Musical - Analysis (Obras Analizadas)

n œ œ œ œ œœ ..
∑ c œœœœ
œ.
∑ c n œœ œœ œœ œœ œ .
œœ œœ # œœ œœ œœ œœ ˙
c ˙
#œ œ œ œ œ.
∑ c
f
œ œ œ.
∑ c œ œ
f
c #œ œ œ œ œ.
a2
∑
Œ c Musical Analysis
n˙ ˙
Œ b ˙˙ c ˙˙
f Visiting the Great Composers
Œ ˙˙ c ˙˙
f
Œ c
6th Edition
f˙ œ œ
n˙ ˙
œ œ c
œ œ ˙˙ c ˙˙
œ #œ œ n˙. c ˙
˙. ˙
œ #œ œ ˙. c ˙ Frans Absil
b ˙˙ .. ˙˙
˙. ˙
c
b ˙˙ .. c ˙˙
∑ c
∑ c
c
b˙. œ œ
b 13/ # 11 b 13/ # 11
œ #œ œ ˙.
E7 E7
c |
œ.
œ œ œ œ c n n œœ œœ n œœ œœ œ .
œ œ œ œ œ œ œ œ bœ nœ œ
∑ c
Œ b˙ c Œ bœ
y y y y y y Y
c æ
Œ ˙ c œ œ
æ æ æ
f c ˙
∑
Suspended cymbal
fæ
n ˙˙
œ n ˙˙ c nœ œ œ œ œ.
Colophon
This musical analysis book contains compositions from the classical
symphonic and chamber music repertoire. It includes many master-
works by the great composers from the tonal music period.
This document has been created using the public domain LATEX com-
puter typesetting program. The navigation links (printed in blue) in
the Adobe Acrobat Reader file (the pdf-file) were created using the
hyperref package from the LATEX distribution.
Full version:
This is the full version of the e-book.
Current edition:
Sixth Edition, 2017, Vs. 6.1.
Note to the document owner:

This copy of the full edition has been issued on June 13, 2022 to
Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com) for per-
sonal use only. The owner agrees to respect all copyright restrictions.
Musical Analysis: Visiting the Great Composers, 6th Edition, Frans Absil
2005-2021
c F.G.J. Absil, the Netherlands.
URL Website: www.fransabsil.nl
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by
any means, electronic or mechanical, including photocopying, recording, or any information storage
and retrieval system, without prior permission in writing from the Author.
ii Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com)

Contents
Colophon ii
List of Figures xvi
Preface xxiii
1 Introduction 1
1.1 What you will find in this book . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
1.2 How the musical analysis diagrams were created . . . . . . . . . . . . . . . . . 1
1.3 How to read the analysis diagrams . . . . . . . . . . . . . . . . . . . . . . . . . 3
1.3.1 Notation in the analysis tables . . . . . . . . . . . . . . . . . . . . . . . 4
1.3.2 Absolute chord notation in the harmonic analysis . . . . . . . . . . . . 11
1.3.3 Two template musical forms . . . . . . . . . . . . . . . . . . . . . . . . 12
1.3.4 Key relationship diagram . . . . . . . . . . . . . . . . . . . . . . . . . . 15
1.4 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
2 Johann Sebastian Bach 19

2.1 Vierstimmige Choralgesänge . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
2.1.1 Nrs. 154-163 Herzlich tut mich verlangen . . . . . . . . . . . . . . . . . . 19
2.2 Cantata No. 12 Weinen, Klagen, Sorgen, Zagen, BWV 12 . . . . . . . . . . . . . . 19
2.2.1 Movement 2. Lento . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
2.3 Cantata No. 78 Jesu, der Du meine Seele, BWV 78 . . . . . . . . . . . . . . . . . . 25
2.3.1 Movement 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
2.3.2 Movement 2 Aria. Duetto Wir eilen . . . . . . . . . . . . . . . . . . . . 25
2.4 Brandenburg Concerto No. 4, BWV 1049 . . . . . . . . . . . . . . . . . . . . . . 25
2.4.1 Mvt. 2 Andante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
2.4.2 Mvt. 3 Presto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
2.5 Orchestral Suite No. 3, BWV 1068 . . . . . . . . . . . . . . . . . . . . . . . . . . 32
2.5.1 Mvt. 1 Ouverture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
2.5.2 Mvt. 2 Air . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
2.5.3 Mvt. 3 Gavotte 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
2.5.4 Mvt. 4 Gavotte 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
2.5.5 Mvt. 5 Bourrée . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
2.5.6 Mvt. 6 Gigue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
iii
CONTENTS
3 Joseph Haydn 43
3.1 String Quartet Op. 76, No. 1 in G Major . . . . . . . . . . . . . . . . . . . . . . 43
3.1.1 Mvt. 1 Allegro con spirito . . . . . . . . . . . . . . . . . . . . . . . . . . 43
3.1.2 Mvt. 2 Adagio sostenuto . . . . . . . . . . . . . . . . . . . . . . . . . . 43
3.1.3 Mvt. 3 Menuetto presto - Trio . . . . . . . . . . . . . . . . . . . . . . . . 48
3.1.4 Mvt. 4 Allegro ma non troppo . . . . . . . . . . . . . . . . . . . . . . . 48
3.1.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 48
3.2 String Quartet Op. 76, No. 2 in D Minor Quinten . . . . . . . . . . . . . . . . . 52
3.2.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
3.2.2 Mvt. 2 Andante o più tosto allegretto . . . . . . . . . . . . . . . . . . . 52
3.2.3 Mvt. 3 Menuetto allegro ma non troppo - Trio . . . . . . . . . . . . . . 52
3.2.4 Mvt. 4 Vivace assai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
3.3 String Quartet Op. 76, No. 3 in C Major Kaiser . . . . . . . . . . . . . . . . . . . 59
3.3.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
3.3.2 Mvt. 2 Poco adagio; cantabile . . . . . . . . . . . . . . . . . . . . . . . . 63
3.3.3 Mvt. 3 Menuett allegro - Trio . . . . . . . . . . . . . . . . . . . . . . . . 63
3.3.4 Mvt. 4 Finale. Presto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
4 Wolfgang Amadeus Mozart 73

4.1 Sonata in F Major KV 332 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
4.1.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
4.1.2 Mvt. 2 Adagio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
4.1.3 Mvt. 3 Allegro assai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
4.2 String Quartet in C Major No. 19 KV 465 . . . . . . . . . . . . . . . . . . . . . . 81
4.2.1 Mvt. 1 Adagio - Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
4.2.2 Mvt. 2 Andante cantabile . . . . . . . . . . . . . . . . . . . . . . . . . . 81
4.2.3 Mvt. 3 Menuetto Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . 84
4.2.4 Mvt. 4 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
4.3 String Quartet in B[ Major No. 22 KV 589 . . . . . . . . . . . . . . . . . . . . . 86
4.3.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
4.3.2 Mvt. 2 Larghetto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
4.3.3 Mvt. 3 Menuetto moderato . . . . . . . . . . . . . . . . . . . . . . . . . 93
4.4 String Quintet in C Major KV 515 . . . . . . . . . . . . . . . . . . . . . . . . . . 98
4.4.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
4.4.2 Mvt. 2 Menuetto Allegretto . . . . . . . . . . . . . . . . . . . . . . . . . 98
4.4.3 Mvt. 3 Andante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
4.4.4 Mvt. 4 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
4.5 String Quintet in G Minor KV 516 . . . . . . . . . . . . . . . . . . . . . . . . . . 110
4.5.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
4.5.2 Mvt. 2 Minuetto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
iv Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com)

CONTENTS
4.5.3 Mvt. 3 Adagio ma non troppo . . . . . . . . . . . . . . . . . . . . . . . 111

4.6 Clarinet Quintet in A Major KV 581 . . . . . . . . . . . . . . . . . . . . . . . . . 122
4.6.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
4.6.2 Mvt. 2 Larghetto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
4.6.3 Mvt. 3 Menuetto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
4.6.4 Mvt. 4 Allegretto con Variationi . . . . . . . . . . . . . . . . . . . . . . 125
4.7 Symphony No. 38 Prague KV 504 . . . . . . . . . . . . . . . . . . . . . . . . . . 125
4.7.2 Mvt. 2 Andante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
4.7.3 Mvt. 3 Finale presto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
4.8 Symphony No. 39 KV 543 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
4.8.2 Mvt. 2 Andante con moto . . . . . . . . . . . . . . . . . . . . . . . . . . 139
4.8.3 Mvt. 3 Menuetto Allegro - Trio . . . . . . . . . . . . . . . . . . . . . . . 143
4.8.4 Mvt. 4 Finale Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
4.9 Symphony No. 40 KV 550 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
4.9.1 Mvt. 1 Allegro molto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
4.9.2 Mvt. 2 Andante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
4.9.3 Mvt. 3 Menuetto allegretto - Trio . . . . . . . . . . . . . . . . . . . . . . 157
4.10 Symphony No. 41 in C Major Jupiter KV 551 . . . . . . . . . . . . . . . . . . . . 162
4.10.1 Mvt. 1 Allegro vivace . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
4.10.2 Mvt. 2 Andante cantabile . . . . . . . . . . . . . . . . . . . . . . . . . . 164
4.10.3 Mvt. 3 Menuetto allegretto - Trio . . . . . . . . . . . . . . . . . . . . . . 164
4.10.4 Mvt. 4 Molto allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
4.11 Opera The Magic Flute KV 620 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
4.11.1 Ouvertüre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
4.11.2 No. 1 Introduction ‘Zu Hülfe’ . . . . . . . . . . . . . . . . . . . . . . . . 181
4.11.3 No. 2 Arie ‘Der Vogelfänger’ . . . . . . . . . . . . . . . . . . . . . . . . . 185
4.11.4 No. 3 Arie ‘Dies Bildnis ist bezaubernd schön’ . . . . . . . . . . . . . . . . 185
4.11.5 No. 4 Arie ‘O zittre nicht’ . . . . . . . . . . . . . . . . . . . . . . . . . . 185
4.11.6 No. 5 Quintett . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
4.11.7 No. 6 Terzett ‘Du feines Täubchen nur herein!’ . . . . . . . . . . . . . . . 191
4.11.8 No. 7 Duett ‘Bei Männern, welche Liebe fühlen’ . . . . . . . . . . . . . . . 191
4.11.9 No. 8 Finale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
4.11.10 No. 9 March of the Priests . . . . . . . . . . . . . . . . . . . . . . . . . . 201
4.11.11 No. 10 Aria ‘O Isis und Osiris’ with Choir . . . . . . . . . . . . . . . . . 207
4.11.12 No. 11 Duet ‘Bewahret euch vor Weibertücken’ . . . . . . . . . . . . . . . 207
4.11.13 No. 12 Quintet ‘Wie? wie? wie?’ . . . . . . . . . . . . . . . . . . . . . . 207
4.11.14 No. 13 Aria ‘Alles fühlt der Liebe Freuden’ . . . . . . . . . . . . . . . . . 207
Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com) v

CONTENTS
4.11.15 No. 14 Aria ‘Der Hölle Rache’ . . . . . . . . . . . . . . . . . . . . . . . . 214

4.11.16 No. 15 Aria ‘In diesen heil’gen Hallen’ . . . . . . . . . . . . . . . . . . . . 214
4.11.17 No. 16 Trio ‘Seid uns zum zweiten Mal willkommen’ . . . . . . . . . . . . 214
4.11.18 No. 17 Arie ‘Ach, ich fühl’s, es ist verschwunden’ . . . . . . . . . . . . . . 214
4.11.19 No. 18 Chorus ‘O Isis und Osiris, welche Wonne!’ . . . . . . . . . . . . . 214
4.11.20 No. 19 Trio ‘Soll ich dich, Theurer, nicht mehr sehn?’ . . . . . . . . . . . . 221
4.11.21 No. 20 Aria ‘Ein Mädchen oder Weibchen’ . . . . . . . . . . . . . . . . . . 221
4.11.22 No. 21 Finale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
5 Ludwig van Beethoven 241

5.1 Sonata Op. 2, No. 1 in F Minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
5.1.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
5.1.2 Mvt. 2 Adagio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
5.1.3 Mvt. 3 Menuetto and Trio, Allegretto . . . . . . . . . . . . . . . . . . . 245
5.1.4 Mvt. 4 Prestissimo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
5.2 Sonata Op. 13 in C Minor Pathétique . . . . . . . . . . . . . . . . . . . . . . . . 248
5.2.1 Mvt. 1 Grave - Allegro di molto e con brio . . . . . . . . . . . . . . . . 248
5.2.2 Mvt. 2 Adagio cantabile . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
5.2.3 Mvt. 3 Rondo Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
5.3 Sonata Op. 27 No. 2 in C] Minor Quasi una Fantasia . . . . . . . . . . . . . . . . 256
5.3.1 Mvt. 1 Adagio sostenuto . . . . . . . . . . . . . . . . . . . . . . . . . . 256
5.3.2 Mvt. 2 Adagio cantabile . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
5.3.3 Mvt. 3 Presto agitato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
5.4 String Quartet in B[ Major, Op. 130 . . . . . . . . . . . . . . . . . . . . . . . . . 262
5.4.1 Mvt. 1 Adagio ma non troppo – Allegro . . . . . . . . . . . . . . . . . . 262
5.4.2 Mvt. 2 Presto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
5.4.3 Mvt. 3 Andante con moto ma non troppo . . . . . . . . . . . . . . . . . 263
5.4.4 Mvt. 4 Alla danza tedesca, Allegro assai . . . . . . . . . . . . . . . . . 263
5.4.5 Mvt. 5 Cavatina, Adagio molto espressivo . . . . . . . . . . . . . . . . 263
5.4.6 Mvt. 6 Finale Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
5.5 Symphony No. 5 in C Minor, Op. 67 . . . . . . . . . . . . . . . . . . . . . . . . 274
5.5.1 Mvt. 1 Allegro con brio . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
5.5.3 Mvt. 3 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
5.5.4 Mvt. 4 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
5.6 Symphony No. 6 in F Major Pastorale, Op. 68 . . . . . . . . . . . . . . . . . . . 283
5.6.2 Mvt. 2 Andante molto moto . . . . . . . . . . . . . . . . . . . . . . . . 290
5.6.3 Mvt. 3 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
5.6.4 Mvt. 4 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
5.6.5 Mvt. 5 Allegretto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
vi Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com)

CONTENTS

5.7 Symphony No. 7 in A Major Op. 92 . . . . . . . . . . . . . . . . . . . . . . . . . 300
5.7.1 Mvt. 1 Allegro ma non troppo - Vivace . . . . . . . . . . . . . . . . . . 302
5.7.2 Mvt. 2 Allegretto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
5.7.3 Mvt. 3 Presto - Assai meno presto . . . . . . . . . . . . . . . . . . . . . 308
5.8 Symphony No. 8 in F Major, Op. 93 . . . . . . . . . . . . . . . . . . . . . . . . . 322
5.8.1 Mvt. 1 Allegro vivace e con brio . . . . . . . . . . . . . . . . . . . . . . 322
6 Franz Schubert 325

6.1 Symphony No. 8 Unvollendete, D759 . . . . . . . . . . . . . . . . . . . . . . . . 325
6.1.1 Mvt. 1 Allegro moderato . . . . . . . . . . . . . . . . . . . . . . . . . . 325
6.2 String Quartet No. 14 in D Minor Death and the Maiden, D810 . . . . . . . . . . 332
6.2.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332
6.2.3 Mvt. 3 Scherzo - Trio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339
6.2.4 Mvt. 4 Presto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345
6.3 Song cycle Die Winterreise, Op. 89, D911 . . . . . . . . . . . . . . . . . . . . . . 352
6.3.1 Song Gute Nacht . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
6.3.2 Song Die Wetterfahne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
6.3.3 Song Gefror’ne Thränen . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
6.3.4 Song Erstarrung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361
6.3.5 Song Der Lindenbaum . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361
6.3.6 Song Wasserfluth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361
6.3.7 Song Auf dem Flusse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361
6.3.8 Song Rückblick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363
6.3.9 Song Irrlicht . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363
6.3.10 Song Rast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
6.3.11 Song Frühlingstraum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
6.3.12 Song Einsamkeit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
6.3.13 Song Die Post . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
6.3.14 Song Der greise Kopf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
6.3.15 Song Die Krähe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
6.3.16 Song Letzte Hoffnung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
6.3.17 Song Im Dorfe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
6.3.18 Song Der stürmische Morgen . . . . . . . . . . . . . . . . . . . . . . . . . 376
6.3.19 Song Täuschung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
6.3.20 Song Der Wegweiser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
6.3.21 Song Das Wirthshaus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382
6.3.22 Song Muth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
6.3.23 Song Die Nebensonnen . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
6.3.24 Song Der Leiermann . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com) vii

CONTENTS
6.4 Symphony No. 9 Große, D944 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

6.4.1 Mvt. 1 Andante - Allegro, ma non troppo . . . . . . . . . . . . . . . . . 389
6.4.3 Mvt. 3 Scherzo. Allegro vivace . . . . . . . . . . . . . . . . . . . . . . . 407
6.5 String Quintet in C Major Op. 163, D956 . . . . . . . . . . . . . . . . . . . . . . 425
6.5.2 Mvt. 2 Adagio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425
6.5.3 Mvt. 3 Scherzo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430
6.5.4 Mvt. 4 Allegretto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430
7 Hector Berlioz 441

7.1 Symphonie Fantastique Op. 14 . . . . . . . . . . . . . . . . . . . . . . . . . . . 441
7.1.1 Mvt. 1 Rêveries. Passions . . . . . . . . . . . . . . . . . . . . . . . . . . 443
7.1.2 Mvt. 2 Un Bal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448
7.1.3 Mvt. 3 Scène aux champs . . . . . . . . . . . . . . . . . . . . . . . . . . 452
7.1.4 Mvt. 4 Marche au Supplice . . . . . . . . . . . . . . . . . . . . . . . . . 452
7.1.5 Mvt. 5 Songe d’une nuit du Sabbat . . . . . . . . . . . . . . . . . . . . 457
8 Felix Mendelssohn-Bartholdy 471

8.1 A Midsummer Nights’ Dream Overture Op. 21 . . . . . . . . . . . . . . . . . . . 471
8.2 The Hebrides Overture Op. 26 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472
8.3 Symphony No. 3 in A Major ‘Scottish’ Op. 56 . . . . . . . . . . . . . . . . . . . 479
8.3.1 Mvt. 1 Introduction Andante con moto - Allegro un poco agitato . . . 479
8.3.2 Mvt. 2 Vivace non troppo . . . . . . . . . . . . . . . . . . . . . . . . . . 482
8.3.3 Mvt. 3 Adagio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489
8.3.4 Mvt. 4 Allegro vivacissimo. Allegro maestoso assai . . . . . . . . . . . 489
8.4 Symphony No. 4 in A Major ‘Italian’ Op. 90 . . . . . . . . . . . . . . . . . . . . 504
8.4.3 Mvt. 3 Con moto moderato . . . . . . . . . . . . . . . . . . . . . . . . . 505
8.4.4 Mvt. 4 Saltarello presto . . . . . . . . . . . . . . . . . . . . . . . . . . . 505
9 Robert Schumann 521

9.1 Symphony No. 1 in B[ Major, Frühling, Op. 38 . . . . . . . . . . . . . . . . . . . 521
9.1.1 Mvt. 1 Andante - Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . 521
9.1.2 Mvt. 2 Larghetto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525
9.1.3 Mvt. 3 Scherzo - Trio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525
9.1.4 Mvt. 4 Allegro animato e grazioso . . . . . . . . . . . . . . . . . . . . . 525
9.2 Symphony No. 2 in C Major, Op 61 . . . . . . . . . . . . . . . . . . . . . . . . . 534
9.2.1 Mvt. 1 Sostenuto assai - Allegro ma non troppo . . . . . . . . . . . . . 536
viii Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com)

CONTENTS
9.2.2 Mvt. 2 Scherzo. Allegro vivace . . . . . . . . . . . . . . . . . . . . . . . 536

9.2.3 Mvt. 3 Adagio espressivo . . . . . . . . . . . . . . . . . . . . . . . . . . 544
9.2.4 Mvt. 4 Allegro molto vivace . . . . . . . . . . . . . . . . . . . . . . . . 544
9.3 Symphony No. 3 in E[ Major Rheinische, Op. 97 . . . . . . . . . . . . . . . . . . 551
9.3.1 Mvt. 1 Lebhaft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551
9.3.2 Mvt. 2 Scherzo, sehr mäßig . . . . . . . . . . . . . . . . . . . . . . . . . 554
9.3.3 Mvt. 3 Nicht schnell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554
9.3.4 Mvt. 4 Feierlich . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560
9.3.5 Mvt. 5 Lebhaft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560
9.4 Symphony No. 4 in D Minor, Op. 120 . . . . . . . . . . . . . . . . . . . . . . . . 567
9.4.1 Mvt. 1 Ziemlich langsam - Lebhaft . . . . . . . . . . . . . . . . . . . . . 567
9.4.2 Mvt. 2 Romanze - Ziemlich langsam . . . . . . . . . . . . . . . . . . . . 570
9.4.3 Mvt. 3 Scherzo - Lebhaft - Trio . . . . . . . . . . . . . . . . . . . . . . . 570
9.4.4 Mvt. 4 Langsam - Lebhaft . . . . . . . . . . . . . . . . . . . . . . . . . . 578
10 Johannes Brahms 583

10.1 String Sextet Op. 36 No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583
10.1.1 Mvt. 2 Scherzo, Allegro non troppo . . . . . . . . . . . . . . . . . . . . 583
10.2 German Requiem Op. 45 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587
10.2.1 Mvt. 1 Selig sind, die da Leid tragen . . . . . . . . . . . . . . . . . . . . . 587
10.2.2 Mvt. 2 Denn alles Fleisch es ist wie Gras . . . . . . . . . . . . . . . . . . . 587
10.2.3 Mvt. 3 Herr, lehre doch mich . . . . . . . . . . . . . . . . . . . . . . . . . 590
10.3 String Quartet Op. 51 No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590
10.3.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594
10.3.2 Mvt. 2 Romanze poco adagio . . . . . . . . . . . . . . . . . . . . . . . . 594
10.3.3 Mvt. 3 Allegretto molto moderato e comodo . . . . . . . . . . . . . . . 603
10.3.4 Mvt. 4 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603
10.4 String Quartet Op. 51 No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610
10.4.1 Mvt. 4 Finale, Allegro non assai . . . . . . . . . . . . . . . . . . . . . . 610
10.5 Symphony No. 3 in F Major, Op. 90 . . . . . . . . . . . . . . . . . . . . . . . . . 610
10.5.2 Mvt. 2 Andante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615
10.5.3 Mvt. 3 Poco Allegretto . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619
10.5.4 Mvt. 4 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626
10.6 Symphony No. 4 in E Minor, Op. 98 . . . . . . . . . . . . . . . . . . . . . . . . 631
10.6.1 Mvt. 1 Allegro non troppo . . . . . . . . . . . . . . . . . . . . . . . . . 631
10.6.2 Mvt. 2 Andante moderato . . . . . . . . . . . . . . . . . . . . . . . . . . 633
10.6.3 Mvt. 3 Allegro giocoso . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633
10.6.4 Mvt. 4 Allegro energico e passionato . . . . . . . . . . . . . . . . . . . 644
Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com) ix

CONTENTS
11 Peter Ilyich Tchaikovsky 651

11.1 Symphony No. 4 in F Minor, Op. 36 . . . . . . . . . . . . . . . . . . . . . . . . 651
11.1.1 Mvt. 1 Andante sostenuto - Moderato con anima . . . . . . . . . . . . 651
11.1.2 Mvt. 2 Andantino in modo di canzona . . . . . . . . . . . . . . . . . . 659
11.1.3 Mvt. 3 Scherzo, Pizzicato ostinato, allegro . . . . . . . . . . . . . . . . 659
11.1.4 Mvt. 4 Finale - Allegro con fuoco . . . . . . . . . . . . . . . . . . . . . . 665
11.2 Symphony No. 5 in E Minor, Op. 64 . . . . . . . . . . . . . . . . . . . . . . . . 675
11.2.1 Mvt. 3 Valse, Allegro moderato . . . . . . . . . . . . . . . . . . . . . . . 675
11.2.2 Mvt. 4 Finale, Andante maestoso – Allegro vivace . . . . . . . . . . . . 676
11.3 Symphony No. 6 in B Minor Pathétique, Op. 74 . . . . . . . . . . . . . . . . . . 679
11.3.1 Mvt. 4 Finale, Adagio lamentoso . . . . . . . . . . . . . . . . . . . . . . 679
11.4 Nutcracker Suite, Op. 71a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 684
11.4.1 Mvt. 1, Ouverture miniature . . . . . . . . . . . . . . . . . . . . . . . . 684
11.4.2 Mvt. 2a, Danses caractéristiques, Marche . . . . . . . . . . . . . . . . . 684
11.4.3 Mvt. 2b, Danses caractéristiques, Danse de la Fée-Dragée . . . . . . . . . 687
11.4.4 Mvt. 2c, Danses caractéristiques, Danse russe Trépak . . . . . . . . . . . 687
11.4.5 Mvt. 2d, Danses caractéristiques, Danse Arabe . . . . . . . . . . . . . . 689
11.4.6 Mvt. 2e, Danses caractéristiques, Danse Chinoise . . . . . . . . . . . . . 689
11.4.7 Mvt. 2f, Danses caractéristiques, Danse des Mirlitons . . . . . . . . . . . 689
11.4.8 Mvt. 3, Valse des Fleurs Tempo di Valse . . . . . . . . . . . . . . . . . . 694
12 Edvard Grieg 701

12.1 Peer Gynt Suite No. 1 Op. 46 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 701
12.1.1 Mvt. 1 ’Morning Mood’ Allegretto pastorale . . . . . . . . . . . . . . . . 701
12.1.2 Mvt. 2 ’Aase’s Death’ Andante doloroso . . . . . . . . . . . . . . . . . . 702
12.1.3 Mvt. 3 ’Anitra’s Dance’ Tempo di Mazurka . . . . . . . . . . . . . . . . 705
12.1.4 Mvt. 4 ’In the Hall of the Mountain King’ Alla marcia e molto marcato . 705
12.2 Peer Gynt Suite No. 2 Op. 55 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 708
12.2.1 Mvt. 1 ’The Abduction of the Bride (Ingrid’s Lament)’ Allegro furioso . . 708
12.2.2 Mvt. 2 ’Arabian dance’ Allegretto vivace . . . . . . . . . . . . . . . . . . 710
12.2.3 Mvt. 3 ’Peer Gynt’s Journey Home’ Allegro agitato . . . . . . . . . . . . 712
12.2.4 Mvt. 4 ’Solveig’s Song’ Andante . . . . . . . . . . . . . . . . . . . . . . . 715
13 Gabriel Fauré 721

13.1 Requiem in D Minor, Op. 48 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 721
13.1.1 Mvt. 1 Introı̈t et Kyrie . . . . . . . . . . . . . . . . . . . . . . . . . . . . 721
13.1.2 Mvt. 2 Offertoire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 725
13.1.3 Mvt. 3 Sanctus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 725
13.1.4 Mvt. 4 Pie Jesu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 728
13.1.5 Mvt. 5 Agnus Dei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 728
13.1.6 Mvt. 6 Libera Me . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 728
x Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com)

CONTENTS
13.1.7 Mvt. 7 In Paradisum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 728

13.2 Pelléas et Mélisande, Suite Op. 80 . . . . . . . . . . . . . . . . . . . . . . . . . . . 736
13.2.1 Mvt. 1 Prélude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 736
13.2.2 Mvt. 2 Fileuse, Andantino quasi allegretto . . . . . . . . . . . . . . . . . 738
13.2.3 Mvt. 3 Sicilienne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 739
13.2.4 Mvt. 4 La Mort de Mélisande . . . . . . . . . . . . . . . . . . . . . . . . . 741
13.3 Masques et Bergamasques, Suite Op. 112 . . . . . . . . . . . . . . . . . . . . . . . 746
13.3.1 Mvt. 1 Ouverture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 747
13.3.2 Mvt. 2 Menuet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 747
14 Giacomo Puccini 753

14.1 Opera Madama Butterfly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 753
14.1.1 Overture, Atto Primo (#1–4) Collina presso Nagasaki . . . . . . . . . . . 753
14.1.2 Atto Primo, (#5–7) E soffitto e pareti . . . . . . . . . . . . . . . . . . . . . 755
14.1.3 Atto Primo, (#8–13) Questa è la cameriera . . . . . . . . . . . . . . . . . . 755
14.1.4 Atto Primo, (#14–20) Qui verran: l’Ufficiale del registro . . . . . . . . . . 755
14.1.5 Atto Primo (#21–26) Dovunque al mondo . . . . . . . . . . . . . . . . . . 755
14.1.6 Atto Primo (#27–28) Una ghirlanda di fiori fresci . . . . . . . . . . . . . . 758
14.1.7 Atto Primo (#37–41) Ecco. – Ah! Quanto cielo! . . . . . . . . . . . . . . . 758
14.1.8 Atto Primo (#42–61) Gran ventura . . . . . . . . . . . . . . . . . . . . . 758
14.1.9 Atto Primo (#61–64) Dov’è? Eccolo là! . . . . . . . . . . . . . . . . . . . 760
14.1.10 Atto Primo (#100–110) Cio-cio-san! . . . . . . . . . . . . . . . . . . . . . 762
14.1.11 Atto Primo (#111-115) Bimba, bimba, non piangere . . . . . . . . . . . . . 767
14.1.12 Atto Primo (#116–136) Viene la sera . . . . . . . . . . . . . . . . . . . . . 767
14.1.13 Atto Secondo, Parte Prima (#12–16) Un bel dı̀ . . . . . . . . . . . . . . . 773
14.1.14 Atto Secondo, Parte Prima (#90) Humming Chorus . . . . . . . . . . . . 773
14.1.15 Atto Secondo, Parte Seconda (#5–12) Oh eh! Oh eh! . . . . . . . . . . . 773
15 Gustav Mahler 779

15.1 Lieder eines fahrenden Gesellen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 779
15.1.1 Wenn mein Schatz Hochzeit macht . . . . . . . . . . . . . . . . . . . . . . 779
15.1.2 Gieng heut’ Morgens über’s Feld . . . . . . . . . . . . . . . . . . . . . . . 779
15.1.3 Ich hab’ ein glühend Messer . . . . . . . . . . . . . . . . . . . . . . . . . . 782
15.1.4 Die zwei blauen Augen . . . . . . . . . . . . . . . . . . . . . . . . . . . . 782
15.1.5 Key relationship diagram . . . . . . . . . . . . . . . . . . . . . . . . . . 782
15.2 Symphony No. 3 in D Minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 785
15.2.1 Mvt. 2 Tempo di Menuetto. Grazioso . . . . . . . . . . . . . . . . . . . 787
15.2.2 Mvt. 3 Comodo. Scherzando. Ohne Hast . . . . . . . . . . . . . . . . . 787
15.2.3 Mvt. 4 “O Mensch! Gib Acht!” . . . . . . . . . . . . . . . . . . . . . . . . 797
15.2.4 Mvt. 5 Lustig im Tempo und keck im Ausdruck . . . . . . . . . . . . . 800
15.2.5 Mvt. 6 Langsam. Ruhevoll. Empfunden . . . . . . . . . . . . . . . . . 802
15.3 Symphony No. 4 in G Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 813
15.3.1 Mvt. 3 Poco adagio Ruhevoll . . . . . . . . . . . . . . . . . . . . . . . . 813
Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com) xi

CONTENTS
15.3.2 Mvt. 4 Sehr behaglich . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 814

15.4 Symphony No. 5 in C] Minor - D Major . . . . . . . . . . . . . . . . . . . . . . 820
15.4.1 Mvt. 4 Adagietto Sehr Langsam . . . . . . . . . . . . . . . . . . . . . . . 820
15.5 Symphony No. 6 in A Minor Tragic . . . . . . . . . . . . . . . . . . . . . . . . . 820
15.5.1 Mvt. 3 Andante moderato . . . . . . . . . . . . . . . . . . . . . . . . . . 820
16 Claude Debussy 827

16.1 Deux Arabesques (1888) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 827
16.1.1 I Andantino con moto . . . . . . . . . . . . . . . . . . . . . . . . . . . . 827
16.1.2 II Allegretto scherzando . . . . . . . . . . . . . . . . . . . . . . . . . . . 827
16.2 String Quartet Op. 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 831
16.2.1 Mvt. 2 Assez vif et bien rytmé . . . . . . . . . . . . . . . . . . . . . . . 831
16.3 Prélude à l’après-midi d’un faune . . . . . . . . . . . . . . . . . . . . . . . . . . 834
16.4 Trois nocturnes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 836
16.4.1 No. 1 Nuages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 836
16.4.2 No. 2 Fêtes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 839
16.4.3 No. 3 Sirènes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 839
17 Richard Strauss 845

17.1 Symphonic poem Don Juan, Op. 20 . . . . . . . . . . . . . . . . . . . . . . . . . 845
17.1.1 Episode: Introduction and Don Juan 1 . . . . . . . . . . . . . . . . . . . 846
17.1.2 Episode: Rejection 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 847
17.1.3 Episode: Countess and Rejection 2 . . . . . . . . . . . . . . . . . . . . . . 847
17.1.4 Episode: Don Juan 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 851
17.1.5 Episode: Anna and Rejection 3 . . . . . . . . . . . . . . . . . . . . . . . 851
17.1.6 Episode: Don Juan 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 851
17.1.7 Episode: Carnival . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 853
17.1.8 Episode: Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 853
17.1.9 Episode: Don Juan 4 and Don Juan 5 . . . . . . . . . . . . . . . . . . . . 856
17.1.10 Episode: Death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 856
17.2 Symphonic poem Tod und Verklärung, Op. 24 . . . . . . . . . . . . . . . . . . . 859
17.2.1 Part 1: Sick man lying on his cot . . . . . . . . . . . . . . . . . . . . . . 859
17.2.2 Part 2: The battle between life and death . . . . . . . . . . . . . . . . . 860
17.2.3 Part 3: Feverish delirium of life past . . . . . . . . . . . . . . . . . . . . 864
17.2.4 Part 4: Transfiguration . . . . . . . . . . . . . . . . . . . . . . . . . . . . 868
17.3 Symphonic poem Till Eulenspiegel, Op. 28 . . . . . . . . . . . . . . . . . . . . . 870
17.3.1 Introduction and exposition . . . . . . . . . . . . . . . . . . . . . . . . 870
17.3.2 Episode: Market Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . 872
17.3.3 Episode: The Fat Prior’s Sermon . . . . . . . . . . . . . . . . . . . . . . . 873
xii Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com)

CONTENTS
17.3.4 Episode: Love Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 873

17.3.5 Episode: Theology Professors Scene . . . . . . . . . . . . . . . . . . . . . 873
17.3.6 Episode: Happy Streetsong . . . . . . . . . . . . . . . . . . . . . . . . . . 878
17.3.7 Recapitulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 878
17.3.8 Episode: Grandness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 878
17.3.9 Episode: The Court Scene . . . . . . . . . . . . . . . . . . . . . . . . . . 878
17.3.10 Epilog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 880
17.4 Eine Alpensinfonie, Op. 64 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 880
18 Jean Sibelius 885

18.1 En Saga, Op. 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 885
18.2 The Swan of Tuonela, Op. 22 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 892
18.3 Finlandia, Op. 26 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 894
18.4 Valse Triste, Op. 44 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 895
19 Maurice Ravel 903

19.1 Pavane pour une infante défunte . . . . . . . . . . . . . . . . . . . . . . . . . . . . 903
19.2 String Quartet in F Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 905
19.2.1 Mvt. 2 Assez vif - très rythmé . . . . . . . . . . . . . . . . . . . . . . . 905
19.3 Miroirs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 905
19.3.1 Mvt. 4, Alborada del Gracioso, Assez vif . . . . . . . . . . . . . . . . . . . 908
19.4 Rapsodie Espagnole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 908
19.4.1 Mvt. 1 Prélude à la nuit . . . . . . . . . . . . . . . . . . . . . . . . . . . . 911
19.4.2 Mvt. 2 Malagueña . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 911
19.4.3 Mvt. 3 Habanera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 911
19.4.4 Mvt. 4 Feria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 916
19.5 Gaspard de la nuit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 919
19.5.1 Le gibet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 919
19.6 Ma mère l’oye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 919
19.6.1 Mvt 1 Pavane de la Belle au bois dormant . . . . . . . . . . . . . . . . . . 919
19.6.2 Mvt 2 Petit Poucet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 919
19.6.3 Mvt 3 Laideronnette, Impératrice des Pagodes . . . . . . . . . . . . . . . . 923
19.6.4 Mvt 4 Les entretiens de la Belle et de la Bête . . . . . . . . . . . . . . . . . 923
19.6.5 Mvt 5 Le jardin féerique . . . . . . . . . . . . . . . . . . . . . . . . . . . . 923
19.7 Daphnis et Chloë . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 928
19.7.1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 928
19.7.2 Danse Religieuse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 928
19.7.3 Nymphs dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 928
19.7.4 Danse Guerrière . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 930
19.7.5 Lever du jour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 930
19.7.6 Pantomime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 930
19.7.7 Danse Générale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 930
Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com) xiii

CONTENTS
19.8 Opera L’Enfant et les Sortilèges . . . . . . . . . . . . . . . . . . . . . . . . . . . 940

19.8.1 Opening scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 940
19.8.2 Scene L’Enfant: ‘Ça m’est égal!’ . . . . . . . . . . . . . . . . . . . . . . 940
19.8.3 Scene Le Fauteuil et La Bergère . . . . . . . . . . . . . . . . . . . . . . 942
19.8.4 Scene L’Horloge Comtoise . . . . . . . . . . . . . . . . . . . . . . . . . 942
19.8.5 Scene La Théière et La Tasse . . . . . . . . . . . . . . . . . . . . . . . . 943
19.8.6 Scene Le Feu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 945
19.8.7 Scene Les Pastoures et Les Pâtres . . . . . . . . . . . . . . . . . . . . . 945
19.8.8 Scene L’Enfant et La Princesse . . . . . . . . . . . . . . . . . . . . . . . 945
19.8.9 Scene L’Enfant: ‘Toi, le coeur de la rose’ . . . . . . . . . . . . . . . . . . 945
19.9 Piano Concerto in G . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 945
19.9.1 Mvt. 1 Allegramente . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 949
19.9.2 Mvt. 2 Adagio assai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 953
19.9.3 Mvt. 3 Presto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 956
20 Sergei Prokofiev 965

20.1 Classical Symphony (No. 1), Op. 25 . . . . . . . . . . . . . . . . . . . . . . . . . 965
20.1.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 965
20.1.2 Mvt. 2 Larghetto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 968
20.1.3 Mvt. 3 Gavotte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 970
20.1.4 Mvt. 4 Finale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 970
20.2 Peter and the Wolf Op. 67 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 973
20.2.1 Introducing the characters . . . . . . . . . . . . . . . . . . . . . . . . . 977
20.2.2 The story develops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 977
20.2.3 Catching the wolf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 981
20.2.4 Triumphal procession - March . . . . . . . . . . . . . . . . . . . . . . . 981
20.2.5 Conclusion - Coda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 981
21 Dmitri Shostakovich 983

21.1 String Quartet No. 1 in C Major, Op. 49 . . . . . . . . . . . . . . . . . . . . . . 983
21.1.1 Mvt. 1, Moderato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 984
21.1.2 Mvt. 2, Moderato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 984
21.2 String Quartet No. 2 in A Major, Op. 68 . . . . . . . . . . . . . . . . . . . . . . 987
21.2.1 Mvt. 2 Moderato con moto . . . . . . . . . . . . . . . . . . . . . . . . . 987
21.3 String Quartet No. 3 in F Major, Op. 73 . . . . . . . . . . . . . . . . . . . . . . . 987
21.3.1 Mvt. 2, Moderato con moto . . . . . . . . . . . . . . . . . . . . . . . . . 987
21.4 Symphony No. 1 in F Minor, Op. 10 . . . . . . . . . . . . . . . . . . . . . . . . 989
21.4.1 Mvt. 3 Lento . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 989
21.5 Symphony No. 9 in E[ Major, Op. 70 . . . . . . . . . . . . . . . . . . . . . . . . 993
21.5.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 993
Bibliography 999
xiv Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com)

CONTENTS
Index 1004
Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com) xv

CONTENTS
xvi Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com)

List of Figures
1.1 History timeline with classical music periods and composers . . . . . . . . . 2

1.2 The sonata form in diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
1.3 Sentence and period melody structure . . . . . . . . . . . . . . . . . . . . . . . 14
1.4 The ternary song form in diagram . . . . . . . . . . . . . . . . . . . . . . . . . 15
1.5 Key relationship overview diagram . . . . . . . . . . . . . . . . . . . . . . . . 16
2.1 Bach, Cantata No. 12 Weinen, Klagen, Sorgen, Zagen, BWV 12 . . . . . . . . . . 19

2.2 Bach, Cantata No. 78 Jesu, der Du meine Seele, BWV 78 . . . . . . . . . . . . . . 25
2.3 Bach, Brandenburg Concerto No. 4, BWV 1049 . . . . . . . . . . . . . . . . . . 27
2.4 Bach, Orchestral Suite No. 3 in D Major, BWV 1068 . . . . . . . . . . . . . . . 34
3.1 Haydn, String Quartet Op. 76, No. 1 in G Major . . . . . . . . . . . . . . . . . 47

3.2 Haydn, String Quartet Op. 76, No. 1, key relationship overview . . . . . . . . 48
3.3 Haydn, String Quartet Op. 76, No. 2 in D Minor Quinten . . . . . . . . . . . . 52
3.4 Haydn, String Quartet Op. 76, No. 2, key relationship diagram . . . . . . . . 59
3.5 Haydn, String Quartet Op. 76, No. 3 in C Major Kaiser . . . . . . . . . . . . . . 62
3.6 Haydn, String Quartet Op. 76, No. 3, key relationship diagram . . . . . . . . 71
4.1 Mozart, Sonata in F Major KV 332 . . . . . . . . . . . . . . . . . . . . . . . . . 73

4.2 Mozart, Sonata in F Major KV 332, key relationship diagram . . . . . . . . . . 76
4.3 Mozart, String Quartet in C Major No. 19 KV 465 . . . . . . . . . . . . . . . . 81
4.4 Mozart, String Quartet in C Major No. 19 KV 465, key relationship diagram . 91
4.5 Mozart, String Quartet in B[ Major No. 22 KV 589 . . . . . . . . . . . . . . . . 91
4.6 Mozart, String Quartet in B[ Major No. 22 KV 589, key relationship diagram . 98
4.7 Mozart, String Quintet in C Major KV 515 . . . . . . . . . . . . . . . . . . . . . 99
4.8 Mozart, String Quintet in C Major KV 515, key relationship diagram . . . . . 106
4.9 Mozart, String Quintet in G Minor KV 516 . . . . . . . . . . . . . . . . . . . . 110
4.10 Mozart, String Quintet in G Minor KV 516, key relationship diagram . . . . . 116
4.11 Mozart, Clarinet Quintet in A Major KV 581 . . . . . . . . . . . . . . . . . . . 122
4.12 Mozart, Clarinet Quintet in A Major KV 581, key relationship diagram . . . . 129
4.13 Mozart, Symphony No. 38 Prague KV 504 . . . . . . . . . . . . . . . . . . . . . 129
4.14 Mozart, Symphony No. 38 Prague KV 504, key relationship overview . . . . . 138
4.15 Mozart, Symphony No. 39 in E[ Major KV 543 . . . . . . . . . . . . . . . . . . 138
4.16 Mozart, Symphony No. 39, key relationship diagram . . . . . . . . . . . . . . 150
4.17 Mozart, Symphony No. 40 in G Minor KV 550 . . . . . . . . . . . . . . . . . . 152
4.18 Mozart, Symphony No. 40, key relationship diagram . . . . . . . . . . . . . . 162
4.19 Mozart, Symphony No. 41 in C Major KV 551 . . . . . . . . . . . . . . . . . . 163
xvii
LIST OF FIGURES
4.20 Mozart, Symphony No. 41 Jupiter, key relationship diagram . . . . . . . . . . 176

4.21 Mozart, Opera The Magic Flute (Die Zauberflöte) KV 620, Act 1 . . . . . . . . . 177
4.22 Mozart, Opera The Magic Flute (Die Zauberflöte) KV 620, Act 1 & 2 (Cont’d) . . 178
4.23 Mozart, Opera The Magic Flute (Die Zauberflöte) KV 620, Act 2 (Cont’d) . . . . 179
4.24 Mozart, The Magic Flute KV 620, key relationship diagram . . . . . . . . . . . 236
5.1 Beethoven, Sonata Op. 2, No. 1 in F Minor . . . . . . . . . . . . . . . . . . . . 243

5.2 Beethoven, Sonata Op. 2, No. 1, key relationship diagram . . . . . . . . . . . 248
5.3 Beethoven, Sonata Op. 13 in C Minor Grande Sonata Pathétique . . . . . . . . . 252
5.4 Beethoven, Sonata Op. 13 Pathétique, key relationship diagram . . . . . . . . 256
5.5 Beethoven, Sonata Op. 27 No. 2 in C] Minor Quasi una Fantasia . . . . . . . . 259
5.6 Beethoven, Sonata Op. 27 No. 2 Mondschein, key relationship diagram . . . . 259
5.7 Beethoven, String Quartet in B[ Major Op. 130 . . . . . . . . . . . . . . . . . . 262
5.8 Beethoven, String Quartet in B[ Major Op. 130, key relationship diagram . . . 274
5.9 Beethoven, Symphony No. 5 in C Minor . . . . . . . . . . . . . . . . . . . . . . 279
5.10 Beethoven, Symphony No. 5, key relationship diagram . . . . . . . . . . . . . 289
5.11 Beethoven, Symphony No. 6 in F Major Pastorale . . . . . . . . . . . . . . . . . 289
5.12 Beethoven, Symphony No. 6 Pastorale, key relationship diagram . . . . . . . . 300
5.13 Beethoven, Symphony No. 7 in A Major . . . . . . . . . . . . . . . . . . . . . . 301
5.15 Beethoven, Symphony No. 8 in F Major, Op. 93 . . . . . . . . . . . . . . . . . . 322
6.1 Schubert, Symphony No. 8 Unvollendete, D759 . . . . . . . . . . . . . . . . . . 325

6.2 Schubert, Symphony No. 8 Unvollendete, key relationship diagram . . . . . . 332
6.3 Schubert, String Quartet No. 14 in D Minor Death and the Maiden, D810 . . . . 333
6.4 Schubert, String Quartet No. 14, key relationship diagram . . . . . . . . . . . 352
6.5 Schubert, Die Winterreise, Op. 89, D911 . . . . . . . . . . . . . . . . . . . . . . . 353
6.6 Schubert, Die Winterreise, Op. 89, D911 (cont’d) . . . . . . . . . . . . . . . . . . 354
6.7 Schubert, Die Winterreise, Op. 89, D911 (cont’d) . . . . . . . . . . . . . . . . . . 355
6.8 Schubert, Die Winterreise, Song 20 Der Wegweiser, chord progression m. 57-65. 382
6.9 Schubert, Symphony No. 9 Große, D759 . . . . . . . . . . . . . . . . . . . . . . 390
6.10 Schubert, Symphony No. 9 Große, key relationship diagram . . . . . . . . . . 424
6.11 Schubert, String Quintet in C Major Op. 163, D956 . . . . . . . . . . . . . . . . 429
6.12 Schubert, String Quintet in C Major Op. 163, key relationship diagram . . . . 438
7.1 Berlioz, Symphonie Fantastique Op. 14 . . . . . . . . . . . . . . . . . . . . . . 442

7.2 Berlioz, Symphonie Fantastique Op. 14, key relationship diagram . . . . . . . 469
8.1 Mendelssohn, A Midsummer Nights’ Dream Overture Op. 21 . . . . . . . . . . 471

8.2 Mendelssohn, Overture Op. 21, key relationship diagram . . . . . . . . . . . . 472
8.3 Mendelssohn, The Hebrides Overture Op. 26 . . . . . . . . . . . . . . . . . . . . 472
8.4 Mendelssohn, The Hebrides Overture Op. 26, key relationship diagram . . . . 479
8.5 Mendelssohn, Symphony No. 3 in A Major ‘Scottish’ Op. 56 . . . . . . . . . . 480
8.6 Mendelssohn, Symphony No. 3 ‘Scottish’, key relationship diagram . . . . . . 501
8.7 Mendelssohn, Symphony No. 4 in A Major ‘Italian’ Op. 90 . . . . . . . . . . . 504
8.8 Mendelssohn, Symphony No. 4 ‘Italian’, key relationship diagram . . . . . . . 515
xviii Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com)

LIST OF FIGURES
9.1 Schumann, Symphony No. 1 in B[ Major Frühling, Op. 38 . . . . . . . . . . . . 522

9.2 Schumann, Symphony No. 1 Frühling, key relationship diagram . . . . . . . . 535
9.3 Schumann, Symphony No. 2 in C Major, Op. 61 . . . . . . . . . . . . . . . . . 535
9.4 Schumann, Symphony No. 2, key relationship diagram . . . . . . . . . . . . . 552
9.5 Schumann, Symphony No. 3 in E[ Major Rheinische, Op. 97 . . . . . . . . . . . 553
9.6 Schumann, Symphony No. 3 Rheinische, key relationship diagram . . . . . . . 568
9.7 Schumann, Symphony No. 4 in D Minor, Op. 120 . . . . . . . . . . . . . . . . 569
9.8 Schumann, Symphony No. 4 in D minor, key relationship diagram . . . . . . 582
10.1 Brahms, String Sextet Op. 36 No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . 583

10.2 Brahms, German Requiem Op. 45 . . . . . . . . . . . . . . . . . . . . . . . . . 587
10.3 Brahms, String Quartet Op. 51 No. 1 . . . . . . . . . . . . . . . . . . . . . . . . 590
10.4 Brahms, String Quartet Op. 51 No. 1, key relationship diagram . . . . . . . . 609
10.5 Brahms, String Quartet Op. 51 No. 2 . . . . . . . . . . . . . . . . . . . . . . . . 610
10.6 Brahms, String Quartet Op. 51 No. 2, key relationship diagram . . . . . . . . 614
10.7 Brahms, Symphony No. 3 in F Major, Op. 90 . . . . . . . . . . . . . . . . . . . 614
10.8 Brahms, Symphony No. 3, key relationship diagram . . . . . . . . . . . . . . . 631
10.9 Brahms, Symphony No. 4 in E Minor, Op. 98 . . . . . . . . . . . . . . . . . . . 632
10.10 Brahms, Symphony No. 4, key relationship diagram . . . . . . . . . . . . . . . 650
11.1 Tchaikovsky, Symphony No. 4 in F Minor, Op. 36 . . . . . . . . . . . . . . . . 652

11.2 Tchaikovsky, Symphony No. 4 in F Minor, key relationship diagram . . . . . 674
11.3 Tchaikovsky, Symphony No. 5 in E Minor, Op. 64 . . . . . . . . . . . . . . . . 675
11.4 Tchaikovsky, Symphony No. 5, key relationship diagram . . . . . . . . . . . . 683
11.5 Tchaikovsky, Symphony No. 6 in B Minor Pathétique, Op. 74 . . . . . . . . . 683
11.6 Tchaikovsky, Symphony No. 6, key relationship diagram . . . . . . . . . . . . 684
11.7 Tchaikovsky, Nutcracker Suite, Op. 71a . . . . . . . . . . . . . . . . . . . . . . 686
11.8 Tchaikovsky, Nutcracker Suite, key relationship diagram . . . . . . . . . . . . 696
12.1 Peer Gynt Suite No. 1 Op. 46 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702

12.2 Peer Gynt Suite No. 1 Op. 46, key relationship diagram . . . . . . . . . . . . . 709
12.3 Peer Gynt Suite No. 2 Op. 55 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709
12.4 Peer Gynt Suite No. 2 Op. 55, key relationship diagram . . . . . . . . . . . . . 720
13.1 Fauré, Requiem in D Minor, Op. 48 . . . . . . . . . . . . . . . . . . . . . . . . . 722

13.2 Fauré, Requiem in D Minor Op. 48, key relationship diagram . . . . . . . . . 736
13.3 Fauré, Pelléas et Mélisande, Suite Op. 80 . . . . . . . . . . . . . . . . . . . . . . 738
13.4 Fauré, Pelléas et Mélisande, Suite Op. 80, key relationship diagram . . . . . . . 746
13.5 Fauré, Masques et Bergamasques, Suite Op. 112 . . . . . . . . . . . . . . . . . . . 747
13.6 Fauré, Masques et Bergamasques, Suite Op. 112, key relationship diagram . . . 751
15.1 Mahler, Lieder eines fahrenden Gesellen . . . . . . . . . . . . . . . . . . . . . . . . 782

15.2 Mahler, Lieder eines fahrenden Gesellen, key relationship diagram . . . . . . . . 785
15.3 Mahler, Symphony No. 3 in D Minor . . . . . . . . . . . . . . . . . . . . . . . . 786
15.4 Mahler, Symphony No. 3, key relationship diagram . . . . . . . . . . . . . . . 812
15.5 Mahler, Symphony No. 4 in G Major . . . . . . . . . . . . . . . . . . . . . . . . 813
15.7 Mahler, Symphony No. 5 in C] Minor - D Major . . . . . . . . . . . . . . . . . 820
Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com) xix

LIST OF FIGURES

15.9 Mahler, Symphony No. 6 in A Minor Tragic . . . . . . . . . . . . . . . . . . . . 822
16.1 Debussy, Deux Arabesques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 827

16.2 Debussy, Deux Arabesques, key relationship diagram . . . . . . . . . . . . . . 829
16.3 Debussy, String Quartet Op. 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . 831
16.4 Debussy, String Quartet Op. 10, key relationship diagram . . . . . . . . . . . 834
16.5 Debussy, Prélude à l’après-midi d’un faune . . . . . . . . . . . . . . . . . . . . 834
16.6 Debussy, Prélude à l’après-midi d’un faune, key relationship diagram . . . . 836
16.7 Debussy, Trois nocturnes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 836
16.8 Debussy, Trois nocturnes, key relationship diagram . . . . . . . . . . . . . . . 844
17.1 Strauss, Symphonic poem Don Juan, Op. 20 . . . . . . . . . . . . . . . . . . . . 845

17.2 Strauss, Don Juan, Op. 20, key relationship diagram . . . . . . . . . . . . . . . 859
17.3 Strauss, Symphonic poem Tod und Verklärung, Op. 24 . . . . . . . . . . . . . . 860
17.4 Strauss, Tod und Verklärung, Op. 24, key relationship diagram . . . . . . . . . 868
17.5 Strauss, Symphonic poem Till Eulenspiegels lustige Streiche, Op. 28 . . . . . . . 872
17.6 Strauss, Till Eulenspiegels lustige Streiche, Op. 28, key relationship diagram . . 884
18.1 Sibelius,En Saga, Op. 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 885

18.2 Sibelius, En Saga, Op. 9, key relationship diagram . . . . . . . . . . . . . . . . 892
18.3 Sibelius, The Swan of Tuonela, Op. 22 . . . . . . . . . . . . . . . . . . . . . . . . 892
18.4 Sibelius, The Swan of Tuonela, Op. 22, key relationship diagram . . . . . . . . . 894
18.5 Sibelius, Finlandia, Op. 26 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 894
18.6 Sibelius, Finlandia, Op. 26, key relationship diagram . . . . . . . . . . . . . . . 895
18.7 Sibelius, Valse Triste, Op. 44 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 898
18.8 Sibelius, Valse Triste, Op. 44 Opening . . . . . . . . . . . . . . . . . . . . . . . . 899
18.9 Sibelius, Valse Triste, Op. 44, key relationship diagram . . . . . . . . . . . . . . 901
19.1 Ravel, Pavane pour une infante défunte . . . . . . . . . . . . . . . . . . . . . . . . 903

19.2 Pavane pour une infante défunte, key relationship diagram . . . . . . . . . . 905
19.3 Ravel, String Quartet in F Major . . . . . . . . . . . . . . . . . . . . . . . . . . 905
19.4 Ravel, String Quartet, key relationship diagram . . . . . . . . . . . . . . . . . 907
19.5 Ravel, Miroirs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 907
19.6 Ravel, Miroirs, key relationship diagram . . . . . . . . . . . . . . . . . . . . . 908
19.7 Ravel, Rapsodie Espagnole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 911
19.8 Ravel, Rapsodie Espagnole, key relationship diagram . . . . . . . . . . . . . . . 916
19.9 Ravel, Gaspard de la nuit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 919
19.10 Ravel, Ma mère l’oye, 5 Pièces Enfantines . . . . . . . . . . . . . . . . . . . . . . 921
19.11 Ravel, Ma mère l’oye, key relationship diagram . . . . . . . . . . . . . . . . . . 925
19.12 Ravel, Concerto pour Piano et Orchestre . . . . . . . . . . . . . . . . . . . . . 947
20.1 Prokofiev, Classical Symphony, Op. 25 . . . . . . . . . . . . . . . . . . . . . . . 968

20.2 Prokofiev, Classical Symphony, key relationship diagram . . . . . . . . . . . . 976
20.3 Prokofiev, Peter and the Wolf Op. 67 . . . . . . . . . . . . . . . . . . . . . . . . . 976
21.1 Shostakovich, String Quartet No. 1 in C Major, Op. 49 . . . . . . . . . . . . . . 983
xx Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com)

LIST OF FIGURES
21.2 Shostakovich, String Quartet No. 1, key relationship diagram . . . . . . . . . 984

21.3 Shostakovich, String Quartet No. 2 in A Major, Op. 6 . . . . . . . . . . . . . . 987
21.4 Shostakovich, String Quartet No. 3 in F Major, Op. 73 . . . . . . . . . . . . . . 987
21.5 Shostakovich, String Quartet No. 3, key relationship diagram . . . . . . . . . 989
21.6 Shostakovich, Symphony No. 1 in F Minor, Op. 10 . . . . . . . . . . . . . . . . 989
21.7 Shostakovich, Symphony No. 1, key relationship diagram . . . . . . . . . . . 993
21.8 Shostakovich, Symphony No. 9 in E[ Major, Op. 70 . . . . . . . . . . . . . . . 993
21.9 Shostakovich, Symphony No. 9, key relationship diagram . . . . . . . . . . . 994
Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com) xxi

LIST OF FIGURES
xxii Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com)

Preface
This is the Sixth Edition of the e-book Musical Analysis: Visiting the Great Composers. This
expanded edition is intended for conductors, composers, musicians, musicologists, music
students and lovers.
A book with analysis diagrams and descriptions

This book with detailed musical analysis of tonal music masterpieces now has a history, since
the First Edition was published on the internet somewhat more a decade ago. That edition
contained a limited set of tables with harmonic, formal and melodic analysis and was about
one tenth the size of the current edition. The document proved most valuable as a tool for
music students and beginning composers.
In later editions, more composer chapters and masterpieces were added to the collection.
The document doubled in size and so did the number of monthly hits on the website. The
introduction of the Fourth Edition in 2013 saw a number of changes. The size once again
doubled to somewhat over 500 pages, and two different versions were introduced: an in-
complete free of charge demo version, and an expanded, full edition for online sale. All
chapters now opened with a minimum set of composer biographical data. Formal analysis
overview diagrams were added, showing the essential movement data (form, key, meter,
number of measures) and the relative proportion of the sections in a composition.
Also more detailed information was added to the analysis tables: instrumentation, shape
of melody, outer and inner voice movement, types of harmonic structures, counterpoint set-
tings, and diatonic scale or mode types. This required a concise notation systems, described
in the introductory chapter. When the Fourth Edition appeared in November 2013, the free
version monthly number of hits steadily rose to an avarage of more than 5,000. In 2015 the
Fifth Edition appeared with additional content, in particular in the chapters that were dis-
proportionally short. More complete multi-movement compositions were included, yielding
a total of around 735 pages, with more than 260 movements from a collection of more than
80 compositions.
For the current Sixth Edition that process was continued, with two composers and many
more masterpieces added. In total, the book now covers 20 famous composers. Again, more
complete multi-movement compositions were included, leading to a total of more than 1,000
pages, with 341 movements from a collection of more than 90 compositions.
To try and be complete in the classical music domain obviously is an illusion. However,
the set of musical analyses in this e-book is a carefully selected cross-section of the classical
repertoire and the tonal music period, composed between roughly 1700 and 1950. There
exists no comparable bundled set of detailed diagrams and tables; therefore it is a unique
2005-2017
c F.G.J. Absil, https://www.fransabsil.nl
Preface
document for those seriously interested in classical music and motivated to delve into de-
tailed aspects. The current edition holds 167 overview figures and 745 tables with detailed
analysis.
This book refrains from using musical notation. The reasons are twofold: first, with
score excerpts the file size would increase unacceptably. Secondly, although most of the
music discussed herein is now in the public domain, all possible copyright violations have
been avoided. The careful indication of measure numbers in the tables makes transfer of the
analysis aspects back into the score an easy job and a learning experience at the same time.
Hopefully you will enjoy reading and benefit from the book contents. Using the book will
save you many hours of tedious score analysis and may serve as a comparative source for
your own interpretation of these compositions.
Document update history

This e-book is regularly updated. New composer chapters are created, new content and
analysis diagrams are added, notation is improved and errors corrected. Reader feedback
is taken into account in the editing process. Major updates to the current edition will be
announced on the website. Here is the document history:
Vs. 1.0 (Jul 2005): First draft published on the internet.

Vs. 2.0 (Oct 2007): Many score analysis examples added. Typing errors corrected.
Vs. 2.4 (Sep 2009): Movement from Shostakovich symphony added.
Vs. 2.5 (Sep 2012): Several movements from Mahler symphonies added. Typing errors cor-
rected. References added.
Vs. 3.1 (Nov 2012): Additional pieces and movements in many chapters. New chapters cre-
ated for Beethoven, Fauré, Sibelius and Puccini. Errors corrected and notation up-
dated. Number of pages: 260. Published on the internet (full and demo version).
Vs. 3.2 (May 2013): Additions to the Bach, Beethoven, Schubert and Mendelssohn chapter.
Essential instrumentation markings added more consistently. Error corrections.
Vs. 3.3 (Aug 2013): Extensions to the introductory chapter. Existing analysis diagrams in the
Schumann chapter now in greater detail, new symphony movements added. Graphics
created (biographical data and formal analysis overviews). Error corrections and more
consistent notation.
Vs. 4.1 (Nov 2013): Haydn chapter with three string quartets created. Additional move-
ments and more detailed analysis diagrams in the Bach, Mozart, Beethoven, Schubert,
Mendelssohn, Schumann, Tchaikovksy, Debussy and Ravel chapters. More extended
descriptions and graphical overview diagrams, instrumentation indicated in the tables.
Number of pages: 510. Published as Fourth Edition on the internet.
Vs. 5.1 (Jan 2015): There are new compositions included in the Mahler, Sibelius and Strauss
chapters. Additional movements in the Mozart, Schubert, Brahms, Fauré, Puccini,
Mahler and Prokofiev chapters. Introduction of the key relationship diagrams. Pub-
lished as Fifth Edition on the internet (full and demo version).
Vs. 6.1 (Oct 2017): New composer chapters created for Berlioz and Grieg. There are new
compositions included in the Mozart, Beethoven, Schubert, Mendelssohn-Bartholdy
xxiv Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com)

Preface
and Debussy chapters. Movements added to and multi-movement completed in the

Mozart, Schubert, Schumann, Tchaikovsky, Fauré, and Ravel chapters. Updates to
the Introduction chapters. Index keywords revised and expanded. Errors corrected.
Published as Sixth Edition on the internet (full and demo version).
Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com) xxv

Preface
xxvi Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com)

Chapter 1
Introduction
1.1 What you will find in this book

This e-book presents a number of diagrams, representing the musical analysis of composi-
tions from the classical music repertoire. The diagrams are in the form of graphs and tables
and they cover a set of masterpieces from the tonal music period, i.e., starting with the Baroque
and ending with Impressionism and the late Romantic composers. A limited set of later works
(early to mid 20th century) is also included. During this era harmonies were based on chord
structures in thirds, and chord progressions were determined by specific root cycles and caden-
tial formulas. Composers combined chord structures and harmonic progressions to control
tension and release, dissonance and consonance in their music. This tonal harmony system
is also labeled as functional harmony or common practice (the latter term is more strictly applied
to music written between the years 1750 and 1900, approximately).
The analysis diagrams cover a period of almost three centuries, as illustrated in Fig. 1.1.
The diagrams include symphony movements, opera pieces, chamber music works, songs
and solo instrumental pieces. To be complete is impossible; however, this book will present
a representative cross-section of the vast repertoire from that period.
Each chapter contains works from one specific composer (see the overview in Fig. 1.1).1
Chapters are ordered chronologically, according to composer date of birth. General infor-
mation about the compositions was taken from the printed scores (see the bibliography
list at the end), or from [61, 72]. Terminology and analysis examples were adapted from
[55, 49, 50, 51].
1.2 How the musical analysis diagrams were created

Over the years I have analysed many orchestral and chamber music scores, in order to try
and understand the following aspects in the works by the great masters:
• musical form: the structure of a musical piece, its subdivision into sections and their
proportionality (length);
1
The subsequent chapters have more detailed composer dates and working places. Health warning: from the
limited data set in this e-book the statistics show that the city of Vienna (Wien) is a most dangerous place for
composers to stay. They live shorter and usually die there. So here’s a brief warning to musicians with career
ambitions: if you can, avoid the place! On the other hand, there is also Sacher Torte.
2005-2017
CHAPTER 1. INTRODUCTION
Year
1600 1700 1800 1900 2000
(1906-1975) D. Shostakovich d d
(1891-1953) S. Prokofiev d d
(1875-1937)M. Ravel d d
(1865-1957) J. Sibelius d d
(1864-1949) R. Strauss d d
(1862-1918) C. Debussy d d
(1860-1911) G. Mahler d d
(1858-1924) G. Puccini d d
(1845-1924) G. Fauré d d
(1843-1907) E. Grieg d d
d d P.I. Tchaikovksy (1840-1893)
d d J. Brahms (1833-1897)
d d R. Schumann (1810-1856)
d d F. Mendelssohn Bartholdy (1809-1847)
d d H. Berlioz (1803-1869)
d d F. Schubert (1797-1828)
d d L. van Beethoven (1770-1827)
d d W.A. Mozart (1756-1791)
d d J. Haydn (1732-1809)
d d J.S. Bach (1685-1750)
1600 1700 1800 1900 2000

– ‘Common Practice’ –
Impress.
Classical Late Rom.

Baroque Romantic Modern
1600 1700 1800 1900 Year 2000
Figure 1.1: History timeline with classical music periods (bottom) and composers covered
chronologically in the chapters of this e-book (top).
2 Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com)

1.3. HOW TO READ THE ANALYSIS DIAGRAMS
• the relations between the keys (or tonal centres) within a movement;
• the harmonic progressions: chord sequences imply varying chord dissonance and chord
root movement. Harmonic tension in a progression may be the result of vertically
stacked chordal functions (e.g., chorale style) or a byproduct of independent voice
movement (as in counterpoint settings);
• the use of melodic material (varying from a short motif to a long and varied musical
sentence). Multiple statements of melodic material will occur, either as simple repeats,
slightly varied or thoroughly developed;
• the instrumentation. Orchestral balance, achieving tension curves through dynamics

(soft-loud), clever use of instrumental ranges (middle tessitura or extremes), these all
contribute to the effect of a musical composition;
• the detailed voice leading within a part; a part may move predominantly in upward
and downward steps, or in leaps. There may be high points through an apex pitch,
supporting a musical climax. Upper and bass part voice leading are essential elements
in musical compositions.
This analysis yielded a set of annotated scores in my music library. In addition, I created
coloured diagrams on graph paper, with a more or less proportional representation of the
musical form and harmony, melody and other aspects indicated.2
At some point in time I decided to convert these diagrams into digital form on the com-
puter and make them available on the internet through my website.3 That was the origin of
this e-book. I chose to transform the diagrams into tables, obviously losing some of the in-
formation (such as specific colours for melodic material, the exact duration of pedal points,
and voice leading) on the way. However, I thought they might still be useful as a reference
source for musical analysis.
1.3 How to read the analysis diagrams

The analysis diagrams for a complete musical composition or for the individual movements
from a longer work are presented in more or less standardised tables, with as much detail
as possible. In many cases there is also a graphical overview of the total piece, showing the
larger scale structure and the relative proportions of the sections within a movement. In
this section of the book the notation in the tables is explained; for reasons of limited space
in the table columns there are many abbreviations and special symbols. Then there will
be two model graphical representations of common musical forms, helping the reader in
understanding the analysis notation.
2
On my YouTube channel I put a short video, introducing this Sixth Edition of the book. In the screen back-
ground there are fragments of annotated score pages and sections of these original coloured sheets with a con-
densed analysis.
3
Find the website homepage at URL www.fransabsil.nl. Look in the Document Library tab to find the free
demo version of this Musical Analysis E-book as PDF file.
Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com) 3

1.3.1 Notation in the analysis tables

See Table 1.1 to 1.4 for an explanation of the symbols, labels and abbreviations used in the
analysis diagrams. Table 1.5 shows a list of instrumentation and orchestration abbreviations
used in the diagrams.
When reading the tables one should take into account:
• The exact start and ending of melodic material is not indicated.
• The harmonic progressions sometimes are reduced to the main chords that support the
structure (the functional harmony). When a detailed harmonic progression is cut short
in the tables, this is marked as S1 −→ S2 , e.g., C − Em7 /B − E7[9 /G] − Am − F ]◦7 − G7
is summarized as C −→ G7 .4
• A harmonic sequence (more or less exact repeat of a short fragment) is frequently in-
dicated by the notation Seq(3 × 2m;R7 ), occasionally abbreviated as Seq(3 × R7 ). This
is a sequence of six measures in total, consisting of a two-measure pattern used three
times. Each repeat is at an upward tonal step (R7 ). This notation is based on the tonal
positive and negative root cycle system:5
– R3 : root moving a third downward, R−3 : root moving a third upward;

– R5 : root moving a fifth downward, R−5 : root moving a fifth upward;
– R7 : root moving a second upward, R−7 : root moving a second downward.
• Pedal point, i.e., extended sustained or repeated notes over multiple measures. Pedal
point on the pitch c in any part of a score, but most likely in either bass or upper part
is indicated in general as P (c). A tonic pedal point, such as the pitch c in the key of
C major is marked as P T (c).6 The dominant pedal point, such as the pitch g in the
same key likewise as P D (g). A double pedal point, with tonic and dominant held
simultaneously is marked as P (e[ − b[) (in the key of E[ minor). When the pedal is
indicated between brackets, e.g., (P (c)), it is continued from the previous line.
During the Classical, Late Romantic and Impressionist periods (after approximately the
year 1875) a couple of new musical elements appeared, and these require special markings
in the analysis tables:
• Use of the major chord on the lowered 2nd, i.e., the supertonic degree of the diatonic
scale [II; this is called the Neapolitan chord and most frequently it is voiced as a first
inversion chord, the Neapolitan 6th N 6 with the 3rd in the bass. There may be extended
phrases and cadences in the Neapolitan key, i.e., the major scale on this lowered super-
tonic degree.
4
This chord notation system with pitch names for the roots is used more frequently in jazz and popular music.
Reasons for using it in this e-book are given in Section 1.3.2.
5
The root cycle system is a notion in the Schillinger System of Musical Composition [53]. This approach is most
useful for both musical composition and analysis, as it teaches the student to identify and apply (de-)stabilising
chord progressions and cadences in tonal and more modern styles. You may want to watch the video episodes
on my YouTube channel, where I explain and demonstrate the nomenclature and terminology in the Schillinger
Harmony Systems.
6
Note that capitals are used for chord roots and scales, lowercase characters for pitch names.

Table 1.1: Notation: symbols and labels in the analysis diagrams.
Label Meaning
m measure number
(112 m.) total number of measures in the movement
M Melodic material (motif, theme, melody)
M0 Motif, used as introduction
M1 First main theme
M1’ Varied first theme
(M1) Vague reference to a theme
M1.1 First theme from the first theme group (sonata form)
M1a First (a) phrase or motif from the first theme;
used in melodic analysis, in order to label subphrases and
distinguish period (abab) from sentence (aab) melodic forms
M2 Second group theme, contrasting theme in sonata form
I(M1.1) Melodic inversion of M1.1
Mc, CM Countermelody (subordinate melody in counterpoint setting)
Mt Transitory melody of motif
Mx Melody x with specific character, e.g., Ma: ascending motif,
MB : Butterfly theme, Md: dance melody, Ms: scalar motif
5 Gradual introduction of the melodic material below
..
. Melodic material from the previous line is continued
⊥ Melodic material from the previous line ends here
R Key or tonal centre
H Harmonic progression
−...− Extended constant harmony (typically over multiple measures),
e.g., an extended dominant 7th chord G7 − . . . − C
<(Dm7 − G7 ) Harmonic riff (repeated set of harmonies)
S46 Second inversion of triad chord (with root in the bass, e.g.,
C46 = C/G), used in cadences such as I(m)64 − V7 − I(m)
(C − F − G7 )/C Pedal point (here C is the pedal note)
hB[m|Gi Bitonal chord structure, e.g., B[m over G (two stacked triads)
hF m|D|Ami Polychord structure, e.g., F m over D over Am
(three stacked triads)
[Bm/C]R Triad with independent root, e.g., Bm triad with C in the bass
hB[7 |D/GiR Polychord with independent root, e.g., B[7 chord over D triad
with G in the bass

Table 1.2: Notation and abbreviations in the analysis diagrams: comments (last column). In
the detailed analysis tables the abbreviations are frequently used without period.
Label Meaning
d d
− Deceptive cadence (e.g., G − Am)
−→ Intermediate harmonies (between two structurally more significant chords)
2nd
h i Dev. Secondary development (sonata form)
3
4 Meter
[A], [1] Rehearsal mark in the printed score
A, B, A, B Sections in a longer form (printed in boldface in the tables)
A’ Varied section in a longer form (also notated as A1, A1 )
Ac. Acoustic diatonic scale (with augmented fourth and minor seventh degree)
Aeol. Aeolian (scale, diatonic mode)
Alt. Altered scale (with dominant 7th, ]9 = [10, ]11, [13)
appogg. Appoggiatura (stressed dissonance, also abbreviated as app.)
arp. Arpeggio
asc. Ascending
aug. Melodic augmentation (longer durations), also abbreviated as augm.
(a), (b) Phrase from a musical sentence (e.g., M1=a+a+b)
bg. Instrumental background
cad. Cadences, cadential phrase
ch. Chord
chr. Chromatic
clim. Climax (dynamic or musical texture)
c.m. Contrary motion (upper and bass part either opening or closing)
contr. Contrasting
C&R Call-and-Response
CSubj. Countersubject (subsidiary theme in a fugue)
ctp. Counterpoint, i.e., independent (pitch and rhythm) voice movement in
various forms such as imitation, canon or fugue
D Dominant axis material (themes in the dominant key)
desc. Descending
Dev. Development in the sonata form
diat. Diatonic (e.g., in diatonic parallel chords)
dim. Melodic diminution (shorter durations), also diminuendo
dom. Dominant, e.g., in g-dom-ped.
Dor. Dorian (scale, diatonic mode)
dyn. Dynamics (soft-loud)
elab. Elaborated, elaboration
epis. Episode
Exp. Exposition in the sonata form
ex. Exact (e.g., in exact chromatic parallel chords)
ext. Extension, extended (vertically in harmony or elongated in time)

Table 1.3: Notation and abbreviations in the analysis diagrams: comments (cont’d).
Label Meaning
fin. st. Final statement of a theme or melody
Gr. Group (a group of related melodic material)
~
Hk Diatonic parallel chords, e.g., C − Dm7 − Em7 − F∆7
d
~
Hk Chromatically exact parallel chords, e.g., Bm7 − B[m7 − Am7 − A[m7
i
i semitone step, chromatic (octave=twelve semitones)
imit. Imitation (a motif or theme, repeating through different voices)
improv. Improvisation
Ion. Ionian (scale, diatonic mode)
Lyd. Lydian (scale, diatonic mode)
M Mediant axis (third above key root)
mv Middle voice
Mixolyd. Mixo-Lydian (scale, diatonic mode)
mod. Modulation
(N ), (N 6 ) Neapolitan chord, i.e., major chord on lowered second degree of scale
(frequently used in its first inversion N 6 )
Oct.-sc. Octatonic scale (eight pitches at alternating steps of one and
two semitones), also OctSc or OctaSc
PB (&) Bass part descending (PB (%)for ascending)
PBi (%) Bass part chromatically ascending (PBi (&) for chromatically descending)
PL (%) Ascending lead voice (PL (&)for descending)
PLi (%) Chromatically ascending lead voice (PLi (&)for descending)
Pmi (%) Chromatically ascending middle voice (descending: Pm i (&))
P (g) Pedal point on pitch g (more specifically: P D (g) and P T (c) for
dominant and tonic pedal point, respectively)
par. Parallel (diatonic or exact parallel chords)
ped. Pedal point (e.g., c-tonic-pedal)
Pent. Pentatonic scale
Phryg. Phrygian (scale, diatonic mode)
pt. Part or section of a movement
R5 Root movement (here a 5th down, see notes in the text)
~ ni
R Series of symmetric root steps at ni (see notes in the text)
Rec., Recap. Recapitulation in the sonata form
Rep. Repeat (melodic phrase or section of movement)
retrans. Retransition (back to initial tonal key)
rh. Rhythmic motif
Σ(cm) Contrary motion (upper and bass part moving in opposite directions)
Σ(cm<) Contrary motion opening (Σ(cm>) for closing)
S6 Chord structure in first inversion (with third in the bass)

Table 1.4: Notation and abbreviations in the analysis diagrams: comments (cont’d).
Label Meaning
[S̄ 6 ] Series of chords in first inversion ([S̄56 ] for 7th chords in 1st inversion)
[S̄ 6 (Rn )] Series of chords in first inversion, with root progression Rn
S46 Second inversion chord (structure with fifth in the bass, cadential formula)
[S̄46 ] Series of 2nd inversion chords ([S̄34 ] for 7th chords in 2nd inversion)
~en
S Series of extended chord structures with function n (see notes in the text)
sc. Scale, scalar (e.g., scalar runs)
SD Subdominant axis material (themes in the subdominant key)
Seq. Sequence (see the explanatory notes)
st., stat. Statement
subj. Main theme of a fugue, subject
susp. Suspension (held-over dissonance in voice leading)
sym. Symmetric harmonic structures
sync. Syncopation
T Tonic axis material (themes in the tonic key)
th. Theme.
ton. Tonic, e.g., in c-ton-ped.
tr., trans. Transition, i.e., a musical phrase or subsection between
two major sections (e.g., between development and recapitulation)
tripl. Triplets
unis. Unisono
var. Varied, variation
Wh.t.-sc. Whole-tone scale (also WhTSc)

Table 1.5: Notation: instrumentation and orchestration abbreviations used in the analysis
diagrams.
Label Meaning
+ Orchestral doubling, e.g., WW+Str
- Sequential instrumentation, e.g., in imitation Str-WW
AFl Alto Flute (flute in G)
BCl Bass Clarinet
Brs Brass
Bsn Bassoon
Cel Celesta
Ch Choir
Cl Clarinet
DB Double Bass, Contrabass (also Cb)
div Divisi (Strings divisi)
ECl Clarinet in E[
EHn English Horn
FHn French Horn
Fl Flute
gliss glissando
Glk Glockenspiel
Hns Horns
Hrp Harp
LH Left Hand (Piano)
Ob Oboe
Perc Percussion
Pi Piccolo
pizz Pizzicato (plucked strings)
Pno Piano
RH Right Hand (Piano)
Str Strings
Tbn Trombone
Timp Timpani
Tpt Trumpet
trem Tremolo
Va Viola
Vc Violoncello
Vi Violin
VS Soprano voice (mezzo-soprano, alto, tenor, bass)
WW Woodwind

• Use of augmented sixth S ]6 chords, roughly in the period 1750-1850. The origin of these
chords lies in creating chromatic voice leading into a cadential formula. This process
implies the contrary opening motion between the lead and bass part (outer voices) as
in
lead: f % f] % g ...
bass: a & a[ & g ...
IV 6 augm. 6th I46 V(7) I
chord: F/A− [3 options] C/G− G(7) − C
with three options for the intermediate augmented 6th chord. These variants are equiv-
alents of the altered secondary dominant chord S7 on the supertonic degree II7 . In
music history they have received geographic labels (chord examples are in the key of
C major):
[5/[9
German. This is the chord A[]6 = A[7 = D7 no 1 = {a[, c, e[, (g[ = f ]}). It is used in
harmonic context as F/A − A[7 − C46 − G7 − C.
French. This augmented 6th chord is A[]6/[5 = D7[5 = {d, f ], a[, c}, and we find it in
the cadential chord progression as F/A − D7[5 /A[ − C46 − G7 − C.
Italian. This variant contains three pitches only A[]6 no 5 = D7[5 no 1 = {f ], a[, c}. It
occurs in a chord series such as F/A − D7[5 no 1 /A[ − C46 − G7 − C.
The three options can be found in the tables with the detailed harmonic analysis. The
typical spots for augmented 6th chords are in (re)transitions or before an extended
dominant pedal point.
• Extended chords, i.e., harmonic structures with chordal functions beyond the 7th of the
chord. Before the second half of the 19th century the occurrence of a dissonant 7th,
9th, 11th (equivalent to the 4th) or 13th was the result of either a suspension, i.e., held
over from the previous chord, or an appoggiatura. Proper suspension preparation and
downward stepwise resolution were essential, and such chords were used more or
less in isolation. However, during the Late Romantic and Impressionist period these
dissonant chord functions started to appear as static, extended harmonies, e.g., the C79 ,
9/11
Dm7 or G[13 7 chord structures. Composers created progressions with these extended
chords; in the analysis tables they are marked as S ~en , with n = 9, 11, 13 (the highest
function in the extended chord).
• Another feature is the use of parallel harmonies, i.e., chord structures moving in paral-
lel. This implies that either the chord tension (indicated by the highest chordal func-
tion) remains constant as the root moves up or down a diatonic scale, or the chord
structure remains constant as the root moves in ascending or descending intervals
(leaps) or semitone steps. The former is indicated by Hk ~ , and an example of such as
d
chord progression is C∆7 − Dm7 − Em7 − F∆7 . The latter is marked as either Hk ~ (root
e
~ 9/11 9/11 9/11
leaps) or Hki (root in semitone steps), and an example is Em7 − E[m7 − Dm7 .
• There is also the use of symmetric root movement. This implies that the octave is sub-
divided symmetrically into units of either 2, 3, 4 or 6 semitones (these are the only
solutions), and the constant chord structure moves along these root steps, upward
or downward. Examples of such chord progressions are Dm7 − F ]m7 − B[m7 , or

C7[9 − A[9 [9 [9
7 − F ]7 − E[7 . The former root movement is labeled in the analysis tables as
~ −4i , the latter as R
R ~ 3i . Symmetric root movement in the Impressionist period is very
popular with extended dominant chords.
• In the Impressionist period we also see the introduction of bitonality or, in general,
polytonality. Two key centres (roots), diatonic scales or modes are active in parallel.
This may yield complex non-traditional and multipart chord structures, where triads
S5 , seventh chords S7 and independent bass parts (non-chordal roots) are combined
as polychords. This leads to special chord structure notation in the tables, such as the
bitonal chord hF |Bi, i.e., two triads combined. A 7th chord over a triad in the lower
parts is notated as hA7 |F i, a 7th chord in the upper layer over a non-chordal root as
[Am7 /B[]R , and two triads in the outer parts, with a 7th chord in the middle layer
as hA[m|C7 |Emi. These types of harmony are also used in 20th century music; we
are reaching the limits of the domain of traditional, functional and tonal harmony.
These complex chord structures may be identified in the music of Ravel, Prokofiev and
Shostakovich.
1.3.2 Absolute chord notation in the harmonic analysis

Users of previous e-book editions occasionally ask why there is absolute chord labeling in the
harmonic analysis tables and not the alternative scale degree notation. In the book you will
find chord labels such as in this cadence: C − Am7 − Dm7 /F − G[9 7 with pitch names for the
6 [9
chord roots, instead of I − vi7 − ii5 − V7 with Roman numbers referring to the diatonic scale
degree. The former notation system is used in popular music lead sheets (songs) and jazz
scores, the latter is common and traditionally used in classical music literature about theory
of harmony.
Here are some reasons for using absolute chord notation in the book:
• In classical harmony, based on intervals of thirds, there are four types of triads S5 (major,
minor, diminished, augmented) and seven types of 7th chords S7 . Using the 12 chromatic
pitches as roots this yields a total of 12 × (4 + 7) = 132 chords. Using extended chords
with chordal functions such as 9th or 11th (e.g., G[9 7 ) increases the set even further.
When using relative notation in major-minor tonal harmony based on the 7-degree di-
atonic scale there are 14 chords. Frequently used alterations such as major chords on
2nd, 6th and 3rd degree (intermediate dominants), minor 4th degree F m = iv = IV m,
and using other diatonic modes will increase the set size. The smaller collection of
diatonic chords in relative notation, based on the degrees of the scale, requires trans-
position relative to the local root in order to obtain the actual pitches. In contrast, the
absolute chord label is unique and immediately yields the pitches found in the score.
• The book is full of tables with these absolute chord labels in jazz style notation. These
will help the conductor to quickly find the appropriate concert pitch in the orchestral
parts, including the transposing instruments. Knowing the voicing, i.e., the distribu-
tion of the pitches over the instrumental parts, is relevant for orchestal balance, tuning,
etc.7
7
When analysing musical scores, I add lots of pencil annotations in the instrument parts, including labels for
chordal functions such as 1, 3, 5, with arrows indicating the voice leading direction. This helps in checking chord
voicing, inversions, function doubling and voice leading in the parts.

• The analysis tables also contain a column with the local root and key. This helps in
understanding the global harmonic structure of a piece; a graphical representation of
these local roots is found in the key relation diagrams, see Section 1.3.4. I find the mental
mapping from the absolute chord label with the local root into the smaller functional
diatonic set easier than the reverse. That may require a bit of reading practice, though.
• Diatonic degree chord notation may become complex in (rapid) modulations. In tonal
harmony, there is a set of well-known modulation schemes, such as those based on a
common or pivot pitch between chords. These chord changes create ambiguity un-
til the new key is clearly established, typically through a dominant-tonic cadence. In
books on tonal harmony these schemes are illustrated with score examples and typ-
ically use two lines with diatonic functional chord labeling. These are pointing out
the pivot chord, e.g., Am = vi/C = ii/G, or vi|C = ii|G , and show the length of the
ambiguity (usually two to three chords). My book provides observations and keeps
the interpretation to a minimum; identifying the start and end of a modulation is a
frequent issue in musicological studies. The book contains the chord data in tabular
form; this is a great time-saver for musicians when starting the interpretation process.
• There is also a most pragmatic reason for using absolute chord labels. In the current
edition there must be 60,000-70,000 chords (a rough estimate). Adding multiple lines
with alternative interpretation in diatonic relative chord notation would more than
double the page count. This book is meant to grow in the future by adding more
compositions and I keep an eye on its file size and page count.
1.3.3 Two template musical forms

A graphical representation of a composition will reveal its large scale structure; it shows the
relative proportions of the main sections. Obviously, it is not representing the duration of
sections, since musical tempo is not taken into account in these graphs.
With the diagrams of two template musical forms we will illustrate some aspects of the
formal structure at multiple levels, including many symbols defined in Table 1.1 from Sec-
tion 1.3. We will do that for the two most common musical forms, the sonata form and the
ternary song form. These forms are discussed extensively in [55, 49, 50]. The templates shown
here contain the essential characteristics, discussed in those textbooks.
The sonata form

Figure 1.2 shows the graphical representation of the sonata form.8 In a top-down approach
we may identify four structural levels:
Section level: This is the highest structural level. The sonata form structure consists of the
following sections: [Introduction], Exposition, Development, [False Recapitulation],
[Secondary Development], Recapitulation, and Coda.9 Some sections are optional,
8
Always keep in mind that this is a template, an ideal description. Actual examples from the classical reper-
toire by the great composers may frequently deviate from this model. The model was constructed afterwards as
an academic approach to music.
9
In the Index at the end of the book the keyword introduction section is reserved for the sonata form, all others
are labeled as introduction. The same holds for the keywords coda section and coda.

Sonata form: [Optional] -
Intro Exposition Development FRec. 2nd Dev. Recap. Coda

I
@
Gr1 Gr2 Tr. Gr2 Tr. Gr1 Gr1 Gr2 Retr. Gr1 Gr2
@
I
@
@ 0 0 00
M0 M1 M2.1 M2.2 M1 M2.1 (M0 ) M1 M1 M1/2 M0 M1 M2.1 M2.2 M1/0
aa0 b abab aaa0 6 aba0 ba0 bb0 b0
6
Phrase/Motif
Theme/Melody
Group
Level: Section
Figure 1.2: The sonata form in diagram, with formal structure, notation and labeling at vari-
ous levels (see description in the text).
indicated by brackets and dashed lines in the diagram. The exposition will state the
main themes of the sonata movement, the development section(s) will process this the-
matic material through variation and modulation. Modulations (key and root changes)
may be either carefully prepared through cadences, or appear totally unexpected and
in rapid succession. The development may introduce new themes or skip some of the
thematic material in the exposition: in the diagram theme M2.2 does not return in the
development. Transitions of any length may be found between these major sections.
Further explanation is given below. Separation between sections is usually achieved
by using standard closing harmonic formulas, cadences.10
Group Level: This indicates the grouping of thematic and melodic material around certain
key areas. In the sonata template there are typically two groups of thematic material
(labeled as Gr1 and Gr2 in the diagram). When the sonata movement is in a major
key the first group themes are in the tonic key (T), the second group themes in the
dominant key (D). When the sonata form is in a minor key, the second group usually
is in the relative major key (M).
Theme/Melody/Subject: At this level individual melodies or subjects can be identified. A

group may contain one or more melodies or themes. Compositions that are based on
a single theme are called monothematic. The introduction may also contain melodic
material, often a signal-like motif (here labeled as M0 ). The numbers (here subscripts)
indicate the group and theme number: e.g., M2.1 is the first melody in the second
group, also called the secondary subject. In a group there may be multiple statements
of melodic material (exact or varied repeats; not shown in the template diagram for
lack of space). Varied forms of a melody may be used and are marked by accents:
0 00
e.g., M1 in the transition between the exposition and the development, or M1 in the
false recapitulation. A vague reference to an earlier theme is indicated by putting the
melody number between brackets: e.g., the reference to the introductory motif M0 in
the transition between the two groups in the development. When multiple melodies
sound simultaneously, as in a counterpoint setting with a main and countersubject, or
when they are juxtaposed in a call-and-response setting, this is indicated by the forward
10
Cadences, i.e., standardised harmonic formulas close units at all sectioning levels, not only at the highest
section level. Transitions usually contain a closing cadence, leading into the next major section, as do melodies.

Sentence Period
a a’ b a b a’ b’
(a) (b)
Figure 1.3: Classical music melody structure. (a) sentence, (b) period.
slash: e.g., M1/2 in the secondary development or M1/0 in the coda. Usually the num-
ber before the slash is the leading theme in such a parallel melodic setting.
Phrase/Motif: A melody or theme may be subdivided into smaller melodic units, such as
the phrase or motif. A motif is marked by lowercase characters: a, b, c, . . .. In classical
music there are two basic families of melodic structures, shown in Figure 1.3: the sen-
tence and the period, see [55]. The sentence has the form: aab (see the Group 1 theme in
the exposition), the period consists of abab phrases (as is the case for the first melody in
the 2nd group in the exposition). Another approach is a binary subdivision of a theme
into antecedent and consequent.11 The motif grouping into antecedent-consequent for a
sentence is (aa) − (b), and for a period (ab) − (ab).
Of course, melodies may deviate from these two basic patterns (see the second theme
in the 2nd group which has the form aaa). And obviously these phrases may be varied
in any section of the sonata form: see M2.1 in the development. We may also encounter
only a single motif from the basic melody in the development section: see M1 in the
second part of the development, where only the b-phrase is varied as bb0 b0 .
So, respecting the structural hierarchy defined above, melodic material could be labeled
in a computer language style as: Exp::Gr2 ::M2.1 ::b’ (separating the 4-levels top-down by
double colons). In the tables you will find a less sophisticated notation, that skips the section
and group level, and will usually use neither subscripts, nor double colons. Therefore, the
musical analysis tables will use labeling such as: M1, M2.1’, M1b, M2.1a. In case of notation
inconsistencies, this is usually in order to prevent overfull table columns.
The sonata form occurs frequently as the opening and closing (finale) movements of
extended, multi-movement compositions, such as the symphony and string quartet.
The ternary song form

The ternary song form, also called the ternary form or ABA form, consists of two more or less
similar outer sections A, separated by a contrasting middle section B.12 The second A section
is usually varied (labeled A’ or A2 ) and the movement frequently may close with a coda. The
ternary song form is shown schematically in Fig. 1.4.
This form is subdivided into three structural levels:
Section: This highest level shows the ternary structure, with the two A sections (here labeled
as A1 and A2 ), and the middle section B. The first Asection may be repeated. The
dashed box around the Coda section indicates that it is optional.
11
The antecedent-consequent pair has some similarity to a call-and-response melody. The second half, the con-
sequent, should have some reference to the opening phrase, the antecedent.
12
In the analysis tables and in the descriptions, these section labels will be written with a boldface font, A,B,C
etc.

Ternary (song) form: [Optional] -
|| : A1 : || B A2 Coda
M1 I
@
@ M1 M2 Tr(M2 ) M1 M1/2
0 0
aa b I
@
@ abab bb
6
Phrase/Motif
Theme/Melody
Level: Section
Figure 1.4: The ternary song form in diagram, with formal structure, notation and labeling
at various levels (see description in the text).
Theme/Melody: Now, in general there is one theme or melody per section, so we don’t need
the group structural level. In the template there is a main theme M1 , that is repeated as
a second statement in the opening section. However, that depends on the length of the
section, and a single statement is equally likely. Themes usually close with a cadence.
The theme in the middle section, M2 , is supposed to be a contrast to the other melody.
The section closes with a transition, that is based on the second theme.
In the closing section, A2 , after a single statement of the opening theme, both themes
are combined in a simultaneous setting M1/2 , although a simple repeated statement of
the opening theme is just as likely. The coda usually contains a reference to either of
the themes, before closing with a cadence.
Theme/Motif: In the diagram the first theme M1 is a sentence (aa0 b), the contrasting middle
theme M2 is a period (abab). The transition is based on a variation of the second motif
from the middle theme.
The ternary song form is used in the middle movements of longer, multi-movement com-
positions, such as the symphony or string quartet. There it is often in the form of a Menuet
and Trio or a Scherzo and Trio, where both parts of the movement (so both the menuet and
the trio, or the scherzo and the trio) have a ternary structure. With a helicopter view, also
the sonata form might be interpreted as a ternary form, with the exposition as the first A-
section, the development as the contrasting middle or B-section, and the recapitulation as
the second A-section. In general, the ternary song form movement is shorter than the sonata
form movement.
1.3.4 Key relationship diagram

For many of the works a key relationship diagram will be shown, according to the structural
functions of harmony approach presented in [54]. This is a graphical representation of how
the keys move in a (multi-movement) piece and represents the proximity or remoteness of
the moving keys. A similar diagram is used for the interpretation of key distance in Chapter
7 of [71].
The template key relationship overview diagram is shown in Fig. 1.5. It is centered
around the main key of C major. The horizontal axis is along the circle of fifths, with sub-
sequent dominants (R7i ) to the right and subdominants (R7i ) to the left. The vertical axis
represents symmetry and similarity, with relative minor – submediant pairs (R3i ) in up-

“Symmetry axis”
D A E B tF ] 6
C] G] D] A]
Dm Am Em Bm F ]m C]m G]m D]m A]m

Submediant R3i
F C G D A E B F] C]
Relative minor
Fm Cm Gm Dm Am Em Bm F ]m C]m
Subdominant R7i - Dominant R−7i
A[ E[ B[ F C G D A E
Parallel minor
A[m E[m B[m Fm Cm Gm
t Dm Am Em
Mediant R−3i
C[ tG[ D[ A[ E[ B[ F C G
t
C[m G[m D[m A[m E[m B[m Fm Cm Gm
? - “Circle of 5ths”
Figure 1.5: Key relationship overview diagram
ward, and parallel minor – mediant relationships (R−3i ) in downward direction. The prox-
imity to the root key is given by the Euclidean distance to the main key. In the template this
means that the four keys (or chords) {G, F, Am, Cm} are most closely related to C major,
then {Em, Dm, Gm, F m}, then {D, B[, A, E[}, etc. As we move outward from the centre
the number of accidentals increases, until we reach the enharmonically equivalent keys at
the edges of the diagram. These equivalent keys or multiple occurrences may be labeled
with bezier curves with closed circles at the endpoints. Two examples are shown in the dia-
gram: the enharmonically equivalent G[ = F ] in the left half and the double occurrence of
Gm − Gm in the lower right quadrant.
As the piece moves through a number of keys, the number of horizontal and vertical
steps between two keys indicates the proximity. A diagonal move, e.g., from C to Gm (C &
Gm), represents two steps. A surprise modulation in a development section of the sonata
form implicates a leap in this diagram. Since keys are shown multiple times, we will take
the shortest path between two keys; e.g., from C to Dm the shortest path is left-upward (←↑,
two steps), whereas →→↓ yields a distance of three steps. The enveloping rectangle around
all the keys used in a movement is a measure for the tonal stability. Of course, a feeling of
time, the slow or rapid succession of keys, is lost in this diagram.
In modal music, the key refers to either a major diatonic mode (Lydian, Ionian, Mixoly-
dian) or a minor mode (Aeolian, Dorian).
The geometry of the path through the key relationship diagram will reveal certain fea-
tures of a movement in a composition. It may have a very simple shape, such as an alternat-
ing path between tonic and dominant key. It may be meandering into remote key areas in
a longer movement. There may be repeating key modulation patterns, there may be some
form of left-right or upper-lower symmetry. Also, we may inspect the typical key pattern
sonata form movement: the path going into the right hand side dominant area at the begin-
ning as in a exposition second group, and the typical move into the subdominat area, i.e.,
the left quadrants near the coda.

1.4. FURTHER READING
1.4 Further reading

The material in this book is partly based on books on musical analysis I have read and stud-
ied in detail. The other part is my own system for concisely and consistently marking and
summarising in diagrams all the scores that I have studied over the years. Therefore, most
of the symbols for labeling at the detailed level are my own definition, while at the higher
structural levels there is more agreement with existing literature.
In case, the reader would like to delve further into these source documents and text-
books for musical analysis, here is a brief list of references that cover the period of tonal
music: [13, 17, 28, 34, 49, 50, 51, 52, 53, 54, 56].13 Textbooks will demonstrate musical fea-
tures with examples, short fragments of typically 4 to 16 measures long. However, none of
these sources contains a collection of detailed harmonic analyses of classical music move-
ments and compositions, comparable to the set in this e-book. That makes this publication
unique.
13
See the Bibliography at the end of this book for full references.


Chapter 2
Johann Sebastian Bach
Biographical data:
∗ 21-3-1685 in Eisenach
† 28-7-1750 in Leipzig
1600 1700 1800 1900 2000
Some general data and BWV numbers were taken from [73].
2.1 Vierstimmige Choralgesänge

Source: [3]. Music for four-part choir.
2.1.1 Nrs. 154-163 Herzlich tut mich verlangen

This chorale melody has been set as a 4-part harmonisation multiple times: as chorale nr. 154
(BWV 135), 155 (BWV 153), 156 (BWV 161), 157 (BWV 244), 158 (BWV 244), 159 (BWV 244),
160 (BWV 244), 161 (BWV 246), 162 (BWV 270) and 163 (BWV 271).
ˆ
See the harmonic analysis in Table 2.1 to 2.5. The end of a text phrase is indicated as Am,
corresponding to a fermata in the musical score.
2.2 Cantata No. 12 Weinen, Klagen, Sorgen, Zagen, BWV 12 (c. 1724)
Source: [1]. An overview of the formal analysis is shown in Fig. 2.1.
h i
3
Mvt. 2 Lento: ternary (da capo) form (F m, 2 , 92 m.)
A B
Figure 2.1: Bach, Cantata No. 12 Weinen, Klagen, Sorgen, Zagen, BWV 12
2005-2017
CHAPTER 2. JOHANN SEBASTIAN BACH
Table 2.1: Bach, Choralgesang nrs. 154–155 Herzlich tut mich verlangen
m R H Comment
Nr. 154 BWV 135
0u Am || : Am−
1 Em − F/A − Em/G−
2 Dm/F − Ê − E/G]−
3 Am − F − B∅7 /D − E−
4 Amˆ : || Am−
5 B∅7 /D − Em − F − B◦ −
6 C relative major
7 F − C]◦7 − Dm − Dm/F −
8 Â − C/E−
9 G − C/E − G−
d
10 Am7 /C − D − Ĝ − E/G] −
11 F/A − C − Dm7 /C − G/B−
12 Am/C − Ê
Nr. 155 BWV 153

0u Am || : E7 /D−
1 Am/C − C]◦7 − Dm − C◦ /E− PB (%)
2 Dm/F − Gm/B[ − Â − Em/G− major
3 D]◦7 /F ] − Am/E − B7 /D] − E7 −
4 Amˆ : || Am−
5 G − G7 /F − Am/E − B◦ /D−
6 C7 /E − F − Ĉ − C/E− plagal cad.
7 F − C]◦7 /B[ − A/C] − Dm−
8 Â − D7 /F ]− plagal cad. to major
9 G − F ]◦ /A − G/B−
10 Am7 /C − D − Ĝ − C−
11 Dm − C/E − D7 /F ] − G− PBi (%)
12 E7 /G] − Am − Ê

2.2. CANTATA NO. 12 WEINEN, KLAGEN, SORGEN, ZAGEN, BWV 12
m R H Comment
Nr. 156 BWV 161
0u Am || : Em− With added flute part
1 Dm/F − G − F/A − G7 /B − C−
2 Dm/F − Ê − E−
3 Am − F − B◦ /D − Em7 −
4 A − Amˆ : || Am7 − major-minor
5 B◦ /D − C/E − F − B◦ /D−
6 C − Am7 /C − Ĉ − C/E−
7 F − C7 − A/C] − Dm−
8 Amˆ − Am−
d
9 Em − G/B − Am/C − Em − E7 −
10 F − Dm/F − Ê − A7 −
11 Dm − Am − Dm/F − G− PBi (%)
12 E/G] − Am − Ê
Nr. 157 BWV 244

0u Bm − D || : D−
1 G − D/F ] − G/B − D−
2 Em7 /G − A − D̂ − A]◦ /C]− relative major
3 Bm − Bm/F ] − F ]7 −
4 Bmˆ : || Bm7 −
5 C]◦ /E − EM − D/F ] − G − C]◦ /E−
6 Bm/D − D̂ − G− relative major
7 G∆7 − D]◦7 − Em − Em/G−
8 B̂ − E7 /G] major
9 A − E/G] − D/F ] − A/E−
10 B7 /D] − E − Â − D−
11 Em − D/F ] − A4 − A−
12 D̂ relative major

m R H Comment
Nr. 158 BWV 244
0u C]m − E || : E−
1 A − E/G] − A/C] − E−
2 F ]m/A − B − Ê − B]◦ /D]− relative major
3 C]m − C]m/G] − G]7 −
4 C]m : || C]m7 −
5 D]◦ /F ] − G]m7 − A − D]◦ /F ]−
6 C]m/D − E − Ê − E−
7 A − E − F ]m − F ]m/A−
8 ˆ − F ]7 /A]−
C] major
d
9 B − B/D] − E/G] − B −
10 C]m/E − F ] − B̂ − E−
11 A/C] − E/B − F ]m7 /A − B−
12 Ê
Nr. 159 BWV 244
0u Dm − F || : Dm−
1 B[ − F/A − Gm − F −
2 Gm/B[ − C − F̂ − A/C]− relative major
3 Dm − Dm/F − A4 − A7 −
4 Dmˆ : || Dm7 −
5 Gm − F/A − B[ − Cm7 /G−
d
6 Dm/F − F − F̂ − F7 −
7 Gm/B[ − D7 /F ] − Gm−
8 D̂ − G7 /B− major
9 C − F/A − C/G−
10 Dm7 /F − G − Ĉ − F −
11 Gm − F/A − C7sus4 − C7 −
12 F̂ relative major

2.2. CANTATA NO. 12 WEINEN, KLAGEN, SORGEN, ZAGEN, BWV 12
m R H Comment
Nr. 160 BWV 244
0u Am || : Am−
1 F − C/E − Dm − C−
2 D7 /F ] − G − Ĉ − E/G]−
3 Am − B∅7 /D − Am/E − E7 −
4 Amˆ : || Am7 −
[5/[9
5 B7 /D] − Em − F7 /E[ − B◦ /D F7 = B7
d
6 C7 /E − F m − Ĉ − C7 − relative major
7 Dm/F − E∅7 − A7 /C] − Dm−
8 Â − B7 /D]− plagal cad. to major
9 G − G/B − C/E − G−
10 A7 /C] − D − Ĝ − C−
11 G7 /B − C − Gm/B[ − Gm7 −
12 E7 /G] − Am − Ê
Nr. 161 BWV 246
d
0u Am || : E −
1 F − G − F/A − C/G−
2 Dm7 /F − B∅7 /F − Ê − E−
3 Am − F − B∅7 /D − E7 −
4 Amˆ : || Am7 −
5 B∅7 /D − Em7 − F − B◦ /D−
6 F/A − C − Ĉ − C relative major
7 F − C]◦7 − Dm − G]◦7 /D−
8 Â − D7 /F ]− major
9 G − G∆7 /F ] − C/E − Em7 −
10 Am7 /C − D − Ĝ − C−
11 F/A − Am − B∅7 − G/B − Dm/A−
12 E7 /G] − Am − Ê

m R H Comment
Nr. 162 BWV 270
0u Bm || : Bm−
1 G − D/F ] − C]∅7 /E − Bm/D−
2 Em7 /G − F ˆ]m − F ]m
3 Bm − Bm/D − B/F ] − F ]7 −
4 Bmˆ : || Bm7 −
5 C]∅7 /E − D/F ] − G − C]◦ /E−
d
6 D7 /F ] − G − D̂ − D7 − relative major
7 Em/G − B7 /D] − Em−
8 B̂ − E7 /G]− major
9 A − C]m − D/F ] − A−
10 Bm/D − E − Â − D−
11 G/B − D − A/C]
12 Bm/D − G]∅7 /B − F ]
Nr. 163 BWV 271
0u Bm || : D−
1 G − D/F ] − Em − D−
2 Em7 /G − A − D̂ − F ]/A]− relative major
3 Bm − Bm/D − F ]4 − F ]7 −
4 Bmˆ : || Bm7 −
5 C]∅7 /E − D/F ] − G − C]◦ /E−
6 Bm/D − D − D̂ − D− relative major
7 G − D]◦7 − Em − Em/G−
8 B̂ − E7 /G]− major
9 A − Bm − A/C]−
10 Bm7 /D − E − Â − D−
11 Em − D/F ] − A7 − A7 /E−
12 Bm/D − Bm − Fˆ]

2.3. CANTATA NO. 78 JESU, DER DU MEINE SEELE, BWV 78
2.2.1 Movement 2. Lento
Form: passacaglia (repeating ground bass in triple meter) and two-part canon, da capo ABA.
In the A section, the ground bass, a chromatically descending bass line in half notes, is la-
beled as Mb. The melody in this section is set both in imitation (Mi) and four-part chorale
(Mch) style. In the B section the two-part canon theme is labeled as Mca; some phrases are
in melodic inversion. The analysis is shown in Table 2.6 and 2.7.
2.3 Cantata No. 78 Jesu, der Du meine Seele, BWV 78 (c. 1740)
h i
3
Mvt. 1: Instrumental-Choral (Gm, 4 , 144 m.)
I1 C1 I2 C2 I 3 C3 I 4 C4 I5 C5 I 6 C6 I7
h i
4
Mvt. 2 Aria. Duetto Wir eilen: ternary (da capo) song form (B[, 4 , 98 m.)
A V1 V2 B V3 V4 V5
Figure 2.2: Bach, Cantata No. 78 Jesu, der Du meine Seele, BWV 78
2.3.1 Movement 1
Form: chaconne (repeating chord progression, ostinato motif). Two counterpoint motives
(M0, the chromatically descending ostinato motif and M1) are combined with the chorale
melody Jesu, der Du meine Seele (Mc) in a four part counterpoint, full of imitation. The analy-
sis is shown in Table 2.8 to 2.10.
2.3.2 Movement 2 Aria. Duetto Wir eilen
Form: da capo aria, ternary song form, vocal duet. The aria has an introduction section.
The basso continuo accompaniment moves in continuous patterns of 8th notes (organ and
violoncello) and 4th notes (violone). This creates a (swinging?) groove that supports the
feeling of hurry in support of the lyrics (Wir eilen). See the analysis in Table 2.11 and 2.12.
2.4 Brandenburg Concerto No. 4, BWV 1049 (1721)

Source: [2]. Music for orchestra (solo violin, two flutes or recorders, strings and continuo).
An overview of the formal analysis is shown in Fig. 2.3.

Table 2.6: Bach, Cantata No. 12 Weinen, Klagen, Sorgen, Zagen, Movement 2
m M R H Comment
h i
3
Lento 2
1 Mb/i Fm F m − D[/F − C7 /E − Cm7 /E[− A:1, imit: S-A-T-B,
3 ⊥ Dm − B[/D[ − C7 − PBi (&)
5 Mb/i’ F m − D[/F − C7 /E − Cm7 /E[− imit: T-S-B-A
7 ⊥ Dm − B[m/D[ − C7 −
9 Mb/i’ F m − G∅7 /F − C/E − Cm/E[ − F7 /E[− imit: S-A-B-T
d
11 ⊥ B[/D − B[/D[ − E[7 /D[ − F m64 − C7 −
13 Mb/i’ B[/F − D[/F − C7 /E − Cm/E[− imit: T-B-S-A
15 ⊥ B[/D − G∅7 /D[ − C7 −
.
17 Mb/ .. F m − D[/F − C7 /E − F7[9 /E[− imit
.. ..
19 ./ . B[ − D − B[m7 /D[ − G∅7 /D[−
.
20 ⊥ / .. F m64 − C7 − Cm−
.
21 Mb/ .. F7 − B[/F − D[/F − C7 /E − F7[9 /E[− imit: T-B-S-A
23 ⊥/⊥ B[/D − B[m7 /D[ − G∅7 /D[ − F m64 − C7 −
25 Mb/ch F7 − G7 /F − C/E − F7 /E[− A:2, 4-part chorale
.
27 ⊥ / .. B[/D − E[7 /D[ − G∅7 /D[ − C7 −
.
29 Mb/ .. F7 − E◦7 /F − D[/F − C7[9 /E − F m7 /E[−
31 ⊥/⊥ B[7 /D − E◦7 /D[ − G∅7 /D[ − C7 −
33 Mb/i F m − D[/F − C7 /E − A◦7 /E[− A:3, imit: S-A-T-B,
.
35 ⊥ / .. B[/D − E◦7 /D[ − B[m/D[ − C∅7 −
.
37 Mb/ .. F7[9 − C7[9 /E − Cm/E[− imit: T-S-B-A
.
39 ⊥ / .. Gm7 /D − G∅7 /D[ − F m64 − Cm−
.
41 Mb/ .. D[/F − C7[9 /E − C∅7 /E[− imit
43 ⊥/⊥ B[/D − B[m7 /D[ − C7[9 /D[ − F m64 − C−
45 Mb F m − D[/F − C7[9 /E − Cm/E[−
47 ⊥ D∅7 − B[m7 /D[ − C7[9 /D[ − F m64 − C7 − trans, instrum (End)
Un poco Allegro B, choir solo
49 Mca F m − Cm − Gm/B[− B:1, 2-part canon: S-B
..
51 . A[ − E[/G − F m − −G − Cm/G − G7 /F −
..
53 . Cm/E[ − A[ − F m − F m7 /E[−
54 ⊥ B[/D − Gm − F m7 −

2.4. BRANDENBURG CONCERTO NO. 4, BWV 1049
Table 2.7: Bach, Cantata No. 12 Weinen, Klagen, Sorgen, Zagen, Movement 2 (cont’d)
m M R H Comment
56 Mca’ G7 /F − Cm7 /B[ − G7 /D− 2nd phrase: S-B
..
58 . Cm − F m7 − B[ − A[ − Gm−
..
60 . A[ − F m/A[ − E[/G−
..
62 . F m7 − B[7 − Cm7 /B[ − F m7 /A[−
..
64 . B[7 /A[ − Cm7 /G − E[/G−
..
65 . F m7 − B[m7 − D◦ /F −
..
66 . Cm/E[ − F m7 − B[7 /A[ − E[/G−
68 ⊥ F m7 − B[7 − E[ − Cm/E[ − E[/G − B[7 − cad
71 Mca’ E[ − B[7 /A[ − E[/G− B:2, phrase 3, imit: B-S
..
73 . F m7 − Gm7 − A[ − Cm/G − D◦ /F −
..
75 . Cm − E[/B[ − A[ − B[m − D[/A[ − G◦ − Seq(3×1m;R−7 )
..
77 . A[ − Cm/G − F m − C7 /E−
..
79 . F m7 − G7 /B−
81 ⊥ Cm − Cm7 /B[ − A[ − D∅7 /A[−
Andante Stretto imit
83 Mca’ G − Cm/E[ − C/E − F m − F − B[m − B[− B:3, Seq(4×1m;R5 ),
..
87 . E[m − E[ − A[m − A[ phrase 4, chr asc
..
89 . A[ D[/A[ − A[ − D[/F − A[/E[ − B[m7 /D[−
91 ⊥ A[64 − B[m/D[ − E[ − A[ Da Capo (A) (92 m.)
h i
3
Mvt. 2 Andante: ternary song form (Em, 4 , 71 m.)
A B A’
h i
2
Mvt. 3 Presto: tutti-soli form (G, 2 , 244 m.)
Intro T1 S1 T2 S2 T3 S3 T4 S4 T5 Coda
Figure 2.3: Bach, Brandenburg Concerto No. 4, BWV 1049

Table 2.8: Bach, Cantata No. 78 Jesu, der Du meine Seele, Movement 1
m M R H Comment
1 M0 Gm Gm − D/F ] − Dm/F − B[∆7 /F − Instrumental: intro
3 ⊥ C/E − Cm/E[ − F − D7 − chr desc motif, PBi (&)
5 M0 Gm − D/F ] − Dm/F − G[9 7 /F −
7 ⊥ C/E − A∅7 /E[ − Gm64 − D7 −
9 M0 Gm − D − Dm − Am7 − A∅7 − D7 −
13 M0 Gm − D7[9 − Dm7 − C − Cm − D7 −
17 M0/1 Gm − A∅7 /C − D − Dm7 /F − Gm7 − Choir: imit
19 ⊥ A − A∅7 − A∅7 /G − D7 /F ]−
21 M0/c Gm − D/F ] − Dm/F − Chorale melody, line 1
23 ⊥ C/E − Cm/E[ − Gm64 − D7 − Gm
25 I(M1) Gm − Cm7 − C7 − F m − D7 − Gm
29 M1 Cm − A[/C − G[9 7 /B − Gm/B[−
31 ⊥ Am7 − F m/A[ − G7 − Cm/G − D7 −
33 M0/c Gm − E[/G − F ]◦7 − Dm/F − Gm7 /F Chor mel, line 2
d
35 ⊥ E∅7 − F ]◦7 /E[ − Cm/E[ − D7[9 −
37 M0 Gm − D/F ] − Dm/F − B[∆7 /F − Instrumental: trans
39 ⊥ C/E − Cm/E[ − Gm64 − D7[9 − chr desc motif, PBi (&)
41 M0 Gm − D − Dm−
43 ⊥ Am7 − A∅7 − D7 /F ]−
45 M0 Gm − E[/B[ − Cm7 /B[−
..
46 . D7[9 /A − Dm7 /A−
47 ⊥ C/G − Cm/G − D7 /F ]−
49 M1 Gm − A∅7 /C − D − Dm/F − Gm7 − Choir: imit
51 ⊥ A[9
7 − A∅7 − A∅7 /G − D7 /F ]
53 M1/c Gm − D/F ] − Dm/F − Chor mel, line 3
55 ⊥ C/E − Cm7 /E[ − Gm64 − D−
57 I(M1) Gm − Cm7 − C7 − F m − D7 −
..
60 . Gm − G[9
7 − Cm − A[/C−
..
62 . G[9
7 /B − Gm7 /B[ − A∅7 − F m/A[−
64 ⊥ G7 − Cm7 /G − D7[9
65 M0/c Gm − E[/G − D7[9 /F ] − Dm7 /F − Chor mel, line 4
d
67 ⊥ E∅7 − D7[9 /F ] − Cm/E[ − D7[9 −
69 Gm/D − A[9
7 − Dm7 − Instrumental: trans
71 D − G/D − Gm − D − A[9
7 /C]−
72 Dm − A−

Table 2.9: Bach, Cantata No. 78 Jesu, der Du meine Seele, Movement 1 (cont’d)
m M R H Comment
73 M0/3+4 Dm Dm − G7 − A7 − Am7 /C − Dm7 Choir: imit
..
75 . Em − A[9
7 /E − E∅7 /D − A7 /C]−
..
77 . Dm − B[/D − A[97 /C] − Am7 /C−
79 ⊥ G7 /B − Gm7 /B[ − A7 −
81 M0/c Dm − Gm7 /F − Chor mel, line 5
..
82 . C/E − Cm/E[ − F7 /E[−
83 ⊥ B[/D − B[m/D[ − E◦7 /D[ − F46 − C7 −
85 M0 F F − C/E − Cm/E[− Instrum: trans
87 ⊥ B[/D − B[m/D[ − F46 − C7 −
89 M5 F − G7 /B − C − D7 /F ]− Choir: imit, Seq
..
91 . Gm − A∅7 /C − Dm − Gm− Seq(4×1m;R−5 )
93 ⊥ A[9
7 − F ]∅7 /A − Cm/G − D7 /F ]−
95 M0/c Gm Gm − B∆7 /A − B[7 /A[− Chorale mel, line 6
97 ⊥ E[/G − E[m/G[ − B[64 − F7 −
99 M0 B[ B[ − F/A − F m/A[− Instrum: trans
101 ⊥ E[/G − E[m/G[ − B[64 − F7 −
103 B[ − C7 /E − F − G7 /B− Seq(4×1m;R−5 )
105 Cm − Am7 /E − D7 /F ] − Gm − A∅7 /C−
107 M0 D7sus4 − D/F ] − Gm − A7 − D7 /F ]− Choir: imit
..
109 . Gm − Gm7 /F − Cm/E[−
..
111 . D7sus4 − G7 /D − Cm − B◦7 /C−
..
112 . Cm − G[9
7 /B − C7 /B[−
..
113 . F7sus4 − G7 /D − C7sus4 − F7 /A−
115 ⊥ B[ − C7 /G − F7sus4 − B[7 − E[ − D7 /C−
118 M0/c Gm Gm − A∅7 /G − D7[9 /F ] − Dm/F − Chorale mel, line 7
..
120 . Gm7 /F − C/E − Cm/E[−
121 ⊥ (D − D7 − Gm)/D− d-dom-ped
122 M0 (A[9
7 − D7 − G7 − E7 − A7 )/D− Instrum: trans
d
124 ⊥ (D7 − E[)/D−
125 D7 − G7 − C7 − F7 Seq(4×1m;R−5 )

Table 2.10: Bach, Cantata No. 78 Jesu, der Du meine Seele, Movement 1 (cont’d)
m M R H Comment
129 M6 B[ B[ − E[/G − D7[9 − Choir: imit
..
131 . Gm − Cm7 /E[ − F m − B[/D − E[ − A∅7 /C− Seq(3×1m;R−7 )
134 ⊥ G[9
7 − Cm − C7 /E − D7 /F ]−
136 M0/c Gm Gm − D/F ] − Dm/F − B[/F − Chor mel, line 8
138 ⊥ C/E − Cm/E[ − A∅7 /E[ − Gm64 − D7 −
140 M0 Gm − D/F ] − Dm/F − G[9
7 /F − Instrum: coda
..
142 . C/E − Cm/E[ − A∅7 /E[−
143 ⊥ Gm64 − D7 − G (144 m.)
Table 2.11: Bach, Cantata No. 78 ’Jesu, der Du meine Seele’, Mvt. 2 Aria. Duetto ‘Wir eilen’
m M R H Comment
0u B[ B[ Introduction
1 F/A − B[ − F/C − B[/D−
3 E[∆7 /G − Cm − Dm7 /F − B[−
5 E[/G − B[/F − Cm7 /E[ − B[/D−
7 B[/D − Cm/E[ − F − E[/G − B[64 − F − B[
9 M1.a F/A − B[ − F7 /C − B[/D Verse 1: 2-pt imit
11 ⊥ C7 /E − F − Cm7 /G − F/A− ‘Wir eilen’
13 M1.b Gm7 /B[ − Cm − F7 /A − B[−
15 ⊥ Cm7 /B[ − F7 /A − B[−
16 M2 F − Dm − E[/G − Cm − Dm7 /F − B[− ‘O Jesu’, stretto imit
19 M1.a Cm/E[ − F − B[ − F7 − imit
21 ⊥ E[ B[ − E[ − B[7 /F − E[/G
d
23 M1.a F7 /A − B[ − F7 /C − B[/D − Verse 2: 2-pt imit
25 M1.b Cm/E[ − F m − B[/D − E[−
27 ⊥ B[7sus4 /E[ − E[−
28 M2 B[ − Gm7 − F7 /C − F7 − ‘O Jesu’, stretto imit
30 M1.a B[ B[ − Gm7 − E[ − F − B[/D− imit
.. d
32 . F7 /A − B[ − G[9
7 − Cm − Cm7 /G − F7 /A − parallel 3rds
35 ⊥ Gm − Cm/E[ − B[64 − F7 − cad
36 M1.c B[ − F/A − B[− ‘zu dir’, stretto imit
38 M1.b Gm/B[ − Cm7 − F7 /A − B[ − B[7 − parallel 3rds
.. d
40 . Gm − B[7 /D − Cm/E[ − Cm7 −
42 ⊥ F − B[64 − F − B[ closing cad

Table 2.12: Bach, Cantata No. 78 ’Jesu, der Du meine Seele’, Mvt. 2 Aria. Duetto ‘Wir eilen’
(cont’d)
m M R H Comment
43 F/A − B[ − F/C − B[/D− Instrum: trans
45 E[∆7 /G − Cm − Dm7 /F − B[−
47 E[/G − B[/F − Cm7 /E[ − B[/D−
49 B[/D − Cm/E[ − F − E[/G − B[64 − F − B[ (Fine)
51 M3.a Gm D7 /F ] − Gm − D7 − Gm/B[− Middle section
53 ⊥ G7 /B − Cm − G7 /D − Cm/E[− Voc: 2-pt imit
55 M3.b F m7 /A[ − B[7 /D − E[7 /G − C7[9 −
..
57 . F m/A[ − G7 /F − Cm/E[ − G[9
7 /F − Cm/E[−
..
59 . Cm Cm/E[ − D◦ /F − E[/G − F m/A[ − D◦ /F −
60 ⊥ Cm64 − G − Cm
61 F m/A[ − Cm/G − D◦ /F − Cm/E[− Instrum: trans
63 Cm/E[ − D◦ /F − E[/G − F m/A[ − D◦ − F
64 Cm/G − G − Cm − Cm7 /B[−
65 M4 F7 /A − B[ − C7 /E − Am − Am7 /G− Voc: ‘Ach! höre’,
67 ⊥ Gm D7 /F ] − Gm − D7 /A − Gm/B[− parallel 3rds
69 M1.a D7 /C − Gm/B[ − A∅7 − D7 /F ]−
..
71 . Gm7 − Dm/F − Gm7 /B[ − A[9 7 − imit
73 ⊥ Dm − E∅7 /G − A[9
7 /C] − Dm−
75 M3.b Gm7 /B[ − F7 /A − D7[9 /F ]−
..
77 . Gm/B[ − A7 /G − Dm/F −
..
78 . Dm A[9
7 /G − Dm/F − C]◦ /E−
..
79 . Dm/F − A7 /G − Dm/A − E∅7 /G−
80 ⊥ Dm64 − A − Dm cad
81 B[ Gm/B[ − C − F7 /A − B[ Instrum: trans
83 M3.a F C7 /E − F − C7 − F/A− Voc: imit
85 ⊥ G7 /B − C − G7 /D − C/E − Dm/F −
87 M1.b B[ − B[∆7 /F − C7 /E − F − C7 /E − F − parallel 3rds
..
89 . C7 /E − F/A − Gm7 /B[ − F46 −C −F
..
91 . C − F/C − C7 − F/C− c-dom-ped
..
93 . C7 − F − Cm7 /G − F7 /A− (c-ped)
..
95 . B[ − E∅7 /G − F/A − Dm7 /F − parallel 3rds
97 ⊥ C7 /F − F/A − Gm/B[ − F46 − C − F da capo (98 m.)

Table 2.13: Bach, Brandenburg Concerto No. 4, Mvt. 2 Andante
m M R H Comment
1 M1 Em Em A, echo (C&R)
9 M2 B E7 − echo (C&R)
M2 Am E − D − C∆7 B7 − Seq(3×1m;R−7 )
18 M2 Em D7 − G E7 − Am E7 − echo (C&R)
28 M2 Am Am D7 − G − C∆7 F ]∅7 − B7 B, solo, Seq(3×2m;R−7 )
⊥ Em − F ]7 −
37 M2 Bm Bm F ]7 − Bm C] − B − A Seq(3×1m;R−7 )
⊥ G∆7 F ]7 −
45 M2 Bm A7 − D B7 − Em B7 − echo
55 M1 Em Em F/A− A’
61 M2 B F ] − E − D G∆7 Seq(3×1m;R−7 )
68 . . . − Am/C − B Coda (71 m.)
2.4.1 Mvt. 2 Andante
Form: ternary song form, ABA’. Note the call-and-response (C&R) phrases and the frequent
use of single measure sequences with stepwise descending root, Seq(3 × 1m;R−7 ), in the
episodes. See Table 2.13 for the analysis.
2.4.2 Mvt. 3 Presto
This closing fast movement has the characteristic juxtaposition of tutti with solo instrument
sections (two recorders and violin). See Table 2.14 for the analysis.
2.5 Orchestral Suite No. 3 in D Major, BWV 1068 (1731)
Source: [2]. Music for orchestra (3 trumpets, timpani, 2 oboes, strings and continuo). An
overview of the formal analysis is shown in Fig. 2.4.
2.5.1 Mvt. 1 Ouverture
Form: ternary song form, ABCA’. This overture contrasts a maestoso A section with an elab-
orate counterpoint middle section (B and C), that is based on an ascending motif (M2), later
with addition of a quasi improvised, free melody (M3) in continuous 16th notes. The back-
grounds are full of imitation (middle string voices). The trumpets provide accents, (unisono)
imitation, voice crossing and occasional support for the thematic material. See Table 2.15 and
2.16 for the analysis.

2.5. ORCHESTRAL SUITE NO. 3, BWV 1068
Table 2.14: Bach, Brandenburg Concerto No. 4, Mvt. 3 Presto
m M R H Comment
1 M1 G G D − G A7 − D D7 − G Fugato-Intro (4 stat)
23 M1 . . . A7 − D D− Tutti 1 (2 stat)
41 M1 G G D 7 − G D7 − Solo 1, imit
47 ⊥ G Em − A7 − Seq(3×2m;R−7 )
53 M1 D D A7 − D A7 − imit
57 ⊥ D E7 − A7 − Seq(3×2m;R−7 )
d
67 M1/2 D D A7 − D D7 − Em B7 − Em Tutti 2
d d
75 M2 E7 − F A7 − Bm Seq(3×2m;R5 )
M1/2 G B7 −
87 Em Em B7 − Em B7 − Em A7 − Solo 2 (violin)
95 D D A7 − D7 − G7 E7 − Seq(3×2m;R5 )
Am Am B7 − Em
105 M1 . . . − B7 − imit
Em Em A7 B7 − Em B7 − E7 −
Am Am B7 − Em B−
127 M1 Em Em B7 − Em B7 − Em B7 − Em Tutti 3 (3 stat)
138 M3 Seq(3×2m;R5 ), (4 stat)
Bm F ]7 − Bm E7 − F ]7 − Bm F ]7 −
152 Bm E7 − Am D7 − G Em − A7 − Solo 3, Seq(3×2m;R−7 )
159 M1’ G−C D D7 − G G7 − C G7 − imit
167 M1 C C D 7 − G G7 − C F G 7 −
175 M1 C C G7 − C G7 − C G7 − Tutti 4, imit (3 stat)
183 C D7 − Solo 4, Seq(3×2m;R−7 )
189 M1 G G D 7 − G D7 − G D7 − G Tutti 5, imit (3 stat)
197 G A7 − D7 − Seq(3×2m;R−7 )
207 M1/2 G G
M2 A7 − D 7 − Seq(2×2m;R−5 )
219 G G G7 − C D7 − Coda
225 M1 G D7 − G D7 −
G A7 − D G7 − C E7 − Am − D7 −
237 M1 G D7 − G D−G imit (2 stat), (244 m.)

h ih i
4 2
Mvt. 1 Ouverture: ternary song form, ABCA form (D, 4 2 , 122 m.)
A B C A’
h i
4
Mvt. 2 Air: AB form (D, 4 , 18 m.)
A B
h i
2
Mvt. 3 Gavotte 1: AB form (D, 2 , 26 m.)
A B
h i
2
Mvt. 4 Gavotte 2: AB form (D, 2 , 32 m.)
A B
h i
2
Mvt. 5 Bourrée: AB form (D, 2 , 32 m.)
A B
h i
6
Mvt. 6 Gigue: AB form (D, 8 , 72 m.)
A B
Figure 2.4: Bach, Orchestral Suite No. 3 in D Major, BWV 1068

Table 2.15: Bach, Orchestral Suite No. 3 in D Major, Mvt. 1 Ouverture
m M R H Comment
h i
1 M1 D || : (D − Bm7 − Em7 − A7 )/D − D − C]◦7 /E− A 44 (ab) tutti
5 M1’ (D − G]∅7 − E7 )/D − A/C] − F ]m− (a): Ob+Vi
..
7 . Bm7 − E7 /G] − A − D]◦7 − Am7 − (b)
..
9 . B7 /A − Em/G − F ]◦7 /A − B − Em7 − Am/E (b’)
..
11 . A]◦7 /E − Bm − F ]7 − (b’)
..
13 . B7 /D] − E − C]m7 − F ]m7 − D− (c)
..
16 . Bm7 − E7 /G] − A − E7 −
..
18 . A − A7 /G − D/F ] − D7 − G − Em7 /G− (d): Ob+Vi, Tpt accts
..
21 . A7 /C] − D − A7 /G − D/F ]− tutti
23 ⊥ A7 /C] − D − A : ||
h i
2
25 M2 || : A7 − D − D7 /C − G/B − E7 /D− B 2 4pt ctp: Ob+Str
..
28 . A − C]∅7 /E − A7 /G − D − D7 /C−
31 ⊥ G/B − E7 − E7 /D − A− Tpt accts, cad
33 M2 A7 /C] − D − G∆7 − C]∅7 − F ]7 − episode
35 M2 Bm − Bm7 − D7 − G − C]∅7 − tutti
37 ⊥ F ]m7 − Bm7 − A7 − D
d
38 M2 A − A7 /G − D/F ] − DB
40 ⊥ Em7 − A7 /E − <(D − Em7 /G − A7 )− cad
42 M3 D − Bm − Em7 /G − A7 − C, free 16th: Vi1
..
43 . D − E7 /D − A/C] − F ]m − Bm7 /D − E− Str bg
..
44 . A − C]◦ /G − F ]7 − Bm − D]◦7 /F ] − B7 −
..
48 . Em7 − A7 − D7 − G∆7 −
..
49 . C]∅7 − F ]7 − Bm − Em
..
50 ./2 F ]7 − B7 − E7 − A7 − tutti ctp, Seq(4×R5 )
56 ⊥ D − E7 − A − D/F ] − C]◦ − E− tutti, cad
58 M3/2 A − A7 /G − D/F ] − B − B7 /A− tutti climax
..
61 . E/G] − E7 − A − D∆7
..
63 . G]∅7 − C]7 − F ]m − F ]m7 − A7 − Ob+Str ctp
..
65 . D − Em7 /G − C]∅7 − F ]−
66 ⊥ Bm − Em7 − C]∅7 /G − F ] − F ]7 /E− Tpt accts, climax

Table 2.16: Bach, Orchestral Suite No. 3 in D Major, Mvt. 1 Ouverture (cont’d)
m M R H Comment
68 M3’ Bm Bm/D − C]∅7 − F ]7 /C]− Ob+Str episode
..
69 . Bm − Em − F ] − A]◦ /E− (free 16th)
..
70 . Bm − C]∅7 − F ]− cad
..
71 . Bm − F ]7 /A] − Bm − G − C]∅7 /E − F ]− Vi1, Str cad
..
72 . Bm − C]7 /B − F ]m/A − D − G]∅7 /B − C]7 −
..
73 . F ]m − F ]∅7 /E − B7 /D] − B7 − PB (&)
..
75 . Em − E7 /D − A/C] − A7 − Σ(cm<)
..
77 . D7 − G∆7 − C]◦ − F ]m7 − Bm − Em7 − A7 − Ob accts
.. d d
79 . (D − A7 − Bm7 − E7 − A)/A − A7 − tutti climax
..
81 ./2 B7 − E7 − A7 − D7 − ctp, Seq(4×R5 )
87 ⊥ G G − Bm7 /C]◦ − D − Em7 /G−
89 M3/2 A − A7 − D − D7 − G − E7 − tutti climax, cad
..
93 . A − A7 − D − D7 /C − G/B − E− ctp
..
97 . E7 /D − A/C] − A7 − D − G∆7 − C]∅7 − F ]7 −
..
100 . Bm − Bm7 − D7 − G − Em/G − C]∅7 − tutti climax
.. d
102 . F ]m7 − Bm7 − Em7 − A7 − Bm7 −
..
103 . A − A7 − A7 /G − D/F ]−
105 ⊥ Em − A7 /E − <(D − Em/G − A7 )− cad
h i
4
107 M1 D D − . . . − D7 − G − C]∅7 /G− A’ 4 (ab): tutti
..
110 . D/F ] − B7[9 − Em − B7 − E/G] − E7 − (a’b’): Ob+Str
.. d
115 . (A − D − A7 )/A − Bm7 − G/B − Em7 −
..
117 . A7 /C] − A7 − D − D7 −
..
119 . (G − Em7 − A7 )/G − G/B − A7 /C]−
121 ⊥ D − G − A − D : || cad (122 m.)

Table 2.17: Bach, Orchestral Suite No. 3 in D Major, Mvt. 2 Air
m M R H Comment
1 M.a D || : D − D∆7 /C] − Bm − Bm7 /A− A, lead: Vi1, PB (&)
..
2 . Em7 /G − E7 /G] − A7 − Σ(cm<)
..
3 . D]◦7 − A/E − B7 /D] − B7 −
..
4 . Em − Em7 /D − A/C] − A7 − PB (&)
..
5 . D − A/C] − Bm7 − E7 −
6 ⊥ A − Bm7 /D − E7 − A − A7 − : || cad
7 M.b || : A − A7 /G − D]◦7 /F ] − F ]∅7 /E− B, PB (&)
..
8 . B7 /D] − Em − Em7 /D−
..
9 . A]◦7 /C] − C]∅7 /B − F ]7 /A]−
10 ⊥ Bm Bm − C]∅7 /E − F ]7 − Bm − Bm7 /A−
11 M.c E7 − D/F ] − E − E7 /D− Σ(cm<), PB (&)
12 ⊥ A/C] − Bm7 /D − E7 − A − A7 /G−
13 M.d D7 /F ] − G − E7 /G] − A − A7 − PBi (%), Seq(3×R7 )
14 ⊥ F ]7 /A] − Bm − Em − Em7 /D−
15 M.e A7 /C] − A7 − D − D7 /C−
..
16 . G/B − D7 /A − G − G∆7 /F ]− PB (&)
..
17 . C]∅7 /E − Em7 /D − A/C] − D − Em/G−
18 ⊥ D D46 − A7 − D cad (18 m.)
2.5.2 Mvt. 2 Air
Form: binary, AB form. Now take a deep breath; this 18 measures long slow Air for strings
never misses target. There is the unforgettable, beautiful long-winding lead melody full of
descending appoggiaturas over the steady 8th note, descending bass part with its octave
leaps. Part of the classical music canon, adapted numerous times, and rightly so.1 See Ta-
ble 2.17 for the analysis.
2.5.3 Mvt. 3 Gavotte 1
Form: binary, AB form. In this straightforward, monothematic dance the full orchestra re-
turns. Trumpets support the a-phrase from the main theme in the opening and closing tutti.
Oboes play unisono throughout. This theme returns in melodic inversion in the B section.
See Table 2.18 for the analysis.
1
This piece by Bach unfortunately is not part of the collection of images and audio samples, called the Voyager
Golden Record, that is on board the Voyager Spacecraft, launched in 1977, and flying towards the edges of the solar
system. That void could do with some air, I believe.

Table 2.18: Bach, Orchestral Suite No. 3 in D Major, Mvt. 3 Gavotte 1
m M R H Comment
1 M.a D || : D − A7 /C] − D − C]◦ − A (aa’): tutti (upbeat)
3 M.b D/F ] − Em7 /G − D46 − A7 − Ob+Str, cad
5 M.a D − A7 /C] − D − E7 − (aa’): tutti, 2nd stat
7 M.b’ A/C] − E7 − A − D − A/C] − D/F ]− Ob+Str
9 ⊥ Bm7 − A64 − E − A : || : A7 − cad
d
11 I(M.a) D∆7 − Bm7 − Em7 − C]◦ /E − F ]7 − B (aa’): Ob+Str, Σ(cm>)
13 I(M.b) G − D/F ] − C]∅7 /G − Em7 −
14 ⊥ Bm F ] − Bm − Bm7 /A−
15 M.a E7 /G] − F ]7 − (a): Ob+Str
16 M.b’ Bm − G − A]◦7 /E − Bm/D−
17 ⊥ Em − Bm64 − F ] − Bm − G−
19 M.a D7 /F ] − B7 − Em − A7 /C]− (aa’): Ob+Str
21 M.b D D − Bm − C]∅7 /G − E7 /G]− tutti
d
22 ⊥ A − D − D7 /F ] −
23 I(M.a) Em7 − Ob+Str, Σ(cm>)
24 I(M.b’) A7 −
25 ⊥ D − Em7 /G − A − D : || tutti, cad (26 m.)

Table 2.19: Bach, Orchestral Suite No. 3 in D Major, Mvt. 4 Gavotte 2
m M R H Comment
1 M.ab D || : D − . . . − C]∅7 /E − A − D A (a): unis, (b): Ob+Str ctp
5 M.a D − . . . − Bm7 /A− (a): unis
7 M.b’ E/G] − E7 /D − A/C] − E7 − A− (b’): Ob+Str imit, ctp
9 ⊥ F ]m7 − Bm7 −
11 M.a’b’ E7 − . . . − (A − D]◦ )/E−
14 ⊥ E7 − A − A/C] − A64 − E − A : || tutti, cad
17 M.a’ || : A − . . . − A]◦7 − B (a): Str unis
19 M.ca’ Bm Bm − C]◦ − Bm64 − F ]7 − Bm (a): LoStr imit
..
21 . Bm − . . . − B7 − Em − A]◦7 /C]−
23 ⊥ Bm − G − F ]7 − cad
24 M.ca’ Bm − Bm7 /A − D/F ] − D7 /A − D7 − (a’): LoStr
..
27 . D G − Em − C]◦ − D − A7 − D
29 ⊥ G − Bm/D − Em7 − A7 − D
31 M.a D/F ] − D46 − A − D : || (a): LoStr, cad (32 m.)
[Gavotte 1 da Capo]
2.5.4 Mvt. 4 Gavotte 2

Form: binary, AB form. The tutti unisono a-motif returns in the B section as string unisono
and as imitation in lower strings (Va and basso continuo). The two other, b- and c-motif,
are in a counterpoint setting. The three trumpets play unisono arpeggios, a solo trumpet
occasionally plays an embellished countertheme over the a-motif in the other instruments.
2.5.5 Mvt. 5 Bourrée

Form: binary, AB form. The oboes play unisono lead with the first violins. The trumpets
alternate between rhythmic accents and melodic support. The lower strings imitate the
bourrée lead rhythm. See Table 2.20 for the analysis.
2.5.6 Mvt. 6 Gigue

Form: binary, AB form. The suite concludes with a vivid, longer movement. Sequences
and a small development, including a sidestep to the subdominant key as a kind of false
recapitulation, provide additional material. The lead trumpet provides melodic support to
the unisono oboes and first violins. The other trumpets and timpani complete the brass
section with accents (the trumpets occasionally have crossing voices). See Table 2.21 and
2.22 for the analysis.

Table 2.20: Bach, Orchestral Suite No. 3 in D Major, Mvt. 5 Bourrée
m M R H Comment
1 M.a D || : D − D∆7 /C] − F ]7 /C]− A, Ob+Str, Tpt acct
3 M.b Bm − E7 /B − A/C] − D/F ] − A7 − tutti
5 M.a’ D − Bm7 /D − E/G] − E7 −
7 M.b’ A − F ]m − Bm/D − E − A : || cad
9 M.a || : A − E7 /G] − A − A7 /G− B, Ob+Str, Tpt acct
11 M.b D/F ] − Em7 − A − D tutti
13 M.c G − Em/B − Bm/D − Am/C − C − D]◦ /F ]− Ob+Str, [S̄ 6 ]
..
15 . Em − D/A − Em/G − A]◦ /C]−
17 ⊥ Bm F ][9
7 − . . . − Bm − F ]7 − Bm
19 M.a’ D/F ] − D7 − . . . − Ob+Str, Tpt acct
d
24 M.b G − A7 − Bm − A7 /C] − D − C]∅7 /D−
27 ⊥ D D/F ] − E7 − A7 /G − D/F ] − A7 /E−
29 M.c D − Bm − E7 − A7 − D46 − A7 − D : || tutti, cad (32 m.)

Table 2.21: Bach, Orchestral Suite No. 3 in D Major, Mvt. 6 Gigue
m M R H Comment
1 M.a D || : D − G/D − D− A, tutti
3 ⊥ D/F ] − G − D/A − A7 − D − A/C]−
5 M.a Bm − Bm7 /A − E/G] − E7 − Ob+Str
7 ⊥ A − Bm7 /D − E7 − A − A7 /G−
9 M.b F ]m − F ]m7 /E − B7 /D]− tutti, Seq(2×2m;R−7 )
..
11 . Em7 − Em7 /D − A7 /C]−
..
13 . D − A/C] − Bm − D/A− PB (&)
.. d
15 . E7 /G] − D/F ] − E − E7 /D−
d
17 ⊥ A/C] − E7 −
18 M.c F ]m7 /E − B − E7 /D− Seq(3×1m;R−7 ), PBi (&)
.. d
20 . D7 /C − G7 /B − E7 /G] − . . . −
22 ⊥ D/F ] − E7 /G] − A − E7 − A : || tutti, cad
25 M.a || : A − D/A − A − A7 − B, tutti
..
27 . D − Bm − Em7 − Ob+Str
28 ⊥ F ]m7 /E − Bm − A/C]−
29 M.a’ Bm Bm − Em/B − Bm− tutti
31 ⊥ Em − F ]7 − Bm − Bm7 /A− Ob+Str
33 M.b E7 − . . . − C]∅7 −
35 ⊥ F ]m7 − Bm7 /D − E7 − A tutti
37 M.b’ A7 /C] − . . . −
..
39 . F ]m7 − Bm − Em7 /G − A7 −
..
40 . D − A − D − G]◦ /B−
..
42 . F ]m C]7 − F ]m − F ]m7 /E− Seq(2×2m;R−7 )
..
44 . Bm/D − F ]m − G]∅7 /D − E]◦7 /G]−
..
46 . F ]m − Bm7 − C]7 /E]−
47 ⊥ F ]m − Bm − C]7 − F ]m − D/F ]−
49 M.a’ D D − G/D − D7 − tutti
..
51 . G − Em − Am7 /C − D− SD
..
52 . G − Em7 − A− Ob+Str, Seq(3×2m;R−7 )
..
54 . F ]m/A − F ]∅7 − D]◦ − Em/G−
..
56 . Em/G − B/D] − Em7 − C]◦ − D/F ]−
..
58 . A/C] − D − G − E7 − A − F ][9
7 −

Table 2.22: Bach, Orchestral Suite No. 3 in D Major, Mvt. 6 Gigue (cont’d)
m M R H Comment
..
61 . Bm7 − G − A7 /C]−
.. d
63 . D − A7 /G − D/F ] − Em7 /G − A − tutti
65 ⊥ Bm − G − F ]∅7 /E− Ob+Str
66 M.c B7 /D] − E7 /D − A7 /C] − D7 /C− Seq(3×1m;R−7 ), PBi (&)
..
68 . G7 /B − C]◦7 /B[ − A7 − . . . − G − C]◦ /E−
71 ⊥ D − D46 − A7 − D : || tutti, cad (72 m.)

Chapter 3
Joseph Haydn
Biographical data:
∗ 31-3-1732 in Rohrau
† 28-5-1809 in Wien
1600 1700 1800 1900 2000
The analysis of the Haydn string quartets in this chapter has been supported by detailed
examples or global descriptions in [54, 55, 49, 72].6 Haydn served as a Classical music period
example to many later composers, by more or less providing the templates for musical forms
such as the sonata, and longer, multi-movement forms, such as the symphony and the string
quartet. Applying analysis models to his works therefore implies comparing earlier work
with later models, and therefore occasionally yields peculiarities, that seem not to fit the
templates.
3.1 String Quartet Op. 76, No. 1 in G Major (1796/7)

Source: [25]. This opus number contains six string quartets. The three quartets analysed in
this chapter all consist of four movements in the conventional fast-slow-dance-fast tempo
pattern. An overview of the formal analysis is shown in Fig. 3.1. Note the length ratio of
the development section compared to the exposition-recapitulation pairs in the outer move-
ments. These are not the extended developments, found in quartets by later composers in
the tonal music period.
3.1.1 Mvt. 1 Allegro con spirito

Form: sonata form, with short introduction. See Table 3.1 and 3.2 for the analysis. The lead
instruments are indicated in the tables, e.g., Vi1.
3.1.2 Mvt. 2 Adagio sostenuto

Form: ternary song form (ABA’). Each section consists of multiple subsections Ai , Bi and Ci .
See Table 3.3 and 3.4 for the analysis.
2005-2017
CHAPTER 3. JOSEPH HAYDN
Table 3.1: Haydn, String Quartet Op. 76, No. 1, Mvt. 1 Allegro con spirito
m M R H Comment
h i
2
1 G G − D7 − G Introduction, cad 2
d
3 M1.a G − Am − D − Em − A/C] − D− Exp, Gr 1: Vc
7 M1.a’ Am − Bm − E − Am − D − G Va
d
11 M1.a G − Am − D7 − Em − A7 − D − E/G]− 2nd stat, I(M1.a) in Vc
15 M1.a’ Am − Bm − E7 − Am − D7 − G Va, I(M1.a’) in Va
19 I(M1.a’) <(C/G − F ]∅7 − G) trans, P T (g)
..
23 . G]◦7 − Am − F ]◦7 − G − C/G − G P T (g)
25 ⊥ G]◦7 − Am − F ]◦7 − G−
26 C − D7 − G − G/B − C − D7 − G
33 M1.a Em − F ]∅7 − B − Em − A/C]− unisono climax
d
36 ⊥ D − D/F ] − Em/G − G/B − D7 /A− cad
38 D7 /C − G/B− trans to D
[5/[9
40 Gm/B[ − E7 /B[ − A−
43 M2.1 D A7 − D/A − D − A7 − D− Gr 2: Vi1, P D (a)
46 ⊥ D]◦7 − Em − A7 − D − A7 − P D (a)
d
50 M2.2 D − D/F ] − <(Em/G − D]◦7 /A)− Vi1
53 ⊥ Em/G − <(C]◦7 /G − Dm/F )−
56 <(Dm − Gm)/D − B[ unis arp, P T (d)
[5/[9
64 E7 /D − C]◦7 − A[9 7 /C]−
70 D − G − D/A − A − D
73 M2.3 <(A7 − D)/D − F ]◦ /A− Vi1, P T (d)
81 D]◦7 /F ] − Em − C]◦7 /E − D/F ]− closing
82 G − D/A − D − F ]◦ −
83 D]◦7 /F ] − Em − C]◦7 /E − D/F ]− closing 8va
84 G − D/A − D − F ]◦ −
86 D − A − D − A7 − D cad
d
89 M1.a D D − Em/G − A7 − Dev: Va
91 ⊥ Bm − D/F ] − E7 /G] − A
93 M1.a Em Em − F ]◦ /A − B7 − Em − D]◦ − Vi2
96 M2.2’ Em − B − B7 − Em imit: Vi1-Vi2-Vi1
..
102 . Am7 − D7 − G∆7 − C∆7 − arp: R5 Vi1
106 ⊥ F ]∅7 − B7 −
108 M2.2’ Em − Am/E − Em− arp: Vi1
..
112 . E7 /D − Am/C − E7 /G]−
..
115 . Am − A7 /G − Dm/F − A7 /C]− climax
117 ⊥ Dm − G7 /F − C/E − G7 /B−

3.1. STRING QUARTET OP. 76, NO. 1 IN G MAJOR
Table 3.2: Haydn, String Quartet Op. 76, No. 1, Mvt. 1 Allegro con spirito (cont’d)
m M R H Comment
119 M1.a C C − Dm/F − Vi1 ctp
.. [5/[9
120 . G7 − G7 /F − C/E − E7 /B[− Seq(2×2m;R7 )
122 ⊥ A − A7 − D − Dm/F − F ][5
7 /C − B
125 M1.a Em Em − F∅7 − B − B7 − Vi1 ctp
127 M1.a Em − F ]∅7 − B7 − imit, Vc
129 ⊥ Em − Bm/D − A/C] − D
132 I(M1.a) <(G − C]∅7 )/D − D7 − inv, par, Vi1+Va, P (d)
d
140 M1.a G G − Am − D − Em − A7 /C] − D Recap, Gr 1: Vc
144 M1.a G − G/B − Em/G − C/E− stretto imit, [S̄ 6 (R3 )]
..
145 . Am/C − F ]◦ /A − D/F ] − Bm/D− [S̄ 6 (R3 )]
..
146 . S 6 (G − Em − . . . − Bm − G)− [S̄ 6 (R3 )] (cont’d)
148 ⊥ Em/G − Am − D7 −
149 G − Em − C − Am − G64 − D7 − cad
151 I(M1.a) <(C − F ]∅7 )/G inv, par, Vi1+2, P T (g)
..
156 . G]◦7 − Am − F ]◦7 − G − C/G − G−
158 ⊥ G]◦7 − Am − F ]◦7 − G
159 C − D7 − G − G/B− trans, cad
163 C − Am/C − A/C]−
d
165 (D − E7 − Am − D)/D − imit, P D (d)
167 (Em − C − D7 )/D−
169 M1.a’ G − Am − D7 − Vc, I(M1.a’) in Vi1
171 M2.2 G − D7 /F ] − G − <(Am − G]◦7 /D)−
176 ⊥ Am/C − <(F ]◦7 − Gm/B[)
179 Gm (Gm − Cm − Gm − E[)/G unis arp, P T (g)
[5/[9
187 A7 /G − F ]◦7 − D7 /F ]−
192 G G − Am/C − G64 − D7 − G cad
196 M2.3 <(D7 − G)/G − D7 /F ]− Vi1, P T (g)
..
202 . <(G − D/F ]) − <(G − D7 /F ]) − E7 −
205 ⊥ <(Am − E7 /G]) − Am − F ]◦7 − G−
208 M2.3 <(D7 − G) − G7 /D− Vi1 8va, P T (g)
216 G]◦7 /B − Am/C − F ]◦7 /A − G/B− closing
217 Am7 /C − D7 − G − G7 /D−
219 G]◦7 /B − Am/C − C]◦7 − D−
220 D]◦7 − Em − D7 /F ] − G−
221 Am/C − D7 − G − D − G − D7 − G cad (225 m.)

Table 3.3: Haydn, String Quartet Op. 76, No. 1, Mvt. 2 Adagio sostenuto
m M R H Comment
d h i
2
1 M1a C C − G − Am − A7 /G − Dm/F − C]◦ /E− A:A1 4 Vi1
3 ⊥ Dm − Am/C − G7 − B − C − G− Σ(cm)
5 M1a’ C − G]◦7 − Am − Gm7 − E∅7 /G−
7 ⊥ F − Dm/F − C46 − G− cad
9 M1a C − G]◦7 − 2nd stat, 8va
..
10 . Am − C]◦7 /G − Dm/F − C]◦7 /E− Σ(cm)
11 ⊥ Dm − Am/C − G7 /B − C − G
d [5/[9
13 M1a’ Dm − A7 − B[ − C7 /B[ − F/A − D7 /A[
14 ⊥ C46 − G7 − cad
16 M2a/b C − Am − F ]∅7 − G4 − G − C]◦7 − A:B1 , Vc+Vi1,
18 M2a/b Dm − Gm7 − A4 − A[9 7 − appogg
20 M2a/b 4 [9
Dm − Gm7 − A − A7 /G− (Vi1+Vc)
22 M2a+b Dm/F − G7 − C − C + − Am/C− Vi1
25 D7 /C − G/B− A:C1 , trans to D
27 D/F ] − D7 /F ] − Gm − B◦7 /F −
[5/[9
29 E[ − A7 /E[ − G64 − D− climax
d
33 M1a G G − D7 − Em − C + − B:A2 , Vi1
35 ⊥ A7 /C] − D+ − G
37 M1a’ G − B7 /F ] − Em − B◦ − C−
39 ⊥ G64 − D7 −
40 M2a/b G − C]∅7 − D − Dm/F − E7 − B:B2 , Seq(2×2m;R7 ),
42 M2a/b Am − Dm7 − E − Em − Gm7 /B[ Vc+Vi1, appogg
..
44 . A[9
7 − D7 − <(G7 − C)/G− P D (g)
47 ⊥ G7 − Dm7 − G7 −
d
49 M1a C C − G − Am − A7 /G − Dm/F − C]◦ /E− A’:A3 , Vi1
51 ⊥ Dm − Am/C − G7 − B − C46 − G− Σ(cm)
d [5/[9
53 M1a’ Dm − A7 − B[ − C7 /B[ − F/A − D7 /A[
55 ⊥ C/G − G− cad
56 M2a Cm Cm − F m7 /C − G/B − Cm7 A’:B3 , imit: Vi1+Vc,
..
58 . D − Dm − Gm7 /D− appogg
d
60 ⊥ A/C] − Am − Dm7 − E − E7 − Vc+Vi1
61 F − D7[9 /F ]− A’:C2
65 G − Am − B◦ − Am − G7 − C − F − G7 − Σ(cm>)
66 C Σ(cm<)

h i
2
Mvt. 1 Allegro con spirito: sonata form (G, 2 , 225 m.)
Exposition Development Recapitulation

h i
2
Mvt. 2 Adagio sostenuto: ternary song form (C, 4 , 95 m.)
A B A’
h i
3
Mvt. 3 Menuetto presto: menuet and trio form (G, 4 , 74 m.)
Menuet Trio
h i
2
Mvt. 4 Allegro ma non troppo: sonata form (Gm, 2 , 200 m.)
Exposition Development Recapitulation Coda
Figure 3.1: Haydn, String Quartet Op. 76, No. 1 in G Major
Table 3.4: Haydn, String Quartet Op. 76, No. 1, Mvt. 2 Adagio sostenuto (cont’d)
m M R H Comment
67 F − G7 /F − C/E − F∆7 /E− cad
69 Dm − A[/C− (N 6 /V )
d
70 G/B − G7 − Am − Dm/F −
71 C46 − G7 − cad
d
72 M1a C C − G7 − A’:A4 , Vi1
..
73 . Am − A7 /G − Dm/F − C]◦7 /E− Σ(cm)
74 ⊥ Dm − Am/C − G7 /B − C − G
76 M1a’ C − G]◦7 − Am − Gm7 − E∅7 /G− Vi1
78 ⊥ F − Dm/F − C46 − G7 −
79 M2a+b C − G7 /D − A[9 7 − Dm A’:B4 , Vc, appogg
83 G7 /F − C/E − G/B − G7 /B− A’:C3
[5/[9
86 Cm Cm − E[7 /B[ − A[ − D7 /A[−
88 C46 − . . . − G7 − climax
91 M2a C <(C − G7 )/C Coda, Va+Vi1, P T (c)
93 ⊥ C Vc (95 m.)

3.1.3 Mvt. 3 Menuetto presto and Trio

Form: menuet and trio form. See Table 3.5 for the analysis.
3.1.4 Mvt. 4 Allegro ma non troppo

Form: sonata form. See Table 3.6 and 3.7 for the analysis.
3.1.5 Key relationship overview

The key relationship diagram of this first string quartet is shown in Fig. 3.2. The first and
third movement stay close to or in the main key G major. The opening movement moves one
step in the horizontal (dominant-sudominant axis) and vertical (relative and parallel minor)
direction. The second, slow movement moves to the dominant (1) and the parallel minor (2)
key.
The closing movement has the widest key scope. It starts in G minor, moves to the rela-
tive major B[ (1) and then moves back and forth to its parallel minor (2). The development
starts to move further away from the main key along the vertical axis F m − A[ − A[m (3).
Then there is a remote leap A[m − A. Using the double occurrence property, this move pre-
pares for the return; first A − Am (4) and then back to the (major) main key Dm − Gm − G
(5).
Mvt. 1 Allegro con spirito
Am 2 * Am @ Am Mvt. 2 Adagio
@1
I

? 1
C G @D
- C -G
3 ?6 6
?2
Cm Gm Dm Cm Gm
Mvt. 4 Allegro ma non troppo
C G• D A t
5
6 ?
Cm Gm Dm Am
1 ? 4
E[ B[ F C
2 ?
6
E[m B[m - F m Cm
3 ?
G[ D[ A[ E[
?
Mvt. 3 Menuetto G[m D[m

A[m E[m

G A t
9

E B F]
Figure 3.2: Haydn, String Quartet Op. 76, No. 1, key relationship overview

Table 3.5: Haydn, String Quartet Op. 76, No. 1, Mvt. 3 Menuetto presto and Trio
m M R H Comment
h i
3
Menuetto. Presto 4
1 M1a G || : G − Am/C − D7 − G− Vi1
5 M1b A]◦ − Bm/D − F ]7 − Bm − A7 − D−
d
8 ⊥ G − D − Em/G − D46 − A7 − D− : || :
d
10 M2 D/F ] − (upbeat)
..
11 . E[/G − F/A − Gm/B[ − D − C]◦7 − [S̄ 6 ] , P D (d)
..
14 . D − Gm − F/A − E[/G − Dm/F − parallel [S̄ 6 ]
..
16 . Cm/E[ − E[/G− [S̄ 6 ] (cont’d)
17 ⊥ Dm/F − Cm/E[ − B[/D− [S̄ 6 ] (cont’d)
18 A◦ /C − <(C]◦7 − D) P D (d)
23 M1a G − Am/C − D7 − G− Vi1
27 M1a G − E − Am − D7 − G/B− Vc
31 M1c G+ /B − C − B◦ − G7 /B− Vi1
.. d
35 . C − F ]◦ /A − G − D7 − Em−
37 ⊥ Am/C − G/D − D7 − G − D − G
h i
3
Trio 4
41 M3a || : G − D − G
d
45 M3a’ G − Em/G − Em7 /G − A − D/F ] − Em−
49 ⊥ D/A − C]◦ /E − D − G − A7 − D− : || :
52 I(M3a) D7 /F ] − G − G7 /B − C − Am/C − D7 −
61 M3a G−D−G
65 M3b C/E − G−
..
69 . Am/C − D − G/B − D7 −
71 ⊥ G/D − F ]◦ /A − G − Am/C − D7 − G (74 m.)

Table 3.6: Haydn, String Quartet Op. 76, No. 1, Mvt. 4 Allegro ma non troppo
m M R H Comment
1 M1 Gm Gm − F ]◦7 − Gm − D Exp, Gr 1, unisono
7 M1 Gm − F ]◦7 − D7 /F ] − Gm− 2nd stat Va
d
10 ⊥ <(E[7 − D) − Cm/E[ − C]◦ − D
13 M1’ (Gm − E[ − C]◦7 )/G − F trans to rel maj, P T (g)
18 B[ B[ − B[/D − Gm − C7 − unisono
22 <(F − C7 /E) − F − F7 −
25 M1’ B[ − F − <(B[ − F7 ) − B[ Gr 2/Th 1, imit: Vi1+Vc
30 M2 <(F7 /E[ − B[/D) − F7 /A− Gr 2/Th 2, Vi1 M1aab
..
33 . <(B[ − F7 ) − B[ − B[/D−
..
39 . E[ − Cm − F7 /A − B[−
41 ⊥ Cm − B[64 − F7 −
42 M2’ <(B[ − F7 /A) − B[ Vc
.. d
46 . Gm − F − E[ − B[7 /D − parallel: Va+Vc
48 ⊥ Cm − Cm7 /B[−
49 M2’ <(F7 /A − B[)− Vi1 cresc to climax
52 ⊥ Cm7 /E[ − E◦7 − B[64 − F7 − climax
54 M3 B[m B[m − E[m7 /G[ − B[m/F − Gr 2/Th 3, Vi1
55 ⊥ <(C∅7 /E[ − B[m/F ) − C∅7 /E[ − F7 −
57 M3’ <(B[m − E[m7 /G[ − B[m/F )− 2nd stat
..
59 . E[m7 − A[7 − D[ − D◦ /A[ − E[m/G[−
..
61 . <(D[/F − E[m/G[) − D◦ /F − B[7 −
63 ⊥ E[m − A◦ − E◦7 − B[m64 − F7 −
66 M4 B[ <(B[ − F7 − B[) − B[/D closing stat: Vi1
70 E[ − F − <(B[ − F7 ) − B[ cad
73 M1 B[m B[m − F7[9 /A − B[m/D[ − F/A− Dev, Vi1
76 (M3) <(B[m − F/A) − B[m − E◦7
d
79 M1 Fm F m − C7[9 /E − F m − C/E − 2nd stat Vc
82 (M3) <(D[/F − C/E) − D[/F − C/E− parallel S 6
85 M1’ F m − C7[9 /E − F m − D[/F − E[7 − Vi1
90 M1’ A[ A[ − E[7 /B[ − A[− imit: Vc+Vi1
93 ⊥ A[m <(A[m/C[ − E[m)−
94 <(A[m/C[ − D[m) − A/C]−
104 B7 − E7 −
106 M1 A <(A − E) − Am − E stretto imit
..
109 . Am <(Am − E) − Am7 − A[9
7 − unisono climax
116 ⊥ Dm [9
Dm − Dm7 − D7 − unis climax (cont’d)

Table 3.7: Haydn, String Quartet Op. 76, No. 1, Mvt. 4 Allegro ma non troppo (cont’d)
m M R H Comment
122 M1 Gm Gm − F ]◦7 − Gm − D− Recap, Gr 1, Va
d
125 ⊥ <(E[7 − D) − Cm/E[ − C]◦ − D−
128 M1 Gm − E[ − A◦ /C − D7 − trans, imit
d
132 ⊥ <(Gm − D/F ]) − Gm/B[ − D/F ] −
d
135 <(Cm − D) − E[ − Cm/E[ − D−
139 M1’ G G − D7 /F ] − G Par major (V1)
143 G − A◦ /C − G64 − D7 − G − G/B trans
148 C − Am − Am/C − A7 /C]−
150 M2 <(D − G/B) − D7 /F ]− Gr 2, V1, M2aab
..
154 . <(G − D7 ) − G
158 ⊥ C − C]◦ − G64 − D7 − trans, unisono
160 M3 Gm Gm − Cm/E[ − Gm/D− Vi1
..
161 . <(A∅7 /C − Gm/D)−
162 ⊥ A∅7 /C − D7 −
163 M3 Gm − Cm/E[ − Gm/D− 2nd stat
.. d
164 . <(A∅7 /C − Gm/D) −
..
165 . Cm7 − F7 − B[ − B◦ − Cm/E[−
..
167 . <(B[7 /D − A[/E[) − B[7 /D − G7 −
169 ⊥ Cm − D − <(C]◦7 − A[9 6
7 ) − Gm4 − D7 −
173 M4 G <(G − D7 − G) Vi1
176 C − C]◦7 − G64 − D7 − unisono, climax
181 M1’ G G − D7 − G − G/B− Coda, Vi1
186 Am/C − D7 − G parallel S 6
189 M1’ G − D7 − G − G/B− Vi1
195 Am/C − D7 − G parallel S 6
196 <(G − D7 ) − G − D7 − G closing cad (200 m.)

3.2 String Quartet Op. 76, No. 2 in D Minor Quinten (1796/7)

Source: [25]. This string quartet has the standard set of four movements; opening sonata
form allegro - slow movement in ternary song form - menuet and trio - closing fast move-
ment. However, the treatment of these is unusual and must have been an example and inspi-
ration to later composers. The use of a short main motif, as the basis for a counterpoint sonata
setting (Mvt. 1), the canon and extended pedal point in Mvt. 3 and the mixed sonata/rondo
form of the last movement are rather unique. All predictable elements are present in this
quartet, but with a special twist by Haydn.
h i
4
Mvt. 1 Allegro: sonata form (Dm, 4 , 154 m.)
Exposition Developm. Recap. Co

h i
6
Mvt. 2 Andante o più tosto allegretto: ternary song form (D, 8 , 67 m.)
A B A’ C
h i
3
Mvt. 3 Menuetto allegro ma non troppo: menuet and trio form (Dm, 4 , 80 m.)
Menuet Trio
h i
2
Mvt. 4 Vivace assai: sonata form (Dm, 4 , 267 m.)
Exposition (93 m.) Developm. (54 m.)
Recapitulation (103 m.) Co
Figure 3.3: Haydn, String Quartet Op. 76, No. 2 in D Minor Quinten
3.2.1 Mvt. 1 Allegro

Form: sonata form. This quartet received its name ‘Quintenquartett’ from the opening motif
(M1.a=Mq), that consists of two downward 5th leaps. This motif is used also as background
in the second thematic group from the exposition, and in intricate (stretto) counterpoint
settings. See Table 3.8 and 3.9 for the analysis.
3.2.2 Mvt. 2 Andante o più tosto allegretto

Form: ternary song form, ABA Coda. See Table 3.10 for the analysis. Note the bridge B
section starting in the lowered submediant key B[ = [VI.
3.2.3 Mvt. 3 Menuetto allegro ma non troppo and Trio

Form: menuet and trio form, 2-part canon. The menuet is a two-part canon; violin 1 and 2 in
parallel octaves are imitated by viola and cello in parallel octaves. The trio is full of tonic and

3.2. STRING QUARTET OP. 76, NO. 2 IN D MINOR QUINTEN
Table 3.8: Haydn, String Quartet Op. 76, No. 2, Mvt. 1 Allegro
m M R H Comment
1 M1a Dm Dm − E∅7 /D − A7 /E− Exp, Gr 1 ‘Quinten’-
d
3 M1b Dm/F − Dm − A7 − B[ − A motif M1a=Mq Vi1
5 M1a Dm − E∅7 /D − A7 /E− 2nd stat, 8va
7 M1b’ Dm/F − Dm − A − Dm/F −
9 ⊥ C]◦7 /E − <(B[/D − A/C]) − D7 /C downward [S̄ 6 ]
11 M1b” Gm/B[ − Dm/A − A7 − Dm cad
13 M2.1/q F F − Gm/B[ − C7 − F Gr 2/Th 1, Vi1
..
15 ./Mq (B[ − Gm − C7 )/B[ − F/A − F Mq: Va-Vi1-Vc
d
17 ⊥/Mq G7 − C7 − Dm − Gm − F/C − C−
20 M1a’ (C7 − F − D7 )/C− trans, Vi1
22 (Gm − C7 )/B[ − F/A−
23 <(C7 − F )/C−
25 B[/D − Am/C − E◦ /B[ − F/A−
d
27 Gm/B[ − F/C − C7 −
28 B[/D − Am/C − G]◦ /B − Am/C − D7 −
30 Gm − C7 − F − Gm/B[ − C7 −
32 M2.2 Fm F m − E◦7 − F m − C7 /E − B◦7 − C/E− 16th notes Vi1
34 (M1a’) F m − D[/F − E[7 /G− Mq in Vi2
..
36 ./Mq A[ A[ − D[/F − E[/G − E[7 −
..
38 . A[/E[ − B[m/D[ − C − C7 /E−
..
40 . Fm F m − B[m/D[−
..
41 . <(C − F m)/C − C− trans, P D (c)
..
45 . F D7 /F ] − Gm − C7 /B[ − F/A − F
.. d
47 ./Mq G7 − C7 − Dm − Gm Mq in Vc
..
49 . F/C − C7 − <(F − C7 )/F − F − climax P D (c)
53 ⊥ C7 /E − F − C7 /E − F
d
57 I(M1a) Gm D7[9 − D7 /A − Gm − D − Dev, imit Vc
59 M1a E[∆7 − D− Vi1
61 M1a/I Cm − F/C − F7 − orig+inv: Vi1+Vi2
63 M2.1/q B[ B[ − Cm/E[ − B[ Vi1 Mq in Vi2
..
65 ./Mq F7 − B[ − G[9 [9
7 − Cm − A7 − Dm− Seq(3×1m;R7 ), Vc-Va
..
68 ./Mq C7 − F − Gm/B[− stretto imit: Vi2-Va
..
69 ./Mq’ Dm C]◦ /E − A7 − <(Dm − C]◦ )−
[5/[9
71 ⊥ Dm − E7 /B[−

Table 3.9: Haydn, String Quartet Op. 76, No. 2, Mvt. 1 Allegro (cont’d)
m M R H Comment
72 M1a A − Dm − E∅7 /G − Am− stretto imit: Vi1-Vi2-Va+Vc
74 M1a Dm − B[ − Cm7 /E[ − F
75 ⊥ Gm7 /B[ − A∅7 /C−
77 M1a B◦7 /D − Cm/E[ − C/E − C + /E− Vi1
80 M1a’ F − F + − Dm/F − B7[5 /F − E Mq in 4ths Vi2
83 M1a’ (E7[9 − D]◦7 )/E− Mq in augm 5ths, P (e)
d
85 I(M1a) <(E − E7 /B − F∆7 − D]◦7 /C)− Vc
89 M1a/I E− orig+inv: Vi1+Vc
93 M1a C − G7 /C− cresc Vi1
95 M2.1’ C C − G/B − Gm/B[ − A7 − retrans, imit: Vi1-Vi2
99 M1a Dm Dm − E∅7 /G − A7 /E− Recap, Gr 1, Vi1
d
101 M1b Dm/F − Dm − A7 − B[ − A7 −
103 M1a Dm − E∅7 /D − A7 /E− 2nd stat 8va
105 M1b’ Dm/F − Dm − A − Dm/F −
..
107 . C]◦ /E − <(B[/D − A/C]) − B[/D downward [S̄ 6 ]
109 ⊥ A/C] − D7 /C−
110 M1b” Gm Gm/B[ − D7 /F ] − Gm − C7 − imit, Seq(3×1m;R7 )
..
111 . F − G7 − C − D7 − imit: Vi1-Vi2
.. [5/[9
112 . Gm − E7 /B[−
113 ⊥ A7 − Dm64 − A7 − P D (a)
116 Dm Dm − E◦ /G − Dm/A − A7 − cad
118 <(Dm − C]◦ )/D − <(Dm − A)− trans, P D (d)
121 Dm − D7 − Gm64 − D7 − climax
122 Gm Gm − Am − G]◦ /B − A7 /C]− Σ(cm>)
d
124 Dm Dm − E◦ /G − Dm64 − A7 − cad
126 M2.1/q B[ <(B[ − F7 /A)− Gr 2, imit: Vi1-Va, Mq:Vi2
130 M1a D7 /F ] − Gm − A7 /G − Dm Vi1
132 M1a Dm A − Dm − E7 − A− Vc
134 M1a A7 − Dm − A − Dm − A7 − Dm Vc, cad
139 I(M2.2’) B[ D7[9 /F ] − Gm − C7 /E − F − Coda, Seq(2×1m;R−7 ) Vi1
[5/[9
141 ⊥ B[/D − C]◦ − B[/D − E7 /B[− imit: Vi1-Vc
d
143 M2.2” (A − B[∆7 − A − G]◦ − A7 )/A − imit, P D (a)
147 ⊥ B[ − D7 /A − Gm − E◦ − cresc to climax
149 Dm A7 /C] − Dm − E◦ /D − A7 − cad, Σ(cm>)
150 M2.2” (Dm − D7 − Gm − C]◦7 )/D− Vc P T (d)
152 <(Dm − A − Dm − A7 ) − Dm closing cad (154 m.)

