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The Path From Tonic to Dominant in the Second Movement of Schubert s String Quintet and in Chopin s Fourth Ballade

The Path From Tonic to Dominant in the Second Movement of Schubert s String Quintet and in Chopin s Fourth Ballade

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Published by Jose Parra
The Path From Tonic to Dominant in the Second Movement of Schubert s String Quintet and in Chopin s Fourth Ballade
The Path From Tonic to Dominant in the Second Movement of Schubert s String Quintet and in Chopin s Fourth Ballade

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Published by: Jose Parra on Nov 22, 2009
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04/11/2011

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Yale University Department of Music
The Path from Tonic to Dominant in the Second Movement of Schubert's String Quintet andin Chopin's Fourth BalladeAuthor(s): Lauri SuurpaaSource:
Journal of Music Theory,
Vol. 44, No. 2 (Autumn, 2000), pp. 451-485Published by: Duke University Press on behalf of the Yale University Department of MusicStable URL:
Accessed: 22/11/2009 06:28
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THE PATHFROM TONICTO DOMINANTIN THESECOND MOVEMENTOFSCHUBERT'SSTRINGQUINTETANDINCHOPIN'S FOURTHBALLADE
LauriSuurpaa
IntroductionInFreeCompositionSchenkerbeginsthediscussionofthe middle-groundlevelbydescribingdifferentwaysin which thetonic-dominantspaceof theBassbrechung,hespacebetween the firsttwobackgroundStufen,can be filled in(Schenker1979,29-31andFigure14).This innersubdivision of thespacebetween IandVgreatlyaffects thetonalorga-nization ofmusic and Schenkersuggeststhat it alsoinfluences the form.Hedemonstrates hat thismotionmayencompasseitherall of thenoteslocated between I and Voronlyone or two of them.AlthoughSchenkerspeaks onlyabout the first level of themiddleground,imilarspace-fill-ing patternsalsooccur at more locallevels. Thisphenomenon,herefore,organizestheunfoldingofboth local andglobalmusicalspans.Example1showsthree commonpatternsof suchtonic-dominantmotions.Ineach of theexampleslal, bl1,andIclthere sonlyonenote451
 
b)c)1)
6I/I IIV
2)
I I6/IIVIII6/IVV IIIV
Example1. Three common I-Vpatternsbetween I and V: inlalthe basstraverseshespanvia3,and so the har-monic structure sI-I6/III-V;nIbl via4,the harmonicstructurebeingI-II6/IV-V;andinIclvia2,and theharmonysI-II-V. These funda-mental harmonicprogressionscangoverneventhoughtheremightbenotes otherthanthose shown inexampleslal, lbl,andlc. This can beseeninexamplesla2, lb2,andlc2,where the I-V motionsareentirelystepwise.2In thepresentstudyIshall discuss motivicassociationscreatedbyfilled-in I-V motions in twoworks: the second movementofSchubert'sC-majorStringQuintet,D.956,andChopin'sFourthBalladein Fminor,op.52. It would seemthat inbothpiecesseveral nstances ofabasicallystepwiseI-Vmotion,occurringat differentstructuralevels,createmo-tivic connections. Before such associations can beexamined,however,one must define the conditions underwhich these instances canarise. Itwould seem dubious tograntautomaticallymotivicsignificanceto alltonic-dominantmotions. Since such motions are souniversalintonalmusic,several occurrencesof them in agiven piecedo notnecessarilycreatesignificantconnections.That stosay,ifcertainphenomenaare tobe foundin alargenumberof tonalworks,theiroccurrencesnonepiecedo notyetcreate motivic associations characteristicofjustthatpiece.Nevertheless,fthereissomethingthatdrawsattention o several occur-rences of a commonphenomenon,these eventsmaycreateimportantconnectionswithin a work.If,forexample,similar chromaticelabora-tionsor innersubdivisionsnvariousI-V motions can befound,onemayspeakof motivicfactors that are characteristicof thegivenwork. I452a)

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