sextet, Op. 36, Scherzo. The subdominant flavour of the A-section perhaps accounts for the deceptive use of a long ostinato around the G (1), and the false recapitulation beginning in m. 56 or 57. The real recapitulation (m. 69) is introduced by the very remote minor triad on F%.

Download

Copyright Disclaimer:
This site does not store any files on its server. We only index and link to content provided by other sites. Please contact the content providers to delete copyright contents if any and email us, we'll remove relevant links or contents immediately.