Table 3.10: Haydn, String Quartet Op. 76, No. 2, Mvt. 2 Andante o più tosto allegretto
m M R H Comment
h i
6
1 M1 D D − G/B − D/F ] − G − A − E7 − A− A, 8 Vi1
3 ⊥ D − G/B − D/F ] − Em/G − D46 − A7 − D−
5 M2 A Bm/D − F ]7 /A] − Bm − E7 − A Vi1
..
7 . D/F ] − Bm/D − G]7 −
9 ⊥ F ]m F ]m64 − C]7 − F ]m−
11 M1 D D − G/B − D/F ] − G − A − E7 − A − A7 −
13 ⊥ D − G/B − D/F ] − Em/G − D46 − A7 − D−
16 M2’ B[ Dm − B[ − F7 − B[ − F − C7 − F B, Vi1
21 M2’ B[ − F7 − B[ − F/A − D7[5 /A[ − G Vi1
25 M2’ Cm G − G[9
7 − Cm Vi2
27 M2’ Cm − D7[9 /C − F ]m/C] − A7 /C]− Vi1
32 M1’ D D − G/B − D/F ] − G − A − E7 − A− A’, varied Vi1
34 ⊥ D − G/B − D/F ] − Em7 /G − D46 − A7 − D
36 M1’ D − G/B − D/F ] − G − A − E7 − A − A7 − 2nd stat Vi1
38 ⊥ D − G/B − D/F ] − Em7 /G − D/A − A7 − D
40 M2” A Bm/D − A]◦7 − Bm − E7 /G] − A Vi1
.. [5/[9
42 . A/C] − A7 − D/F ] − Bm/D − G]7 /D−
44 ⊥ F ]m F ]m64 − C]7 − F ]m − A−
47 M1’ D D − G/B − D/F ] − G − A − E7 − A − A7 − Vi1
d
49 ⊥ D − G/B − D/F ] − G − D46
− A7 − Bm
51 M2’ G/B − D/A − C]◦ /G − D/A − G/B− Vi1
53 ⊥ D/A − C]◦ /G − E7 /G] − D/A
55 I(M2’) D/F ] − A7 − G]◦7 − A[9
7 − D]◦7 /F ]− Vc
58 D Em − Em/G − Bm7 /A − D46 − A7 − Coda
62 <(D − A7 )/D− P T (d)
66 <(D − A7 /C]) − D (67 m.)

Table 3.11: Haydn, String Quartet Op. 76, No. 2, Mvt. 3 Menuetto allegro ma non troppo and
Trio
m M R H Comment
h i
3
Menuetto. Allegro ma non troppo 4
1 M1 Dm || : Dm − . . . − A − G]◦ /D− A, canon
..
5 . A − G]◦ − A − Dm − C]∅7 − A7 − . . . −
9 ⊥ A/C] − A − Dm : ||
12 M2 || : Dm − E∅7 − Dm/F − E◦ /G− B
..
14 . F Dm/A − C7 /G − F − C7 /B[−
..
16 . F/A − Gm − A − B[−
19 ⊥ Dm <(C]◦ − Dm − C]◦ /E − Dm/F )−
23 M1’ Dm − . . . − A − G]◦ /D− A’, canon
..
27 . A − G]◦ − A − B[/D − A − Gm − A7 −
31 ⊥ Dm − C]◦ − Dm − . . . − Dm : ||
Trio
39 D || : Dm − . . . − D− A, P T (d)
45 M3 Dm D − . . . − <(A7 − Dm)/D− Vi1 climax, P T (d)
50 ⊥ A/C] − E7 − A : || cad
53 M4 || : A − . . . − <(Dm − A − A[9
7 )/A− B, Vi1 P D (a)
61 ⊥ Dm/A − A − . . . − P D (a)
65 Dm − . . . − Gm/D P T (d)
69 D Dm − . . . − D− A’, P T (d)
73 M3’ D − . . . − <(A7 − D)/D− Vi1 climax, P T (d)
78 ⊥ G − A7 − D : || cad (80 m.)
dominant pedal point. Both menuet and trio are in ternary song form (ABA’). See Table 3.11
for the analysis.
3.2.4 Mvt. 4 Vivace assai

Form: sonata or rondo form. This movement may be interpreted as both a sonata and rondo
form. Both analysis models are indicated in the tables. See Table 3.12 and 3.13 for the analy-
sis.

The key relationship diagram of the Quintenquartett is shown in Fig. 3.4. Three movements
are in the tonic minor key Dm, the Andante is in the parallel major key D. The opening
sonata Allegro remains on the vertical axis for its entire exposition section, with the sec-
ondary theme group in the relative major F and its parallel minor key F m. The development
starts and remains mainly in the subdominant area Gm − B[ (2–3, 5–6).

Table 3.12: Haydn, String Quartet Op. 76, No. 2, Mvt. 4 Vivace assai
m M R H Comment
h i
2
1 M1aa Dm || : <(Dm − C]◦7 )/D− Exp, Gr 1:A1 4 Vi1
5 M1bb G]◦7 /D − A/C] − E7 − A : ||
9 I(M1aa) || : (A7 − G]◦7 − A[9
7 )− Vi1
d
13 M1bb’ Dm/F − E∅7 /G − A7 −
17 M1bb’ B[ − E∅7 /G − A7 − Dm : || (repeat)
21 M1aa <(Dm − C]◦ )/D− Gr 1:A2, 2nd stat Vi2 P T (d)
26 M1b Am/C − B∅7 /D − E7 − Vi2
28 M1b” Am Am − B∅7 /D − E7 − Vi1
..
30 . Am − Dm7 /F − G7 − extended var stat
32 ⊥ <(C − G7 )/C− P D (c)
41 Gm − C − E∅7 − C7 − trans, unisono
45 F F/A − Gm7 /B[ − Am7 /C − B[/D−
50 M2.1 C7 − F − Gr 2:B1 par: Vi1+Vi2
..
52 . B[/D − Am/C − Gm/B[ − F/A− desc [S̄ 6 ]
..
54 . Em/G − Dm/F − C/E − B◦ /D− [S̄ 6 ]
..
56 . C/E−
57 ⊥ <(C7 − C7[9 ) − C7 −
63 M2.2 F − B[− Vi1
67 <(C7 /B[ − F/A)− cad, climax
69 (Gm − C]◦7 )/B[ − G]◦7 /B− P (b[)
76 <(C7 − F )/C cad climax, P D (c)
82 M2.3 <(C7 − F )/C Vi1, P T (f )
90 <(F − C) − F/A cad
94 M2.1a E◦ /G − Dm/F − C/E− Dev, Vi1+Vi2, [S̄ 6 ]
96 ⊥ B◦7 /A[ − C/E − B[ − D− imit in Vc
98 M2.1a Am/C − Gm/B[ − F/A− S 6 -par: Vi1+Vi2+Va
100 ⊥ E◦7 /D[ − F/A− imit in Vc
102 M2.1a’ <(E∅7 − F ) par: Vi1+Vi2
106 M2.1a” <(Gm − D)/D − D7[9 − I(M2.1a) in Va, P (d)
114 M2.a Gm Gm − D7 /F ] − Gm − D7 /A− Vi1 P D (d)
..
118 . Gm/B[ − D7 /F ] − Gm−
121 ⊥ Dm/F − E7 −
123 M2.1 Am (E7[9 − Am − D]◦7 − Am − E7[9 )/E− Vi1+Vi2, P D (e)
..
127 . G]◦7 − G]◦ /B − Am/C− Vi1
..
133 . Dm − Am/C − C]◦7 −

Table 3.13: Haydn, String Quartet Op. 76, No. 2, Mvt. 4 Vivace assai (cont’d)
m M R H Comment
..
137 . C]◦7 /G − Dm/F − cresc to climax
..
139 . Dm/F − E[∆7 /G − D7 /F ]−
[5/[9
142 ⊥ Gm/B[ − E7 /B[−
145 A − A[9
7 − climax, P D (a)
148 M1aa Dm <(Dm − C]◦7 − Dm)− Recap:A3, Vi1
152 M1bb G]◦7 /D − A/C] − E7 − A
156 I(M1aa) (A7 − G]◦7 − A[9
7 )− Vi1
d
160 M1bb’ Dm/F − E∅7 /G − A7 − B[−
164 M1bb” Dm/F − E∅7 /G − D7 − Gm/D − D7 −
169 E∅7 /G − Am/E − F − Gm/D− trans
171 E◦ − A/C] − Dm − Am/C−
[5/[9
173 E7 /B[ − A7 −
180 M1aa D <(D − C]◦ )/D A4, Vi1 P T (d)
184 M1cc <(G − D)/D P T (d)
d
188 (M1aaa)’ <(G − D − Em7 − D)− Vi1, P T (d)
..
196 . (Em − G]◦ )/B − A − D
198 ⊥ Em/G − G]◦ − A7 − D/A − A[9 7
202 C]∅7 − trans, unisono
206 D/F ] − Em7 /G − F ]◦7 /A − G/B−
210 M2.1 A7 − D− Gr 2:B2, par: Vi1+Vi2
..
212 . G/B − F ]m/A − Em/G − D/F ]− desc [S̄ 6 ]
..
214 . C]◦ /E − Bm/D − A/C] − G]◦ /B− S 6 (cont’d)
216 ⊥ <(A7 − A7[9 )/C] − A7 − P (c])
223 M2.2 D − G− Vi1
227 A7 /G − D/F ] − C]∅7 /G − D/F ]− cad, climax
231 <(Em7 − A]◦7 )/G − C]7 /G]−
237 <(D − A7 )/A− cad climax, P D (a)
243 M2.3 <(D − A7 )/D Vi1 P T (d)
..
251 . D − <(A7 − D) − A7 − Coda, cresc to climax
..
257 . <(D − A7 )/D − A7 − closing cad
263 ⊥ D unisono (267 m.)

3.3. STRING QUARTET OP. 76, NO. 3 IN C MAJOR KAISER
The Andante has the widest key scope, and the remarkable ‘figure-eight’ key movement
pattern, with one loop in the dominant area A − F ]m − D (1,3), and one in the subdominant
area (B[ = [VI) − Cm − D (2). The menuet in D minor has the bridge in the relative major
key F (1); the trio opens in the parallel major key D, but then alternates with the minor Dm
(2).
The finale sonata form is fairly conventional in its design, opening in the tonic minor Dm,
with a secondary theme group in the relative major F (1), the development opening in that
same key, a movement towards the subdominant minor key Gm, before passing through the
dominant minor key Am (4) and closing in the parallel major D.
Mvt. 1 Allegro Mvt. 2 Andante

2,5
Gm
* Dm H
-
H4 Am
Y Am Em Bm F ]m
Y
H
H

? H H
j
H
6
B[ H ? F C C G
1 D
-A
3,6 6
? 2
1,3
B[m Fm Cm Cm Gm Dm Am
1 ?
6 HH
Y
D[ A[ E[ E[ H B[ F C
Mvt. 3 Menuetto Mvt. 4 Vivace assai
D• G 5 D
• A
6
?2 3 6 1,4
-
Dm Gm @
I
Dm Am
1
@
@F 2
6
?
F B[ C
Figure 3.4: Haydn, String Quartet Op. 76, No. 2, key relationship diagram
3.3 String Quartet Op. 76, No. 3 in C Major Kaiser (1796/7)

Source: [25]. This quartet is known as the ‘Kaiserquartett’ (‘Emperor Quartet’), because the
second movement is based on the song ‘Gott erhalte Franz den Kaiser’ that Haydn used for
other, ceremonial occasions and therefore has untouchable royal status.
An overview of the formal analysis is shown in Fig. 3.1. Note how the length of the
development section in the finale movement has increased in length significantly, compared
with the surrounding exposition and recapitulation (which now is fairly short).1

Form: sonata form. This movement is almost entirely monothematic; the first phrase of the
opening melody (M1a, abbreviated as M1). The other melodic element is the dotted 16th -
32th note runs used as countertheme (M2) in the second statement of the exposition. See
Table 3.14 to 3.16 for the analysis.
1
Compare this sonata closing movement with the frst quartet from the series, and note the change in devel-
opment section length.

Table 3.14: Haydn, String Quartet Op. 76, No. 3, Mvt. 1 Allegro
m M R H Comment
1 M1(a) C || : G/B − C − F − G7 − C − G/B− Exp, Gr 1, main motif: Vi1
2 M1b C − Am − G64 − D7 − G Vi1
3 M1 C7 /E − F − B◦ /D − C − C/E− Va
4 Dm7 /F − G7 − C cad
5 M1/2 C − Dm − G − C/E− 2nd stat, par: Va+Vc
6 ⊥/2 C − Dm − G − C/E− imit: Vi2/Vi1
7 M2 <(F − C)− imit Vc
8 M2’ <(G7 − C − Dm − C)/C− trans, P T (c)
..
10 . (G7 − C)/C
11 ⊥ <(G7 − C) − <(C − G)/G climax, P T (g)
13 M1 G <(G − D7 )− Gr 2 imit: Vc-Vi1-Va
..
14 . G7 /B − C − F ]◦ − G − B7 /D]−
15 ⊥ Em − G7 /B − C − E∅7 /B[−
16 M1’ A[9
7 − D7 /F ] − G − C]◦ /E − A7 − ctp Vc
18 M1” (D − G]◦ − D7 )/D− P D (d)
..
19 . (G − C]∅7 − D − G]◦7 − Am7 − D7 )/D P D (d)
..
20 . (G − C]◦7 − D)/D− P D (d)
⊥ G/B − D7 /C − G/B climax
d
21 <(D7 /C − G/B) − D7 /F ] − cad
23 M1 Em − G]◦ /B − Am− ctp Vi2
..
24 . A7 /G − D/F ] − C/E− ctp, suspensions
..
. F ]7 /E − Bm/D − Am/C− [S̄ 6 ]
25 ⊥ D7 /C − G/B − C]◦ − G64 − D7 −
26 <(G − D7 )− cresc to climax
29 Gm − D7 − Gm − B[7 /D− climax, mod
31 E[ <(E[ − B[7 /D) − E[ cad
33 M1 <(E[/G − B[7 /F )− stretto imit: Vc-Va-Vi1
..
34 . E[ − B[7 − E[/G − B[7 /F −
..
35 . E[ − B[m7 − E[7 − A[/E[−
..
36 . E[7 − G/D − D7 −
38 ⊥ G <(G − D7 ) − <(G − D7 /F ])− closing cad
43 1) G − <(D − G) − <(D/F ] − G)−
7
E/G] − Am − B◦ : ||2) G − <(D7 − G) repeat

m M R H Comment
45 M1/2 G − D7 − G/B− Dev, par: Vc/Va-Va/Vi2
46 M2 Am (E7 − Am − D]◦7 − E7[9 )/E Vi1 P D (e)
47 ⊥ <(E7 − Am) − E7 − P D (e)
49 M1’ E7 /G] − Am− imit, par
d
50 M1 C]◦7 − A7 /C] − B[ − Am7 − Vi1
51 M1 C Dm/F − G7 /B − C − G7 − (False) Recap, Vi1
d
52 M1 C − B◦ /D − C − Am/C − D7 − ctp, imit Vc
.. d d
53 . Em/G − A7 /C] − B[/D − E7 −
..
54 . F/A − B7 /D] − E7[9 − D]◦7 − E7[9 /G]−
56 ⊥ Am Am − C]◦ /G − Dm/F − C]◦ /E − Dm
57 M1 G7 /B − C − F ]◦ /A − G − E◦ − Vc, Seq(3×1m;R7 )
..
58 . A7 /C] − Dm − G]◦ − Am − F ]◦ −
59 ⊥ Em B7 /D] − Em − F ][5 [9
7 /C − B − B7 −
60 M1 Em/B − B7 − Em/B− par: Vi1+Vi2
.. [5/[9
61 . D]◦7 − F7 /C − B − B7[9 −
..
62 . Em/B − B7 − Em/B−
[5/[9
63 ⊥ D]◦7 − F7 /C − B−
65 M1 E (E − B7 − E − B)/E − E 2nd Dev: Vi1 P (e−b)
67 M2’ <(B7 − E − B7[9 − E)/E− par: Vi1+2, P (e−b)
..
73 . (B7 − E − B7 )/E− climax, P (e−b)
74 ⊥ Em (Em − B7 )/E − Em − . . . − G/B− Retrans, P T (e)
79 M1(a) C −C − F − G7 − C − G/B− (True) Rec/Gr 1: Vi1
80 M1b C − Am − G64 − D7 − G Vi1
81 M1 C7 /E − F − B◦ /D − C − C/E− Va
82 Dm7 /F − G7 − C cad
83 M1/2 C − Dm − G − C/E− 2nd stat, par: Va+Vc
84 ⊥/2 C − Dm − G − C/E− imit: Vi2/Vi1
85 M2 <(F − C)− imit Vc
86 M2’ <(G7 − C − Dm − C)/C− trans, clim, P T (c)
..
87 . (G7 − C7 − F − C7 )/C− P T (c)
..
88 . F/C − C]◦7 − Dm − C−
90 ⊥ Dm/F − D7 /F ] − G P D (g)

h i
4
Mvt. 1 Allegro con spirito: sonata form (C, 4 , 121 m.)
Exposition Developm. Recap. Coda

h i
2
Mvt. 2 Poco adagio - cantabile: theme and variations form (G, 2 , 104 m.)
Theme Var. 1 Var. 2 Var. 3 Var. 4

h i
3
Mvt. 3 Menuet allegro: menuet and trio form (C, 4 , 100 m.)
Menuet Trio
h i
2
Mvt. 4 Finale. Presto: sonata form (Cm, 2 , 189 m.)
Exposition Development Recap. Coda
Figure 3.5: Haydn, String Quartet Op. 76, No. 3 in C Major Kaiser
m M R H Comment
91 M1” (C]◦ − G7 − C − D7 − G)/G− par: Vi1+2, P D (g)
..
92 . (C]◦7 − G7 − C − Cm − G)/G climax,P D (g)
93 ⊥ (F ]◦ − G7 − C − G) − G − Am− P D (g), cad
95 M1 C Dm7 /F − C]◦ /E − Dm − Am/C− Gr 2, (var), Va ctp
..
96 . F7 /C − G/B − F/A− [S̄ 6 ] ,
..
. B7 /A − Em/G − Dm/F suspensions
..
97 . G7 /F − C/E − F ]◦ − − G7 − C46
98 ⊥ <(C − G7 ) − <(C − G7 )/C− P T (c)
d
102 C − F − C/G − G7 − F ]◦ /A − G7 /C cad
105 M1’ C C − G7 − C − C]◦ /E − Dm Coda, par, imit
d
107 ⊥ E − F − C/G − G −
109 A[ − F ]◦7 = D7[9 /F ] − C46 − G7 − stretto imit
115 <(C − G7 )− closing cad
117 <(C − G7 )− P D (g)
119 C/E − G7 − cad
120 1) <(C − G ) − <(C − G) − C ending 1)
7
G/B − F/A − Em7 /G − D7 /F ]− : || [S̄ 6 ] , repeat
120 2) <(C − G ) − G − C ending 2), (121 m.)
7

3.3.2 Mvt. 2 Poco adagio; cantabile

Form: theme and variations form. Since the theme ‘Gott erhalte Franz den Kaiser’2 is repeated
unchanged in the variations, this movement can also be labeled as cantus firmus variation.
The theme (which has the phrase structure aabcc) is played by different instruments (alter-
nating lead voice in each variation). Variation 1 is a duet, variation 2 introduces melodic
parallellism and syncopations, variation 3 is in a counterpoint setting with extended series
of syncopations. Variation 4, the final, is set as a 4-part chorale with many passing chromatic
tones. See Table 3.17 to 3.19 for the analysis.
3.3.3 Mvt. 3 Menuett allegro and Trio

Form: menuet and trio form. Both the menuet and the trio are in ternary song form, ABA. A
fragment from the first theme is used a counterpoint motif for imitation (M1’). See Table 3.20
for the analysis.
3.3.4 Mvt. 4 Finale. Presto

Form: sonata form. This sonata form has a false recapitulation and second development
section. The main theme is the second phrase from the opening theme (M1b). The counter-
melodies are triplet themes (Mt and M2). See Table 3.21 to 3.23 for the analysis.

The key relationship diagram of the Kaiserquartett is shown in Fig. 3.6. We recognize the
regular pattern of a wider scope for the outer movements and a limited span for the inner
movements. The opening sonata form movement starts from the tonic key C major to the
dominant G (1). Then there is the remarkable twist towards the lower mediant E[ = [III
(2). The development starts in the relative minor Am (3), and then goes to the mediant area
Em − E − Em (4), before returning to the tonic.
The second movement, a theme and variations, remains mainly in the tonic key G major.
Near the end there is one re-harmonization that goes into the relative minor key Em. The
menuet is in C major, alternating with the dominant key G (1); the trio is in the relative minor
key Am, moving towards its parallel major key A (2).
The finale sonata form is in the tonic minor key Cm, and moves to the usual relative
major key E[ for the second thematic group (1). The development also opens in that key,
but then gradually moves further away into the subdominant domain, passing through A[
(2), the Neapolitan key D[ = [II and the remote E[m, before recapitulating through the
submediant minor F m into the parallel major key C.
2
This theme has become the German national anthem, usually heard when their soccer team wins another
tournament final. This has become an enduring frustration to the other competitors. By the way, Kaiser Franz is
also a widespread reference to Fußball hero Franz Beckenbauer.

Table 3.17: Haydn, String Quartet Op. 76, No. 3, Mvt. 2 Poco adagio; cantabile
m M R H Comment
h i
2
Theme ‘Gott erhalte Franz den Kaiser’ 2 Vi1
1 Ma G G − D7 /F ] − G − D7 − G − C − G− par: Vi1+Vi2
3 ⊥ D7 − G − Am/C − A/ C] − D − G
5 Ma G − D7 /F ] − G − D7 − G − C − G− repeat
7 ⊥ D7 − G − Am/C − A/ C] − D − G/D
d
9 Mb (D − D7 − G)/D − D − G/B − D7 − cad on D, P D (d)
11 ⊥ Em − A − D − G
13 Mc <(C − G) − D7 − G − D7 /C− climax
15 ⊥ G/B − Am/C − G64 − D7 − G cad
17 Mc <(C − G) − D7 − G − D7 /C− repeat
19 ⊥ G/B − Am/C − G64 − D7 − G closing cad
Variation 1 (Duet) Vi2
21 Ma G G − D7 − D7 /C − G/B− countermel: Vi1,
..
22 . D7 /F ] − G − C/E − D7 − G− 16th with appogg
..
23 . Am/C − G/B − F ]◦ /A − G− [S̄ 6 ]
24 ⊥ D − D7 − G cad
25 Ma G − D7 − D7 /C − G/B− repeat
..
26 . D7 /F ] − G − C/E − D7 − G−
..
27 . Am/C − G/B − F ]◦ /A − G− [S̄ 6 ]
28 ⊥ D−G cad
d
29 Mb D − D7 /C − G/B − D − G − D7 − D
31 ⊥ Em − A7 − D − D7 /C − G/B−
33 Mc <(C − G/B) − D7 /A − G − D7 /C− climax
35 ⊥ G/B − C/E − A/C] − G64 − D7 − G
37 Mc <(C − G/B) − D7 − G − D7 /C− repeat
39 ⊥ G/B − C/E − A/C] − G64 − D7 − G closing cad

Table 3.18: Haydn, String Quartet Op. 76, No. 3, Mvt. 2 Poco adagio; cantabile (cont’d)
m M R H Comment
Variation 2 Vc
41 Ma G − F ]◦ /A − G/B − D7 − G/D− par: Vi2, sync: Vi1+2
..
42 . D7 − G − C]◦ /E − D ostinato Va
43 ⊥ C − G/B − D7 − G
45 Ma G − F ]◦ /A − G/B − D7 − G/D− par: Vi2, sync: Vi1+2
..
46 . D7 − G − C]◦ /E − D
47 ⊥ C − G/B − D7 − (G − D − G − D)/D− P D (d)
49 Mb (D7 − G)/D − D7 − D7 /C− cad on D, P D (d)
d
51 ⊥ G/B − C]∅7 /E − D − G − D/F ] −
53 Mc C/E − D+ − G/B − F ]∅7 /A− climax, par: Vi1+2
55 ⊥ G/B − Am − G64 − D7 − G cad
57 Mc C/E − D+ − G/B − F ]∅7 /A− repeat
59 ⊥ G/B − Am/C − G64 − D7 − G closing cad
Variation 3 Va
61 Ma G Em/G − A − G/B − D7 /A − G/B− sync: Vi1
..
62 . D7 /C − G/B − Am/E − F ]◦7 − G sync: Vi2, app: Vi1
..
63 . B7 /D] − Em − Am7 − A7 −
64 ⊥ D − Em − A− cad
65 Ma G/B − D7 /A − G/B− repeat (var)
..
66 . D7 /C − G/B − Am/E − F ]◦7 − G−
67 ⊥ B7 /D] − Em − Am7 − A7 − D − G cad
69 Mb D7 − C]∅7 − D7 − G/B − D/A−
[5/[9 d
71 ⊥ G − C]◦7 − A7 /E[ − D − C/G − G− cad
d
73 Mc Am − F ]◦ − G/D − Am − D/F ] − chr passing tones
..
74 . C/E − A7 /C] − D7 /C−
75 ⊥ G/B − Am − G64 − D7 − G − C/G − G
d
77 Mc Am − F ]◦ − G/D − Am − D/F ] − repeat
..
78 . C/E − A7 /C] − D7 /C−
79 ⊥ G/B − Am − G64 − D7 − G closing cad

Table 3.19: Haydn, String Quartet Op. 76, No. 3, Mvt. 2 Poco adagio; cantabile (cont’d)
m M R H Comment
Variation 4 - Chorale Vi1
81 M1a Em Em − A7 /E − G/D − D − B7[9 /D] − Em− chromatism
..
82 . B7 − Em − C − G − A
83 ⊥ Am − G − Am7 /C − A7 /C] − D − Em − A7 /E
85 M1a Em − A/C] − G/D − D − B7[9 /D] − Em− repeat
..
86 . B7 − Em − C − G − A
87 ⊥ Am − G − Am7 /C − A7 /C] − (D − C]∅7 )/D
89 Mb G (D − G − C]∅7 − D7 − G − F ]◦ )/D− P D (d)
91 ⊥ (G − A7 )/D − D − G
d
93 Mc C/E − E7 /B − Am − Em7 − A7 − D7 /C − climax, appogg
..
95 . Em7 /B − Am/C − G64 − D7 −
96 ⊥ G − C/E − Bm/D−
97 Mc Am/C − D7 /C − G/B − C − E7 /G]− repeat, appogg
..
98 . Am − B7 /D] − Em − Bm/D− appogg
A7 /C] − D7 /C−
99 ⊥ G/B − E/G] − Am − G64 − D7 − cad
Coda
100 (G − G7 − C − G − G7 )/G P D (g)
102 C/G − F ]◦7 − . . . − G closing cad (104 m.)

Table 3.20: Haydn, String Quartet Op. 76, No. 3, Mvt. 3 Menuett allegro and Trio
m M R H Comment
h i
3
Menuett. Allegro 4
1 M1 C || : C − Dm/F − G7 /B − C A, Vi1
6 M1’ C − Am− imit: Vi1-Va/Vc-Vi2
..
8 . G]◦7 − Am − F ]∅7 − G−
..
9 . D7 /C − G/B − Am/C−
10 ⊥ E7 /D − Am/C − G64 − D7 − cad
12 M2 (G − . . . − F ]◦ )/G− app motif Vi1, P D (g)
16 M2’ G − . . . − D7 − G : || I(M2’) asc Vc
21 M1’ G || : G − . . . − Cm/E[− B, imit: Vi1-Vc
..
23 . A[/C − D◦ − G7 /B − Cm appogg
[5/[9
25 ⊥ D7 /A[ − G− cad
27 (M1”) <(F ]◦7 − G)− motif imit, echoes
31 ⊥ G[9
7 −
33 M1 C C − Dm/F − G7 /B − C A’, Vi1

37 M1’ C − G7 − Dm − A7 − par: Vi2+Vc, Seq(2×2m;R7 )
42 M1’ Dm − C]◦7 − Dm − B∅7 − C− par imit: Vi1+2-Va+Vc
..
45 . G7 /F − C/E−
..
46 . Dm/F − A7 /G − Dm/F − Σ(cm<)
47 ⊥ C46 − G7 − cad
48 M2 C − . . . − G7 − Vi1 P T (c)
52 M2’ C − . . . − G7 − C : || I(M2’) asc Vc, cad
Trio
57 M3 Am || : Am − Dm − E7 − Am A, Vi1
61 M3’ Am − Dm − B7 − E : ||
65 M3” || : Am − Dm − C]◦7 − Dm
69 M3” Bm − E7 /D − Am/C − F7 − E climax
77 M4 A A − E7 /G]− B
81 ⊥ A − Bm/D − A/E − E7 − cad
85 M4’ A − E7 /G]−
89 ⊥ A/C] − Bm/D − A64 − E7 − A Σ(cm>), cad
93 M3 Am Am − Dm − E7 − Am A’
97 M3’ Am − B[/D − B7 /D]− (N 6 )
99 ⊥ Am64 − E7 − Am : || cad (100 m.)

Table 3.21: Haydn, String Quartet Op. 76, No. 3, Mvt. 4 Finale. Presto
m M R H Comment
h i
1 M1a Cm || : Cm − B◦7 − Cm Exp 22 accts
3 M1b B◦7 /F − Cm/E[ − G/B − F ]◦7 − G/B− main motif Vi1
5 M1a’ Cm/E[ − E◦7 − F m cad, accts
7 M1b’ E◦7 /B[ − F m/A[ − C/E− Vi1
..
8 . B◦7 /F − Cm/E[−
9 ⊥ B◦ − Cm − D[/F − Cm/G − G7 − (N 6 )
12 Mt Cm − B◦7 − Cm triplet bass arp Vc
14 M2 <(B◦7 − Cm)/C − C7 /E− triplets Vi1
16 ⊥ <(F m − Cm) − D∅7 /F − D7[9 /F ]−
18 Mt <(G − Cm)/G − G cad, P D (g)
21 M1b F ]◦7 − Gm − F m/A[− imit: Vi2-Vi1
d
24 M1b E[ E[/G − F m/A[ − B[7 − Cm − E◦7 /B[− par: Va+Vc
..
26 . C]◦7 /E − F m/A[ − A∅7 − F7 /A−
..
28 . (B[ − E◦ − F m − D◦ − E[)/B[ P D (b[)
31 ⊥ (B[ − E◦ − F m − E◦ − F m)/B[ P D (b[)
33 M1b” <(B[7 − E[) − B[7 /A[ − E[/G cad, echoes
39 M1b Gm − F m/A[ − Cm − B[m par: Va+Vc
41 ⊥ A[ − Gm7 − E◦ /G − F m − F∅7 /E[
43 M1b B[7 /D − E[7 /G − A[ − F m/A[− Vc
45 ⊥ E[64 − B[7 − cad
46 M2’ E[ − B[7 /F − E[/G − F m7 /A[ − F7 /A− triplets Vi1
..
49 . (B[ − A◦ − B[7 )/B[−
.. d
52 . E[ − B[ −
..
54 . Cm − F m − D∅7 /C − Gm/B[− suspensions
55 ⊥ C7 /B[ − F m/A[ − E[/G−
56 <(B[7 /D − E[) − A[ − B[− cad
58 M2’/1b <(E[ − D◦7 )/E[− tripl imit: (Vi2-1)/Va
62 Mt E[7 /D[ − A[/C − B[7 /D− Vc
64 ⊥ E[ − F m7 /A[ − E[/B[ − B[−
66 M2’ (E[ − E[7 − A[ − D◦ )/E[− Vi1 P T (e[)
..
68 . (E[ − E[7 − A[m − D◦7 )/E[
70 ⊥ <(E[ − D◦7 ) − E[ : || cad, repeat

Table 3.22: Haydn, String Quartet Op. 76, No. 3, Mvt. 4 Finale. Presto (cont’d)
m M R H Comment
73 M1b E[ D◦ /A[ − E[/G− Dev, imit, Seq(2×2m;R7 )
..
75 . Cm − G◦ /B[ − A[ − F m7 /E[− par: Vi1+Vi2-Va+Vc
..
77 . B[7 /D − E[ − F m7 /A[ − A◦7 −
79 ⊥ E[/B[ − B[ − <(A◦ /E[ − B[/D)−
84 M1b/2’ B[7 /D − E[/G − B[7 − ctp: Vc/Va
86 M1b/2’ E[7 − A[ − E[7 Vi2/Vc
88 M1b/M2’ A[/C − D[ − C∅7 − Va/Vi1
89 D[/F − C◦ /E[ − D[ − A◦ /C − B[ trans, N 6
92 M1b Cm G[9
7 − par: Vi2+Vc, I(M1b): Vi1
..
93 ./2’ Cm − D◦ /F − Gm − A[ − E◦7 − stretto imit
95 ⊥ F m − E[/G − A[−
96 M2’ B[ − E[ − E[7 /D[− par: (Vi2+Vc)-(Vi1+Va)
98 A[ A[/C − E[7 /G−
99 M2/1b’ <(A[ − E[7 )/A[− imit: (Vi2-Vi1)/Va
101 ⊥ <(A[ − E[7 /G)−
105 M2 A[ − D◦ − E[/G − A◦ − trans, unisono
..
107 . (B[ − B[7 − E[)/B[− Vi1
109 ⊥ (G − G7 )/B−
110 M2’ Cm <(Cm − G7 )− imit: Vi2-Vi1
..
113 . B◦ /D − <(C7 − F m)− ctp, Seq(2×2m;R−7 )
..
115 . A◦ /C − <(B[7 − E[)−
..
117 . G7 − Cm/G − G − F ]◦7 −
118 ⊥ G − Cm/E[ − G7 /D− cad, Σ(cm<)
119 M1a Cm Cm − B◦7 − Cm (False) Recap, accts
121 M1b B◦ /F − Cm/E[− Vi1
122 ⊥ G/B − F ]◦7 − G/B−
123 M1a Cm/E[ − C7 /E − F m− cad, accts
125 M1b E◦7 − F m/A[ − C/E−
..
126 . B◦7 /F − Cm/E[−
127 ⊥ <(D[/F − Cm64 − G7 )− (N 6 ) trans
131 D[/F − E[m7 /G[ − D[/A[ − A[7 − cad

Table 3.23: Haydn, String Quartet Op. 76, No. 3, Mvt. 4 Finale. Presto (cont’d)
m M R H Comment
137 M2’ D[ (D[ − A[7 )/D[− 2nd Dev, Seq(2×4m;R7 )
139 ⊥ D[ − A[m/C[ − B[7 − imit: Vi1-Vi2-Va
141 M2’ E[m (E[m − D◦ )/E[−
143 ⊥ E[m − B[m/D[ − G∅7 − imit: Vi1-Vi2-Va
145 M2’ Fm F m − C/E − Cm/E[ stretto imit
148 Mt G7 /B − F ]◦7 /C − <(G − F ]◦7 )/G− trans, Vc-Va
151 G−C
152 M1b C G7 /D − C − G7 /B − C − D7 − G Recap, Seq(2×3m;R7 )
155 M1b A7 /E − Dm − A7 /C]−
156 ⊥ Dm − E7[9 − A
158 M1b’ Dm − C]◦7 − Dm − <(G7 − C) imit: (Vi1+Vi2)-(Va+Vc)
162 M1b” <(G7 /B − C)− cad echoes: Vi1-Va-Vc
167 M1b G7 /F − C/E − Dm/F − imit Vi1
.. d
168 . Em − Dm/F − G7 − Va+Vc
..
169 . Am − E◦ /G − F − C]◦ /E − D∅7 /C− ctp
d
172 ⊥ G7 /B − C − G/D − C7 /E − Dm/F Vc
174 C46 − G7 − cad
175 M2/1b’ <(C − B◦ − G7 )/C− Coda, (Vi2-Vi1)/Va
[5/[9
179 M2’ C7 /B[ − F/A − D7 /A[− Vc
181 C46 − G7 − cad
182 M1b’/t <(C − B◦7 − C − B◦7 )/C (Vi1+2+Va)/Vc, P T (c)
186 C closing (189 m.)

Mvt. 1 Allegro
A E
4 ?65
Am - Em Mvt. 2 Poco adagio
YH
H
?6H
C -G A E
1,3
?2
6
Cm Gm Am• Em
1-

E[ 2 B[ C G
Mvt. 4 Finale. Presto
Mvt. 3 Menuett E[ B[ F C•

* 4

Em E[m B[m F m Cm
YH 3
1
6 H * 6

? 9
2 ?
G G[ H D[
A[ E[
Figure 3.6: Haydn, String Quartet Op. 76, No. 3, key relationship diagram


Chapter 4
Wolfgang Amadeus Mozart
Biographical data:
∗ 27-1-1756 in Salzburg
† 5-12-1791 in Wien
1600 1700 1800 1900 2000
4.1 Sonata in F Major KV 332 (1783)

Source: [40].3 An overview of the formal analysis is shown in Fig. 4.1.
h i
3
Mvt. 1 Allegro: Sonata form (F , 4 , 229 m.)

h i
4
Mvt. 2 Adagio: ABAB’ form (B[, 4 , 40 m.)
A B A B
h i
6
Mvt. 3 Allegro assai: sonata form (F , 8 , 245 m.)
Exposition (90 m.) Development (57 m.)
Recapitulation (84 m.) Cda
Figure 4.1: Mozart, Sonata in F Major KV 332

Form: sonata. This fast opening movement contains a multitude of themes in both sub-
ject groups. The short development starts with a new subject; the similarity with the other
sections lies in the transitions. The detailed analysis is shown in Table 4.1 and 4.2.
2005-2017
CHAPTER 4. WOLFGANG AMADEUS MOZART
Table 4.1: Mozart, Sonata in F Major KV 332, Mvt. 1 Allegro
m M R H Comment
1 M1 F || : F − F7 − B[/F − Gm7 /F − E◦ /G− Exp/Gr 1 (a): RH
..
5 . <(F − Dm/F ) − Gm7 − C − F − B[/D − B[− (b), imit RH-LH
..
10 . F/A − Dm − Gm/B[ − C7 − F − C7 − cad
..
13 . F − C − F/A − C − F − C7 − (c) RH+LH par
17 ⊥ F − C − F/A − C7 − F − C7 − cad
21 F − C7 − F − A/C]− trans
23 M2 Dm Dm − A[9 [9
7 /E − Dm/F − G7 /D− (aa): arp
.. [5/[9
31 . Cm Cm/E[ − A[/C − D7 /A[− (b): 16th arp
37 ⊥ <(G − Cm) − G halfcad
41 M3 C C − . . . − G − C− Gr 2 (a)
.. d
45 . F/A − G7 /B − Am − Dm/F − G (b)
..
49 . C − G/B − G7 /B − C − G − C LH triplets
53 ⊥ F/A − G/B − G7 /B − C − Dm/F − G7 − C (b)
57 Cm <(G7 − Cm) − F m7 − B[7 − E[∆7 − trans
d
64 A[∆7 − D∅7 − G7 − A[ − F ]◦7 −
67 <(G − F ]◦7 ) − G − C]◦
d
71 M4 C F − C − G7 − Am − Dm/F − C46 − G − C cad
d
77 M4 F/C − C − G7 −
80 ⊥ Am − Dm/F − C/G − B◦ /F −
82 Em − G]◦7 − Am − Dm/F − C/G − B◦ /F −
84 Em − G]◦7 − Am − Dm/F − C46 − G− climax, RH: 16ths
86 <(C − . . . − G7 )− LH: 16ths, P D (c)
90 C − E/G] − Am − Dm − G − C : || cad
94 M5 C || : <(C − G) − Dm/F − G7 − C − G7no 3 − Dev
102 M5 <(C − G) − Dm/F − G7 − C
110 Cm <(G7 − Cm) − F ]◦7 /A − Gm/B[−
116 Dm D7 /F ] − G − C]◦7 /E − Dm/F − A7 /C] − Dm
122 G]◦ /B − <(A − G]◦7 ) − A
127 Am − G]◦7 − C7 /G − C7 −
133 M1 F F − F7 − B[/F − Gm7 /F − E◦ /G− Rec/Gr 1 (a): RH
..
137 . <(F − Dm/F ) − Gm7 − C − F − B[/D − B[− (b), imit RH-LH
..
142 . F/A − Dm − Gm/B[ − C7 − F − C7no 3 − cad
..
145 . F − C − F/A − C − F − C7 − (c) RH+LH par
149 ⊥ F − C − F/A − C7 − F − C7 − cad

4.1. SONATA IN F MAJOR KV 332
Table 4.2: Mozart, Sonata in F Major KV 332, Mvt. 1 Allegro (cont’d)
m M R H Comment
153 F − C7 − F − A/C]− trans
155 M2 Dm Dm − A[9 [9
7 /E − Dm/F − G7 /D− (aa): arp
..
163 . Cm Cm/E[ − F7[9 /E[− (aa): arp
..
167 . B[m/D[ − F/C − B◦7 − (b): 16th arp
173 ⊥ <(C − B◦ /F ) − C − G∅7 − C climax
177 M3 F F − C7no 3 /B[ − F − E◦ − F Gr 2 (a)
..
181 . B[/D − C/E − C7 /G− (b)
..
183 . F − Dm − Gm/B[ − C
..
185 . F − C/E − C7 /E − F − E◦ − F LH triplets
189 ⊥ B[/D − C/E − C7 /E − F − C7 − F (b) 8va
193 Fm <(C7 − F m) − B[m7 − E[7 − A[∆7 − trans
d
200 D[∆7 − G∅7 − C7 − D[ − B◦7 −
203 <(C − B◦7 ) − C − F ]◦ −
d
207 M4 B[ − F − C7 − Dm−
211 ⊥ Gm/B[ − F46 − C − F cad
d
213 M4 F B[/F − F − C7 −
216 ⊥ Dm − Gm/B[ − F/C − C7 /B[−
218 F/A − C]◦7 − Dm−
219 Gm/B[ − F/C − C7 /B[−
220 F/A − C]◦7 − Dm − Gm/B[ − F46 − C− climax, RH: 16ths
222 <(F − . . . − C7 )− LH: 16ths, f -ped
226 F − A/C] − Dm − Gm − C − F cad (229 m.)

4.1.2 Mvt. 2 Adagio
Form: ABAB’. The slow middle movement shows perfect symmetry; both A sections are
equal, repeating the main subject in the parallel minor key, with a 16th note Alberti bass
(close voicing arpeggios) throughout in the left hand. The B sections are equally long, with
the first in the dominant key, and the final section repeating the same material in the tonic
key. These contain more rhythmic variation in both hands; there are occasional 16th note
triplets and 32th note scalar runs. The analysis is shown in Table 4.3.
4.1.3 Mvt. 3 Allegro assai
Form: sonata. The closing fast movement of this sonata is, like the opening movement, a
sonata form with melodic richness. It also introduces a new subject in the development
(M6). The key relations are similar (major vs. relative or parallel minor), but now the order
is different: tonic major, relative minor, dominant minor, parallel major (F − Dm − Cm − C).
In the coda, there is the unexpected return of the first group, second theme, with transitory
character (M2). The analysis is shown in Table 4.4 to 4.6.
The key relationship diagram of this three-movement piano sonata is shown in Fig. 4.2.
Overall it has a limited key range envelope. Both sonata form movements are in the tonic
major key F . For a shortest path interpretation they require the double occurrence property
of the dominant minor Cm and the tonic minor F m key. The opening Allegro remains in the
dominant key area, the closing movement also reaches the subdominant domain with B[
and Gm (4–5). The middle movement has one counterclockwise loop through the dominant
key F (1) and one alternation with the tonic minor key B[m (2).
Mvt. 1 Allegro
t 1
Cm Gm Dm Am Mvt. 2 Adagio
3 6
E[ B[ F HH C B[ F
?t
Y
?6 H 6 6
?2
*

E[m B[m 5 F m 2,4 Cm B[m 1 F m
Mvt. 3 Allegro assai

2 t
F mt6 Cm Gm Dm Am
H
HH 5H
YH 61,7
?
H
A[ E[ 4 B[ F C
j -
6 ?t
3 6
A[m E[m B[m t F m Cm
Figure 4.2: Mozart, Sonata in F Major KV 332, key relationship diagram

Table 4.3: Mozart, Sonata in F Major KV 332, Mvt. 2 Adagio
m M R H Comment
1 M1 B[ B[ − F/A − E[/G − E[ − B[/D− A, (aa’), LH: 16ths
..
3 . E[ − B◦ − Cm/E[ − Dm − B[/D− (b)
4 ⊥ F7 /A − B[ − B[/F − F − F7 −
5 M1’ B[m B[m − F m/A[− (a) minor
..
6 . E[m/G[ − E[m − B[/D − B[m/D[− (a’)
d
7 ⊥ C7[9 − D[ − G∅7 /B[ − F m64 − C7 − F − C7 /G−
9 M2 F C7 − F − C7 /G − C7 − F − A7 /C]− B (aa’), D
..
11 . D7 − Gm − C7 /G− (b) climax
12 ⊥ F/A − Gm/B[ − F46 − C7 − F − C7 /G−
13 M2 C7 − F − C7 /G − C7 − F − A7 /C]− (aa’) 2nd stat
..
15 . D7 − Gm − C7 /G− (b) climax
16 ⊥ F/A − Gm/B[ − F46 − C7 − F − Dm/F − E◦ /G−
17 F/A − F7 /A − B[ − Gm7 /B[ − F46 − C7 − retrans, 32th notes
d
19 <(F − F7 − Gm/B[) − F − F7 −
21 M1 B[ B[ − F/A − E[/G − E[ − B[/D− A, (aa’), LH: 16ths
..
23 . E[ − B◦ − Cm/E[ − Dm − B[/D− (b)
24 ⊥ F7 /A − B[ − B[/F − F − F7 −
25 M1’ B[m B[m − F m/A[− (a) minor
..
26 . E[m/G[ − E[m − B[/D − B[m/D[− (a’)
.. d
27 . C7[9 − D[ − G∅7 /B[−
28 ⊥ F m64 − C7 − F − B◦ − F7 /C−
29 M2 B[ F7 − B[ − F7 /C − F7 − B[ − D7 /F ]− B’ (aa’), T
..
31 . G7 − Cm − F7 /C− (b) cllimax
32 ⊥ B[/D − Cm/E[ − B[64 − F7 − B[ − F7 /C−
33 M2 F7 − B[ − F7 /C − F7 − B[ − D7 /F ]− (aa’) 2nd stat
..
35 . G7 − Cm − F7 /A− (b) climax
36 ⊥ B[/D − Cm/E[ − B[64 − F7 − B[ − A◦ /C−
37 B[/D − B[7 /D − E[ − Cm/E[ − B[64 − F7 − 32th notes
d
39 <(B[ − B[7 − Cm/E[)−
40 <(B[ − A◦ ) − B[ closing cad (40 m)

Table 4.4: Mozart, Sonata in F Major KV 332, Mvt. 3 Allegro assai
m M R H Comment
1 M1 F || : F − . . . − F/A− Exp/Gr 1 (a) RH 16ths
4 ⊥ Gm/B[ − F/C − <(B[m/D[ − F/C)− (b)
6 B◦7no 3 − C halfcad
7 M1 F − . . . − F/A− 2nd stat (a) RH 16ths
..
10 . Gm/B[ − F/C − <(B[m/D[ − F/C)− (b’) halfcad
12 ⊥ B◦7 − E◦ /B[ − F ]◦7 /A − Gm/B[ − C7 − F
15 <(C7 − F ) − C7 − trans, LH: 8ths
22 M2 Dm F − Gm/B[ − G/B− unisono
..
23 . C − A/C] − Dm − E∅7 −
24 ⊥ C7 /B[ − F/A − C]◦7 − Dm Σ(cm>)
26 M2 F/A −→ A/C] − Dm − E∅7 2nd stat, unis
28 ⊥ C7 /B[ − F/A − B[ − F46 − C7 − Σ(cm>)
32 F <(F − C7 ) − F trans arp
36 Dm/F − A7 /E− imit RH-LH
38 M3 Dm Dm − A7 /C] − Dm − D7 /C − G/B − G7 − (ab)
..
42 . C/Gno 1 − G7 /F no 3 − C/E − G7 /D−
44 ⊥ C − G7 /B − C (c)
46 F∆7 − B∅7 − Em7 − Am7 − trans, Seq(2×1m;R−7 )
48 G7 /D − C − G − G7 −
50 M4 Cm Cm − G/B − B◦ − G[9 7 /B − Cm Gr 2 (a), LH: arp
..
54 . Cm/E[ − B[/D − A[/C − Gm/B[ (b) [S̄ 6 ]
[5/[9
56 ⊥ F m7 /A[ − D7 /A[ − Cm64 − G− cad
58 M4 Cm − G/B − B◦ − G[9
7 /B − E◦7 /B[ − F/A− 2nd stat (a) var
.. [5/[9
62 . D7 /A[ − Cm64 − B◦7 /F − Cm/E[ − F m (b)
64 ⊥ Cm64 − G7 − cad
65 M5 C <(C − G7 ) − C . . . − (a) RH: 16ths, clim
..
70 . F ]◦ − F m7 /C − B◦7 − G[9
7 /F − (b)
72 ⊥ C/E − F − C46 − G7 −
74 M5 <(C − G7 ) − C − . . . − (a) 2nd stat var
..
79 . F ]◦ − F m7 /C − B◦7 − G[9
7 /F − (b)
81 ⊥ C/E − F − C46 − G7 −
83 C/E − Dm/F − C46 − G7 − trans, climax
85 <(C − G7 ) − C : ||
91 M1 Cm || : Cm − . . . − Cm/E[− Dev (a)
..
94 . Dm7 /F − C/G − F m/A[ − Cm/G− (b)
96 ⊥ <(D7 /F ] − Cm/G − F m/A[ − Cm/G)−

Table 4.5: Mozart, Sonata in F Major KV 332, Mvt. 3 Presto agitato (cont’d)
m M R H Comment
d
98 M1’ D7 /F ] − Gm − Cm − <(G7 − F m/A[) Seq(3×4m;R5 )
.. d
102 . G7 − A[ − G[9 [5
7 − <(C − G7 /D[)−
.. d
106 . C7 − Dm − C7 − <(F7 /A − E[m/G[)−
d
110 ⊥ F7 − Gm − F7 −
d
112 M6 B[ B[ − F/A − E[/G − D/F ] − (a) [S̄ 6 ]
..
114 . E[/G − Dm/F − Cm/E[ − B[/D− [S̄ 6 ]
..
116 . C7 − F7 − B[ − G[ (b)
118 ⊥ E[m7 − C7[9 /E − F − F7 −
d
120 M6 B[ − F/A − E[/G − D/F ] − (a’) var, 16th arp
..
122 . E[/G − Dm/F − Cm/E[ − B[/D− [S̄ 6 ]
..
124 . C7 − F ]◦7 − Gm − Cm/E[ (b’) LH-RH arp
126 ⊥ B[64 − F7 − B[ cad
129 F ]◦7 /A − Gm/B[ − E◦7 − C7[9 /B[−
[5/[9
135 F m/A[ − Dm7 − B◦7 − D[ − G7 /D[−
139 (C − B◦ − E◦ − F − F ]◦ − E◦ )/C− retrans, c-ped
142 C7 − . . . − climax
148 M1 F F − . . . − F/A− Rec/Gr 1 (a) RH 16ths
151 ⊥ Gm/B[ − F/C − <(B[m/D[ − F/C)− (b)
153 B◦7no 3 − C halfcad
154 M1 F − . . . − F/A− 2nd stat (a) RH 16ths
..
157 . Gm/B[ − F/C − <(B[m/D[ − F/C)− (b’) halfcad
..
159 . B◦7 − E◦ /B[ − F ]◦7 /A − Gm/B[−
161 ⊥ C7 − F cad
162 <(C7 − F ) − C7 − trans, LH: 8ths
169 F − A[5
7 /E[ − D − D7 − Gm/B[ − D7 /A− imit RH-LH
173 M3 Gm Gm − D7 /F ] − Gm − G7 /F − (a)
..
175 . C/E − C7 /B[ − F/A − C7 /G− (b)
178 ⊥ F − C/E − F (c)
180 B[∆7 − E◦ − Am7 − Dm− trans, Seq(2×1m;R−7 )
182 Gm7 − C7 − F − B[ − G/B − C − C7 −
185 M4 Fm F m − C/E − E◦7 − C7[9 /E − F m− Gr 2 (a), LH: arp
..
189 . F m − E[/G − D[/F − Cm/E[− (b) [S̄ 6 ]
191 ⊥ B[m7 /D[ − G7[5 /D[ − F m64 − C− cad

Table 4.6: Mozart, Sonata in F Major KV 332, Mvt. 3 Allegro assai (cont’d)
m M R H Comment
193 M4 F m − C/E− 2nd stat (a) 8va
..
195 . E◦7 − C7[9 /E − A◦7 − B[/D−
.. [5/[9
197 . G7 /D[ − F m/C − E◦7 /B[ − F m/A[ (b) var
199 ⊥ F m64 − C− cad
200 M5 F <(F − C7 ) − F − . . . − (a) RH: 16ths, clim
..
206 . B◦ /D − B[m7 /F − C7[9 /E− (b)
208 ⊥ F/A − B[ − F46 − C7 −
210 M5 <(F − C7 ) − F − . . . − (a) 2nd stat var
..
215 . B◦ /D − B[m7 /F − C7[9 /E− (b)
217 ⊥ F/A − B[ − F46 − C7 −
220 F/A − Gm/B[ − F46 − C7 − trans, climax
222 <(F − C7 ) − F
227 F7 − B[ − B◦7 − F46 − C7 − block chords, cad
232 M2 Dm F − Gm/B[ − G/B− Coda, unisono
..
233 . C − A/C] − Dm − E∅7
235 ⊥ C7 /B[ − F/A − C]◦7 − Gm/D − Dm Σ(cm>)
237 M2 F −→ A/C] − Dm − E∅7 2nd stat, unis
239 ⊥ C7 /B[ − F/A − B[ − F46 − C7 − cad
241 F <(F − C7 ) − F : || closing (245 m.)

4.2. STRING QUARTET IN C MAJOR NO. 19 KV 465
4.2 String Quartet in C Major No. 19 KV 465 (1785)

String quartet No. 19 KV465 is also known as the ‘Dissonanzenquartett’ (Dissonance Quartet).
h ih i
3 4
Mvt. 1 Adagio – Allegro: sonata form (C, 4 4 , 246 m.)
Intro Exposition Development Recapitulation Coda

h i
3
Mvt. 2 Andante cantabile: ABAB Coda form (F , 4 , 114 m.)
A1 B1 A2 B2 Cda
h i
3
Mvt. 3 Menuetto – Allegro: menuet and trio form (C, 4 , 103 m.)
Menuet Trio
h i
2
Mvt. 4 Allegro: sonata form (C, 4 , 419 m.)
Recapitulation (172 m.) Coda (47 m.)
Figure 4.3: Mozart, String Quartet in C Major No. 19 KV 465
4.2.1 Mvt. 1 Adagio - Allegro

Form: sonata form. The slow (adagio) introduction with its 3-part stretto imitation opening
is the reason for giving this quartet its nickname Dissonance Quartet (‘Dissonanzenquartett’):
the three stepwise descending entries are Va: a[, Vi2: e[, Vi1: a, repeated as a stepwise
downward sequence.1 The allegro main theme has M1(aab) sentence structure (2 + 2 + 4 m.),
where the longer b-phrase starts with the a-motif. In the allegro the first phrase from the
opening theme (M1a) returns in many disguises (variation, stretto imitation) in all sections
of the movement. The detailed analysis is shown in Table 4.7 to 4.9.
If the first two themes from the secondary group, M2.1 and M2.2, are considered together,
they may be interpreted as another M2(aa’b) (2 + 2 + 12 m) sentence structure. The group
returns in the recapitulation, but is not developed.
4.2.2 Mvt. 2 Andante cantabile

Form: binary, ABAB Coda form. In the A sections the first violin plays a long-winding lead
part, with many appoggiaturas. A transitory motif, Mt, returns at the end of all sections,
in extended two-part imitation (except for the coda). The B sections are based on a one-
measure single pitch rhythmical motif ( 14 + 18 + 18 + 18 + 81 -th note), that is used in imitation
1
The other likely reason for its label ‘Dissonance Quartet’ probably has to do with the wide leaps and the
diminished fifth leaps in the main themes of the other movements.

Table 4.7: Mozart, String Quartet in C Major No. 19 KV 465, Mvt. 1 Adagio - Allegro
m M R H Comment
h i
3
Adagio 4 Introduction
1 C A[/C − D7 /C − G/B − D7 /F ]− 3pt imit, PB (&),
5 G[/B[ − C7 /B[ − F/A − C7 /E− Seq(2×4m;R−7 )
9 F m/A[ − E[/G − D∅7 − Cm/E[−
d
13 G7 − C − G 7 −
15 Am7 − D7[5 /A[ − G − D7[9 /F ]−
17 G7 − D7[9 /F ] − D7 /F ] − G − G7 − . . . − cad (22 m.)
h i
4
Allegro 4
23 M1 C || : C − F − G/B − G7 − C/E − G/B− Exp, Gr 1/Th 1 (aa): Vi1
.. d
27 . C − G/B − Am − F/A − C7 /G− (b)
29 ⊥ F − A7 /E − Dm − D7 /F ] − G − G7 −
31 M1 C − G7 − C− 2nd stat: (aa), var
..
35 . <(C7 /B[ − F/A) − C7 /B[ − A7 − D7 − (b’)
.. d
39 . G7 − Am − Dm/F − G7 − C/E − C−
42 ⊥ Dm/F − G7 − C − G7 − cad
44 M1 C − G7 /F − C/E − G7 /D − C − Am7 /G− (a): 4pt stretto imit
..
48 . D7 /F ] − D7 /C − G/B − D7 − G − D7 /A−
..
51 . G − Em − A7 − D− trans to D
53 ⊥ <(C]◦7 /D − D) − <(A7 − D)−
56 M2.1 G G − D7 /A − D − D7 /C − G/B Gr 2/Th 1, (a): imit 16th
..
60 . G7 − E7 − Am − D7 − G − Bm7 /D− (b): Vi1, (a): Vc
..
65 . C∆7 /E − D7 /F ] − B7 /D] − Em−
..
67 . <(C − Am/C) − Am/C − D7 /A− imit 16th, I(M1’): Vi2+Vc
d
69 ⊥ G − G7 /B − Am7 /C − G64 − D7 − cad
71 M2.2 G − Em − E7 /G] − A7 /C]− Th 2: Vi triplets (3rds)
75 M2.2 G/D − G/B − G7 /B− 2nd stat: Vi2+Vc
78 ⊥ C − Am7 /C − G64 − D7 − <(G − D7 )− imit
84 M2.1’ G/B − C − Am7 /C − D7 − G− (a): 16th sc runs
88 ⊥ G7 /F − C/E − A7 /C] − G64 − D7 − climax, cad
91 M1 G − <(D7 − G)/G − <(D7 − G) (a) clos st: Vi2-Vi1, P T (g)
100 ⊥ Am7 /C − G7 /D − C/E− (a) imit: Va-Vc
103 M1’ A[9 [9
7 /G − Dm/F − G7 : || (a’): climax, repeat

Table 4.8: Mozart, String Quartet in C Major No. 19 KV 465, Mvt. 1 Adagio - Allegro (cont’d)
m M R H Comment
107 M1 || : C7 /B[ − . . . − A7 − . . . − C]◦7 /G− Dev (a): 2pt im, PB (&)
[5/[9
115 ⊥ Am B[64 − F − F7 − B7 /F − <(E7 − Am) clim, unis, cad
d
121 M1 E7 − F/C − B7[9 − E7 − F/C − B7[9 − (a): Vc
125 M1 E7 − . . . − (a’): motif in stretto imit
128 ⊥ A[9
7 − <(Dm − A7 )−
[9
132 M1 Dm D7[9 − . . . − G[9

7 − ...− (a’): motif in stretto imit
..
137 . Cm <(Cm − G[9
7 ) − Cm − C7 /E − F m−
140 ⊥ B[7 /D − E[ − A[/C − D∅7 − G7 − Cm− stretto imit
143 D7[9 /F ] − . . . − climax, unis
145 G7 − Cm − D7[5 /A[ − G7 − Cm halfcad
147 M1 <(G − D7[9 )− (a): Vc
151 M1’ G7 − . . . − (a’): 4pt imit, retrans
155 M1 C (C − C7 − F − G7 − C)/C− Recap, Gr 1 (aa): Vi1+2
159 M1 C − C∆7 /B − F/A − Am7 /G− (b): Vi1, PB (&)
161 ⊥ Dm/F − A7 − Dm − D7 − G − G7 −
163 M1 C − A7 /C] − Dm − D7 /F ] − G7 (a’): 3pt imit
165 ⊥ B7 /D] − Em7
167 M1 F E7 /G] − Am − C7 /G − F − C7 /B[− (a”): Vi1+2
169 F/A − C7 /B[ − A7 − D−
d
171 G G7 − Am − D7 − climax
173 <(G − D7 /F ]) − <(G − D7 ) − G trans, cad
176 M2.1 C C − G7 /D − G7 − C7 Gr 2 (a): imit 16th
181 M2.1 A[9
7 − Dm − E7 − Am− (b): Vi1, (a): Vc
185 ⊥ Dm7 /F − C7 /G − C7 /B[−
187 F/A − Dm/F −
189 C/G − Am − Dm/F − G7 − cad
191 M2.2 C − . . . − Am7 − triplets th: Vi1+2 (3rds)
194 A7 /C] − D − G[9 7 − C − D7 /F ]−
195 M2.2 C/G − G − C − C7 /E− 2nd stat: Vi2+Vc
198 ⊥ F − Dm7 /F − C46 − G7 − cad
199 M2.2 <(C − G7 )− imit
204 M2.1 C/E − Dm7 /F − G7 − C− (a): 16th scalar runs
..
208 . A[9
7 /E − Dm/F − D7 /F ]− climax
210 ⊥ C46 − G7 − cad
211 M1 <(C − G7 )/C− (a): 2pt imit, P T (c)
219 ⊥ C − Dm7 /F − C7 /G − F/A− (a’): Vc trans to SD
223 M1’ F D7[9 /C − Gm − C7 − F : || (a’): climax, repeat

Table 4.9: Mozart, String Quartet in C Major No. 19 KV 465, Mvt. 1 Adagio - Allegro (cont’d)
m M R H Comment
227 M1 F C7 /B[ − <(F/A − C7 /B[)− Coda (a’): stretto imit
232 ⊥ F/A − C7 /E − F − F ]∅7 − C46 − G7 − climax, cad, PB (%)
235 M1’ C C − G7 − C − F − C46 − G7 − (a”): motif in stretto imit
238 ⊥ C − G7 − C − F − C46 − G7 − (a”) repeat
241 (M1) <(C − (F − C − G7 )/C)− (a): Vi1, P T (c)
244 C (246 m.)
and in a sectional harmony approach.2 The formal analysis is shown in Table 4.10 and 4.11.
4.2.3 Mvt. 3 Menuetto Allegro

Form: menuet and trio form. The menuet is monothematic; its main motif (M1a) is varied
and developed in the middle section B. It even returns briefly as a transitory motif in the
trio. This trio uses the same monothematic approach; its melody has M2(aa’b) (4 + 4 + 8 m.)
sentence structure. The formal analysis is shown in Table 4.12.

Form: sonata form. This final movement is a good example of a model sonata form. The
first group theme (M1) and the second group first theme (M2) have both a M(abab’) period
structure, the second theme from that group is a M3(aab) (4 + 4 + 4 m.) sentence. The
surprise element lies in the new key of this third theme (submediant of dominant, mediant
of the tonic). The second motif from the second theme M2b is used in imitation, even as
four-part stretto imitation. Both the exposition and development are repeated. The formal
analysis is shown in Table 4.13 to 4.15.

The key relationship diagram for this string quartet is shown in Fig. 4.4. The sonata form
outer movements have a classical layout of main theme in the tonic major key C and sec-
ondary theme group in the dominant key G. The opening Allegro development section
starts in the relative minor key Am (1–2), the finale in the parallel minor key Cm (3). Both
movements stay more in the subdominant domain near the end, in the recapitulation. The
Andante tonic key F alternates three times with dominant C (1), minor supertonic Gm (2)
and parallel minor F m (3), respectively. The third movement has a counterclockwise loop
in the menuet (1) and a clockwise key loop from the tonic minor Cm (2) in the trio. The
finale has two characteristic patterns: a downward chromatic key shift in the development
section F m − E (4) and in the recapitulation D[ − C (5). Secondly, the major third down-
2
The sectional harmony approach, used frequently in jazz music, implies identical rhythm in all or multiple
parts. This yields simultaneous attacks and parallel voice movement.

Table 4.10: Mozart, String Quartet in C Major No. 19 KV 465, Mvt. 2 Andante cantabile
m M R H Comment
1 M1 F F − C7 − F − F/A − B[ − F A1 , Vi1
..
5 . G7 − C − F ]◦ − Gm − F/A− PB (%)
..
7 . Gm/B[ − F46 − C7 − F cad
9 ⊥ F − C7 − F − B[ − F46 − C7 − F Σ(cm<), cad
13 Mt F − C/E − Dm7 − G7 − C trans, imit: Vi1-Vc
..
17 . C7 /E − F − D7 /F ]− PBi (%)
20 ⊥ <(G − C)/G − C − G − G7 − G7 /B− P D (g), clim, Vi1: 16th cl
26 M2 C <(C − G7 ) − C7 − F B1 , 3pt imit, cad
32 M2 (Dm7 − D∅7 )/F −
34 ⊥ D7 /F ] − C/G − G]◦7 − Am − E◦ /G− clim cad.
36 F − C/E − G7 /D − C − C46 − G7 − Vi1 clim, cad
d
39 Mt C − B◦ − C7 − F/C − D7 − Em7 /B− trans, imit: Vc-Vi1
43 ⊥ F46 − C7 − climax, cad
45 M1 F F − C7 − F − F7 − B[ − F A2 , Vi1, var
..
49 . G7 − C − F ]◦ − G − C]◦7 − Dm− PB (%)
..
51 . Gm/B[ − F46 − C7 − F cad
..
53 . F/A − C7 − C]◦7 − Dm− climax
55 ⊥ B[ − F46 − C7 − F − C7 /E− cad
57 Mt F7 /E[ − B[/D − (F7 − F ]◦7 )/A− trans, imit: Vc-Vi1
..
61 . Gm Gm − A7 /C] − Dm − Gm7 /B[− imit: Vc-Vi1 (cont’d)
..
65 . G7 /B − C 4 − G[5
7 /D[ − C cresc, climax
..
69 . F <(Gm7 − F/C) − C7 −
71 ⊥ F/A − C7 /G − F − B◦7 − climax, cad
72 C − C7 − C7 /E− P D (c), Vi1: 16th cl

Table 4.11: Mozart, String Quartet in C Major No. 19 KV 465, Mvt. 2 Andante cantabile
(cont’d)
m M R H Comment
75 M2 F <(F − C7 ) − F7 − B[ B2 , 3pt imit, cad
81 M2 (Gm7 − G∅7 )/B[−
83 ⊥ G7 /B − F/C − C]◦7 − Dm− clim
85 M2 Fm <(F − C7 ) − F m 3pt imit, cad
..
90 . B[m7 − E[7 − A[− climax
92 ⊥ Gm − C7 /E − F m − D[−
94 M2 G∅7 /B[ − E[7 /B[ − B◦7 −
..
96 . B◦7 − F/C − C]◦7 − Dm − C − F7 − cad
98 ⊥ B[ − F/A − C7 /G − F − F46 − C7 − clim, cad
101 Mt F <(F − C7 /G − F/A − F46 − C7 )− Coda, Vi2, Vi1: cl
109 Mt <(F − F7 − B[ − E◦7 − F7 )/F − Vc, Vi1: cl (cont’d), P T (f )
111 ⊥ (B◦ − E◦7 − F − E◦7 )/F − C7 /E−
113 F closing (114 m.)
ward (southwest pointing arrows) patterns G − E[ (3) in the exposition and C − A[ (5) in the
recapitulation.
4.3 String Quartet in B[ Major No. 22 KV 589 (1790)


Form: sonata form. The detailed harmonic analysis is shown in Table 4.16 and 4.17. There is
both a single main and secondary theme. It is the former theme that is used in the develop-
ment section. The extended main theme has a M1.1(aa’b) (6 + 6 + 8 m.) sentence structure,
where the a-phrases are repeated in different parts, and the b-phrase has a first violin lead
over a cello tonic pedal point. A different approach is used for the transitory 1st group sec-
ond theme which has a single phrase M1.2(aaaa’) structure, with the first three statements in
the cello and the varied phrase in the lead violin.
4.3.2 Mvt. 2 Larghetto

Form: binary, ABAB Coda form. The A section melody M1.1 is through-composed, but has a
a somewhat M1.1(aba’b’) period structure. The opening statement by the cello is passed on
to the first violin. The same idea is used in the B section, but with reversed roles (lead violin
to cello). The middle voices provide 8th note rhythmical and harmonic support, except for
the transitions, where there is 16th note scalar run imitation in the upper three parts. The
detailed analysis is shown in Table 4.18.

4.3. STRING QUARTET IN B[ MAJOR NO. 22 KV 589
Table 4.12: Mozart, String Quartet in C Major No. 19 KV 465, Mvt. 3 Menuetto Allegro
m M R H Comment
h i
3
Menuetto 4
d
1 M1 C || : G7no 3 − Am − Dm7 − G7 − A (a): Vi1
5 Mu G7 − . . . − (u) unisono, forte
7 M1 C − G7 /B − C − E7 − Am − D7 − G− (b): 3p-im, Seq(2×1m;R−7 )
11 ⊥ A7 − D − D7 /F ]−
13 Mt G − C/E − G64 − D7 − G − G/B− trans, (c): Vi1
d
17 ⊥ C − D7 − Em − G − C − D7 − G : || (d): Vi1, cad
21 M1 Dm || : A[9
7 no 3 − Dm − Gm B (a): unisono
..
25 . E∅7 /B[ − Dm64 − A7 − (a’): Vi1
..
28 . F D 7 − G − C7 − F (a): Vc, Seq(2×2m;R−7 )
..
32 . F − C]◦7 − Dm − C]◦ /E− (a”): Vi1
34 ⊥ Dm/F − D7 /F ] − G
36 M1’ <(G7 /B − C − G)− retrans, (a): Vi2+Va, P D (g)
d
40 M1 C G7no 3 − Am − Dm7 − G7 − A’ (a): 4pt imit
44 Mu G7 − . . . − G7 /F − (u) unisono, forte
46 M1 C − G7 /B − C − C7 − F − A7 − D− (b): 4p-im, Seq(2×1m;R5 )
48 ⊥ A7 − D − G7 − C − Dm7 /F − Seq(2×1m;R−7 )
52 Mt D7 /F ] − C/G − G7 − C − C/E− trans, (c): Vi1
.. d
56 . F − G7 − Am − C/E − F − G7 − C− (d): Vi1
.. d
60 . F − G7 − Am − E◦ − (d): Vi2, Va
62 ⊥ F − Dm − G7 − C : || cad, repeat
Trio
64 M2 Cm || : Cm − . . . − G − G7 − Cm A, (aa’): Vi1 (a’=I(a))
..
72 . E[7 /D[ − A[/C − <(E[7 /G − A[)− (b): Vi1, I(b): Va
76 ⊥ E[ E[ − . . . − B[/D − E[ : || cad, repeat
80 M2 Fm || : E◦7 /D[ − C7[9 − F m− B I(aa): Vi1
84 ⊥ F ]◦7 − D7[9 − G halfcad
88 M1 Cm <(G − Cm)/G − G7 − retr, menuet motif, P D (g)
92 M2 Cm || : Cm − . . . − D7[9 /C − G/B− A’, (a): Vc
..
96 . G[9 [9
7 − . . . − C7 /E− (a’)
100 ⊥ F m − C/G − F/A − D7[5 /A[− (b)
102 Cm64 − G7 − Cm : || closing cad (103 m.)

Table 4.13: Mozart, String Quartet in C Major No. 19 KV 465, Mvt. 4 Allegro
m M R H Comment
1 M1 C || : C − G7 − C − F − D7 /F ] − G − G7 − Exp (a): Vi1
..
5 . C/E − C]◦ − G/B − G+ /B − C7 − F − G (b), Σ(cm<), halfcad
..
9 . C − G7 − C − F − D/F ] − G7 /F − C/E− (a)
..
13 . Dm7 /F − C7 /G − F/A − D7[5 /A[− (b’)
15 ⊥ C46 − G7 − C cad
17 <(B◦ − (G7 − C − G7 )/G)− trans, 2p imit, P D (g)
25 M1 C − G7 − C − F − D/F ]− 2nd stat, (a): Vi1
..
28 . G − E/G] − Am − F/A − G7 /B− (a’)
31 ⊥ C − Dm7 /F − C46 − G7 − C cad, unis arp, clim
39 G]◦7 /D − Am/C − F ]◦7 /C − Gm/B[ trans, Seq(2×4m;R−7 )
47 A[5
7 /E[ − <(D7 − Gm) − D (clim), cad
55 M2 G G − Em/G − D/F ] − Dm/F − Gr 2 (ab): Vi1, PBi (&)
..
57 . C/E − Cm/E[ − Dm7no 3 − C/E−
..
60 . Am/C − A7 /C] − D − D/F ] − G−
..
63 . B/F ] − Em/G − C]◦7 /G− (a): Vi1
..
65 . D/F ] − B◦7 /F − C/E − Cm/E[− (b’) PBi (&)
d
67 ⊥ D7 − Em − Am7 /C − D7 − cad
69 <(G − . . . − D7 − . . .)− trans, Vi1: 16ths
77 <(C − G)/G − G − . . . −
89 M3 E[ <(E[/G − B[/D − E[ − B[7 /A[)− (aa): Vi1
..
97 . E[/G − D/F ] − D◦ /F − (b), PBi (&)
99 ⊥ C/E − Cm7 /E[ − A[5 6
7 /E[ − G4 − D7 −
103 G G − ...− trans, Vi1: 16ths, P T (g)
108 M2 Bm7 − E7 − A7 − D7 − G7 − (b): 4pt imit, climax
..
111 . C − F ]7 − B − E7 − A − D7 − Seq(4×1m;R−7 )
114 ⊥ G − C]◦7 /E − G64 − D7 − G cad
118 D7 /C − G/B − Em − Am7 − D − F ]◦ − Em trans
122 (Am − D7 )/C − G/B − C]◦7 −
124 G64 − D7 − G − Em cad
126 M2 Am − D − G − Em − A − D − G − A7 /C]− (b) 3pt imit: Va-Vc-Vi1
130 ⊥ D7 − G − G7 − . . . − : || repeat
d
137 M1 Cm || : Cm − G7 − A[/C − D∅7 − G7 − Dev (a): Vi1
..
141 . Cm/E[ − G7 − (b)
..
143 . Cm − C7 /B[ − F m/A[ − G Σ(cm<), halfcad

Table 4.14: Mozart, String Quartet in C Major No. 19 KV 465, Mvt. 4 Allegro (cont’d)
m M R H Comment
..
145 . Cm − G7 − Cm − F − D7 /F ]− (a)
..
148 . G − E[/G − A[ − F/A−
149 ⊥ B[ − G/B − Cm − A[/C − B[7 /D−
152 M1 E[ E[ − B[7 − E[ − E[7 /D[ (a): Vi1, Seq(2×6m;R7 )
155 ⊥ E[7 /D[ − E◦7 (b): imit Vc-Vi2
158 M1 Fm F m − C7 − F − F7 /E[− (a): Vi1
..
161 . F7 /E[ − F ]◦7 − D]◦7 (b): 4pt imit
..
165 . B7 − Em − F ]7 /A] − Bm− stretto im, Seq(5×2m;R−5 )
..
169 . C]7 /E] − F ]m − G]7 /B] − C]m−
..
173 . D]7 /F × −G]m−
..
175 . C]m − A∆7 − F ]m7 − D]∅7 − Seq(4×1m;R3 )
180 ⊥ B
182 M1 E E − B7 − E− False Rec (a):Vi1
186 ⊥ Em Em − B7 − Em − . . . − (a’)
192 G7 /D − . . . − G7 − . . . − Σ(cm<)
200 M1 C C − G7 − C − F − D7 /F ] − G − G7 − Rec, Gr 1 (a): Vi1
..
204 . C/E − C]◦ − G/B − C7 − F − G (b), Σ(cm<), halfcad
..
208 . C − G7 − (a)
..
210 . C − F − D/F ] − G7 /F − C/E−
..
212 . Dm7 /F − C7 /G − F/A − D7[5 /A[− (b’)
214 ⊥ C46 − G7 − C cad
216 <(B◦ − (G7 − C − G7 )/G)− trans, 2p imit, P D (g)
224 M1 C − G7 − C − F − D/F ]− 2nd stat, (a): Vi1
..
227 . G − E/G] − Am − F/A − G7 /B− (a’)
230 ⊥ C − Dm7 /F − C46 − G7 − C cad, unis arp, clim
238 G7 /B − C − E7 /G] − Am − C7 /E − F trans, Seq(3×4m;R3 )
250 D7 /F ] − <(G7 − Cm) − G−
258 M2 C C − F ]◦ − G − E◦ − F − D◦ − Gr 2 (ab): Vi1
..
262 . G7 /B − C − Dm/F − D/F ] − G
..
265 . G/B − C − E/B − Am/C − F ]◦7 /C− (a)
..
268 . G/B − E◦7 /B[ − F/A − F m/A[− (b’), PBi (&)
d
269 ⊥ G7 − F/A − Dm7 /F − G7 − cad

Table 4.15: Mozart, String Quartet in C Major No. 19 KV 465, Mvt. 4 Allegro (cont’d)
m M R H Comment
272 <(C − . . . − G7 − . . . −)− trans, Vi: 16ths
280 <(C − F )/C− P T (c)
286 <(C − G/B) − C
292 M3 A[ <(A[/C − E[/G − A[ − E[7 /D[)− (aa): Vi1
.. [5/[9
300 . A[/C − G/B − G◦ /B[ − F/A − D7 /A[− (b), PBi (&)
d
304 ⊥ Cm64 − G7 − A[ − A[7 −
308 D[ D[ − A[−
310 M3 <(D[/F − A[7 − D[ − A[) − A[7 − D[ (aa): Vi1
..
318 . D[/F − F ]◦7 − Cm/Gno 1 − B◦7 /A[
.. [5/[9
322 . F ]◦7 /A − D7 /A[−
324 ⊥ C46 − G7 − cad
326 C C − ...− trans, Vi1: 16ths, P T (c)
331 M2 Em7 − A7 − D7 − G7 − C7 − (b): 4pt imit, climax
..
334 . F − B7 − E − A7 − D − G7 − C − F ]◦7 /A− Seq(4×1m;R−7 )
338 ⊥ C46 − G7 − C cad
d
341 G7 /F − C/E − Am − Dm7 /F − G − Am trans
345 (Dm − G7 )/F − C/E − F ]◦7 −
347 C46 − G7 − C cad
349 M2 Dm − G − C − Am − Dm − G − C − F ]◦7 − (b) 3pt imit: Va-Vc-Vi1
353 ⊥ G7 − C − C7 − . . . −
360 A[9
7 /C] − F ]◦7 /C − G7 /B − C−
363 Dm7 /A − B◦ − E7 /G] − Am−
365 Dm7 /F − D7 /F ] − <(G − D7 ) − G : || halfcad
372 M1 C C − G7 − C − F − D/F ]− Coda (a): Vi1
..
375 . G − E/G] − Am − F/A − G7 /B−
d
378 ⊥ C − C7 − Dm/F − C46 − G7 − cad
381 C − <(G7 /F − C/E) − G7 /B − C − . . . − cresc
391 C − B◦ /D − C/E − Dm7 /F − C46 − G7 − climax, Σ(cm>), cad
395 <(C − G7 ) − G7 /B − C − . . . − repeat, cresc
404 C − G7 /D − C/E − Dm/F − C46 − G7 − climax, Σ(cm>), cad
407 C − A7 − Dm − C7 − F
410 M2 G − C − A7 − Dm − C7 − F − (b’): 4pt imit
414 ⊥ G7 − C − Dm − G − <(C − G) − C closing (419 m.)

Mvt. 1 Adagio – Allegro Mvt. 2 Andante cantabile
Cm 2 Gm Dm Am H Em Gm Dm Am
t Y
HH HH2
3,5 1,4
Y
E[ B[ F
-C -G B[
HHj F 1- C
6 3 ?
6
E[m B[m Fm t Cm Gm B[m Fm Cm
Mvt. 4 Allegro
Mvt. 3 Menuetto G D A E
1 4 ?
Dm Am Gm Dm Am Em

- 1
Y
H
? HH
F -C B[ F C G

?
3
Fm - Cm B[m F m
Cm
Gm
2
H ?2
YH
H YH
H ?
A[ E[ D[ 5
H E[
A[
B[
Figure 4.4: Mozart, String Quartet in C Major No. 19 KV 465, key relationship diagram
h i
3
Mvt. 1 Allegro: sonata form (B[, 4 , 208 m.)
Exposition Development Recapitulation Cod

h i
2
Mvt. 2 Larghetto: ABAB Coda form (E[, 2 , 90 m.)
A1 B1 A2 B2 Cd
h i
3
Mvt. 3 Menuetto – Moderato: menuet and trio form (B[, 4 , 103 (37+66) m.)
Menuet Trio
h i
6
Mvt. 4 Allegro assai: sonata form (B[, 8 , 155 m.)
Exp. Development Recap. Coda
Figure 4.5: Mozart, String Quartet in B[ Major No. 22 KV 589

Table 4.16: Mozart, String Quartet in in B[ Major No. 22 KV 589, Mvt. 1 Allegro
m M R H Comment
1 M1.1a B[ || : B[ F7 /A − B[ − F Exp, Gr 1/Th 1, Vi1
7 M1.1.a’ F − F7 − Dm − F7 − B[ Cm/E[ − F7 Vc
13 M1.1b <(B[ − B[7 − E[ − F7 )/B[ Vi1 appogg, P D (b[)
21 M1.1.b’ F7 − B[ − D7 /F ] − Gm − B[7 /F − climax, Σ(cm<)
24 ⊥ C/E − B[/D − A◦ /C−
26 Gm/B[ − B◦7 − C7 triplets
29 M1.2 C7 − F − . . . − C7 − . . . − Gr 1/Th 2, Vc, P D (c)
39 M1.2’ F/A − F ]◦7 /A − Gm/B[− Vi11, trans to D
42 B◦7 − F/C − C7 − F
45 M2.1 F C7 − F − Gm/B[ Gr 2/Th 1, Vc
50 ⊥ F/A − C7 /E − F − Gm/B[−
53 M2.1 F C7 − F − Gm/B[ − C7 − F/A− 2nd stat, Vi1
59 ⊥ C7 − F − Gm/B[ − F/C − C− imit Vi2-Va-Vc
d d d
61 M1.1a’ F − C7 − Dm − A7 − B[ − F7 − close, Seq(3×1m;R3 )
64 ⊥ Gm/B[ − D7 − G7 − C7 − F7 − triplets
66 B[ − F/C − C7 − <(F − C7 )/F − F : || P T (f )
72 Fm <(F m − E◦7 /F ) − F m Dev, Vi1, triplets, P T (f )
77 F m A[/C − A[7 /E[
81 M1.1 D[ A[7 − D[/A[ G[/B[− Gr 1, Vc
d
87 ⊥ A[7 /C − D[/F − A[ −
89 M1.1 E[m B[ − B[7 − E[m/B[ G[5 7 − C − C7 − imit
93 M1.1a Fm [5
F m − A7 − D − D 7 − Vc
95 M1.1a Gm Gm − Cm/E[ − A∅7 − stretto imit
97 ⊥ B[/D − F ]◦7 − Gm/B[−
100 A[5
7 /E[ − . . . − Vi+Va Σ(cm),P (e[)
104 D <(D − C]◦7 )/D triplets, P T (d)
108 M1.1a D7 − G7 − C7 − F7 − B[7 Seq(5×1m;R5 ), imit
113 M1.1a E[ E[ − G7 − C − F7 − Vi1+Vi2
115 B[ Cm/E[ − C7 /E − F7
117 M1.1a (F7 − B[ − E◦7 − F − F7 )/F − F7 retrans, P D (f )
131 M1.1a B[ B[ F/A − B[ − F Recap, Gr 1, Vi1+2
137 M1.1a’ F Cm/E[ − F7 − Vc+Va
142 M1.1b <(B[ − B[7 − E[ − F7 )B[ − B[ P T (b[)
151 M1.1.b’ F7 − B[ − D7 /F ]− Σ(cm<), climax
..
154 . Gm − B◦7 − Cm/E[ − E◦7 −
..
156 . F m − A◦7 − B[m/D[ − D◦7 −
158 ⊥ E[ − E[/G − Cm/E[ − C7 −

Table 4.17: Mozart, String Quartet in in B[ Major No. 22 KV 589, Mvt. 1 Allegro (cont’d)
m M R H Comment
161 M1.2 B[ F − F7 − B[ − . . . − F7 − . . . − Gr 1/Th 2, Va, P D (f )
173 M1.2’ B[/F − B◦7 /D − Cm/E[−
176 ⊥ E◦7 − B[/F − F7 −
179 M2.1 B[ − Cm/E[ − . . . − Gr 2, Vi1
187 M2.1 F − B[ E[ − F7 − B[/D− Va
193 ⊥ F7 /A − B[ − Cm/E[ − B[/F − F −
195 F − E[ − B[/F − F7 − Coda, imit, climax
d
198 M1.1a B[ D7 − E[ − B[7 − E[ − G7
d
202 ⊥ C7 − F7 − B[7 − Cm7 /E[ − B[/F − F7 −
204 <(B[ − A∅7 )/B[ − B[ (208 m.)
4.3.3 Mvt. 3 Menuetto moderato

Form: menuet and trio form, each with ABA Coda structure. The menuet main theme has
a regular M1(abab’) period structure, the secondary theme has M2(aab) sentence structure.
Characteristic is the rapid (typically single measure) juxtaposition of forte-piano dynamic
contrast. The trio theme M3 also has sentence structure, M4 is another period. The trio
B section has a motif in the lower three parts, answered by the lead violin. The detailed
analysis is shown in Table 4.19.

Form: sonata form. This closing movement is based on a single theme, that is used in various
forms (variation and melodic inversion). The main theme has M1(aab) sentence (2 + 2 + 4
m.) structure. The exposition and recapitulation reveal a ternary (ABA) structure. The
development starts with a short motif in staccato 8ths with ascending fourths Mf; this is a
sort of upbeat pattern to the maiin a-phrase. It is used in the development in contrary and
unisono motion and returns in the coda. The analysis is shown in Table 4.20 and 4.21.

The key relationship diagram of the 22th string quartet is shown in Fig. 4.6. Note the key
range simplicity of both ternary form inner movements. The menuet trio section is in the
subdominant key E[. The sonata form opening movement has the main theme in the tonic
major key B[, and the secondary theme in the dominant key F (1). The development section
starts in the dominant minor key F m, and passes through both subdominant and dominant
key areas. The finale Allegro development starts in the dominant key F (1), and has two
characteristic major third key movements: F − (D[ = [III) (1) and F m − Am (3). The
lowered mediant key D[ = [III also occurs in the first movement.

Table 4.18: Mozart, String Quartet in in B[ Major No. 22 KV 589, Mvt. 2 Larghetto
m M R H Comment
1 M1.1 E[ E[ B[/D − E[/B[ − B[7 − A1 , Vc
5 ⊥ E[ F m/A[ − E[/B[ − B[ − E[ − B[7 −
9 M1.1 E[ E[/B[ − B[7 − 2nd stat, Vi
13 ⊥ E[ F m/A[ − E[/B[ − B[7 /A[ − E[/G−
17 M1.2 F m/A[ − E[/B[ − B[7 − E[ imit
21 B◦7 − G7 − Cm− trans to dom
24 (F7 − B[ − Gm7 − E◦7 )/F − F7 − climax, P D (f )
28 M2 B[ B[ − F/A − E[/G − Cm/E[− B1 , Vi1, D
30 ⊥ Gm7 /D − Cm − F7 − B[/D
32 M2 B[ − F/A − E[/G − Cm/E[− 2nd stat, Vc
34 ⊥ B[/F − Cm − F7 − B[
36 B[ B[7 retrans, 16th runs
40 M1.1 E[ E[ B[/D − E[ − E[/B[ − B[7 − A2 , Vc
44 ⊥ E[ F m/A[ − E[/B[ − B[ − E[ − B[7 −
48 M1.1 E[ B[/D − E[/B[ − B[7 − 2nd stat, Vi1
52 ⊥ E[ E[/G − F m/A[ − E[/B[ − B[7 /A[ − E[/G−
56 M1.2 F m/A[ − E[/B[ − B[7 − E[ imit
d
60 E[7 − A[/C − C7[9 − F m − B[7 − trans, climax
65 Cm − F7 − 16th runs
67 (B[ − B[7 − E[ − A∅7 )/B[ − B[ − B[7 − P D (b[)
71 M2 E[ E[ − B[/D − A[/C − F m/A[− B2 , Vi1, T
73 ⊥ Cm − F m − B[ − E[/G
75 M2 E[ − B[/D − Cm − F m/A[− 2nd stat, Vc
77 ⊥ E[/B[ − F m7 − B[7 − E[
79 E[ Coda, P T (e[)
81 B[7 − E[ − F m/A[ − E[/B[ − B[7 − Σ(cm), climax
d
83 E[ − B[7 − Cm − A◦7 − E[/B[ − B[7 −
85 <(E[7 − A[/C − A◦7 7 − E[/B[ − B[7 ) − E[ (90 m.)

Table 4.19: Mozart, String Quartet in in B[ Major No. 22 KV 589, Mvt. 3 Menuetto moderato
m M R H Comment
Menuet
1 M1 B[ || : B[ D7 /F ] − G − Cm7 /G − D◦ − E[ A1 , ab): Vi1
..
5 . Cm/E[ F ]◦7 − Gm− a)
7 ⊥ Cm7 /E[ − B[64 − F7 − B[ : || b’), cad
9 M2 || : <(F7 − B[) B, aab): Vi1, Vc arp%
13 E[ − B[ − Cm − Gm− Va 16th arp%
15 Cm/E[ − C7 /E − F − F7 − A − B[ − F7 −
d
19 M1 B[ D7 /F ] − Cm7 /G − B[7 /F − E[ A2 , ab): Vi1 varied
..
23 . Cm/E[ − F7 /A− a)
25 ⊥ B[7 /D − E[ − Cm/E[ − B[/F − b’)
28 M1’ Cm/E[ − F7 /C − B[/D − E[ − B[/F − B[7 − Coda, a-motif,
31 ⊥ B[/D − F7 /C − B[/D − E[− call-and-response
34 B[/F − F ]◦7 − Gm − B[/D−
36 Cm7 /E[ − F7 − B[ : || cad (37 m.)
Trio
1 M3 E[ || : <(E[ − B[7 /D) − E[ − G7 − Cm7 − F7 − A aab): Vi1
10 Cm7 /E[ − Cm7 Cm7 /E[− P (c−e[), [S̄ 6 ]
14 B[/F F7 − B[ − F7 /A − B[ − F7 − B[ : ||
23 M4 || : <(B[ − A◦7 − B[) B, Vi2+Va+Vc motif
..
27 . B[ − A[7 − B[m − A[97 /G[− Σ(cm<)
29 ⊥ D[/F − E[m7 /G[ − A[7
32 M4 G/B − Cm/E[ − G/B G7 /F Vi2+Vc
36 M4 B[7 /F − F∅7 − B[7 /F − F∅7 /E[ − B[7 /D−
40 M3 <(E[ − B[7 /D)− A, aa): Vi1
44 ⊥ E[ − C7 − F m7 − B[7 − E[ b)
49 F m7 /A[ −→ P (f ), [S̄ 6 ] , climax
53 F7[9 /A − E[/B[ B[7 − E[/B[ Pmi (&), P (b[)
D
61 E[/B[ − B◦7 − Cm− PB (%)
63 B[/D − Cm7 /E[ − B[7 /D − E[−
65 B[ − A◦7 − B[7 − E[ : || cad (66 m.)

Table 4.20: Mozart, String Quartet in in B[ Major No. 22 KV 589, Mvt. 4 Allegro assai
m M R H Comment
1 M1 B[ || : G7 − Cm − F7 − B[− Exp, A, aa): Vi1+2,
..
5 . <(F7 /E[ − B[/D)− b)
7 ⊥ Gm7 /B[ − C7 − Gm7 /B[ − C7 − F : || cad
9 M1 || : G7 − Cm − F7 − B[ − E[ − F B, 2nd stat, 4-pt imit
13 M1’ F Cm7 − F7[9 P D (f )
18 M1 B◦7 − Cm − A◦7 − B[− A’, aa): Vi1+2
..
23 . <(F7 /E[ − B[/D)− b)
..
25 . B◦7 /F − Cm/E[−
..
26 . B[/F − D7 /F ] − Gm
27 ⊥ A◦7 − B[/D − Cm − F − B[ : || Σ(cm>), cad
29 M1’ Gm/B[− Dev, Mf: Vi1
31 ⊥ E[/G − Cm/E[ − A◦ − B[ − F a)
33 M1’ Dm/F − B[/D − Cm − F7 − B[ Mf-a’): Vc
37 Mf F Gm7 − C − F/A − B[ − E[ − F − D7 − tutti 4ths, climax
39 M1’ Gm − C7 − F a’)
42 C − F m − C − F/A C7 − P D (c)
48 M1’ F − . . . − C7 − F − . . . − a): imit (Vi1+Va)-(Vi2+Va)
d
56 A − B[ − E◦7 /B[ − B◦7 − F/C − C7 climax, PBi (%)
60 (F − F m − B◦7 − Cm − C◦ )/F − P T (f ), Seq(R−7 )
63 (F − B[ − B[m − E◦7 )/F
d
66 F C− trans, unisono imit
70 M1 D[ (D[ − E[7 − A[7 )/D[ − D[ aa): Vi1, P T (d[)
..
74 . A[7 /G[ − D[/F − B[7 /A[ − E[m/G[ b)
76 ⊥ A[ E[7 − A[
d d
78 I(M1) E[7 /D[ − F7[9 − B[m − C∅7 − F7 − aa): Vi2-Va
85 ⊥ Fm G[9
7 − C7 Vc
d
87 I(M1) F m − C7[9 − D7[9 F7 imit 4pt, par 3rd
93 I(M1) Am Am/E − E7[9 − Em7 − imit 3pt, Seq(3×2m;R−7 )
..
95 . A[9 [9 [9
7 − D7 − Dm7 − G7 −
98 ⊥ C7[9 − F7 − retrans

Table 4.21: Mozart, String Quartet in in B[ Major No. 22 KV 589, Mvt. 4 Allegro assai (cont’d)
m M R H Comment
100 M1 B[ G7 − Cm − F7 − B[− Recap, A, aa): Vi1+Vi2
..
104 . <(F7 /E[ − B[/D)− b)
106 ⊥ Gm7 /B[ − C7 − Gm7 /B[ − C7 − F climax
108 M1 F − G7 − Cm − F7 − B[ − E[ − F B, 2nd stat, imit
112 M1’ F Cm7 − F7[9 − . . . − P D (f )
118 M1 B◦7 − Cm − A◦7 − B[− A’, aa): Vi1+Vi2
..
122 . <(F7 /E[ − B[/D) − B◦7 /F − Cm/E[− b)
125 ⊥ B[/F − Gm − A◦7 − B[/D− climax
d
127 Cm − F7 − Gm
128 B[ Gm7 − F7 − B[ Coda
130 M1 B[ − Cm − F7 − B[ a): Vi1+Vi2
134 Mf Cm unis 4th motif
136 F − F7 /E[ − B[/D − Cm7 /E[− climax, P D (f )
138 B[64 − F7 − cad
140 I(M1) B[ − . . . − A◦7 − B[ a): Vi1, P T (b[)
144 ⊥ B[ − B◦7 − Cm− Vi2+Va
146 M1’ F − F7 /E[ − B[/D − Gm7 − a): Vi1, closing stat
..
148 . Cm7 /E[ − F7 − B[/D − Gm−
150 ⊥ F7 − B[
152 M1’ <(F7 − B[) clim, cad (155 m.)

Mvt. 1 Allegro
5
C G D A E
t
Cm Gm Dm Am Em
6
E[ - B[ -F1 C G
3 ? t4
E[m B[m F m Cm Gm Mvt. 2 Larghetto
HH
Y

G[
H
D[ 2 A[ E[ B[ E[
-
B[

3
Gm Dm Am
-F1

B[
C

Mvt. 3 Menuetto B[m

F m Cm

- 6 2
E[ B[ D[ A[ E[

-
Figure 4.6: Mozart, String Quartet in B[ Major No. 22 KV 589, key relationship diagram
4.4 String Quintet in C Major KV 515 (1787)

Source: [38]. An overview of the formal analysis is shown in Fig. 4.7. Note the length of the
outer movements, in particular the closing rondo.

Form: sonata form. The Exposition first group main theme has M1(aab) (4 + 4 + 10 m.)
sentence structure, over a steady 8th note background. Each motif has a call-and-response
character, with an ascending arpeggio in the cello answered by an upward leap plus appog-
giatura motif in the first violin. In the second statement the roles are reversed: arpeggio in
1st violin is answered by the cello.
The transition to the second theme group contains an extended 8th note theme with two
components: a neighbouring note motif Mn and an alternating upward-downward motif
Ma. Both these will be used as a background to the second group theme, and in the Devel-
opment and Coda. The analysis is shown in Table 4.22 to 4.24.
4.4.2 Mvt. 2 Menuetto Allegretto

Form: menuet and trio form. Both the menuet and the trio are in ABA ternary form. The
Menuet is monothematic with a M1(aa’) (4 + 6 m.) structure. The a’-motif is extended to
between six and nine measures. The a-motif is also used as the background for the B section.
The Trio melody is a modified sentence M2(aabc) (2 + 2 + 4 + 8 m.). The chromac neigh-
bouring notes in the bass return in the c-phrase and the B section, which starts with a se-

4.4. STRING QUINTET IN C MAJOR KV 515
h i
4
Exposition (151 m.) Dev. (53 m.)

h i
3
Mvt. 2 Menuetto – Allegretto: menuet and trio form (C, 4 , 48+66=114 m.)
Menuet Trio
h i
3
Mvt. 3 Andante: binary ABAB Coda form (F , 4 , 128 m.)
A1 B1 A2 B2 C
h i
2
Mvt. 4 Allegro: rondo form (C, 4 , 539 m.)
A B
A C
B Coda
Figure 4.7: Mozart, String Quintet in C Major KV 515

Table 4.22: Mozart, String Quintet in C Major KV 515, Mvt. 1 Allegro
m M R H Comment
1 M1 C || : C − . . . − G7 /D − . . . − G7 /B− Exp, Gr 1 aa): Vc-Vi1
..
9 . C − . . . − C]◦7 − Dm/F − b)
..
16 . G7 /F − C/E − F − C46
− G]◦7 − Am
18 ⊥ Dm/F − C/G − G7 /F − C/E − G halfcad
21 M1 Cm Cm − . . . − G7 /B − G7 /D− 2nd st, aa): Vi1-Vc
..
29 . G7 − C]◦7 − . . . − a’) imit Vc-Vi1
..
34 . A7 /E − D7[9 /F ] − G7 /D − C7 /E− Seq(2×2m;R−7 )
..
38 . C <(F − C) − D[/A[ − F m/A[− b’): Vi1, N46
d d
44 ⊥ G7 − Am − Dm/F − Dm − G7 − cad
46 Mt1 Am − F m − <(D[/A[ − A[7 )− a): 4pt imit, Neap cad
52 ⊥ F7[9 /A − F ]◦7 /C − A[7 − C46 − G7 − b)
57 C − A7 − Dm − C7 − trans
59 F − Dm − C46 − G7 − C − A7 − Σ(cm<)
61 Dm − C7 − F − E7 −
63 Am − G7 − C − F ]m − B7 − climax
65 E − Em − A7 − D − Dm − G7 − Seq(3×1m;R−7 )
67 C − Am/C − A7 /C]−
69 M1 D D − . . . − A7 /C] − A7 /E− aa): Vi1-Vc
77 ⊥ D − C]◦ /E − D − A7 − a’): imit Vc→Vi1, clim
81 Mna G D − D7 − <(G − D7 )− trans, Vi1
..
90 . G − C − D7 /F ]−
92 ⊥ G − Am/C − G64 − D− cad
94 M2/a G <(G − D7 ) − G − C − D7 − Gr 2 aa): (Vi1+2)/(Va1+2)
98 Ma G − D]◦7 − Em − G]◦ − imit Vi-Va, Seq(3×2m;R7 )
..
100 . Am − C]◦ − D7 − F ]◦ −
102 ⊥ G − D]◦ − Em − G/B − C − C]∅7 −
107 <(G64 − C]◦7 − D7 )−
113 D − A/C] − D7[9 − Σ(cm>), cad
115 Mt2 G − G/B − C − A7 /C]− PB (%)
..
117 . D − D7 /F ] − G − G64 − D7 − cad
..
119 . G − G+ /B − C − A7 /C]−PB (%)
..
121 . D − D7 /F ] − G − D7[9 /F ]− cad
..
123 . G − D7 − G − . . . − G/B− climax, Σ(cm<)
..
127 . C/E − G64
−D−G
129 ⊥ G/B − C/E − G64 − D7 − cad

Table 4.23: Mozart, String Quintet in C Major KV 515, Mvt. 1 Allegro (cont’d)
m M R H Comment
131 Mn <(G − C)/G − <(F ]◦ − G)/G− trans, Vi, P T (g)
..
143 . G − Am7 − G/B − . . . − imit
148 ⊥ C − . . . − G7 − : || climax
152 M1 C]◦7 − . . . − B[/F − . . . − Dev, aa): Vc-Vi1
..
160 . D7 /F ] − . . . − D7[9 /C
− C/G − . . . − a)
167 ⊥ E7 /G] − A − Am − E7 − b)
171 Mn Am Am − Dm/A − E7 /G] − Am/C− Seq(5×3m;R5 ),
..
174 . Dm A[9 [9
7 − Gm − A7 − Dm imit Vc→Vi1,
..
177 . Gm Cm − A∅7 − D7[9 − Gm rapid modul
..
180 . Cm F m − D∅7 − B◦7 /F − Cm/E[
..
183 . Fm B[m7 − G∅7 /D[ − C7[9 − F m
..
185 . A[ B[7 − E[ − A[
189 ⊥ Cm D∅7 − G7 − Cm − C7 /B[ − F m/A[−
193 Ma G − G7 − <(Cm/G − D7 /F ] − G)− Vi1
197 M2/a G <(G7 − Cm)/G − D7 − P D (g)
201 Ma’ G − Am7 /C − G7 /D − C/E− retrans, Vc
203 ⊥ G7 /D − D7 /A − G − Am/E − G7 /D−
205 M1 C C − . . . − G7 − . . . − Rec, Gr 1, aa): Vc-Vi1
..
214 . C]◦7 − . . . −
..
219 . D7[9 /F ] − G[9 [9
7 /D − C7 /E− a’): imit Vc-Vi1
..
222 . <(F − C) − D[/A[ − F m/A[− b): VI1
d
228 ⊥ G7 − Am − Dm − G7 − cad
230 Mt1 Am Am − C]/G] − G]7 − a): 4pt imit
..
234 . C]m/G] − E7 − Am − C7 /G− b):
[5/[9
238 ⊥ Dm7 /F − D7 /A[−
240 C C/G − G7 − C − A7 − climax, cad
243 Dm − C7 − F − Dm − C46 − G7 − cad
245 C − A7 − Dm − C7 − trans
247 F − D − A[9
7 /C] − Dm/A − D7 /C− Σ(cm<), clim
249 G/B − D]◦7 − Bm − E7 − A − D7 − Seq(3×1m;R−7 )
252 G − C7 − F − C]◦ − Dm/F − D7 /F ]−

Table 4.24: Mozart, String Quintet in C Major KV 515, Mvt. 1 Allegro (cont’d)
m M R H Comment
255 M1 G G − . . . − D7 /F ] − . . . − D7 /C− aa): Vi1-Vc
263 ⊥ G/B − D7 /A − G − D7 − G7 − a’): imit Vc→Vi1, clim
268 Mna G7 − G[9 7 − <(C − G7 )/C− P T (c)
..
277 . C − C7 /E − F − G7 /B−
279 ⊥ C − F − C46 − G7 −
281 M2/a C <(C − G7 ) − C − C7 − Gr 2 aa): (Vi1+2)/(Va1+2)
287 ⊥ F − F ]◦ − G
288 Ma C − G]◦ − Am − C]◦ imit Vi-Va, Seq(3×2m;R7 )
..
290 . Dm − F ]◦ − G7 −
292 ⊥ C − G]◦ − Am − C/E − F − F ]∅7 −
294 <(C/G − F ]◦ − G7 )−
298 C46 − G7 − C− Vi1+2
302 Cm64 − G − D7 /F ] − G7 −
305 Mt2 C − C/E − F − D7 /F ]− PB (%)
..
307 . G − G7 /B − C − G7 − cad
..
309 . C − C + /E − F − D7 /F ]− PB (%)
..
311 . G − G7 /B − C − G[9
7 /B− cad
..
313 . C − G7 /B − C − . . . − C/E− climax, Σ(cm<)
..
317 . F/A − C46
− G7 − cad
318 ⊥ C − C/E − F/A − D7[9 /F ]−
322 Mn C <(C − G)/G − (C − D7 /F ])/G− Coda, 4pt imit, P D (g)
..
329 . G − D7[9 /C − G7 /B−
331 ⊥ C/E − Em − Am − Dm7 − G7 − C− climax
335 Ma F − . . . − D7 /F ] − E7 /G] − F7 /A− Vi1, PB (%)
d
338 ⊥ G7 /F − C7 − Dm7 /F − D7[9 /F ]−
d
341 M2/a <(C − G7 )/G − Vi/Va, climax
..
345 . Am − E7[9 − Am − A7 −
347 ⊥ Dm − A[97 − Dm7 /F −
349 Ma C/G − . . . − G7 − Vc
353 Mn C − C7 − <(F − C)/C− Vi, P T (c)
360 ⊥ <(G7 − C)/C − C closing cad (368 m.)

quence with juxtaposition of the upper four instruments against the cello. The analysis is
shown in Table 4.25.

Form: ABAB Coda, binary form. The A section has a throughcomposed melody M1, that
may be spilt into a number of segments: 12 + 8 + 11 m. The setting (lead part, type of
background, rhythmical) is different for each segment. In the B section we may discern two
melodies: M2(8 + 8 m.) and the much embellished M3(8 + 8 m.) with its syncopated back-
ground. The instruments are changng roles frequently. The analysis is shown in Table 4.26
and 4.27.

Form: rondo, ABACB Coda form. The analysis is shown in Table 4.28 to 4.30. The A section
cheerful main theme has a two-layered structure: at the smallest scale it has M1(aab) (3+3+2
m.) sentence, at the next larger scale it has M1(aba’b’) (6 + 2 + 6 + 2 m.) period structure.
After the transition, based on this main theme a-phrase, there is a second theme in parallel
thirds with a regular Mp(abab’) (4 + 4 + 4 + 4 m.) period structure. The real transition starts
in m. 74 with embellished scalar patterns in 16th notes; the melody consists of four segments
Mt(abcd) (4 + 12 + 8 + 4 m.). These segments will be reused and redistributed over the later
rondo sections.
The B section is full of counterpoint and chromatism, based on the M1 a-motif and a new
counterpoint melody Mc. The CC section also processes the main theme with a counterpoint
approach: the a-phrase is used in a five-part counterpoint, combining the original motif with
its melodic inversion (a+I(a)). The coda sums up the various treatments of the main theme
a-motif.

The key relationship diagram of the string quintet KV 515 is shown in Fig. 4.8. The opening
Allegro sonata form starts with the regular key pattern: main theme in the tonic major key
C, secondary group in the dominant key G. The unique feature here is that the second state-
ment of this theme is in parallel minor Cm (1). The development opens in the relative minor
key Am (3), before modulating through a long sequence Am → F m (3–5), and remaining
in the subdominant area for a while. The recapitulation alternates once more to the relative
minor key Am (8), before closing through the dominant.
The menuet is in the tonic major key C and alternates with the dominant key G (1) in the
B section. The trio is in the subdominant key F and alternates with its dominant key C (2)
and its subdominant key B[ (3). The slow third movement also has a limited key compass,
with both A sections in the tonic key F , and the B section in the dominant key C (1). The
closing A section sidesteps into the parallel minor key F m (2).
The closing rondo hardly modulates and has different keys for each section: the A sec-
tions remain in the tonic key C major, the C section is in the subdominant key F . There is
symmetry in both B sections: the first is in the dominant key G, alternating with its lowered
submediant major key E[ = [VI (2), the second has a similar movement C − A[ − C (5). The
coda has a brief segment in the subdominant F (6).

Table 4.25: Mozart, String Quintet in C Major KV 515, Mvt. 2 Menuetto Allegretto
m M R H Comment
Menuetto
1 M1 C || : C − Dm7 − G7 − C − G A, a): Vi, halfcad
5 ⊥ C − Dm7 − G7 − C − Dm/F − G7 − C : || a’) ext, cad
11 M1 G || : G − Am − D/F ]− B, a): Va2+Vc
..
15 . G − Am7 − D7 /F ] − G− a’) Va1+Va2
d
19 ⊥ B7[9 /D] − A[9 6
7 /E − G4 − D7 − G ext, Σ(cm>), cad
23 (M1) [9
(A7 − Dm7 − G7 − C)/G− trans, Seq(3×2m;R−7 ),
27 ⊥ (Dm7 − G7 )/G − C − Am − D7 /F ] − G clim, a’): Va, P D (g)
31 M1 C C − Dm7 − G/B − G[9 7 /B− A’, a): Va+Vc, halfcad
.. d
35 . C − B∅7 − G[9 [9
7 /F − C7 /E − PB (&)
39 ⊥ Dm7 − G7 − C cad
41 M1’ C − C7 /B[ − F/A − C/E− a) Vi
..
43 . Dm7 /F − C/G − D7 /F ]− imit Va1+Vc
45 ⊥ C46 − G7 − C : || a’) cad (48 m.)
Trio
1 M2 F || : C7[9 − . . . − A, aab): Vi1, P D (c)
..
9 . <(F − C7[9 /E)− c)
13 ⊥ F − D7[9 /F ] − C46 − G7 − C climax, cad
17 Mt C C − E − E7 − trans, Vi
21 ⊥ Am − Dm/F − G7 − C : || cad
25 || : <(F ]◦7 − Gm) − <(B◦7 − Cm)− B, Seq(4×2m;R5 ), Σ(cm<)
29 <(E◦7 − F m) − <(A◦7 − B[m)
33 F Gm7 − C7[9 /E − F − G7 /D − G7 − imit (Va2+vc)-Vi1, clim
39 <(B◦7 − C)− retrans
43 M2 C7 − . . . − F7 − A, aab): Vi1
..
51 . B[ <(B[ − A◦7 ) c)
55 ⊥ F B[ − G7 /B − F46 − F c) climax, cad
59 Mt F − A − A7 − coda, Vi
63 ⊥ Dm − Gm/B[ − C7 − F : || cad (66 m.)

Table 4.26: Mozart, String Quintet in C Major KV 515, Mvt. 3 Andante
m M R H Comment
1 M1 F F − B[ − C7 − F A, Vi1+2 par 3rds
.. d
5 . <(Gm7 − C − F ) − Gm/B[ − F46 − C7 − Va answers
.. i (%)
8 . Dm − C7 − F/A− Pm
..
10 . C7 /E − F − B[ − F46 − C− cad
..
12 . F − Gm7 /B[ − C7 − F − C7 − F Vi1-Va1 dialog, P D (c)
..
17 . <(F/A − C7 /B[) − F/A − Gm − C7 −
..
21 . F − C7 − F − Vi1-Va1 dialog, P D (c)
..
25 . C7[9 /E − F − B◦7 /D − C/E− Seq(2×2m;R−7 )
..
29 . Am − G64 − D7 − G − C7 − F climax
31 ⊥ Dm/F − C46 − G7 − cad
d
32 M2 C C − G7 − C − G7 − Am − Dm/F − B, Vi1
..
36 . G − D7 − G − G7 − C7 − F − B◦7 − C − G−
..
40 . <(G7 − C) − F − Vc, 5pt ctp
..
44 . G − D 7 − G − C7 − F − B ◦ − Va1
d
47 ⊥ C − Dm/F − C46 − G7 − cad
48 M3 D7 /A − G − E7 /G] − Am − C/E − Dm/F − Vi1 emb, sync
d
50 ⊥ C46 − G7 −
51 M3 D7 /A − G − E7 /G] − Am − C/E − Dm/F − Va1 emb
53 ⊥ C46 − . . . − F − G7 −
56 (C − Dm7 − B◦ − C7 − F − Gm7 )/C− retrans, P D (c)
60 C7 − . . . − Vi1
63 M1 F F − B[ − C7 − F A, Vi1+2 par 3rds
.. d
67 . <(Gm7 − C − F ) − Gm/B[ − F46 − C7 − Va answers
.. i (%)
70 . Dm − C7 − F/A− Pm
..
72 . C7 /E − F − B[ − F46 − C− cad
..
74 . F − Gm7 /B[ − C7 − F − C7 − F Vi1-Va1 dialog, P D (c)
..
79 . <(F/A − C7 /B[) − F/A − Gm − C7 −
..
83 . Fm F − C7 − F m− Vi1-Va1 dialog, P D (c)
..
87 . F7[9 /E[ − B[m/D[− Seq(2×2m;R−7 )
89 ⊥ G[9 6
7 /D − C/E − Dm − C4 − G7 − climax, cad

Table 4.27: Mozart, String Quintet in C Major KV 515, Mvt. 3 Andante (cont’d)
m M R H Comment
d
92 M2 F <(C7 − F ) − C7 − Dm − Gm/B[− B, Vi1
..
96 . C − G7 − C − C7 − F − B[ − E∅7 −
..
99 . F − Gm7 /B[ − F46 − C7 − cad
.. d
100 . <(F − C7 ) − Dm − Gm − C − G7 − Vc, 5pt ctp
..
105 . C − F m7 − B[ − C7 − Va1
d
107 ⊥ F − Gm7 /B[ − F46 − C7 − cad
108 M3 G7 /D − C − A7[9 /C] − Dm − F/A − Gm/B[− Vi emb, sync
d
110 ⊥ F46 − C7 −
111 M3 G7 /D − C − A7[9 /C] − Dm − F/A − Gm/B[− Va1 emb
d
113 ⊥ F46 − . . . − Gm7 − C7 − climax
118 Dm − C46 − G7 − C − F7 − Gm/B[−
120 F46 − C7 /B[−
121 F/A − C7 /E − F − B[ − F46 − C7 − trans
124 F − B[/F − F − C7 − Coda, Va1 emb
126 F − . . . − C7 − F Va1-Vi1 (128 m.)
Mvt. 1 Allegro
3
Gm Dm Am Em Bm
t 8 6 2
Y
H
?HH
B[ F C -G D
5 1,6 ? 7,9
6 * 4
B[m F m Cm Gm Dm Mvt. 2 Menuetto – Allegretto
t
? * 3 2 1
D[ A[ E[ B[ F B[ - F - C - G
Mvt. 4 Allegro
- - 1,4
Mvt. 3 Andante F C G
3,6
1
F -C F m Cm Gm
5 2
6
?2
Fm Cm A[
E[

B[
Figure 4.8: Mozart, String Quintet in C Major KV 515, key relationship diagram

Table 4.28: Mozart, String Quintet in C Major KV 515, Mvt. 4 Allegro
m M R H Comment
1 M1 C C − G7 − C − Am − C]◦7 /G − Dm/F − G7 − A, aab): Vi1
9 ⊥ C − G7 /D − C − Dm/F − C46 − G7 − C aab’), cad
17 (M1) (G7 − C − D7 − G)/G− trans a’) V1, P D (g)
..
22 . G7 − C − Am − D − Bm − Em − C − D7 − Seq(4×1m;R7 )
..
26 . G − A[9 6
7 /E − G4 − D7 − cad
..
28 . <(G − F ]◦7 )/G − G7 a) Vi1, P D (g)
37 ⊥ G[9
7 − Vi1 solo
42 M1 C − G7 /B − C − Am − C]◦7 /G − Dm/F − G7 − 2nd st, aab): Vi1
..
50 . C − D7 /A − G7 − G]◦7 − aa) new harm
54 ⊥ Am − C]◦7 /G − Dm/F − C46 − G7 − C b’), cad
58 Mp C − F/C − F − C/G − G]◦7 − Am a) Vi1+2 par 3rds
..
62 . D7 /F ] − G7 /F − C/E − Dm7 /F − C46 − G7 − b)
..
66 . C − F/C − F − C/G − G]◦7 − Am a): Vi+Va
70 ⊥ D7[9 /F ] − G[9 [9
7 /F − C7 /E − F ]◦7 /E[− PBi (&)
74 Mt D7 − G/B − Am/C − . . . − trans, ab): Vi1 16ths
..
84 . Am/C − A7 /C] − <(D7 − G64 )−
90 ⊥ <(D − A7 ) − D − . . . − cd): Va1+2 par, Vi1
103 M2 G <(D7 − G) − G7 − C − Am − D B, Vi1
..
111 . <(D7 − G) − G7 − C − G − C− Vi1 16th
117 ⊥ Am/C − B∅7 /D − C/E− [S̄ 6 ]
120 Mc E[ <(E[ − B[7 )/E[ − E[/G − B[7 /D− trans, 5pt ctp
..
124 . <(E[ − B[7 /D)−
.. d
131 . E[/G − B[7 /D − C7 /E− Σ(cm<), PBi (&)
133 ⊥ Cm7 /E[ − A[5 6
7 /E[ − G4 − D7 − cad
336 5 G G − A7 − Am− Vi2 PLi (&)
[5/[9
140 M1’ G − Gm − A7 /E[ − D − D7[9 − G − G[9
7 − aa): Vi1, chr ctp
..
146 . C − E7 /B − Am − Am7 /G − D7 /F ] − G− b), PB (&)
149 ⊥ Am/C − D − G/B − D7 − cad
152 5 Gm − A[97 /C] − Am/C− Va2 chr
[5/[9
156 M1’ G − Gm − A7 /G − D/F ]− a): Vc, chr ctp
..
169 . D7 /C − G/B − G7 /F − a) Σ(cm<)
.. d
162 . C/E − G7 − Am/C − D7 − G[9
7 /D− b) clim, Σ(cm>)
166 ⊥ Am/C − G64 − D7 − cad

Table 4.29: Mozart, String Quintet in C Major KV 515, Mvt. 4 Allego (cont’d)
m M R H Comment
168 G − D79 /F ] − G − Am/C − G64 − D7 − closing cad
174 G − Am/C − D79 /F ] − D7[9 /A−
180 G/B − Am/C − G64 − D7 − cad
184 <(G − D7 )/G− trans, P D (g)
194 <(G − D7 ) − G7 −
212 M1 C C − G7 − C − Am − C]◦7 /G − Dm/F − G7 − A, aab): Vi1
220 ⊥ C − G7 /D − C − Dm/F − C46 − G7 − C aab’), cad
228 (M1) (G7 − C − D7 − G)/G− trans a’) V1, P D (g)
..
232 . G7 − C − Am − D − Bm − Em − C − D7 − Seq(4×1m;R7 )
..
237 . G − A[9 6
7 /E − G4 − D7 − cad
..
239 . <(G − F ]◦7 )/G − G7 a) Vi1, P D (g)
248 ⊥ G[9
7 − Vi1 solo
253 M1 C − G7 /B − C − Am − C]◦7 /G − Dm/F − G7 − 2nd st, aab): Vi1
..
261 . C − D7 /A − G7 − G]◦7 − aa) new harm
265 ⊥ Am − C]◦7 /G − Dm/F − C46 − G7 − C b’), cad
269 Mp C − F/C − F − C/G − G]◦7 − Am a) Vi1+2 par 3rds
..
273 . D7 /F ] − G7 /F − C/E − Dm7 /F − C46 − G7 − b)
..
277 . C − F/C − F − C/G − G]◦7 − Am a): Vi+Va
281 ⊥ D7[9 /F ] − G[9 [9
7 /F − C7 /E − F ]◦7 /E[− PBi (&)
285 Mt D7 − Gm/D − C7 − F/C− trans, a): Vi1 16ths
295 ⊥ C7 − F − C− Vc, halfcad, Σ(cm<)
297 M1’ F F − C7 − C7 /B[ − F/A− C, Seq(3×8m;R7 )
.. d
302 . A∅7 /G − D7 /F ] − Cm/E[ − D7 /F ]− a)+I(a) ctp
..
305 . Gm − D7 − D7 /C − Gm/B[− 2nd stat
.. d
309 . B∅7 /A − E7 /G] − Dm/F − E7 /G]−
..
313 . Am − E7 − E7 /D − Am/C− 3rd stat
..
316 . C]∅7 /B − F ]/A]−
321 ⊥ B7[9 − E7[9 − A[9 [9 [9 [9
7 − D 7 − G7 − C7 − Seq(6×2m;R5 )
333 Mt <(F − Dm7 )/F − . . . − D7 /F ]− trans, b): Vi1, P T (f )
.. d
341 . <(G − G7 − Am7 )/G−
345 ⊥ G <(G − D7 ) − G − . . . cd): Va1+2 par, Vi1

Table 4.30: Mozart, String Quintet in C Major KV 515, Mvt. 4 Allego (cont’d)
m M R H Comment
358 M2 C <(G7 − C) − C7 − F − Dm − G7 − B, Vi1
..
366 . <(G7 − C) − G7 − F − C − F/A− Vi1 16th
372 ⊥ Dm/F − E∅7 /G − F/A− [S̄ 6 ]
375 Mc A[ <(A[ − E[7 )/A[ − A[/C − E[7 /G− trans, 5pt ctp
..
380 . <(A[ − E[7 /G)−
.. d
388 . A[/C − E[7 /G − F7 /A− Σ(cm<), PBi (&)
390 ⊥ F m7 /A[ − D7[5 /A[ − C46 − G7 − cad
393 5 C C − D − Dm− Vi2 PLi (&)
[5/[9
397 M1’ C − Cm − D7 /A[ − G − G[9 [9
7 − C − C7 − aa): Vi1, chr ctp
..
403 . F − A7 /E − Dm − Dm7 /C − G7 /B − C− b), PB (&)
..
406 . Dm/F − G − C/E − G7 − cad
407 ⊥ Dm − G7 − C − G7 −
409 5 Cm − Dm/F − Va2 chr
[5/[9
413 M1’ C − Cm − D7 /C − G/B− a): Vc, chr ctp
..
416 . G[9 [9
7 /F − C/E − C7 /E− a) Σ(cm<)
..
419 . F/A − Gm/B[ − C]◦7 − b) clim, Σ(cm>)
.. d
421 . Dm − G7 − Am − A7 /G−
423 ⊥ Dm/F − C46 − G7 − cad
425 C − G97 /B − C − Dm/F − C46 − G7 − closing cad
431 C − Dm/F − G97 /B − G[9
7 /D−
437 C/E − Dm/F − C46 − G7 − cad
441 <(C − G7 )/C− trans, P T (c)
451 <(C − G7 ) − C7 −
467 M1’ A7 /C] − D7 /C − G7 /B − C7 /B[− Coda a’): Vi1, PBi (&)
471 ⊥ F/A − Dm/F − C46 − G7 − C cad
477 M1’ A[9 [9 [9
7 − D7 − G7 − C7 −
[9 a’) Vc, 4pt ctp
481 ⊥ F <(F46 − C7[9 )− a’) Vi1, cad
485 F − Dm7 /F − C46 − . . . − G7 − Vi1 16ths, climax
493 (M1) C C − G 7 − C − . . . − G7 − a’) arp&%
..
501 . C − Am7 − D7 /A − C46 − G7 − cad
..
507 . C − . . . − G7 − a’) arp&%
[5/[9
515 ⊥ C − Am7 − D7 /A[ − C46 − G7− cad
521 M1’ C − G7 − C − . . . a’): Vi1 closing stat
526 ⊥ <(G7 − C) − C cad, arp& (539 m.)

4.5 String Quintet in G Minor KV 516 (1787)

Source: [38]. An overview of the formal analysis is shown in Fig. 4.9. Note the relative short
development section in the opening sonata form movement. In the binary form slow adagio
movement (Mvt. 3) the B sections are significantly shorter than the A sections.
h i
4
Mvt. 1 Allegro: sonata form (Gm, 4 , 254 m.)
Recapitulation (102 m.) C (19)

h i
3
Mvt. 2 Minuetto – Allegretto: menuet and trio form (Gm, 4 , 43+47=90 m.)
Menuet Trio
h i
4
Mvt. 3 Adagio ma non troppo: binary ABAB Coda form (E[, 4 , 82 m.)
A1 B1 A2 B2 C
h i h i
3 6
Mvt. 4 Adagio - Allegro: introduction - rondo form (Gm − G, 4 - 8 , 38+298 m.)
Adagio
A B1 C1 A D B2
C2 A Coda
Figure 4.9: Mozart, String Quintet in G Minor KV 516

Form: sonata form. The formal analysis is shown in Table 4.31 to 4.33. The Exposition main
theme has an M1(aba’b’) period structure. The a-phrase is an upward arpeggio Gm chord
(d − g − b[ − d − d − d), followed by a chromatic descent (g − f ] − f − e\ − e[). The second
a’-motif is the melodic inversion of the first: a’=I(a). These two elements, the arpeggio chord
(upward and inverted) and the chromatic descent, return in many transitions. The second
group remains in the tonic minor key with theme M2.1, until the second theme M2.2, when
the relative major B[ enters. Both themes have the same rhythmical and M(aab) sentence
structure. However, melody M2.1 has more downward stepwise motion, while M2.2 opens
with another downward arpeggio.
Characteristic are the strong dynamic contrasts: accented tutti notes, forte measures fol-
lowed by piano playing (no gradual changes). Also there are many irregular phrases (odd
numbers of measures, extending the tail of a melody). Most of the climaxes are in the tran-
sitory sections. The Development is relatively short, with a number of sequences featuring

4.5. STRING QUINTET IN G MINOR KV 516
imitation. When the main theme returns in the Recapitulation, there is a short secondary
development in the form of a sequence and a stretto imitation.
The Coda presents both themes once more: M1 as a stretto imitation from the highest to
the lowest voice and a closing repeated statement of M2.1.
4.5.2 Mvt. 2 Minuetto

Form: menuet and trio form. The formal analysis is shown in Table 4.34 and 4.35.
The key relations are traditional: the Menuet opens in minor with the Trio in the parallel
major key. As is the ABA’ ternary song form of both sections. The sharp dynamic contrasts
return; note the forte tutti accented chords (multiple stops) in the a-phrase of the opening
menuet melody.
The Trio melody M3 is derived from the b-phrase of the menuet melody M1. It is used
in the lead voice, in the middle voices (see M3’) and in the bridge (M3”) of the trio. The trio
uses both tonic and dominant pedal point.
There seems to be a division of the quintet into three upper voices and two lower voices
in the menuet, while the trio puts two upper voices against three lower voices.
4.5.3 Mvt. 3 Adagio ma non troppo

Form: binary, ABAB form. The formal analysis is shown in Table 4.36 and 4.37.
Remarkable is the use of mutes (con sordino) in this slow, intimate movement. It is a
harmonically very rich setting, with lots of passing chords. In the tutti phrases all parts are
equally important. Occasionally there is a textural thinning, with solo instruments answer-
ing each other’s calls; see the b-phrase of the opening melody M1, which has an M1(abb’)
structure.
The second theme M2(aaa’b) in the A1 section, with its descending stepwise phrases in
8th note rhythm repeated at higher pitches, is in the dominant minor key (B[m); in the latter
half it is repeated in the tonic minor key. The same melodic curve returns in the B section
theme M3, but now the steps occur in an appoggiature 16th note rhythm in major, and the
melody is used in imitation (see the second statement).
Just before the coda, there is a brief sidestep towards the subdominant area A[. The
coda itself is a weird combination of snippets from both melodies M1 and M3, but in a
rhythmically very condensed form.

Form: introduction and rondo form. The formal analysis is shown in Table 4.38 to 4.40.
The slow Introduction features the first violin, which plays a long-winding lead melody
M(abcd) (10 + 9 + 9 + 10 m.) over a steady 8th note accompaniment in the other strings.
In the middle c-phrase there is chromatically descending stepwise motion in both lead and
bass part, the closing phrase has dominant pedal point.
The Rondo consists of four sections A to D, and the G major key ish ai strong contrast
with predominantly minor mood of the earlier three movements. The 68 meter helps in
creating a dance-like mood. The rondo themes are very regular, with typically 4-measure
phrases. The main theme has M1(aa’ba) (4 + 4 + 8 + 4 m.) structure. The second theme has
M2(aaa’) (2 + 2 + 4 m.) structure, with the a-phrase used in many (imitative) disguises. The

Table 4.31: Mozart, String Quintet in G Minor KV 516, Mvt. 1 Allegro
m M R H Comment
1 M1 Gm Gm − F ]◦ /A − F m/A[ − C/G − E[/G− Exp, Gr 1 (a): Vi1, [S̄ 6 ]
..
3 . D7[9 /F ] − Gm − D7[9 − A[9
7 /C] − D7 /C− (b)
.. d
5 . Gm/B[ − D7[9 /A − D7 − a’=I(a)
7 ⊥ E[ − Cm/E[ − D7[9 (b’)
9 M1 Gm − F ]◦ /A − F m/A[ − C/G − E[/G− 2nd stat, (a): Va1, [S̄ 6 ]
..
11 . D7[9 /F ] − Gm − D7[9 − A[9
7 /C] − D7 /C− (b)
..
13 . Gm/B[ − A[/C − G[9
7 /D− (a’), N 6
.. d
15 . Cm/E[ − C7[9 /E − PB (%)
..
16 . Dm/F − D7 /F ] − Gm − D7[9 /A−
17 ⊥ Gm − A◦ − Gm64 − D7 (b’) cad
18 M1’ A[9 [9
7 − D7 − trans, (a): Vi1+Vi2
20 Gm − A[9 [9
7 /G − D7 /F ]− Seq(5×R5 ), PBi (&)
21 G[9 [9 [9
7 /F − C7 /E − F7 /E[ − B[/D−
23 6
A[/C − Gm4 − D7 N 6 , climax, cad
24 Gm − B[7 /D − E[ − B[7
26 M1’ E[ − A[9 6
7 /C] − Gm4 − D7 − Gm imit: Vc-Vi1, cad
30 M2.1 Gm − D7[9 − Gm Gr 2 (aab): Vi1
34 M2.1 Gm − C7[9 /G − F7sus4 − F7 − (aab’)
37 ⊥ B[ <(B[ − C7[9 /E − F7 ) − B[
40 M2.1’ C7 /G − B[64 − F − C7 − C7[9 trans, (b): Vi1
46 M2.1’ F7[9 − F7 /E[ (b): Vc
49 M2.2 B[/D − G7 − Cm − B[7 − (aaba): Vi1
53 ⊥ E[ − B[ − Cm/E[ − B[64 − F7 − (b), cad
56 M2.2 B[/D − G7 − Cm − B[7 − stretto imit, (aab): Va1-Vi1
59 ⊥ E[ − C7[9 /E − B[64 − F7 − climax, cad
64 M1’ <(B[ − F7 )− final stat, imit (aa’): Vc-Vi2
..
68 . B[ − D7 /F ] − Gm − B[7 /D− Seq(3×1m;R3 )
70 ⊥ E[ − F7 /A − B[ − E[ − B[64 − F7 /A− cad, 16ths
72 M1’ <(B[ − F7 )− imit (aa’): Vi2-Va1, climax
76 B[ − D7 /F ] − Gm − B[7 /D− trans, Vi1+Vi2
78 E[ − E[m − F7 /A − B[ − . . . − Vi1, triplets
81 Cm7 /E[ − C7[9 /G − B[64 − F7 −
85 M1’ B[ − E[/G − B[64 − F7 − closing stat, (aa’): Vi1
88 M1’ B[ − B[7 /A[ − E[/G − E[m/G[− imit (aa’): Vi1-Va1
90 ⊥ B[64 − F7 − <(B[ − F7[9 )−
d
93 B[ − D7 /A − Cm/G − D7 /F ]− : || PB (&)

Table 4.32: Mozart, String Quintet in G Minor KV 516, Mvt. 1 Allegro (cont’d)
m M R H Comment
d
95 G7 /F − Cm/E[ − G[9
7 /B − trans
97 M1’ Cm A[ − E[7 − A[ − C7[9 /E− Dev, Vc, Seq(3×2m;R3 )
99 M1’ F m − C7[9 − F m − A[7 /C− Vc
101 M1’ D[ − . . . − D[7 − B[[97 −
107 M2.1 E[m [9
E[m − . . . − B[7 − E[[9 7 − C7 − Vi1, Seq(3×4m;R7 )
111 M2.1 Fm F m − . . . − G∅7 /B[ − C7 − D7[9 /F ]− Vc
115 M2.1 Gm Gm − . . . − D7[9 − G[97 − Va1, Seq(5×1m;R5 )
119 ⊥ C7[9 − F7[9 − B[[9
7 − E[[9 = A −
7 7
123 M2.1’ D7[9 − imit: Va1-Vi2-Vi1, clim
..
124 . Gm − E[ − Cm7 − A◦ /C − A[9
7 /C]−
..
125 . <(D − C]◦7 )/D− retrans, Σ(cm>), P D (d)
..
127 . (D − B◦7 − Cm − F7 )/D−
130 ⊥ (B[ − F7[9 = D7[9 − Gm − D7 )/D (ped)
133 M1 Gm Gm − F ]◦ /A − F m/A[ − C/G − E[/G− Rec, Gr 1 (a): Vi1, [S̄ 6 ]
..
135 . D7[9 /F ] − Gm − D7[9 − A[9
7 /C] − D7 /C− (b)
.. d
137 . Gm/B[ − D7[9 /A − D7 − a’=I(a)
139 ⊥ E[ − Cm/E[ − D7[9 (b’)
141 M1 Gm − F ]◦ /A − F m/A[ − C/G − E[/G− (a): Va1, Seq(3×4m;R5 )
..
143 . D7[9 /F ] − Gm − D◦ /F − Cm/E[ (b): Va1, 2nd dev
144 ⊥ D∅7 − G7 − (b): Vi2
145 M1 Cm − A[/C − G/B − G◦ /B[ − D7 /A− (a): Vc
147 ⊥ G[9
7 − C7 − G∅7 − C7
[9 imit (b): Vc-Va2
149 M1 F m − F7 /A − B[ − B[7 /D− stretto imit (a/b): tutti
..
151 . E[ − A[ − D[− Seq(3×1m;R5 )
154 ⊥ G[9
7 − Cm − Gm/B[−
156 M1’ A[9
7 − D7
[9 trans, (a): Vi1+Vi2
158 Gm − A[9 [9
7 /G − D7 /F ]− Seq(5×R5 ), PBi (&)
159 G7 /F − C7 /E − F7[9 /E[ − B[/D−
[9 [9
161 A[/C − Gm64 − D7 N 6 , climax, cad

162 Gm − B[7 /D − E[ − B[7 16ths
164 M1’ E[ − A[9 6
7 /C] − Gm4 − D7 − Gm imit (a): Vc-Vi1, cad

Table 4.33: Mozart, String Quintet in G Minor KV 516, Mvt. 1 Allegro (cont’d)
m M R H Comment
168 M2.1 Gm − D7[9 − Gm Gr 2 (aab): Vi1
172 M2.1 Cm Cm − G[9 7 − Cm (aab’)
176 M2.1’ Cm/E[ − A∅7 /E[ − A[5 6
7 /E[ − Gm4 − D− trans
179 M2.1’ [9 [9
A7 − . . . − D7 − D7 /C− imit (b): Vi1-Vc
d
185 M2.2 Gm Gm/B[ − G/B − A[/C− (aab): Vi1, PBi (%)
..
188 . G[9
7 − D − Cm/E[ − A7 /E
[9 (ab)
191 ⊥ D7 /F ] − Gm − A∅7 /C − Gm64 − D7 /C− cad
d
193 M2.2 Gm/B[ − G/B − A[/C − F7[9 /C− imit, (aab): Va1-Vi1
.. d
195 . B[m/D[ − B[7[9 /D − PBi (%)
197 ⊥ Cm/E[ − C7[9 /E − Gm64 − D7 − climax, cad
201 M1 <(Gm − D7 )− imit (aa’): Vc-Vi2
d
205 Gm − D7 − E[ − G7 /B− trans, Seq(3×1m;R3 )
207 Cm − D7 /F ]−
208 Gm − A∅7 /C − Gm64 − D7 − cad
210 M1’ <(Gm − D7 )− imit (aa’): Vi2-Va1, clim
d
213 Gm − D7 − E[ − G7 /B− trans, Seq(3×1m;R3 )
215 C − Cm − D7 /F ]−
216 Gm − . . . − Vi1, triplets
218 A∅7 /C − A[9 6
7 /E − Gm4 − D7 − PBi (%), cad
222 M1’ Gm − Cm/E[ − −Gm64 − D7 − (aa’): Vi1, climax
225 M1’ Gm − G7 /F − C/E − A[5 7 /E[− imit (aa’): Vi1-Va1
..
227 . Gm64 − D7 − <(Gm − F ]◦7 )−
230 ⊥ Gm − G7 − F − Cm/E[ − G7 /B− : || cad
[5/[9
232 Cm − C7 /B[ − F/A − D7 /A[ trans, PBi (&)
234 Cm/G − D7 /F ]−
235 M1 Gm Gm − D7 /A − F/A − C/G − Cm/G− Coda, stretto imit
..
237 . D7 /F ] − E7[9 /F − A[9
7 /E − A[5
7 /E[− climax, PBi (&)
..
238 . D7 − E7[9 /D − A[9 [5
7 /C] − A7 /G−
..
239 . D7 /F ] − E7[9 /F − Em7 − Cm/E[−
d
240 ⊥ D7 − E[ − A[/C − Gm64 − D7 − N 6 , cad
243 M2.1 Gm − A[5
7 /E[ (aa): Vi1
245 ⊥ Gm/D − E7 /G] − A◦ − D7 /F ]− (b)
[5/[9
246 M2.1 Gm − A7 /E[ − Gm/D − E7 − A◦ − D7 (aa): Vi1, P D (d)
249 M2.1 <(Gm − D7[9 ) − Gm − D − Gm cad (254 m.)

Table 4.34: Mozart, String Quintet in G Minor KV 516, Mvt. 2 Minuetto
m M R H Comment
Minuetto - Allegretto
1 M1 Gm D/F ] − || : Gm − D − Gm/B[− A1 (a): Vi1
.. [5/[9
3 . A7 /E[ − D − D7[9 /C−
..
5 . Dm Gm/B[ − A[9
7 /G − Dm/F − A7 /C] − Dm (b)
.. d
9 . E∅7 /G − Dm64 − A7 − B[ − Dm/F −
11 ⊥ E∅7 /G − E7[9 /G] − Dm64 − A7 − Dm : || cad
14 M2 Cm || : G[9
7 /F − Cm/E[ − G7 /D − B[m/D[ − F B Vi1, PB (&)
..
16 . G[9
7 − A∅7 − G7 /B − Cm − G/D − Cm/E[− Σ(cm>)
..
18 . E[ B[7 /F − E[/G − B[7 /A[ − E[/G−
[5/[9
22 ⊥ G[9
7 /F − C/E − A7 /E[ − D7 PBi (&)
26 M1 Gm Gm − D − Gm/B[− A2 (a): Vi1
.. [5/[9
28 . A7 /E[ − D − D7[9 /C−
..
30 . Cm Gm/B[ − G[9 [9
7 /B − Cm/E[ − A7 /G− (b)
.. d d
34 . D7 − E[ − A∅7 /C − Gm64 − D7 − climax
..
37 . E[ − Gm/B[ − A∅7 /C − A[9
7 /C]−
.. d
39 . Gm Gm64 − D7 − E[ − Gm/B[−
41 ⊥ A[/C − A[9 6
7 /C] − Gm4 − D7 − Gm : || N 6 , cad(43 m.)
Trio
1 M3 G || : G − Am7 /C − A7 /C] − G/D − B7[9 /D]− A1 (a): Vi1, PBi (%)
..
3 . Em − Em/G − D/F ] − D−
..
5 . C/E − D7 /F ] − G − A7 /C]−
.. d
7 . D D − A7 − Bm − Em7 /G− (b)
11 ⊥ Em7 /G − D46 − A7 −
13 M3’ (D − G − A − D − G − A7 )/D− (a): Va1+Va2, P D (d)
16 ⊥ (<(D − G) − Em7 − A7 − D)/D : || (ped)
20 M3” Am || : Bm − E7 − Am − F − Bm7 − E− B (a): Vi1
..
22 . C Am/C − Dm/F − G7 /F − C/E Vc
..
24 . Dm7 − G7 /D − C imit: Vi1-Vc
..
26 . D7 /C − G/B − Em7 − E7 − Am − D7 /A− (imit)
..
28 . B7 /A − Em/G − A7 /C] − D/F ]−
30 ⊥ G G/B − A7 − D − G

Table 4.35: Mozart, String Quintet in G Minor KV 516, Mvt. 2 Minuetto (cont’d)
m M R H Comment
32 M3 G Am7 /C − A7 /C] − G/D − B7[9 /D]− A2 (a): Vi1, PBi (%)
.. d
34 . Em − D7 /F ] −
.. d
37 . Em7 /G − D7 − Em− (b)
40 ⊥ Am7 /C − G64 − D7 −
41 M3’ (G − Em − D − G − C − D7 )/G− (a): Va1+Va2, P T (g)
44 ⊥ (G − C − G − Em − Am7 − D7 − G)/G : || (ped), cad (47 m.)
melody M4 has a sentence structure on the small scale but a binary structure M4(aabaab’)
(1 + 1 + 2 + 1 + 1 + 2 m.) on the next larger scale; here also the a-motif is developed.
The A section is repeated almost unchanged, whereas both the B and C section undergo
significant changes in the repeats B2 and C2 . The former may be considered as a develop-
ment section, full of imitation (for both themes M2 and M3). The D section occurs only once,
as a kind of contrasting middle section in the subdominant key C major.

The key relationship diagram of the string quintet KV 516 is shown in Fig. 4.10. The opening
sonata form adheres to the classical model: Exposition main theme in the tonic minor key
Gm, secondary theme group in the relative major key B[ (1). The Development starts in
Cm (2) and moves towards more remote keys, and the Recapitulation alternates with the
subdominant minor key Cm (5). Apart from the secondary group key, all others are minor
keys.
Mvt. 2 Minuetto – Allegretto

t
Mvt. 1 Allegro Am Em Bm F ]m
t 2, 5 ? 6
Fm Cm - Gm Dm C - GT -D H 5 A
4 YH
H
H ?1 2,4 - 1
H
H
j
H t
A[ E[ B[ F Cm GmM - Dm Am
t ?
*
A[m E[m B[m 3 Fm E[ 3 B[ F C
Mvt. 3 Adagio Mvt. 4 Adagio – Allegro

3 3
A[ - E[ B[ C -G -D
2 ?
H
6 HjH 6 1,4 6
? 6
?2
A[m E[m 1 B[m Cm Gm Dm
Figure 4.10: Mozart, String Quintet in G Minor KV 516, key relationship diagram
The menuet is in tonic minor Gm, the trio in the parallel major key G. The menuet reaches

Table 4.36: Mozart, String Quintet in G Minor KV 516, Mvt. 3 Adagio ma non troppo
m M R H Comment
1 M1 E[ E[ − B[7 /D − E[/G − F m/A[ − E[64 − B[ A1 , (a): tutti
..
3 . B[7 − B[7 /D − F m7 /E[ − B[7 /D−
..
5 . <(A∅7 − B[) − D7 /C − G/B − D7 /F ] − G (b): imit Vi1-Vc
..
7 . (F m − D◦7 )/A[ − E[/G − F/C − B[7 /D − E[
..
8 . A◦7 − B[7 − E[ − F m/A[− climax, cad
.. d
9 . E[64 − B[7 − Cm − B[7 /D − E[7 /G−
..
11 . F m/A[ − D◦ − E[/G − F m7 /C − D◦7 − E[ (b’): imit tutti
..
12 . D∅7 − E[ − A◦ /C − B[7 − E[ − F m/A[ climax, imit
13 ⊥ E[64 − B[7 − E[ cad
14 B[ − A◦7 − F7 − trans
16 F7 /A − E[/G − C]◦7 − D − D7 − Gm − E◦
18 M2 B[m F − (B[m − F )/B[ (a):Vi1, P T (b[)
..
19 . (B[m − F m − G[ − B[m7 − C∅7 )/B[ (a): Vi1, 16ths (ped)
..
20 . (<(A◦7 − B[m) − (A◦7 − G[ − F7 − B[m))/B[ (a’): Vi1, climax (ped)
.. d
23 . C∅7 /E[ − B[m/F − F7 − G[ − C[/E[− (b): Vi1, imit
25 ⊥ D[7 − G[ − F7 − E◦7 − B[m64 − C◦ − F7 − climax, cad
27 M3 B[ B[ − D7 − Gm/B[ − G7 /B− B1 , Vi1 16th app, stacc
..
28 . Cm − C7 − F − F7 /E[ − B[/D − F7 /C− PB (&)
29 ⊥ B[ − F/A −→ Cm/E[ − B[64 − F7 − [S̄ 6 ] , PB (&), cad
30 M3 B[ − D7 − Gm/B[ − G7 − imit Va1-Vi2, leg arp
..
31 . Cm − C7 − F − Cm7 − Gm7 − F7 −
32 ⊥ <(B[ − A◦7 ) − B[ halfcad
33 E[ E[ − Cm/E[ − B[64 − F − B[ − E[ − B[/F − trans, tutti
35 E[/G − Cm/E[ − B[64 − F7 − B[ − F7 − cad
36 <(B[ − F7 ) − B[ − A◦7 − B[ − B[7 /D− cad
38 M1 E[ E[ − B[7 /D − E[/G − F m/A[ − E[64 − B[ A2 , (a): tutti
..
40 . B[7 − B[7 /D − F m7 /E[ − B[7 /D−
..
42 . <(A∅7 − B[) − D7 /C − G/B − D7 /F ] − G (b): imit Vi1-Vc
..
44 . (F m − D◦7 )/A[ − E[/G − F/C − B[7 /D − E[
..
45 . A◦7 − B[7 − E[ − F m/A[− climax, cad
.. d
46 . E[64 − B[7 − Cm − B[7 /D − E[7 /G−

Table 4.37: Mozart, String Quintet in G Minor KV 516, Mvt. 3 Adagio ma non troppo (cont’d)
m M R H Comment
..
48 . F m/A[ − D◦ − E[/G − F m7 /C − D◦7 − E[ (b’): imit tutti
..
49 . D∅7 − E[ − A◦ /C − −B[7 − E[ − F m/A[ climax
50 ⊥ E[64 − B[7 − E[ cad
51 B[m7 − E[/B[ − C7 /G − F m − Cm7 − trans
53 F/C − D7 /C − G/B − Cm − Cm7 − A◦ −
55 M2 E[m B[ − (E[m − F )/E[ (a):Vi1, P T (e[)
..
56 . (E[m − Bm − C[ − E[m7 − F∅7 )/E[ (a): Vi1, 16ths (ped)
..
57 . (<(D◦7 − E[m)− (a’): Vi1, climax (ped)
..
58 . (D◦7 − C[ − B[7 − E[m))/E[ (ped)
.. d
60 . F∅7 /A[ − E[m/B[ − B[7 − C[ − F [/A[− (b): Vi1, imit
.. [5/[9
62 . G[7 − C[ − B7 − F7 − ...− climax
[5/[9
65 ⊥ F7 − E[64 − B[7 − cad
66 M3 E[ E[ − G7 /D − Cm/E[ − C7 /E− B2 , Vi1 16th app, stacc
..
67 . F m − F7 − B[ − B[7 /A[ − E[/G − B[7 /F − PB (&)
68 ⊥ E[ − B[/D −→ F m/A[ − E[64 − B[7 − [S̄ 6 ] , PB (&), cad
69 M3 E[ − Cm/E[ − C7[9 − B[7 /D − C7 /E− imit Va1-Vi2, leg arp
..
70 . F m − F7 /E[ − B[ − Cm7 − D∅7
71 ⊥ <(E[ − D◦7 ) − E[ cad
72 A[ A[ − F m/A[ − E[64 − B[− trans, tutti
73 E[ − A[ − E[7 /B[−
74 E[ A[ − F m/A[ − E[64 − B[7 − E[ − B[7 − cad
75 E[ − B[7 − E[ − A◦7 climax, cad
76 (M) B[ − E[ − F m/A[ − E[64 − B[7 − Coda (M1/3)
77 A◦7 − B[ − E[ − F m/A[− imit
78 E[64 − B[7 − E[ − A◦ cad
79 E[64 − B[7 − E[/G − A◦7 −
80 E[64 − B[7 − <(E[ − B[7 /F ) − E[ closing cad (82 m.)

Table 4.38: Mozart, String Quintet in G Minor KV 516, Mvt. 4 Adagio - Allegro
m M R H Comment
h i
3
Adagio Introduction 4
1 M Gm Gm − . . . − D7 (a): Vi1
.. [5/[9
8 . F ]◦7 − Gm − D7 /A − A7 /E[ − D7 − Gm cad
..
11 . G[9
7 − Cm/G − F ]◦7 − Gm (b): Vi1 16ths
..
14 . A[9 [9
7 /G − (D − C]◦7 − D)/D − D7 /C − Gm/B[
..
20 . C7 /B[ − D7[9 /A − F m/A[ − C/G− (c), PBi (&)
.. [5/[9
24 . Cm/G − D7[9 /F ] − G[9
7 /F − C/E − A7 /E[− PBi (&)
..
29 . D − <(C]◦7 − D)/D (d), climax, P D (d)
33 ⊥ D − <(A/C] − D) − D7 − D7[9 /F ] − D7 − (38 m.)
h i
Allegro Rondo, 68
1 M1 G G − D7 − G − D − G − Am/C − G64 − D − G A (a): Vi1
..
5 . G − D7 − G − D − G − Am/C − G64 − D − G (a)
..
9 . || : D7 − . . . − G (b), climax
17 ⊥ G − D7 − G − D − G − Am/C − G64 − D − G : || (a)
21 M2 || : E7 − Am − D7 /C− B1 (a): Vi1
..
23 . G/B − Am/C − G64 − D7 − (a)
..
25 . G − Em − A7 /G − D/F ]− (a’) climax
27 ⊥ G/B − Em/G − A7 − D : ||
29 M2 || : Bm/D − D7no 3 − G/D − Am7 − D − G7 − Va1+2
33 M2 E7 − Am − D7 /C− Vi1
d
35 ⊥ G/B − Am/C − G64 − D7 −
d
37 M2 Em7 /D − A7 − −Bm7 − F ]◦7 − G/B− Vc, climax
..
39 . Am/C − G64 − D − G − Am − Bm−
41 ⊥ Am/C − G64 − D − G : || cad
43 G − A − B7 − Em
d
46 M3 Em/G − A7 − Bm − Bm7 − E7 /B− Vi1+2
49 ⊥ <(A − G]◦7 ) − A−
52 D D − C]◦7 /E − A7 − D− trans, 16ths
56 Dm Dm − C]◦7 /E − A[97 − Dm
60 Dm − F7 /C − B[ − G]◦7 /B − D46 − A7 −
66 M4 D <(D − A) − G64 − D C1 (aab): Vi1
70 ⊥ A − <(D − A) − G − D46 − A7 − (aab’)

Table 4.39: Mozart, String Quintet in G Minor KV 516, Mvt. 4 Adagio - Allegro (cont’d)
m M R H Comment
74 M4’/c D − Em7 /G − E7 /G] − D/A − A7 /G− (a): (Vi2+Va1)/Vi1
.. ..
76 ./ . D/F ] − Em7 /G − E7 /G] − D/A − A7 /G− (a)
.
78 ⊥ / .. D/F ] − Em7 /G − E7[9 /G] − D/A − A7 /G− (a’)
80 Mc D/F ] − . . . − Em/G − D46 − A7 − Vi1
..
84 . D − B◦ /D − A/C] −→ F ]◦ /A − E/G]− [S̄ 6 ] , PBi (&)
87 ⊥ Em/G − D46 − A7 − cad
88 D − B7 − Em − D46 − A7 − trans, Vi1
92 D − D7 − B7 − Em − D46 − A7 −
96 <(D − D46 − A7 ) − D − D+ −
102 G64 − D7 − . . . − climax
108 M1 G see m. 1–8 A (aa): Vi1
..
116 . see m. 9–15 (b)
..
124 . see m. 16–19 (a)
..
128 . G64 − D − G − (D7 − G7 − C)/G (a’): Vi1, P D (g)
131 ⊥ (G7 − Am7 − G7 − Dm − C)/G − G[9
7 − ...−
139 M5 C || : C − F/C − C − G7 − D (a): Vi1

..
143 . C − F/C − C − G7 − C : || (a) cad
..
147 . || : Am − E7 − Am− (b)
..
149 . G/B − D7 /F ] − Dm7 /F − G7 /F −
151 ⊥ C7 /E − C]◦7 /E − Dm/F − C46 − G7 − C : || cad
155 M2 Dm/F − G7 /F − C/E− B2 , Dev, Vi1
157 ⊥ F − Dm/F − C46 − G − C cad
159 M2 Dm − G7 /B − C46 − G− Vc, imit
161 ⊥ C − G7 /F − C/E − Dm − C46 − G7 /B− climax (imit 5pt)
163 M3’ C − Am − D7 − Gm − G − C7 /E − A7 − imit: Va2-Va1
165 ⊥ Dm − D7 /C − G/B − E7 − Am imit: Vi2
167 M3’ B7 − Em − A[9
7 − Dm Va1+Va2
d
171 M3’ Dm/F − G7 − Am Va1+Va2
d
173 M3’ Am/C − D7 − Em Vi1+Vi2, climax
175 ⊥ A7 /E − D − <(C]◦7 − D) cad
179 G G − F ]◦ − D7 − G trans, 16ths
183 Gm Gm − F ]◦ /A − D7[9 − Gm

Table 4.40: Mozart, String Quintet in G Minor KV 516, Mvt. 4 Adagio - Allegro (cont’d)
m M R H Comment
187 Gm − B[7 /F − E[ − C]◦7 /E− climax
191 G64 − D7 − cad
193 M4 G G − D7 /F ] − G − D7 /A − G C2 (aab): Vi1
197 ⊥ D − D7 − G − D7 /A − G − C − G64 − D− (aab’)
201 M4’/c G − Am/C − A7 /C] − G64 − D7 /C− (a): Vi2+Va1, V1: Mc
.. ..
203 ./ . G/B − Am7 /C − A7 /C] − G64 − D7 /C− (a)
205 ⊥/⊥ G/B − Am7 /C − A7 /C] − G64 − D7 /C− (a’)
207 Mc G/B − . . . − Am/C − G64 − D7 − Vi1
..
211 . G − E◦ /G − D/F ] −→ B◦ /D − A/C]− [S̄ 6 ] , PBi (&)
214 ⊥ Am/C − G64 − D7 − cad
215 G − E7 − Am − G64 − D7 − trans, Vi1
219 G − G7 − E7 − Am − G64 − D7 −
d
223 G − G64 − D7 − Em/G − B7 −
227 D Em − D46 − A7 − D − A7 −
231 D − <(A7 − D) − D − D+ −
236 G64 − D7 − . . . − climax
242 M1 G G − D7 − G − D − G − Am/C − G64 − D − G A (a): Vi1
..
246 . G − D7 − G − D]◦7 − Em − D7 /F ] − G− (a’)
..
248 . Am/C − G64 − D7 − G cad
..
250 . D − D7 − . . . − F ] − <(G64 − D7 ) − G (b’), climax
..
259 . D − D7 − . . . − (b’)
264 ⊥ F ] − G − Am7 /C − G64 − D7 −
267 M2 G − E7 − Am − A◦7 − G/B − C/E − D7 − Coda Vi1
271 M2 G − Am − C/E − A[5
7 Vc
..
273 . D7 − Am − G64 − D − G − D7 − A imit
..
275 . G/B − D7 − G − D7+ − G − C/E − C]◦7 − climax (imit 5pt)
278 ⊥ G64 − G]5
7 - cad
279 C − C]◦7 − G64 − . . . − D7 − Vi1
287 M6 (G − G7 − C − F ]◦ )/G− Va2, P D (g)
289 M6 G − Am/C − D7 − Vi1+Vi2
291 M6 (G − G7 − C − A∅7 − D7 )/G− Va1
293 M6 G − Am/C − D7 − Vi1+Vi2
295 ⊥ <(G − D7 ) − G climax, cad (298 m.)

the lowered submediant major key E[ = [VI (3), the trio follows a counterclockwise loop
through the dominant and subdominant area, respectively. The slow adagio binary form has
both A sections starting in the main key E[ with a secondary group in the dominant minor
key B[m (1) and the tonic minor key E[m (2). The first B section is in the dominant major
key B[, the second is in the tonic key, alternating with the subdominant major A[ (3).
The closing rondo uses frequent minor-major changes. The first is the slow introduction
in Gm, moving towards the parallel major key G in all A sections. The B sections have
a transitory character: the first in the dominant key D − Dm (2), the second in the tonic
G − Gm (4). Both C sections are in the dominant key, the Dsection is in the subdominant
key C (4). The coda remains in the major key. The key scope for this extended movement is
limited.
4.6 Clarinet Quintet in A Major KV 581 (1789)

Source: [38]. An overview of the formal analysis is shown in Fig. 4.11. The third movement
menuet has two trios, and the final movement has a theme and variations form.
h i
4
Mvt. 1 Allegro: sonata form (A, 4 , 197 m.)

h i
3
Mvt. 2 Larghetto: ABA form (D, 4 , 85 m.)
A1 B1 A2 C
h i
3
Mvt. 3 Menuetto: menuet and trio form (A − Am, 4 , 124 (32+41+51) m.)
Menuet Trio 1 Trio 2

h i
2
Mvt. 4 Allegretto con Variationi: theme and variations form (A, 2 , 141 m.)
Th. V. 1 V. 2 V. 3 V. 4 Ad. Coda
Figure 4.11: Mozart, Clarinet Quintet in A Major KV 581

Form: sonata form. The Exposition opening theme M1 is a sort of chorale setting for strings
(partly in contrary motion), answered by the clarinet. The second theme from the first group
has M2(abc) structure, with the a-phrase and ascending scale, and the b-phrase a characteris-
tic downward descending melodic sequence, that is re-used in imitiation in the strings. The
second group 1st theme has M3(aab) (2 + 2 + 3 m.) sentence structure. The transitory theme
M4(aaab) consists of a melodic sequence a-motif and 16th note runs in the b-phrase. The
last theme from this group has M5(abab) period structure. The Development is based on
the first theme phrases only. The other melodic material returns in the recapitulation, with a
prominent role for M5 in the Coda. The detailed analysis is shown in Table 4.41 and 4.42.

4.6. CLARINET QUINTET IN A MAJOR KV 581
Table 4.41: Mozart, Clarinet Quintet in A Major KV 581, Mvt. 1 Allegro
m M R H Comment
d d
1 M1.a A A − A/C] − E7 − F ]m − Bm − E7 − F ]m Exp, Gr 1/Th 1, Str
5 M1.b D − A/C] − Bm7 − E7 − A − E7 − Cl response
d d
9 M1.a A − A/C] − E7 − F ]m − Bm − E7 − F ]m 2nd stat, repeat
13 M1.b D − A/C] − Bm7 − E7 − A − E7 − Cl response
17 A − E7 −
19 M2 A − F ]m7 /A − E/G] − D/F ] − C]m/E− Gr 1/Th 2, a): Cl
22 ⊥ Bm/D − A/C] − <(G]∅7 /B − E7 /G] − A) bc)
25 B − E7 − A − D]◦7 − [S̄ 6 ]
26 M2 E − E/B − B − C]m − F ]7 /A] − Bm − G]m 2nd stat, Str, a): Vc
..
29 . A − F ]m − C]m − E − D]◦7 − C]m/E− b)
31 ⊥ B − A/C] − G]m − F ]m/A − E − F ]7 − b) Vi1
35 (M2) B − Am7 /C − B − Am7 /C − B − B7 − trans to D, a’) Cl
42 M3 E E − F ]m7 /E − B7 /F ]− Gr 2/Th 1 aa): Vi1
46 ⊥ E − F ]m7 /A − E/B − B7 − b)
49 M3’ Em E − Em − F ]∅7 /E − B7[9 /D]− 2nd st minor aa): Cl,
53 ⊥ Em − Am7 − Dm7 − G7 − C− sync, b)
58 M4 C + − D]◦7 /C − F ][9
7 /C]−
61 ⊥ E46 − . . . − B7 − climax, cad
64 M5 E E − A/E − E/G] − A − F ]m7 /A − B7 − ab) Vi1-Cl, P T (e)
d
68 E − A/E − E/G] − A − F ]m7 /A − B7 − ab’) repeat
72 C]m − B7 /D] − E − F ][9 6
7 /C] − E4 − B7 − cad
74 M1 E/G] − B − E/G] − F ]m/A−
77 ⊥ E46 − B7 − E cad
79 E − Em − G7 /F − Dev
d
82 M1.a C C − C/E − G7 − Am − Dm/F Gr 1/Th 1
d
86 ⊥ G7 − Am − Dm7 /F − C/E − Dm7 − G7 −
88 M1.b C − G 7 − C − G7 − arpeggios, imit
92 M1.b C − A7 − Dm − B7 − Em − C]7 − F ]m arp, Seq(3×2m;R7 )
100 M1.b F ]7 /E − (Bm − E7 )/D − A/C] − D]∅7 /F ]− Seq(5×2m;R5 )
110 M1.b E (E − Am − E − Am − E − D]◦7 )/E − E7 − stretto, P D (e)

Table 4.42: Mozart, Clarinet Quintet in A Major KV 581, Mvt. 1 Allegro (cont’d)
m M R H Comment
d
117 M1.a A A − A/C] − E − F ]m − Bm/D − E − A/C] Recap, Gr 1/Th 1
121 M1.b D − A − Bm7 − E7 − A − E7 −
125 M2 A − F ]m7 /A − E/G] − D/F ] − C]m/E− Gr 1/Th 2, Cl
128 ⊥ Bm/D − A/C] − G]∅7 /B − E7 − A7 − [S̄ 6 ]
131 M2 D D − D/A − A − Bm − G − A − F ]m SD
..
134 . G − Em − F ]m − D − Em − C]∅7 − D − Bm/D
136 ⊥ A/C] − G]m7 /B − F ]m/A − E/G] − B7 /F ] [S̄ 6 ]
139 M2 E − <(Dm/F − E7 )− trans to T
147 M3 A A − D/A − E7 − A − Bm/D − A64 − E7 − Gr 2/Th 1
155 M3 Am A − Am − E7 /G] − E7[9 − repeat in minor,
..
159 . Am − C7 − F − A7 /C] − Dm − E7[9 /G]− sync
..
165 . Am − B◦ /D − Am/E − E−
167 ⊥ C]7 − F ]m − B/D] − A64 − E7 −
169 M5 A A − D/A − A − A/C] − D − Bm/D − E7 − Coda, P T (a)
.. d
173 . A − D/A − A − A/C] − D − Bm/D − E7 − repeat (ped)
..
177 . F ]m − E/G] − A − Bm − A7 /C] − D − B7 /D]
..
180 . E − E7 − A/E − E7 −
182 ⊥ A − G]◦ /B − A/C] − Bm/D − E7 − A7 − [S̄ 6 ]
185 M1.b D D − B7[9 /D] − A64 − . . . − E7 − climax
d
193 M1.a A A − E − F ]m − Bm/D − A64 − E7 − A fin stat (197 m.)

4.7. SYMPHONY NO. 38 PRAGUE KV 504

Form: ternary song form, ABA form. The through-composed melody from the A section
consists of three segments: M1(abc) (9 + 10 + 10 m.). The clarinet has the lead in the first two
segments. In the c-segment there is dialogue between the first violin and clarinet, an idea
that is continued in the B section with the violin commenting the clarinet statements in 32th
legato scalar runs. The analysis is shown in Table 4.43.
4.6.3 Mvt. 3 Menuetto

Form: menuet and trio form. In this movement there are two trios. The Menuet is therefore
played three times (however, without repeats after the trios). The first theme M1 is played
in parallel thirds; the a-phrase between clarinet and violin 1, the b-phrase between viola and
cello.
Trio 1 omits the clarinet and features the lead violin; note the imitative legato downward
and upward leaps in the other string parts, and the simultaneous offbeat fp accents. The
clarinet returns in Trio 2 with an M5(aab) (1 + 1 + 2 m.) theme in small-scale sentence
structure. The (inverted) arpeggio a-motif is picked up by the leading parts in the string
(mostly violin 1, but occasionally the cello). The analysis is shown in Table 4.44.
4.6.4 Mvt. 4 Allegretto con Variationi

Form: theme and variations form. In this final movement there are four variations on the
main theme with a regular small-scale M1(cdcd) (2 + 2 + 2 + 2 m.) period structure (the
table shows a four-measure grouping, where a=c+d). Variation 3 is in minor, the others are
all based on identical harmonic progressions. The Adagio section is a contrasting section
(a bridge) with a new melody M3; this also has M3(cdcd) structure in the first statement by
violin 1. Note the jazz-style upward arpeggios sweeps over two octaves in the second half of
the adagio. The movement returns to the original tempo and melody. The analysis is shown
in Table 4.45.

The key relationship diagram of the Mozart clarinet quintet is shown in Fig. 4.12. Here
sublime musical beauty and elegance meet key simplicity. The key scope is very limited;
only the opening sonata allegro moves somewhat further away from the tonic key. Note the
repeated statements of the secondary theme in major and parallel minor (2) and (4).
The ternary form larghetto has the A sections in the tonic key D, with the bridge in the
dominant major key A. The menuet and closing theme and variations use the major-minor
key juxtaposition, without modulation.
4.7 Symphony No. 38 Prague KV 504 (1786)

Source: [37]. The remarkable aspect of this symphony is that it only has three movement; the
typical third movement (menuet and trio) is missing.3 An overview of the formal analysis is
3
Maybe this was rejected by a contemporary A&R manager or record producer in good old Austria. Instead
of Prague its nickname could have been ‘Blague’; who knows?

Table 4.43: Mozart, Clarinet Quintet in A Major KV 581, Mvt. 2 Larghetto
m M R H Comment
1 M1.a D D − G − Em − A7 − D − D7 − G/D − D− A1 , Cl
7 ⊥ A7 − D − Em/G − D/A − A−
10 M1.b A7 /G − D/F ] − Dm/F − E − E7 − A − A7 −
..
14 . D7 /C − G/B − A/C] − D − Em/G − D/A − A7 −
17 ⊥ E7[9 /G] − A − F ][9
7 /A] − Bm − Em/G − D/A − A7 −
20 M1.c D − A7 − D call and resp
.. d
24 . D/F ] − C]◦ /E − Bm/D − A/C] − A7 − Bm− [S̄ 6 ]
..
26 . Em/G − D/A − A7 −
..
27 . D/F ] − C]◦ /E − Bm/D − A/C] − F ][9
7 /A] − Bm− [S̄ 6 ]
29 ⊥ Em/G − D46 − A7 −
30 M2.a D D − F ]7 /E − Bm/D − Bm7 /A− B, call and resp
32 ⊥ A E7 /G] − E7 /D − A/C] PBi (&)
34 M2.b D − Bm − Bm7 /A − E7 /G] − A − A∆7 /G]−
36 ⊥ D∆7 /F ] − G]∅7 /F ] − C]7 /E] − F ]m − F ]m7 /E−
38 M2.a’ Bm7 /D − E7 /D − A/E − E7 − Bm7 /D − E7 −
[5/[9
43 ⊥ A/E − B7 /D] − A64 − E7 −
45 M2.b’ A − Bm7 /D − Em − Em7 /D− PBi (&)
..
47 . A7 /C] − D − D∆7 /C] − G∆7 /B − Gm/B[−
49 ⊥ A7 −
51 M1.a D D − G − Em − A7 − D − D7 − G/D − D− A2 , Cl
57 ⊥ A7 − D − Em/G − D/A − A−
60 M1.b A7 /G − D/F ] − Dm/F − E − E7 − A − A7 −
..
64 . D7 /C − G/B − A/C] − D − Em/G − D/A − A7 −
67 ⊥ E7[9 /G] − A − F ][9 6
7 /A] − Bm − Em/G − D4 − A7 −
70 M1.c D−A−7−D call and resp
.. d
74 . D/F ] − C]◦ /E − Bm/D − A/C] − A7 − Bm− [S̄ 6 ]
..
76 . Em/G − D/A − A7 −
..
77 . D/F ] − C]◦ /E − Bm/D− [S̄ 6 ]
d
78 ⊥ A/C] − Em − A7 − Bm − Em/G − D46 − A7 −
80 M1.d D D − D7 − (Bm − Gm − D − E7[9 − C]◦7 )/D − D Coda, P T (d)
83 ⊥ C]◦7 /D − D (85 m.)

