Arabesque analysis

Robert Schumann wrote his Arabeske in C major, Op. 18 in 1839 when he was 29 years old,
dedicating it to Frau Majorin Friederike Serre auf Maxen. He was influenced by Christian Schuburt's
book on musical aesthetics, in which C major, the key of the Arabeske, was identified with the
childish and simple, relegating more intense emotions to the sharped keys. The piece is in rondo
form (ABACA) with a gentle lyrical A section, 2 more intense B sections (minore I and II), and a
beautiful reflective C section (epilogue).
Theme
Pitch

 The piece is in C major

 Melodic line is generally in the middle of the
register, but it builds up chromatically,
especially in the first idea, which has an
upwards sloping contour.
 The second idea contains leads instead of steps and tends to
move down and up, instead of in a straight line.

Duration

 The tempo is quite quick- MM crotchet=152.

 The melodic line always has a dotted quaver-semiquaver-dotted quaver-semiquaver pattern.

 This pattern creates a slightly syncopated sound.

Dynamics and Expressive Techniques

 The dynamics are very soft to begin with (pp) but there are small crescendos throughout
each phrase which bring it up to a mf.
 Contrast is created in the accompanying left hand, which switches to staccatos as the theme

nears the end.

 Through the use of these staccatos, the legato, lyrical theme immediately becomes jumpy
and detached, as if awakening the audience in preparation for the next section.

Texture

 Homophonic texture- right hand plays the melody and left hand plays accompaniment
 Relatively thin due to minimal dynamics and lack of large chords.

Structure

 Separated into 5 bar phrases, with each phrase starting halfway through a bar.
Minore 1
Pitch

 This section modulates to E minor, with brief modulations to the relative major (G major)

.
 The melody moves up then down again towards the end of the phrase.
 Unlike the theme, this melodic line moves with large jumps, which can often sound out of

place due to irregular major intervals.

Duration

 The tempo becomes a little slower, indicated by the term etwas langsamer, which means a
little lazier.
 The note values also change to quavers and crotchets, in contrast with the semiquavers in
the theme.
 There is no variation of rhythm, as the whole section is played by straight quavers.

Dynamics and Expressive Techniques

 The dynamics are moderately loud, again increasing through short crescendos, which slowly
build up the dynamics until it reaches forte.
 The first note of the second half of each phrase is accented, demonstrating where the piece
climaxes.

Structure

 The melody is in 4 bar phrases, which can be separated into a 2 bar ‘call’, followed by a 2 bar
‘response.
 The first idea is repeated but developed differently in the repetition.
 There is a short antiphony between the right
and the left hands, which explore a similar
melody but in different clefs.

Texture

 Slightly thicker texture than the theme due to the use of chords.
 Still homophonic

Minore 2
Pitch

 Modulates back to C major

  Scalic progression of melody
 The melodic line is in crotchets this time, accompanied by the dotted quaver-semiquaver
idea first heard in the theme.

 The phrase is heard in

sequences twice.
o In the first sequence, the theme is moved down a major 3rd, starting on C instead. In
this sequence, the accompaniment moves in scales while the melodic line jumps
around, a reverse of the initial theme.
o The second sequence is a restatement of the theme, only moved up a fifth.

Duration

 The duration of minore II is very similar to that of the theme, except slightly slower (MM
crotchet=144)

Dynamics and Expressive Techniques

 Like the rest of the piece, the dynamics start out soft (p) then gets louder as each sequence
is introduced.

Structure

 9 bar phrases separated into 3 sequences.

Texture

 Homophonic texture
 Thin due to the slower tempo, soft dynamics and the single line meloldy

Coda
The coda stands almost completely outside the piece, using a theme of a sighing phrases to

bring the piece to a finish. The melody moves in small steps up and down and
is made up of minums and semibreves, creating a relaxing and tired atmosphere. Although starting
off softly (p), the coda continues to decrescendo throughout, while also gradually slowing down (rit.)
bringing out a warm tone colour in the piano. This tone colour is also created through the use of long

sustained pedal notes in the bass , which slightly thickens the texture just
enough in order to create the warm, magical ending.