Table 4.44: Mozart, Clarinet Quintet in A Major KV 581, Mvt. 3 Menuetto and Trio
m M R H Comment
Menuet
1 M1.a A || : A − <(E7 − A) − F ]m − Bm7 /D − E − E7 /D− A1
..
5 . A/C] − Bm − F ]m/A − E7 /G] − A − Bm/D−
7 ⊥ A/E − E7 − A
9 M1.b A − Bm − A − E7 /B − A B, Str par 3rds
..
13 . F ]m/A − C]m/G] − F ]m − B7 /D] − E
..
15 . F ]m/A − E/B − G][9 [9
7 /B] − C]m − C]7 /B−
..
17 . F ]m/A − C]7 /G] − F ]m − B7 /D] − E−
19 ⊥ F ]m/A − E/B − B7 −
20 M1.b E − <(A/E − E) − A − E7 − P D (e)
26 M1.a A − E7 − A − F ]m − Bm/D − E − E7 /D− A2 , 2nd stat
..
28 . A/C] − Bm − F ]m/A − E7 /G] − A − Bm7 /D−
30 ⊥ A64 − E7 − A : || cad (32 m.)
Trio 1
1 M3.a Am || : Am − B∅7 /D − E7 − Am A! , no Cl
5 M3.b C B∅7 /D − G7 − C − <(C − G7 /B) − C
11 ⊥ Dm/F − <(A7 /G − Dm/F ) − C46 − G7 − C : ||
17 M4.a’ || : C − C7 − F − A7 − D − D7 /F ] − G − B7 − B
21 M4.b’ E − <(D]/E − E) − E7 /D− P D (e)
25 M4.a Am Am − B∅7 /D − E7 − Am A2 , 2nd stat
29 M4.b B∅7 /D − E7 − <(Am − E7 /G]) − Am
..
36 . B[/D(N 6 ) − <(F7 /E[ − B[ − D) Neap
40 ⊥ Am64 − E7 − A : || (41 m.)
Menuet (play without repeats)
Trio 2
d
1 M5.a A || : A − Bm7 /D − E7 − F ]m − A/C]− A1 , Cl
6 M5.b Bm/D − <(F ][9 6
7 /E − Bm/D) − . . . − A4 − A : ||
13 M5.a’ || : <(E7 − A/E) E − <(E7 − Am/E) − E B, e-ped
21 M5.a” <(B7 − E) − E7 − . . . − e-ped
d
36 M5.a A − Bm7 /D − E7 − F ]m − A/C]− A2 , Cl
41 M5.b Bm/D − <(F ][9
7 /E − Bm/D) − A7 /E − D/F ]
49 ⊥ 6
Bm7 /D − A4 − E7 − A : || cad (51 m.)
Menuet (play without repeats)

Table 4.45: Mozart, Clarinet Quintet in A Major KV 581, Mvt. 4 Allegretto con Variationi
m M R H Comment
Allegretto
1 M1.a A A − Bm − E − A − E/G] − A − E− Theme
d
5 M1.a’ A − Bm − E − F ]m − Bm/D − E − A
9 M1.b <(E7 − A) A − E−
d
13 M1.a’ A − Bm − E − F ]m − Bm/D − E − A (16 m.)
Identical to Theme Var 1
Identical to Theme Var 2
1 M2.a Am Am − <(E7 /G] − Am) − E Var 3, minor
5 M2.a’ Am − E7 /G] − Am − E7 − Am
9 M2.b <(E − D]◦7 /E − E) P D (e)
13 M2.a’ Am − E7 /G] − Am − E7 − Am (16 m.)
1 Identical to Theme Var 4
17 A7 /C] − D − B7 /D] − E − E7 /G]− trans (20 m.)
Adagio
1 M3.a A A − E7 − A/C] − E7 /G] − A − E
5 ⊥ A − A/C] − E7 /B − E7 − A − Bm/D − E − A
9 M3.b <(E7 − A) E7 /B − A − Bm/D − A/E − E7 − A
17 F ]m − Bm/D − E − E7 /G] − A − E/G]− trans
20 B7[9 /D] − E− (21 m.)
Allegro
1 M1.a A A − Bm/D − E − A/C] − E − A − E− Coda
5 M1.a’ A − F ]m − Bm − E7 /D − A/C] − Bm/D − E7 − A
9 M1.b F ]m/A − <(Bm7 /A − A) P T (a)
13 M1.b’ F ][9
7 /A] − B − E7 /G] − F − B[/D − E7 − A
17 M1.b F ]m/A − <(Bm7 /A − A) P T (a)
21 M1.b” F ]/A] − B − E7 /G]−
23 ⊥ C][9
7 /E] − F ]m − A/C] − Bm7 /D − E7 − A
25 M1.a” <(E7 − A) P T (a), closing
29 ⊥ <(E7 − A) (ped)
33 <(E7 − A) E7 − A (36 m.)

Mvt. 1 Allegro
5 - 1
D A -E
4 ?
63 ?2
6
Dm Am Em Mvt. 2 Larghetto

F C G D -A
Mvt. 3 Menuetto
Mvt. 4 Allegretto
A Menuetto con variationi
Am Trio A
6 6
Am Var 3
? ?
C
Figure 4.12: Mozart, Clarinet Quintet in A Major KV 581, key relationship diagram
shown in Fig. 4.13. Note the limited length of the development section in the opening sonata
form movement, and the false recapitulation.
h i
4
Mvt. 1 Adagio – Allegro : sonata form (D, 4 , 302 m.)
Intro (36 m.) Exposition (106 m.) Dev. (49 m.) FR
Recapitulation (94 m.)

h i
6
Mvt. 2 Andante: ABA form (G, 8 , 148 m.)
A B A’
h i
2
Mvt. 3 Finale presto: sonata form (D, 4 , 351 m.)
Figure 4.13: Mozart, Symphony No. 38 Prague KV 504

Form: sonata form. This movement opens with a slow adagio Introduction section, divided
into four segments: 6 + 9 + 12 + 9 m. The opening unisono motif Mu is followed by a string
melody Mi(abc) over the middle segments (note the syncopated repeated notes in Mi.b over
the tonic minor key).
The introduction bursts into the allegro Exposition with an opening theme M1, launched
by a another series of syncopated dominant pedal point notes M1.a., and the ascending motif

M1.b. This is answered by a descending scale in parallel consonants M1.c in woodwinds.

There is tonal ambiguity, balancing between G and the real major tonic key D. The major-
minor approach from the introduction returns in the allegro (and in the final movement).
The secondary theme has M2(aab) (2 + 2 + 4 m.) sentence structure; its second statement
is in minor. The Development is based on the second and third theme (M1.c and M1.d) from
the first group and treated with counterpoint, imitation and sequential settings. Note the
sustained horn pedal point in the retransition. The detailed analysis is shown in Table 4.46
to 4.48.

Form: ABA form. In this ternary structure movement the violins dominate with a very
long, through-composed melody (M1, M2, and M3). The A section first theme, M1(abc), has
an a-phrase full of chromatic passing tones, the b-motif returns in the transitions (unisono
strings), the c-phrase has a sequential flavour with a series of suspensions in the lead part.
The second melody, M2, opens with appoggiaturas, and closes (c-phrase) with alternating
neighbouring tones. The middle section, B, develops the first melody, M1, using sequences
and imitation. Note the G minor-major change in the A’ section. The analysis is shown in
Table 4.49 and 4.50.
4.7.3 Mvt. 3 Finale presto

Form: sonata form. The third and final movement opens with an arpeggio motif on the tonic
chord (M1a), imitated by the other strings, and closing with downward suspensions over
a series of first inversion chords ([S̄ 6 ] ). This a-motif is used extensively in the transitions
(imitations) and development (sequences). The second statement of M1 is in minor. The
climaxes are falling mostly on the tutti transitions, while the thematic material is orchestrated
lightly. The series of first inversiion chords return prominently in the development. The
movement concludes with a closing statement of M1; there is no coda. The analysis is shown
in Table 4.51 and 4.52.

The key relationship diagram of the symphony No. 38 is shown in Fig. 4.14. The opening
movement covers a limited key area and is characterised by the alternating changes of major
and parallel minor keys (see D − Dm and A − Am). The minor-major modulations return in
the second movement, where both parallel and relative minor of the main key G are used.
Also note the stepwise modulations Dm−Em (2) and Am−Gm (4). In the closing movement
we see the use of the lowered submediant key B[ in the subdominant area near the end (4).
4.8 Symphony No. 39 in E[ Major KV 543 (1788)

Source: [37]. An overview of the formal analysis is shown in Fig. 4.15. Both outer movements
are in sonata form, with a fairly short development section and without coda. The fairly long,
slow second movement has binary form. The 3rd movement, menuet and trio is short, but
has many repeats. There is an unusual instrumentation aspect: in the woodwind section
there are two clarinets, but no oboe.

4.8. SYMPHONY NO. 39 KV 543
Table 4.46: Mozart, Symphony No. 38 Prague, Mvt. 1 Adagio - Allegro
m M R H Comment
Adagio Introduction
1 Mu D <(D − A) unis motif
4 F ]/A] − Bm − D/F ] − G−
d
6 Mi.a B/D] − Em − A7 − intro a): Vi1
..
8 . B7[9 /F ] − <(Em/G − D]◦7 /A) − Em/G−
..
11 . D/A − A − A]◦7 − Bm − D7 /C − G/B−
14 ⊥ D]◦7 /A − G]◦7 − D/A − A7 − contrast dyn
16 Mi.b Dm Dm − . . . − B[ − . . . − F7 − . . . − D7 /F ]− Str sync, P (d−a)
24 ⊥ Gm − . . . − G]◦7 − . . . − P (d−a)
28 A[9
7 − ...− climax P D (a)
32 (Mi.b) <(A − Dm) cad (36 m.)
Allegro
37 M1a G || : D/F ] − G − Am − D7 /F ]− Exp, Gr 1, Vi1: d-sync
41 M1b G − D/F ] − Em − A7 − Vi1 asc, str
43 M1c D D − A7 − WW+Brs, par scale
45 M1a D − D7 /F ] − <(G − D7 /A)− 2nd stat, Vi1
49 M1b G − D/F ] − Em7 − A7 − cad
51 M1a’ D − Em7 − C]◦7 /E − D/F ] − A/C]− Vi2+Va par 3rds
55 M1d <(D − Bm − Em − A/C]− tutti climax
..
. D − Em7 − A7 )−
d
59 ⊥ D − Bm/D − Em7 D − A/C] −
60 M1d Bm − Em7 − Am7 − D− Seq(4× 12 m;R−7 )
..
61 . G∆7 − C]◦7 − F ]m7 − Bm7 imit
..
62 . Em7 − A7 − <(D − A7 )− tutti climax, cad
..
66 . <(D − A) − <(Bm − F ]m)−
68 ⊥ <(G − D) − A halfcad, P D (a)
71 M1a A+ /C] − <(D − A+ /C])− Vi1: a-sync
75 M1b’ D − A/C] − Bm − E7 − Str+WW imit
..
77 . A − D∆7 − Bm/D
..
79 . C]∅7 − A/C] − F ]m7 − D/F ]−
..
81 . E − A − D∆7 − G]∅7 − C]m7 − F ]m7 − trans, Seq(4×2m;R−7 )
.. d
87 . Gm Bm7 − E7 − Dm/F − D7 /F ]− climax
..
91 . Gm − G]◦7 − D7 /F ]− trans to D, PBi (%)
93 ⊥ Gm/B[ − G]◦7 /B − A/C] − C]7 −

Table 4.47: Mozart, Symphony No. 38 Prague, Mvt. 1 (cont’d)
m M R H Comment
95 5 F ]m − Bm/D − A/E − E7 − closing cad
97 M2 A A − E7 /G] − A − C]m/E − A − B7 − E− Gr 2, aab): Vi1
105 M2 Am Am − E7 − minor aab): Vi1
109 ⊥ Am − C/E − Am/C − Bm7 − E7 −
112 M2 A A − E7 − A − Bm − E7 3rd stat, aa): Bsn
116 ⊥ A7 − D∆7 − E7 /G] − Bm/D − A/E − E7 − cad
121 M1d A − Bm7 − E − F ]m7 − Bm7 − E7 − A Str+WW imit
123 M1d D∆7 − G]◦7 − C]m7 − F ]m7 − Bm − E7 − tutti clim
..
125 . A − E − F ]m − C]m−
127 ⊥ D − A − D − A64 − E− cad
129 A − A7 − <(D/A − A7 )− closing stat, P D (a)
133 D/A − A7 − F ]7 − Bm − E7 − A − F ]m−
135 Bm/D − E − <(A − E) − A : || closing cad
143 M1c A A/C] − E7 − A − F ]7 /A] − Bm Dev, Gr 1, Str imit
147 ⊥ C]m − D − E − A7 −
d
151 M1c D D − A7 − D/F ] − Em − C]◦7 − F ]7 − Str+WW imit
156 M1c/b G − Em − A]◦7 − Bm − G − Em − A− ctp, Seq(3×2m;R−3 )
160 ⊥ D − Bm − G]∅7
162 M1d/c F ]m − C]7 − F ]7 − Bm − F ]7 − B7 − Seq(3×4m;R−7 ),
.. ..
166 ./ . Em − B7 − E − A − E7 − A7 − WW+Str ctp
170 ⊥/⊥ D − A7 − D − D7 −
172 M1d G −→ Bm7 /A − E/G]− Seq(3×2m;R7 ),
..
174 . Am −→ C]∅7 /B − F ]/A]− imit Vi2-Vi1
d
176 M1d Bm −→ Em7 /D − A/C] − Str+WW imit
..
178 . Bm7 − Em7 − A7 − D− stretto, climax
179 ⊥ C∆7 − C]◦ − F ]m7 − Bm7 − Em7 − A7 −
181 <(D − A7 )− retrans
184 <(D − A) − <(Bm − F ]m) − <(G − D)− cad
187 A7 − P D (a)
189 M1a Dm A/C] − Dm − A7 /C] retrans, Vi 1, a-sync
192 M1c/b Dm − A7 /C] − Dm − B[ − E7[5 /B[− False rec, Hns ped
195 ⊥ (A − A[9
7 − Dm − A7 − Dm − G]◦7 )/A− Str+WW ctp, P D (a)
199 (M1c) (A − G]◦7 − A − F ]◦7 )/A scalar motif (ped)
..
201 . (G − C]◦7 − Dm − D]◦7 )/A minor (ped)
..
203 . (E − C]◦7 − D − G]◦7 )/A− major (ped)

Table 4.48: Mozart, Symphony No. 38 Prague, Mvt. 1 (cont’d)
m M R H Comment
205 ⊥ A − . . . − A7 − cad, return to T
208 M1a D D − D+ /F ] − <(G − D7]5 /F ])− Recap, Gr 1, Vi1
212 M1b D − D/F ] − Em7 − A− Vi1 asc, Str
214 M1c D − A7 − WW par scale
216 M1a D − D/F ] − G − D/F ]− 2nd Dev, d-sync
..
219 . Gm − D7 /F ] − Gm − E[m/G[− Vi1, SD
221 ⊥ F − <(B[/F − F )− mediant
224 M1b B[ − F/A − Gm7 − C]◦7 /E Vi1
226 ⊥ Dm/F − B[∆7 − E7[5 − A− Str+WW imit
229 M1b G∆7 − C]∅7 − F ]m7 − Bm7 − Em− Seq(3×2m;R−7 ),
.. d
235 . A7 − Gm/B[ − G7 /B − C− ctp, climax
..
239 . C]◦7 − Gm/D − E[7 − A7 /E−
241 ⊥ D/F ] − Em/G − F ]m/A − A]◦7 − PBi (%)
242 Bm − Em/G − Bm7 /A − A7 cad
244 M2 D D − . . . − A7 /C] − . . . − D − A7 − D− Gr 2, aab): Vi1
250 ⊥ D/F ] − G]◦7 − D46 − A−
d
252 M2 Dm Dm − A7 − B[ − G]◦7 − Am − E◦7 − minor aab): Vi1
257 ⊥ F/A − C]◦7 /G − Dm/F − E∅7 /G − A7 −
259 M2 D D − <(A7 − D)− 3rd stat, aa): Bsn
..
264 . A − D − G − A7 /C]− Str imit
d
268 ⊥ D − Em/G − D/A − A7 −
d
270 M1d Bm/D − A/C] − G/B − A7 − tutti climax
272 ⊥ Bm/D − C]◦7 − A◦ /C − G/B − Gm/B[ − A[9 7 − PBi (&) , cad
274 M1d D − G − C]∅7 − F ]m − Bm7 − Em − A7 − D stretto imit
276 ⊥ G∆7 − C]∅7 − F ]m − Bm7 − Em − A7 −
278 <(D − A7 ) − <(Bm − F ]◦ ) − <(G − D)− tutti, cad
281 G − D46 − A − D closing clim, cad
284 D7 − <(G − D7 )/D − (G − Gm − D − G]◦7 )/D− P T (d)
287 C]◦7 /D − Bm − Em/G − A − D (ped)
290 D − F ]/C − G − D7 /F ] − G − D]◦7 /A− (ped)
292 E − C]◦7 /G − D/F ] − Bm − Em7 /G − A7 −
296 <(D − A7 )− closing cad
299 D (302 m.)

Table 4.49: Mozart, Symphony No. 38 Prague, Mvt. 2 Andante
m M R H Comment
1 M1 G || : (G − C − G − Am7 − D7 − G)/G A a): Vi1, P T (g)
..
5 . (G − C − G − D7 )/G− a’): WW+Vi1
..
8 . G−D−G b): Str unis
..
10 . <(G − D7 )/D − D7 − b) 2pt imit: Vi1-Vc, P D (d)
..
14 . G/B − Em7 − Am − D7 − G − Am − D− c): Vi1 susp
..
16 . G − Em7 /G − Am/C−
17 ⊥ D7 /F ] − G − Am/C − G64 − D7 − G cad
19 M2 Em Em − D]◦7 − Em− a): Vi1, forte
..
21 . Dm C]◦7 − D − Em/G − D46 − A − Dm
..
23 . B[ − F7 − B[ − E7[5 /B[− b): Fl+Vi1, forte
..
26 . <(A − Dm)/A − <(A7 − G]◦7 )/A− c): Vi+Ob, P D (a)
30 ⊥ A[9
7 − . . . − A7 − . . . − A7 /C]− cresc, climax
34 M3 D (D − A7 − D − G − A7 − D)/D − G − A Vi1, P T (d)
39 M3 G <(D − G − A[9 7 )/D − D− 2nd st: Ob+Vi1
..
42 . G − B7 − Em − A7 −
44 ⊥ D − Em/G − D46 − A7 − cad
d
45 M3’ <(D − A7 ) − WW-Str
d [5/[9
51 G]◦7 − D46 − A7 − Bm − E7 /B[− Str unis, Σ(cm>)
54 D46 − A7 − D − A7 /C]−
56 <(D − A7 /C]) −1) D : ||2) D − F ]/A]− P D (a), closing
59 Bm − F ]7 − Bm − D7 /F ]− B, Seq(3×2m;R3 )
61 G − D7 − G − B7[9 − Em − G7 −
64 M1 C (C − F − Dm7 − G7 − C − Dm7 )/C a): Ob+Vi1, P T (c)
..
68 . (C − F − C − Dm7 − G7 )/C− a’): WW+Vi1
71 ⊥ C − G − Cm = E[ − A[9
7 − b): Str unisono
74 M1 Dm (Dm − G − Dm − E∅7 − A[97 )/D− a): Ob+Vi1, P T (d)
77 ⊥ Dm − A − Dm = F − B7 − b): Str unisono
80 M1 Em Em − Am − Dm/A − B7 /A− a’): Fl+Vi1
..
83 . Em/G − B7 − E7 /D − A/C] − A7 /G− b): imit, Seq(5×1m;R5 ),
..
85 . Dm/F − D7 /C − Gm/B[ − G7 /F − climax
..
87 . Cm/E[ − C − . . . − b’): imit
89 ⊥ D7[9 retrans

Table 4.50: Mozart, Symphony No. 38 Prague, Mvt. 2 Andante (cont’d)
m M R H Comment
94 M1 G (G − C − G − A∅7 − D7 )/G− A’, a): WW+Vi1, P T (g)
..
97 . G−D b): imit, d-ped
..
99 . G − Em7 − Am − D7 − G − Am − D− c): Vi1 susp
..
101 . G − Am7 /G−
102 ⊥ D7 /F ] − G − Am/C − G64 − D7 − cad
103 (M1) G − B◦7 − G]◦7 − E7 − b): Str unis
106 M2 Am Am − G]◦7 /A − Am a): Fl+Vi1, forte
..
108 . Gm F ]◦7 − G − Am/C − G64 − D7 − Gm
.. [5/[9
110 . E[ − A[ − E[ − A7 /E[− b): Fl+Vi1 forte
..
113 . <(D − Gm)/D − <(D7 − C]◦7 )/D− c): Vi+WW, P D (d)
117 ⊥ D7[9 − . . . − D7 /F ] − . . . −
122 M3 G (G − <(D7 − G))/G − C − D− WW+Vi, P T (g)
126 M3 (G − <(D7 − G))/G − C − E7 −
130 ⊥ Am − D7 − G − Am/C − G64 − D7 − cad
d
132 M3’ G − D7 − Em − Am − D− WW-Str
..
134 . G− D7[9
− A∅7 − D−
136 ⊥ <(G − Am − D)−
d [5/[9
138 C]◦7 − G/D − D]◦7 − Em − A7 /E[− Str unis, Σ(cm>)
141 G/D − D7 − <(G − D7 /F ])− P D (d)
144 (M1) <(G − D7 ) − G b): imit, closing (148 m.)

Table 4.51: Mozart, Symphony No. 38 Prague, Mvt. 3 Finale presto
m M R H Comment
1 M1 D || : D − G/B − F ]m/A − Em/G − B7 − Exp, Gr 1 a): Str im [S̄ 6 ]
..
5 . <(Em − B7 ) − Em b): Vi1
..
9 . Em − F ]m/A − Em/G − D/F ] − A7 − a): Str imit [S̄ 6 ]
13 ⊥ <(D − A7 ) − D b’): Vi1
18 <(D − G − D − A7 )/D − D− trans, tutti clim, P T (d)
28 <(A − D)/A − A P D (a)
32 M1 Dm Dm − Gm/B[ − F/A − E◦ − G − Gm7 a): WW imit [S̄ 6 ]
..
36 . <(C7 /E − Gm7 /F ) − C7 /E b): Fl
..
40 . C7 − F − Gm/B[ − F/A − C7 − a): WW imit
44 ⊥ <(F − C7 ) − F b’): Fl
48 F − Am/E − Dm − D]◦7 − trans, tutti clim, PB (&)
56 <(E7 − Am − D]◦7 )/E− P D (e)
60 <(E7 − Am) − E − . . . − E7 − cad
67 M2 A <(A − D − A − E7 − A) Gr 2, aa’): Vi par 6ths
75 ⊥ <(A − E7 ) − A (b): WW
80 D − Bm − Bm/D − D] − E7 − cad, Σ(cm>)
83 M2 <(A − D − A − E7 − A) 2nd st aa’): Fl+Vi 6ths
92 ⊥ <(A − E7 ) − A b): WW
d
96 D − E7 − F ]m − Bm/D − E7 − cad
99 M1 A − D/F ] − C]m/E − Bm/D − A/C] Gr 1, a’): WW imit [S̄ 6 ]
.. d
103 . E7 − D/F ] − E7 /G]− Σ(cm>)
106 ⊥ A − Bm/D − A64 − E− cad
108 M1 A − Dm/F − A/E − Dm/F − A/C]− a’): Str imit
111 Dm <(Dm − A7 ) − D/F ] − Dm/F − trans, tutti climax
d
119 E7 − F ]m − Bm/D − E7 − cad
121 M1’/c A <(A − E7 ) − A a’): WW, Mc: Vi1 tripl
131 M1’/c <(A − D − A/E − E7 )− a’): WW imit, Mc: Vi
139 A − . . . − : || tutti clos clim, P D (a)
153 A A − ...− Dev, tutti clim, P D (a)
157 M1’ A − D/F ] − C]m/E − Bm/D − A/C] WW, Seq(2×8m;R−5 )
161 E7 /B − . . . − LoStr, tutti forte
165 M1’ E7 − A − Bm/D− WW imit [S̄ 6 ]
169 F ]7 /C]− LoStr, tutti forte
173 M1’ F ] − Bm − C]◦ /E − Bm/D − A]◦ /C] WW imit [S̄ 6 ]
177 M1’ Bm Bm − B∅7 /A − E7 /G] − E7 − Str im, Seq(2×4m;R−7 ),
181 ⊥ Am Am − A∅7 /G − D7 /F ] − D7 − trans

Table 4.52: Mozart, Symphony No. 38 Prague, Mvt. 3 Finale presto (cont’d)
m M R H Comment
185 M1 G G − C/E − Bm/D − Am/C − G/B Seq(5×4m;R−5 ),
..
189 . D − D7 /C − G/B − F −→ Dm/F − WW+Str imit [S̄ 6 ] , forte
..
193 . Am E − Am − Dm/F −→ Am/C [S̄ 6 ]
..
197 . E − E7 /D − Am/C −→ Em/G− [S̄ 6 ]
201 ⊥ Bm F ] − Bm − Em/G −→ Bm/D− [S̄ 6 ]
d
205 C/E − F ]7 − G cad
208 (M1) Bm/D − Em − F ] retrans, a’): WW imit
..
211 . G − C∆7 /E − F ]◦ − B7 /D]− Seq(3×2m;R−7 )
215 ⊥ Em − A7 /C]−
217 M1 D D − G/B − F ]m/A − Em/G − B7 − Rec, Gr 1, a): Str im [S̄ 6 ]
..
221 . <(Em − B7 ) − Em b): Vi1
225 ⊥ Em − Am − Bm/D − D − G64 − D7 − a): Str imit
229 Gm Gm/B[ − . . . − LoStr, tutti forte
233 M1 Gm − Cm/E[ −→ Gm/B[ 2nd st, a): WW imit [S̄ 6 ]
237 F7 − . . . − LoStr, tutti forte
241 M1 B[ F7 − b[ − Cm/E[ − B[/D − A◦ /C− a): WW imit
245 Dm B[ − Dm/A − Gm7 − G]◦7 − trans, tutti forte, P T (d)
253 <(A7 − Dm − G]◦7 )− P D (a)
257 <(A7 − Dm) − A − . . . − A7 −
264 M2 D <(D − G/B − D − A7 − D) Gr 2, aa’): Str par 6ths
272 ⊥ <(D − A7 ) − D− b): WW in par 6ths
277 G − Em − Em/G − G]◦7 − A − A7 − halfcad
280 M2 <(D − G/B − D − A7 − D) 2nd stat: WW+Str
288 ⊥ <(D − A7 ) − D− b): WW
293 G − A7no 3 − Bm − Em/G − A− cad
296 M1 D − G/B −→ D/F ]− Gr 1, a): WW imit [S̄ 6 ]
.. d
300 . A7 − A]◦7 − G/B − C]◦7 − Σ(cm>)
302 ⊥ D − Em − D46 − A− cad
304 M1 D− a): Str imit
306 ⊥ Gm/B[ − D/A − Gm/B[ − D/F ]− cad
308 Gm <(Gm − D7 )/D− trans, tutti forte, P D (d)
d
314 G/B − Gm/B[ − A7 − Bm − Em − A−
318 M1’/c D <(D − A7 ) − D a’): Hns, Mc: Vi1 tripl
328 M1’/c <(D − G − D46 − A7 )− a’): WW+Brs imit
336 D − ...− cl clim, arp (351 m.)

Mvt. 2 Andante
Mvt. 1 Adagio – Allegro Dm Am Em Bm

@
I A@ 3 6 A 1
I
@
1- 3 @
2 A @ ?A
G H
YH
D A F @ C
A G A D
64 6 6 A 6
Cm 4 AU Gm
H ? ? A
Gm Dm 2 Am Fm AU Dm
Mvt. 3 Finale presto
Am Em Bm @
I
F ]m
@
I
@
2 @ 3
? 1@
C R
@ G
D
A
5 ?6
Cm Gm Dm Am
?4
E[ B[ F C
Figure 4.14: Mozart, Symphony No. 38 Prague KV 504, key relationship overview
h ih i
4 3
Mvt. 1 Adagio - Allegro: sonata form (E[, 4 4 , 309 m.)
Intro (25) Exposition (117 m.) Dev. (41 m.)

h i
2
Mvt. 2 Andante con moto: ABAB Coda form (A[, 4 , 161 m.)
A1 (27) B1 (40) A2 (25) B2 (51) C (17)

h i
3
Mvt. 3 Menuetto Allegro: menuet and trio form (E[, 4 , 68 m.)
Menuet Trio
h i
2
Mvt. 4 Finale Allegro: sonata form (E[, 4 , 264 m.)
Figure 4.15: Mozart, Symphony No. 39 in E[ Major KV 543


Form: sonata form. The detailed analysis is shown in Table 4.53 to 4.55.
The slow introduction to the first movement of this symphony, an Adagio, opens as a
tutti ‘Fanfare’ establishing the tonic key E[ major. It is a forte climax with dotted rhythms Mf
and wide leaps in woodwinds and horns. There is also a call-and-response setting: the dot-
ted rhythm pattern is answered by a descending scalar run Ms in the violins. This element
will return in the Allegro sonata section. Over an extended dominant pedal point (m. 10-14)
these runs are imitated between the violin groups and mixed with an ascending arpeggio in
the flute; this yields contrary motion. From m. 14 on, there are inverted (ascending) forms of
the scalar runs, I(Ms), and these are transferred to the low strings (cello and contrabass). A
tutti dotted rhythm climax and cadence concludes the introduction.
The Allegro sonata Exposition first group contains two themes. Main theme M1.1 has a
modified sentence structure M1.1(aa’bb’) (4 + 4 + 2 + 4 m.). The a-phrase ascending arpeggio
motif is imitated by horns and bassoons in the first statement, and by clarinets and flute in
the second statement. This 2nd statement is played by low strings. The first group 2nd theme
is a tutti climax (m. 54 ff.) with M1.2(abbcc) (4+2+2+4+4 m.) structure; it contains unisono
playing (a), a chromatically descending bass over dominant pedal point in the upper parts
(b) and wide leaps (c). The transition (m. 71 ff.) brings back in the violins the descending
scales from the slow introduction (now in 16th note rhythm). Then there is the transitory
motif Mt, a one-measure turnaround in staccato 8ths and 16ths for unisono strings, that will
return as a major element in the development. The piece has modulated to the dominant
major key B[, which is confirmed by the three phrases of M2.1(ababcc) (2 + 2 + 2 + 2 + 2 + 2
m.) at the end of the transition (m. 98 ff.). The main 2nd group melody is M2.2 in 2-part
S(2p) setting for upper strings (violins and violas) in parallel consonants. The structure is
M2.2(ab) (5+4 m.). This theme is handled as a combination of the a- and b-phrase in parallel;
see m. 115 ff., where violins play the b-phrase while clarinets and bassoons play the a-phrase
in a counterpoint setting.
The Development (m. 143 ff.) uses Mt in a short transition, before presenting M2.2 in a
new key A[ major. The turnaround motif Mt fills the second half of the development as an
imitation between low strings (celli and contrabass) and 1st violins. Sequential treatment in
tutti settings, a general pause and a brief retransition for woodwind (m. 181) lead back to the
Recapitulation. All group themes are presented in the tonic major key, and the closing is a
copy of the exposition. The opening movement is without coda.
4.8.2 Mvt. 2 Andante con moto

Form: binary form, ABAB Coda form. The global structure of this slow movement is binary.
On a local scale each section has ternary form, with the A section structure as A::(A1 A2 A1 )
(two equal subsections) and B::(B1 B2 B3 ) (three different subsections). The analysis is shown
in Table 4.56 to 4.58.
In the A::A1 section, which is played by strings only, the main melody has regular period
structure M1(abab’) (2 + 2 + 2 + 2 m.). In the bridge A::A2 a ‘compressed’ version of the
main theme undergoes a short development. The melody phrases are now M1’(ababab’)
(1 + 1 + 1 + 1 + 1 + 6 m.). The final statement of M1 in A::A3 contains a brief sidestep to the
tonic minor key (this element returns in the finale).
The B section melody M2 has sentence structure M2(aab) (2 + 2 + 4 m.) The B::B2 sub-

Table 4.53: Mozart, Symphony No. 39, Mvt. 1 Adagio - Allegro
m M R H Comment
h i
4
Adagio 4 ([[[) Introduction
1 Mf/s E[ E[ − B[7 /F − Mf: tutti ‘Fanfare’, Ms: Vi
5 ⊥ E◦7 /G − F m/A[ − F7 /A− Vi: 32th runs&, syncop
9 Ms (B[ − C7 − F m)/B[− Fl arp, Vi1 runs, P D (b[)
..
11 . (B[7 − E[ − A[∆7 − B[7 )/B[− Vi2-Vi1 imit
13 ⊥ (E[ − F7 )/B[−
14 I(Ms) B[ − B[7 /F − E[ − C7[9 /G− Vc+DB 32th runs%
18 ⊥ F m − D[∆7 − E[7 /B[−
20 A[7 − E[/B[ − A◦7 /C− tutti
22 F7[9 /A − F7[5 /A − E[64 − B[− PLi (&), cad
h i
3
Allegro 4 Exposition
26 M1.1 || : E[ − . . . − Gr1, a): Vi1, Hns echo
..
30 . B[7 − . . . − E[ a’), Bsn echo
..
34 . <(F m/A[ − B[/A[ − E[/G)− bb’)
38 ⊥ B[7 /D − E[ − B[ half-cad
40 M1.1 E[ − E[/G − D◦ /F − B[7 /D− 2nd st, a): Vc+DB, Cl echo
..
44 . B[7 /D − F m − (D[ − D◦ )/A[ − E[/G− a’), Fl echo, Vi1 PLi (%)
..
48 . <(F m − B[7 /D − E[)− bb’)
52 ⊥ B◦7 /A[ − F m/A[ − B[7 −
54 M1.2 E[ − B[ − B[7no 3 /A[ − E[/B[− a) tutti unis clim
..
58 . <(B[ − B[∆7 /A − B[7 /A[ − E[/G)− bb): Str unis, WW P D (b[)
.. d
62 . E[/G − F m7 /A[ − B[7 − Cm c): Vi
..
66 . E[7 /D[ − A[/C − A◦7 − E[64 − c)
70 ⊥ E[64 − B[7 − cad
71 (Ms) E[ − B◦7 /F − Cm/E[ − F7 /E[− trans, Ms: Vi (see m. 2)
79 ⊥ B[/D − C7 /G−
83 <(F − C7 )/F − F − B[/D− P D (f ), unis%
89 Mt B[ F − F7 /E[ − B[/D − F7 /C− Mt: Str unis, PB (&)
97 M2.1 <(B[ − F7 − B[)/B[− Gr 2, abab) Vi, P T (b[),
106 ⊥ B◦7 − G[9
7 − Cm − A◦7 − F7 − B[ WW, c) Seq(2×2m;R−7 )
110 M2.2 B[ − F/A − B[− a): Vi+Va S(2p)
..
113 . Cm/E[ − B[64 − F − B[ cad
..
115 . E◦7 /G − F7 /A− a/b): (Cl+Bsn)/Vi
117 ⊥ B[ − Cm/E[ − B[64 − F − B[ cad

Table 4.54: Mozart, Symphony No. 39, Mvt. 1 Adagio - Allegro (cont’d)
m M R H Comment
119 B[ − E[ − F7 /A − B[/D− closing, tutti
123 Cm/E[ → A◦ /C − B[/D − E[− [S̄ 6 ] %
125 B◦7 /D − Cm/E[ − E◦7 − F7 − Vi lead, PBi (%)
128 B[64 − F7 − cad, P D (f )
130 B◦7 /D − Cm/E[ − E◦7 − F7 − Vi lead (repeat)
133 B[64 − F7 − cad, P D (f )
135 <(B[ − E[ − A◦ )− unisono arp&
139 Mt B[ − . . . − A◦ − : || runs%, unis clim
Development
143 Mt Gm/B[ − E[7 /D[− trans, Vi1-Str
147 M2.2 A[ A[ − E[ − A[− a): Vi+Va
..
150 . B[m7 /D[ − A[64 − E[ − A[
..
152 . D◦7 /F − B[7 /F − E[/G− a/b): (Cl+Bsn)/Vi
..
154 . A[ − B[m/D[ − A[/E[ − E[− Seq(3×2m;R7 )
..
156 . A◦7 /E[ − B[m/D[−
..
157 . Cm/E[ − B[m/F − F −
..
158 . B◦7 /F − Cm/E[−
159 ⊥ D∅7 /F − Cm64 − G− cad
160 Mt Cm Cm − A[/C − B[ − Gm/B[− Mt imit DB-Vi, Seq(3×2m;R−7 )
..
164 . A∅7 − F/A − F m/A[ − D7 /A−
168 ⊥ <(G7 − Cm)− tutti arp& (see m. 119)
172 D[/F − E◦ /G − F m/A[ − F ]◦ /A− WW, Seq(3×2m;R7 )
179 G − Cm64 − G− G.P.
181 C7[9 /E − F7[9 /E[ − B[[9
7 /D− retrans, WW
Recapitulation
184 M1.1 E[ || : E[ − . . . − Gr1, a): Vi1, Hns echo
..
188 . B[7 − . . . − E[ a’) Bsn echo
..
192 . <(F m/A[ − B[/A[ − E[/G)− bb’)
196 ⊥ B[7 /D − E[ − B[ half-cad
198 M1.1 E[ − E[/G − D◦ /F − B[7 /D− 2nd st, a): Vc+DB, Cl echo
..
202 . B[7 /D − F m− a’), Fl echo, Vi1 PLi (%)
..
205 . (D[ − D◦ )/A[ − E[/G−
..
206 . <(F m − B[7 /D − E[−) bb’)
210 ⊥ B◦7 /A[ − F m/A[ − B[7 −

Table 4.55: Mozart, Symphony No. 39, Mvt. 1 Adagio - Allegro (cont’d)
m M R H Comment
212 M1.2 E[ − B[ − B[7no 3 /A[ − E[/B[− a) tutti unis clim
..
216 . <(B[ − B[∆7 /A − B[7 /A[ − E[/G)− bb): Str unis, WW P D (b[)
..
220 . E[/G − F m7 /A[ − B[7 − E[7 /D[− c): Vi
224 ⊥ A[ A[/C − D[[97 /F − A◦ /C − E[− c)
228 (Ms) A[ − E◦7 /G − F m − B[7 /D− trans, Ms: Vi (see m. 71)
236 ⊥ E[ − A◦ /C−
240 B[ <(B[ − F7 )/B[ − B[− P T (b[), unis%
246 Mt B[ − B[7 /A[ − E[/G − B[7 /F − Mt: Str unis, PB (&)
254 M2.1 E[ <(E[ − B[ − E[)/E[ Gr 2, abab): Vi, P T (e[),
263 ⊥ E◦ − C7[9 − F m − B[97 − E[ WW, c) Seq(2×2m;R−7 )
267 M2.2 E[ − B[/D − E[− a): Vi+Va S(2p)
..
270 . F m/A[ − E[64 − B[ − E[ cad
..
272 . A◦7 /C − B[7 /D − E[ b): Fl+Vi
275 ⊥ F m/A[ − E[64 − B[− cad
276 E[ − A[ − B[7 /D − E[/G− clos, tutti (see m. 118)
280 F m/A[ − E[/G − A[− [S̄ 6 ] %
282 E◦7 /G − F m/A[ − A◦7 − Vi lead, PBi (%)
285 E[64 − B[7 − cad, P D (b[)
287 E◦7 /G − F m/A[ − A◦7 − Vi lead, repeat
290 E[64 − B[7 − B[ cad, P D (b[)
293 A[ − D◦ − E[ unisono arp&
295 F m/A[ − F/A − B[− PLi (%)
295 G/B − Cm − A[/C−
297 B[/D − Cm/E[ − D◦ /F − [S̄ 6 ] %
298 E[/G − F m/A[ − B[7 /A[−
299 (Ms) E[/G − F m7 − B[7 /A[ − E[/G− Ms: Vi (see m. 72)
302 F m − B[7 − tutti cad
303 E[− Str+WW runs%, S(2p)-unis
306 Mt E[ tutti clim (309 m.)

section once again uses the compressed version M1’, here as imitation between woodwinds
(clarinets and bassoon) and low strings (violas, celli and contrabass). This subsection closes
with a tutti climax, with a countermelody Mc in the violins against M1’ (a-phrase only).
B::B3 has an ‘epilogue’ character. A new motif M3 is used in imitation in the woodwinds.
Note the three 8th notes upbeat, that will return in the outer A2 ::{A1 , A3 } subsections (m. 72
and 87).
The second A section is a variation on the first, now with woodwind and horn additions,
and played without repeat. The first countersubject is played by violins, while woodwinds
play the main theme. These roles are reversed in the A::A2 subsection, with staccato de-
scending 16th note scalar runs in the woodwinds.
The second B section (m. 93 ff.) starts with a brief transition in the new major key B =
C[ = [III, i.e., the lowered mediant degree. This is followed by a statement of the theme
M2 in Bm = C[m (its parallel minor key). These three subsections are a transposed version
of the first B section. The transition (m. 140-143) leads to a coda that is similar to the original
A::A1 subsection.
4.8.3 Mvt. 3 Menuetto Allegro - Trio

Form: menuet and trio form.. Both the menuet and trio have ternary structure. The analysis
is shown in Table 4.59.
The menuet A section melody has sentence structure M(aa’b) (4 + 4 + 4 m.), played by
clarinets (quarter note rhythm) and in embellished form (staccato 8th note arpeggios) by
violins. The a-phrase is a tutti climax, the b-phrase is for strings only and concluded with
a tutti cadence. The B section continues with the strings in 8th notes, with an arpeggio
countersubject for bassoon. The second A section closes with an extended b-phrase with
woodwind doublings.
The trio melody has period structure M3(abab) (2+2+2+2 m.), and is played by clarinet.
The bridge section melody M4 has a lead part for first violins, with strings only background.
4.8.4 Mvt. 4 Finale Allegro

Form: sonata form. The analysis is shown in Table 4.60 to 4.62.
This sonata movement is unique in the sense that it is more or less monothematic. There
is a lively 16th note rhythm main theme M for violins only, starting this closing movement
Exposition (there is no introduction) in the tonic major key E[. It has M(ab) (4 + 4 m.)
structure and is dominated by stepwise motion. There is a a tutti repeat M1(ab’) of the theme;
therefore this main melody may also be interpreted as a 16-measure period M(abab’). The
transition and modulation to the dominant major key (D: B[) uses the 16th note character
from the main theme. The woodwind play afterbeat repeated 8th notes; this element will
return as an upbeat pattern in the varied M’ a-phrase in group 2 (m. 42 ff.). This upbeat
pattern already was noted in Mvt. 2, m. 53. The varied main theme M’(abab’) (2 + 4 + 2 + 4
m.), once again with a violin-only instrumentation, now receives a countersubject played by
unison woodwinds.
The main theme opening motif will be used in imitation settings frequently; this usage is
labeled as Mi . This happens for the first time in group 2 of the exposition (m. 54 ff.), when
there is also the remarkable sidestep to the lowered mediant degree major key F ] = G[ =
[III. Note the brief play with the major-minor contrast F ] − F ]m, an element also used in

Table 4.56: Mozart, Symphony No. 39, Mvt. 2 Andante con moto
m M R H Comment
1 M1 A[ || : A[ − D[ − A[ A::A1 , a): Vi
..
3 . E[− b): Vi1
..
5 . A[ − D[ − A[ a): Vi
7 ⊥ B[7 − E[ : || b’): Vi1
9 M1’ E[ E[ − F m7 − E[ A::A2 , ab): Vi, P D (e[)
..
11 . F m7 − E[/G − F m7 − ab)
..
13 . || : E[/G − A[ − E[/G − E[7 − ab’): Vi1 (P D (e[))
..
15 . A[ − B[7 − <(E[ − B[7 )−
18 ⊥ E[7 − (Vi)-(Va+Vc+DB) unis&
20 M1 A[ A[ − D[ − A[ A::A3 , a): Vi
..
22 . E[ − A[m/E[ − E[− b): Vi1
..
24 . A[m A[m − D[m − A[m − B[7 /F − a’): Vi
26 ⊥ A[ E[7 − A[ : || b’): Vi1
28 C7 − B::B1 , trans, WW+Hn
30 M2 Fm F m − E◦7 − F m − D◦7 /F aa’): Vi, LoStr P T (f )
.. [5/[9
34 . E[m/G[ − F7 no 1 /C[− b)
36 ⊥ <(B[ − A◦7 )−
38 B[ B[ B::B2 Vi+Hns P T (b[)
39 M1’ B[ − Cm7 − B[− ab): WW-LoStr imit
..
41 . Cm7 − B[7 − Cm7 − ab)
43 ⊥ B[/D − E[ − B[ ab)
46 M1’/c C7 /E − F m − B[7 /D − E[− tutti clim, Seq(4×1m;R−7 )
..
48 . A[∆7 /C − D◦ − G7 /B − Cm− M1a): LoStr, Mc: Vi
50 ⊥ F m/A[ − A◦7 − B[7 − Vi1, trans
54 M3 E[ <(E[ − B[7 )/E[− B::B3 , ‘Epilogue’, WW imit
58 E[ − F m/A[ − E[64 − B[7 − Str cad
60 M3 <(E[ − B[7 )/E[ − E[ 2nd stat, Hns+LoStr P T (e[)
..
65 . F7 /E[ − B[m− Seq(2×1m;R−7 ), P D (e[)
66 ⊥ E[ − A[64 − E[7 − cad

Table 4.57: Mozart, Symphony No. 39, Mvt. 2 Andante con moto (cont’d)
m M R H Comment
68 M1 A[ A[ − D[ − A[ A::A1 , a): Vi
..
70 . E[− b): Vi1
..
72 ./c A[ − D[ − A[ a): WW, Mc=M3’: Vi
74 ⊥ B[7 − E[ b’): Vi1
76 M1’ E[ E[ − F m7 − E[ A::A2 , ab): Vi, P D (e[)
..
78 . F m7 − E[/G − F m7 − ab), WW 16th runs&
..
80 . E[/G − A[ − E[/G − E[7 − ab’): Vi1 (P D (e[))
..
82 . A[ − B[7 − <(E[ − B[7 )−
85 ⊥ E[7 − (Vi)-(Va+Vc+DB) unis&
87 M1/c A[ A[ − D[ − A[ A::A3 , a): WW, Mc: Vi
..
89 . E[7 − G◦ /B[ − A[ − E[7 − b): Vi1
91 ⊥ A[m A[m − D[m − A[m− a’): Vi, WW PLi (%)
93 B B/F ] − F ]7 /E− B::B1 trans
94 B/D] − C]m7 /E−
95 B46 − F ]− cad
96 M2 Bm (Bm − A]◦7 − Bm − G]◦7 )/B aa’): Vi1, Str sync, DB P T (b)
..
100 . F/C − D[ − G◦7 /D[ − A[m/C[− b) clim, PBi (%), PLi (%)
.. [5/[9
104 . F [ − F◦ − F [ − B[7 no 3 /F [−
106 ⊥ <(E[ − D◦7 )− Hns+LoStr P T (e[)
108 E[ E[− B::B2 , Vi+Hns P T (e[)
109 M1’/c E[ − A[ − E[ ab): WW-LoStr im,
..
111 . F m7 − E[/G − F m7 /E[ − B[7 − Mc: Vi2+Va
..
113 . E[/G − A[−
114 ⊥ E[ − A[/C − E[7 /D[ − A[/C−
116 M1’/c F7 /A − B[m − E[7 − A[− tutti clim, Seq(4×1m;R−7 )
..
118 . D[7 /F − G◦ − C7 /E − F m M1a: LoStr, Mc: Vi
..
120 . B[m/D[ − E[7 − D◦7 /F −
124 ⊥ A[m64 − E[− Vi1 trans
126 M3 A[ <(A[ − E[7 )/A[− B::B3 , WW imit. P T (a[)
130 A[ − B[m/D[ − A[64 − E[7 − Str cad
132 M3 <(A[ − E[7 )/A[− WW imit, Hns+LoStr P T (a[)
..
137 . F7 − B[m − E[7 − A[− Vi 16th runs
139 ⊥ B[7 − WW runs&
140 (M1) E[ <(E[ − B[7 ) − E[ trans WW imit+16ths

Table 4.58: Mozart, Symphony No. 39, Mvt. 2 Andante con moto (cont’d)
m M R H Comment
144 M1 A[ A[ − D[ − A[ Coda, a): Vi
..
146 . E[ − A[/E[ − E[7 − b): Vi1
..
148 ./c A[ − D[ − A[ a): WW, Mc: Vi
d
150 ⊥ A[ − E[/G − b’)
151 M1’/c F − D◦7 /C[ − E[7 /G− a’): LoStr
..
153 . B[m/D[ − E[−
..
154 . F m7 − B[7 − E[[9 [9
7 /G − C7 /G− a’) Σ(cm>)
156 ⊥ 6
B[m/D[ − A[4 − E[7 −
158 (M1) <(A[ − E[7 ) − A[ cad, WW (161 m.)
Mvt. 2. The exposition closing has the main theme first as woodwind imitation phrase Mi ,
then as string unisono variation M’. A two-part, S(2p), woodwind turnaround pattern acts
as countersubject.
The short Development plays with the main theme a-phrase in imitation (from first vi-
olins to low strings) and receives sequential treatment. There is once again the major-minor
juxtaposition. The Recapitulation is identical to the exposition, except for some details in
the transitions. There is no coda in this closing movement.

The key relationship diagram of symphony No. 39 in E[ major is shown in Fig. 4.16. The
opening sonata form movement has a regular key scheme, with the tonic-dominant move
in the exposition (1). The development starts in the subdominant major key (3), then passes
by the relative minor key Cm before returning to the tonic major key in the recapitulation.
This section has the familiar key pattern of subdominant-dominant-tonic A[ − B[ − E[ major
(3-4). The overal key envelope of this movement is limited.
Movement 2, the slow Andante con moto, in the tonic major key A[, demonstrates two
returning features of this symphony: the brief alternation between major and minor and the
move towards the enharmonically related key [III = B = C[, i.e., the major key on the
lowered mediant degree. The major-minor element A[ − A[m occurs in both A sections (2)
and an equivalent move is present in the second B section, here as the B − Bm pair (5). The
first B section starts in the relative minor key F m (3). Both B sections move back to the tonic
key through the dominant major key E[ (4,6).
The menuet and trio (Mvt. 3) key scheme is simple. Both remain in the tonic major key
E[, except for a brief excursion to the dominant major key B[ at the end of the first menuet
subsection.
The closing sonata form finale has the widest key envelope of this symphony. Note the
four occurrences of the major-minor move (1, 4, 5, and towards 7). Equivalent to the second
movement, there is the quite unexpected sidestep to the lowered mediant degree major key

Table 4.59: Mozart, Symphony No. 39, Mvt. 3 Menuetto Allegro
m M R H Comment
Menuet
1 M1 E[ || : E[ − E[/G − A[− A, a): Cl+Bsn+Vi, P T (e[)
..
5 . B[ − B[7 /D − E[ a’)
..
9 . <(B[7 /D − E[/G) − F m − F∅7 /E[− b): Vi
..
12 . B[7 /D − E[ − B[/D − E[−
14 ⊥ B[ B[64 − F7 − B[ : || tutti, cad
17 M1’/c <(B[ − B[7 /A[ − E[/G)− B, Mc: Bsn, P D (b[)
21 ⊥ F m/A[ − B[7 − Vi
25 M1 E[ || : E[ − E[/G − A[− A’, a): Cl+Bsn+Vi, P T (e[)
..
29 . B[ − B[7 /D − E[ a’)
..
33 . <(B[7 /D − E[/G) − F m − F∅7 /E[− b): Vi
..
36 . B[7 /D − E[ − F m/A[ − B[7 −
..
39 . E[ − B[7 /A|[ − E[/G− tutti clim, P D (b[)
42 ⊥ F m/A[ − E[64 − B[7 − E[ : || cad
Trio
45 M2 E[ || : E[ − B[7 − . . . − C, aba): Cl
51 ⊥ E[ − B[7 − E[ : ||
53 M4 || : E[ − B◦7 /D − G[9 7 /D − Cm − C∅7 /B[− D, Vi, PB (&)
..
56 . F7[9 /A − B[ − F7 −
58 ⊥ B[64 − F7 − B[ − B[7 − cad
60 M2 E[ − B[7 − . . . − C, aba): Cl
61 ⊥ E[ − B[7 − E[ : || (68 m.)

Table 4.60: Mozart, Symphony No. 39, Mvt. 4 Finale Allegro
m M R H Comment
h i
2
Finale - Allegro 4([[[) Exposition
1 M E[ || : E[ − B[7 /A[− Gr 1, a): Vi1, Vi2 bg
..
3 . E[/G − B[7 /D − E[−
..
5 . F m/A[ − B[7 /A[ − E[/G− b)
7 ⊥ B[7 /D − E[ − B[ half-cad
9 M E[/G − B[7 /A[− a): WW+Vi, tutti
..
11 . E[/G − B[7 /D − E[−
..
13 . F m/A[ − B[7 /A[− b)
15 ⊥ E[/G − B[7 − cad
16 E[ − F m7 /E[ − B[7 /D− tr, Vi 16th arp, WW 8th
22 E[ − F m/A[ − E[64 − B[7 − cad
24 E[ − F m7 /E[ − B[7 /D−
30 E[ − F7 /E[ − B[/D − E◦ /G− mod to D
38 <(F − E◦ )/F − F cad, P D (f )
42 M’/c1 B[ B[/D − F7 /E[− Gr 2, a): Vi1, Mc: WW
..
44 . B[/D − F7no 3 /C − B[ b): Vi1 (upbeat)
..
46 . Cm/E[ − E◦ − F − F7 −
..
48 . B[/D − F7 /E[− a) (Mc:WW)
50 ⊥ B[m B[m/D[ − F (m)7no 3 /C − B[m b’) maj-min
52 Ms B/D] − Bm/D − C]7 − mod, Ms: Vi1 sync arp, P D (c])
56 ⊥/Mi F] (F ] − C]7 − F ]m)/C]− Mi : WW imit, maj-min
62 A◦7 /C − C[7 − E[m/B[ − F7 /A− tutti clim, PBi (&) , Σ(cm<)
66 B[ B[ − Gm − Cm/E[ − F − cad
68 B[ − . . . − E[/G− WW+Str sync, P T (b[)
[5/[9
71 B[7 /A[ − E[/G − G[7 = C7 −
74 B[64 − . . . Vi 16th runs&
79 Mi F7 − G7 − Cm − F7 − closing, WW imit
83 ⊥ B[ − Gm − Cm/E[ − F7 − cad
85 M’ (B[ − F − B[ − A◦ )/B[− Str unis, P T (b[)
89 ⊥/t (B[ − E[ − A − B[)/B[− WW turnaround S(2p)
92 M’ (B[ − F − B[ − A◦ )/B[− repeat
95 ⊥/t (B[ − E[ − A − B[)/B[−
97 Mt’ (B[ − E[ − A − B[)/B[− WW, P T (b[)
99 B[ − Gm − Cm/E[ − F − tutti clim, cad
101 <(B[ − F7 ) − B[ : ||

Table 4.61: Mozart, Symphony No. 39, Mvt. 4 Finale Allegro (cont’d)
m M R H Comment
Development
d
105 M’ || : G7 − Str unis, G.P.
108 M A[ A[/C − E[7 /D[− a): Vi1
..
110 . A[/C − E[7 /G−
112 ⊥ A[ − G]m − B7 − mod cad
115 Mi E(m) E − B7 − Em − B7 − Em Vi-LoStr imit, Seq(2×6m;R3 ),
120 ⊥ C(m) G7 − C − G7 − Cm − G7 − WW 8th, maj-min
125 M’ E[ Cm/E[ − F m/A[ − B[7 − E[ Str unis, Seq(4×2m;R−7 ),
..
129 . A[/C − D◦ − B◦7 − Cm/E[− WW unis arp% bg
[5/[9
133 ⊥ D7 /A[ − G cad
139 M’ Gm Gm − C]◦7 /G − D/F ] − . . . − retrans, Vi imit, PBi (&)
..
145 . C]◦7 − Dm/F − . . . − WW bg
149 ⊥ B◦7 /F − B[7 − cad
Recapitulation
153 M E[ || : E[ − B[7 /A[− Gr 1, a): Vi1, Vi2 bg
..
155 . E[/G − B[7 /D − E[−
..
157 . F m/A[ − B[7 /A[ − E[/G− b)
159 ⊥ B[7 /D − E[ − B[ half-cad
161 M E[/G − B[7 /A[− a): WW+Vi, tutti
..
163 . E[/G − B[7 /D − E[−
..
165 . F m/A[ − B[7 /A[− b)
167 ⊥ E[/G − B[7 − cad
168 E[ − F m7 /E[ − B[7 /D− tr, Vi 16th arp, WW 8th
174 E[ − F m/A[ − E[64 − B[7 − cad
176 E[ − F m7 /E[ − B[7 /D−
182 E[7 /D[ − A[/C − A◦ /C−
188 <(B[ − A◦ )/B[ − B[ cad, P D (b[)
192 M’/c1 E[/G − B[7 /A[− Gr 2, a): Vi1, Mc: WW
..
194 . E[/G − B[7no 3 /F − E[ b): Vi1 (upbeat)
..
196 . F m/A[ − A◦ − B[ − B[7 −
..
198 . E[/G − B[7 /A[− a) (Mc:WW)
200 ⊥ E[m E[m/G[ − B[(m)7no 3 /F − E[m b’) maj-min
202 Ms E/G] − Em/G − F ]7 − mod, Ms: Vi1 sync arp, P D (f ])
206 ⊥/Mi B (B − F ]7 − Bm)/F ]− Mi : WW imit, maj-min

Mvt. 2 Andante con moto
F m XXXCm Gm
3 X XXX
6 1,6 z
A[ - E[ B[
?62 4
Mvt. 1 Adagio - Allegro A[m E[m B[m

Fm 2 Cm
*

Gm B 5 G[ D[

3 ? - 1, 4
?
A[ E[ B[ Bm G[m D[m
Mvt. 4 Finale Allegro

t
Gm Dm Am
Em

B[ F C G
5
?
B[m Fm Cm 6 Gm
*

?

1
D[ A[ E[ - B[
3 ? ?
D[m A[m E[m B[m

Mvt. 3 Menuetto E B F] C]
4 7 2
E[ - B[ tEm
?
Bm F ]m C]m
Figure 4.16: Mozart, Symphony No. 39, key relationship diagram

Table 4.62: Mozart, Symphony No. 39, Mvt. 4 Finale Allegro (cont’d)
m M R H Comment
212 D◦7 /F − F [7 − A[m/E[ − B[7 /D− tutti clim, PBi (&) , Σ(cm<)
216 E[ E[ − Cm − F m7 /A[ − B[− cad
218 E[ − . . . − A[/C− WW+Str sync, P T (b[)
[5/[9
221 E[7 /D[ − A[/C − C[7 = F7 −
224 E[64 − . . . Vi 16th runs&
231 Mi B[7 − C7 − F m − B[7 − closing, WW imit
235 ⊥ E[ − Cm − F m/A[ − B[7 − cad
237 M’ (E[ − B[ − E[ − D◦ )/E[− Str unis, P T (e[)
241 ⊥/t (E[ − A[ − D − E[)/E[− WW turnaround S(2p)
244 M’ (E[ − B[ − E[ − D◦ )/E[− repeat
247 ⊥/t (E[ − A[ − D − E[)/E[−
249 Mt’ (E[ − A[ − D − E[)/E[− WW, P T (e[)
251 E[ − Cm− tutti clim
252 F m/A[ − B[ − E[∆7 /G − A[− Seq(5×1m;R−7 )
254 D∅7 /F − Gm − Cm7 /E[ − F m−
256 B[7 /D − E[ − A[ − B[7 −
259 <(E[ − B[7 ) − E[ : || cad (264 m.)
[III = G[ = F ] in the exposition (2), and the corresponding lowered submediant degree
major key [V I = C[ = B in the recapitulation. The development starts in the subdominant
axis key A[ (3), then moves through a set of roots that are the result of symmetrically dividing
the octave into major thirds A[−E(m)−C(m) (4-5). Once again, there is the play with major-
minor key ambiguity. The recapitulation has the familiar move towards the subdominant
area, disguised here as the loop through [V I = B major (7) before closing in the tonic major
key.
4.9 Symphony No. 40 in G Minor KV 550 (1788)

Source: [37]. An overview of the formal analysis is shown in Fig. 4.17. The outer movements
are in sonata form, with a short (Mvt. 1) and a significantly longer development section in
the finale. The ternary form second movement has a relatively short middle B section.
4.9.1 Mvt. 1 Allegro molto

Form: sonata form. The opening movement is part of the classical music core curriculum;
listening courses will undoubtedly play this piece. The phrase structure of the main melody
is discussed in books on composition, the string section middle voices treatment in instru-
mentation classes.4
4
Remember the 20th century pop hit by Waldo and his boom-tchi-ka band? Same piece of immortal music.

h i
2
Mvt. 1 Allegro molto: sonata form (Gm, 2 , 299 m.)
Exposition (101 m.) Dev. (39 m.) FR (26 m)

h i
6
Mvt. 2 Andante: ABA form (E[, 8 , 123 m.)
A1 B A2
h i
3
Mvt. 3 Menuetto – Allegretto: menuet and trio form (Gm, 4 , 84 m.)
Menuet Trio
h i
2
Mvt. 4 Allegro assai: sonata form (Gm, 2 , 308 m.)
Figure 4.17: Mozart, Symphony No. 40 in G Minor KV 550
The main theme has M1(aab) (4+4+10 m.) sentence structure. The a-phrase may be sub-
divided into a(ccd); the appoggiature 8th notes in the c-motif are the prominent element in
this movement. This idea is used in cadences, transitions and throughout the development.
After two statements of the main theme there is a climax, that acts also as a transition
in the exposition and has multple statements in the recapitulation. The climax theme Mc
contains a melodic sequence Seq(4 × 1m;R−7 ) in staccato 4th notes in the lead voice over a
steady 8th note background. The secondary theme has M2(ab) (4 + 4 m.) structure and is
full of descending chromatic steps. The detailed analysis is shown in Table 4.63 to 4.65.
Form: ternary song form, three-part song form, ABA form. The A section main theme M1
is a series of repeated 8th notes in imitative counterpoint setting. The contrasting theme
starts with downward octave leaps and has M2(aab) (2 + 2 + 4 m.) sentence structure. The
32th notes from this melody return as afterbeat imitative woodwind appoggiatura series
in the transition. Note the ‘negative cycle’ chord progression with R−5 (m. 28 ff.). This
transition and the middle section B have the character of a short development of the earlier
thematic material. The theme M3 starts with (embellished) downward fourth leaps and has
a M3(abab’) (2 + 2 + 2 + 6) period structure.
The horns in E[ play many tonic pedal point phrases in steady 8th notes. There are
repeats of the first A section and the combined B and A2 section. The analysis is shown in

Table 4.63: Mozart, Symphony No. 40, Mvt. 1 Allegro molto
m M R H Comment
1 M1 Gm Gm − . . . − A∅7 /G − D7 /F ] − D7[9 − Gm Exp, Gr 1, aa): Vi
..
9 . Gm − <(A∅7 − D7[9 )/C − Gm7 /B[− b): Vi
..
14 . E∅7 − E[7 − Str+WW
16 ⊥ <(D − C]◦7 ) − D − A∅7 − Gm − D7 − tutti, P D (d)
22 M1’ Gm − Cm7 /E[ − F7 − 2nd stat, a’): Vi, WW
28 Mc B[ B[ − F/A − E[/G − B[/F − clim, trans, PB (&)
..
32 . Cm/E[ − B[/D−
..
34 . <(C − G∅7 ) − C7[9 tutti clim
38 ⊥ F <(F − F7 − B[m − E◦7 )/F − F P D (f )
43 M2 B[ G7 − C − F7 − B[ − Gm − E◦7 − F7 − Gr 2, a): Vi-WW
..
48 . A∅7 − D − G − C − F7 − B[− b): Vi, Str
50 ⊥ Cm − F7 − B[
52 M2 G7 − C − F7 − B[ − C7 − F7 2nd st 8va, a): WW-Str
..
56 . A∅7 − D7 − G7 − C7 − F7 − B[7 − b’): WW+Str
..
58 . <(E[7 − A[)/E[− P (e[)
62 ⊥ E[7 − E◦7 − B[64 − F7 − cad
66 M3 B[ − B[7 /A[ − E[/G − F7 /E[ − B[/D− clos, Str unis, PB (%)
70 ⊥ E[ − F7 − cad
72 M1’ <(B[ − F7sus4 − F7 )− motif , a’): WW imit
..
77 . D7[9 − Gm − B[/F − F7 − a”): Vi par, cad
..
80 . <(B[ − Cm7 /B[ − F7 /A) − B[ a’) WW imit
..
85 . D7[9 − Gm7 − Cm7 /E[ − B[/F − F7 − a”): Vi par, cad
89 ⊥ <(B[ B[/D − E[ − F7 )− climax, str unis
94 Gm − E[ − B[/F − F7 − <(B[ − F7 )−
99 <(B[ − F7 ) − B[ − F ]◦7 closing cad
101 Gm − F◦7 − F ]m − F◦7 − Dev, Gr 1
103 M1 F ]m F ]m − C] − F ]m − G]7 /F ]− a): Vi, Seq(3×4m;R7 )
..
108 . G]∅7 /F ] − C]7 /E] − C]◦7 /E a): Vi, PBi (&)
112 ⊥ F ]∅7 /E − B7 /D] − B7[9 − a): Vi
115 M1 Em Em − B7 − Em − E7 − Am − A[9 7 − a): ctp, Seq(3×4m;R−7 ),
..
119 . Dm Dm − C]◦7 − Dm − D7 − Gm − G7 rapid mod, R5 , tutti
123 ⊥ C − G7 − C − C7 − F − F7 − Seq(3×R5 )

Table 4.64: Mozart, Symphony No. 40, Mvt. 1 Allegro molto (cont’d)
m M R H Comment
127 M1 B[ − F7 − B[ − Gm7 − Cm7 − a): Vi, Seq(3×2m;R−7 )
..
131 . Am − D7 − Gm − Em − G]◦7 −
134 ⊥ <(A − Dm/A) − A cad, P (a)
140 (M1’) F7 − B[m − G7 − Cm− False rec, a’): imit WW-Vi
..
147 . F ]◦7 − D7 − D7[9 − retrans , imit Str-WW
..
153 . D7[9 − Gm − C]◦7 − D− a”): motif Str stretto, clim
157 ⊥ D7 − Gm − C]◦7 −
160 (D − Em − C)/D− Pmi (&), P (d)
D
162 (Dm7 − B[ − C]◦7 − A∅7 )/D− (ped)
164 Gm (B∅7 − C]◦7 )/D − D7 (ped)
166 M1 Gm Gm − . . . − A∅7 /G − D7 /F ] − D7[9 − Gm Recap, Gr 1, aa): Vi
..
172 . Gm − <(A∅7 − D7[9 )/C − Gm7 /B[− b): Vi
..
177 . E∅7 − E[7 − Str+WW
179 ⊥ <(D − C]◦7 ) − D − A∅7 − Gm − D7 − tutti, P D (d)
d
184 M1’ E[ Gm − B[7 − E[ − B[7 /F − 2nd stat, a’): Vi
188 ⊥ F∅7 /E[ − B[7 /D − B[7 −
191 Mc E[ − B[ − A[/C − E[/B[− Vi, tutti clim, Seq(3×R7 )
195 ⊥ F m/A[ − E◦7 − B[m7 − C7 −
198 Mc Fm F m − C7 − G∅7 /B[− 2nd stat: LoStr+Bsn,
..
201 . F m/A[ − E◦7 /G− Vi stretto imit leaps
..
203 . F m − B[7 − E[ − A[−
d
207 ⊥ Dm − G7 − A[∆7 /C − D7 −
211 Mc Gm Gm − Dm/F − Cm/E[ − Gm/D− 3rd stat: Vi
..
215 . (A∅7 − F ]◦7 )/C − Gm/B[−
..
217 . <(A − E∅7 ) − A7 −
221 ⊥ D <(D − C]◦7 )/D − D cad, P (d)

Table 4.65: Mozart, Symphony No. 40, Mvt. 1 Allegro molto (cont’d)
m M R H Comment
226 M2 Gm Gm − A − D7 − Gr 2, a): Vi-WW
..
229 . G7 /F − C/E − E[7 − D Str, PBi (&)
..
231 . F ]◦7 − Gm − A7 − D7 − G − E[− b): Vi, Str
233 ⊥ A∅7 − D7 − Gm
235 M2 Gm − A7 − D7 2nd st 8va, a): WW-Str
..
237 . Gm − G7 − C − E[7 − D7 −
..
239 . F ]◦7 − Gm − A7 − D7 − G − E[ b’): WW+Str
..
241 . <(B[7 − E[)−
..
245 . B[7 − B◦7 − cresc to climax, PBi (%)
..
247 . C◦7 − B[m/D[ − B◦7 /D − Cm/E[− Seq(3×2m;R−7 )
d
251 ⊥ C]◦7 /E − B[/D − D7 − cad,P D (d)
254 M3 Gm Gm G7 − <(Cm − D7 − Gm)− closi, Str unis, PB (%)
261 (M1’) <(D7 − Gm) a’): WW imit
265 M1’ G[9 6
7 − Cm − Gm4 − D7 − Gm a’) Vi1, tutti clim
269 (M1’) <(D7 − Gm) a’): WW imit
273 M1’ G[9 6
7 − Cm − Gm4 − D7 − Gm a’): Vi1, tutti clim
..
277 . Gm − Cm − D7 − Gm − A7 − D7 /C−
..
281 . Gm/B[ − G/B − A[/C − A7 /C]− P T (g), climax, PBi (%)
283 ⊥ Gm/D − G7 /F − C/E − E[7 − PBi (&) (ped)
285 M1’ Gm64 − D7 − Gm − G[9 [9
7 − Cm − D7 − a’) motif, Str imit
293 ⊥ <(Gm − D7 )− closing cad
297 <(Gm − D7 ) − Gm (299 m.)

Table 4.66: Mozart, Symphony No. 40, Mvt. 2 Andante
m M R H Comment
1 M1 E[ || : E[ − F m7 /A[ − F7[9 /A − B[7 − A1 , 1st stat, Str imit
..
4 . E[ − A[ − E[ Hns: P T (e[)
7 ⊥ <(B[7 /D − E[) − B[
9 M1 (E[ − F m7 − F7[9 /E)[ − B[[9
7 − E[ 2nd st: Str, Hns: P T (e[)
..
13 . A[/C − E[ − <(D◦ − E[) (ped)
16 ⊥ F m7 − B[7 − E[ − F m7 − B[7 − E[ arpeggios, cad
20 M2 B[ B[ − F7 − F7 /E[ − B[/D− aa): Str-WW imit
d
24 ⊥ G7 − Cm − F7 − B[ − C7 − F − b): Str appoggiaturas
28 (M1/2) D[ G[∆7 − A[7 − D[ − A[7sus4 − E[m− trans, R−5 , M1: Str imit
..
32 . G[ B[m − C[/E[ − D[7 /F − G[− M2b’: WW app, N 6 /V
35 ⊥ B[64 − F7 − cad
37 M3 B[ B[/D − F7 /A − B[ − E[ − F7 − ab): Str, cad
.. d
41 . B[/D − F7 /A − E[m7 − C7[9 /E − ab’): Str+WW
.. d
45 . D[/F − D[[97 /F − E[m/G[ − E◦7 /G− tutti clim, PBi (%)
47 ⊥ <(B[64 − F7 − B[) : || closing cadences
53 (M1’/2) E[m || : A[m/C[ B[7 B, tutti, var & inv arp
..
57 . A[7 /C − D[ − B[ − E[ − C7 /E − F m clim, Seq(3×2m;R7 )
63 ⊥ F ]◦7 /A − G D7 − G7 − (arp & appogg)
66 C C7 − F7 − B[7 − A7 − D7 − G7 − Str+WW
68 C − D7[9 /F ]−
69 5 C/G − G[9 [9 [9 [9
7 − C7 − F7 − B[7 − retrans, Seq(4×1m;R5 )

Table 4.67: Mozart, Symphony No. 40, Mvt. 2 Andante (cont’d)
m M R H Comment
74 M1 E[ E[ − F m7 /A[ − F7 /A − B[7 − E[ A2 , 1st stat, Str imit
78 ⊥ A[ − E[/G − <(B[7 /D − E[− B[) Hns: P T (e[)
82 M1 E[ − F m7 − F7 − B[7 − D[7 − C 2nd st: Str, (ped)
86 M2’/1’ Fm F m − E◦7 /G − F m − B[[9
7 /D− SD, ab), Seq(2×4m;R−7 )
..
90 . E[ E[ − D◦7 /F − E[ − B7[9 /D − E[7 − ab’)
94 ⊥ A[ A[/C − <(B[7 /A[ − E[/G)− Hns: P T (e[), see m. 13
d
97 F7 /C − B[ − Str: appogg, see m. 26
99 (M1/2) G[ C[∆7 /B[ − D[7 /A[ − G[ − D[ − A[m trans, R−5 , M1): Str,
103 ⊥ C[ E[m − F [/A[ − G[7 /B[ − C[− M2b’: WW app, N 6 /V
106 E[64 − B[7 − cad
108 M3 E[ E[/G − B[7 − E[ − A[ − B[− ab): Str, cad
..
112 . E[/G − A[m7 − F7[9 /A − G[/B[− ab’): Str+WW, PBi (%)
.. d
116 . G[[9
7 /B[ − A[m/C[ − A[7 /C− tutti clim
118 ⊥ <(E[64 − B[7 ) − E[ : || closing cad (123 m.)
4.9.3 Mvt. 3 Menuetto allegretto - Trio

Form: menuet and trio form. Both parts have ternary song, ABA form structure. The ternary
structure is asymmetrical in the sense that the opening statement is not repeated literally; the
A2 section is some sort of wrap-up of the main theme.
The menuet melody starts with a hemiola phrase and has M1(aab) (3 + 3 + 8 m.) sentence
structure, with the b-phrase an extended variation of the second measure of the a-phrase.
The menuet middle section B has development character. The trio melody also has M2(aab)
(2 + 2 + 2 m.) sentence structure. The second statement and the trio contrasting middle
section treat the two motifs in imitative and (limited) developmental fashion. The analysis

Form: sonata form. This final movement repeats first the exposition, and then the second
part (development, recapitulation and coda).
The Exposition main theme has a regular M1(abab) (2+2+2+2 = 8 m.) period structure.
The a-phrase is the p rising staccato 4th note arpeggio pattern for strings (lead violin), the b-
phrase has a cadential flavour (alternating tonic and dominant chords at f dynamics) in tutti
instrumentation. After two statements there is a transitory theme with downward octave
leaps Mo. The lyrical secondary theme also has M2(aba’b’) (4 + 4 + 4 + 4 = 6 m.) period
structure; now, however, the a- and b-phrase repeats are greatly varied.
The Development starts a complex rapid modulation, based on the M1 a-motif in tutti
unisono. Then there is ample imitation, 4-part counterpoint and sequential motion, all using
the same motif. The analysis is shown in Table 4.69 to 4.71.

Table 4.68: Mozart, Symphony No. 40, Mvt. 3 Menuetto Allegretto
m M R H Comment
Menuet
1 M1 Gm || : Gm − D7 − Gm/B[− A1 , a): Fl+Vi, tutti
..
4 . Gm − D7 − Gm a)
..
7 . Dm E[ − A7 /C]− b): WW+Vi
.. d
9 . Dm − A7 − B[ − C7 /E − D7 /F ]− tutti climax, Σ(cm<)
..
11 . Gm − C]◦7 − Dm − E − A7 − B[−
13 ⊥ E∅7 − A7 − Dm : || cad
15 M1’ B[ || : B[ − A◦7 − B[− B, var/dev, aa): imit
..
18 . Gm − F ]◦7 − Gm Hns: P D (d)
..
21 . Gm E[ − D◦7 − E[ − B◦7 − C − C]◦7 b:)
..
26 . D − C]◦7 − D/F ] − D7 /C− ctp, imit
..
28 . Gm/B[ − A∅7 /C− (imit)
30 ⊥ D7 /F ] − Gm − G7 /B− climax, Σ(cm<)
32 Cm − D7[5 /A[ − E[/G − D7 /F ] − Gm
35 A∅7 /C − D7 − Gm cad
37 M1’ Gm − E[7 − G − C]◦7 − A2 , clos st, a): WW, PBi (&)
40 ⊥ Gm64 − D − Gm : || a’): Fl, closing cad
Trio
43 M2 G || : G − D7 − G− A1 , aa): Str
47 ⊥ Am/C − D − G b)
d
49 M2’ G − . . . − D/F ] − A7 − Bm7− a’): WW arpeggio imit
..
55 . Em/G − A7 − b’): Str+Ob
57 ⊥ <(D − A7 ) − D : || cad
60 (M2) || : D7 − . . . − G − . . . − E7 − B, a’): CB-WW imit, var
66 ⊥ Am − G − Am/C − D− cad
69 M2’ G−D closing stat, a’a’): Str
72 ⊥ G − D − G − D7 − G b)
75 M2’ G − D − ...− A2 , a’): WW arpeggio imit
..
79 . A∅7 /C − D7 −
81 ⊥ <(D7 − G) : || b’): Str+WW, clos cad (84 m.)

Table 4.69: Mozart, Symphony No. 40, Mvt. 4 Allegro assai
m M R H Comment
1 M1 Gm || : Gm − . . . − D/F ]− Exp, Gr 1, ab): Vi
5 ⊥ F ]◦7 /C − D7 − Gm ab)
9 M1 Gm − <(A7 /G − −D/F ])− 2nd stat, ab): Vi
13 ⊥ F ]◦7 /C − D7 − Gm ab)
17 Mo <(D − E[)/D − D − . . . − P D (d)
21 M1 F ]◦7 /C − D7 − Gm ab)
25 Mo <(D − E[)/D − D − . . . − repeat (P D (d))
29 M1 F ]◦7 /C − D7 − Gm ab)
31 M1’ Gm − <(Cm/E[ − B◦7 ) − Cm/E[ trans, b’): Vi 8ths, clim
..
35 . <(D − A7 /C]) − D7 −
..
37 . <(Gm − A∅7 − D7 )− cad
..
41 . Gm − Cm/E[− Vi 8th arp
..
43 . F − F7 /E[ − B[/D−
45 ⊥ E[ − C7 /E − F − F7 − arp & scalar runs
49 M1’ B[ <(B[ − F7 ) − B[ − <(Gm − D7 )− b’): LoStr, Seq(3×2m;R3 )
..
52 . Gm − <(Cm/E[ − B◦7 ) − F7[9 /A−
..
57 . B[ − F ]◦7 /A − Gm − B[7 /F − sc imit Str, Seq(3×2m;R3 )
..
61 . E[ − B◦7 /D− Vi 8ths sc+arp
..
63 . Cm − B◦7 /D − Cm/E[ − C7 /E− PB (%)
65 ⊥ <(F − E◦7 ) − F cad, P D (f )
71 M2 B[ B[ − F/A − E[/G − B[/F − Gr 2, a): Vi1, PB (&)
..
75 . Cm − B[64 − F − b)
..
79 . B[ − F ]◦7 /A − Gm − B[/F − a’): Vi var chrom
83 ⊥ Cm/E[ − B[64 − F7 − B[ b’), cad
87 M2’ B[ − F/A − E[/G − F ]◦7 − Gm− 2nd stat, a): WW var, PB (&)
91 ⊥ Cm − B[64 − F7 − b), cad
95 B[ − B[m − F/A − F◦7 /A[− trans, chrom, PBi (&)
97 Gm − E◦7 /G − E[m/G[ − B◦7 /F −
99 Cm/E[ − B[64 − F7 − B[ cad
102 M1’ <(B[/D − F7 /E[)− b’) Vi, tutti clim, P D (f )
107 ⊥ B[/D − Cm/E[ − B[64 − F − cad
109 M1’ B[ − <(B[/D − F7 /E[)− repeat 8ba, b’) Vi, P D (f )
..
115 . B[/D − Cm/E[ − B[64 − F7 − tutti, PB (%)
117 ⊥ <(B[ − F7 ) − B[ : || closing cad

Table 4.70: Mozart, Symphony No. 40, Mvt. 4 Allegro assai (cont’d)
m M R H Comment
125 (M1) B[ || : B[ − C7[9 − Dev, a’) tutti unis
127 ⊥ G[9 [9 [9
7 − D7 − A7 − E7 −
[9 modul, R−5 cycle
135 M1’ Dm [9
(A7 − Dm − G]◦7 )/A− a’): Vi-WW imit, P D (a)
139 ⊥ A[9 [9 [9 [9
7 − D 7 − G7 − C7 − a’): Vi-WW imit, Seq(4×2m;R5 )
147 M1’ Fm [9
F m − G7 − C7 − F m − B[7 − a’): Str imit, Seq(2×6m;R−7 )
..
153 . E[ E[ − F7 − B[7 − E[ − A[− Str: 4-pt ctp
157 ⊥ D∅7 − G[9
7 −
161 M1’ Cm Cm − D7[9 − Gm − A[9
7 − a’): Str stretto, Seq(3×4m;R7 )
..
165 . Dm Dm − E7[9 − Am − B7 − (4-pt stretto imit)
..
169 . Em Em − F ]7 − Bm − C]7 −
173 ⊥ F ]m F ]m − A7 −
175 M1’ C]m G]7 − C]m a’): WW-LoStr imit, P D (g])
..
179 . G]7 − C]m − B]◦7 /D]−
..
183 . G] − C]m − F ]7 − G][9
7 −
d
185 ⊥ C] − A − D]∅7 − G]7 − A− cad
188 M1’ D7 /F ] − C]m64 − G]− retrans, a’): WW, N 6 , cad
191 M1’ F ]m C] − F ] − C][9
7 − a’) tutti, Seq(5×2m;R5 )
..
193 . Bm F ] − Bm − F ]7[9 − Lo-HiStr+WW mit
..
195 . Em B − Em − B7[9 −
..
197 . Am E − Am − E7[9 −
199 ⊥ Dm A − Dm − A[9 7 − D − Gm−
202 D7[9 − . . . − F ]◦7 climax, Σ(cm<), cad
207 M1 Gm Gm − . . . − D/F ]− Recap, Gr 1, ab): Vi1
211 ⊥ F ]◦7 /C − D7 − Gm ab)
215 Mo <(D − E[)/D − D− P D (d)
219 M1 F ]◦7 /C − D7 − Gm ab)
221 M1’ <(Gm − D7 ) − <(Cm/E[ − B◦7 )− trans, b’): Vi 8ths, clim
..
225 . <(D◦7 − Cm/E[)−
227 ⊥ <(G − D7 /F ]) − G − G7 −
229 M1’ Cm <(Cm − G7 ) − <(F ]◦7 − Gm)− b’): LoStr, SD
..
233 . <(D7 /F ] − Gm) − D7 −
..
235 . Gm <(Gm − D7 ) − E[ − G7 /B− b’): Vi
..
239 . Cm − G − Cm − A[97 −
241 ⊥ <(D − C]◦7 )/D − D clim, cad, P D (d)

Table 4.71: Mozart, Symphony No. 40, Mvt. 4 Allegro assai (cont’d)
m M R H Comment
247 M2 Gm Gm − Dm/F − Cm/E[ − Gm/D− Gr 2, a): Vi1, PB (&)
..
251 . A∅7 /C − Gm64 − D b)
..
255 . Gm − D/F ] − D◦ /F − a’): Vi1 var chrom, PBi (&)
..
257 . C]◦ /E − C/E − E[+ − Gm/D−
259 ⊥ A◦ /C − Gm64 − D7 − Gm cad
263 (M2’) (Gm − D7 − G7 )/G− trans, WW, P T (g)
265 ⊥ (C − Cm − D7 − E[7 )/G−
267 (M1) Gm A[/C − Gm/D − D− Coda, a’): WW, N 6
271 (M2) Gm − Gm/F ] − Gm7 /F − a’): WW, PBi (&)
273 ⊥ C]◦7 /E − Cm/E[ − Gm/D−
275 A∅7 /C − Gm64 − D7 − Gm cad
278 M1’ <(Gm/B[ − D7 /C) − . . . − b’) Vi, climax, P D (d)
283 ⊥ Gm/B[ − Cm − Gm64 − D7 − Gm
286 M1’ <(Gm/B[ − D7 /C) − . . . − b’): repeat 8ba, P D (d)
..
290 . <(Gm/B[ − F ]◦ )/C − . . . − tutti repeat
.. d
293 . G7 /B − Cm − D7 − E[ − A◦ /C − D− closing climax
.. d
297 . G7 /B − Cm − D7 − E[ − A◦ /C − D− repeat
301 ⊥ <(Gm − D7 ) − Gm : || cad (308 m.)


The key relationship diagram of the well-known Gm symphony is shown in Fig. 4.18. The
opening movement has the regular exposition key pattern: main theme in the tonic minor
key Gm and the secondary theme group in the relative major key B[ (1). The develop-
ment starts in the remote key F ]m (3), working its way into the subdominant domain using
sequences based on R−5 cycles (3–5). The recapitulation moves through the lowered subme-
diant key E[ = [VI (6) into the subdominant area (7), before returning home.
Mvt. 2 Andante
Mvt. 1 Allegro molto F 4 C G

4 3
Dmt Am Em Bm F ]m Fm 5 Cm Gm
8
H
YH
6 H j
H - 1
F C G D A A[ E[ B[
t

7 A ?
Fm Cm Gm
Dm 5 Am A[m A 3 E[m B[m
A
H E[ 6 AU 2,7
HH
Y
1B[ 2- F
?
A[ C C[ G[ D[

t 5 6
Mvt. 3 Menuetto Dm Am Em Bm F ]m - C]m
2,4,7
GT D F C G D A E
3,9 t
GmM - Dm Fm H Cm - Gm Dm Am Em
HH 8
*
6 j 6 ?
B[ F A[ E[ 1B[ F C G
Figure 4.18: Mozart, Symphony No. 40, key relationship diagram
The Andante has both A section in the tonic major key E[ and the middle section in
the parallel minor key E[m (3). Note the key progression along the minor third vertical
symmetry axis: B[ − D[ (1) and E[m − C (3–4), and the A section symmetry D[ − G[ − B[
(2) and G[ − C[ − E[ (7). The menuet in Gm has the trio in the parallel major key G and a
very limited key range.
In the closing sonata form Allegro the main and secondary theme once again have the
regular minor-relative major Gm − B[ (1) key relationship. The development quickly moves
to the dominant minor key Dm (2) and, using the enharmonic equivalence property, starts
a series of R5 and R−5 root cycles and sequences, until the remote key C]m is reached (6).
Then there is the way back and a final stop in the subdominant area F m − E[ − Cm (7–9).
4.10 Symphony No. 41 in C Major Jupiter KV 551 (1788)

Source: [37]. An overview of the formal analysis of Mozarts last symphony is shown in
Fig. 4.19. Compared to the KV 550 Symphony No. 40, in the Jupiter symphony we have the

4.10. SYMPHONY NO. 41 IN C MAJOR JUPITER KV 551
tonic major key C, a much longer development section in the opening movement and a very
long closing sonata form movement.
h i
4
Mvt. 1 Allegro vivace: sonata form (C, 4 , 313 m.)

h i
3
Mvt. 2 Andante cantabile: ABA form (F , 4 , 101 m.)
A1 B A2 Co
h i
3
Mvt. 3 Menuetto – Allegretto: menuet and trio form (C, 4 , 87 m.)
Menuet Trio
h i
2
Mvt. 4 Molto Allegro: sonata form (C, 2 , 424 m.)
Recap. (57 m.) 2nd Development (79 m.) Coda (63 m.)
Figure 4.19: Mozart, Symphony No. 41 in C Major KV 551
4.10.1 Mvt. 1 Allegro vivace

Form: sonata form. The exposition of this opening movement is repeated. The Exposition
opening theme is a period with call-and-response flavour on the local scale and a sentence
on the larger scale: M1(ccd) (4 + 4 + 6 m.), with c=a+b (2 + 2 m.). The unisono a-motif
has the characteristic upward fourth leaps with the 16th triplet scalar patterns, the b-motif
contains a series of appoggiaturas in the lead violins. In the c-phrase there is the middle
register strings 32th-note downward scalar pattern Ms, covering the interval of the fifth.
The first statement starts in m. 1 (there is no introduction), the second statement (m. 24 ff.)
has a woodwind countermelody Mc. Here the b-phrase is extended in a sort of miniature
development (variation b’), acting simultaneously as a transition.
The secondary group consists of two themes: the lyrical first melody has M2(abab’) (4 +
2 + 4 + 5 m.) period structure, with the characteristic ascending stepwise motion in the a-
phrase. In the transition from M2 to M3 the b-motif from M1 returns in diminution. The
second, more playful melody has M3(aaab) (2 + 2 + 2 + 4 m.) structure with an 8th note
rhythm. In the orchestration, note the frequent doubling of strings with bassoon for repeated
statements of thematic material.
The Development starts with a simple unisono turn in the woodwinds, kicking off the
theme M3 in the new key. The b-phrase from M3 becomes the core element in the first
half of the development, with (stretto) imitative treatment in harmonic sequences. The false
recapitulation puts the main theme M1 back on the stage, acting as the main character in the
second half of the development. The Recapitulation has the second statement of the main

theme in tonic minor Cm. These minor-major changes in tutti climaxes occur also at the end
of the exposition and recapitulation.
The detailed analysis is shown in Table 4.72 to 4.75.
4.10.2 Mvt. 2 Andante cantabile

Form: ternary song form, ABA form. The first A section is repeated with variation. This
movement could also be interpreted in terms of the sonata form, with the bridge section B
developing the secondary theme.
The A section main theme has M1(aab) (2 + 2 + 6 m.) sentence structure. The opening
statement is in first violins, occasionally doubled with second violins and woodwinds. Vio-
lins and violas are marked con sordino (muted) in the score. The second statement a-phrase
is for cellos and contrabasses, with the violins commenting in legato 32th note runs. The
contrasting theme also has M2(aab) (2 + 2 + 5 m.) sentence structure; the a-phrase is a synco-
pated downward arpeggio, followed by 16th triplet appoggiaturas in first vilolins. As these
continue their melodic line, the b-phrase with its chromatically ascending lead and bass part
and its fp dynamics leads to a climax. The transitory theme Mt1 has a 16th triplet arpeggio
background for second violins. Like the other two themes, the harmony is very rich with
lots of chromatically moving parts in the b-phrase.
The short middle section B uses the contrasting theme M2 for modulation and sequences
based on the negative (!) and positive fifth root cycle (R−5 and R5 ). This yields (chromatic)
stepwise motion in the inner voices. The main theme M1 returns in varied form in the closing
section, with the legato 32th note answers now alternating between low strings and first
violins (imitation). The analysis is shown in Table 4.76 and 4.77.
4.10.3 Mvt. 3 Menuetto allegretto - Trio

Form: menuet and trio form, each with ABA Coda structure. The Menuet main theme is
regular M1(aab) (4+4+8 m.) sentence structure; the a-phrase contains descending chromatic
steps, the b-phrase is a variation on this idea with a cadential closing. In the second A section
this theme is set as a variation with (stretto) imitation and contrary motion (closing and
opening).
The Trio has call-and-response elements; its theme has M2(abab) (2 + 2 + 2 + 2 m.) period
structure. The call is a simple cadential formula for woodwinds and horns. The response b-
phrase with its embellished descending chromatic steps obviously has similarities with the
menuet theme. The middle section B of both menuet and trio use extended pedal point (with
a pounding brass and timpani section) and are in dynamic contrast witht the outer A sec-
tions. The trio middle section B takes the flute upward chromatic lead from the a-phrase and
develops that as an augmented melody; note how the first four measures (m. 68–71) yield
the melodic pattern, that will become the main motif of the following closing movement
(coincidence or design?). The analysis is shown in Table 4.78.
4.10.4 Mvt. 4 Molto allegro

Form: sonata form. This movement is well-known for the use of counterpoint forms, such
as the fugue, and (stretto) imitations in the development sections, where all themes and
motives are combined.

Table 4.72: Mozart, Symphony No. 41 Jupiter, Mvt. 1 Allegro vivace
m M R H Comment
1 M1 C || : C − . . . − G7 /D − C − G7 /B− Exp, Gr 1, a): unis, b): Str
5 ⊥ G − . . . − C/E − G7 /D − C ab): unis-Str
9 Ms (C − F − G7 − C − F − G7 )/C− Ms): Vi2+Va, clim, P T (c)
16 ⊥ <(C − G) − C − <(G − C) − G trans, halfcad
24 M1/c C − . . . − G7 /B − C − G7 /F − 2nd st, ab): Vi, Mc): WW
.. ..
28 ./ . G − ...− a): Vi
.. ..
30 ./ . A[9 [9 [9 [9
7 − D 7 − G7 − C7 − b’): Seq(4×1m;R5 )
34 ⊥/⊥ F/A − Em/G − Dm/F − F − D7 − trans to D
37 M1/c G G − ...− a): unis Str, Mc): WW
.. ..
39 ./ . (G − . . . − C − G7 − C − G7 )/G− b’): Bsn+Str, P T (g)
47 ⊥/⊥ Am/C − G]◦7 /B − Am/C − A7 /C]− cad
49 Ms <(D − G)/D − D Ms): Vi2+Va, clim, cad
56 M2 G G/B − G]◦7 /B − D7 /C no 3 − Gr 2/Th 1, a): Vi1
..
58 . D7 /A − D+ /A] − Bm−
..
60 . D7 /F ] − G − D b)
..
62 . G − G]◦7 − D7 /Ano 3 − a): Bsn+Vi1
..
64 . D7 /A − D+ /A] − Bm−
..
66 . D7 /F ] − G − D7 /C− b’)
..
68 . G/B − D]◦7 − Em − Am/C− Fl+Bsn+Vi1
70 ⊥ G64 − D7 − cad
71 Mv/(1) G − D7 /C− Mv): Vi1, (M1b): LoStr
73 ⊥ G/B − Em7 − Am7 − D7 − G
75 Mv/(1) G − D7 /C− repeat
77 ⊥ G]◦7 /B − Am/C − G7 /D−
81 Cm − . . . − C − C + − trans min-maj, clim, P (c)
85 (F − B◦7 − C)/C − G64 − D7 −
89 M1’ G − . . . − G7 − clos, b’): dim Vi+Bsn, P D (g)
92 ⊥ C/G − G − Am/C − D7 −
94 M1’ G − ...− b’): dim WW+LoStr, Vi sync
..
97 . C − E7 /D − Am/C − E7 /G]−
98 ⊥ Am − Cm7 /G − D7 /F ]− cad
101 M3 <(G − D7 )− Gr 2/Th 2, aaa): Vi
107 ⊥ <(G − D)− b): Bsn+Vi
111 G − E7 /G] − Am − D7 /F ]− closing, tutti clim, P D (d)
113 G − Am/C − D− cad

Table 4.73: Mozart, Symphony No. 41 Jupiter, Mvt. 1 Allegro vivace (cont’d)
m M R H Comment
114 G − E7 /G] − Am − D7 /F ]− repeat
116 G − Am/C − D− cad
116 (Ms) <(G − D) − G : || Ms: Vi1, cad
121 E[ B[− Dev, mod cad, WW unis
123 M3 E[ − <(B[7 − E[) aaa), Vi, Str
129 ⊥ <(E[ − B[7 )− bb) Str-WW imit
133 M3’ E[ − B[7 /A[ − E[/G − B[7 /D− HiStr-LoStr, Seq(3×2m;R7 )
..
135 . Fm E[ − C7 /B[ − F m/A[ − C7 /E−
..
137 . Gm F7 − −D7 /F ] − Gm − D7 /F ]−
..
139 . Gm7 − C7 − F m7 − B[7 stretto imit, Seq(2×2m;R−7 )
..
143 . E[ E[ − A[ − D◦ − G7 − (stretto imit), Seq(2×R−7 )
145 ⊥ Cm − . . . − D7 − cad
147 M3’ Gm Gm − Cm/E[ − F ]◦7 − D7 /F ]− b): imit LoStr-HiStr
..
149 . Gm − C]◦7 /E − A[9
7
..
151 . Dm − E7 − Am−
153 ⊥ <(E − D]◦7 )− cad
155 (M3’) E − ...− b’): WW
157 ⊥ E − E7 /D − E◦7 − C7 − trans
161 M1/c F F − . . . − E◦ − F46 − C7 − False rec, ab): Str, Mc): Bsn
.. ..
165 ./ . C7 − . . . − a): Str, Mc): WW
167 ⊥/⊥ (Am7 − D7[9 )/D − (Bm7 − E7[9 )/E− 2nd dev Seq(2×2m;R7 )
171 M1’/s Am − B7 /A− a+Ms): Vi
..
173 . E/G] − E◦7 /G − A7 /G− Seq(3×2m;R−7 ), PBi (&)
..
175 . D/F ] − Dm/F − D◦7 /F − G7 /F −
177 ⊥ C/E − Cm/E[ − D7[5 /A[−
179 Ms G <(G − D7 )− cad with Ms-motto
181 M3’ <(G − D)− retrans, b’): Vi1
..
183 . <(G − F ]◦7 )/G− b’): WW, P D (g)
..
185 . (G − A7 − Dm − G7 )/G− retrans (ped)
187 ⊥ C46 − Dm7 /G − G7 − Str unis desc scale

m M R H Comment
189 M1 C C − . . . − G7 /D − C − G7 /B− Recap, Gr 1 a): unis, b): Str
193 ⊥ G − . . . − C/E − G7 /D − C ab): unis-Str
197 Ms (C − F − G7 − C − F − G7 )/C− Ms): Vi2+Va, clim, P T (c)
203 ⊥ <(C − G7 ) − C − <(G − C) − G trans, halfcad
212 M1/c Cm Cm − . . . − B[7 − E[ − B[7 − 2nd st min, ab) Vi, Mc): WW
.. ..
216 ./ . E[ B[7 − . . . − E◦7 − F m − C7 − b’): Vi imit
.. ..
220 ./ . F m7 − B[7 − E[
.. ..
222 ./ . F7 /A − G7 /B − Cm7 − Gm/B[−
224 ⊥/⊥ A∅7 − D7[5 /A[− trans, cad
225 M1/c G G − ...− a): Str unis, Mc): WW, P D (g)
..
227 . (G − C − . . . − G7 − C − G7 )/G− b’): Bsn+Str (ped)
235 ⊥ <(D7 /A − G)− motto (ped)
237 Ms <(G − C)/G − <(G − C)/G Ms): Vi2+Va, cad
244 M2 C C/E − C]◦ /E − G7 /F no 3 − Gr 2/Th 1, a): Vi1
..
246 . G7 /D − G+ /D] − C/E
..
248 . G/B − C − G − G7 − b)
..
250 . C − C]◦ − G7 /Dno 3 − a): Fl+Bsn+Vi1
..
252 . G7 /D − G+ /D] − C/E−
..
254 . G/B − C − G7 /F − b’): Ob+Vi1
..
256 . C/E − E7 /G] − Am − Dm/F − Fl+Ob+Vi1
258 ⊥ C46 − G7 − cad
259 Mv/(1) C − G7 /F − Mv: Bsn+Vi1, (M1b): LoStr
261 ⊥ C/E − Am − Dm7 /F − G7 −
263 Mv/(1) C − G7 /F − repeat, WW+Str
265 ⊥ C]◦7 − Dm/F − C7 /G− cad
269 Fm Fm − ...− trans min-maj, clim
271 D[/F − C7[9 /E − Cm/E[ − G7 /D− PBi (&)
274 C/E − F − C46 − G7 − cad, climax
276 M1’ C C − . . . − C7 − clos, b’): dim WW+Vi, P T (c)
279 ⊥ F/C − C − Dm/F − G7 −
282 M1’ (C − Dm − C]◦7 − F − C7 )/C− b’): dim Ob+LoStr, (ped),
..
285 . F − C]◦7 /G − Dm/F − A7 /C]− Vi1 sync
287 ⊥ A[/C − G7 /B− N 6 /V , cad

m M R H Comment
289 M3 <(C − G7 ) Gr 2/Th 2, aaa): Vi
295 ⊥ C − <(Dm − G7 − C) bb): Vi-(Fl)
299 C − C]◦ − G7 /D − C − Am − Dm/F − G7 − closing, tutti climax
301 C − Am − Dm/F − G7 − cad
d
302 C − C]◦ − G7 /D − C − Am − Dm/F − G7 − repeat
305 Am − Dm/F − C46 − G7 −
306 (Ms) <(C − G7 ) − C Ms: Vi1, cad (313 m.)
The Exposition main theme has M1(abab’) (4 + 4 + 4 + 6 m.) sentence structure. The first
statement contains dynamic and instrumentation contrast: p strings vs. f tutti. The transition
is based on a downward scalar run in 8th notes Ms and a set of tutti cadences. Then, the
second statement is already unusual and announces the importance of counterpoint in this
movement: we hear the main theme M1 a-motif as a 5-part fugue in the strings (it is the core
element of much of the counterpoint here). The transition to the secondary group presents
an upward quarter-note scalar pattern Mu in string imitation and using a harmonic sequence
plus another statement of Ms.
The secondary theme M2 has a characteristic half-note downward-upward leap motif
(3rd&4th%); this is presented as a call-and-response setting with the strings calling the M2
theme and the woodwinds answering with an imitative combination of the transitory themes
Mu and Ms, another counterpoint aspect. The following statements of M2 in the exposition
are alreay a miniature development with their many (stretto) imitation string and woodwind
combinations. The exposition closes in a climax with a theme Mc (repeating 4th notes),
and another imitative statement of Ms (with the original downward scale and the inverted
upward scale in stretto imitation).
The Development opens somewhat hesitatantly, juxtaposing M2 (downward scale) and
M1 (a-motif), while the bass part is descending over repeated pedal point attacks. Then
the counterpoint party sets in with stretto imitations of first M2, then its inversion I(Ms),
and then the combination of Ms, I(Ms) and the M1a-motif (in woodwinds), all in harmonic
sequences in the positive and negative fifth root cycles (R5 and R−5 ).
The scalar theme Ms takes us home to the recapitulation. The main theme M1 is not
repeated literally; the a-motif undergoes sequential harmonisation with chromatic ascending
and descending lead voice in the woodwinds, and imitative treatment in the strings. The
boundaries between Recapitulation and secondary development are vague (as is in fact the
case throughout this finale). The statement of the contrasting theme M2 starts a second
development section with counterpoint and stretto imitation in the strings supported by
pedal point and half-note accented motifs in the woodwinds and brass.
The Coda has another surprise: a counterpoint combination of multiple themes (up to
four: M1+M2+Mu+Ms in parallel) in sequential and stretto imitation setting; this is a kind
of ‘encore’, a third development section to round of this masterful movement of gigantic
proportions (length and technique-wise). The analysis is shown in Table 4.79 to 4.82.

Table 4.76: Mozart, Symphony No. 41 Jupiter, Mvt. 2 Andante
m M R H Comment
1 M1 F || : F − C7 − A1 , Th 1, a): Vi1
..
3 . C7 /B[ − F/A a)
..
5 . F − . . . − C]◦7 − Dm− b): Vi+(WW)
..
7 . B[ − Gm/B[ − F/C − C7 − PB (%)
9 ⊥ A7 /C] − Dm − Gm/B[ − F46 − C7 −
11 M1 (F − C7 )/C− var, a): LoStr, Hns P D (c),
..
13 . C7 − F − F7 − a), Vi 32th cm
..
15 . B[/D − C]◦7 − D7 /C− b’): Vi, PBi (&)
..
16 . G/B − C7[9 /B[ − F/A−
17 ⊥ Gm7 − C7 /E − F − C half-cad
19 M2 Cm (Cm − D∅7 )/C− a): Vi1, contrast, P T (c)
21 ⊥ (B◦7 − Cm)/C a), Str sync arp - appogg
..
23 . Cm/E[ − D[∆7 /F − b=a’) Vi1 arp, PLi (%),PB (%)
..
24 . D∅7 /F − (Cm7 − C7 )/G
..
25 . F m/A[ − F7 /A − F ]◦7 /A − A[7 − tutti climax
27 ⊥ G − G7 − Ob+Vi1
28 Mt1 C/E − G/D − C − G7 /B− trans, a): WW+Vi1, Σ(cm<)
..
30 . G7 /F − C/E − G7 /D − C a) var, Vi2 16th tripl arp
..
32 . A[9 [9
7 − D 7 − G7 −
i (&), Seq(4×R )
b): Vi, Pm 5
.. d
33 . C7 − F − Dm/F − G7 − Am−
.. d
34 . Dm/F − C46 − G7 −
..
35 . A[9 [9
7 − D 7 − G7 − b’): Vi1-Fl imit, Seq(4×R5 )
.. d
36 . C7[9 − F − Dm − G7 − Am−
.. d
37 . Dm − Bm/D − E7 − chrom
F − B[m − Gm/B[−
38 ⊥ C7 − F − C46 − G7 − climax, Vi, cad
39 Mt2 C <(C − F/C − C − G7 )− closing Vi, Hns: P D (g)
..
43 . C7 − F − C7 − : || Vi1 16th triplets

Table 4.77: Mozart, Symphony No. 41 Jupiter, Mvt. 2 Andante (cont’d)
m M R H Comment
45 ⊥ A7 − . . . − B
47 M2 Dm Dm − E∅7 /D− a): Vi1 sync arp, PBi (&)
..
49 . A[9
7 /C] − A◦7 /C− a)
..
51 . B[m E[m/B[ − B[m − F m− b=a’): Vi1, Seq(5×R−5 ),
..
53 . Cm − Gm − Dm Str 16th triplets, tutti climax
55 ⊥ E[/G − E7[9 /G]− N6
56 ⊥ <(A − E7[5 /B[) − A− cad, Str-Bsn imit
58 E7[9 − A7 − D7[9 − G[9 9
7 − C7 − retrans, Fl-Ob imit, Seq(5×R5 )
60 M1 F F − C7 /G − C − F7 /A− A2 , var, aa): Vi1, 32ths
..
64 . B[ B[/D − F7 /A− b): LoStr, SD, Hns: P D (f )
..
67 . B[/D − D7 /C − Gm7 /B[− Vi 32nd note runs
..
69 . C7 )/B[ − F/A − B◦ /D−
..
71 . C C − ...− b’): LoStr, climax, P D (c)
..
73 . <(C − D[∆7 )/C−
75 ⊥ C − C7 − cad, Fl+Bsn+Vi1 16th triplets
76 Mt1 F F/A − C7 /G − F − C7 /E − F/A− trans, a): WW+Vi1, Σ(cm<)
..
78 . C7 /B[ − F/A − C7 /G − F a) var, Vi2 16th tripl arp
..
80 . D7[9 − G7 − C7[9 − i (&), Seq(4×R )
b): Vi1, Pm 5
.. d
81 . F7 − B[ − Gm − C7 − Dm−
.. d
82 . Gm/B[ − F46 − C7 −
..
83 . D7[9 − G[9 [9
7 − C7 − b’): Vi1-Ob imit, Seq(4×R5 ),
.. d
84 . F7[9 − B[ − Gm − C7 − Dm− i (&),
Pm
.. d
85 . Gm − Em/G − A7 − chrom
B[ − E[m − Cm/E[−
86 ⊥ F7 − B[ − F46 − C7 climax, Vi, cad
87 Mt2 <(F − B[ − F − C7 )− closing Bsn, Vi: P T (f )
91 ⊥ F − C7 − cad, Vi1 16th triplets
92 M1 F F − C7 /G − F/A Codetta, a): Vi1, WW 32ths
..
95 . B[ − F/C − C7 − b): Ob+Vi1 32th runs, PB (%)
..
97 . A7 /C] − Dm − Gm/B[−
98 ⊥ F46 − C7 − cad, Fl+Bsn+Vi1
99 <(F − C7 ) − F cad, Hns: P D (c) (101 m.)

Table 4.78: Mozart, Symphony No. 41 Jupiter, Mvt. 3 Menuetto Allegretto
m M R H Comment
Menuet
1 M1 C || : C − G7sus4 /F − C − G A1 , a): Vi1 PLi (&), halfcad, P D (g)
..
5 . F − G7sus4 /D − C − G − C a)
..
9 . <(G − Gm − D7 )− b): Vi, tutti clim
13 ⊥ G/B − Am/C − D7 − G : || cad
17 M1’ G (G − F ]◦7 − G − G7 )/G− B, a’): Ob+Vi, Brs: P D (g)
.. i (&), Σ(cm<), (ped)
21 . (B∅7 − C − F ]◦7 − B◦ )/G− Pm
23 ⊥ (Am7 − D7 )/G− (ped)
24 <(G − C) − G− Str+Hns unis, clim, halfcad
28 M1 C || : G − F ]◦ − G7 − A2 , a): WW+Str imit, Σ(cm>)
..
30 . C − B◦ − C7 −
..
32 . F − A7 − D − C]◦7 − D− a) Σ(cm<)
..
36 . G − D7no 3 − G − D7 − G7 − b): imit, Σ(cm<), climax
40 ⊥ C − F − C46 − G7 − C cad
44 M1” <(G − F ]◦ )− a’): WW stretto imit
..
46 . G[9
7 − C]◦ − D − A[/C− N 6 /V
..
48 . G − Gm − A7 − D7[5 /A[ − G7 −
50 ⊥ C − C − G7 − cad
52 M1’ <(C − F ]◦7 − G)− b’): WW+Vi dim, clim, Brs: P D (g)
56 ⊥ C/E − Dm/F − G7 − C : || closing cad
Trio
60 M2 C || : G7 − C A1 , a): WW+Hns call
..
62 . G7 /B − C − G b): Ob+Str response, halfcad
..
64 . G7 − C a) repeat
66 ⊥ G − C : || b) cad
68 M2’ Am || : (E7 − Am − D]◦7 − D−)/E− B, a’) WW+Vi1 augm, climax,
72 ⊥ (B◦7 − C − D]◦7 − E)/E Brs+LoStr: P D (e)
76 B7 − E − A7 − D i (&), Seq(2×2m;R )
trans, Str, Pm −7
80 M2 C G7 − C A2 , a): WW+Hns call
..
82 . G7 /B − C − G b): Ob+Str response, halfcad
..
84 . G7 − C a) repeat
86 ⊥ <(G7 − C) : || b): WW+Str, Σ(cm<), (87 m.)
[Repeat menuet]

Table 4.79: Mozart, Symphony No. 41 Jupiter, Mvt. 4 Molto allegro
m M R H Comment
d
1 M1 C || : C/E − Dm7 /F − G7 − Am− Exp, Gr 1, a): Vi
..
5 . F − C/E − G7 /D − C − G b): Str, halfcad
..
9 . C − G − G7 − C− a): Vi, tutti
13 ⊥ <(F − C46 − G − C) b’)
19 Ms C − . . . − G7 /B− tr, WW+Str unis-imit sc
25 ⊥ C − . . . − B∅7 /D− tutti, par 3rds
28 <(C − G7 ) − C − . . . − cad, tutti climax
32 <(G − C) − G halfcad
36 M1 C − . . . − Am7 /G − F ]◦ − G7 − stat 2, a): Str 5p-fugue
..
43 . C − Dm − Dm7 /F − Em7 /G−
.. d
47 . Am − Am/C − Dm7 /C − G/B −
50 ⊥ Am/C − Dm7 − Dm/F − G7 /F −
53 (M1) C/E − Dm7 /F − G7 a): WW+Vi, cad, Σ(cm<)
56 Mu C − F ]∅7 − Bm7 − Em7 − Am7 − D7 Str imit, tutti, Seq(3×2m;R−7 )
62 ⊥ G − Em − A7 /E−
63 Ms D − . . . − A7 /G − D/F ] trans, WW+Str imit
68 ⊥ D − . . . − A7 /G − D/F ] − D7 − repeat, cad
74 M2 G G − E7 − Am− Gr 2, Vi1: contrast th
77 Mu/s D7 − G − Am/C − A7 /C]− WW ctp responses
80 M2 D7 − G − E7 /G] − Am7 Vi1 stat 2
83 Mu/s D7 /C − G/B − C − A7 /C]− WW ctp responses
86 Mu D7 − G − C − F ]∅7 − WW imit, Seq(4×2m;R−7 ),
90 ⊥ Bm − Em7 − Am − D7 Vi unis 8th runs
94 M2’ G − C − Am/C− stretto imit, tutti climax
96 ⊥ Am − Bm/D − Em−
98 M2 C/E − D/F ] − G − Em/G− Str imit, Seq(3×4m;R3 )
..
100 . Em − Am − D7 /F ]−
..
102 . Bm − G − Em/G − C/E− stretto imit
..
104 . Am/C − F ]∅7 − B7 −
106 ⊥ Em − C − Am − Dm − G7 −
110 C − . . . − Am7 /C − D7 − WW+Str: sc runs&
115 Mc G − Em − G/B − C − D7 − Vi1, trans to climax
123 Mc G − . . . − <(Cm/E[ − G7 /F )− LoStr, maj-min
..
130 . <(C/E − G7 /F ) − C]◦ − D− tutti climax
..
131 . G − B7 /D] − Em − G/B−
133 ⊥ Am − D7 − cad

Table 4.80: Mozart, Symphony No. 41 Jupiter, Mvt. 4 Molto allegro (cont’d)
m M R H Comment
135 Ms’ <(G − . . . − D7 )− Str +WW: imit s+I(s)
..
141 . G − Em7 /G − Am7 /C − D7 −
145 ⊥ <(G − Em7 − tutti cad
Am7 /C − A7 /C] − D)−
148 Ms” <(G − . . . − F ]◦7 )/G − G : || Ob-Bsn imit, clos, P D (g)
158 M1’ G || : G − A∅7 /G− Dev, a): HiStr, P T (g)
162 Ms F m7 /A[ − D7[9 /F ] − G − G7 /F − Ob+Bsn, PB (&)
166 M1’ E E − D]◦7 /E − E− a): Vi1, P T (e)
170 I(Ms) E7 − F − E Fl+Bsn
172 Ms Am Am − A7 − A[9 7 − Str stretto, Seq(4×4m;R5 )
..
176 . Dm − D7 − D79 − G−
180 ⊥ G − G 7 − C − C7 − F
187 I(Ms)/1 F F − B[/D − F − D7 /F ] − G7 − I(Ms): Str, Seq(4×5m;R−5 ),
..
192 . Cm − . . . − A7 /C] − D7 − Gm M1a): WW, Str: Ms+I(Ms)
..
197 . Gm − . . . − E7 /G] − A7 − Dm
202 ⊥ Dm − . . . −
205 M1’ Am B∅7 /D − B7 /D] − E7 − a): WW chrom
207 I(Ms) Am − B + − F ]∅7 /C− Vi, Σ(cm>)
210 Ms Em (B − Em − F ]7 )/B− Vi1, P D (b)
212 ⊥ (B − Em − B7 − F ]7 )/B− LoStr, Σ(cm<)
216 I(Ms) B − . . . − Em− Str unis
219 5 B − D]m/A]− retr, WW+Brs imit, PBi (&)
.. [5/[9
221 . F ]◦7 /A − D7 /A[−
223 Ms G7 − . . . − Vi1
d
225 M1 C C − Dm/F − G7 − Am− Recap, Gr 1, a): Vi1
..
228 . F − C/E − G7 /D − C − G b): halfcad
..
233 . C − G − G7 − Gm7 − A[9
7 /C]− a): Vi, tutti,
237 ⊥ Dm − A − A7 − Am7 − B7[9 /D]− a): VI, WW PLi (&)
241 M1 Em − B − B7 − E7 − a): Vi1-Vi2 im, Seq(3×4m;R7 ),
..
245 . B[7 − A7 − E[7 − D7 − WW PLi (%)
249 ⊥ A[7 − G7 − D[7 − C7 −
254 Mu F F − B∅7 − Em7 − Am7 − Str imit, Seq(3×2m;R−7 )
..
258 . Dm7 − G7 − C
260 ⊥ D7 /A − G cad

m M R H Comment
262 Ms G G − ...− trans, Str imit, Brs: P D (g)
266 ⊥ G − ...− repeat
270 G7− cad, Σ(cm<)
272 M2 C C − A7 − Dm7 − Gr 2, Vi1
275 Mu/s G7 − C − Dm/F − D7 /F ]− WW ctp response
280 M2 G − G7 − C − A7 /C] − Dm− Vi1 stat 2 8va, PBi (%)
282 Mu/s G7 /F − C/E − Dm7 /F − D7 /F ]− WW ctp response
283 Mu (G7 − C − F − B∅7 −)/G− WW imit, Seq(4×2m;R−7 )
287 ⊥ (Em − Am7 − Dm − G7 )/G− 2nd Dev (ped)
292 M2 C − F − Dm/F − WW+Str imit, Seq(3×2m;R−3 )
..
294 . Dm − Em/G − C − F/A− 4-pt ctp
..
296 . F − G/B − C − Am/C − C− Seq(3×4m;R3 )
..
298 . Am − Dm − G7 /B−
..
300 . Em − C − Am/C − F/A−
..
302 . Dm/F − B∅7 − E7 − Am stretto imit
305 ⊥ F − Dm − Gm − C7 −
308 F F − . . . − Dm7 /F − G7 − WW+Str: scalar runs&
313 Mc C − C7 /E − C7 /B[− Vi1, trans to climax
317 ⊥ F/A − D7 /A − C46 − G7 −
321 Mc C − . . . − C7 /B[− LoStr, maj-min
..
325 . Fm <(F m/A[ − C7 /G)− tutti climax, P (a[)
..
328 . (D[ − A[ − D[ − B◦7 )/A[− cad, a[-ped
..
330 . (A[7 − D[ − A[7 )/A[−
332 ⊥ C46 − G7 − cad
334 Ms’ C <(C − . . . − G7 )− Str+WW: imit s+I(s)
..
340 . C − Am7 /G − Dm − G7 −
344 ⊥ <(C − Am7 − tutti cad
Dm7 /F − D7 /F ] − G−)
350 Ms’ C − C7 − F/C − G7 − I(Ms): Bsn, P T (c)
354 ⊥ C − G7 − C Fl, P D (g)
357 M2 C7 − . . . − : || [repeat 2nd ending], P T (c)
361 I(M1) F C7 − F − E◦7 /G − Dm/F − Coda, I(a): Str imit
..
365 . B◦7 − C − B◦7 /F − C/E PBi (&)
..
369 . Cm/E[ − D7 − trans, PLi (&)
d
371 ⊥ A[7 − F m/A[ − G7 −

m M R H Comment
373 M1/2 C Am − Dm − G7 /F − C/E 3rd Dev, imit, Seq(2×4m;R−5 )
377 M1/2/u Em − Am − D7 − G stretto ctp, 3 themes
..
381 . Am − Dm − G7 − C−
385 ⊥ G/B − Em − D7 /F ] − G halfcad
389 M1/2/u/s C − Am/C − Dm7 − stretto climax, 4 themes
..
391 . G7 /F − C/E
..
393 . G − Em − Am7 /C − D7 − G
..
397 . C − Am − Dm7 − G7 − C repeat
401 ⊥ Dm7 /C − G7 −
403 Mc’ C − F − C46 − G− WW+Vi, tutti climax
406 ⊥ C − F − C46 − G7 − var, cad
409 Ms C − . . . − G7 − closing stat, Str unis
..
412 . C − . . . − G7 − Vi-WW, Σ(cm>)
418 ⊥ C closing cad (424 m.)

The key relationship diagram of the Jupiter symphony is shown in Fig. 4.20. The opening
sonata form Allegro has a classical layout with the main theme in tonic major C and the
secondary group in the dominant key G (1). The development starts with the major third
downward modulation G − E[ (1–2). The false recapitulation is in the subdominant major
key F (4), with a second development section leading back to the dominant F − G (5-6). The
recapitulaton moves towards the fairly unusual subdominant minor key F m (9).
In the second movement opening A section the main theme is in the tonic major key F ,
the contrasting theme in the dominant minor key Cm (1). The middle B section starts in
the submediant minor key Dm (2) and follows a series of harmonic sequences, starting from
the subdominant minor key B[m (4). The closing A section has the usual excursion to the
subdominant major key B[ (4).
The minuet and trio A sections open in the tonic major key C, alternating with the domi-
nant major key G in the menuet middle section and with the relative parallel minor key Am
in the trio B section.
The finale has a conventional layout for the exposition section: main theme in tonic major
C, and a transition to the secondary thematic group in dominant major G (2). The develop-
ment section starts by shifting down a minor third G − E (2) and the moving sequentially
through a number of mostly minor keys, before returning to the tonic key in the recapit-
ulation (4–5), with its usual excursion to the subdominant domain F m − F (7–8). In this
movement, the subdominant key F acts as a kind of intermediate pivot point. (3,5,7,8). The
beauty of this piece lies not so much in unexpected moduations, but in the intircate use of
counterpoint.

Mvt. 1 Allegro vivace Mvt. 2 Andante cantabile

5 1,6,8
F *C
-G D Gm Dm 2H Am
t

4
HY
H 5
?
F m 3,9 Cm
Gm Q4 Dm B[ F HH
C
Y
H
3
H

QQ 3 j 6
j ? tF
H s H
A[
H
E[ 2,7 B[ B[m F m 1 Cm
Mvt. 4 Molto Allegro
D A2 E
4

Mvt. 3 Menuetto Dm *Am Em
-
3,5,8

- 1,6

Am Em F - C G
6 *

? ?7
C -G Fm Cm Gm
Figure 4.20: Mozart, Symphony No. 41 Jupiter, key relationship diagram
Most key changes in this symphony are gradual: one step away in horizontal, vertical or
diagonal direction. The maximum distance is three steps: see the major third key transfor-
mation G − E[ (1–2) in the opening Allegro, and Dm − B[m in the 2nd movement. Note the
upward major second key change (two steps away) in three movements: F − G (5–6) in the
outer movements and B[ − C in the Andante (4–5).
4.11 Opera The Magic Flute (Die Zauberflöte) KV 620 (1791)

Source: [39]. For an overview of the formal analysis of The Magic Flute (Die Zauberflöte) see
Figure 4.21 to 4.23. The opera is in two acts: Act 1 (Overture, No. 1 to 8) and Act 2 (No. 9 to
21). The length contrast is obvious. The overture has the typical length and sonata form, that
is familiar for the opening movements from a Mozart symphony. Both acts end with a very
long finale, which in fact consist of various subsections, covering a number of scenes. These
finales contain multiple time signatures, keys and tempo indications. The length of the other
numbers are more or less proportional to the number of singers involved: solo arias and
duets are short song types (approximately 30-100 measures), while trios to quintets receive
higher numbers of measures (lengths between roughly 40 and 250 measures). Most songs
have a ternary song structure, some are simple multiple verse songs.
An overview of the instrumentation is given in Table 4.83. In the woodwind section there
is occasional use of the piccolo and the basset horn (clarinet in F ). The brass section must
have looked like a plumber shop in the orchestra pit with horns in E[, G, B[, F, C, G, E, D,
trumpets in E[, C, D and triple trombones (alto, tenor and bass). There are full strings in
every scene, except for the strings tacet in No. 9a, and the violins tacet in No. 10. In No. 19
there is a separate part for the contrabasses (in all other scenes celli and basses are written
on the same staff).
The opera is based on a libretto by Emanuel Schikaneder, who commissioned the opera.
It is also categorised as a Singspiel (musical numbers juxtaposed with spoken text). Both

4.11. OPERA THE MAGIC FLUTE KV 620
ACT 1
h i
2
Overtüre, Adagio – Allegro: sonata form (E[, 2 , 227 m.)
Intro Exp. Development T 2nd Dev.
Recapitulation
h i
4
No. 1 Introduction ‘Zu Hülfe’, Allegro: ABA’ form (Cm, 4 , 218 m.)
A Tamino B Damen
A’ Damen
h i
2
No. 2 Arie ‘Der Vogelfänger’, Andante: AA’ form (G, 4 , 50 m.)
Intro Song
h i
2
No. 3 Arie ‘Dies Bildnis ist bezaubernd schön’, Larghetto: ABC form (E[, 4 , 63 m.)
A B C
No. 4 Arie ‘O zittre nicht’, Allegro maestoso – Recitativ – Arie Larghetto –

h ih i
4 3
Allegro moderato: ABC form (B[ − Gm, 4 4 , 103 m.)
A B C
h ih i
2 4
No. 5 Quintett, Allegro – Andante: ABCD form (B[, 2 4 , 247 m.)
A Allegro B
C D Andante
h i
4
No. 6 Terzett ‘Du feines Täubchen nur herein!’, Allegro molto: ABC form (G, 4 , 71 m.)
A B C
h i
6
No. 7 Duett ‘Bei Männern, welche Liebe fühlen’, Andantino: AAB form (E[, 8 , 49 m.)
A A B
Figure 4.21: Mozart, Opera The Magic Flute (Die Zauberflöte) KV 620, Act 1

No. 8 Finale, Larghetto – Andante – Allegro – Presto: mixed form

h ih i
2 4
(C − G − F , 2 4 , 587 m.)
Larghetto Recitativ – Allegro – Andante
Andante (Flute) Andante Sc. 16 Allegro Sc. 17
Allegro Sc. 18 Larghetto Allegro Sc. 19
Presto
ACT 2
h i
2
No. 9 March of the Priests, Andante – Adagio: ABA form (F − B[, 2 , 28+6 m.)
A B A’ 9a
h i
3
No. 10 Arie ‘O Isis und Osiris’, Adagio: AB form (F , 4 , 55 m.)
A B
h i
4
No. 11 Duett ‘Bewahret euch vor Weibertücken’, Andante: AB form (C, 4 , 25 m.)
A B
h i
2
No. 12 Quintett ‘Wie? wie? wie?’, Allegro: ABC form (G, 2 , 164 m.)
A B C
h i
2
No. 13 Arie ‘Alles fühlt der Liebe Freuden’, Allegro: ABA form (C, 4 , 49 m.)
A B A’
h i
4
No. 14 Arie ‘Der Hölle Rache’, Allegro assai: ABC Coda form (Dm, 4 , 99 m.)
A B C Cd
h i
2
No. 15 Arie ‘In diesen heil’gen Hallen’, Larghetto: AB form (E, 4 , 28 m.)
A B
Figure 4.22: Mozart, Opera The Magic Flute (Die Zauberflöte) KV 620, Act 1 & 2 (Cont’d)

h i
6
No. 16 Trio ‘Seid uns zum zweiten Mal willkommen’, Allegretto: AB form (A, 8 , 36 m.)
A B
h i
6
No. 17 Arie ‘Ach ich fühl’s, es ist verschwunden’, Andante (Gm, 8 , 42 m.)
h i
2
No. 18 Chorus ‘O Isis und Osiris, welche Wonne’, Adagio: AB form (D, 2 , 42 m.)
A B
No. 19 Trio ‘Soll ich dich, Theurer, nicht mehr sehn?’, Andante moderato: ABC form
h i
2
(B[, 2 , 78 m.)
A B C
h i
2
No. 20 Arie ‘Ein Mädchen oder Weibchen’, Andante – Allegro: AB form (F , 4 , 51 m.)
A B
No. 21 Finale, Various tempi: mixed form

h ih ih ih i
2 3 4 6
(E[ − Cm − G, 2 4 4 8 , 919 m.)
Andante Sc. 26 Sc. 27 Allegro
Adagio Sc. 28 Allegretto Andante
Marsch Allegro
Alegro Sc. 29 Allegretto Allegro
Allegro
Allegro Sc. 30 And’te Allegro
Figure 4.23: Mozart, Opera The Magic Flute (Die Zauberflöte) KV 620, Act 2 (Cont’d)

Table 4.83: Mozart, The Magic Flute, Instrumentation
No. Sc. Woodwinds Brass Percussion Strings

Pi/Fl-Ob-Cl-Bsn Hns-Tpt-Tbn Vi1-Vi2-Va-Vc-Cb
Overture
2-2-2(B[)-2 2(E[)-2(E[)-3 Timp 1-1-1-1-1
Act 1
1 1 2-2-2(B[)-2 2(E[/C)-2(E[/C)-0 Timp 1-1-1-1-1
2 2 0-2-2 2(G)-0-0 1-1-1-1-1
3 4 0-0-2(B[)-0 2(E[)-0-0 1-1-1-1-1
4 6 0-2-0-2 2(B[)-0-0 1-1-1-1-1
5 7 0-2-2(B[)-2 2(B[)-0-0 1-1-1-1-1
6 11 1-2-0-2 2(G)-0-0 1-1-1-1-1
7 14 0-0-2(B[)-0 2(E[)-0-0 1-1-1-1-1
8 15 2-2-2(C/B[)-2 0-2(C)-3 Timp 1-1-1-1-1
16 2-2-0-2 2(G)-0-0 1-1-1-1-1
17 2-2-0-2 2(G)-2(C)-0 Timp-Glk 1-1-1-1-1
18 2-2-2(F )-2 2(G)-2(C)-0 Timp 1-1-1-1-1
19 2-2-2(F )-2 2(G)-2(C)-3 Timp 1-1-1-1-1
Act 2
9 1-0-1(F )-2 2(F )-0-3 1-1-1-1-1
9a 1 2-2-2(F )-2 2(F )-2(B[)-3
10 0-0-2(F )-2 0-0-3 0-0-1-1-1
11 3 2-2-2(C)-2 2(C)-2(C)-3 Timp 1-1-1-1-1
12 5 2-2-0-2 2(G)-2(C)-3 Timp 1-1-1-1-1
13 7 2(Pi/Fl)-0-2(C)-2 1-1-1-1-1
14 8 2-2-0-2 2(F )-2(D)-0 Timp 1-1-1-1-1
15 10 2-0-0-2 2(E)-0-0 1-1-1-1-1
16 16 2-0-0-2 1-1-1-1-1
17 18 1-1-0-1 1-1-1-1-1
18 20 2-2-0-2 2(D)-2(D)-3 1-1-1-1-1
19 21 0-2-0-2 1-1-1-1-1∗
20 22 1-2-0-2 2(F )-0-0 Glk 1-1-1-1-1
21 26 2-0-0(B[)-2 2(E[)-0-0 1-1-1-1-1
28 2-2-2(B[)-2 2(F/G)-2(C)-3 Timp 1-1-1-1-1
29 1-2-0-2 2(G)-0-0 Glk 1-1-1-1-1
30 2-2-2(B[)-2 2(E[)-2(E[)-3 Glk 1-1-1-1-1

Schikaneder and Mozart were Freemasons and included masonic elements in the plot. This
yields the well-known opening tutti triple signal motif on an ascending arpeggio triad E[ :
e[ − g − b[. This pattern returns many times in the opera, in particular in the opening phrases
of vocal lines or musical sections. Quite a few have been identified in this analysis, but some
targets may have been missed in the search. The key relationships (see Section 4.11.23) also
may be giving away such clues.
4.11.1 Ouvertüre
Form: sonata form. In the overture Mozart combines a 4-part fugue with the sonata form.
The detailed analysis is shown in Table 4.84 to 4.86.
The slow Introduction section opens with the ‘Freemason’ (Freimaurer) motif (Mf): re-
peated triadic signals with a dotted rhythm on the tonic chord in the major key E[. This Mf
signal motif re-appears in the opening of the second act, where it is in the dominant major
key B[ major. With the finale set also in E[ major, this creates an overall bridge design for
the opera. After the signals first violins take the lead over a subtle and subdued half-note
rhythm syncopated string background, an extended tonic pedal point P T (e[). There are
dotted arpeggios and some chromatic stepwise motion in bassoons and lower strings.
The fugue main subject M1(aa’bb) (1 + 1 + 1 + 1 m.) starts on the first measure of the alle-
gro sonata Exposition section (m. 16 ff.) It is a 4-part fugue for strings (P1-P4), with classical
fugue scheme entrances alternating between tonic and dominant. The last entrance for lower
strings is doubled in the bassoons. At the third statement (m. 27) there is a countersubject Mc
in 1st violins. The Development section (m. 39 ff.) gives more importance to this counter-
subject. It becomes the main element and is juxtaposed and combined simultaneously with
the a-phrases from the main theme M1. There is intricate swapping of instrument roles: M1
vs. Mc, orchestration inversion of high vs. low. The development uses sequential treatment,
another countertheme (flute with ascending scales in m. 58 ff.), and reaches the dominant
major key in a climax (m. 68 ff.).
The opening motif Mf is stated by woodwinds and brass in the dominant key B[ (m. 97
ff.), before there is a secondary development of the fugue theme. Again the main theme M1
and countersubject Mc are combined; there is (stretto) imitation in strings and woodwinds,
and tutti sequential treatment (m. 117 ff.). The retransition to the tonic domain starts in
m. 128 after a general pause (G.P.). Note the rapid dynamic changes (p−f ) in the strings, that
are setting an 8th note rhythmic groove.
The Recapitulation section (m. 144 ff.) has another set of four main theme M1 statements
(P1-4), but now combined with the countersubject Mc from the start. The tutti section in
m. 154 is a copy of m. 39 ff., the transition in m. 179 ff. is similar to m. 58 ff. (however,
the instrumentation is different with the theme Mt now for clarinet and bassoon). The tutti
section (m. 192) and transition (m. 204 ff.) lead into the closing tutti cadences.
4.11.2 No. 1 Introduction ‘Zu Hülfe’

Vocal parts: Tamino and Die drei Damen. Form: ABC. See Table 4.87 and 4.88 for the analysis.
The A section has an introduction with 1st violin lead, playing the melody M1.1(ababc)
(2 + 1 + 2 + 1 + 8 m). The ascending arpeggio character of the a-phrase might be derived
from the ‘Freemason’ motif Mf; now it is in the relative minor key Cm. The extended c-
phrase contains a chromatically ascending pattern. This melody is repeated in the opening

Table 4.84: Mozart, The Magic Flute, Ouvertüre, Adagio - Allegro
m M R H Comment
h i
2
Adagio 2 ([[[) Introduction
1 Mf E[ E[ − Cm − E[/G− ‘Freemason’ motif, tutti
4 M0 F m7 /A[ − E[7 /B[− Vi1, str sync P T (e[),
..
8 . A[/C − E[/B[ − F m7 /A[− Bsn+LoStr arp
..
10 . A[/C − E[m/B[ − F7 /A − E[7 /B[−
..
12 . A[/C − F7[5 no 1 /C[ − B[− PBi (&)
14 ⊥ F7[9 /A − B[7sus4 − B[7 − cad
Allegro Fugue, Exposition
16 M1 E[ E[ − . . . − Cmno 3 − B[no 3 P1(aa’bb): Vi2
20 M1 E[ − Cm − <(Gm/B[ − F/A−) P2: Vi1
24 ⊥ Gm/B[ − C7 − F − B[7 − E[ − B[7 −
27 M1/c E[ − B[7 − P3: Bsn+Va+Vc, Mc: Vi1
.. ..
29 ./. E[/G − Cm − <(F m7 − B[)−
.. ..
31 ./. E[ − F − Dm − Gm−
32 ⊥/⊥ E[ − B[ − Cm7 − F7 −
33 M1 B[ − F7 − <(B[ − Gm − Cm − F ) P4: Bsn+Cb
37 ⊥ (B[ − C7[9 − F7 − B[[9
7 )/B[− WW+Str, Hns P D (b[)
38 (E[ − F7[9 )/B[ − B[7sus4 − B[7 −
Development
39 M1/c <(E[ − B[7 )− M1(aa’)+Mc, tutti
..
43 . E[ − Cm/E[ − F7 /E[ − B[/D− PB (&), Seq(3×1m;R3 ),
..
44 . Cm − A[/C − D7 /C − Gm/B[− tutti clim, Str 16ths trem
..
45 . A[ − F m/A[ − B[/A[ − E[/G−
..
46 . F m7 − B[7 − cad
..
47 . E[ − Cm − F7 /A − B[− repeat, inv, LoStr 8ths
..
48 . Cm/E[ − A[ − D7 /F ] − Gm−
..
49 . A[/C − F m − B[/D − E[−
50 ⊥ F7 /A − B[ − F7 /C− PB (%)
51 B[/D − Cm/E[ − C7 /E− Vi sync, cad

Table 4.85: Mozart, The Magic Flute, Ouvertüre (cont’d)
m M R H Comment
53 (M1) <(F − E◦7 )/F − F trans to D, Str sync, P D (f )
58 Mt G7 /B − Cm − F7 /A − B[− Fl, Str bg, Seq(3×2m;R7 )
62 ⊥ E[∆7 /G − F7 −
64 <(B[ − F7 )− WW, Str bg, cad
68 M1’ B[ B[− tutti
..
69 . F ]◦7 /A − Gm/B[− Seq(3×1m;R−7 )
..
70 . E◦7 /G − F/A−
71 ⊥ F m − B[7 /A[ − E[/G
72 E[ − B[ − E[ − F − cad
74 M1’ <(B[ − F7 )− closing stat, WW, Str bg
78 M1’ B[− repeat, tutti clim
..
79 . F ]◦7 /A − Gm/B[− Seq(3×1m;R−7 )
..
80 . E◦7 /G − F/A−
81 ⊥ F m − B[7 /A[ − E[/G
82 E[ − B[ − E[ − F − cad
84 <(B[/D − B◦7 /D− trans cresc, P D (f )
Cm/E[ − F7 /E[)−
90 B[/D − Cm/E[− tutti clim
91 B[64 − F − B[ closing cad
Adagio Interlude
97 Mf B[ motif, WW+Brs
Allegro Fugue, 2nd Development
103 M1/c B[m <(B[m − F7[9 )− P1: Vi1/(Vi2+Va)
.. ..
105 ./. <(B[m − C7[5 − F7[13 )− P2: Vc
[5/[9
107 ⊥/⊥ D7 − G[9
7 − Str sync
109 M1/c Cm [9
Cm − G7 − P3: (Bsn+Cb)/(Vi1+Vi2)
111 ⊥ /⊥ Cm/E[ − D7[5 − G[97 −
113 M1/c Cm − B[ − E[ − D7[9 − P4: Vi, Mc: WW imit
117 M1’ Gm Gm − Cm − A∅7 − tutti stretto imit
..
119 . F7 − B[ − Gm Seq(3×2m;R7 )
..
121 . E[∆7 − A∅7 −
123 ⊥ D7 − Gm
125 Cm − A∅7 /C−
127 Gm64 − D7 − cad, GP
128 M1’ <(G7 /B − A[/C) − G[97 − retrans, N 6 /V , Seq(4×4m;R5 ),
132 M1’ <(C7 /E − D[/F ) − C7[9 − Str (p−f )+WW

Table 4.86: Mozart, The Magic Flute, Ouvertüre (cont’d)
m M R H Comment
136 M1’ <(F7 /A − G[/B[)−
140 M1’ <(B[7 /D − C[/E[) − B[7 − back to T
Recapitulation
144 M1/c E[ E[ − B[7 − P1: Vi2/Cl
.. ..
146 ./. E[ − C7 /E − F7 − B[7 − P2: Vi1/Ob
.. ..
149 ./. Cm − C7 /E − F m − D7 /F ]− P3/4: Seq(4×1m;R7 ),
.. ..
151 ./. Gm − Cm7 /G− Bsn+LoStr
152 ⊥/⊥ F m7 /A[ − F7 /A − B[7 −
154 M1/c <(E[ − B[7 )− tutti
..
158 . E[ − Cm/E[ − F7 /E[ − B[/D− PB (&), Seq(3×1m;R3 ),
..
159 . Cm/E[ − A[/C − D7 /C − Gm/B[− Str 16ths trem
..
160 . A[ − F m/A[ − B[/A[ − E[/G[−
161 ⊥ F m7 − B[7 − cad
162 M1/c E[ − Cm − F7 /A − B[− repeat, inv, LoStr 8ths
.. ..
163 ./. Cm/E[ − A[ − D7 /F ] − Gm
.. ..
164 ./. A[ − F m − B[/D − E[
165 ⊥/⊥ F7 /A − B[− cad, tutti climax
166 (M1) F7 /C − F7 − B[7 − E[7 − Vi sync, Seq(3×2m;R5 )
172 A[ − E[ − F m7 − F7 /A− cad
174 (M1) <(B[ − A◦7 )/B[ − B[
179 Mt C7 − F m − B[7 − E[ − A[ − B[7 − Cl+Bsn,Seq(3×2m;R−7 )
185 (M1) <(E[ − B[7 )− tutti
..
189 . E[ − B[/D− climax, PB (&)
..
191 . Cm − Gm/B[ − A[ − E[/G−
192 ⊥ B[7 /F − E[ − F m/A[ − B[− cad
195 (M1) <(E[ − B[7 )− repeat, WW+Hns, Str bg
..
199 . E[ − B[/D− tutti clim, PB (&)
..
200 . Cm − Gm/B[ − A[ − E[/G
202 ⊥ B[7 /F − E[ − F m/A[ − B[− cad
204 <(E[ − E◦7 − F m7 /A[ − B[7 )/B[ trans cresc, P D (b[)
210 E[/G − F m/A[ − E[64 − B[− closing cad, LoStr 8ths
212 <(E[ − D[7no 3 − Cm − A[− tutti climax, Brs P T (e[)
215 E[64 − B[)− cad
220 (M1) E[ − B[ − Gm − D◦ /F − Fl+Str unis
223 E[ (227 m.)

statement by Tamino. The Three Ladies (Die Drei Damen) enter the stage with three-part S(3p),
solo S(p) and imitative singing.
This approach is continued in section B (m. 120 ff.), where a brief imitation phrase is
followed by three-part singing. In section C, in the tonic parallel major key C, there is also
the vocal subdivision into a leading part and two supporting voices S(p+2p). An interesting
feature in itself is how different orchestral sections or instruments are supporting individual
vocal phrases: there are more doubled lines than solo vocal phrases.
4.11.3 No. 2 Arie ‘Der Vogelfänger’

Vocal part: Papageno. See Table 4.89 for the analysis. This is straightforward song for bass
voice with simple harmonies and a introduction with three verse form. The melody has
M(aba’c) (4 + 4 + 4 + 2) structure, with the c-phrase being the whistle call. In the song
the b-phrase is extended by 2 measures, a call-and-response setting between vocal and tutti
orchestra. The vocal lead part is doubled in first violins.
4.11.4 No. 3 Arie ‘Dies Bildnis ist bezaubernd schön’

Form: ternary song, ABC. Vocal part: Tamino. See Table 4.90 for the analysis. There are four
vocal melody lines. Three of these have (modified) sentence structure: M1(aab) (2 + 2 + 8
m.), M2(aabc) (2 + 2 + 5 + 6 m.), M3(aab) (2 + 2 + 4 m.). The final melody line in the C section
has M4(aaa’bc) (1 + 1 + 2 + 4 + 8 m.) structure. In this aria instrumental doubling of the vocal
lead part is omitted.
Note that the violins in the opening measures play a variant of the dotted rhythm ‘Freema-
son’ motif Mf, now in a three-part setting in the opening key of E[ major. The B section has
extended tonic pedal point P T (b[), with 16th and 32th note rhythms in the strings. The first
violins play many appoggiaturas. The section ends on a general pause.
4.11.5 No. 4 Arie ‘O zittre nicht’

Form: recitative and aria. Vocal part: Königin der Nacht. See Table 4.91 for the analysis. Once
again, the opening measures seem to have a link with the ‘Freemason’ motif; the viola inner
part in the introduction is an ascending (diminished) triad arpeggio d − f − a[, the vocal part
opens with the b[ − d − f arpeggio (the minor key is Gm). The aria melody M2 (m. 21 ff.)
has a unique structure. Phrase melodic shapes are depicting the lyrics: descending stepwise
motion (Leiden . . . ängstliches Beben), rising high points e[ − f − a[ (Bösewicht . . . seh’ich . . .
Ach). An optional subdivision is M2(abc) (10 + 13 + 16 m.). The lead part M2 is doubled in
first violins, later in oboe.
The allegro C section is in the relative major key B[. The melody subdivision is M3(abcd)
(10 + 6 + 14 + 6 m.), with the c-phrase as a coloratura setting (apex pitch F 6 in m. 92). This
melody also opens with a b[ − d − f arpeggio triad.
4.11.6 No. 5 Quintett

Vocal parts: Drei Damen, Tamino and Papageno. See Table 4.92 to 4.94 for the analysis. This
number comprises two scenes (Sc. 7 and 8). There are four sections ABCD; or, alternatively
ABC Coda form (where the andante section is the coda).

Table 4.87: Mozart, The Magic Flute, No. 1. Introduction ‘Zu Hülfe’
m M R H Comment
h i
4
Allegro 4 A
1 M1.1 Cm Cm − . . . − G7[9 − abab): Vi1, Str 16ths
..
7 . Cm − G7 /D − Cm/E[− c), WW+Str, Hns P D (g)
.. d
10 . D[/F − D7 /F ] − E[/G − C7 /B[−
.. d
11 . F m/A[ − D7 − E[ − C7 /E− PLi (%)
..
12 . F m − F7 /E[ − B[/D − G7 /F −
13 ⊥ Cm/E[ − G7 /B − Cm−
14 F m − D◦ − Cm/G − G− cad
15 Cm − C7 /E − F m − Cm64 − G− cad
17 M1.1 Cm − . . . − G7[9 − abab): Tamino+Vi1
..
23 . Cm − G7 /D − Cm/E[− c’)
[5/[9
26 ⊥ F/A − D7 no 1 /A[ − G cad
28 M1.2 E[/G − A[ − C7 /B[ − F/A − F +/A− Voc+Bsn PLi (%)
..
31 . B[ − D7 /C − G/B − Cm Str+WW, Vi1+LoStr arp
..
34 . D[/F − N 6 , Str 16th trem p−f
d
36 ⊥ <(D7[9 /F ] − Cm/G − G7 ) − tutti clim, Hns P D (g)
40 M2.1 E[ A[ − B[7 /D − E[/G− Voc: Damen S(3p)
45 ⊥ <(B[ − E[) − B[
47 M2.2 E[/G − B[ − E[ − Cm Voc+WW
..
49 . F m7 /A[ − B[
..
50 . <(E[ − B[7 )/E[ − E[ Hns+LoStr P T (e[)
55 ⊥ <(E[ − A[ − E[ − B[7 − E[)−
63 A[ A[ − B[m7 /D[ − E[7 − A[ trans, WW+Cb
67 M2.3 A[ − A[+ − D[ − E[7 − A[ Voc S(p) imit,
.. d
71 . A[ − C7 − D[ − E[7 − A[ Bsn+Str
75 ⊥ A[/C − D[ − B[m/D[ − E[7 − A[
79 M2.4 A[ − E[7 − A[ − F m − B[7 /D− Voc+WW S(3p)
82 ⊥ E[ − <(E[7 /D[ − A[/C − E[7 − A[)
87 M2.5 <(A[ − E[7 )− Voc+Str, WW+Hns cad
94 M2.4 A[ − E[7 − A[ − F m − B[7 /D− repeat Voc+WW S(3p)
97 ⊥ E[ − <(E[7 /D[ − A[/C − E[ − A[)
104 M2.5 A[ − E[7 − A[ − F m − C7 − F m − G7 − Voc+Str S(p) imit
..
110 . Gm Cm − D7 − Gm − <(D7 − Gm) climax, WW+Hns cad
117 ⊥ G[9 [5
7 − Cm − A7 no 1 /E[ − D− cad

Table 4.88: Mozart, The Magic Flute, No. 1. Introduction ‘Zu Hülfe” (cont’d)
m M R H Comment
h i
6
Allegretto 8 (]) B
120 M3.1 G <(G − D7 )− Voc: Damen S(p) imit
128 ⊥ C]◦7 − <(D − A7 ) − D− Voc S(3p), WW+Str afterbeat
134 M3.2 G − G+ − Em/G − C− Voc+HiStr
..
137 . <(A7 /C] − D) − D7 /C−
139 ⊥ G/B − G64 − D7 − G WW+Str, cad
141 M3.2 G − G+ − Em − C− repeat, S(3p)
..
145 . <(A7 /C] − D) − D7 /C− Voc+WW+Str
..
146 . G/B − D7 /C − G/B − . . . − Vi 16th runs
150 ⊥ G/B − Am/C − G64 − D7 − cad
151 G − B∅7 − trans, unisono
h i
2
Allegro 2 (\) C
153 M4.1 C C − G7 − C Voc: Damen S(p) imit
..
156 . Dm − G7 − C − D−
..
161 . D7 − <(G − D7 ) − G− Voc+Str S(3p), tutti clim, P D (g)
..
167 . (G − D7 − G − G7 )/G− Voc+HiStr S(p) imit
171 ⊥ G7 − Voc S(3p), tutti clim, sync
174 M4.2 <(C − Am7 − Dm/F − D7 /F ] − G7 ) Voc S(3p), Str+Ob
..
178 . C − Am − F − Dm−
.. d
182 . G7 − <(C − G7 ) − S(p + 2p), Vi tripl, Hns P D (g)
185 ⊥ Am − Dm/F − C46 − G7 − C cad
188 M4.2 <(C − Am7 − Dm/F − D7 /F ] − G) repeat
..
192 . C − Am − F − Dm−
d
196 ⊥ G7 − <(C − G7 ) −
202 M4.3 <(Dm7 /F − D7 /F ] − G7 − E7 /G]− Voc S(p + 2p), PBi (%)
..
203 . Am)
..
206 . Dm7 /D − D7 /F ] − G− closing, Voc S(3p)
208 ⊥ <(C − G7 /B − C − G7 ) tutti clim, cad
213 C (218 m.)

Table 4.89: Mozart, The Magic Flute, No. 2. Arie ‘Der Vogelfänger’
m M R H Comment
h i
2
Andante 4 (]) Introduction
1 M G <(G − D)− a) Vi1, Str 16th bg
..
5 . D − G − D − A7 /C] − D − A − D b), Hns cad
..
9 . D − G − D7 /A − G − D − D7 − a’)
13 ⊥ <(D7 − G) c): whistle call
15 M’ G7 − C − Am/C − D7 − G a’) Vi1, Str+Hns
..
19 . G7 − C − Am/C − D7 − G− a’), repeat, tutti cresc
23 ⊥ <(D7 − G) − G − D7 − G c), call+cad
27 M G−D−G Song, a): Papageno+Vi1, 3 verses
..
31 . D − <(A7 /C] − D) b), Str+Hns, tutti cad
..
35 . D − G − D7 /A − G − D− a’)
..
39 . <(D7 − G) c) whistle call
..
43 . G7 − C − D7 − G− a’)
47 ⊥ <(D7 − G) c) whistle call
49 G − D7 − G tutti cad, da Capo (50 m.)

Table 4.90: Mozart, The Magic Flute, No. 3. Arie ‘Dies Bildnis ist bezaubernd schön’
m M R H Comment
h i
2
Larghetto 4 ([[[)
1 Mf’ E[ E[ A, Mf: HiStr
3 M1 E[ − . . . − B[7 − E[− aa): Tamino
..
7 . A[ − E[/G − A[ − Gm b)
..
9 . B[7 − E[/G − A[ − E[/B[ − B[7 −
..
12 . A◦7 − B[ − E[ − F m−
14 ⊥ E[64 − B[7 − E[ cad
16 M2 B[ − F7 − B[ − E[ trans, a): Cl S(2p)
16 M2 B[ − F7 − B[ − E[ − B[ − A◦7 /C− aa): Tamino
.. d
22 . B[/D − E◦7 /G − F − b)
..
26 . B[ − F7 /E[ − B[/D − Cm/E[ WW accts, Hns P D (f )
.. d
28 . B[/F − F7 − Gm − B[7 /A[ − E[/G−
d
31 ⊥ B[7 /A[ − E[/G − E◦7 − Dm/F − F7 − clim, Hns P D (b[)
34 B[ B[ − B[7 − B, trans appogg, P T (b[)
37 M3 B[ − B[7 − aa): Tamino, Str 16th-32ths
..
40 . E[ (C7 − F m − B[7 − E[ − A◦7 − B[)/B[ b), P D (b[)
43 ⊥ B[ − A◦7 /C − B[7 /D GP
45 <(E[ − B[7 )/E[− C, Va: 32ths, P T (e[)
46 M4 <(E[ − B[7 )/E[ − E[7 − aaa’): Tamino,
..
50 . A[ − B[7 − E[/G − A[− b)
..
53 . E[64 − B[ − A◦7 /C − B[/D− tutti cad
..
55 . E[ − F m/A[ − E[64 − B[7 − c)
..
57 . E[ − A[ − E[64 − B[7 − E[ − A[
..
60 . E[64 − B[7 − E[ − B[7 − tutti clim
62 ⊥ E[ − B[7 − E[ closing cad (63 m.)

Table 4.91: Mozart, The Magic Flute, No. 4. Arie ‘O zittre nicht’
m M R H Comment
h i
4
Allegro meastoso 4 ([[) A, Introduction
1 B[ (B[ − B[7 − E[ − E[m − F7 )/B[− Vi sync, LoStr P T (b[)
5 <(B[ − F7 /A) − B[ tutti, cad
Recitativ Königin der Nacht
11 M1 (B[ − A◦7 )/B[ − B[ − C7 −
.. d
15 . F − F7 /E[ −
18 ⊥ Gm D − D/F ] − Gm − A[/C − D7[9 − trans
h i
3
Arie – Larghetto 4 B
21 M2 Gm Gm − Cm − D7 /F ] − Gm − A∅7 /C − D a): Königin+Vi1, Str bg
..
28 . D7[9 /F ] − Gm − F7 /A − B[− Str+WW
..
32 . B[ F − E[ − B[/D − B[ − F7 − b) Voc+Vi1, tutti clim
..
36 ./c B[ − B[7 − F m/C − G[9
7 /B− Mc: Bsn+Va, Str 16ths
.. ..
40 ./ . Cm − A[ − B[ − D/F ] − Gm− PLi (&), Seq(3×1m;R−7 ),
..
42 ./⊥ A − C/E − F ]◦7 − G − E[7 − D chrom in bass
..
45 . Gm D7[9 /F ] − Gm − G[9
7 /F − Cm/E[− c) Voc+Ob, tutti fp acct
.. d
49 . A∅7 /C − D − G7 − Cm − A∅7 /C − D7 − Str
..
56 . Cm E[ − Cm/E[ − D∅7 − G[9
7 − Cm−
60 ⊥ Gm 6
C]◦7 − Gm4 − D7 − cad, retrans
h i
4
Allegro moderato 4 C
61 B[ Gm − F7 − B[ − F7 − trans, tutti clim
d
64 M3 B[ − Cm/E[ − F7 − Gm − F7 − B[ a): Voc+Vi1
.. d
68 . Cm/E[ − F7 − Gm − B[/D − E[−
..
72 . Cm7 /E[ − C7 /E − F − cad
..
74 . <(B[ − F7 ) − B[ − Cm7 /B[ − B[7 /A[− b), Ob P D (f )
..
81 . E[/G − B[7 /D − E[ − A◦ /C− c) coloratura, Str bg
..
83 . B[ − F7 − B[ − E[ − E[/G− WW+Str bg
..
90 . Cm/E[ − . . . − B[64 − F7 − B[ − E[−
..
95 . Dm/F − D7 /F ] − Gm − B[ − E[− d)
..
97 . B[64 − F7 − B[ − F7 − tutti clim
100 ⊥ B[ − Cm − F7 − B[ clos cad (103 m.)

Section A is a duet between Papageno and Tamino with a simple regular song structure
A::AABA (4 × 8 m.) and set as call-and-response. The comedy effect is increased by doubling
the bass part for Papageno with the usual orchestral clown, i.e., the bassoon. In section B the
Drei Damen start a discussion with Papageno. The three ladies sing solo S(p) and three-part
choir phrases S(3p); this discussion has M2(abab) (6 + 4 + 4 + 4 m.) period structure. From
m. 54 on it is the first real quintet setting S(5p) (three-part chord structures with doubling).
Melody M3(abab) (4 + 4 + 4 + 4 m.) is another period, with unisono singing in the antecedent
(a-phrase) and a 5-part consequent (b-phrase).
The three ladies continue (m. 80 ff.) in another set of solo and three-part choir phrases
M4. This turns into the second quintet section in m. 111 with both choral and imitative
phrases, and ‘dialogue’ (section C, M5, m. 135 ff.). There is more quintet singing starting
in m. 184; the closing of this section has M6(aabb) (2 + 2 + 4 + 4 m.) sentence structure.
The vocal interaction is continued in the closing andante, section D. This has M7(ababbc)
(4 + 4 + 4 + 4 + 4 + 8 m.) structure.
4.11.7 No. 6 Terzett ‘Du feines Täubchen nur herein!’

Vocal parts: Pamina, Monostatos and Papageno. Form: ABC. See Table 4.95 for the analysis.
The outer sections are duets, the middle section is for solo voice. Vocal phrases are juxta-
posed (dialogue), the closing section has some two-part singing S(2p) in parallel consonant
thirds.
The A section contains extended (tonic) pedal point P T (g). In the middle section first
violin and bassoon play unisono ascending arpeggios; these interjections once again sup-
port the comical note that accompanies Papageno. The C section has dotted rhythm unisono
strings filling the brief gaps in the vocal lines. This yields a composite rhythm, with winds
and brass joining in the closing phrase.
4.11.8 No. 7 Duett ‘Bei Männern, welche Liebe fühlen’

Form: AAB. Vocal parts: Pamina and Papageno. See Table 4.96 for the analysis. The song
consists of two verses (A sections) with a coda conclusion ((B section). The verse melody
may be subdivided into M1(abab’) (2 + 2 + 2 + 2 m.) period structure (solo singing), followed
by a duet S(2p) bridge M2(cd) (4 + 4 m.). The coda, B section, continues the duet M3 with
sotto voce-f phrases (dynamic contrast) and acts as a summary.
4.11.9 No. 8 Finale

Vocal parts: Drei Knaben, Tamino, Priester, Papageno, Pamina, Monostatos and Sarastro. See
Table 4.97 to 4.105 for the analysis. The long Act 1 finale has a total length of 587 measures,
covering five scenes (Sc. 15 to 19). It may be subdivided into 9 subsections (the measure
numbering is restarted in the tables).
Section 1, Larghetto (Fünfzehnter Auftritt (Sc. 15), has AABA form. The A sections are in
three-part writing S(3p): parallel consonant sixths and a dominant pedal for the Drei Knaben
and there is upper string doubing. The triple brass tenuto signals at the end of the phrase
express the divine character. The bridge B is for Tamino solo with light string background
(2nd violin triplet arpeggios).

Table 4.92: Mozart, The Magic Flute, No. 5. Quintett
m M R H Comment
h i
2
Allegro (Siebenter Auftritt, Sc. 7) 2 ([[) A
1 B[ B[ introduction, tutti
3 M1a B[ − B[/D − Gm − Cm7 − F7 − Papageno+Bsn call, Str
..
7 . B[ − F7 /E[− Tamino response
9 ⊥ B[/D − Gm − Cm/E[ − F7 −
11 M1a B[ − B[/D − Gm − Cm7 − F7 − Papageno+Bsn
..
16 . F7 /E[ − B[/D− Tamino
18 ⊥ Cm7 /E[ − B[/D − F7 /C − B[
19 M1b (F − F7 − B[ − F7 )/F − Pap & Tam im, CB P D (f )
..
24 . F7 /E[ − B[/D − Cm7 /E[−
26 ⊥ B[64 − F7 − cad
27 M1a’ B[ − B[/D − Gm − Cm7 − F7 − Pap & Tam S(2p)
..
31 . B[/D − Gm − Cm7 − F7 −
33 ⊥ B[ − C7 /E− trans
(Achter Auftritt, Sc. 8) B, Drei Damen
35 M2 F (F − C7 )/F − F − a): Voc S(p)+Vi1, LoStr P T (f )
..
39 . (B[ − E◦7 − F )/F tutti cad
..
41 . <(C7 /E − F ) b): Pap & Dame P D (c)
..
45 . F − ...− a): Pap+WW S(2p), P T (f )
..
47 . (B[ − E◦7 − F )/F Damen+HiStr S(3p)
49 ⊥ B[ − <(C − F ) − C b’): Pap & Damen, tutti cad
53 M3 <(F − E◦7 /G) − F − A[5
7 /E[− trans, (All) S(5p)
..
62 . Gm D − D7 − Gm a): unisono climax
..
66 . C7 /B[ − F/A − Gm7 /B[− b): Voc+Bsn+Str S(5p)
..
68 . F46 − C7 − F − A[5
7 /E[− cad
..
70 . D − D7 − Gm a): unisono climax
..
74 . C7 − F − Gm− b’) Voc+Bsn+Str S(5p)
76 ⊥ F46 − C7 − closing cad

Table 4.93: Mozart, The Magic Flute, No. 5. Quintett (cont’d)
m M R H Comment
77 B[ F − . . . − F7 − trans, Bsn+Str unis
81 M4 B[ − F − Gm − Cm − F7 − a:) Dame+Vi1 S(p) PL (%)
..
85 . B[/D − E[ − B[64 − F7 − Bsn+Str, cad
..
87 . B[ − E[/B[ − B[ Hns P T (b[)
..
90 . F7 − B[ − E[ − B[− repeat
94 ⊥ F7 − B[
96 M4 C7 /B[ − F/A − C7 /E− b): Damen+HiStr (S(3p)
..
98 . F − C7 − F − C7 − F cad
..
102 . F7 /E[ − G/D − Cm− c): Voc+WW S(3p)
..
104 . Cm/E[ − B[/F − F − B[
106 ⊥ B[ − E[ − Cm/E[ − B[64 − F7 − cad
109 B[ Vi 8th runs&, LoStr P T (f )
111 M4 <(F7 − B[)/B[ d): All S(5p)
..
118 . C7 − F7 − B[7 − E[ − A∅7 /E[ e): imit, Seq(5×R5 )
..
122 . B[ − Cm − B[/F − F7 /E[− cad
124 ⊥ <(B[ − Cm − B[/F − F7 /E[)− Voc S(5p) tutti climax
132 B[ − D7 − Gm − D7 − trans, Hns P D (d), cad
136 M5 Gm Gm − C − A[5
7 /E[ − D− C, Papageno
..
140 . D7 /F ] − Gm− Damen+Str S(3p), Ob P D (d)
142 ⊥ Re(E◦7 /G − Dm/F ) − E◦7 /G−
147 M5’ Dm Dm − . . . − <(E7[5 /B[ − A)− Papageno+Str unis
..
159 . Dm − E[∆7 /G − Gm − E∅7 /G− Damen S(3p), cad
162 ⊥ Dm64 − A7 − Dm
164 M5’ Gm A[5
7 /E[ − D − D7 /F ]− Papageno
..
167 . <(Gm − D7 /F ])−
..
170 . Gm − <(B[ − E[)− Damen & Pap.
..
175 . <(D∅7 − E[)−
180 ⊥ A◦ /C − B[ − E◦ /G − F −
184 M5’ B[ <(B[ − G/B − Cm − F ) All S(5p), WW+Str 8ths
188 ⊥ B[ − F7 /A − B[ − E[ − B[64 − F − tutti cad

Table 4.94: Mozart, The Magic Flute, No. 5. Quintett (cont’d)
m M R H Comment
192 M6 <(B[/D − F7 /E[)− aa): All, tutti climax
.. d
196 . B[/D − Cm/E[ − F7 − Gm− b)
.. d
198 . Cm/E[ − F − Gm
.. d
200 . B[/D − Cm7 /E[ − F7 − Gm− b)
..
202 . Cm/E[ − F7 − B[ cad
..
204 . D7 /F ] − Gm − C7 /E− trans, Tam. & Pap.
207 ⊥ <(F − E◦7 /G) − F clos cad (213 m.)
h i
4
Andante 4 D
1 M7 B[ B[ − F/A − Gm − Dm/F − a): WW+HiStr, PB (&),
3 ⊥ E[ − B[/D − F7 − B[ − F Vi pizz 8ths
5 M7 B[ − F/A − Gm − Dm/F − a): Drei Damen S(3p)
..
7 . E[ − B[/D − A∅7 /C − B[ − F
.. d
9 . F − B[/F − F7 − Gm− b)
..
11 . E[ − B[/D − E[ − F7 − B[
..
13 . B[ − F/A − Gm − Dm/F − a): Tam & Pap, WW+LoStr
..
15 . E[ − B[ − A∅7 − B[ − F
.. d
17 . F − B[/F − F7 − Gm− b): Drei Damen, WW+HiStr
..
19 . E[ − B[/D − E[ − F7 − B[
.. d
21 . (F − B[ − F7 )/F − Gm− b): Tam & Pap, WW+LoStr
..
23 . E[ − B[64 − F − B[ cad
..
25 . <(E[ − B[/D)− c): All S(5p), tutti clim
..
27 . E[ − B[/D − E[ − B[64 − F7 − B[ cad
29 ⊥ <(F7 − B[) − B[ clos cad (34 m.)

Table 4.95: Mozart, The Magic Flute, No. 6. Terzett ‘Du feines Täubchen nur herein!’
m M R H Comment
h i
4
Allegro molto 4 (]) A (Elfter Auftritt, Sc. 11)
1 G G intro, tutti, LoStr P D (g)
3 M1 <(G − D7 ) − G a): Pam & Monos+Vi1+Bsn
..
7 . C/G − G − D/F ] − G cad, fp dyn
..
11 . Dm A7 /C] − Dm − E◦ /G− b): Pam+Vi1
..
16 . Dm64 − A7 − cad
..
17 . D D − G/D − D c): Monos, Str sync, P T (d)
..
20 . D − C]◦7 − unisono cresc
..
22 . D − C/E − D7 /F ] − D7 − d): Pam+Vi1
..
25 . D tutti clim, Str sync
27 ⊥ G G − C − Am − D − G e): Monos, cad, tutti clim
B (Zwölfter Auftritt, Sc. 12)
32 G/D − Am/C − D7 − G trans, Str
36 M2 G/D − Am/C − D7 − G a): Papageno, Vi1+Bsn
..
40 . G/D − A − D − Bm− b), Vi1+Bsn
..
43 . Em7 /G − A − D
..
45 . <(G − D7 )− c), Fl+Vi1, Str 8ths
52 ⊥ G tutti clim
53 M3 <(G/B − Am/C − D)− C, a): Monos & Papag S(2p), Str unis
..
61 . <(G − D7 )− b): Voc imit, (WW+Brs)-Str imit
67 ⊥ G − <(D7 − G) cad (71 m.)

Table 4.96: Mozart, The Magic Flute, No. 7. Duett ‘Bei Männern, welche Liebe fühlen’
m M R H Comment
h i
6
Andantino -Verse 1 8 ([[[) A
1 E[ E[ − B[7 − Intro, Str-(WW+Hns)
2 M <(E[ − B[)− a): Pamina, Str bg
..
4 . E[ − Gm− b)
..
5 . A[ − E[/G − B[7 /D − E[
..
6 . B[ − E[ − B[7 − a): Papageno
..
8 . E[ − E[∆7 /D − A∅7 /C − B[/D− b’)
9 ⊥ Cm7 /E[ − B[64 − F7 − cad
10 M2 B[ − B[7 /A[ − E[/G c): Pam & Papag S(2p)
.. d
12 . Cm − F m/A[ − B[7 −
14 ⊥ Cm − E[/G − F m7 /A[ − E[64 − B[7 − d)
16 <(E[ − B[7 )− trans, cad
Verse 2 A, variation
18 M1 <(E[ − B[)− a) Pamina
..
20 . E[ − Gm − A[ − E[/G − B[/D − E[ b)
..
22 . B[ − E[ − B[7 − E[− a): Papageno
24 ⊥ E[ − B[/D − Cm7 /E[ − B[64 − F7 − b’)
26 M2 B[ − B[7 /A[ − E[/G c): Pamina & Papageno S(2p)
.. d
28 . Cm − F m7 /A[ − E[64 − B[7 − d)
30 ⊥ Cm − E[/G − F m7 /A[ − E[64 − B[7 −
32 M3 <(E[ − B[) B, a): Voc S(2p), cad
.. d
36 . B[ − E[ − B[ − b): Voc+WW, sotto voce
..
37 . Cm − Gm − A[ − E[−
..
38 . F m − B[ − E[ − Cm − F m7 /A[ − B[7 − f cad, Str sync
.. d
40 . B[ − E[ − B[ − b), repeat, var
..
41 . Cm − Gm − A[ − E[−
..
42 . F m − B[ − E[ − Cm − F m7 /A[ − B[7 − tutti clim
44 ⊥ <(E[/G − F m/A[ − B[7 /A[)− closing
48 E[ − B[7 − E[ cad (49 m.)

Table 4.97: Mozart, The Magic Flute, No. 8. Finale
m M R H Comment
h i
2
Larghetto (Fünfzehnter Auftritt, Sc. 15) 2 (Section 1)
1 M1.1 C C − G7 − C A, Intro, Vi S(2p), P D (g)
6 ⊥ <(C − Am − Dm7 /F − C46 − G − C)
10 M1.1 C − G7 − C Drei Knaben+HiStr S(3p)
14 ⊥ C − D7 − G − <(C − G) tutti, Brs 3×, cad
19 M1.2 G−C −D−G B, Tamino, Str triplets
23 M1.1’ G − G7 /F − C]◦7 /E− A, Drei Knaben S(3p), var
..
24 . Dm − A − Dm − G−
..
25 . <(C − G) − G − C Brs 3×
.. d
31 . <(C − G7 − Am − Dm7 /F −
32 ⊥ C46 − G7 − C) Brs 3×
35 C46 − G7 − C tutti cad, P D (g) (38 m.)
h i
4
Recitativ 4 (Section 2)
1 M2.1 C − B[ − C7 − F − A7 /C]− Tamino maj, Str accts
..
5 . A7 /G − Dm/F − E7[5 /B[ − A min, modul
..
7 . A − A7 /G − F ]7 −
..
. Allegro
..
12 . G Bm − G/B − Am − D7 − Str 8ths afterbeat
..
16 . G − Am7 /C − D7 −
..
18 . G − F ] − B7 /F ] − Em− tutti Σ(cm<)
..
19 . B7 /D] − Em Vi scalar run %
..
21 . A7 − . . . − D − G
d
28 ⊥ G − A7 − D − . . . − A − tutti accts
33 M2.2 Gm B[ − D7 − Priest & Tamino, Str accts
..
37 . Gm − B[7 − WW+Str unis accts
..
40 . E[ E[ − G/D − G7[13 − Voc, Str accts
44 ⊥ Cm Cm − Cm/G WW+Str unis accts

Section 2, Recitativ, is a wonderful example of depicting the lyrics. In the vocal part there
is dialogue between Tamino, a Priest (m. 33 ff.) and a three-part S(3p) choir of Priests. Mozart
uses many techniques to illustrate the lyrics and mood. Examples are:
• Contrast in tempo (Allegro, Adagio, Andante), rapidly changing.
• Tonality. Opposing major-minor keys. ‘Weisheit’ (m. 1) in major, anxiety ‘Wo bin ich
nur? was wird mit mir?’ (m. 4) in minor. Frequent modulation.
• Melodic shape. See the high points for ‘Thätigkeit’ (pitch G5, m. 13), ‘Müssiggang’ (A5,
m. 15). The entrance of the Priest (m. 33) is an ascending augmented triad b[−d−f ], ex-
pressing dramatic tension, while also being a reference to the opening ‘Freemason’ motif
Mf. Unisono descending scale on the words ‘Tod und Rache dich entzünden’ (m. 57).
• String section accents to comment on the lyrics (later adding woodwind, see ‘Tyrann!’
in m. 78). There is use of dynamics, ascending scalar 16th runs for heroic action (m. 20
and 26), tremolo on ‘Heuchelei’ (m. 63, while in the remote key B[m), ‘Sarastro’ (m. 70)
and ‘Hass’ (m. 75).
• Instrumentation. When the mood changes, e.g., when the Priest is comforting Tamino
(m. 94 ff.) and expressing hope, the vocal line is doubled in cello. The sotto voce choir
of Priests (m. 105 ff.) is doubled in brass (divine, holy).
Section 3, Andante - Presto, contains the Tamino flute song and a longer coda with his
longing for Pamina (m. 33 ff.). The song has regular AABA form. The main melody has
M3.1(aba’b’) (2 + 2 + 2 + 2 m.) period structure. Note the sudden transition to tonic parallel
minor Cm when Pamina’s name is called (m. 29). The hope and expectation in the Presto
(m. 53) is expressed by the downbeat rising notes d−f −a in the vocal part (another ascending
arpeggio triad), answered by the following descending steps.
Section 4, Andante, is a duet between Pamina and Papageno. The overall form is ABA’,
with two-part consonant parallel singing with violin doubling S(2p) in the outer sections
and solo phrase juxtaposition in the bridge. The main melody has M4.1(aa’bcb’c) (2 + 2 +
2 + 2 + 2 + 2 m.) structure. The b- and c-phrase are repeated in the closing section (m. 27 ff.)
Section 5 has ABC form. The opening section has a somewhat recitative character with
lyrics for Monostatos, Pamina & Papageno, the middle section (m. 30 ff.) is for 3-part S(3p)
Slave Choir, the closing section (m. 63 ff.) a duet for Pamina & Papageno. The middle section
also has the glockenspiel dance tune accompanying the entrance of Papageno, with the har-
monic basis for the choir singing. This has a melody with M5.3(aa’ba”b’a”b’) (2 + 2 + 4 + 4 +
4 + 4 + 4 m.) structure.
Section 6, Allegro maestoso, has AB form. The first half is a dialogue between Pamina and
Papageno (with choir introduction), the B section (m. 25 ff.) is a 3-part setting S(3p) for Chor.
The feeling of fear in the A section is expressed by doubling the vocal phrases with unisono
strings (see ’Was soll das bedeuten? Ich zittre’ m. 5); note the chromatism and descending steps
(m. 10-14 on ‘O wär ich eine Maus, wie wollt’ich mich verstecken’). The choir is accompanied by
the entire orchestra, with brass once again expressing the divine and holy mood; the opening
phrase ‘Es lebe Sarastro!’ yields the familiar dotted rhythm ascending arpeggio triad motif
c − e − g.
The ascending arpeggio triad f − a − c (woodwinds and violins) then opens Section 7,
a duet with interaction for Pamina and Sarastro with ABC form. The lyrics are underpinned

Table 4.98: Mozart, The Magic Flute, No. 8. Finale (cont’d)
m M R H Comment
Adagio
47 M2.3 E[ A[ − B[7 − Tamino & Priest
..
. Andante a tempo
..
50 . E[ − B[/D − Cm − Cm7 /B[− Ww+Vc
..
51 . F m/A[ − B[7 − E[
53 ⊥ E[ − B◦ /D − B◦7 − Str accts
55 M2.4 Cm − D7[5 − G− Voc+tutti unis&, maj
..
57 . Gm Gm − D7[13 /F ] − F ]◦7 − min, Str accts
..
60 . Gm − B[7 /F −
..
62 . E[ − F ]◦7 /A− Str trem
..
64 . B[m B[m/D[ − A◦7 /C − B[m/D[ − C7 /E− Str accts
..
68 . F m/A[ − F7 /A − B[m − Cm − G7 − Str trem, tutti accts
..
74 . Gm Cm − D7 − Gm − B[/F −
.. d
78 . E[ − B[[9 [9
7 /D − Cm/E[ − D7 −
..
82 . Gm − C7 − . . . − F − Str bg
..
86 . C]◦7 − Dm − E7 − modulation
..
90 . Am − A − A7 /G − Dm/F −
..
93 . Em B7[9 − Em
96 ⊥ G7 /D − C7 − F − Dm/F − E7 −
Andante a tempo
99 M2.5 Am Am − F − Priest+Vc
..
100 . B∅7 /D − Am64 − E− Str 8ths afterbeat
..
101 . Am − Dm − E7 − Ob+Str
103 ⊥ Am − G]◦7 /A − Am − B7[5 /F − Tamino, Str bg
105 M2.6 E − Am − F − B∅7 /D− Chor S(3p), Brs
..
107 . Am64 − E − Am cad
108 ⊥ A7 /G − Dm/F − B7[5 /F − Tamino
110 M2.6 E − Am − F − B∅7 /D− repeat, Chor
..
113 . Am64 − E − Am cad
114 ⊥ C D7 /F ] − G7 − G7 /F − C/E− Tamino, Str bg
119 C7 − F − G7 − C closing cad (121 m.)

m M R H Comment
Andante - ABA’-Coda (Section 3)
1 M3.1 C C − G − C/E − F − Dm/F − C46 − G− A, ab): Fl, Str bg
4 ⊥ C − G − C/E − F − C/G − G7 − a’b’)
8 M3.1 C − G − C/E − F − Dm/F − C46 − G− A, ab): Tamino
12 ⊥ C − G − C/E − F − C/G − G7 − a’b’)
17 M3.2 G7 − C − D 7 − G B, bridge, Fl-Voc
21 ⊥ G7 − C − D 7 − G repeat var
25 M3.1’ C − G − C/E− A’ a): Voc, Str bg
..
27 . F − Dm/F − G − G/B− b)
.. d
29 . Cm Cm − A[ − D∅7 /F − G7 − Sadness, minor
31 ⊥ A[ − Cm/E[ − D∅7 /F − G7 −
33 M3.4 C C − D7 − G/D − C]◦7 /E − D7 − Coda Fl, Str bg
..
33 . C − D7 − G/D − C]◦7 /E − D7 − Tamino, Str 8ths
..
40 . G G − G]◦7 − Am − A7 /G − D/F ]− Papageno whistle
43 ⊥ G − . . . − F ]◦7 /G − G closing cad, P T (g)
47 G Papageno whistle
Presto - Adagio - Presto
53 M3.5 G − ...− Tamino+Vi1, Str 8ths
..
57 . C B∅7 /F − C/E − G7 B − C Str ff , cad
..
59 . <(Dm/F − C/G − G7 /F − C/E)− Str sync
63 ⊥ Dm7 /F − C46 − G7 −
66 C − Am − F ]◦7 − trans, Str unis (69 m.)

m M R H Comment
h i
4
Andante (Sechzehnter Auftritt, Sc. 16) 4 (]) A (Section 4)
1 M4.1a G G − D7 − G − D− aa’): Pam & Pap+Vi S(2p)
.. ~ &, [S̄ 6 ]
5 . G/B − F ]/A] − F/A − D − Am/C− b) Hke
..
7 . G/B − Am/C − G64 − D7 − G c) cad
..
9 . G − D − Am/C− b’)
11 ⊥ G/B − Am/C − G64 − D7 − G c) cad
12 M4.2 (G − D7 − G)/G − D− B, Voc S(p), P T (g)
16 G − <(D7 − G) cad, whistle
21 M4.3 D (A7 − D − A)/A− A’, Voc S(2p), P D (a)
24 ⊥ D/A − A7 − D7 − tutti clim
27 M4.1 G G − Am/C− b)
..
29 . G/B − Am/C − G64 − D7 − G c), [S̄ 6 ] , cad
..
31 . <(G − C − D7 /F ])− b’) tutti
35 ⊥ <(G − Am/C − G/D − F ]◦7 /C)− c’) cad (37 m.)
with instrumental effects. For example, the violin afterbeat 16th arpeggios after ‘der böse
Mohr verlangte Liebe’ (m. 9), the woodwind runs with ‘dringen’ (m. 16 and 18), the violin
16ths leap patterns after ‘doch geb ich dir die Freiheit nicht.’ (m. 31), descending 32ths runs
after ‘und ein stolzes Weib!’ (m. 42).
Section 8 uses a two-measure stepwise descending motif M8.1a in quarter notes as central
element for the vocal part for Monostatos. It usually appears in a group of three statements:
the first is a descending series of 1st inversion triads [S̄ 6 ] & with 8th note appoggiaturas in
the 1st violins. The next two statements use contrary closing motion. This motif is juxtaposed
with imitative phrases (labeled M8.1b and M8.1c). The section is closed with a choral phrase
with M8.2(aa’ba’) (2 + 2 + 2 + 2 m.) structure and a brief recitative M8.3 for Sarastro.
The closing Section 9 of the finale opens with 4-part choir and tutti playing a variant of
the ‘Freemason’ Mf motif; note the ascending arpeggio triad c − e − g in the lead parts over
the lyrics ‘Wenn Tugend und Gerechtigkeit’. The choir melody M9(a+b+6c) has (6 + 6) + (6 +
10 + 6 + 6 + 12 + 4) m. phrasing; the a-phrase is the divine signal motto, the b-phrase is der
grossen Pfad mit Ruhm bestreut’, the c-phrase is ‘dann ist die Erd’ . . . den Göttern gleich’ repeated
many times until the closing cadences. There is extended dominant pedal point in brass and
first violins.
4.11.10 No. 9 March of the Priests

Vocal part: Pamina. See Table 4.106 for the analysis. Form: ternary song form ABA’. The
introduction to the second act has regular four-measure phrase structure with lead for flute
and 1st violin. It also contains frequent woodwind and string section doubling.

m M R H Comment
h i
4
Allegro (Siebzehnter Auftritt, Sc. 17) 4 (Section 5)
1 M5.1 G − <(D − G)− A, tutti unis, Monostatos
..
5 . <(D/F ] − G) − C]◦7 /E− climax
..
9 . D D − G]◦7 /B − A−
..
12 . D − ...− Str 8ths, Ob+Hns P D (d)
..
15 . D − ...− Pam & Pap+Vi S(2p)
..
17 . D − A − D − C]◦7 /E− Monos, tutti unis
20 ⊥ D − D7 − Voc+WW
23 M5.2 G <(G − D)− unisono
30 (M5.3) G − D7 − G Glockenspiel
34 ⊥ G − Am/C − G64 − D7 − G cad
38 M5.3 G − D7 − G B, aa’): Slaves S(3p)
..
42 . G − Am/C − G64 − D7 − G b), Glk bg
..
46 . D7 − G/D − D7 − G a”)
..
50 . G − Am − G64 − D7 − G b’)
..
54 . D7 − G/D − D7 − G a”) repeat
58 ⊥ G − Am/C − G64 − D7 − G b’) cad, GP
d
63 M5.4 G − D7 − G − D − G − D − C, Pam & Papag+Vi S(2p)
..
67 . Em − E7 /D − Am/C−
..
69 . D − D7 − G
..
71 . <(D7 − G/D)− Voc imit, Hns+LoStr P D (d)
76 ⊥ G − A7 − D−
d
79 M5.4 G − D7 − G − D − G − D − repeat, tutti
..
83 . Em − E7 /D − Am/C−
83 ⊥ D − D7 − G (86 m.)

m M R H Comment
Allegro maestoso (\) (Section 6)
1 M6.1 C C −G−C A, Chor S(4p) intro
5 M6.2 F − C/E− Papageno & Pamina, unis
..
7 . F − C/E − D7 − G7 − C
..
9 . F ]◦7 /A − G− fear, chrom
..
10 . <(D7[5 /F ] − G) fear, stepwise&
..
14 . D7[5 /A[ − G−
17 ⊥ G7 − C − Dm/F − G−
20 C − G/B − C− cad, tutti climax
(Achtzehnter Auftritt, Sc. 18) B
25 M6.3 C − <(G/B − C)− a): Chor S(3p), tutti
..
28 . G − C − <(G7 /B − C − G) b)
..
31 . G − D7 − G− c) Voc+WW imit
..
34 . G7 /B − C − G− halfcad
..
35 . <(C − G7 − C) a’) tutti climax
41 ⊥ <(C − Am − F − G7 − C) tutti cad (44 m.)

m M R H Comment
Larghetto ([) (Section 7)
Mf F F− A, signal
d
3 M7.1 C7 − Dm − Gm/B[ − C7 − Pamina, Str bg
..
6 . F − Dm − A − Dm−
9 ⊥ G7 − C/G − F ]◦7 /A − D7 − tension, Str 16th
12 M7.2 C G − G7 − C B, Sarastro
..
15 . <(C7 − F/C − C − G7 )− Voc+Vi1
..
19 . C − Cm/E[ − E[ − D7 − Voc+Fl+Vi1
..
21 . G7 − C− cad
..
23 . C/E − F − Str 8ths bg
..
25 . C/G − G7 − E7 /G]−
..
26 . Am − C/E − F
29 ⊥ F − G − D/F ] − G − G7 −
31 M7.3 <(C − G7 )/C− C, Pamina, Str 6th, P T (c)
..
35 . C − D7[9 − Gm − D Sarastro+Vi1, mod
.. d
38 . B[ B[ − F7 − Pamina+WW unis
..
39 . Gm − B[/D − Cm7 /E[− Str bg
..
41 . F7 − B[ Sarastro, Str 32ths
.. d
43 . C7 − Dm − F/A−
45 ⊥ B[ − E[7 /B[ − B◦7 − C7 − trans (46 m.)

m M R H Comment
h i
2
Allegro (Neunzehnter Auftritt) 2 (Sc. 19) (Section 8)
1 M8.1 F F − C/E −→ F/A − C7 − a): Str [S̄ 6 ] &, intro
3 M8.1 <(F − C7 /E − F − C7 )− aa): Monostatos, Σ(cm>), P D (c)
7 ⊥ <(F − C7 − F − G7 )− b): Pam & Tam imit, Vi1 arp%
15 M8.1 C − G/B −→ G7 − a): Pamina+Str [S̄ 6 ] &
17 ⊥ C − G/B −→ G7 − aa): Pam & Tam, Σ(cm>), P D (g)
21 M8.2 C − F ]◦7 /A− Chor, unis
23 ⊥ <(D7 /F ] − Gm)− Mon., tutti unis clim
27 M8.1 D − Cm/E[ −→ D7 − trans, a): Str [S̄ 6 ] &
29 M8.1 Gm <(Gm − D7 /F ] − Gm − D7 )− aa): Monostatos, Σ(cm>), P D (d)
33 ⊥ Gm − E[/G − F7 /A− b), Str 8ths
35 M8.1 B[ B[ − E[/G −→ F7 − a): Monostatos, [S̄ 6 ] &
..
37 . B[ − F7 /A − B[ − F7 − a), Σ(cm>), P D (d)
39 ⊥ B[ − Gm − C7 − b), Str 8ths
41 M8.1 F F − C/E −→ F/A − C7 − trans, a): Str [S̄ 6 ] &
43 M8.1 F − C/E −→ F/A − C7 − a): Monostatos [S̄ 6 ] &
45 ⊥ F − G7sus4 − G7 − b): Sarastro, Str 8ths
47 M8.1 C C − G/B −→ C/E − G7 − trans, a): Str [S̄ 6 ] &
49 M8.1 <(C − G7 − C − G7 )− a): Sar & Mon Σ(cm>), P D (g)
53 ⊥ C −F c): unis arp
56 M8.1 F m/C − Cm/E[ − B[m/D[− trans, a): Str [S̄ 6 ] &
57 ⊥ A[/C − C7 −
58 M8.1 Fm F m − C7 /E − F − C7 − a): Monostatos Σ(cm>), P D (c)
60 ⊥ F m − C7 /E − F − C7 − a): Sarastro, tutti Σ(cm>)
63 M8.2 F F − C7 /E− a): Chor S(4p), Vi 8ths arp
..
65 . C7 − F − a’), tutti clim
..
67 . Dm − Gm7 /B[− b) sotto voce
69 ⊥ C7 − F a’), tutti clim
71 F − Dm − G/B− 3 signals
Rezitativ
72 M8.3 C G/B − G7 /B − C− Sarastro
..
76 . F − G7 − F ]◦7 /A−
77 ⊥ C46 − G7 − C (77 m.)

m M R H Comment
h i
2
Presto 2 (\) (Section 9)
1 M9 C C − ...− a): Chor S(4p), tutti signal
5 <(C − G) tutti imit, Str 8ths P D (g)
7 M9 <(C − G) − C b): Chor imit
13 M9 G c): unis
..
15 . G7 − C S(4p), P D (g)
..
19 . C7 /B[ − . . . − F/A c), tutti Str 8ths
..
24 . G7 − C − Am−
26 ⊥ Dm7 /F − G − C− cad
28 M9 D7 /C − . . . − c)
31 ⊥ G/B − C − Am − Dm7 /F − G − C Str 8ths, cad
34 M9 D7 /C − . . . − repeat, c)
37 ⊥ G/B − C − Am − Dm7 /F − G− Str 8ths, cad
39 M9 <(C − Am − Dm7 /F − G)− c’), tutti
..
47 . <(C − C46 − G)− scalar runs%, cad
51 ⊥ C − Am − Dm − G− tutti unisono
55 <(C − . . . − G7 )− closing cad, P D (g)
65 C (69 m.)

The March of the Priests is followed by the triple signal (No. 9a), i.e., the ‘Freemason’ motif,
for woodwinds and brass. It is now in the dominant major key B[ (compare the opening
key), with the ascending triad arpeggio b[ − d − f .
4.11.11 No. 10 Aria ‘O Isis und Osiris’ with Choir

Vocal part: Sarastro. See Table 4.107 for the analysis. Form: AB. The vocal lead consists of
two melodies M1(abc)+M2(abcd). The last phrase of each, i.e., M1c and M2d is repeated in
varied form by Osiris, then by the Choir. The varied repeat uses a descending bass pattern in
both A and B section. The instrumentation is special: clarinets are replaced by basset horns
(clarinet in F ), bassoons and trombones, and strings without violins. Combined with the
chorale setting this yields a serene and holy atmosphere, in line with the Osiris character.
4.11.12 No. 11 Duet ‘Bewahret euch vor Weibertücken’

Vocal parts: First and Second Priests. See Table 4.108 for the analysis. Form: AB. The vocal
part is a duet mostly in parallel consonants S(2p) with orchestral doubling. The melody is
M1(ab)+M2(abc). The doubling moves through the woodwind and strings. The B section
starts with an extended dominant pedal point P D (g), as sustained notes in horns, octave
arpeggio 8ths in upper strings. This section also has the unexpected major mediant degree
chord E on the word ‘Vergebens’ in the lyrics (m. 16-17).
4.11.13 No. 12 Quintet ‘Wie? wie? wie?’

Vocal parts: Tamino, Papageno, the Three Ladies. See Table 4.109 and 4.110 for the analysis.
Form: ABC. The vocal elements are 3-part writing M1:S(3p) for the Drei Damen, or two
against one M3:S(2p+p) (see m. 33, 61), imitation M2 (see Papageno vs. Tamino in m. 18 ff.,
37 ff. and 98 ff.), and some ‘real’ quintet singing M4, M5 (section C, m. 113 ff.). The opening
phrase ‘Wie? Wie? Wie?’ may be another reference to the triple Mf signal: The M1 a-phrases
start with ascending arpeggios b − d − g, e − g − c (inverted triads). The ladies are threatening
the two heroes; there is dynamic contrast to support this. A funny effect, contradicting
the lyrics, is the orchestral crescendo to a climax over the lyrics ‘Immer still, und immer still’
(‘Always silent’, m. 29-32). There is sound painting in minor over the lyrics ‘Sag’an Tamino,
ist das wahr?’ (m. 74), ‘Entweiht ist die heilige Schwelle’ (m. 152), and ‘O weh!’ (m. 163). The
latter phrase also has the obligatory stepwise descending melody on ‘hinab mit den Weibern
zur Hölle!’. The B section is a bridge, with a four-measure repeating pattern, stressing the
dominant chord D.
4.11.14 No. 13 Aria ‘Alles fühlt der Liebe Freuden’

Vocal parts: Monostatos. See Table 4.111 for the analysis. Form: ternary song, ABA. The
song consists of two verses. The A section melody has irregular period structure M1(abab’)
(3 + 2 + 3 + 2 m.); in the closing A section the a-phrase is abbreviated to two measures
yielding a regular structure. There is extended tonic pedal point P T (c). The bridge melody
is in the dominant area and has M2(abb) (4 + 3 + 3 m.) structure. The orchestral phrases
with Mc might also be considered the c-phrase of the main melody (without vocal). In the
instrumentation there is the use of the piccolo and flute playing in parallel octaves. This is a
high speed aria about amorous aspirations, but with some dubious lyrics.

Table 4.106: Mozart, The Magic Flute, No. 9 March of the Priests
m M R H Comment
h i
2
Andante 2 ([) A
d
1 M1 F || : F − C7 − Dm− a): Fl+Vi1
..
3 . Gm/B[ − Am/C − B[/D − Dm/F − [S̄ 6 ] %
..
4 . C7 − F cad
.. d
5 . C − A7 − Dm − G7 − b)
7 ⊥ Am − Dm/F − C46 − G7 − C : || cad
9 M2 || : C − F − C7 /E− B
..
11 . B[∆7 − C − Gm/D − C7 /B[− Hns P D (c)
..
13 . F/A − Gm7 /B[ − F/C − C]◦7 −
..
14 . Dm − C]◦7 /G − C7 /E − F
15 ⊥ Gm/B[ − G7 /B − C
d
17 M1’ F − C7 − Dm − D+ A’, a): Fl
..
19 . Gm/B[ − Am/C − B[/D − Dm/F − [S̄ 6 ] %
..
20 . C7 − F cad
..
21 . B[ − Gm/B[− b’) Fl+Vi1
..
22 . C7 /B[− Seq(2×2m;R7 )
..
23 . F/A − Gm/B[ − Am/C − C]◦7 −
.. d
24 . Dm − D7 /F ] − Gm/B[ − F46 − C −
..
26 . B[/D − F7 /A−
27 ⊥ B[/D − F46 − C7 − F : || cad (28 m.)
h i
2
Adagio No. 9a
2
1 Mf B[ − . . . WW+Brs (6 m.)

Table 4.107: Mozart, The Magic Flute, No. 10 Aria ‘O Isis und Osiris’ with Choir
m M R H Comment
h i
3
Adagio 4 ([)
d
1 F F − C − Dm − Gm/B[− Intro, tutti
3 C7 − F cad
5 M1 F − C − F − Dm − B[ A, a): Sarastro
..
7 . C − C7 − . . . −
..
12 . F − Dm − G7 − . . . − C b)
..
17 . C/E − Dm/F − C46 − G7 − C c)
..
21 . C − C∆7 /B − Am − Dm/F − c’), PB (&)
23 ⊥ C46 − C7 − F cad
25 M1 C − C∆7 − Am/C − Dm7 − c’): Chor
27 ⊥ G7sus4 − G7 − C cad
29 M2 C − F ]◦7 /A − Gm − D7 /F ] − Gm B, a): Sarastro
..
33 . (F ) − F m − G[5
7 no 1 /D[ − C − C7 /B[− b)
.. d
37 . F/A − Gm7 /B[ − C7 − Dm c)
..
41 . F/A − Gm/B[ − F46 − C7 − F d)
..
45 . F − F∆7 /E − Dm − Gm/B[− d’), PB (&)
47 ⊥ F46 − C7 − F cad
49 M2 F − F∆7 − Dm/F − B[ − Gm/B[− d’): Chor
51 ⊥ F46 − C7 − F cad
53 Dm − B[ − Gm − F46 − C7 − F clos cad (55 m.)

Table 4.108: Mozart, The Magic Flute, No. 11 Duet ‘Bewahret euch vor Weibertücken’
m M R H Comment
h i
4
Andante 4
d
1 M1 C C − G − C − C7 − A, a): Priest 1/2+Ob+Vi1 S(2p)
..
3 . F/A − C/G − G7 /F −
..
4 . C/E − G7 /D − C − G halfcad
..
6 . D7 − G − G+ − C − F ]◦7 − b) Voc+WW, Str unis arp&
.. d
9 . D+ no 1 − Em−
10 ⊥ Am/C − G64 − D− cad
11 M2 G − ...− B, a): Voc+Cl+Bsn, Hns+Str, P D (g)
..
14 . C/G − G−
..
16 . E b): Voc+Fl+Ob, Str unis 16ths arp
..
18 . C − Dm7 /F − G − C c): Voc+Bsn+Tbn+LoStr
..
19 . F − A − Dm
..
20 . Dm − G7 − C/E − Am c’)
21 ⊥ C46 − G − C cad
22 M2 C − Dm7 /F − G − C repeat, c): WW+Vi closing
..
23 . F − A − Dm
..
24 . Dm − G7 − C/E − Am c’)
25 ⊥ C46 − G − C cad (25 m.)

Table 4.109: Mozart, The Magic Flute, No. 12 Quintet ‘Wie? wie? wie?’
m M R H Comment
h i
2
Allegro 2 (])
1 G G A, Str unis
d
2 M1 G − D/F ] − Em a): Drei Damen+Str S(3p)
..
4 . Em − Bm/D − C b)
.. d
6 . C − G/B − Am − Am7 /C− a)
8 ⊥ G64 − D − G b’), ca
10 D7 /F ] Fl+HiStr
11 M1 G − Am/C − D7 − G c)
14 D7 /F ]− repeat Fl+HiStr
15 M1 G − Am/C − D7 − G − G/B− c)
d
18 M2 C − D7 − Em − G/B− Papageno, Str bg
..
20 . C − D7 − G Tamino imit
..
22 . A7 − . . . − D/A− Voc+WW+HiStr, clim, P D (a)
..
26 . <(G]◦ /B − A) − A/C]− Pap & Tam
29 ⊥ <(D − A/C])− cresc, clim
33 M3 D − ...− Drei Damen+WW imit S(2p+p)
37 M2 <(D − A7 )− Pap & Tam imit, Hns P D (a)
41 ⊥ D − Em7 − D/F ]−
45 G − D7 − trans, Fl+HiStr
47 M1 G − Am/C − D7 − G− c): Drei Damen+Str S(3p)
50 D7 − repeat, Fl+HiStr
51 M1 G − Am/C − D7 − G− c), Str staccato 8ths
54 ⊥ <(G7 − C) dd): Voc+WW
58 M2 G7 /B − C − G7 − C Tamino, Ob+Str bg
62 M3 E7 − Am − Am7 /G − D7 − G Dam & Tam S(2p+p), Seq(2×2m;R−7 )
67 ⊥ G − D7 /F ] − C]/E − A7 −
69 M2 <(D − A7 /E)− Papageno, Str bg
..
71 . D − F ]◦7 − D/F ]− tutti acct, minor
..
74 . Gm Gm − A[5
7 no 1 /E[−
..
76 . G D − G − D7 − Tamino, Fl+HiStr
..
78 . G − G/B − Am/C − D7 − G− Pap & Tam
..
81 . G7 /B − C − A7 /C] − D− Seq(2×2m;R7 )
..
85 . D7 − G cresc clim
87 ⊥ G/B − Am7 /C − D7 − G cad

Table 4.110: Mozart, The Magic Flute, No. 12 Quintet ‘Wie? wie? wie?’ (cont’d)
m M R H Comment
91 M1 <(G − D/F ] − A7 /G − D)− B, Damen S(3p), Vi arp%
99 M2 <(G − D/F ] − A7 /G − D)− Pap & Tam imit, repeat
108 ⊥ (C) − Am7 /C − D7 − G Σ(cm<)
113 M4 G − C/G − C − D7 − G C, Damen+Fl S(3p)
..
118 . C − D7 − G − D− Hsn, P T (g)
..
120 . G − ...− Tam & Pap S(2p)
..
122 . D7 − . . . − Damen (3p)
..
124 . G − ...− Tam & Pap S(2p)
126 ⊥ D7 − . . . − G Damen S(3p), clim
129 M5 G/B − C a): Dam & Tam & Pap S(5p), tutti
.. d
132 . G/D − D7 − Em b)
..
136 . Gno 3 /D − D7 /C − G/B − C a)
..
140 . C − G64 − D7 − G b), cad
..
145 . C − Am/C − G64
− D7 − G− b), repeat
149 ⊥ C − Am/C − G64
− D7 − G− b), repeat
152 M2 Gm D7[9 − Tam & Pap S(2p), minor
153 ⊥ (Cm/G) − . . . − Voc+Str 16ths&.
155 M3 F ]◦7 /C − C]◦7 − Damen imit, climax
158 C]◦7 − . . . − Vi1 16th arp&
d
160 M2 G D7 − E[ − A∅7 /C − D7 − G Pap, cad (164 m.)

Table 4.111: Mozart, The Magic Flute, No. 13 Aria ‘Alles fühlt der Liebe Freuden’
m M R H Comment
h i
2
Allegro 4
1 M1 C (C − B◦ − C − F − B◦ − C)/C ab): HiWW+Vi1, Str 16ths, P T (c)
5 Mc <(G7 − C) cadences
10 M1 (C − B◦ − C − F − B◦ − C)/C ab): Monostatos+Vi1, Str bg
..
14 . (C − B◦ − C)/C a)
.. d
18 . D4 − D − Em − Am7 /C− b’)
20 ⊥ G9 /D− D7 −
21 Mc <(G − D7 )− tutti
25 M2 G G − D7 − G B, a), Str accts
..
29 . <(D7 − G) bb), tutti clim
34 ⊥ G − G7 −
35 M1’ C (C − B◦ )/C A’, a), P T (c)
37 ⊥ <(C46 − G7 )− b’)
42 Mc C − G7 − C − G7 − C − E7 − closing tutti
..
44 . Am − D − G−
46 ⊥ C − Dm/F − G7 − C cad, dal segno (49 m.)

4.11.15 No. 14 Aria ‘Der Hölle Rache’

Vocal parts: Queen of the Night. See Table 4.112 and 4.113 for the analysis. Form: ABC coda.
And here she is, finally, the Schwartzkopf among the coloratura queens. No more fiddling
around, prepare for some hot cooking bravura singing by the Königin der Nacht. The outer
sections are in the tonic minor key Dm, the middle section B in the relative major F . Both B
and C section end with coloratura phrases.
The orchestra supports the lyrics: string section 16th note tremolos (m. 1, ‘Der Hölle
Rache’), m. 11), jazz big band style tutti offbeat accents (m. 3 ‘Tod und Verzweiflung’, m. 16
‘Todesschmerzen’, m. 88 ‘Hört’), string section runs (m. 47 and 88). In the vocal part there is
the appearance of the Mf ’Freemason’ holy motif in disguise: see the ascending arpeggio triad
a − c] − e in m. 82-84 over ‘durch dich Sarastro’ (obvious reference, it seems), repeated as an
inverted triad d − f − b[ in m. 88-90. And there are the inevitable descending lines over the
lyrics ‘Sarastro wird erblassen’ (m. 85) and Rache Götter (m. 92). The latter phrase is set over
cadences on the Neapolitan, lowered supertonic degree key of E[ = [II. It’s all over before
you realise!
4.11.16 No. 15 Aria ‘In diesen heil’gen Hallen’

Vocal parts: Sarastro. See Table 4.114 for the analysis. Form: intro AB. This is a song with
verses. The melody structure is M1(abab’) (2 + 2 + 2 + 2 m.), a period, and in the second half
M2(ccdd’) (2 + 2 + 4 + 8 m.). The optimistic lyrics in the B section are supported by string
16th notes over a dominant pedal point P D (b). The variation of the d’-phrase descends to
the lowest pitch point (m. 24).
4.11.17 No. 16 Trio ‘Seid uns zum zweiten Mal willkommen’

Vocal parts: The Three Boys. See Table 4.115 for the analysis. Form: AB. The singing by the
Drei Knaben is set in three parts S(3p), doubled by the string section. Sometimes during this
piece the setting in fact this is S(2p + p), with the independent lower (bass) part doubled in
the cello. There is an apparently free 1st violin part, playing fills with 32th note appoggiatura
patterns.
4.11.18 No. 17 Arie ‘Ach, ich fühl’s, es ist verschwunden’

Vocal part: Pamina. See Table 4.116 for the analysis. The sadness of the lyrics is reflected
in the stepwise descending appoggiatura in the melody (e.g., ‘ich fühl’s, . . ., verschwunden,
. . ., hin’ m. 1-3). There is a coloratura phrase (m. 12-16), with apex pitch B[5. The strings
provide a steady 8th note rhythmic groove pattern. The woodwinds are commenting the
lyrics: ascending run on ‘Tamino’ (m. 18), descending on ‘allein’ (m. 21).
4.11.19 No. 18 Chorus ‘O Isis und Osiris, welche Wonne!’

Vocal parts: The Priests. See Table 4.117 for the analysis. Form: AB. The Chor der Priester sings
in 3-part setting S(3p), doubled by strings (intro) and trombones. The orchestration involves
extended tutti playing in this slow movement. There is an appearance of the inverted Mf
motif, disguised as an ascending arpeggio triad a − d − f ] on ‘bald, bald, bald’ (m. 29, 34).

Table 4.112: Mozart, The Magic Flute, No. 14 Aria ‘Der Hölle Rache’
m M R H Comment
h i
4
Allegro assai 4 ([)
1 Dm Dm/F − Dm A, Str 16th trem, tutti accts
3 M1 Dm − C]/D − Dm a): Königin dN, Str 8ths
..
5 . C]◦7 /E − Dm/F − b), WW+Brs offbeat accts
..
7 . E[/G − F ]◦7 /A− c), N 6 , [S̄ 6 ] %
..
8 . Gm/B[ − D/F ] − Gm apex pitch B[5
..
9 . E[/G − G]◦7 −
10 ⊥ A − Am − G]◦ − C7 /G− tr, Σ(cm<), PBi (&)
11 M2 F F − ...− B, a): Voc+Vi1, P T (f )
..
13 . F − Gm7 /F − C7 /E − F7 /E[− bb), Seq(2×2m;R7 ), PBi (&)
..
17 . B[/D − F/C − B◦7 − c)
..
20 . <(C − C7 /B[ − F − C7 )− dd)
..
24 . F − C/E − Dm − Am/C− e): coloratura, Seq(3×2m;R3 ),
..
28 . B[ − F/A − C/E− Str-WW stacc 8ths im
..
30 . <(F − B[) − F − Dm − C− apex pitch F 6, cad
..
35 . F − C/E − Dm − Am/C− e) repeat coloratura
..
39 . B[ − F/A − C/E− Str-WW stacc 8ths im
..
41 . <(F − B[)−
..
43 . F − F/A − Gm/B[ − B◦7 − PL (%), PBi (%)
45 ⊥ F46 − C7 − tutti clim, cad
47 <(F − C7 )− trans, Vi 16ths
49 F − B[ − Gm−
50 E◦ − F − B[ − C− tutti cad

Table 4.113: Mozart, The Magic Flute, No. 14 Aria ‘Der Hölle Rache’ (cont’d)
m M R H Comment
51 M3 <(F − Gm7 )/F − C, a) P T (f ), Str imit
..
55 . <(F − Gm7 )/F − aa), Seq(2×6m;R7 )
..
59 . D7[9 − b): Voc+WW
..
61 . <(Gm − Cm)/G− aa) P (g)
..
65 . E7[9 /G]− b): Voc +WW
..
67 . Dm A− c) coloratura, P D (a)
..
69 . <(Dm − A)/A− Voc triplets
..
73 . <(Dm − Gm)/D− Vi-Voc imit, apex pitch F 6
..
77 . Dm − Dm7 /F − Voc+Fl, Seq(4×R−7 )
..
78 . Gm − C7 /E − F − B[∆7 /D−
..
79 . E◦ − A7 /C] − Dm−
..
80 . E[/G − G]◦7 − N 6 , Str trem
..
82 . A − ...− d)=Mf motif
85 ⊥ A7 − A7 /C]− cad, GP
Coda, climax
88 M4 Dm − B[7 /A[− a)=Mf’, Str runs, WW accts
..
91 . <(E[/G − B[7 /A[)− apex pitch B[5, Vi 16ths
..
92 . E[/G − C]◦7 /G− N 6 , tutti accts
d
94 ⊥ G]◦7 − A7 − PBi (%)
97 B[ − G]/B− unis PL (%), P T (d)
98 Dm64 − A − Dm cad (99 m.)

Table 4.114: Mozart, The Magic Flute, No. 15 Aria ‘In diesen heil’gen Hallen’
m M R H Comment
h i
2
Larghetto 4 (]]]])
1 E E − F ]m/A − B7 − E Intro
3 M1 E − F ]m/A − E/B − B A, a): Sarastro, Str bg
..
5 . E/G] − E − B b): halfcad
..
7 . E − F ]m/A − E/B − B a)
..
9 . E − B/F ] − F ]7 − b’)
10 ⊥ B − C]m7 /B − B46 − F ]7 −
11 M2 B − B7 − E B, c) Voc+Vi1, Hns P D (b),
..
13 . B7 /A − E/G] c), Str 16ths
..
15 . B7 /A − E/G] − C]m7 − d), Str 8ths
..
17 . F ]m7 − B7 −
..
18 . E − F ]m/A − E46 − B
..
19 . E − E/G] − C]m− d’)
..
21 . F ]m − B−
..
22 . E − F ]m/A − E46 − B
..
23 . E − C]m − F ]m lowest pitch F ]2
25 ⊥ E46 − B7 − bg 16ths
27 C]m/G] − F ]m/A − B − E cad, dal segno (28 m.)

Table 4.115: Mozart, The Magic Flute, No. 16 Trio ‘Seid uns zum zweiten Mal willkommen’
m M R H Comment
h i
6
Allegretto 8 (]]])
1 A A − E7 − A/C] − Bm7 /D− Intro, Vi1 appogg
4 A64 − E7 − A cad
5 M1 A − E − Bm7 /D − E A, a): 3 Knaben+Str S(3p)
..
7 . A/C] − D − A64 − E − A
..
9 . E − B − B7 − E b)
..
11 . E − F ]m/A − B7 − E
..
13 . <(E7 /D − A/C] − G]◦ − A − E) c), halfcad
..
17 . A−E−A−E d)
19 ⊥ A − E − A − Bm/D − E−
d
21 M2 A/C] − Bm7 − E7 − F ]m− B, e): Voc+Str
..
23 . A/C] − Bm7 /D − A64 − E7 − A Str+WW
.. d
25 . A/C] − Bm7 − E7 − F ]m− repeat e)
..
27 . A/C] − Bm7 /D − A64
− E7 − A Str+WW
29 ⊥ <(E7 − A) f)
33 A − G]◦ − Coda
35 A/C] − Bm7 /D − A64 − E7 − A cad (36 m.)

Table 4.116: Mozart, The Magic Flute, No. 17. Arie ‘Ach, ich fühl’s, es ist verschwunden’
m M R H Comment
h i
6
Andante 8 ([[)
1 M1 Gm Gm − . . . − Cm/E[− a): Pamina, Str bg
..
3 . Gm − . . . − Cm/E[−
.. d
5 . <(D − E[∆7 − A[5
7 /E[)− b)
7 ⊥ D − Dm − A/C] − F7 − B[ cad, clim
d
9 M2 B[ B[ − F7 − Gm − B[/D − B∅7 /D−
..
11 . Cm/E[ − C7[9 /E − F − F/A − B[−
..
13 . A∅7 /E[ − B[/D− coloratura
..
. E[/G − B[/F − C7 /E−
14 ⊥ B[64− . . . − F7 − Va P D (f )
16 M3 B[ − G[9 [9
7 − Cm − C − A7 −
..
20 . Gm <(D7 − Gm) Vc P D (d)
..
22 . <(D − A∅7 /C)−
..
24 . D7 − Gm − A7 − D7 −
d
26 ⊥ Gm − A∅7 /C − Gm/D − D7 − cad
27 M4 E[ − G[9 [5
7 /F − C/E − A7 /E[−
..
30 . D7 − Gm−
..
31 . F ]◦7 /C − Gm/B[ − A7 − D7 − Gm
..
32 . A[/C − Gm/D − D − A7 /C]− Neap N 6
35 ⊥ Gm64 − D7 − <(Gm − D7 )− closing cad
d
38 Gm − D7 /F ] − Gm − D − Va+Vc
39 E[ − G7 /B − Cm−
d
A − B[ − D7 /F ]− Str+WW imit
d
40 Gm − D − E[− tutti climax
A[/C − Gm64 − D7 − N 6 , cad
41 Gm (42 m.)

Table 4.117: Mozart, The Magic Flute, No. 18 Chorus ‘O Isis und Osiris, welche Wonne!’
m M R H Comment
h i
2
Adagio 2 (]])
1 M1 D D − A − A7 − D − A Intro a): Priests+Str S(3p)
5 ⊥ G/B − F ]◦ /A − Em/G − D/F ]− tutti clim, [S̄ 6 ] &
d
7 M2 D − F7 /C − Gm/B[− A, a) Voc+Tbn, VI 8th arp%
..
10 . A7 − D − A tutti clim, HiStr sync
..
12 . A − E/G] − D/F ]− b)
..
14 . E]◦7 − F ]m − B7 /F ]−
15 ⊥ A/E − D/F ] − A64 − E7 − c), cad
18 A A − D − A64 − E − A B, trans
21 M3 A − A7 /G − D]◦7 /F ]− a): Voc+Str, tutti clim
..
22 . Em − G − G∆7 /F ] − C/E − D−
..
25 . <(C]◦ − D − A) a), halfcad
..
29 . D D − . . . − C]◦ − D b)=Mf
..
32 . Em/G − A7 − C−
..
34 . D − Bm − A]◦ − Bm− b’)
.. d
37 . Em/G − A7 − Bm − Em/G−
..
39 . D/A − A]◦ − Bm − Em/G−
41 ⊥ D46 − A − D cad (42 m.)

4.11.20 No. 19 Trio ‘Soll ich dich, Theurer, nicht mehr sehn?’
Vocal parts: Pamina, Tamino, Sarastro. See Table 4.118 and 4.119 for the analysis. Form: ABC.
The trio singing involves imitation, and two-against-one pairing S(2p + p). The pair may be
either Tamino & Sarastro (m. 11 ff., m. 43 ff.) or Pamina & Tamino (m. 35 ff., m. 53 ff). That
aspect is used in the structural subdivision of this vocal trio. There is the standard musical
approach to sadness, with stepwise descending appoggiaturas in the melody (see m. 44 ff,
‘Wie bitter sind der Trennung Leiden!’)
In the instrumentation there is the continuous 8th note ascending arpeggio playing start-
ing on the afterbeat. First, in the A section, it is played by bassoons and violas (m. 1-32), in
the C section it has moved to the lower strings (m. 53-55). In the B section oboes and bas-
soon, each in two-part setting S(2p), double the vocals. Meanwhile the repeated 8th notes in
the violins depict the clock over ‘Die Stunde schlägt’ (m. 33 ff.), later repeated as afterbeat 8th
notes (m. 58 ff.).
4.11.21 No. 20 Aria ‘Ein Mädchen oder Weibchen’

Vocal parts: Papageno. See Table 4.120 for the analysis. Form: AB coda.
Before the age of online dating there was Papageno’s song. Profile: cheerful chap with
outdoor hobby is looking for a feathered friend of the opposite sex. Enjoys good food and
wine, willing to give up independence. This binary form song contrasts two sections through
meter, lyrics (unchanged in A, three verses in B), and instrumentation. The famous glock-
enspiel (celesta) is varied in each A section statement, and remains almost unchanged in the
B section. The A section rhythmical groove is provided by 2nd violins with 16th note legato
arpeggios. The B section phrases are interrupted by fermatas and a general pause (m. 35 and
37).
4.11.22 No. 21 Finale

Vocal parts: The Three Boys, Pamina, Two Men in Armor, Tamino, Chorus, Papageno, Papagena,
Monostatos, Queen of the Knight, Three Ladies. See Table 4.121 to 4.125 for the analysis. The
finale covers Scenes 26 to 30 and has a total length of 919 measures It may be subdivided
into four major sections.
An instrumental (woodwinds and horns) introduction opens the first section of the sec-
ond act finale (Scene 26). Clarinets introduce the melody; this is taken over by the 3-part
choir S(3p) of the Drei Knaben. The melody has M1.1(aabca’) (4 + 4 + 4 + 4 + 6 m.) structure.
The singing continues as one against two S(p + 2p) (m. 28-38, M1.2), before an imitation
phrase and a return to 3-part setting.
In Scene 27 Pamina enters and starts a dialogue with the Three Boys (M1.3). For most
of this subsection, the female vocal part is supported by strings only, while woodwinds are
added during the boys’ phrases. There is lyrics painting: see the string section 16ths after-
beats in ‘Sterben will ich’ (m. 66); the familiar descending appoggiaturas during sadness ‘seine
Traute kann verlassen!’ (m. 70); the dynamic contrasts, syncopated rhythm and chromatism
over the suicide contemplation phrases (m. 75-93). h i
A change of mood change sets in with the new 34 meter in m. 94. The boys reveal
the lover’s feelings to Pamina (M1.4). The instrumental background role alternates between
strings and woodwinds. The first section closes with a four-part song with melody structure

Table 4.118: Mozart, The Magic Flute, No. 19 Trio ‘Soll ich dich, Theurer, nicht mehr sehn?’
m M R H Comment
h i
2
Andante moderato 2 ([[)
1 M1 B[ B[− A, a): Pamina, Bsn+Va arp%
..
3 . F/A − Gm7 − C7 − F − F7 /E[− Sarastro, Str bg
..
6 . B[/D − E[− Pamina
..
8 . B[64 − F7 − B[ Tamino, cad
..
10 . B[ − B[7 − E[ − Cm/E[− Pamina
..
12 . B[64 − F7 − B[ Tam & Sar S(2p), cad
..
14 . (C7 − F − C7 − F − C)/C − C7 /B[− b): Tamina
..
18 . F F/A − Dm/F − Gm7 − C − C7 /B[− Tam & Sar S(2p)
..
20 . F/A − Gm7 /B[ − F46 − C7 − cad
..
21 . F − F ]◦7 − D7 − c): Tamina
..
23 . Gm − Gm/B[ − F/C − B◦ /D
..
25 . Cm/E[ − F ]◦ /C−
..
26 . Gm/B[ − A◦ /C − Gm64 − D7 − cad
..
27 . Gm − E[/G−
..
28 . E[ B[7 /F − B[7 − E[ − E[/G
..
30 . F m/A[ − Gm/B[ − Cm Tam & Sar S(2p)
32 ⊥ F m/A[ − E[64 − B[− cad
33 M2 E[ − G7 − B, a): Sarastro, Seq(2×3m;R−7 )
..
35 . Cm Cm − G7 − Cm − C◦ − Pam & Tam+WW S(2p)
..
37 . F7 − B[ − F7 − a): Voc S(2p + p), Vi 8ths
..
39 . B[ − Gm − B[ − F − b): Voc imit, PB (&)
..
41 . E[ − B[m/D[ − C7 − tutti Σ(cm<)
..
43 . <(F − C∅7 /G[)− a): trans, Voc S(2p + p)+Vi1
..
47 . F − Dm − B◦ − Cm/E[− b) Voc+Str imit
49 ⊥ B[/D − B[ − C7no 3 − F7 −

Table 4.119: Mozart, The Magic Flute, No. 19 Trio ‘Soll ich dich, Theurer, nicht mehr sehn?’
(cont’d)
m M R H Comment
51 M3 B[ B[ − E[ − Cm/E[− C, a): Voc imit
..
53 . F7 − <(B[/D − F7 )− Voc S(2p + p), LoStr arp%
..
56 . B[ − Cm/E[ − B[64 − F7 − cad
..
58 . B[ − . . . − B◦ − b): Voc+WW, PBi (%), Seq(2×2m;R7 )
..
61 . Cm − . . . − C]◦ −
.. d
63 . D7 − E[ − B[/D− tutti climax
..
66 . E[ − Cm/E[ c): Pam & Tam S(2p)
..
68 . E∅7 − B[64 − F7 − Voc S(2p + p), cad
..
69 . B[ − F ]◦7 − Gm − E◦7 Coda, Str 4th stac
.. d
71 . B[/F − F7 − Gm − F7 /A− d): Voc S(2p + p)
73 ⊥ B[ − E◦ /G − B[64 − F7 − cad
75 <(B[ − F7 ) − B[ WW+Str (78 m.)
M1.5(aa’bbcddd’) (6 + 6 + 2 + 2 + 8 + 4 + 4 + 4 M.). The climax is on the c-phrase where the

apex pitch B[5 is reached after another ascending arpeggio triad e[ − g − b[ on the words
‘Götter, Götter’ (quoting the opening motif Mf).
Section 2, Scene 28 opens with unisono brass and strings in a call-and-response setting,
with woodwinds answering the calls. In m. 7 the strings start a counterpoint setting, with
an 8th note sequential ostinato bass, and descending (chromatic) steps in the upper parts.
The quasi-baroque mood continues with the singing of the Two Men in Armor, doubled by
unisono woodwinds and trombones. These have a cantus firmus melody M2.1(abcdef) (5 +
6 + 5 + 6 + 5 + 4 m.).
This is followed by dialogue between Tamino and Pamina (M2.2, m. 50 ff.). Woodwind
accents and string tremoli underpin the lyrics ‘Schreckenspforten auf!’. Then there is discus-
sion between Tamino and the Two Men in Armor (M2.3, m. 60 ff.), either as a trio S(3p) with
string doubling, or as S(p + 2p). Again note the orchestral accents and tremolo on ‘Ein Weib,
das Nacht und Tod nicht scheut’. The two lovers are joined in the andante subsection (M2.4,
m. 89 ff.). Horn pedal point and string 8th note patterns (pizzicato arpeggio bass) support
the blooming romance. Note the oboe and flute doubling on ‘Zauberflöte’, the tutti accents
and string 32th note tremoli on ‘Donner, Sturm und Braus’. The Two Men in Armor join for
quartet singing S(4p) (M2.5, m. 143 ff.)
The march subsection (m. 173 ff.) juxtaposes a solo flute melody over brass and timpani
background with brief duet singing (M2.6). The flute melody, played by Tamino, opens with
another ascending arpeggio triad c−e−g, quoting the Mf motif. The duet singing is doubled
in oboe and bassoon, over a 16th note violin arpeggio groove.
The section closes with an allegro (m. 201 ff.). Both trumpets and choir open with an

Table 4.120: Mozart, The Magic Flute, No. 20 Aria ‘Ein Mädchen oder Weibchen’
m M R H Comment
h i
2
Andante 4 ([) A
1 M1 F || : F − C − F − Intro, a): Ob+Glk
..
3 . C7 /E − F − C a’), halfcad
..
5 . C7 − C7 /B[ − F/A − Dm b)
7 ⊥ Gm/B[ − C7 − F
9 M1 F − C − F− a): Papageno+Vi1, Vi2 16th arp
..
11 . C7 /E − F − C a’), halfcad
..
13 . C7no 3 − C7 /B[ − F/A − Dm b)
..
15 . Gm/B[ − C7 − F Va P D (c)
..
17 . <(F − C7 − F ) cc) Voc+Hns+Vi1
h i
6
Allegro 8 B
21 M2 C <(C − F ) − C − G7 − C aa’): WW+Hns+Glk
25 M2 <(C − F ) − C − G7 − C aa’): Voc+Vi1
..
29 . F C7 /B[ − F − C7 − b, Σ(cm<)
..
31 . Gm7 /B[ − C − F c): Voc+Vi
..
33 . <(F − C) − F d), GP
..
36 . F − F7 − B[ − Gm c’), Hns P D (f )
38 ⊥ F46 − C7 − F − <(C7 − F ) : || e) cad
44 <(F − C7 )− Coda, WW+Hns+Glk
47 <(F − C7 ) − F tutti clim (51 m.)

Table 4.121: Mozart, The Magic Flute, No. 21 Finale
m M R H Comment
h i
2
Andante (26. Auftritt, Sc. 26) 2 ([[[) (Section 1)
1 M1.1 E[ E[ − F m − B[ − E[/G− a): Cl, WW+Hn bg
3 ⊥ A[ − F m/A[ − E[/G − B[7 −
4 E[ − D∅7 − E[ − B◦7 −
6 Cm − E[/G−
7 F m − E[/G − F m/A[ − B[−
8 B[7 −
9 E[ − Cm − F m/A[ − E[64 − B[7 −
10 E[
11 M1.1 E[ − F m − B[ − E[/G− a): 3 Knaben+HiStr S(3p)
..
13 . A[ − F m/A[ − E[/G − B[7 −
..
14 . E[−
..
15 . (F7 − B[ − F7 − B[)/F − b)
..
17 . Cm/E[ − F7 − B[
..
19 . <(B[ − E[)/B[ − B[ c): Voc+WW+Hns, P D (b[)
..
23 . E[ − F m − B[ − E[/G− a’): Voc+HiStr
..
25 . F m − E[/G − F m/A[ − E[64 − B[−
..
26 . B[− Voc+Cl+Str
27 ⊥ E[ − Cm − F m/A[ − E[64 − B[−
28 M1.2 (E[ − E[7 − A[ − B[−) Voc S(p + 2p), Vi sync, P D (e[)
..
30 . Cm E[ − Cm − G/B − G − Cm Str 8ths
..
32 . Cm − B◦ − D∅7 /A[ − G7 − Voc+WW+Str 8ths
..
35 . Cm − A∅7 /C− Voc+Fl+Str
..
36 . F ]∅7 /C − G/B − E◦7 /B[ − F/A− PBi (&)
..
37 . D◦7 /A[ − E[7 /G − B[/F
..
39 . B◦7 /F − G7 − Cm/E[ − Dm7 − G− Voc imit
..
41 . Cm − F m7 − D∅7 − Cm64 − G− Voc S(3p)
.. i (&)
43 . Cm − F m − C/G− Pm
44 ⊥ F m7 − D∅7 − Cm64 − G− cad

Table 4.122: Mozart, The Magic Flute, No. 21 Finale (cont’d)
m M R H Comment
27. Auftritt (Sc. 27)
45 M1.3 <(Cm − G/B) − <(Cm − D7[5 /A[)− a): Pamina, Str bg
.. [5/[9
49 . F ]◦7no 3 − G − D7 /A[− Drie Knaben+Str S(2p + p)
..
53 . G − E◦7 /G − F m− Pamina
..
56 . Fm E◦7 /B[ − F m/A[−
..
57 . B[7 /A[ − E◦7 − C7 /G− Σ(cm)
..
58 . F m − B[m − F m64 − C− cad
..
59 . F m − B◦7 − C− Knaben+WW+Str S(3p)
..
61 . D[ − G[5
7 /D[ − C− PL (&)
..
63 . A[ − E[/G − F m − D[/F Voc+WW
..
65 . B[m/D[ − A[64 − E[7 − Voc+Str, cad
..
66 . A[ A[ − E[/G − F [7 /F − Pamina, Str 16th, Σ(cm<)
..
69 . E[ B[7 − E[ − D◦7 − Voc+WW-Str 8ths
..
74 . E[− Knaben
..
75 . D◦7 − Cm/E[ − F ]◦7 − Pamina, WW+Str clim
..
77 . D7[9 /F ] − G − Cm − D − A[5
7 /E[− Voc+Str
..
81 . <(D − Gm − A[5
7 /E[)− Knaben
..
85 . D − Dm − E◦ /G − F7 /A− Pamina PLi (&), Bsn+Vc
..
86 . Gm B[9 − D7 − Gm Str sync
..
87 . C7 /E − D7 − Gm − Gm/B[− Voc+WW+Str
..
89 . A[∆7 /C − A7 /C] − Gm/D − G7 /F PLi (%), PBi (%)
.. [5/[9 d
91 . C/E − A7 /E[ − Gm/D − D − tutti clim, accts
93 ⊥ E[ Knaben

m M R H Comment
h i
3
Allegro 4
94 B[7 /D − F m/A[ − E[/G− Str [S̄ 6 ] &
96 M1.4 E[ D◦ /F − B[7 /D− Knaben+WW
..
98 . E[ − F m/A[ − E[/G− repeat, Str
..
100 . D◦ /F − B[7 /D− Voc+WW
..
102 . E[ − F m − E[64 − B[− Voc+Str 4ths
..
106 . E[ − G7 /B − C − C∅7 /B[− Pamina, Seq(2×2m;R−7 )
..
109 . F7 /A − B[ − E◦ /G−
..
112 . F − E◦ − F − C7[5 /G[− Str stacc 4ths
..
116 . F7 − B[ − Cm/E[ − B[/D−
..
118 . B[ A∅7 − B[/D − F7 − B[ Knaben+WW
..
121 . F/A − B[ − F7 − A∅7 /C − B[/D− Fl+Str, repeat
..
123 . F7 − (B[ − A◦ − B[)/B[− Str 8ths, Hns+LoStr P D (b[)
..
129 . <(B[ − E[)/B[− Voc+WW
..
131 . B[7 − D◦ − A[/E[ − B[7 /D− Str Σ(cm>)
..
135 . E[ E[ − B[7 − Pamina, repeat
..
138 . B[7 − A[/E[ − B[7 /D− Knaben
..
140 . E[ Pamina
141 ⊥ B[[9
7 − . . . − B[7 − Pam & Knaben+Bsn+Str
147 M1.5 E[ − B[ − E[/G − F m− a): Voc+Str S(4p), WW
..
153 . B[ − . . . − E[ − B[ − E[ a’)
..
159 . <(B[97 − E[) bb): Voc S(p + 3p)
..
163 . E[ − <(B[7 − E[)− c)=Mf, apex
.. d
167 . B[7 − Cm−
..
170 . <(B[ − E[) − F m/A[ − E[64 − B[7 − d)
..
174 . <(B[ − E[) − F m/A[ − E[64 − B[7 − d), repeat
178 ⊥ <(E[ − F m/A[ − B[) d’), tutti clim
182 E[ − Cm − Cm7 /B[− unis, Str 16ths&, Hns P T (e[)
184 A[ − A[∆7 /G − F m − F m7 /E[−
186 B[/D − E[ − F m/A[ − E[64 − B[− tutti cad
189 E[ (189 m.)

m M R H Comment
h i
2
Adagio (28. Autritt, Scene 28) 2 ([[[) (Section 2)
1 Cm Cm − B◦7 /D − G − G7 − Cm Intro, Brs+Str unis, WW
7 Cm − G7 /B − Cm − Gm7 /F − Str ctp imit
10 Cm − F m7 /E[ − B[7 − E[∆7 Vc Seq(4×R−7 )
11 F ]◦ − D7[5 − G7 − Cm7 /B[− Vi1 PLi (&)
12 D7[9 − G7 − C − Cm Vi2 Pm i (&)
13 G[9
7 /F − C7 − F7 −
14 B[ − E[∆7 − A∅7 − D7[9 −
15 G − Cm−
16 B◦7 − Cm − Gm7 − A[−
17 D∅7 − G[9
7 − cad
18 M2.1 Cm − G7 /F − Cm/E[ − G7 − aCF : Two Men in Armor,
..
20 . Cm − G7 /F − Cm − B∅7 − Voc+WW+Tbn unis,
..
22 . Cm − A◦ − B[ − F7 − B[− bCF ), Str ctp, LoStr 8ths
..
24 . F7 /E[ − G7 − Cm − G7 /F −
..
26 . Cm/E[ − Gm7 /B[ − A[ − G7 −
..
28 . Cm − A[∆7 − D − Gm7 − cCF )
..
30 . F − Gm/B[ − Gm − Cm/E[−
.. d d
32 . D7 − E[ − B[/D − Vi PL (&), Pm (&)
..
33 . Cm − F m/A[ − E[7 /G− dCF )
..
34 . A[ − F m − Cm7 /E[ − F7 −
..
35 . B[7 − E[ − Cm − D∅7 − G7 −
..
37 . Cm − G7 − Cm Vi PL (&), Pm (&)
..
39 . E[ − Cm7 /B[− eCF )
..
41 . F7 − B[7 /A[ − G − Cm
..
42 . B◦ /D − Cm − F ]◦ /C− PB (&)
..
43 . G/B − Cm/B[ − A∅7 − F m/A[− PBi (&)
..
44 . G[9
7 − C7 /E − F7 /E[ − B◦7 /D− fCF )
..
46 . B◦7 − Cm/E[ − D[/F − N6
47 ⊥ Cm64 − G7 − C − C7 − F m cad

m M R H Comment
49 M2.2 Fm C7 − F m − C − E◦7 /B[− Tamino, Str 8ths Σ(cm>)
..
52 . F m/A[ − G∅7 /D[ − C7 − F m
..
55 . F m/A[ − G[/B[ − C7 − N 6 , WW+Str accts, trem
..
58 . F m − A[7 − Pamina
Allegretto
60 ⊥ D[ D[ − A[7 − Tamino, Str afterbt accts
62 M2.3 A[7 − D[ − A[/E[− Tam & 2 Men S(3p)
.. d
64 . E[ − F m − D[ − B[m/D[ − D∅7 −
..
66 . E[ − A[ − E[/G−
..
67 . D[/F − A[64 − E[− cad
..
68 . A[ A[ − E[ − B[m/D[ − A[64 − E[− Voc+WW+Str cad
..
70 . A[ − E[/G − D◦7 /F − E[ − A[− Voc S(p + 2p)
..
72 . E[/G − B[7 /F − E[ − E[7 −
..
74 . <(A[ − E[7 )− WW+Str 8ths
..
78 . A[ − C7[5 /G[ − F − clim, Str trem
..
79 . B[m − B[7 /A[ − E[/G−
..
80 . A[ − D[ − B[7sus4 /E[ − E[− Voc+Str S(3p)
..
82 . F m − A[/C − D[ − D∅7 −
84 ⊥ A[64 − E[7 − A[ − E◦ /G− cad, WW+Str
87 F m − C/E− trans, Str, GP

m M R H Comment
h i
3
Andante 4 (\\[)
89 M2.4 F F − C/E − Dm7 − G − C− Pamina, Str bg
..
93 . B[/D − C7 /E − F − Tamino
95 ⊥ Gm7 /B[ − C7 − F
97 F/A − Gm7 /B[ − C7 − F tr, Str 8th, Hns P T (f )
101 M2.4 F/A − Gm7 /B[−
..
103 . F7 /C − B[/D−
.. d
105 . F/C − C7 − Dm − Gm/B[− Pamina
..
108 . C − Dm7 /F − C7 /G − F/A− Str 8ths, Hns P D (c)
..
113 . C/E − F − B◦ /D−
.. d
117 . G7 /B − C − G7 − Am − Dm Voc+Ob
..
122 . Dm/F − C46 − G7 − Voc+Fl+Ob, cad
..
125 . C − Cm − A◦ − D − . . . − D7 − Bsn, Str 8ths
..
132 . Gm Gm − F7 − B[− tutti clim, Str 32ths
.. d
136 . C7 − Dm − Dm7 /C−
139 ⊥ B[ − Gm/B[ − G7 /B − C−
d
143 M2.5 F <(F − C7 ) − Gm7 − C7 − Dm− Pam, Tam & Men+Str S(4p)
..
149 . Gm/B[ − C7 − F −
..
153 . <(F − C7 ) − E◦ /G− repeat
..
157 . C7 − C]◦7 − Dm−
..
158 . <(Gm/B[ − F46 − C − B◦7 )−
162 ⊥ F46 − C7 − cad
163 <(F − . . . − F46 − C7 ) − F trans, Bsn+Str unis 8ths
h i
4
Marsch - Adagio 4 (\)
173 Mf’ C C − G7 − C− Fl, Brs+Timp bg
..
177 . <(G − C) − C7 − F − C
181 ⊥ G − C − G7 − C
183 M2.6 <(G7sus4 − C)/C − C Pam & Tam+WW S(2p), P T (c),
186 ⊥ <(G7 − C)− Vi 16ths arp
189 Mf’ C − G7 − C − <(G − C)− Fl, Brs+Timp bg
195 ⊥ C7 − F − C − G7 − C−
d
199 M2.6 G7 − Am − F − G7sus4 − G − C cad

m M R H Comment
Allegro
201 M2.7 C− a): Chor S(4p), Timp+Tpt
..
203 . <(G − C)− Voc+tutti, P D (g)
..
207 . F − C − F − G − Em − F b): imit
..
210 . Dm − Dm7 − G7 − C c): tutti, P D (g)
213 ⊥ <(C − F − C46 − G)
218 C − G7 /B − C − <(C46 − G) closing, Hns P D (g) (223 m.)
c − e − g ascending arpeggio. Brass fanfare patterns support the 4-part singing. The vocal
line has M2.7(abc) (6 + 3 + 8 m.) structure.
Section 3, Allegro (Scene 29), has the three ‘Freemason’ signal calls Mf (on g − b − d) in
the string section introduction, in the first vocal phrase (calling ‘Papagena!’, m. 14), and in
the Three Boys opening statement (m. 131). There are repeated elements such as the melodic
phrase M3.1, that gives this section a rondo character. It is played first by solo strings (m. 6),
to be repeated with vocals (m. 32, 56, and 102). The other returning element is the Papageno
whistle signal Mw, that is intertwined with the M3.2 lead part. Note the alternation of major
and minor keys G − Gm. Two bridge sections (m. 35 ff., m. 109 ff.) express the excitement
with offbeat string accents and a first violin countermelody with 16th note legato runs. The
discussion between Papageno and the Drei Knaben is full of simple chord cadences and dom-
inant pedal point. The burning hart phrase (m. 138-145) has an arpeggio 8th note triplet
groove in violas. From m. 146 there is a call-and-response setting; the boys are calling upon
Papageno to play his glockenspiel, which is answered by tutti offbeat accents.
The glockenspiel interlude starts in m. 164. The Papageno melody M3.4 is doubled with
flute and bassoon for comical effect. Violin 8th note arpeggios provide the groove, with
glockenspiel fills. The meeting of Papageno and Papagena (m. 204 ff.) starts with a ritornello.
There are three statements of sentence structure M3.5(aab) (2 + 2 + 4 m.): first played by
strings only with first violin lead, there are the call-and-response setting exchanges of ‘Pa’ ut-
terings at decreasing note values, creating an accelerando feel. The real duet starts in m. 228,
with both imitative and two-part vocals. The former are simple tonic-dominant chord se-
quence repeats with some string or woodwind doubling, the latter lead to full cadences with
tutti climaxes.
The fourth and last section, Scene 30, starts with a unisono string melody M4.1 in the
minor key Cm, with its characteristic descending 4th leaps and march rhythm character. This
is picked up by Monostatos (m. 6); the p dynamics support the lyrics ‘Nur stille’. The Queen
of the Night and Three Ladies announce their entrance into the temple, and start a dialogue
with Monostatos (M4.2 , m. 15). A steady 8th note rhythmic groove in lower strings and 16th
note violin tremolos support the tension. The quintet singing starts in m. 43, concluding this
subsection. Thunder, lightning and storm are depicted by tutti playing over a diminished
chord (E◦7 /B[, m. 63), with unisono singing (descending arpeggio M4.3) by the Queen of the

m M R H Comment
h i
6
Allegro (29. Auftritt, Scene 29) 8 (]) (Section 3)
1 Mf’ G G − ...− Intro, Str signals
4 Mw <(D7 − G) cad
6 M3.1 Em7 /A − A7 − D7 − Vi1, Str
8 ⊥ G − D7 − G
10 M3.1 Em7 /A − A7 − D7 − tutti, repeat
12 ⊥ G − D7 − G
14 Mf’ G − ...− Papageno

16 Mw D − G − D7 − G cad
19 M3.2 D7 − G − <(Am/C − G/B)− Voc+Fl+Vi1, Hns P D (d)
..
23 . F ]m/A − D/F ] − A7 − D
..
26 . (Gm − C]◦7 − D)/D
30 ⊥ D7 − G
32 M3.1 Em7 /A − A7 − D7 − Voc+Fl+Vi1, Str
34 ⊥ G − D7 − G
35 G − Em − B7 /D] − B7 /A− trans, Seq(2×4m;R7 )
37 M3.2 Em − B7 /D] − Em Voc, Vi1 16ths
..
40 . <(A7 /C] − D)
..
44 . G]◦7 /B − <(A − G]/B) − A Str-WW accts
..
48 . <(D − A/C])
..
51 . D − C]◦ /E − F − D − G/D−
53 ⊥ D7 − . . . − G tutti clim, cad
58 ⊥ G − D7 − G
59 G − Gm/B[ − D/F ]− tr, maj-min
61 M3.2 Gm Gm − A∅7 /C − D7 − Voc, Str
..
63 . Gm − A∅7 − D− WW+Str
..
65 . Gm − A∅7 /C − D7 − Gm repeat
..
68 . B[ Gm − F/A − F − B[ Bsn+Str
..
72 . <(F7 − B[ − F − B[)/F − F WW+Str, LoStr P D (f )
..
77 . <(B[ − B[/D − Cm7 /E[ − F7 )−
81 ⊥ B[−

m M R H Comment
82 M3.2 Gm <(D7 /A − Gm − D) − Gm Voc+Vi1, P D (d)
..
89 . D − . . . − A/D − D− PL (%), LoStr P D (d)
94 ⊥ G D7 /F ] − . . . − G WW+Str accts
104 ⊥ G − D7 − G
108 ⊥ G − D7 −
109 M3.2 <(G − D7 )− tr, Voc, Vi1 16ths, Hns P D (d)
115 ⊥ G − Am/C − D − G Voc+WW+Str unis
118 Mw G − ...−
Andante
122 M3.2 Gm Gm − D − Gm− tr, Voc, Str accts, WW arp
..
124 . Cm − C]◦7 − D−
.. d
126 . B[no 5 − D7 − E[ − A[/C− N6
..
128 . Gm64 − D − Gm − A[/C−
130 ⊥ Gm64 − D− cad
h i
2
Allegretto 2
131 Mf’ G7 − 3 Knaben+Vi, Hns P D (g)
133 M3.3 <(C − G) − C Voc+WW S(3p)
..
135 . Dm7 /F − G7 − C − Am−
..
137 . Dm7 /F − G7 −
..
138 . G C − (D − G − D)/D− Papageno, Vi2 tripl, P D (d)
..
141 . G − D − G − Em − Am7 /C − D7 − Voc+Fl
..
144 . G − Em − Am7 /C − D7 −
..
146 . C G7 − <(C − G) − C − G7 − Knaben, tutti accts
..
151 . <(C − G7 )− Papageno
..
154 . <(C − Am − Dm7 /F − G)− Voc+Fl
158 ⊥ <(C − G7 ) − C Bsn+Vi1

m M R H Comment
h i
2
Allegro 2
164 Mg C <(C − G7 − C) Glk
172 M3.4 C − G7 − C− ab): Papageno+Fl+Bsn,
..
176 . C/E − Dm/F − C46 − G − C a’b’), Vi 8th arp
..
180 . G − C − G7 − C − G c): Pap+WW, Glk
..
184 . G − C − G7 − C − G−
..
188 . C/E − Dm/F − C46 − G − C a’b’)
..
192 . C/E − Dm/F − a’), Glk
..
194 . C46 − G − C − G7 − b’), Glk
196 ⊥ <(C − G7 )− d), tutti accts
201 C − Am − F ]◦7 − Knaben+Str
203 D7 − tutti climax
h i
2
2 (])
204 M3.5 G G − D7 /F ] − D− aa): Vi1, Vi2+Va 4ths
208 ⊥ G − G/B − C − Am/C − D7 − b)
212 M3.5 G − D7 /F ] − D− aa): Ppg’o & Ppg’a+Vi1 imit
216 ⊥ G − G/B − C − Am/C − D7 − b)
220 M3.5 G − D7 /F ] − D− aa): 4th notes
224 ⊥ G − G/B − C − Am/C − D7 − b): 8th notes
228 M3.6 G − <(F ]◦ − G) a): S(p) imit, P D (g)
..
233 . <(D − G)
..
237 . <(D − G) − D Voc+Fl+Ob S(2p)
..
240 . D A − <(A − D)/A b): Voc+WW S(p) imit, Va P D (a)
..
248 . D − C]◦7 − D/A − A7 − Voc+Str S(2p)
..
252 . D − Em/G − G]◦7 − Σ(cm>)
..
254 . <(A − D) Voc+WW+Str
..
260 . Em/G − A − D − Bm−
..
262 . Em/G − A−
..
263 . D − Em7 − D7 − c) imit, WW runs, Hns P D (d)
269 ⊥ G G − D7 − . . . − stretto imit, clim, GP

m M R H Comment
276 M3.6 <(G − D7 )− d): Voc+Bsn+Fl imit
..
280 . <(G − D7 ) − <(G − D7 )− S(2p), tutti, Vi P D (d)
..
285 . G − Am7 /C − G64 − D7 − Voc+Str, LoStr 8ths
..
289 . <(G − D7 )− d): repeat, Voc imit
..
293 . <(G − D7 )− S(2p), tutti
..
298 . G − Am7 /C − G64 − D7 − Voc+Str, LoStr 8ths
..
302 . <(G − C)/G− e): tutti, Hns+LoStr P D (g)
..
306 . G − C − G64 − D− cad, climax
..
308 . <(G − C)/G− e): repeat, tutti, P D (g)
..
312 . G − C − G/D − D7 /C− climax
..
314 . G/B − C − G/D − D7 /C−
..
316 . G/B − C − G64 − D7 − tutti clim, cad
..
318 . G − D7 − f): S(p) imit
322 ⊥ <(G − D7 ) − G S(2p), tutti accts
326 <(G − D7 ) − G closing cad (332 m.)

Opera The Magic Flute
18 15
G -D A E

14 16

Gm Dm H YH Am Em
H 1,8,9,11,13 2,6,8,12,21
tB[
?
-F -C -G
19 8,10,20 @ 6 4,17

*

B[m F m @ Cm Gm
@
R 6
@ 6?
D[ A[ E[ - B[
t 5,19
0,3,7,21
Figure 4.24: Mozart, The Magic Flute KV 620, key relationship diagram
Night and the Three Ladies. Strings, woodwind accents and a Sarastro recitative M4.4 provide
a transition (m. 75 ff.).
The andante, m. 84 ff., brings the return to the opening key of the opera, i.e., E[ major. It
has the choir singing a 4-part melody M4.5(abc) (5 + 4 + 8 m.). Dotted rhythm brass parts
provide support to the holy character of this subsection. The allegro subsection, m. 102 ff.,
is the closing of the finale. The melody M4.6(aab) (2 + 2 + 4 m.) has sentence structure. It
is played first by lead flute and 1st violin, and repeated by the 4-part choir. The melody is
extended with two more phrases M4.6(ccd) (4 + 4 + 7 m., m. 118 ff.). The bridge has the choir
singing M4.7(aabbc) (8 + 8 + 4 + 4 + 8 m.); the a-phrase is set as two-against-two S(2p + 2p),
the b- and c-phrase receive tutti support. The orchestra concludes with a final statement of
M4.6.

The key relationship diagram of the opera Die Zauberflöte is shown in Fig. 4.24. Shown are
the main keys of the 21 numbers from the opera; for the longer numbers such as the finales,
some intermediate keys are also labeled.
It is hard to infer conclusions from reasoning about the tonic key scheme. The main key
representing the divine and holy is the major E[. Quite a few opera numbers lie on the tonic
axis E[−A−C. The remote outlier keys D, A, E and Dm are reached in the second act: Dm in
No. 14 for the Queen of the Night: ‘Der Hölle Rache’ aria, the major key E in No. 15 for Sarastro:
‘In diesen heil’gen Hallen’, A major in No. 16 for the Drei Knaben: ‘Seid uns zum zweiten Mal
willkommen’, and D major in No. 18 for Chor: ‘O Isis und Osiris, welche Wonne!’, respectively.
There is a vague tendency to move into the subdominant area (F, D, Dm) during the latter
half of the opera (like in the recapitulation or coda section of a sonata form movement), but
this observation may be far-fetched.
Some opera characters seem to have preferred keys or modes: Papageno sings in G major,
the Queen of the Night and Pamina vocal parts are mostly in minor keys, the Drei Damen and
Drei Knaben stay on the tonic axis. However, looking for such key-character association pat-
terns might as well be speculation. Vocal range consideration and instrumentation choices

m M R H Comment
h i
2
Più moderato (30. Auftritt, Scene 30) 2 ([[[) (Section 4)
1 M4.1 Cm Cmno 3 − A[ − E◦ − F m − G− Str unis
6 M4.1 Cmno 3 − A[ a): Monostatos+Str
..
10 . A[ − E◦ − F m − C7 − KdN & 3 Dam S(4p), tutti
12 ⊥ F m − G7 − Cm − G halfcad
15 M4.2 G − Cm − D a): Monostatos, Str trem+8ths
..
20 . Gm Gm − D/F ] − D◦ /F − b): KdN, PBi (&)
..
22 . Em7 − A[5
7 /E[ − D − Gm/B[−
.. d
24 . A∅7 /C − D −
..
25 . E[ − G7 /D − Cm − G7 /B− c): KdN & 3 Dam S(4p) imit
27 ⊥ Cm − C]◦7 − Gm64 − D− cad
29 M4.1 Gmno 3 − E[ − B◦ − Cm − C]◦ − Monostatos+Str unis
34 M4.2 (D − Gm − C]◦7 − D − Gm)/D d): KdN & 3 Dam S(4p)
38 M4.1 Gm − E[ − B◦7 − Cm − E[7 /G− Monostatos+Str unis
43 M4.2 A[ − E[7 − A[ − C7 − e): All Voc S(5p),
..
45 . F m − C7 − F m tutti, WW accts
47 ⊥ G7 − Cm/G − G − Cm − G−
51 M4.1’ Cm Cm − . . . − A[ − . . . − 3 Dam & Mon+WW S(4p),
59 ⊥ F m − G7 − Cm − G − Cm Str unis
62 M4.3 E◦7 /B[ − . . . − KdN & Chor unis&, tutti clim,
[5/[9
66 ⊥ F m − . . . − G7 /B− LoStr 8ths
71 A[/C − G/B − E◦7 /B[ − F/A− Str trem, PBi (&)
75 F7 − . . . − Vi, Hns+LoStr P D (f )
78 Mf B[− Vi, tutti clim
80 M4.4 B[ − B[7 /D − E[ − A[− trans, Sarastro

m M R H Comment
Andante
84 ⊥ E[ E[64 − B[ − E[ tutti cad
86 M4.5 E[ − B[ − B[7 − a): Chor+WW+Brs S(4p), tutti
..
90 . E[ − Gmno 3 − Cm − E[ b)
..
93 . B[7 /D − E[ − B[ − B[/A[−
..
95 . E[/G − F m7 /A[ − B[7 − E[ c), accts, Vi 16ths
..
99 . E[/G − F m/A[ − F7 /A− Σ(cm>), PBi (%)
101 ⊥ E[64 − B[7 −
h i
2
Allegro 4
102 M4.6 E[ − B[7 − E[ aa): Fl+Vi1, Vi2 16ths
..
106 . E[ − B[/D − Cm − E[/G− b)
108 ⊥ F m7 − B[7 − E[ cad
110 M4.6 E[ − B[7 − E[ aa): Chor+Fl+Vi1 S(4p)
..
114 . E[ − B[/D − Cm − E[/G− b)
116 ⊥ F m7 − B[7 − E[ cad
118 M4.6 <(B[ − F7 − B[) c): Chor+Fl+Vi1

..
126 . <(B[ − A◦7 )/B[− d), cresc
129 ⊥ B[7 − . . . − tutti clim, P D (b[), GP
133 M4.7 E[/G − A[ − A[+ − a): Chor S(2p + 2p), Str accts
..
136 . F m/A[ − E[64 − B[ − E[ cad
..
141 . E[/G − A[ − A[+ − repeat, a)
..
143 . F m/A[ − E[64 − B[ − E[
..
148 . B[7 /D − E[ − F m/A[ − B[ − E[ b) tutti clim, Vi 16ths
..
152 . B[7 /D − E[ − F m/A[ − B[ − E[ repeat, b)
156 ⊥ <(Cm − F m7 /A[ − B[ − E[) cc), cad
163 M4.6 E[ − B[7 − E[ closing, aa): Fl+Vi1, Vi2 16ths
..
168 . E[ − B[/D − Cm − E[/G− b), tutti clim
170 ⊥ F m7 − B[7 − cad
171 E[ (175 m.)

(brass, see Table 4.83 in Section 4.11) may have resulted in the key selection. Specialised mu-
sicological studies about this opera and its hidden layers will probably have reached more
thoroughly founded conclusions.


Chapter 5
Ludwig van Beethoven
Biographical data:
∗ 17-12-1770 in Bonn
† 26-3-1827 in Wien
1600 1700 1800 1900 2000
The analysis of Beethoven compositions was supported by the information in [27].
5.1 Sonata Op. 2, No. 1 in F Minor (1795)

Source: [7].3 The first piano sonata by Beethoven has the subtitle: Joseph Haydn gewidmet,
Sonata pour le clavecin ou pianoforte (dedicated to Joseph Haydn, sonata for harpsichord or
pianoforte). This underlines both the by now established form of the multi-movement piano
sonata (another form created by Papa Haydn, as composers used to call him in reverence) and
the recent technological development of the pianoforte keyboard instrument.
Analysis of the Beethoven piano sonatas is supported by the formal analyses and de-
scriptions in [26]. An overview of the formal analysis is shown in Fig. 5.1.

Form: sonata form. This is a straightforward sonata form in minor, with secondary theme
(M2.1 to M2.3) in the relative major key. The development section is relatively brief, and
modulating to neighbouring keys. The codetta appears at the closing of the exposition and
the recapitulation. The detailed analysis is shown in Table 5.1 and 5.2.
5.1.2 Mvt. 2 Adagio

Form: ABAB. The main theme has a ternary phrase subdivision (M1.1 to M1.1’), with the
first phrase again subdivided into an antecedent-consequent pair (M1.a-M1.b). The analysis
2005-2017
CHAPTER 5. LUDWIG VAN BEETHOVEN
Table 5.1: Beethoven, Sonata Op. 2, No. 1, Mvt. 1 Allegro
m M R H Comment
1 M1 Fm || : F m − C7 /E− Exp/Gr 1 (aa) main th
5 ⊥ F m − C7 /G − F m/A[ − G∅7 /B[ − C (b), halfcad
9 M1’ Cm − F m/C − D∅7 /C − B[m7 − trans, LH-RH imit
13 ⊥ A[ E[7 /B[ − A[ mod to rel major
15 <(B[m/D[ − B[7 /D − E[7 − A[/C)−
19 B[m/D[ − B[7 /D−
20 M2.1 A[ <(E[[9 7 − A[)/E[ − E[7 /D[− Gr 2 (aa), P D (e[)
26 M2.2 A[/C − E[/G − A[ − D◦ /F − (b): appoggiaturas
..
28 . E[ − D◦ /F − E[[9 [9
7 /D[ − A[ − E[7 −
31 ⊥ A[/C − E[/G − A[ − E[7 − cresc
33 M2.3 A[/C − E[m7 /D[ − A[/E[ − E[7 /D[− climax, (c): scalar runs
37 ⊥ A[/C − B[m7 − A[/E[ − E[7 −
41 <(A[ − B[[9 6
7 /D − A[4 − E[7 )− closing statement
47 E[7 − A[ : || codetta, cad
[5/[9
49 M1 || : A[ − E[7 /G − E◦7 − C7 /G[− Dev
55 M2.1 B[m <(F7[9 − B[m)/F − F7[9 − F7 /E[− mod, P D (f )
[5/[9
61 M2.2 B[m/D[ − F7 /C − B[m − D7 /A[−
63 M2.1 Cm <(G[9 7 − Cm)/G− P D (g)
69 M2.2 G7 − Cm − F7[9 − B[m − E[[9
[9
7 LH, Seq(3×2m;R−7 )
74 ⊥ A[ A[ − D[ − E[7 /B[ − C−
78 F m/A[ − B[m − B◦7 −
81 Fm <(C − F m − C7 − F m − B◦ )/C− climax, P D (c)
89 <(C7[9 − F m − B◦ )/C− dim, (P D (c))
93 (M1’) (C − . . . − G[no 3 )/C − B[m − C7 /B[− retrans
97 ⊥ F m/A[ − B[7 /A[ − E◦7 −
101 M1 Fm F m − C7 /E− Recap/Gr 1 (aa)
105 ⊥ F m − C7 /G − F m/A[ − G∅7 /B[ − C (b): halfcad
109 M1’ F m − G[∆7 /F − C◦ /E[ − F7[9 /E[− trans, LH-RH imit
..
114 . B[m/D[ − B◦7 −
d [5/[9
117 ⊥ C − F m/C − C7 − D[ − G7 /D[− cad

5.1. SONATA OP. 2, NO. 1 IN F MINOR
h i
2
Mvt. 1 Allegro: sonata form (F m, 2 , 152 m.)
Exposition Development Recap Cd

h i
3
Mvt. 2 Adagio: ABAB form (F , 4 , 61 m.)
A B A’ B’
h i
3
Mvt. 3 Menuetto and trio, Allegretto: menuet and trio form (F m − F , 4 , 73 m.)
Menuetto Trio
h i
2
Mvt. 4 Prestissimo: sonata form (F m, 2 , 196 m.)
Figure 5.1: Beethoven, Sonata Op. 2, No. 1 in F Minor
Table 5.2: Beethoven, Sonata Op. 2, No. 1, Mvt. 1 Allegro (cont’d)
m M R H Comment
119 M2.1 Fm <(C7[9 − F m)/C − C7[9 /B[− Gr 2 (aa)
125 M2.2 F m/A[ − E◦ /G − F m − G[57 /D[− (b): appoggiaturas
..
127 . C − G[5
7 /D[ − C − E◦7 /B[−
..
129 . F m/A[ − E◦7 /B[ − F m/A[ − C/E−
131 ⊥ F m − C7 /G−
132 M2.3 <(F m/A[ − G∅7 /B[ − F m/C − C7 /B[)− climax, (c): scalar runs
[5/[9
140 <(F m − G7 /D[ − F m/C − C7 )− Codetta
146 F7 /A − B[m − E[7 /G − A[ − D[∆7 /F − climax
150 G◦ − C7 /E − F m − D[−
151 G∅7 /B[ − C7 − F m : || cad (152 m.)

Table 5.3: Beethoven, Sonata Op. 2, No. 1, Mvt. 2 Adagio
m M R H Comment
1 M1.1 F F − C − C7 /B[ − F/A − C7 /E − F − C A (a)
5 ⊥ F − B[ − C7 /B[ − F/A − B[ − F46 − C7 − F (b)
9 M1.2 <(C7 − F )/C − C − B[/D − C7 /E− P D (c)
13 M1.1’ F − B[/D − F/C − E◦ − F − B[ (a’)
15 ⊥ B[ − C7 /B[ − F/A − Gm/B[ − F46 − C7 − F cad
17 Mt Dm Dm − E◦7 − A7 − Dm− trans
21 ⊥ G7 − C − Dm − C/E− Σ(cm>)
23 M2 C <(G[9 6
7 /F − C/E) − Dm7 /F − C4 − G7 − C B, 32th note th
28 M2’ <(G7 − C) − C7 − LH: 32th notes
32 M1.1 F F − C − C7 /B[ − F/A − C7 /E − F − C A’ (a) var, halfcad
..
36 . F − F7 /E[ − B[/D − F/C − C7 /B[ − F/A− (b) triplets
38 ⊥ Gm7 /B[ − F46 − C7 − F cad
41 M1.2 <(C7 − F )/C − C − B[/D − C7 /E− P D (c)
44 M1.1’ F − F7 /E[ − B[/D − E◦ − Dm/A − C− triplets
45 ⊥ B[ − F/A − Gm/B[ − C7 − F trans, cad
48 M2 <(C7[9 /B[ − F/A) − F7 /A− B’, 32th note th
..
50 . B[ − Gm/B[ − F46 − C7 −
52 ⊥ F − B[/D − C7 /B[ − F/A−
53 M2 C7 − LH: 32th notes
..
54 . F − F7 /E[ − B[/D − E∅7 /D − Am/C− triplets, Seq
Dm7 /C − Gm/B[ − C7 /B[ − F/A−
..
55 . C7 − F − B[/D − Am/C − Gm/B[ − F/A− [S̄ 6 ]
56 ⊥ C7 − F − C7 − G∅7 /F − C7[9 − F − C7 − F closing cad (61 m.)

Table 5.4: Beethoven, Sonata Op. 2, No. 1, Mvt. 3 Menuetto and Trio, Allegretto
m M R H Comment
Menuet
1 M1 Fm || : G∅7 /F − F m − C7 /E − F m − F m7 − A (a), Σ(cm<)
..
5 . A[ B[m7 − A[ − E[7 /G − A[ (a’), Σ(cm<)
..
9 . E[7 /G − A[ − B[m/D[− (b)
11 ⊥ <(A[64 − E[7 − A[) : || cad
15 M1’ || : G◦7 − A[ − A◦7 − B[m B (a’) Seq(2×2m;R7 ),
19 ⊥ B[m64 − F7 − B[m RH-LH imit, cad
21 M1’ B[m64 − F7 − <(B[m − F7 )− (b’)
24 ⊥ B[m − . . . − B[m7 − E◦ − B◦7 − C
29 M1’ Fm <(C7 − F m) − E◦7 − B◦7 (a’): LH-RH imit
35 ⊥ <(F m64 − C7 − F m) − C7 − F m : || clim, cad
Trio
41 M2 F || : F − Gm − G7 /F − C/E − C7 − F A, RH: 8th note th
45 M2 F − Gm − G7 − C − Dm − G7 − C − F ]∅7 − LH
49 ⊥ C46 − G7 − C : ||
51 M2’ || : (C − B◦ − C7 − F )/C− B, RH
55 M2’ C − B◦ − C7 − F − LH
..
59 . B[ − C7 − F/A−
61 ⊥ B[/D − Am/C − E◦ /G − Dm/F − [S̄ 6 ]
63 C/E − Am − C7 − cad
66 M2 F − Gm − G7 /F − C/E − C7 − F − RH
69 M2 F/A − Gm − G7 − C − C7 − F : || LH, cad (73 m.)
5.1.3 Mvt. 3 Menuetto and Trio, Allegretto
Form: menuet and trio form. Both the menuetto and trio are monothematic, with their
B section developing the main theme. In the trio the development technique is imitation
between right and left hand, in the trio it is repetition in the left hand. The menuet is repeated
after the trio. The analysis is shown in Table 5.4.
5.1.4 Mvt. 4 Prestissimo
Form: sonata. The main theme consists of two phrases (M1.1 and M1.2), the secondary theme
in the dominant minor has a ternary structure (M2.1 to M1.3). The development starts with
a new theme, only later to return to the original main theme. The key centre stays close
to the original minor tonic; only the relative major and (briefly) the lowered sub-mediant
are used (hardly a modulation). Both parts (exposition and development-recapitulation) are
repeated. The analysis is shown in Table 5.5 and 5.6.

Table 5.5: Beethoven, Sonata Op. 2, No. 1, Mvt. 4 Prestissimo
m M R H Comment
1 M1.1 Fm <(F m − E◦7 − F m − . . . − C7 /E)− Exp/Gr 1, p−f -effect
5 ⊥ F m − E[7 /G−
6 M1.2 A[ A[ − E[7 /G − A[ − E◦7 −
8 ⊥ F m/A[ − E◦7 − F m − D[7 − C − C7 /E− halfcad
10 M1.2 Fm <(F m − C7 /E) − F m − D7 /F ]−
13 M1.1 <(G − F ]◦7 − G)− p−f
17 ⊥ G − . . . − G7 − . . . − G[9
7 − trans
22 M2.1 Cm <(Cm − A[ − Cm/G − F ]◦7 ) Gr 2, arp: RH↓, LH↑
26 M2.2 Cm/G − A[ − B[/F − G◦ −
..
27 . C7 /E − F m − G7 /B − Cm
28 ⊥ G7 /D − Cm/E[ − B◦7 /F − F ]◦7 − Cm64 − G PB (%), cad
30 M2.2 Cm − A[ − D∅7 /F − G◦ − 2nd stat
..
31 . C7 /E − F m − G7 /B − Cm
32 ⊥ G7 /D − Cm/E[ − B◦7 /F − F ]◦7 − Cm64 − G PB (%), cad
34 M2.3 Cm − B[7 /D − E[ − C/E − F m − B◦7 /F − PB (%)
..
38 . E[/G − E◦ /G − F m7 /A[ − D7[5 /A[−
40 ⊥ Cm64 − G− cad
42 M2.3 Cm − B[7 /D − E[ − C/E − F m − B◦7 /F − 2nd stat, PB (%)
..
46 . E[/G − E◦ /G − F m7 /A[ − D7[5 /A[−
48 ⊥ Cm64 − G− cad
50 M1.1 <(Cm − B◦7 − Cm − G)− final stat, clim
..
54 . Cm − G − Cm−
56 ⊥ Cm −1) C7 − F m : ||2) Cm − E[7 /B[−
59 M3.1 A[ || : A[ − E[/G − D[/F − A[/E[− Dev, new theme
65 ⊥ B[m/D[ − A[64 − E[7 − A[ cad
69 M3.1 A[ − E[/G − D[/F − A◦ /E[− 2nd st: 8va (var)
75 ⊥ B[m/D[ − A[64 − E[7 − A[ cad
79 M3.2 E[/G − E[7 /B[ − A[
83 ⊥ E[/B[ − E[7 /D[ − E[7 − A[ cad
87 M3.1 A[ − A[7 /G[ − D[/F − A◦7 /E[− 8va par
91 ⊥ B[m/D[ − E[7 − A[ cad
95 M3.2 E[/G − E[7 /B[ − A[
99 ⊥ E[/B[ − E[7 /D[ − E[7 − A[ cad
103 M3.1 A[ − A[7 /G[ − D[/F − A◦7 /E[− 2nd st: 8va par
105 ⊥ B[m/D[ − E[7 − cad
109 M1.1 A[ − . . . − C7 /G − . . . − E◦ /G−

Table 5.6: Beethoven, Sonata Op. 2, No. 1, Mvt. 4 Prestissimo (cont’d)
m M R H Comment
117 M1.1 Fm Fm − ...−
..
120 . D[ D[ − A[7 /C − D[−
124 ⊥ F7 /C − B[m7 − E[64 − G7 /B− retrans
127 (M1.1) <(C − B◦7 ) − C − C7[9 − . . . − clim, P (c)
138 M1.1 Fm <(F m − E◦7 − F m − . . . − C7 /E)− Rec/Gr 1, p−f -effect
142 ⊥ F m − E[7 /G−
143 M1.2 A[ A[ − E[7 /G − A[ − E◦7 −
145 ⊥ F m/A[ − E◦7 − F m − D◦7 − C − C7 /E− halfcad
147 M1.2 Fm <(F m − C7 /E) − F m − G[5 7 /D[−
152 M1.1 C − B◦7 − C − . . . − p−f
156 ⊥ C − . . . − C7 − . . . − C7[9 − trans
161 M2.1 <(F m − D[ − F m/C − B◦7 )− Gr 2
165 M2.2 F m/C − D[ − B[7 /D − E[m− RH: arp↓, PBi (%)
..
166 . F7 /A − B[m − E◦7 /G − F m/A[−
167 ⊥ C7 /E − F m − G◦ /B[ − B◦7 − F m64 − C− cad
169 M2.2 F m − B[7 /D − E[m− 2nd stat
..
170 . F7 /A − B[m − E◦7 /G − F m/A[−
171 ⊥ C7 /E − F m − G◦ /B[ − B◦7 − F m64 − C− cad
173 M2.3 F m − D[/F − F∅7 − E[7 /G− RH, LH: arp↑, PB (%)
175 ⊥ A[ − F/A − B[m − E[/B[−
177 M2.3 A[/C − A◦7 /C − B[m/D[ − G7 /D−
179 ⊥ F m64 − C− cad
181 M2.3 F m − D[/F − F∅7 − E[7 /G− RH, LH: arp↑, PB (%)
183 ⊥ A[ − F/A − B[m − E[/B[−
185 M2.3 A[/C − A◦7 /C − B[m/D[ − G7 /D−
187 ⊥ F m64 − C− cad
189 M1.1 <(F m − E◦7 ) − F m : || closing stat (197 m.)

The key relationship diagram is shown in Fig. 5.2. This early piano sonata has a very limited
key compass. Three of the four movements open in F m, then move first to the relative major
A[. The opening sonata movement is unconventional in the sense that there is a change to the
subdominant minor area B[m (1) at the start of the development, before the move towards
the minor dominant Cm (2). The third movement closes in the parallel major key F (2). The
closing movement confirms the standard pattern of going to the dominant domain Cm (2)
before alternating in the subdominant domain on the lowered submediant major [V I = D[
(4).
Mvt. 1 Allegro Mvt. 2 Adagio
B[m Fm Cm Dm H Am
HH
Y 6 6 1 HH
j
D[ 1 H A[ 2 E[
?
F C
Mvt. 3
Menuetto
F• Mvt. 4 Prestissimo
2
6 2-
Fm B[m Fm Cm
6 4 6
A[ 1 D[ 1 A[ 3 E[
? ?
Figure 5.2: Beethoven, Sonata Op. 2, No. 1, key relationship diagram
5.2 Sonata Op. 13 in C Minor Pathétique (1798/1799)
Source: [7]. This piano sonata has the subtitle: Dem Fürsten Carl von Lichnowksy gewidmet,
Grande Sonata Pathétique pour le clavecin ou pianoforte; hence it is better known as the Pathétique
Sonata. This sonata has only three movements (fast-slow-fast). Analysis of the Beethoven
piano sonatas is supported by the formal analyses and descriptions in [26]. An overview of
the formal analysis is shown in Fig. 5.1.
5.2.1 Mvt. 1 Grave - Allegro di molto e con brio
Form: sonata form. A special feature of this sonata movement is that the slow introduction
section subject returns as transitions before the development, and before the coda. Contrast
is achieved through tempo changes and dynamics. There is frequent use of contrary motion
and pedal point (8th note tremolo octaves). The development opens in the remote key of E
minor, before moving towards more closely related keys. The detailed analysis is shown in
Table 5.7 to 5.9.

5.2. SONATA OP. 13 IN C MINOR PATHÉTIQUE
Table 5.7: Beethoven, Sonata Op. 13 Pathétique, Mvt. 1 Grave - Allegro
m M R H Comment
Grave Introduction
1 M0 Cm Cm − F ]◦7 − G − B◦7 − Cm (aa) Σ(cm<)
3 ⊥ <(F ]◦7 − G/B) − F m/A[ − B[7 − (b) Σ(cm<)
5 M0’ E[ E[ − F m7 /E[ − B◦7 − F m/C− (a’) p−ff -contrast, Σ(cm<)
..
6 . B◦7 − B[m7 /D[ − C]◦7 − A[9
7 /G− (a’)
..
7 . D/F ] − D7 /F ] − B◦7 − . . . − (a’)
..
8 . B◦7 − Gm7 − F m/A[− (a’) cresc
d
9 ⊥ G7 − A[− (b’) climax
10 D∅7 /F − C46 − G[9
7 − cad, lead chr desc
Allegro di molto e con brio Exposition
11 M1.1 Cm || : <(Cm − C7 − F m − B◦7 )/C− Gr 1, lead asc, P T (c)
..
15 . Cm − G7 /D − Cm/E[ − D◦ /F − Σ(cm>)
[5/[9
17 ⊥ Cm/G − D7 /A[ − F ]◦7 − G7 − Σ(cm>), cad
19 M1.1 <(Cm − C7 − F m − B◦7 )/C− 2nd st, lead asc, P T (c)
..
23 . Cm − G7 /D − Cm/E[ − D◦ /F − Σ(cm>)
[5/[9
25 ⊥ Cm/G − D7 /A[ − F ]◦7 − Σ(cm>), cad
[5/[9
27 M1.2 G − Cm/G − G7 − Cm − D7 /A[− arp↓
[5/[9
31 M1.2 G − Cm/G − G7 − Cm − D7 /A[−
35 (M1.1) (G − . . . − E[7 )/G− trans, Seq(3×4m;R7 ), ped
..
39 . A[ − . . . − A◦7 −
43 ⊥ B[ − . . . − <(B[ − A◦ )/B[− P (b[)
51 M2.1 E[m (E[m − B[7 )/B[− Gr 2 (ab) P D (b[)
59 ⊥ E[m/B[ − A[7 − (ab’)
67 M2.1 D[ (D[ − A[7 )/A[− 2nd stat: (ab)
..
72 . A[7 − . . . − D[m − F◦ /C[− (b) Seq(3×4m;R7 )
..
76 . B[7 − . . . − E[m − B[m/D[− (b)
..
80 . C7 − . . . − F m − F m7 − (b)
84 ⊥ B[7 − B◦7 − Cm − F m/A[ − E[64 − B[ cad
89 M2.2 E[ E[ − . . . − E[7 /D[−
..
93 . A[/C − C7 /B[ − F m/A[ − F7 /E[−
..
96 . B[/D − F m/C − B[m − B[7 /A[− Σ(cm<)
98 ⊥ E[/G − E[+ − A[ − B[7 − cad

Table 5.8: Beethoven, Sonata Op. 13 Pathétique, Mvt. 1 Grave - Allegro (cont’d)
m M R H Comment
101 M2.2 E[ E[ − E[7 /D[− 2nd stat
..
105 . A[/C − C7 /B[ − F m/A[ − F7 /E[−
..
108 . B[/D − F m/C − B[m − B[7 /A[− Σ(cm<)
110 ⊥ E[/G − E◦ /G − F m/A[ − B[7 − cad
113 <(E[ − Cm − F m7 − B[)− trans
121 M1.1 (E[ − E[7 − A[ − B[7 )/E[− closing stat, P T (e[)
125 ⊥ E[ − E[∆7 /D − Cm − E[/B[− clim, PB (&)trem
129 A[ − Cm/G −1) D7 /F ] − G7 − : ||2) D7 /F ]−
Tempo I. Trans
133 M0 Gm Gm − C] − D − Gm/B[− (aa) Σ(cm<)
135 ⊥ F ]◦7 /E[ − Em64 − B7 − (b) Σ(cm), cad
Allegro di molto e con brio Development
137 M1.1 Em (Em − D]◦7 − Em)/E P T (e)
140 M0’ Em − F ]∅7 /E − F ]◦7 /E[ (P T (e))
143 M1.1 (D − C] − D)/D − D7 − P D (d)
147 M0’ Gm Gm/D − G◦ /D[−
149 M1.1 F C7[9 − . . . − F − . . . LH, RH trem chr desc
157 ⊥ B◦7 − G[9 [9
7 − C7 −
163 Fm [9
F m − . . . − F7 /F ] − . . . − trans
167 G <(G − D∅7 − A[)/G− arp↓, N 6 , P (g)
171 M1.1 (G − Dm − G7 /B − F ]◦7 )/G− (P (g))
175 <(G − D∅7 − A[)/G− arp↓, N 6 , P (g)
179 M1.1 (G − Dm − G7 /B − F ]◦7 )/G− (P (g))
183 <(G7 − F ]◦7 )/G− (P (g))
187 <(G7 − . . . − B[7 − . . .) − G[9
7 − retrans
195 M1.1 Cm <(Cm − C7 − F m − B◦7 )/C− Rec/Gr 1, P T (c)
..
199 . Cm − G7 /D − Cm/E[ − D◦ /F − Σ(cm>)
[5/[9
201 ⊥ Cm/G − D7 /A[ − F ]◦7 − G7 − Σ(cm>), cad
203 M1.1 <(Cm − C7 − F m − B◦7 )/C− 2nd st, lead asc, P T (c)
..
207 . Cm − A[/C − D[ − G[ − D[64 − A[ tr, Seq(3×4m;R7 ),
..
211 . B[7 − E[m − A[m − E[m64 − B[− Σ(cm>)
215 ⊥ C7 /B[ − F m − B[m − F m64 − G[5
7 /D[− Σ(cm>)
219 C − ...−

Table 5.9: Beethoven, Sonata Op. 13 Pathétique, Mvt. 1 Grave - Allegro (cont’d)
m M R H Comment
221 M2.1 Fm (F m/C − . . . − C7 − . . .)/C− Gr 2 (ab) P D (c)
229 ⊥ F m/C − . . . − F m/A[ − . . . − G7 − (ab’)
237 M2.1 Cm (Cm − . . . − G7 )/G− 2nd stat: (ab)
..
243 . G7 − Cm7 − F7 − (b) Seq(4×2m;R−7 )
.. [5/[9
247 . B[m7 − E[7 − A[ − D7 /A[−
251 ⊥ Cm64 − G− cad
253 M2.2 Cm − . . . − C7[9 /B[ − F m/A[ − C7 /B[−
..
258 . F m/A[ − C7 /G − F m − F7 /E[−
..
260 . G7 /D − F m/C − G7 /B − C7 /B[− Σ(cm<)
262 ⊥ F m/A[ − F m − Cm64 − G7 − cad
265 M2.2 Cm − . . . − C7[9 /B[ − F m/A[ − C7 /B[−
..
270 . F m/A[ − C7 /G − F m − F7 /E[−
..
272 . G7 /D − F m/C − G7 /B − C7 /B[− Σ(cm<)
274 ⊥ F m/A[ − F m − Cm64 − G7 − cad
277 <(Cm − A[m − D∅7 /F − G − G7 )− trans
285 M1.1 <(C − C7 − F m − B◦ )/C− closing stat, P T (c)
289 ⊥ Cm − Cm7 /B[ − A[ − Cm64 − F ]◦7 − clim, PB (&)trem
Grave Coda
295 M0 Cm F ]◦7 − G/B − B◦7 − Cm/E[− (aa) Σ(cm<)
..
297 . E◦7 − F m/A[− (a) Σ(cm<)
298 ⊥ F m − Cm/E[ − G7 /D − Cm − D∅7 /F − G7 − (b) cad, lead chr&
Allegro di molto e con brio
299 M1.1 Cm <(Cm − C7 − F m − B◦7 )/C− Gr 1, lead asc, P T (c)
..
303 . Cm − Cm7 /B[ − A[ − Cm64 PB (&)
304 ⊥ F ]◦7 − . . . − Cm64 − G7 − Cm climax, cad (310 m.)

h ih i
4 2
Mvt. 1 Grave - Allegro di molto e con brio: sonata form (Cm, 4 2 , 310 m.)
Int Exposition (126 m.) Development (58 m.)
Recapitulation (100 m.) Coda

h i
2
Mvt. 2 Adagio cantabile: ABA’ Coda form (A[, 4 , 73 m.)
A B A’ C
h i
2
Mvt. 3 Rondo Allegro: rondo form, ABACABA Coda (Cm, 2 , 210 m.)
A B A C A’ B’ A” Coda
Figure 5.3: Beethoven, Sonata Op. 13 in C Minor Grande Sonata Pathétique
5.2.2 Mvt. 2 Adagio cantabile

Form: ternary song form,, ABA Coda.. This cantabile slow movement is another well-known
piece from the classical music canon. The first A section has an internal ternary structure
(with main theme M1 in the tonic and countersubject M2 in the dominant key). The mid-
dle section B has an unexpected modulation to E-major (E = F [, the lowered submediant
degree key). The final A section repeats the main theme (no countersubject). The 16th note
triplets from the middle section return in the varied accompaniment to the main theme in
the final A section. The analysis is shown in Table 5.10.
5.2.3 Mvt. 3 Rondo Allegro

Form: rondo, ABACA’B’A” Coda. This is a template rondo, with one exact repetition of the
A section, and two more slightly varied returns. The key relationships are straightforward.
The C section acts as a contrasting middle section; its subject (M3) is repeated multiple times,
with one beat delay time shifts in either right or left hand. The analysis is shown in Table 5.11
and 5.12.

The key relationship diagram of this three movement piano sonata is shown in Fig. 5.4. The
opening and closing movement are in Cm and start with a key move towards the relative
major E[ and its parallel minor E[m. The sonata form Allegro then goes into the dominant
area D[ − . . . − Gm − Em − Gm (2–4), and uses the double occurrence of F (5) to change into
the subdominant domain F − F m (5,7). This movement has the widest scope of this piano
sonata.
The middle movement in A[ major also displays the regular tendency: a first move into
the dominant area E[ (1) and then a turn into the subdominant, using the Neapolitan enhar-
monic equivalence E = F [ = N/V . The finale Rondo shows many movements along the
vertical axis Cm−E[−E[m−. . .−C, and alternates between dominant (3) and subdominant
areas (2,4), closing with a Cm − F m − A[ − Cm key loop.

Table 5.10: Beethoven, Sonata Op. 13 Pathétique, Mvt. 2 Adagio cantabile
m M R H Comment
1 M1 A[ A[ − E[7 /D[ − A[/C − E[7 /G− A (a)
..
3 . A[ − E[/G − F m − B[7 /F − E[ − E◦
..
5 . G∅7 /D[ − E[7 /D[ − A[/C − F7 − (b)
7 ⊥ B[m − E[7 − A[ cad
9 M1 A[ − E[7 /D[ − A[/C − E[7 /G− (a): 2nd stat 8va
..
11 . A[ − E[/G − F m − B[7 /F − E[ − E◦
..
13 . G∅7 /D[ − E[7 /D[ − A[/C − F7 − (b)
15 ⊥ B[m − E[7 − A[ cad
17 M2 E[ F m/C − C/E − F m − C7 /G − F m/A[
..
20 . B[7 − B◦7 − Cm − F m7 /A[ − E[64 − B[7 −
21 ⊥
23 E[ − <(B[7 − E[) − E[[9
7 − trans
29 M1 A[ A[ − E[7 /D[ − A[/C − E[7 /G− (a)
..
31 . A[ − E[/G − F m − B[7 /F − E[ − E◦
..
33 . G∅7 /D[ − E[7 /D[ − A[/C − F7 − (b)
35 ⊥ B[m − E[7 − A[ cad
37 M3 A[m A[m − E[7 − A[m − E[ − E[7 − B (aa) RH, LH: PB (&),
..
41 . A[m − B7 /A − E/G]− triplets, (b) climax
43 ⊥ F ]7 /C] − E46 − B7 − E
45 M3 E E − B7 − E − D◦7 − . . . − (aa’)
50 ⊥ B[∅7 /F [ − E[7 − retrans, cad
51 M1 A[ A[ − E[7 /D[ − A[/C − E[7 /G− A’ (a) triplets
..
53 . A[ − E[/G − F m − B[7 /F − E[ − E◦
..
55 . G∅7 /D[ − E[7 /D[ − A[/C − F7 − (b)
57 ⊥ B[m − E[7 − A[ cad
59 M1 A[ − E[7 /D[ − A[/C − E[7 /G− (a): 2nd stat 8va
..
61 . A[ − E[/G − F m − B[7 /F − E[ − E◦
..
63 . G∅7 /D[ − E[7 /D[ − A[/C − F7 − (b)
65 ⊥ B[m − E[7 − A[ − A[+ cad
67 E[7 − A[ Coda
69 E[7 − A[ − E[7 − repeat 8va
71 <(A[ − E[7 ) − A[ cad (73 m.)

Table 5.11: Beethoven, Sonata Op. 13 Pathétique, Mvt. 3 Rondo Allegro
m M R H Comment
1 M1 Cm Cm − G7 − Cm − . . . − G − G7 − A (a)
.. [5/[9
5 . B◦7 /F − Cm/E[ − D7 /A[− (b)
..
7 . Cm64 − G − Cm cad
..
9 . B◦7 /F − Cm/E[ − D7[5 /A[ − Cm64 − G− (b)
.. d
12 . C7 − F m − G − A[ − C7 /G − F m − G− (c)
16 ⊥ G − Cm − G − Cm clim, cad Σ(cm<)
18 C7 /B[ − F m/A[ − C7 /E − F m trans
22 B[7 /A[ − E[/G − B[7 /D−
25 M2.1 E[ <(E[ − B[7 /A[ − E[/G − B[7 /D)− B (a): RH, LH: arp
..
29 . E[ − B[7 /A[ − E[m/G[ − B[/D− (a’)
..
31 . E[m E[m − B[/D − C[∆7 − F7[5 /C[− (b)
33 ⊥ <(B[ − E[m)/B[ − B[ − B[7 − . . . − trans, triplets
37 M2.2 E[ <(E[ − B[7 ) − E[ − E[7 /G− tripl imit: RH-LH
41 ⊥ A[ − E[64 − B[7 − E[ cad
44 M2.3 B[7 /A[ − E[/G − A[/C − F7[5 /C[ − B[ (a) block chords
48 ⊥ B[7 /A[ − E[+ /G − A[ − B[7 − (a’): Σ(cm<)
51 M2.2 <(E[ − B[7 /A[) − E[ − A[ − B[7 − tripl imit: LH-RH
54 M2.2 <(E[ − B[7 /A[) − E[ − A[ − B◦7 /A[− repeat 8ba
58 ⊥ Cm64 − . . . − G7 − . . . − climax, cad
62 M1 Cm (see m. 1–17) A
79 M3 A[ A[ − D[ − G◦ − Cm− C (a) hands linked
..
81 . F m − B[m − A[/C − B[m/D[ − D◦ − E[ Σ(cm>), cad
83 ⊥ A[ − D[ − G∅7 − Cm − F m − A◦ − B[ − E[ (a’) RH beat shift
85 M3 A[ − D[ − G◦ − Cm− (a) LH beat shift
..
89 . F m − B[m − A[/C − B[m/D[ − D∅7 − E[ Σ(cm>), cad
..
91 . A[ − D[ − G∅7 − Cm− (a’) RH beat shift
93 ⊥ F m − E[/G − F m/A[ − A∅7 − B[ − E[ cad
95 A◦7 − B[m − E[7 − A[ − B[7 − E[7 − trans, imit LH-RH
99 M3 A[ − D[ − G∅7 − Cm7 − (a): RH 8va,,
..
101 . F m7 − B[m − B[/D − E[ LH: 8th notes, cad
..
103 . A[ − D[ − G∅7 − Cm7 − (a’): LH, RH: 8th
105 ⊥ F m − D7 /F ]− cad
107 <(G − Cm − G7 − Cm)/G trans, 16th arp, P D (g)

Table 5.12: Beethoven, Sonata Op. 13 Pathétique, Mvt. 3 Rondo Allegro (cont’d)
m M R H Comment
113 G − . . . − G7 − . . . − triplet arp (P D (g))
117 Cm64 − . . . − G7 − . . . − cad
121 M1 Cm Cm − G7 − Cm − . . . − G − G7 − A’ (a)
.. [5/[9
125 . B◦7 /F − Cm/E[ − D7 /A[− (b)
..
127 . Cm64 − G − Cm cad
129 ⊥ B◦7 − Cm − E◦7 − F m − D7[5 /A[ − G7 − (b): LH
135 M2.1 C <(C/E − G7 /B − C − G7 /F )− B’ (a)
..
139 . C/E − G7 /B − C−
141 ⊥ F − F + − Dm/F − D7 /F ]−
143 M2.2 G <(G − D7 ) − G − G7 − tripl imit: RH-LH
147 ⊥ C <(C − G7 ) − C − C7 /E − F − C46 − G7 − C
154 M2.3 G7 /F − C/E − F ]◦7 /C − D7 /C − G (a) block chords
..
158 . Cm G7 /F − Cm/E[ − F m/A[ − B[7 /A[ − E[/G− (a’) repeat 8ba
..
162 . F ]◦7 /C − G/B − F7 /C − G7 /B − G[9
7 /F − Σ(cm<)
..
164 . <(Cm/E[ − B[7 /F )−
166 ⊥ B◦7 − G/B − Bm − G7 − trans
171 M1 Cm Cm − G7 − Cm − . . . − G − G7 − A” (a)
.. [5/[9
175 . B◦7 /F − Cm/E[ − D7 /A[− (b)
..
177 . Cm64 − G − Cm cad
.. [5/[9
179 . B◦7 /F − Cm/E[ − D7 /A[− (b’): var 8th notes
181 ⊥ Cm64 − G7 − Cm − C7 −
183 M2.2 Fm <(F m − C7 /G)− Coda, SD
.. [5/[9
185 . F m − D7 /A[ − Cm64 − G − Cm − C7 /G−
..
187 . <(F m − C7 /G)− repeat 8ba
.. [5/[9
189 . Fm − D7 /A[ − Cm64 − D7[9 /F ] Σ(cm<)
191 ⊥ B◦7 /D − Cm/E[ − D◦ /F − G−
193 <(Cm − D∅7 /F − G7 )−
197 Cm/E[ − D[/F − E[7 /G − . . . N 6 , climax
203 (M1) A[ A[ − B[m7 /A[ − A[
205 (M1) A[ − B[m7 /A[ − A[ repeat 8va
[5/[9
207 Cm D7 /A[ − Cm64 no 1 − G7 − Cm clim, cad (210 m.)

Mvt. 1 Allegro di molto

4
Dm Am Em Bm
t
F 6 C G D
?
F m - Cm Gm Dm Mvt. 2 Adagio
7 3 @ t
6
1 E[
? 1
A[ B[ R F
@ D[ A[ - E[
5
?
A[m E[m B[m Fm D[m 2 A[m E[m
@
C[ G[ 2@RD[ A[
E + C[ G[
Mvt. 3 Rondo Allegro

3
F C -G
6
?
* Cm
Fm Gm
4
? * ?
6
2 E[
A[ B[
6
A[m 1 E[m
?
B[m
Figure 5.4: Beethoven, Sonata Op. 13 Pathétique, key relationship diagram
5.3 Sonata Op. 27 No. 2 in C] Minor Quasi una Fantasia - Mond-

schein (1801)
Source: [8]. This piano sonata has the subtitle: Der Gräfin Giulietta Guiccardi gewidmet, Sonata
quasi una Fantasia per il clavicembalo o pianoforte. However, it is better known under its nick-
name ‘Mondscheinsonate’. This sonata has three movements (slow-medium-fast). Analysis of
the Beethoven piano sonatas is supported by the formal analyses and descriptions in [26].
5.3.1 Mvt. 1 Adagio sostenuto

Form: binary form, ABAB Coda form. There is no sonata form as the opening movement,
which is unusual. Instead we find a slow first movement with binary structure. Characteris-
tic are the continuous use of upward triplet 8th arpeggios in the right hand, the major-minor
mode changes and the frequent use of the Neapolitan 6th chord. The detailed analysis is
shown in Table 5.13.
5.3.2 Mvt. 2 Adagio cantabile

Form: scherzo and trio. The scherzo consists of a cadential motif (M1.1), that is varied in its
repeats by lengthening the upbeat notes into suspensions. As a contrast, the trio subject M2.1
consists of a series of syncopations. The bridge of both parts (B section) contains sequences.
The scherzo is repeated after the trio. The analysis is shown in Table 5.14.

5.3. SONATA OP. 27 NO. 2 IN C] MINOR QUASI UNA FANTASIA
Table 5.13: Beethoven, Sonata Op. 27 No. 2, Mvt. 1 Adagio sostenuto
m M R H Comment
1 C]m C]m − C]m7 /B − A − D/F ] − G]7 − A, RH arp↑
5 M1.1 C]m − G]7 − C]m − F ]m − E46 − B−
9 M1.1 E E − Em− major-minor
..
11 . G7 /D − C − Em/B − F ]7 /A]−
13 ⊥ Bm − C]∅7 /E − Bm64 − F ]− cad
[5/[9
15 M1.2 Bm Bm − B − C∆7 /E − F ]7 − B, min-maj, N 6 , P T (b)
.. [5/[9
17 . B B − C∆7 /E − F ]7 −
..
19 . B − C][9
7 /G] − C]/E] − F ]m (P T (b))
21 ⊥ G/B − G][9 6
7 /B] − F ]m4 − C]7 − N 6 , cad
23 M1.1 F ]m F ]m − C]7 − F ] − G]7 −
27 ⊥ C]m − D]◦ − D]7 /F × −G][9 7 − ...− P D (g])
30 C]m C]m/G] − . . . − C]m/G]− trans (P D (g]))
[5/[9
34 F ×◦7 −G][9
7 − . . . − G]7 −
d
40 G][9
7 − A − D]∅7 /F ] − G]7 −
42 M1.1 C]m C]m − G]7 − C]m − F ]m − E46 − B7 − A’

46 M1.1 E E − B7 − E − G]7 /D] − C]m−
49 ⊥ G]7 /B] − C]m − D/F ] − G]7 − N 6 , cad
[5/[9
51 M1.2 C]m C]m − C] − D∆7 /F ] − G]7 − B’, min-maj, N 6 , P T (c])
.. [5/[9
54 . C] D∆7 /F ] − G]7 − C] − F ]m− (P T (c]))
..
56 . B7 /D] − Em−
..
57 . C]m A∆7 /C] − D − G]7 − C]m−
58 ⊥ D]∅7 /F ] − C]m64 − G]7 − cad
60 (M1.1) C]m − G]7 /B] − C]m − G]7 − Coda, LH
64 ⊥ C]m − G][9
7 − C]m cad (69 m.)

Table 5.14: Beethoven, Sonata Op. 27 No. 2, Mvt. 2 Allegretto - Trio
m M R H Comment
Allegretto
1 M1.1 D[ D[/F − A[/E[ − G◦ /D[ − A[/C− A (a)
..
3 . B[m/D[ − A[64 − E[7 − A[− halfcad
..
5 . G[/B[ − D[/A[ − A[7 /G[ − D[/F − (a’)
7 ⊥ G[ − D[64 − A[7 − D[
9 M1.1’ D[/F − A[/E[ − G◦ /D[ − A[/C− (a) RH: susp
..
11 . B[m/D[ − A[64 − E[7 − A[ halfcad
..
13 . G[/B[ − D[/A[ − A[7 /G[ − D[/F − (a’)
15 ⊥ G[ − D[64 − A[7 − D[
17 M1.2 D[ − B[m − D[/A[ − E[7 /G − A[ − A[m B, Seq(2×2m;R−7 )
..
19 . A[m − A[7 /G[ − D[7 /F − G[−
..
21 . A[7 /E[ − D[ − A[7 /C−
23 ⊥ D[ − E[m/G[ − A[ halfcad
25 M1.1 D[ || : D[/F − A[/E[ − G◦ /D[ − A[/C− A’ (a)
..
27 . B[m/D[ − A[64 − E[7 − A[ RH: susp, halfcad
..
29 . G[/B[ − D[/A[ − A[7 /G[ − D[/F − (a’)
..
31 . G[/B[ − D[/A[ − A[7 /G[ − D[/F − RH: susp
..
33 . G[/B[ − D[/A[ − E[[9 6
7 /G − D[4 (a”)
35 ⊥ A[7 − D[ : || cad
Trio
37 M2.1 D[ || : D[ − A[7 /E[ − A[7 /G[ − D[/F − A, RH: sync
41 ⊥ D[ − A[7 /E[ − A[7 − D[ : ||
45 M2.2 G[ || : B[7 /D − E[7 /D[ − A[7 /C − D[7 /C[− B, Seq(4×1m;R5 ),
..
49 . G[/B[ − D[/A[ − D[7 − G[ PBi (&) , cad
..
53 . G[/B[ − D[/A[ − E[[9
7 /G − D[/A[−
57 ⊥ D[ G[/B[ − D[/A[ − A[7 − D[ : || cad (60 m.)

h i
2
Mvt. 1 Adagio sostenuto: ABA’B’ Coda form (C]m, 2 , 69 m.)
A B A’ B’ C
h i
3
Mvt. 2 Allegretto – Trio: scherzo and trio form (D[, 4 , 60 m.)
Allegretto Trio
h i
4
Mvt. 3 Presto agitato: sonata form (C]m, 4 , 199 m.)
Figure 5.5: Beethoven, Sonata Op. 27 No. 2 in C] Minor Quasi una Fantasia – Mondschein
5.3.3 Mvt. 3 Presto agitato
Form: sonata, The sonata closes with a fast movement, full of whirling, virtuoso 16th note
arpeggios, either as main subject in the right hand (M1) or as left hand accompaniment
(Alberti bass style in the second group subject M2.1 and in the transitions). There is some
tension-relieving contrast in the second group theme M2.2, with its contrary motion 8th note
chords in both hands. The coda contains tempo variations and quasi-improvised cadenzas.
The analysis is shown in Table 5.11 and 5.12.
The key relationship diagram of this piano sonata is shown in Fig. 5.6. This piece has a very
limited key scope. The key pattern is most conventional: tonic-dominant-subdominant-
tonic. In the opening movement note there is twice an intermediate tonic major to dominant
minor key change: E − Bm (1) and B − F ]m (2). This movement closes by alternating with
the parallel major C] (4). The middle movement is in the enharmonically equivalent major
key C] = D[; the trio alternates with the subdominant major G[. The closing sonata form
remains in minor keys.
Mvt. 1 Adagio sostenuto

4
F] C] G]
2- 6?
F ]mX
yXXC]m G]m
X
?6
XXX
A E3 B Mvt. 2 Alegretto Mvt. 3 Presto agitato
H
HH1 6 - 2 1
Am Em H j Bm G[ D[ F ]m - C]m - G]m
Figure 5.6: Beethoven, Sonata Op. 27 No. 2 Mondschein, key relationship diagram

Table 5.15: Beethoven, Sonata Op. 27 No. 2, Mvt. 3 Presto agitato
m M R H Comment
1 M1 C]m || : C]m − . . . − G]/B] − . . . − Exp/Gr 1 (a) RH arp↑,
.. [5/[9
5 . C]7 /B − . . . − F ]m/A − D]7 /A− PB (&)
9 ⊥ <(G][9
7 − . . . − D]7 )/G] − G]− (b), P D (g])
15 M1’ C]m − . . . − F ×◦7 − . . . − (a), trans
19 ⊥ D]/F × − . . . −
21 M2.1 G]m G]m − D]7 /A] − G]m/B − D]/F × − Gr 2 (a): RH
..
25 . G]m − D]7 /A] − G]m/B − D]/F × − (a’) repeat 8va var
..
29 . G]7 /F ] − C]m/E − F ]7 /E − B/D]− (b) Seq(2×2m;R3 ), PB (&)
..
31 . E7 /D − A/C] − D]7 /C] − G]m/B−
33 ⊥ A/C] − . . . − trans, N 6
36 G]m64 − D]7 − G]m − A/C] − . . . −
41 A/C] − A][9 6
7 /C × −G]m4 − D]7 − cad
43 M2.2 <(G]m − D]7 )− (aa): RH, Σ(cm)
47 ⊥ G]m − C]m − G]m64 − D]7 − (b)
49 M2.2 <(G]m − D]7 )− (aa) repeat 8va
..
53 . G]m − C]m − G]m/D] − D]7 /C]− (b’) PB (&)
55 ⊥ G]m/B − A/C] − G]m64 − D]7 − cad
57 M2.3 <(G]m − D]7 )/G]− retrans, P T (g])
61 ⊥ <(G]m − D])/G]−
63 G]m − G]7 −1) C]m : ||2) C]
66 M1 C] − . . . − C]7 /B − . . . − Dev (a): RH arp↑
69 ⊥ F ]m/A − C]7 /E]−
71 M2.1 F ]m F ]m − C]7 − F ]m − C]/E]− (a): RH
75 ⊥ F ]m − C]7 /E] − F ]m − D7 /F ]− (a): LH 8ba
79 M2.1 G − D7 /F ] − G − Bm/D − C][9 7 /E]− (a): LH N/I key
..
83 . F ]m − D − G]7 /B]− (b’): LH
85 ⊥ C]m − A − D]∅7 − D]/F × − (b’): LH
87 G] − . . . − G]7 − C]m/G] retrans, P D (g])
91 G] − . . . − G]7 − C]m/G]− repeat 8va (P D (g]))
95 G] − . . . −
d
99 G] − A − D]∅7 /F ] − G]− cad
102 M1 C]m C]m − . . . − G]/B] − . . . − Rec/Gr 1 (a) RH arp↑,
.. [5/[9
106 . C]7 /B − . . . − F ]m/A − D]7 /A− PB (&)
110 ⊥ <(G][9
7 − . . . − D]7 )/G] − G]− (b), P (g])

Table 5.16: Beethoven, Sonata Op. 27 No. 2, Mvt. 3 Presto agitato (cont’d)
m M R H Comment
116 M2.1 C]m − G]7 − C]m − G]/B]− Gr 2 (a): LH
..
120 . C]m − G]7 − C]m − G]/B]− (a’): repeat 8va var
..
124 . C]7 /B − F ]m/A − B7 /A − E/G]− (b) Seq(2×2m;R3 ), PB (&)
..
126 . A7 /G − D/F ] − G]7 /F ] − C]m/E
128 ⊥ D/F ] − . . . − trans, N 6
d
131 C]m64 − G]7 − A − D/F ] − . . . −
135 D/F ] − D][9 6
7 /F × −C]m4 − G]7 − cad
137 M2.2 <(C]m − G]7 )− (aa): RH, Σ(cm)
141 ⊥ C]m − F ]m − C]m64 − G]− (b)
143 M2.2 <(C]m − G]7 )− (aa) repeat 8va
..
147 . C]m − F ]m − C]m/G] − G]7 /F ]− (b’) PB (&)
149 ⊥ C]m/E − D/F ] − C]m64 − G]7 − cad
151 M2.3 <(C]m − G]7 )/C]− trans, P T (c])
155 ⊥ C]m − . . . − C]7 /B−
159 M1 F ]m/A − . . . − C]m/E−
163 F ×◦7 − . . . − B]◦7 − . . . − LH-RH arp↑ imit
167 M2.1 <(C]m − G]7 ) Coda (a): LH
..
171 . C]m − G]7 /F ] − C]m/E − G]/B]− (a): RH 15va
175 ⊥ C]m − C]7 /B − F ]m/A − C]/G]− Σ(cm<)
177 F ]m − . . . − D/F ] − . . . − ‘solo’ RH arp, N 6
181 D][9 6
7 /F × − . . . − C]m4 − . . . − cad
185 [9
G] − . . . − G]7 − chr sc, Adagio
190 M2.3 <(C]m − G]7 ) − C]m Tempo I, cad
196 (M1’) C]m arp%& (199 m.)

5.4 String Quartet in B[ Major, Op. 130 (1826)

Source: [4]. This string quartet has the dedication: “Dem Fürsten Nicolaus von Galitzin gewid-
met”. It is unusual in the sense that it consists of six movements, including two dances. An
h ih i
3 4
Mvt. 1 Adagio ma non troppo – Allegro: sonata form (B[, 4 4 , 233 m.)
Exposition (93 m.) Dev (38 m.)
Recap (81 m.) Coda

h ih i
2 6
Mvt. 2 Presto: scherzo and trio form (B[m − B[, 2 4 , 106 m.)
Presto Trio (Presto) C

h i
4
Mvt. 3 Andante con moto ma non troppo: ABCABC Coda form (D[, 4 , 88 m.)
A B C A B C Coda
h i
3
Mvt. 4 Alla danza tedesca, Allegro assai: ABA’ Coda form (G, 8 , 150 m.)
A B A’ Coda
h i
3
Mvt. 5 Cavatina, Adagio molto espressivo: ABA’ form (E[, 4 , 66 m.)
A B A’
h i
2
Mvt. 6 Finale allegro: sonata form (B[, 4 , 493 m.)
Recapitulation (130 m)
Coda (140 m.)
Figure 5.7: Beethoven, String Quartet in B[ Major Op. 130
5.4.1 Mvt. 1 Adagio ma non troppo – Allegro

Form: sonata form, The detailed analysis is shown in Table 5.17 to 5.20. This movement has
a number of characteristics: first there is the contrast between the slow (Adagio) and fast
(Allegro) tempos. The Introduction section theme (M0) returns several times, together with
the tempo and meter juxtaposition. The Exposition main theme (M1) is accompanied by a
countersubject (Mc), with its characteristic upward fourth leap. Both these subjects return in
the Development. And, by the way, the main theme already is developed (in a varied form
M1’) in the exposition and the recapitulation. The key relationships are another remarkable

5.4. STRING QUARTET IN B[ MAJOR, OP. 130
feature: the second group theme (M2) is not in the usual dominant key (F , although that is
suggested by the return of the introductory material in the exposition), but in the lowered
submediant degree key G[. Then the development start in D, yielding the symmetric root
division B[ − G[ − D (the interval of the major third, 4i). In the Recapitulation there is
the regular sidestep towards the subdominant axis (E[). Finally, the movement is full of
imitation and contrary motion.
5.4.2 Mvt. 2 Presto

Form: scherzo
h i and trio. This very fast movement passes by like h ia tornado. The Scherzo
(Presto, 2 ) has a binary internal structure, the trio with meter 64 , has a ternary structure.
2
The scherzo repeat has an AA’BB’ Coda structure. The lead part is always in the first violin,
except for a brief time during the coda.
The Trio has a sort of call-and-response set-up with the other three instruments supporting
the lead with quarter note accents. Key relations and chord sequences are fairly straightfor-
ward. The analysis is shown in Table 5.21 and 5.22.
5.4.3 Mvt. 3 Andante con moto ma non troppo

Form: binary, ABCA’B’C’ Coda, A ternary structure is suggested by the key signatures (D[ −
A[ − D[) in the score: this corresponds to the sections A-BC-ABC. However, based on the
thematic material, the six section structure (and therefore the binary division) is equally
likely. This slow movement is harmonically very rich, with many passing harmonies. Bass
patterns for violoncello are outspoken: continuous series of 16th notes, wide open voicing
arpeggios, ‘walking bass’ in 8th notes. The analysis is shown in Table 5.23 to 5.25.
5.4.4 Mvt. 4 Alla danza tedesca, Allegro assai

Form: ternary song, ABA’ Coda, Harmonically and thematically, we enter quieter waters
with this medium tempo German dance. Key relationships are simple and subjects are sub-
divided into regular four-measure phrases. There are subtle variations of the melody, and
the dynamic changes (either discontinuous juxtaposition of piano and forte measures, or the
gradual loudness increase-decrease over two-measure phrases). The analysis is shown in
Table 5.26.
5.4.5 Mvt. 5 Cavatina, Adagio molto espressivo

Form: ternary song, ABA’, This slow movement plays with short term dynamics. Under
a first violin lead there are many one- and two-measure crescendi-decrescendi. Most of the
movement is in slow quarter and 8th notes, with occasional contrary motion and a somewhat
longer crescendo towards a climax. The retransition changes the rhythm to triplet 8th notes
and touches upon a number of passing key centres. The analysis is shown in Table 5.27.
5.4.6 Mvt. 6 Finale Allegro

Form: sonata. The analysis is shown in Table 5.28 to 5.31. This extended, closing fast move-
ment opens with a short four-measure long motif, that will return only later in the devel-

Table 5.17: Beethoven, String Quartet in B[ Major Op. 130, Mvt. 1 Adagio ma non troppo –
Allegro
m M R H Comment
h i
3
Adagio ma non troppo 4 Introduction ([[)
1 M0 B[ || : B[ − Cm − B[/D − F − B[− Exp/Gr 1 (a): unis, chr&
..
3 . F7 /C − B◦7 /D − Cm/E[ − F7 − (a’) Vi1, Σ(cm)
..
4 . F7 − B[ − F/A−
5 ⊥ Gm − C7 − F − (b), halfcad
d
8 Mt G7 − Cm − C7 /B[ − F/A − D − trans, imit: Vc-Vi2-
..
10 . E[ − B◦ − Cm − C7 /E− Va-Vi1
..
11 . F − F7 − B[/D − D◦ /D−
..
12 . Cm/E[ − C7 /E − F m− Σ(cm>)
..
. C7 /G − F m/A[ − A◦7 − PB (%)
13 ⊥ B[ − F7 /C − B[7 /D − E[ − F7[9 − halfcad
h i
4
Allegro 4
15 M1/c B[ − F7 − Cm − F7 − VI1/Vi2, Seq(2×2m;R7 )
18 B[/D − . . . − A◦ − B[ Σ(cm<)
h i
3
Tempo I. 4
20 M0 F F − C7 /E − B[/D − G◦ − (a): Vc, chr&
..
22 . F/A − C7 /G − F − E◦ − F − B[ − E◦
24 ⊥ B[ − F − C7 −
h i
4
Allegro 4
25 M1/c F − C7 /E − . . . − F/A− tutti, Seq(2×2m)
29 ⊥ F/A − E◦7 − F7 − Σ(cm)
31 M1/c B[ B[ − C7 /E − F − Cm7 − B◦7 − tutti, Seq(2×2m;R7 )
35 ⊥ B◦7 − Cm − B[/D − E◦7 − B[/F − F7 − Σ(cm<), cad
37 Mt B[ − E[/G − C7 /E − F − F7 − trans, imit, Σ(cm>)
39 Mt B[ − Cm/E[ − C7 /E − F − F7 /A− repeat, var
41 <(B[ − F − F7 )−
43 B[ − F ]◦7 − Gm7 − C7 − tutti climax, Σ(cm)
45 F − F7 − B[/D − E◦ − F − F7 − B[/D unisono
49 F − C7 − F Σ(cm), unis
53 M1’ G[ − B[m7 − Vc
55 M2 G[ G[ − C◦ − D[− Gr 2, Vi1 ([V I)
57 M1’ G[ − . . . − Vc

Allegro (cont’d)
m M R H Comment
59 M2’ C◦ /G[ − B[m/D[ − A[7 −
..
61 . F◦7 /A[ − B[m − A[m7 /C[ − A[7 /C−
63 ⊥ D[ − D[7 /F − G[ − . . . − D[7 −
66 (M1) G[ − B[[9
7 − E[m − A[7 − trans
d
69 ⊥ D[ − D[7 − E[m − A[m7 /C[ − A[7 − D[7 −
71 M1 G[ − E[m7 /G[ − D[/A[ − G[/B[ − D[7 − ([[[[[[), Vi1 (dev)’
.. d
73 . G[ − D[7 /F − E[mD[ − C◦ − D[/C[−
75 ⊥ G[/B[ − A[m/C[ − G[/D[ − D[7 − cad
d
76 M1’ G[ − A[m − D[7 − B[m7 − D[7 − imit
..
78 . E[m − . . . − A[ − D[
..
80 . E[m − D[7 − G[ − F◦ − G[/B[ − D[7 /A[−
..
82 . B[[9
7 /D − E[m7 − A[7 /C− stretto, cresc
..
83 . D[ − G[ − Cm7 − F7 −
..
84 . B[[9
7 /D − E[m7 − A[m7 − Σ(cm<)
..
85 . F◦ − F m7 /E[ − D[ − D[7 /C[ − D[/F − Σ(cm<)
..
87 . G[ − C[ − G[/B[ − A[− tutti climax
89 ⊥ G[ − A[m7 − D[7 −
90 <(G[7 − E[m7 )− unisono
92 1) C[ − G[/B[ − A : ||2) C[ − G[ − F
◦
h ih i
3 4
Tempo I. – Allegro 4 4
94 M0 G[7 − C[ − D[/F − G[ = Dev, Vc
96 M1/c F] Vi2/Vi1,
h ih i tempi
3 4
Adagio – Allegro 4 4 (]])
97 M0 D D − D7 /C − G/B − C]◦ − D− Vc
99 M1/c D − . . . − <(C]◦ − D)− Vi2/Vi1
106 M3/c D − . . . − <(G/B − D7 /C) M3: Vc, Mc: Vi1
110 M3/c <(Am/C − D) − <(Am − D7 ) − G/B− Vc/V1
113 Mc G <(G/D − D7 ) − D7 /F ] − G−
116 M3/c Am7 − G − . . . − Re(A7 /G − D/F ])− Vc/Vi1
119 Mc D7 − <(G − D7 ) − <(Dm7 /F − B◦ /D)−
123 M3/c Cm − . . . − imit: Vi1-Vc
125 ⊥ Cm − . . . − C/E − . . . − Cm − F7 − . . .

Allegro (cont’d)
m M R H Comment
132 M1/c B[ B[ − F7 /A − F7 /E[− Rec/Gr 1, Seq(2×2m;R7 ),
134 ⊥ B[/D − F7 − B[ − . . . − tutti, Σ(cm)
136 F − F m − Cm/E[ − G − Gm − G◦ − climax
137 E[ D[/F − B[7 /D − E[ SD
138 M1/c A[/E[ − F m7 /E[ − E[+ − Vi1/Vc
140 M1/c B[7 − E[ − A[/E[ − E[− Vi1/Vc
..
141 . A◦7 − B[[9 +
7 /A[ − E[/G − F m7 − E[ −
..
143 . A[ − E[/G − F m7 − B[7 Σ(cm<)
144 ⊥ E[ − B[7 − E[ − B[/D − B[7 − E[ climax
146 Mt E[ −→ B[7 /D − <(E[m − B[[9
7 )− trans, imit
149 (M1) E[m − E[7 /G − A[ − A[7 /G[−
..
150 . <(D[/F − A[ − A[7 /G[)− climax, Σ(cm)
152 ⊥ D[/F − B[m7 − E[/B[ − E[7 −
153 <(A[ − A[7 − D[/F )− climax, Σ(cm)
157 A[ − A[7 − D[ − D◦7 − A[/E[−
158 D◦ /F − E[∅7 /G[−
159 (M1) A[[9
7 /G[ − . . . − ([[[[) Vc
161 M2 D[ D[ − G[/D[ − C[ − A[7 /C− Gr 2, Vi1
163 M1’ D[ − . . . − imit: Vc-Va
165 M2 D[ − D[+ − G[/D[ − C[/E[ − E[7 − Vi1
..
167 . C◦7 − D[/F − E[m7 /G[ − E[7 /G−
169 ⊥ A[ − A◦7 − B[m − Gm7 − E◦7 −
171 (M1) F − F7 /E[− Vc
173 M2’/1’ B[ B[ − F7 − B[ − . . . − imit: Va-Vi2-Vi1
177 ⊥ F7 − B[ − F/C − C−
179 F7 /C − B[/D − Cm7 /E[ − C7 /E−
180 F − F7 − cad
182 M1’ B[ − F − F7 − B[ − D − D7 − tutti, Σ(cm)
.. d
186 . Gm − G7 − F − F7 − Gm−
..
188 . Cm7 /E[ − F − B[/F −
..
189 . B[ − C/G − F/C− Vi1
190 ⊥ F7 − B[/D − Cm7 /E[ − C/E − F7 −

Allegro (cont’d)
m M R H Comment
191 M1’ B[ − F/A − C7 /G − F − C7 /E − F7 /E[− imit (dev)
..
193 . B[/D − E[ − F7 − B[ − F7 −
..
195 . B[/D − F7 − E[/G − Dm7 /A − B[ − F7 /C−
.. d
197 . B[ − C7 − Dm/F − F/A−
..
198 . B[/F − F7 /C − B[−
..
199 . Cm/E[ − Dm/F − Gm7 − Cm7 −
..
200 . D7[9 /F ] − Gm7 − C7 /E− stretto, cresc
..
201 . F − B[ − E∅7 /G − F7 /A−
..
202 . D7[9 /F ] − Gm7 − C7 − Σ(cm<)
..
203 . F − F7 − B[ − F − F7 − Σ(cm<)
205 ⊥ B[ − E[ − B[//D − A◦7 − F7 /C− tutti climax
207 B[ − F7 − cad
208 <(B[7 /A[ − E[/G) − Gm/Dno 1 − . . . − C7 /G− unis
h ih i
3 4
Adagio – Allegro 4 4
213 M0 F F − D◦7 − Cm − B[/D− Coda, Vi1
..
215 . A∅7 /C − D◦ − Cm/E[ − F7 −
216 ⊥ A◦ − B[ − F ]◦ −
217 M1 Gm − C7 /G − F/A − E[+ /G − F/A−
220 ⊥ B[ F + − B[ − F + − B[/F − F7 − tempi, P D (f )
222 (B[ − E◦7 − F − F ]◦ − G − G7 − Cm − E◦7 )/F − (P D (f ))
224 (F − F7 − B[7 − E[ − E[m)/F (P D (f ))
226 B[/F − A◦ /C − B[ − Cm/E[ − C7 /E − F − F7 − cad
228 M1/c <(B[ − F7 ) − B[ − F − B[ imit, cad (233 m.)

Table 5.21: Beethoven, String Quartet in B[ Major Op. 130, Mvt. 2 Presto
m M R H Comment
h i
2
Presto 2 ([[[[[)
1 M1a B[m || : B[m − E[m7 − A[ − D[− A, Vi1, Seq(3×1m;R−7 )
3 ⊥ G[ − C∅7 /G[ − F halfcad
5 M1a B[m − E[m7 − A[ − D[− 2nd stat
7 ⊥ G[∆7 − C∅7 /G[ − F7 − B[m : ||
9 M1b || : <(D[/A[ − A[7 )/A[ B, Vi1, P D (a[)
..
13 . (B[m − C[∆7 − B[m − C∅7 )/B[− P T (b[)
15 ⊥ B[m − C[/E[ − B[m/F − F − B[m : || N 6 , cad
h i
6
L’istesso tempo 4 ([[)
17 M2a B[ || : B[ − F − Gm7 − F − A, Vi1
21 ⊥ B[ − F − F7 −1) B[ : ||2) B[ − F − cad
25 M2b || : F − C − . . . − G − . . . − B, Vi1, climax
..
30 . Dm Dm/A − . . . − A− climax
..
32 . Dm − Gm/D − Dm − A−
36 ⊥ Dm − G − C − F7 −
41 M2a B[ B[ − F − B[ − F − A’, Vi1, climax
45 ⊥ B[ − F − F7 −1) B[ : ||2) B[ − F7 − climax, cad
49 F7 − B[/D − (Cm) trans,
h ih iunis, Vi1: chr&
2 6
L’istesso tempo 2 4
57 F7[9 Vi1: chr&
h i
2
2 ([[[[[)
65 M1a B[m B[m − E[m7 − A[ − D[− A, Vi1, Seq(3×1m;R−7 )
67 ⊥ G[ − C∅7 /G[ − F halfcad
69 M1a B[m − E[m7 − A[ − D[− 2nd stat
71 ⊥ G[∆7 − C∅7 /G[ − F7 − B[m
73 M1a’ B[m − E[m − A[ − D[− A’, 2nd stat var
75 ⊥ G[ − E[m/G[ − F halfcad
77 M1a’ B[m − E[m7 − A[ − D[− 2nd stat
79 ⊥ G[∆7 − C∅7 /G[ − F7 − B[m
81 M1b <(D[ − A[7 )/A[− B, Vi1, P D (a[)
..
85 . (B[m − C[∆7 − B[m − C∅7 )/B[− P T (b[)
87 ⊥ B[m − C[/E[ − B[m/F − F − B[m N 6 , cad

Table 5.22: Beethoven, String Quartet in B[ Major Op. 130, Mvt. 2 Presto (cont’d)
m M R H Comment
89 M1b <(D[ − A[7 )/A[− B’, Vi1 var, P D (a[)
..
93 . (B[m − C[∆7 − B[m − C∅7 )/B[− P T (b[)
95 ⊥ B[m − C[/E[ − B[m/F − F − B[m N 6 , clim, cad
97 M1a B[m − E[m7 − A[ − D[− Coda, Va, Seq(3×1m;R−7 )
..
99 . <(G[ − C∅7 /G[ − F ) halfcad
..
103 . <(G[ − C◦ /G[ − F ) Vi1, halfcad
105 ⊥ G[ − E[m/G[ − F − B[m climax, cad (106 m.)
Table 5.23: Beethoven, String Quartet in B[ Major Op. 130, Mvt. 3 Andante con moto ma non
troppo
m M R H Comment
1 5 D[ C∅7 − C◦7 − B[m/D[ − C◦ − A[7 /E[− A, chr, imit: Vi2-Va
3 M1 D[6 − A[7 /C − D[ − G[ − D[64 − A[7 − Va, Vc: 16ths
d
5 M1 D[ − A[7 /C − D[ − G[ − A[7 − B[m − A[/C− V1
.. d
7 . <(B[m7 − E[7 /B[ − A[/C) − Vc: 16ths
..
8 . B[/D[ − E[m − A[m − B[/D−
9 ⊥ E[m − A[/C − D[ − E[m/G[ − A[ − D[ cad
10 A[ − D[ − E[ − A[ trans, pizz imit
11 M2 A[ A[/E[ − E[7 − A[ − E[7 − A[ B, Vi1, imit
13 ⊥ F7 − B[m − A[7 −→ E[7 /G − A[/C−
15 Mt B[m/D[ − A[/C − D[ − A[/C− imit: Bi1-Vi2-Va
16 ⊥ E[7 /D[ − A[ − E[7 /G − A[ − A[7 −
17 E[7 /B[ − A[ − C/E − C7 −
18 C7 − F − C7 − F − B[m/D[ − C7 /E− tutti: 16ths
19 F − C∅7 /B[ − G7 /B − F/C − C− cad, Σ(cm>)

troppo (cont’d)
m M R H Comment
20 M1 C C − G7 − C − F/C − C7 − F − C7 /G − F/C C, imit: Vi1-Va-Vc
..
23 . A[ B[m − B[m7 /F − A[64 − E[7 − A[ − E[7 −
25 ⊥ A[ − E[]5
7 /D[ − A[/C − E[7 − A[ − E[7 /D[− climax
26 M3 A[/C − D[ − A[/C − E[7 /B[− Vi1, Vc: arp
..
27 . A[ − D[ − A[64 − E[7 −
28 ⊥ A[/E[ − E[7 /D[ − A[/C − E[7 /B[−
29 M3 D[ A[/C − D[ − A[7 /E[− Vi1, Vc: arp
..
30 . D[/F − G[ − D[/A[ − A[ − A[m−
31 ⊥ B[7 /D − E[m− tutti: 16ths
B[ − A[7 /C − B[m7 /D[ − A[7 /E[−
32 (M3) D[ − A[ − A[7 − D[ − F − Gm7 /F − F7 /A− trans
34 ⊥ B[[9
7 − E[ − E[7 /D[ − A[/C − E[7 −
36 5 <(E[[9
7 − B[∅7 /F [ − E[7 ) − A[7 /E[− imit: Vi2-Vi1
38 M1 D[ D[ − A[7 /C− A’, Vi1, Vc: 16ths
d
39 ⊥ D[6 − G[ − A[7 − B[m7 − A[7 /C−
40 M1 D[ − E[m − A[7 /G[− Va+Vc
d
41 M1 D[ − G[ − A[7 − G[/B[ − A[7 /C − Vi1, Vc: 16ths
.. d
42 . <(B[m7 − E[7 /D[ − A[/C) −
..
43 . B[m7 /D[ − E[7 /B − A[m − B[/D−
44 ⊥ E[m − A[/C − D[ − D[/F −
E[m/G[ − A[7 − D[ cad
45 E[ − A[ − E[ − A[7 − trans, pizz imit
46 M2 D[/A[ − A[7 − D[ − A[7 − D[ B’, Vi1, imit
48 ⊥ B[7 /F − E[m − D[7 −→ A[7 − D[
50 Mt E[m/G[ − D[/F − G[ − F m7 − D[/A[ imit: Vi1-Va-Vi2
51 ⊥ E[m/B[ − A[7 /C − D[ − E[m − A[/C − D[
52 A[7 /E[ − D[ − F/A−
53 B[ F7 − B[ − F7 /E[ − B[/D − E[/G − F7 − tutti: 16ths
54 B[ − C7 /E − B[/F − F − cad, Σ(cm>)

troppo (cont’d)
m M R H Comment
55 M1 F F − C7 − F − B[/F − F7 − B[ − F7 /C − B[/D− C’, imit: Vi1-Vi2-Va
.. d
58 . F7[9 /E[ − E[m − A[7no 3 − E[m/B[ − B[m
..
59 . D[ D[64 − A[7 D[ − A[7 /C− climax
60 ⊥ D[ − A[7 /G[ − D[/F − A[7 /C − D[ − A[7 /E[−
61 M3 D[/F − G[ − D[/F − A[7 /E[− Vi1, Vc: arp
..
62 . D[ − G[ − D[64 − A[7 −
63 ⊥ D[ − D[7 /A[ − G[ − D[7 −
64 M3 G[ − C[ − G[/B[ − D[7 /A[− Va, Vc: arp
65 ⊥ G[ − C[ − G[/D[ − D[
66 M1’ A[m7 /C[ − G[/B[ − F∅7 /A[ − G[/B[− Coda, imit: Vi1-Vi2
67 ⊥ F∅7 /A[ − B[m7 − E[m − A[m7 /C[ − D[ − G[
68 B[/F − A[m7 /E[ − Gm7 /D − E◦7 /D[− Vc: 8ths, PBi (&)
69 C7 − F7 /C − F◦7 /D − E◦7 /B[−
70 C]◦7 /B[ − C7 /G−
71 M1’ C]◦7 /B[ − A − A7 − C]◦7 /G − A[ Vi2+Va, N/V
..
73 . C∅7 /G[ − F7 −
..
74 . B[[9 [9 9 9
7 − E[7 − A[7 − D[7 − Seq(5×R5 )
..
76 . G[/D[ − D[−
..
77 . A[7 /C − D[/A[ − A[7 /G[ − D[/F −
..
78 . G[ − A[/C − D[−
C[∆7 /G[ − B[7 /F − E[m − A[7 −
79 ⊥ D[/F − A[7 − D[ − A[ − D[ − A◦ − B[
80 E[m − C◦ − D[ − G[/B[ − C◦ − D[7 − B[/D−
82 E[m−
83 B[/D − E[m − C◦ − D[−
G[/B[ − C◦ − D[7 /C[−
84 G[/B[ − A[ − D◦7 − E[m − D◦ /F − E[m − A[7 −
85 M3 D[ − G[ − D[/F − A[7 /E[− Vi1, Vc: arp
..
86 . D[ − D[7 − G[/D[ − D[
..
87 . D[7 /C[ − D[7 /F − G[− tutti: 32ths, Σ(cm<)
d
88 ⊥ A[7 − B[m − A[/C − D[− climax
E[m7 /G[ − E[7 /G − D[64 − A[7 − D[ cad (88 m.)

Table 5.26: Beethoven, String Quartet in B[ Major Op. 130, Mvt. 4 Alla danza tedesca, Allegro
assai
m M R H Comment
1 M1a G || : <(G − Em − Am/C − D7 ) − G : || A, Vi1
d
9 M1b || : G − D/F ] − Em7 − D − C]◦ − D7 /C−
12 ⊥ G − D/F ] − G − C]◦ − D − C]◦ − D7 /C− repeat, climax
17 M1a’ <(G − Em − Am/C − D7 ) − G : || var 8va
25 M2 <(G − D − D7 /C − G)− B, Vi1, imit: 16ths
33 M2 <(G − D − D7 − G) − G7 − p−f contrast
41 M2 C <(C − G7 /D − G7 − C) Vc
49 M2 <(C − G7 /D − G7 − C) repeat 8va
57 M3 Em E7 /G] − Am − B7 − Em Vi1, imit: 16ths
..
61 . E7 /G] − Am−
63 ⊥ Em/G − B/F ] − F ]7 − B − Em cad
65 M3 E7 /G] − Am − B7 − Em repeat
..
69 . E7 /G] − Am−
71 ⊥ Em/G − B/F ] − F ]7 − B − Em cad
73 B7 /F ] − Em − B7 − Em− retrans
77 B7 /D] − Em − B7 − Em
81 M1a G <(G − Em − Am/C − D7 ) − G A’, Vi1, var
89 M1a’ <(G − Em − Am/C − D7 ) − G repeat Vi1 var
97 M1b’ G − D/F ] − G − D/F ] − A7 /E − D − D7 /C− var
..
101 . G − D/F ]− repeat, climax
103 ⊥ G − D/F ] − C]◦ − D − A7 /C] − D7 /C−
105 M1a’ <(G − Em − Am/C − D7 ) − G
113 M1b’ (G − D − G − D − C]◦ )/D− P D (d)
..
116 . D − C]◦ − D7 /C−
..
117 . G/B − D7 /A − G − D/F ]− repeat, climax
119 ⊥ G − D/F ] − C]◦ − D − A7 /C] − D7 /C−
121 M1a <(G − Em − Am/C − D7 ) − G var
129 (M1a) G − F ]◦ − G − . . . − Am − Am7 /G − D/F ]− Coda, trans
..
137 . Am − G/B − F ]◦ /A − D◦ /A[ − G7 −
140 ⊥ G7 − . . . − C − . . .
143 M1a G − Em − Am/C − D7 − G Vi1 final st
147 ⊥ D − D7 − G − D7 − G cad (150 m.)

Table 5.27: Beethoven, String Quartet in B[ Major Op. 130, Mvt. 5 Cavatina, Adagio molto
espressivo
m M R H Comment
1 M1a E[ E[ − C7 /E − F m − B[7 − E[ − B[7 /F − E[/G− A, Vi1
..
3 . F m/A[ − F7 /A − B[ − E[ − B[7 /F −
..
5 . E[/G − B[7 /F − E[ − B[/D − B◦7 − Cm Σ(cm)
..
7 . F m/A[ − C7 /E − F m − E[/G − Cm7 − B[/D−
9 ⊥ E[ − Cm7 − B[/D−
10 M1a E[ − B[7 − E[ − B[/F − E[/G − G7 − Cm Vi1
.. [5/[9
13 . D∅7 /F − C7 /G − F m/A[ − F/A − D7 /A[−
15 ⊥ Cm/G − F m7 − Cm/G − F m7 −
17 M1b G[9 [9
7 − C7 − F7 −
[9 Seq(3×R5 )
19 ⊥ 9
B[ − B[7 − . . .
23 M2 E[/G − Cm − A[ − E[/B[ − B[ − B[7 /A[− B, Vi2
..
25 . E[/G − Cm − A[ − E[/B[ − B[ − B[7 /A[− repeat Vi1
.. d
27 . E[/G − E[ − Cm − A[ − F7 /A − E[64 − B[7 − climax, cad
30 ⊥ E[ − B[7 − E[ − B[7 /F
32 M2 E[/G − Cm − F m7 /A[ − E[/B[ − B[7 /A[− 2nd stat, Vi2
..
34 . E[/G − Cm − A[ − E[/B[ − F7 /A − B[7 /A[− repeat Vi1
..
36 . E[/G − E[ − Cm − A[ − G7 − Cm− climax
38 ⊥ F/A − E[64 − B[7 − E[ cad
40 M3 C[ E[ − E[m7 /D[ − C[ − D[m7 /F [− trans, Vi1, triplets
..
44 . A[m G[ − G[7 − E[7 /D[ − A[m − E[/G − A[m PBi (%)
47 ⊥ D[m/F [ − E[ − D[m/F [ climax
49 M1a E[ E[ − C7 /G − B[7 − E[ − B[7 /F − E[/G− A’, Vi1
..
51 . F m/A[ − A◦7 − B[ − E[/G − B[7 /A[−
..
53 . E[/G − B[7 /F − E[ − B[/D − B◦7 − Cm Σ(cm)
..
55 . F m/A[ − C7 /E − F m − E[/G − Cm7 − B[/D−
57 ⊥ E[ − Cm7 − B[/D−
d
59 M1b’ E[ − B[7 − E[ − B[7 − Cm − F m/A[ − B[7 Σ(cm), climax
..
61 . E[64 − B[7 /F − E[/G − B[7 /D−
..
63 . E[7 /D[ − A[/C − A[m/C[ − B[7 − climax
64 ⊥ E[ − B[7 − E[ cad (66 m.)

opment. There it is used in (stretto) imitation, in a shortened form (e.g., M1”, the closing
measure) and in melodic inversion. The same treatment is used in the coda, that could also
be labeled as a secondary development. The exposition is notated as a repeat within a repeat
(two repeat levels). The secondary group subjects (M2 to M4) are not used in the develop-
ment; instead, it introduces two fresh subjects (M5 and M6). There is frequent use of pedal
point in 8th note octave leaps.

The key relationship diagram of this late string quartet is shown in Fig. 5.8. The outer sonata
form movements have the widest key scope and require the equivalence property in the
development section (Mvt. 1: G[ = F ], Mvt. 6: F ). The roots of the movements lie on the
vertical symmetry axis B[ − B[m − D[, with the exception of the Cavatina (Mvt. 5), which
is in the subdominant key E[. Note the limited span and the major third 4i symmetry axis
relationships in all four middle movements, where we see B[ − Dm (1) and F − D[, C − Em
(1) and E[−C[ (1) respectively. There are two such moves in the opening movement: B[−G[
(2) and F ] − D (3).
Mvt. 1 Adagio – Allegro
A E B Ft]
Am Em Bm F ]m
4 3
C G D A
Cm Gm Dm Am Mvt. 2 Presto Mvt. 3 Andante

5 1,7 2-
E[ B[ - F C Gm 1 Dm B[ F
A
E[m A B[m Fm Cm B[ F B[m Fm
A
2 6
? 1-
G[ t U D[ 6 A[ E[ B[m Fm D[ A[
A
Mvt. 5 Cavatina Mvt. 6 Finale – Allegro

t
Mvt. 4 Alla Danza A[ E[ F @
C G D
2
@ 3,5-
Am * Em A[m E[m Fm @ R Cm Gm Dm
1
2
H 7
H t
-F1
6 6 j
H
C[ 1 G[
? -
C G A[ E[ B[
4,6,8
Figure 5.8: Beethoven, String Quartet in B[ Major Op. 130, key relationship diagram
5.5 Symphony No. 5 in C Minor, Op. 67 (1807-8)


5.5. SYMPHONY NO. 5 IN C MINOR, OP. 67
Table 5.28: Beethoven, String Quartet in B[ Major Op. 130, Mvt. 6 Finale Allegro
m M R H Comment
1 Introduction, P D (g)
3 M1 B[ || : (G7 − Cm − G7 )/G − Cm − F7 − Exp/Gr 1, Vi1
8 ⊥ B[ − Gm − E[ − F − B[ − B[7 − cad
11 M1 (G7 − Cm − G7 )/G − Cm − F7 − B[− 2nd stat, Vi2
17 ⊥ Cm7 − F7 − B[ − B[/F cad
20 || : (F7no 3 − B[)/F − E◦ − trans, P D (f )
22 F − B[/F − C − F/C − F7 /E[ − B[/D−
25 M1 (B[7 − E[ − B[7 − . . . − E[ − F7 )/B[− imit: Vi1-Vi2, P D (b[)
32 ⊥ 1) B[ : ||2) B[ climax
33 Mt F − B[ − A/C] − B[/D − C7 /G− trans, imit
39 M2 F F − C7 − F − F7 /A− Gr 2, Vi2, unis
43 M2 B[ − F7 /C − B[ − F − Vi1, unis
47 M2 B[ − F7 /C − B[ − F/A − Gm − C7 − Vi1, climax
d
51 F − C − C7 −
53 Dm − F7 − B[ − Gm − C7 /G− trans
56 F − Dm7 /C − B[ − F/A − C7 /G − F − Σ(cm<)
58 B[ − C − F/C − C7 − F − C − C7 − climax, decr
61 Dm − F7 − B[ − Gm − F/A− repeat
64 C − C7 − F46 − C7 −
67 M3 C − F − B◦ /D − C7 /E − C7 /B[− imit: Vc-Vi1
..
71 . F/A − Gm/B[ − G7 /B − F/C − C−
..
73 . <(B◦7 − F m/C)−
75 ⊥ B◦7 − E◦ −
79 M4 F/C − C7[9 − Vi1, tutti: 16ths
..
83 . F − Dm7 /C − Gm7 − C− climax, unisono
..
86 . C7[9 /E − F − C7 − Dm/F − C7 − Σ(cm<)
89 ⊥ <(F − . . . − C/E) −1) F − F ]◦ − G : ||2) F climax
97 Mt F/A − E◦ /G − Dm/F − A[9 7 /E − Dm− trans, Vi1
d
105 (M1) G[9
7 − A[/C − E[7 /B[− Vc
109 M5 A[ A[ − A[7 /G[ − D[/F − G∅7 − A[ − B◦7 − Dev, Va
..
113 . A[/C − B[m7 −
115 ⊥ Cm7 − D[ − E[7 /D[ − A[/C−
117 M5 A[ − A[7 /G[ − D[/F − G∅7 − A[ − B◦7 − 2nd stat: Vi1
..
121 . A[/C − B[m7 /D[−
..
123 . Cm7 − D[ − E[7 /D[ − A[/C−

Table 5.29: Beethoven, String Quartet in B[ Major Op. 130, Mvt. 6 Finale Allegro (cont’d)
m M R H Comment
..
125 . D◦ /F − E[ − E[m − D[ − G[5
7 /D[−
..
128 . Cm − F − B[m − E[7 −
[5/[9
130 ⊥ A[ − G7 /D[ − A[/C − E[7 −
[5/[9
132 M6 A[ − E[7 − D◦7 − E[ − G7 /B− imit: Vi2-Vi1
..
136 . Cm − E[7 /G−
138 ⊥ A[ − D[/F − A[ − E[7 /G−
140 M5’ A[ − A[7 /G[ − D[/F − D[ trans, Σ(cm<)
144 ⊥ E[7 − . . . − A[ − G◦ − A[
148 M5’ A[ − A[7 − D[ − B[7 /D − E[7 − . . . − A[
156 ⊥ E[7 − . . . − A[ − F m − B[ − C−
161 M1 F <(C7 − F )/C − C7 − F imit: Vi2-1-Vc, P D (c)
168 <(E◦ − F )−
170 M1’ <(C7 /E − F ) Vi2
174 M1’ C7 /E − F − C7 /G − F/A− Vi1+Va
178 M1’ F7 /A − B[ − F7 /C− Vc
181 M1’/I(1’) B[7 /D − B◦ /D − G[9 7 − imit
183 ⊥ Cm 6 [9
Cm4 − G7 − Cm
186 M1’/I(1’) F ]◦7 − Gm − F ]◦7 /A−
189 M1” Gm Gm − D7[9 − G7 − Cm− Va, stretto imit
192 M1” G[9
7 − C7 − F − Gm7 − F/A−
195 M1’ B[ − F7[9 − B[7 /D − E[ − Cm− Vi2+Vc
..
198 . D◦ − G7 /B − Cm − F7 − B[ − Gm−
..
201 . D7[9 /F ] − G◦ − C7[9 /E − F m7 /A[ − B[7 −
204 ⊥ E[/G − F m7 − B◦7 − G[9 7 − Cm − Cm7 − climax
208 F ]◦7 − . . . − D7[9 − . . . − retrans, unisono
219 <(C]◦ − D)−
223 Rec/Gr 1, P D (d)
225 M1 Gm D7 /F ] − Gm − D7 /A − Gm Vi1 (P D (d))
229 M1 E[ B[7 /F − E[ − F m7 /A[ − B[ − E[ Vi1
233 M1 Cm G7 − Cm − G7 − Cm Vc, P D (g)
237 M1 F7 − B[ − Gm − Cm7 /E[ − F − Vi1
240 B[ (B[ − F7no 3 )/F − E◦ − P D (f )
244 F − B[/F − C7 − F/C−
245 Dm − F7 /E[ − B[/D − F7 −
247 M1 E[ <(B[7 − E[) − F7 − B[ Vi1, P D (b[)

m M R H Comment
255 F/A − . . . − Gm7 − C7 /E − F − C7 −
259 F − B[/D − Cm/E[ − F −
261 M1 B[7 − E[ − . . . − B[7 − . . . − Vi1
265 ⊥ E[/G − E[m/G[ − F7 − B[
269 Mt F − B[ − B[7 /D − E[− trans, imit
275 ⊥ B[7 /A[ − E[ − F7 − B[/F
279 M2 B[ B[/D − F7 /C − B[7 − Gr 2, Vi1, unis
283 M2 E[/G − B[7 /F − E[ − F7 − Va, unis
287 M2 B[ − F7 /C − B[ − F − E◦ /G − F7 /A− Vi1, climax
d
291 B[ − F − Gm − B[7 − trans
295 Cm − F7 − B[ − Cm7 /E[ − C7 /E − B[64 − F7 −
d
299 B[ − F − Gm − B[7 − repeat
303 Cm − F7 − B[/D − F7 − E◦7 − F7 climax
307 M3 F − B[ − E◦ − F − F7 /E[− imit: Vi2-Vi1
..
311 . B[/D − Cm7 /E[ − C7 /E − B[/F − F7 −
..
313 . <(E◦7 − B[m/F )−
315 ⊥ E◦7 − F7[9 /E[−
319 M4 Dm/F − B[/F − F7[9 − Vi1, tutti: 16ths
..
323 . B[ − Gm7 − Cm7 − F − climax, unisono
..
326 . F7 − B[ − F − Σ(cm<)
329 ⊥ <(B[ − . . . − A◦ ) − B[/D− climax
337 Mt B[ − A◦ − Gm/B[ − D7 /A − Gm trans, Vi1
345 (M1) C7[9 − <(F m − E◦7 ) − B[7 /F − E[/G− Vc
353 M5 E[ E[ − E[7 /D[ − A[/C − D◦7 − E[ − F ]◦ − Coda, Vc
357 ⊥ E[/G − B[7 − E[ − F m7 − B[7 − E[
361 M5 B[ B[/D − B[7 /A[ − E[/G − Cm7 − C]◦7 − 2nd stat, Vi1
..
365 . B[/D − F7 /E[ − B[/D−
..
367 . E[ − F − F7 /E[ − B[/D−
..
369 . E◦ /G − F − F m − A[5
7 /E[ − D − Dm−
d d
373 ⊥ Cm − F7 − Gm − C7 − B[/D − F7 −
d
376 M6 B[ − F7 − Gm − E◦ − F − E[ − A[5
7 − imit: Vi2-Vi1
380 ⊥ 6
Dm − F7 − B[ − E[/G − B[4 − F7 − cad
384 M5’ B[ − B[7 /A[ − E[/G − E[ trans, Σ(cm<)
388 ⊥ F7 − . . . − B[ − F7 /C − B[

m M R H Comment
392 M5’ B[/F − Dm7 /A − B[7 /F −
394 ⊥ E[ − Gm7 − C7 /E − F7 − . . . − B[
400 F7 − . . . − B[ − E[ − A◦ − B[/D−
406 F7 − B[/D − E[−
408 A◦ /C − F7 /A − B[ − F
410 F − . . . − F7[9 − P D (f )
414 M1’ <(B[ − F7 ) − B[/F imit, cresc (P D (f ))
..
422 . (B◦7 − E◦ − . . . − F7[9 )/F − tutti clim, Σ(cm)
426 ⊥ (F7[9 − D◦7 − E◦7 − F7[9 )/F − (clim, P D (f ))
430 M1 (D◦7 − B[)/F − E[ − . . . − B[7 /D − . . . Vi1
..
435 . E[ − E[m/G[ − B[64 − F7 −
437 ⊥ F7 − B[ − . . . − F ]◦ −
441 M1/I(1’) G7 − Cm − G − Cm imit: Vi1-Vi2-Vc-Va
445 M1/I(1’) B[ F7 − B[ − E[ − B[ imit (dev)
..
449 . Cm7 /E[ − F − B[/D − E[ − A[ − B[−
..
452 . E[/G − B[/D − E[ − Cm − F7 /A − B[− imit
..
454 . E[ − Cm/E[ − G7 /F − tutti cresc
..
455 . Cm/E[ − C7 /E−
..
456 . F − F7 − B[
..
458 ./1” F7 /A − B[/F − F7 /E[ − B[/D− climax
..
461 . F7 /C − B[7 /A[ − E[/G−
..
462 ./1” E[m/G[ − B[64 − F7 − . . . − B[
465 ⊥/⊥ F7 − B[ − F7 −
468 M1’ B[ − A◦ − B[ − Gm − F m − E[− unisono climax
473 ⊥ B[7 /D − E[ − E◦7 − B[/F − F − PB (&)
477 M1’/I(1’) B[ − Cm − F7 /A − B[− tutti clim, Σ(cm)
.. ..
479 ./ . Gm7 − Cm − F m7 − B[7 −
481 ⊥/⊥ E[ − B[7 /D − Cm7 /E[ − C7 /E−
484 M1’ B[64 − F7 − B[ − F7 /C − B[ − F7 − Vi1, clim, cad
488 <(B[ − F7 ) − F7 − F − B[ closing cad (493 m.)

h i
2
Mvt. 1 Allegro con brio: sonata form (Cm, 4 , 502 m.)
Recap (55 m.) 2nd Dev (71 m.) Coda - 3rd Dev (109 m.) Coda
h i
3
Mvt. 2 Andante con moto: theme and variations form (A[, 8 , 247 m.)
Theme Var 1 Var 2 Var 3 Coda

h i
3
Mvt. 3 Allegro: scherzo and trio form (Cm, 4 , 373 m.)
Scherzo Trio
Scherzo Coda
h i
4
Exposition (88 m.) Development (67 m.) Tempo I (54 m.)
Recap (88 m.) 2nd Dev (67 m.) Coda (82 m.)
Figure 5.9: Beethoven, Symphony No. 5 in C Minor
5.5.1 Mvt. 1 Allegro con brio

Form: sonata form. This symphony movement is another element in the classical music
canon. The two fermatas in the opening phrase are exercises in every conductor’s crash
course. The detailed analysis is shown in Table 5.32 and 5.33. The key motif from the main
theme, also known as the ’Fate motif’ (‘Schicksalsmotiv’) will return in later movements of this
symphony.1 Note that the movement has a secondary development in the coda.

Form: theme and variations. The theme has AB form. There are three variations, the third in
minor, and a coda. The analysis is shown in Table 5.34 and 5.35.

Form: ternary song form, scherzo and trio form. The analysis is shown in Table 5.36 and
5.37. The scherzo is repeated in a varied form and leads directly (attacca) into the final fourth
movement.

Form: sonata form. This sonata form has a middle section following after the development;
this section is quoting from the scherzo in Movement 3. In the recapitulation, before the
extended coda, there is a secondary modulation. In the instrumental backgrounds many
1
Beethoven is even praised for his visionary view on Morse signals: ‘Ve Von ze Var!’.

Table 5.32: Beethoven, Symphony No. 5, Mvt. 1 Allegro con brio
m M R H Comment
1 M1.a Cm Cm − B◦ − Exp, Gr 1/Th 1, Cl+Str
7 M1 A[/C − Cm − B◦7 − <(G7 /B − Cm) imit: Str
18 ⊥ G7 /B − Cm − D7[5 /A[ − G halfcad, tutti climax
22 M1.a B◦7 imit: Str
25 M1 <(B◦7 − G7 − Cm)
..
34 . (D∅7 − B◦7 − Cm − B◦7 − C7 )/C− T cad, P T (c)
40 ⊥ (F m − B◦7 − C7 − F m − B◦7 )/C− (P T (c))
44 M1.a’ Cm − G7 − Cm tutti climax, cad
53 (A◦7 − F7[9 )/C − B[/D− trans to M, P (c)
59 M1’ E[ B[4 Motto: Hns
63 M2 E[/B[ − <(B[7 − E[) Gr 2, dolce th: Str
..
75 . C7 /E − F m − D[/F − E[/G − E[7 − A[
83 ⊥ F7[9 /A − B[4 − F7[5 /C[ − F7[9 /C− cresc, PBi (%), P (e[)
94 <(<(B[7 − E[) − F m7 − E[64 − B[) cad, tutti climax
110 M1.a E[ − . . . − <(B[ − E[) closing cad
125 M1.a Fm C7[9 Dev, Gr 1, Hns
130 M1 F m − . . . − <(C7[9 − F m) imit: WW+Str
143 ⊥ D◦ − D7 /F ] − G7 −
146 M1’ Cm Cm − <(G7 − Cm) imit: Str, P D (g)
..
151 . A◦ − A7 − D 7 −
..
154 . Gm Gm − <(D7 − Gm) imit: Str+WW
158 ⊥ Gm − D7[9 /A − Gm/B[ − F ]◦7 /C − C]◦7 − cresc, PB (%)
175 Gm/D − C]◦7 /E − D/F ]− tutti, cad
179 M1’ G D7sus4 − D7 − G7sus4 − G7 − C7sus4 − Motto, climax, imit
195 Fm <(F m/A[ − G◦ /B[ − E◦ /G − F m/A[) trans
204 F m/A[ − G[/B[ − A◦ /C − B[m/D[− PB (%)
211 C[/E[ − D[/F −
215 F ]m − . . . − D/F ] − . . . −
228 M3’ D/F ] − . . . − B◦7 − . . . − Motto, tutti climax
240 M1.a B◦7 Retrans
248 M1.a Cm Cm − G/D Recap, Gr 1. tutti
253 M1 A[/C − Cm − <(G[9 7 /B − Cm) imit: Str
265 ⊥ G7 − Cm − D7[5 /A[ − G halfcad, climax
269 M1.a G[9
7 − imit: Str
273 M1 Cm − G7 − Cm cresc
..
277 . (F m − B◦7 − Cm − B◦7 − C7 )/C− T cad, P T (c)
284 ⊥ (F m − C7 − F m − B◦7 )/C− (P T (c))

Table 5.33: Beethoven, Symphony No. 5, Mvt. 1 Allegro con brio (cont’d)
m M R H Comment
288 M1.a’ Cm − . . . − G7 − . . . − Cm cad, tutti climax
296 ⊥ F ]◦7 − G/D− trans, cad
303 M1’ C G7sus4 Motto: Bsn
307 M2 C − <(G7 − C) 2nd Dev, Gr 2, P D (g)
..
323 . C7[9 − F − D7[9 − G − F m/A[ − G[9
7 /B− Seq(2×4m;R7 ), cresc
338 ⊥ D7[5 − . . . − <(D − G7 /D)−
346 <(<(G7 − C) − Dm/F − C46 − G)− cad, tutti climax
362 M1.a C − . . . − <(G − C) closing cad
374 Fm C − F m/A[ − C/E − F m Coda, 3rd Dev, epis 1
382 D[/F − . . . − D7[9 /F ] tutti climax
398 M1’ E[ <(E[/G − B[[9 7 ) motto: Bsn+LoStr
..
407 . E[ − . . . − Cm motto dim: Str
d
416 ⊥ G7 /B − C/E − F m − G7 −
421 F m/A[ − G7 − F/A − G/B− cad
423 M3 Cm Cm − D∅7 /A[ − Cm/E[ − F m − F7 /E[− theme: Str, P T (c)
431 ⊥ G7 − Cm/E[ − A[/C − D∅7 /F − G4 − G− cad
439 I(M3) Cm − D∅7 − Cm/E[ − F m − <(G − Cm) Epis 2, imit: WW-Str
..
453 . Cm − Gm − A[ − E[ − <(F m − Cm)
..
459 . <(Cm64 − G)− cad
461 ⊥ Cm − Gm − A[ − E[ − <(F m − Cm)
468 <(Cm64 − G) − Cm cad
470 M1.a G − . . . − <(G7 − Cm) − G tutti climax
483 M1 Cm Cm Real coda, imit: Str
491 M1.a <(G − Cm) closing cad
496 <(Cm − G) − C (502 m.)

Table 5.34: Beethoven, Symphony No. 5, Mvt. 2 Andante con moto
m M R H Comment
d
1 M1 A[ A[ − B[m/D[ − E[7 /G − C7 − Th, A (ab): Va+Vc
d
5 ⊥ F − B[m − <(E[ − A[) − E[ − cad
12 M1.b <(F m − A[/C − E[7 − A[) − E[7 − A[ closing: Str
23 M2 A[ − E[ − A[ − . . . − A◦7 − B1: WW+Str
29 C D7[5 /A[ − C/G − G7 − C cad, climax
32 M2 C − G − C G7 − C− B2, repeat
[5/[9 d
39 E◦7 − B[7 /F [ − Σ(cm<)
43 A[ A[m/E[ − B[[97 /D− closing, PBi (&)
45 E[[9
7 /D[ − A[/C − D[
48 E[ − A[ cad
50 M1’ A[ [Theme m. 1-22] Var 1, A
72 M2’ C [Theme m. 23-31] B1
81 M2’ [Theme m. 32-38] B2, repeat
88 A[ [Theme m. 39-49] closing
99 M1’ A[ A[ − B[m/D[ − B[m − C7 − Var 2, A1: Va+Vc
103 ⊥ F − B[m − <(E[ − A[)
107 M1’ A[ − B[m/D[ − B[m − C − C7 − A2, repeat var: Vi
111 ⊥ F − B[m − <(E[ − A[)
115 M1’ A[ − F7 − B[m− A3, repeat var: DB
..
117 . B[m7 − G7 /F − C − C7 −
119 ⊥ F − B[m − E[
123 M1.a’ E[7 − motto imit: WW, P (e[)
..
132 . D∅7 = B[97 − E[7 − Σ(cm)
143 ⊥ A[ − E◦7 − F m− trans
145 G∅7 /B[ − G7 /B − C cad
148 M2 C C − <(G − C) − G− B, tutti climax
151 ⊥ C P (c)
158 M1.b’ C − F m − E[ trans: Str

5.6. SYMPHONY NO. 6 IN F MAJOR PASTORALE, OP. 68
Table 5.35: Beethoven, Symphony No. 5, Mvt. 2 Andante con moto (cont’d)
m M R H Comment
167 M1’ A[m A[m − E[ − A[m − G[ − C[ Var 3, A1: WW
172 ⊥ G[ − A[m − <(E[ − A[m)−
176 Mt E[ − . . . − E[7 − trans, Σ(cm<), imit
185 M1’ A[ A[ − F7 − B[m/D[ − G∅7 − C7 − A2, repeat var: WW+Str
189 ⊥ F7 /A[ − B[m/D[ − E[7 /D[ − A[/C−
d
191 E[7 − A[ − E[ − A[ − E[ − cad
196 M1.b <(F m − A[/C − E[7 − A[) − E[7 − WW+Str
205 M1.a’ <(A[ − A[7 − D[ − G◦7 )/A[ motto: Bsn, imit, P T (a[)
d
213 <(E[ − A[) − E[ − cad, cresc
220 M1.b F m − A[/C − E[7 − A[ closing: WW-Str
224 ⊥ F m − D[ − A[ − E[7 /B[ − A[/C−
227 B[m/D[ − E[7 − A[ cad
230 M1.a’ A[ Coda: WW, P (a[)
236 A[ arpeggios, cresc
242 A[ − <(E[ − A[) closing cad (247 m.)
references to the main motif from the first movement (the ‘Fate’ motif) can be found, either
in regular 8th notes or as 8th note triplets. The analysis is shown in Table 5.38 to 5.40.
The key relationship diagram is shown in Fig. 5.10. The total key framework for this sym-
phony is limited; all four movements remain within a fairly closely related set of keys. Most
modulations are towards neighbouring keys (one or tw steps); occasionally there is a wider
key movement: see G − F m (2) in Mvt. 1 and Am − B[ and B[m − C (6) in Mvt. 4. Also
note the frequent back-and-forth key alternations. In Mvt. 3, the Scherzo is in Cm, the Trio
in the parallel major C, returning to minor in the repeat with some modification: see the
alternating key change Cm − A[ − Cm (6) and the closing into major C (7). The finale sonata
form has the widest scope, with the exposition in C and the development starting in A. For
the major part it remains in the subdominant area (3–9).
5.6 Symphony No. 6 in F Major Pastorale, Op. 68 (1808)
Source: [5]. An overview of the formal analysis is shown in Fig. 5.11. Note that this sym-
phony has five movements.

Table 5.36: Beethoven, Symphony No. 5, Mvt. 3 Allegro
m M R H Comment
1 M0 Cm Cm − D/F ] − G7 − Cm Scherzo, Intro: Str
9 M0 Cm − D/F ] − C]◦ − D − D7 /C−
15 ⊥ G7 /B − Cm − G/B − Cm − F ]◦7 − G− halfcad
19 M1 Cm − <(G7 − Cm)− Horn theme
24 ⊥ Cm7 − Cm7 /B[ − F m7 /A[ − B[−
27 M1 E[m E[m − <(B[ − E[m) − E[m7 − repeat: WW+Str
..
33 . A[m − D[ − G[ − C[ − C[∆7 − F m
38 ⊥ <(B[ − E[m) − B[ cad, ambiguity
45 M0 B[m B[m − C/E − F7 − B[m − F −
53 M0 B[m − C/E − F m− 2nd stat: Str
57 ⊥ Cm G/B − Cm − D/F ]−
60 C]◦7 − D − <(Em7 /D − G[5
7 /C])− trans, P D (g)
71 M1 <(G − Cm) − Cm7 − F m − B[− Horn theme
79 M1 Fm <(C − F m) − F m7 − B[m− repeat: WW+Str
..
86 . E[ − A[ − D[ − D[∆7 − Gm
90 ⊥ <(C7[9 − F m) − C−
97 M0 Cm Cm − D/F ] − G 3rd stat: Str
101 M1’ <(G7 − Cm) Σ(cm), P D (g)
109 ⊥ A[ − Cm64 − D[/A[ − G[9
7 − (P D (g))
116 Mt <(G7 − Cm − F m − Cm/G − G7 − Cm) trans, Str
123 ⊥ <(G7 − Cm − Cm7 − F m) − F ]◦7 −
131 M1’ Cm/G − <(G − Cm)−
137 ⊥ C7 /E − F m − G − Cm closing cad (120 m.)
141 M3 C G − C − G7 /F − Trio, A imit: Str
144 ⊥ C/E − B◦ /D − C/E − Am/C
147 M3 G D7 /C − G/B − C]◦ − D7 − (imit: Str+Bsn)
150 ⊥ G−E−F −G−C
153 M3 C G7 − C − Em7 /B − D7 /A − G/B − C/E− (imit: tutti)
157 ⊥ G D7 − G − <(D/A − G) − D− (repeat ending)
161 M3’ G − G7 − trans

Table 5.37: Beethoven, Symphony No. 5, Mvt. 3 Allegro (cont’d)
m M R H Comment
169 M3 C C − G7 /F − C/E − Em/B − G7 − C B, imit: Str+WW
174 M3 F C7 /E − F − C7 /B[ − F/A (imit)
178 M3 G7 − C − C7 − F stretto imit
182 M3 C <(G − G7 − C)/G tutti climax, P D (g)
189 (C − F − G − Em − Am7 − Dm − G7 )/G trans, (P D (g))
194 M3’ <(C − G) − C − G − G7 − cad+trans
206 M3 C G7 /F − C/E − Em/B − G7 − C repeat, imit: Str
210 M3 F C7 /E − F − C7 /B[ − F/A (imit)
214 M3 G7 − C − C7 − F stretto imit
218 M3 C <(G − G7 − C)/G WW, P D (g)
224 G7 − retrans
229 G[9 6
7 − D − G7 − Cm − D◦ − Cm4 − G− PB (&)
237 M0 Cm Cm − D/F ] − G7 − Cm − G− Scherzo repeat
245 M0 Cm − D/F ] − C]◦ − D − D7 /C− Str
251 ⊥ G7 /B − Cm − G/B − Cm − F ]◦7 − G halfcad
255 M1 Cm − <(G7 − Cm) − Cm7 − F m7 − B[− WW theme
262 M1 Fm C − <(F m − C7 ) − F m repeat: WW
..
269 . D[ − E[ − A[ − D[ − D[∆7 − B[m
274 ⊥ <(C − F m) − C cad, ambiguity
281 M0 Cm Cm − D/F ] − G− 2nd stat: Str+Bsn
285 ⊥ <(G7 − Cm)/G P (g)
294 M1’ G[9
7 − D◦ /A[ − G7 − motto: Hn (P D (g))
300 <(Cm − F m/A[ − G7 )− trans, cad
308 Cm − Cm7 − F m − G − G7 − Cm − B◦ − PB (&)
312 Cm − Cm7 − F m − F ]◦7 − Cm64 − G7 − cad
d
316 M1’ <(Cm − G) − C7 /E − F − G −
324 M1’ A[ A[ Coda, P (a[−c)
339 M0 A[ − D7[5 /A[ − Cm/G − G − D7 /F ]− 3rd stat: Vi1 (P T (c))
..
344 . Cm Cm64 − G − D7[5 /A[ − Cm64 − G4 − trans (P T (c))
..
355 . C (C − G7sus4 − Am7 − F )/G major (P (c−g))
360 ⊥ (G − C − F )/G − G7 − P (g) (373 m.)

Table 5.38: Beethoven, Symphony No. 5, Mvt. 4 Allegro
m M R H Comment
h i
4
Allegro 4
1 M1.1 C <(C − G)− Exp, Gr 1/Th 1 (ab)
..
7 . <(F/A − F − C/E − C) Th 1(ccc’): Tutti, P (c)
..
13 . <(G7 /B − C − G − C) Th 1(dd)
17 ⊥ G7 /B − G7 − C − C/E− Th 1(d’)
18 <(G − C)/G − G7 − trans, P D (g)
26 M1.2 C − G7 − C Gr 1/Th 2 (aa’): Ob+Hns
..
34 . C− Th 2(b), mel seq
..
36 . (D7 − G − D − G)/D− (b), P D (d)
41 ⊥ D7 − A7 − D − D7 − trans to D
45 M2.1 G (G − C − G) − D − G Gr 2/Th 1 (a): Vi1
47 ⊥ D7 /F ] − G − D7 − Th 1(b=Inv(a))
49 M2.1 (G − C − G) − D − G (a) 2nd st:WW, Fate motif
..
51 . <(D7 /F ] − G) − <(E7 /G] − Am)− (bb), Seq(2×2m;R7 )
55 ⊥ C − G7 /B − C − G7 − (b)
58 C scalar runs, tutti climax
60 C − C]◦ − G/D − G+ /D]− PBi (%)
61 Em − D7 /F ] − G − Am/C − D cad
64 M2.2 <(G − D]◦7 − C]◦7 − D) Gr 2/Th 2 (aa): WW+Str
68 ⊥ C/E − G]◦7 /D − Am/C − G]◦7 /B− (a’)
72 M2.2 Am − G64 − D7 − <(G/B − D7 /F ]) 2nd stat: tutti
76 ⊥ D7 /F ] − G − Am/C − Ab/C− (a’), N 6 /G
80 C F m − G7 − G − C closing climax, repeat
88 G7 − E7 − Development
92 M2.1 A A − . . . − E7 /G] − A − E7 /B− Gr 2/Th 1 (ab): Fl+Vi1
..
96 . Am Am − E7 /G] − Am − E7 /B − C7 − (b)
..
98 . F F − C7 /E − F/C− var(b): DB, rapid mod
100 ⊥ C7 /G − F − C7 /E−
102 (M2.1) Dm F − A − 7 − Dm − F ]◦7 − (b’), imit motif: Str
..
103 . Gm Gm − B◦7 /F −
104 ⊥ C(m) C/E − B◦7 /D − Cm − E◦7 /B[−
105 (M2.1) F F/A − D7 − (b’), imit motif: WW+Str
..
106 . Gm Gm − Dm/F − E◦ − E7 −
..
107 . Am Am − E7 − Am − C]◦7 −
108 ⊥ B[ B[/F − C◦ − B[/D − B[−

m M R H Comment
109 (M2.1) F7 /A − B[ − F7[9 /C− (b): Str, P (f ), Fate motif
112 ⊥ B[m B[m − F7 /C − B[m/D[−
115 (M2.1) A[/E[ − B[m/D[ − A[/C− Fate triplet motif
118 (M2.1) D◦7 − A[m/E[ − D◦7 −
121 ⊥ E◦7 − D[ − C Retrans to tonic
124 C − F m E[ − A[ G − Cm B[ − E[ Fate triplet motif: Brs+WW
132 D7 − P D (d)
134 (M2.1) C <(G7 − C)/G − <(G − C/G)− (b’) climax, P D (g)
138 ⊥ <(C/G − G7 − C)/G − F m/G− (P D (g))
144 F ]◦7 /G− climax (cont’d)
146 G− P D (g)
h i
3
Tempo I (Scherzo Mvt. 3) 4 Middle section, retrans
155 Cm G − Cm − G7 /D − Cm/E[−
166 M3 G7 /B − Cm − Cm7 /B[− Scherzo theme: Cl
168 ⊥ F m/A[ − B[
170 C − F m − C7 /G − F m/A[−
174 M3 C7 /B[ − F m/A[ − D7[5 /A[ − G 2nd stat: Ob
178 <(G7 − Cm − F ]◦7 /G − G) Fate motif
186 G7 − . . . − P D (g)
207 G7 /C− trans to recap
h i
4
Allegro 4
209 M1.1 C <(C − G)− Recap, Gr 1/Th 1 (ab): tutti
..
215 . <(F/A − F − C/E − C) Th 1(ccc’), P T (c)
..
221 . <(G7 /B − C − G − C)− Th 1(dd)
225 ⊥ G7 /B − G7 − C − C/E− Th 1(d’)
226 <(G − C)/G − G7 − trans, P D (g)
234 M1.2 C − G 7 − C7 − Gr 1/Th 2 (aa’) trans to SD
..
240 . F C7 /B[− Th 2(b), mel seq
..
244 . F/A − <(G7 /B − C) (b), P D (g)
252 ⊥ G7 − G − <(D7 − G) − G− trans to T
256 M2.1 C C − F/C − C − G − C Gr 2/Th 1 (a): Vi
258 ⊥ G7 /B − C − G − G7 − Th 1(b=Inv(a))

m M R H Comment
260 M2.1 (C − F/C − G) − C − G − C (a) 2nd stat: WW, Fate motif
..
262 . <(G7 /B − C) − <(A7 /C] − Dm)− (bb): Str, Seq(2×2m;R7 )
266 ⊥ C7 /E − F − C − C7 − (b), to SD
269 F F scalar runs, climax
271 F − F ]◦ − C/G − C + /G]− PBi (%)
272 Am − G7 /B − C − Dm/F − G cad
275 M2.2 <(C − G]◦7 − F ]◦7 − G) Gr 2/Th 2 (aa): WW
..
279 . F − C]◦7 − Dm − C]◦7 − (a’)
281 ⊥ Dm/F − C − G7 −
283 M2.2 C <(C/E − G/B) (aa) 2nd stat: tutti
287 ⊥ G7 /B − C − Dm/F − C]◦7 /E− (a’)
291 (E◦7 − B[ − B◦ )/F − F ]◦7 − C46 − climax
297 I(M2.1) C <(G7 − C − G − C − G7 − C)/G 2nd Dev (bb): Vi1, P D (g)
305 (M2.1) G7 − C − G7 /D−
307 ⊥ C]◦7 − Gm7 /D − C]◦7 /E− PBi (%)
310 F−
314 <(G − C) cadences
320 M1.2’ C − . . . − G − C− var th in imit: WW+Hns
326 ⊥ <(G7 /F − C/E)−
330 F/A − C/G − Dm/F − A7 /E− P T (c)
331 Dm/F − C/G − F/A − Cm64 − PB (%)(P (c))
333 D7 /F ] − C46 − F m/A[ − F ]◦7 /A− (P (c))
335 G7 /B − C − G7 − cad
337 M1.2’ C G − C − <(G7 /F − C/E)− 2nd stat, imit: WW+Str
346 C − F/A − C/G − Dm/F − A7 /E− P T (c)
348 Dm/F − C/G − F/A − Cm64 − PB (%)(P T (c))
350 D7 /F ] − C46 − F m/A[ − F ]◦7 /A− (P (c)), trans to SD
352 Fm <(C7 /B[ − F m/A[ − G7 − C46 )− cad, Fate motif
h i
2
Presto 2
364 M2.2 C <(C − G7no 3 ) − <(C − G7 )− Coda (aaa’a’): Vi1
372 M2.2 <(C − G7no 3 ) − <(C − G7 )− (aaa’a’): Str+WW
380 Fm <(C7 /B[ − F m/A[ − G7 − C46 )− cad
391 G7sus4 − G− cad
392 M1.1 C C main theme, imit, tutti clim
399 ⊥ G7sus4 − G − C
407 <(G − C) − G− closing cad, climax
418 C (446 m.)

Mvt. 1 Allegro Mvt. 2 Andante
F C 2 G F m 1 Cm
3 6 6
Fm - Cm - Gm A[ E[
@1
I
@
@ ?
6 6
?2
A[ 4 @ E[
@
R
@ B[ A[m E[m
Mvt. 3 Allegro, Scherzo Mvt. 4 Allegro

4 3 2A
F -C -G G D 5 E
2,5 - 67 3 ?
F m Cm AK Gm Gm Dm Am Em
@
I
6 A 1
@ F 4 8- C - G
@ 6
A[ E[ A B[ B[
? 6
A * 6

1-A

?7
A[m E[m B[m B[m F m 9 Cm Gm
Figure 5.10: Beethoven, Symphony No. 5, key relationship diagram
h i
2
Mvt. 1 Allegro ma non troppo: sonata form (F , 4 , 514 m.)
Exposition (138 m.)
Development (141 m.)

h i
12
Mvt. 2 Andante molto moto: ABBA Coda form (B[, 8 , 140 m.)
A1 B1 B2 A2 Coda
h ih i
3 2
Mvt. 3 Allegro: scherzo and trio form (F , 4 4 , 264 m.)
Scherzo Trio Scherzo Coda

h i
4
Mvt. 4 Allegro: ABCABCBD form (D[ − F m, 4 , 155 m.)
A1 B1 C1 A2 B2 C2 B3 D
h i
6
Mvt. 5 Allegretto: ABACABAD Coda form (F , 8 , 264 m.)
A1 B1 A2 C1 A3 B2 A4 D1 C1 D2 C2
Figure 5.11: Beethoven, Symphony No. 6 in F Major Pastorale


Form: sonata form. Movement 1 has the descriptive title ‘Erwachen heiterer Empfindungen bei
der Ankunft auf dem Lande’.2 The analysis is shown in Table 5.41 and 5.42.
5.6.2 Mvt. 2 Andante molto moto

Form: ternary song form, AB1 B2 A Coda. However, this movement also shows characteris-
tics of the sonata form (exposition with two contrasting themes, and a modulating middle
section, although the theme itself is hardly developed. This alternative analysis is indicated
in the tables in brackets [Exp/Dev/Recap].There are also elements from the rondo form,
considering the multiple statements of the main theme, intertwined with brief contrasting
sections.
Movement 2 has the descriptive title ‘Szene am Bach’. The middle section B1 , in the dom-
inant key, introduces a contrasting theme. B2 presents the main theme in modulations. The
reprise in A2 presents both themes, while the coda with the bird calls is a transition to the
next movement. The analysis is shown in Table 5.43 and 5.44.

Form: scherzo and trio form or, alternatively, ternary song form. Movement 3 has the de-
scriptive title ‘Lustiges Zusammensein der Landleute’ (The cheerful peasant meeting). The analysis
is shown in Table 5.45 and 5.46.

This movement has a unique form, with the descriptive title ‘Gewitter. Sturm’. Its sections
depict various phases of wind, rain, thunder, storm and quiet. Characteristic are the upward
scalar runs in triplets, 16th notes or 16th note quintuplets for violoncellos and double basses;
these indicate the rising of the storm and are labeled as Mt in the analysis. Wind rustling
(?) is indicated by lower string tremoli (labeled as Mt̃). And there is the wavelike motion in
continuous 16th note series (labeled as Mr). The analysis is shown in Table 5.47 and 5.48.
5.6.5 Mvt. 5 Allegretto

Form: rondo form, ABACABAD. The fifth and last movement of this symphony has the
descriptive title ‘Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm’. The analysis is
shown in Table 5.49 and 5.50.

The key relationship diagram for the five movements is shown in Fig. 5.12. The opening
sonata movement in F major has a regular exposition with secondary theme group in the
dominant C (1). The development wanders away from the tonic, starting through the sub-
dominant B[ (2). Note the double use of the submediant major D. For the interpretation
2
For many years this opening motif was the radio station signature tune of the West-Deutscher Rundfunk
(WDR). It returns, somewhat in disguise though, in Alban Berg’s opera Wozzeck.

Table 5.41: Beethoven, Symphony No. 6 Pastorale, Mvt. 1 Allegro ma non troppo
m M R H Comment
1 M1.a F F − C7 − F − C − F Exp, Gr 1, Vi1
9 M1.b <(F − F/A − C7 /G − F − B[ − F − C)
16 Mt1 <(C − B◦ ) − B[ − F trans motif: Vi1, P D (c)
29 M1 F − ...− 2nd stat: Ob, P (f −c)
..
32 . <(E∅7 − F − Gm7 − F − C − F )/F −
..
43 . (C − F − C7 )/C− P D (c)
47 ⊥ <(F − C7 )− cad, P D (f )
53 M1.a’ F − Dm − F/C − G7 /B− trans: Vi1, mod to D
67 M2 C <(G7 − C 6 ) Gr 2, imit: Vi
84 M2 G7 − C 6 − G7 /B − C − G7 /D− cresc: WW
93 M3 <(C − F − C − G7 −) Str, climax
111 C − F − C − G7 − cad, triplets
115 Mt2 <(C − F ]∅7 − C − G7 )/C− retrans to T, P T (c)
127 ⊥ <(C − G7 )/C− dim, closing
135 M1.a F − C − F − B[ trans motif: Vi1
139 M1.a F C 7 − F − F7 − Dev, Gr 1, imit: Str-WW
151 M1’ B[ B[ arp down motif, P T (b[)
163 M1’ D D (motif on 1,3,5) P T (d)
175 M1’ D (repeats) tutti climax
182 M1’ D dim, trans
191 M1.a G D 7 − G − D − G − D7 − main theme: Vi1
197 M1’ G arp motif, P T (g)
209 M1’ E E (motif on 1,3,5) P T (e)
212 M1’ E (repeats) WW+Str climax
228 M1’ E dim, trans
237 M1.a A E7 − A − E − A − E7 − main theme: Vi1
243 M1.b A − D − A − E7 −
247 M1.b A − G]∅7 − A7 −
255 M1.b D D − Gm − D7 − G7 − also I(M1.b): WW+Str
d
263 M1.b F C − F 6 − C7 − F − C7 − − tutti climax, P D (c)
275 Mt3 (B[)/C retrans (P D (c))
280 M1.a F F − C7 − F Recap, Gr 1, Str
283 ⊥ C solo arp
289 M1.a/b <(F − B[/D − C7 )− both themes as ctp
291 M1.a/b <(F − B[ − F − C7 −) triplets
300 ⊥ C trans, P D (c)
308 C − F − B[ − F/A − C7 /G− cresc

Table 5.42: Beethoven, Symphony No. 6 Pastorale, Mvt. 1 Allegro ma non troppo (cont’d)
m M R H Comment
312 M1 F F − <(C7 − F )/F − final stat, tutti clim, P T (f )
..
318 . (C − F − C7 )/C− P D (c)
322 ⊥ <(F − C7 )/F − P T (f )
328 Mt1 F Dm F/C − G7 /B − C7 /B[ − B◦ − trans: Vi1, triplets
346 M2 <(C7 − F 6 ) Gr 2, imit: Str
362 M2 C7 − F − C7 /E − F − C7 /G− triplets, cresc
372 M3 <(F − B[ − F − C7 )− WW+Str, climax
392 F − B[ − F − C7 − cad, triplets
396 Mt2 <(F − B◦ − F − C7 )/F − trans to SD, P (f )
404 ⊥ <(F − C7 )/F − dim, closing
416 M1.a F − . . . − F7 − trans motif: Fl
424 M1.a B[ E[ − B[/D − F7 − B[ − F7
428 ⊥ B[ − F7 cad
430 Mt2 <(B[ − E◦ − B[ − F7 −)/B[ trans triplets, P T (b[)
438 ⊥ B[ − C7 −
442 Mt2 F <(F − B◦ − F − C7 −)/F trans, P T (f )
450 <(F − Dm − F/C − C7 −) tutti climax
462 <(C7 − F )/C − C− dimin
470 M1’ <(C7 − G7 /D − C7 /E − F − C)− arp down motif: Vi1
478 <(F − C7 )− closing cad
494 M1.a F − C7 − F final stat: Vi1, imit: WW
507 B[ − F − C − F closing cad (514 m.)

Table 5.43: Beethoven, Symphony No. 6 Pastorale, Mvt. 2 Andante molto moto
m M R H Comment
[Exp, Gr 1/Th 1]:
1 M1 B[ B[ F7 − B[ − Cm − B[64 − F7 − A1: Vi1, ‘Bach’ 8th notes
7 M1 B[ F7 B[ − Cm − B[64 − F7 − 2nd stat: Cl+Bsn, 16th notes
[Exp, Gr 1/Th 2]:
12 M2 B[ − F7 − B[ − Cm7 − F7 − Vi1, bowed tremolo
14 M2 <(B[ − F7 ) − B[ 2nd stat, imit: WW-Str
19 B[/D − F7 /E[ − B[/D − F7 − B[ − F − closing cad
21 M1 F B[ − C7 − F − G7 − B1: Vi1, ‘Bach’ 16th notes
27 ⊥ (C − F − C7 − F − C − C7 )/C− bowed tremolo, P D (c)
[Exp, Gr 2]:
30 5 <(F − Gm/B[ − F46 − C7 )− trans cad
33 M3 <(A − Dm − G7 − C)− contrasting theme, imit: WW
37 ⊥ <(F − C)/C cresc imit: WW, P D (c)
38 F46 − C7sus4 − C7 − tutti climax, dim (P D (c))
41 M3 <(A − Dm − G7 − C7 )− repeat: WW+Str, var
43 ⊥ <(F − C)/C − F/C − F − Gm7 /B[− cresc to climax, P D (c)
47 M2 C7sus4 − C7 − <(F − C7 )− cresc imit: Str-WW
50 ⊥ <(F − C7 )− ‘Bach’ 16th, closing cad
54 F − C7 − F − D 7 − trans
[Dev, Gr 1]:
58 M1 G G D7 − <(G − C)/G B2: WW, ‘Bach’ 16th, mod
64 G/B − A7 − D − 7 − G − C − C]◦7 − cad
66 M2 D7sus4 − D7 − G − D7 − Gm − E[ − B[7 imit: Str-WW, mod
69 M1 E[ E[ − B[7 − <(E[ − A[)/E[ Cl, ‘Bach’ 16th notes
75 E[/G − F7 − B[7 − E[ − F m/A[ cad
77 M2 B[7sus4 − B[7 − E[m − D[7 − imit: Str, mod
79 M1 G[ G[ G[7 − Vi1, ‘Bach’ 16th notes
..
81 . C[ C[ − G[7 − C[ = B − Em/B ambiguity
d
84 ⊥ G − Cm7 − F7 − Gm7 /B[ − C7 − cresc, climax, cad
86 F7 retrans, cad, P D (f )

Table 5.44: Beethoven, Symphony No. 6 Pastorale, Mvt. 2 Andante molto moto (cont’d)
m M R H Comment
[Recap, Gr 1]:
d
91 M1 B[ B[ − F7 − B[ − Cm − B[64 − F7 − A2: WW, ‘Bach’ 16th notes
97 M1 Gm − C7 − 2nd stat: Vi1
..
99 . <(F7 − B[)/F − F − F7 − P D (f )
102 ⊥ B[ − Cm7 − B[64 − F − F7 − cad
104 B[ − Cm7 /E[ − B[64 − F − cad
[Recap, Gr 2]:
105 M3 <(D − Gm − C7 − F )− imit: Bsn-Str
108 ⊥ <(B[ − F7 )/F − cresc imit: WW, P D (f )
110 B[64 − . . . − F7 − climax, dim (P D (f ))
113 M3 <(D − Gm − C7 − F ) repeat: WW+Str, var
115 ⊥ <(B[ − F7 )/F − B[/F − B[ − Cm7 /E[− cresc to climax, P D (f )
119 M2 F7sus4 − F7 − <(B[ − F7 ) cresc imit: Str
[Coda - Part 1]:
122 ⊥ <(B[ − F7 )− ‘Bach’ 16th, closing cad
124 E[ <(B[ − B[7 − E[) SD, cad
[Coda - Part 2]:
129 B[ B[ birdsong: WW
d
132 M2 F7 − B[ − . . . − F7 − Vi1
137 Gm − Cm/E[ − F7 − B[ closing cad (140 m.)

Table 5.45: Beethoven, Symphony No. 6 Pastorale, Mvt. 3 Allegro
m M R H Comment
h i
3
Allegro [Scherzo] 4
1 M1 F || : F − . . . − Dm − A A1 , Str unis, imit
9 M2 D D − . . . − A − Bm − A− Str+Fl, P T (d)
13 M1 D − . . . − A − D − C−
17 M1 F F − . . . − Dm − A 2nd stat., Str unis, imit
25 M2 D D − . . . − A − Bm − A− Str+Fl, P T (d)
29 M1 D − . . . − A7 − D
33 M1 D − ... − G − ...− trans to D
41 M2 C C − . . . − G − Am − G Str+Ob, P T (c)
45 M1 C − . . . − G7 − C
49 M1 F F − . . . − C7 − final stat: Str
53 M1 F − ... − C climax, WW+Str
60 ⊥ C − C7 /B[ − F/A− tutti
64 Gm7 /B[ − F46 − C − F cad
68 C − C7 /B[ − F/A− repeat
72 Gm7 /B[ − F46 − C− cad
75 <(F − . . . − C7 ) − F trans, Str arp
87 M3 F F − . . . − <(C7sus4 − F − C7 − F ) B, Ob
107 M3 F − <(C7sus4 − F − C7 − F ) 2nd stat: Ob
123 M3’ C C − G7sus4 − C − G7 − C − C7 Cl
133 M3’ F F − C7sus4 − F − . . . − <(C7 − F ) − C7 FHn-Ob
.. d
143 . (F − C7 − F − C7 )/F − C7 − Ob+Cl+FHn, P T (f )
151 ⊥ B[/F − F/C − C7 /G−
155 M1 F trans
h i
2
a Tempo Allegro [Trio] 4
165 M4 B[ <(F − B[ − F7 − B[) C, Vi (2x), P D (f )
173 M4 <(F − B[ − F7 − B[) Vi (2x), Fl
181 M4/5 <(F − G7 − C7 − F − C7 − F ) D, M4: Bsn+Va, M5: Vi
189 M4’/5’ C C − G7 − C − B∅7 − M4’: Va+Vc, M5’: WW
191 ⊥ C/E − F − C46 − G7 − P T (c)
193 M4’/5’ C − G7 − C − B∅7 − repeat
195 ⊥ C/E − F − C46 − G7 − P T (c)
197 M4’ C − G − C − . . . − G − C − . . . − : || trans, Va+Vc, P (c−g)

Table 5.46: Beethoven, Symphony No. 6 Pastorale, Mvt. 3 Allegro (cont’d)
m M R H Comment
h i
3
Tempo 1 [Scherzo] 4
205 M1 F F − . . . − Dm − A A2 , Str unis, imit
213 M2’ D D − . . . − A − Bm − A − Gm/B[− Str, P T (d)
217 ⊥ <(F − Gm) − F46 − C7 −
223 M2 F F − . . . − B[ − F − WW, P T (f )
227 M1 F − . . . − C− WW (P T (f ))
231 M1 F − . . . − C− Str unisono
Presto Coda
235 M1’ F F − ...− climax, tutti unisono
241 ⊥ F − C − . . . − C7 /B[ − F/A−
246 Gm7 /B[ − F46 − C7 − cad
249 F − C − . . . − C7 /B[ − F/A− repeat
254 Gm7 /B[ − F46 − C7 −
d
257 F − . . . − C7 − F − . . . − C7 − Str arp (264 m.)
Table 5.47: Beethoven, Symphony No. 6 Pastorale, Mvt. 4 Allegro
m M R H Comment
h i
4
1 Mt̃ D[ D[− A1 4 intro, Seq(2×8m;R7 )
3 M1 D[ − A[7 /C − D[− Vi2
6 ⊥ C◦ − D[ − B[[9 7 /D−
8 M1/t̃ B[[9
7 /D − . . . − E[m− Vc
13 M1 E[m − B[7 /D− 2nd statement: Vi2
16 ⊥ D◦ − E[m − C7[9 /E−
18 M1/t̃ C7[9 /E − . . . − E◦7 /G− Vc, Mt̃: Vc+DB, Mt: DB
21 M2/t Fm F m − . . . − E◦7 /G − . . . − A◦ − B1 , clim, Vi1+Va, Mt:Vc+DB
33 Mt̃ B[m − B◦7 − C1 , Mt̃: Str
35 M3 C − F m − C7[9 no 3 /B[− Bsn+Str unisono
37 M3 A[ − D[∆7 − E◦7no 1 /G−
39 M3 F m − B[m7 − C◦7no 1 /E[− WW+Str

Table 5.48: Beethoven, Symphony No. 6 Pastorale, Mvt. 4 Allegro (cont’d)
m M R H Comment
41 Mt̃/r D[(N ) − . . . − B◦7 − G7 /B− A2 , Mt̃: Vi2+Va, Mr: Vc
49 Mt̃/r Cm Cm − F ]◦7 − F7 −
53 Mt̃ B[m − G7 − Cm − C7 /B[− cad
56 M1/t̃ A − A7 − (Vi1), Mt̃: Vi2+Va
58 ⊥ C]◦7 /G − . . . − A7no 3 /G−
64 Mt̃/r D D Mt̃: Vi2+Va+Vc, Mr: DB
66 M1/t̃ D M1: Vi1, Mt̃:Vi2+Va
68 Mt̃/t F ]◦7 Mt̃:Vi2+Va, Mt: Vc+DB
70 M1/t̃ F ]◦7 M1: Vi1-Fl, Mt̃: Vi2+Va
72 ⊥/t B[m F7 − F7[9 − B[m − G7 − G[9 7 − Mt: Vc+DB
78 Cm G − G7no 3 /F − Cm/E[ − G/D− B2 , tutti climax, Vi1 arp
80 Cm − G◦ /B[ − A[ − A[7no 3 /G[− (tutti climax)
83 D[ D[/F − A[7 /E[ − D[ − F7[5 /C[− (tutti climax)
85 B[ − B[7 /A[− (tutti climax)
87 E[m/G[ − E[m − A[7 − (tutti climax)
89 M3 D[ − B[m − A◦ /C− C2 : Str unisono
91 M3 B[m − E[m7 − F◦ /A[−
93 M3 G[ − E[m−
95 Mt̃ E◦7 − . . . − trans, Mt̃: Vi2+Va,
103 ⊥ E◦7 − E[ − B◦7 /D − D[7 − F ]◦7 /C− Vi1+DB chr runs.
107 Mt̃/t F ]◦7 /C − . . . − F7[9 − B3 , tutti climax
..
113 . B[m B[m/F − E◦7 /F − F7 −
117 ⊥ B[m/F − E◦7 /F −
119 F − F7 /E[ − B[m/D[ − F7 /C− trans, Vi+Va 16th arp,
121 B[m − D7[5 /A[ − G − G7 /F − WW asc
124 Cm/E[ − G7 /D − Cm − E[7 /B[−
126 A[ − A[7 /G[−
128 D[ D[/F − A[7 /E[ − D[ − F m/C−
130 Mt̃ B◦7 − G7 /B − . . . − Mt̃: Str
136 <(C − C7 /G − B◦7 /C − B◦7 /F )−
144 Mt C C D, Coda, Mt: DB, P (c)
146 M3’ G4 − F − C − F/A − C/G − G7 − Ob+Vi2 augm
..
150 . C − F − C− P (c)
152 ⊥ F/A − C/G − Dm7 /C − C−
154 G7 − Fl asc scale (155 m.)

Table 5.49: Beethoven, Symphony No. 6 Pastorale, Mvt. 5 Allegretto
m M R H Comment
h i
6
1 (M1’) F C − . . . − F 9− 8 intro: Ob-FHn arp
9 M1 F − . . . − B[/D− A1 , 1st stat: Vi1
13 ⊥ E◦ − C − F − Dm − Gm/B[ − C − F
17 M1 F − . . . − B[/D − C/E− 2nd stat: Vi2
21 ⊥ E◦ − C − F − Dm − Gm7 /B[ − C − F
25 M1 F − . . . − B[/D− clim: Cl+FHn+Va+Vc
29 ⊥ C7 /E − F − Dm − F/A − Gm7 /B[ − C−
32 M2 F − C7 − F − C7 /B[− B1 1st stat: Va+Vc
34 M2 F/A − C7 /E − F − C7 − imit: Vi1
36 M2 F − C7 − F − C7 /B[− var: Va+Vc
38 M2 F/A − C7 /E − F − C7 /G− imit: Vi1
.. d
40 . C F − G7 /B − C − G7 /D − Am7 /E − G7 − imit: (Va+Vc)-Vi1
46 ⊥ C/G − G7
50 <(C − F − C − G7 ) − C − Dm/F − trans
56 (M1’) C/G − . . . − C7 − imit arp: Vi1-Fl-FHn
64 M1 F − . . . − B[/D− A2 , 1st stat: Vi1
68 ⊥ E◦ − C − F − Dm − Gm7 /B[ − C − F
72 M1’ F − . . . − F7 − . . . − 2nd stat: Vi2, P D (f )
80 M3 B[ B[ − B[ − F − F7 /C − F◦7 − F7 − C, WW, P D (f )
..
86 . B[ − E[ − B[ − F7 − B[ − Cm7 − B[−
..
91 . E[ − B[/F −
93 ⊥ C7[5 /G[ − E◦7 − D[/A[ − A[7 −
95 (M1’) D[ D[/A[(N ) − F7 /A − B[m − G[9 7 /B− retrans, arp: Vi1
..
99 . C <(C − G7 − C − . . . − G7 − . . . − C)/C imit: Vc-WW, P (c−g)
..
107 . C − ...− tutti climax, P (c−g)
115 ⊥ C7 /F −
117 M1 F F − . . . − B[/D − E◦ A3 , 16th note var: Vi1
121 ⊥ C7 − F − Dm − Gm7 /B[ − C − F
125 M1 F − . . . − B[/D − C7 /E− 2nd stat: Vi2
129 ⊥ C7 /E − F − Dm − Gm7 /B[ − C − F
133 M1 F − . . . − B[/D − C7 /E clim: FHn+Tpt+Va+Vc
137 ⊥ C7 /E − F − Dm − Gm7 /B[ − C−

Table 5.50: Beethoven, Symphony No. 6 Pastorale, Mvt. 5 Allegretto (cont’d)
m M R H Comment
140 M2 F F − C7 − F − C7 /B[− B2 , 1st stat: Va+Vc
142 M2 F/A − C7 /E − F − C7 − imit: Vi1
d
144 M2 F − C7 − F − G − var: Va+Vc
..
146 . F/A − G7 /B − F − C − G7 /D− imit: (Vi1)-(Va+Vc)
..
148 . C/E − F − C7 − B◦7 /C
150 ⊥ <(F/C − C7 ) imit: (Vi1+Vi2)-(Va+Vc+DB)
158 <(F − C7 ) − F − Gm/B[− climax, cad
164 (M1’) F/C − . . . − Dm − G7 − . . . − retrans, arp: Vi1
173 ⊥ C7 − cresc to climax
177 M1’ F F − . . . − B[no 3 − C7 − F A4 , var: Bsn+Vc
..
183 . D7 − Gm − C7 −
186 ⊥ F − D7 − Gm − C7 −
190 M4 F F − Dm − G7 − D1 , tutti clim, M4: Vc+DB arp
196 (M1’) G7 − . . . − C − C7 − . . . − Vi1 arp, Vc+DB arp
206 M1’ F F − . . . − Gm7 − C7 − Coda pt 1, var: Bsn+Vc
..
211 . F − D7 − Gm7 − C7 − imit, build to climax
215 ⊥ F − A∅7 /E[ − D7 − Gm7 − C7 − (build climax)
219 M4’ F − Dm − G7 − C7 − D2 , tutti clim, M4’: Vc+DB arp
227 M4’ F − B[4 − B[−
231 ⊥ C7 − C7sus4 − C7 − . . . −
237 M1” F − C − C7 − F − Coda pt 2, Vi1 arp
241 ⊥ B[/D − F/A − Gm7 /B[ − C7 − F
245 F − B[/D − F/A − Gm7 /B[ − C7 − cad
248 F − <(C7 − F )− cad
254 (M1) C7 − DB arp
258 (M1) F FHn arp, 16th imit: Str (264 m.)

of this and the next movement we need the double occurrence property of E and G in the
diagrams.
The second movement Andante is in the subdominant key of B[ major. It first moves into
the dominant domain F − G (1). The second half is in the subdominant area E[ − G[ − C[
(2–4).
The third and fourth movement once again use the major submediant D as intermediate
key. The Mvt. 4 Allegro alternates between the keys of D[ major (the opening key) and F m.
Both the dominant and subdominant areas are in minor: Cm (1,4) and B[m (3,5). The closing
moves towards C major (6), as a preparation for the finale.
The finale opens in F major. The key of D[ major returns; it may be interpreted as a
Neapolitan intermediate key of the dominant C (N/V ) in both major and minor.
Mvt. 1 Allegro ma non troppo Mvt. 2 Andante molto moto

t t
E B F] C] F C
G D A E

Em Bm F ]m C]m Fm Cm Gm Dm Am Em
3 t 4 4
t 1
G D A E A[ E[ - B[ -F C G
Gm

Dm 5 Cm Em A[m E[m 2 B[m Fm Cm Gm
2,6 - - 1 3
B[ F C G C[ G[ D[ A[ E[ B[
Mvt. 4 Allegro
G
D A
BMB
2
Mvt. 3 Allegro Gm Dm B Am Mvt. 5 Allegretto
6
- 1,3
B
G 1,2 D A B[ F B C• B[ F C
A
3,5 B 1,4
B
A
Gm Dm A Am B[m F m - Cm B[m Fm Cm
AU 3,4 2
5 - 6
?
B[ - F C D[ 9 A[ E[ D[ A[ E[
Figure 5.12: Beethoven, Symphony No. 6 Pastorale, key relationship diagram
5.7 Symphony No. 7 in A Major Op. 92 (1811-1812)

This glorious symphony is very much about rhythm and rhythmic grooves (‘Beathoven’).
Riff-like patterns are processed extensively, being varied, used in imitation, augmentation or
diminution, etc. The main key A major and various instrumentation effects (tutti climaxes
and accents, brass and timpani pedal points) create a triumphant mood.
All movements show that the sections are balanced when considering measure counts.
The exceptions are the shortened B2 section in the slow second movement, and the long
coda in the closing fast movement. The scherzo and trio movement has a nice symmetry

5.7. SYMPHONY NO. 7 IN A MAJOR OP. 92
h ih i
4 6
Mvt. 1 Allegro ma non troppo - Vivace: sonata form (A, 4 8 , 450 m.)
Inroduction (62 m.) Exposition (114 m.)
h i
2
Mvt. 2 Allegretto: ABBA Coda form (Am, 4 , 278 m.)
A1 (101 m.) B1 (48 m.)
A2 (75 m.) B2 (23 m.) Coda (30 m.)
h i
3
Mvt. 3 Presto - Assai meno presto: scherzo and trio form (F , 4 , 653 m.)
Scherzo (149 m.)
Trio (88 m.)
Scherzo (172 m.)
Trio (88 m.)
Scherzo (144 m.) Coda (13 m.)
h i
2
Mvt. 4 Allegro con brio: sonata - rondo form (A, 4 , 469 m.)
Exposition (125 m.)
Coda (124 m.)
Figure 5.13: Beethoven, Symphony No. 7 in A Major

(bridge form), as does the opening movement (where introduction and exposition balance
the recapitulation and coda). The second scherzo seems longer than the other two, but that
has to do with the fact that in the score the repetition signs have been omitted (repeats are
written out in full in this section).
5.7.1 Mvt. 1 Allegro ma non troppo - Vivace

Form: sonata form. The analysis is shown in Table 5.51 to 5.55. The slow Introduction has
a binary form subdivision A1 B1 A2 B2 . There are two themes. The maestoso jubilant Mi1
consists of half-note duration leaps, handled in imitation fashion (woodwinds and horns,
violins in the second statement). The tutti climax second statement (m. 15 ff.) has the as-
cending 16th note scalar runs in the background, that were played as staccato transitory
patterns in the preceding measures. The dolce secondary theme Mi2 has sentence structure
Mi2 (aab) (2 + 2 + 2), is played twice (first in woodwinds, repeated in the strings) and moves
to different keys. These stress the key relations of the third, so prominent in this symphony:
the B1 section is in the lowered mediant degree key C = [III, the B2 section is in the lowered
submediant key F = [V I, relative to the tonic major key A. These sections also contain 16th
note ostinato patterns in the lower strings and upper woodwinds background.
h i
The sonata Exposition section implies a change to 68 meter and a dance-character dot-
ted rhythm (8th note dotted - 16th - 8th note), that wil be used fairly consistently throughout
this movement. The main melody M turns out to be the only important theme, there is no
real secondary subject. It has structure M(aa’bbcc’) (4 + 4 + 3 + 3 + 2 + 6 m.); the a-phrase
has mainly stepwise motion, the b-phrase upward leaps and imitation, the c-phrase is dom-
inated by descending arpeggios that act also as transition. In the second statement with tutti
climax character, it is the b’-phrase that is extended. The transition (m. 109 ff.) quotes from
the main theme. The second group starts with a dotted motif Md, that is also a reference to
M; there is not the usual contrasting theme for treatment in the development. Therefore, this
movement may be labeled as monothematic.
The Development (m. 171) is launched with a set of general pause (GP) measures. The
dotted dance-rhythm sets in and a modified a-phrase from M receives counterpoint imitaton
treatment. Then the descending arpeggio motif from Md in string stretto imitation is com-
bined with the dotted rhythm in woodwinds and horns to create a long tutti climax (m. 201
ff.). Another imitative section (m. 222 ff.) is based on the next variant of M’, now in two-
part diatonic parallel S(2p) setting for woodwinds, with dotted rhythm scales and arpeggio
fragments in the strings. The dotted note rhythm pattern persists (m. 236 ff.) and builds
up to another extended climax with pattern imitation between strings and woodwinds plus
horns. The retransition starts in m. 265, with once again a continous dotted rhythm pattern
in unisono strings.
The Recapitulation (m. 278 ff.) has reversed roles, the violins now playing the lead M, the
fortissimo accents are in woodwinds and brass (compare with the exposition). There is a full
statement of the main melody, but it brings a major-minor change on the second a-phrase.
The second statement (m. 301 ff.) is abbreviated (with only the a- and b-phrase). This is
characterised by woodwind imitation, sequential treatment of the b-phrase and an ostinato
pedal point in violins. The major-minor ambiguity is continued here, and carried over into
the next statement of the varied main theme (m. 323 ff.). The transition to the second group
then re-establishes the tonic major key A. The dotted rhythm motif Md returns and this

Table 5.51: Beethoven, Symphony No. 7, Mvt. 1 Allegro ma non troppo - Vivace
m M R H Comment
h i
4
Poco sostenuto 4 (]]]) Introduction
1 Mi1 A A − E/G] − A7 − A1 , WW-imit, tutti accts
..
5 . A7 /F − D/F ] − G7 /F − C/E− Hn-WW imit, PBi (&)
9 ⊥ F
10 E7 − A64 − Str 16th unis runs%, P D (e)
12 E7 − Str+WW scalar runs, cad
15 Mi1 A − E/G] − A7 /G− 2nd st, Str imit, clim,
..
19 . D/F ] − Dm/F − Str bg imit 16ths%
21 ⊥ G7 /F − C/E Str-WW imit 16th runs
23 Mi2 C G7 − C/G − G7 − C B1 , aa): Ob-Fl
27 ⊥ F − C46 − G7 − cad
29 Mi2 <(G7 /B − C) − C + 2nd st, aa): Vi1,
33 ⊥ F − D7 /F ] − G− LoStr-WW 16ths bg
34 Mi1 A E7 /G] − F ]7 /A]− A2 , Vi1, tutti clim,
38 ⊥ Em/B − C− Str bg 16th runs%
42 Mi2 F <(C7 − F ) B2 , aa): Fl
46 ⊥ Gm7 /B[ − F46 − C7 − b), cad
48 Mi2 ’ C7 /E − F − 2nd st, a): Vi1, P D (c)
50 ⊥ F − ...− b’), LoStr-WW 16ths bg
53 E − ...− trans, tutti clim
57 E − ...− HiWW+HiStrP D (e)
h i
6
Vivace 8Exposition
63 A || : (E − A)− Fl+Ob dotted rh P D (e)
67 M <(A − E7 /G])− Gr 1, a): Fl, P (a− e)
..
71 . A − E7 /G]− a’)
..
73 . A − A64 − E − A− cad
..
75 . <(D − A)/A− bb): Fl+Ob, Str unis im
..
81 . <(E − A)/E− cc’): WW
84 ⊥ A − A]◦ − E7 − . . . − Str unis%
89 M (A − D − G]◦ − A − E7 )/A− 2nd st, a): Vi1, P T (a),
..
93 . (A − D − G]◦ )/A− a’), tutti clim
..
95 . A− A64 − E7 − A cad
..
97 . <(D − A)/A bb’): Vi1+WW+Hns, LoStr im
..
101 . (A − A7 − D − E7 − A)/A− Str-WW imit, Brs P T (a),
105 ⊥ (A − A7 − D − E7 − A)/A− PL (%), repeat

Table 5.52: Beethoven, Symphony No. 7, Mvt. 1 Allegro ma non troppo - Vivace (cont’d)
m M R H Comment
109 M’ A]/C] − B7 − F ]m/A − F ]− tr, a’): Vi1, clim, PB (&)
113 ⊥ C]m (G] − C]m − G])/G] − C]m
116 M’ (E[ − A[m − E[)/E[− (Fl+Ob)-Vi1
.. d
119 . E/G] − B7 /F ] − C]m/E− HiWW+Vi1, PB (&)
122 ⊥ B/D] − A/C]−
124 <(B7 − E46 )− tutti accts, P D (b)
128 B7[9 − Str unis
130 Md E E − B7sus4 − E − B7 − Gr 2, WW, Str unis
134 Md E − F ]m7 /E − G7 /D− Str
136 ⊥ C C − ...− Str unis arp
142 (M) D]◦7 − . . . − Vi1, Str 16ths bg
.. d
147 . E7 /G] − F ]m/A − G]m/B− [S̄ 6 ] %, Str 16th bg
150 ⊥ A/C] − B/D]− cresc
152 Md’ E E − F ]m/A− clim, LoStr-WW im
156 F/A − B7 − N 6 , Σ(cm<)
158 Md’ E − F ]m/A− repeat
162 F/A − B−
164 M’ E − B7 − E46 − B7 − closing, a’): WW+Vi1,
..
168 . E − B7 − E46 − B7 /D]− Str 16th bg
170 ⊥ E − B7 − cad
171 (E) − . . . − : || WW+Str unis%, P D (e), GP
Development
177 (E − Em) WW+Str unis, GP, Str rh
185 M’ C C/G − B◦7 − a’): Vc+DB
..
188 . C/E − G7 /F − Vi1 imit
..
190 . C/E − G7 − C Vi2+Va imit, Str ctp, Σ(cm)
..
192 . <(C − G7 )/C− Ob-(Fl+Bsn) imit, LoStr P T (c)
195 ⊥ (C − F ]◦7 − G7 )− Str dotted rh
201 Md’ C − ...− Str stretto imit, Vi2 1ths
205 G7 − WW dottted rh, clim
207 Md’ G7 − . . . − Str stretto im, arp&
211 E/G]− WW dotted rh
213 Md’ E/G] − . . . − Str stretto im, arp&
217 E − C]no 5 − . . . Str-WW unis imit dotted rh
220 D[ − F46 − cad, WW Σ(cm), N 6 /V

m M R H Comment
222 M/d’ F F − Gm − F − B∅7 /D− Ma’): Fl+Ob S(2p), Seq(4×3m;R−5 )
..
224 . C − B[/D − F − G7 /B− Md’: Va
..
225 . C − G7 /F − C/E− a’): Cl+Bsn S(2p), d’: Vi2
..
227 . G7 /B − C − D/F ]− Str ctp imit
..
228 . Gm − D7 /A − Gm a’): Fl+Cl, d’: Va
..
230 . D7 /F ] − Gm
..
231 . Dm Dm − A7 − Dm a’): WW, d’: Vi2
233 ⊥ A/C] − Dm − A7 − Dm
d
236 Md’ A− LoStr, Cl+Hns P D (a)
..
238 . B[∆7 /F − . . . − Hi-LoStr imit, Seq(3×4m;R7 )
242 ⊥ C7 /G − . . . − D7 /A − . . .
250 Gm/B[ − C]◦7 − G/B− Str-WW imit dotted rh, PBi (%)
252 C − C]◦ −
254 (Md) Dm − . . . − tutti clim, Str im&
..
258 . Am/C − . . . −
262 ⊥ E7no 3 /B − . . . −
265 G]◦7 /D − . . . − retrans, Str-WW imit
268 G]◦7 − Am/C− Str unis [S̄ 6 ] %
270 Bm/D − C]m/E−
272 C]m/E − . . . − Hns P D (e)
276 E7 − A64 − E7 − cad, Str runs%
Recapitulation
278 M A A − E7 /B − A/C] − E7 − Gr 1, a): Vi1, Str 16th bg, WW accts
..
282 . A − E7 /B− a’)
..
284 . A− A64 − E7 − cad
..
286 . D/A − A − A7 − b) Vi1, WW imit
..
289 . D/A − A− b)
..
292 . <(E7 /G] − A − A/E)− cc’)
296 ⊥ A/E − A]◦ /E − E7 − . . . −
300 A7 −

episode is a transposed copy of the exposition material.

A closing tutti fortissimo statement of M’ (m. 376) and transition lead into the Coda,
including the set of general pauses. The dotted note dance rhythm suggests another de-
velopment, there is a brief period of tonal uncertainty. An extended repeated chordal riff
pattern (m. 401 ff.) with lead parts for lower strings over extended dominant pedal point in
woodwinds (note the ever busier rhythmical patterns, suggesting a speeding up) and brass
leads into the closing. This tutti climax contains fragments of both Md (strings, m. 427 ff.)
and the main motif (m. 442).
Form: binary form, A1 B1 A2 B2 A Coda. The analysis is shown in Table 5.56 to 5.59. The
rhythmic groove throughout most of this slow movement is dactylic (quarter note - 8th note
- 8th note). The A section main melody has M1(aa’bb) (4 + 4 + 8 + 8 m.) structure. The a-
phrase introduces a tonal ambiguity between the tonic minor key Am and its relative major
C through straightforward cadences. The b-phrase has a sequential element, that yields an
inner voice with descending chromatic motion.
The A1 section contains four statements of M1, with the lead voice moving from viola
to second violins, then first violins and finally to woodwinds and horns. A countermelody
Mc is added from the second statement onward, full of appoggiaturas and stressing the
chromatic descending character of the b-phrase.3 The tutti climax with fortissimo timpani
tonic-dominant beating patterns (m. 75) is followed by a transition with cadential fragments
from the main melody.
The contrasting B1 section moves to parallel major A and a dolce melody M2 for clarinet,
bassoon and seconds violins, over an extended tonic pedal point with the familiar dactylic
dance rhythm. The first violins embellish this lead melody with a continuous series of de-
scending 8th note triplet arpeggio patterns. There is long transitory episode in the dominant
major key E, starting in m. 116 with a descending scalar theme Ms first played by clarinet
and imitated by horn. The violins continue their triplet arpeggios, while the key modulates,
until the scalar theme Ms is stated once more (m. 139 ff.), now in the key of C major.
The A2 section approaches the main theme with a set of three variations, connected with
brief transitions. The first variation still contains the combination of the main theme M1 (low
strings) and the countermelody Mc (unisono woodwinds), but inner voices in the strings
play alternating 16th note arpeggio patterns. This sets the mood for the fugato treatment
in the second variation with its four entrances in tonic-dominant-tonic-dominant. The 16th
note countesubject groove is then adopted by the woodwinds in the final, abbreviated vara-
tion (m. 214 ff.), a tutti climax with extended dominant pedal point.
In section B2 the dolce melody returns. We find the same key, instrumentation and set-
ting, except for the ending that prepares for the coda in the relative major key C. The coda is
a set of cadential fragments from the M1 b-phrase, that keep meandering between the keys
of Am and C major and play call-and-response between strings and woodwind plus horns,
until we hear the closing cadences.
3
This continuity of four repeated melody statements without any modification and creating an increasing
tension effect through instrumentation changes implies a Bolero avant la lettre effect.

m M R H Comment
301 M’ D D − A7sus4 − 2nd stat, a): Ob, Vi P D (a)
..
303 . D − A7 − Fl+Cl+Bsn imit
..
305 . Dm Dm − A7 − Gm − Gm a’), maj-min
..
309 . Gm − Dm − B[ − F − b’): Ob-Fl imit, Seq(3×2m;R−3 )
..
313 . Dm − Am
..
315 . Am (Am − Dm − G]◦7 − Am)/A− WW imit, Timp+LoStr P D (a)
320 ⊥ (Dm − E7 − Am)/A
323 M” F ]◦7 /A − Em/G − Dm/F − clim, a’): Vi1, [S̄ 6 ] &
..
326 . <(E − Am)/E − E7 − Vi-WW imit
.. d
331 . A A − F ]m7 /A − E/G] − E7 − tutti cl, P D (e), Seq(2×2m;R3 )
..
333 . F ]m7 − C]m/E − C]m7 − Vi2+Va 16th runs&, PB (&)
..
335 . Bm/D − B7 /D]−
336 ⊥ <(E − E7 − A/E)− trans, tutti accts
340 (E)− Str unis
342 Md A − E7no 3 − A Gr 2, WW, Hns P T (a)
344 ⊥ A − A64 − E7 − cad
346 Md A − Bm7 /A − Am − C7 /G− clim, Str
348 ⊥ F F − ...− Str unis arp
354 (M) G]◦7 − . . . − Vi1, Str 16ths bg
..
358 . A E7 /G] − A/C]− [S̄ 6 ] %, Str 16th bg
..
360 . Bm/D − C]m/E−
362 ⊥ D/F ] − E/G]− cresc
364 Md’ A − Bm7 /D− clim, d’): Lo Str
368 B[/D − E7 − N 6 , Str Σ(cm<)
370 Md’ A − Bm7 /D− repeat
372 B[/D − E−
376 M’ A − E7 − A/E − E7 /G]− clos, a’): WW+Vi1,
..
380 . A − E7 − A/E − E − 7/G]− Str 16th bg
382 ⊥ A − E7 − cad
383 (A) Str+Bsn unis%, P T (a), GP
389 (A[ = G]) unis, GP

m M R H Comment
Coda
391 (M) A[ A[ − . . . − Str+WW rh, (M): Vi imit
395 C/G − F − A/E− PB (&)
401 (M) A <(E7]5 no 3 /D − A/C])− LoStr, WW P D (e)
..
409 . <(E7]5 no 3 /D − A/C])− cont’d, WW rh bg
417 ⊥ <(E7]5 no 3 /D − A/C]) − E7]5
7 /D− cont’d, WW 8ths bg
423 A/C] − D− tutti clim, dotted rh
427 (Md) A/E − . . . − F ]m7 /E− Str rh imit arp&
432 B7 /D] − E7 /D− WW-Str accts imit
436 A/C] − D − C]m/E − E]◦7 −
438 F ]m − D − C]m/E− tutti accts
439 C]m/E − E]◦7 − F ]m
440 F ]m − D − C]m/E− repeat
441 C]m/E − E − A−
442 (M’) A − <(E − A) − A tutti clim, cad (450 m.)
5.7.3 Mvt. 3 Presto - Assai meno presto

Form: scherzo and trio form. The trio is played twice, juxtaposed with three scherzo sections,
and concluded with a coda. The analysis is shown in Table 5.60 to 5.62.
The presto Scherzo section main melody has M(abbb’cc’) (2 + 4 + 4 + 6 + 4 + 4 m.) struc-
ture. The a-phrase consists of the tutti fortissimo (ff ) arpeggio accents over the tonic major
chord F with upbeat. The b-phrase continues the melody as two-part parallel consonants
S(2p), with both lead voices and background as a continuous quarter note staccato ‘groove’.
The b’-phrase acts as an inner transition into the final c-phrase arpeggios over closing full
cadences in the key of A major (mediant degree key with third relationship to tonic). The
long transition, starting in m. 25, may also be considered a small scale development of the
M1 a- and b-phrase. The former is set as a string section imitation, rising from the lower
strings to the first violins (m. 25, later in m. 137) or in the original tutti accent setting (m. 41,
later in m. 141). The b-phrase receives sequential treatment and moves from woodwinds
to strings and back. There is a remarkable kind of ‘false start’ in m. 60 with M1’(ab) (1 + 4
m.), pushed away so-to-speak, by the real theme statement starting in m. 63, although be
it in the subdominant major key B[. The b-phrase then (m. 82, with strings playing a se-
ries of 1st inversion chords [S̄ 6 ] ) leads into the closing statement, a tutti climax with varied
M1(abbb’b’) structure, with contrary motion in the b’-phrases. This statement is interrupted
by a brief development of the b-phrase (m. 107 ff.), before the cadential c-phrases are played
twice (m. 117 ff), ending in a tutti climax, and a (re)transition on the tonic major chord.
The Trio presents theme M2.1 in a quasi-chorale setting. This has regular M2.1(abab’)
(4 + 4 + 4 + 4 m.) period structure. It is played by clarinets, bassoons and horns, again
in two-part diatonic parallel S(2p) (like the presto), with contrary motion between voice
groups (compare clarinets with horns). There is extended dominant pedal point in violins

Table 5.56: Beethoven, Symphony No. 7, Mvt. 2 Allegretto
m M R H Comment
h i
2
Allegretto 4 A1
1 Am Am/E− WW sust
3 M1 Am − E/G] − E no 3 − Am a’): Va+Vc+DB dactylic
..
7 . C Am − D7 /A − C46 − G − C a’), min-maj amb
..
11 . Am C − Am7 /C − B− b), Seq(2×2m;R−7 )
.. i (&)
13 . Bm − G]◦ /B − A − Am Pm
..
15 . Am − E/G] − Am − E − Am cad
..
19 . C − Am7 /C − B− b) repeat
..
21 . Bm − G]◦ /B − A − Am
23 ⊥ Am − E/G] − Am − E − Am cad
27 M1/c Am − E/G] − E7no 3 − Am 2nd st, a’): Vi2, Mc): Va+Vc
.. d
31 . C Am − D7 /A − Em/G − G7no 3 − C a’), min-maj amb
..
35 . Am C − Am7 /C − B− b), Seq(2×2m;R−7 )
.. i (&)
37 . Bm − E7 − A − Am Pm
..
39 . Am − E/G] − Am − E7 − Am cad
..
..
45 . Bm − E7 − A − Am
47 ⊥ Am − E/G] − Am − E7 − Am cad
51 M1/c Am − E/G] − E7 − Am 3rd st, a’): Vi1, Mc): Vi2
.. d
55 . C Am − D7 /A − Em/G − G7no 3 − C a’), Va+Vc 8th arp
..
59 . Am C − Am7 /C − B− b), Seq(2×2m;R−7 )
.. i (&)
61 . Bm − E7 − A − Am Pm
..
63 . Am − E/G] − Am − E7 − Am cad
..
67 . C − Am7 /C − B− b) repeat, WW accts
..
69 . Bm − E7 − A − Am
71 ⊥ Am − E/G] − Am − E7 − Am cad

Table 5.57: Beethoven, Symphony No. 7, Mvt. 2 Allegretto (cont’d)
m M R H Comment
75 M1/c Am − E/G] − E7 − Am 4th st, clim, M1: WW+Hns
..
79 . C Am − D7 /A − C46 − G7no 3 − C a’), Mc: Vi, Va+Vc triplets
..
83 . Am C − Am7 /C − B− b), Seq(2×2m;R−7 )
.. i (&)
85 . Bm − E7 − A − Am Pm
..
87 . Am − E/G] − Am − E7 − Am cad
..
..
93 . Bm − E7 − A − Am
95 ⊥ Am − E/G] − Am − E7 − Am cad
99 (M1) E7 − Am − E7 − trans, WW-Str
(]]]) B1
102 M2 A (A − Bm7 − A)/A− Cl+Bsn+Vi2, P T (a),
..
106 . G]◦ − A − Bm − A7 − Vi triplets arp&
..
108 . (D − E7 − A)/A−
..
110 . (A7 − D − A)/A Fl+Ob sustained bg
114 ⊥ D/F ] − E7 /G] − A − E − B7 − WW, cad
116 E E− trans, Hns+LoStr P T (e)
117 Ms B7sus4 − E − B7 − E Cl-Hn imit, Vi1 triplets
..
121 . B7sus4 − E − <(C]◦7 − E7 /D)−
127 ⊥ C]◦7 − Bm/D − A64 − E7 − Cl+Bsn, cad
130 A A − C]◦7 − E7 /D − C]◦7 − WW+Hn
134 E7 /D − A[9 7 /C] − C7 −
136 C F − Dm/F − C46 − G7 − C cad
139 Ms <(G7 − C)/C− (\\\) Fl+Ob, Vi1 tripl, P T (c)
143 ⊥ G7 − . . . −
145 G7 − . . . − Str unis triplets&
148 E/G]− Str-WW accts

m M R H Comment
A2 Variations
150 M1/c Am (Am − E − E7 − Am)/E Var 1, a): LoStr, Mc: WW,
..
154 . C C/E − C46 − G7no 3 − C/G a’), Vi1-Va 16ths
..
158 . Am C/G − D7 /A − B− b), Seq(2×2m;R−7 )
.. i (&)
160 . Bm − E7 /G] − A − Am Pm
..
162 . (Am − E − Am − E7 )/E − Am cad
..
166 . Em/G − F ]◦ /A − B− b) repeat
..
168 . Bm/F ] − E7 /G] − A − Am
170 ⊥ (Am − E − Am − E7 )/E − Am cad
174 (M1) D (A7 − D − G]◦7 − A7 )/A− trans, WW, P D (a)
..
178 . (A7 − D − G]◦7 − A7 )/A−
182 ⊥ G]◦7 − A
183 M1’ Am Am − Am/C− Var 2, Fugato, Vi1,
..
185 . E/B − A7 /C] − D − B7 /A− Vi2 16ths
..
187 . Em/G − Em − F ]m7 /A − Bm − E7 /D− Vi2 imit, 3-pt
..
190 . Am/C − Dm7 − E7 −
..
191 . Am − Am/C − E7 − A7 /C]− Vc+DB, 4-pt
..
194 . D − Am7 /C − B7 /A−
..
195 . Em/G − Em− Va, 4-pt
..
197 . F ]m7 /A − Bm − E7 /D−
198 ⊥ Am/C − Dm7 − E7 −
199 A7 /G − C − D7 − Gm/D− Str ctp cont’d
201 C G7 /F − C/E − C Vi1-Vi2-DB imit
204 F ]m7no 3 /E − Bm − G]◦ /D−
205 Am/C − Gm/B[ − C7 /E−
207 F − G7 /F − A7 /E−
209 Dm − (G]◦7 − E7 )/D− WW imit

m M R H Comment
214 M1/c’ Am Am − E/G] − E7 − Am Var 3, a): Hns+HiStr,
218 ⊥ Am − E7 /G] − Am − E7 − Am Mc’): WW unis 16ths
222 (M1) E7 − Am − E7 − cad, WW
(]]]) B2
225 M2 A (A − Bm7 − A)/A− Cl+Bsn+Vi1, P T (a),
..
229 . (G]◦ − A − Bm7 − A7 )/A− Vi triplets arp&
..
231 . (D − E7 − A)/A−
..
233 . D (A7 − D − A)/A Fl+Ob sustained bg
..
237 . (D − A)/A − <(D − E − A7 )/A− WW, cad
243 ⊥ (D − E)/A−
245 A − Dm/F − Am/E − Dm − G WW, Str sust bg, PB (&)
(\\\) Coda
248 C C tutti cad, maj-min
249 (M1) E7 − Am − G − C b’): Str-WW cad imit
..
253 . E7 − Am − E − Am Str pizz
..
260 . C46 − G − C−
..
263 . C − Am7 /C − B − Bm b’): WW
..
265 . E7 − A − Am
..
267 . Am Am − G]◦ − Am − E7 − Am Str, closing cad
271 ⊥ <(E7 − Am) − E − Am WW-Str-WW (278 m.)

Table 5.60: Beethoven, Symphony No. 7, Mvt. 3 Presto - Assai meno presto
m M R H Comment
h i
3
Presto [Scherzo] 4 ([)
1 M1 F || : F − . . . − a): tutti accts
..
3 . (F − B[∆7 − Gm7 )/F − C b): WW+Str S(2p)
..
7 . C − C7 − F b)
..
11 . <(C7 /B[ − F/A − C7 /G − F ) b’): Str+Fl
..
15 . E7[5 no 1 /B[ − A − G]◦7 /D − A/C]
17 ⊥ A <(E7 − A) : || cc’): tutti cad
25 (M1) || : A − . . . − A/C]− a’): Str Lo-Hi imit
29 (M1) <(Bm/D − A/C] − G]◦7 /B − A) trans, b’): Fl+Cl
..
33 . <(G]◦7 − A − /C])− Seq(3×4m;R5 )
..
37 . <(C]◦7 /E − D)− HiStr
..
41 . <(D∅7 /A[ − G7 )− Bsn+LoStr
44 ⊥ G7 − a’): tutti accts
45 (M1) <(F/A − C/E − B◦ /D − C) b’): Fl+Ob
..
49 . <(B◦ /D − C)− Seq(2×4m;R5 )
..
53 . <(E◦ /G − F )− HiStr
57 ⊥ <(C∅7 /G[ − F7 )− Bsn+LoStr
60 M1’ B[ F7 − a’): tutti accts, ‘false start’
61 ⊥ <(E[/G − B[/F − E − B[/D)− b’): Str
63 M1 E[/G − B[/F − Gm7 /D − B[ a): Ob+Bsn+Va
..
66 . B[ − . . . − F − . . . − F7 − bb): Ob, Bsn offbeat
74 ⊥ B[ − . . . − F − . . . − F7 − bb): Fl+Ob, cresc
82 B[ − . . . − trans, Str, WW P (f )
84 Gm/B[ −→ Gm/B[− Str [S̄ 6 ] &, WW offbeats
87 C7 − . . . − Str Σ(cm<)
89 M1 F F− clos stat, a): accts
..
91 . (F − Dm − B[∆7 )/F − E◦ − b): Vi, tutti clim
..
95 . E◦ − C7 − F b)
..
99 . F − C no 3 − b’): WW Σ(cm<), Str sust bg
103 ⊥ C − C7 − F
107 (M1) <(C7 /B[ − F/A − C7 /G − F )− ‘interrupt’, Str-WW imit
..
113 . B[ − F/A − B◦ /D − C Str PL (%), cresc
115 ⊥ F − C/E − B◦ /D − C Σ(cm<)

(lower strings absent for most of the trio). A repeated statement with imitation phrases
in woodwinds leads into the bridge section (m. 181 ff.). The melody M2.2 continues the
prominent role for woodwinds in two-part, consonant diatonic parallel chorale setting. This
melody subdivides as M2.2(abcdd) (4 + 4 + 6 + 2 + 2 m.). The sustained dominant pedal
point in violins is joined by a two-measure ‘riff’ for horn. The theme M2.1 returns as a tutti
climax (m. 207 ff.), with the dominant pedal point now in trumpets and timpani. The horn
riff provides the groove over the sustained string harmonies in the (re)transition.
The scherzo and trio are repeated. The final repeat of the scherzo leads into the brief
coda (m. 641 ff.), that juxtaposes the essential elements from the trio (M2.1 a-phrase, note the
subtle major-minor change) and the scherzo (M1 a-phrase tutti accents).

This movement has both sonata and rondo form characteristics.4 The analysis is shown in
Table 5.63 to 5.66.
The brief Introduction has a combination of tutti (afterbeat) accents Ma and general
pauses (GP). This combination will return at several other instances in the fast closing move-
ment. The Exposition main theme M1.1, in the tonic major key A, is a whirling 16th motif in
violins that may be split into single measure phrases M1([aaab][aaab’]) ([1 + 1 + 1 + 1] + [1 +
1 + 1 + 1] m.). Middle register strings provide the continuous 16th note (measured tremolo)
groove background, with 8th note accents in woodwinds, brass and lower strings. The ac-
cents return as the a-phrase of the second theme in the first group M1.2 with regular period
structure M1.2(abab’) (4 + 4 + 4 + 4 m.). The b-phrase is first played by woodwind and horns
lead, copied as b’-phrase in a series of string section 16th notes in contrary motion.5
The opening measure (16th note turn) from M1.1 receives extensive imitative and sequen-
tial treatment, both in transitions (here, in the exposition, first in m. 36 ff.) and in the devel-
opment. The transition, with the motif moving from 1st violins to violas, over lower strings
descending arpeggio and sustained pedal point in woodwinds and brass (another frequent
element in this movement), leads into a tutti section with hammering dotted rhythms in the
strings and 8th note accents in winds and brass. These dotted rhythms proceed as the main
element in the second group thematic material (m. 63 ff.). M2.1 is a dotted rhythm in dom-
inantly third leaps, while M2.2 has a dotted 8th - 16th note stepwise motion pattern. Like
M1.1, the M2.1 core motif returns frequently. It is modified to a stepwise motion pattern in
m. 79 ff., and returns in transitions such as the string section imitation in m. 92 ff.
The Development section (m. 126) opens, like the exposition, with a set of tutti accents,
general pauses, and the M1.1 theme. The repeated leap patterns in lower strings suggests
some hesitation, quickly blown away by a regular statement of the main theme M1.1 in
the lowered submediant degree major key C = [III (m. 150 ff.). The next candidate for
development is the accent motif Ma, alternating between two-part woodwinds plus brass
S(2p) and first violins (m. 166 ff.). Note that the bass part in lower strings is a rhythmically
augmented version of the dotted rhythm M2.1’ (quarter note, 8th note rest, 8th note, reversed
4
This finale is the ‘Heavy Metal’ hit tune from the symphonic repertoire. The power chords, the fortissimo
accents, the returning ‘hook’ motif. It is similar in character to Pete Townsend from the Who, maltreating an
electric guitar in ‘Ludwig, can you hear me?’.
5
The fortissimo horns in this phrase are my favourite and always trigger a smile. In an inspired performance
they gloriously stand out here in the tutti violence, on the verge of becoming blatantly over-present like the car
horns in An American in Paris.

Table 5.61: Beethoven, Symphony No. 7, Mvt. 3 Presto - Assai meno presto (cont’d)
m M R H Comment
117 M1 C <(G7 − C) cc’): Vi1, WW accts
..
125 . F <(C7 − F ) cc’): WW+Str, Brs accts
134 ⊥ F − ...− WW+Str arp&
137 (M1) F − ...− a’): Str Lo-Hi imit
141 (M1) F − . . . − : || a’): tutti accts
Assai meno presto [Trio] (]])
149 M2.1 D <(D − A − D) a): Cl+Bsn+Hn S(2p), Vi P D (a)
..
153 . D − A/C] − D − A7 − D − A b): halfcad
..
157 . <(A − B]◦7 )− a)
161 ⊥ <(A7 − D) cad
165 M2.1 <(D − A − D) 2nd st, WW-Hns im, Vi P D (a)
..
169 . D − A/C] − D − A7 − D − A halfcad
..
173 . <(A − B]◦7 )− a)
177 ⊥ <(A7 − D) cad
181 M2.2 || : F ]m − G]◦ − A7no 3 − a): WW S(2p), Hn+Vi P D (a)
..
185 . D − A7no 3 /E − D − A halfcad, Hn ‘riff’
..
189 . F ]m − A7no 3 − D a’):
195 ⊥ <(A − D) b’)
199 A − B7 /A − C]◦7 − . . . − tr, Vi P D (a), WW offbt accts
207 M2.1 <(D − A − D) a): tutti clim
..
211 . D − A − D − A7 − D − A b), halfcad
..
215 . <(A − B]◦7 )− a)
219 ⊥ <(A7 − D) : || cad
223 D − A7 /C]− retrans, Hn ‘riff’, Str bg
227 D − A − D − A7 − C 7 −

Table 5.62: Beethoven, Symphony No. 7, Mvt. 3 Presto - Assai meno presto (cont’d)
m M R H Comment
237 Presto [Scherzo] ([) See m. 1 ff.
409 Assai meno presto [Trio] (]]) See m. 149 ff.
497 Presto [Scherzo] ([) See m. 1 ff.
Coda
641 F F − ...− WW+Str sust
Assai meno presto
645 M2.1 (D − A − D)/A− a): Cl+Bsn+Hn, Str P D (a)
647 ⊥ Dm (Dm − A − Dm) maj-min
Presto
649 (M1) F (B[ − B◦ − F46 ) − C7 − F a’): Str unis, tutti accts (653 m.)
from m. 177). This comes to an almost standstill in m. 202, when the flute playing M1.1 opens
the retransition.
Tutti accents return in m. 224 and the Recapitulation begins with first and second group
theme statements. The Coda is in two parts; the first section (m. 345 ff.) has the character
of a secondary development, with extensive imitative treatment of the M1.1 motif (string
section). It contains sequences and both tonic and dominant pedal point (woodwinds sus-
tained, brass accents). The development character is supported by the bass part in quarter
notes: this starts as descending arpeggios (m. 354), but later becomes a long series of (chro-
matic) steps, turning around the 5th of the local key centre. Finally it turns into a dominant
pedal point with lower neighbouring note ostinato riff (see the e − d] patterns in m. 393 ff.).
This ostinato continues into the second part of the coda (m. 409 ff.), the closing section with
the final statement of M1.2 in a tutti climax. The descending scalar run from the b-phrase
carries on in strings (as 16th notes) and woodwinds (8th note rhythm), with contrary motion.
The closing fortissimo (ff ) and triple forte (fff ) cadences circle around fragments of M1.1.
In terms of a rondo form, the returning sections with accents motif Ma and then M1.1
start at m. 1, m. 149, 228, the M1.2 sections start at m. 21, 235, 409, respectively.

The key relationship diagram for the symphony movements is shown in Fig. 5.14. Both outer
sonata movements display high complexity in key movements. Returning patterns in most
movements are the major third relationship between key roots, such as the frequent tonic
major - major lowered submediant degree key pair A − F = I − [VI.
The Mvt. 1 introduction has two of such key root third relationships as it is moving
through the major keys A − C − A − F (1-2), i.e., tonic - lowered mediant - tonic - lowered
submediant degree. Is Beethoven giving us a preview of what is going to happen tonally
in the rest of the symphony? The exposition passes through the minor mediant key C]m
(3) before reaching the regular dominant major key E for the second group. Here again we
meet the major third key root relation, now as pair E − C = (V − [III) in A = (I − [VI)
in E (4). The development moves into the subdominant domain C − F − Dm (5), while the

Table 5.63: Beethoven, Symphony No. 7, Mvt. 4 Allegro con brio
m M R H Comment
h i
2
Allegro con brio 4 (]]]) Introduction
1 Ma A E − E7 − tutti accents, GP
5 M1.1 || : <(E7 − A)/E− Exp, Gr 1, Vi1, Brs+LoStr P D (e)
11 ⊥ E7 − A : || Str 6ths bg, WW accts
13 M1.1 D || : D − A/C]− Vi1
..
15 . D − F ]m7 /C] − F ]7 − PLi (&), Seq(2×1m;R−7 )
..
17 . B7 − E7 − A − A/C]−
19 ⊥ E −1) A − A7 − : || 2) A
21 M1.2 A A − E− a)=Ma: tutti accts
..
25 . A − E7 − A − E− b): WW+Hns, Str accts
..
29 . A − E− a)
33 ⊥ A − E7 − b): Str 16ths Σ(cm>)
36 (M1.1) A − <(E7 − A) Str imit&, Seq(2×8m;R3 ),
40 ⊥ A − <(E7 − A) − C]− WW+Hns P (a−e)
44 (M1.1) F ]m F ]m − <(C]7 − F ]m) Str imit, WW P D (c])
48 ⊥ F ]m − <(C]7 − F ]m)
52 F ]m − C]7 − F ]m − F ]7 /E− trans, tutti dotted rhythm
58 B]◦7 /D] − F ]m/C]− Str Σ(cm<)
60 B]◦7 − G][9 7 −
63 M2.1 C]m G][97 − C]m − G][9
7 − Gr 2, Vi1,
67 ⊥ G]7 − <(C]m − G][9
[9
7 )− Str 16th bg, WW accts
74 M2.2 <(C]m − G]7no 3 )− Vi1, WW offbeat acct
78 (M2.1) C]m − <(A7 − D) − G]7 − Fl+Ob, WW+Tpt bg
84 M2.2 <(C]m − G]7no 3 )− 2nd stat, Vi1, WW acct
88 (M2.1) C]m − <(A7 − D) − G]7 − Fl+Ob, WW+Tpt bg
92 M2.1’ D A7 − . . . − A7 /C] − D− Str arp im, WW bg, timp P D (a)
98 ⊥ A7 − . . . − A7 /C] − D− repeat
104 C]m <(B]◦7 − C]m) tutti clim, trem
111 F ]m − C]m64 − G]7 − cad
114 (M1.1) <(C]m − B]◦7 )− Vi2+Va, closing
121 ⊥ 1) A/C] − B /D]−
7
122 Ma E − E7 − : || tutti accts
124 Ma 2) A/C] − E] /C]− tutti accts, GP
◦7

m M R H Comment
Development
126 Ma C7 − tutti accents, GP
129 M1.1 F <(C7 − F ) Vi1, Str 16ths, P D (c)
134 E/G]− LoStr
135 M1.1 Am <(E7 − Am)/E− Vi1, Str 16ths, P D (e)
141 B/D] − Gm/D− LoStr-HiStr imit, PBi (&)
145 A/C] − F m/C−
(\\\)
150 M1.1 C || : <(C − G7 )/G− Vi1, LoStr+Brs P D (g)
156 ⊥ 1) C − G− : ||2) C − C − WW+Brs accts S(2p)
7
158 M1.1 F || : F − C/E− Vi1
..
160 . F − Bm7 − E7 − A7 − PLi (&), Seq(2×1m;R−7 )
..
162 . D − Dm − G7 − C − C/E−
164 ⊥ G7 −1) C : ||2) C − A7 /C]−
166 Ma’ Dm − G7 /B − C − Am WW+Brs accts, Str 16ths
..
168 . C46− G7 − C − C7 /B[− LoStr dotted augm (M2.1’)
170 ⊥ F/A − Dm − Gm7 /B[ − C7 − WW offbeat
173 Ma’ F − Dm − E◦ /G − A7 − WW, Str offbeat
..
177 . Dm Dm − . . . − Vi+Tpt accts P T (d),
..
184 . D/F ] − Gm/B[ − G − E/G]− WW offbeat, PBi (%)+PLi (%)
..
190 . Am/C − A]◦7 /C]−
..
192 . Bm/D − B/D]−
194 ⊥ C]m − E7no 3 − . . . − climax
198 (Ma) (E) − . . . Vi1 accts, P (e)
..
202 . F − F7 − Str-WW imit accts
206 M1.1 B[ <(F7 − B[) retrans, Fl, WW bg
210 (M1.1) B[− Str imit&, WW P T (b[)
213 Ma F − F7 − Str-WW imit accts
217 M1.1 F7 − B[ − F7 − G]◦7 − Fl, WW bg
221 (Ma) G]◦7 − . . . Vi1 accts, P (b)
224 Ma E− climax tutti accts

m M R H Comment
(]]]) Recapitulation
228 M1.1 || : <(E7 − A)/E− Gr 1, Vi1, Brs+LoStr P D (e)
234 ⊥ E7 − A : || Str 6ths bg, WW accents
236 M1.2 A A − E− a)=Ma: tutti accts
..
239 . A − E7 − A − E− b): WW+Hns, Str accts
..
243 . A − E− a)
247 ⊥ A − E7 − b): Str 16ths Σ(cm>)
251 (M1.1) A − <(E7 − A) Str imit&, Seq(2×8m;R5 )
257 ⊥ E∅7 − A7 − WW+Hns
259 (M1.1) Dm Dm − <(A7 − Dm) Str imit, Brs P D (a)
263 ⊥ <(Dm − A7 )−
267 Dm − A7 /C] − Dm − D7 /C− trans, tutti dotted rhythm
273 G]◦ /B − Dm/A − G]◦7 /F − Str Σ(cm<)
277 E7 −
278 M2.1 Am E7[9 − Am − E7[9 − Gr 2, Vi1,
282 ⊥ E7[9 − <(Am − E7[9 )− Str 16th bg, WW accts
289 M2.2 A <(A − E7 ) − A Fl+Bsn+Vi1, offbeat accts
294 (M2.1) <(G]7 − C]m) − E7 − Vi1, Str bg
299 M2.2 <(A − E7 ) − A 2nd st, WW, offbeat accts
304 (M2.1) G]7 − C]m Vi1, Str bg
306 ⊥ <(E7 − A) − E7 − Fl+Cl, WW+Str bg
311 M2.1’ E7 − . . . − E7 /G] − A Str arp im, WW bg,
317 ⊥ E7 − . . . − E7 /G] − A − A/C]− timp P D (e)
322 F <(C − F ) tutti clim, trem
[5/[9
334 B7 /F − A64 − E7 − cad
337 (M1.1) A <(A − G]◦7 )− HiStr, closing
344 ⊥ A
Coda Pt 1, (2nd Dev)
345 Ma A − A7 − . . . − tutti accents, GP
353 (M1.1) Bm <(F ]7 /A] − Bm) Str imit&, P D (f ])
..
361 . A Bm − <(E7 − A/C]) Str imit%, P D (e)
.. d
368 . D A7 − D − A/C] − Bm7 − Str im, P D (d), PB (&)
..
372 . <(G]◦ − D/A) − G◦7 /A[− bass chrom steps
..
376 . Cm G[9
7 − Str im, Seq(3×6m;R−7 )
..
377 . <(G7 − F m7 /A[ − Cm64 − F ]◦7 )− WW sustained bg

m M R H Comment
..
381 . Cm/G − C∅7 /G[ − F7[9 −
..
383 . B[m <(F7 − E[m7 /G[ − B[m/F − E◦7 )−
..
387 . B[m/F − Dm7 /F − Am/C − B[/F
..
389 . Am <(Am/E − B∅7 /F − Am/E − D]◦7 )−
..
393 . <(Am/E − D]◦7 )− Vi1, Brs P D (e) (bass chr)
..
395 . <(E7no 3 − D]◦7 )−
..
397 . A <(A/E − B79 /D])− Vi2 (bass chr)
..
399 . <(E7no 3 − B79 /D])−
..
401 . (A − E79 − E − F ]m7 )/E− Vi1-2 imit, Fl+Brs P D (e)
..
405 . B79 /D] − A/E−
407 ⊥ E7no 3 − E7 − B79 /D]−
Coda Pt 2, closing
409 M1.2 A/E − E7no 3 − a) tutti accts, bass chr
..
413 . A/E − E7 − b) WW+Hns, P D (e)
..
417 . A/E − E7no 3 − a) accts, (bass chr)
..
421 . <(A − E7 )/E − A/E− b’): Str 16ths Σ(cm>)
..
431 . D A7 /G − D clim, Str+WW Σ(cm<)
435 ⊥ A/C] − D − A64 − E−
439 (M1.2) A E7 /G] − A − E7 /B − A/C]− WW+Str, Brs P D (e)
..
447 . D A7 /G − D clim, Str+WW Σ(cm<)
451 ⊥ A/C] − D − A64 − E − A
456 (M1.1) A <(E7 − A) Vi, tutti cad
463 ⊥ E7 − . . . − Σ(cm<)
467 Ma’ A tutti accts (469 m.)

recapitulation alternates between tonic and subdominant keys and their parallel minor keys.
It is playing a major-minor-major game A − D − Dm − Am − A − F − A (6-8). The coda has
this tonally surprising brief sidestep to the remote key of A[ major (9).
Mvt. 1 Allegro ma non troppo - Vivace
B F] C] X9 A[
X
z
Bm 3 C]m
F ]m * A[m Mvt. 2 Allegretto
6
? ? 2
D - -A -E B D 4,6 A - E
HH
Y
? 67 H 6
Dm -Am Em Bm Dm Hj Am Em
5 2,8 1,4

6 7 - ?
6
F C G D F C 1,3,5 G
Mvt. 4 Allegro con brio
E B F] C]
Bm9H 2 F ]m X
Xz
Gm YHH
- C]m
A
1,12-
3 AU D
j
H 6
Mvt. 3 Presto - Assai meno presto G -A E

8
66
• Gm 7Dm

G 4 D -A - Am Em
*
11
6 I
@
Dm 1 Am C5

? @
Gm B[ FX G

2 5 6 6
y
X 4
? ? 3 X
z
X
B[ -F -C B[m Fm Cm10 Gm
The slow second movement A sections and coda keep alternating between tonic minor
and relative major key Am − C (1,5). The B1 section again builds on third-related key roots
A − E − A − C (2-3). In the second half, in the A2 and B2 cadences support a move into the
subdominant area D (4,6).
The fast third movement has another major third related pair F −A (tonic - major mediant
degree key) in the scherzo section (1). This section passes through the subdominant major
key B[ (2) before returning to the tonic and alternating with the dominant key C (3). The
trio remains static in the major submediant key D (4). The coda briefly presents the relative
minor key Dm (5).
Things seem to be getting out of control in the final allegro movement, as the wild curves
in the diagram suggest. Although the thematic material is limited and is treated as rondo
elements within the sonata form, and while rhythmic grooves are a major driving force,
occasionally this ‘simplicity’ is compensated by modulations to remote keys. The exposition
has first group material in the key pair A − D (1), moves through the relative minor F ]m
(2) to reach the dominant area with the unusual C]m for the second group themes (2-3).
The development section starts on the lowered submediant degree key F (4), and remains in
tonic-subdominant quarters, while passing the keys F − Am − C − F − Dm − B[ (5-6). This
last and most remote key is the Neapolitan key with respect to the tonic major B[ = [II in A.

The recapitulation moves to the subdominant domain once again as A−Dm−Am−A−F −A

(7-8); compare the almost equal key set in the first movement recapitulation. The long coda
starts on the supertonic degree minor key Bm (9). It then reaches the sequential modulation
sequence Cm − B[m − Am (10-11), before ending with a set of steps A − D − A − D − A (12),
the opening key pair from the exposition.
5.8 Symphony No. 8 in F Major, Op. 93 (1812)

h i
3
Mvt. 1 Allegro vivace e con brio: sonata form (F , 4 , 372 m.)
Figure 5.15: Beethoven, Symphony No. 8 in F Major, Op. 93
5.8.1 Mvt. 1 Allegro vivace e con brio

Form: sonata form. The coda contains a secondary development. The analysis is shown in

The key relationship diagram is shown in Fig. 5.16. This opening sonata Allegro in F major
remains in the subdominant domain for an extended period B[ − . . . − F m − D[ − . . . − B[
(2–6). The exposition secondary group is in the usual dominant major key C. Note the use of
the intermediate keys in subdominant major D (1) and lowered submediant [V I = D[ (4,6)
keys.
Mvt. 1 Allegro vivace
F C G 1 D A
A
3 A
F mt Cm Gm Dm A Am

* A
A[ E[ 2,5 B[
-F AU C

A[m E[m B[m F mt Cm

C[ G[ 4,6 D[
+ A[
E[

5.8. SYMPHONY NO. 8 IN F MAJOR, OP. 93
Table 5.67: Beethoven, Symphony No. 8, Mvt. 1 Allegro vivace e con brio
m M R H Comment
1 M1 F || : F − C − C7 . . . − F − C − F Exp, Gr 1, Vi, P D (c)
9 ⊥ F/C − C − C7 − F46 − C7 −
12 F − B[/D − Gm7 /B[ − C7 − F − B[/D− Vi1, T cad, P T (f )
[5/[9
24 B[7 /F − . . . − B[7 /F = E7 /F tutti climax (P T (f ))
34 A7 /E trans, mod
38 M2 D <(D − A) − G7 /B − C − F ]◦7 − G − G7 − Gr 2, Vi
46 M2 C <(C − G7 ) − D − B◦7 − C − A◦ − 2nd stat: WW
52 F ]◦7 − . . . − D cad
59 F ]◦7 − B◦7 − E◦7 − D◦ − F ]◦7 − cresc to climax
65 G − G7 /F − C/E − Am − Dm − G− tutti climax, cad
70 C − D◦ /F − <(C − F ) (climax)
73 Mt1 G7 − C G − C7 − F − Dm − C46 − G− trans, ctp, dolce
80 C − D◦ /F − <(C − F ) repeat
83 Mt1 G7 − C G − C7 − F − Dm − C46 − G− trans, ctp, dolce
90 Mt2 <(C − G7 )− cresc to climax
96 C − . . . − : || tutti climax, closing cad
103 C C Dev, P T (c)
107 M1 G7 − Gr 1, imit: WW, P T (c)
111 C tutti climax
115 M1 Cm − . . . − F7 /C − . . . − mod, imit: WW, P T (c)
123 B[ B[ tutti climax, P D (f )
127 (A[9
7 ) P (b[)
131 M1 A7 − Dm/A imit: WW, P D (a)
135 Dm A tutti climax, cad
143 (M1) Dm − Gm − A7 − Dm − A − Dm − D7 − main th motif: DB, mod
..
150 . Gm Gm − G − Cm − A∅7 − G7 mod, imit: Str-WW
156 ⊥ Cm Cm − G7 − C − C7 − F m64 − C7 − mod, imit: Str-WW
159 (M1) Fm F m − D◦ /F − B[m tutti climax
..
163 . G∅7 − C7 − F m − C◦ − D[ − A[7 −
167 ⊥ D[ D[ − . . . − B[m − . . . − B◦7 /C− retrans, climax
179 B◦7 /C − . . . −
183 (F m − F ]◦7 − C7 )/C− tutti climax, cad, P D (c)

Table 5.68: Beethoven, Symphony No. 8, Mvt. 1 Allegro vivace e con brio (cont’d)
m M R H Comment
189 M1 F F C 7 − F − C7 − F Recap, Gr 1, Bsn+DB, climax
197 M1 F C7 − <(F − C − 7 − F ) 2nd stat: WW, dolce
208 (F − B[ − G7 − C)/F − cad, P T (f )
214 C/E − C7 − cad
216 F − B◦7 − . . . − B◦7 /F − T cad, climax, P T (f )
230 C7[9 − F7 − cad
234 M2 B[ <(B[ − F7 ) − G7 − Gr 2, Str
238 ⊥ C − F7 − B[ − C7[9 −
242 M2 F F − C7 − F − 2nd stat: WW T
245 ⊥ C − Am − D7 − Gm − C − F
247 B◦7 − . . . − T cad
255 B◦7 − C]◦7 − F ]◦7 − Gm − B◦7 − C− cresc to climax
261 C − C7 − F − Dm − Gm7 − C− tutti climax
266 F − E◦7 − <(F − B[) cad
269 Mt1 C7 − F − . . . − F7 − trans, ctp: WW+Str, dolce
273 ⊥ B[ − Gm7 − F46 − C− cad
275 F − E◦7 − <(F − B[) repeat
279 Mt1 C7 − F − . . . − F7 − trans, ctp: WW+Str, dolce
284 ⊥ B[ − Gm7 − F46 − C− cad
286 Mt2 <(F − C7 )− cresc to climax
292 F − ...− tutti climax, closing cad
300 F F − ...− Coda, 2nd Dev, P T (f )
303 M1 D[ D[ − <(A[7 − D[) WW, SD, P T (d[)
310 Mt3 D[ − B[7 − E[m − C7 − F m − F − trans, cresc
322 (M1) F (F − . . . − B[m − . . . − B◦7 )/F − motif, climax, P T (f )
327 F − C7 − F − C − F − C − C7 cad
332 Mt4 F − . . . − C7 − F/C− trans, imit: Str, cresc
..
340 . Gm7 /F − . . . − G − . . . − tutti climax
..
344 . B[/D − F − B◦7 − C− cad
..
346 . F − C7 − F − B[/D−
[5/[9
348 ⊥ G7 /D[ − F/C− cad
350 <(F − C) − F − . . . − closing cad
357 C − F C7 − F dimin (372 m.)

Chapter 6
Franz Schubert
∗ 31-1-1797 in Lichtental (Wien)

† 19-11-1828 in Wien
1600 1700 1800 1900 2000
6.1 Symphony No. 8 Unvollendete, D759 (1822)

Source: [59]. This symphony received the nickname Unvollendete (‘Unfinished Symphony’),
since it consists of two movements only. An overview of the formal analysis is shown in
Fig. 6.1. The opening sonata form movement is in the tonic minor key Bm, the binary form
closing movement is in the major key E. Both movements have roughly the same numbe rof
measures, with balanced length subsections.
6.1.1 Mvt. 1 Allegro moderato

Form: sonata form. See Table 6.1 to 6.3 for the analysis. The opening melody M0 with
descending character in the low strings (celli and basses) in the introduction supports the
sinister character of the movement. It later becomes the main element of the development.
h i
3
Mvt. 1 Allegro moderato: sonata form (Bm, 4 , 368 m.)
Recap (110 m.) Coda (40 m.)

h i
3
Mvt. 2 Andante con moto: ABAB-Coda form (E, 8 , 313 m.)
A1 (64 m.) B1 (78 m.) A2 (63 m.)
B2 (63 m.) Coda (44 m.)
Figure 6.1: Schubert, Symphony No. 8 Unvollendete, D759
2005-2017
CHAPTER 6. FRANZ SCHUBERT
The Exposition main theme M1 is played by unisono oboe and clarinet; it has sentence
structure M1(aab) (2 + 2 + 4 m.). In the background there is a continuous 16th note groove
in the violins (m. 9-35). The secondary theme M2(aa’) (4 + 5 m.) is played by celli and
repeated by the violins. The background now contains woodwind (clarinet and bassoon)
and horn afterbeat syncopes (m. 42-61). After a tutti climax bridge, the third measure from
the a-phrase becomes the main element in the imitiation section in m. 73 ff, the first measure
in the string-woodwind imitations in m. 94 ff.
The Development (m. 110 ff.) repeats the somber mood from the introduction. When
the opening theme M0 is passed on to the violins (in octaves), and later bassoon plus violas,
the celli and contrabasses change to an extended chromatically ascending tremolo, starting
in the extremely low pitch register. The lead part pitches rise to a climax (m. 134); note the
rhythm in the clarinets
h i and trombones, which play repeated 4-beat rhythm patterns (cross-
3
rhythm effect in 4 meter). A sequence with descending lead arpeggios (flutes, clarinets
and violins, m. 146 ff.) leads to the the next tutti climax with a unisono M0 statement (m. 170
ff.). Then there are more sequences (m. 176 ff.), with first 16th note violin and viola runs, and
then oboe and brass dotted rhythms in the background.
The Recapitulation section (m. 218 ff.) repeats both exposition themes, in the same set-
ting as the opening (same instrumentation, 16ths groove as background to M1, woodwind
syncopes as background to M2). The Coda shows similarities with the start of the develop-
ment section, using M0 as the main element.
Form: ABAB Coda, binary form. See Table 6.4 and 6.5 for the analysis.
Section A1 contains four subsections A1 ::AABA (15 + 16 + 13 + 12 m.). There are two
statements of the gentle main theme M1(ababc) (2 + 4 + 2 + 4 + 3 m.). The a-phrase is
a bassoon plus horns cadence with descending pizzicato contrabasses. The b-phrase is a
variation on the cadential idea, now for the strings with more movement in the celli part.
There are changes in the string section setting for the second statement, due to the major-
minor change and the move towards the lowered mediant major key G. The contrasting
bridge A1 ::B is a strong tutti climax with a clever reuse of melodic material in a sequence:
unisono staccato strings and trombone elaborate on the opening contrabass a’-phrase, while
the other instruments develop the cadence with ascending lead part. The A2 section is almost
identical to the first, except for the modulation to a different key.
The B1 section also uses the idea of a contrasting setting of a single melody. Now the
subdivsion is B1 ::AA’A” (18 + 14 + 11 m.). Subsection presents the extended gentle melody
M2(aa’b) (4 + 4 + 8 m.) in the clarinet and oboe (minor) and clarinet (major), against a synco-
pated string (violins and violas) background. The characteristic ascending third leaps from
the a-phrase return in the contrasting and tutti climax subsection B1 ::A”. The first statement
(m. 96 ff.) has wide ascending leaps in the violins as a countersubject, in the second state-
ment (m. 103 ff.) there are 32th note runs for oboe, 2nd violins and violas. The B2 section
repeats this concept in a different key and instrumentation changes (lead role for solo oboe
and clarinet reversed). The coda returns to the tranquil mood of the A section with a varia-
tion on the melody M1 (extended a-phrase, repeats of b- and c-phrase).

6.1. SYMPHONY NO. 8 UNVOLLENDETE, D759
Table 6.1: Schubert, Symphony No. 8 Unvollendete, Mvt. 1 Allegro moderato
m M R H Comment
h i
3
Allegro moderato 4 (]])
1 M0 Bm || : Bm − . . . − F ] − . . . Introduction, LoStr solo
9 <(B − Em)/B− Exp, Gr 1, Str, Vi 16ths, P T (b)
13 M1 <(Bm − A]◦7 /G) − C]◦7 − 1st stat, aa): Ob+Cl
16 ⊥ D − Em/G − A[9 [9
7 − D − F ]7 − b)
22 M1 <(Bm − A]◦7 /G) − C]◦7 − 2nd stat, aa): WW
..
26 . D − D7 − G − E7 − A − F ]7 − b’)
29 ⊥ F ][9
7 tutti clim
31 D7 − G − E7 − A− trans 1, Seq(3×1m;R7 )
34 <(F ]7 − Bm)− tutti clim
36 F ]7 − Bm − . . . − A − D7 −
42 M2 G G − . . . − D7 − . . . − G Gr 2, 1st stat: Vc
49 ⊥ E7 − Am − D7 −
53 M2 G − D7 − G − E7 − Am − D− 2nd stat: Vi
63 Gm Cm − Gm/D− trans 2, tutti clim, Str trem
[5/[9
67 E[ − A7 /E[ − C]◦7 /E− WW sync
73 M2’ A7 /C] − Dm − D◦ − G7 − C Str, Seq(3×4m;R−5 )
..
77 . E7 /G] − Am − A∅7 − D7 − G imit legato
81 ⊥ <(C]◦7 /E − A7 )− imit staccato
85 G/D − C − G − C − G64 − D7 − tutti climax, cad
89 G − C − E7 −
92 Am − G64 − D7 − G cad
94 M2’ G − (D7 − G7 − G]◦7 )/D− Str-WW imit, LoStr P D (d)
..
97 . Am/D − D7 −
..
99 . G − (D7 − G7 − G]◦7 )/D− repeat, WW, Vi sync
102 ⊥ Am/D − A[5 7 − D7 −
104 G − ...− climax, trans 3, PB (&)
106 Bm64 − F ]7 /C] − Bm : || cad
110 Em B7 − C − Am − B7 /F ] Development
114 M0 Em − . . . − LoStr solo
122 (M0) <(C − F ][5 7 )/C − F ]7 /C]− Vi-(Bsn+Va), LoStr trem
130 ⊥ D7 − B7 /D] − E7 − C]7 /E]− Seq(3×2m;R7 ), PBi (%)
134 (M0) F ]7 − . . . − (Cl+Vi)+(Hns+Vc) Σ(cm), cresc
142 ⊥ F ]7 − . . . − D][5
7 /A− diminution, tutti climax

Table 6.2: Schubert, Symphony No. 8 Unvollendete, Mvt. 1 Allegro moderato (cont’d)
m M R H Comment
146 C]m/G] − . . . − tr 2, WW+Vi arp&, Seq(3×8m;R7 )
151 A − D]m7 /F ] − G]7 − WW sync
154 G]◦7 /B − . . . − WW+Vi arp&, tutti
158 Dm/A − B[ − Em − A7 − WW sync
162 C]◦7 − . . . − WW+Vi arp&, tutti
166 Em/B − C − F ]m7 − B7 − WW sync
170 M0 Em Em − . . . − B7 /F ]− WW+Str unis, tutti climax
176 (M0) Em − F ]m − F ]7 − LoStr-WW im, Seq(2×4m;R−5 ),
180 ⊥ Bm − C]m − C]7 − Vi+Va 16ths
184 (M0) F ]m − D∆7 − tutti clim, Seq(3×4m;R5 ),
.. d
186 . F ]m/A − C]7 /G] − Ob+Brs dotted rh
.. d
188 . Bm − G∆7 − Bm/D − F ]/C] −
192 ⊥ Em − C∆7 −
194 C/G − A]◦7 /G − A[9 7 /G− tutti climax, HiStr trem
202 D/F ] − A − D − F ]− retrans, Str unis runs%
206 D/F ] − A−
208 D − F ] − . . . − F ][9
7 − ...− Hns+Str P D (f ])
218 Bm <(Bm − Em)/B− Recap, Gr 1, Str
222 M1 <(Bm − A]◦7 /G) − C]◦7 /G− stat 1, aa): Ob+Cl, Vi 16ths
..
226 . D − G − E7 /G] − A[9
7 − b)
229 ⊥ F ]∅7 /A − B7 −
231 M1 Em − F ]∅7 /C− 2nd stat, aa): WW
..
233 . Em − E − F ]∅7 /C−
235 ⊥ G − Am/C − D− b’)
238 Dm7 − B∅7 /D − E7 − trans 1, WW+Str
240 A − A7 −
242 D − B7 − Em − C][9 7 − tutti clim
245 A7 − D − B7 − Em− Seq(3×1m;R7 )
248 F ]m <(C]7 − F ]m)−
250 C]7 − tutti clim
252 F ]m − . . . − E7 − A7 − D trans
256 M2 D D − . . . − A7 − D Gr 2, 1st st: Vc, WW sync bg
263 ⊥ B7 − Em − A−

Table 6.3: Schubert, Symphony No. 8 Unvollendete, Mvt. 1 Allegro moderato (cont’d)
m M R H Comment
267 M2 D − A7 − D − B7 − 2nd stat: Vi
..
273 . Em − A7 − D − G7 − Seq(3×2m;R−7 )
277 ⊥ C/G − Em − F ]7 −
281 Em − Bm/F ] − G − . . . − trans 2, climax, Str trem
291 M2’ C]∅7 /E − F ]m − F ]∅7 − Str, Seq(3×4m;R−5 )
..
293 . B7 − E imit legato
..
295 . G]7 − C]m − F ]∅7 /A − B imit staccato
299 ⊥ G]∅7 − C][97 − G]◦7 − C]7 −
303 B B/F ] − E − B7 − E− tutti climax
306 B46 − F ]7 − cad
308 B − E − G]7 − repeat, WW, Vi sync
309 C]m − B46 − F ]7 − B cad
312 M2’ B − (F ]7 − B7 )/F ]− Str-WW imit
315 ⊥ (G]∅7 − F ])/F ]−
317 M2’ B − F ]7 − . . . − 2nd stat: WW
322 B − G− trans 3, PB (&)
325 F ] − Bm/D − F ]7 /C]−
328 M0 Bm Bm − . . . − Coda, LoStr solo
334 ⊥ Bm64 − F ]7 − cad
336 M0 Bm− LoStr-VI imit
..
340 . <(Bm/D − C][9 7 )− cresc
347 ⊥ Bm/D − . . . − Σ(cm<), HiStr 16ths
350 Bm64 − F ]7 − tutti climax, cad
352 (M0) <(Bm − . . . − Em/B)− WW+Str
364 Bm/D − F ]7 − Bm LoStr arp%, cad (368 m.)

Table 6.4: Schubert, Symphony No. 8 Unvollendete, Mvt. 2 Andante con moto
m M R H Comment
h i
3
Andante con moto 8 (]]]])
1 M1 E E − B7 − E − A − E − B7 − A1 , ab): WW-Str, PB (&)
..
7 . E − B7 − E − A − E − G]− ab), repeat
[5/[9
13 ⊥ C]m − F ]7 − B7 − c) WW+Str, PLi (&)
16 M1 E − B7 − stat 2, a): WW, major
..
18 . Em − C − G − Em − D7 − b): Str, minor
..
22 . G G − D7 − G − C − G − B7 − ab)
28 ⊥ <(E − C]m − B7 )− c’) WW+Hns+Str
32 (M1) E E − <(B7 − E)− bridge, Seq(2×4m;R−5 ),
..
37 . <(F ]7 − B) − G][9
7 − tutti climax, Σ(cm), PL (%)
42 ⊥ C]m C]m − G]7 −
45 M1 E E − A − E − G]7 − b): WW
.. [5/[9
49 . C]m − F ]7− B7 − E− c): WW+Str
53 ⊥ E − C]m − B7 − cad
56 E − <(B7 − E)− trans
64 M2 C]m C]m − . . . − G]7 − . . . − B1 , a): Cl, HiStr sync, min
..
70 . (C]m − F ]m − A7 )/C]− a’)
..
73 . D − Dm − D[+ − F/C−
..
75 . C7 − A[9
7 /C] − Dm− b)
..
77 . A7 − D][5
7 /A− mod
80 ⊥ C]64 − G]− cad
82 M2’ C] C] = D[ − A[7 − D[/A[ − D[7 − stat 2, aa’): Ob, major
..
89 . G[/D[ − D[− b)
91 ⊥ <(A[7 − D[) − A[7 − Ob-Fl-Ob, P T (d[)
96 M2” C]m C]m − D]∅7 − B]7 /F ]− a): Brs+LoStr, tutti clim
..
100 . C]m/E − C]7 − F ]m − D][5
7 /A− Vi sync leaps%
102 ⊥ C]m64 − G]7 − cad
103 M2” C]m − D]∅7 − B]7 /F ]− repeat, a): Bsn+Tbn+LoStr,
..
107 . C]m7 /E − C][9 [5
7 − F ]m − D]7 /A− Mc: Ob+Str 32th runs
109 ⊥ A7 cad
111 (M2) D D − A7 − D/F ]− a’): Str imit, Seq(3×8m;R5 )
118 ⊥ D7 − G − A7 − G64 − D7 − WW+Str cad

Table 6.5: Schubert, Symphony No. 8 Unvollendete, Mvt. 2 Andante con moto (cont’d)
m M R H Comment
121 (M2) G G − D7 − G a’): Str imit
126 ⊥ G7 /F − C/E − D7 /A − C46 − G7 − WW+Str cad
128 C (C − <(E7 − Am)/C− N/V , retrans P (c)
[5/[9
134 <(C − F ]7 )/C
142 M1 E E A2 ≈A1 (see m. 1)
157 M1 E − ... − G − ... − E (see m. 26)
173 (M1) E − <(B7 − E) − <(E7 − A) − G]7 /B]− bridge, climax
182 ⊥ F ]m C][9
7 − F ]m − C]7 −
186 M1’ A A − D − A − F ]m/A − C]7 b): WW
[5/[9
190 ⊥ F ]m − B7 − <(E7 − A) c): WW+Str
198 <(E7 − A) trans
205 M2 Am Am − . . . − E7 − B2 , a): Ob, Str sync, min
..
211 . (Am − A7 − Dm − F7 )/A − B[ − B[m− a’)
..
215 . D[/A[ − A[7 − F7[9 /A − B[m − F7 − b)
219 ⊥ B7[5 /F − Am64 − E7 − cad
223 M2’ A A − . . . − E7 − A7 − D/A− stat 2, aa’): Cl, major
231 ⊥ <(A − E7 )− b)
237 M2” Am Am − B∅7 − E7 − a): WW+Vi, tutti clim,
.. [5/[9
241 . Am − A[9
7 /C] − Dm − B7 /F Bsn+Tbn+LoStr leaps
243 ⊥ Am64 − Em/G − B− cad
244 M2” Em Em − F ]∅7 − B7[9 − repeat, var, Str 32th runs
248 ⊥ Em − E7[9 /G] − Am − C7 − tutti clim, WW+Vi sync
d
252 F F − B7 − C]m− trans, N/E, sync+32ths
[5/[9
257 (M1) <(F ]7 − B7 − E) − C]m − B7 − B79 − c) WW+Str
268 M1’ E E − B7 − E − D]7 − Coda, a’): HiWW
272 ⊥ G]m − F ]m/A − E46 − B7 − cad
274 M1’ E − B7 − E − D]7 − repeat, a’): LoWW+Hns
278 ⊥ E46 − B7 − cad
280 E − ...− trans, Vi arp&
286 (M1) A[ = G] − A[ − A[ − E[7 b’c): WW+Str
290 A[ − . . . − A[m = G]m− Vi arp&
297 (M1) E − A − E − B7 − b’c): WW+Str, cad
301 ⊥ E − . . . − B7 − E closing cad, tutti (313 m.)

Mvt. 2 Andante con moto
Mvt. 1 Allegro moderato B F] C]

2
6?
E B3 F] Bm F ]m @
I
C]m G]m
? 4 ? B
@ 6? B
Em - Bm

- F ]m

D A E B B
6

2

? B
G D A Dm Am - Em B Bm
1 1 3 BN
?
Gm Dm Am F 5 C G D
Figure 6.2: Schubert, Symphony No. 8 Unvollendete D759, key relationship diagram

The key relationship diagram is shown in Fig. 6.2. The opening movement is characterised
by the motion along the R3i symmetry axis (vertical), towards the lowered submediant, see
Bm − G (1) and F ]m − D (2) and towards the parallel minor G − Gm (1) and B − Bm (2).
The andante also shows the minor third key movement E − G − E − C] (1-2) and F ]m − Am
(4). This piece also reaches the lowered submediant key C = [VI (3) and the Neapolitan
lowered second degree key F (5). The shift from the relative minor key C]m − D (3) is
another Neapolitan relationship.
6.2 String Quartet No. 14 in D Minor Death and the Maiden, D810
(1826)
Source: [58]. The string quartet Death and the Maiden (in German: ‘Der Tod und das Mädchen’)
is a chamber music masterpiece. An overview of the formal analysis is shown in Fig. 6.3.
Note the length of the outer movements, and in particular of the closing Presto movement,
which more than doubles the number of measures in the opening sonata form movement.
The latter has a fairly limited length development section.

Form: sonata form. See Table 6.6 to 6.10 for the analysis. The Exposition opens with the main
theme M1 is in the tonic minor key Dm. It has the structure M1(aaa’bb) (2 + 2 + 2 + 4 + 4 m.).
The characteristic element in this movement is the a-phrase, the stepwise descending motif
with rhythm 3 + 8t + 8t + 8t + 1 (three-quarter note, 8th note triplet and quarter note, with
strong articulation and often simultaneously in all string parts). This is stated in tonic and
dominant, a completion phrase a’ and followed more smooth b-phrase (longer note duration
rhythm, also see the dynamic contrast). In the transitory character section (m. 15 ff.), the a-
phrase immediately is picked up in an imitation setting in lower parts, with the inverted
a-phrase I(M1a) in the upper parts. The triplet rhythm is played by all parts, and there is a
buildup to a climax, the formal 2nd statement in m. 41.
This transition also is a piece of harmonic fireworks. Partly guided by voice leading
principles (chromatically descending bass, ascending leading voice), this leads to quite a

6.2. STRING QUARTET NO. 14 IN D MINOR DEATH AND THE MAIDEN, D810
h i
4
Mvt. 1 Allegro moderato: sonata form (Dm, 4 , 341 m.)

h i
2
Mvt. 2 Andante con moto: theme and variations form (Gm, 2 , 172 m.)
Theme Var 1 Var 2 Var 3 Var 4 Var 5 C

h i
3
Mvt. 3 Scherzo – allegro molto: scherzo and trio form (Dm, 4 , 164 m.)
Scherzo (69 m.) Trio (95 m.)

h i
6
Mvt. 4 Presto: ABCABCA form (Dm, 8 , 754 m.)
A1 (89 m.) B1 (163 m.)
C1 (66 m.) A2 (129 m.)
B2 (163 m.) C2 (42 m.)
A3 (55 m.) Coda (47 m.)
Figure 6.3: Schubert, String Quartet No. 14 in D Minor Death and the Maiden, D810
few ambiguities (multiple occurences of A◦7 , D]◦7 ) and remote intermediate keys (Cm, F ]m)
over a very short time span. Here is an effort to interpret this set of measures:
m. 28 m. 29 m. 31 m. 32
H: Dm/A − A − A◦7 A◦7 − B[ Gm − Dm64 − A− A◦7 −
Heq : Dm64 − A − F7[9 /A− F7[9 /A − B[ G[9
7 = D7
[9
i64 − V − (V /[VI) (V − I)/[VI (vi = iv) − i64 − V V7 = II7

R: Dm B[ Dm Gm
m. 33 m. 34 m. 35 m. 36
H: A[7 − Cm/G A[7 /G[− D[/F −
[5/[9 [5/[9
Heq : D7 no 1 /A[− Cm64 D7 no 1 /A[−
II7 i64 II7 N6
Cm
m. 37 m. 38 m. 39 m. 40
H: D]◦7 − F ]m/C]− D]◦7 /C − B7 − A]◦7 − B[7 − Dm64 − A7 −
[5/[9 [5/[9
Heq : G]7 no 1 − F ]m64 B7[9 no 1 F ][9
7 − E7 no 1 /B[−
II7 − (i64 = ii64 ) V7 /II7 II7 − I7 i64 − V7
F ]m E Dm
The diminished 7th chords may be replaced by equivalent augmented sixth chords on the
2nd degree. There are three cadences towards the tonic minor key, the last with a long
[5/[9
preparation of the augmented 6th chord B[7 = E7 . After the varied M1(a) 2nd statement
(m. 41), another transition leads to the third and also varied statement of the main theme

motif in the relative major key F (m. 52 ff.).

This provides a smooth introduction of the lyrical secondary theme that has sentence
M2(aab) (1 + 1 + 2 m.) structure, in 2-part voicing S(2p) for the violins over an extended
tonic-dominant pedal point in the lower parts. There is a number of M2 statements before
the movement switches gear in m. 83. Over a set of sequences, all with negative root cycles
R−7 (up a 2nd), Motif M2a is set in imitation for the three lower parts, with a 16th note
countermelody Mc in Vi1. Roles are swapped in m. 90 ff., with violins playing M2a unisono
and the 16th note countermelody distributed over the viola and cello. We reach the dominant
major key A in m. 102, where there is a combination of all the melodic material: There is an
abbreviated version of M1a (stepwise descending triplets) in viola, a 2-part setting of M2a) in
2nd violin and cello, and the 16th note countermelody idea in 1st violin. These elements are
used to conclude the exposition section: unisono 16ths in m. 112-113, parallel inversion triad
S(3p) statements of M2a (m.115 ff.) and a set of climaxes. The key now alternates between
F = [VI and the dominant minor key Am. The exposition by itself is already a mini-sonata,
with both themes M1 and M2 varied and developed so early in the movement.
The Development section (m. 141 ff.) focuses on M2a as the central element. Two-part
parallel third S(2p) statements move through the voices. The key runs along the dominant
axis D: C − A(m) − F ]m. The stepwise descending triplet motif M1a’ joins in m. 152 ff.,
in both original form and as melodic inversion I(M1a’) (ascending triplets). The 8th note
triplet rhythm is taken over in the cello pedal point (m. 163 ff.), with sequential and unisono
treatment of M2a’) leading into the retransition (m. 176 ff.).
The Recapitulation section (m. 198 ff.) starts with a copy of the main theme M1 climax
2nd statement from m. 41 ff and a similar treatment, now in the parallel tonic major key D.
From here on the exposition material returns (M2, the miniature development, the combina-
tion with and inversion of the M1a motif).
The Coda (m. 299 ff.) has a new variant of M1a in 2nd violin and viola, and pedal point
(half and whole notes) in the outer parts over a sustained B[ = [VI harmony. There is
a reference to the opening material (m. 311 ff.), in an approach to the concluding climax
(m. 323).

Form: theme and variations. See Table 6.11 to 6.13 for the analysis. This movement is based
on the Schubert song (poem) “Der Tod und das Mädchen”. The chord progressions and ca-
dences remain constant in all five variations. The rhythm of the opening theme, a chorale
setting with Rhc = 2 + 1 + 1 quarter note pattern returns in some (accompanying) parts in all
variations. The bass part frequently is an ostinato, alternating between tonic and dominant
of the current key.
The opening theme, in the minor key Gm, has M(aabb’cd) with regular phrases (4 +
4 + 4 + 4 + 4 + 4 m.) with mostly stepwise motion. Variation 1 has the 1st violin play a
varied melody over an 8th note triplet groove in the middle parts. The violin melody is
characterised by ascending arpeggios and descending 16th note steps; the apex is reached
at the end. In Variation 2 the 1st violin changes to afterbeat 16th note leaps and arpeggios,
a kind of comment on the cello countermelody Mc in the rhythm Rhc . Note the (stepwise
motion) high cello register, enclosed by the 2nd violin and viola leaps. These middle parts
play a kind of gallop (dance?) rhythm with dotted 8ths - 16ths in 2nd violin and regular
8ths in viola. The synchronization of these middle parts yield a 8th+16th+16th note rhythm,

Table 6.6: Schubert, String Quartet No. 14 Death and the Maiden, Mvt. 1 Allegro
m M R H Comment
h i
4
Allegro 4([)
1 M1 Dm || : Dm − Gm/D − A7sus4 − Dm− Exp, Th 1, aa): Vi2+Va,
..
5 . Gm7 /B[ − Dm/A a’) completion
..
7 . Gm7 − F/A − Gm7− bb), Σ(cm)
13 ⊥ Dm64 − A cad
d
15 M1’ Dm − A7 − D7 − E[/G− trans, a) Va-Vc imit, PL (%)
d
18 ⊥ E7 − F/A − A7 − I(a) in Vi1+Vi2
d
20 M1’ Dm − A7 − D7 − E[/G− repeat 8va
d
23 ⊥ E7 − F/A − A7 −
25 M1/I(1) Dm − A7 /C] − Dm − B[∆7 − Vi1+Vc, triplets
..
28 . Dm64 − A − A◦7 −
..
29 . <(A◦7 − B[)− motif M1.a varied
..
31 . Gm − Dm/A − A
..
32 . A◦7 − Ab7 − PBi (&)
.. i (%)
34 . Cm/G − A[7 /G[ − D[/F − PL (%), Pm
..
37 . D]◦7 − F ]m/C]− cresc to clim, Σ(cm<)
..
38 . D]◦7 /C − B7 −
39 ⊥ A]◦7 − B[7 − Dm64 − A7 −
41 M1 Dm − Gm/D − A7sus4 − Dm 2nd st, aa): Vi2+Va, clim
45 M1’ E7 − A[9
7 − trans, a+I(a), ctp, PLi (&)
49 ⊥ (D − Dm)/A− maj-min
52 M1” F <(F/A − F − C7 /E)− rel maj stat, a’): imit
54 ⊥ F − B◦7 − (F m − D7 − C7 )/C−
56 M1” <(F − C7 /E)− repeat
58 ⊥ F − B◦7 − B◦7 /D − C7
61 M2 F F − ...− Th 2, aa): Vi1+2 S(2p),
64 ⊥ F/C − C7 − F − C7 − b), P (f −c)
67 M2 F − ...− 2nd stat, aa)
69 ⊥ C7 − F46 − C7 − C◦7 − b)
72 M2’ C7[9 − F m aa): Vi1+2, P D (c)
74 ⊥ Cm − A[64 − E[7 − E[◦7 − b)

Table 6.7: Schubert, String Quartet No. 14 Death and the Maiden, Mvt. 1 Allegro (cont’d)
m M R H Comment
77 M2’ C7[9 − F m repeat 8va, aa): Vi1+2,
.. d
79 . Cm − A[64 − E[7 − b), P D (c)
81 ⊥ F − F46 − C7 −
83 M2”/c F − Bm/D − E − A7 /C]− Seq(3×1m;R−7 ), M2a): imit,
85 ⊥ /⊥ D − Dm − Em− Mc: Vi1 16ths
86 M2”/c A − D7 /F ] − G − C7 /E− Seq(3×1m;R−7 ), imit
88 ⊥ /⊥ F − Bm/D − E7 −
90 M2’/c Am Am − D7 − C7 − F − B∅7 − Vi1+2 S(1p), Seq(3×1m;R−7 ),
.. ..
93 ./ . E7 − C7 /E − F − A7 − climax, Mc: Vc-Va
.. ..
95 ./ . Dm − F7 /A−
96 ⊥ /⊥ B[ − Am7 /E − B7[5 /F −
97 E7 − Dm/E − D]◦7 − E7 − trans, Vi1 16ths
102 M2/1 A A − E7 /D− M2a): Vi2+Vc S(2p), M1a’): Va,
105 ⊥ /⊥ A/C] − E7 − Mc: Vi1 16ths, all in combi
106 M2/1 A−
108 ⊥ /⊥ E7 /D − Am/C − Em7 /G−
110 E7 /G] − E7 − A/C] − C− cresc to climax, unis 16ths
114 M2” F F − Dm/F − B[/F − F a): [S̄46 ] , closing stat, Vc: P T (f )
..
117 . F − B◦7 /D − B[/D−
d
119 ⊥ Am64 − E7 −
120 M2” F − ...− climax, a): [S̄ 6 ] , Vc: P T (f )
..
124 . Am E7 − A[m − E[ − D7 − M2a): imit
126 ⊥ C] − E7 /B − Am−
d
128 M2’ G]◦7 − E7 − F − a): Vi1+Va unis
133 Am64 − E7 − cad
134 M2’ Am − . . . − E − Am : || clim, a): Vi1+2 S(2p), Vc: P T (a)
141 M2’ A C − G]◦7 − Dev, a): Va+Vc S(2p), D
144 A − C◦7 − C]m/E − C◦7 − Vi1 16th
145 C]m64 − G]7 −
146 M2’ C][9
7 /E] − . . . − a): Vi2+Va
150 D − F ]m/A − F◦7 − Vi1 16ths
151 F ]m64 − C]− cad
152 M2/1 F ]m F ]m − C]7 − F ]m/A − C]7 − M2a): Vi1, M1a’): Vc
.. ..
156 ./ . F ]m − G[5
7 /D − C] − F ]7 − I(M1a’): Va-Vc
158 ⊥ /⊥ Bm Bm − G7 − F ] − B7[9 /D]−

m M R H Comment
160 M2” Em Em − . . . − a’): unis climax
162 ⊥ G/D − D]◦7 − Em64 − B7 −
164 (M2) <(Em − D]◦7 )/E− trans, Vc: P T (e) triplets
166 M2/1 Em − C7 − I(M1a’), Seq(3×2m;R5 )
.. ..
167 ./ . B − D/F ] − E7[9 /G]−
168 ⊥ /⊥ Am Am − F7 − E − G/B − A[9 7 /C]−
170 (M2) Dm Dm − . . . − D46 − A7 − unis climax
173 Dm − C]◦7 /D− trans, Vc: P T (d) triplets
d
176 M2’ D7[9 − retrans, a’): imit S(2p)
d d
177 ⊥ E[/G − E7[9 − F/A − F ][9
7 − Seq(3×2m;R7 )
181 M2’ G/B − B[7 − A − B[7 − climax
184 ⊥ A − ...−
187 I(M1) A − (Dm − E∅7 − A7 )/A− a’): Vi2-Vi1 imit, Vc: P D (a),
191 ⊥ B[7 − M2a rh in Va
192 I(M1) (A − Dm − E∅7 )/A−
195 ⊥ A7 − B[7 − A7 − PL (%)
198 M1 Dm Dm − Gm/D − Dm Recap, Th 1, aa): Vi2+Va
..
202 . E7[9 − A[9
7 − imit, PLi (&), (see m 41)
206 ⊥ D/A − Dm/A − A7 − imit, PLi (&)
(]]) (see m. 52 ff.)
209 M1” D <(D − A7 /C])− trans, tonic maj, a’): imit
..
211 . D − G]◦7 −
212 ⊥ B∅7 − B7 /A − Em/A − A7 −
213 M1” D − A7 /C] − D G]◦7 − A7 − repeat
217 M2 D − ...− Th 2, aa): Vi1+Va S(2p),
220 ⊥ A7 − D − A7 − b), P (d−a)
223 M2 D − ...− repeat, aa)
226 ⊥ A7 − D − A7 − B7[9 /A− b)
229 M2’ A[9
7 − Dm− aa): Vi1+2, P D (a)
231 ⊥ Am7 /C − C7 − F − C◦7 − b)
234 M2’ A7 − Dm− aa)
..
236 . Am/C − C7 − F − b)
..
238 . A/C] − D − A7 − b), Va: P D (a)
239 ⊥ D − A7 − B[/D − A7 −

m M R H Comment
([) (see m 83 ff)
241 M2’/c Dm Dm − Em7 /G− Seq(3×2m;R5 ), M2a): imit,
242 ⊥ /⊥ A − Am − D/F ]− Mc: Vi2-Vi1 16ths imit
243 M2’ G − Gm − Am/C−
244 ⊥ D − Dm − G/B−
245 M2’ C − Cm − F7 /A−
246 ⊥ B[ − Em/G − A − A7 − Σ(cm>)
248 M2’/c Dm − F − G7 − Vi1+2, Seq(3×1m;R−7 ), clim,
.. ..
249 ./ . C − Cm − F7 − Mc: Vc-Va 16ths (see m 90 ff)
.. ..
250 ./ . B[/D − Em7 −
251 ⊥ /⊥ A/C] − E[∆7 /G − F7 /A−
252 B[ − C7 − D7 /F ]− Seq(3×1m;R3 )
253 Gm − A[ − B[7 /D−
254 E[ − E[m−
[5/[9
B[m/F − C7 /G[−
255 F − F7[9 − . . . − trans, solo: Vi1 16ths
260 M2/1 B[ B[ − F7 /E[ M2a): Vi2+Vc, M1’a): Va,
.. ..
267 ./ . F7[9 /E[ − B[m/D[ − F m7 /A[− Mc: Vi1 16ths (see m 102 ff)
268 ⊥ /⊥ F7 /A−
270 B[ − . . . − cresc to climax, unis 16ths
272 M2” B[ − . . . − Gm/B[ a): [S̄ 6 ] , Vc: P T (b[)
..
276 . E◦7 − F − E◦7 −
d
277 ⊥ Dm/A − A7 −
278 M2’ B[ climax, a): [S̄46 ] ,Vc: P T (b[)
..
282 . A7 − D[m − A[ − G7 −
284 ⊥ Bm − F ]7 − D]7 −
286 M2’ A[9
7 − ...− a): Vi1+Vi2 unis
291 ⊥ Dm64 − A7 −
292 M2 Dm <(Dm − C]◦7 )− clim, a): Vi1+2 S(2p), Vc: P T (d)
297 ⊥ Dm

m M R H Comment
299 M1’ Dm B[/D Coda, a’): Vi2+Va, P (d)
303 <(A∅7 /D − B[/D − Dm64 − A)−
311 M1’ <(Dm − A7 )− a) Va-Vc imit (see m 15 ff)
.. d
313 . D7 − E[/G− I(a) in Vi1+Vi2
d
314 ⊥ E7 − F/A − A − F7 −
316 M1’ <(B[ − F7 )− a) Va-Vc imit, PL (%)
.. d d
318 . B[7 − A[ − C7 − B[− I(a) in Vi1+Vi2
d d
320 ⊥ D7 − E[/G − E7 − F/A−
321 M1” A − ...− closing climax, a’): imit
324 ⊥ Dm
326 (M1) Dm − B[ − E[m/G[ − B[7 − a’): Vi1-Vc imit
..
330 . Dm64 − A7 − cad
..
332 . Dm − B[ − E[m − B[7 − repeat 8ba
336 ⊥ Dm64 − A7 − cad
338 Dm (341 m.)
which becomes the main element in Variation 3, where all instruments start ‘hammering’
out this groove (note the ff and fz accented dynamics). On the 2nd a-phrase the outer parts
play melody and countermelody Mc. In the bridge (m. 81 ff.) the main element is imitation:
outer parts imitate multiple stops, while middle parts imitate the gallop rhythm.
The key changes to the parallel major G in Variation 4. The 1st violin plays a free triplet
melody with occasional dotted rhythms. The background groove is a 2-part consonant par-
allel S(2p) setting in 4th notes but this texture moves through different pairs in the lower
voices (begins with viola and cello, then moves to violin 2 and viola, then 2nd violin and
cello, etc.). The bridge (m. 105 ff.) is a three-part accompaniment. In Variation 5 there is
the return to minor and a mix of rhythms: lead melody in 16ths in violin 1, Rhc and dot-
ted rhythms in middle voices and tonic pedal point octave leap triplets in cello. The lead
changes to the cello for the bridge (m. 129 ff.) with 16th notes now in the three upper parts.
The roles change once more for the c- and d-phrase (m. 137 ff.). The Coda (m. 161 ff.) returns
to the chorale setting with rhythm Rhc in all parts.
6.2.3 Mvt. 3 Scherzo and Trio

Form: scherzo and trio. See Table 6.14 and 6.15 for the analysis. The scherzo has ternary form
ABC and is in the minor key Dm. The thems move through the instruments. The melody M1
consists of a four-measure a-phrase, that stresses the dominant pitch a (note the syncopes).
The first statement is M1(aa’) (A, m. 1-8) and played in octaves by the violins. This phrase is
repeated in 2nd violin (m. 9-12) and answered by a descending staccato quarter note motif

Table 6.11: Schubert, String Quartet No. 14 Death and the Maiden, Mvt. 2 Andante con moto
m M R H Comment
h i
2
Andante con moto 2 ([[)
Theme - Chorale
1 M.a Gm || : (Gm − Cm − A∅7 − Gm)/G− Main theme (4 m.),
3 ⊥ D7 − Gm/D − D − Gm − A∅7 /G− Rhc in all parts
5 M.a’ (Gm − Cm − A∅7 − Gm − Gm4 − Gm)/G
7 ⊥ D7 − Gm/D − D − Gm : || :
d
9 M.b Gm E[ − Gm/B[ − Cm − A∅7 /C − D −
13 M.b’ B[ E[ − Gm/D − Cm − Gm/B[ − C7 /E−
15 ⊥ F7 − Dm/F − F7 − B[
17 M.c E[ E[ − B[ − E[/G − B[ − E[−
19 ⊥ B[7 − E[ − B[ − E[ − Gm/D−
21 M.d G A7 /C] − D4 − A7 /E − D4 − A7 /C]−
23 ⊥ G64 − D7 − G : || cad (total: 24 m.)
Variation 1: triplet rhythm
25 M.a Gm || : (Gm − Cm − A∅7 − Gm)/G− Lead: Vi1 (free)
27 ⊥ D7 − Gm/D − D − Gm − A∅7 /G− Vi2+Va triplets
29 M.a’ (Gm − Cm − A∅7 − Gm − A∅7 − Gm)/G Rhc in Vc,
31 ⊥ D7 − D − Gm : || : Vi1 apex
d
33 M.b E[ − Gm/B[ − Cm − A∅7 /C − D −
37 M.b’ B[ E[ − E[∆7 /D − Cm − Gm/B[ − E◦7 −
39 ⊥ B[/F − Dm/F − F7 − B[
41 M.c E[ E[ − B[ − E[/G − B[ − E[−
43 ⊥ B[7 /F − E[ − B[ − E[ − Gm/D−
45 M.d G A7 /C] − D4 − A7 /E − D7sus4 − A7 /C]−
47 ⊥ G64 − D7 − G : || Vi1 apex, cad
Variation 2: (dotted) 8th note rhythm
49 M.a Gm || : (Gm − Cm − A∅7 − Gm)/G − D4 − Gm Lead: Vi1 (16th)
51 ⊥ D7 − Gm/D − D7 − Gm − A∅7 /G− Vi2 dotted, Va 8ths
53 M.a’ (Gm − Cm − A∅7 − Gm)/G − D4 − Gm Mc at Rhc in Vc
55 ⊥ Cm/E[ − D7 − Gm : || :
57 M.b E[ − Gm/B[ − D7 − Gm−
d
59 ⊥ E[ − Cm − A∅7 /C − D7 −
61 M.b’ B[ E[ − E[∆7 /D − Cm − Gm/B[ − E◦7 −
63 ⊥ F 4 − F7 − B[
65 M.c E[ E[ − B[ − E[/G − B[7 − E[−
67 ⊥ B[7 /F − E[ − B[7 − E[ − Gm/D−
69 M.d G A7 /C] − D4 − A7 /E − D4 − A7 /C]−
71 ⊥ G64 − D7 − G : || cad

(cont’d)
m M R H Comment
h i
2
Variation 3: 8th+16th rhythm 2
73 M.a Gm || : (Gm − Cm − A∅7 )/G− unisono rhythm, P T (g)
..
74 . Gm − D4 /G − Gm
..
75 . D7 − Gm/D − D− Mc in Vc
76 ⊥ Gm − A∅7 /G−
77 M.a’ (Gm − Cm − A∅7 )/G− Lead in Vi1
..
78 . Gm − D4 /G − Gm
79 ⊥ D − Gm/D − D − Gm : || :
81 M.b E[ − Gm/B[− imit (Vi2-Va)/(Vc-Vi1)
d
83 ⊥ Cm − A∅7 /C − D −
85 M.b’ B[ E[ − Gm/B[ − E◦7 −
87 ⊥ F − F7 − B[
89 M.c E[ E[ − B[ − E[/G − B[ − E[− unisono rhythm
91 ⊥ B[7 − E[ − Gm/D−
93 M.d G A7 /C] − D4 −
..
94 . A7 /E − D4 − A7 /C]−
95 ⊥ G64 − D7 − G : || cad
Variation 4: major - 4th note rhythm
97 M.a G || : G − C]∅7 − G − D7 − G Lead: Vi1 (triplets)
101 M.a’ G − C]∅7 − G − D7 − G : || : Rhc in Va+Vc S(2p)
105 M.b C − Am − Em− accomp S(3p)
d
107 ⊥ Am − Em − Am − B −
109 M.b’ C − Am − Em − G]◦7 −
111 ⊥ <(A − D) − G7 −
113 M.c C C − G7 /F − C/E − G7 /B− accomp S(2p)
..
115 . G7 /F − C/G − G7 /F −
116 ⊥ C/E − G/D−
117 M.d G A7 /C] − D4 −
..
118 . A7 /E − D4 − A7 /C]−
119 ⊥ G64 − D7 − G : || cad

(cont’d)
m M R H Comment
Variation 5: minor - mixed rhythm
121 M.a Gm || : (Gm − Cm − A∅7 − Gm)/G Vi1: 16th, P T (g)
123 ⊥ (D7 − Gm)/G
125 M.a’ (Gm − Cm − A∅7 − Gm)/G| Rhc in Vi2+Va
127 ⊥ (D7 − Gm)/G : |
d
129 M.b E[ − Gm/B[ − Cm − A◦ /C − D − 16th note rhythm,
133 M.b’ B[ E[ − Gm/D − Cm − Gm/B[ − E◦7 − Rhc in Vc lead
135 ⊥ F 4 − F7 − B[
137 M.c E[ (E[ − B[ − E◦7 )/B[− mixed rhythm, P D (b[)
..
138 . F m − C7 − F m/A[
..
139 . B[7 − B[[9
7 − E[ − B[7 −
140 ⊥ E[ − F m − E[
141 M.d G A7 /C] − D4 −
..
142 . A7 /C] − D4 − A7 /E−
143 ⊥ G64 − D7 − G cad
145 M.b E[ − Cm/E[ − Gm/B[− Lead in Vi1 (triplets)
d
147 ⊥ Cm − A◦ /C − D −
149 M.b’ B[ E[ − Cm/E[ − Gm/B[ − E◦7 −
151 ⊥ F 4 − F7 − B[
153 M.c E[ E[ − B[ − E[/G − B[ − E[− Rhc in Vi1+Vi2+Vc
155 ⊥ B[7 /F − E[ − B[ − E[ − Gm/D−
157 M.d G A7 /C] − D4 − mixed rhythm
..
158 . A7 /E − D4 − A7 /C]−
159 ⊥ G64 − D7 − G cad
Coda: Chorale
161 M.e G (G − Am7 − G − Am7 − G)/G unisono Rhc , P T (g)
163 ⊥ Am7 − D − G
165 M.e G (G − Am7 − G − Am7 − G)/G repeat 8ba
167 ⊥ Am7 − D − G
169 Am7 − D − G − D7sus4 − D7 − G cad (172 m.)

Table 6.14: Schubert, String Quartet No. 14 Death and the Maiden, Mvt. 3 Scherzo allegro
molto and Trio
m M R H Comment
h i
3
Scherzo Allegro molto 4
1 M1.a Dm Dm − A/C]− A, Vi1+Vi2: 8va unis, PB (&)
3 ⊥ G/B − A−
5 M1.a’ G/D − D− cresc
7 ⊥ D7 /C − G/B − E7[5 /B[ − A Σ(cm<)
9 M1.a G/B[ − A − D7[9 − Gm Vi2, PLi (&), Pm
i (&)
13 M2 C]◦7 − Dm − G]◦7 − Am− Vi1, Σ(cm>)

17 M2’ Am B∅7 − Am64 − Am : || : all unis cad
23 M1.a’ Dm/F − A − D7[9 − B, Va+Vc, Seq(3×3m;R−7 ),
..
26 . G − C7[9 − F PLi (&)
..
29 . Dm/A − E∅7 /B[−
31 ⊥ A A − E7 − A cad
33 M2 D7[9 /F ] − Gm − A[9
7 − Dm− imit: Vi2-Vi1
37 M2 Dm 6
E∅7 − Dm4 − A − Dm unis cad
42 M1.a <(Gm − Dm)/D C, Vi1+Vi2: 8va unis, P T (d)
[5/[9
46 M1.a <(A∅7 − B[) − E7 /B[− Va+Vc: 8va unis
[5/[9
50 E7 /B[ − Dm64 − A7 − Dm cad
53 M1.a <(C]◦7 − Dm)/D Vi1+Vi2: par 3rd S(2p), P T (d)
[5/[9
57 M1.a A7 − B[ Vc+(Va)
[5/[9
61 ⊥ E7 /B[ − Dm64 − A7 − cresc to climax, Σ(cm<)
64 <(Dm − A) − Dm : || unisono (68 m.)
M2 first in the 1st violin, and then as a tutti unisono. In the bridge B (m. 23 ff.) the theme M1
is played in a modified form by viola and cello. The sequence yields chromatic descending
motion in the upper parts. M2 takes over in an imitation setting (m. 33 ff.). Theme M1
returns in the closing section C, both in unisono and in two-part parallel consonant thirds
S(2p) setting, once again moving from the upper to the lower parts.
The trio is in the parallel major key D, and is monothematic with an ABABA form. The
melody has M3(aaa’bc) (2 + 2 + 2 + 4 + 4 m.) structure. It is regularly played as a 2-part
setting: in the opening statement (A1 , m. 69 ff.) there is a violin lead, doubled by the viola in
the lower octave, and in parallel consonant thirds by the cello, making this an S(2p) voicing.
There is an ostinato dominant pedal rhythm in the middle voices, labeled as Mop . The second
statement (m. 85 ff.) has the viola in the lead, with a parallel part in the cello, and an 8th note
countermelody in the 1st violin. The bridge B1 has a modified theme M3’(aac) or M3’(aacb)
as S(2p) between outer voices, and extended dominant pedal point P D (a) in the middle
voices. These two ideas are repeated with minor changes in the other subsections.

Table 6.15: Schubert, String Quartet No. 14 Death and the Maiden, Mvt. 3 Scherzo allegro
molto and Trio (cont’d)
m M R H Comment
Trio
d
69 M3 D D − A/C] − A1 , aa): (Vi1+Va)/Vc S(2p), Mop : Vi2
..
73 . Bm − E7 − a’)
..
75 . E7 /A − A − A7 /G− b)
..
77 . D/F ] − G]◦7no 3 −
..
80 . C]◦7 /E − Gm/D − A7 /C]− c)
83 ⊥ D − A7 − D cad
d
85 M3 D − A/C] − Bm − E7 /B− repeat, aaa’): Va+Vc S(2p), var: Vi1
..
91 . E7 /A − A − A7 /G−
..
93 . D/F ] − G]◦7 −
..
96 . C]◦7 /E − Gm/D − A7 /C]−
99 ⊥ D − A7 − D cad
101 M3’ A7 − D/A− B1 , aa): Vi1+Vc S(2p), Mop : Vi2, P D (a)
105 ⊥ (A7 − G]◦7 − A)/A c)
109 M3’ A7 − Dm− repeat, aa) P D (a)
113 ⊥ B[ − A cb)
117 M3 D − A/C] − D/F ] A2 : aa): (Vi1+Va)/Vc S(2p), Mop : Vi2
..
125 . A/C] − F ]7 /C]− c), (Vi1+Vi2)-(Va+Vc) imit, PB (&)
..
127 . G/B − E7 /B−
129 ⊥ A7 − G]◦7 − A − D cad
133 M3’ A7 − D− B2 aa): Vi1+Vc S(2p), var: Vi1,P D (a)
137 ⊥ (A7 − G]◦7 − E7 − A)/A c), Mop : Vi2, P D (a)
141 M3’ A7 /C] − Dm− repeat, aa): Vi2+Vc, Mop : Va
145 ⊥ B[/D − Dm − A/C]− cb)
149 M3 D − A/C]− A3 , aa’ ): Vi2+Vc, Mop : Va, Mc in Vi1
..
153 . D/F ]− a’)
..
157 . G/B − E7 /B− c)
160 ⊥ A − G]◦7 − A7 − D (164 m.)

6.2.4 Mvt. 4 Presto

Form: rondo, ABCABCA-Coda. See Table 6.16 to 6.21 for the analysis. This special rondo
form has a development for both B sections (labeled as DB1,2 ) and the second A section
(DA2 ).
The A1 section main theme (M1) has a Tarantella character in a fast 6/8 meter. It has
M1(abcab’c’) (2 + 4 + 2 + 2 + 4 + 2 m.) structure. The a-phrase is the stepwise ascending
pattern, the b-phrase consists of leaps (with grace notes). The staccato 8th note turn at the
end of the main theme (Mt=M1c) is used as a background in the development and transition
sections. The bridge (m. 17) combines of the a- and b-phrase in a sequence, and in imitation.
The 2nd statement M1’ (m. 43 ff.) is a variation on the opening theme, reordering the phrases.
The transition (m. 62 ff.) uses Mt as the main element, leading to a climax.
The B1 section is in the relative major key F and presents the contrasting theme M2, with
M2(aa’a”bc) (4 + 4 + 4 + 5 + 5 m.) structure. The a-phrase has cadential flavour with a
accented (f z) dotted half-note rhythm, the b-phrase has stepwise descending staccato 8th
notes (a reminiscence of the opening movement main theme?), and c-phrase an accented
dotted quarter note rhythm.
The M2a-phrase becomes the main melodic element in the development section DB1
(m. 111 ff.). The rhythmic groove is provided by the Mt motif in the background, first as an
imitation between cello and viola, later the roles are swapped (m. 129 ff.). This is juxtaposed
with climaxes based on the b- and c-phrase (see m. 162, 203, 217, 236), also using contrary
opening motion and pedal point.
The main theme M1b-phrase becomes the background groove in section C1 (m. 252
ff.), which also introduces a new countermelody M3 in the 1st violin. This consists of
groups of three staccato 8th notes, based on the turnaround motif, so the common element
is M3=Mt’=M1c’. It ends with a reference to the M2b-phrase. There is also the M1b-phrase
in the 2nd violin and extended tonic-dominant pedal point in the cello (the key now is the
dominant minor key Am).
Section A2 is repeating A1 until the general pauses (rests) in m. 374. A transition leads
into another development section DA2 (m. 389 ff.) now using the turnaround motif Mt=M1c
as the main element. This moves through the voices and modulates, with a climax and
retransition with offbeat accents starting at m. 417.
Section B2 (m. 447 ff.) is a transposed version of the original. The same holds for the
development section DB2 and C2 , except for some instrumentation changes. With the last
repeat of the main theme in section A3 (m. 652 ff.), the bridge section starting in m. 668 is
somewhat modified, as is the transition to the coda.
The Coda (m. 707 ff.) sums up the main theme elements, i.e., the M1a rhythm, the Mt=Mc
motif. There are unisono playing, diminution (acceleration effect) and contrary motion to
climax cadences.

The key relationship diagram of the string quartet Death and the Maiden is shown in Fig. 6.4.
The opening Allegro sonata form movement has a traditional design, with the main theme
in tonic minor Dm, secondary theme in the relative major key F (1). The development
section starts in the dominant area and moves along a key sequence of descending fifths
A − F ]m − . . . − Dm (3–5). The recapitulation alternates with the parallel major key D (6)

Table 6.16: Schubert, String Quartet No. 14 Death and the Maiden, Mvt. 4 Presto
m M R H Comment
h i
6
Presto 8 ([)
1 M1 Dm || : Dm − . . . − Gm− A1 , ab): unisono
..
6 . Gm − F − C 4 − F − A− bc)
.. d
9 . Dm − . . . − A − ab’)
13 ⊥ B[ − F7no 3 − B[ : || : b’c’)
17 (M1) F − C − Cm/E[− (a/b) combi, Seq(2×4m;R7 ),
21 ⊥ G − Gm/D − D − Dm/F − (a): Va-Vc, (b): Vi1
25 (M1’) <(A − E7[5 /B[) − A b’c’), return, Va P (e), clim
33 M1 Dm − . . . − <(A − Dm)− ab): im (Vi1+2)-(Va+Vc)
39 ⊥ C7no 3 /G − F − C 4 − F − A− c), cad
43 M1’ Dm − . . . − G − F ]m 2nd stat, ab): unisono
..
49 . F ]m7 − Bm − A− ca): unis, cad
..
52 . (D − Bm7 − A)/D− b’)
..
54 . F ]m7 − Bm − A− repeat, ca)
57 ⊥ (D − Bm7 − A)/D− b’a’)
58 <(Dmno 3 − A) − D − A7 − D : || cad
62 Mt’ Bm − E7 − A7 − trans, unisono
..
66 . F ]m − Bm − E7 /B−
..
68 . A − Dm − Gm− unis
71 ⊥ C7 − F/A − Dm−
73 G7 /D − C− climax, Σ(cm<)
77 E[ − D[ − C 4 − B◦7 − C−
81 Mt’ C − G4 − C − . . . − Dm
d
89 M2 F Gm/B[ − C7 − Dm− B1 , a): Vi1
..
93 . G7 − F/A − G7 /B− a’)
.. d
97 . C7 − Dm − Gm/B[ − C− a”)
..
101 . A − <(A7 − D) − C7 − F − C]◦7 − b)
..
106 . Dm − F ]◦7 /A − . . . − c)
108 ⊥ F ]◦7 /A − Gm/B[ − C7 − F

Table 6.17: Schubert, String Quartet No. 14 Death and the Maiden, Mvt. 4 Presto (cont’d)
m M R H Comment
d
111 M2/t Gm/B[ − C7 /G − Dm − Am7 DB1 , a): Vi1, Mt: Vc
.. .. d
115 ./ . Dm/F − G7 /D − Am − Dm Mt: Va
d
119 ⊥ /⊥ Gm/B[ − C7 /G − Dm − A− a): Vi1+Vi2, Mt: Va+Vc
122 Dm − C − G7 /B − . . . − trans
129 Mt G7 /B − . . . − Vi1
132 M2/t B[ B[ − <(F7 − B[) a): Vi2, Mt: Vi1, P T (b[)
.. .. d
142 ./ . F/A − G7 − C7 − Vi1
.. ..
146 ./ . Dm − D − Gm/D − Gm−
.. ..
148 ./ . (C7 − F − C7 )/C a/b): Vi1/Vi2, Vc: P D (c)
153 ⊥ /⊥ <(B◦7 − C7 )/C−
155 A/C] − Dm − B◦ − F46 − C7 −
163 (M2) Dm A/C] − . . . − c’), climax, P D (a)
168 Dm − B◦ − F46 − C7 − cad
173 M2/t F F − <(C7 /F − F ) − C/E a): Vi1, Mt: Vi2, Vc: P T (f )
.. .. d
183 ./ . D7 − G 7 −
.. ..
186 ./ . Am7 − A7 − Dm/A − Dm−
.. ..
189 ./ . (G7 − <(C − G7 ))/G a/b): Vi1/Vi2, Vc: P D (g)
193 ⊥ /⊥ <(F ]◦7 − G7 )/G−
195 E/G] − Am − F ]∅7 −
199 C/G − G7 −
203 (M2) E/G] − . . . − c’), climax, P (e)
208 Am − F∆7 − Am64 − E7 − cad
211 Mt Am <(Am − E7 )− imit Vi1-Vi2-Va
215 ⊥ Am/C − Dm − A7 −
217 (M2) Dm <(Dm − A7 )− b’): (Vi1+Vi2)/Va, Vc: P T (d)
..
221 . <(Dm − C]◦7 )/D−
[5/[9
223 ⊥ Dm − D7 /A[ − Cm/G− c’): climax, Σ(cm<)
225 F ]◦7 − F7 −
228 Am/E − Am − . . . − Dm . . . − unisono&
234 E−
236 (M2) <(Dm − A7 )/D− b’): (Vi1+Vi2)/Va 8va, Vc: P T (d)
..
240 . <(Dm − C]◦7 )/D

m M R H Comment
.. [5/[9
242 . Dm − D7 /A[ − Cm/G− c’): climax, Σ(cm<)
..
245 . A[7 /G[ − F7 −
.. [5/[9
247 . G]◦7 − B7 /F − Am/E−
249 ⊥ Am64 − E7 − <(Am − E)− cad
252 M3 Am (Am − E7[9 )/A− C1 , Vi1, P (a−e)
..
260 . (Am − E7[9 )/A− (M1b’): Vi2 , repeat
268 ⊥ A <(A − E7[9 )/A− (M2b), P (a−e)
283 (M1’) Am Am − . . . − E − A − . . . − D− retrans, a/b): (Vi2+Va)/Vi1
293 ⊥ Gm − . . . − C]◦7 − . . . − A[9
7 − ...− Vi1: PL (&)
318 M1 Dm Dm − . . . − A2 , ab): unis (see m 1 ff)
..
322 . Gm − F − C4 − F − A− bc)
.. d
326 . Dm − . . . − A − ab’)
330 ⊥ B[ − F7no 3 − B[ b’c’)
334 (M1) F − C − Cm/E[− (a/b’) combi, Seq(2×4m;R7 ),
338 ⊥ G − Gm/D − D − Dm/F − (a): Va-Vc, (b’): Vi1
342 (M1’) <(A − E7[5 /B[)− b’c’), return, Va P (e), clim
350 M1 Dm − . . . − <(A − Dm)− ab): imit (Vi1+2)-(Va+Vc)
356 ⊥ C7no 3 /G − F − C 4 − F − A− c), cad
360 M1 Dm − . . . − G − F ]m final stat, unisono
366 Mt F ]m7 − Bm − A− unis
368 ⊥ (D − Bm7 − A)/D− trans, cad
371 Mt F ]m7 − Bm − A− repeat, GP
375 M1’ Dm − C − Dm/F − C/F − Gm− bc), cad
381 ⊥ Dm − C − Dm/F − C/F − repeat, cad
385 F − Cm−
389 Mt Gm D7[9 − Gm − . . . − DA2 , Va+Vc
394 Mt Gm − A7 − C]◦7 /G Vi2-Vc
..
401 . F m/A[ − B◦7 /A[− Vi2-Va-Vc
..
405 . Cm/G − G[9
7 − cad
407 ⊥ Cm Cm − . . . −
411 Mt A[/C − D7[9 − . . . − (N 6 ), Vi2-Vc
..
417 . B[m/D[ − E◦7 /D[− clim: (Vi2+Va)
421 ⊥ F m/C − C7 /G− Va+Vc, cad
423 Mt F7[9 − . . . − E◦7 − . . . − F retrans, Vc, accts
441 Mt F ([9
7 ) − . . . − Gm− unis, trans

m M R H Comment
d d
447 M2 B[ Cm/E[ − F7 − Gm − C7 − B2 , a): Vi1
..
451 . B[/D − C7 /E− a’)
.. d
455 . F7 − Gm − Cm/E[ − F a”)
..
459 . F − D − D7 − G − D− b)
..
462 . G − F7 − B[ − F ]◦7 −
..
464 . Gm − B◦7 /D − . . . − c)
466 ⊥ B◦7 /D − Cm/E[ − F7 − cad
468 B[ − Gm−
d
469 M2/t Cm/E[ − F7 /C − Gm − Dm7 DB2 , a): Vi1, Mt: Vc
.. .. d
473 ./ . Gm/B[ − C7 /G − Dm − Gm Mt: Va
d
477 ⊥ /⊥ Cm/E[ − F7 /C − Gm − D− a): Vi1+Vi2, Mt: Va+Vc
480 Gm − F − C7 /E − . . . − trans
487 Mt C7 /E − . . . − Vi1
491 M2/t E[ E[ − <(B[7 − E[) a): Vi1, Mt: Vi2, P T (e[)
.. .. d
501 ./ . Bb/D − C7 − F7 −
.. ..
504 ./ . Gm − G7 − Cm/G − Cm−
.. ..
507 ./ . (F7 − B[ − F7 )/F − a/b): Vi2/Vi1, P D (f )
511 ⊥ /⊥ <(E∅7 − F7 )/F
513 D/F ] − Gm − E◦ − B[64 − F7 −
521 (M2) Gm D/F ] − . . . − c’), climax, P D (d−f ])
526 Gm − E∅7 − B[64 − F7 − cad
531 M2/t B[ B[ − <(F7 /B[ − B[) − F/A a): Vi2, Mt: Vi1, P T (b[)
.. .. d
541 ./ . G7 − C7 −
.. ..
544 ./ . Dm7 − D7 − Gm/D − Gm−
.. ..
547 ./ . (C7 − <(F − C7 )− a/b): Vi1/Vi2, P D (c)
551 ⊥ /⊥ <(B∅7 − C7 ))/C−
553 A/C] − Dm − B◦7 − F46 − C7 −
561 (M2) A/C] − . . . − c’): climax
566 Dm − B[∆7 − Dm64 − A7 −

m M R H Comment
569 Mt Dm <(Dm − A7 )− imit Vi1-Vi2-Va
573 ⊥ Dm/F − Gm − D7 −
575 (M2) Gm <(Gm − D7 )− b’): (Vi1+Vi2)/Va, Vc: P T (g)
..
579 . <(Gm − F ]◦7 )/G−
[5/[9
581 ⊥ Gm − G7 /D[ − F m/C− c’): climax, Σ(cm<)
583 D◦7 /B − B[7 −
586 Dm/A − Dm − . . . − Gm . . . − unisono&
592 A−
594 (M2) <(Gm − D7 )/G− b’): (Vi1+Vi2)/Va 8ba, Vc: P T (g)
..
598 . <(Gm − F ]◦7 )/G−
.. [5/[9
600 . Gm − G7 /D[ − F m/C− c’): climax, Σ(cm<)
..
603 . D[7 /C[ − B[7 −
.. [5/[9
605 . C]◦7 − E7 /B[ − Dm/A−
607 ⊥ Dm64 − A7 − <(Dm − A)− cad
610 M3 Dm <(Dm − A[9
7 )/D− C2 , Vi1, P (d−a)
..
618 . <(Dm − A[9 7 )/D− (M1b’): Vi2, repeat,
626 ⊥ D [9
<(D − A7 )/D− (M2b), P (d−a)
636 (M1’) D − D7 /C− trans, b): Vi2
.. [5/[9
640 . G/B − E7 /B[−
644 ⊥ A − ...−
652 M1 Dm Dm − . . . − Gm− A3 , ab): unis (see m 318 ff)
..
656 . Gm − F − C 4 − F − A− bc)
.. d
660 . Dm − . . . − A − ab’)
664 ⊥ B[ − F7no 3 − B[ b’c’)
668 (M1) F − C − Cm/G− (a/b’) combi, Seq(2×4m;R7 ),
672 ⊥ G − Gm/B[ − D − Dm/F − (a): Vc-Vi1, (b’): Vi2
676 (M1) <(A − E7[5 /B[) − A b’c’): imit, return, P (e)
684 M1 Dm − . . . − <(A − Dm)− ab): imit (Vi1+2)-(Va+Vc)

m M R H Comment
690 (M1) C7no 3 /G − F − trans, b’): Va+Vc
..
692 . Am7 /E − Dm−
..
694 . F7 /C − B[ − F ]◦ /A−
..
697 . Gm − F − E◦ − B[/D cresc, Σ(cm<)
..
699 . A[9
7 − ...− climax
..
703 . A[9
7 − . . . − A7 /G− Σ(cm<)
704 ⊥ Dm/F − A/E − Dm − A− cad
Prestissimo
707 M1’ Dm Dmno 3 Coda, a’): unisono
709 Mt <(Dm − C]◦ )− unisono
..
712 . E7 − A − A7 /G−
..
714 . F ]m − Bm7 −
715 ⊥ E7 /B − D46 − A7 − cad
719 Mt Dm − C]◦ − E7 − repeat, unisono
..
721 . A7 /G − F ]m − Bm7 −
723 ⊥ E7 /B − D46 − A7 − cad
727 M1” D − C − B− climax, Σ(cm<)
..
730 . A]◦7 − D]◦7 /A−
732 ⊥ G]◦7 − A4 − A7 Σ(cm>)
735 M1” D − C − B − A]◦7 − dimin, Σ(cm)
737 ⊥ D]◦7 /A − G]◦7 − A4 − A7 −
739 A− unisono
741 Mt <(Dm − A7 )− imit: Vi1-Vi2-Va
750 ⊥ Dm − A7 − Dno 3 − A − Dm climax, cad (754 m.)

Mvt. 1 Allegro
t
Em Bm F ]m C]m Mvt. 2 Andante
4 6
G D A E C 2 G•
6 6 t

? 6
?
Gm Dm Am Em Cm Gm
7 *
* 2,3,5
1 ?
1 ?
B[ F C G E[ B[

Mvt. 4 Presto
3
Mvt. 3 Scherzo C G D A
8 6 6
D• A Cm 4,7 Gm -
?
Dm
?
Am
2
1 6
*
6 5 6
*

1 ?
6 * 6

Dm - Am E[ ?
-

B[ 2 F C
Figure 6.4: Schubert, String Quartet No. 14 Death and the Maiden, key relationship diagram
and the lowered submediant key B[ = [VI (7).

The middle movements have limited key range envelope. The theme and most variations
have the same harmonic layout, opening in the minor key Gm and with a clockwise loop
through the relative major key Bb end in the parallel major key G. The scherzo also opens in
tonic minor Dm, with the trio in the parallel major key D.
The division of the closing Presto into sections is nicely reflected in the key root scheme.
All three A sections are in the tonic minor key Dm. The B section occurs twice with equal
clockwise key loops: F − B[ − Dm − F (1) and B[ − E[ − Gm − B[ (5). The C section is
presented twice in a similar way: first alternating with the parallel major key Am − A − Am
(3) and later as Dm − D − Dm (8).
6.3 Song cycle Die Winterreise, Op. 89, D911 (1827)

Source: [57]. Music for solo voice and piano.
Form: song sycle. It’s all there in this song cycle with lyrics by Wilhelm Müller: depic-
tion of natural scenes such as the flow of water, the wind and the tree, the mail delivery,
human emotions such as hope, cheer, courage, melancholy and despair, and finally death.
The 24 songs from this cycle are divided into two parts (Erste Abtheilung Nos. 1-12, and
Zweite Abtheilung Nos. 13-24).
An overview of the formal analysis is shown in Fig. 6.5 to 6.7. The length in numbers of
measures varies between 19 (Song 18) and 109 (Song 4). Only two songs are longer than 100
measures (Song 1 and 4), and there are four songs with less than 35 measures (Song 6, 18, 21
and 23). Fourteen of the songs are in a minor key. The template ternary song form applies
to seven of the songs (Song 4, 5, 8, 17, 18, 19 and 23). Other ternary forms are in the Songs
1, 3, 7, 9, 16, 21 and 24, while a binary overall formal structure is found in Songs 2, 6, 10-15,
20 and 22. All songs have a brief piano introduction, which frequently presents the main
melody first line. Most songs conclude with a phrase for solo piano.

6.3. SONG CYCLE DIE WINTERREISE, OP. 89, D911
h i
2
Song 1. Gute Nacht, Mässig, in gehender Bewegung: AAA (Dm − D, 4 , 105 m.)
A A A
h i
6
Song 2. Die Wetterfahne, Ziemlich geschwind, unruhig: ABAC (Am, 8 , 51 m.)
A B AC
h i
2
Song 3. Gefror’ne Thränen, Nicht zu langsam, unruhig: ABC (F m − A[, 2 , 56 m.)
A B C
h i
4
Song 4. Erstarrung, Ziemlich schnell: ABA (Cm, 4 , 109 m.)
A B A
h i
3
Song 5. Der Lindenbaum, Mässig: ABA (E − Em, 4 , 82 m.)
A B A
h i
3
Song 6. Wasserfluth, Langsam: AB (F ]m − A, 4 , 32 m.)
A B
h i
2
Song 7. Auf dem Flusse, Langsam: ABC (Em − E, 4 , 74 m.)
A B C
h i
3
Song 8. Rückblick, Nicht zu geschwind: ABA (Gm − G, 4 , 69 m.)
A B A
Figure 6.5: Schubert, Die Winterreise, Op. 89, D911

h i
3
Song 9. Irrlicht, Langsam: AAB (Bm, 8 , 43 m.)
A A B
h i
2
Song 10. Rast, Mässig: AA (Cm − E[, 4 , 67 m.)
A A
h i
6
Song 11. Frühlingstraum, Etwas bewegt: ABCABC (A, 8 , 88 m.)
A B C A B C
h i
3
Song 12. Einsamkeit, Langsam: AB (Bm, 4 , 48 m.)
A B
h i
6
Song 13. Die Post, Etwas geschwind: ABAB (E[, 8 , 94 m.)
A B A B
h i
3
Song 14. Der greise Kopf, Etwas langsam: ABAB (Cm, 4 , 44 m.)
A B A B
h i
2
Song 15. Die Krähe, Etwas langsam: ABAC (Cm, 2 , 43 m.)
A B AC
h i
3
Song 16. Letzte Hoffnung, Nicht zu geschwind: ABC (E[ − E[m, 4 , 47 m.)
A B C
Figure 6.6: Schubert, Die Winterreise, Op. 89, D911 (cont’d)

h i
12
Song 17. Im Dorfe, Etwas langsam: ABA (D − G, 8 , 49 m.)
A B A
Song 18. Der stürmische Morgen, Ziemlich geschwind, doch kräftig:

h i
4
ABA (Dm − B[, 4 , 19 m.)
ABA
h i
6
Song 19. Täuschung, Etwas geschwind: ABA (A − E, 8 , 43 m.)
A B A
h i
2
Song 20. Der Wegweiser, Mässig: ABAC (Gm − G, 4 , 83 m.)
A B A B
h i
4
Song 21. Das Wirthsaus, Sehr langsam: ABC (F , 4 , 31 m.)
A B C
h i
2
Song 22. Muth, Ziemlich geschwind, kräftig: AB (Am − A, 4 , 46 m.)
A B
h i
3
Song 23. Die Nebensonnen, Nich zu langsam: ABA (A − F ]m, 4 , 32 m.)
A B A
h i
3
Song 24. Der Leiermann, Etwas langsam: AAB (Am, 4 , 61 m.)
A A B
Figure 6.7: Schubert, Die Winterreise, Op. 89, D911 (cont’d)

This song cycle, the collection of 24 songs in Die Winterreise, might easily serve as source
material for a course on tonal harmony. All the essentials from the theory of harmony are
present here in miniature format: full, half, plagal and deceptive cadences; pedal point;
chord inversion, augmented 6th chords; harmonic sequences, pivot pitch chord changes and
modulations.
The song analyses are shown in the following subsections. Melodic phrases in the ta-
bles are labeled with subsequent letters from the alphabet, representing a new line in the
poem lyrics, even when the melody is different. So we may find constructs such as M1(aab)-
M2(cdcd) in the tables with the detailed analysis.
6.3.1 Song Gute Nacht
Form: AAA’. See the analysis in Table 6.22 and 6.23. This opening song from Part 1 (Erste
Abtheilung) is relatively long, compared to the other songs in this cycle. The form is rather
unique, with a threefold statement of a single A section. The structure is simple: there are
four verses, the first three in the tonic minor key Dm, the third is a variation and the last verse
is in the parallel major key D. The main theme has regular structure M1(aabb’)+M2(cc’), i.e.,
(4 + 4 + 4 + 4) + (4 + 4) m. Note the descending melodic lines in M1a (on the lyrics ‘Fremd
bin ich eingezogen’, sadness, disappointment), and the ascending shape in M1b (‘Das Mädchen
sprach von Liebe’, hope, expectation?).
6.3.2 Song Die Wetterfahne
Form: ABAC. See the analysis in Table 6.24. The overall structure is binary, with a more
or less through-composed melody M1-M2-M1-M3: a main theme M1 in the A sections is
answered with first M2 in section B, later with M3 in section C. The melodic structure is
M1(a)+M2(bc) (4 + 4 + 8 m.), M3(dd) (4 + 4 m.).
The unisono (right and left hand in parallel octaves) piano theme M0 with arpeggio pat-
terns, used in the introduction, transitions and coda, depicts the weather-vane in the wind
(‘Der Wind spielt mit der Wetterfahne’). Harmonically, there is the play with tonic minor vs.
major Am − A, with brief sidesteps to the relative major C = [III|Am in the first half and
lowered submediant F = [V I|Am in the second half. Sections B and C contain sequences.
The climax is in m. 45-57 on ‘Ihr Kind ist eine reiche Braut’, with a cadence on the tonic parallel
major key A.
6.3.3 Song Gefror’ne Thränen
Form: ABC. See the analysis in Table 6.25. This song has a gradually increasing tension
curve along the three sections, with a climax reached near the end (m. 39-40 and 49-50, ‘des
ganzen Winters Eis’). For most of the song the piano right hand plays three-part block chords,
with an independent bass line. The melodic structure is M1(ab)+M2(cd)+M3(efef), (4 + 6) +
(4 + 4) + (4 + 6 + 4 + 6) m., with much stepwise descending motion (‘Gefror’ne Tropfen, . . .,
dass ich geweinet hab?’, sadness), and the consequent phrases M1b and M3f extended by two
measures.

Table 6.22: Schubert, Die Winterreise - 1. Gute Nacht
m. M R H Comment
h i
Mässig, in gehender Bewegung ([) 24
1 Dm Dm − C]◦7 /D − Dm − Gm Introduction
5 Dm/A − Gm7 /B[ − Dm64 − A− cad
7 Dm A1 , minor
8 M1 || : Dm − E∅7 /D− a)
..
10 . E∅7 /D − Dm − Dm64 − A7 − Dm
..
12 . Dm − E∅7 /D− a)
..
14 . E∅7 /D − Dm − Dm64 − A7 −
..
15 . Dm − C/E − C7 − to relative major
..
16 . F F − Dm − G7 /D − C − F/A− b)
..
18 . C7 /G − F/A − C7 −
..
19 . F − E◦7 /F − F7 −
..
20 . B[ B[ − Gm − C7 /G − F − B[/D− b’), B[ = IV |F = [V I|Dm
22 ⊥ F7 /C − B[/D − F − B[
24 Dm E∅7 /G − Dm/F − trans
26 M2 E∅7 /G − Dm/F − F/A− c)
..
28 . Dm64 − A7 − Dm cad
..
30 . E∅7 /G − Dm/F − F/A− c’)
32 ⊥ Dm64 − A7 − cad, to minor
33 Dm − C]◦7 /D − Dm − Gm conclusion
37 Dm/A − Gm7 /B[ − Dm64 − A7 : || cad
39 Dm A2 , variation
40 M1’ Dm − E∅7 /D− a’)
..
42 . E∅7 /D − F/A − Dm64 − A7 − Dm
..
44 . Dm − E∅7 /D− a’)
..
46 . E∅7 /D − F − Dm64 − A7 −
..
47 . Dm − C/E − C7 − to relative major
..
48 . F F − Dm − G7 /D − C − F/A− b)
..
50 . C7 /G − F/A − C−
..
51 . F − E◦7 /F − F7 −

Table 6.23: Schubert, Die Winterreise - 1. Gute Nacht (cont’d)
m. M R H Comment
..
52 . B[ B[ − Gm − C7 /G − F − B[/D− b’)
54 ⊥ F7 /C − B[/D − F − B[
56 Dm E∅7 /G − Dm/F − trans
58 M2’ E∅7 /G − Dm/F − F/A− c)
..
60 . Dm64 − A7 − Dm cad
..
62 . E∅7 /G − Dm/F − F/A− c’)
64 ⊥ Dm64 − A7 − cad
65 Dm Dm − C]◦7 /D − Dm − Gm conclusion
69 Dm/A − Gm7 /B[ − Dm64 − A− cad
71 D D A3 , (]]) major
72 M1’ D − E7 /D− a’)
..
74 . D − D46 − A7 − D
..
76 . D − E7 /D− a’)
..
78 . D − D46 − A7 −
..
79 . D − Em7 − D7 /F ]− to subdominant
..
80 . G G − Em − A7 /E − D − G/B− b)
..
82 . D7 /A − G/B − D7 −
..
83 . G − Em7 − A7 /E−
..
84 . D D − Bm − E7 /B − A − D/F ]− b’), D = V |G = I
86 ⊥ A7 /E − D/F ] − A7 − D
88 E7 /D − D
90 M2’ E7 /D − D − D46 − A7 − D c)
..
94 . E7 /D − D − D46 − A7 − D c’)
98 ⊥ Dm64 − A− to tonic minor
99 Dm Dm/A − Dm − Gm/D− Coda
101 Dm64 − A7 − Dm − A7 − Dm cad (105 m.)

Table 6.24: Schubert, Die Winterreise - 2. Die Wetterfahne
m. M R H Comment
h i
6
Ziemlich geschwind, unruhig 8
1 M0 Am Am − Em7 − (E no 3 ) − Am Introduction, aab): Pno, minor
5 M1 Am − E − Am − B7 /D] − E− A1 , a): Pno+Voc unisono
10 E7 /D−
11 M2 C C − B◦ /C − C− B, b), rel maj, block chords
..
13 . Em Am7 − Em64 − B7 − Em cad
..
15 . <(F ]◦ /A − G/B)− c), Seq(2×2m;R7 ), PLi (%)
..
17 . <(G]◦ /B − Am/C)− Pno LH-RH imit, climax, [S̄ 6 ]
..
19 . Dm A[9
7 /C] − Dm−
..
20 . D7[9 /F ] − Gm
21 ⊥ Dm64 − A7 − Dm cad, climax
23 M0 E7 − . . . − trans, aa): Pno
25 M1 Am Am − E − Am − B7 /D] − E− A2 , a): Pno+Voc unisono
29 E7 /D−
[5/[9
30 M3 F F46 − C7[9 − F − B7 /F − C, d)
32 ⊥ A A/C] − D − A64 − E7 − A cad, climax, tonic major
34 Am Am− trans, Pno, maj-min
35 M1’ Dm/F − C − B7[5 no 1 /D] − E a’)
39 E7 /D− trans, Pno
[5/[9
40 M3 F F46 − C7[9 − F − A7 /E[− d’), Seq(2×2m;R7 )
..
42 . Gm Gm64 − D7 − Gm − B7[5 /F −
44 ⊥ A A/C] − D − A64 − E7 − A cad, climax, tonic major
47 M0’ Am Am− Coda, aab): Pno, min (51 m.)

Table 6.25: Schubert, Die Winterreise - 3. Gefror’ne Thränen
m. M R H Comment
h i
Nicht zu langsam ([[[[) 22
1 Fm <(F m − C) − F − D[− Introduction, Pno
4 D[ − D[∆7 /C − B[m − B∅7 /A[− PB (&)
5 E[7 /G − E[ − A[
6 B[m − B◦7 − C− cad
8 M1 <(F m − C) − F − D[− A, a)
..
12 . D[ − D[∆7 /C − B[m − B∅7 /A[− b), PB (&)
..
13 . E[7 /G − E[ − A[ − E[7 /G− cad, to relative major
15 ⊥ A[ <(A[ − E[7 )− c)
19 A[ − E◦7 − F − D[− trans, Pno
21 M2 Fm C − D[− B, c)
..
23 . C − B◦7 − C − B[7 −
..
25 . A[m E[ − B[[5
7 /F [− d)
27 ⊥ E[ − D◦7 −
d
28 (E[ − A[m − A◦ )/E[ − trans Pno
30 M3 A[ E[7 − A[− C, e)
..
32 . E[7 − E[+ /B[ − A[
.. d
34 . F7[9 − G[/D[− f), N46 |F m
.. [5/[9
36 . D[7 − G[/D[ − G7 /D[− climax
.. d
38 . F m64 − C7 − A◦7 −
..
40 . E[7 − A[− e)
..
42 . E[7 − E[+ /B[ − A[
.. d
44 . Fm F7[9 − G[/D[− f), N46 |F m
.. [5/[9
46 . D[7 − G[/D[ − G7 /D[− climax
49 ⊥ F m64 − C7 − F m − C cad
50 <(F m − C) − F m Coda, Pno
53 D[ − D[∆7 /C − B[m − B∅7 /A[−
54 E[7 /G − E[ − A[ − E[7 /G−
55 D[ − F m64 − C7 − F m cad (56 m.)

6.3.4 Song Erstarrung

Form: ABA, ternary song. See the analysis in Table 6.26 and 6.27. The melody structure is
M1(aa’bc)+M2(defg)+M3(hii’j), (4+4+4+4)+(6+4+6+4)+(4+4+4+4) m. The M1 melody
apex pitch is in m. 12 on ‘wo sie an meinem Arme’, for M2 in m. 28-29 after very wide leaps
on ‘und Schnee mit meinen heisen Thränen’. Characteristic for this song is the accompaniment
with continuous 8th note triplets in the piano right or left hand, and for both hands in the
middle section.
6.3.5 Song Der Lindenbaum

Form: ABA, ternary song. See the analysis in Table 6.28. The opening verse in section A is in
tonic major key E and has become a wellknown song for amateur choirs. The verse melody
of ‘Am Brunnen vor dem Thore’ has regular phrase structure M1(aabb’) (4 + 4 + 4 + 4 m.). The
charm here is that it is repeated in the parallel minor Em. There is a bridge section B over an
extended dominant harmony and with melody M2(cc’d) (2 + 2 + 4 m.). With the lyrics ‘Die
kalten Winde bliesen’ the piano right hand plays afterbeat 16th-triplet note descending octave
leaps. The octave unisono piano accompaniment from the minor phrase returns in the final
major theme statement.
6.3.6 Song Wasserfluth

Form: AB. See the analysis in Table 6.29. This short slow song with two verses moves from
tonic minor F ]m to relative major key A. The melody has structure M1(abab’c)+M2(dd’e),
(2 + 2 + 2 + 2 + 2) + (4 + 4 + 2) m. Melody M1 is dominated by leaps, M2 contains more
descending stepwise motion. The accompaniment has continuous use of a dotted 8th - 16th
note pattern. During the vocal line the setting is in block chords for piano right and left
hand.
6.3.7 Song Auf dem Flusse

Form: ABC. See the analysis in Table 6.30. The melody structure in the A and B sections of
this song is M1(aabaab’)+M2(cc’dcc’d), (2 + 2 + 4 + 2 + 2 + 4) + (2 + 2 + 4 + 2 + 2 + 4) m.
The melody M3 is special, since it is more storytelling, with irregular length phrases and it
contains a reference to M1.
Harmonically, this is a very interesting song. The overall key scheme is Em − E − Em
(parallel major-minor), but in all theme consequent phrases there is something special hap-
pening. In the melody M1 in section A note the intermediate remote key D]m; the opening
lyrics in Em are ‘Der du so lustig’ which is a contrast with ‘wie still bist du geworden’ at very
soft ppp dynamics and in this remote key. The middle section B sidesteps to the supertonic
degree minor key F ]m. And things get even more complex in the closing section where we
have the key sequence Em − D]m − G]m − Em − G − Em − F ]m − Em − Gm − Em (note
the intermediate cadences) with various triad types on the mediant degree from major (g])
and minor g! This, in combination with the busy 32th note patterns in the piano accompa-
niment, is depicting the desperate attraction of the river water surface, as expressed in the
lyrics (‘Mein Herz, in diesem Bache, . . ., Ob’s unter seiner Rinde wohl auch so reizend schwillt?’).
This is a spoiler, for the story will not end well.

Table 6.26: Schubert, Die Winterreise - 4. Erstarrung
m. M R H Comment
h i
Ziemlich schnell ([[[) 44
1 Cm Cm − . . . − A[∆7 − F ]◦7 − E[/G− Intro, Pno RH 8th tripl arp
4 E[ − F m− PB (&)
6 Cm/E[ − D[ − Cm64 − G− cad
8 M1 Cm − D∅7 /F − G7 − Cm A1 , a)
..
12 . Cm − D∅7 /F − G7 − Cm a’), apex pitch
..
16 . <(B◦7 − Cm) − G/D− b)
..
20 . Cm/E[ − B[/D − A[/C − E[/B[− c), PB (&)
22 ⊥ E[ A[ − E[64 − B[7 − E[ cad
24 A[/C − Gm64 − D7 − trans, N6 |Gm
25 M2 Gm Gm − F ]◦7 /A − Gm/B[ − G[9
7 /B− B, d), Pno LH arp, PB (%)
..
29 . G[9 [9
7 /B − Cm − C7 − climax
..
31 . F m − Cm64 − e), PB (%)
..
33 . Cm G[9
7 − B◦7 − . . . − D∅7 /F −
..
37 . B◦7 − D∅7 /F − G[9 [9
7 − Cm − C7 /E− f), climax
41 ⊥ F m − Cm64 − G[9
7 − g), cad
44 Cm − . . . − trans, Pno
46 A[ D[/F − A[64 − E[7 − A[ cad
48 M3 A[ − E[7 /B[ − A[/C h), Seq(3×2m;R7 ),
..
52 . F7[9 /C − . . . − i), Pno RH+LH arp
..
54 . B[m − E[7 − C/E−
..
56 . F7[9 /C − . . . − i’), climax
..
58 . B[m − E[7 − A[ cad
60 ⊥ G[9 [9
7 /B − . . . − D∅7 /A[ − G7 /B− j), PL (%), Pno RH arp

Table 6.27: Schubert, Die Winterreise - 4. Erstarrung (cont’d)
m. M R H Comment
65 M1 Cm Cm − D∅7 /F − G7 − Cm A2 , a)
..
69 . Cm − D∅7 /F − G7 − Cm a’)
..
73 . <(B◦7 − Cm) − G/D− b)
..
77 . Cm/E[ − B[/D − A[/C − E[/B[− c), PB (&)
79 ⊥ E[ A[ − E[64 − B[7 − E[ cad
81 A[/C − Gm64 − D7 − trans, N6 |Gm
82 M2 Gm Gm − F ]◦7 /A − Gm/B[ − G[9
7 /B− d), Pno LH arp
..
86 . G[9 [9
7 /B − Cm − C7 −
..
88 . F m − Cm64 − e)
..
90 . Cm G[9
7 − B◦7 − . . . − D∅7 /F −
..
94 . B◦7 − D∅7 /F − G[9 [9
7 − Cm − C7 /E− f), climax
98 ⊥ F m − Cm64 − G[97 − cad
103 Cm − . . . − A[∆7 − F ]◦7 − E[/G− Coda, Pno RH 8th tripl arp
106 E[ − Cm (109 m.)
6.3.8 Song Rückblick

Form: ABA, ternary song. See the analysis in Table 6.31. In the melodies M1+M2+M1’ there
are phrases with different length: we find three measures (a, c), two (b, f), and four-measure
phrases (d, e). Harmonically the song moves between tonic minor key Gm and the parallel
major G, with a brief cadential sidestep into the submediant degree minor key Em (m. 40-
41, without playing this tonic chord). The opening melodic phrase M1a has these fascinating
cadences on tonic and dominant minor D−Gm−A/C]−Dm = (V −Im)|Gm −(V6 −Im)|Dm ;
this ‘weirdness’ depicts the strong emotions in the lyrics ‘Es brennt mir unter beiden Sohlen,
tret’ich auch schon auf Eis und Schnee’ (it is not Winter Wonderland for Schubert); note the
ascending melody with f ] in the lower octave and f \ in the upper octave.
In the A sections the piano accompaniment consists of onbeat 8th notes in the left hand
with afterbeat 16th notes in the right hand (‘oom-pah’). In the middle section B the right
hand changes to 16th note octave leaps on an extended dominant pedal point d, while the
left hand plays in parallel consonant intervals in parallel with the gentle lead voice (‘Wie
anders hast du mich empfangen’).
6.3.9 Song Irrlicht

Form: AAB. See the analysis in Table 6.32. The melody structure is M1(abc) (4 + 4 + 4 m.)
and M2(dee) (4 + 4 + 4 m.) with regular length phrases. The opening melodic phrase M1a
has the inevitable descending leaps into the depths of ‘In die tiefsten Felsengründe’. The same
holds for M2d on the lyrics ‘Durch des Bergstroms trockne Rinnen wind’ ich ruhig mich hinab’. In

Table 6.28: Schubert, Die Winterreise - 5. Der Lindenbaum
m. M R H Comment
h i
Mässig (]]]]) 34
1 E <(E − B7 ) − G][9 7 /B]− Intro, Pno 16th triplets
5 C]m − C][9 7 /B − F ]m/A − F ]m7 − PB (&)
7 B7 − . . . −
9 M1 <(E − B7 ) − E A1 , aa)
..
17 . F ]7 /A] − B7 /A− b)
..
19 . E/G] − A − E − B− halfcad
..
21 . F ]7 /A] − B7 /A− b’)
23 ⊥ E/G] − B7 − E− cad
(]) parallel minor
25 Em <(Em − B)− trans, Pno 16th triplets
29 M1’ <(Em − B7[9 ) − Em aa), Pno RH+LH unis
..
. (]]]])
..
37 . E (B7 − E − A − E − B)/B− b), halfcad, P D (b)
41 ⊥ B7 − E46 − B7 − E b’), cad
[5/[9
45 Em (C − B7[9 − F ]7 − B − C)/C− B, [VI, tr Pno
d
46 M2 B7[9 − c)
.. [5/[9
47 . (C − B7[9 − F ]7 − B − C)/C−
..
48 . B7[9 − C − B7[9 − c’), Pno 16th-tripl 6ths
..
50 . (C − F m − C − E]m − F ]◦ )/C− d)
..
52 . (F ]◦ − F ][5
7 )/C−
53 ⊥ [9
(E − B7 − C]7 − F ]m)/B− P D (b)
56 (F ]m − B7[9 )/B− trans
59 M1 <(E − B7 ) − E A2 , aa), Pno RH+LH unis
..
67 . B7 /A − E/G]− b)
..
69 . E/B − A − E − B− halfcad
..
71 . B7 /A − E/G]− b’)
..
73 . E46 − B7 − E/G]−
75 ⊥ E − B7 − E cad
77 <(E − B7 ) − G][9
7 /B]− Coda, Pno 16th triplets
81 C]m − B7 − E cad (82 m.)

Table 6.29: Schubert, Die Winterreise - 6. Wasserfluth
m. M R H Comment
h i
Langsam (]]]) 34
1 F ]m <(F ]m − C]7 /G])− Introduction
3 F ]m − C]7 − F ]m
5 M1 || : F ]m − C]7 − F ]m A, ab), Pno block chords
..
9 . F ]m − F ]m64 − C]7 − F ][9
7 /A]− ab’), climax
13 ⊥ Bm − F ]64 − C]7 − F ]m c), cad
15 <(F ]m − C]7 /G])− trans
17 F ]m − A64 − E7 − A cad, to relative major
19 M2 A C][9 6
7 /F − E7 − A4 − E B, d)
..
23 . C][9 6
7 /F − E7 − A4 − E7 − A d’), cad
27 ⊥ F ]m 6
F ]m4 − C]7 − F ]m e), cad
29 <(F ]m − C]7 /G])− trans
31 F ]m − C]7 − F ]m : || cad (32 m.)
this ternary structure song the A2 section is a variation on the first. Harmonically the song
remains in the tonic minor key Bm; in the B section there are cadences in the Neapolitan,
lowered supertonic degree key C = [II.
6.3.10 Song Rast

Form: AA. See the analysis in Table 6.33. This is a two-verse song with symmetric form: two
equal A sections, piano introduction, transition and coda being equal. These piano phrases
with ascending bell chord patterns play with the exchange between minor and major chords
on both the tonic (Cm − C) and subdominant degree (F − F m).
The melody M1 has variable length phrases: M1(abcded’e’) (5 + 5 + 4 + 3 + 3 + 3 + 3
m.). The M1de-phrases form a melodic sequence. The melody supports the lyrics: see the
descending step on the word ‘müd’, the ascending scale on ‘das Wandern hielt mich munter
hinauf auf unwirthbarem Wege.’, and the arpeggio leaps on ‘der Sturm half fort mich wehen’.
There are identical patterns in the second verse.
6.3.11 Song Frühlingstraum

Form: ABCABC. See the analysis in Table 6.34 and 6.35. This is another two-verse song,
with symmetric binary structure (ABC)-(ABC). The keys move beteen tonic major A and
minor key Am. The three subsections have contrasting moods that depict the song lyrics. A
gentle romantic A section melody M1(ab) (4 + 6 m.) for ‘Ich träumte . . . Blumen, . . . blühen im
Mai’. Note the embellishments and rising vocal line on ‘von lustigem Vogelgeschrei’. There is
speeding up in the B sections, with increased harmonic tension and a sequence for ‘Und als
die Hähne krähten’ (in the piano there is a 16th-triplet note octave arpeggio). This melody has

Table 6.30: Schubert, Die Winterreise - 7. Auf dem Flusse
m. M R H Comment
h i
Langsam (]) 24
1 Em Em − Em7 /D − C − Em/G− Intro, Pno onbeat and
3 F ]∅7 /A − B − Em − B afterbeat accents
5 M1 <(Em − B)− A, aa)
..
9 . D]m D]m/A] − G]m7 − A]7 − D]m− b)
13 ⊥ B7 − Em64 − B− trans, Pno 16ths
14 M1 <(Em − B)− a’a’)
..
18 . D]m/A] − G]m7 − A]7 − D]m− b’)
22 ⊥ B7 − Em64 − B− trans, Pno 16ths
23 M2 E E − F ]97 /A] − B − C]7 /G]− B (]]]]) c), Pno 16ths
..
25 . F ]m − B7[9 − E − A− c’)
.. d
27 . E/G] − Bm/F ] − C]/E] − d)
..
28 . D/F ] − E7 /G] − A
29 ⊥ F ]m7 /A − F ][9
7 /A] − B−
31 M2 E − F ]97 /A] − B − C]7 /G]− c), 2nd statement
..
33 . F ]m F ]m − B7[9 − E − A− c’)
.. d
35 . E/G] − Bm/F ] − C]/E] − d)
..
36 . D/F ] − E7 /G] − A
37 ⊥ F ]m7 /A − F ][9
7 /A] − B − B7 /A−
38 Em/G − B7 /F ] − B−
41 M3/1 Em <(Em − B)− C, (]) e) M1 in Pno LH
..
45 . D]m/A] − G]m7 − A]7 −
47 ⊥ D]m − D]7 −
48 M1” G]m <(G]m − D]7 )− a”a”), Pno 32ths
52 ⊥ B7 − B7[9 /A − Em/G − Em64 − B7 − b”), cad
54 M3’/1 Em Em − B − B7 /A − G − D trans, e), M1 in Pno LH
..
58 . F ]m64 − Bm7 − C]7 − F ]m − B7[9 −
..
62 . Em − B − B7 /A − Gm − D7[9 − f)
..
66 . B − B7[9 /A − Em/G − B7 −
68 ⊥ B7[9 − . . . − Em climax
72 Em Pno 8th accents (74 m.)

Table 6.31: Schubert, Die Winterreise - 8. Rückblick
m. M R H Comment
h i
Nicht zu geschwind ([[) 34
1 Gm <(Gm − D)− Intro Pno LH PB (%),
5 Cm − Gm − D7 − Gm − . . . − RH afterbeat 16ths
11 M1 <(D − Gm − A/C] − Dm) A1 , aa)
..
17 . <(E − A7 − Dm) bb)
..
21 . F ]∅7 − Gm − G64 − D7 − c)
..
23 . Gm/D − Gm
..
24 . F ]∅7 − Gm − G64 − D7 − c)
26 ⊥ Gm/D − Gm − G trans, minor to major
28 M2 G G − . . . − D7 − B (]) d), Pno RH 16ths, P D (d)
..
32 . G − . . . − G64 − D − G d’), cad
..
36 . D7 − G − . . . − D7 − e)
..
40 . B7 − F ]∅7 /C − A]◦7 − e’), clim RH afterbeat 16ths
..
42 . G64 − D7 − G cad
..
44 . B7 − F ]∅7 /C − A]◦7 − e’) repeat
..
46 . G64 − D7 − G
47 ⊥ Cm/G − Gm64 − D7 − trans, cad, major to minor
49 M1 Gm <(D − Gm − A/C] − Dm) A2 , ([[) aa)
..
55 . <(A∅7 /C − D7[9 )− ff)
..
59 . G G − ...− (]) c’)
..
62 . G − . . . − G7 − C − Am7 − c’), climax
64 ⊥ G − <(D7 − G) (69 m.)

Table 6.32: Schubert, Die Winterreise - 9. Irrlicht
m. M R H Comment
h i
Langsam (]]) 38
1 Bm Bm − Em − F ]7 − Bm Intro
5 M1 Bm − Em − Bm − F ]7 − Bm A1 , a) PL (&)
..
9 . D+ /F ] − G − A7 − D b), relative major
12 ⊥ Bm/F ] − F ]7 − Bm c), cad, Pno block chords
15 Bm64 − F ]7 − Bm trans, cad, Pno 32ths
17 M1’ Bm − Em − Bm − F ]7 − Bm A2 , a’), variation
..
21 . D+ /F ] − G − A7 − D b’)
25 ⊥ Bm/F ] − F ]7 − Bm c’)
28 Bm64 − F ]7 − Bm trans, cad, Pno 32ths
29 M2 B7[9 − Em/B− B, d), PL (&), climax
..
31 . F ][9
7 /C] − G7 −
..
33 . C/G − G7 − C e), N |Bm
..
35 . Bm/F ] − F ]7 − Bm − G7 −
..
37 . C/G − G7 − C e), N |Bm
39 ⊥ Bm/F ] − F ]7 − Bm− cad
41 Bm − Em − Bm − F ]7 − Bm Coda (43 m.)

Table 6.33: Schubert, Die Winterreise - 10. Rast
m. M R H Comment
h i
Mässig ([[[) 24
1 Cm (Cm − C7 − F − F m − C − Cm)/C − G− Intro, P T (c) min-maj
7 M1 (Cm − C7 − F m − G7 − Cm − F m)/C− A1 , a)
..
12 . Cm − E[/B[ − F m/A[− b)
..
14 . E[ E[/G − B[7 − E[ − Cm relative major
..
17 . C7 /B[ − F/A − B[[9
7 /A[ − E[/G− c)
.. [5/[9
21 . G[9
7 /F − . . . − A7 /A[− d)
.. d
24 . Cm Cm64 − G7 − A[− e), melodic seq
[5/[9
26 ⊥ D7 /A[ − . . . − Cm64 − G7 − d’e’), cad
31 (Cm − C7 − F − F m − C − Cm)/C − G− tr, Pno, P T (c) min-maj
37 M1 (Cm − C7 − F m − G7 − Cm − F m)/C− A2 , a)
..
42 . Cm − E[/B[ − F m/A[− b)
..
44 . E[ E[/G − B[7 − E[ − Cm relative major
..
47 . C7 /B[ − F/A − B[[9
7 /A[ − E[/G− c)
.. [5/[9
51 . G[9
7 /F − ... − A7 /A[− d)
d
54 ⊥ Cm Cm64 − G7 − A[− e), melodic sequence
61 (Cm − C7 − F − F m − C − Cm)/C− Coda, d’e’), Pno, P T (c)
67 G − Cm (67 m.)

structure M2(cc’d) (4 + 4 + 4 m.). Then there is another contrast, with the slow C section in
the new meter, and melody M3(efg) (4 + 4 + 6 m.). Note the use of the subdominant minor
chord on ’Ihr lacht wohl über den Träumer’.
6.3.12 Song Einsamkeit
Form: AB. See the analysis in Table 6.36. The soft and slow A section starts with alternating
tonic-supertonic degree chords (the minor key is Bm) over a tonic pedal point. The melody
structure is M1(abab’cdcd) (2 + 2 + 2 + 2 + 2 + 2 + 2 + 2 m.). The rising melody phrase
M1c on ‘so zieh’ ich meine Strasse’ starts to create a bit of contrast. This is magnified in the B
section, with the forte dynamics, the piano tremolo chords and the contrary oopening motion
over the 16th note triplets in the piano on ‘Als noch die Stürme tobten’. The melody now is
M2(eefe’e’f) (2 + 2 + 6 + 2 + 2 + 6 m.). The key centres also become unstable: a suggested
key sequence is Dm − G − C − Bm, with the minor mediant key Dm instead of the usual
major (the tonic chord is not used), then passing by the lowered sixth and supertonic degree
G = [VI, C(m) = [II(m), before the stabilising closing cadence in Bm.
6.3.13 Song Die Post
Form: ABAB. See the analysis in Table 6.37. This up-tempo song is the first in Part 2 (Zweite
Abtheilung’) of the cycle. In this binary structure (AB)-(AB) song the keys alternate between
the tonic major E[ and the remarkable lowered 7th degree major key D[. Note the opening
chord E[m in the B section: this suggests a move towards the tonic minor, but turns out to
be the supertonic degree chord in the new key.
The A section melody has structure M1(abc) (4 + 6 + 7 m.). Note the ascending leaps
into an apex pitch climax on ‘dass es so hoch aufspringt, mein Herz?’. In the B section the
melody slowly ascends to an apex pitch with climax at the end (m. 45-46, on ‘mein Herz’),
with phrases of increasing length M2(def) (4 + 6 + 10 m.).
The piano accompaniment supports the postal mood with right hand horn signals (’Trara,
trara, die Post ist da!’), dotted 8th-16ths and quarter note - 8th note gallop rhythms (stagecoach
horses). These rhythms are pushing the emotional expectations of our hero, waiting eagerly
for an e-mail from his adored maiden. There is tonic and dominant pedal point and the
subtle use of the dominant chord with added (lowered) ninth (B[[9 9
7 and B[7 ), hinting at the
tonic minor key.
6.3.14 Song Der greise Kopf
Form: ABAB. See the analysis in Table 6.38. The two A sections in the tonic minor key Cm
are identical. The first B section is in the dominant major key G, the second in the tonic
major key C. The melody structure is M1(ab)+M2(cdefg) (2 + 2) + (2 + 2 + 4 + 2 + 4) m.
The climax in m. 21-22 on the words ‘dass mir’s vor meiner Jugend graut’ has contrary opening
motion, richer intermediate harmonies and a brief sidestep to the relative major key with
a minor plagal cadence E[ − A[m − E[. The piano introduces the melody and repeats all
closing phrases (M1b, M2d).

Table 6.34: Schubert, Die Winterreise - 11. Frühlingstraum
m. M R H Comment
h i
Etwas bewegt (]]]) 68
1 M1 A A − . . . − C]7 − Bm/D − E7 − A Intro, Pno LH arp
5 M1 A − F ]m − Bm/D − E7 − A A1 , a), Pno RH arp
..
9 . D/A − A− b)
11 ⊥ <(Bm/D − E7 − A)
Schnell B1
d
15 M2 Em/G − F ]∅7 − Em/G − F ][5
7 − Em/G c), Seq(2×4m;R−3 )
.. d
17 . Em/G − A7 − Dm − E7[5 − Dm/F −
..
19 . Gm/B[ − A∅7 − c’)
.. d
20 . Gm/B[ − A[5
7 − Gm/B[ − Dm/F −
.. d
21 . Am Am64 − E7 − Am − B7[5 /A − Am cad, climax
.. d
23 . B[/D − Am − B7[5 − Am d), N6 , P T (a)
25 ⊥ E7 − Am cad, climax
h i
2
Langsam C1 , 4
27 A A − A7 /G−
29 M3 D/F ] − A/E − A7 /G − D/F ]A/E− e)
..
31 . Bm7 /D − E7 − A cad
..
33 . <(E7 /D − A/C])− f)
37 ⊥ <(Dm − Am/C) − B∅7 /F − E7 − Am g), IV m, cad
h i
6
Wie oben 8
44 M1 A A − . . . − C]7 − Bm/D − E7 − A trans, Pno LH arp
49 M1 A − F ]m − Bm/D − E7 − A A2 , a), Pno RH arp
..
53 . D/A − A− b)
55 ⊥ <(Bm/D − E7 − A)

Table 6.35: Schubert, Die Winterreise - 11. Frühlingstraum (cont’d)
m. M R H Comment
Schnell B2
d
59 M2 Em/G − F ]∅7 − Em/G − F ][5
7 − Em/G c), Seq(2×4m;R−3 )
.. d
61 . Em/G − A7 − Dm − E7[5 − Dm/F −
..
63 . Gm/B[ − A∅7 − c’)
.. d
64 . Gm/B[ − A[5
7 − Gm/B[ − Dm/F −
.. d
65 . Am Am64 − E7 − Am − B7[5 /A − Am cad, climax
.. d
67 . B[/D − Am − B7[5 − Am d), N6 , P T (a)
69 ⊥ E7 − Am cad, climax
h i
2
Langsam C2 , 4
71 A A − A7 /G−
73 M3 D/F ] − A/E − A7 /G − D/F ] − A/E− e)
..
75 . Bm7 /D − E7 − A cad
..
77 . <(E7 /D − A/C])− f)
79 ⊥ <(Dm − Am/C) − B∅7 /F − E7 − Am g), IV m, cad (88 m.)

Table 6.36: Schubert, Die Winterreise - 12. Einsamkeit
m. M R H Comment
h i
Langsam (]]) 34
1 Bm <(Bm − C]∅7 )/B − Bm Intro, Pno LH-RH P T (b)
5 M1 <(Bm − . . . − C]∅7 )/B A, abab’)
..
15 . F ]7 /A] − Bm − C][9
7 − Bm/D− c)
..
17 . C][5 [9
7 − F ]7 − d)
..
19 . F ]7 /A] − Bm − C][9
7 − Bm/D− c)
21 ⊥ [5 [9
C]7 − F ]7 − d)
24 M2 <(G]◦7 − A)− B, ee), climax, Pno trem
.. d
28 . A − E7 /G] − A7 /G − F ]7 − trans, Pno 16th tripl, Σ(cm<)
..
29 . G − Cm/G − F ]◦7 − f), [IIm
..
30 . <(G7 − C/G) − C][5 7 /G− Neap, [II
33 ⊥ Bm64 − F ]7 − Bm − C]7 /E]−
35 F ] − Bm cad
36 M2 F ]◦7 − G − G]◦7 − A e’e’), Seq(2×2m;R7 )
.. d
40 . A − E7 /G] − A7 /G − F ]7 − clim, Pno 16th tripl, Σ(cm<)
..
41 . G − Cm/G − F ]◦7 − f), [IIm
..
42 . <(G7 − C/G) − C][5
7 /G− Neap, [II
45 ⊥ Bm64 − F ]7 − Bm cad (48 m.)

Table 6.37: Schubert, Die Winterreise - 13. Die Post
m. M R H Comment
h i
Etwas geschwind ([[[) 68
1 E[ E[ − . . . − Intro, Pno LH arp, RH signal
7 <(B[7 − E[) cad
9 M1 <(B[ − E[) − B[ − E[− A1 , a), Pno dotted rhythm
..
13 . D[ A[7 − D[− b), climax
.. [5/[9
17 . F7 /C − F7 /C[− Pno trans, PBi (&)
..
19 . (E[ − . . . − C7[9 − F m − A[)/B[− c), P D (b[)
23 ⊥ E[ B[7 − E[ cad, GP
27 E[m B1 , Pno gallop rhythm
28 M2 D[ E[m − . . . − A[7 /C − D[ d)
.. [5/[9
31 . D[ − A[7 /E[[ − D[ − G[ e)
.. d
34 . <(A[[9
7 − G[)/G[ − B[7 − f)
..
38 . E[ B[[9
7 − E[ − . . . − P D (b[)
42 ⊥ B[97 − E[64 − F7 − B[− climax
46 E[ E[ − . . . − trans Pno LH arp, RH signal
52 <(B[7 − E[) cad
54 M1 <(B[ − E[) − B[ − E[− A2 , a), Pno dotted rhythm
..
58 . D[ A[7 − D[− b), climax
.. [5/[9
62 . F7 /C − F7 /C[− Pno trans, PBi (&)
..
64 . (E[ − . . . − C7[9 − F m − A[)/B[− c), P D (b[)
68 ⊥ E[ B[7 − E[ cad, GP
72 E[m B2 , Pno gallop rhythm
73 M2 D[ E[m − . . . − A[7 /C − D[ d)
.. [5/[9
76 . D[ − A[7 /E[[ − D[ − G[ e)
.. d
79 . <(A[[9
7 − G[)/G[ − B[7 − g)
..
83 . E[ B[[9
7 − E[ − . . . − f), P D (b[)
87 ⊥ B[97 − E[64 − F7 − B[− climax
91 E[ (94 m.)

Table 6.38: Schubert, Die Winterreise - 14. Der greise Kopf
m. M R H Comment
h i
Etwas langsam ([[[[) 34
1 M1 Cm Cm − G7 − G[9
7 − Cm Intro, ab): Pno
5 M1 Cm − G7 − G[9
7 − Cm A1 , ab)
9 M1’ G[9
7 − Cm trans, b’) Pno cad
11 M2 G G − E7[9 /B − Am/C − E7 /B− B1 , c)
..
13 . Am/C − D7 − G − E7[9 /B− d)
15 (M2) Am/C − D7 − G d) Pno cad
..
17 . G/B − Cm − E[7 /G − A[ e), [VI
..
21 . A[7 /G[ − D[/F − B[[5
7 /F [− f), Σ(cm<)
..
22 . E[ E[ − E[7 /D[ − A[m − E[ [III, plag cad, climax
25 ⊥ F ]◦7 − G − D◦ − G7 − g), Voc+Pno unisono
30 M1 Cm Cm − G7 − G[9
7 − Cm A2 , ab):
34 M1’ [9
G7 − Cm trans, b’) Pno cad
36 M2 C C/E − C + /E − F B2 , c)
..
38 . Dm − G7 − C d), cad, major
40 ⊥ Cm D∅7 /F − G − Cm h), cad, minor
43 M1’ G[9
7 − Cm b’) Pno cad (44 m.)

6.3.15 Song Die Krähe

Form: ABAC. See the analysis in Table 6.39 and 6.40. The main melody in the tonic minor
key Cm is introduced by the piano. This melody has structure M1(abab’) (2 + 2 + 2 + 2 m.),
and consists of mainly stepwise motion. In the vocal part there are two statements in the A1
section, and a single statement in the short A2 sections. In the contrasting sections the bird
is being addressed; this happens in the B section, in the relative major key E[ and later in
C, in the subdominant minor key F m. The melodies are M2(cdcd’) (2 + 2 + 2 + 2 m.) and
M3(efef’) (2 + 2 + 2 + 2 m.). And, obligatory for a sad and tragic story, the climax is on the
word ‘Grabe’ (descending leap).
In the piano accompaniment there are continuous 16th note arpeggio triplets, in the in-
troduction and coda in the left hand, and during the song as afterbeat right hand patterns.
There, in the A section, the left hand plays the melody unisono with the singer. In the C
section, there is extended dominant pedal point in the middle voices in both hands.
6.3.16 Song Letzte Hoffnung

Form: ABC. See the analysis in Table 6.41. The feeling of last hope and final desperation
is expressed in the uneasy descending imitative piano patterns in staccato 8th notes in the
introduction, transitions and coda. This is a through-composed song, with four melodic
segments. In the A section we find the melodies M1(aa’)+M2(bc), (4 + 4) + (4 + 4) m. In B the
‘falling leaves’ (‘und fällt das Blatt”) are the central element; the melody phrasing is M3(ded’)
(3 + 3 + 3 m.). The closing section C has a regular structure M4(fgfg’) (2 + 2 + 2 + 2 m.).
Again there is beautiful illustration of the lyrics. Note the sustained chord on the word
‘Gedanken’ (m. 12), the rapid 16th note arpeggio patterns after ‘Zittern’ (m. 22-23), the de-
scending piano lead line on ‘fällt das Blatt zu Boden’ (m.25-26, 32-33), the sighing in the de-
scending steps on ‘wein’ (m. 35-36) and ‘Grab’ (m. 38). The key centres are tonic major E[
(outer sections) and the parallel minor E[m in the middle section. The song ends with a
closing plagal cadence I7 − IV − IV m − I in m. 46-47.
6.3.17 Song Im Dorfe

Form: ABA, ternary song. See the analysis in Table 6.42. The irritation caused by the barking
dogs is audible in the legato 16th notes in the piano left hand (later moving to right hand).
The singers anger (and envy?) about the villagers’ dreams are expressed in the many leaps
in the melody M1. This has structure M1(abc) (5 + 5 + 2 m.).
The middle section B introduces more (chromatic) stepwise motion in the voice, over an
extended dominant pedal point (8th notes d in the piano right hand). The melody phrasing
is M2(ccd) (2 + 2 + 4 m.).
Whereas the outer sections A are in the tonic major key D, the middle section is in the
subdominant key G. In the closing A2 section the original melody is interrupted twice with
chordal phrases M1d (’was will ich unter Schläfern säumen’), where the second statement has
a brief subtle hint at the tonic minor key.
6.3.18 Song Der stürmische Morgen

Form: ABA, ternary song. See the analysis in Table 6.43. This is a miniature ternary song
in the minor key Dm. Unisono 16th note runs and arpeggios depict the storm. The section

Table 6.39: Schubert, Die Winterreise - 15. Die Krähe
m. M R H Comment
h i
Etwas langsam ([[[) 22
1 M1 Cm Cm − G7 /D − Cm/E[ − C/E− Intro, M1a): Pno, LH arp
..
2 . F m − D∅7 − Cm
.. d
3 . D[ − A[/C − G7 − Neap
4 ⊥ A[ − D[/F − Cm64 − G7 − Cm cad
6 M1 Cm − G/B − Cm− A1 , a) Voc+Pno LH unis,
..
7 . C7 /B[ − F m/A[ − Cm/G− RH 16th arp
..
8 . D∅7 /F − G[9
7 − Cm b), cad
..
10 . Cm − G/B − Cm− a), Voc+Pno LH unisono
..
11 . C7 /B[ − F m/A[ − Cm/G−
12 ⊥ E[ D∅7 /F − b’), to relative major
14 D∅7 /F − B[[9
7 /A[− trans, Pno
E[/G − A[/C − A[m/C[−
15 E[64 − B[7 − E[ − B[+ /D−
16 M2 <(E[ − B[+ /D)− B, c), Seq(2×4m;R7 )
..
18 . E[ − G[9 [9
7 /F − C/E − G7 /F −
..
19 . C/E − C + /E−
..
20 . F <(F − C + /E)− c’)
..
22 . F − C]◦7 /G − D/F ] − A[5
7 /E[−
d
23 ⊥ D − Dm − G7 −
24 A[ − Cm/E[ − D∅7 /F − G− [V I|Cm = N = [II|G
25 M1 Cm Cm − G/B − Cm− A2 , a) Voc+Pno LH unis,
..
26 . C7 /B[ − F m/A[ − Cm/G RH 16th arp
27 ⊥ D∅7 /F − G7[9 − Cm − C7 /B[− b), cad, to SD

Table 6.40: Schubert, Die Winterreise - 15. Die Krähe (cont’d)
m. M R H Comment
29 M3 Fm <(F m/A[ − C/G) C, e), P D (c)
..
31 . F m − Cm/G − D∅7 /A[− f), PL (%)
..
32 . Cm64 − G − C7 /B[− climax
..
34 . <(F m/A[ − C/G) e)
..
36 . F m/A[ − Cm/G − F ]◦7 − f’), PL (%)
37 ⊥ Cm64 − G− cad
38 M1 Cm Cm − G7 /D − Cm/E[ − C/E− Coda, M1a): Pno, LH arp
..
39 . F m − D∅7 − Cm
.. d
40 . D[ − A[/C − G7 − Neap
41 ⊥ A[ − F m − Cm64 − G7 − Cm cad (43 m.)
A main melody M1 is partly set as unisono with the piano; the phrasing is M1(ab) (2 + 3
m.). The contrasting middle section B is in the lowered submediant degree key B[. The
feverish excitement over the red flames (‘Und rote Feuer Flammen’), is the song climax, with
hammering block chords in the piano. The melody has structure M2(cc’) (2 + 3 m.). The
block chords return in the varied closing section A2 , where the melody M1 receives a new
closing phrase M1d as the second climax.
6.3.19 Song Täuschung

Form: ABA, ternary song. See the analysis in Table 6.44. The outer A sections are in the tonic
major key A, expressing a gentle melody (‘Ein Licht tanzt freundlich vor mir her’, we save the
deception for later). The melody has regular structure M1(abab’) (4 + 4 + 4 + 4 m.). In the
accompaniment there are arpeggio chords in the piano left hand, with either dominant pedal
point or chromatic steps in the other hand. The middle section B seems to open in the tonic
parallel minor key Am but this ambiguous chord turns out te be the minor subdominant
degree chord. This yields a plagal cadence in E(m), the true key of this contrasting section.
Melody M2 is dominated by chromatic stepwise motion; the phrasing is M2(cd) (6 + 4 m.).
The return of the melody M1 in the closing A2 section has a little deceiving twist: there is
cutting out of a measure at the lyrics ‘Nur Täuschung ist für mich Gewinn!’, and replacing it
with an altered version of M1b as a closing cadence.
6.3.20 Song Der Wegweiser

Form: ABAC. See the analysis in Table 6.45. Harmonically, this is a most interesting song.
Is has overall binary structure (AB)-(AC) and is in the minor key Gm. Both A sections are
equal, with a stepwise moving melody and irregular phrase structure M1(abb’c) (5+2+2+6
m.). The harmonic experimentation starts on the M1b-phrase, where a sequence brings us

Table 6.41: Schubert, Die Winterreise - 16. Letzte Hoffnung
m. M R H Comment
h i
Nicht zu geschwind ([[[) 34
1 E[ <(B[[9 [9 [9
7 − F7 /A) − B[7 Intro, Pno imit&
5 M1 B[[9 [9
7 − F7 /A − B[− A, a)
..
7 . E[ − F7 /C − E[64 − B[7 − E[ cad
..
9 . B[[9 [9
7 − F7 /A − B[− a’)
.. d
11 . E[ − B◦7 /D − Cm − G7 −
..
. A[ − F m−
12 ⊥ D7 /F ]−
13 G[9
7 − ...−
15 M2 G[9
7 − ...− b)
..
17 . D7 − G[9
7 −
..
19 . B[[9
7 − E[m7 − c)
21 ⊥ F7[5 /A−
22 <(B[ − F7[5 /C[)− tr, Pno block ch, 16ths
24 B[[9
7 − ...−
26 M3 E[m E[m − A[7 − D[7 − B, d), Pno &

..
28 . B[m− Pno afterbeat 16ths
..
29 . E[m64 − B[7 − E[m e), cad
31 ⊥ E[m/G[ − B[[97 − Pno
32 M3’ E[m − A[7 − D[7 − d’), Pno &
..
34 . B[m− Pno
35 M4 E[ E[/G − E[+ /G − A[ C, f), Pno block ch
.. d
37 . E[64 − B[7 − E − Cm g)
..
39 . E[/G − E[+ /G − A[ f)
..
41 . (E[ − E[m − F∅7 − B[[9
7 )/B[− g’)
43 ⊥ E[[9
7 − . . . − Pno imit
46 E[7 /G − A[ − A[m − E[ plagal cad (47 m.)

Table 6.42: Schubert, Die Winterreise - 17. Im Dorfe
m. M R H Comment
h i
Etwas langsam (]]) 12
8
1 D D − E∅7 /G − E7 /G]− Intro, Pno LH 16ths
5 D46 − A4 cad
7 M1 D − E∅7 /G − E7 /G]− A1 , a)
..
12 . (D − B7[9 − Em − A[9
7 )/A− b), P D (a), Pno RH 16ths
..
14 . (D − A7 − D − Dm)/A
17 ⊥ A[9
7sus4 − A7 − c) cad
18 D tr, Pno LH 16ths, RH 8ths, P D (d)
20 M2 G G − E7 /G] − Am − D7 /F ] − G B, d)
..
22 . G − E7 /G] − Am − D7 /F ] − G d)
..
24 . E7[9 /D − Am − D7 − G/D− e)
26 ⊥ A7 /E − D−
27 D − ...− trans, Pno
29 A[9
7 − ...−
31 M1 D D − E∅7 /G − E7 /G]− A2 , a)
..
36 . Dm/A − F/A − B[ − Gm/B[− b’), [V i = N |V
..
38 . D/A − G − D/A − G/B − A d), Pno block chords
..
40 . D − B[ − E7[5 /B[− b’), Pno LH 16ths
..
43 . D/A − G− d’), Pno block chords
44 ⊥ D/A − G/B − (D − Dm − A)/A b’)
46 D − ...− Pno LH 16ths (49 m.)

Table 6.43: Schubert, Die Winterreise - 18. Der stürmische Morgen
m. M R H Comment
h i
Ziemlich geschwind, doch kräftig ([) 44
1 Dm Dm − Gm− Intro, Pno LH+RH unis
2 G]◦ − Dm/A − B[ − G]◦7 /B− PBi (%)
3 B[ − A − Dm cad
4 M1 Dm − A A1 , a), Voc+Pno unis
..
6 . A[9
7 − Dm − F ]◦7 − B[ b)
8 ⊥ G]◦7 − A − Dm − E7[9 /G]− cad, Pno triplets Σ(cm>)
10 M2 B[ B[ − F7[9 − B[ B, c) clim, block chords
.. d
11 . E[ − F7 /C − Gm − F7 − B[ Σ(cm<)
..
12 . B[ − F7[9 − B[ c’) climax
13 ⊥ B[7 /A[ − E[/G − C∅7 /G[ − F713 − B[ [VI = N |V , PBi (&)
14 M1 Dm A[9
7 /C] − Dm − F ]◦7 − A2 , b), Voc+Pno unisono
..
16 . F ]◦7 /E[ − Gm/D − A7 /C]− d), clim, Pno 16ths ch, PBi (&)
18 ⊥ E7[5 /G] − A − Dm − G]◦7 − cad
19 G]◦7 − A − Dm cad, Pno Σ(cm>) (19 m.)
Table 6.44: Schubert, Die Winterreise - 19. Täuschung
m. M R H Comment
h i
Etwas geschwind (]]]) 68
1 A A − C]7 /G]− Intro, Pno LH arp, PLi (%), Σ(cm<)
4 F ]m − E7 − A cad
6 M1 A − E7 /G] − C]7 − A1 , a)
..
10 . F ]m − A64 − E7 − A − E7 − A b), cad
..
14 . A − E7 − C]7 − a)
18 ⊥ F ]m − A64 − E7 − A b’)
22 M2 E Am − E− B, c), plagal cad
..
26 . F ]7 − B7 − E
28 ⊥ (F ]m7 − D][9 +
7 no 1 − E − E )/E− d), PLi (%), P D (e)
31 M1 A A − E7 − C]7 − A2 , a)
..
35 . F ]m − A64 − E7 − A − C]7 − b), cad
38 ⊥ F ]m − A64 − E7 − A b”), cad (43 m.)

m. 57 58 59 60 61 62 63 64 65
~ :
H [9 6
A7 − Gm4 − E[7 − E◦7 − B[m64 − E◦7 − C]m64 − A7 − D7 /F ]−
~0 : [5/[9 [5/[9
H A7 A[9
7 = C7[9 = D]7
[5/[9
A7 C7[9 D][9
7
Deg. II7 − Im64 − II7 − II7 − Im64 − II7 − Im64 − II7 − V7 −
R: G B[ C] G
Figure 6.8: Schubert, Die Winterreise, Song 20 Der Wegweiser, chord progression m. 57-65.
briefly to the lowered 7th degree minor key F m = [VIIm. A brief episode of hope emerges
as the song moves into the tonic parallel major key G in section B. The phrasing now is
M2(dee’) (4 + 2 + 4 m.), with M2d=M1a (the variant in major). At the end there is the next
harmonic surprise: we have reached the major mediant key B and Schubert brings us back
with B − Bm − Gm = III − IIIm − Im, using a pivot pitch chord change (for more discussion
of this technique see the Great Symphony No. 9 in Section 6.4). Here the pivot pitch is the
d = 3|Bm = 5|Gm , thus as an element of R3piv3 , with the root moving down by a major third.
In section A2 the song reaches its melodic apex with phrase M1b” (m. 48, on the words ‘suche
Ruh’).
The final surprise is in the closing section C, which consists of two long phrases M3(fgfg’)
(4 + 8 + 4 + 9 m.), with (chromatically) ascending basslines (m. 57-64, and 69-75). The first
passes through symmetrically related minor keys. Note the second inversion chords [S̄46 ] :
Gm/D − B[m/F − C]m/G], i.e., symmetric division of the octave into minor thirds, three
semitones R(3i). These chord changes are set as contrary closing motion. A possible inter-
pretation of the harmony in m. 57-65, with many pivoting ambiguities through diminished
[5/[9
seventh chords S◦7 or augmented 6th chords S7[5 or S7 , is given in Fig. 6.8.
The second phrase also uses extended tonic pedal point, as inner voice 8th notes in the
piano right hand. And, as icing on the cake, there are the Neapolitan 6th N6 chords in the
closing cadences. Schubert in this song is a veritable Wegweiser on the road to harmonic
experimentation.
6.3.21 Song Das Wirthshaus

Form: ABC. See the analysis in Table 6.46. The outer sections A and C use two versions of
the same melody (note the melodic shape and rhythm); the melody structure is M1(abab)
(2 + 2 + 2 + 2 m.). In the closing section for M3 there is the opening phrase in the parallel
minor. The phrasing here is M3(eff’) (2 + 2 + 2 m.). The middle section B melody is M2(cd)
(2 + 2 m.), with the apex pitch in m. 20 and the inevitable descending arpeggio on ‘matt zum
Niedersinken’.
The tonic key is major F . In the intro with piano block chords there is another harmonic
twist (see the previous song): note the start of the turn to relative minor Dm, but that is
immediately corrected by a return to the tonic key. Schubert does this with a pivot pitch
piv5
chord change R−3 , the roots moving R−3 : Dm − F , using the pivot pitch e = 5|A = 3|C7 .
In the A section the opening phrase M1a sidesteps to the supertonic degree minor key Gm;

Table 6.45: Schubert, Die Winterreise - 20. Der Wegweiser
m. M R H Comment
h i
Mässig ([[) 24
1 (M1) Gm Gm− Intro
3 F ]◦7 /E[ − A[5
7 /E[ − D − Gm cad
6 M1 Gm − E[ − A∅7 /C − D7 − Gm A1 , a)
..
11 . Cm/E[ − D7 − B[m/D[ − C7 − bb’), Seq(2×2m;R−7 ), PBi (&)
..
15 . Fm F m − C7 − F m − C − Cm c)
17 ⊥ (Gm − D − Gm)/D − D− P D (d)
19 Gm Gm − D − Gm trans, cad, Pno
22 M2 G (G − Am7 − Gm)/G − D7 − B (]) d)
.. d
26 . G/D − G − B7 − e)
28 ⊥ <(C − B7[9 ) − F ]− f), climax
33 B B − Bm− trans, Pno
[5/[9
37 Gm − A7 /E[ − Gm64 − D− R3piv3 , cad
41 M1 Gm Gm − E[ − A∅7 /C − D7 − Gm A2 ([[) a)
..
46 . Cm/E[ − D7 − B[m/D[ − C7 − bb”), Seq(2×2m;R−7 ), PBi (&)
..
50 . Fm F m − C7 − F m − C − Cm c’)
52 ⊥ (Gm − D − Gm)/D − D− P D (d)
54 Gm Gm − D − Gm trans, cad, Pno
d
57 M3 A[9
7 /C] − Gm/D − E[7 − E◦7 − C, g), PB (%), Σ(cm>)
..
61 . B[m/F − E◦7 /G − C]m/G] − A7 − h)
65 ⊥ D7 /F ] − Gm − A[/C − Gm64 − D7 − climax, N6 , cad
67 Gm trans, Pno
69 M3’ G7 /B − C − A[5
7 no 1 /C] − Gm/D− g), Σ(cm>), P T (g)
..
73 . E[7 − C7 /E− h’)
..
75 . D7 /F ] − Gm − A[/C − Gm64 − D7 − climax, N6 , cad
.. [5/[9
77 . Gm − Gm7 /F − C/E − A7 /E[− PB (&)
79 ⊥ Gm/D − E[ − A◦ /C − D− cad
81 Gm Pno (83 m.)

its relative major key B[(= IV |F ) provides the landing as part of a IV − IV m − V cadence
(m. 8).
The middle section B is in the subdominant major key B[ with a dominant pedal point.
The lyrics are supported by the accompaniment: on ‘bin matt zum Niedersinken, bin tödtlich
schwer verletzt.’ there are the obligatory descending steps in the lead, while the keys move
through B[ − F − C.
The closing section C seems to move to the tonic parallel minor F m, but the ambiguity
of this chord F m = Im = VIm|A[ enables the move to the lowered mediant major key A[.
The major-minor mood is once more touched upon in the cadences in m. 26, before the song
closes in F major.
6.3.22 Song Muth

Form: AB. See the analysis in Table 6.47. In this binary form song the piano introduces the
melody and repeats every vocal closing phrase as a subtle variation at one degree louder dy-
namics. The A section is in the tonic minor key Am (lyrics ‘Fliegt der Schnee mir ins Gesicht’).
The melody structure is M1(aba’b’) (3 + 2 + 3 + 2 m.), with the M1a-phrase in minor and the
M1b-phrase in major.
The B section is in the parallel major key A (‘Lustig in die Welt hinein’). This contrasting
section contains a number of plagal cadences. In the second part of this section there is a brief
sidestep to the lowered mediant degree major key C = ([)III; see the cadences in m. 33-36.
There is the remarkable return of the phrase M1b in M2(cdcb’cecb).
6.3.23 Song Die Nebensonnen

Form: ABA, ternary song. See the analysis in Table 6.48. The A sections are in the tonic major
key A and its relative minor key F ]m. Similar to the previous song, the piano is repeating
the cadential closings of all phrases. The melody phrasing is M1(aa) (5 + 6 m.). The middle B
section is in the parallel minor key Am. The melody here copies the feel of the main melody;
note the rhythm and direction of the stepwise motion. The phrases are M2(cde) (2 + 2 + 4
m.), with the song apex in the last phrase (m. 21, on ‘Ja, neulich hatt’ich auch wohl drei’).
6.3.24 Song Der Leiermann

Form: AAB. See the analysis in Table 6.49. Finally, here is the drone of death in ‘Mr. Hurdy-
Gurdy’ (‘Der Leiermann’). The drone is provided by a continuous tonic-dominant P (a − e)
pedal point in the piano left hand. The right hand plays the hurdy-gurdy melodic phrases.
The A section melody has structure M1(aabb)+M2(c) (2+2+2+2+2 m.). It concludes in the B
section with M3(de) (2 + 2 m.) when the singer addresses ‘The Reaper’ (‘Wunderlicher Alter’)
with the apex on the last line (m. 56-57, on ‘Willst zu meinen Liedern deine Leier drehn?’. Not the
kind of song to bring the crowd to the dancefloor, but a perfectly effective and melancholic
mood closing of this wonderful song cycle.
6.4 Symphony No. 9 Große, D944 (1828)

Source: [59]. Schuberts last symphony, the Große (‘Great Symphony’), has huge proportions.
An overview of the formal analysis is shown in Fig. 6.9. The sonata form first movement

6.4. SYMPHONY NO. 9 GROSSE, D944
Table 6.46: Schubert, Die Winterreise - 21. Das Wirthshaus
m. M R H Comment
h i
Sehr langsam ([) 44
1 F F − C − F − F7 − Intro, Pno block ch
4 (B[ − D7[9 − Gm)/B[ − F/C − A[9
7 /C]− PB (%)
piv5
5 Dm − A − C7 − R−3 , cad
6 M1 F − C − Cm − Gm/D − D7 − Gm A, a)
..
8 . B[ − B[m − C− b)
9 ⊥ F7 /E[ − B[/D − F46 − C7 − F cad
10 F − F7 − trans, Pno block ch
11 (B[ − D7[9 − Gm)/B[ − F/C − C−
12 M1 F − C − Cm − Gm/D − D7 − Gm 2nd stat, a)
..
14 . B[ − B[m − C− b)
15 ⊥ F7 /E[ − B[/D − F46 − C7 − F cad
16 F − F7 − trans, Pno block ch
17 (B[ − D7[9 − Gm)/B[ − F/C − C − F7 −
18 M2 B[ F7 − B[/F − F − C − F7 − B, c), P D (f )
20 ⊥ (F7 − B[ − E◦7 − F )/F − C d)
22 G[9
7 /B − C− cad, Pno
23 M3 A[ F m − C − F m − E[7 − A[ C, e)
..
25 . Cm − A[ − D∅7 /F − f)
..
. Cm/G − G/B − C/E−
..
26 . F F − B[/D − F46 − C7 − cad
..
. F − F m − Cm/E[ − G7 /D−
..
27 . Cm − A[ − D∅7 /F − f’)
..
. Cm/G − G/B − C/E−
28 ⊥ F − D7[9 /A − Gm/B[ − C7 − F cad
29 F − F7 − Coda, Pno
30 (B[ − D7[9 − Gm)/B[ − F/C − C − F cad (31 m.)

Table 6.47: Schubert, Die Winterreise - 22. Muth
m. M R H Comment
h i
2
Ziemlich geschwind, kräftig 4
1 M1 Am Am − Dm/A − Am − E7 − Am Intro, Pno
5 M1 || : Am − Bm/D − E− A, a)
..
8 . E46 − B7 − E b), cad
..
10 . E46 − B7 − E Pno repeat variation
..
12 . Am − D]◦7 − E− a)
15 ⊥ A A/C] − E7 − A b’)
17 A/C] − E7 − A : || trans, Pno repeat var
19 M2 E E−A−E B (]]]), c), plagal
..
21 . E46 − B7 − E d)
..
23 . E46 − B7 − E Pno repeat var
25 ⊥ E − E7 /B − A − E c’)
27 M1 A/C] − E7 − A b’)
29 A/C] − E7 − A : || Pno repeat var
31 M2 E − Am − E c’), plagal minor
..
33 . C C − G7 − C e)
..
35 . Em/G − G7 − C Pno repeat var
37 ⊥ A E7 − A − E c’)
39 M1 A/C] − E7 − A b’)
41 A/C] − E7 − A : || trans, Pno repeat var
43 M1 Am Am − Dm/A − Am − E7 − Am Coda, Pno (46 m).

Table 6.48: Schubert, Die Winterreise - 23. Die Nebensonnen
m. M R H Comment
h i
Nicht zu langsam (]]]) 34
1 M1 A A − E − A7 − D − A Intro, Pno
3 ⊥ <(E7 − A) cad
5 M1 A − E − A7 − D − A A1 , a)
..
7 . <(E7 − A) Voc-Pno repeat
..
10 . F ]m F ]m − Bm/D − F ]/C]− a’), relative minor
..
11 . Bm − F ]m
12 ⊥ C]7 − F ]m − E7 − A cad, Voc-Pno repeat
14 C][9
7 /E] − <(E7 − A) trans, Pno cad
16 M2 Am Am − E7 − Am B, c)
..
19 . C E − Em − G7 /D − C d), Σ(cm<)
..
20 . C − G − C7 − F − C e), climax
..
22 . Am E7 /G] − Am−
d
23 ⊥ <(E7 − F ) − E Voc-Pno repeat
26 M1 A A − E − A7 − D − A A2 , a)
28 ⊥ F ]m C]7 − F ]m − E7 − A cad, Voc-Pno repeat
30 A C][9
7 /E] − <(E7 − A) Pno cad (32 m.)

Table 6.49: Schubert, Die Winterreise - 24. Der Leiermann
m. M R H Comment
h i
3
Etwas langsam 4
1 Am Amno 3 Intro, P (a−e)
3 M0 Am − E − Am − . . . − <(E7 − Am)
9 M1 Am − . . . − E− A1 , a)
..
13 . Am − . . . − E− a)
..
17 . <(Am − E)− b)
21 ⊥ <(Am − E)− b)
25 M2 Am − . . . − c)
27 M0 Am − <(E7 − Am) tr Pno
31 M1 Am − . . . − E− A2 , a)
..
35 . Am − . . . − E− a)
..
39 . <(Am − E)− b)
43 ⊥ <(Am − E)− b)
47 M2 Am − . . . − c)
49 M0 Am − <(E7 − Am) tr Pno
53 M3 <(E7 − Am) B, d)
56 ⊥ <(E7 − Am)
58 M0 Am − <(E − Am) Pno (61 m.)

has a relatively short development section. The global structure of the Andante movement
is binary, with many shorter subsections. The third movement has the familiar ternary form
for both the Scherzo and the Trio. The closing section is more than 1000 measures long; it
contains a long recapitulation and second development section.
In this symphony there is the frequent occurrence of a Schubert trademark: the chord
changes with the root moving by a third, and a pivot pitch as an interface between the source
and destination chord. This is applied to either brief sidesteps to third-related keys or as part
of a modulation in a longer development section. These will be marked in the analysis tables
pivn
and will be notated as R±3 , where the root moves a third down (R3 ) or up (R−3 ), and the
chordal function n = {1, 3, 5} (root, third, fifth) is the pivot pitch between the two chords
(see the elucidation of the first occurrence in Mvt. 1 in Section 6.4.1).
6.4.1 Mvt. 1 Andante - Allegro, ma non troppo

Form: sonata form. See Table 6.50 to 6.56 for the analysis. The andante Introduction section
can be split into five smaller sections, ABABA. The A sections have a rondo character since
they present the opening theme M0. The B sections act as transitions with variations on and
brief developments of the theme M0’. The final A section concludes with a transition to the
allegro section. The opening theme has a modified period structure M0(ababb’) (2 + 1 + 2 +
1 + 1 m.). The a-phrase is played in unisono statements. It consist of two measures with
a stepwise ascending motif, covering the interval of the third; the second measure with the
dotted quarter note, 8th note, half note rhythm M0a’ will turn out to be a central element
of this movement. The dotted rhythm returns in the allegro, the ascending third will also
reappear. The last b-phrase is a rhythmically augmented variation on the original.
The theme M0 is stated twice in A1 , first in solo unisono horns, then repeated by two-part
S(2p) woodwinds. The first transitory development section B1 features the strings. Near the
end, m. 22 ff., the woodwinds echo the strings with the dotted rhythm, ascending third
motif M0a’. Here we also find the first pivot point, root-by-third occurrence B − G7 (m. 27-
28). The abbreviated notation is R3piv1 since the root moves down by a major third b − g,
while the root of the source chord acts as the pivot pitch and becomes the major third of the
destination chord (b = 1 → 3). The B2 section also ends with such a pattern: here we are in
the Neapolitan degree of the dominant axis A[ = [V I = N/V and the chord progression is
A[ − D[m64 − F m6 − C46 (m. 53-59), which corresponds to (I − IV m)|A[ − (IV m − I46 )|C and
piv5
contains the ‘root-by-third with pivot’ change R−3 (root moves up by major third d[ − f ,
with pivot pitch a[ = 5 → [3).
The Exposition section (m. 78 ff.) opens with the first group main theme M1 in the tonic
major key C. This theme juxtaposes two elements: the a-phrase dotted rhythm (unisono
strings and trumpet) and the b-phrase quarter note triplets (woodwinds, with ascending
arpeggio in bassoons and horns). The structure is M1(abababa’) (2 + 2 + 2 + 2 + 2 + 2 + 4 m.).
Note that the a-phrase regularly has ascending third leaps, a reference to the M0a-phrase?
The main theme undergoes a variation M1’ and brief (transitory) development treatment in
m. 94 ff. Here we find imitation in the string section, and the combination of both phrases
in a sequential setting (m. 103 ff.). By m. 111 the dotted note and triplet rhythms alternate at
single measure patterns.
The change to the second group in the unfamiliar mediant minor key Em is brief and
simple (m. 133). The contrasting theme for two-part S(2p) oboes and bassoons (in parallel

h ih i
4 2
Mvt. 1 Andante - Allegro, ma non troppo: sonata form (C, 4 2 , 685 m.)
Introduction (77 m.)
Exposition (176 m.)
Development (102 m.) Recap (214 m.)
Recap (cont’d) Coda (116 m.)
Coda (cont’d)
h i
2
Mvt. 2 Andante con moto: ABAB-Coda, rondo form (Am, 4 , 380 m.)
I A1 (22) B1 A2 B2 A3 C1 (71 m.) A4
B3 A5 (23) B4 D (35) C2 (63 m.) Coda (51 m.)

h i
3
Mvt. 3 Scherzo, Allegro vivace: scherzo and trio form (C, 4 , 404 m.)
A1 (57 m.) B1 (96 m.) A2 (86 m.)
A2 (cont’d) C1 (56 m.) D (48 m.) C2 (62 m.)

h i
2
Mvt. 4 Allegro vivace: sonata form (C, 4 , 1157 m.)
Exposition (201 m.)
Exposition (cont’d)
Recapitulation (cont’d)
2nd Development (88 m.) Coda (97 m.)
Figure 6.9: Schubert, Symphony No. 9 Große, D759

Table 6.50: Schubert, Symphony No. 9 Große, Mvt. 1 Andante - Allegro, ma non troppo
m M R H Comment
h i
4
Andante 4 Introduction, A1
1 M0 C C − Am − Dm − C ab): Hns solo
4 ⊥ Em − Am − <(Gno 3 − C) abb’)
8 C − F/C − C − Gno 3 − Str
9 M0 C − F − Dm − Am − Dm − G − C 2nd stat, ab): WW S(2p)
..
12 . Em − G7 − Em − F − B∅7 /D − Am a)
14 ⊥ G/B − C − Am − Dm/F − G − C bb’), cad
17 M0’ G7 /F − A/E − Dm − G − E7 /G]− B1 , trans, a’): Va+Vc
..
19 . Am − B∅7 /D − C/E− a’): Vc, Str Σ(cm)
..
20 . G7 /D − C − G − D/F ]−
..
21 . G7 /F − A/E − Dm − G7 − a’)
..
23 . C − F ]◦ /A − B7 − a’)
..
24 . <(Em − B7 − Em) − B/D]− Str-WW imit (M0a’)
28 ⊥ B − G7 − R3piv1
29 M0 C − Am− A2 , a): Tbn+Str unis, clim
..
31 . F/A − G7 /B − C b): WW
..
32 . E(m)7no 3 − Am [A] a): Brs+Str
.. d
34 . G7 − Am b): WW
35 ⊥ Dm/F − E − B− b’): (Brs+Str)-WW
38 M0’ G7 − . . . − B2 , trans, a): WW, R3piv1 , P D (g)
..
40 . G7 − Moa’): Tbn+Str, Hns P (g−f )
..
41 . (G − Dm − G)/G− a’): WW
..
43 . G7 M0a’): Tbn+Str
44 ⊥ G7 − . . . −
d
46 M0” G[9
7 − cresc, WW-(Tbn+Str) unis im
..
48 . <(A[ − E[7sus4 )/A[− [B] tutti climax, [VI = N/V ,
.. piv5
53 . (D[m − F m)/A[− P T (a[), R−3 , Str tremolo
59 ⊥ C46 − G7 − cad, P D (g)

(cont’d)
m M R H Comment
61 M0 C − G/D − F − Dm − Am A3 , a): WW S(2p), Vi triplets
..
63 . Dm − G7 − C − Em7 /D− b):
..
64 . C/E − F − G − Em− a):
..
65 . F − Dm − F/A − Am−
66 ⊥ G/B − Em/G − C − Am
67 Dm/F − F − G − G7 − trans, WW+Str Seq(3×1m;R7 )
68 E7 /G] − Am − Am7 −
69 F/A − B∅7 −
70 G7 − . . . − cresc, Va+Vc sync
74 G[9
7 − ...− Hns P (g−d)
76 G7 − . . . − tutti climax, P D (g)
h i
2
Allegro, ma non troppo 2Exposition
78 M1 || : C − . . . − Gr 1, a): Str unis+Tpt, dotted
..
80 . C − ... b): WW+Hns 14 -triplets
..
82 . G7 − . . . ab): idem
..
86 . C − ...− ab)
90 ⊥ Am − C/E − C46 − G7 − a’), cad
94 M1’ C − Am − F/A − Dm/F − [C] a’): LoStr-HiStr dot im
..
96 . G7 /D− b): WW 41 -triplets, Str Σ(cm<)
..
98 . C − Am − F/A − Dm/F − a’), repeat
100 ⊥ G7 /D− b)
102 M1” C − Am− a’/b): (Str+Tbn)/(WW+Brs)
..
103 . A7 /G − Dm/F − D7 − G Σ(cm<), Seq(2×4m;R−7 )
107 ⊥ G7 /F − C/E − C7 − F
111 M1” F/A − . . . − ba), tutti climax
..
114 . F − F ]◦7 − G4 − C7 − F cad
..
117 . F/A − . . . − repeat, ba)
120 ⊥ F − F ]◦7 − G4 − G cad
122 M1’ C − Am − F/A − Dm/F a’): LoStr-HiStr dot imitation
..
124 . G7 /D− b): WW 14 -tripl, Str Σ(cm<)
..
128 ⊥ G7 /D− b)
130 C −B [D] trans, tutti climax

octaves) has structure M2(abc) (2 + 4 + 2 m.). The b-phrase with the quarter note stepwise
motion over the interval of the third has similarity to the introduction theme (M2b=M0a’).
The background is a 8th note groove in the strings, with arpeggios and an extended tonic
pedal point. After two statements the ‘hammering’ staccato quarter notes from the M2a-
phrase also undergo a miniature development treatment: woodwind section imitation in
m. 150 ff., and variation in m. 156 ff. (tutti climax with strong dynamic contrast p − ff ). We
reach the conventional dominant major key G in m. 174, with a continued focus on the M2a-
phrase (woodwind imitation, followed by the tutti climax in m. 186 ff.). The strings maintain
their 8th note (arpeggio) groove.
Tonally, things get really exciting when the augmented version of M0a (the ascending
third motif) in the trombones (m. 199 ff.) is combined with the M2a-phrase (imitation in
woodwinds and strings). Two major third key axes are in operation: around the tonic there
are the keys (C) − A[m − Em, and the dominant key pair G(m) − E[. There is meandering
through these keys with a series of ‘root-by-third with pivot pitch’ chord changes. The domi-
nant major key is firmly established when the M0a-motif takes over in the disguise M3=M0a’
in the tutti climax at the end of the exposition (stepwise rising third opening motif, m. 230
ff.). This glorious closing theme has structure M3(aa’a”) (4 + 4 + 4 m.). The exposition closes
with a brief iteration of M2a and the return to the dotted rhythm M1a (m. 250, unisono
clarinets, bassoons, horns and strings).
The Development section (m. 254 ff.) combines the M1a- (dotted rhythm) and the M2a-
phrase (two-part staccato quarter note motif), with either phrase playing the lead part (for
woodwinds and strings). Key modulations set in and then the M1b-phrase is added (m. 288
ff., quarter note triplets in brass) with a change in the M2a articulation (no longer staccato,
instead replaced by downbeat accents). The development reaches a climax when finally the
M0a’ motif sounds in the trombones (m. 304 ff.) while the other themes continue as a tutti
background. Once again the major third key axis A[(m) − Em − Cm is stressed. But the
creativity does not stop here. In the background there is the continuous combination of the
dotted rhythm M1a (woodwinds) and quarter note triplet pattern M1b (violins) with the
lead part following a descending whole-tone scale d[ − c[ − a − g − f − e[!
There is a climax at m. 316 with M0a’ in stretto imitation (trombones to unisono strings),
before the dust gradually settles. M0a now is treated in imitation and sequential fashion
(woodwinds and lower strings), while in the background there is another descending whole-
tone scale: the lead tone is passed on from oboes to violins through e[ − d[ − c[ − a − g −
f − e[. At the end of the development a variation of the glorious theme M3’ is played in
the lower strings (m. 340), but the overall mood is minor now, while the key centre hovers
between A[ and Cm. This nicely prepares the sudden return to the parallel major key in the
recapitulation.
In the Recapitulation section (m. 356 ff.) the main theme M1 returns with minor instru-
mentation changes (trumpet and timpani omitted, later without trombones). Gradually the
M1a (dotted quarter note - 8th note) and M1b (quarter note triplet) rhythms are combined
(starting in m. 380). The diminution effect with single measure alternations of the rhythms
sets in in m. 392. A number of sequences build to a tutti climax (m. 424). The secondary
theme M2 is repeated in the tonic minor key Cm (m. 440) with instrumentation changes.
The miniature development of this theme is analogous to the exposition: there is imitation
and variation, the introduction motif M0a’ appears in the trombones (m. 517), and the glori-
ous fff tutti climax (m. 546 ff.).
The Coda section (m. 570 ff.) increases the tempo and quotes the M1’ phrases from the

(cont’d)
m M R H Comment
134 M2 Em (Em − Am − Em)/E− Gr 2, ab): Ob+Bsn S(2p), P T (e)
140 ⊥ B7 − c), Str 8ths arp
142 M2 (Em − Am − Em)/E− stat 2, ab): Fl+Cl S(2p), P T (e)
148 ⊥ B7 − c)
150 M2’ Em − D − G − F ] − B− a’): WW imit S(2p)
156 M2’ G7 − Bm − G7 − [E] tutti clim, R3piv3 -R−3
piv1
..
162 . A[5
7 /E[ − D tutti, Seq(2×2m;R−5 ),
..
164 . E7[5 /B[ − A − D7 /F ]− WW accents, Vi 8ths
.. d
166 . G − Am/C − G64 −D − cad
..
168 . A[5
7 /E[ − D repeat, Seq(2×2m;R−5 )
..
170 . E7[5 /B[ − A − D7 /F ]−
172 ⊥ G − Am/C − G64 − D− cad
174 M2” G <(G − Em7 − D − G)/G a’): WW imit, Vc arp, P T (g)
182 ⊥ D − G − F ] − Bm cresc
186 M2’ G7 − Bm − G7 − [F] tutti climax, R3piv1
piv3
190 ⊥ E[ − G7 /D− R−3
192 M2” E[ − . . . − clim, a’): WW imit, Str 8ths arp
196 ⊥ E[ − . . . − a’): Str pizz imit
200 M2’/0’ A[m A[m/E[ − E[− M2’: WW+Str, M0a’: Tbn
piv[3
208 M2’/0’ A[m/E[ = G]m/D]m − B7 − repeat, R−3
..
216 . Em Em/B − . . . − C repeat, R3piv1 , PBi (%)
[5/[9
222 ⊥ C]◦7 − Gm/D − A7 no 1 /E[−
228 M3 G G64 − D7 − [G] a): tutti clim, P (g−d)
..
232 . G − G/D − D7 − a’)
236 ⊥ G − C − G/D − D7 − G fff tutti climax
241 M2’ <(D/G − G) a’): WW S(2p)
245 G − . . . − <(G − D)− tutti cad
250 M1 G − . . . − : || a): LoWW+Str unis, dotted

(cont’d)
m M R H Comment
254 M1 A[no 3 − Dev, a): Str unis
256 M2/1’ A[ (A[ − E[ − G7 − A[)/A[− a): Fl+Ob S(2p), P T (a[),
.. ..
260 ./ . (E[ − A[ − E[7 − G7 )/A[− WW imit, Vi 8ths, M1’): Vc
.. ..
263 ./ . (A[ − E[7 − A[)/A[−
266 ⊥ /⊥ <(D[ − A[)/A[− Vc arp
268 M1’/2 <(E[7 − A[ − D[ − A[) Str Σ(cm<), WW imit
276 M2/1’ D[/F − B[m/D[− a): WW imit
280 M1’/2 Dm <(A − A7 − Dm)/A− LoStr-WW imit, P D (a)
288 M1’/2’ Fm <(C − C7 − F m)/C− Str+WW imit, M2b) Brs tripl
.. ..
296 ./ . C − C]◦7 −
300 ⊥ /⊥ Gm Gm/D − E[7 −
304 M0’/1+2 A[m E[7 /G − A[m = G]m− M0a’): Tbns, tutti,
.. ..
308 ./ . Em B7 /D] − Em− WW+Vi: Wh.t.-sc.
312 ⊥ /⊥ Cm G7 /B − Cm−
316 M0’/1 A[ A[ − . . . − [H] clim, Tbn-Str stretto, P (c)
320 ⊥ /⊥ A[ − . . . − diminution
326 M0’/1 A[m Cm − E[− M0a’) Bsn-Str im, Seq(3×4m;R3 ),
.. ..
330 ./ . Em A[m = G]m − B7 − R3piv3 , Vi1 tripl Wh.t.-sc.
334 ⊥ /⊥ Cm Em − G7 − Cm
340 M3’ A[ A[ − . . . − LoStr, Vi1 P D (e[)
d
344 M0a’ Cm Cm/G − G4 − G7 − Cl-Vc imit, Hns+Timp, P D (g)
348 M3’ A[ − . . . − repeat, Cl+Va+Cb
d
352 M0a’ Cm/G − G4 − G7 − Cl-Vc imit, P D (g), cad
Recapitulation
356 M1 C C − ...− Gr 1, a): Str unis, dotted (m 78)
..
358 . C − ... b): WW+Hns 14 -triplets
..
360 . G7 − . . . ab): idem
..
364 . C − ...− ab)
368 ⊥ Am − C/E − C46 − G7 − a’), cad
372 M1’ C − Am − F/A − Dm/F − a’): LoStr-HiStr im (m 94)
..
374 . G7 /D− b): WW 14 -triplets, Str Σ(cm<)
..
378 ⊥ G7 /D− b)

(cont’d)
m M R H Comment
380 M1” C − Am− a’/b): (Str+Hns)/WW
..
381 . A7 /G − Dm/F − D7 − G Σ(cm<), Seq(2×4m;R−7 )
385 ⊥ G7 /F − C/E − C7 − F
388 M1” F/A − . . . − b/a): (WW+Hns)/Str
389 ⊥ F − B∅7 − D]◦7 −
392 M1” E − ...− ab), 1-m pattern, Hns P D (e)
396 ⊥ Am E − Am − E/G] − D]◦7 /A− Σ(cm<)
398 M1” E − ...− repeat, ab), Hns P D (e)
402 ⊥ E − Am − E/G] − D]◦7 /A− Σ(cm<)
404 M1’ E7 − Am − E/G]− a): LoStr-HiStr im, P D (e) (m 122)
..
406 . F∆7 /A − Dm7 − a/b): Str/WW, Seq(3×4m;R7 ),
..
410 . G7 − Cm− Σ(cm<), Hns+Tbn P (1−7)
414 ⊥ A[∆7 − D◦ − Dm cresc
418 M1” B[/D − E[ − C7 /E − F m a/b), PBi (%), Seq(2×2m;R7 )
[5/[9
422 ⊥ Cm/G − D7 no 1 /A[− [I]
424 M1” G − ...− ba): tutti clim,
..
428 . Cm Cm/G − G/B − F ]◦7 /C− a): Str+WW Σ(cm<)
..
430 . G − ...− repeat, ba): tutti
..
434 . Cm/G − G/B − F ]◦7 /C− a): Str+WW Σ(cm<)
436 ⊥ G − ...− b): Str unis
440 M2 (Cm − F m − Cm)/C− Gr 2, ab): Ob+Cl S(2p), P T (c)
446 ⊥ G7 − c), Str 8ths arp
448 M2 (Cm − F m − Cm)/C− stat 2, ab): Ob+Cl S(2p), P T (c)
..
453 . E[/G − F7 /A − Dm− c’), Seq(2×4m;R−5 )
..
455 . A4 − A − Dm−
..
457 . B[/D − C7 /E − Am−
459 ⊥ E 4 − E−
460 M2 Am (Am − Dm − Am)/A− ab): Ob+Bsn, P T (a)
466 ⊥ E7 − c)
468 M2 Am − G − C− a): imit (Cl+Bsn)-(Fl+Ob)
472 ⊥ B − Em−

(cont’d)
m M R H Comment
474 M2’ C7 − Em − C7 − [K] tutti clim, R3piv3 (m 156)
..
480 . D7[5 /A[ − G tutti, Seq(2×2m;R−5 ),
..
482 . A[5
7 /E[ − D − G7 /B− WW accents, Str 8ths
.. d
484 . C − Dm/F − C46 − G − cad
..
486 . D7[5 /A[ −G tutti, Seq(2×2m;R−5 ),
..
488 . A[5
7 /E[ − D − G7 /B− WW accents, Str 8ths
d
490 ⊥ C − Dm/F − C46 − G − cad
492 M2” C <(C − Am7 − G − C)/C [L] a’): WW imit, Vc arp, P T (c)
500 ⊥ G − C − B − Em− cresc (m 182)
504 M2’ C7 − Em − C7 − tutti climax, R3piv1
piv3
508 ⊥ A[ − C7 /G− R−3
510 M2” A[ − . . . − [M] clim, a’): WW im, Str 8th arp
514 ⊥ A[ − . . . − a’): Str pizz imit
518 M2’/0’ D[m D[m/A[ − A[− M2’: WW+Str, M0a’: Tbn (m 200)
piv3
526 M2’/0’ D[m/A[ = C]m/G] − E7 − repeat, R−3
.. ..
534 ./ . Am Am/E − . . . − F repeat, R3piv1 , PBi (%)
[5/[9
540 ⊥ /⊥ F ]◦7 − Cm/G − D7 /A[−
546 M3 C C46 − G7 − [N] a): tutti clim, P D (g) (m 228)
..
550 . C − C/G − G7 − a’)
554 ⊥ C − C/G − G7 − C fff tutti climax
559 M2’ <(G/C − C)− a’): WW (S(2p)) (m 240)
563 C − . . . − <(C − G)− tutti cad
Più moto Coda
570 M1’ C − Am − F/A − Dm/F − a’): LoStr-HiStr imit (m 94)
..
572 . G7 /D− b): WW 14 -tripl, Str Σ(cm<)
..
576 ⊥ G7 /D− b)
578 M1” C − C7 − ab): Str-WW, Hns+Tpt P T (c)
582 ⊥ F − F ]∅7 − G4 − G7 − cad, WW+Str Σ(cm>) (m 115)
584 M1” C − C7 − a’), repeat
588 ⊥ F − F ]∅7 − G4 − G7 − cad

exposition (see m. 94-121). Then the main theme is set in fourfold imitation (m. 590 ff.):
woodwinds to violins, then violas plus celli, then contrabasses plus trombones. Woodwinds
play sustained chords, upper string groups are playing continuous quarter note triplet pat-
terns, (chromatic) contrary opening motion and crescendi that lead into climaxes (m. 602,
624, 642). The last climax has an augmented version of the M1a dotted note rhythm pattern
as imitation between low strings and trumpets. The next subsection (m. 650) briefly com-
bines the M1a- (dotted rhythm in clarinets and horns) and M2b-phrases (flutes and violins),
when the rhythmically augmented version introduction theme M0 enters the stage (m. 662,
ben marcato). After two statements, first as a tutti over tonic pedal point, repeated as a juxta-
position between (unisono) strings and the other groups, the opening movement comes to a
close.

Form: ABAB’ Coda. See Table 6.57 to 6.63 for the analysis. At a lower level the subdivision
of this movement is (A1 B1 A2 B2 A3 )-C1 -(A4 B3 A5 B4 )-D-C2 -Coda. The grouping of the sub-
sections between brackets justifies the overall ABAB form classification. The frequent return
of the A section melodic material such as the M1.1 phrases, also in the coda, brings a rondo
flavour to this movement. The second block ABAB may also be considered a variation on
the first. The development character of some sections, such as D-C2 , hints lightly at a sonata
form. This movement therefore is a versatile vehicle for musical creativity.
The Introduction starts with strings only, playing staccato 8th notes, suggesting a march
rhythm. We find the nucleus M0 of this movement in m. 4, where the lower strings play a
stepwise motif descending from the dominant pitch e − (c − b − c − d) (the key is Am), with
quarter-note and staccato dotted 16th note rhythm: 41 + 16 1 1
d + 32 + 161 1
d + 32 . Repeated and
frequently accented quarter and 8th notes (on dominant pitches) and the dotted note turn in
this motif show up in many of the themes and transitions.
In section A1 (m. 8 ff.) the main theme consists of two parts M1=M1.1+M1.2. These
have structure M1.1(abcab’)+M1.2(aba’b’c), with (3 + 4 + 2 + 3 + 4) + (1 + 1 + 2 + 1 + 1)
measures. In M1.1 for solo oboe (later doubled with clarinet) all phrases can be traced back
to the nucleus motif M0. Phrase M1.1a starts with M0 and concludes with repeated accented
quarter notes on the dominant pitch e The central measure contains a new element: the
arpeggio e − a − c = Am. Phrase M1.1b is based on the M0 dotted note rhythm, M1.1c
is another set of repeated accented dominant pitches over a harmonic cadence. The same
holds for M1.2c, but its a- and b-phrase have a more lyrical character (legato). In the string
section background of M1.2 (m. 22 ff.) there are various new elements: note the change
from minor to major, an aspect that will return frequently. There is a tonic-dominant pedal
point P (a−e) (lower strings vs. first violins). And, finally the celli and contrabasses play an
afterbeat pattern with sets of 32th notes, adding a ‘fanfare’ flavour to this march.1
The main theme M2 in section B1 (m. 30 ff.) can also be traced back to the M0 nucleus
and elements of M1.1. It has structure M2(abab+a’b’a’b”c) ([2 + 2 + 2 + 2] + [1 + 1 + 1 + 2 + 2]
m.). Phrase M2a opens in ff strings with repeated accented 8th notes on the dominant pitch
b in the current key E(m); it is a rhythmic diminution of M1.c. The second measure is the
dotted rhythm turn M0, so M2a=M1.1a’. M2b is for the woodwinds and horns, playing
1
This pattern has been labeled Mf (fanfare motif), because the idea returns in the second half of the movement,
where similar ‘fanfare’ patterns are played by the brass.

(cont’d)
m M R H Comment
590 M1’ C − ...− a’b): arp%, imit (WW+Hns)-Vi
..
594 . C]◦7 − Va+Vc, WW sust, PLi (%)
..
596 . C] = D[ − F ]m/C]− imit (Cb+Tbn)-(Vc+Tbn)
.. piv3
600 . A7 /C] − . . . − R−3 , b): 14 -triplets
.. piv3
603 . C7 − Em/B − C7 /B[− R−3 , Σ(cm<), cresc
..
606 . A − A7 /G − Dm/F − Dm−
608 ⊥ C/E − G4 − G− a/b), tutti climax, cad
612 M1’ C − ...− [O] repeat, a’b): imit (WW+Hns)-Vi
..
616 . C]◦7 − Va+Vc, WW sust, PLi (%)
..
618 . C] = D[ − F ]m/C]− im (Cb+Tbn)-(Vc+Tbn)
.. piv3
622 . A7 /C] − . . . − R−3 , b): 14 -triplets
.. piv3
625 . C7 − E/B − C7 /B[− R−3 , Σ(cm<), cresc
..
629 . A − A7 /G− tutti climax
.. [5/[9
630 . D7 /F ] − B7 no 1 /F − Timp P T (c)
..
634 . C/E − G4 − G− a/b), cad
638 ⊥ C/E − G4 − G− a/b), repeat, cad
642 M1’ C − ...− a’): augm imit Cb-Tpt,
646 ⊥ G4 − G− WW sust, b): HiStr 14 -triplets
650 M1/2 <(C − G)− [P] M1a’): Cl+Hn, M2b’): Fl+Vi,
..
654 . <(C − G97 )− cresc
658 ⊥ <(C − G)−
662 M0’ (C − Dm7 − C − F )/C− ab): augm, tutti climax, P T (c)
..
666 . <(F − C)/C ba’)
670 ⊥ Dm7 /F − G− b’)
672 M0’ C − Am− a): Str unis
..
676 . F/A − G/B − C b): tutti
..
678 . C − F/A − B◦ /D − Am− a’): Str Σ(cm<)
680 ⊥ Dm7 /F − G − C−
683 G−C closing cad (685 m.)

a melodic inversion of M0, in regular legato16th notes. In the background the strings are
playing afterbeat 32th note Mf patterns in imitation. On M2a’ horns, clarinets and bassoons
reduce the phrase to the second measure of M2a. M2b’ also has become a single measure
phrase, but M2b” repeats the dotted rhythm turn M2b”=M2b’+M0+M0. And the section
concludes with M2c=M1.1c, a set of repeated quarter notes on the dominant. Harmonically,
at the microscopic level, there is the key sequence E − Am − (C) − A − (Dm) − F , which
again opposes minor-major Am − A and includes a pivot point key change R3piv1 = (A → F ).
Section A2 (m. 45) is an abbreviated form of A1 , repeating the elements from m. 17 ff.
The main theme M1.1 is now played in two-part consonant parallels S(2p) by clarinets and
bassoons. Section B2 (m. 58 ff.) is a variation on B1 . Melodically, a variation phrase M2d is in-
serted, as an imitation of the turn motif M0 between strings and woodwinds. Harmonically,
the major-minor ambiguity is now between E − Em by alternating strings and woodwinds.
Section C1 (m. 93 ff.) puts an end to the march character. A gentler and more lyrical
mood sets in with melody M3 (ababa’b’) (2 + 2 + 2 + 2 + 2 + 2 m.), played in a two-part S(2p)
setting for 2nd violin, bassoon and contrabass. With the second M3a-phrase there is a coun-
termelody Mc (first in clarinet and first violin, later extended to all woodwinds and violins),
and the setting becomes a counterpoint-chorale flavour. Note that this countermelody con-
tains rhythmically modified inverted turns I(M0’). There are two statements of the melody.
The transitions also quote from this melody, while juxtaposing orchestral groups. Just be-
fore the retransition (m. 132 ff.) the juxtaposition turns into a call-and-response setting. The
accented quarter notes already suggest the reappearance of M1.1c, and bring back the famil-
iar transition rhythm.
Sections A4 to B4 (m. 160-231) are the repeats of the corresponding opening sections
(m. 8-75). The extra element is the addition of the ‘fanfare’ patterns as a countermotif; this
is moving through the brass parts (trumpet-horn) and transferred to the first violins. There
are also some instrumentation changes. Section D (m. 232 ff.) is an extended climax, with
a mix of development and transition characteristics. The repeated note M2c and dotted
turn pattern M2a are set in imitiation between upper and lower string groups, supported by
woodwind and trombone accented quarter notes (M1.1c) and the brass fanfare motifs. After
a general pause the strings change to pizzicato (m. 251) and celli and oboe play a variation
on the main theme M1.1”. Harmonically this involves cadences on the Neapolitan chord
B[ = [II, plus the minor-major alternation Am − A.
Section C2 brings back the melody M3 in the tonic parallel major key A. Its phrases are
moving through the woodwinds and quoting from the countermelody theme in m. 101 ff.,
while 2nd violins and violas are playing a countertheme Mc in continuous 16th note legato
patterns. This gives a flowing character to the section. There is a long transition in m. 300 ff.,
with the accented quarter note patterns in woodwinds and brass, and occasional snippets
from M3. The strings carry on the 16th note groove, with stepwise runs in contrary motion
and imitation, then changing to pizzicato as the mood calms down to the coda.
The Coda presents another major-minor opposition and wraps up the main theme ma-
terial M1.1a and M1.1.b in woodwinds and arco strings. The clarinet phrase (m 338 ff.)
contains the d = ]9 = [3 pitch over a B7 chord, turning this into an early example of a B7]9
‘jazz chord’.2 The final measures (m. 348 ff.) are suggesting an undecidedness between the
2
Obviously the occurrence of the B7]9 here is not a static chord voicing as in jazz music. The total harmony
is the result of melodic voice leading in the local minor key Em; the string section harmony contains the raised
7th degree d] in an ascending pattern, while the solo clarinet is playing the melodic minor descending riff b −

Table 6.57: Schubert, Symphony No. 9 Große, Mvt. 2 Andante con moto
m M R H Comment
h i
2
Andante con moto 4
Introduction
1 Am Am − E − Am/C− Str 8ths ‘March’, P D (e)
4 M0 E − Am/C − E − Am− Vc+Cb
6 E − B∅7 /D − Am/C − E − Am
8 M1.1 Am − B∅7 − Am − G7 − C− A1 , a): Ob
..
11 . E7[9 − Am− b)
..
13 . B∅7 /D − B7 /D]− PBi (%)
.. [5/[9
14 . E7sus4 − B7 /F −
..
15 . E − Am − E7 − c), Bsn+Hns, P D (e)
..
17 . Am − B∅7 − Am − G7 − C a): Ob+Cl unisono
..
20 . G7 /B − C− b’)
22 ⊥ Am − B∅7 /D − Am64 − E7 − cad
24 M1.2/f A <(A − E7 )/A− ab): Ob, P (a−e)
..
26 . <(A − E7 )/A− a’b’): Ob+Cl, Mf: LoStr 32ths
29 ⊥ A c)
30 M2 E E − B7 − E − E7 − [A] B1 , a): Str, climax
..
32 . Am Am − G7 − C b): WW+Hns, Str: Mf, minor
..
34 . A A − E7 − A − A7 − a): Str, major
..
36 . Dm − C7 − F b): WW+Hns, R3piv1
..
38 . Am Dm − Am − Am7 a’b’): (Hns+LoWW)-WW, Σ(cm<)
..
40 . Dm − Am − . . . − a’b”) tutti M0 unis repeats
43 ⊥ E no 3 − [B] c), trans
45 M1.1 Am − B∅7 − Am − G7 − C A2 , a): Cl+Bsn S(2p) (m 17)
..
48 . C G97 − C− b’)
50 ⊥ Am Am − B∅7 /D − Am64 − E7 − tutti cad
52 M1.2/f A <(A − E7 )/A− ab): Cl, P (a−e) (m 24)
..
57 ⊥ A c)

Table 6.58: Schubert, Symphony No. 9 Große, Mvt. 2 Andante con moto (cont’d)
m M R H Comment
58 M2 E E − B7 − E− [C] B2 , a): Str, climax, major
..
60 . Em Em − B7 − Em− a): WW, minor
..
62 . E E − B7 − E− a): Str, major
..
64 . Am − G7 − C − B7 − d): Str-WW imitation
..
66 . Em Em − D − G − F ]− Σ(cm<)
.. d
67 . B7 − Am− tutti climax
..
69 . Am Dm − Am − Am7 /G− a’b’): (Hns+LoWW)-WW, Σ(cm<)
..
71 . F − C − ...− a’b”) M0’ unisono repeats
74 ⊥ C no 3 − E7 − [D] c), trans
76 M1.1 Am − B∅7 − Am − G7 − C A3 , a): Ob+Bsn S(2p) (m 45)
..
79 . C G97 − C− b’)
81 ⊥ Am Am − B∅7 /D − Am64 − E7 − tutti cad
83 M1.2/f A <(A − E7 )/A− ab): Cl, P (a−e) (m 24)
..
88 ⊥ A c)
89 Ano 3 − A7no 3 /G − F trans, Bsn+Hns+LoStr, R3piv1
93 M3 F F − C/E − Dm − Am//C− C1 , a): Bsn+Vi2+Cb S(2p)
..
95 . E∅7 /G − F/A − Dm− b)
..
96 . Gm7 /B[ − C7 −
..
97 ./c F − A∅7 /E[ − D7 − D7[9 /C− a), Mc: Cl+Vi1
.. ..
99 ./ . Gm/B[ − E[ − A∅7 /C − D7 − b’)
.. ..
100 ./ . Gm − G∅7 /F − C7 /E−
.. .. d
101 ./ . F − C/E − Dm − F ]∅7 /A− a’), Mc: HiWW+Vi
.. .. d
103 ./ . Gm/B[ − F/A − C − b’)
104 ⊥/⊥ Dm − Am
105 (M3) B[ − F − WW+Tbn
..
106 . B∅7 − C/E − F − Gm/B[−
d
107 ⊥ F46 − C − cad
108 Dm − Am Str repeat

m M R H Comment
109 (M3) B[ − F − trans, WW+Tbn
..
110 . B◦ /D − Em − Dm−
111 ⊥ Gm7 /B[ − C7 − cad
112 M3 F − C/E − Dm − Am//C− a): Bsn+Vi2+Cb S(2p) (m 93)
..
114 . E∅7 /G − F/A − Dm− b)
..
115 . Gm7 /B[ − C7 −
..
116 ./c F − A∅7 /E[ − D7 − a), Mc: Vi1
.. ..
118 ./ . E[ − A◦ /C − Dm − Gm− b’)
.. ..
119 ./ . Cm7 /B[ − F7 −
.. ..
120 ./ . B[ B[ − F/A − Gm − B◦7 /D− a’): Tbn, Mc: WW
122 ⊥/⊥ Cm/E[ − A◦ /C − Gm/D − Dm/F − b’)
123 (M3) Gm Gm − F ]◦7 /A− ab): Str
..
124 . Gm − E◦ /G − F/A − C−
125 ⊥ Dm − G]◦7 − Am Seq(2×4m;R−5 )
126 B[ − F − WW+Hn+Tbn, plagal cad
127 G]◦7 /D − B7 /D] − Am/E − Dm/F − Str
128 Am Am64 − E− cad, tutti
129 Am − D]◦7 − Em Str
130 F −C WW+Hn+Tbn, plagal cad
131 F ]◦7 /A − Gm − E7[5 /B[− Str
132 Dm/A − A − Dm − G]◦7 − Am [E] retrans, tutti climax
134 B[ − F − Gm − C]◦7 − Dm
136 Gm − C]◦7 − Dm
137 (M3’) Dm A7 /C] − Dm b’): Cl+Bsn, Vi sync, P D (a)
..
139 . A7 /C] − Dm − Gm − Dm Ob
..
141 . A − F/A − F ]◦7 /A− b’): WW+Str
d
142 ⊥ Gm/B[ − F/A − C7 −
d
143 (M3’) B◦ /D − C7 − Dm b’): Str
144 ⊥ Gm7 /B[ − C7 −
145 (M3) F − C/E − Dm − Am/C− a): Tbn-WW
147 ⊥ B[ − F m/A[− a): Str
d
148 G7 − C7 − A[9
7 /C] − . . . − Str, Hns P (g), PB (%)
157 6
B[/D − Am4 − E7 − N 6 , cad

m M R H Comment
160 M1.1/f Am Am − G7 − C− A4 , a): Ob, Mf: Tpt-Hn (m 8)
.. .
163 . / .. G]◦7 − Am− b), Mf: Vi1
.. .
165 . / .. B∅7 /D − B7 /D]− PBi (%)
.. .
. / ..
[5/[9
166 E7sus4 − B7 /F −
.. .
167 . / .. E c), Mf: Hn, P D (e)
.. .
169 . / .. Am − B∅7 − a): Cl S(2p), Mf: Tpt (m 45)
.. .
170 . / .. Am − G7 − C Mf: Hn
.. .
172 . / .. G97 − C− b’): Ob+Cl, Mf: Vi1
.. .
174 . / .. Am − B∅7 /D−
175 ⊥ /⊥ Am64 − E7sus4
[9 − E7 − tutti cad
176 M1.2/f A <(A − E7 )/A− ab): Cl, P (a−e), Mf: Hn+Tpt
.. .
178 . / .. <(A − E7 )/A− a’b’): Ob+Cl, Mf: LoStr 32ths
181 ⊥ /⊥ A c)
182 M2/f E E − B7 − E − E7 − [F] B3 , a)+Mf: Str, climax (m 32)
.. .
184 . / .. Am Am − G7 − C b): WW, Mf: Tpt-Hns-Strs, minor
.. .
186 . / .. A A − E7 − A − A7 − a)+Mf: Str, major
.. .
188 . / .. Dm − C7 − F b): WW, Mf: Tpt-Hns-Str+Hns, R3piv1
.. .
190 . / .. Am Dm − Am − Am7 a’b’): (Hns+LoWW)-WW, Σ(cm<)
.. .
192 . / .. Dm − Am − . . . − a’b”) tutti M0 unisono repeats
195 ⊥ /⊥ E no 3 − [G] c), trans
197 M1.1/f Am − G7 − C A5 , a): Ob+Bsn S(2p), Mf: Brs (m 45)
.. .
200 . / .. C G97 − C− b’)
.. .
202 . / .. Am Am − B∅7 /D−
203 ⊥ /⊥ Am64 − E7 − tutti cad
204 M1.2/f A <(A − E7 )/A− ab): Cl, Mf: Hn+Tpt, P (a−e)
.. .
206 . / .. <(A − E7 )/A− a’b’): Ob+Cl, Mf: LoStr 32ths
209 ⊥ /⊥ A c)

m M R H Comment
210 M2/f E E − B7 − E− B4 , a)+Mf: Str, climax, major (m 58)
..
212 . Em Em − B7 − Em− a): WW, minor
..
214 ./f E E − B7 − E− a+Mf): Str, major
..
216 . Am − G7 − C − B7 − d): Str-WW imitation
..
218 . Em Em − D − G − F ]− Σ(cm<)
.. d
219 . B7 − Am− tutti climax
..
221 . Am Dm − Am− a’b’): (Hns+LoWW)-WW, Σ(cm<)
..
223 . Am − Em − . . . − [H] a’b”) M0’ tutti unis repeats
226 ⊥ <(B no 3 − F ][5
7 /C) − B c), tutti climax, trans
232 (M2)/f G]◦7 − . . . − D, ca): (WW+Tbn)-Str, Mf: Tpt-Hn,
.. .
238 . / .. G7 − . . . − HiStr-LoStr imitation, Σ(cm<)
.. .
242 . / .. G[9
7 − ...−
246 ⊥ /⊥ G]◦7 /F − C]◦7 /F − cresc
248 D]◦7 − [I] tutti climax, HiStr tremolo, GP
251 F7 /E[− Str pizz, V /N 6
253 M1.1” <(F7 /E[ − B[/D)− Vc, N 6
..
257 . E7 /D − Am/C − B[/D− Ob/Vc
259 ⊥ Am64 − E7 − cad, minor
260 M1.1” B[ <(F7 /E[ − B[/D)− repeat, Vc, N 6
..
264 . E7 /D − A/C] − Bm/D− Ob/Vc, major
266 ⊥ A64 − E7 − cad
C2 (]]])
267 M3/c A A − E7 /G]− a): Fl+Cl, Str arco Σ(cm<),
.. ..
268 ./. F ]m − C]m/E− Mc: Vi2+Va 16ths
.. ..
269 ./. D − E7 /B − A/C] − F ]m b)
.
270 ⊥/ .. D − E7 −

m M R H Comment
.
271 M3’/ .. A − E7 /G] − A7 /G− Cl+Bsn, Str Σ(cm<)
.. .
272 . / .. F ]7 − F ]7 /E−
.. .
273 . / .. Bm/D − G − C]∅7 /E − F ]7 −
.. .
274 . / .. B∅7 /A − E7 /G]−
.. .
275 . / .. A − E/G] − F ]m − A]◦7 /C]− WW, Str Σ(cm<) (m 101)
.. . d
277 . / .. Bm − A/C] − E −
.. .
278 . / .. F ]m − C]m − D − A−
.. .
280 . / .. B7 /F ] − E/G] − C]/E] − F ]m7 −
.. . d
281 . / .. A64 − E7 − cad
.. .
282 . / .. F ]m − C]m − D − A− repeat, Mc: Vc
.. .
284 . / .. B7 /F ] − E/G] − C]/E] − F ]m7 −
285 ⊥ /⊥ Bm7 /D − E7 − cad
286 M3/c A − E7 /G]− a): Fl+Cl, Str Σ(cm<) (m 266)
.. ..
287 ./. F ]m − C]m/E− Mc: Vi2+Va 16ths
.. ..
288 ./. D − E7 /B − A/C] − F ]m− b)
.
289 ⊥/ .. D − E7 −
.
290 M3’/ .. A − E7 /G] − A7 /G− a’): Cl+Bsn, Str Σ(cm<)
.. .
291 . / .. F ]7 − F ]7 /E−
.. .
292 . / .. Bm/D − A7 /E − D/F ] − Bm b’)
.. .
293 . / .. Em7 /G − A7 − cad
.. .
294 . / .. D D − A/C] − Bm − D]◦7 /F ]− WW, Str Σ(cm<)
.. . d
296 . / .. Em/G − C]∅7 /E − D/F ] − A7 −
.. .
297 . / .. Bm − A]m◦7 /C]−
.. . d
298 . / .. Bm − G]m7 /B − A/C] − E7 −
299 ⊥ /⊥ F ]m − C]m − D − A− Mc: Vc+Cb 16th runs

tonic minor and relative major key Am − C. Melodically they are like walking a path in
reverse time, with brief phrases from the main themes M1.1 and M1.2 and then returning to
the introduction (strings in 8ths, a statement of the M0 dotted rhythm motif) before closing.
6.4.3 Mvt. 3 Scherzo. Allegro vivace

Form: scherzo and trio. See Table 6.64 and 6.65 for the analysis.
The Scherzo has ternary form ABA. The scherzo is another ‘great’ example of building
a movement from a melodic nucleus motif. In this case it is the two-measure opening state-
ment M1a in section A1 , a group of six staccato 8th notes, followed by an ascending leap
and three repeated quarter notes. The M1b phrase is the melodic inversion with descending
leaps: M1b=I(M1a). Another characteristic that separates the two variants is the unisono
setting of M1a vs. the multi-part and imitative setting of M1b. The first full statement of the
melody has the structure M1(aa’bbbb’) (2 + 2 + 2 + 2 + 2 + 2 m.), a modified sentence.
The second scherzo element is a countermelody, played by the string section during the
second statement of the varied main theme phrase M1b’ (m. 29 ff.). This countermelody
has the structure Mc(abcbca’) (2 + 2 + 2 + 2 + 2 + 4 m.). The a-phrase is an ascending
arpeggio, with a’=I(a) the melodic inversion. These arpeggio phrases become prominent as
string unisono phrases (m. 41, 113, 205 ff.) and as cello countermelody (m. 70, 221 ff.). The
bridge section (B,m. 57 ff.) opens in the lowered submediant degree major key A[ = [VI
and contains a ‘lyrical’ variation of the main theme M1l , in a two-part setting for oboes and
clarinets S(2p) (m. 65 ff.). A combination of themes leads to a development section. The
lyrical mood is continued with a new theme M2(abab) (2 + 2 + 2 + 2 m.) for flute (m. 89
ff.), repeated in oboe. Then there are climaxes and modulations (m. 105). Maybe farfetched,
but beginning in m. 113 ff. in the woodwinds there are groups of four repeated dotted half
notes; this characteristic pattern returns in the secondary theme in Movement 4. A kind
of reprise (A2 , m. 153 ff.) opens with the main theme for woodwinds, but the b-phrase is
set as an imitation, moving down and up the string group. Note the offbeat accents in the
woodwinds (m. 177 ff.). The countermelody returns (m. 194 ff.) and just before the closing
there is a brief quote from the beginning of the bridge with the lyrical variant of the main
theme (m. 221 ff.). Harmonically, this movement contains two pairs of major third root, pivot
pitch chord changes: the sequence D7 −F ]m−D−Bm−G7 (m. 41 ff.) and the corresponding
G7 − Bm − G − Em − C7 (m. 205 ff.).
A unisono quarter note rhythm dominant pedal point P (e) leads intro the Trio, that also
has ternary form (CDC’). This contains two characteristic elements: melodically, there are
two themes that both start with an upbeat and have regular phrasing, extended pedal point,
and dotted rhythm pattern (dotted quarter note + 8th note + quarter note). The other element
is formed by the background with afterbeat accents (brass and contrabasses), and ascending
staccato quarter note arpeggios in the strings. The latter are being played throughout the
trio and set as an imitation between viola and cello vs. first and second violins. In m. 375-378
in the woodwinds there is another group of four repeated dotted half notes (see the scherzo
m. 113).
The main trio melody in section C1 has M3(ab) (8 + 8 m.) structure, and a parallel third,
two-part setting S(2p) for woodwinds. The first statement is for flutes and oboes (m. 247 ff.,
note the 1-5 fifth intervals in the clarinets), the second statement for clarinets and bassoons
d − c − b = 5 − [7 − [6 − 5.

m M R H Comment
300 Mc’ D − A − D][5
7 − [K] trans, Str Σ(cm<) (m 132)
..
302 . C]m64 − G]− WW 16th arp%
..
303 . C]m − G]m − A − E Str 16th run imitation
..
305 . E7 − A − A/C] − C]− WW 16th arp%
..
307 . F ]m − C]m − D − A Str 16th run, Seq(3×1m;R−3 )
309 ⊥ <(Bm − F ]m)−
311 (M3’)/c C]7 − F ]m64 − b’): Ob, Vi2+Va sync (m 137)
.. .
313 . / .. F ]m C]7 − F ]m − G]∅7 /B − F ]m Cl, Str pizz
.. .
315 . / .. C] − A]◦7 /C]− WW, Str bg
.. .
316 . / .. Bm − G]∅7 /B − A/C] − E−
317 ⊥ /⊥ D]◦ − E/G] − C]7 /E] − F ]m
318 (M3’) Bm7 /D − E7 − Ob, Str 16th pizz
d
319 ⊥ A A − E − F ]m − C]m− Str 16ths%
321 D − Am/C − B7 − trans, Tbns (m 145)
322 E7[9 − . . . − P D (e−b)
Coda (\\\)
330 M1.1 Am Am − G7 − C − B a): Ob+Bsn S(2p) (m 45)
..
333 . Em − D7 − G]◦7 − a’) arco Str echo
..
336 . E7[9 − Am b): Ob-Fl
.. [5/]9 [5/]9
338 . B7 /D] − B7 /F − B7]9 /F ]− b’) Cl, Tbn+Str bg, PBi (%)
..
342 . C G7 − C46 − G − 7− WW imit, Hns P D (g)
346 ⊥ G7 /F − E7 − R3piv3
348 M1.1 Am Am − G7 − C − B a): Cl+Bsn S(2p) (m 45)
351 (M2’) Em − D − G − F ]− WW+Str Σ(cm<) (m 66)
d d
352 ⊥ B7 − Am − E7 − [L] tutti accents climax
355 M1.2’ Dm − Am64 − E7 − b’): WW
..
357 ./c <(Am − E7 ) − Am − G7 − Mc: Vc, Str 8ths (m 1)
.. ..
360 ./ . C <(C − G7 ) − C − B∅7 /D
363 ⊥/⊥ Am Am64 − E7 − Am − G−
365 (M0) C − E7 /B − Am − G− Str-WW imit
..
367 . C C − E7 /B − Am − G7 −
369 ⊥ Am C − E7 − Am
371 (M1.2) E no 3 − (E7[9 ) − E7 − Am c), tutti unisono clim (380 m.)

Table 6.64: Schubert, Symphony No. 9 Große, Mvt. 3 Scherzo. Allegro vivace
m M R H Comment
h i
3
Scherzo - Allegro vivace 4
1 M1 C || : G − C − Am A1 , aa’): Str unisono
5 ⊥ <(G − C) − <(G7 − C) bbbb’): WW imit, Hns+Timp
13 M1’ G − C − Dm aa’): Str unisono
17 ⊥ F − B[ − <(F7 − B[)− b’b’b’): WW+Vc
d
23 M1” F7 − D7 /F ] − a/b): Str/WW
..
25 . E[/G − F ]◦ /A − Gm/B[− [S̄ 6 ] %
..
26 . A◦ /C − B[/D − C]◦7 /E−
27 ⊥ G64 − G7 − tutti climax, cad
29 M1” G G [A] b’): WW
..
31 . /c D7 − Mc.a): Vi1 arp theme, Hns P D (d)
.. ..
33 ./. <(D7 − G)− Mc.bcbc): Vi1-Vc imitation
.. ..
41 ./. D7 − . . . − G][5
7 /D− b/a’: imit WW/Str unis arp
.. piv1
45 . /⊥ F ]m − . . . − D − Bm− b/a’), R−3
53 ⊥ G7 − C]◦7 − D7 − G : || a): Str unis, tutti clim, R3piv1 , cad
57 M1’ A[ || : A[ − . . . − B, a): Str unisono, tutti climax
65 M1l E[ − E[97 − A[64 − E[97 − Ob+Cl S(2p)
.. [5/[9
69 . /1/c (A[ − D[ − A[ − G7 )/A[ M1a’): Str, Mc: Vc arp, P T (a[)
.. .. [5/[9
73 ./. (A[ − D[ − A[ − G7 )/A[ repeat
77 ⊥ /⊥ A[
78 (M1l ) <(E[7 − E[97 )− WW S(2p) - Str unis imit (m 65)
86 ⊥ E[97 − E[[9
7 − WW+Hns
piv3
89 M2 C[ <(G[7 − C[)/G[ abab): WW, Str, R−3 , P D (g[)
97 M2 C G7 /F − C/E − Am7 /E− a): Ob+Vi1
..
99 . G7 − C b):
..
101 . G7 /F − C/E − Am7 /E− repeat a): Ob+Vi1
103 ⊥ G7 − C b):
105 (M1) Fm C − ... − Fm − ...− [B] a’): Str unis, Brs+WW accents
113 Mc’ D[ − . . . − a’): Str unisono arp (m 31)
..
117 . /1’ D[ − C]m(= D[m)− M1a’): WW imit, major-minor
.. ..
128 ./. Dm A − . . . − Dm − . . . −

Table 6.65: Schubert, Symphony No. 9 Große, Mvt. 3 Scherzo. Allegro vivace (cont’d)
m M R H Comment
.. ..
137 ./. G7 − . . . − Str/(WW+Hns)
141 ⊥ /⊥ D7[9 /F ] − . . . − tutti climax
145 M1’/c G <(G − D7 )/G− [C] tr, Str - (Mc.b’: WW+Brs), P (g)
149 ⊥ /⊥ G − ...− climax
d
153 M1’ G7 − Am − F − E− A2 , aa’): WW+Hns Σ(cm<)
..
157 . C G/B − C − Gm − A− b): Str imitation (Vi→Cb)
161 ⊥ Dm Dm − E7[5 /B[ − A7 − Dm Str imit (Cb→Vi)
d
165 M1’ G7 − Am − Dm/F − Am− aa’): WW+Hns
..
169 . F F/A − B[ − F m − G− b): Str imit (Vi→Cb), maj-min
173 ⊥ C Cm − D7[5 /A[ − G7 − C Str imit (Cb→Vi), min-maj
177 M1’ C − Am − E[/G − D7 /F ]− a/b): Str imit, WW accents, N 6 /V
..
181 . Gm Gm/B[ − D[/F − C7 /E−
..
185 . Fm F m − D[ − A[/C − G7 /B−
..
189 . A[/C − B◦ /D − Cm/E[− [S̄ 6 ] % (m 24)
190 ⊥ D◦ /F − E[/G − F ]◦7 /A−
191 C46 − G7 − tutti climax, cad
193 M1” C C [D] b’): WW (m 29)
..
195 . /c G7 − Mc.a): Vi1, Hns P D (g)
.. ..
197 ./. <(G7 − C) Mc.bcbc): Vi1-Vc imitation
.. ..
205 ./. G7 − . . . − C][5
7 /G− b/a’): imit WW/Str unis arp (m 41)
.. ..
209 ./. Bm − . . . − G − Em− b/a)
217 ⊥ /⊥ C7 − F ]◦7 − G7 − C tutti climax, R3piv1 , cad
9/+5
221 M1l /c F/C − C/E − G7 −C [E] (Fl+Cl)/Vc arp (m 70)
9/+5
225 ⊥ /⊥ F/C − C/E − G7 −C repeat
229 (M1) C − G − Gm7 a’): Str unis, Brs+WW accts, clim
..
231 . D − Dm7 − A − Am7 − major-minor
.. piv3
233 . E − G7 − R−3
235 ⊥ C − G − C : || cad, tutti climax

m M R H Comment
h i
3
Trio 4 (]]])
239 trans, Hns-(Cl+Tbn) P D (e)
247 M3 A || : (A − . . . − D − . . . − A)/A C1 , a): WW S(2p), P T (a)
..
255 . E7 − A/E − E7 − b), Str arp 41 th-imit, Brs accts
261 ⊥ A − A∆7 /G]−
263 M3 F ]m F ]m − . . . − Bm − F ]m7 /E− a): Cl+Bsn S(2p), P T (f ])
..
271 . D]◦7 − E − B]◦7 /D]− b’), WW accents, min-maj
..
277 . C]m − A∆7 −
279 ⊥ C]m C]m64 − G]7 − C]m
283 <(A − C]m) Ob+Cl dot rh, Str 41 th-im, R3piv1
291 D]∅7 /F ] − G]7 −1) C]m : || cad
294 2) B ]9 /D]−
7
295 M4 A || : E7 − . . . − D, ab): WW S(2p), LoBrs P D (e)

303 M4 E7 − E79 − a): Cl+Bsn S(2p), Str arp 14 th-im
..
307 . Am (Am − E − Am)/E b’), major-minor
315 ⊥ (E7no 3 − A)/E − C
319 M4’ F <(F − C)/C− [F] a): WW S(2p), Brs P D (c)
323 ⊥ Em/G − G7 − C b), Str arp 41 th-im
327 M4’ <(F − C)/C− repeat, a)
331 ⊥ C Em/G − G7 − C b)
335 Am Am/C − B◦ /D − E − E7 /D− trans, Ob+Bsn, Fl+Ob+Hn P D (e)
339 Am/C − B◦ /D − E − E7 /B− repeat
343 M3 A (A − . . . − D − . . . − A)/A C2 , a): Cl+Bsn, Tbn+Cb P T (a)
..
351 . E7 − A/E − C]m/E − E7 − b), Str arp 14 th-imit, Brs accents
357 ⊥ A − A∆7 /G]−
359 M3 F ]m F ]m − . . . − A7 /E− a): WW S(2p), P T (f ])
..
363 . A D−A
..
367 . B[ (F7 − B[)/F − b’): WW S(2p), Brs accts, Neap
..
371 . Dm/F − F7 − B[−
..
375 . F7 − Am/E − F7 /E[ − D7 − tutti cresc, PBi (&) , min (m 278)
..
379 . A A/C] − Bm7 − A/C]− major
382 ⊥ E7 − A

m M R H Comment
385 <(F ]m − A/C])− trans, Cl+Bsn dot rh, Str arp 41 th-imit
393 Bm/D − E7 − A −1) B/D]− : ||
397 trans, Hns P D (e)
401 WW+Brs unisono P (g) (404 m.)
(with trombones playing tonic pedal point pitch f ]). The middle section D melody M4(ab)
(4 + 4 m.) with its stepwise descending quarter note phrases has similarity with the scherzo
middle section melody M2. Horns and trombones have swapped roles with the former now
playing extended dominant pedal point rhythmical patterns. Both M3 and M4 juxtapose
minor and major key phrases. The woodwinds instrumentation is varied in the closing sec-
tion C2 , with the tutti settings continuing. The quarter note rhythm unisono dominant pedal
point e − g closes the trio, leading into the scherzo repeat.

Form: sonata form. See Table 6.68 to 6.76 for the analysis.
This is a very long closing movement (1157 m.). The Exposition kicks off with two basic
rhythmical cells that, once again, form the basic elements of the movement. In the opening
measures with the unisono tutti ff these are presented in juxtaposition: M0d is a dotted
rhythm (dotted 8th note - 16th note) with upbeat, M0t is an offbeat 8th note triplet rhythm.
The introduction (m. 1-34) has structure M0(tdtdt-c-d-c-d-c) ([1+2+2+2+7]+4+4+2+8+2
m.), where Mc phrases are cadences in half notes.
The theme M1 has regular sentence structure M1(aab) (4 + 4 + 8 m.). The a-phrase con-
sists of stepwise motion in two parts S(2p) for woodwinds and violins. Note the chromatic
neighbouring notes. The b-phrase may be subdivided into M1(bbb’) (2 + 2 + 4 m.), with
cadential flavour in the short b-phrase and opening contrary motion in the b’-phrase. Vio-
lins are doubling the woodwind parts, but continually playing the 8th note triplets. As can
be seen in the first and second statement of M1 (m. 37-53, m. 55-88, respectively), there is
extended dominant pedal point in horns and lower string groups. M0 returns more or less
in its original form (m. 89 ff.), before there is brief development of this theme. Both rhythm
patterns, Mt (triplets) and Md (dotted), are combined (m. 105, 125, 136, 147 ff.) and juxta-
posed as transitions (m. 117, 129 ff.). The combinations have a stretto effect. In the orchestra
there are (offbeat) accents in brass and timpani (m. 113, 125, 141 ff.). Note the repeated and
accented fz half notes in the woodwinds in m. 113-116 over triplet string background; these
may very well be hinting at the secondary theme (see m. 169; we have also encountered this
pattern in the third movement, Scherzo, m. 113 ff.).
A long sustained climax chord over a unisono string triplet pedal point pattern and a
general pause (GP) lead into the secondary theme M2 (m.169 ff.) in the dominant major
key G. This theme in two-part setting S(2p) has the structure M2(ababaa’ca) ([4 + 4 + 4 +
4] + [4 + 4 + 4 + 4] m.). There are repeated accented half notes on the a-phrase (refer back
to m. 113-116), and quarter note stepwise motion on the b- and c-phrase (there is obvious

Table 6.68: Schubert, Symphony No. 9 Große, Mvt. 4 Allegro vivace
m M R H Comment
h i
2
Allegro vivace 4 Exposition
1 M0 C || : C − . . . − Mtdtd : tutti dot - Str tripl, unisono
..
9 . C − ...− Mt : Str unisono
..
15 . Am − E − Am − Dm/F − tutti cad, Σ(cm<)
..
19 . C − ...− Md : (WW+Str-Brs) echo
..
23 . F − G − C − E − Am − Dm/F − cad, Md : Str Σ(cm<)
..
27 . C − ...− Md : tutti
31 ⊥ F − E − F − C7 /E − F − G7 − Md , Str Σ(cm<), Brs P T (c)
35 (M0) C − C/G− [A] Md : Str unis
37 M1 G7 − . . . − a): Ob+Bsn+Vi S(2p),
..
41 . (C − . . . − A[9
7 )/G− a), Hns+LoStr P D (g)
..
45 . <(G − C − A[9
7 )/G− b)
..
49 . (A[9
7 − C]◦7 − Dm − D]◦ )/G− PL (%)
51 ⊥ Dm − D]◦7 − Em/G − G7 − cad
53 (M0) C − C/G− Md : Str unisono
55 M1 G7 − . . . − 2nd, a): WW+Vi, Seq(2×8m;R5 )
..
59 . C/G − . . . − F ]◦ /C− a), Hns+LoStr P D (g)
..
63 . C7 − . . . − a), Hns+LoStr P T (c)
..
67 . F/C − . . . − C/G a)
..
71 . G7 − a): WW+Vi, Hns+LoStr P D (g)
..
75 . (C − . . . − A7 )/G−
..
79 . <(Dm − G7 − C)/G − A7 /G− b)
..
83 . (A7 − . . . − Dm)/G− PL (%)
87 ⊥ G7 − tutti climax
89 M0 C − . . . − C]◦7 /B[− Mtdtdt : Str - WW+Brs unisono
.. [5/[9
95 . Dm/A − D7 /A[ − C46 − G7 − Md , tutti cad Σ(cm<)
..
97 . C − . . . − C]◦7 /B[− repeat, Mtdtdt : Str - WW+Brs unis
[5/[9
103 ⊥ Dm/A − D7 /A[ − C46 − G7 − Md , tutti cad Σ(cm<)
105 M0’ C − G/B − Am Mtd : Str unis/(WW+Hns), PB (&)
..
109 . Em/G − F − C/E (trans - development)
..
113 . D∅7 − . . . − Mt : Str, WW+Brs accents
117 ⊥ C46 − G]◦7 − Mt : Str unisono - WW S(2p)

Table 6.69: Schubert, Symphony No. 9 Große, Mvt. 4 Allegro vivace (cont’d)
m M R H Comment
121 (M0’) Am − . . . − Md : Str unisono scalar
125 M0’ D7 − . . . − [B] Mtd : Str /HiWW, Brs accts
129 ⊥ C46 − G]◦7 − Mt : Str unisono - WW S(2p)
133 (M0’) Am − . . . − Md : Str unisono scalar
137 M0’ D∅7 − . . . − Mtd : Str/(HiWW-Hns)
141 ⊥ D7 − . . . − Str /WW, Brs accts, clim, mod
145 (M0’) G G − ...− Mtd : Vi1/WW, LoStr arp
153 ⊥ G − ...− Mt : Vi1, WW+Brs sust climax
162 G − ...− [C] tutti acct, GP, Hns P D (d)
169 M2/0 D/F ] − . . . − ab/t): WW/(Vi1+Va) S(2p),
.. ..
177 ./. G − ...− ab), P D (d), LoStr arp
.. .. piv5
185 ./. A7 /C] − . . . − C7 − . . . − aa’), R−3 , PBi (&)
193 ⊥/⊥ G/B − D − G − . . . − ca), Tbn P D (d)
piv3
201 M2’/0 B/D] − . . . − Em − . . . − 2nd stat, R−3 , abab’), Bsn P D (b)
217 ⊥/⊥ B/D] − . . . − Bm/D − . . . − aa), major-minor
225 M2/0 D/F ] − . . . − repeat ab/t): WW/Vi1+Va S(2p),
.. ..
233 ./. G − ...− ab), Brs P D (d), LoStr arp
.. .. piv5
241 ./. A7 /C] − . . . − C7 − . . . − aa’), R−3 , PBi (&)
249 ⊥/⊥ G/B − D − G − . . . − ca), Tbn P D (d)
257 (M0’) G − C − G/B − Em− Md : Str imit Σ(cm), Seq(2×3m;R3 )
261 ⊥ Am − Em/G − C − Am7 −
265 M2’ B − ...− a’), tutti climax
..
269 . /0 C7 − . . . − a/t): (WW+Brs)/Vi, PBi (%)
.. ..
273 ./. C]◦7 − . . . − [D] a’), tutti clim, bass arp%
.. ..
277 ./. (G − . . . − D7 )/D− c/d): (WW+Va)/Vi, LoStr P D (d)
.. ..
281 ./. (Am − G)/D− c)
.. .. d
285 ./. (G − D7 − Em − D − C)/D− c’), cresc
289 ⊥/⊥ G64 − . . . − D7 − tutti climax, cad
293 (M0’) G − C − G/B − Em− Md : Str imit Σ(cm), Seq(2×3m;R3 )
298 ⊥ Am − Em/G − C − Am7 −

similarity with the M1a-phrase). The melody is played three times (with minor modifica-
tions) by the woodwinds (m. 169, 201, and 225 ff.) over a most interesting string background
with three elements. Lower strings play pizzicato arpeggio patterns in steady quarter notes
(later changing to arco), with offbeat support from the 2nd violins. First violins and violas
0
are continually playing the 8th note triplet groove M0t from the introduction. Horns and
trombones provide dominant pedal point support.
Starting from m. 265 snippets from M0d (dotted rhythms in imitation strings) and M2a
(repeated pitches in unisono strings and multi-part woodwinds) are juxtaposed, with the
triplet groove carrying on in upper strings. This subsection also has the characteristics of
a miniature development. The exposition is closed with an extended climax on the M2c
phrase (m. 334 ff.), that moves by imitation into the lower voices and register. There is string
tremolo playing, and a set of dotted rhythm accents in the woodwinds and horns (m. 253
ff.).
The Development section uses the M2c phrase as the main element. This is first handled
in two 24-measure long identical but transposed (modulating) subsections (m. 388, m. 412
ff.). The S(2p) setting in woodwinds is maintained; the second statement in each subsection
is a four-part imitation in woodwind and trombones. The string background contains a fresh
element: whereas the exposition was dominated by the M0t triplet pattern groove, now the
other component, i.e., the dotted rhythms from M0d are carrying the ball. The theme M2c
is transferred to the tremolo violins (imitation in violas) in the sequential and transitory
section m. 436 ff. Imitation in both woodwinds and strings continues in m. 452 ff., with
dominant pedal point in the horns announcing the return to harmonic stability. By now we
have moved through the keys E[ − A[ − D[m = C]m − Em − Gm − G, with a number of
major-minor alternations. A number of M2(abab’) climax statements (m. 470 ff., repeated at
m. 492 ff.) prepare for the retransition. The extended g dominant pedal point (m. 518 ff.)
below the final statement of M2(abab’) in the celli suggests that the main tonic major key
C is in sight. Stressing the dominant and its Neapolitan neighbour (m. 562) also seems to
0
confirm the return to base, as do the M0d dotted rhythm string patterns. But here is the
Schubert surprise party treatment: without further ado a pivot point chord change R3piv1 :
G − G7 − E[ (m. 578 ff.) leads into the lowered mediant major key!
The Recapitulation (m. 601 ff.) repeats the exposition opening theme M0 in the new
key. The tonal ‘instability’ is continued with melody M1 in the dominant minor key Gm =
V m|C = IIIm|E[ (m. 650 ff., oboes and bassoons with doubling in triplet playing violins), un-
dergoing sequential treatment. When M0 reappears with echoing triplet and dotted rhythm
patterns in m. 692 it is somewhat varied, and laying out the path for the return to the tonic
axis. The key pattern contains a major third modulation through pivot point: F − E − C,
i.e., R3piv1 (see m. 692, 708 and 768, respectively). The repeated pitch accented half notes in
woodwinds and brass with unisono triplets in the strings show up in m. 724-727 and 732-
735 (compare m. 113-116). They are the transition to the secondary theme, the setting for
orchestra is similar to the exposition. The first statement of M2 also means landing on the
original tonic major key C. In total there are three statements, starting in m. 760, 792 and
816, respectively, with minor changes in the woodwind orchestration. Horns are playing
extended dominant pedal point. The handling of this theme, including the climaxes and
transitions, shows great similarity to the exposition section (see the frequent reference to
earlier measures in the tables).
The next surprise is the modulation to the subdominant area Dm − F in m. 972 ff., using

m M R H Comment
301 M2’ B − ...− repeat, a’), tutti clim (m 265)
..
305 . /0 C7 − . . . − a/t): (WW+Brs)/Vi, PBi (%)
.. ..
309 ./. C]◦7 − . . . − F m/C − . . . − a’a’), tutti climax, bass arp%
.. ..
317 ./. E◦7 /D[ − . . . − A[/C − . . . − a’a’), N 6
.. .. piv3
325 ./. C7 − . . . − a’), R−3
334 ⊥/⊥ (G − . . . − D)/D− c): tutti climax fff , P D (d)
337 M2” G − . . . − Em − D7 − . . . − c’): (Tbn+LoStr)-WW im, P T (g)
..
345 . G − Em/G − D7 − [E] c’)
349 ⊥ G/B − Em − D7 − . . . −
353 M0/2’ <(G − D7 /A − G − D/F ])− clos, d/c’): WW/LoStr, P D (d)
.. ..
359 ./. G − D7 /A − G − Dno 3 −
.. ..
361 ./. <(G/B − D7 /C − G/B − D/A)− d/c’): (WW+Hns)/(Vi+LoStr)
369 ⊥/⊥ <(G − C − G − Am7 )/G− c’): Bsn+Va S(2p), P T (g)
377 G − ...−
382 (M0) 1) : || 2) Md : Str unisono
Development
385 (Gno 3 − B[no 3 /F ) Vc tremolo
0
388 M2’ E[ E[ − . . . − B[/D − A∅7 /C− c’): Cl S(2p), bg M0d : Str dot
..
394 . E[/B[ − B[7 /A[− WW
..
396 . E[/G − B[/F − E[ − A[/C−
398 ⊥ E[64 − B[7 − cad
400 M2’ E[ − A[/E[ − E[7 − Ob
..
402 . C/E − F m− WW+Tbn imit
..
404 . D[/F − E[7 − A[64 − E[−
..
406 . E[7 − C◦ /E[−
..
407 . B[m/D[ − A◦7 /C− [S̄ 6 ]
..
408 . A◦7 /C − B[m/D[ − F7 /C − B[m Σ(cm<)
410 ⊥ A[ A[64 − E[7 − cad
0
412 M2’ A[ − . . . − E[/G − D∅7 /F − c’): Ob S(2p), M0d : Str bg
..
418 . A[/E[ − E[7 /D[− WW (repeat see m 388)
..
420 . A[/C − E[/G − A[ − D[/F −
422 ⊥ A[64 − E[7 − cad

m M R H Comment
424 M2’ A[ − D[/A[ − A[7 − c’): Ob
..
426 . F/A − B[m− WW-Tbn imit
..
428 . G[/B[ − A[7 − E[64 − A[
..
430 . A[7 − D[7 /A[− Σ(cm<)
..
431 . E[m/G[ − D◦7 /F −
..
432 . B[[9
7 /F − E[m/G[−
..
433 . B[7 /F − E[m−
434 ⊥ D[64 − A[7 −
436 M2’ C]m D[m = C]m− [F] trans, c’): Vi S(2p) trem,
..
438 . A − D]◦7 /A− Seq(2×8m;R−3 ),Va imit, [S̄46 ]
..
439 . C]m/G] − B]◦ /F ]−
..
440 . <(B7 /F ] − E/G])−
..
442 . Em E46 − B − Em cad, major-minor
..
446 . C − F ]◦ /C − Em/B − D]◦ /A− Va imit, [S̄46 ]
..
448 . <(D7 /A − G/B)−
450 ⊥ G/D− P D (d)
452 M2’ Gm D7[9 − . . . − Gm/D c’): Fl+Vi tremolo S(2p),
458 ⊥ (D − Gm − C]◦7 − D)/D− Hn+LoStr P D (d), Ob+Va im
460 M2’ D7[9 − . . . − Gm/D repeat, WW+Str
466 ⊥ <(D − Gm − C]◦7 − D)/D− cresc
470 M2 G D − ...− a): Hn+Tbn+LoStr, HiStr arp%
..
474 . E7no 3 /D − Am/C − . . . − b), tutti climax
..
478 . C − ...− a)
..
482 . D7no 3 /C − G/B − . . . − b’)
..
486 . C7no 3 /B[ − F/A − B[7 /A[− tutti climax
490 ⊥ E[/G − A[5 7 no 1 /E[−
492 M2 D − ...− a): Bsn+LoBrs+LoStr, WW arp%
..
496 . E7no 3 /D − Am/C − . . . − b), tutti climax, Vi imit
..
500 . F ]∅7 /C − C − D7 /C− a)
..
504 . D7 /C − G/B − . . . − b’)
..
508 . Gm/B[ − C major-minor

m M R H Comment
..
509 . E7[5 /B[ − A− tutti, Seq(2×2m;R−7 )
..
511 . D7[5 /A[ − G−
..
513 . A[5
7 /E[ − D−
d
515 ⊥ D7 /C − Em/B − F ]◦ /A− Σ(cm<), climax
518 M2 (G − E∅7 − . . . −)/G− [G] a): Vc, Seq(2×8m;R−7 )
..
522 . (A7 − Dm)/G− b), Hn+Cb+Timp P D (g)
..
526 . D∅7 /G − . . . − a)
..
530 . C (G7 − C)/G− b’)
..
534 . (A[5 [5
7 − D − G7 )/G− PLi (&), Seq(2×2m;R−7 )
538 ⊥ (C − D7[5 )/G−
540 M2 (G − E∅7 − . . . −)/G− repeat, a): Vc, Seq(2×8m;R−7 )
..
544 . (A7 − Dm)/G− b), Cb+Tim P D (g)
..
548 . D∅7 /G − . . . − a)
..
552 . (G7 − C)/G− b’)
..
556 . (A[5 [5
7 − D − G7 )/G− Str, PLi (&), Seq(2×2m;R−7 )
560 ⊥ [5
(C − D7 )/G−
0
562 (M0) Gno 3 − . . . − retrans, Md : Vi, unis P D (g)
566 (M2) A[/C − D7[5 /A[− c’): Ob, N 6 /V
570 (M0) Gno 3 − . . . − repeat
574 (M2) A[/C − D7[5 /A[− c’): Cl
0
578 (M0) Gno 3 − . . . − Md : Str imit, Hns+Tbns: P D (g)
..
586 . G7no 3 − . . . −
594 ⊥ E[/G − . . . − R3piv1
Recapitulation
601 M0 E[ E[ − . . . − Md tdt: tutti (m 1)
..
609 . E[ − . . . − Mt : Str unisono
..
616 . Cm − G − Cm − F m/A[− [H] tutti cad, Σ(cm<)
..
620 . E[ − . . . − Md : tutti
..
624 . A[ − B[−
..
626 . E[ − G − Cm − F m − A[− cad, Str Σ(cm<)
628 ⊥ E[ − . . . − A[ − B[−

m M R H Comment
634 (M0) <(E[ − E[+ /G − A[ − E[7 /G)− trans, Md : Str
.. [5/[9
638 . A[ − C]◦7 /G − A7 /E[−
..
642 . Gm64 − D7 − cad, tutti climax (m 23)
..
644 . Gm Gm − A7 − Gm/B[− Md : WW+Str
646 ⊥ Gm64 − D7 − cad
648 Gm − G]◦ /D−
650 M1 D7 − . . . − a): WW, Seq(4×8m;R−3 ) (m 55)
..
654 . Gm/D − . . . − B[/F − a), LoStr+Hn P D (d)
..
658 . F7 − . . . − a): Ob+Cl+Vi, LoStr+Hn P D (f )
..
662 . B[/F − . . . − Dm/A− a)
..
666 . A7 − . . . − a): WW+Vi, P D (a)
..
670 . Dm/A − . . . − F/C− a)
..
674 . C7 − . . . − a), P D (c) (m 63)
..
678 . F/C − . . . − D7 /C− cresc
..
682 . <(Gm − C − F − D7 )/C− b)
686 ⊥ (D7 − Gm − C7 )/C− tutti climax
692 M0 F F − . . . − F ]◦7 /E[− [I] Mtdtd : Str-WW (m 89)
.. [5/[9
696 . Gm/D − G7 /D[ − F46 − C7 − tutti cad Σ(cm<)
..
698 . F − . . . − F ]◦7 /E[− repeat, Mtdtd : Str-WW
[5/[9
702 ⊥ Gm/D − G7 /D[ − F46 − C7 − Md : WW Σ(cm<), tutti cad
704 F − ...− Md : WW-Str im, PLi (%)
706 F − F + − B7[5 /F −
708 M0 E E − ...− Mtdtd : Str-WW
..
712 . D]◦ − D]7 /C] − E46 − B7 − cad, Σ(cm<), Hns P T (e)
..
714 . E − ...− repeat, Mtdtd : Str-WW
718 ⊥ D]◦ − D]7 /C] − E46 − B7 − cad, Σ(cm<), Hns P T (e)
720 (M0’) E − ...− Md : Str unisono scalar (m 121)
.. [5/[9
724 . B7 no 1 /F − Mt : Str unisono, tutti clim
..
728 . E − ...− repeat, Md : Str unisono scalar
[5/[9
732 ⊥ B7 no 1 /F − Mt : Str unisono, tutti clim
736 (M0’) E − ...− Mtd : Str/WW, LoStr arp (m 145)
744 ⊥ E − ...− Mt : Vi1, WW+Hns+Brs sust clim

m M R H Comment
753 E − ...− [K] tutti acct, GP, Hns P T (e) (m 162)
760 M2/0 G7 − . . . − ab/t): WW/(Vi1+Va) S(2p),
.. ..
768 ./. C C − ...− ab), P D (g), LoStr arp
.. .. piv5
776 ./. D7 /F ] − . . . − F7 − aa’), R−3 , PBi (&)
784 ⊥/⊥ C/E − G7 − C ca)
piv3
792 M2’/0 E/G] − . . . − Am − . . . − R−3 , abab’), Hns P D (e)
808 ⊥/⊥ E/G] − Em/G− aa), major-minor
816 M2/0 G7 − . . . − repeat ab/t): WW/(Vi1+Va), (m 225)
.. ..
824 ./. C − ...− ab), P D (g), LoStr arp
.. .. piv5
832 ./. D7 /F ] − . . . − F7 − aa’), R−3 , PBi (&)
840 ⊥/⊥ C/E − G7 − C ca)
0
848 (M0’) C − F − C/E − Am Md : Str im, Seq(2×3m;R3 ) (m 257)
852 ⊥ Dm − Am/C − F − Dm7 −
856 M2’ E − ...− a’), tutti climax
..
860 ./0 F7 − . . . − a/t): (WW+Hn)/Vi
.. ..
864 ./. F ]◦7 − . . . − [L] a’), tutti climax, bass arp%
.. ..
868 ./. (C − . . . − G7 )/G− ct/d): (WW+Va)/Vi, LoStr P D (g)
.. ..
872 ./. (Dm − C)/G− c)
.. .. d
876 ./. (C − G7 − Am − F )/G− c’), cresc
880 ⊥/⊥ C46 − . . . − G7 − tutti climax, cad
0
884 (M0’) C − F − C/E − Am Md : Str im, Seq(2×3m;R3 )
888 ⊥ Dm − Am/C − F − Dm7 −
892 M2’ E − ...− repeat, a’), tutti climax (m 305)
..
896 ./0 F7 − . . . − a/t): (WW+Hn)/Vi
.. ..
900 ./. F ]◦7 − . . . − B[m/F − . . . − a’/t), tutti climax, bass arp%
.. ..
908 ./. A◦7 /G[ − . . . − D[/F − . . . − a’/t), N 6
.. .. piv3
916 ./. F7 − . . . − R−3 , tutti cresc
924 ⊥/⊥ (C − . . . − G7 )/G− c’): tutti clim fff , P D (g) (m 333)
928 M2” C − . . . − Am − G7 − . . . − c’): (Tbn+LoStr)-WW imit, P T (c)
..
936 . C − Am/C − G7 − [M] c’)
940 ⊥ C/E − Am − G7 − . . . −

the earlier transition elements (stepwise descending tremolo playing lower strings, compare
m. 385). Therefore, this subsection has the character of a secondary development, an impres-
sion that is strengthened by the focus on the melody phrase M2c. This phrase is combined
with the dotted rhythm scalar runs in the violins in octaves, a combination first used in
m. 276 ff. This development consists of a long sequence, Seq(3×20m;R7 ), with a remarkable
chromatically ascending bassline a − b[ − b − c − c] − d (m. 976-1028). The gradual crescendo
mounts to the climax in m. 1060, the beginning of the Coda. The hammering unisono four-
fold repeated and accented half notes (ff and fz, see m. 131, 724, and M2a in m. 169) are
passed on from strings and bassoons and horns to upper woodwinds and brass. Note the
chord sequence C no 3 − A[ − C − F ]◦7 , containing another major third pivot point chord
change R3piv1 . There is a first glorious tutti setting of M2c in m. 1076. These two elements are
juxtaposed, increasing the climax to very loud fff dynamics. Stretto combination of the M0
triplet and dotted rhythms and a set of cadences (m. 1108 ff.) conclude the movement.

The key relationship diagram is shown in Fig. 6.10. The introduction of the opening move-
ment remains in the tonic major key C. For the exposition secondary theme the key changes
to the mediant degree minor key Em (1), then passing through A[m (2) and ending on the
regular dominant major key G (3). The development section moves through a lengthy series
of keys, starting from the lowered submediant major key A[ = [VI|C = [II|G = N |G (4) in
the subdominant area. Note a set of minor keys (Dm−F m)−Gm−(A[m−Em−Cm)−A[−
A[m − Em − Cm) − A[ − Cm (5-11), with major third symmetrical root division (4 semitones
R4i ). The recapitulation section has a number of key alternations involving the relative mi-
nor and the parallel minor key C − Am − Cm − Am − C (12-14), and the unexpected remote
key D[m (13).
The slow second movement opens in the relative minor key Am. All A sections (the set
from A1 to A5 and the coda, i.e., the rondo character sections) remain on the tonic axis T,
passing through the parallel major and relative major keys. So here we see the set of keys
{Am, A, C} (1, 4, 6, 7, 12, 13, 16). The B sections combine the dominant axis domain with
the tonic, using the key set {E, Em, Am, A} (2, 3, 5, 10, 11). The longer C sections visit the
subdominant domain, starting on the lowered submediant degree F = [VI (8) for C1 . This
section walks through the key sequence F − B[ − Gm − Am − Dm (9), while C2 contains
the key sequence D − F ]m − A (15). Section D has the Neapolitan stepwise key change
B[(= [II = N ) − A (14).
In Mvt. 3 the Scherzo is in the tonic major key C, the trio in the submediant degree major
key A. The scherzo opening section A1 has the regular tonic-dominant move C − G (1).
The middle section, like the opening movement development section, starts in the lowered
submediant major key A[, then makes a brief sidestep to the remote key of C[ (2), before
continuing with more closely related keys C − F m − Dm − G (3-5). Note the occurrence
of the subdominant key F m = IVm. The closing A2 section visits the subdominant area,
C − Dm − F − C − Gm − F m − C (6). The Trio opening C1 section moves to submediant
and mediant degree minor keys A − F ]m − C]m (7). The bridge section D contains the
lowered submediant and median major key F = [VI, C = [III (8). In the closing section C2 ,
like Movement 2, there is the tonic-Neapolitan (lowered supertonic degree major key) pair
A − B[ (10).
The closing sonata form fast movement has the standard key pattern in the exposition

m M R H Comment
944 M0/2’ <(C − G7 /D − C − G/B)− d/c’): WW/LoStr, P D (g)
.. ..
950 ./. C − G7 /D − C − Gno 3 −
.. ..
952 ./. <(C/E − G7 /F − d/c’): (WW+Hns)/(Vi+LoStr)
.. ..
./. C/E − G/D)−
960 ⊥/⊥ <(C − F − C − Dm7 )/C− c’): Bsn+Va S(2p), P T (c)
968 C − ...−
2nd Development
972 (C no 3 − C7 /B[no 3 )- trans (m 385)
976 (M0) Dm (A . . . − Dm − . . . −)/A− t/d’): Vi1/(Ob+Cl), Str trem, P D (a),
984 ⊥ (D]◦ − . . . −)/A− Pmi (%)
988 M2/0 E[ E[/B[ − . . . − B[7 − c/d): (WW+Va)/Vi, Seq(3×20m;R7 )

992 ⊥/⊥ B[7 − . . . − E[/B[− LoStr P D (b[) (m 277)
996 (M0) C]◦7 /B[ − . . . − t/d’): Vi1/(Ob+Cl), Str tremolo
..
1000 . B[7no 3 − . . . −
1004 ⊥ B◦7 − . . . − PBi (%), P (b)
1008 M2/0 F F/C − . . . − C7 − c/d): (WW+Va)/Vi, LoStr P D (c)
1012 ⊥/⊥ C7 − . . . − F/C−
1016 (M0) F ]◦7 /C − . . . − t/d’): Vi1/(Ob+Cl), Str tremolo
..
1020 . C7no 3 − . . . −
1024 ⊥ C]◦7 − . . . − PBi (%), P (c])
1028 M2/0 G G/D − . . . − D7 − c/d): (WW+Va)/Vi, LoStr P D (d)
1032 ⊥/⊥ D7 − . . . − G/D−
1036 (M0) G]◦7 /D − . . . − t/d’): Vi1/(Ob+Cl), Str tremolo
..
1040 . D7no 3 − . . . −
..
1044 . A◦ /E[ − . . . − PBi (%), P (e[)
1048 ⊥ F7 − P (f )
1052 M2/0 C C/E − C/G − . . . − G7 − c/d): (WW+Va)/Vi, LoStr P D (g)
1056 ⊥/⊥ G7 − . . . − C/G−

m M R H Comment
[N] Coda
1060 (M2’) C no 3 − . . . − a): Bsn+Hns+Str unis, clim, P T (c)
1064 ⊥/0 A[ − . . . − a/t): tutti/Vi, R3piv1 ,
1068 (M2’) C no 3 − . . . − repeat, a): Bsn+Hns+Str unis, climax
1072 ⊥/0 F ]◦ − . . . − a/t): tutti/Vi
1076 M2/0 (C]◦7 − Dm − D− c/d): (WW+Str)/Vi, clim, P D (g) (m 988)
⊥/⊥ C − G7 )/G−
1080 (M2’) C no 3 − . . . − repeat, a): Bsn+Hns+Str unisono
1084 ⊥/0 F ]◦ − . . . − a/t): tutti/Vi
1088 (M2’) C no 3 − . . . − a): Bsn+Hns+Str unis, climax, P T (c)
1092 ⊥/0 A[ − . . . − a/t): tutti/Vi, R3piv1 ,
1096 M2/0 (C]◦7 − Dm − D− c/d): (WW+Str)/Vi, fff , P D (g)
⊥/⊥ C − G7 )/G−
.. ..
1100 ./. (C]◦7 − Dm − D− c/d)
.. ..
./. C − G7 )/G−
1104 ⊥/⊥ C/E − (F − C − G7 )/G− c/d), climax fff
1108 M0 C − ...− closing, t/d): Vi/(Hns+Tpt+LoStr)
1114 ⊥ C/E − G7 − tutti cad, climax
1116 M0 C − ...− repeat, t/d): Vi/(Hns+Tpt+LoStr)
1122 ⊥ C/E − G7 − tutti cad
d
1124 M0 C − . . . − G/B − t/d): HiStr/(Brs-WW imit), cresc
1130 ⊥ Am − . . . − G − . . . − tutti climax ff − ffff
1138 M0’ <(C − G)− t/d): Str unisono/(WW+Brs), cad
1147 ⊥ C (1157 m.)

Mvt. 1 Andante -
Allegro, ma non troppo
13 2,7,10
Bm F ]m D[m A[m t

BM
D A E B B Mvt. 2 Andante con moto
5 12,14 1,3,8 B
- Dm Am Em Bm Em Bm
*
XX * F ]m
C]m
6?
? X
Xz ?1,3,7,11- 2,5,10
F C
G D G 15 D A E
6
6? ? 6
Fm Cm

Gm Dm Gm 9 Dm - Am Em
4,9,11 6 13
+ 3

6 8 ?6
A[ P E[ B[ F B[ F C G
? P
i
I
@ 4,6,12,16
A[m t E[m
@ 14
B[m Fm
Mvt. 4 Allegro vivace

Mvt. 3 Scherzo and trio
Allegro vivace B F] C] A[ t

E - C[ F] C] Bm F ]m C]m A[m
C
9 7 6
Em Bm CC F ]m -
C]m D A E y
XXX B
t 7
6 XX
? X
G D
C ∗
C A E Dm Am Em Bm
- 1,9
HH
Y * 6
Y
H
C @ HH
tF
H ?
Gm Dm C Am Em C G D
t
Y
HH C
W
? H 6 * 6
B[

F -C -G Fm Cm Gm H 5 Dm
10 5,8 1,4 * 3 H
*
2
PPq j
H
B[m Fm Cm Gm A[ E[ B[ 8 Ft
3 6 t 4
2
D[ A[ E[ B[
Figure 6.10: Schubert, Symphony No. 9 Große D759, key relationship diagram

6.5. STRING QUINTET IN C MAJOR OP. 163, D956
section: main theme in tonic major key C, secondary theme in dominant major key G (1). The
surprise party starts with the development section, opening in the lowered mediant degree
key E[ = [III, then moving further into the sudominant domain with lowered submediant
key A[ = [VI. Using the double occurrence property of the diagram, suddenly we are in the
dominant area with a sequence on the dominant axis D: C]m − Em − Gm − G (3) before
returning to the tonic key C. Note that this is a limited set of keys for the development
in a movement with such extraordinary length. The recapitulation surprises with the main
theme in the lowered mediant key E[ (4). It then wanders through F − E (5-6), before
the secondary theme statement announces the return to the tonic major key C. The second
development section is the extended R7 sequential setting, reflected in the key sequence
Dm − E[ − F − G (7-9). The returning tonic key C is maintained throughout the coda
section.
Both the length of this symphony and the creative modulation process by Schubert yield
fairly wide key diagram envelopes, as is obvious from the figure. Major third, pivot point
key modulations are visible as diagonal arrows in the diagrams: see for example the pairs
A[m − Em, Em − Cm, Cm − A[ in the opening movement, and G − E[, E − C in the closing
movement.
6.5 String Quintet in C Major Op. 163, D956 (1828)

Source: [58]. This late string quintet doubles the cello part, which is an unusual instrument
combination for the time period.3 An overview of the formal analysis is shown in Fig. 6.11.

Form: sonata form. See Table 6.77 to 6.80 for the analysis. The Exposition main theme
group has two themes: M1.1 with many appoggiaturas and a background in 4th and 8th
notes. The M1.2 theme is accompanied by a triplet background. the secondary theme group
consists of four themes; the last theme M2.4 is the basis for the development. Here we
also see a step-up in the rhythm: M2.1 with 8th note (1st statement) and triplet background
(2nd statement), M2.2 with a 6th note accompaniment, M2.3 going back to more sustained
harmonic background, however with occasional dotted 8th-16th groups. The Development
section applies many modulations to M2.4 and its variations, with the speed of modulation
stepping up towards the end. Note the symmetrical octave division key sequence Bm −
Dm − F m − A[ (3 semitones R−3i ).
6.5.2 Mvt. 2 Adagio

Form: ternary song form, ABA’. This second movement has a fascinating instrumentation
layout. The lyrical outer A sections consist of a three-part chorale-like setting for the middle
register strings (violin 2, viola and cello1), while the outer parts (1st violin and cello 2) are
providing the ‘sighing’ rhythmic pulse (pizzicato cello on the beat in 8th notes, with violin
1 filling the gaps with dotted 16th-32th note groups). The A section melody has M1(abb’)
3
Other string quintets, e.g., by Mozart, double the viola part. Schubert copies the Boccherini instrumentation,
doubling the lower cello part. This yields a darker sound at times, but note the high register phrases in the cellos
in this quintet.

Table 6.77: Schubert, String Quintet in C Major Op. 163, Mvt. 1 Allegro ma non troppo
m M R H Comment
1 M1.1a C C − D7[9 /C − C Exp, Gr 1/Th 1, c-ped,
7 ⊥ G − C − Dm/F − A◦7 /F ] − G− Vi1
11 M1.1a’ Dm − E7 /D − Dm Vc1, d-ped
17 ⊥ G7 /D − C − Dm/F − G7 − C
20 M1.1b C + − F ][9
7 /C − B
25 M1.1b’ B◦ /D − G7 − . . . − D]◦7 − g-ped
30 ⊥ C46 − C]◦7 /G − G7 − cad
33 M1.1a C − F ]◦7 /C G − E7[5 /B[ − A 2nd stat, elab, imit
d
40 M1.1a Dm − E7 /D − F/A− imit: HiStr
45 G/B − Em7 /D− triplets
47 G7 /D − C/E − G]◦7 − Am − F ]◦7 −
49 M1.2 G − (A∆7 − A7 − G − B[6 )/G− Gr 1/Th 2, g-ped,
51 ⊥ (B − C)/G − D7 − F ]◦7 − Va+Vc1
53 M1.2 G − A∆7 /G − A7 − G − B[6 − repeat
55 ⊥ B − C/G − D7 − F ]◦7 − G − F ]◦7 − G cad
60 M2.1a E[ E[ − A[/E[ − B[7 /E[ − E[ − Cm/E[ Gr 2: Vc1+2, e[-ped
63 ⊥ A[ − F m/A[ − G − Cm/G − G−
66 M2.1a E[ − A[/E[ − B[7 /E[ − E[ E[7 /D[− repeat
71 M2.1b C C − F − G7 − C − Am/C − F ]◦7 −
..
76 . G/B − C − D7 − G/D−
78 ⊥ −Am/E − G64 − D7 − cad
79 M2.1a E[ E[ − A[/E[ − B[7 − E[ 2nd stat: Vi1+2, triplets
84 ⊥ Cm A[ − F m/A[ − G − G − Cm/G − G−
87 M2.1a E[ E[ − A[/E[ − B[7 −
..
89 . E[ − . . . − E[7 − D[−
84 ⊥ Cm A[ − F m/A[ − G − G − Cm/G − G−
92 M2.1b C C − F − G7 − C− Vi1, c-ped
..
95 . Am/C − F ]◦7 − C− (c-ped)
97 ⊥ G/B − C − D7 − G64 − D7 − mod trans, cad
100 M2.2 G G − C/G − D7 − G − C/G − D7 − Gr 2/Th 2, g-ped, imit,
104 ⊥ G − F ]◦7 /A − F ][9
7 /A]− 16ths

(cont’d)
m M R H Comment
106 M2.2 B B − Em − B − Em− 2nd stat, imit: Vi1-Va
110 ⊥ B − G/B − C − D7 −
112 M2.2’ G G − C/G − D7 − G − C/G − D− imit: Vi1-Va, g-ped
d
116 ⊥ G − G/B − climax
118 M2.3 A[/C − G64 − D7 − G− Gr 2/Th 3: Vi1, triplets
d
122 M2.3 A[/C − G64 − D7 − repeat
126 M2.3’ G]◦7 − A − A7 /G − F ]◦7 − G − C− Vi2
d
129 ⊥ G64 − D7 −
131 M2.3’ G]◦7 − A − A7 /G− imit: Vi2-Vc1
..
133 . F ]◦7 − G − C/G − G/D−
136 ⊥ C/E − G]◦7 − Am − G64 − D7 −
138 M2.4 G − . . . − B − G7 − C − G64 − D− closing stat: Str
142 M2.4 G − . . . − B − G7 − C − G64 − D− repeat 8va
146 G − . . . − D7 − G − . . . − D − G
155 M2.1 A G]◦7 − E − A Bm − E − A Dev, Gr 2: Vi2+Va, a-ped
161 M2.4 A C] − A7 − D − A/E − E− Str
165 ⊥ Em − F ]7 /A] − Bm − F ]m/C]−
167 M2.4 F ]m F ]m − G]∅7 − A imit, c]-ped
173 ⊥ C]m/G] − D]m/F ] − D][9 7 −
176 M2.4’ G] G] − . . . − unisono triplets
181 M2.4 A[ A[ − A[7 /G[ − D[/F − E[7 − imit
185 M2.4 A[ − A[[9 7 /G[ − D[/F − E[7 − repeat
..
189 . A[ − A[7 /G[ − D[/F − D[−
..
193 . G[ − D[/A[ − D[m = C]m−
199 ⊥ A − E46 − B7 − modulation, cad
203 M2.4 Em Em − F ]∅7 − G − Em/G− imit
209 ⊥ F] Bm/F ] − C]∅7 − C][9 7 −
211 M2.4’ F ] − . . . − C][5
7 − unisono triplets
217 M2.4 F ] − F ]7 /E − B/D] − C]7 /B− imit
221 M2.4 F ] − F ][97 /E − B/D] − C]7 /B− repeat
..
225 . F ] − F ]7 /E − B/D] − B−
229 ⊥ B E − B46 − F ]7 − start rapid mod.
233 M2.4’ Bm B − Bm − G − D46 − A7 − imit

(cont’d)
m M R H Comment
239 M2.4 Dm D − Dm − E∅7 /G − F − C7 /E− triplets
..
243 . Fm F m − E[7 /G−
..
246 . A[ A[m = G]m imit
..
249 . Em E − Em − B7 /D] − Em−
251 ⊥ C G7 − . . . − D7[9 /A[− climax, d − b-ped
260 G − . . . − G7 − C/G − G7sus4 − G7 − retrans
268 M1.1 C C − F ]◦7 /C − C Recap, Gr 1: Vc, c-ped
273 ⊥ G7 /B − C − Dm/F − D/F ] − G
277 M1.1 Dm − G]◦7 − Dm/F − Vi1
283 ⊥ G7 /D − C/E − Dm/A − G/B−
285 C − C + − F ][5
7 /C − G/B − C7 /B[− mod to SD
295 M1.1 F F − B◦7 − C − A[57 /E[ − D − D7 − Vc1+2
d
302 M1.1 Gm − . . . − C]◦7 − B[/D − C/E − Dm/F − PB (%)
309 ⊥ C7 /G − F/A − B[ − C]◦7 − Dm − B◦7 − triplets
311 M1.2 C C − (D[∆7 − D7 − E[ − E − F − G7 )/C− Va+Vc1, c-ped
315 ⊥ C − . . . − G7 − C − B◦7 − C− cad
322 M2.1 A[ A[ − (D[ − E[7 )/A[ − A[ − B[m/D[ Gr 2: Va+Vc, a[-ped
326 ⊥ C − F m/C − C−
328 M2.1 A[ A[ − (D[ − E[7 )/A[− repeat: Va+Vc1
..
330 . A[ − . . . − A[[9
7 /G[−
..
332 . F F − B[ − C7 − F − Dm/F −
338 ⊥ C/E − E − G − C46 − G7 − C−
343 M2.1 A[ A[ − (D[ − E[7 )/A[ − A[ − B[m/D[ 2nd stat: Vi, triplets
347 ⊥ C − F m/C − C−
349 M2.1 A[ A[ − (B[ − E[7 )/A[− Vi1+2, a[-ped
..
351 . A[ − . . . − A[[9
7 /G[−
..
354 . F F − B[ − C7 − F − Dm/F −
358 ⊥ B◦7 /F − C/E − F − G7 − Retrans to T
362 M2.2 C C − F/C − G − C − F/C − G− c-ped, imit
..
366 . C − B∅7 /D − B7[9 /D]−
..
368 . Am E − (E7 − Am − E − Am)/E− e-ped
372 ⊥ E − Em − F − G7 −

h i
4
Mvt. 1 Allegro ma non troppo: sonata form (C, 4 , 445 m.)
Recapitulation (146 m.) C (31 m.)

h i
12
Mvt. 2 Adagio: ternary song form ABA’ (E − F m, 8 , 94 m.)
A B A’
h i
3
Mvt. 3 Scherzo, presto: scherzo and trio form (C, 4 , 212 m.)
A B A’ Coda
h i
4
Trio, andante sostenuto (D[, 4 , 58 m.)
C D C’ Cd
h i
4
Mvt. 4 Allegretto: rondo ABAB Coda form (C, 4 , 429 m.)
A (46 m.) B (123 m.)
A’ (99 m.) B’ (102 m.) Coda (59 m.)
Figure 6.11: Schubert, String Quintet in C Major Op. 163, D956
(cont’d)
m M R H Comment
374 M2.2 C C − F/C − G7 − C − F/C − G − C Vi1, I(M): Vc1
380 M2.3 D[/F − C46 − G7 − C− Vi1, climax
384 M2.3 D[/F − C46 − G7 − C]◦7 − D7sus4 − D7 /C−
389 ⊥ G/B − B◦7 − C − Dm7 /F −
391 M2.3 C46 − G7 − C]◦7 − D7sus4 − D7 /C− repeat
395 ⊥ G/B − B◦7 − C − Dm7 /F −
400 M2.4 C − . . . − E − C7 − F − C46 − G− Str
404 M2.4 C − . . . − E − C7 − F − C46 − G− repeat 8va
408 M2.1 C − Dm − G − C − (G7 − C − G7 )/C− imit: Vi2-Va-Vc1, c-ped
414 M1.1’ C C − F ]◦7 − G − B[m− Coda, imit
..
421 . G[5 [5 [5
7 /D[ − C − F7 /B − B[ − E[7 /A − A[− cresc to climax
425 ⊥ 6
A[7 − C4 − G− cad
429 M2.1 (C − . . . − G7 − C − . . . − G7 − C)/C c-ped
439 (F m − G7 − B◦7 − G − C)/C (445 m.)

structure. The second A section is a variation with busier, more embellished outer parts
(violin 1 in 16th notes, cello 2 in 32th scalar runs with appoggiaturas). The bridge section
changes roles: the lead voice is carried in unisono octaves by violin 1 and cello 1, while the
syncopated and 16th triplet rhythms are played by the other strings. There are two through-
composed melodies M2 and M3. See Table 6.81 and 6.82 for the analysis.
6.5.3 Mvt. 3 Scherzo

Form: scherzo and trio form. Both the Scherzo and Trio have a ternary ABA’ Coda structure.
Note the key, tempo, dynamics (soft) and meter change for the trio.
The Trio has a kind of call-and-response phrase structure: two instruments play a four-
measure stepwise descending phrase M4 in octaves, which is answered by a tutti sustained
chordal cadence. See Table 6.83 and 6.84 for the analysis.

Form: rondo, ABA’B’ Coda form. This rondo form has extended sections with development
character; this holds for both B sections and the second A section.4 The coda may also be
considered another A” section.
There are three themes. The main theme has M1(abc) structure, and will appear in mul-
tiple combinations of the three phrases. The a-phrase is a descending scalar figure in 8th
notes, the b-phrase has sequential arpeggio in 4th note characteristics.The c-phrase, with its
hammering march rhythm, is used as a transitory theme and in the development. The sec-
ondary theme has M2(abac) structure, with again the c-phrase (with 8th note triplet rhythm)
as the basic cell for an extended development. This theme has some similarity with the
opening mien theme (compare the ascending stepwise movement and the rhythm in M1.1
in Mvt. 1 and M2a in Mvt. 4). The M3 theme is used for the long (re)transitions, and also in
combination with phrases from M2.
See Table 6.85 to 6.88 for the analysis.There is ample use of (tonic-dominant) pedal point,
supporting a dance and folk music-like character of the main theme. Note the riff-like four-
measure groupings as a background.

The key relationship diagram of this late string quintet is shown in Fig. 6.12. The diagram
shows the mature harmonic language of Schubert: a very wide key range envelope in the
outer sonata and rondo form movements and the remote key relationships between the sec-
tions in the central movements.
The characteristics of the opening Allegro are the key changes along the vertical minor
third (3i) symmetry axis and the major third key changes. The former aspect is illustrated
by the keys of the main and secondary theme group, C − E[ (1) A − F ]m (5) and the long
Bm−Dm−F m−(A[ = G]) sequence (8-9). For the latter, see the G−B (3–4) and the G]−Em
key change (6–7). These major third key changes will reappear in the other movements.
The development section starts in the key of A major, moves into the dominant area and
4
Interpreting this finale movement in terms of a sonata form (as happens in analysis schemes by other au-
thors) implies that the A’ section is the development, but then a clear recapitulation is missing. The coda brings
the original main theme, but in a new form, with a more conclusive flavour, in my opinion.

Table 6.81: Schubert, String Quintet in C Major Op. 163, Mvt. 2 Adagio
m M R H Comment
h i
Adagio A (]]]]) 12
8
1 M1 E E − B − C]7 /G] − F ]m − C]4 − C]7 − a): Vi2+Va+Vc1 (3-pt)
..
5 . F ] − G]m7 /F ] − F ] − F ]]5
7 − b)
..
7 . B − G]m7 − C]4 − G]7 − C]7 − climax
..
9 . F ] − G]m7 /F ] − F ]− b’)
..
11 . Bm − Bm7 − E 4 − B7 − E7 − climax
13 ⊥ A − F ]m7 − B 4 − F ]7 − B7 −
15 M1’ E − Bm − D − D7 − a’): Vi2+Va+Vc, Vi1 pizz
..
19 . G − B7 /F ] − B7[5 /F − E7 − c), Vi1: pizz-arco, PBi (&)
22 ⊥ A − F ]m7 − B 4 − F ]7 − B7 − climax
24 Mt E − E7 − A4 − A − F ]◦ /A − E46 − B7 − Vi1
..
26 . E − E7 − A4 − A − F ]◦ /A − E46 − B7 −
28 ⊥ E
B ([[[[) climax
29 M2 Fm <(F m − G∅7 )/F − F − F7[9 − a) Vi1+Vc1 8va, P T (f )
..
32 . B[m − G[/B[ − C7 − F m− b)
..
33 . F m − D[/F − G7 − Cm−
.. d
34 . G[9 [9
7 /B − Cm − C7 /E −
.. d d
35 . D[/F − D7[9 /F ] − E[/G − E7[9 /G] − c), PLi (%), PBi (%)
..
37 . F/A − B[[9 [9
7 − Cm − C7 /E− climax
39 ⊥ F m − A[/E[−
40 M3 Cm D[ − D[/F − Cm/G − G[97 /F − a) N 6
42 ⊥ [9
Cm/E[ − C7 /E − F m − A[/E[− b)
44 M3 D[ − D[/F − Cm/G − G[97 /F − a)
.. [5/[9
46 . F ]◦7 − B7 /F − C/E − E− b’) clim, PBi (&) , PLi (&)
..
48 . E◦7 − F m − D[/F − Cm/G − G7 −
.. [5/[9
50 . F ]◦7 − B7 /F − b’) PBi (&)
.. [5/[9 d
51 . C/E − E − C][9
7 /G] − C]7 /G − clim, PLi (&)

Table 6.82: Schubert, String Quintet in C Major Op. 163, Mvt. 2 Adagio (cont’d)
m M R H Comment
..
52 . Bm/F ] − F ]4 − F ]− c) clim, PLi (&)
..
53 . D]◦7 − E 4 − E−
..
54 . E◦7 − C7 /E − F m
55 ⊥ <(Cm/G − D[/F ) − D[ − Cm/G − G7 −
58 G]◦7 /F − F ] − D]◦7 − E − G]7 − retrans
A’, variation (]]]])
62 E A− E46
− B7sus4 − B7 −
64 M1 E − B − C]7 /G] − F ]m − C]4 − C]7 − a): Vi2+Va+Vc1 (3-pt),
..
68 . F ] − G]m7 /F ] − F ] − F ]]5
7 − b), Vi1: 16th, Vc2: 32th
..
70 . B − G]m7 − C]4 − G]7 − C]7 − climax
..
72 . F ] − G]m7 /F ] − F ]− b’)
..
74 . Bm − Bm7 − E4
− B7 − E7 − climax
76 ⊥ 4
A − F ]m7 − B − F ]7 − B7 −
78 M1’ E − Bm − D − D7 − a’): Vi2+Va+Vc, Vi1 pizz
..
82 . G − B7 /F ] − B7[5 /F − E7 − c), Vi1: pizz-arco, PBi (&)
85 ⊥ A − F ]m7 − B 4 − F ]7 − B7 − climax
87 Mt’ E − E7 − A4 − A − F ]◦ /A − E46 − B7 − Vi1
..
89 . E − E7 − A4 − A − F ]◦ /A − E46 − B7 −
.. [5/[9
91 . E − C − F m − F ]7 /C− clim, see B section
93 ⊥ E46 − B7 − E cad (94 m.)

Table 6.83: Schubert, String Quintet in C Major Op. 163, Mvt. 3 Scherzo
m M R H Comment
h i
Presto A 34
1 M1 C || : <(C − G7sus4 )/C − C− aa): Vi1+Va, P (c−g)
..
9 . (F − C)/C − C7 /B[− b): tutti chords
13 ⊥ (A − Dm − A)/A − Dm − C
17 M1 <(G7no 3 − C)− aa): Vi1+Vc1, P D (g) 8ths
..
24 . (C − F − C − G7 − C)/C− a’) P T (c)
..
26 . (G7sus4 − C − G7 − C − F − C)/C− cresc
..
29 . <(A[/C − B[m7 − E[7 )− c): Vc2-(Vi1+Vi2) clim, N 6
..
37 . A[/C − A/C] − B[/D − B/D]− cresc,PBi (%), [S̄ 6 ] arp
[5/[9
41 ⊥ C/E − A7 /E[ − G/D− climax
45 (M1) <(Dno 3 − Em7 − D7no 3 − G)− a) 2-pt imit, trans, Vi1 8th
52 ⊥ G G − C/G − G − <(D7 − G) : || clim, P T (g)
57 Mt E[ || : E[ − . . . − B[7 /D − B[7no 3 − B, Mt=(M1a), imit
65 M2 E[ − A[/E[ − E[ − B[7 /D − B[7 − Vi1+Vi2 oct, P T (e[)
73 M2 E[ − A[/E[ − E[ − B[7 /D − B[7 − 2nd stat
81 M2’ B E[ − B − E/B − B − F ]7 /A] − F ]7 − 3rd stat, P T (b)
91 M2’ B − E/B − B − F ]7 /A] − F ]7 − 4th stat
99 Mt B − ...− Vc1+Vc2
107 ⊥ <(B◦7 − . . . − G[97 /B)−
115 C 4 [9
<(C − G7 /B)− climax, P D (g)
[5/[9
119 E◦7 /B[ − F/A − D7 /A[ − G−
123 <(C 4 − G[9 7 /B)− P D (g)
[5/[9
127 E◦7 /B[ − F/A − D7 /A[ − G − C
131 M1 C || : <(C − G7sus4 )/C − C− A’, aa): Vi1+Va, P (c−g)
..
139 . (F − C)/C − C7 /B[− b): tutti chords
143 ⊥ (A − Dm − A)/A − Dm − C
147 M1 E[ B[ − E[/G − B[7no 3 − E[− a): Vi2+Vc1 8va, P D (b[)
..
151 . B[ − E[/G − B[7no 3 − E[− a)
..
155 . <(B[7 − E[ − B[7no 3 − E[) − Cm7 /E[−
..
159 . <(E[ − F m7 − B[)− c): Vc-(Vi1+Vi2), climax
..
167 . E[/G − E/G] − F/A − F ] − A]− cresc,PBi (%), [S̄ 6 ] arp
[5/[9
171 ⊥ G/B − A[ − D7 /A[ − C/G− climax

Table 6.84: Schubert, String Quintet in C Major Op. 163, Mvt. 3 Scherzo (cont’d)
m M R H Comment
175 (M1) C <(Gno 3 − Am7 − G7no 3 − C)− a) 2pt-imit, trans, Vi1 8th
182 ⊥ C − F/C − C − <(G7 − C)− clim, P T (c)
187 M1’ <(G4 − C)/C− Coda, a): Vi1+Va, P (c−g)
..
191 . <(G4 − C)/C− a’) augm
..
198 . (C7 − F − C)− climax, Σ(cm<)
202 ⊥ (F ]◦7 − G7 − C)/C : || cad (212 m.)
h i
Trio – Andante Sostenuto C ([[[[[) 44
1 M4 D[ A[ − (F m − D[) − B[m7 Va+Vc2 8va
5 G[ − D[A [7 − D[ tutti chords
9 G[m − D[ − A[7 − D[
13 M4 D[ − (B[m7 )− Va+Vc2 8va
16 G[ − D[ − A[7 − D[ tutti chords
20 G[m − D[ − A[7 − D[
24 M5 || : B[m − F − D[ − A[7 − D[ D, Vi1+Vc2 8va
28 M5 B[m − F − D[ − A[7 − D[ Va+Vc1 unis
32 M4’ C]m7 = D[m7 − A − B C’ Vi1+Vc2 8va, Seq(2×4m;R−7 )
36 M4’ Bm7 − G − A− Va+Vc2 8va
40 ⊥ D[64 − A[7 − D[ : ||
43 M4’ Bm7 − G − A− Coda, Va+Vc2 8va,
47 ⊥ Am7 − F − G− Seq(2×4m;R−7 )
h i
Tempo I. retrans (\\\\\) 34
51 unis P D (g) (58 m.)

Table 6.85: Schubert, String Quintet in C Major Op. 163, Mvt. 4 Allegretto
m M R H Comment
Allegretto A
1 M1 Cm <(G[97 − Cm)/G− abc): Vi1, P D (g)
7 M1 <(G[97 − Cm)/G 2nd stat: Vi1+Vi2
13 M1’ E[m <(B[[97 − E[m)/B[ ab): Vi1
17 M1’ Em <(B7[9 − Em)/B a): Vi1
19 ⊥ C <(C − G7 )/C − C a’c): Vi1+Vi2, clim, P T (c)
27 M1’ G[9
7 − G7 − C a’c’): Vi1+Vi2
32 M1’ Am E7[9 − E7 − Am − F − a’): VI1+Vi2, Σ(cm>)
..
36 . C C − G7no 3 − C − F − c), unis, Σ(cm>)
40 ⊥ C − G7no 3 − C − . . . − c), climax
46 M2 G C − G/B − F ]◦ /A − G− B, ab): Vi1+Vc1, PB (&)
..
50 . C − G/B − D7 /A − G− ac)
..
55 . <(D7no 3 − G − D − D7 − G)/D− c’): Vi1 tripl, dev, P D (d)
..
63 . (D7no 3 − G − D)/D− c’) (P D (d))
66 ⊥ <(F ]◦7 /E[ − D − A7 − D)−
d
73 M2’ D <(D − A7 ) − D − B7 − a’a’): Vi2+Va
79 M2’ G C − G/B − F ]◦ /A − G ab): Vi1+Va, PB (&)
..
83 . C − G/B − D7 A − G− ac): Vi1+Vi2
..
87 . G − D7 /C − G/B − D/A dev, P D (d)
..
91 . D7 /C − G/B − D7no 3 /C − G (P D (d))
..
96 . D7 /C − G/B−
98 ⊥ D <(D/A − F ]◦7 /E[ − A7 /C])− Vi1
106 D − D7 /C − G/B − C−
d
109 M2’ D7 − Em − G/B − Cm a’): Vi1+Vc1
d [5/[9
113 M2’ D7 − E[ − . . . − A7 /E[− a’), Σ(cm>)
[5/[9
118 M3 G G64 − D − G − A7 /E[− Vi1+Vi2+Va
122 M3 G64 − D − <(G − D)− imit
..
126 . Gm Gm − D − Gm/B[ − Cm−
131 ⊥ B[ − F/A − E◦ /G − F7 /A − D/A−

Table 6.86: Schubert, String Quintet in C Major Op. 163, Mvt. 4 Allegretto (cont’d)
m M R H Comment
135 M3/M2 G G − D7 /A − G7 /B− stretto imit, (Vi+Va)/a’): Vc
.. ..
137 ./ . C − E7 /B − Am − A7 /G−
139 ⊥/⊥ D/F ] − A/E − D7 /F ]−
141 G − . . . − Cm/G − . . . trans
153 M3’ G/B − B◦7 /A[ − G7 − B◦7 /A[−
..
157 . Dm/F − B[/F − . . . −
..
161 . G7 − B◦7 /A[ − G7 − D∅7 /A[−
165 ⊥ G[9
7 − F ]◦7 /G− climax
169 M1 Cm <(G[97 − Cm)/G− A’, abc): Vi1, P D (g)
175 M1 <(G[97 − Cm)/G 2nd stat: Vi1+Vi2
181 M1’ E[m <(B[[97 − E[m)/B[ ab): Vi1
185 M1’ Em <(B7[9 − Em)/B a): Vi1
187 ⊥ C <(C − G7 )/C − C a’c): Vi1+Vi2, clim, P T (c)
197 M1’ G[9
7 − G7 − C a’c’): Vi1+Vi2
202 M1’ Am E7[9 − E7 − Am − F − a’): VI1+Vi2, Σ(cm>)
..
206 . C C − G7no 3 − C − F − c), unis, Σ(cm>)
210 ⊥ C − G7no 3 − C − . . . − c), climax
214 M1’ Cm G[9 [9
7 no 3 − Cm/G − G7 /F − dev, imit a): Vi-Va-Vc,
217 ⊥ [5
Cm/E[ − A[/C − F7 /C[ − B[ Seq(2×4m;R−3 )
219 M1’ E[m B[[9 [9
7 no 3 − E[m/B[ − B[7 /A[−
..
222 . E[m/G[ − <(E[m − G[+ /D)−
..
225 . C[ − . . . −
.. d
227 . B B − F ]7 /A] − G]m c): Vi1+Vc1
230 ⊥ F ]7 /A] − F ]7 /E−
233 M1’ Bm F ][9 [9
7 no 3 − Bm − F ]7 /E− imit a): Vi-Va-Vc,
236 ⊥ [5
Bm/D − G/B − E7 /B[ − A− Seq(2×4m;R−3 )
238 M1’ Dm A[9 [9
7 no 3 − Dm − A7 /G−
..
241 . Dm/F − <(Dm − F + /C])−
.. d
245 . B[ B[ − . . . − F7 /A − Gm − F7 /A−
250 ⊥ F7 /A − . . . − F7 − F ]◦7 − Seq(2×7m;R7 )
254 E[7 /G − F ]◦7 − B◦7 /F − G[97 /D−
257 G7 − . . . − G]◦7 − F7 /A − G]◦7 −
262 E∅7 /G − A[9 7 /E−
265 C Dm/F − G7sus4 − G7 − C/E−

m M R H Comment
268 M2 C F − C/E − B◦ /D − C− B’, ab): Vi1+Va, PB (&)
..
272 . F − C/E − G7 /D − C − C/G− ac)
..
277 . (G7no 3 − C − G − G7 )/G− c’): Vi tripl, dev, P D (g)
..
281 . (C − G7no 3 − C − G7no 3 − C)/G− c’c’) (P D (g))
287 ⊥ G <(G − B◦7 /A[ − G − D7 )−
295 M2’ <(D7 − G) − G7 /F − C/E − F − a’a’): Va+Vc1
.. d d
301 . C G7 − Am − C/E − F m − G7 − a’): Vi1+Vc1
[5/[9
307 ⊥ A[ − . . . − D7 /A[− Σ(cm>)
[5/[9
311 M3 C46 − G − C − D7 /A[− Vi1+Vi2+Va
315 M3 C46 − C − <(C − G)− imit
..
319 . Cm Cm − G − Cm/E[ − F m−
..
324 . E[ − B[/D − A◦ /C − B[7 /D−
326 ⊥ G/D−
328 M3/M2 C C − G7 /D − C7 /E− stretto imit,
.. ..
330 ./ . F − A7 /E − Dm − D7 /C− (Vi+Va)/a’): Vc
332 ⊥/⊥ G/B − D/A − G7 /B−
334 M3’ C − . . . − F m − . . . − G7 − . . . − trans
..
346 . C − ... − Fm − ...−
..
354 . G − G[9
7 − G7 − B◦7 /A[−
..
358 . <(Dm/F − B[/F )−
..
362 . <(G7 − D∅7 /A[)−
366 ⊥ G7 − (F ]◦7 /G − . . . − climax
Più allegro Coda=A”
370 M1’ Cm <(G[97 − Cm)− a’): Vi1+Va
..
374 . F7[5 /C[ − B[ − B[7 /D − E[− Seq(2×2m;R−3 )
..
376 . A[5 [9
7 /E[ − D − D7 /F ] − G
.. d
378 . Bm F ][9
7 − G − Bm/F ]◦7 −
384 ⊥ <(F ] − Bm)/F ] − G bc) climax
389 M1’ E[m <(B[7 − E[m)/B[− ab): Vi1
393 M1’ Em B7 − Em/B− a): Vi1
395 M1’ C <(C − G7 )/C− a’): Vi1+Vi2, climax

Mvt. 1 Allegro
6,10
B F] C]: G]t
?8 K
A

Bm F ]mA C]m G]m
A
5 6 A
D A E B Mvt. 2 Adagio
A

4
I
@
@ A
Dm Am @ Em Bm D A E
14 ? @ 7,11
12 - 6

F C - G D Dm Am Em
3
6
Fm Cm Gm Dm F C G
6
A[ 9,13 F m 1 - Cm
? ?
t E[ 1,2 B[ F Gm
Mvt. 4 Allegretto – Più allegro
D[m A[m E[m t B[m Fm

8
E B F] C] G]
?
Em Bm F ]m C]m G]m
Mvt. 3 Scherzo G D A E B
1 3 2,14 12
B[ F CM -G Gm Dm Am Em Bm

6 10
?0 4
B[m Fm Cm Gm B[ 9 F C B - GB - D
3 2,4 6,11 ?
6 6
?5
D[T A[ E[ B[ B[m Fm CmA Gm Dm

D[m A[m E[m B[m D[ A[ E[ B[ F
1,7,13
E B
F] C] D[m A[m E[m t B[m Fm
Figure 6.12: Schubert, String Quintet in C Major Op. 163, key relationship diagram

m M R H Comment
Più presto
401 M1” C C − G − G7 /D − C− c’): Vi2+Vc1
404 ⊥ Dm − G7 − C− cad
406 M1” C − G − G7 /D − C− c’)
409 ⊥ <(Dm − G7 − C) − F − Dm − G7 − C cad
413 <(C − G/D) − C climax, Σ(cm<)
417 (M1’) C − ...− c’) unisono
..
419 . D∅7 /F − G[9
7 − imit: (Vi+Vc1)-(Vi2+Vc2)
423 ⊥ [5
C − D[7 − C cad (429 m.)
then gradually into the subdominant domain. The recapitulation stays in the traditional
subdominant key area, see C − F − A[ − F − C (12-13).
The slow second movement uses a peculiar key relationship between the outer A and the
middle B section of this ternary form: after the main key E we find the lowered supertonic
minor key F m (1) as the basis of the bridge section. A similar approach is used in the scherzo
movement, where the main key C of the menuet is contrasted by the D[ key of the trio.
The closing rondo has both A sections in the tonic main key Cm, and both B sections in
major keys. The latter show a similar structure G − D − G − Gm − G (4–5) and C − G − C −
Cm − C (10-11). The opening statement with its extended pedal point has the remarkable
key progression Cm − E[m − Em − C (1-2, 13-14), mirrored by the Cm − Bm − E[m − Em −
C sequence in the coda (12-14). The A’ developmentt section, is taking-off from the E[m
key (using the enharmonic equivalence property) and progresses through the subdominant
domain (8-9), until the return with the B[ key (9).


Chapter 7
Hector Berlioz
Biographical data:
∗ 11-12-1803 La Côte-Saint-André
† 8-3-1869 in Paris
1600 1700 1800 1900 2000
7.1 Symphonie Fantastique Op. 14 (1830)
Source: [9]. This symphony has the subtitle ‘Episode de la vie d’un artiste’ (‘Episode in the life
of an artist’), suggesting musical story-telling in the sense of a symphonic poem.1 This is
reflected in the form of the symphony as shown in the overview of the formal analysis in
Fig. 7.1.
There are five movements with titles that hint at the story. The symphony consists of
very long outer movements, but only one has a more or less traditional sonata form. Most
movements have unique forms, although there is a moderately fast triple meter inner move-
ment (the waltz in Mvt. 2), a ternary inner movement (Mvt. 3) and both Mvt 4 and 5 have
some rondo form characteristics. Interpreting the opening movement in terms of the sonata
form implies that it has a very long development section. The slow introduction section fits
nicely in the current symphonic context during that period.
A binding element in all movements is the ’Idée fixe’ musical theme, sometimes only as a
short motif, but originally as a long melody. This melody is modified in each movement, in
accordance with the current meter and tempo.
The ternary form Mvt. 3 has more or less equally long sections, the others show wider
differences in relative lengths. This is in line with the story being told, full of emotions and
drastic mood changes. The closing movement confronts the wild ’Witches’ theme with the
‘Dies Irae’ warning. This happens in multiple settings as juxtaposition, combination and in
intricate counterpoint settings; this explains the mutliple occurrences of the B and C sections.
1
The terms symphonic poem and tone poem are synonymous.
2005-2017
CHAPTER 7. HECTOR BERLIOZ
h ih i
4 2
Mvt. 1 Rêveries. Passions: sonata form (Cm, 4 2 , 523 m.)
Intro (71 m.) Exposition (95 m.)
Dev (cont’d, 52 m.) Recap (39 m.) Coda (77 m.
h i
3
Mvt. 2 Un Bal: ABAACB-Coda form (A, 8 , 368 m.)
Intro (48 m.) A (80 m.) B (58 m.)
A (60 m.) A (23 m.) C (46 m.) B (18) Cd (48 m.)
h i
6
Mvt. 3 Scène aux champs: ABA-Coda form (F , 8 , 199 m.)
Int (20) A1 (67 m.) B (30 m.) A2 (33 m.) Coda (50 m.)
h i
4
Mvt. 4 Marche au Supplice: ABABA-Coda form (Gm, 4 , 178 m.)
In (16) A (45 m.) B (16) A(11)B (16) A (47 m.) Cd (27 m.)
Mvt. 5 Songe d’une nuit du Sabbat: ABCB(C/B)(C/B)B Coda rondo form

h ih ih i
4 6 2
(C, 4 8 2 , 524 m.)
I. (20) A(62 m.) B (44 m.) C (60 m.)
C (cnt’d 34 m) B (126 m.)
C/B (67 m.) C/B (21) B (50 m.) Cd (40 m.)
Figure 7.1: Berlioz, Symphonie Fantastique Op. 14

7.1. SYMPHONIE FANTASTIQUE OP. 14
7.1.1 Mvt. 1 Rêveries. Passions

Form: sonata form. The sonata form is hidden in the storytelling (Episode) character of the
entire symphony; therefore this almost symphonic poem opening movement with the sub-
title ‘Rêveries. Passions’ (‘Visions and Passions’) is not a clear sonata form (labeling it as such
may be questionable). See Table 7.1 to 7.5 for the analysis.
The slow Introduction section has a significant length; it introduces the melody in the
first violins. This melody has modified sentence structure, Mi(aa’bb’) (4 + 4 + 2 + 4 m.). This
has a lyrical quasi-improvised character, with descending stepwise motion interrupted by
wide ascending leaps. The 2nd statement of this melody is somewhat varied MI(aa’bb’) (4 +
4 + 2 + 10 m.) with the extended tail of parallel string section syncopations. The introduction
section key centre moves back and forth between major and minor.
In the Exposition (m. 72) we first hear the returning melody of this symphony: it is
known as the ’Idée fixe’ theme, which has the structure, MIF (aa’bb’b”c) (8 + 7 + 4 + 4 + 7 + 10
m.). The a-phrase starts with upward (arpeggio) leaps, followed by stepwise motion. The
long-duration descending steps (note the similarity with the latter half of the a-phrase) on
the b-phrase suggest sighs; each statement of the b-phrase starts at a higher pitch (quasi a
sequence, reaching an apex), increasing the tension and feeling of expectation. The closing
c-phrase consists of descending leaps. This structure nicely yields an extended but balanced
melody, with sufficient emotional potential. Brief melodic fragment in various lead parts
support the dreamy mood changes and contrasts. At the end, when moving towards the
dominant key area, an MIF phrase is quoted, it is intertwined with a countermelody Mc,
with descending overall character and containing ascending appoggiaturas.
The Development section (m. 166 ff.) brings back the ’Idée fixe’ theme MIF a-phrase in the
lower strings. It is answered by the vague reference to the MIF melody first stated in m. 119
in woodwinds and horn. The countermelody Mc returns on stage in m. 191 with unisono
strings imitating the woodwinds. This launches a remarkable extended transition in exact
parallel 1st inversion chords ([S̄ 6 ] ascending-descending) for strings, supported by sustained
woodwind accented chords and with dynamic contrast (crescendo-decrescendo). Still in
the dominant major key G, there is a woodwind restatement of the main theme (m. 236),
suggesting a sort of false recapitulation. However, the restless string background arpeggio
patterns in contrary motion make it clear that the dream-nightmare isn’t over yet.
In the transition (m. 289 ff.) descending strings in parallel motion suggest calming down,
but then rise again to a tutti climax (m. 303 ff.). From m. 309 onwards it is the secondary
theme Mc that is being developed in an imitation counterpoint setting for strings. The coun-
terpoint mood continues as the lead oboe plays a variation on Mc (m. 356 ff.) with snippets
of the ‘Idée fixe’ motto played in imitation by cello and viola. Stretto imitation in an extended
sequence (again a long series of 1st inversion chords in parallel ascending and descending
mode, see m. 198 ff.) lead to the final climax of the development section (m. 400-407). Note
that this is also the first entrance of the loud brass instruments, i.e., the trumpets.
The Recapitulation (m. 408 ff.) presents a variation on the ‘Idée fixe’ MIF motto (i.e.,
the first measures of the a-phrase) in a continued tutti climax setting. The lead part is for
woodwinds (piccolo, flute, oboe), lead trumpet and violas. There is extended pedal point,
while the high strings play either an embellished variation of the motto or play short coun-
termotive phrases in stretto imitation. The transition (m. 437 ff.) with tremolo strings and
chromatically ascending lead voice leads into the Coda (m. 447 ff.). The motto is imitated in
woodwinds, again playing with the major-minor key contrast. Another transition (m. 459 ff.)

Table 7.1: Berlioz, Symphonie Fantastique Op. 14, Mvt. 1 Rêveries. Passions
m M R H Comment
h i
4
Largo 4 ([[[) Introduction
1 Cm G7 − Cm WW triplets
3 Mi B◦7 /A[ − Cm/G − D7[9 /F ] − B◦7 /D− a): Vi1, Str bg, PBi (&)
.. d
5 . Cm − G7 /D − halfcad
..
7 . A[ − D7[9 no 1 /E[ − G7 − Cm − B[ a’)
..
9 . A[ − Dm − D◦ − Cm − D∅7 /G − G[9
7 − Σ(cm<)
.. d
11 . Cm − D7 /A − E[/G− b: Vi1, DB pizz PBi (&)
13 ⊥ F ]◦7 /E[ − E[7 − A[∆7 − F m
Più mosso switch to major
17 C G7 − C − Dm/F − C/E [1] Str stacc 16th tripl
19 Dm/F − C/E − F/A − B[− Hns+Str triplets, [S̄ 6 ]
21 E[/B[ − A[ − F7 /A−
22 B[m − B[ − G/B − F ]◦7 /C− cresc to clim
23 C − Cm − B◦7 − maj-min
24 Cm = E[ − A◦7 /E[− [2] Cl+Hn lead, Str arp
26 F m7 /A[ − E[64 − B[7 − cad
Tempo I. to parallel major
28 Mi E[ E[ − F m/A[ − E[/B[ − F∅7 /C[ − B[[9
7 − 2nd st, a): Vi, WW runs
..
30 . E[ − Cm − F m7 /A[ − E[ − E[64 − B[7 − 16th arp
..
32 . E[ − F m7 − Cm/G − B◦7 /A[− a’)
..
34 . Cm/G − D∅7 /F − Cm/E[ − D∅7 /G − G[9
7 − climax
..
36 . Cm Cm − E◦7 /D[ − F m − G◦7 /D[− [3] bb’): Str imit, WW acc
..
40 . A[ − C7 − F m − F m7 −
..
42 . D[m − A[/C − B◦7 − G− Str sync, par&
.. d
44 . F ]◦7 − D∅7 /F − Dm/F − Cm64 − G7 −
46 ⊥ A[ − B◦7 /A[ − A[−
49 D[/A[ − A[− [4] Hn lead, Vi1 arp bg,
53 F [ = E − E7 /G] − C]m/G] − G]m WW tripl, P (a[ = g])
59 B◦7 /G] = G]◦7 − Am − F min-maj
61 C C46 − G7 − C − Am/C − Dm/F − G7 − [5]
h iclimax, cad
2
Allegro agitato e appasionato assai 2 (\\\) transition
64 C − Am − F − C7 /E dyn contrast acc
70 F − D∅7 − G7sus4 − G7 − Str

Table 7.2: Berlioz, Symphonie Fantastique Op. 14, Mvt. 1 Rêveries. Passions (cont’d)
m M R H Comment
Exposition
72 MIF C || : C − Dm7 − . . . − ’Idée fixe’ theme, a): Fl+Vi1
..
78 . G4 − G− Str bg
..
80 . G − ...− a’)
..
84 . C46 − G7 − C cad
..
87 . G[9
7 − ... − C b) maj-min ambiguity
..
91 . G97 − ... − C b’), cad
..
95 . A[9
7 /C] − . . . − D7 − b”) apex, clim
..
100 . Em − G97 − Fl+Vi1 lead, Str bg
..
102 . C − Dm7 /F − D7 /F ]− c)
..
106 . Am − C46 − F/A−
109 ⊥ F/A − D∅7 /A[ − G7 − C closing cad
113 (E◦7 − G7 − C7[9 )/G− [6] tutti clim, Str trem
116 F F/C − G7 /F − Dm7 /F − lead arp, Σ(cm)
118 (MIF ) Am − C7[9 /G − F/A Fl+Cl
..
121 . D7 /F ] − D∅7 /F − C 4 − C−
124 ⊥ F/C − C/E− Str diat par [S̄ 6 ] %
127 (E◦7 − G7 − C7[9 )/G− 2nd tutti clim
130 F/C − G7 /F − Dm7 /F − lead arp, Σ(cm)
132 Am − C7[9 /G− maj-min
d
133 Fm C7 /E − F m − C − D[ [7] Vi1-Fl lead, clim
137 G∅7 /F − E◦7 − E7 /D−
140 Am/C − C7 /B[ − F/A − Am7 /G− min-maj
142 Dm/F − E[ − A[ − D[− arp&, imit
144 G[/B[ = F ] − Bm − Em/G − Am7 − Str: stretto imit
146 D7[9 − . . . − D7 /C− cresc
150 MIF G G/B − B− [8] a’): Fl+Cl, clos
152 Mc Em− cm: Vi1, Str
154 MIF G − B−
156 Mc Em − C]∅7 − D − F ]◦7 − Fl+Str
..
159 . D7 − G contains MIF a
..
162 . G − Em/G − D79 − climax, cad
167 ⊥ 1) G − G : || closing
7

m M R H Comment
Development
167 MIF 2) G − ...− a): LoStr, PB (%), P (g)
170 (MIF ) E[7 − A[ − . . . WW+Hn (see m. 119)
173 ⊥ C7[9 /E − Am7 − C]◦7 /A−
177 MIF ’ B[ − D/F ]− a): Bsn
..
180 . G − Em/G − Am7 − A]◦7 − PBi (%)
184 ⊥ B[ − G/B−
187 G7 /F − . . . − [9] Str
191 Mc C/E − B∅7 /D− WW (see m. 152)
194 ⊥ C/G − . . . − G7 − Str unis imit
198 C − (C/E −→ F ]/A])− [10] trans, Str ex par,
200 (G/B −→ D/F ]) − (E[/G −→ A[/C)− [S̄ 6 ] % − &
204 (G/B −→ D/F ]) − (C]/E] −→ G]/C)− WW sust bg acc
208 (A/C] −→ E/G]) − (F/A −→ B[/D)− (ex par [S̄ 6 ] % − &)
212 (A/C] −→ E/A[) − (D]/F× −→ B[/D)−
216 (B/D] −→ F ]/A])−
218 (G/B −→ Em/G) − (D]◦ /F ] − G/B)− end ex par
220 (Ab/C −→ F m/A[) − (Em/G −→ Am/C)− par [S̄ 6 ]
222 (B[/D −→ A/C])− end parallel
223 B[/D − B∅7 /D − Am − A− cresc, PLi (%), P D (a)
225 Dm (Dm − A◦ − A − F )/A−
227 (F ]◦ − A7no 3 )/A − A7 /C] climax, pause
230 Dmno 3 − . . . − [11] Hn P T (d), Str arp
236 MIF G G − . . . − D7 − a): Fl+Cl+Bsn,
..
240 . G − ...− Str arp imit Σ(cm)
..
244 . D − . . . − A7 − D7 − G a’)
..
252 . D7[9 − . . . − G − D79 − . . . − G b) min-maj
..
260 . E7[9 − . . . − A−
..
264 . F ][9
7 /E − Bm/D − D7 −
..
267 . G − . . . − A7 /C] − G/D− c)
..
273 . D − C]/E] − C/E − Cm/E[− [12] par [S̄ 6 ] &
275 ⊥ D7 /C − G/B − Gm/B[ − D/A − Gm−
277 D/F ] − E7[9 − C]◦ − G/D − D]◦7 /A− Str asc
283 E/G] − Am − F ]◦ /A − G/B− [S̄ 6 ] , DB arp
285 C − A[9
7 /C] − D − B7 /D]− Str Σ(cm>)
287 Em − C/E − D/F ]−

m M R H Comment
289 <(G − D7 − G) − G/B [13] trans, Str S(2p) par&
295 Am7 /C − . . . − Vi1+Va unis, P (c)
299 Am7 /C − Am − . . . − Am7 − Vi1 asc, Str acc
302 E◦7 /G − E]◦7 = F◦7 /B − D]◦7 /A− tutti climax
309 Mc Em Em/G − B7[9 − Em − C/G− [14] Str imit ctp
..
315 . Am − F/C − Am/E − F ]◦7 /E[− Str Σ(cm<)
..
320 . C C − E7no 3 − Am/C − D7 − G7 − tutti climax
323 ⊥ C − E7no 3 − Am/C − D7 − G7 − cad
327 (C − Am)/C− [15] trans WW unis, P T (c)
330 (MIF ) (Dm7no 3 − D∅7 − C − F − C)/C− c’): Vi1, Str bg, major
.. d
337 . (F ]◦ − Dm7 − B◦ )/C − (P T (c))
..
340 . (Am − G − C − Am)/C− Vc lead
..
344 . (Dm7 − D∅7 )/C−
..
346 . Cm C − Cm − G/B − Cm Vc+Cb lead, Str arp,
350 ⊥ Cm − D]◦7 /A − A − D − G]◦ /B− minor
Tempo I.
356 Mc’ D A − F ]m [16] Ob, Vi1 tripl
358 MIF D/F ] − D7 /A − G − A]◦7 /G − F ]− a’) Vc-Va imit,
..
364 . F ]7 /E − Bm/D − B− Ob lead (cont’d)
..
366 . B7 /A − Em/G−
.. d
368 . Em/G − E7 /G] − F/A− [S̄ 6 ] , PBi (%)
..
370 . F ]m/A − F ]/A]− Vc-Va stretto imitation
..
371 . G/B − A[/C − A/C] − B[/D− par [S̄ 6 ] %, Seq(3×8m;R7 )
..
375 . B/D] − B[/D − A/C] − A[/C− par [S̄ 6 ] &
..
379 . A/C] − B[/D − B/D] − C/E− par [S̄ 6 ] %
..
383 . D[/F − C/E − B/D] − C/E− par [S̄ 6 ] &
..
387 . B/D] − C/E − D[/F − D/F ]− par [S̄ 6 ] %
..
391 . E[/G − D/F ] − D[/F − D/F ]− par [S̄ 6 ] &
..
395 . E[/G − E/G] − F/A − F ]/A]− cresc ([S̄ 6 ] , PBi (%))
..
399 . G/B − A[/C − A/C] − B[/D build to climax, Tpts
403 ⊥ B7 /A − G[13 − G7 /B− tutti climax

leads to the final tutti climax (m. 472 ff.), before the piece calms down (the passionate night-
mare is over; don’t trip over the bedpan). There are a few hints at and brief quotes from
the motto, the major-minor contrast has its final appearance (m. 490 ff.) and the opening
movement closes with a plagal cadence.
7.1.2 Mvt. 2 Un Bal

Form: Intro ABAACB Coda. The overall structure of the second movement ‘Un Bal’ (‘A Ball’)
might be classified as binary, i.e., (ABA)-(ACB), with a lower level ternary form subdivision.
The general pause in m. 232 supports that approach (see below). See Table 7.6 to 7.9 for the
analysis.
The Introduction section has a set of wandering chords, starting on the tonic minor key
Am and preparing for the real (parallel) tonic key A major. Tremolo upper strings and double
harp arpeggios support an arpeggio motif Ma in the lower strings (celli and contrabass). A
chromatically ascending bass and crescendo lead into a first tutti climax and closing cadence
(m. 30).
In the A1 section there is the first statement of the main waltz melody with period struc-
ture M1(aba’b) (4 + 4 + 4 + 4 m.). This charming and elegant melody with regular structure
(apex on a’-phrase) and stepwise motion in legato 16ths is played dolce e tenero by first vi-
olins. The same instruments continue with a second melody M2, also in 16th note rhythm
(occasional triplets) and an antecedent-consequent structure (5 + 6 m.) with both phrases
having descending character. The transition contains another major-minor mood change
(m. 78-84, see Mvt. 1). The 2nd statement (m. 94 ff.) has slightly different harmonisation and
an extended second b’-phrase with imitation of melodic fragments between the lead violins
and woodwinds plus harp unisono.
Section B1 presents a development with fragments of the M1b’-phrase in varied imitation
in the strings. This, however, is answered by a modified version (now with waltz rhythm) of
the Mvt. 1 main theme, the ‘Idée fixe’ theme MIF . Its structure is MIF (aa’bc) (8+7+16+8 m.).
The transition has the hoquet style 16th note groups alternatively shared between strings and
woodwinds (m. 163 ff.).
The 3rd statement of the main theme in section A2 (m. 174 ff.) is by 2nd violins, vio-
las and celli in octaves, over an extended tonic pedal point. The new element here is the
countermelody fragments Mc1 played by first violins (32th note turns). Like in A1 there is
a statement of M2, but now with doubling in all upper strings. The transition (m. 203 ff.) is
similar to m. 66 ff. (the instrumentation has been adapted here), including the major-minor
mode change. The section closes with a parallel series of 1st inversion chords [S̄ 6 ] in the
woodwinds and a general pause.
The main theme 4th statement in section A3 is for unisono woodwinds and has an ex-
tended b’-phrase. First violins play a new countermelody Mc2 , with octave leaps and legato
arpeggios. The transition section C presents new melodic material: M3 has sentence struc-
ture M3(aab) (4 + 4 + 8 m.). The a-phrase is a descending scale, repeated in parallel thirds,
the b-phrase has similarity to the earlier transition lead material (compare m. 78, m. 215 ff.).
The 2nd statement of M3 is varied with an extended tail: M(aabc) (4 + 4 + 7 + 14 m). The
c-phrase represents the closing tutti climax of the elegant waltz.
There is a sudden change of atmosphere in the B2 section with the solo clarinet statement
of the a-phrase of the ‘Idée fixe’ theme MIF , over a long tonic pedal point. The Coda section
(m. 320 ff.) is an up-tempo, hastened, climactic waltz finale. The ball closes with feverish

m M R H Comment
Recapitulation
408 MIF C (C − F − C − Dm7 − C)/C− [17] a’): WW+Tpt+Va,
..
411 . (G − D7 − B7[9 − Em − G7 )/G− tutti clim (cont’d)
..
415 . (C − D∅7 − C − B∅7 − C)/C− HiStr var+cm, P T (c)
..
420 . A[9
7 /C] − D − Bm7 /D− PBi (%)
..
422 . D]◦7 − Em − F ]◦7 − G−
..
424 . D7 /A − B◦ − C − Am
..
426 . C/E − G7 − B◦ − C [18] (clim cont’d) P T (c)
..
430 . D7 /A − D]◦7 − C/E − C WW+Vc lead,
..
432 . G7 /B − E◦7 /B[ − D]◦7 /A− HiStr imit
434 ⊥ Gm/B[ − B◦ − A]◦7 − B − Dm
d
437 B/D] − B − B7 /A − trans, Str trem
440 C/G − C]◦ − C]m− PLi (%), WW+DB arp
442 G]◦ − D − F ]◦7 /A − E[/G−
444 E◦ − E − F/A − F ] − G/B − A[/C−
447 G4 − G− [19] Coda, tutti clim, Str trem
449 MIF G7 − C − G7sus4 − G7 − C a’): WW imit major
..
453 . C − Cm − D◦ − D[/A[− maj-min, DB arp
458 ⊥ G[/D[ − B − B7 /A − Em/G− trans, PLi (%), WW+DB arp
463 C]◦ − C] − G]◦ − D−
465 F ]◦7 /A − E[/G − E◦ − E− cresc
467 F/A − F ] − G/B − A[/C− par [S̄ 6 ] %
469 A/C] − B[/D − B/D] − C/E− build to climax
d
471 C46 − G7 − tutti climax, cad
473 A[ − G − F ]◦7 − B◦7 /F − [20] tutti, WW arp, PBi (&)
477 A[ − G − F ]◦7 − G−
d
481 G − G7 − Am − G7 − Bsn+Str runs%
485 G/B − C − C46 − G − C tutti acc, cad
488 Em − G − C cad
490 (MIF ) C − Cm − D◦ − D[/F − Ob+Vi1+Va PLi (&)
496 ⊥ F m − B◦7 − G7 − . . . −
d
501 MIF C − ... − G − a): Vi1, Str sust
Religiosamente
509 ⊥ F m − C/E − F − C − F − C plagal cad (523 m.)

Table 7.6: Berlioz, Symphonie Fantastique Op. 14, Mvt. 2 Un Bal
m M R H Comment
h i
3
Valse. Allegro non troppo 8 (]]]) Introduction
1 Ma Am Am − F Vc+DB: arp, HiStr trem,
..
7 . F◦ /A − F ]/A] − Bm− Hrp arp, PBi (%)
..
15 . G − G/B − G]◦ −
..
20 . A[/C − B[m/D[ − B◦ −
27 ⊥ D]◦7 − WW enter
30 A A64 − E7 − A [21] tutti clim, cad
34 Bm7 /D − E− WW+Hrp: scalar run&
36 A − ...− [22] A1 , Str bg
39 M1 A−D a): Vi1
..
43 . Bm − E/G] − A− b)
..
47 . F ]m − E − D]∅7 − B79 /D] − D− a’)
51 ⊥ Bm − E/G] − E7 − b)
54 Ma’ A− Vc+DB pizz, Str 16th
56 M2 A − F ]m− Vi1
..
58 . C]7 − D − B]◦7 − A/C] − E7 −
..
60 . A − . . . − F ]m/A−
64 ⊥ C]7 − F ]m − B7 − E7 −
66 A/C] −→ D/F ] [23] trans, WW par [S̄ 6 ] %
d
69 A/E − E − F ]m − C]m Str 16th, Seq(3×2m;R3 )
73 D − A−
75 D]◦7 /F ] − B◦7 /F − E7 − WW+Str, maj-min
78 Am Am/E − D]◦7 − <(E − D]◦ ) − E [24] Vi-Vc imit
d
85 E7 − . . . − arp, scalar run%&
90 D − A64 − E7 − cad
94 M1 A A − D− [25] 2nd st, a): Vi1,
..
98 . Bm − E/G] − E7 − A b), WW+Str bg
..
102 . F ]m − C − B7 /D] − Bm7 /D− a’)
.. d
106 . Bm7 /D − E7 − D/F ] b’): Vi-(WW+Hn) imit
..
110 . B7 /D] − E − B7 /A − E/G]− tutti clim
d
114 ⊥ B7 /D] − E −

Table 7.7: Berlioz, Symphonie Fantastique Op. 14, Mvt. 2 Un Bal (cont’d)
m M R H Comment
116 M1’ F F − . . . − E◦7 /G − C7 − [26] B1 , b’): Vc var
121 MIF F/A − C7[9 − F/C− a): Fl+Ob, HiStr trem,
..
125 . Gm/B[ − G7 /B − F/C − C LoStr arp
..
129 . C − . . . − C7 − F/C− a’), P D (c)
..
136 . C7[9 − F/C− b), Str: M1b’ fragments
..
140 . C7[9 − A[9
7 /C] − Dm− PBi (%), Seq(2×4m;R7 )
..
144 . D7[9 − B7[9 /D] − Em−
..
148 . D7[9 − Am − Gm/B[ − F −
152 ⊥ Gm7 − F/A − G − Gm − C7 − c)
160 (MIF ) F − E/G] − E[ − Cm/E[− [27] trans, Str
163 E◦ /G − Am/C − E/B− Str-WW hoquet, Hn: P D (e)
167 Em/B − F ]7 /C] − D]◦7 /C−
170 G]◦7 /B − E7 /B− 8th note hoquet
172 D]◦ − E7[9 /B− cad
174 A E7 − [28] A2 , 3rd statement
176 M1/c1 A − . . . − D/A a): Vi2+Va+Vc, Mc: Vi1, P T (a)
..
180 . (Bm7 − E − A)/A− b)
..
184 . (D − A − F ]m − D)/A− a’)
188 ⊥ (Bm7 − E7 )/A− b’)
191 Ma’ A Vc+DB, bg: WW 16ths
193 M2 F ]m/A − B − E − E7 − Vi+Va
..
197 . A − F ]m/A − E]◦ − F ]m−
201 ⊥ D]◦ /A − E7 −
203 A/C] −→ A/C]− [29] trans, WW [S̄ 6 ] , Σ(cm<)
205 A − A/E−
d
207 Ma’ E − F ]m − C]m − D− Str imit%&, Seq(3×2m;R7 ),
211 ⊥ A − D]◦7 − G]◦7 /D− WW 16ths
215 Am <(Am7 /C − D]◦7 − E)− [30] WW+Str (see m. 78)
221 (M1) D]◦7 − E − E7 − a’): Vi1
226 ⊥ A − D−
228 G/B − F ]m/A −→ E7[9 /G]− WW 16th note [S̄ 6 ] &, G.P.

flurries of the main theme fragment M1a’ in the strings (m. 338 ff.), starting in the celli and
doubled by upper parts as the theme continues to rise to an apex at fortissimo level and
closing cadences.
7.1.3 Mvt. 3 Scène aux champs

Form: ABA Coda, ternary form. See Table 7.10 to 7.12 for the analysis.
This movement has the subtitle ‘Scène aux champs’ (‘In the country’), reflected by the be-
hind the scene introduction, a pastoral melody M0 echoed between English horn and oboe.
This has the structure M0(aa’bb’c) (4 + 5 + 4 + 5 + 1 m.) Note once again the major-minor
mode change.
Section A1 presents the main theme M1(abc) (4 + 4 + 5 m.), where the c-phrase has a
character (stepwise turn, sequence) not unlike the b-phrase of the ‘Idée fixe’ MIF melody. In
the second statement (m. 33 ff.) it becomes a two-part melody S(2p) in parallel thirds, ending
in a climax with lead in descending parallel 6ths.
The transition (m. 46 ff.) has shifting focus between string and woodwind lead. The
upper strings play syncopated dominant and tonic pedal point, while two-part structures
S(2p) in the woodwinds display overall descending (chromatic) stepwise motion. This ends
in the modulation to the dominant major key C (m. 65).
The first violins play a quasi-improvised lead melody Mi with 32th note patterns and
descending steps echoed in the woodwinds, over the 3rd statement of M1, now in the lower
strings and 4(!) unisono bassoons (unique instrumentation, m. 69 ff). The c-phrase has an-
other occurrence of the major-minor mode contrast; its length is extended and it leads into a
climax (m. 86) closing this section.
The middle section B opens with a descending scale motif Ms in bassoons and lower
strings. This launches the by now familiar ‘Idée fixe’ theme MIF in high woodwinds (flute h i
and oboe, m. 90 ff.). Its rhythm has been adapted once more to fit the current meter 68 .
The strings continue the response by developing the Ms theme, until finally all strings in
unisono build up to a tutti climax (m. 106). With a reminder of the original theme (M1) the
woodwinds play the retransition into the third section.
Section A2 presents the 4th statement of M1, a variation in continuous 16th notes by 2nd
violins and violas. The clarinet comments with a countermelody Mc1 . The 5th statement
(m. 131 ff.) is another variation with lead part for violin 2 and an embellished doubling
in 32th notes by first violins. The woodwind play a unisono countermelody Mc2 , over an
extended tonal pedal point.
The Coda consists of two parts. Part 1 (m.150 ff.) combines fragments from both the
melody M1 (string section imitation between first violins and violas) and the ‘Idée fixe’ MIF
motto (woodwind imitation for flute, oboe and clarinet). The second part (m. 175 ff.) brings
back the opening pastoral theme for English horn. Brief motto statements are answered by
four timpani playing (cluster) chordal tremoli, suggesting a distant storm. And once again
we hear the major-minor mode contrast.
7.1.4 Mvt. 4 Marche au Supplice

Form: ABABA Coda. See Table 7.13 to 7.15 for the analysis. In this movement Marche au
Supplice (The Procession to the Stake) things turn grim, as the title announces.

m M R H Comment
A3 , 4th statement
233 M1/c2 A A−E−A−D [31] a): WW, Mc: Vi1
..
237 . Bm7 − E7 − b)
..
240 . A − . . . − Bm7 /D− [32] a’)
..
245 . Bm7 /D − E7 − A− b’)
..
249 . A − ...−
252 ⊥ D − E7 − clim, cad
Animato C, trans
256 M3 (A − . . . − F ]m)/A− a): VI, WW 16ths, P T (a)
..
261 . A − ...− a): Vi S(2p) par 3rds, WW run%
..
264 . A − A7 /G − D/F ]− [33] b) clim, PB (&)
..
266 . G]◦7 /F − C]m/E − E7 /D−
269 ⊥ A/C] − D − A64 − E7 − A cad
273 M3 <(F ]m − A)/A 2nd st, a): Vi, P T (()a)
..
277 . A − E− a): S(2p) par 3rds, WW run%
..
280 . A − A7 /G − D/F ]− [34] b): tutti clim
..
282 . G]◦7 /F − C]m/E − E7 /D−
..
285 . A/C] − D − A64 − E79 − clim, cad
..
288 . (A − A7 − D)/A− c): WW+Vi1 unis
..
292 . A − E]◦7 /G] − F ]m/A − A−
298 ⊥ A64 − E7 − tutti clim, P D (e)
poco ritenuto B2 , ‘Idée fixe’
302 MIF A − . . . − E7 − A [35] a): Cl, Fl+Hn P T (a)
310 ⊥ A/C] − . . . − G]∅7 − E7 −
Tempo I. con fuoco Coda
320 A − D− tutti clim, 2+2+2 rh
323 Bm/D − G/B − E/G] − E7 − [S̄ 6 ] &
326 A − D − A − B]◦7 − A/C]− Str trem
331 Bm7 − B]◦7 − A/C] − C7 −

m M R H Comment
334 F − A64 − E− [36] clim, cad
d
338 M1’ A − E − A − E/G] − a’): Vc+Va
342 ⊥ F ]m − A64 − E7 /G] − A
d
346 M1’ A − E − A − E/G] − a’) Vi+Va+Vc
..
350 . F ]m − A64 − E7 −
353 ⊥ <(A − E7 )− tutti clim, cad
361 A − C]m − . . . −
365 F ]m − E − A − E − A closing cad (368 m.)
The Introduction has a background of sustained chords in the tonic minor key Gm (tonic
pedal) played by lower strings and two timpani (sixtuplets). Horns and bassoons play a
motto M0 (2- and 4-part, contrary motion) with a rhythm (1/4+2/4+1/4, ‘Murder at the Gal-
lop’) that will return in the fanfare phrases.
Section A1 consists of five statements of the main theme M1, a descending scale in half-
note and quarter note rhythm. Statement 1 and 2 are in lower strings (cello and contrabass,
first unisono than in parallel thirds), 3 and 4 in unisono violins. There are countermelodies:
the shrieking and piercing four bassoons answer with Mc1 (the upbeat dotted rhythm and
ascending overall pattern) during the 2nd statement. Statements 3 and 4 have a counterpoint
theme Mc2 in the lower strings (8th note rhythm, dominated by ascending leaps, descending
steps). The final and 5th statement also has a somewhat transitory character. The theme M1
is played by the string section (2-part in contrary motion) with a countermelody Mc3 in the
four bassoons.
The brass ‘Fanfare’ theme M2 in the section B1 has regular period structure M2(abab’)
(4 + 4 + 4 + 4 m.) The a-phrase starts with the opening motif rhythm, followed by dotted 8th
- 16th note rhythms. The b-phrase contains closing contrary motion. The final b-phrase is
supplemented by the chromatically ascending middle voice in trombone and tuba. The brief
section A2 has transitory character and consists of a call-and-response setting with fortissimo
ff brass call signals repeated (answered) by the woodwinds and string sixtuplets. Then the
descending scale theme M1 is stated in a most remarkable hoquetus style, divided over
pizzicato strings, woodwind and brass.
The second fanfare section B2 adds a string section background with 16th note motifs in
the violins, triplet arpeggios in violas and celli and a dotted rhythm starting on a tonic pedal
point. The next section, A3 starts identical to the previous transitory call-and-response sec-
tion, but then develops the main theme M1 (m. 114 ff.). It is presented as a diatonic parallel
three-part S(3p) setting for bassoons and brass, with a unisono ascending background in
woodwinds (6-tuplets) and strings (quarter notes with ascending grace notes). This builds
towards a climax in m. 123, with the M1 theme stated unisono in a tutti and with high strings
tremoli. Then there is the contrast between two tritone-related alternating keys G(m) − D[;
the theme M1 is presented as a melodic inversion in the latter key (see m. 131 ff.). This turns
into a diminution version for the strings (m. 140 ff.) that play 2-part counterpoint dotted

Table 7.10: Berlioz, Symphonie Fantastique Op. 14, Mvt. 3 Scène aux champs
m M R H Comment
h i
6
Adagio. Derrière la scène 8 ([) Introduction
1 M0 F F − ...− a): EHn-Ob imit (echo)
..
5 . F m − C/E − F m − C a’) halfcad
..
10 . C7 − F/C − C− b), Str trem, P D (c)
..
14 . D[ − <(D[◦7 − D[) − F/C− b’)
19 ⊥ F c)
20 M1 F − Gm − F − Dm − C− [37] A1 , a): Fl+Vi1
..
24 . <(F − C)− b), Str pizz
..
28 . E◦ − F − F ]◦ − Gm− Seq(2×1m;R7 )
29 ⊥ C7]5 no 1 , no 3 − F − C7 −
33 M1 F − Gm − F − C7 /G− 2nd st, a) Fl+Vi S(2p) par 3rds
..
37 . F − C7[9 − F − C79 − b)
..
41 . F − D − Gm − E◦ − F − c) Seq(3×1m;R7 )
44 ⊥ F/A − Gm − F − B[ − C7[9 − [38] tutti clim, par 6ths&
48 F − . . . − Gm− trans, WW unis, P D (c)
52 F ]◦ − F − C − F Str sync P D (c)
54 F − Am/C − B[/D− WW+Hn S(2p) (2-part)
56 C]◦7 /G − D/F ] − F ]◦7 /C−
57 Gm/B[ − F7 /A − B[ − F − Str sync P T (f )
59 B◦7 /D − Am − Am7 /G− WW 8ths
d
61 D]◦7 /F ] − B◦ /F − E7 − F − PBi (&)
63 Am64 − E7[9 − cad
64 Am Am [39] Str, P D (e)
65 C G7 − Str unis&
67 Mi C − ...− Vi1, WW echoes
69 Mi/1 C − G7 /B − C − D7 − G− 3rd st, M1a): Bsn+Va+Vc
..
73 . <(C − A]◦7 /G − G7 )− b)
..
77 . G7 − C7 /B[ − A− [40] c), climax
..
79 . Cm C]◦7 /B[ − F/A − B◦7 /A[ − Cm/G− WW arp, Str 16ths, PBi (&)
..
83 . D∅7 /F − D7[5 /F ] − G4 − Vi1, PBi (%)
..
84 . D7[5 /A[ − F7 /A− WW, PLi (&)
..
85 . B[ − Cm/G − F7 − B[− Str par 3rds%
86 ⊥ Cm7 /E[ − B[/D − Cm7 /E[− tutti clim,
B[64 − F7 − cad

Table 7.11: Berlioz, Symphonie Fantastique Op. 14, Mvt. 3 Scène aux champs (cont’d)
m M R H Comment
87 Ms B[ B[ − . . . − F7 − B[ [41] B, Bsn+Vc+DB
90 MIF /c B[ − F7 − a): Fl+Ob
..
94 . B[ − F7[9 /A− a’)
..
97 . F7[9 /A − B[ − F79
− B[ − F7 − b)
99 ⊥ D[ − A[7 /E[ − F m Ms: Str unisono
poco animato
103 B◦7 − G[9 7 − F ]◦ /A− [42] Str 32th arpeggio
106 C]◦7 /B[ − B◦7 − D∅7 /C− tutti clim acct
109 F ]◦7 /C − C]◦7 − Gm/D− PBi (%)
110 F ]◦7 /E[ − B◦7 /D − C]◦7 − PBi (&)
F ]◦7 /C − B◦7 − C
111 B◦7 − C − B◦7 − C7 −
Tempo I.
113 (M1) E◦7 − Fl+Ob S(2p) diat par%
115 F − Gm7 /B[ − F46 − C7 − cad
A2
117 M1 F F − Gm− [43] st 4, a): Vi2+Va, var 16ths
119 M1/c1 F/A − B[/D − F − Mc1 : Cl
..
121 . Gm7 /B[ − F ]◦7 /A − Gm7 − C7 − b)
..
123 . F − Gm/B[ − F ]◦7 /A − G∅7 − C−
..
125 . C − F − D − Gm − E7[5 − Am c) Seq(3×1m;R7 )
..
128 . F−
..
129 . Gm7 /D − F/C − B◦7 − Str par&, PBi (&)
..
. C]◦7 /B[ − F ]◦7 /A − B◦7 /A[−
130 ⊥ C46− G7 −
131 M1 C <(C − G7 )/C− [44] 5th st, a): Vi 32ths var,
133 M1/c2 (C − F − C)/C− P T (c), Mc2 : WW
..
135 . <(G7 − C)/C − (G7 − G[9
7 )/C− b)
..
139 . (C7 − F − C7 )/C− [45] c) tutti, P D (c)
..
142 . (C7[9 − B◦7 − F ]◦7 )/C−
..
. (C]◦7 − B◦7 − C7[9 )/C−
143 ⊥ F F − Gm − F climax, WW: S(3p) diat par&
146 B[/D − E◦ /G − Cm/E[ − F/A− [46] Str diat [S̄ 6 ]
148 B◦7 − C7 − F/C − C7[9 −

Table 7.12: Berlioz, Symphonie Fantastique Op. 14, Mvt. 3 Scène aux champs (cont’d)
m M R H Comment
Coda Pt 1
150 MIF /1’ F − C7 − F − C79 − [47] MIF WW imit,
.. d
155 . F − Dm − C − M1’: Vi1-Va imit
157 ⊥ D[ − E[ − A[/C − E◦ /B[− wide leaps &
160 (MIF ) F/A − C7 − F/C − B◦7 − Cl+Va
164 C − C/E − C7 /E− [48] tutti, dotted 2+2+2 rh
166 F − C]◦7 − Dm−
167 B◦7 − C − F/A − F/C−
169 C7 − F46 − G7sus4 /C
171 C7 /B[ − F/A − F − trans Fl-Vc-WW
Coda Pt 2
175 M0 F − B[ − B[7no 3 − [49] EHn, 4 Timp (storm)
..
181 . Fm F m − C7no 3 − F m/A[−
..
193 . <(F − F m/A[)−
197 ⊥ F C −F Str cad (199 m.)
rhythms with unisono accented stabs on tonic pedal point in woodwinds and brass.
The Coda (m. 152 ff.) bluntly confronts the two remote and contrasting keys as alter-
nating chords Gm − D[, in dotted rhythm accents in imitation in woodwinds and brass vs.
strings. This climax is followed by the ‘Idée fixe’ motto for clarinet (m. 164), and loud accents,
once again stating the minor-major mode contrast in the closing.
7.1.5 Mvt. 5 Songe d’une nuit du Sabbat

Form: ABCB(C/B)(C/B)B Coda. See Table 7.16 to 7.17 for the analysis. The long closing
movement ’Songe d’une nuit du Sabbat’ (’A Witches’ Sabbath’) has a unique form with some
rondo features.
The Introduction is depicting the mood with string effects (tremoli and runs in 16th
and 32th notes, exact parallel descending sixtuplets, pizzicato arpeggios, meandering legato
patterns), woodwind and brass staccato accents and a brief motif. This is the Mw’ ’Witches’
rhythm in 8th note triplets stated by high woodwinds (piccolo, flute and oboe) and repeated
by solo muted horn, and to return as a dance later in the movement.2
The A section starts the dance with the ‘Idée fixe’ melody MIF , phrases M(aba’b’) (2 +
2 + 2 + 1 m.) shortened and rhythm once again changed to fit the current mood. The theme
is played by a distant (mocking) clarinet over timpani tonic-dominant pedal point. This is
interrupted by a tutti climax (m. 29 ff.). The second statement of MIF (m 40 ff.) is longer,
2
The ‘Witches’ rhythmic motif concludes with a descending piccolo, flute and oboe portamento glide down
an octave. This is quite a challenge for the woodwinds. They are all in high register and a smooth descent is
hard to achieve. The first time I heard this on the radio, not knowing the score, I assumed that a terrible accident
had happened in the orchestra, with a woodwind player fainting on stage or dropping the instrument.

Table 7.13: Berlioz, Symphonie Fantastique Op. 14, Mvt. 4 Marche au Supplice
m M R H Comment
h i
2
Allegretto non troppo 2 ([[) Introduction
1 Gm Gm − . . . − 2 Timp+LoStr pizz
2 M0 Gm − . . . − Hns motto Σ(cm>)
..
6 . <(E[ − D − Gm)/G− Hns+Bsn, P T (g)
9 ⊥ Gm − . . . − B[ − Cm7 −
13 D7 /C− Tbn+Tu
15 D7 /C− [50] cresc to clim
A1
17 M1 Gm − . . . − 1st stat, Vc+DB unis&
23 ⊥ A∅7 /C − D− cad
25 M1/c1 Gm − E[/G − F7 − 2nd st, Vc+DB S(2p), Mc: Bsn
..
27 . B[ − F/A − Em− [50]
..
29 . A◦ /C − Gm/B[−
..
30 . F ]◦ /A − Gm − F/A − Gm7 /B[−
31 ⊥ E[ Cm − B[ − E[ cad
33 M1/c2 E[ − B[7 /A[− 3rd st, M1: Vi, Mc2 : Va+Vc+DB,
..
35 . E[ − Cm7 − B[7 /A[ − E[/G− Timp P D (b[)
..
37 . B[7 − Gm/B[ − F/A − B[ − E[
..
39 . A[ − F m7 /A[−
40 ⊥ B7[9 no 7 − [51]
41 M1/c2 E[ − B[7 /A[− 4th st,M1: Vi, Mc2 : Va+Vc+DB,
..
43 . E[ − Cm7 − B[7 /A[ − E[/G− (Timp P D (b[))
..
45 . B[7 − Gm/B[ − F/A − B[ − E[
47 ⊥ F m7 /C − G7 /F − Cm/E[ − D7 − climax
49 M1/c3 Gm Gm − Dm − Cm/E[ − D7 /C− [52] 5th st, Str Σ(cm), Mc3 Bsn
..
51 . E◦ /B[ − D7 /A−
..
52 . Gm − F7 − B[9 − C7 /B[−
..
54 . D7[9 /A − Gm − A∅7 /C − D−
..
56 . Gm − F/A − E◦ /B[−
..
57 . <(A∅7 /C − D − Gm)− cad
61 ⊥ F7 Bsn+Str 16ths%, Tbn P D (b[)

Table 7.14: Berlioz, Symphonie Fantastique Op. 14, Mvt. 4 Marche au Supplice (cont’d)
m M R H Comment
B1 ‘Fanfare’
62 M2 B[ B[ − F − B[ − F7 − [53] a): WW+Brs
..
64 . B[ − Cm7 − B[−
..
66 . E[ − F − Gm − Cm7 − b) Σ(cm>)
..
68 . B[ − Cm7 −
..
69 . F − B[ − Gm7 − C7 − F −
..
70 . B[ − F − B[ − F7 − a)
..
72 . B[ − Cm7 − B[−
.. i (%)
74 . B[7 /A[ − E[ − Cm7 − b’) Σ(cm>), Tbn+Tu Pm
76 ⊥ F7 − <(B[ − F ) − B[
A2 call-and-response, trans
78 MCS <(B[ − D7[9 )− Brs-WW imit, Str 6-tupl
82 M1 Gm Gm − Dm/F − Cm/E[− Str-WW-Brs hoquet,
.. d
84 . B[/D − F/A − [S̄ 6 ] diat par&
..
85 . Gm/B[ − F/A − E[/G − Dm/F −
..
86 . C]◦ /E − Gm − Cm7 − Str pizz, Σ(cm>)
88 ⊥ B[/D − F7 −
B2 ‘Fanfare’
89 M2 B[ B[ − F − B[ − F7 − [54] st 1, a): WW+Brs, Str bg
..
91 . B[ − Cm7 − B[−
..
93 . E[ − E[/G − F/A − Gm/B[− b) Σ(cm>)
..
95 . B[ − Cm7 − B[/F − F −
..
97 . B[ − F7 − B[ − F7 − a)
..
99 . B[ − Cm7 − B[−
.. i (%)
101 . F m − B[m7 − B◦7 − F m7 /C− b’) Σ(cm>), Tbn+Tu Pm
..
102 . D[ − B◦7 /D − Cm7 /E[− PBi (%)
103 ⊥ F7 − <(B[ − F ) − B[

Table 7.15: Berlioz, Symphonie Fantastique Op. 14, Mvt. 4 Marche au Supplice (cont’d)
m M R H Comment
A3 ‘rall-and-response’
105 MCS <(B[ − D7[9 )− [55] Brs-WW imit, Str 6-tupl
109 M1 Gm Gm− Str-WW-Brs hoquet,
..
110 . F/A − E[/G − Dm/F − Cm/E[− [S̄ 6 ] diat par&
.. d
111 . B[/D − F/A −
..
112 . Gm/B[ − F/A − E[/G − Dm/F −
113 ⊥ C]◦ /E − F ]◦7 /E[ −→ B◦7 WW+Hn+Str pizz chr par&
114 M1 Gm − E[/G − D∅7 /A[− [56] Bsn+LoBrs S(3p), diat par,
..
116 . Gm/B[ − F/C− WW+Str unis%
..
118 . B[/D − Am7 /E − D/F ]− cresc to clim
121 ⊥ D7 /F ] − D7 − tutti Σ(cm<)
123 M1 Gm − Gm/B[ − F/A− tutti clim, M1 unis,
..
126 . Cm7 − C7 /B[− HiStr trem
128 ⊥ F/A − E[/G − A∅7 /C − D−
130 D[ D[− [57]
131 I(M1) D[ − . . . − E[m7 − WW+Brs+LoStr, HiStr P T (d[)
..
135 . A[ − E[ − F − Str unis %
137 ⊥ B[ − F ]◦ − Gm
139 Gm A7 /C] − A∅7 /C − D− cad, tutti clim
140 M1’ Gm − . . . − D7 − Str 2pt ctp, WW+Hns P T (g)
..
144 . Gm − . . . − D7 − repeat
148 ⊥ Gm − A7 − Dm − G]◦ − Str unis, WW accts
149 Am − D7[9 − Gm − G]◦ −
151 Am − D7[9 − cad
Coda
152 Gm− [58] Str unis PLi (&)
154 D[ D[ − Gm − D[ − . . . − (WW+Brs)-Str accts
158 Gm − C]◦7 /G − Gm − F ]◦ −
159 Gm − D[ − Gm − A[5 7 no 1 /G−
160 Gm G − Gm − A∅7 /C − D7[9 − tutti clim Σ(cm>)
162 Gm − Cm−
163 Gm/B[ − B[/D − E[ − D7 − [59] cad
164 MIF Gm − D − G/D− Cl
169 ⊥ Gm tutti accts
170 G G − ... − G min-maj (178 m.)

including all phrases from the original melody M(aba’b’c) (2 + 2 + 2 + 10 + 8 m.), with the b’-
phrase regaining its sequence character and the c-prase characterised by leaps (see Mvt. 1).
The background is now played by ostinato tonic chords, adding four unisono bassoon 16th
note arpeggios (yes, the woodclubbing thugs, they are back, m. 47) and middle string arpeg-
gios (m. 52 ff.). The c-phrase leads to fairly long fortissimo climax, before calming down by
unisono leap-stepwise motion in m. 79.
A rising upbeat 16th note scalar run starts off the B1 section and leads into the first state-
ment of the ‘Witches Dance’ motif Mw. This is interrupted (m. 86 ff.) by a slowing down
descending pattern, with the tubular bells entering on tonic-dominant pedal point. Violas
and oboe repeat the Mw motif, intertwined with another set of bell calls (3 in total).
With section C1 the ‘Dies Irae’ melody MDI sets in: three lines are played by threatening
unison four bassoons and tuba (l1 = 8 m. 126, l2 = 12 m., m. 134, l3 = 14 m., m. 163 ff.). The
setting is of the call-and-response type. The three lines are answered by two rhythmically
diminished versions of the ‘Dies Irae’ theme: a dotted quarter note version MD’ by horns
and trombones (as diatonic parallel two-part setting S(2p) in m. 147 and m. 176 ff.) and
a ‘Witches Dance’ rhythm version MD” by woodwinds and strings (also diatonic parallel
as S(2p), m. 157 and m. 182 ff.). Tubular bells continue their calls on tonic and dominant
pedal. This yields a mood where hell is calling from the depths (bassoons and tuba), middle-
low register brass transfer the message somewhat hurried to religious human emotional
level, while high woodwinds and strings mockingly comment the threat warning in a dance
rhythm.
The message apparently not being clear, there is a repeat of the ‘Dies Irae’ theme, with the
second statement starting in m. 187. Now we hear two lines of the theme (l1 = 8 l2 = 12 m.),
again answered by the diminution versions. In section B2 imitation of the ‘Witches’ motif in
the strings (m. 222 ff.) leads to the next ff climax. Then there is a change to a counterpoint
setting in the parallel key of C major; the real dance sets in. The full Mw is played as a fugue
(4 statements: Vc an DB in tonic, Vi2 in dominant, Bsn+Vi1 in tonic, WW+Va in dominant
key). The full melody structure is Mw(abbbc) (2 + 1 + 1 + 1 + 2 m.). The first measure
of the a-phrase is the by now well-known motif. The b-phrase has sequential character:
Seq(3×1m;R3 ) (note the similarity to the ‘Idée fixe’ melody structure), and the c-phrase has a
glorious cadential character, supported by loud brass starting on the afterbeat.
The Mw motif derivative is treated in intricate counterpoint for strings and bassoon in
m. 269 ff. This transitory phrase is full of imitation and chromatic and altered intermediate
harmonies. In m. 305 ff. there is another call-and-response setting, with fortissimo brass calls
in 8th notes (’order in the room’) and descending scalar runs in lower strings are answered
by descending exact parallel afterterbeat 1st inversion chord series [S̄ 6 ] in woodwinds and
violins (still mocking, chaos). This section also quickly moves through a number of keys. In
m. 328 ff. the ‘Witches’ motif Mw appears in a new disguise: it is transformed by melodic
augmentation (stepwise motion in the a-phrase has become leaps by thirds). First this is
announced by the horns, then taken over by lower strings and bassoon imitation.
Section C2 /B3 combines the ‘Dies Irae’ and ‘Witches’ ideas, by juxtaposing fragments from
MDI and Mw. Lines of the former theme are more or less interrupted by Mw, played here
(m. 355 ff.) by violas in exact parallel minor thirds S(2p).3 The witches seem to be on the
winning side still, with a counterpoint imitation setting in m. 363 ff. Four statements of the
3
Listening to Igor Strawinsky’s Apollon Musagète I think this fragment is being quoted in that piece. Not
definitely sure, though.

Table 7.16: Berlioz, Symphonie Fantastique Op. 14, Mvt. 5 Songe d’une nuit du Sabbat
m M R H Comment
h i
4
Larghetto 4 Introduction
1 A]◦7 − C]◦7 /E− HiStr trem, LoStr runs%
3 A]◦7 − WW sust, Str 32th runs Σ(cm>)
4 A]◦7 −→ B◦7 − C/G− Str chr desc
[5/[9
6 F ]◦7 /A − Gm − Dm/F − A7 /E[− [60] Str arp,
WW+Brs acct Σ(cm<)
7 Mw’ F ]◦7 /A − . . . − Pi+Fl+Ob P T (c) ‘Witches’ rh
9 Mw’ F ]◦7 /A − . . . − Hn imit
11 C C − B◦7 /F − C/G − B◦7 − [61] Str+WW arp%, trem
12 B◦7 − . . . − HiStr trem, LoStr runs%
14 B◦7 − WW sust, Str 32th runs Σ(cm>)
15 B◦7 −→ C◦7 − A[− Str chr desc
17 Mw’ A[7 /C − F ]◦7 /C− [62] Pi+Fl+Ob P T (c)
19 Mw’ C Hn imit
h i
6
Allegro 8 A, ‘Idée fixe’
21 MIF C/G − . . . − ab): Cl, P (c − g), Str arp%
26 ⊥ G − ...− a’b’)
h i
2
Allegro assai 2
29 E[ E[ − . . . − tutti clim Mvt. 4 rh
32 D◦ − D[ − Cm − B[−
34 E[ − G/B − Cm− PBi (%), par PLi (%)
35 C]◦7 − B[/D − D]m − E◦7
d
36 B[no 3 /F − E[ − B[[9
7 /D − Cm/E[−
37 E◦7 − B[/F − F ]◦7 − E[/G−
38 B[ halfcad
h i
6
Allegro 8 A1 , ‘Idée fixe’
40 MIF E[ − D◦7 − E[− [63] a): Cl, WW bg
..
43 . B[7no 3 − E[ − B[ b)
..
45 . B[ − A◦7 − a’)
..
47 . B[ − B[7 − E[ − B[[9
7 b’): Pi+Cl, Seq(4×R2 ),
..
50 . E[ − B[97 − Bsn arp
..
52 . E[ − C7[9 − F ]◦7 − Va+Vc arp
..
54 . D7 /C − D7[9 − Gm − E[−

(cont’d)
m M R H Comment
..
57 . F m7 /A[ − Cm7 /B[ − E[/B[− c): Pi+Fl+Cl
..
59 . B[7 − E[−
..
61 . F m7 /A[ − Cm7 /B[ − E[64 − [64]
63 ⊥ B[ − E[ cad
65 Cm Cm − . . . − climax, WW+Str 16ths
70 A[− clim, WW sust, Str trem, P (e[)
72 Cm − . . . − ex par 3rds chr&%
d
76 <(Cm − G7 ) − accts, WW+Str runs%
78 A[ − D◦7 − Str unis&
82 G− Str trem
B1 , ‘Witches Dance’
83 D7 − [65] Str runs%
84 Mw G G − D − G− HiStr
86 A[ − . . . − (C) Bsn+LoStr unis&
102 (Cm) − . . . − TBells P (c)
106 Mw Cm G − Cm/G − G− Va, WW+Str acct, P D (g)
110 (Cm) − . . . − TBells P (c)
115 Mw G − Cm/G − G− Ob+Va, WW+Str acct, P D (g)
118 B◦7 − Str unis chr&
121 (Cm) − . . . − TBells P (c − g)
C1 , ‘Dies Irae’ Statement 1
127 MDI Cm/G − . . . − B[ − Cm l1 ): Bsn+Tu ‘Call’
..
135 . Cm − . . . − F mno 3 − Cm− l2 ), TBells
141 ⊥ Gm − Cm
147 MD’ Cm − . . . − Gm − Cm MD’=(MDI ) Hns+Tbn ‘Resp’
..
151 . Cm − F m − Cm−
154 ⊥ B[ − Cm − B[−
157 MD” Cm − . . . − B[− WW+Str S(2p) dance rh
162 ⊥ Cm − C [67] WW+Str 32th run %
163 MDI Gm − . . . − F − Gm l3 ): Bsn+Tu ‘Call’
176 MD’ Cm − B[ − F/C − Cm− Hns+Tpt+Tbn ‘Response’
180 ⊥ <(F m/C − C) − G − Cm
184 MD” Gm − F − E[ − F m − G− WW+Str S(3p) dance rh

(cont’d)
m M R H Comment
‘Dies Irae’ Statement 2
187 MDI Cmno 1 − B[no 5 − E[no 5 /G − A[no 5 − [68] l1 ): Bsn+Tu ‘Call’
..
191 . Dmno 5 /F − Gm − F mno 3 − Cm LoStr afterbeat acct
..
195 . Cm − Dm7 /C − Gno 5 /B− l2 ), TBells
..
199 . Cm − Gm/B[ − A[no 5 − Gmno 5 −
203 ⊥ Gmno 3 −
206 MD’ Cm − . . . − B[− Hns+Tbn S(2p) diat par ‘Resp’
..
210 . Cm/G − F m − Cm−
213 ⊥ B[ − E[ − B[−
216 MD” Cm − B[ − Cm − D∅7 no 5 /C − Cm WW+Str S(2p) dance rh
..
220 . Gm − E[/F − Cm/G
B2 , ‘Witches Dance’
221 ⊥ Cm [67] WW+Str 32th run %
222 Mw D−G Vi1+Va
225 Mw B[ − E[ Va+Vc, Hns+Tpt P (g)
230 Mw B − Em − B − Em − B/D]−
..
232 . Em − . . . − Str imit, Bsn+Hns+Tpt P (e)
238 ⊥ G7 − cresc
239 G7 − [70] tutti clim
Poco meno mosso (\\\) ‘Ronde du Sabbat’
241 Mw C C − Dm7 /C − G7 a): Vc+DB stat 1, Str ctp
..
245 . C − E − Am− b) Seq(3×1m;R3 )
247 ⊥ Dm7 /F − D7 − c) cad, Brs
248 Mw G − D/F ] − G − D7[9 /F ] a) Vi2 stat 2
.. d
252 . G − B − Em − G7 − b) Seq(3×1m;R3 )
254 ⊥ Am − G7 − [71] c) cad, Brs
255 Mw C − A7 − Dm7 − G7 − a) Bsn+Vi1 stat 3
.. d
259 . C − E − Am − C7 /B[ − b) Seq(3×1m;R3 )
261 ⊥ Dm7 /A − D7 − c) cad, Brs
262 Mw G − D − G − E7 /G]− a) WW+Va stat 4,
..
264 . Am − D7 /F ] − G/B − D7 /C−
..
266 . G/B − B/F ] − Em/G− b) Seq(3×1m;R3 )
268 ⊥ C46 − G7 − [72] c) cad, tutti clim

(cont’d)
m M R H Comment
269 (Mw) C − C]◦7 /B[− trans, Bsn+LoStr, PBi (&)
..
270 . Dm/A − A7 /G − D/F ]− Σ(cm<)
.. [5/[9
. B7 /F − Em − G7 /D−
..
271 . C − G − G]◦7 − Vi2 stretto imit
.. [5/[9
272 . Am − F ]7 /A] − G/B − D7 /C−
..
273 . G/B − B[ − B◦7 /A[− Bsn+LoStr
..
274 . Cm/G − G7 /F − C/E−
.. [5/[9 d
. A7 /E[ − B[/D − F7 /C Σ(cm<)
..
275 . B[ − F − F ]◦7 −
.. [5/[9
276 . Gm − E7 /G] − Am − C7 /B[−
277 ⊥ F/A − F7[9 − Str unis chr%
279 F7[9 − . . . − WW+Str Seq(3×2m;R7 )
284 B[ − E[− [73] trans, Str unis chr%
286 E[ − A[ − D−
289 Mw’ Gm Gm − Cm/E[ − Gm/D − D7[9 − a): WW, VI1 P T (g)
291 Mw Gm − Am7 − G/B − D7 − a) LoStr imit
..
295 . G − B − Em− b) Seq(3×1m;R3 )
297 ⊥ C − G− [74] c) cad
298 Mw C C − B◦7 − C − A7 /C] − Dm − G7 − a) Vi+Hns+Tbn
..
302 . C − E7 /D − Am/C− b) Seq(3×1m;R3 )
304 ⊥ F − B[− c) cad
305 E[ trans Brs, LoStr run&
308 E[/G −→ D/F ]− WW+Vi ex par [S̄ 6 ] &
310 Gm − Gm/B[− Brs, LoStr run&
312 G[/B[ −→ G/B − E[7 − WW+Vi ex par [S̄ 6 ] &
315 A[ A[ − A[/C − G/B− Brs, LoStr run&
317 G[/B[ −→ G/B− WW+Vi ex par [S̄ 6 ] , Σ(cm>)
320 B[m B[mno 1 [75] Brs
321 B[m/D[ − A/C] −→ B/D]− WW+Str [S̄ 6 ] &, Vi1 P T (d[)
328 (Mw) Gm − A◦ Hns mel augm

Mw a-phrase, from lower to upper strings, increase the density from S(2p) to S(4p) (4-part
exact parallel diminished chords), and are threatened in the background by a continuous
pianissimo roll in the bass drum. This episode closes with a woodwind and violin stretto
imitation (m. 386 ff.) and an extended syncopated climax. The witches do not yet throw in
the towel: there is a full statement Mw(abbbc) in m. 406 ff. by S(2p) strings in parallel thirds.
The parallel combination of MDI (woodwinds and brass) and Mw (violins) occurs in sec-
tion C3 /B4 (m. 414 ff.). There are two lines of the ‘Dies Irae’ theme, the second with 16th note
legato runs in high woodwinds (piccolo and flute) and strings. A transition with hoque-
tus accent imitation between strings and woodwinds (m. 440) and the col legno high strings
pedal point leads into yet another variation of the ‘Witches’ theme. Unisono woodwinds and
violas play an augmented version of Mw (m. 447 ff.) embellished with a series of trills. A
woodwind transition, a series of 4-part S(4p) diminished 7th chords, and an extended tutti
climax (m. 467 ff.) lead us back to the main key C major (see Mvt. 1) and the coda.
The Coda section (m. 485 ff.) presents a final brief call-and-response statement of the
‘Dies Irae’ theme MDI (bassoon and tuba), i.e., including the diminution answers from the
horns plus trombones and the dance-rhythm woodwinds (see m. 127 ff.). Note the opening
subdominant minor chord sequence F m(= IV m)−G∅7 −D[. The movement concludes with
an extended tutti climax, confirming the main tonic key with various cadences in C major.

The key relationship diagram of the Symhonie Fantastique is shown in Fig. 7.2. For a piece
of these proportions and based on the dramatic story the tonal key compass seems fairly
limited. All movements are playing with the major-minor modal contrast; this happens on
a local scale with the harmonisation of a specific phrase, but also globally as a sequence of
key centres in longer episodes (see the vertical connections between the parallel major-minor
keys on the tonic axis).
The problem in classifying Mvt. 1 as a sonata form is also clear from the key scheme for
the opening movement. The slow introduction section moves through the keys Cm − C −
E[ − Cm − C (1-3), displaying the first major-minor contrast. However, the exposition first
moves into unfamiliar subdominant terrain before ending in the more familiar dominant
key C − F − F m − G (4). The very long development section stays fairly close to the main
key G − Dm − G − Em − C − Cm − D − C (5-6), while recapitulation and coda are in the
tonic major key throughout.
Movement 2, the waltz, remains mainly in the parallel minor-major related Am − A keys.
The B1 section is the exception, with its move to the lowered submediant degree major key
F = [VI (3). The ternary structure of Mvt. 3 is reflected in the key areas. Opening and coda
are in the tonic major-(minor) keys F − F m (4). The A1 section moves into the dominant
domain Am − C − Cm (1), the middle section visits the subdominant key B[ (3), while the
A3 section once again touches the dominant key (3).
The 4th movement is in the minor tonic key Gm, which is established in the introduction,
all A sections and in the coda. The A1 section has an excursion to the subdominant area
E[ = [VI (1). All ‘Fanfare’ B sections are in the relative major key B[ (2,3). The threat of
the march to the scaffold is supported by the blunt opposition of the tritone-related keys
Gm − D[ in the A3 section (4) and at the beginning of the coda (5). In the coda there is the
closing move to the parallel major key G (6).
The very long closing movement remains close to the tonic axis C − Cm − E[ (major,

(cont’d)
m M R H Comment
331 Mw’ F7[9 − . . . − [76] a): Vc+Db mel augm
..
333 . F7[9 − . . . − E[7 − a): Bsn imit
..
338 . A[ − A[[9
7 /C − F ]◦7 /A−
342 ⊥ Cm Cm/G − G4 − Cm Vi P (c − e[)
346 A[−
C2 /B3 , ‘Dies Irae/Witches’
347 Cm/G− [77] Bsn P T (e[)
348 MDI E[ Cm/G − E[/G − F m l1 ): Hns+Vc
355 Mw E[/G − F ]◦ = A]◦7 − a): Va S(2p) ex par
358 MDI B[ − A − D− l2 ): Hns+DB
363 Mw’ G G − B◦7 /F − Ano 1 − [78] Vc ctp, BDr roll
..
368 . Dm − B7 /A − E/G] − F ]◦7 /E[− Va imit
..
371 . G]◦ − Am/C− S(2p) par 6ths
..
373 . C]◦7 − B◦7 /D − F ]◦7 /E[ − C]◦ /E− Vi2 imit
..
375 . D◦ /F −→ D◦7 /B− S(3p) par [S̄ 6 ]
..
379 . F ]◦7 /C − G◦7 /B[ [79] Vi1 imit
..
380 . B◦7 /D −→ B◦7 /A[− S(4p) ex par
385 ⊥ F ]◦7 − Brs+Str
387 Mw’ G]◦7 − F ]◦7 − E[/G − C− Seq(4×2m;R7 ),
.. d
389 . B[/D − B◦7 /F − F/A − D7 − WW+Vi stretto,
..
391 . C/E − C]◦7 /G − G]◦7 /B − F ]◦7 − cresc to clim
..
393 . Gm − B◦7 − A∅7 −
..
394 . C]◦7 //G − E7[5 /G]− PBi (%)
.. [5/[9
. F◦7 /A − F ]7 /A]− PBi (%)
395 ⊥ Bm − F ]◦7 /C − C]◦ − Cm−
396 B◦7 − B7 − . . . − [80] climax sync
399 F ]◦7 − . . . − climax cont’d
403 (Mw) G[9 [9
7 − <(F ]◦7 /C − G7 )− Str unis
407 Mw C C − G − C/E − Dm7 − G− [81] a) Str par 3rds S(2p)
..
411 . C − E − Am − C− b) Seq(3×1m;R3 )
413 ⊥ F − G7 − c) Str unis run%

(cont’d)
m M R H Comment
C3 /B4 , ‘Dies Irae/Witches’
414 MDI /w C − D7 /F ] − G − E/G]− l1 ): WW+Brs, a): Str
..
416 . Am − A/C] − D−
.. d
418 . G − B − Em − G/B − b): Seq(3×1m;R3 )
420 ⊥ Am7 − Dm7 /F − G7 /D− c) cad
422 MDI C − G7 − C − Am− l2 ): Ob+Cl+Brs,
.. d
426 . B◦7 /A[ − G − C − G7 − F Pi+Fl+HiStr 16ths
..
430 . C/E − Em − E − Am−
433 ⊥ B∅7 /A − E7 /G]− cad
B5 , ‘Witches’
[5/[9
435 Am (Am − Dm7 − B7 − Am)/A− [82] Str PLi (%), P T (a)
439 D]◦7 /A − E − . . . − Str-WW accts
443 [83] HiStr P D (e)
447 Mw” E − Am − E7 /G]− a): WW+Va augm
..
450 . Am − A7 /C] − Dm/F −
..
452 . Dm/F − D7 /F ] − G − E]/G] − Am− PBi (%)
..
454 . E7[9 − . . . −
456 ⊥ Am − F − A7 − bc) Seq(2×2m;R3 )
460 Dm Dm − G]◦7 − Am − B◦7 /D− trans WW S(4p)
461 Am/C − B◦7 − A7 −
462 Dm − G − Cm − F ]◦7 −
Gm − F ]◦7 /C−
463 Gm/B[ − F ]◦7 − G7 −
464 Cm Cm − F ]◦7 /E[ −→ F ]◦7 /C− ex par, PBi (&)
467 Em/B − G/B − C]◦7 /B[ − F ]7 /A]− [84] tutti clim, P D (g),
]5/[9
474 F ]◦7 /A − F∆7 /A − E7 /G]− PBi (&)
477 G7 − . . . − WW 16th arp+run
480 C C − Am − Dm − B◦ − S(2p) diat par%,
481 Em − C − F − Dm− Str 16th runs,
d
482 G − F − G − Am/C − B◦ − C Brs-WW accts
d
483 B◦ − Am − G7 − A/C] − B◦ − C
484 Dm/F − Em − Dm − C]◦7 /G−

(cont’d)
m M R H Comment
Coda, ‘Dies Irae’
485 Fm [85] Str trem
486 MDI (F m − G∅7 − D[ − D◦ )/F − l1 ): Bsn+Tu, P (f )
490 MD’ E[/G − B◦7 /A[ − A[ − F7 − Dm/F − Hns+Tbn dim
493 MD” C]◦7 /G − B◦7 /A[ − C46 − G7 − WW dance, cad
496 <(C − G7 )− tutti climax
498 C − D]◦7 /C − G7 − C46 − C− cad
500 <(C − G7 )− repeat
502 C − D]◦7 /C − G7 − C46 − C− cad
504 C − A[/C − G7 − C − D7 /C − G7 −
506 C − C7 − F − unisono 8ths
508 E[ − D∅7 /F − D7 /F ]− tutti climax
510 C46 − G− cad
512 <(C − G7 )− i (&)
[86] tutti 8ths, Pm
520 C closing (524 m.)
Mvt. 1 Rêveries. Passions
iP Am 6 Em
Dm P Mvt. 2 Un Bal Mvt. 3 Scène aux champs
PP
5 PP
6
F C qG
P D 3 A Gm Dm 1 Am
4
? 6
?1,3 ?1,2,4
6 *

?
Fm Cm Gm Dm Am B[ -F
-C
2 3
62 6
?4 ?
A[ E[ B[ F C B[m Fm Cm
Mvt. 4 Marche au Supplice Mvt. 5 Songe d’une nuit du Sabbat
C G Dm Am Em
66 10 A 9
6
Cm 1 Gm F A C G
* 2,8
3
*
Y
H
H
?

2,3
6 A 6 H
E[ B[ Fm AU Cm H
j
Gm
1,5 ? AK
6 4
E[m B[m A[ E[ A B[
6 7 A
4,5 A
G[ D[ A[m E[m B[m
Figure 7.2: Berlioz, Symphonie Fantastique Op. 14, key relationship diagram

parallel minor and its relative major). The ‘Witches’ Dance’ sections have a preference for
moving into the dominant domain G − Gm (2, 4, 8), while the ‘Dies Irae’ theme stresses the
parallel minor key Cm (3). It is when these two elements are confronted and combined,
especially in counterpoint settings and wild mood changes, that the keys start to wander
rapidly (5-10).
Due to the many tonal ambiguities and intermediate dominant function chords, many
more local keys at more detailed level could have been identified. In the diagrams there is
a focus on the longer duration, more significant tonal centres as they establish in the move-
ments of this unique symphony.

Chapter 8
Felix Mendelssohn-Bartholdy
Biographical data:
∗ 3-2-1809 in Hamburg
† 4-11-1847 in Leipzig
1600 1700 1800 1900 2000
8.1 A Midsummer Nights’ Dream Overture Op. 21 (1826)

Source: [33]. Music for orchestra. An overview of the formal analysis is shown in Fig. 8.1.
h i
2
Overture: sonata form (A, 2 , (686 m.)
Intro (8 m.) + Exposition (242 m.)
Coda (66 m.)
Figure 8.1: Mendelssohn, A Midsummer Nights’ Dream Overture Op. 21
Form: sonata. This is the overture from the stage music to the Shakespeare comedy. The
main characters from this play are depicted as thematic material; see the well-known ‘I-ah’
descending leap as part of the second group (labeled as M6, the most playful theme. Guess
the animal, and win a free ride!). The opening and closing sustained chords in contrary mo-
tion for woodwinds and horns are a well-known example of a plagal sequence, and very
hard to play in tune. The first main theme (M1) is played in staccato 8th notes by delightful
violins only (the same instrumentation is used by Tchaikovsky in the first movement of the
Nutcracker Suite, see Sec. 11.4). The lyrical contrast by the second group first theme (M2)
is obvious; it is held in quarter and half note durations mainly, written in block chord set-
ting with moving middle voices and contrary motion between outer voices. The first group
2005-2017
CHAPTER 8. FELIX MENDELSSOHN-BARTHOLDY
themes M1 and M3 return in the development section; this frequently uses sequences and
imitation. Sustained chords and pedal notes in the transitions provide a more tranquil mood,
before the piece takes up the original tempo feel. See Table 8.1 to 8.4 for the analysis.
Key relationship diagram

The key relationship diagram is shown in Fig. 8.2. This overture has a classical scope. It
opens in Em minor and through the parallel major E moves into the dominant domain
B − Bm (1). The development starts in the dominant minor Bm, and then through its rel-
ative major D (2) reaches some more remote keys: the submediant minor C]m (3) and the
supertonic minor F ]m (4). Using the double occurrence of C]m in the diagram there is the
return to the main key, E − Em (5). The closing section is in E major and shows the typical
excursion into the subdominant domain A (6).
F ]m C]m t G]m D]m A]m

6
A
?
- E• - B1 F] C]
6
6
? ? 4 t
Am Em - Bm F ]m
- C]m
1
*

? 3,5
C G 2 D

)
A E
Figure 8.2: Mendelssohn, A Midsummer Nights’ Dream Overture Op. 21, key relationship
diagram
8.2 The Hebrides Overture Op. 26 (1830)

Source: [33]. Music for orchestra. This work is also known as Fingal’s Cave. An overview of
the formal analysis is shown in Fig. 8.3.
h i
4
Overture: sonata form (Bm, 4 , (268 m.)
Exposition (92 m.) Development (85 m.) Recap. (39 m.)
Coda (51 m)
Figure 8.3: Mendelssohn, The Hebrides Overture Op. 26
Form: sonata. The overture opens with the Exposition first group main theme; M1 con-
tains a simple, characteristic descending arpeggio motif, repeated many times (illustrating
the sea waves surrounding the islands?), and also in augmentation. Also note the opening
chord root sequence: R−3 R−3 R5 (twice rising, then falling waves?). The second group opens
in the relative major key. Most of the Development is based on the first group theme, as is
the secondary development in the coda. In the string section backgrounds, long series of
16th note (arpeggios) patterns also suggest water surface waves. See Table 8.5 and 8.6 for
the analysis.

8.2. THE HEBRIDES OVERTURE OP. 26
Table 8.1: Mendelssohn, A Midsummer Nights’ Dream Overture Op. 21
m M Key H Comment
1 M0 E E − B − Am − E − Em Intro, WW+FHns: Σ(cm<)
8 M1.a Em Em − . . . − B7 − Em− Exp, Gr 1/Th 1, Vi: 8ths stacc
12 ⊥ Em − B7 /D] − Em − C/E − B−
16 M1.a Em − B7 − Em
20 ⊥ Em − B7 /D] − Em − C/E − B−
24 M1.b B − F ][9 [9
7 − B − E7 − Seq(3×2m;R−7 ), Vi+Va
..
26 . A − D7[9 − G−
30 ⊥ D]◦7 /A − F ][9
7 /A] − B7 −
32 M1.a’ Em − B7 − Em − B7 /D]− 2nd stat
..
36 . <(Em − D7 ) − G − F ]◦ /A−
38 ⊥ Em/B − B7 − F ][9
7 /E cad, WW+Hns
41 M1.b B − F ]7 − B − E7[9 −
[9 Seq(3×2m;R−7 ), HiStr: 8ths
..
43 . A − D7[9 − G− Vi+Va
47 ⊥ F ]◦ /A − F ][9
7 /A] − B7 −
49 M1.a’ Em − B7 − Em − B7 /D]−
..
53 . <(Em − D7 ) − G − F ]◦ /A−
55 ⊥ Em/B − B7 − F ][9
7 /E cad, WW+FHn
58 <(Em − D]◦7 /E)− trans, Vi: 8ths
60 Em − F ]◦ /A − Em64 − B− cad
62 M2.aa E <(E − C]m − E/G] − B7 )− [A] Gr 1/Th 2, tutti climax
70 M2.bb <(E − <(A − E) − A) − Am− plagal cad
78 M3 E − . . . − <(B7 − E)/E trans, clim, imit, P T (e)
86 M3 E − . . . − <(B7 − E)/E 2nd stat 8ba (P T (e))
..
90 . E/B − A/C] − E/B − B7[9 /A− PB (&), WW: P D (b)
..
92 . E/G] − A]◦7 /G − B7 /F ]− Σ(cm<)
..
94 . E − B/D] − A]◦ /C] − Em7 /B− Str: repeat 8va Σ(cm<)
96 ⊥ F ][9
7 /A] − C∅7 /G − F ]7 − cad
98 M1.a B − . . . − B7 − G]7 − Seq(3×8m;R−7 ), Str: 8ths,
..
106 . C]m − . . . − F ][9
7 − B7 WW+Brs: sustained ch
114 ⊥ E − . . . − C][9
7 /E]−
122 B F ]7 − [B] trns, Str: imit, WW: P D (f ])
130 Mt <(B − E − B∆7 − E − B− Cl: trans th, PB (&)
C]m − F ]7 )−

Table 8.2: Mendelssohn, A Midsummer Nights’ Dream Overture Op. 21 (cont’d)
m M Key H Comment
138 M4.aa B <(B E/B − C]m − F ]7 − Gr 2/Th 1, Str, P T (b)
d
146 M4.b B − G]m − F◦7 − F ]97 − G]7 /D]− Str+WW
..
151 . C]m − F ]7 /C]− cad
152 ⊥ B/D] − G]m − B/F ] − F ]7 −
153 M4.aa <(B − A]◦ − B7 − E− 2nd stat: Str+WW
C]◦ /G − F ]7 /A])
166 M5 B − . . . − C∅7 /E − F ]7 − B− transition, WW+Brs
..
178 . <(C]7 − B7[9 )− Str, Hns: P D (b), PB (%)
186 ⊥ E − C][9 7 /E] − . . . − F ]7 /A]− cresc
194 B − ...− Brs, P T (b)
198 M6.a <(B − . . . − C]∅7 /E) − F ][9 7 − [C] Gr 2/Th 2 tutti: (‘I-Ah’)
206 M6.b <(B − . . . − G]m − F ]7 )− Str+WW
214 (M6a) C]97 − . . . − F ] − . . . − trans, cad
222 M2.b B − ... − E − B plagal cad, Brs-WW: imit
230 M2.aa B − E/G] − B/D] − F ]7 − closing stat, tutti clim
234 ⊥ B − E/G] − C]m/E − F ]7 −
238 M2.b <(B − . . . − E) − B plagal cad, Brs-Str: imit
247 M0 B unisono arp&
250 M1.a Bm <(Bm − . . . − F ][9
7 )− [D] Development, Vi: 8ths
258 (Bm − . . . − −G∆7 − C][9 7 )/B− cad, Str: imit, WW: P T (b)
270 M1/M0 F ]m <(F ]m − . . . − C]7 )− Str/WW, P T (f ])
278 (F ]m − D∆7 − F ]m)/F ]− Str: imit, WW: P T (f ])
284 M5 B7[9 − trans, WW: imit
290 M1/3/5 Em Em/G − . . . − F ]7 /A]− tutti: 3 themes imit
[5/[9
298 M1/3/5 Bm Bm − . . . − G7 = C]7 −
306 M1.a E7 /G] − D]◦7 /A− Str, PB (%)
..
308 . E7 /B − A/C]−
310 ⊥ G]7 − G◦7 − G]7 − C]m − A7 − PB (%), cad
316 M1/M5 D D [E], tutti imit, P (d−f ])
324 M1.a <(C]◦7 − D) − G∆7 −
334 M3’ C]m C]m − . . . − A7 − Seq(2×8m;R−7 ), Str, P T (c])
342 M3’ D D − . . . − D/F ] − Em/G− Str+WW, P T (d)
350 M3’ F ]m F ]m − . . . − F ]/A] − F ]m/A− Seq(2×8m;R−5 ), P T (f ])
358 M3’ C]m <(G][9 [9
7 − C]m) − G]7 − G]7 − Str: th+WW: inv, P D (g])
369 [9 [9
C]7 − G]7 /B]− [F] trans: WW+Hns+LoStr
373 M4 <(C]m − . . . − D]∅7 /F ] − G]7 )− retrans, Str
380 C]m cad

m M Key H Comment
394 M0 E C]m − B − Am/C − E Recap, WW+Hns, Σ(cm<)
404 M1.a Em Em − . . . − B7 − Em− Gr 1/Th 1, Vi: 8th stac
408 ⊥ B7 − Em − C − B−
412 M1.a Em − . . . − B7 − Em− +WW bg
416 ⊥ Em − B7 − Em − C − B−
420 M1.b B − F ][9 [9
7 − B − E7 − Seq(3×2m;R−7 ), Vi
..
422 . A − D7[9 − G−
426 ⊥ F ]∅7 /A − F ]7[9 /A] − B7 −
428 M1.a’ Em − . . . − C/E − . . . − +WW bg
438 (M1.a’) C − B◦7 /C − C − B7 − . . . − trans, Str imit, WW: P D (b)
450 Mt E <(E − A − E − F ]m − B]7 ) WW: trans th, PB (&)
458 M4.aa <(E − E7 − A − B7 )− Gr 2/Th 1, Str, P T (e)
466 M4.b E − C]m − F ]7 − B − C][9 7 − Str+WW
470 ⊥ 6
F ]m − D]∅7 − C]m − E4 − B7 − cad
474 M4.aa <(E − E7 − A − F ]∅7 − B7 /D])− 2nd stat: Str+WW
482 M4.b E − B7 − E − B7 /D]− +FHns
486 M5 E − . . . − C][97 − F ]m − F ]∅7 − B7 trans, WW+Brs
494 M5 [9
E − . . . − C]7 − F ]7 /A] − E7 /D− Hns: P D (e)
502 ⊥ F ][9
7 /C] − Bm/D − E7 − cresc to climax (P D (e))
506 A A − F ][97 /A]− SD
512 E B7 /D] − E climax, Brs: P T (e)
518 M6.a <(E − . . . − F ]∅7 /A)− [G] Gr 2/Th 2, tutti clim
526 M6.b <(E − C]m − B)− Str+WW
534 (M6.a) F ]97 − . . . − B79 − trans, tutti climax, cad
542 M3 E − . . . − B7 − trans, WW+Brs: imit, P T (e)
548 E − C]m − F ]m/A − B7 − cad
550 M3 E − E7 − WW+Brs: imit, P (e)
..
554 . C][9
7 − . . . − C]7 /E]− Str: imit, Σ(cm<), P D (c])
..
562 . F ]m − F ]7 /A]− Σ(cm>)
564 ⊥ B − Bm/D − B7 /D]−
566 E − E7]5 − A − F ][9
7 − B − G]7 /B]− tutti to climax
570 C]m − F ]m − E/B − B7 /A− cad
574 E/G] − C]7 /G] − F ]m/A−
d
576 E/B − B7 /A −
578 C][9
7 − F ]m − F ]7 /A]− tutti climax, Σ(cm>)
582 E/B − F ][9 6
7 /B − E4 − B7 − cad

m M Key H Comment
586 M2.aa <(E − C]m − E/G] − B7 )− Gr 1/Th 2, tutti climax
594 M2.bb <(E − . . . − A)− plagal cad
608 M0 E tutti clim, imit arp&-Σ(cm<)
620 M1.a Em Em − . . . − B7 − Em− [H] Coda, Vi: 8ths
624 ⊥ Em − B7 − Em − C − B−
628 M1.b/M0 B − F ][9 [9
7 − B − E7 − Seq(3×2m;R−7 ), Str/WW
..
630 . A − D7[9 − G−
634 ⊥ F ]∅7 /A − F ][9
7 /A] − B7 −
636 M1.a/M0 Em − . . . − B7 − Str/WW
..
639 . Em − . . . − F ]◦ /A−
d
642 ⊥ Em/B − B7 − F ][9
7 /E−
644 Em Em − Am/C− [I] trans, WW+Brs, P D (b)
647 Em/B − D]◦7 /A−
649 Em/G − D]◦7 /A− (P D (b))
d
653 Em − F ][9
− B7 −
7 cad
658 C]m − A − E46 − B7 − [K] Cl+Bsn+Hn, closing
662 M2 E <(E − C]m − E/G] − B) Str+LoWW
670 <(E − A)/E plag cad, P T (e)
682 M0 E − B − Am − E WW+Hns: Σ(cm<) (686 m.)

Table 8.5: Mendelssohn, The Hebrides Overture Op. 26
m M Key H Comment
h i
Allegro moderato 44 Exposition
1 M1 Bm Bm − D − F ]m − B7 − Em− Gr 1/Th 1, M1a: Bsn+Str
9 M1 Bm − D− 2nd stat M1a: HiStr
..
13 . <(F ] − Bm) − Em − Bm − F ] − Bm M1b
17 ⊥ <(F ] − Bm) − Em − C]∅7 /B− M1b’
21 F ][9
7 /A] − Bm− Trans
24 Bm − C]◦ /E − Bm64 − F ]7 −
26 M2/1 Bm − C][9 7 /E] − F ]7 − Bm − F ]− Gr 1/Th 2: WW/LoStr
30 M2/1 Bm − C][9 7 /E] − F ]7 −
33 M1’ <(Bm − F ]) − <(B7[9 /D] − C/E)− aug: WW-Str, triplet bg
37 ⊥ <(C][97 /E] − F ]) − F ]m − A − A7 − [A] clim, trans, P D (a)
47 M3 D D − B − Em − C − G − C Gr 2/Th 1, M3a: WW+Str
..
51 . G − F ] − Bm − G−
54 ⊥ <(D − G) − A7 −
57 M3 D − B7 − E − C − G − C 2nd stat M3a: HiStr
..
61 . G − F ] − Bm − G − D − G−
..
65 . D7 − G − D/A − A7 /G−
67 ⊥ <(D/F ] − A7 /G) − D/F ] M3b
70 M1 C][9
7 /E] − Bm/F ] − G∆7 − G]◦7 − Trans, WW, P D (f ]), PB (%)
74 ⊥ D/A − G]◦7 /B − A7 /C]− cresc, PB (%), triplet bg
77 M1’ (D − D7[9 − B7[9 − Em7 − C]◦7 )/D [B] final stat, climax, P T (d)
..
81 . D − (D7[9 − B7[9 )/F ]−
.. [5/[9
83 . Em − C]7 /G−
85 ⊥ F ]7 − Bm7 − Em − A7 − Σ(cm<), Str unisono
87 D/F ] − Em/G − E7[9 /G] − A−
89 <(D − Gm)/D− closing, climax
93 D [C] Dev Brass signal
96 M1 Bm Bm − . . . − E − . . . − C − G − Gm− Gr 1, imit/aug: LoStr,
108 M1 B[ − F − HiStr: trem
112 M4 G/B − Cm − D7 /F ]− imit: WW, Seq(3×2m;R−5 )
..
116 . Gm Gm − A7 − D − D7 /F ]−
118 ⊥ Gm − A7 − <(D − Gm)/D − A7 /D− P T (d)
123 M3 D D − <(Gm − D) − G Gr 2, imit: Str
135 <(C7[9 /E − G∅7 /F ) − C7[9 − trans, triplet bg
138 (M1’) Fm C7[9 /E − F m − C7 − F m − C7 − [D]
144 ⊥ <(F7[9 /A − G[/B[) − F7[9 /A−

Table 8.6: Mendelssohn, The Hebrides Overture Op. 26 (cont’d)
m M Key H Comment
149 M1 B[m B[m − F − A− Gr 1, imit: Str-WW
153 M1 Dm Dm − A− imit: Str-WW, accts: Brs
156 ⊥ Em Am − B7 /D] − Em
159 M1 F ]/A] − G∆7 /B − F ]7 /C]− cresc, PB (%)
162 ⊥ B/D] − C/E − C]7 /E] − (Bm7 − B7 )/F ] PBi (%)
165 Em/G − C][9 7 /G] − F ]7 /A]− [E] tutti climax, PB (%)
171 Bm − B7 − Em − C]7 − F ]m − F ]7 − Σ(cm<), P D (f ])
174 Bm64 − F ]− climax, (P D (f ]))
178 Bm F ]− [F] Recap
180 M1 Bm − . . . − D − . . . − Gr 1, Ma: LoStr
186 ⊥ <(D − A) − <(F ] − Bm)− Mb: WW+Brs
190 B7 /D] − Em − B7 /F ] − Em/G− Trans, PB (%)
192 C/E − B7[9 /F ] − C/G − B7[9 /A− PB (%)
194 B7[9 − Em − D]◦ /F ]− [S̄ 6 ]
196 Em/G − C]◦ /E − D − A7 − Em/G−
198 F ]7
202 M3 B B − G] − C]m − A − E − A Gr 2, M3a: WW
206 M3 E E − . . . − B/F ] − F ]7 − SD
..
211 . <(B/D] − F ]7 /E) − B/D] − E− M3b: WW, P D (f ])
215 ⊥ <(B/D] − F ]7 /E)−
Animato - in tempo Coda
217 M5 Em B7[9 /D] − Em − F ]7 /A]− imit: WW-Str
220 ⊥ Bm − F ]7 /A] − Bm − F ]/C] − Bm−
223 F ]7 − . . . − trans, cresc
225 Em/G − C][9 7 /D − F ]m/C] − F ]7 −
226 M1 Bm Bm − G − −Em − E7[9 /G] − F ]m/A− [G] 2nd Dev, M1a: Str
234 M1 D − ...− M1a: Brs+Str, climax
237 D7 − G − E7 /G]−
239 A − A7 − F ]7 − C]∅7 /B−
241 F ][9
7 /A]−
244 <(Bm − C][9 [9
7 − F ] − B7 − Em − F ]7 )− [H] climax, Str unis
248 G∆7 /B − A/C] − B/D] − C/E [S̄ 6 ] , Brs accts
251 C/E (N 6 ) − . . . −
255 F ]7 /E − Bm/D − F ] − Bm − F ]7 tutti climax, Σ(cm<)
260 <(Bm − F ])− closing cad
264 M1 Bm M1a: Cl
266 M3 Bm M3a: Fl (268 m.)

8.3. SYMPHONY NO. 3 IN A MAJOR ‘SCOTTISH’ OP. 56
Key relationship diagram

The key relationship diagram is shown in Fig. 8.4. The piece shows four excursions from
the central key B minor, looping further away each time (1: relative major D, 2: three steps,
reaching Gm, 3: five steps until the most remote key B[m), with a closing loop (4) in the
subdominant area.
E B
? 4 6
Em AK - Bm

A 1
?6
G A D
2 A

Gm A Dm

B[ F
3
B[m
Fm
Figure 8.4: Mendelssohn, The Hebrides Overture Op. 26, key relationship diagram
8.3 Symphony No. 3 in A Major ‘Scottish’ Op. 56 (1841-1842)

Source: [33]. An overview of the formal analysis is shown in Fig. 8.5. All four movements
are connected by attaca instructions to the performers. Three movements have a sonata form
structure, the third movement has binary structure with a ternary subdivision.
The symphony consists of long outer movements, with a total length of around 500 mea-
sures. The opening and second movement section lengths are fairly balanced. In the open-
ing movement the exposition is longer than the development, in the closing movement the
reverse holds. The finale movement has a long recapitulation (including some additional
development, see below) and there is a separate coda with a new meter and tempo. The
binary mirroring structure of the slow third movement is clear.
8.3.1 Mvt. 1 Introduction Andante con moto - Allegro un poco agitato

The slow Introduction section (63 m.) has ternary form: A-B-A (31 + 17 + 15 m.). The A
section contains an elegant, quasi-chorale theme with structure Mi(ab) (4+4 m.). The second
statement (m. 9 ff.) is a variation on this theme with thicker instrumentation. Together these
yield a period structure Mi(abab’) (4 + 4 + 4 + 4 m.). It is the b’-phrase that re-appears
more frequently in the introduction. The a-phrase will return in disguise as the opening
movement main theme. The bridge section has the lyrical unison violins melodic line Mb,
with prominent 16th note rhythm and with sentence structure Mv(aa’b) (4 + 4 + 6 m.). This
element is continued as a countersubject in the closing A section of the introduction.
The Exposition long main theme has a unique M1(aa’bbc) (4+4+2+2+10 m.) structure.
The a-phrase copies elements from the introduction theme Mi Note the ascending
h i 4th leap
6
and turn e − a − b − c − b, but now it has a different character in the new 8 time signature.

Mvt. 1 Introduction Andante con moto - Allegro un poco agitato:

h ih i
3 6
sonata form (Am, 4 8 , 522 m.)
Introduction (63 m.)
Exposition (148 m.)
h i
2
Mvt. 2 Vivace non troppo: sonata form (F , 4 , 273 m.)
Recapitulation (73 m.) Cd (17)
h i
2
Mvt. 3 Adagio: ABCABC Coda form (A, 4 , 150 m.)
I A1 B1 C1 A2 B2 C2 Cd
h i
2
Mvt. 4 Allegro vivacissimo. Allegro maestoso assai: sonata form (Am, 2 , 490 m.)
Exposition (108 m.)
Coda
Figure 8.5: Mendelssohn, Symphony No. 3 in A Major ‘Scottish’ Op. 56

Table 8.7: Mendelssohn, Symphony No. 3 ‘Scottish’ Op. 56, Mvt. 1 Introduction Andante con
moto - Allegro un poco agitato
m M R H Comment
h i
3
Andante con moto 4 , Introduction
1 Mi Am Am − Em/G − Dm/F − E − E7 /D− a): Ob+Va, WW bg, P D (e)
5 ⊥ Am/C − B∅7 /D − B7[9 /D] − E b), [S̄ 6 ] PB (%)
9 Mi Am − Em/G − Dm/F − E − E7[9 /D− a): WW+Va
13 ⊥ C − F∆7 − B∅7 − Am64 − E7 − Am b’), cad
17 Mv Am − G]◦ − F/A− a) Vi 16ths, WW bg
..
21 . B∅7 − E7[9 − G]◦7 /D− a’)
..
25 . Am/C − B − E7 /G]− b)
..
27 . A − Am − D]◦7 /A − E7 /G]−
29 ⊥ A7 /G − Dm/F − G7 /B − C7 /E− cad WW+Str 8ths Σ(cm<)
32 Mi’/v’ F F − F7 − D7 /F ]− [A] Seq(2×4m;R7 ),
..
36 . G − G7 − E7[9 /G]− Mi’: Str-WW im, PBi (%)
.. d
40 . A − A[9
7 − B[− Mv’: Vi 16ths-sync,
d d
42 ⊥ G7 /B − Am/C − A7 /C] −
43 Mi’/v’ B[/D − . . . − clim, N 6 , LoStr/(WW+Vi)
49 Mi/v’ Am Am/E − E/G] − Am − Em/G− Mia): Ob+Va, Mv’: Vi1
..
51 . Dm/F − E − E7[9 /D−
.. d
53 . Am/C − B∅7 /D − Am64 − E − b’)
..
56 . F − Dm
..
57 . C − C7 − F − B◦ /D− b’)
59 ⊥ Am64 − E7sus4 − E− Vi 16th arp%, cad
h i
6
Allegro un poco agitato 8 , Exposition
64 M1 Am || : Am − Dm7 /F − C46 − G7 − Gr 1, a): Cl+Vi, Str bg
..
68 . C − F/A − B7 − a’)
..
72 . <(E − E7 − Am) bb)
.. d
76 . Am − Am/C − Dm − E − c)
..
78 . <(F∆7 − Dm7 /F − E)−
..
82 . Am − D∅7 /F − Am7 /C − B∅7 /D−
84 ⊥ Am64 − E7 − cad

In adddition, there is the play with tonic minor and relative major keys Am − C in the aa’-
phrases. The second statement is shorter than the first. A tutti climax transition is based on
the scalar descending theme Ms, also used in imitation and with contrary motion Σ(cm). The
second group features a peculiar combination of two themes: the M1a-phrase is restated in a
variation (see 1st violins), while a second theme M2 (for clarinet) emerges. This has a double
function, acting as both a countersubject to M1’ and as an independent melody (it is the first
theme in the second group). It also has a unique structure when both statements (m. 126
ff., and m. 133 ff., note the instrumentation change) are considered together: M2(ab)+(a’c)
(4 + 4 + 4 + 4 m.). The M2a-phrase has a remarkable similarity to the M1c-phrase (note
the melodic curve with upward leap followed by stepwise descending motion). M2b has
a similar shape to M2a. The M2c phrase is played three times (mm. 145 ff.), leading into
a transition towards the theme M3 (2nd theme in Group 2). This melancholic melody has
structure M3(aabb’) (4 + 4 + 4 + 4 m.), is set in 2-part diatonic parallel consonants S(2p), with
the characteristic ‘horn 5ths’ element.
The Development (m. 212 ff.) starts with the E − C]m major-relative minor key ambigu-
ity; a long line of unisono strings quoting from the main theme (Mu=M1a’) (the first part and
rhythm of the a-phrase) prepares for a move through a set of minor keys. The first part of
the development (m. 237 ff.) then deals with the combination of M1 and M2, as introduced
in the second group. There is imitation treatment within and between orchestral sections.
The descending scalar theme Ms in the strings and in an imitative climax (m. 285) leads to
the second part of the development. This features M3 (m. 293 ff.) and then the combination
of fragments from both M1 and M3, as a retransition.
The Recapitulation (m. 334 ff.) has a single statement of the first group theme M1, fol-
lowed by the second group combination of M1’ and M2 (m. 355 ff.). Once again there is the
triple statement of the c-phrase, then a climax and moving on to the melancholic two-part
M3 (m. 400 ff.). This section comes to a close in a similar fashion to the exposition: there is the
Am − F ]m ambiguity and the unisono string setting of the following Mu. This could have
been the start of a secondary development, but in fact it is a long transition with extended
climaxes, leading to the coda.
The first part of the Coda uses the transitory theme Ms in tutti setting (m. 483 ff.), extend-
ing the climactic mood even further. Woodwinds copy the unisono transition Mu from the
strings, while calming down the texture. The second part (m. 513 ff.) has a final statement of
the introduction theme Mi.
8.3.2 Mvt. 2 Vivace non troppo

Form: sonata. See Table 8.13 and 8.14 for the analysis. The vivid (vivace) mood in the Ex-
position is set by strings playing staccato 16th notes. The solo clarinet plays the main theme
M1(aa’aa’bb’) (4 + 4 + 4 + 4 + 4 + 4 m.), a modified sentence structure with regular phrasing.
The theme is restated by flute and oboe, then joined by the clarinet. The transitory section
(m. 49 ff.) is a tutti climax, that has the a-phrase in the horns and violins simultaneously with
an inverted version I(M1) in bassoons and lower strings. The secondary theme M2 is played
by strings in contrary motion (m. 72 ff.); it has M2(aaa’) (4 + 4 + 10 m.) unusual phrasing. A
transition with M1 fragments conludes this section.
The Development opens with modulating variations of M1, in (stretto) imitation setting.
Later, from m. 152 onwards, both themes are combined. In m. 176 there is a sort of false
recapitulation in the ‘wrong key’, which after a brief moment of suspense is corrected by

moto - Allegro un poco agitato (cont’d)
m M R H Comment
85 M1 Am − Dm7 /F − C46 − G7 − 2nd stat, a): Fl+Cl
..
89 . C − Dm/F − B[/D− a): Fl+Cl+Vi1
..
91 . E − E7 /D − Am/C − E7 /B−
..
93 . Am/C − Dm/F − B[/D− b)
95 ⊥ <(Am/E − B7[5 no 1 /F ) − Am64 − E7 −
99 Ms Am − G]◦ − [B] trans, tutti clim, P T (a),
103 ⊥ Am − G]◦ − E7[9 /G]− Hi-Lo imit, Σ(cm>)
108 Ms’ Am/E − E7 − Am/E − E7 − E7 /D− Vi-WW imit
..
111 . Am/C − B∅7 − LoStr-HiStr imit
113 ⊥ C]◦ − A7 /C] − Dm/F − PB (%)
115 Ms’ F ]◦7 /A − . . . − clim, Str Σ(cm)
..
120 . G7 /B − C − C + − i (%)
WW+Str Pm
..
121 . Am/C − F ][5
7 no 1 /C− mod to D
122 ⊥ Em/B − F/A − Em64 − B− cad
125 M1’/2 Em Em/B − B7[9 /F ] − B7[9 − [C] Gr 2, M1’: Vi1,
129 ⊥ Em − Em/B − B7 − M2a): Cl, P D (b)
133 M1’/2 Em − C/E − B◦7 /D− 2nd st, M2a’): Vi1, [S̄ 6 ] &
..
135 . Am/C − Em/B− M1’): Va+Vc
.. d
137 . (A7 − D − D7 )/A − c): Str
139 ⊥ Em/G − F ]◦ /A − Em64 − B7 − cad
141 M1’/2 Em − C/E − B◦ /D − G7 − repeat M): Bsn/(Fl+Cl)
143 ⊥ C − Am/C − B∅7 − Em7 −
145 M2’ (A − D − D7 )/A− c): Str
147 ⊥ B7 /A − Em/G − F ]◦ /A − Em/B−
149 M2’ (A7 − D − D7 )/A− repeat, c’): WW
151 ⊥ B7 /A − Em/G − F ]◦ /A − Em/B−
d
153 M2’ A − D/A − B7 − c”): Str trem, PLi (%), PBi (%)
155 ⊥ C − C]◦7 − D − D7 − B7 /D]−
158 (M1’) Em− [D] clim, Str imit
..
159 . B7[9 /A − Em/G−
..
161 . B7[9 /A − E/G] − Em/G−
..
163 . F ]7 − F ]∅7 /C − B7 − B∅7 /F Seq(3×1m;R5 )
..
165 . E7 − E∅7 /B[−
166 ⊥ A7 − D]◦7 −

moto - Allegro un poco agitato (cont’d)
m M R H Comment
168 Em − F ]◦ /A − Em/B − B7 /A− tutti climax
170 Em/G − D]◦7 − B7[9 /D]−
172 Em − F ]◦ /A − Em/B − B7 /A− repeat
174 Em/G − F ]◦7 /A − Em/B − B7 /A− Σ(cm>)
176 E/G] − Am/C − (Em − G]◦7 )/B− P D (b)
178 (B − C − C]◦ − D − D]◦ )/B − B7 − PLi (%)
181 M3 Em − . . . − D]◦7 /A− [E] a): Fl+Cl+Vi S(2p)
..
185 . Em − . . . − D]◦7 /A− a)
..
189 . Em − Em/B − C − F ]∅7 /A− b): Cl+Vi, P T (e)
..
193 . Em − Em/B − C − F ]∅7 /A− b’): Fl+Vi
197 ⊥ <(Em − F ]∅7 /A) − Em b”): Str-WW imit, P T (e)
205 E no 3 − . . . −1) E7 − : ||
209 2) C]m/E − . . . − (m. 209b)
Development
212 Mu C]m/E − . . . − G]/D]− trans, Mu=(M1a) Str unis
..
217 . Bm/D − . . . − F ]/C] − F ]◦7 /C− PBi (&)
..
224 . A[[9
7 /C − . . . − WW sync bg
..
227 . Cm <(Cm − A[7 − F ]◦7 )/C−
235 ⊥ D7[9 /C− climax, Str 16ths
237 G/B − G− [F] P D (g)
239 M1’/2 Cm/G − A[7 − G7 − G7 /F − M1’): LoStr, 2): Fl+Ob
244 M2/u’ Cm/G − E[ − Cm7 /E[− Mu’): Vi1
247 ⊥ D/F ]− Tpt P D (d)
[5/[9
249 M1’/2 Gm Gm/D − A7 /C] − D7[9 − M1’): Vi1, 2): Cl
..
253 . Gm/D − Gm7 /B[− Str bg sync+imit
257 ⊥ A7 /C]− Tpt+Timp P D (a)
259 M1’/2 Dm Dm − A[97 /C] − A7 − M1’): WW, 2): LoStr
263 M1’/2’ Dm/F − B[/D − C7[9 − F7 /C− [G] 1’) Str imit,
..
267 . B[ − Gm/B[ − A∅7 − D7[9 − M2’): WW sust
..
271 . Gm Gm − E[/G − A[ − F7 /A− Str stretto imit, PBi (%)
275 ⊥ B[ − G7 /B−

Table 8.10: Mendelssohn, Symphony No. 3 ‘Scottish’ Op. 56, Mvt. 1 Introduction Andante
con moto - Allegro un poco agitato (cont’d)
m M R H Comment
277 Ms Cm Cm − D7[9 /C− Vi+Str, P T (c), Seq(2×4m;R−5 )
..
281 . Gm Gm/B[ − A[9
7 /B[− (see m. 99)
..
285 . Dm Dm/F − . . . − tutti clim, Str-WW im, P D (a)
..
290 . E/G] − E7 /D− Σ(cm<)
291 ⊥ Am/C − Dm/F −
293 M3 E <(E − . . . − B7 /A)− [H] aa): Fl+Cl+Vi
301 M3’/1’ <(E − Dm/F ) − E WW+Str imit
307 M1’ A[9
7 − D − G7 − C− Str imit, Seq(2×2m;R−7 )
..
311 . F7 /A − B[ − E7 /G] − Am− Str Σ(cm), Seq(3×1m;R−7 )
313 ⊥ B7[9 /F ] − Am/E−
314 (M1’) B7 /D] − . . . − E − E7[9 /D− retrans, Vc, WW accts
..
319 . Am/C − B∅7 /D − Am/E − E− Hns
..
324 . B∅7 /D − . . . − E7 − G]∅7 /D− Vc
.. d
327 . Am/C − B7 − E7 − F −
..
329 . Dm − B∅7 −
330 ⊥ Em64 − E7 − Hns, cad
Recapitulation
334 M1 Am Am − Dm7 /F − C46 − G7 − Gr 1, a): Cl+Vi
..
338 . C − Am7 − Em64 − B7 − a)
..
342 . <(E − E7 − Am)− bb)
.. d
346 . Am/C − A7 /C] − Dm − E − c)
..
348 . <(F − E) − Am − D∅7 /F −
353 ⊥ Am/C − B∅7 /D − Am64 − E7 − Fl+Vi
355 M1’/2 Am/E − E7sus4 − E7[9 − Gr 2, 1’): LoStr, 2a): Cl+Bsn
359 ⊥ Am/E − E7[9 − E7[9 /G]− b)
363 M1’/2 Am − F/A − E◦ /G− M1): Va, M2’a): Vi, PB (&)
..
365 . Dm/F − C/E−
..
367 . (D7 − G − G7 )/D− c): Str
..
369 . E7 /D − Am/C − B◦ /D−
370 ⊥ Am/E−
371 M2’ (D7 − G − G7 )/D− c’): WW
373 ⊥ Am/C − B◦ /D − Am/E−

m M R H Comment
d
375 M2’ D7 − G/D − E7 − [K] c”): Str trem, PLi (%), PBi (&)
377 ⊥ F − F7 − B[/F − E7[9 /G]−
379 (M1’) Am − E7[9 /D − Am/C − E7[9 /D− clim, WW+Str imit
..
383 . A/C] − Am/C−
..
384 . B7 − B∅7 /F − E7 − E∅7 /B[− Seq(3×1m;R5 )
387 ⊥ A7 − A∅7 /E[ − D7 − G]◦7 −
390 Am − B∅7 /D − Am/E − E7 /D− tutti climax
392 Am/C − B∅7 /D − Am64 − E7 /D−
394 A7 /C] − Dm−
395 (Am − C]◦7 − D − D]◦ )/E− PLi (%), P D (e)
397 (E − F − F ]∅7 − Em − E7 )/E−
399 M3 Am − . . . − E7[9 /D− [L] a): Fl+Cl+VI1 S(2p)
..
403 . Am − . . . − E7[9 /D− a)
.. d
407 . Am − Am/E − E − b): Fl+Vi1, P T (a)
..
409 . F − B∅7 /D−
.. d
411 . Am − Am64 − E − b)
..
413 . F − B∅7 /D−
..
415 . <(Am − B∅7 /D)− b”): Str-WW imit, P T (a)
419 ⊥ Am − . . . − closing, Str unis
427 F ]m − . . . − [M] trans
431 Mu F ]m − . . . − D/F ]− Str unis, Seq(2×8m;R7 ),
..
435 . Gm Gm − . . . − E[/G− WW sust, PB (%)
..
441 . G]m/B − . . . − G]◦7 /B− WW sync bg
..
447 . D]◦7 /C − . . . − Str 16th, clim
..
459 . G]◦7 − E◦7 /B[− Str%&
..
461 . D]◦7 − tutti climax
..
463 . B◦ − B∅7 /A − G]◦7 − B∅7 /A−

m M R H Comment
465 (Mu) G]◦7 − Am − D]◦7 /A− [N] tutti, Str%
..
467 . Am/E − E − F ]◦7 /C− tutti climax
..
471 . G]◦7 − E◦7 /B[ − F ]◦7 − Str %&
..
477 . B∅7 /A − E7[9 /G]− PB (&)
..
479 . B7[9 /F ] − Am/E − B7[9 /D]− Σ(cm<)
481 ⊥ Am64 − E7 − cad
Assai animato Coda Pt 1
483 Am [O] tutti climax, P T (a)
485 Ms Dm (A[9
7 − . . . − Dm − B∅7 )/A− WW Σ(cm>)
..
489 . Am (G]◦7 − Am − G]◦7 )/A− Str-WW imit
495 ⊥ Am − . . . −
501 Mu’ Am − E− WW unis
503 ⊥ Am − . . . − [P] i
h i WW PL (&)
3
Andante come I. 4 , Coda Pt 2
513 Mi Am/E − Am − Em/G− a): Ob+Va, WW+Hn bg
..
515 . Dm/F − E7[9 − D−
..
517 . C − C7 − F∆7 − B∅7 /D− b): Fl+Ob+Va
519 ⊥ Am64 − E − Am cad
521 B∅7 /A − Am − E − Am (522 m.)

Table 8.13: Mendelssohn, Symphony No. 3 ‘Scottish’ Op. 56, Mvt. 2 Vivace non troppo
m M R H Comment
h i
2
Vivace non troppo 4 Exposition
1 F F − . . . − C − C7 − Str 16th staccato
9 M1 F − B[ − F − G7 /D − C7 − F aa’): Cl, Str bg
..
17 . F − B[ − F − G7 /D − C7 − F aa’)
..
25 . Dm − A[9
7 − b), Str 16ths [S̄ 6 ] &
29 ⊥ Dm − G7 /D − F46 − F − C7 − b), cad
33 M1 F − B[ − F − G7 /D − C7 − F [A] 2nd stat, aa’): Fl+Ob
..
41 . Dm − A[9
7 − b): WW, Str 16ths [S̄ 6 ] &
45 ⊥ Dm − G7 /D − F46 − F − C7 − b), cad
49 M1’ F − B[ − F − trans, aa): Hns+Vi1,
..
53 . G7 /D − C7 − F clim, LoStr I(M1)
..
57 . <(G7 /D − C7 ) − <(A7 /E − Dm) Seq(2×2m;R7 )
..
61 . G7 − C46 − G7 − a’): Cl+Bsn+Va+Vc, P D (g)
67 ⊥ G7 − . . . − [B] Str imit 16th&
72 M2 C C/E − F − C/G − E7 /G]− a): Vi1, StrΣ(cm>)
..
73 . Am − G/B − G7 −
..
74 . C − G/B − F ]◦7 /A − G
..
76 . C/E − F − C/G − E7 /G]− a)
..
77 . Am − G/B − G7 −
..
78 . C − C7 /B[ − F ]◦7 /A − D7[5 no 1 /A[−
..
79 . G−
..
80 . <(E∅7 /B[ − A7 )− a’)
..
84 ./c Dm − A7 − Dm − D∅7 /C − G7 − C− Mc: WW 16ths imit
.. ..
87 ./ . F − D7 /F ] − C46 − G7 −
.. ..
88 ./ . C − G7 /B − C7 /B[ − A7 − [C] Str&
.. ..
90 ./ . Dm − D∅7 /C − G7 −
91 ⊥/⊥ C − D7 /F ] − C46 − G7 /F − cad
92 (M1) C/E − C − F − trans, WW+Brs
97 C46 − <(G4 − G − C46 )− WW+Str, P D (g)
103 G7sus4 − G7 − C− cad

the true Recapitulation (m. 183 ff.). When the M2 theme is repeated (m. 193 ff.), this is
combined with the M1 theme a-phrase as was the case in the development. Therefore this
climax setting also suggests a secondary development, an effect supported by the local key
instability (Gm vs. F ).
A tutti climax (m. 214 ff.) leads to the closing section, under a long series of 16th note
patterns in the strings with occasional fragments from the M1 a-phrase in imitation. The
closing contains a surprise element: the rhythmic augmentation of the M1 theme, played
here by oboe and bassoon in parallel octaves (staccato dotted 8th-16th patterns). A set of
cadential measure groups (m. 242 ff.) ends on the tonic chord in the Coda, with a final
varied statement of the main theme a-phrase motif in 1st violins.
8.3.3 Mvt. 3 Adagio

Form: ABCA’B’C’ coda. The overall form is binary, with the second half a variation of the
first three ABC subsections.1 See Table 8.16 to 8.18 for the analysis.
The slow movement opens with another Mendelssohn long-winding melody. First vio-
lins pick up the lead in the brief introduction over an extended dominant harmony and carry
on into the main melody. This melody may be labeled as M = Mi+M1(abb’cc’) (9 + 8 + 2 +
2 + 3 + 4 m.). Mi consists of brief rhythmical fragments and large leaps. The main cantabile
melody M1 in the A1 section has a long opening a-phrase with stepwise motion, followed
by shorter repeated phrases; both the a- and c-phrase contain an apex pitch, with the highest
pitch and dynamic climax in the latter phrase.
The B1 section has a different, contrasting mood; the key changes to tonic minor, and
a dotted rhythm theme sets in for low woodwinds and midrange horns in a quasi-chorale
setting. The theme has period structure M2(aa’b) (4 + 4 + 6 m.), building up in instrumental
density to a tutti climax.
The dotted rhythm is used in transitory measures, as is the case in the opening two mea-
sures of section C1 . The opening theme M1 b- and c-phrases return, now in the dominant
major key and with a slightly modified instrumentation. The dotted rhythm from M2 then
is used in the closing and retransition section (m. 62 ff.).
The second half of the movement brings a set of variations, mirroring the first half and
supporting the sonata form hypothesis with its development character. In section A2 the
cantabile main melody M1 is now played by horn and celli, receiving two countersubjects
Mc and Mc’. There is a quasi-improvised commenting line in 1st violins, full of 16th note
arpeggios and leaps. Then there are high woodwinds (flute and oboe) with fragments in
stepwise motion, somewhat quoting from the c-phrase. Section B2 also has a few instrumen-
tation changes compared to B1 , but an identical structure and similar key sequence. This also
holds for subsection C3 (different instrumentation, more intermediate harmonies, different
background with 32th note rhythm). In the coda there are some isolated fragments from M1,
played by woodwinds and 1st violins.
8.3.4 Mvt. 4 Allegro vivacissimo. Allegro maestoso assai

Form: sonata form. See Table 8.19 to 8.25 for the analysis. The closing movement Exposition
sets in with a steady 4th note groove in bassoons, horns and violas. The first group theme M1
1
Although I have read somewhere that this movement is another sonata form, I could not identify the essen-
tial structural elements confirming that hypothesis. The detailed analysis supports a binary form categorisation.

(cont’d)
m M R H Comment
Development
105 M1’ F F − B[ − F a): Bsn+Va+Vc, P T (f )
109 ⊥ F − ...− a’), Str 16th imit%
113 M1’ D − D7 − Gm a): LoStr-(WW+Va) imit
..
117 . Dm A7 − Dm − C7 /G − F7 −
..
121 . B[ B[ − . . . − D7[9 − clim, Vi, P T (b[)
123 ⊥ Gm/B[ − E7[5 /B[−
124 M1 Dm <(A − Dm) − B[− [D] aa): Ob, WW bg
132 M1’ F E[ − Cm7 − C − F − D−
136 (M1) Gm Gm − . . . − C7 /B[ − . . . − Str imit, WW bg
144 ⊥ F F/A − F m − G7 − . . . − Str imit
152 M2 Fm (C − F m − C − D[)/C− [E] a): Vi1, Str, P D (c)
..
153 . / 1’ (C − F m − D[ − G7 )/C− M1a’): Cl, combi
.. ..
156 ./ . (C − F m − CD [)/C−
157 ⊥/⊥ C − F m/A[ − D[/F − G7 −
160 M2 C − C7 /B[− a’): Hn-WW imit
..
164 . / 1’ F F/A − D7 /A − Gm/B[− M2): WW imit,
168 ⊥/⊥ B◦7 − . . . − F/C− M1’): Str stretto imit, P (c)
172 B◦7 − . . . − B[7 −
176 M1 E[ (E[ − A[ − E[)/E[− False Rec, a): Fl, WW
Recapitulation
183 M1 F (F − G7 − C7 − F )/C− a): Ob+Vi, P D (c)
187 ⊥ (G7 − C7 − F )/C−
189 G7 /D − . . . − C/E − . . . − cad
193 M1’/2’ F − B[ − F − C7 /B[− [F] tutti clim,
.. ..
194 ./ . F/A − C7 /B[− M1): Bsn+LoStr,
.. ..
195 ./ . F/A − F m − C7 /B[− M2’): WW+HiStr
.. ..
197 ./ . F − B[ − F − C7 /B[− repeat
.. ..
198 ./ . F/A − C
.. ..
199 ./ . F/A − F m − C7 /B[−
.. ..
201 ./ . <(A◦ − D7 )− M2): Vi1
.. ..
205 ./ . Gm Gm − D7 − Gm − G∅7 /F −
.. ..
207 ./ . F C7 − F

(cont’d)
m M R H Comment
208 (M1’/2’) B[∆7 − G7 /B − F46 − C7 − cad, Σ(cm>)
.. ..
209 ./ . F − C/E − A∅7 /E[ − D7 −
.. ..
211 ./ . Gm Gm − G∅7 /F − C7 −
212 ⊥/ ⊥ F − G7 /B − F46 − C7 − cad
213 (M1) F F/A − . . . − B[ − . . . − tutti climax, P (c−f )
218 F46 − . . . − PB (%)
220 (M1) C − F − Gm7 − C7 − F cad
222 F/A − . . . − B[ − . . . −
226 (M1) A − ...− [G] closing, Vi 16ths, P D (a)
d
231 M1’ Dm Dm − A − Gm7 /B[− a): Ob+Bsn augm
..
233 . F F46 − C7 − F
..
235 . Dm − A − Gm7 /B[− a): Fl+Ob+Bsn
..
237 . F46 − C7 /B[−
238 ⊥ <(F/A − Gm7 /B[ − F46 − C7 /B[) WW arp&
242 (M1’) <(F − B[ − F/A − C7 /G)− a’): WW+Vi imit, PB (&)
..
250 . <(F − B[ − F/A − C7 /G)− a’): WW+Vi stretto imit
254 ⊥ <(F − C7 /G)− cad
Coda
256 F [H], P (f − a)
257 (M1’) F − ...− a’): Vi1 16ths
..
261 . F − <(F − C no 3 ) Hn 5ths, P D (c)
264 ⊥ F − ...− Str imit arp&
267 F − ...− (273 m.)

Table 8.16: Mendelssohn, Symphony No. 3 ‘Scottish’ Op. 56, Mvt. 3 Adagio
m M R H Comment
h i
2
Adagio 4 (]]])
1 Mi A <(Dm/F − E7 )− Intro, Vi1, P D (e),
5 ⊥ E7 − E7[9 − D]◦ − E7 /B− Str 16th arp%&
10 M1 A − G]◦7 − A − E7 − A [A] A1 , a): Vi1
..
14 . Bm/D − C]∅7 − F ]7 −
..
16 . Bm − Bm7 /D − A/E − E−
..
18 . Bm/D − A/C] − E7 /G] − A b)
..
20 . Bm/D − A/C] − D − A7 /E − D/F ]− b’)
..
22 . D]◦7 /F ] − B7[9 /F ] − E7 − E7 /G]− c): Ob+Vi1
..
24 . A − E − D]◦7 /F ] − B7[9 /D]− c’): Fl+Ob+Vi1, clim
..
26 . E7 − E7 /G] − A − F ]7 /A] − Bm−
28 ⊥ A64 − E7 − cad
29 <(A − D/A − Bm7 /A − E7 ) − A trans, Str
34 M2 Am Am − Em/G − Dm/F − [B] B1 , a): Cl+Bsn+Hns
..
36 . Am − F − C46 − G− cad
..
38 . C C − G/B − Am7 − F ]◦7 /A − G− a’): WW+Str
..
40 . C − Am/C − G/B − F ]∅7 /A−
.. d
41 . Em64 − B − cad
..
42 . Em Am/C − G − Am − F ]∅7 /A − B− b): tutti clim, PB (%)
..
44 . C∆7 − Em/C − C]◦7 − PBi (%)
46 ⊥ G/D − G+ /D] − Em−
48 (M2) A]◦7 − F ]7 /A]− [C] C1
51 M1 E B79 /A − E/G] − B7 /D] − E− b): Fl+Vi1,
..
53 . B79 /A − E/G] − A − E7 /B − A/C]− b’), Str bg 16th arp%&
..
55 . A]◦7 /C] − F ]7 − B7 − c): WW+Vi1
..
57 . E − G]7 /B] − C]m − F ]7 /A]−
..
58 . E46 − B−
..
59 . E − G]7 /B] − C]m − F ]7 /A]−
60 ⊥ E46 − B− cad, WW 16th arp%&

Table 8.17: Mendelssohn, Symphony No. 3 ‘Scottish’ Op. 56, Mvt. 3 Adagio (cont’d)
m M R H Comment
d
62 Mi’ E − Dm/F − E7 − Dm/F − clos, Vi1, Str 16th tripl
..
66 . G7 /F − C/E − A7 /G − Dm/F − Seq(2×1m;R7 )
68 ⊥ C]◦7 − A[9
7 /C]−
69 M2’ Dm (Dm − B[∆7 − B∅7 )/D− [D] trans, a’): Ob+Vi,
..
70 . F/C − F/A− tutti clim
..
71 . (Dm − B[∆7 − B∅7 )/D− repeat
72 ⊥ F/C − F/A−
73 (Dm − B[ − B∅7 )/D− LoWW, Str bg
76 Mi’ B7 /D] − E − E7 /B− Hn+Vc
78 M1/c A (A − G]◦7 )/A− A2 , a): Hn+Vc,
..
80 . A − E/G] − A − E7 − A Mc: Vi1, Mc’: HiWW
..
82 . Bm/D − C]∅7 − F ]7 −
..
84 . Bm − F ]7 /C] − Bm/D − Bm7 /D−
..
85 . Am64 − E− cad
..
86 . E7 /D − A/C] − D − E − A− b)
..
88 . E7 /D − A/C] − D − A7 /E − D/F ] b’)
..
90 . F ]◦7 − B7 − E7 − c)
..
92 . A − F ]7 /A] − Bm − Bm/D−
93 ⊥ A64 − E7 − cad
94 A − D/F ] − Bm − E7 − trans, Str
96 A − D/F ] − B∅7 − E7 − A
99 M2 Dm Dm/A − Gm/B[ − A− [E] B2 , a): LoWW+Brs
..
101 . Dm − B[/D − F − C− plagal cad
..
103 . F F − F m − C/E − Cm/E[− a’): Hns+WW+Str
..
104 . Dm − G7 − C−
..
105 . F − Dm/F − Am − E− cad
.. d
107 . Am Dm/F − C − B[/D − E − b): tutti clim, PB (%)
..
109 . F∆7 − D7 /F ]− PBi (%)
111 ⊥ C/G − C + /G] − Am

Table 8.18: Mendelssohn, Symphony No. 3 ‘Scottish’ Op. 56, Mvt. 3 Adagio (cont’d)
m M R H Comment
113 (M2) D]◦7 − . . . − [F] C2
117 M1 A G]∅7 /D − A/C] − E7 /G] − A− b): Fl+Vi1+Vc, Str 32ths
..
119 . G]∅7 /D − A/C] − F ]m− b’)
..
120 . Bm7 /D − A7 /E − D/F ]−
..
121 . D]◦7 /F ] − B7 − c): Fl+Ob+Vi1+Vc
..
122 . E7 /D − A/C] − D/F ]−
..
123 . A64 − E7 − A − A∆7 /G]−
..
125 . F ]∅7 − B7[9 − E7 − [G] c’)
..
127 . A − F ]7 /A] − Bm − F ]7 /E−
..
128 . Bm/D − G]7 /B] − C]m − G]7 /F ]− Seq(2×1m;R7 )
..
129 . C]m/E − A7 /C] − D − Bm−
..
130 . A64 − E7 −
..
131 . A − F ]7 /A] − Bm − F ]7 /E− Seq(2×1m;R7 )
..
132 . Bm/D − G]7 /B] − C]m − G]7 /F ]−
..
133 . C]m/E − A7 /C] − D − Bm−
134 ⊥ A64 − E7 − cad
136 A − D/A − Bm7 /A − E7 − [H] Coda, Fl+Str, P T (a)
138 A − D/A − B∅7 /A − E7 − Vi1
142 M1’ A − ...− a’) Cl+Bsn
146 ⊥ D]◦7 /F ] − E7 − Ob+Cl+Vi1
148 A WW+Str arp& (150 m.)

is a two-part setting for violins S(2p) in parallel consonants. The melody has M1.1(aa’bbcc’)
(4 + 4 + 2 + 2 + 4 + 4 m.) structure. The second statement is shorter, juxtaposes woodwinds
(a-phrase) and strings (b’-phrase) and with an extended dominant pedal point acts also as a
transition. The second theme from the first group M1.2 is set as a tutti climax (m. 37 ff.), with
inner voice contrary motion (moving from strings to woodwinds) and played three times.
The last statement is a modified version, with imitation in the lower strings. The transition
to the second group is a tutti setting with unisono woodwinds and brass, over string section
8th note triplets in a series of descending diatonic parallel first inversion chords ([S̄ 6 ] &).
The second group theme M2 for oboe and clarinets has M2(aa’a”) (2 + 2 + 4 m.) structure.
It is repeated over a 8th note triplet pedal point in 1st violins (later as sustained note in flute).
It is interrupted by a climax (m. 82 ff.) with a varied quote from theme M1.2’, that hinges on
a key ambiguity Em − C. The third statement of M2 seems to confirm the dominant minor
key Em, but the M1.2’ quote returns, acting as a transition to the development.
The Development (m. 109 ff.) now establishes the lowered mediant degree major key
[III = C, processing the a-phrase from M1.1 in a set of imitative statements between violins
and high woodwinds. The 4th note groove in the accompaniment is back, and amplified by
staccato arpeggios in woodwinds and strings (these orchestral sections are swapping roles).
A tutti climax (m. 133 ff.) introduces the chromatically ascending theme Ma in lower wood-
winds and strings and leads to a false recapitulation. This turns into a kind of secondary
development. Something remarkable happens when stating the c-phrase (m. 165 ff.): this is
slightly modified rhythmically and suddenly becomes the opening motif from M1.2. Which
probably implies that M1.2 was designed as a modified variant of M1.1c (with the descend-
ing perfect 5th leap from the main theme altered into a diminished 5th, compare m. 17 and
37). The ‘real’ M1.2 then becomes the focus element in the development (m. 182 ff.) and
receives a counterpoint treatment. Also note the contrary motion in the inner voices. As
more instruments enter in (stretto) imitation, the section builds up to a climax, with the sec-
ondary theme M2 suddenly appearing disguised in the rhythm of M1.2 (m. 226 ff.), giving it
a fanfare character.
After a brief retransition the Recapitulation presents a varied version of the main theme
M1.1. The countersubject ascending arpeggios, in imitation between high woodwinds and
strings that were used at the start of the development section, are back. The second group
theme M2 is stated in the tonic minor key (m. 270 ff.), but instead of a third statement (as
was the case in the exposition), there now follows a third development section (m. 290 ff.).
In the subdominant key axis SD, on the lowered submediant degree major key [VI = F
(compare this with the opening of the development section in [III = C major) the main
theme M1.1 a-phrase is restated in string-woodwind imitation, with the ascending 4th note
arpeggio patterns now as a continuous flow in the lower strings. The treatment is analogous
to the development section: there is the climax, further development of M1.1 (m.304 ff.),
the occurrence of the chromatically ascending theme Ma (but now played twice, transferred
from the lower voices to the upper parts), and the extended tutti climax (m. 331 ff.). A
reference to M1.2 in the violins (m. 346 ff.) turns out to be the transition to the closing
section, where M2 is stated for the last time by oboe and bassoon, over a pedal tonic minor
chord Am.
The meastoso Coda is in the parallel major key A. It has four statements of the coda
theme Mc, with Mc(abb’) (4+4+4 m.) structure. Each statement brings in more instruments:
in the lead there are clarinets, bassoons horns and violas, then adding oboes and 2nd violins,
culminating in a tutti. The accompaniment changes from steady 16th note arpeggios in celli

Table 8.19: Mendelssohn, Symphony No. 3 ‘Scottish’ Op. 56, Mvt. 4 Allegro vivacissimo.
Allegro maestoso assai
m M R H Comment
h i
2
Allegro vivacissimo 2 Exposition
1 Am Am Gr 1, 4th rh groove, P D (e)
3 M1.1 Am − . . . − E7 − Am − E7 − a): Vi S(2p)
..
7 . Am − . . . − E − D]◦7 /A − E−
..
11 . E7 − . . . − bb)
..
15 . Am − Am7 /G − Dm/F − c), Σ(cm<)
..
16 . Am/E − E7[9 −
.. d
17 . Am/C − Am/E − E7 −
..
19 . F − Am7 /E − Dm − Am/C − E7 /B− c’)
..
21 . Am − Em/G − Dm/F − Amno 3 /E−
22 ⊥ Dm7 − E7 −
23 M1.1 Am − . . . − 2nd st, a): WW+Hns, P D (e)
..
25 . E7[9 − b’) Str 8th triplets
..
27 . Am − . . . − a): WW+Hns
..
29 . (E7[9 − Am − E7 − Am)/E− b’): Str, WW accts, P D (e)
33 ⊥ (B∅7 − E7 − E 4 − E)/E− PL (%)
37 M1.2 Am − D]◦7 /A − E − Am/E− [A] tutti clim
40 ⊥ Am/E − B∅7 − E7 − Str Σ(cm), cad
42 M1.2 Am − B7[9 − E − Am/E− 2nd st, WW lead
44 ⊥ E7[9 − AmE − B∅7 − E7 − WW Σ(cm), cad
47 M1.2’ A[9
7 − Dm− WW+Str
..
49 . B∅7 − C − Cm+7 /G−
51 ⊥ F ]◦7 − . . . − LoStr
54 G/B − F/A − Em/G− [B] tr, WW+Brs unis,
55 Dm/F −→ Dm/F − Str diat par [S̄ 6 ] &
57 C/E − A◦ /E[ − D7[9 /C− Str triplets
58 G/B − F/A−
59 Dm/F −→ Dm/F − diat par [S̄ 6 ] &, Σ(cm<)
61 C/E − A◦ /E[ − D7[9 /C−
62 <(G/B − F ]◦7 /C) − G clim

Table 8.20: Mendelssohn, Symphony No. 3 ‘Scottish’, Mvt. 4 Allegro vivacissimo. Allegro
maestoso assai (cont’d)
m M R H Comment
67 M2 Em <(Em − B7 )/B− Gr 2 aa’): Ob+Cl, P D (b)
71 ⊥ Em − B7 − a”)
75 M2 <(Em − B7 )/B− 2nd st, aa’): Ob+Cl, P D (b)
79 ⊥ Em − B7 − a”)
d
82 M1.2’ Em/G − G7 − [C] Tpt+Vi1 lead,
84 ⊥ C (Am7 − Dm7 )/G − C46 − G− Pm (%), P D (g)
d
86 M1.2’ Em/G − G7 − repeat
88 ⊥ (Am7 − Dm7 )/G − C46 − F ]◦7 −
90 G Va P D (b)
91 M2 Em <(Em − B7 )/B − Em − B7 − 3rd st, aa’a”): Ob+Cl,
d
98 M1.2’ Em/G − G7 − trans, Tpt+Vi1 lead
101 ⊥ C (Am7 − Dm7 )/G − C46 − G− Pm (%), P D (g)
103 M1.2’ Em/G − C]◦7 /E− repeat
104 ⊥ Dm/F − C]◦7 /E−
105 Dm/F − D]◦7 /F ] − C/G − C7 /B[− WW+Str, Seq(4×1m;R7 )
107 F/A − F ]◦7 /C − G/B − G7 /F −
Development
109 M1.1’ C C/E − E∅7 − [D] a): Vi, WW arp%
..
111 . A[9
7 − a): WW imit, Vi arp%
113 ⊥ F ]◦7 − G7 /F − a): Str
117 M1.1’ C/E − C7 /B[− a): Vi, LoStr arp%
..
119 . A[9
7 − a): WW imit
..
121 . F ]◦7 − <(C/G − F ]◦7 )− a): Vi, PBi (&)
..
125 . G7 /F − C/E − . . . − tutti climax
..
130 . C/E − Dm − G − C/E − C7 /B[−
133 ⊥ F ]◦7 /A − . . . − F ]◦7 − . . . − trans, tutti clim, Vi arp%
138 F ]◦7 − G − F ]◦7 −
139 Ma F ]◦7 − Cm/G − A[ − A◦ − LoWW+LoStr PBi (%)
..
141 . E[/B[ − E[+ /B − Cm − A[5
7 /C]−
..
143 . Gm/C − C]◦7 /E − Dm7 /F − D7[9 /F ]−
145 ⊥ G4 − G− cad

m M R H Comment
147 C − C + /E− [E] False Rec, P D (e)
149 M1.1’ Am Am − . . . − Am7no 3 /G− a): Fl S(2p), Seq(2×8m;R−5 )
153 ⊥ F ]◦7 − B7 − Vi S(2p)
157 M1.1’ Em Em − . . . − A∅7 /B[− 2nd Dev, a): Cl
.. d
161 . A[9
7 − ... − bb): Vi
..
165 . Gm/B[ − E∅7 /G− c): Vi lead,
..
165 . Dm/F − C]◦7 /E− Str Σ(cm<)
d
167 (M1.2) Dm Dm − A −
..
169 . Gm/B[ − E∅7 //G− c): Vi1+Ob
..
169 . Dm/F − C]◦7 /E−
171 (M1.2) Dm − E∅7 /G − . . .
176 ⊥ A[9
7 /C] − . . . − c’): Fl-Ob imit
182 M1.2 Dm − E7 − A − Dm/A− [F] Vi1 lead, Str Σ(cm)
..
184 . (A[9 [9
7 − Dm − E∅7 − A7 )/A− P D (a)
.. [5/[9
187 . Dm − B7 /F − E − Am/E− Vi2 lead, ctp
..
189 . E7[9 − Am/E−
..
191 . B∅7 − E7[9 − A7 /C]−
..
193 . D − G]◦7 − A[9
7 − Dm Va lead, WW PLi (&)
..
195 . C]◦7 − A[9 [9
7 − Dm − E∅7 − A7 −
..
198 . F ]◦7 /C − G − C]◦7 − Vc+DB lead
..
200 . Gm D − Gm − D7 /F ] − Gm− Hns P D (d)
202 ⊥ A∅7 − D7[9 /C−
204 M1.2 C G[9
7 − C/E − C7 − F Str-WW stretto imit
..
206 . F C7 − F − F7 /E[− Seq(3×2m;R7 ), Hns P D (c)
208 ⊥ D7[9 − G/B − E7[9 −

m M R H Comment
[5/[9
211 M1.2 Am Am/C − F ]7 /C − B − Em/B− [G] Str+WW imit ctp
..
213 . B7 − E7[9 − Am/E−
..
215 . E7[9 − A[9
7 − Dm/A−
..
217 . A[9
7 /C] − Dm − A7 //E− Hns P D (a)
..
219 . Dm/F − A[9
7 /C] − Dm − A7 /E−
..
221 . Dm/F − A[9 7 /C] − Dm − Am7 /C− build to climax
223 ⊥ B7 − . . . − E−
226 M2’ <(Am − E7 )/E− aa’): tutti clim, P D (e),
..
230 . (Am − E7 − Am7 )/E− a”) M2’=M1.2 rh
234 ⊥ C7 /E − F − A7 /C]−
237 Dm − F/C − B∅7 − G]◦7 − E7no 3 − [H] retrans
Recapitulation
245 M1.1’ Am − . . . − Gr 1, a’): Vi S(2p), P D (e)
..
247 . Am − E7 − Am − E7 − WW-LoStr imit arp%
..
249 . Am − . . . − a’): WW, Str arp imit
..
251 . Am − E − D]◦7 − E−
.. d
253 . E7[9 − . . . − bb): Str-WW imit
..
257 . F − Dm − Am/C − G]◦7 /B− [I] c): Vi1, Str Σ(cm<),
.. d
259 . Am − E − Hns P D (a)
..
261 . F/A − Dm/F − Am/E − G]◦7 /D− c’): Fl+Vi1
..
263 . Am/C − Dm7 − B[∆7 /D− Seq(2×2m;R7 )
..
265 . Dm − A/C] − A7 −
267 ⊥ Dm C]◦7 − Dm/F − tr, Vi 8th scal run
270 M2 Am (E − Am − E7 − Am)/E [K] Gr 2, aa’): HiWW
275 ⊥ (Am − E7 − Am)/E a”)
279 M2 Am − <(F ]∅7 /E − E7 /G])− 2nd st, aa’): HiWW, Va P D (e)
..
283 . (Am − E7 )/E − Am a”)
287 ⊥ E7no 3 − Am7 /E − C7 /E− cad

m M R H Comment
290 M1.1 F F/C− 3rd Dev, a): Vi S(2p), P D (c)
..
292 . Am/E− a): WW, Str arp%
..
294 . D]◦7 − a): Str, WW arp%
d
296 ⊥ Am/E − E7 − climax
298 M1.1 F− a): Ob+Cl, Str arp%
..
300 . D7 /F ]− a): Vi, LoStr arp%
302 ⊥ G − E7 /G]− a): Ob+Cl
304 M1.1 Am Am − . . . − [L] clos, a’): HiStr
..
307 . Am/C − B◦7 − E− cad
..
308 . Am/C− a): HiStr, LoStr arp&
310 ⊥ D]◦7 /F ] − . . . − D]◦7 − trans, tutti clim, Vi arp%
315 B7[9 /D] − E − D]◦7 −
317 Ma D]◦7 − Am/E − F − F ]◦ − LoWW+LoStr PBi (%)
..
319 . C/G − C + /G] − Am − F ][5
7 /A]−
..
321 . Em/B − C7 − C]◦7 − D−
323 ⊥ D]◦7 − E − E7 /D − Am/C
325 Ma Am/C − F∆7 /E − <(D7 − G/D)− HiWW+HiStr PLi (%)
..
328 . <(G]◦ − Am/C)−
330 ⊥ G]◦ /Am−
331 <(B7[5 no 1 /F − Am/E− tutti, Σ(cm)
D]◦7 − Am/E)−
335 B7[5 no 1 /F − Am/E−
336 F7 /E[ − B[/D− N6
337 Am64 − E− cad
338 Am− [M] tutti clim,
[5/[9
339 <(B7 no 1 /D] − Am/E− Str Σ(cm), WW+Brs accts
G]◦ − Am/E)−
343 F7 /E[ − B[/D− N6
346 (M1.2) B[/D − . . . − Am/E − . . . − E Vi lead, Brs P D (e)
..
350 . C]◦7 /E − E7sus4 −
354 ⊥ E7[9 − . . . − closing, Vi P D (e)

(repeated in 1st violins, violas and celli), then 8th note tremoli in strings. The 3rd theme
statement is a variation, adding the c- and d-phrase. There is a bridge section with a theme
Mb, stated twice in fortissimo horns, violas and celli.

The key relationship diagram for the Mendelssohn Symphony No. 3 is shown in Fig. 8.6.
Remember that Mvts. 1, 2 and 4 all have sonata form. The opening movement introduction
alternates between tonic minor and lower submediant degree major key Am ↔ F (1). The
exposition has first and second group themes in tonic and dominant minor keys, respec-
tively. The development section moves to a sequence of minor keys Cm − Gm − Dm (2-4),
until arriving at the dominant major key E (5). The recapitulation moves into the subdomi-
nant area Gm − Dm (6), before closing on the tonic minor key.
Mvt. 1 Andante con moto -

Allegro un poco agitato
G D A 5
E B

Gm - Dm - Am - Em Bm Mvt. 2 Vivace non troppo
6 *

3,4,6,7 8
B[ F1 C G D Cm Gm Dm Am
YH
H *

2

3,4 5 2
H Hj 6
? 1
B[m Fm Cm - Gm - Dm E[ B[ F -C
Mvt. 4 Allegro vivacissimo -

Allegro maestoso assai
Mvt. 3 Adagio G D A9 E
2 4 6 1,3
D A E Gm
t
Dm - Em
Am
7 ?

*
* 6 *

3 ?
6 6
2 G
Dm Am Em B[ F CH
*
6,8 Y
HH
H 5
? ?1 *

F 4 C G B[m Fm Cm tGm
Figure 8.6: Mendelssohn, Symphony No. 3 ‘Scottish’, key relationship diagram
Movement 2 has an exposition section with the usual tonic-dominant major key move
F − C (1). The development starts on the tonic key, passes by the relative minor key Dm,
with an excursion to the subdominant major key B[ (2). Then there are various back-and-
forth movements between F and Gm (3,4), interrupted by the false recapitulation ‘joke’ in
the key of E[ major (5). Then, in the recapitulation again there is the F ↔ Gm pattern (6,7)
and near the end we find alternating keys F ↔ Dm (8).
The slow movement has binary structure, reflected in the key scheme. A sections are in
the tonic major key A. The B sections have a similar key modulation pattern, with Am − C −
Em (1) in B1 , mirrored as Dm − F − Am in B2 (3). The first C section is in the dominant
major key E (2), the closing is in A (4).
The finale starts in tonic minor Am and closes with a coda in parallel major A (9). The
exposition has the first group in tonic minor key Am and the second group in dominant

m M R H Comment
361 M2 Am − . . . − aa’a”): Cl, Str P (a−e)
370 M2 Am − . . . − aa’a”): Bsn
..
379 . (C]◦7 − . . . −)/A
383 ⊥ <(Dm − F ]◦ − Em − E − Am)/A−
391 F − B∅7 /D − E− Str&, cad
h i
6
Allegro maestoso assai 8 (]]]) Coda
396 Mc A A − D − A − A/E − E − E7 /D− a): LoWW+Hns+Va
..
400 . A/C] − Bm7 /D− b), Vc: 16th arp, PB (%)
..
402 . E7 − Bm/F ] − D∆7 −
..
404 . A/C] − B7 /D]− b’)
406 ⊥ E − B7 − E− cad
408 Mc A − D − A − A/E − E − E7 /D− 2nd st, a): WW+Hns+Vi2
..
412 . A/C] − Bm7 /D− b), Vi1+Va+Vc: 16th arp
..
414 . E7 − G]∅7 /F ] − D∆7 − PB (%)
..
416 . A/C] − B7 /D]− b’)
418 ⊥ E − B7 /F ] − E/G]− cad
420 Mc A − D − A − A/E − E − E7 /D− 3rd st, a): tutti climax
..
424 . A/C] − Bm7 /D− b), Str 8ths trem
..
426 . E7 − Bm/F ] − D∆7 −
..
428 . A/C] − Bm7 /D− b’), PB (%)
..
430 . A7 /E − D/F ]− c)
..
432 . D]◦7 /F ] − Em/G−
..
434 . E7 − E7 /D − A/C] − D− d)
..
436 . A64 − E− cad
..
438 . E7 − E7 /D − A/C] − D− d’)
..
440 . A64 − F ]7 /E − Bm − F ]7 −
442 ⊥ Bm − B7 − E7 − cad

m M R H Comment
444 Mb A − . . . − E79 /B − B]◦7 − Bridge, aa): Hns+Va+Vc
448 ⊥ A/C] − D − A64 − E− b), tutti accts, cad
452 Mb A − . . . − E79 /B − B]◦7 − 2nd st, aa): WW+Hns+Str
..
456 . A/C] − D − A64 − E− b), tutti
460 ⊥ D]◦7 /F ] − B7 − A64 − E− b), cad
464 Mc A − D/A − A− 4th st, a): tutti climax,
..
466 . F ]m7 − D]◦7 − E7 − Str 8ths trem
..
468 . A − D/A − A a), repeat
..
470 . F ]m7 − A64 − E7 − cad
..
472 . A − E/G] − F ]m7 − Σ(cm<)
..
473 . <(D]◦7 − E)− climax cont’d
..
476 . D]◦7 − G]◦7 /D − A/C] − Am/C− Σ(cm<)
478 ⊥ Bm7 − E7 − cad
480 A − ...− Str 8ths, P T (a)
484 A/E − A (490 m.)

minor key Em (1), but using the ambiguity of the major third root relationship Em ↔ C (2).
The latter also is the starting key of the modulating episodes. These move through a cycle
of minor keys C − Am − Em − Dm − Gm − C (3-5). The V m − [III = Em − C pattern is
mirrored as the Im − [V I = Am − F keyset at the end of the development section and in the
recapitulation (6,8). The recapitulation moves traditionally into the subdominant domain
Dm − F (7).
8.4 Symphony No. 4 in A Major ‘Italian’ Op. 90 (1833)

h i
6
Mvt. 1 Allegro vivace: sonata form (A, 8 , 588 m.)
Exposition (210 m.)
Coda (76 m.)

h i
4
Mvt. 2 Andante con moto: ABAB form (Dm, 4 , 103 m.)
A B A’ B’ Coda
h i
3
Mvt. 3 Con moto moderato: ABAB form (A, 4 , 223 m.)
A B A’ B’
h i
2
Mvt. 4 Saltarello presto: sonata form (Am, 2 , 264 m.)
Exposition Development FRec. Rec+2nd Dev.
Coda
Figure 8.7: Mendelssohn, Symphony No. 4 in A Major ‘Italian’ Op. 90

Form: sonata h form.
i See Table 8.26 to 8.29 for the analysis.
6
The fast 8 meter, with the staccato 8th note accompaniment in the woodwinds supports
the Mediterranean flavour, suggested in the title. The Exposition main theme M1 has a
dance character. In the contrasting second group there is subtle play with major and minor in
the first, more or less transitory, theme. The second theme M2.2 is the more prominent. The
Development modulates through many minor key, using a new theme (M3), that is treated
in counterpoint setting and sequences. After a brief false recapitulation, there is a secondary

8.4. SYMPHONY NO. 4 IN A MAJOR ‘ITALIAN’ OP. 90
development. The theme M3 is returns here in tutti climaxes with block chords. And, most
particular, in the Recapitulation it returns once more, in a third development section that
leads to a climax, when M3 is combined with the main theme M1. The melodic richness of
this movement is expressed with yet another new theme M4 in the Coda (although it has
some rhythmical simularity to M2.2). Finally, all themes are restated once more in the tutti
climax closing.

Form: ABA’B’ Coda. This movement is known under its nickname ‘The Pilgrims’ March’. See
Table 8.30 and 8.31 for the analysis.
An unisono opening motif M0 returns in the transitions and coda. The A section solemn
main melody M1 is supported by a steady 8th note ‘walking bass’ (procession bass?). The
first statement is played by oboe in the upper, and bassoon and viola in the lower octave. At
each second statement of this theme there is a countermelody Mc, played by flutes and later
violins. The contrasting B sections introduce a lighter theme; the setting is more chromatic,
in a counterpoint style, and we first hear the horns. At the end of the Coda the procession
fades into the distance.
8.4.3 Mvt. 3 Con moto moderato

Form: ABAB’. See Table 8.32 to 8.34 for the analysis. The three A section themes are similar
(M1.1, M1.2 and M1.3); they all start with an upbeat 8th note pattern, have the same melodic
shape, and nearly identical phrase structure (abc). This a-phrase, the 8th note wavy pattern,
returns in a varied form in the transitions. The B section subject M2 has the classical combi-
nation of two bassoons and two horns. The signal motif Ms, played in imitation by brass and
string section, is the opening motto from the B section theme. The coda, B’ section, presents
the signal motif in tutti imitation, and a hint of the M1.a phrase in melodic inversion; this all
at soft dynamics.
8.4.4 Mvt. 4 Saltarello presto

Form: sonata form. The presto, up-tempo last movement carries the title saltarello, an ancient
Italian dance.2 See Table 8.35 to 8.38 for the analysis.
The Exposition motif Mt0 is the saltarello rhythm (groups of triplet rhythm 8th notes);
this is used in transitions and frequently as unisono pedal background (strings on the low-
est string, which yield a forceful sound).3 Most of the thematic material is also based on
triplets (M1, M2.1, and M3). Cross-rhythms are very explicit in the closing of the exposition
when the 8th note theme M2.3 is combined with the saltarello pedal Mt0 . The Development
introduces a new theme with a triplet scalar character: M3, which is first repeated, then used
2
There is a well-known saltarello that has survived in Medieval manuscripts. Played on a piercingly loud
shawm, and accompanied by busy drum rhythms, this will make your feet dance, even in times of the plague.
However, that saltarello does not have a triplet subdivision. Paul Hindemith has re-used it in one of his compo-
sitions.
3
The opening triplet patterns create a bridge between the two outer movements of this symphony. With
respect to perfect articulation in triple tonguing technique, these are quite a challenge for the woodwind section.
In the final movement, triplet groups occur frequently parallel in woodwinds and strings, increasing the timing
difficulty.

Table 8.26: Mendelssohn, Symphony No. 4 ‘Italian’ Op. 90, Mvt. 1 Allegro vivace
m M R H Comment
1 M1 A A/E − . . . − Exp, Gr 1 (a): Vi, WW bg
..
4 . || : A/E − E7 − A − D/A − E7 −
..
10 . A − A∆7 /G] − D/F ] − A/E− (b)
..
12 . Bm7 /D − D/F ] − A/E−
..
14 . B7 /D] − . . . − min-maj
.. d
17 . E7 − C][9 7 /E] − Bm/F ] − E7 /G]− (c)
19 ⊥ A − Bm7 − A64 − E7 − A cad
24 (M1) A − . . . − F ]m − . . . − C]m− trans (a): WW+Hns
..
32 . E7 − . . . − A − . . . −
41 ⊥ B7 − . . . − E7 − . . . − cresc, Σ(cm<)
51 M1’ A − . . . − E7 /G] − E7 − (a) 2nd stat, tutti clim
..
55 . A − D/F ] − E7 − A − A∆7 /G]
.. d
59 . B7 /F ] − E7 − F ]m − E − A− (b’)
d
63 ⊥ B7 /F ] − E7 − F ]m − E7 − (c’)
66 A − F ]m/A − Bm − D− trans T to D
74 B7 − . . . − E − . . . − C]m−
82 (M1) F ]7 /A] − . . . − (a) tutti clim
86 ⊥ B − ...− [A]
90 E B7 − F ]m7 − B7 − E
94 M2.1 Em B7 − F ]m7 − B7 − Em Gr 2 Cl+Bsn, maj-min
98 <(Em − B) − E/G]− Str
104 E A − G]7 − C]m − B7 − E − E/D]− Σ(cm<)
[5/[9
107 C]m − F ]7 /C − E46 − B7 − cad
110 M2.2 E − B7 − E− (a) 1st stat: Cl+Bsn
..
115 . F ]7 /C] − B/D] − G]7 /F ]− (b)
119 ⊥ C]m7 /E − B46 − F ]7 − (c), cad
124 M2.2 E − A − B7 − E (a) 2nd stat: Fl+Ob
..
128 . E − F ]7 /C] − B/D]− (b)
132 ⊥ B7 /A − . . . − (c’): Cl+Vi, P (a)
140 M2.2’ E/G] − A − C] − F ]m− (a) 3rd stat: WW+Str
144 ⊥ E/G] − F ]m/A − E46 − B7 − E Str Σ(cm>), cad
148 M2.2’ E/G] − A − C] − F ]m− (a): Str, repeat 8ba
151 ⊥ <(B7[9 /F ] − E/G] − F ]m/A)−
159 (M1) C]m C]m/G] − G] − C]m − G]7 − trans, (a): Cl

Table 8.27: Mendelssohn, Symphony No. 4 ‘Italian’ Op. 90, Mvt. 1 Allegro vivace (cont’d)
m M R H Comment
167 M1 E E/B − B7 /A− final stat, (a): Vi
..
171 . A E7 /G] − A − F ]m/A− [B] (a): tutti climax
..
175 . B7 /A − C][9
7 /G] − F ]m − B7 −
..
177 . E7 /G] − A − F ]m/A− (a): tutti repeat
181 ⊥ B7 /A − C]7[9 /G] − F ]m − B7 − E− (a’)
187 (M2.2) E 1) <(E − A/E − E − B − E)− tr, (c): Cl+Bsn
7
..
194 . <(B7 − E)−
..
200 . E − F ][9 [9
7 − B − E7 − Str
204 ⊥ A − F ]m − D − Bm − E7 − A : ||
210 M2.1 Am 2) <(E7 − Am) Dev, tr: Cl+Bsn
..
218 . Dm <(Dm − A)− Ob+Bsn
222 ⊥ Dm − . . . −
225 M3 Am Dm − A7 − Dm− new theme, Str: imit (1)
..
229 . E/G] − Am − E7[9 − Am (2), WW+Tpt: accts
..
233 . A7 − Dm/F − E7 − Am− (3)
..
237 . B7[9 − Em − B7[9 − Em (4)
..
241 . G7 − C/E − D7[9 /C − G/B − E∅7 /G− Str: ctp, Seq(2×4m;R7 )
..
245 . A[9
7 − D/F ] − E7[9 /D − A/C] − Am
.. d
249 . B7 − C/E − F ]◦ − B7 −
253 ⊥ Em − C]∅7 /E−
257 M3 Bm <(Bm/F ] − F ][9 7 )− Str: ctp
269 M3/1.1 B B − . . . − B7 /A − E/G] − E7 /D− Str, Seq(2×8m;R−7 ),
277 ⊥ A/C] − A7 − D/F ] − D7 − WW-Brs: M1.1a
285 M1.1 C C/G − G7 − (N/V ) [C] False rec (a): clim
..
289 . C/E − E7 /D − A7 /C]− Seq(2×4m;R7 )
293 ⊥ D/F ] − F ]7 /E − B7 /D]−
297 M3 Em Em − B7[9 − 2nd Dev, tutti clim
301 ⊥ Em − A − D − B7 −
305 M3 Em − B7[9 − repeat
309 ⊥ Em − Bm/D − C]7 −
313 M3 F ]m F ]m/A − C]7 − F ]m− repeat
319 (M1) C] − C]7 /B − F ]m/A− (a): Str
323 ⊥ C] − C]7 /B − F ]/A] tutti clim, min-maj

m M R H Comment
327 C] − . . . − C]7 − retrans, P D (c])
346 F ]m/C] − . . . − A/C] − A7 /C]− Str (P D (c]))
353 A7 − A7 /G − F ]m − A7 /E− cad
357 (M1’) D <(D − Em/G − E7 )− (a’): Ob, tr to T, PB (%)
..
361 . <(D/A − Bm − G]7 /B] − F ]m/C])− cresc
365 ⊥ F ]m − . . . − B7[9 /D]−
371 M1 A A/E − E7 − A − D/A − E7 − [D] Rec, Gr 1 (a): Vi
..
378 . A − A∆7 /G] − D/F ] − A/E− (b)
..
381 . Bm7 /D − D/F ] − A/E − B7 /D]− min-maj
..
383 . E7 − C][9
7 /E] − Bm/F ] − E7 /G]− min-maj
.. d
385 . A − Bm7 − A64 − E7 − F ]m − B7 − (c)
391 ⊥ E7 − C][9
7 /E] − Bm/F ] − E7 /G]− cad, Σ(cm>)
393 A − A/C] − Bm7 /D − Bm7 − trans, Vi, WW accts
395 E − E + − C]m/E − F ]m − D/F ]−
399 E − Bm7 /A − E7 /G] − Bm7 /A−
401 <(E7 /G] − Bm7 /A) − E7 /G]−
407 M2.2 A − D − E7 − A− Gr 2 (a): LoStr
..
411 . A − B7 − B7 /A − E/G]− (b)
416 ⊥ A − E/B − B7 − E7 − cad
421 M2.2 A − D − E7 − A− (a): HiStr
..
426 . D/F ] − Bm − E7 /G]− (b)
429 ⊥ E7 /D − . . . − (c’): tutti, P (d)
437 M2.2 A/C] − D − F ] − Bm [E] (a): Vi+WW
441 ⊥ A/C] − Bm/D − A64 − E7 − A cad
445 M2.2’ A/C] − D − F ] − Bm − . . . − Bm7 − trans, (a’): Str
458 M3 Am Am/E − E7 − Am/E− 3rd Dev: WW+Hns
463 ⊥ Dm/A − G7 − E7 −
466 M3 Am/E − E7 − Am− WW+Brs, Str imit
..
471 . Dm/A − G7 − C − C7 −
474 ⊥ F − B[/F − F − (N )
478 M3 <(Am/E − E7[9 ) − E7 /D− Str+Brs, P D (e)
486 M1.1/3 A A/C] − E7 /G] − E7 /D− final stat, (a): tutti clim
.. d
490 . D A7 /C] − Bm7 − A7 /E− tutti climax
..
496 . D/F ] − A7 /G − D/F ] − A/E−
498 ⊥ D − A7 /G − D/F ] − A7 /E−

m M R H Comment
500 M1/3 D − . . . − D∆7 /C]− (WW+Brs)-Str
..
504 . Bm − . . . − Bm7 /A−
508 ⊥ E7 /G] − <(E7 /G] − Bm7 /A)−
512 A E7 − . . . − E7 /G]− [F] Coda, trans: Str
516 M4 A − E7 /B − A/C] − Bm/D− (a): Vi2
518 ⊥ E − F ]m/A − E7 −
520 M4 A − E7 /B − A/C] − B7 /D]− (a:) Fl+Vi2
..
522 . E − F ]m/A − E/G] − Em/G−
..
524 . F ]7 − B7 − C][9
7 /E]− (b)
.. d
527 . F ]m − D − A64 − E7 −
..
530 . F ]7 − B7 − C][9
7 /E]−
533 ⊥ 6
F ]m − D − A4 − E7 −
536 M1’ A/E − E7 − F ]7 /E− (a): LoStr
540 ⊥ Bm/D − E7 /D − A/C] − B7[9 /C−
548 M1’ B7 − . . . − (a’): HiStr, tutti clim
..
552 . E7 /G] − C][97 /E] − F ]m − Bm/D−
554 ⊥ A64 − E7 − cad
556 M2.2’ <(A − . . . − E7 ) − A − E7 − (c): Cl+Bsn
566 ⊥ A64 − E7 − . . . −
572 M3’ A − ...− HiStr, tutti clim
580 M1’ <(A − E7 ) − A (a’), (588 m.)

Table 8.30: Mendelssohn, Symphony No. 4 ‘Italian’ Op. 90, Mvt. 2 Andante con moto
m M R H Comment
1 M0 Dm A7 − A, Intro, unisono
4 M1.1 Dm − Gm/B[ − A7 − Dm− (a) Ob+ Bsn+Va
..
6 . A7 − Dm − Gm7 − A7 − (b) halfcad
..
8 . Dm/F − Gm7 /B[ − A7 − Dm (a)
d
10 ⊥ A − B[ − E∅7 − A7 − Dm − A7 − (b’)
12 M1.1/Mc Dm −→ A7 − (ab) Vi/Fl (m4-7)
16 ⊥ Dm/F −→ A[9 7 − Dm (ab’) (m8-11)
20 M1.2 A − Dm − Gm/B[ − C7 − F (c) Ob+Bsn+Va
22 ⊥ C − F − E7 − A[97 − (c’)
24 M1.1 Dm − Gm − A7 − Dm (a) Ob+Bsn+Va
26 ⊥ Gm − E◦ /G − A7 − Dm (b)
28 M1.2/Mc A7 − Dm7 − Gm7 − C7 − F (c) Vi/Fl
30 ⊥ C7 − F − E7[9 − A[9
7 − (c’)
32 M1.1/Mc Dm − Gm − C7 − B[ − A7 − Dm (a) Str/WW
34 ⊥ Gm − E◦ /G − A7 − (b)
35 M0 <(Dm − A7 )− trans, Str
37 Dm − E◦7 /G − F7 /A − B[− PLi (&)
38 C]◦7 /E − D7 /F ] − Gm − E∅7 −
d
A7 − B[ − E∅7 /G − A7 −
39 M0 <(Dm − A7 ) − Dm − B∅7 −
42 E7 − Am − B7[5 /F − chr, PB (&)
43 E7 − B∅7 /A − E7 /G]−
44 E7 − Am − B7[5 /F − Σ(cm<)
45 M2 A E7 − A − F ]m7 − Bm7 − E7 /D− [A] B, Cl, Hns: P D (e)
..
47 . A/C] − C]/E] − F ]m Fl+Cl+Vi1, clim
48 ⊥ E/B − B7 − E 4 − E−
49 M2’ D E − A7 − D − A7 /G− Cl+Vi
..
50 . D/F ] − A7 − D − F ]m7 −
..
51 . Bm − E7 /D − A/C] − D/F ]− Str+Cl
..
52 . A/E − Em − A[9
7
..
53 . D − B7 /D] − E7 /D − A/C] − D/F ]− PB (&)
..
54 . A/E − Em − A[9
7 −
..
55 . D/F ] − B7 /D] − E7 /D − A/Csharp−
56 ⊥ D]◦7 /F ]−
57 M0 E7[9 − [B] trans, unis clim

Table 8.31: Mendelssohn, Symphony No. 4 ‘Italian’ Op. 90, Mvt. 2 Andante con moto (cont’d)
m M R H Comment
59 M1.1 Am Am − Dm − E7 − Am− A’ (a) Ob+Bsn+Va
..
61 . Bm7 − B∅7 /F − B[/D− (b)
d
62 ⊥ A7 /C] − B[/D−
63 (M1.1) A7 /C] − D]◦7 − B7 − E7 − Str+WW
65 ⊥ (A[9 [5
7 − F ]m − Dm − E7 )/A− P D (a)
67 M1.1’/Mc A7 − D/F ]− (Cl+Bsn+Va)/Vi
..
68 . G − G7 /F − C7 /E − Gm/D−
..
69 . Dm A[9
7 /C] − Dm − Dm7 /C−
..
70 . G]◦7 /B − A7 /C] − D7 − G]◦7 − (b)
71 ⊥ A[9
7 − E∅7 /D − A7 /C]− halfcad, Str
72 A7 /C] − Dm − Dm7 /C− Σ(cm<)
E7 /B − E∅7 /B[−
73 [9
A7 − PB (&)
74 M2 D (A − A7 − D − G − Em)/A− [C] B’, Fl+Cl, P D (a)
..
76 . A − A7 /G − D/F ] − F ]7 /A]− Fl+Cl+Vi1, clim
77 ⊥ Bm − A64 − E7 −
78 M2’ E7 − A7 − D7 − Fl+Cl
..
79 . G G − D7 /C − G/B − D7 −
..
80 . G − B7 − Em − A7 − Fl+Cl+Vi1
..
81 . D/F ] − G/B − D/A − Am−
..
82 . D7[9 − G − D/A − E7 /G] − A7 /G− tutti climax
..
83 . D/F ] − G/B − D/A − Am−
84 ⊥ D7[9 − G/B − E7 /G]−
85 D46 − A7 − cad
86 M0 Dm D − Dm − A[9 [9
7 − Dm − A7 − Coda, Vi1
88 Dm − C7 − F7 − B[− Str, lead chr&
89 A7 − D7 − G − C]◦7 −
Dm − E∅7 /G − A−
90 M0 <(Dm − A[9 [9
7 )/A − D7 − Gm/D− Vi1
94 M0 [9
C]◦7 − . . . − A7 − WW
97 (M1.1) Dm − D7[9 − Gm − E◦ − (a’) Ob+Bsn+Va
99 ⊥ A7 /C] − E∅7 /D − A7 /C]− Fl+Vi
101 A[9
7 − Dm (103 m.)

Table 8.32: Mendelssohn, Symphony No. 4 ‘Italian’ Op. 90, Mvt. 3 Con moto moderato
m M R H Comment
1 M1.1 A || : (E) − E7 /D − A/C]− A (]]]) (a): Vi, Str bg
.. d
3 . E7 − A − E7 −
..
5 . F ]m − A∆7 /C] − D − G∆7 /D − A/C]− (b)
..
7 . E7 /G] − A − E halfcad
..
9 . <(E7 /D − A/C]) − A (c) Hns: P D (e)
14 ⊥ E/G] − C]7 − F ]m − B7 − E (c’), halfcad
17 <(A − E)/E − B7 − E : || tr, WW+Hns+Str, P D (e)
21 M1.2 Bm (C]∅7 ) − F ]7 − F ]7 /E − Bm/D− (a): Vi+Ob, Str
..
23 . F ]7 /A] − Bm − F ]7 /C]−
..
25 . <(Bm/D − C]7 )− (bb)
..
29 . C][9
7 /B − F ]m/A − C]7 /E]− (c)
..
31 . F ]m − A7 − D − C][9
7 −
..
33 . G][5
7 /D − C]
..
35 . F ]m <(C][9
7 − F ]m) (aa)
39 ⊥ D/F ] − E7 −
d
42 M1.3 A E7 − F ]m − E7 − A − A7 /G− (a): Fl+Vi1, clim
..
46 . D/F ] − A7 /G − D/F ] − A7 /C]− (b)
..
48 . D − A7 /C] − D − F ][9
7 − (c)
..
50 . Bm − C][9
7 /E] − F ]m − D−
..
52 . A/E − E7 /D − A/C] − F ]7 −
..
54 . Bm − C][97 /E] − F ]m − D− (c): Str+WW
56 ⊥ A64 − E7 − A cad
58 (M1’) <(D − A)/A − E7 − A trans, (a): Fl+Vi1
..
62 . <(D − A)/A − <(E7 − A) (a’): Str, WW+Hns bg
69 ⊥ E7 − . . . − A

(cont’d)
m M R H Comment
76 M2 E || : <(B7 /A − E/G]) − B7 /A− B (]]]]) Bsn+FHn 2x,
..
81 . <(B7 /A − E/G]) − B7 /A− Vi-Fl: Mc
.. d
86 . C]7 /G] − F ]m − E7 −
89 ⊥ F ]m/A − E46 − B7 − E : || cad
92 Ms Em B7 /A − Em/G Brs-Str: signal, P D (b)
96 Ms E B7 − E − Am/C− cresc
100 Ms <(E − Am)− P T (e)
105 ⊥ E − (Am − F ]∅7 − E/G]) − Am climax
108 M2 <(B7 /A − E/G]) − B7 − Bsn+FHn, Fl: Mc
..
113 . <(B7 /A − E/G]) − B7 − repeat, Vi1: Mc
.. d
118 . C]7 /G] − F ]m − E7 −
121 ⊥ F ]m/A − E46 − B7 − E−
125 (M1’) (C]∅7 ) − F ]m/A − E7 /G] trans (]]]) (a) Str imit
127 M1.1 A F ]m/A − E7 /G] − E − E7 /D − A/C] A (a): Vi, Str bg
.. d
129 . E7 − A − E7 − F ]m − A∆7 /C]−
..
132 . D − G∆7 /D − A/C] − E7 /G] − A− (b)
..
134 . E − <(E7 /D − A/C])− (c), Hns: P D (e)
139 ⊥ A − E/G] − C]7 − F ]m − B7 − E (c’), halfcad
142 <(A − E) − E46 − B7 − E tr, WW+Hns+Str, P D (e)
147 M1.2 Bm (C]∅7 ) − F ]7 /E − Bm/D (a): Vi+Ob, Str
..
149 . F ]7 /A] − Bm − F ]7 /C]−
..
151 . <(Bm/D − C]7 ) − C][9
7 /B− (bb)
..
156 . F ]m/A − C]7 /E] − F ]m − A7 − (c)
..
158 . (D − C][9 [5
7 − G]7 )/D − C]−
161 ⊥ F ]m <(C]7 − F ]m) − D/F ] − E7 −

(cont’d)
m M R H Comment
d
168 M1.3 A E7 − F ]mE7 − A − A7 //G− (a): Fl+Vi1, clim
..
172 . D/F ] − A7 /G − D/F ] − A7 /C]− (b)
..
174 . D − A7 /C] − F ][9
7 /A]− (c)
..
176 . Bm − C][9
7 /E] − F ]m − D−
..
178 . A/E − E7 /D − A/C] − F ]7 −
..
180 . Bm − C]7 /E] − F ]m − D− (c): Str+WW
182 ⊥ A64 − E7 − A cad
184 (M1’) <(D − A)/A − E7 − A trans, (a): Fl+Vi
..
189 . <(D − A)/A − <(E7 − A) − E7 − (a’): Str, WW+Hns bg
195 ⊥ E7 − . . . − A − . . . −
203 Ms A B7 /A − E7 − A/E− B’ tutti imit, P D (e)
..
207 . B7 /A − E7 − A/E− repeat (P D (e))
211 ⊥ B7 /A − C]7 /G] − F ]m − E7 −
215 I(M1’) E7 − . . . − A I(a): V1 (223 m.)

in imitation and stretto counterpoint settings (sometimes in combination with its melodic
inversion). A false recapitulation with a tutti climax turns out to be a transition to the real
Recapitulation, that in its turn contains another brief development of M3. The main theme
M1, as a varied form of the first phrase (M1.a’), returns and leads to the Coda. A set of
unisono triplet rhythm statements in the string brings a closing with woodwind imitations
of the first melodic phrase and tutti cadences.

The key relationship diagram is shown in Fig. 8.8. The widest scope is reached in the opening
movement Allegro. The exposition has a second theme group in the dominant domain E −
Em − E − C]m − E (1,2). The development starts to move from the parallel minor Am
into the subdominant area Dm (3) and later the submediant Bm − B (4). Here we enter the
remote keys at the edges of the diagram B − C − Em − F ]m (5), and we will need twice the
double occurrence property to interpret the key changes. The last development section takes
us once more into the parallel minor Am (7) and the subdominant D (6,8).
The two central movements show a much simpler key scheme; the Andante in Dm first
enters the dominant area A − D − Am (1,2), then goes through the parallel major D into the
subdominant G (3). The Moderato first passes the subdominant area Bm (1) through the
relative minor F ]m, then stays in the dominant area E − Em (2) before a final return to the
supertonic key Bm (3).
The Saltarello finale shows the regular pattern with first a visit towards the dominant
area E (1) and Em (3,4), and more subdominant influence near the end Dm (7,10). Note the
frequent return of the dominant minor. In the middle there are the usual outward spiraling
key changes, with the ambiguous G (9) preparing the return through the parallel major C.
Mvt. 1 Allegro Vivace

4
A E B F] C] G] D]
6 t
Am Em Bm F ]m C]m G]m D]m
A
K 62
C t G 6,8 D A- A - E? B F] Mvt. 2 Andante
t
A
3 6 6 3
A1
A ? ?1
Cm Gm Dm - Am 7 Em Bm 5 F ]m G
H D
H
j 2
*
HH *

t

j 6 HH
E[ B[ F C G D A Gm Dm Am
Mvt. 3 Moderato Mvt. 4 Saltarello presto

1 5,9 1
Bm - F ]m C]m G -D A H E
H
Y
H tH
Y YH
H
HHj 6? HH
H
D -E
3 A Gm Dm Am Em
H -
7,10 H
YH ? 3,4,6,8
2 ?6 6
Dm Am Em B[ F 2 HC -G t
Figure 8.8: Mendelssohn, Symphony No. 4 ‘Italian’, key relationship diagram

Table 8.35: Mendelssohn, Symphony No. 4 ‘Italian’ Op. 90, Mvt. 4 Saltarello presto
m M R H Comment
1 Am Am Exp, Gr 1 tutti clim
3 Mt0 unis triplets, P (a)
7 M1 <(B∅7 − Am − E7 − Am)/A− (aa’): Fl, Vi1: P T (a)
13 ⊥ B7[9 /D]−
15 M1 <(B∅7 − Am − E7 − Am)/A− (aa’): Fl+Cl, Str: P T (a)
21 ⊥ B7[9 /D] − E
23 M1 E <(F ]∅7 − E − B − E)/E − A (a): Vi+Ob, tutti, P T (e)
27 M1 (B∅7 − A7 − Dm/A − E − D)/A− (a): WW+Str, P T (a)
29 ⊥ Am (D]◦7 − E7 )/A−
30 M1 <(Am − B∅7 − Am − E)/A− (aa’): tutti clim (P T (a))
34 Am − Am7 /G − Dm/F − Dm7 /C− trans, Str unis 8ths+tripl
36 Mt1 B∅7 − E7[9 − Am − E7[9 − WW, cad
38 ⊥ Am − Am7 /C − Dm7 /A− Str unis
40 Mt1 C B∅7 − G7 − C − G7 − WW, cad
..
42 . C − A[9 [9
7 − Dm − A7 −
44 ⊥ Dm Dm − B7 − E7 − Am − B7[9 − E7 −
[9 Str: I(M1.a’)
48 Am Am − D7[9 − G/B−
51 F ]∅7 − Em64 − B− cad, tutti clim, Σ(cm<)
53 M2.1 Em B7[9 − Em− [A] Gr 2, (a): Vi1,P D (b)
55 ⊥ F ] − B7 − E − Em/G− (b): Vi2+Va (P D (b))
57 M2.1 B7[9 − Em− repeat (P D (b))
59 ⊥ F ] − B7 − E − Em/G− (P D (b))
d
61 M2.2 F ]∅7 /A − B7 − C − Em/G− (aa’) Vi, Str bg
d
63 ⊥ F ]∅7 /A − B7 −
64 (Mt0 ) <(C − G) − C − Am/C− WW
67 M2.2 B7 − Em − G− (b): Vi1
69 (Mt0 ) <(C − G) − Am/C− WW
d
71 M2.2 Am E7 /G] − <(Am − E7 ) − D7 − trans, (c): Str imit 8ths
76 M1 Em <(Em/G − F ]∅7 /A − Em/B − D]◦7 /A)− Gr 1, final stat: Fl
..
80 . Em/G − E7 /G] − Am − F ]∅7 − (a’): WW imit
82 ⊥ B7[9 − . . . − Str unis&
d
84 M2.2 <(Em − F ]∅7 − B) − clim, (a): WW+Brs,
88 (Mt0 ) C − <(C − G) − Am/C− Str: unis triplets
91 M2.2 Em64 − B − Em − G− (b): WW unis, Brs accts
..
93 . <(C − G) − Am7 − G/B − C−
95 ⊥ F ]∅7 − Am7 /C − Em64 − B− cad
97 M2.3 <(Em − D]◦7 /A)− tutti clim, P (e)

Table 8.36: Mendelssohn, Symphony No. 4 ‘Italian’, Mvt. 4 Saltarello presto (cont’d)
m M R H Comment
101 Em Em − . . . − [B] Dev unis arp&
105 Mt0 A A− Vi: P T (a)
107 M1/0 (B∅7 − A − E − A)/A− Gr 1, (a): Cl (P T (a))
109 ⊥ Dm/A − D◦ /A[−
110 M1 G (G − A∅7 − G − D7 − G − A∅7 )/G− (a): Fl, P T (g)
113 ⊥ A◦ − Gm/B[ − A◦ /C − A[9
7 /C]−
115 M1 D <(D − C]◦7 /G) − D (a’): Ob, WW+Str, P T (d)
122 M3 Gm D − D7 /C − <(Gm − D7 )− Vi1: new th, Str 8ths bg
124 ⊥ Gm − Cm − Gm/B[ − A∅7 − D7 −
126 M3 <(Gm − D7 )− Vi2
..
127 . Gm − A7 /G − Dm − A7 /C]−
128 ⊥ Dm − Gm−
129 M3 Dm/F − D − <(Gm − D7 )− Vi1
..
131 . Gm − D7 /A − Gm/B[ − G7 /B−
132 ⊥ C − B◦7 /D − Am64 − E7 − cad
133 M3 Am <(Am − E7 ) − Am Va
..
135 . <(Am − B∅7 ) − E7 −
..
137 . <(Am − D]◦7 ) − Am − B7[9 − fragmens of I(M1a’)
..
139 . Em − Em7 /D − A7 /C]−
..
140 . Dm − Dm7 /C − G/B−
..
141 . C − F − Dm−
142 ⊥ G − Em − Am − F ]∅7 −
143 M3 Em (B7 − Em)/B − B7[9 − imit: Vi1-Vi2, P D (b)
d
148 M3 Em/B − D7 − G − D7 /F ] − WW: stretto imit,
..
149 . Em − G∆7 /D − Am7 /C − Em7 /B− Str bg
..
150 . Am7 − D7 /F ] − A7 /E−
.. d
151 . D − D7 /C − G/B − D7 /A − G − D/F ] − Σ(cm<), M3+I(M3)
..
153 . Em − G∆7 /D − Am7 /C − Em7 /B−
..
154 . Am7 − D7 /F ] − Am7 /E− Σ(cm<), M3+I(M3)
155 ⊥ D7 − D7 /C − G/B − D7 /A−
156 Mt0 Am E7 /G] − . . . − [C] WW

m M R H Comment
158 M3 E7 /G] − <(Am − E7 )− imit: Vi1-Vi2
160 Mt0 Dm A − ...− WW
162 I(M3) A − <(Dm − A7 )− imit: Vi1-Vi2
164 Mt0 G D/F ] WW cresc
166 M3 <(D7 − G) − G7 − C − G7 − clim, stretto imit: Str
..
170 . C C − B◦ /D − B7[9 /D] − Em− PB (%), Seq(3×2m;R5 )
..
171 . Dm7 /F − C7 /G−
..
172 . F − E◦ /G − E7[9 /G] − Am− PB (%)
..
173 . G7 /B − F∆7 /C−
174 ⊥ B◦ − Am/C − G]∅7 /D − B7 /D]−
175 M3 Am <(E − Am − E7 − Am)− Str unis, WW+Hns bg
d
177 ⊥ Am − E/G] − F − cad, N
179 M1/0 Em B − <(Em − B − A]◦7 − B)/B− Tr–FR (a): Vi+WW, P D (b),
183 M1/0 Am E7 − <(Am − E7 − F ]∅7 − E7 )/E− tutti clim, P D (e)
186 ⊥ <(Am − C]◦7 /G − D/F ] − B7[5 /F − Σ(cm<)
187 E − E7 )−
d
190 Am − C]◦7 /G − D/F ] − B7[5 /F −
191 C − Dm − Am − B − <(E − Dm) tutti climax, retrans
195 M3 Am (E − E7 − Am − E7 )/E− [D] Rec–2nd Dev, Va+Vc,
198 ⊥ (Am − B◦ − Am − E7 )/E− Brs+DB: P D (e)
200 M3 <(Am − E7 ) − Am − Em − D]◦7 − Vi2 (P D (e))
204 M3 <(Em − B7 )/E− Vi1, Vi2: I(M3)
..
206 . (Em − C]◦7 − Dm − A7 )/E− Str+WW cresc
207 ⊥ (Dm − C]◦7 − Dm − A7 )/E−
208 M3 (Dm − E7 − Am − E7 − Am − E7 )/E− Brs+LoStr: P D (e)
210 M1 <(Am − E7 )/E− HiStr (P D (e))
212 ⊥ (Am − B∅7 − Am − E7 )/E− tutti cresc

m M R H Comment
[5/[9
214 Mt0 A[9 [9
7 − . . . − D7 − . . . − B7 − tutti climax, I(M1.1a’)
222 M1’ Am Am/E − Dm − Am/C − E7 − (a’): LoStr
224 M1’ Am/C − Dm − Am/C − E/B− (a’): HiStr
226 M1’ Dm Am − Dm − Am − B◦ − (a’): LoStr, HiStr+WW bg
228 ⊥ Am − E∅7 /G − A[9 7 −
[5/[9
230 Mt0 Dm/F − B7 /F − Am64 − E7 − trans, tutti, cad
234 Mt0 Am <(Am − B∅7 /D)− [E] Coda, Str unis P T (a)
239 Am64 − E− WW+Brs cad
242 Mt0 Dm/A − Am− Str: unis P (a), WW bg
244 Am64 − E − Am − Am64 − E− WW+Brs cad, Str unis
248 Am − D]◦7 − Am64 − E7 −
250 Am − G]◦7 − Am − Am7 /G − Dm/F − Str unis&, WW bg
252 Am64 − E− cad
254 Mt0 Am − . . . − Vi1
256 M1’ <(G]◦7 − Am)/A (a’): WW imit, P T (a)
258 M1’ G]◦7 /A − . . . − (a’): WW imit, Timp: P T (a)
260 ⊥ G]◦7 /A − . . . − (a): WW, I(M1.a’): HiStr
262 <(Am − E7 ) − Am tutti cad (264 m.)


Chapter 9
Robert Schumann
Biographical data:
∗ 8-6-1810 Zwickau
† 29-7-1856 in Endenich (Bonn)
1600 1700 1800 1900 2000
Detailed score analysis of the Schumann symphonies was complemented with the formal
analysis presented in [23].
9.1 Symphony No. 1 in B[ Major Frühling, Op. 38 (1841)

Source: [60]. This symphony is known as the ‘Spring Symphony’ (‘Frühlingssinfonie’). An
overview of the formal analysis is shown in Fig. 9.1. Note the use of secondary development
sections in the outer sonata form movements. In the opening movement this h isection is sig-
nificantly longer than the primary development. The extended scherzo in 34 has two trio
sections in a different meter.
9.1.1 Mvt. 1 Andante - Allegro

Form: sonata form. This opening movement has a slow Introduction section (Andante),
followed by a faster Allegro, which is the actual beginning of the sonata form. See Table 9.1
to 9.3 for the analysis.
The opening signal motif (M1s) with the characteristic rhythm (upbeat 14 + 14 .+ 18 + 14 + 41 ) is
the first phrase of the Exposition main subject (M1); it appears also in melodic augmentation
and diminution. The main theme has M1(abab) (4 + 4 + 4 + 4 m.) period structure, with
rhythmic diminution (the beat has changed from quarter notes in the introduction to 8th
notes in the Allegro). The a-phrase is set in tutti instrumentation with woodwinds and high
strings lead, the b-phrase consists of 16th notes descending violin patterns. This gives the
main theme a call-and-response flavour.
The secondary subject has a modified M3(aabaab) (1+1+2+1+1+2 m.) period structure.
The first statement is by oboes and bassoons (note the open fifths in the bassoons). M4 is a
scalar motif in (dotted) 8th-notes, combining ascending and descending patterns, against a
steady 16th note background in the high strings (measured termoli).
2005-2017
CHAPTER 9. ROBERT SCHUMANN
h ih i
4 2
Mvt. 1 Andante – Allegro: sonata form (B[, 4 4 , 515 m.)
Intro (39 m.) Exposition (95 m.) Dev (44 m.) FR (24 m.)
2nd Development (115 m.) Recapitulation (64 m.)
Coda (134 m.)

h i
3
Mvt. 2 Larghetto: ABACA-Coda form (E[, 8 , 123 m.)
A1 B A2 C A3 Coda
h ih i
3 2
Mvt. 3 Scherzo molto vivace: scherzo and trio form (Gm, 4 4 , 375 m.)
Scherzo (48 m.) Trio 1 (184 m.)
Scherzo (48 m.) Trio 2 (64 m.) Sch. Coda (64 m.)
h i
2
Mvt. 4 Allegro animato e grazioso: sonata form (B[, 2 , 353 m.)
I. Exposition (100 m.) Development (63 m.)
Recapitulation (95 m.) Coda-2nd Dev (62 m.)
Figure 9.1: Schumann, Symphony No. 1 in B[ Major Frühling, Op. 38

9.1. SYMPHONY NO. 1 IN B[ MAJOR, FRÜHLING, OP. 38
Table 9.1: Schumann, Symphony No. 1 Frühling, Mvt. 1 Andante - Allegro
m M R H Comment
h i
4
Andante un poco maestoso 4 Introduction
1 M1s B[ B[ Intro FHn+Tbn (signal)
4 B[ − E[ − F7 /C − B[ tutti climax, Σ(cm<)
5 M2 Dm/A − A7 − WW, Str tremoli
6 M2 Dm − G[9 7 − Cm − D∅7 /F − G7 − Seq(2×4m;R−7 )
10 M1s Cm − F7[9 − B[ − E[ − F − cad, M1-dim: Tpt
14 M1s B[ − . . . − E[/G(N 6 ) − A7 trans, M1-aug: FHn
21 M4’ D (D − D7 − Gm − C]◦7 − D − C]◦7 )/D M4 aug: Vi1, P T (d)
Più vivace (e poco a poco accelerando)
25 D − D7 − D7[9 −
31 F7 − . . . − F7sus4 − cresc, P D (f )
37 F7 − climax, cad, Brs (39 m.)
h i
2
Allegro molto vivace 4 Exp, Gr 1
39 M1 B[ || : (B[ − E[ − B[ − F7 − B[)/B[ M1a: WW+Vi1, P T (b[)
43 ⊥ B[ − D7 /F ] − Gm − . . . − C7 − F − M1b: Vlns
47 M1 E[ − <(A[/C − B7sus4 − E[) − E[ M1a: WW+Vi1
51 ⊥ E[ − B◦7 − Cm − . . . − F7 − B[ M1b: Vlns
55 (M1) F7 − . . . − B[ − E◦7 /F − F bridge
59 ⊥ F7 − A[7 − D[ − G7 /A[ − A[−
63 M1’ (D[ − G[ − A[7 − D[ − . . . − D[7 )/D[− Vln+WW, P (d[)
69 ⊥ C
71 C <(G7 − C)/C − . . . − Am− [A] trans, P T (c)
81 M3 Am Dm − Am − B◦ /D − E − Am Gr 2, M3a: WW
..
85 . F F7 /A − B[ − B∅7 − C7 − F
..
89 . C − . . . − Dm/F − M3b: WW
..
91 . C46 − G7 − C − Gm/B[−
d
93 ⊥ F − . . . − Gm/B[ − F46 − C7 −
96 Dm − B[ − Em − C − F + − Dm− Seq(3×1m;R7 ) PB (%)
99 (E[ − E∅7 )/G − Am − F − B[+ − Gm− Seq(3×1m;R7 ) PB (%)
101 C7[9 − . . . − Gm/D − E[− PB (%)(cont’d)
106 E[7 − A[ − C7 − F m
110 <(G[/B[(N 6 ) − D[97 /C[ − G[/B[)− tutti, to climax
114 G[/B[ − B◦7 − (F − B◦7 − C7 )/C−
118 M4 F F − B◦7 − trans, M4: clim, P T (f )
..
120 . <(C7 − B◦7 − C7 )/F − C7 − Σ(cm)
126 ⊥ F − . . . − : || cad (ped)

Table 9.2: Schumann, Symphony No. 1 Frühling, Mvt. 1 Andante - Allegro (cont’d)
m M R H Comment
134 M1 B[ B[ − Gm − B[ − E[ − B[ Dev, Str, Seq(3×8m;R7 )
138 ⊥ G[9
7 − WW
142 M1 C − Am − C − F − C 2nd stat Str
146 ⊥ A[9
7 − WW
150 M1/5 Dm Dm − B[/D − C]◦7 /E − Dm/F − M5=CM, Seq(2×8m;R5 )
158 M1/5 Gm Gm − E[/G − F ]◦7 /A − Gm/B[− 2nd stat, Str+WW
166 (M1) Cm Cm − F7 − Dm − Gm7 − Seq(3×4m;R7 )
174 ⊥ (E[ − G+ − Cm − A[57 )/E[−
178 M1 D D − ... − A − D − ... [B] False Rec

186 M1 G − . . . − D7 − G − . . . − A7 − D 2nd stat, climax
194 (M1) A7 − . . . − G]◦7 − A− bridge
198 ⊥ C7 − . . . − B◦7 − C−
202 M1 F F − . . . − C7 − F − D7[9 − 2nd Dev Seq(3×8m;R7 ),
210 M1 G − . . . − D7 − G − E7[9 − Str
218 M1/5 Am Am − F∆7 /A − G]◦7 /B − Am7 /C Str/WW, Seq(2×8m;R5 )
226 M1/5 Dm Dm − B[/D − A7 /C] − Dm/F − 2nd stat
234 (M1) Gm Gm − C7 − Am − Dm7 − Seq(3×4m;R7 )
242 ⊥ B[ − B[+ − Gm/B[ − E7[5 /B[−
246 M4 A (A − D]◦7 − E7 − A − Dm)/A − D7[5 /A[ imit, Seq(2×8m;R−7 ),
254 M4 (G − C]◦7 − D7 − G − Cm)/G − C7[5 /G[ WW, 2nd stat
262 M4 F m − Cm − Gm − Dm− imit
270 M4 Cm7 − F7 − B[∆7 − imit, Seq(2×4m;R−7 )
276 ⊥ Gm/B[ − C7 /B[−
280 F ]◦7 /A − Cm/G− retrans
[5/[9
282 F ]◦7 − . . . − C7 /G[ − . . . −
290 B[ 6
B4 − . . . − climax
296 M1s B[64 − . . . − F7 − B[ M1 augm: FHn+Tpt
302 M1 B[ − . . . − Gm − F − B[ M1 augm: WW+Str
311 ⊥ Dm64 − A7 − Dm [C] climax
317 (M1) B[7 − . . . − A◦7 − B[ − D[7 − A[7 − D[ Recap, Gr 1
326 M1’ D[ G[ − . . . − G[7 − bridge, Str
333 ⊥ F − ...− cad

Note the frequent use of sequences in the Development section; this approach was al-
ready used in the transitions in the second theme group. In m. 150 there appears a new
theme M5, as a countermelody to the main theme; the lyrical arpeggio character of this
melody makes a nice contrast with the stepwise motion in M1. After the false recapitulation
[B] (m. 178 ff.) there is a much longer secondary development section. The true Recapitula-
tion starts in m. 317, with statements of both M1 and M3.
The melodic richness of the movement is once more confimed in the Coda where the
chorale-like theme M6 appears. It has M6(aab) (4 + 4 + 6 m.) sentence structure. Note the
parallel thirds in the outer parts in the a-phrase and the contrary motion in the b-phrase.

Form: rondo form, ABACA. See Table 9.4 and 9.5 for the analysis. The shorter middle A
section is in the dominant key. The two contrasting bridge sections B, C and the Coda use
quite a bit of pedal point.
The long main melody may be subdivided into a number of phrases M1(abb’) (8 + 8 + 8
m.); the rhythm in the outer parts is nearly equal, the string inner voices move in syncopated
8th notes. The contrasting theme has much shorter phrases M2(aab) (2 + 2 + 4 m.), with a
background of continuous 16th notes (violas and contrabass) and 32th note arpeggios in the
violins. The C section uses a two measures long imitative motif M3.
9.1.3 Mvt. 3 Scherzo - Trio

Form: scherzo and trio form, rondo form, ABACA. This movement is remarkable for the two
trios (Trio 1 and Trio 2, B and C, respectively) in 2/4 meter. The scherzo (A section) in 3/4
meter is repeated at the opening of the movement (A1 ) and returns as a Coda, with a 2/4
meter section as closing. See Table 9.6 and 9.7 for the analysis.
The main subject has M1(aa’b) (2 + 2 + 4 m.) sentence structure. The first statement is in
the strings with strong unisono accents (sf ) in the a-phrase and closing contrary motion in
the b-phrase.
The Trio 1 theme is a two-measure motif M2 in call-and-response setting, with woodwinds
and brass answering the strings. It also has a structure like a M2(aa’b) (4+4+8 m.) sentence.
In Trio 2 the melodic material consists of a ascending staccato quarter note scale rising from
the low to the high strings in imitation, over a steady quarter note woodwind rhythm. It
later is also presented as a melodi inversion, descending from the violins.
9.1.4 Mvt. 4 Allegro animato e grazioso

Form: sonata form. See Table 9.8 to 9.10 for the analysis. The opening motif (M0, the ascend-
ing scale in the introduction of this closing movement) returns as the second theme in the
second group of the Exposition, although somewhat modified. It is also the central element
in the Development. The Coda starts like a secondary development, and speeds up to a tutti
final climax.
The Exposition main subject has an unusual M1(aba’) (4 + 4 + 4 m.) structure. The a-
phrases are light (staccato) 8th note string patterns wth a chromatically descending inner
line. The b-phrase is presented in a hoquetus setting, divided between strings and wood-
winds. The first a-phrase starts on the tonic chord B[, the last b-phrase is over a root dom-

Table 9.3: Schumann, Symphony No. 1 Frühling, Mvt. 1 Andante - Allegro
m M R H Comment
344 M3 Dm Gm − Dm − E◦ /G − A − Dm Gr 2, M3a: WW
..
348 . B[/D − E[ − E◦7 /G − F7 −
..
351 . B[ B[ − F − Gm/B[ − F46 − C7 − M3b: WW
..
355 . F − Cm/E[ − B[/D − A∅7 /C−
d
357 ⊥ B[ − Cm/E[ − B[64 − F7 − cad
359 Gm − E[ − Am − F − B[+ − Gm Seq(3×1m;R7 ) PB (%)
362 A[ − A◦ − Dm − B[ − E[+ − Cm Seq(3×1m;R7 ) PB (%)
365 F7[9 − . . . − Cm/G − A[− PB (%) (cont’d)
369 A[7 − D[ − F7 − B[m−
373 <(C[/E[(N 6 ) − G[7 /F [ − C[/E[)− tutti, to climax
376 C[/E[ − E◦7 − B[64 − F7 −
381 M1 B[ (B[ − . . . − Cm7 − . . .)/B[− Coda Pt 1 M1: Vi1, P T (b[)
..
389 . (F7 − . . . − B[7 )/B[ − B◦7 −
397 ⊥ C − F7 /A − B[ − Cm7 /E[ − C7[9 /E−
403 B[64 − B[m64 − F7sus4 − F7 − cad
405 M1 (B[ − Gm − . . . − Cm7 − . . .)B[− 2nd stat Vi1, P T (b[)
..
409 . (F7 − . . . − B[7 )B[−
..
421 . G7 /B − C − F ]7 /A] − B− climax
[5/[9
425 ⊥ (E[m − C[ − C7 )/G[− g[-ped
429 (B[ − <(E◦7 − B[)/F − B[/D− [D] trans, cad, P D (f )
438 M6 E[ − B[/D − F7 /C − B[ Coda Pt 2, M6=M1b’: Str
..
442 . F7 /C − B[ − F − F m−
446 ⊥ Cm/E[ − G7 /D − Cm − G7 /B − Cm−
449 B[64 − F7 − F + − cad
452 M6 E[ − B[/D − F7 /C − B[ 2nd stat: WW+Str
..
456 . F7 /C − B[ − F − F m−
460 ⊥ Cm/E[ − G7 /D − Cm − G7 /B − Cm−
463 B[64 − E◦7 /F − F7 − cad
467 <(B[ − B[7 − E[ − F7 )/B[− trans, P T (b[)
475 (B[ − . . . − F7 )/B[−
483 M1s B[ − . . . − Coda Pt 3, M1s: FHn+Tpt,
487 ⊥ B[ accts, b[-ton-ped
495 <(B[ − D7 − Gm − C7 − tutti accts
497 F − B◦7 − Cm − F7 )−
503 <(B[ − F ) − B[ closing cad (515 m.)

Table 9.4: Schumann, Symphony No. 1 Frühling, Mvt. 2 Larghetto
m M R H Comment
h i
3
1 M1 E[ E[ − A[ − B[7 /F − E[4 − B[[9
7 /D− A1 8 Str Σ(cm<)
..
4 . E[7 /D[ − A[/C − A[ − E[/G−
..
6 . Cm − F7 /C − B[−
..
8 . E[[9
7 /D[ − A[/C − D∅7 −
..
11 . G7 − Cm − E[7 /G − A[−
13 ⊥ −E[/B[ − B[[97 − F7 − B[−
15 M1’ G7 − C7 − F m− WW+Str
..
18 . B[7 − G7 /B − Cm − F7 /A−
21 ⊥ E[64 − B[◦ − B[7 − E[ − E[7 /D[− cad
25 M2 C (C − . . . − F m − B◦7 )/C− B, WW+Str, P T (c)
27 M2 C − (C − D∅7 − G[9 7 − C − Em − G7 )/C− Str-WW, P D (g)
31 ⊥ C − C7 /B[ P T (c)
33 M2 A (A − . . . − Dm − G]◦7 )/A− WW+Str, P T (a)
35 M2 A − (A − B∅7 − E7[9 − A)/A − E7 − Str-WW, P D (e)
39 ⊥ A − F7 − [E]
41 M1 B[ B[ − E[ − F7 /A − E[/B[ − F7[9 /A− A2 , Vc Σ(cm<)
..
44 . F7[9 /A − D◦7 /A[ − E[/G − B[/D−
..
46 . B[/D − Gm − C7 /G − F −
..
48 . B[[9
7 /A[ − E[/G − F7 /A−
51 ⊥ D7 − Gm − E[ − E◦7 −
53 (B[ − E[m − E◦7 − F7 )/F − cad
55 (M3) B[ B[ − D7 /A − Gm − B[7 /F − [F] C, imit motif, PB (&)
..
59 . E[ E[ − Cm/E[ − D∅7 /F − G/B − C7 /B[−
..
63 . F m/A[ − G∅7 /B[ − C/E−
66 ⊥ Fm F m − . . . − F ]◦7 climax, 32th notes
71 G <(G − . . . − D7 )/D cad, P D (d)
74 G − E[7 − A[ − A[m − E[64 − B[7 − cad (cont’d)

Table 9.5: Schumann, Symphony No. 1 Frühling, Mvt. 2 Larghetto (cont’d)
m M R H Comment
78 M1 E[ E[ − A[ − B[7 /F − E[4 − B[[9
7 /D A3 , Ob+FHn, Σ(cm<)
..
81 . E[7 /D[ − A[/C − A[ − E[/G−
..
83 . Cm − F7 /C − B[ − E[[9
7 /D[−
..
86 . A[/C − D∅7 −
..
88 . G7 − Cm − F m7 /A[ − F7[9 /A−
..
90 . E[64 − B[[9
7sus4 − F7 − B[ − B[7 −
92 ⊥ [9
G7 /B − C7 −
94 M1’ −F m − B[7 − WW+FHn
..
96 . G7 − Cm − F m7 /A[ − F ]◦7 /A−
98 ⊥ E[64 − B[◦7 − B[7 − E[ cad
102 E[ (A[ − F∅7 − B[7 − E[ − E[7 − Coda, Bsn+Va, P T (e[)
106 A[ − F7 − B[7 − E[)/E[− (ped)
109 A∅7 /C − E[64 − B[7 −
d
113 E[ − B[ − E[7 − F m − C − Cm Tbn
117 <(D − Gm) − D− cad, attacca (123 m.)

Table 9.6: Schumann, Symphony No. 1 Frühling, Mvt. 3 Scherzo
m M R H Comment
h i
3
Scherzo. Molto vivace 4
1 M1 Gm || : Gm − C]◦7 − D − B[ − E◦7 − F A, Str
5 ⊥ Dm − A7 /E − Dm/F − Gm − A−
9 M1’ Dm − G]◦7 − A − F − B◦7 − C− M1 var: WW+Str
13 ⊥ Gm − D7 /A − Gm/B[ − Dm64 − A7 − Dm : || : cad
17 (M1) F (F − F7 − B[ − E◦7 − F )/F B, WW+Str, P T (f )
25 M1” (F − F7 − B[ − B[m − G∅7 − E◦7 )/F − (ped)
31 F − D7 − cad
33 M1 Gm Gm − C]◦7 − D − B[ − E◦7 − F A, Str
37 ⊥ Dm Dm − A7 /E − Dm/F − Gm − A−
45 ⊥ Gm − D7 /A − Gm/B[ − Dm64 − A7 − Dm : || cad (48 m.)
h i
2
Trio 1. Molto più vivace 4
1 M2 D D − Bm − A − G/D − D/F ] − G]◦7 − A7 − D A, motif imit
17 M2 D − Bm − A − G/D − D/F ] − G]◦7 − A7 − D 2nd stat
33 M2’ F <(B[ − Gm − C7 − F ) B, motif imit
..
49 . C7 /F − F7 − B[ − C7 − F − C7 − F7 −
61 ⊥ B[ − C7 − F cad
65 M2” D D − Bm − Em − C]◦7 /E − Em − C]◦7 − D C, trans
75 D7 /F ] − . . . − G/B − . . . − [G] D
83 G]◦7 − A/C] − G]◦7 −
91 (A − D − <(G − D))/A − A64 − . . . − A7 − D climax, P D (a)
109 M2’ F <(B[ − Gm − C7 − F ) B, motif var imit
..
125 . C7 /F − F7 − B[ − C7 − F − C7 − F7 −
137 ⊥ B[ − C7 − F cad
141 M2” D D − Bm − Em − C]◦7 /E − Em − C]◦7 − D C, trans
151 D7 /F ] − . . . − G/B − . . . − D
159 G]◦7 − A/C] − G]◦7 −
167 (A − D − <(G − D))/A − A64 − . . . − A7 − D clim, P D (a) (184 m)

Table 9.7: Schumann, Symphony No. 1 Frühling, Mvt. 3 Scherzo (cont’d)
m M R H Comment
h i
3
Tempo I. 4
1 M1 Gm Gm − C]◦7 − D − B[ − E◦7 − F A, Str
5 ⊥ Dm − A7 /E − Dm/F − Gm − A−
13 ⊥ Gm − D7 /A − Gm/B[ − Dm64 − A7 − Dm cad
17 (M1) F (F − F7 − B[ − E◦7 − F )/F B, WW+Str, P T (f )
25 M1’ (F − F7 − B[ − B[m − G∅7 − E◦7 )/F − (ped)
31 F − D7 − cad
33 M1 Gm Gm − C]◦7 − D − B[ − E◦7 − F A, Str
37 ⊥ Dm Dm − A7 /E − Dm/F − Gm − A−
45 ⊥ Gm − D7 /A − Gm/B[ − Dm64 − A7 − Dm cad (48 m)
h i
3
Trio 2 4
1 M3 B[ || : F7 − B[ − F7 /E[ − B[/D− A, imit, P D (f )
5 ⊥ F/A − B[7 6/A[ − E[/G − C7[5 /G[ − F : || :
9 I(M3) <(B[ − B[7 /A[ − E[/G)− B, imit, P T (b[)
13 M3 <(G7 − Cm) Σ(cm>)
17 M3’ F7 − B[ − D7 − Gm − B[7 − E[ − G7 − Cm clim, Seq(4×2m;R3 )
25 M3” <(Cm − D7 ) − <(B[m − C7 ) − F7 − Seq(2×8m;R−7 )
41 M3’ F7 − . . . − B[ − E[ − C7 /E − F : ||
49 I(M3) <(B[7 − E[) − <(G7 − Cm) C, climax, P T (b[)
57 Cm − F − Dm − Gm − E[ − Cm − F7 − B[ cad (64 m)
(final scherzo return)
1 M1 Gm Gm − C]◦7 − D − B[ − E◦7 − F A, Str
5 ⊥ Dm Dm − A7 /E − Dm/F − Gm − A−
13 ⊥ Gm − D7 /A − Gm/B[ − Dm64 − A7 − Dm cad (16 m)
Coda
17 M1’ D (D − D7 − G − C] − D)/D− B, P T (d)
25 ⊥ (D − D7 − Gm − C]◦7 )/D (ped)
h i
2
Come sopra ma un poco più lento 4
32 M1 D − G]◦7 − A]◦7 − Bm − D7 − G C
Quasi presto
46 (M3’) G]◦7 − D/A − A]◦7 − B − G]◦7 − A D, Σ(cm>)
..
51 . E]◦7 − F ] − D]◦7 − Em − C]◦7 − D−
57 ⊥ D/F ] − Em7 /G − A7 − D cad (64 m.)

Table 9.8: Schumann, Symphony No. 1 Frühling, Mvt. 4 Allegro animato e grazioso
m M R H Comment
h i
2
Allegro animato e grazioso Introduction 2
d
1 M0 B[ B[ − E[ − F7 − Gm− rising scale motif, tutti
4 ⊥ F/A − B[ − C7 /G − F cad
7 M1 || : (B[ − F7 − B[ − D7 )/B[− Exp, Gr 1/Th 1: Vi1
9 ⊥ Gm/B[ − B◦7 − C7 − F −
11 (M1) <(F7 − B[ − C7 − F )/F − closing motif, cad
15 M1 (B[7 − F m − E[ − D◦ − Cm)/B[− Vi2, [S̄ 6 ]
17 ⊥ (B[ − F7 − B[7 )/B[
19 M1 (E[ − B[ − E[ − G)/E[− Vi1, repeat at SD
..
21 . <(Cm − F7 )/E[ − D◦7 −
..
25 . Cm/E[ − D◦7 /F − E◦7 /G − F7 /A− cresc, S 6 -series
27 ⊥ B[ − D7 − G − Cm/E[ − B[64 − F7 − [H] cad
31 (M1’) <(B[7 − E[ − A◦7 − F7 )/B[ − F − trans, P T (b[)
39 <(B[ − F ) − B[ − D− cad
43 M2 Gm Gm − A∅7 /C − D− Gr 1/Th 2: WW
46 M0’ Gm − . . . − A− asc scale: Str unisono
50 M2 Dm Dm − E∅7 /G − A− 2nd stat: WW
53 M0’ Dm Str unisono
58 M1 (G[9
7 − F m − E[ − D◦ − Cm)/G− trans, Vi2, [S̄ 6 ] , P (g)
60 ⊥ (B◦7 − A[ − G7 )/G− [S̄ 6 ] (ped)
62 M1 (B[m − A[ − G◦ − F m)/C− Vi1+2, [S̄ 6 ] , P D (c)
64 ⊥ (E◦7 − D[ − C7 )/C− [S̄ 6 ] (ped)
66 M0 F F − B[ − C7 /G − F/A− Gr 2/Th 1: tutti
68 ⊥ Gm/B[ − G7 /B − C−
70 <(B◦7 − C)/C− cad
74 M0 F − B[ − C7 /G − F/A − Gm − F/A− 2nd stat: WW
..
76 . C − D7 /A−
78 ⊥ Gm − D7 /F ] − Gm − G7 /B − C
84 M0 F − B[ − C7 /G − F/A− tutti climax
..
86 . Gm − F/A − B[∆7 − C − D7 /A−
88 ⊥ Gm − Gm/B[ − C7 /E−
90 F − Gm/B[ − F46 − C7 − F cad
92 <(C7 − F − B[ − F46 − C7 − F )− cad
99 1) F − . . . − : || 2) F /E[− repeat
7 7
107 D[ <(D[ − G[ − A[[9

7 )− Dev, cad
111 M0 D[ − G[ − C◦ /E[ − D[/F − WW
113 ⊥ E[m − D[/F − G[∆7 − A[ − E[m − B[7 −

Table 9.9: Schumann, Symphony No. 1 Frühling, Mvt. 4 Allegro animato e grazioso (cont’d)
m M R H Comment
115 <(E[m − A[m − B[[9 7 )− cad
[5/[9
119 M0 E[m E[m − F7 /C[ − E[m/B[ − A[7 − WW
121 ⊥ D[ − E[7 − A[
123 (M0’) D[ − G[m − G[ imit, Seq(3×4m;R7 )
127 (M0’) E[ − A[m − A[
..
131 . F7 − F7 /E[ − B[m/D[ − B[ − D7[5 /A[−
135 ⊥ Cm G − G7 /F − Cm/E[ − Cm − E7[5 /B[−
139 (M0’) A − Dm/F − E − A[57 /E[ − D − Am/C− imit, Seq(3×4m;R7 )
143 (M0’) B7 − Em/G − F ] − B7[5 /F − E − Bm/D
..
147 . C]7 − C]7 /B − F ]m/A − F ]m
..
151 . A[m E[ − E[7 /D[ − A[m/C[ − A[m−
..
155 . F − E[m/G[− imit stretto, PBi (%)
..
159 . E[7 /G − A[7 − F7 /A − B[ − 7− Seq(3×4m;R7 )
171 ⊥ G7 /B − C7sus4 − C7 − . . . − F7sus4 − F7 − rit (poco adagio)
Andante retrans
176 F7 arp: FHn soli
178 Cm/E[ − F7 − solo cadenza: Fl
a tempo
180 M1 B[ B[ − F7 − B[ − D7 )/B[− Recap Gr 1/Th 1: WW
182 ⊥ Gm/B[ − B∅7 − C7 − F −
184 M1 B[ − F7 − B[ − D7 )/B[− 2nd stat: Vi1+2
186 ⊥ Gm/B[ − B∅7 − C7 − F −
188 (M1) <(F7 − B[ − C7 − F )/F − closing motif, cad
190 ⊥ (B[ − F7 − B[7 )/B[
192 M1 (B[7 − F m − E[ − D◦ − Cm)/B[− Vi2, [S̄ 6 ]
194 ⊥ B[ − F7 /B[ − B[7 −
196 M1 E[ (E[ − B[7 − E[ − G7 − Cm − F7 )/E[−
..
199 . <(D◦7 − Cm/E[ − F7 /E[)−
..
202 . Cm/E[ − D◦7 /F − E◦7 /G − F7 /A− cresc, [S̄ 6 ]
204 ⊥ B[ B[ − D7 − G − Cm/E[ − B[64 − F7 − cad
208 (M1) <(B[7 − E[ − A◦7 − F7 /A − B[)/B[ − F − trans, P T (b[)
216 <(B[ − F ) − B[ − G− [I] cad
221 M2 Cm Cm − D∅7 /F − G− Gr 1/Th 2: WW
224 M0’ Cm − . . . − D− asc scale: Str unisono
228 M2 Gm Gm − A∅7 /C − D− 2nd stat: WW
231 M0’ Gm Str unisono

Table 9.10: Schumann, Symphony No. 1 Frühling, Mvt. 4 Allegro animato e grazioso (cont’d)
m M R H Comment
236 M1 (C7 − B[m − A[ − F◦ − F m)/C− trans, Vi2, [S̄ 6 ] , P (c)
238 ⊥ (E◦ − D[ − C7 − Cm)/C− [S̄ 6 ] (ped)
240 M1 (F7 − E[m − D[ − C◦ − B[m)/F Vi1+2, [S̄ 6 ] , P D (f )
242 ⊥ (A◦ − G[ − F7 )/F − [S̄ 6 ] (ped)
244 M0 B[ B[ − E[ − F/C − B[/D− Gr 2/Th 1: tutti
248 ⊥ <(E◦7 − F )/F − cad
252 M0 B[ − E[ − A◦ /C − B[/D− 2nd stat: WW
..
254 . Cm − B[/D − F − G7 /D−
258 ⊥ Cm − G7 /B − Cm − C7 /E − F −
260 M0 B[ − E[ − F7 /C − B[/D− tutti climax
..
262 . F7 − B[/D − E[∆7 − F − G7 /D−
264 ⊥ Cm − F7 −
266 B[ − Cm/E[ − B[64 − F7 − B[ cad
268 <(F7 − B[ − E[ − B[64 − F7 − B[)
Poco a poco accelerando Coda Pt 1
275 (M0’) B[ − B[7 /A[− (2nd Dev): Bsn+DB
279 G[ <(G[ − C[ − D[[9
7 )−
283 (M0’) G[7 − E[7 /G− imit, Seq(3×4m;R7 ), PBi (%)
287 (M0’) A[7 − F7 /A − B[7 − G7 /B− PBi (%)
..
295 . Cm − Gm7 /D − Cm/E[ − C7 /E− climax, PB (%)
297 ⊥ B[64 − F7 − cad
299 B[ B[ − B[7 /A[− Coda Pt 2, Str unisono
303 G[ <(G[ − C[ − D[[9
7 ) − F ]7 −
307 (M0’) B7 − A[7 /C− imit, Seq(3×4m;R7 ), PBi (%)
311 (M0’) D[7 − B[7 /D − E[7 − C7[9 /E− PBi (%)
319 ⊥ B[64 − F7 − cad, P D (f )
323 (M0’) B[ <(B[ − F7 )/B[− stretto imit, cresc
333 ⊥ F7 − . . . − tutti climax
337 B[ closing cad (353 m.)

inant chord structure B[7 = I7 , thence also acting as a transitory phrase towards the sub-
dominant chord E[. The second theme from the first group is in the relative minor key G,
and has an irregular M2(abab) (3 + 4 + 3 + 4 m.) period structure. The b-phrase is an ascend-
ing harmonic minor scale in unisono strings, reminding of the M0 scale in the introduction
(there in major), and announcing the return of M0 as second group theme in m. 66 (slightly
varied).
The second group opens with a triple statement of the theme M0, each time answered
with a different closing. This yields a phrase structure M0(accabab’) (4 + 4 + 4 + 4 + 4 + 4
m.), with the c-phrase a cadence into the dominant, and the b-phrase as the real answer
revealing the period structure. The instrumentation supports the subdivision: first M0 state-
ment in lead woodwinds and strings, 2nd statement in clarinets and bassoons, and the final
statement (m. 84) as a tutti climax.
The key relationship diagram of the Frühling symphony is shown in Fig. 9.2. The overall im-
pression reveals a tendency to move into the dominant domain (to the right of the tonic key)
during developments, except for the closing Allegro, which seems the prefer subdominant
key areas (left of the main key).
The opening Allegro sonata form movement has the second theme group in the tradi-
tional dominant major key F , although that is approached through the mediant major key
D (1). The development nicely shows the two similar sequential sections Dm−Gm−Cm−D
(4–6), with the false recapitulation in D, and Am−Dm−Gm−A (7–8). The true recapitulation
moves towards the lowered mediant key D[ = [III (9).
The Larghetto in E[ starts with a key movement along the vertical symmetry axis with a
set of symmetrically distributed roots (minor third, 3i) E[ − C − A (1). The return towards
the tonic is through the dominant key B[ (2). The second half moves into the dominant
domain, with the minor supertonic key F m (2) and using the double occurrence property of
the major mediant key G.
The scherzo is in the relative minor key Gm and has a limited key compass. The two
trios are in the dominant key D and the parallel major key B[. The closing Allegro sonata
form movement returns to the initial tonic major key B[; the secondary theme group is in
the dominant key F (1). The development starts in the lowered mediant degree key D[ =
[III (2), and moves towards more remote keys in the subdominant domain (3–5). From the
furthest point A[m there is a gradual return to the centre, using the familiar move towards
the dominant E[ (4) in the recapitulation, and the unexpected lowered submediant degree
key G[ = [VI (7) in the coda.
9.2 Symphony No. 2 in C Major, Op. 61 (1846)
Source: [60]. An overview of the formal analysis is shown in Fig. 9.3. In its overall layout,
this symphony resembles the first symphony; there is the use of secondary development in
the long closing sonata movement, and the scherzo has two trios. However, note the double
coda section in the Allegro finale of the symphony.

9.2. SYMPHONY NO. 2 IN C MAJOR, OP 61
Mvt. 1 Andante – Allegro Mvt. 2 Larghetto

1
Am Em Bm F ]m A E B F] C]
1,6 3,8
C G D
A Am Em Bm F ]m C]m
t

4
Cm Gm Dm Am
C G D A E
5
7

E[ B[ F C Cm Gm Dm Am Em
2 2 t
E[m B[m Fm Cm E[
XXX B[ F C : G

XXX 3
G[ 9 D[ A[ E[ E[m z Fm
B[m X
X Cm Gm
Mvt. 4 Allegro animato

3,5 1
Mvt. 3 Scherzo Fm Cm - Gm - Dm
3,7

4 Y
H
H 6 6
G D•

A[ E[ - B[?
H
F
?
1

2,6- 6
Gm Dm A[m E[m B[m F m
6 @@ 1,4
I
7 @
I 2

B[ 5 @ RF
@ C[ G[ @ D[ A[
Figure 9.2: Schumann, Symphony No. 1 Frühling, key relationship diagram
h ih i
6 3
Mvt. 1 Sostenuto assai – Allegro ma non troppo: sonata form (C, 4 4 , 347 m.)
Intro (49 m.) Exposition (60 m.) Development (139 m.)

h i
2
Mvt. 2 Scherzo allegro vivace: scherzo form (C, 4 , 397 m.)
Scherzo (98 m.) Trio 1 (62 m.) Scherzo (62 m.)
Trio 2 (75 m.) Scherzo (61 m.) Coda (37 m.)

h i
2
Mvt. 3 Adagio espressivo: ternary song form (Cm, 4 , 128 m.)
A1 B A2 Coda
h ih i
2 3
Mvt. 4 Allegro molto vivace: sonata form (C, 2 2 , 589 m.)
Exposition (118 m.)
Development (162 m.) FR (36 m.) D (28 m.)
Recap (50 m.) Coda 1 (57 m.) Coda 2 (138 m.)
Figure 9.3: Schumann, Symphony No. 2 in C Major, Op. 61

9.2.1 Mvt. 1 Sostenuto assai - Allegro ma non troppo
Form: sonata form. This opening movement has a slow Introduction section (Sostenuto
assai), followed by a faster Allegro, the actual beginning of the sonata form. See Table 9.11
to 9.14 for the analysis.
The opening theme in the slow Introduction has M0(aab) (4+5+5 m.) sentence structure,
with brass fanfare signal character. The background is continued 2-part quarter note patterns
in the strings. The transitory theme Mt1 (m. 15) has Mt(ab) (1 + 1 m.) structure, where the
b-motif announces the exposition main theme (note the similarity in rhythm and melodic
shape).
Considering this motif as the basic building block of the Exposition main subject, we
find the structure M1(aa’baa’b’) (1 + 1 + 2 + 1 + 1 + 2 m.), a modified period. The first
statement in the exposition is by clarinets, bassoons and violins in two parts. The transition
in [B] combines the first transitory motif Mt1 with an ascending arpeggio measured tremolo
motif Mt2 in unisono strings. Later in the Development this second motif will return in
standalone mode.
The second group theme has an unusual layout, but has structural similarity to the main
theme; there is a basic chromatically ascending motif in 8th notes, set in imitation. The first
statement is in m. 24 and we may discern the following phrasing M2(aba’b’) (2 + 3 + 2 + 5
m.).
9.2.2 Mvt. 2 Scherzo. Allegro vivace
Form: scherzo, rondo form, ABACA. As was the case in the first symphony, this scherzo
movement has two trios (labeled B and C) and a Coda. The scherzo A section has an ex-
tended binary form A1 B1 A1 B1 A2 B2 (a rondo within a rondo) and is a feature for first (and
second) violins that play a continuous fast 16th note lead melody, full of arpeggios. The first
trio has ternary song form C1 DC2 ,, while the second trio is more or less through-composed
in a theme and variations form, full of passing chromatic tones, contrary motion and coun-
terpoint. In the coda, the opening brass signal motif from the first movement returns at the
climax. See Table 9.15 to 9.17 for the analysis.
Schumann continues the creative process from the opening movement: melodies are
formed from a basic very short motif (one- or two-measures long). Here, the main sub-
ject has structure M1(aaa’aaa”) (2 + 2 + 2 + 2 + 2 + 2 m.) structure, with the descending 16th
note violin arpeggio as the core element.
The Trio 1 theme in the dominant key G has M2(abab’c) (2 + 2 + 2 + 7 + 7 m.) struc-
ture, a modified period structure with an extended tail, the c-phrase leading into the relative
minor key Em and closing with a cadence on the dominant D. The Trio 2 theme is an ex-
ception in the sence that it has a longer phrase structure M3(ab) (8 + 8 m.), with a more
through-composed character. Its first statement is in the strings in a light (note the absence
of the contrabass) quasi-chorale setting with chromatic stepwise motion in all voices. This
theme is repeated several times in varied form (imitation, different background patterns and
instrumentation).

Table 9.11: Schumann, Symphony No. 2, Mvt. 1 Sostenuto assai - Allegro ma non troppo
m M R H Comment
h i
6
Sostenuto assai 4 Introduction
1 M0a C F − C7 − Dm7 /F − G7 − C/E − G7 /F − Brs, 5th signal motif
4 M0a’ C/E − C]◦7 − Dm7 − Gm7 − G]◦ − A7 −
d
7 ⊥ Dm7 − Gm7 − C7 −
10 M0b Dm7 /F − B◦7 /F − C − D7 /A−
..
12 . C/G − G7no 3 /F − C7 − F − F ]◦ −
14 ⊥ C/G − C−
15 Mt1 G − F ]◦7 − G − C]◦ − Dm − E◦ /G − A7 − WW
18 ⊥ Dm − D7 /C − G/B−
19 M0a C7 /B[ − F/A − C/G − F ]◦ − B◦7 /F − C7 − Brs cresc-dim
21 ⊥ F − B7 − C/G − C7 − Dm7 /F − Am − C−
Un poco più vivace [A]
25 Mt’1 Am Am − Dm − Am − E7 − Am− WW, Seq(2×2m;R3 )
27 Mt’1 F − B[m − F − A7 − Dm−
29 Mt’1 F G − D7 − G − C7 /G − C7 − cresc
33 M0a’ Dm F ]◦7 /C − C/G − Gm − A7sus4 − Dm/A − A− Brs
37 F − G − F/A − G/B − F/C − G7 /D climax, cad
40 M0’ C (G7 − C − F ]◦7 − G[9
7 − D∅7 − G7 )/G− Brs, P D (g) (49 m.)
h i
3
Allegro ma non troppo 4 Exposition
1 M1 C || : C − D7 − Gr 1, WW+Str
..
4 . G7 /B − C7 /B[ − F/A − C/G − C7 /B[−
6 ⊥ F/A − C7 /E − F − G7 /F −
8 (M0) C/E − F ]◦7 /E[ − G7 /D − C−
10 ⊥ G7 /C − Bm7 /D − G7 /B − C7 /B[−
13 M1’ F/A − C/G − F/A − C7 /E− WW
15 ⊥ F − G7 − C − G7 /F − C/E−
17 Mt1+2 G <(G − F ]◦7 )− [B] trans, climax
21 G − E[/G − E◦7 /G − F ]◦ /A − E[64 − B[7 − cad
24 M2 E[ E[ − B[7 /D − −E[ − F7 /A − B[ − B[7 /D− Gr 2, WW-Str imit
31 ⊥ E[ − B[7 − E[ − E[7 − D7 −
36 M2 G <(G − F ]◦7 )/G− [C] 2nd stat, P (g)
40 ⊥ G7 − C/G − G7 − C46 − G7 −
43 C C/G − G7 /B − C − G/D − G◦7 /C] − G/D− cad, chrom
45 G◦7 /E − D7 /F ] − G− cresc to climax
46 G Am/C − G/D − D]◦7 −
47 Em − G7 /F − C/E − G/D−
49 C]◦7 − D7 /C − G/B−

(cont’d)
m M R H Comment
50 M1’ Am/C − G64 − D7 − G − D7 − closing stat: WW+Str
..
52 . G − Am7 /C − D − G − D7 −
54 ⊥ G − Am7 /C − D7 −
55 1) G − Am − G/B − C − B : || repeat
◦
58 2) G − G /F −
7no 3
60 M1’/t2 E E − B7sus4 − E − E7 /D− Dev, WW/Str

62 M1’/t2 Am Am/C − E7 − Am − C∆7 /B−
64 Mt2 Am − B∅7 /A − A7 /G − Dm7 /F − Dm− trans, imit: Str
69 ⊥ E∅7 /D − D − D7 /C − Gm/B[ − C]◦7 − cresc to climax
73 M2 A7 − Dm − D7 − G − G7 − C − C7 − imit, Seq(4×2m;R5 )
80 Mt1+2 F F − <(E◦7 − F ) − B∅7 − [D] WW/Str
d
84 Mt1+2 C C − <(B◦7 − C) − F ]◦ −
88 E[/G − Dm/F − C]◦7 − Dm/F − C/E− Seq(2×4m;R3 ),
90 Mt2 B/D] − C/E − B7 − imit: Str
..
92 . C/E − B/D] − B[/D− [S̄ 6 ]
94 ⊥ A/C] − B[/D − A/C] − A7 −
96 Mt2 Dm Dm − Dm7 − D7 − G/B− Seq(2×4m;R−7 )
d
100 ⊥ Cm − A∅7 /C − E◦7 /B[ − F/A − F7 /A −
104 Mt1+2 G[ G[/B[ − <(F◦7 − G[) − C◦7 −
d
108 Mt1+2 D[ D[ − <(C◦7 − D[) − E[7 /B[ −
112 F [m/A[ − E[m/G[ − D[/F − Seq(2×4m;R3 )
d
114 Mt2 C/E − B[m7 /F − C/E − C7 −
..
116 . D[/F − C/E − B/D]− [S̄ 6 ]
118 ⊥ B[/D − A[m7 /E[ − B[/D − B[7 −
120 E[m E[m − F7 /E[ − B[m/D[ − F7 /A− trans
124 B[m B[m − G[/B[ − B◦7 − C− cresc
129 M2 Fm F m − D[∆7 /F − B[m7 /A[ − E[7 /G− climax, Vi1+Va
133 ⊥ Cm − F7[9 /A − B[m − E[m7 /D[ − A[/C−
137 M2 C]m C]m − F ]m7 /E − D]◦ − G]m7 /F ]− climax, Vi2+Vc
141 ⊥ C]7 − F ]m − Bm − E7 −
145 M2 Am Am − F∆7 /A − A − Dm7 /C − G7 /B− climax, WW+Vi1
149 ⊥ Dm Em7 /D − A[97 /C] − Dm − Gm − C−
153 M1/t2 F F − Am/E − Dm − F/C − G]◦7 /B− WW
157 Mt2 G]◦7 − C]◦7 − F ]◦7 − B◦7 − G7 −
165 M1 Cm Cm − <(G7 − Cm) − A[/C (N 6 ) clim: WW+Str, P T (c)

(cont’d)
m M R H Comment
169 D7 − G − (F ]◦7 − G − Cm − Gm)/G− [E] Retrans
173 (Mt2 ) (A7 − Gm7 − A7 − Dm − C]◦7 − Dm)/G− Vc, P D (g)
..
176 . (A[ − A − A[ − G − A[)/G−
..
178 . (G − Am7 − G7 − Cm − C7 )/G−
..
180 . (F − Dm − D7 − G − E∅7 − A7 )/G−
..
183 . (Dm − A7 − Dm − F ]◦7 )/G−
..
185 . (G − F ]◦7 − G − G7 )/G−
..
187 . (Cm − G7 − Cm − Gm7 )/G−
189 ⊥ (A[ − Gm − F ]◦ − D7[5 /A[)/G− (ped)
[5/[9
191 Mt’2 <(G − D7 /E[)− [F] Vc, cad
196 C/E − F ]◦7 /E[ − G7 /D− cresc to climax
199 M1 C <(C − G7 ) − C − Bm/D − D7 /C− Recap Gr 1, WW+FHn
..
202 . G/B − G7 /B − C7 /B[ − F/A − C7 /B[−
204 ⊥ F/A − C/E − C7 /G − Dm7 − G − G7 /F −
206 C/E − F ]◦7 /E[ − G7 /D − C − G7 − cad
d
208 M1’ G − C7 − Am/C − D7 /C−
..
210 . G7 /B − C7 /B[ − F/A − C/G − C7 /B[−
..
212 . F/A − C/E − C7 /G − Dm7 − G−
214 ⊥ C − Gno 3 − C/E− cad
215 Mt1+2 Am <(Am − Dm/A − A)− trans, WW-Str unis
219 (M1’) Dm/F − E7 /D − Am − G]◦ − Am−
221 ⊥ Em/B − B7 − Em−
223 Mt1+2 Cm <(Cm − F m − Cm)− [G] WW-Str unis
227 Cm − A[/C − A◦7 /C − B[m/D[ − B◦ /D
229 A[64 − E[7 − cad
230 M2 A[ A[ − E[7 − A[ − B[7 − E[ Gr 2, WW+Str imit
..
235 . F ]◦7 − E[7 − A[ − B[7 − E[7 − climax
240 ⊥ A[ − D7[5 /A[ − G − G7 /F − C/E−
242 M2 C − <(G7 − C) − <(F/C − C7 ) − F 2nd stat, P D (c)
250 (C − F ]◦7 − C)/G − F ]◦ − Gm7 /B[ − C− cad, chrom
252 C Dm − C − G]◦7 − Am − C7 /B[ − F/A− cresc
254 (C − F/A − C)/G − F ]◦7 − G7 /F − C/E−
256 Dm/F − C46 − G− cad

(cont’d)
m M R H Comment
257 M1’ C <(C − G7 − C − F − G)− closing stat: WW+Str
261 C − C7 /B[ − A− [H] trans
265 D/A − A7 /G − F − B[/F − F −
Con fuoco Coda
271 M1’ C <(Dm − G[9 [9
7 /F − C/E − A7 /G)− climax: WW+Vi1
..
277 . Dm/F − C]◦7 /B[ − Dm/A− Seq(3×1m;R7 )
278 ⊥ E◦7 /G − F ]◦7 /C − C]◦7 /B[−
279 F ]◦7 /A − D7 /C − G/B − Am/C − Dm−
d
281 G/B − C/E − F − C46 − G − cad
283 D7 /C − G/B − Am/C − Dm−
285 G/B − C − F − cad
286 <(C/G − G7 /F − C/E − F/A)−
290 C/G − Gm7 /F − C7 /E−
293 M1” F F − C]◦7 − G]◦7 /F − D]◦7 /F ]− climax:WW+Str
295 ⊥ /M0 C C/G − Dm7 − G7 − FHn
299 M0 (C − C7 − C]◦7 )/G − Dm/F − E7 − FHn (opening)
305 Am − A7 /G − Dm/F − E − A7 /C]−
309 Dm − G7 − cad
311 M1” C− [I] climax: WW
.. d
312 . <(D7 /F ] − G7 − A7 /G] − Am − Am7 /G)−
..
316 . D/F ] − C7 /G − D/F ] − Dm/A−
.. d
318 . E7 /G] − F/A − E7 /G] − E◦7 /B[−
..
320 . F ]◦7 /A − B◦7 /A[ − C/G − E◦7 /B[−
..
322 . F ]◦7 /A − B◦7 /A[ − C/G − A[[9
7 /G[− climax (Brs)
324 ⊥ D[/F (N 6 ) − A[7 /G[ − D[/F − F ]◦7 − (tutti climax)
326 (C − G − C − G[9 7 − C − G7 )/G− P D (g)
332 C − <(G − C) closing cad (347 m.)

Table 9.15: Schumann, Symphony No. 2, Mvt. 2 Scherzo. Allegro vivace
m M R H Comment
h i
2
Scherzo. Allegro vivace 4
1 M1 C || : <(F ]◦7 /A − G/B − C) − F ]◦7 /A− A1 , 16th note lead: Vi1
..
7 . E[ E[64 − B[7 − E[ − E[7 = A[57 /E[−
11 ⊥ G Gm64 − D7 −1) G : ||2) G cad, repeat
13 M1’ Fm C7[9 − F m − G◦ /B[ − F m64 − C7 − F B1 , Seq(2×4m;R7 ),
d
17 M1’ E[m B[[9 6
7 − E[m − F◦ /A[ − E[m4 − B[7 − C[ Σ(cm)
21 (M1) B <(F ]7 − B)− Vi2, P (b−f ])
25 (M1’) B − G]m − F ] − B lead: Vi1, cad
29 ⊥ Bm − G − . . . − climax, Str unisono
35 M1 C <(F ]◦7 /A − G/B − C) − F ]◦7 /A− [K] A1 , 16th lead: Vi1
..
41 . E[ E[64 − B[7 − E[ − E[7 = A[57 /E[−
45 ⊥ Gm Gm64 − D7 − Gm cad
47 M1’ Fm C7[9 − F m − G◦ /B[ − F m64 − C7 − F B1 , Seq(2×4m;R7 ),
d
51 M1’ E[m B[[9 6
7 − E[m − F◦ /A[ − E[m4 − B[7 − C[ Σ(cm)
55 (M1) B <(F ]7 − B)− Vi2, P D (f ])
59 (M1’) B − G]m − F ] − B lead: Vi1, cad
65 ⊥ G − ...− climax, Str unisono
69 M1 C <(F ]◦7 /A − G/B − C) − F ]◦7 /A− A2 , 16th lead: Vi1
73 ⊥ Dm − G7 − C − Bm − B7 /D]−
76 (M1) E E − <(B7 − E)− B2 , imit: Vi, P (e−b)
80 (M1’) E lead: Vi1
..
83 . C C − Am − G− climax, cad
86 ⊥ C − F ]∅7 /A − G7 −
90 (M1) <(C − E◦7 − B◦ )/C− climax, imit, P T (c)
94 ⊥ C − <(B◦7 − C)/C closing cad
Trio 1
98 M2 G || : G − D7 − G − E7[9 − Am − D− C1 , WW(a)-Str(b)
102 M2 G − D7 − G − <(D/F ] − A7 /E)− 2nd stat: WW(a)-Str(b’)
..
108 . Em D/F ] − C/E − B7 /D] − Em − D]◦ /F ]−
112 ⊥ B7[9 − Em7 − Am7 − D : || chr Σ(cm), repeat
118 (M2) G D7 − C]◦ /E − D − D7 − Str
122 M2’ B[ (B[ − <(E[ − B[) − B[)/B[ − F7 − D, bridge, WW
126 M2’ (B[ − <(E[ − B[) − B[)/B[− 2nd stat, P T (b[)
129 ⊥ F7 − B[ − D7 − G − C − D−

Table 9.16: Schumann, Symphony No. 2, Mvt. 2 Scherzo. Allegro vivace (cont’d)
m M R H Comment
132 M2 G G − D7 − G − E7[9 − Am − D− C2 , WW(a)-Str(b)
136 M2 G − D7 − G − <(D/F ] − A7 /E)− 2nd stat: WW(a)-Str(b’)
..
142 . Em D/F ] − C/E − B7 /D] − Em − D]◦ /F ]−
146 ⊥ D B7[9 − Em7 − Am7 − D chr Σ(cm)
252 C G97 − C − D − G − G97 − Am − D7 − G−
256 (Dm − G[13
7 )− retrans, Str unisono
Scherzo 1st repeat
162 M1 C (See m. 1–12) [L] A1
174 M1’ (See m. 13–20) B1
182 (M1) B (See m. 21–34)
196 M1 C (See m. 69–75) A2
203 (M1) E (See m. 76–89) B2
217 (M1) C (See m. 90–96) closing cad
Trio 2
224 M3 Em C − B7 − Em − C − F ]◦7 /C− E1 , Str,
..
228 . G/B − C − G/D − D]◦7 − chr, Σ(cm)
..
230 . Em − E∅7 /D − A7 /C] − D7 − D7 /C−
..
233 . G G − G]◦7 /D − Am/C − G]◦ /B−
..
235 . Am − G − F ]∅7 − G − C]◦ /E−
237 ⊥ G64 − D − G7 − cad
239 M3/c C C − F/A − G7 /B − C − G7 − E2 , WW, with
..
242 . C − F − G7 − countermel in Va
244 ⊥ C − F − G7 /B − C − A∅7 /G − D7[9 /F ]−
d
248 M3/c G G7 − C − G64 − D7 /A − Em/G − Am7 − Bsn+Vc
252 I(M3) G64 − D7 − G Vc+DB, cad
d
254 M3/I Am − C7 − B[/D − A/C] − Dm − B7[9 − stretto imit M3/I(M3)
..
263 . Em Em − G/D − Am/C−
265 ⊥ G/B − F ]◦ /A − G − G7 −
267 M3 F C − C7 − F − C/E − G7 /D − C − F [M] E3 , WW+Str,
..
271 . C F − G7 − C − A∅7 − D7[9 /F ] − G7 /F Σ(cm)
..
277 . C/E − A7 /G − Dm − C − G97 −
280 ⊥ C − F ]◦ /A − C46 − G− cad

Table 9.17: Schumann, Symphony No. 2, Mvt. 2 Scherzo. Allegro vivace (cont’d)
m M R H Comment
282 M3’ Dm C]◦7 /E − B[/D − A/C] − A − Dm retrans, Seq(2×4m;R−5 ),
286 M3’ Am G]◦7 /B − F/A − E/G] − E − Am WW
290 (M1) Am7 /G − F ]◦7 − C∆7 /B − D]◦7 /A− 16th notes in Vi1
294 (M1) Am7 /G − F ]◦7 − C∆7 /B − D]◦7 /A−
298 ⊥ F ]◦7 cresc
Scherzo 2nd repeat
299 M1 C (See m. 1–12) A1
311 M1’ (See m. 13–20) B1
319 (M1) B (See m. 21–34)
333 M1 C (See m. 69–75) A2
340 (M1) E (See m. 76–89) B2
354 (M1) C (See m. 90–96) closing cad
Coda
360 M1’ C (C − E◦7 − B◦7 − F ]◦7 )/C− Vi1+2, tutti, c-ped
..
365 . F E◦7 = C7[9 − <(F − C7 ) climax, Seq(2×4m;R7 )
..
369 . G <(D7 − G)
..
373 . C <(G7 − C) − E7 −
..
376 . Am − C7 − F − G7 −
..
378 . C − G7 − C − E7 −
..
380 . Am − C7 − F − G−
..
382 ./Ms C − Am − D7 /F ] − D7 − Ms: Brs (opening motif
..
386 ./⊥ C/G − B◦ − F − G7 − from Mvt. 1)
..
390 . <(C − F ]◦7 − G[9
7 )− closing cad
394 ⊥ C −G−C (397 m.)

9.2.3 Mvt. 3 Adagio espressivo
Form: ternary song form, A1 BA2 . The A sections are based on a lyrical melody with wide
leaps and appoggiaturas. The middle section B is a fugato for staccato strings (arpeggio-like
motif) and woodwinds (chromatically descending syncopating line). See Table 9.18 and 9.19
for the analysis.
The A section main melody has M1(ab) (4 + 4 m.) structure; there is a first statement in
the tonic minor key Cm in violins and a varied repeat in the relative major key E[ in the lead
oboe. This longer segment closes with a climax and an 16th-note triplet arpeggio fanfare-
like statement in the horns with structure M2(aab) (1 + 1 + 4 m.). In the transition there is a
lead melody in the first violins, in 8th-note rhythm and ascending chromatism with M3(aab)
(2 + 2 + 4 m.) period structure.
9.2.4 Mvt. 4 Allegro molto vivace
Form: sonata form. See Table 9.20 to 9.23 for the analysis. This finale movement has a most
unconventional formal structure. The opening motif (unisono ascending scale, labeled M0a,
followed by accented half notes, M0b) in the Introduction is more than just a run to launch
the movement; both phrases will be extensively re-used in the development. The Exposition
first group main theme, M1, however does not return as an easily recognisable element in
the movement. A transitory motif Mt2 in quarter note triplets and combined with a fast
8th note countermelody leads into the second group. The main theme from that group, M2,
which is in fact the melodic inversion of the main motif from the third movement, returns
in the Development in modulatory phrases and in imitation with the original form of this
theme. After the general pauses one expects the Recapitulation; however, a completely new
theme enters (M3, a quote from the Beethoven song cycle ‘An die ferne Geliebte’) and is the
main element in the secondary development. There is no straightforward recapitulation of
the thematic material. In the Coda the brass signal from the 1st movement (labeled Ms)
returns once again, in combination with several themes from this movement. The second
coda section combines the 2/2 and the 3/2 meter.
The opening motto has M0(ab) (2 + 2 m.) structure and juxtaposes a unisono ascending
scale in 16th notes (a-phrase) with an accented half-note cadential b-phrase with chromat-
ically ascending lead. The Exposition main subject has M1(aa’b) (4 + 4 + 10 m.) period
structure where each a-phrase may be subdivided into smaller cells M1a(ccd) (1 + 1 + 2 m.).
The first transitory theme Mt1 amalgamates the rhythm from M1 with the melodic shape
of the M0a-phrase. The second transitory theme Mt2 is based on a two-measure, two-part
ascending arpeggio motif in quarter-note triplets, set in imitation with a continuous legato
8th-note violin countermelody.
The secondary subject has M2(ab) (4 + 4 m.) structure. The core element here is the a-
phrase (the quote from the third movement), which returns in imitaton and variation. In
the false recapitulation, m. 280, there is a new theme with M3(aab) (4 + 4 + 4 m.) sentence
structure. The a-phrase is in woodwind chorale setting with contrary motion in half-note
rhythm, the b-phrase a descending minor scale for unisono strings. This theme is also the
basis for the coda section, where it returns in variation form and in counterpoint (imitative)
settings.

Table 9.18: Schumann, Symphony No. 2, Mvt. 3 Adagio espressivo
m M R H Comment
h i
2
1 M1 Cm Cm − A[ − Cm/G− A1 4 Vi1+2
..
3 . F m − D∅7 − G7 − G7 /F − C/E−
..
5 . F m7 − B[7 − E[ − E[/G−
7 ⊥ F m7 /A[ − F7 − B[ − B[7 /A[−
9 M1 E[ E[/G − A[ − F m− 2nd stat: Ob
..
11 . B[[9
7 /C[ − B[/A[ − E[7 /G − A[−
..
13 . D∅7 /F − E[/G − F m7 /A[ − B[7 /A[− [S̄ 6 ]
..
15 . E[/G − B[7 /F − E[[9 [9
7 /F [ − C7 /E − F m−
17 ⊥ D∅7 − E[/G − F m7 /A[ − B[7 − E[
20 M2 <(A[ − E[) − Cm7 − climax: FHn, P T (e[)
23 ⊥ B[ B[ − <(E[m − B[) − B[7 /A[−
26 M3 E[ E[/G − A[ − F7 /A − B[ − B[7 /A[− trans, Vi1+Va
..
28 . E[/G − F7 /A − B[ − B[7 /A[−
..
30 . E[/G − C∅7 /G[ − B[/F −
32 ⊥ (F7sus4 − B[ − E∅7 − F7 )/F − cad, P D (f )
35 M1 B[ B[ − C7 /G − F m− imit: WW
..
37 . D[ − F∅7 /C[ − B[ − B[7 /A[−
..
39 . E[/G − B[7 /F − E[7 − . . . − PBi (%)
41 ⊥ E[ − G[9
7 /B − A[/C − E[7 /B[−
44 M2 <(A[ − D[)/A[ − A[ − F∅7 /A[− [N] Vi1, cad, P (a[)
[5/[9
48 M1’ E[/B[ − E[+ /B − Cm − A7 /C] − Gm/D− Vi, PBi (%), P (g)
..
51 . E[ − C7[9 /E − B[/F − B[+ /F ]− PBi (%), P T (b[)
[5/[9
53 ⊥ Gm − E7 /G] − Dm/A − B[7 − PBi (%), Σ(cm>)
56 M1’ G7 /B − Cm − F7[9 /A− trans, WW
58 ⊥ (E[ − F7[9 − B[7 )/B[−
62 Mc E[ E[ − G − Cm − F7 /A− [O] B, ctp: Str+WW,
..
63 . B[ − E[7 /G − A[ − C7 /E− chr desc (fugato)
..
64 . F m − B[7 /A[−
..
65 . E[/G − G7 /F − Cm/E[ − E[7 /D[−
..
66 . A[/C − D7 /F ]−
67 ⊥ Gm − G7 /F − C/E − C7 /B[−

Table 9.19: Schumann, Symphony No. 2, Mvt. 3 Adagio espressivo (cont’d)
m M R H Comment
68 Mc F m/A[ − A[∆7 /C−
..
69 . D[ − F7 /A − B[m − D∅7 /F −
..
70 . E[7 /G − F m − E[ − E[7 −
72 ⊥ C7 − F m/A[ − D[∆7 /F (N 6 )
74 M1/c (G − G+ − Cm − C7[9 − F m − D◦ )/G− retrans, WW, P D (g)
..
77 . (G − G7 − C7 − F m − B7[9 )/G− (Mc: Str)
..
79 . (E[ − F ]◦7 − G − Cm − F ]◦7 )/G−
81 ⊥ G − G7 /F −
82 M3 C C/E − F − G − G7 /F − C/E − F ]◦7 − A2 , Str, P D (g)
..
85 . G − G7 /F − C/E − A∅7 /E[−
87 ⊥ G64 − A7 /E − D7 /F ]− cad
91 M1’ G G − A7 /E − Dm − Dm/F − B[ − B[7 /A[− imit: WW
..
94 . G7 − G7 /F − C/E − G7 /D − C7 − B[/D PB (&)
97 ⊥ E[ − B[7 /F − E[/G − G◦7 − F/A − C7 /G− PBi (%)
100 M3 F <(F − B[m)/F − F − D∅7 /F −
104 M1’ C/G − C + /G] − Am − F ][5
7 /A] − Em/B− Vi, PBi (%)
..
107 . C − A7 /C]−
..
108 . G/D − G+ /D] − Em − C][5 7 /E]−
109 ⊥ Bm/F ] − G7 − PBi (%), Σ(cm>)
111 M1’ E7 /G] − Am − D7[9 /F ]− trans, WW
114 ⊥ (C − F ]◦7 − G7 )/G−
118 M1’ C C − C7 − F m/C − D[ − F7[9 /C− Coda, Vi1
120 M3’ D[ − G7 − C − C + − D[/F − A[[9
7 /G[−
..
123 . D[/F − B[/F − G[5
7 /D[−
124 ⊥ <(C − F m/A[ − B◦7 /A[) − C46 − G7 − C cad (128 m.)

Table 9.20: Schumann, Symphony No. 2, Mvt. 4 Allegro molto vivace
m M R H Comment
h i
Allegro molto vivace Introduction 22
1 M0 C C −D−G Exp, a+b: Str unis, cad
5 M1 <(D − G) − C − D − G Gr 1/Th 1, M1a: WW
..
9 . <(G − C) − Dm7 /F − G − C − C∆7 /B− M1a’: WW+Str
..
13 . Am − B − Em − A/C] − G/D − D7 /C− b
..
16 . G/B − C/E − G/D − D7 /C−
..
18 . G/B − Dm/A − E7 /G]−
20 ⊥ Am − G/B − Am/C − D − G cad
23 Mt1 (G − G7 − C − G7 − . . . − Dm)/G − C7 − trans, imit, P D (g)
33 (M1) 9 − B − E [9 − A −
F∆7 ∅7 7 7
..
36 . C]◦ − Dm/F − C46 − G − C − C7 −
..
39 . F − B∅7 − Em − Am7 −
43 ⊥ Dm − E7 /G] − A − F ]◦7 −
45 G4 − G− [P] cad
46 Mt2 /c C − Dm − G7 /C− trans, Mt2 : WW, Mc: Vi1,
..
50 . C − F − B∅7 − Em7 − (triplets vs. 8th notes)
54 ⊥ G Am7 − D7 − G − Em7 − A7 − D− modulation to D
d
63 M2/c D7 − G/B − Am7 /C − D7 − Gr 2/Th 1, WW+Str,
69 ⊥ Em − C]◦7 /G− (tripl vs. 8ths)
71 M2/c D7 /F ] − G− 2nd stat
75 M2 A7 − D7 /A − D− 3rd stat,
..
79 . E7 /D − Am/C − D7 /C − G/B− (tripl vs. 8ths)
d
85 ⊥ (G7 − C − G7 − C − G7 )/G − Am7 − P D (g)
93 Mc <(G7 /F − G − C) [Q] trans, WW+Str unis
103 ⊥ G7 /F − G − C Σ(cm<)
105 M1 C <(G − C) − F − G − C − C∆7 /B− Gr 1/Th 1, fin stat,
.. d
109 . Am − B − Em − A7 /C] − climax
..
111 . G/D − D7 /C − G7 /B − C/E−
..
113 . G/D − D7 /C − G/B − Dm/A−
115 ⊥ E7 /G] − Am − D− cad

Table 9.21: Schumann, Symphony No. 2, Mvt. 4 Allegro molto vivace (cont’d)
m M R H Comment
118 M0 G G − A7 /G − Dm/F − A/E− Dev, a+b: Str unis
122 M0 Dm Dm − E7 /D − Am/C − E/B− modulation
126 M0a Am Am − B[∆7 /A − E∅7 /G− imit, Seq(3×2m;R−7 )
129 ⊥ A7 /G − Dm/F − G7 /F − C]◦ /E−
133 M0a F∆7 /E − Dm − E[∆7 /D− imit, Seq(3×2m;R−7 ),
..
136 . Cm7 − D7 /C− (4th-note tripl vs. 16ths)
138 ⊥ Gm/B[ − Cm7 /B[ − D7 /A− M0a+I(M0a)
141 M0b’ Gm Gm/B[ − A − <(Gm − D) imit: Str+WW, P D (d)
145 M0b’ Dm Dm − <(C]◦ − Dm) − E7 − 4th-note tripl (ped)
150 M0a Am E7 − Am/E − F ]◦7 /D − D7 − (ped)
155 ⊥ Gm Gm − Dmno 3 (ped)
158 M0b’ Gm − D − Gm − <(C]◦7 − Dm)− Σ(cm>), (ped)
[5/[9
164 ⊥ E7 /D − G7 /D[ − Am/C−
[5/[9
168 A◦ − F ]◦7 /C − F7 /C[ − Gm/B[−
172 <(E[ − B[7sus4 )/B[−
176 <(E[ − Gm7 )/G−
178 Am7 − A7 − <(D − C]◦7 )/D− P D (d)
182 (D − A7 − D − C]◦7 − D7 − Gm)/D− Σ(cm<)(ped)
186 (D − C]◦ − D)/D− (ped)
188 D7 /C − C]◦7 /B[ − D7 /A− [R] climax, Σ(cm<)
191 I(M2) Gm Gm − C]◦7 /G − D7 /F ]− I(M2a): Cl, Str: 4th tripl
..
195 . Gm − E◦7 /G − F7 /A− I(M2a): WW
..
199 . B[ − A[/C − B[7 /D− M2b: WW
203 ⊥ E[ − Cm/E[ − D[/F − E[7 /G−
207 M2/Ms A[ − G− M2a: Cl, Ms: Brs
211 I(M2) Cm Cm − F ]◦7 /C − G[9
7 − M2a imit: WW+Str
..
215 . Cm − A◦ − B[− M2a, Str: 1/4 tripl
219 (M2b’) E[ − A◦ − F ]◦7 − D7 − G7 − imit: WW+Str
..
226 . G∅7 − C7 /E − F m − B[7 /D − E[−
..
231 . F ]◦7 /C − D7 /A[ − B◦7 − G7 − Cm−
234 ⊥ Gno 3 − Cm − D[/F − E[7 −
237 I(M2) A[ A[/E[ − A[ − E[7 /G− M2a imit: WW+Str
..
241 . A[ − E[ − E[ − F ]◦7 − D7 − Gm− M2ab, Str: 1/4 tripl
..
246 . C7 /E − F m − B[7 /D − E[−
.. d
250 . D − G7 − A[ − G7 /F − Σ(cm<)
252 ⊥ Cm/E[ − G7 /D−

m M R H Comment
253 Cm − D[ − Cm/G − E[7 − A[ − Gm/B[− cresc-clim-decr
d
259 A[/C − C7 − F m − Cm/E[ − D − G7 −
263 A[ − G[9
7 /F − Cm/E[ − G7 /D−
d
265 Cm − D[ − G7 − A[ − F m − F m/A[− cresc-clim-decr
271 G4 − G − Cmno 3 − Cm G.P.
280 M3 E[ A[ − E[ − F m7 − B[7 − E[ False Rec, M3a: WW
284 ⊥ A[ − E[ − F m7 − B[7 − E[ M3a (M3≈M0b)
288 (Cm − A[7 − G) Str unisono
292 M3 G C − G − D7 − G − C − G − D7 − M3aa: WW
299 Cm G − F ]◦ − B◦ /F − Cm/E[ − Dm − Cm− Σ(cm<), Str unis
301 (G[9
7 − Cm − A∅7 − G)/G− FHn: 4th tripl, P D (g)
308 Fm (C7[9 − F m − E◦7 − B◦7 − C)/C − D]◦7 − P D (c)
316 M3 (C7 − F m − B[9 − C7 − F m − C7 )/C− M3a: Str
320 ⊥ C7 − F m − B[9 − C7 − F m
324 M3 C (G − C − F 9 − G7 − C)/G− [S]
..
328 . (G − C − F 9 − G7 )/G − C − C7 /B[−
..
332 . F/A − C/G − F − G7 /D − C/E−
..
336 . Dm/F − A7 /E − Dm − A/C]−
..
338 . Dm − G − C7 /B[−
340 ⊥ F/A − C/G − F − G7 /D − C/E−
344 M0 <(D7 /F ] − C/G − D7 /F ] − G97 /F − C/E)− Rec, M0a: Str
352 A[5 [5
7 /E[ − D7 − G7 /D[ − C− climax, Σ(cm<)
d [5/[9
356 C7 /B[ − Dm7 /A − D7 /A[−
359 M0 (C − G]◦7 − A7 − Dm)/G− M0a imit, P D (g)
365 ⊥ (D]◦7 − Em − G7 )/G− cresc to climax
367 M0 (C − G]◦7 − A7 − Dm − D]◦7 )/G− P D (g)
374 <(Em − G7 − C − C7 − F + − Dm − D]◦7 )/G−
382 (Em − G7 − C − G]◦7 − Am − E◦7 )/G−
385 (F − C]◦7 − F ]◦7 )/G−
387 M0 G − G7 − . . . − [T] climax, Σ(cm<)
394 M3 F − B◦ /F − C/E − Dm7 − G7 − C Coda 1, M3a: Str
398 ⊥ F − B◦ /F − C/E − Dm7 − G − C
402 (C − F )−
406 A7 /C] − Dm − B◦ /D − C − Dm7 − G − C

m M R H Comment
410 C − G7 − G/D − C/E − C∆7 − F − G7 /D−
d
414 C/E − Dm/F − G7 − Am − Dm − G − C
418 M3 Dm − G7 /F − C/E − Dm − G7 − C M3: WW+Str
422 ⊥/Ms Dm − G7 /F − C/E − C − F − C Ms: Brs (Mvt 1)
426 M3 Am7 /G − G7 /F − C/E − Dm7 − G7 − C M3: WW+Str
..
430 . /Ms F − G7 /F − C/E − F − C− Ms: Brs
433 ⊥ A7 − Dm − Em7 /G−
436 M3 Dm A7 − Dm − G9 − A7 − M3: WW+Str
..
440 . Dm − Em − A7 − Dm − G9 − A7 −
444 ⊥/Ms Dm − C]◦ /E − Dm/F − G − Dm/F −
448 C/E − F − C46 − G7 − cresc, cad
h i h i
2 3
451 C C − G − Cm/G − D7 /F ] − G − C]◦ − Coda 2 2 / 2
457 Dm − C − Dm−
459 F − Gm − Dm7 − G7 /F − C/E−
461 F − B◦7 /F − C/E − F − Str unisono
d
465 C46 − G − F −
469 F − B◦7 /F − C/E − F −
473 M3 C46 − G − C − F − G7 /B − C imit: WW-Str
477 M3 Dm − G7 − C − F − G7 /B − C− imit
..
480 . /Ms C − F − C − G − Am7 − G7 /B − G Ms: Brs
486 ⊥/Ms G − G7 /F − C − F − C46 − G97 − C
493 G/B − C7 /B[ − F ]◦ /A − F m/A[− climax, PBi (&)
497 G7 − C − G − C cad
501 G/B − C7 /B[ − F ]◦ /A − F m/A[− repeat
505 G7 − C − G − C cad
508 M3’ (F − G7 − C)/C − G − C cad
512 M3’ (F − B◦7 − C)/C − G97 − C climax, cad
516 M3” F − . . . − B7 − . . . − Gm/B[ − . . . − imit, M3”≈M0b
528 ⊥ A7 − . . . − Dm − . . . − G7 − . . . tutti cresc
537 C − Am7 − G/B − C − Dm/A − G7 /B− climax
541 C − Am7 − G/B − C − . . . −
546 Am/C − F − Dm
552 M0 G − G7 − G]◦7 − Am − Dm − G7sus4 − G − C M0a: Bsn+Str
560 (C7 − C]◦7 − F − A7 − Dm)/F − C46 − G−
567 C]◦7 − Dm/F − C46 − G7 − C
572 (M3) (C − G7 )/C − C − . . . −
581 M0 C −F −C cad (589 m.)

9.3. SYMPHONY NO. 3 IN E[ MAJOR RHEINISCHE, OP. 97

The key relationship diagram is shown in Fig. 9.4. The first two movements have the widest
key envelope. They beautifully illustrate how Schumann moves away from the tonic key
and then, at the most remote point, uses an enharmonically equivalent key to return to the
central key area. In the opening Allegro this happens at Dm − (F ] = G[) − D[ (8–9) and
somewhat later at F m − (D[m = C]m) − Am − Dm (10–11). The second movement has the
peculiar F m − E[m − (C[ = B) − C (3–4) key sequence.
The opening Allegro sonata form has the first theme group in the tonic key C, the sec-
ondary group in the dominant key G (3). The development section starts in the mediant
major key E (5) and then starts a long route through many keys, moving from the dominant
into the subdominant domain. In the recapitulation there is the move to the lowered subme-
diant major key C − Am − Cm − (A[ = [VI) (14) and the usual coda close by sidestepping
into the subdominant C − F − C (15).
The scherzo movement starts with complex keys movements from the tonic major key
C into the subdominant domain, passing through the lowered mediant degree major key
E[ = [III (1), on a journey through the minor keys F m − E[m (3) . The movement has two
trios, one starting in the dominant key and moving to its relative minor G − Em (11-12), the
other does the reverse Em−G−C −F (15-16). The first trio retransition uses the intermediate
lowered mediant major key B[ = [III/G (13).
The third movement Adagio is in ternary song form and moves from the tonic minor
Cm to the relative major key E[ and its intermediate dominant key B[ (1). The last A section
moves towards the parallel major key C (2).
In the closing Allegro sonata form movement the secondary theme group once again is in
the dominant key G, as is the start of the development (1). This wanders from the dominant
area Dm−Am (2), through the dominant and tonic minor Gm−Cm (3) into the subdominant
domain A[ − E[ (4). The dominant key acts as a kind of pivotal point in this movement.
9.3 Symphony No. 3 in E[ Major Rheinische, Op. 97 (1850)

Source: [60]. Schumann later in his life was appointed as symphony orchestra conductor in
the town of Düsseldorf, and wrote this symphony for The Rhenish Festival. An overview
of the formal analysis is shown in Fig. 9.5. This symphony is unusual in the sense that it
consists of five movements. In the long opening movement note the approximately equal
length of the exposition and the development. The third movement has a long bridge sec-
tion, compared to the outer A sections. The tempo markings are in German, as opposed to
Italian in the earlier symphonies.
9.3.1 Mvt. 1 Lebhaft

Form: sonata form. See Table 9.24 to 9.27 for the analysis. The movement opens with the
heroic and majestic main theme; there is no slow introduction section as was the case for the
earlier symphonies.1 The main theme is also used in most of the transitions. A brief false
1
Probably because of its title (Rheinische) this theme for many years was the signature tune of the West-
Deutscher Rundfunk (WDR) regional news programme for Nord-Rheinland-Westfalen ‘Hier und Heute’, with
the music as background behind impressive helicopter footage of the industrial Ruhrgebiet (then still an active
coal mining and steel production centre). Only later I learned that it was a Schumann original.

Mvt. 1 Sostenuto – Allegro

t
A E B F] C]

Am Em Bm F ]m C]m
t
5
C G D A
E

1,6,13

8,11

Cm Gm Dm Am Em
3
Y
H
H
6
?H - 6 -
j
H
E[ B[ F H C G
2,7,15 12HH j 6

E[m - B[m - F m Cm Gm
t Y
H
HH

G[ - D[ A[ E[ 4 B[
9 14
G[m 10 D[m t A[m

E[m B[m
Mvt. 2 Scherzo. Allegro vivace

t
F C G D A E B
17 10 12,15 4,9
Fm Cm Gm Dm - Am Em HH Bm
16,18 HH ?
H
Y 6
? j 14
H
A[ E[ B[ F -C -G D
3,7 2,11
A[m E[m B[m Fm Cm
Gm Dm
t 6
C[ G[ D[ A[ E[ B[ F
1,5 13
C[m G[m D[m A[m E[m B[m Fm
Mvt. 3 Adagio espressivo Mvt. 4 Allegro molto vivace

- 1,5,7
F -C -G F C GH D A
3 2 6
*
H
2
H
?
j
H
Fm Cm Gm Fm - Cm
Gm Dm - Am

3

? 1 4

A[ E[ - B[ A[ -
E[ B[ F C
Figure 9.4: Schumann, Symphony No. 2, key relationship diagram

h i
3
Mvt. 1 Lebhaft: sonata form (E[, 4 , 585 m.)
Exposition (185 m.)
Development (183 m.) FRecap (43 m.)

h i
3
Mvt. 2 Scherzo, sehr mäßig: rondo, ABCACA Coda form (C, 4 , 133 m.)
A B C A’ C’ A” Coda
h i
4
Mvt. 3 Nicht schnell: ternary, ABA Coda form (A[, 4 , 55 m.)
A B A’ Cd
h ih ih i
4 3 4
Mvt. 4 Feierlich: ternary, ABA Coda form (E[m, 4 2 2 , 67 m.)
A1 B A2
h i
2
Mvt. 5 Lebhaft: rondo, sonata, ABAC form (E[, 2 , 329 m.)
Exposition, A1 (98 m.) Dev., B (56 m.)
Recapitulation, A2 (101 m.) Coda (74 m.)
Figure 9.5: Schumann, Symphony No. 3 in E[ Major Rheinische, Op. 97

recapitulation, with unisono horns markedly (markirt) stating the opening motif from the
main theme, could also be labeled as a retransition into the real recapitulation (there is no
2nd development).
The Exposition main subject has a unique M1(abc) (6 + 8 + 4 m.) structure, where each
phrase has individual character: the a-phrase is the hemiola arpeggio on the tonic major
chord E[, the b-phrase a sequence with imitation and chromatic inner voice movement, and
the c-phrase a cadence into the dominant chord B[. The first group continues with a theme
with M2.1(aaab) (2 + 2 + 2 + 4 m.) structure, with the a-phrase an 8th-note scalar run starting
on the afterbeat (a great test for symphony orchestra synchronised playing in woodwind
and string section) and repeated twice in sequential setting, and the b-phrase a hemiola leap
pattern, reminiscent of the main theme M1a-phrase. The theme M2.2(aa) (4 + 4 m.) has
transitory character.
The second group contains a lyrical melody, opening in the mediant minor key Gm and
closing in the dominant major key B[, and with M3(aba’b’) (4+4+4+4 m.) period structure.
The exposition closing theme M4 takes its rhythm (hemiolas) and melodic shape from the
opening theme M1a-phrase, and also has transitory character and function. In the coda these
two, M1 and M4, will be combined.
9.3.2 Mvt. 2 Scherzo, sehr mäßig

Form: rondo, ABCACA Coda form. An interpretation as ternary form is possible when
grouping the sections as AB-CAC-A , where CAC is the trio of this scherzo. In this slow
movement the lyrical main theme (M1) contrasts with a staccato 16th note secondary theme
(used in imitation and melodic inversion, and also as a background against the main theme).
A third theme for horns and woodwind is used in the C sections. The dynamic climaxes
happen during transitions, that also have the character of short developments. The analysis
is shown in Table 9.28 and 9.29.
The A section main melody phrasing M1(aaba’) in the table is based on longer units (four
measures). On the local scale there is the M1a(cdcd’) (1 + 1 + 1 + 1 m.) period structure, with
an ascending and descending 8th-note arpeggio melodic curve. The b-phrase has a similar
small-scale layout, but contains descending arpeggios only. The B section theme M2 is based
on a one-measure cell with staccato 16th-notes, that is used in string and woodwind (stretto)
imitation. This idea is continued in the strings, as the horns take the lead in the C section
with a melody with M3(aba’b’) (2 + 2 + 2 + 2 m.) period structure. The woodwind section
develops this theme further, over an extended c pedal point in measured tremolo lower
strings.
9.3.3 Mvt. 3 Nicht schnell

Form: ternary song form, ABA Coda form. The analysis is shown in Table 9.30 and 9.31. As
was the case in the previous movement, the A section lyrical main theme (M1) for clarinets
and bassoons is contrasted by a string melody that has a characteristic ascending staccato
16th note motif. In the middle section B and the coda these are combined, and a free variation
on M2 also returns as a first violins countertheme to the lead melody. The stepwise moving
M3, with its prominent use of contrary motion, acts as a kind of concluding theme.
In the analysis the opening melodic line is divided into two separate units: M1(ab) (2 + 2
m.) and M2(aab) (1 + 1 + 3 m.). Phrases from M2 will reappear throughout this movement,

Table 9.24: Schumann, Symphony No. 3 Rheinische, Mvt. 1 Lebhaft
m M R H Comment
1 M1 E[ E[ − . . . − Cm7 /E[ − F7 /E[− Exp, Gr 1/Th 1, a): Fl+Vi1
..
5 . B[/D − E[7 /D[ − A[/C− PBi (&)
..
9 . B[7 − (Gm − Cm7 )/B[− b), PB (&)
..
11 . F7 /A − (F∅7 − B[7 )/A[−
13 ⊥ E[/G − C∅7 /G[ − F7 − B[ c), cad
19 F7 − B[7 − E[− trans
23 (M1) E[/G − Cm − Gm/D − Cm/E[ ac)
25 M2.1 Gm Gm/D− Gr 1/Th 2: WW+Str
..
26 . D7 − Gm − B[7 /F − E[− Seq(3×2m;R3 )
..
30 . B◦7 /D − Cm
33 ⊥ D7 −
d
35 M2.2 G − A[/C − D7 − WW+Str, Seq(2×4m;R−5 )
39 ⊥ E[ − Cm − F7 /C − A∅7 /C − D7 −
43 Gm − . . . − F m − F m7 − F∅7 /A[− trans
50 B[ − F m/A[ − F∅7 /A[−
54 (B[ − D − Gm − B[7 )/B[− cresc, P D (b[)
57 M1 E[ E[ − . . . − Cm7 /E[ − F7[9 /E[− [A] 2nd stat: tutti clim
..
61 . B[/D − E[[9
7 /D[ − A[/C− PBi (&)
..
65 . B[7 − (Gm − B[7 − C7 − Gm)/B[− PB (&)
..
67 . F7 /A − (F∅7 − B[7 )/A[−
..
69 . E[/G − C∅7 /G[ − F7 −
73 ⊥ (B[ − A◦7 − B[)/B[ − B◦7 − cad, P D (b[)
77 M2.1’ Cm Cm − E[7 /B[ − A[ − C7 /G− tr, Seq(3×2m;R3 ),
81 ⊥ F m − D◦ /F − A∅7 /E[− WW+Str
83 M2.2’ D7 − E[7 − D − E[7 − WW+Str
91 ⊥ Gm <(D − Gm − C]◦7 )− [B]
95 M3 Gm D − Gm/D− Gr 2/Th 1, a): WW
97 ⊥ (F ]◦7 − A∅7 − D7 )/G − Gm b):
103 M3’ D/G − D7 /C − Gm/B[− 2nd st, a’b’): WW+Vi1
..
105 . Cm/E[ − C7 /E−
107 ⊥ F − B[− cad
111 M4 B[ (B[ − E[ − C7 − F − F7 )/B[− [C] Gr 2/Th 2, P T (b[),
..
117 . (B[ − E[ − E[m − B[)/B[− M4≈M1
122 ⊥ Gm − F7 /A − A7 − Dm64 − A7 − cad

Table 9.25: Schumann, Symphony No. 3 Rheinische, Mvt. 1 Lebhaft (cont’d)
m M R H Comment
127 M3” Gm D − D7 − D7 /C − Gm/B[−
..
131 . D7 − Gm − Cm/G − C7[5 /G[−
..
135 . <(F − F7 /E[ − B[/D)−
139 ⊥ B◦7 /C − Cm − E[m− cad
143 M2 (B[ − E[ − E[m)/B[− [D] cl st: Str, f -ped
147 ⊥ (B[ − C∅7 )/B[ − F ]◦7 −
153 M1 C7 − . . . − (B[ − E◦7 − B[)/F − E[ − F7 − tutti climax
165 M3 B[ <(B[ − B[/F − F7 − E◦7 )− [E] imit
173 ⊥ B[ − F7 − <(B[ − E◦7 − F7 )−
177 (M1) B[ − . . . − F ]◦7 −
185 M2 G G − G7 − A[/C − G7 − Dev: Bsn+LoStr, mod
193 M2 C C − C7 − D[/F − C7 − [F] tutti climax
201 M3 Fm C7 /B[ − F m/A[− imit: WW+Str
..
203 . C7 − E[7 /G − D[∆7 /A[−
..
205 . G∅7 /B[ − C7 − F m−
..
209 . B[m − F m7 /E[ − E[7 /D[−
..
211 . A[/C − G[9
7 /B−
..
213 . Cm Cm − A[/C − D − D7 /C−
..
216 . Gm Gm/B[ − D7 /C − Gm/B[ − D7[9 /F ] Seq(3×2m), P (b[)
..
220 . Gm/B[ − E[ − E[−
222 ⊥ G/D − Cm − G/B − C − C7 cad
225 Fm F m/C − C7[9 − F m trans
231 M2 G[/B[−
.. d d
232 . D[7 /A[ − E[m/G[ − B[7 /F − Seq(3×2m;R3 )
d
236 ⊥ C[/E[ − G∅7 /D[ − (A[m − F7[5 )/C[−
239 M2/3 B[ B[ − E[m/G[ − D[7 /F − C[/E[− [G]
..
243 . E[m B[ − B[7 − E[m
247 ⊥ C[/E[ − D[7 /F − G[ − E[m/G[ − F7 −
253 B[m B[m − G[/B[ − F m/A[ − E[m/G[− climax
256 B[m/F − C◦ /E[ − C7[9 /E−
259 F F − F7 − B[m − F7 /A − B[7 − Seq(3×2m), P T (f )
266 B[7 − E[m/B[ − B[7 − E[7 − Seq(3×2m)

m M R H Comment
[5/[9
273 M1’ A[m A[m − A[m/C[ − B[7 /F [ − B[/D− [H] Bsn+LoStr
..
277 . E[m E[m − E[m/B[ − A[7 /C−
279 ⊥ D[m − C]m − F ]7 /A]− cad
281 M1 B (B − G]m − C][9 [9
7 − F ] − B7 )/B− tutti climax, P T (b)
..
287 . (E − F ][9 [9
7 − B∆7 − G]7 )− (ped)
291 ⊥ (C]7 − C]∅7 )/B − B7 − B7[9 −
303 B[ B[7 − Am7 /C − B[ − B[[9 7 − ...−
311 M1’ E[m (E[m − F7[5 − E[m − F7 )/B[− [I] LoStr, P D (b[)
315 ⊥ B[m B[m − E[7 − A[m − C]7 −
319 M1 F] (F ] − D]m − G][9
7 )/F ]− tutti clim, P T (f ])
..
323 . (C] − F ][9 [9
7 − B − C]7 − F ])/F ]−
329 ⊥ F ]7 − . . . − G[[9
7 − ...−
d
337 M3 F (F − B[m − F7 − G[)/F − [K] WW+Str, P T (f )
..
341 . B[m (F7 − B[m)/F − G[/B[ − A[/C−
347 ⊥ B[m/D[ − . . . − C7 −
351 M3’ Fm F m − D[/F − Cm/E[ − B[m/D[ − A[/C− trans
355 ⊥ G◦ /B[ − G[9
7 /B−
357 C − C7 − F m − C7 −
362 F7[9 − B[m − F7 − B[[97 −
368 (M1) E[ (E[ − . . . − C7 − F m − B[7 − E[)/B[− [L] False rec, Hns,

..
383 . (B[ − E[)/B[ − . . . − P D (b[)
387 ⊥ (G7 − Cm)/G−
391 (M1) A[ − F m/A[ − F m − <(B[7 − E[)
399 ⊥ B[7 − D − Gm − G7 /B − Cm− [M] retrans
405 (M1) Cm/E[ − F7[5 /C[− tutti, cresc
411 M1 E[ (E[ − . . . − F7 − B[)/B[ − E[7 /D[− [N] Rec tutti clim
..
417 . A[/C − B[7 − Gm − Cm − Cm7 /B[−
..
421 . F/A − (F∅7 − B[7 )/A[ − E[/G − C◦ /G[−
425 ⊥ F7 − B[ halfcad
429 F7 /A − B[7 − G7 /B− trans
431 Cm − B[7 − E[7 − A[ − G[97 − C7 − Seq(3×4m;R3 )
439 F m − F7 − F ]◦7 −
442 <(G − Cm − F7 − F ]◦7 )−
447 G − ...−

m M R H Comment
457 M3 Cm (G − Cm − G[9 7 − . . . − Cm)/C− [O] WW
473 M3 G7 − G7 /F − Cm/E[ − F m/A[ − F7 /A− 2nd st: WW+Str
477 ⊥ B[ − B[7 − E[
473 M4 E[ (E[ − A[ − E[ − F7 − B[ − B[7 )/E[− Vi1, P T (e[)
480 ⊥ (E[ − B[7 − E[)/E[ (ped)
486 Cm − (B[/D − D7 − G − D7 )/D−
489 M3’ Cm G − Cm/G − G7 − . . . − Vi1
495 ⊥ Cm − F7[5 /B − <(B[7 /A[ − E[/G)− WW+Str
501 (B[m − E◦7 − F m)/F − A[m− cresc, P (f )
505 M2 E[ (E[ − A[ − A[m − E[)/B[− [P] tr: Str, P D (b[)
511 ⊥ (A[ − B◦7 )/B[ − G7 /B − Cm−
515 (M1) F7 − . . . − (E[ − A◦7 − C7 − E[)/B[− trans, tutti climax
526 F m/A[ − B[7 − E[− cad
529 F m/C − E[/B[ − B[7 /A[ − E[/G− [Q] Coda, cad
531 (M1/4) B[ − B[7 − E[ climax: Hns
537 ⊥ A[/C − <(Cm7 /B[ − F/A)− cresc
545 A[7 − Cm/G − A[7 /G[ − F7 − cad
547 (M1/4) <(B[ − E[ − A[ − B[7 − E[)/B[ [R] tutti, P D (b[)
..
554 . E[ − G7 /B − Cm − F7 /C − B[ − E[7 /D[−
559 ⊥ A[/C − G7 /B − C7 /B[ − F7 /A − B[7 /A[ cad
563 M1’ E[/G − E[64 − B[7 /A[− Hns, tutti clim
..
567 . E[/G − F7 /C − E[64 − B[7 − cad
571 ⊥ E[ − . . . − P T (e[)
581 <(E[ − B[) − E[ closing cad (585 m.)

Table 9.28: Schumann, Symphony No. 3 in E[ Major, Mvt. 2 Scherzo, sehr mäßig
m M R H Comment
1 M1a C C − . . . − G − C − D7 − G − C A, Bsn+LoStr, P T (c)
5 M1a C − . . . − G − C − Am − D7 − G 2nd st: WW+Str, halfcad
9 M1b || : <(A7 − Dm − G − C − D7 − G)/G WW+Vi, P D (g)
13 M1a’ C − C7 − F − Dm/F − G − C : || tutti
17 M2 C − Dm − G − C − E− B, Str+WW imit
19 ⊥ Am − D7 − G − G7 −
21 M2 C − Dm − G − C − E− 2nd stat
23 ⊥ Am − D7 − G − G7 −
25 I(M2) || : C − A[97 − Dm− WW+Str imit
27 M2/I(M2) G − G7 − C − C7 − imit
29 M1/M2 F − . . . − G − C − C46 − G7 − C : || tutti, cad
33 M3/M2 Am || : G]◦7 − Am − E7 − Am C ab): Hns+WW, P (c)
.. ..
36 ./ . <(C7 − F ) − Am a’), M2: Str imit
39 ⊥/⊥ Am − E − Am : || b’): WW, cad (ped)
41 M3/M2 || : B[ − Am − G◦ − Dm7 (a): WW, P (c)
.. ..
43 ./ . C]◦7 − Dm − Am − Dm (b), M2: Str imit
.. ..
45 ./ . Am − D]◦7 − G]◦7 − Am (a), (ped)
47 ⊥/⊥ Am − E − Am : || cad
49 M1/(M3’) A A − . . . − E7 − A − F ]m − B7 − E− A’, WW+Str
53 M1/(M3’) A − . . . − E7 − A − F ]m − B7 − E− 2nd stat
d
57 M3’.a (Am − Em − E7 )/E − F C’, trans Vi, tutti climax
59 M3’.a Am − C − C7]5 − F − G [A] WW+Str
61 C C − G − C−
63 M3’ Em Em/B − B − Em − Am (a): WW+Str
65 M3’ Em − B7 − Em − Am− (a’)
67 ⊥ Em − B − F ]m − B7 −
69 M3’ Em − C − F ]∅7 /A− 2nd stat, tutti
.. d
70 . B7 − C − F ]∅7 /A − Em64 − B [B]
..
72 . Am (Em − G]◦7 − Am − E7 )/E− P D (e)
..
74 ./M2 (Am − E − Am − E − Am)/E− (b): WW+Hns
77 ⊥ E − Em − G7 /D− [C] retrans, cad

Table 9.29: Schumann, Symphony No. 3 in E[ Major, Mvt. 2 Scherzo, sehr mäßig (cont’d)
m M R H Comment
79 M1a C C − . . . − G − C − Am − D7 /G A”, WW+Str, halfcad
83 M1a C − . . . − G − C − Am − D7 − G− 2nd stat, tutti
87 M1b <(Dm − G − C − D7 − G)/G− WW+Vi, P D (g)
91 M1a C − C7 − F − tutti
93 ⊥ <(Dm − G7 − C) [D] trans, WW+Str
d
95 (M1a) <(C − D7 − G7 − Am − D7 − G)/C− climax, P T (c)
100 (M1a) (F − C − F − C7 − F )/F − [E] Bsn+Va
105 ⊥ F − B[ − Dm − G7 − cresc
108 M1a’ C − F ]◦7 /A − C/G − F ]◦7 /A− Coda, tutti climax
112 M1a’ C/G − . . . − P D (g)
115 M4 G − C − C/G − A]◦7 − G7 /B − G]5
7 /B− [F] Bsn+Hns
119 (M1a) (C − F − C)/C− WW+Vi
121 ⊥ G7 − G]◦7 − Am − Dm/F − G− cad
123 M1a <(C − F − C − . . . −)/C − C Bsn+Va (133 m.)
to begin with the contrasting middle section. Here is is juxtaposed with the M3 motto, with
2-part parallel descending scalar melodic curve.
9.3.4 Mvt. 4 Feierlich

Form: ternary song form, A1 BA2 Coda. This monothematic slow movement, a later addition
to the traditional four-movement symphony, is full of intricate counterpoint with mixed in-
strumentation (the imitating parts are doubled in all sections). See Table 9.32 for the analysis.
The brass section, including trombones, dominates at climaxes. The main theme with its
characteristic upward 4th leaps show up as both stretto imitation and as a countermotif in
melodic diminution. It probably is a reference to a well-known programmatic music theme
from the Baroque period (Bach and Pergolesi have used it as a symbol of the cross in religious
music).
9.3.5 Mvt. 5 Lebhaft

Form: rondo, sonata form, ABAC. The closing movement can be interpreted as either a
binary rondo (ABAB) or sonata form movement. See Table 9.33 to 9.35 for the analysis.
The Exposition main subject has M1(abab) (4 + 4 + 4 + 4 m.) period structure. On the
smaller scale there are single measure cells, with M1ab(cddcde) (2 + 1 + 1 + 1 + 1 + 2 m.)
structure. The next melody from the first theme group has M2(aba’b’) (2 + 2 + 2 + 4 m.)
period structure, and a somewhat transitory character. It is followed by the third (modified)
period theme M3(abab’c) (2 + 2 + 2 + 2 + 4 m.), where the c-phrase combines the rhythm from
the other two phrases in condensed form. The transitory motif M4 with its upward leaps is
set in imitation.

Table 9.30: Schumann, Symphony No. 3 in E[ Major, Mvt. 3 Nicht schnell
m M R H Comment
1 M1 A[ A[ − <(D[ − E[7 − A[) A a): Cl+Bsn
..
3 . A[7 /G[ − D[/F − F7 /E[− b) PB (&)
B[m/D[ − F m47 −
4 ⊥ B[m − A◦7 /C − B[m/D[ − E[7 − A[
6 M2 A[ − B[7 − E[− a): Vi, Str imit
.. d
7 . F m7 /A[ − B[7 /A[ − E[/G − G7 −
..
8 . A[ − A◦7 − b): Vi+Fl
..
9 . F m7 − B[7 − E◦7 − F m7 /A[ − E◦7 /G−
10 ⊥ F m − B[7 − E[ cad
11 M2’ B[m − B[◦ − E[ − Cm/E[ [A] B, a): Fl+Vi
.. [5/[9
12 . F [ − E[m/G[ − F7 /C[− a)
..
13 . E[/B[ − E[7 /G − A[ b): WW+Str, PB (%)
14 ⊥ D[ − E[7 − C7 /E − F m − D[ − E[7 − A[ cad
16 M2’/1’ A[ M1’: Cl+Bsn, M2’: Str
17 M3 E[ A[ − E◦ /A[− Bsn+LoStr, Σ(cm>)
..
18 . (F m − C − D◦ )/A[ − A◦ − Σ(cm)
B[7 /A[ − C7[9 /G − Dm/F −
..
19 . E[ − B[/D − Cm − F − (Σ(cm))
B[m − A[/C − E◦ −
..
20 . F m − F7 /A − B[7 /A[ − C7 /G − Dm/F − (Σ(cm))
21 ⊥ E[ − F m/A[ − B[ − E[ cad
22 M2 Gm Cm − Gm64 − D7 − Gm [B] a): Fl+Vi1
..
23 . Cm − D7[9 /C − Gm/B[ − Cm − Gm − Cm
.. d
25 . A∅7 /C − D7[9 − Cm/E[ − G7 /D−
d
26 ⊥ Cm − D7 − G[9 7 −
27 M2’ F m/A[ − G7 − E[/G − A[ − Cm/E[ aa): Vi1+Fl
29 M3 Fm Cm/E[ − C7 /E − F m − D∅7 /F − WW, Σ(cm>)
30 M2’ G 7 − C − C7 − [C] Str+WW
31 M3 F m − A◦7 − B[7 /A[ − Cm/G− WW+LoStr, Σ(cm)
..
32 . Cm − F7 − B[m − A[/C − C7 /E− (Σ(cm))
..
33 . F m − F7 /A − B[7 /A[ − Cm/G − B[/F −
34 ⊥ E[ − A[ − B[ − E[ − E[7 − [D] climax, cad
35 M2’ E[7 retrans

Table 9.31: Schumann, Symphony No. 3 in E[ Major, Mvt. 3 Nicht schnell (cont’d)
m M R H Comment
36 M1/2’ A[ A[ − <(D[ − E[7 − A[) A’, a): Cl+Bsn, M2’: Vi1
.. ..
38 ./ . A[7 /G[ − D[/F − F7 /E[− b), M2’ free, PB (&)
B[m/D[ − F7 /C−
.
39 ⊥ / .. B[m − A◦7 /C − B[m/D[
.
40 M1’/ .. E[7 − A[ − C7 − [E] a): Ob+Cl, M2’: Vi1
..
41 ./⊥ F m − B[m− b): WW+LoStr
..
42 . E[7 − Cm7 − A◦7 /C − B[m− cresc, Σ(cm<)
.. d
43 . Cm − E◦7 − F m − B[m/D[ − B[7 /D − climax
44 ⊥ Cm/E[ − E[7 − A[
45 M3 (A[ − B[m7 − A◦7 − B[m7 )/A[− [F] Coda, Bsn+Str, P T (a[)
47 M3 (E[7 − A[ − A◦7 )/A[− Σ(cm>)(ped)
..
48 . (B[m7 − E[7 − A[ − D[ − A◦7 )/A[− Σ(cm)(ped)
49 ⊥ (B[7 − E[7 − A[)/A[−
50 M1’ (A[ − D[ − E[ − A[ − E[7 )/A[ − A[ a): Cl (ped)
52 M2 (A[ − B[7 − E[7 )/A[ − A[ WW+Str, cad (55 m.)

Table 9.32: Schumann, Symphony No. 3 Rheinische, Mvt. 4 Feierlich
m M R H Comment
h i
4
1 M E[m E[m − A[m − E[m − D[7 − G[ − E[7 A1 , Brs, 4
..
3 . A[m − F [ − B[7 /D − E[−
..
4 . A[m − E[m7 /G[ − F7 − B[[9
7 /C[−
..
5 . E[m/B[ − C[m − E[m/B[−
6 ⊥ F∅7 /A[ − B[ − E[7 − A[m/E[− [A]
8 M E[m − B[− imit: Str+WW 3×
..
9 . E[m − F7[9 /E[ − B[m/D[ − Cm7 /E[−
10 ⊥ B[m/D[ − B[7 /D − E[ − B[[9
7 /A[−
12 M E[m/G[ − (E[m − B[[97 − E[m − F7 )/B[− imit: tutti 2×, P D (b[)
..
14 . (B[m − Cm7 − B[[97 − E[ − B[7 )/B[− (ped)
16 ⊥ E[m64 − B[ − E[m
17 M (B[7sus4 − E[m − B[7 )/B[− imit: tutti 3×
19 ⊥ (E[m − <(E[7 − A[m) − F∅7 )/E[− clim, plagal cad, P T (e[)
h i
23 M E[m − B[ − E[m − F7[9 /E[ − B[m7 /D[− B, 32 , imit: tutti 3×
26 M B[m C◦ /E[ − F7 − B[m − F7 /A− imit: tutti 3×
28 ⊥ B[m/D[ − C∅7 − F7 /E[ − B[m/D[ − B[7 −
30 M E[m E[m/G[ − B[7 /F − imit: tutti 3×
31 ⊥ E[m − F7 /E[ − B[m7 /D[−
32 M E[7 − B[7 − E[ − A[m − B[[97 /A[− imit: tutti 3×
34 ⊥ [9
E[m − F7 /E[ − B[m − F7 −
36 M B[m B[m − F7 /A − B[m − Cm − F m7 − [B] imit: tutti 3×, cresc
38 M A[ (B[m7 − E[7 )/D[ − A[/C imit: tutti 2×
39 ⊥ B[m7 − C7[9 /B[ − F m/A[ − B[m7 /D[−
41 M E[7 /D[ − A[/C − B[ − E[m − B[7 /D− [C] imit: tutti 4×
43 ⊥ E[m E[m/G[ − F7 − B[ − E[m
h i
4
45 M E[m <(B[[9
7sus4 − B[7 − E[m) A2 , 2 , imit: Brs+WW,
..
47 . E[m/G[ − D[/F − B[m7 − E[[9
7 /B[− 2×, Str: 16th, P D (b[)
..
48 . A[m − E[m/G[ − F7 /C − B[[9
7sus4 /C[− P T (e[)
..
49 . E[m/B[ − F∅7 /A[ − B[7 − E[m − E[7 − (Str: 16th tremolo)
51 ⊥ (A[7 − E[m)/E[ − A[m− plagal cad
52 E[m − (B − E − C]m − F7[5 )/B− [D] Coda, clim: Brs+WW
55 E[m64 − B[ − E[m − B − E − C]m/E−
58 M’ B − B7 − E − B[7 /F − B[7 − E[m [E] imit: Str+WW 3×
61 ⊥ B[4 − B[ − E[m − <(B[ − E[m) cl cad (67 m.)

Table 9.33: Schumann, Symphony No. 3 Rheinische, Mvt. 5 Lebhaft
m M R H Comment
1 M1 E[ E[/G − F m − B[7 /A[ − E[/G− Lebhaft, A: WW+Str
..
3 . <(A[ − E[) − F m − Gm/B[ − G/B−
d
6 ⊥ Cm − B[/D − Cm7 − F7 − B[ − E[
9 M1 F m − B[7 /A[ − E[/G− 2nd stat: WW+Str
..
11 . <(A[ − E[) − F m − Gm/B[ − G/B−
d
14 ⊥ Cm − B[/D − Cm7 − F7 − B[
17 M2 B[7 − E[ − B[7 /D − E[ − E[/G − A[− WW+Str
..
20 . Cm − C7[9 /B[ − F m/A[ − C7 /G− Σ(cm<)
..
21 . F m − B[7 /A[ − (E[ − E[7 )/G−
23 ⊥ A[ − F m/A[ − F7 /A − B[ − E[
27 M3 B[7 − . . . − E[ − A[ WW+Str
..
34 . B[7 − . . . − E[ − Cm − D7 − D7 /C−
..
36 . Gm/B[ − E[ − F − F7 /E[− Σ(cm<)
d
38 ⊥ B[/D − C7[9 /B[ −
39 M2 B[7 − F m7 /E[ − B[7 /D − E[ − A[ tutti climax
..
42 . Cm − C7[9 /B[
− F m/A[ − C7 /G− Σ(cm<)
44 ⊥ E[/G − A[ − F m7 /A[ − B[7 −
47 M4 E[ E[ − <(B[7 − E[) − B[/D − F7 /C− [A] tr, imit: Brs-(WW+Str)
52 ⊥ B[/D − C7 − . . . − F7 − . . . − F7 /E[−
57 M5 B[ B[/D − C7 /B[ − F/A − G7 /F − stretto imit: Str+WW
.. d
59 . (Cm − F7 )/E[ − B[/D −
..
61 . Cm − F7 /E[ − B[/D − B[]5
7 /A[−
..
63 . E[/G − G7 /F − Cm/E[ − C/E−
64 ⊥ B[64 − F7 /B[ − B[ cad
66 B[ − . . . − E[7 − F m7 /E[ − E[ climax
72 M3 A[ <(B[m7 /D[ − A[) − B[m7 − E[ − A[ [B] Str+WW
..
76 . <(B[m7 /D[ − A[)−
..
78 . B[m7 /D[ − F7 /C − B[m7 −
79 ⊥ E[ − A[ − A[+ /G− cad
80 Fm <(D[/F − C7 /E) − <(F m − D[7 )− trans
86 E[ B[[9
7 /D − E[ − A[∆7 P T (e[)
88 A[+ − G∅7 − C7 /G − A[◦7 − F7 /A− cresc, PBi (%)
d
91 B[m − A[◦7 /B − A[/C − C + − P D (b[)
93 D[ − B[m/D[ − C7 − F∅7 /C[ − B[7 − climax (ped)

m M R H Comment
98 F ]m F ]m/A − C] − F ]m − D/F ] − A − D [C] B, Dev: rapid mod
103 A[m B[/F − E[ − . . . −
106 M5 A[m − F − C − F − . . . imit: WW
110 M5 F7 − G7 /B − A7 − B7 /D]− imit: WW, Seq(2×4m;R7 )
118 M5 Em Em − Bm/D − C]7 − C]7 /B− imit: WW+Str
122 M5 F ]m F ]m/A − C]m/G] − E[7 /G − A[m imit
126 A[m B[7 /A[ − G◦7 − A[m−
128 E7 /G] − C]∅7 /B − F ]7 /A]−
130 M6 B B − F ] − B/F ] − F ]7 − [D] Brs, climax
133 B − ... − F]
138 E[ B[/F − . . . − B[7 /F − . . . − B[7 − [E] tutti, P D (b[)
150 M5 E[64 − B[ − E[64 − A[ − E[64 − E[ tutti climax
154 M1 E[ F m7 − B[7 /A[ − E[/G [F] A, Rec WW+Str, clim
..
156 . <(A[ − E[) − F m7 − Gm/B[ − G/B− P T (e[)
159 ⊥ Cm − B[/D − Cm7 − F713 − B[ halfcad
162 M2 B[7 − E[ − B[7 /D − E[ − E[/G − A[− [G] WW+Str
..
165 . Cm − C7[9 /B[ − F m/A[ − C7 /G− Σ(cm<)
..
166 . F m − B[7 /A[ − (E[ − E[7 )/G − A[
168 ⊥ F m7 /A[ − F7 /A − B[7 − E[ cad
172 M3 <(B[7 − . . . − E[)− Str
..
180 . D − D7 /C − Gm/B[ − E[− Σ(cm<)
d
182 ⊥ F7 /E[ − B[/D − C7[9 /B[
−
184 M2 B[7 − E[ − B[7 /D − E[ − E[/G − A[ WW+Str
..
187 . Cm − C7 /B[ − F m/A[ − C7 /G− Σ(cm<)
.. d
188 . F m − B[7 /A[ − (E[ − E[7 )/G −
190 ⊥ F m7 /A[ − B[7 − cad
192 M4 E[ − <(B[7 − E[) − B[/D − F7 /C− tr, imit: Brs-(WW+Str)
197 ⊥ B[ − C7 − . . . − F7 − . . . − F7 /E[−
202 M5 B[ B[/D − C7 /B[ − F/A − G7 /F − [H] stretto imit: Str+WW
..
204 . B[/D − Cm − F7 /E[ − B[/D − B[7 /A[−
..
206 . E[/G − G7 /F − Cm/E[ − C/E−
208 ⊥ B[64 − F7 − B[ cad
212 B[ − B[/D − F m7 − B[7 − climax
217 M3 E[ <(F m7 /A[ − E[) − F m7 − B[ − E[ WW+Str
..
221 . <(F m7 /A[ − E[)−
222 ⊥ F m7 − B[7 − E[ − E[+ /D−

m M R H Comment
225 Cm <(A[/C − G7 /B) − <(Cm − D7[5 /A[)− [I] trans
231 B[ F7[9 /A − B[ − E[∆7 − P T (b[)
233 E[7 − D∅7 − G7 /D − F ]◦7 /E[− cresc, PBi (%)
235 C7 /E − F m − F ]◦7 −
237 E[ − E[+ /G − A[ − F m/A[ − G7 − climax
241 C∅7 /G[ − F7 − B[7 − cad
244 E[ B[7 − . . . − B[7 /F [K]
251 B[7 /F − . . . − B[7 /E[− b[-ped
255 M1 E[ E[− C, Coda: Brs, climax
..
257 ./M5 E[ − . . . − M5: Str
..
259 ./M5 Cm − G7 /F − C7 /E − . . . −
..
263 . F m − C7 /B[ − F m/A[ − C7 /G−
265 ⊥ F m − A[∆7 − B[
267 F7 /A − B[ − E[7 /G − A[ − F m7 /A[− Seq(2×2m;R−7 )
271 M4 E[64 − B[ − <(E[64 − F7 − B[7 )− imit: tutti (5×)
..
277 . E[64 − B[7 − E[64 − C7 /B[−
280 ⊥ (F m7 − B[7 − E[)/B[− Brs, P D (b[)
[5/[9
283 F7 /A − E[m/B[ − F7 /A − D7 /A[− PB (&), P T (e[)
287 Cm/G − G7 /F − Cm/E[ − C7 /E tutti cresc
291 F m − C7 /B[ − F m/A[ − C7 /G − F m−
295 E[64 − . . . − F7[9 − B[7 − climax, Brs signal arp
299 E[ E[ − <(B[ − E[) Schneller
303 M2 <(Cm − B[ − E[) imit: Str-WW
..
307 . E[/G − Cm7 − A[− P T (e[)
..
311 . A[/C − C7 /B[ − F m/A[ − G7 − Σ(cm<)
313 ⊥ F ]◦7 − F7 /F − Cm/E[ − D−
315 M6 Gm − A[7 − A[ − C − F m − F m7 /A[− imit: tutti climax
319 ⊥ E[64 − . . . − <(E[64 − B[7 )− closing cad
323 E[ (329 m.)

9.4. SYMPHONY NO. 4 IN D MINOR, OP. 120
The second theme group contains a single subject in the dominant key B[ with sentence
structure M5(aa’b) (4 + 4 + 8 m.). The a-phrase is presented in stretto violin and woodwind
imitation, the brass dominate in the climactic b-phrase fanfare signals. This theme is the core
element in the Development section, although a new theme enters the stage in the climax in
[D] (m. 130): M6(ab) (2 + 2 m.) for horns and low woodwinds lead. This last theme returns
in varied form in the Coda, just before the closing in the Schneller section.

The key relationship diagram of the Schumann third symphony is shown in Fig. 9.6. The
outer movements have the widest key range envelope and the intricacy of the long opening
movement is clearly visible. The Lebhaft sonata form starts without introduction in the tonic
major key E[. The secondary group alternates between the mediant key Gm and the domi-
nant key B[ (3). The development section opens in the mediant major key G, and then starts
discovering the entire tonal spectrum of this movement. Centrifugal forces into the edges,
such as C − F m − B[ (4–5), E[m − B[m − F − A[m (8–9) and F − B[m − F m − E[ (14–15)
have to be interpreted using the double occurrence property. Pattern recognition reveals the
use of sequences: (B = C[) − B[ − E[m (11–12) and (F ] = G[) − F − B[m (13).
The middle three movements are much simpler from a key relationship point of view.
The scherzo contains two counterclockwise loops: the first through the relative minor and
its parallel major key C − Am − A − C (1) and the second through mediant and submediant
minor keys C − Em − Am − C (2). The ternary song form third movement has the outer
sections in the major key A[ and a modulating bridge section. There is a similar set-up for
the fourth movement, where we need a double interpretation of the A[ (1) in the return to
the tonic minor key E[m.
The finale exposition shows the usual tonic-dominant design of the thematic groups E[−
B[ (1). The surprise comes with the development taking off in the mediant minor key F ]m =
G[m. We will need the enharmonic equivalence interpretation for key movements (F ]m =
G[m) − A[m − (Em = F [m) (3) and A[m − (B = C[) − E[ (5).
9.4 Symphony No. 4 in D minor, Op. 120 (1841/1851)

Source: [60]. An overview of the formal analysis is shown in Fig. 9.7. The opening move-
ment with its slow introduction section and lively sonata form part is significantly longer
than the other symphony movements. It has a very long development section; compare this
with the development section of the finale. This latter sonata form movement has more bal-
anced proportions. The short second movement Romanze in ternary form is followed by the
completely symmetrical third movement Scherzo with its identical repeats.
9.4.1 Mvt. 1 Ziemlich langsam - Lebhaft

Form: sonata form. See Table 9.36 to 9.39 for the analysis. The moderately slow (Ziemlich
langsam) Introduction section to the opening movement contains a theme Ms supporting
the main minor key Dm. This theme will return in the 2nd movement Romanze and in
the finale. Three statements of this stepwise flowing melody Ms in 8th note rhythm are
played by woodwinds and strings, over a background with pedal point. Hinting at the main

Mvt. 1 Lebhaft
t
B[ @
I
F
C G D
@ 4,5,7

2 1,6
B[m @ Fm
t
- Cm - Gm Dm
HH 616 * 6
3
15 j ? ? t
D[ A[ E[ B[
F Mvt. 2 Scherzo

1
D[m tA[m - E[m - B[m - F m A E
8,10,12 t 14

? 6 2
E B F] D[ 13 A[ Am - Em
11 9
tA[m
6

Em Bm F ]m D[m C G
Mvt. 4 Feierlich
t
Mvt. 3 Nicht schnell A[ E[ B[ F
H2
2 HHj
Fm Cm Gm A[m E[m - B[m H1 F m
? 1
* j t
HH
A[ - E[ B[ C[ G[ D[ A[
Mvt. 5 Lebhaft
B[m Fm Cm 7H Gm
6 HHj 6 j 1,6
H
H
-
D[ A[ E[ B[
2

D[m A[m E[m B[m
KA
? A
E 5 B 3,4A F ] D[

A
Em Bm F ]m D[m
Figure 9.6: Schumann, Symphony No. 3 Rheinische, key relationship diagram

h ih i
3 2
Mvt. 1 Ziemlich langsam – Lebhaft: sonata form (Dm, 4 4 , 357 m.)
Intro Exposition Development
Dev (cont’d) Recapitulation Coda

h i
3
Mvt. 2 Romanze – Ziemlich langsam: ABA form (Am, 4 , 52 m.)
A1 B A2
h i
3
Mvt. 3 Scherzo – Lebhaft: scherzo and trio form (Dm, B[, 4 , 232 m.)
Scherzo Trio
Scherzo Trio Cd
h i
4
Mvt. 4 Langsam – Lebhaft: sonata form (Dm, D, 4 , 220 m.)
Intro Exposition Development
Recapitulation Coda
Figure 9.7: Schumann, Symphony No. 4 in D Minor, Op. 120

theme to come (M1) the tempo picks up to the lively (Lebhaft) sonata Exposition. The main
theme M1 is in 16th notes and consists of three similar phrases M1(aa’a”) (4 + 6 + 4 m.). The
secondary theme M2(aaa’) (2 + 2 + 4 m.) is in fact a variation on this main theme (M2=M1a’),
now in the mediant key, the relative major key F .
The Development opens with a modulatory section based on imitative fragments from
the main theme in woodwinds and strings. Ambiguous chords float between various keys
until the new key D[ major is reached with a full cadence (m. 120). The main theme M1
is now accompanied by a dotted 8th note - 16th note motif Md in a tutti climax setting. In
m. 147 a new, lyrical theme enters the stage: M3 has period structure M3(aba’b) (2 + 2 + 2 +
2m.). The modulations reveal two similar subsections: m. 121-174 return as m. 195-247. Then
there is a quasi-false Recapitulation in the dominant minor key Am (m. 248). A transition
using earlier material, but now with added accented brass bell chords (m. 263 ff.), is followed
by brief references to the development section, e.g., quoting M3 before entering the Coda.
This is in the parallel major tonic key D, with extensive use of dominant and tonic pedal
point and final triumphant statements of M3 and M1.
9.4.2 Mvt. 2 Romanze - Ziemlich langsam

Form: ABA, ternary form. See Table 9.40 for the analysis. The solemn main theme M1 of
the A1 section has modal A-Aeolian character, over a set of plagal cadences in the minor key
Am (there is ambiguity here between Dm and Am as the fundamental key). This melody has
period structure M1(aab) (2 + 2 + 4), with a sequence in the b-phrase and dotted 8th -16th
note rhythm (with occasional triplets). This is answered with the 8th note flowing melody
Ms from the opening movement, which undergoes some development.
In the middle B section a solo violin plays an embellished melody Mv on top of the 2-
part parallel (diatonic and chromatic parallel 6ths) setting of the slow introduction theme
Ms’. This violin melody wll return in the scherzo section of movement 3. The main theme
M1 returns in the A2 section, now in the minor key Dm (strengthening the key ambiguity)
before closing in the tonic major key A.
9.4.3 Mvt. 3 Scherzo - Lebhaft - Trio

Form: scherzo and trio. See Table 9.41 and 9.42 for the analysis. This movement has a most
regular phrase structure. The Scherzo section has ternary form ABA’ (16 + 32 + 16 m.).
The A section main theme has period structure M1(aa’b) (4 + 4 + 8 m), the a-phrase is a
stepwise theme in 8th note rhythm and imitation, the b-phrase consists of accented leaps
with a climax character. The B section lead melody M2 in quarter note rhythm is somewhat
like the inverted main melody, i.e., M2=I(M1’). The closing fragment of this melody is used
in stretto imitation in the second half of the middle section, combining this motif with the
M1 8th-note rhythm.
The Trio also has ternary structure ABA’ (16 + 16 + 16 m) and is repeated before the
closing section. Its main melody M3 is derived from the 2nd movement solo violin melody
Mv (see Mvt. 2, m. 25 ff.); here it is quoted in augmented form as an 8th note theme in
the first violins. The harmonisation involves diatonic parallel chord structures in second
and first inversion ([S̄46 ] and [S̄ 6 ] , respectively). The repeat of the trio has some rhythmical
changes (augmentation) in the A2 section; the latter leads into a brief meandering coda.

Table 9.36: Schumann, Symphony No. 4 in D minor, Mvt. 1 Ziemlich langsam - Lebhaft
m M R H Comment
h i
3
Ziemlich langsam 4 ([)
1 Ms Dm Dm/A − . . . − F/A − C Intro, Bsn+Str, unis P D (a)
..
5 . A − Dm/A − F7 − B[/F − E7[9 − 2nd st: Cl+Bsn+Str
..
10 . A − Dm/A − A[9
7 − 3rd: Ob+Vi, Str Σ(cm), P D (a)
..
14 . Dm/A − B[ − F7 /E[ − B[/D WW+Str
..
17 . D − Gm/D − A[9 7 − Dm − D7 /F ]− climax, P T (d)
20 ⊥ G]◦7 /B − A − F ]◦7 − Gm − G]◦7 − Σ(cm>)
22 (M1) A − . . . − A7 − . . . − A[9
7 − Vi1, P D (a)
h i
Stringendo – Lebhaft Exp, 24
29 M1 || : Dm − F/C − A/E− a): Fl+Ob+Vi1
..
33 . Dm − F ]◦7 − Gm− a’), WW+Str Σ(cm<)
..
36 . C]◦7 /G − Dm − G]◦7 −
38 ⊥ Dm/A − A − Dm [A] a”), tutti cad
43 (M1’) G]◦7 /D − . . . − trans, WW+Str motif imit
..
47 . Am/C − G]◦7 − Am/C−
49 ⊥ F ]◦7 − C46 − G7 − C cad
51 M2 F <(C7 − F46 − Gm7 − C7 − F ) aa) 2nd th: WW+Str
..
55 . F7 /E[ − B[/D− a’): WW+Str
..
56 . (F7 − D)/C − Gm/B[ − B[m7 −
57 ⊥ <(C7 − F46 )−
59 (M1’) <(F − B[ − F − C7 )/F − trans, Str imit, P T (f )
67 M2’ F − C]◦7 − Dm − Gm − D]◦7 − E◦ − [B] cl st Str, Seq(3×1m;R7 )
..
69 . Am − E7[5 − F − Hns: P D (()c)
..
70 . B[ − B◦7 − C − B[/D−
..
71 . D]◦7 − E◦ − F − E◦ /G− WW+Str Σ(cm>)
72 ⊥ G]◦7 − Am − B[ − F/C−
73 G]◦7 /B − . . . − B◦7 /D−
76 D[ − B◦7 /D − E[ − C/E − F − clim, PBi (%)
79 (M1’) <(G97 /B − F46 )− Bsn+Va-Vi imit
83 ⊥ F − . . . − (A) : || tutti clim, repeat

(cont’d)
m M R H Comment
87 [C] Dev, trans, unis e[
88 M1’ B[m <(A◦7 /E[ = F7[9 /E[)− WW+Str motif imit
97 ⊥ E[m D◦7 /A[ = B[[9
7 /A[− modulation, ambiguity
d
101 M1 Em A◦7 /E[ − B = C[ [D] Vi1, Hns:P D (f ])
..
105 . Em/B − . . . − E◦ /B[− cm: Va arp + Tbn, PBi (&)
110 ⊥ C7 /B[ − A7 = E[[57 −
117 M1 D[ 6
D[4 − A[7 − Str unis, cad
121 M1/d D[ − G[ − D[− Md: WW, M1: Str, Seq(3×R4 ),
..
123 . B[m − E[ − A[− tutti climax
..
125 . A[m − D[m − A[m − D[7 − G[
129 ⊥ <(E[m7 /G[ − F )−
134 Md/1 B[m − A[ − D[− [E] Md: Str+Brs, M1: WW
..
136 . B[m − E[7 − A[ ‘inverted’ orchestration
..
138 . A[m/C[ − D[7 /A[ − G[ climax cont’d
..
140 . E[m − A[7 − D[
142 ⊥ <(B[m7 /D[ − C)−
147 M3 F C − C7 /B[ − F/A− Vi+WW, Hns: P D (c)
..
149 . B[ − B[∆7 /A − C7 /G−
..
151 . Dm A − A7 /G − Dm/F − Dm/A− Ob+Cl, Str bg
153 ⊥ Gm − A∅7 − A7 −
[5/[9
155 M1’ Dm − Am/E − B7 /F − Vi1
159 M3 A E − E7 /D− WW
..
161 . D − D∆7 /C] − E7 /B−
..
163 . F ]m C] − C]7 /B− Ob+Vi
..
164 . F ]m/A − F ]m/C]−
165 ⊥ Bm/D − Bm7 /A − G]m − C]7 −
167 M1’ F ]m − E/G] − A7 − Vi1, P D (a)
..
171 . G] − C]m/G] − G]−
173 ⊥ C] − F ]m − C]−
175 M1 F ]m − D− [F] Vi1, see m. 101 ff.
..
179 . Gm/D − . . . − G◦ /D[− cm: Va arp, PBi (&)
184 ⊥ E[7 /D[ − . . . − C7 − C−

(cont’d)
m M R H Comment
191 M1 E E46 − B7 − Str unis, cad
195 M1/d E − A − E − C]m − F ] − B [G] Md: WW, M1: Str, Seq(3×R4 ),
..
199 . Bm − Em − Bm − E7 − A see m. 121 ff.
203 ⊥ <(F ]m7 /A − G])−
207 Md/1 C]m − B − E− see m. 134 ff., clim
..
209 . C]m − F ] − B− ‘inverted’ orchestration
..
211 . Bm/D − E7 /B − A Md: Str+Brs, M1: WW
..
213 . F ]m − B7 − E
215 ⊥ <(C]m/E − D]7 = E[7 )−
220 M3 A[ E[ − E[7 /D[ − A[/C [H] see m. 147 ff.,
..
222 . D[ − D[∆7 /C − E[7 /B[− Vi+WW
..
224 . C − C7 /B[− WW
..
225 . Fm F m/A[ − F m/C−
226 ⊥ B[m − G∅7 − C7 −
[5/[9
228 M1’ F m − Cm/G − D7 /A[−
232 M3 C G − G7 /F − C/E− see m. 159 ff., Ob+Vi2
..
234 . F − F∆7 /E − G7 /D−
..
236 . Am E − E7 /D − Am/C − Am/E− WW+Str
238 ⊥ Dm − Dm7 /C − E7 /B−
[5/[9
240 M1’ Am − Em/B − F ]7 −B Vi
246 ⊥ E − Am/E − E− P D (e)
‘False’ Recapitulation
248 M1 Am Am − G]◦7 /A − Am − D7[9 − Vi1, Seq(2×8m;R−7 )
..
254 . Gm/D − D7[9 −
260 ⊥ Gm/D − C7[9 −
264 M1’ F m − G[∆7 /F − E[m − A[7 − [K] trans, Seq(3×4m;R3 ),
..
268 . C]m − D∆7 /C] − Bm − E7 − m. 43 and 88 ff.,
272 ⊥ Am − B[∆7 /A − Gm − C7 − Str+WW imit, Brs bell ch
276 F − B∅7 /F − F7 − F ]◦7 − Str Σ(cm>), cresc
280 G − C]◦7 /G − G7 − G]◦7 −

(cont’d)
m M R H Comment
284 M1’ (A − D − A − B7 )/A− [L], Bsn+Str imit, P D (a),
..
288 . (Em − B − Em)/A− tutti climax
..
290 . (C] − F ]m)/A−
292 ⊥ (D − G − E7 )/A−
296 M3’ D A − A7 /D − D/F ]− Cl+Vi
..
298 . B7 /A − Em/G − A7 /G−
..
301 . D/F ] − G − D/A − A]◦7 − B PB (%)
..
304 . B − B7 /A − Em/G− WW
..
306 . C7 /B[ − F/A − B7 /A − Em − Am
310 ⊥ Em64 − B7 − E7 −
Coda (]])
312 M3 D (A − D − G − A)/A − D/A − . . . [M] WW+Vi, P D (a),
..
320 . (D − G − F ]∅7 − B7 − Em7 − A7 )/D tutti clim, P T (d)
..
325 . (D − G∆7 − C]◦ − F ] − Bm)/D−
..
328 . (E7 − A − D − G)/D [N] climax cont’d
332 ⊥ E∅7 /D − (D − A7 )/A− P D (a)
336 M1 <(D − Bm7 − E7 − A)− closing st: WW+Str
344 ⊥ <(D − D+ − G − A7 )/D− tutti clim, P T (d)
348 M1’ <(D − G)/D− Bsn+LoStr
352 ⊥ <(D − G)/D − D clos plagal cad (357 m.)

Table 9.40: Schumann, Symphony No. 4 in D minor, Mvt. 2 Romanze - Ziemlich langsam
m M R H Comment
h i
3
Ziemlich langsam 4
1 M1 Am Dm − Am − Dm − Bm7 − A1 , a): Ob+Vc, a-Aeol mode
..
3 . Am − Dm − Am − Dm − Bm7 − a)
..
5 . Am − F ]∅7 − G − D]◦7 − b), Seq(2×1m;R3 )
..
7 . Em − F ]∅7 /C − Em64 − B7 −
9 ⊥ E(m) − E − F ]∅7 − [O] Bsn+Va+Vc, P D (e)
11 Ms (E − Am − E7 − Am − E79 )/E− HiStr
..
15 . F Am/E − F − C7 − C7 /B[ − F/A − A WW+Str, Σ(cm<), P D (c)
..
19 . Am Dm/A − E7 − Am − A7 /C]− climax, Σ(cm>)
21 ⊥ D]◦7 − E7 − Am − Dm−
22 M1’ Am64 − E− Ob+Vc, cad
23 ⊥ A(m) − A − Dm/A − G]◦7 − [P] Bsn+va+Vc
25 Mv/s’ D A−D
B (]])
..
26 . A − G]◦7 − Gm − Dm/A− Mv: Vi, Ms’: Str 2-pt
..
27 . G]◦7 − A7 /G − D/F ]− PL (&)
..
. A/E − B∅7 /D − B7 /D]−
28 ⊥ E − E7 − A − D PL (%), Str+Bsn Pm (%)
30 Mv/s’ A − G]◦7 − Gm − Dm/A− Mv: SVi, Ms’: Str 2-pt
..
31 . G]◦7 − A7 /G − D/F ]− PL (&)
..
. A/E − B∅7 /D − B7 /D]−
32 ⊥ E − E7 − A − D/A− PL (%), Str+Bsn Pm (%)
34 Mv’ D || : A − D/A − D]◦7 − Em − F ]◦ /A− SVi, Str+Hns
36 ⊥ Em64 − B− cad
37 Mv/s’ Em − A − G]◦ /B − A7 − Mv: SVi, Ms: Str 2-pt
..
39 . D − D7 − G − E∅7 −
40 ⊥ A − A7 −1) D : ||2) D − Gm− cad
A2 (\\)
42 M1 Dm <(Dm − Gm)− aa): Ob+Bsn+Vc, plagal
..
45 . Am Dm − B∅7 − C − E7[9 −
47 ⊥ Am − Dm − Am64 − E7 − cad
49 M1’ A A(m) − A − G]◦7 /A− Bsn+Vcl P T (a)
51 ⊥ A (52 m.)

Table 9.41: Schumann, Symphony No. 4 in D minor, Mvt. 3 Scherzo and Trio - Lebhaft
m M R H Comment
h i
3
Scherzo - Lebhaft 4 ([) A1
1 M1 Dm || : Dm − . . . − A− aa’): (Ob+Vi)-(Bsn+Va) imit
..
9 . C]◦7 /G − Dm/F − b): Fl+Vi1
..
11 . G]◦7 /B − Am/C− PB (%)
13 ⊥ B◦ /D − D]◦7 − E − A : || cad
17 M2/1’ || : Am7 − D − G7 − C− B, Seq(3×2m;R−7 ),
21 ⊥ F∆7 − G7 − C WW+HiStr imit
25 M2’ F C − C7 − F [Q] stretto imit, Seq(2×4m;R−3 )
..
29 . E − E7 − Am
.. d
33 . B∅7 /D − E7 − Dm7 /A − Gm/B[ Seq(2×R2 )
37 ⊥ F46 − C − C + − F cad
41 M2’ B[∆7 /D − E∅7 − A∅7 /C − D7 − imit, Seq(3×2m;R−7 )
45 ⊥ Gm/B[ − E7[5 /B[ − A−
49 M1 Dm Dm − . . . − A− A2 , aa’): WW+Str imit
.. 1) C] /G
57 . ◦7 − Dm/F − b): Fl+Vi1, PB (%)
..
59 . G]◦7 /B − Am/C−
61 ⊥ B◦ /D − D]◦7 − E − A : || cad
.. 2) C] /G
57’ . ◦7 − Dm/F − C]◦7 − Dm b): Fl+Vi1
61’ ⊥ E◦ /G − G]◦7 − A − Dm
h i
3
Trio 4([[) A1
65 M3v B[ || : <(B[ − A◦ )/B[− WW+HiStr diat par [S̄46 ]
..
68 . (Gm − F − E[ − D)/B[− [S̄ 6 ] , P T (b[)
70 ⊥ (E[ − Dm − C7 − A∅7 )/B[−
73 M3v <(B[ − A◦ ) − Gm − F − 2nd stat, P T (b[)
77 ⊥ F <(C7 − F ]◦7 ) − C7 − F : || cad, P D (C)
81 M3v’ || : F m − E[/G− B, Seq(2×4m;R−7 )
83 ⊥ Cm D◦ /F − Cm − G7 − Cm WW+Str diat par [S̄ 6 ]
85 M3v’ C◦ − E[m/G[ − D[/F − 2nd stat
d
87 ⊥ B[m C◦ − B[m − F7 − G[
89 M3v’ (G[ − D[ − C◦ − C7[5 )/G[− climax, cad
93 ⊥ F − F7 − G]◦7 − F7 − F7]5 −

Table 9.42: Schumann, Symphony No. 4 in D minor, Mvt. 3 Scherzo and Trio - Lebhaft
(cont’d)
m M R H Comment
A2 =A1 , see m. 65–81
97 M3v B[ || : <(B[ − A◦ )/B[− WW+HiStr diat par [S̄46 ]
..
100 . (Gm − F − E[ − D)/B[− [S̄ 6 ] , P T (b[)
102 ⊥ (E[ − Dm − C7 − A∅7 )/B[−
105 M3v 1) <(B[ − A ) − Gm − F − 2nd stat, P T (b[)
◦
109 ⊥ F <(C7 − F ]◦7 ) − C7 − F : || cad, P D (c)
.. 2) B[
105’ . − Gm/B[ − G7 /B−
..
107’ . Cm − G7 /D − Cm/E[ − E∅7 − climax, Σ(cm>)
109’ ⊥ F7 − . . . − B[ − A− cad
Scherzo repeat ([)
113 M1 Dm A1 , see m. 1–16
129 M2 F B, see m. 17–48
161 M1 Dm A2 , see m. 49-64
Trio repeat ([[)
177 M3v B[ A1 , see m. 65–80
193 M3v’ B[m [R] B, see m. 81-96
209 M3’ B[ <(B[ − A◦ )/B[− A2 see m. 97 ff.
..
212 . (Gm − F − E[ − D)/B[− rh augmentation P T (b[)
214 ⊥ (E[ − Dm − C7 − A∅7 )/B[−
Etwas zurückhaltend
218 M3v Gm/B[ − G7 /B − Cm − G7 /D− see m. 105’, Σ(cm>)
220 ⊥ Cm/E[ − E∅7 − F7 − . . . − climax
225 B[ − A◦7 − B[ − F7 − [S] Coda, WW+Str
229 B[ (232 m.)

9.4.4 Mvt. 4 Langsam - Lebhaft

Form: sonata form. See Table 9.43 to 9.45 for the analysis. The slow (Langsam) introduction to
this finale movement uses thematic material from the opening movement; i.e., the first violin
16th note rhythm motif, that also returns in the accompaniment of the Lebhaft exposition
section. The first group main theme, M1, is the basis of the development section, which
is full of counterpoint and stretto imitation. This theme is skipped in the recapitulation,
that restates the second theme from the first group M2 and the second group theme M3,
both in the tonic key. Another striking effect are the bell chords, played by brass section
in the exposition and recapitulation and returning as a tutti effect in the coda. The coda is
divided into three subsections, with increasing tempo (see the tempo indications Schneller
and Lebhaft, Presto).
The main subject from the Exposition has M1(aab) (2 + 2 + 4 m.) sentence structure. On
the smaller scale there are two elementary cells at work: the repeated 8th note rhythm lead
with synchronised cadential tutti chords (c) and the dance-rhythm cell (d: 81 .+ 16
1
+ 18 + 18 ). This
yields the alternative breakdown into single measures M1((cd)+(cd)+(dc’dc’)). The second
theme from the first group is in quarter note rhythm with wide leaps and using a two-
measure motif cell M2(aa’a”) (2 + 2 + 2 m.).
The leaps from M2 must have been the deliberate transitory introduction to the second
group subject M3: this combines the M1 dance rhythm with the leaps (wide upward, third
downward) from M2. This theme can be subdivided into M3(aa’bbc) (4 + 2 + 4 + 4 + 4 m.)
phrase structure. The a-phrase for lead flute, oboe and first violins starts on the offbeat and
has the dance rhythm on beat 3 and 4, against a 8th-note background in 2nd violins and
violas. The repeated and varied a’ is set as a string and woodwind imitation, and receives
a syncopated quarter note background. The b-phrase copies the a-phrase melodic shape
and rhythm in a sequential setting Seq(2 × 4m;R7 ), the c-phrase closes the melody with a
Seq(3×1m;R7 ) sequence.
The Development is mainly based on the main subject M1, first in counterpoint setting.
From m. 88 onward it is combined with a countertheme, the ‘markirt’ four-measure motif
M4(aab) (1 + 1 + 2 m.) for horns and violas. In the Coda there is another Schumann regular:
the introduction of new melodic material after the exposition. Here it is the theme M6(aa)
(2 + 2 m.), juxtaposed with the bell chord technique, used also in the earlier sections from
this movement. The ascending 8th-note imitative scales (from low to high register) in the
closing presto may be considered as a final new theme.

The key relationship diagram of Schumann’s fourth symphony is shown in Fig. 9.8. All
movements end in a key that is different from the starting key: they open in minor, end in
major. The Scherzo 3rd movement is the exception.
The introduction in Mvt. 1 opens in the tonic minor key Dm, then moves to the relative
major F in the secondary theme of the exposition (1). The wide envelope of modulating keys
and ambiguous tonality in the development section is clear from the graph: first moving
into the subdominant direction, B[m − E[m − Em − D[ (2-3), then into the dominant area
A − F ]m − E (4), before returning to more closely related keys. These are the A[ − F m pair
along the tonic axis (5) and the C −Am pair. With the latter we reach the ‘false’ recapitulation,
before concluding in the parallel major key D.

Table 9.43: Schumann, Symphony No. 4 in D minor, Mvt. 4 Langsam - Lebhaft
m M R H Comment
h i
4
Langsam 4 Introduction
1 Dm B[ − Dm/A− Brs signal, Str tremolo
[5/[9
3 E7 /G] − E∅7 /B[ − A−
5 Dm − G7 /D − C
7 Dm7 /F − B[ − F − [T] Brs signal
9 <(B[∆7 − Gm/B[ − A)− cresc
14 A7 − . . . − tutti climax (16 m.)
Lebhaft Exposition
1 M1 D || : D − G/D − D − E7 − A Gr 1/Th 1, Seq(2×2m;R7 ),
..
3 . C − F/C − F − C/E − D7 − G WW+Str
..
5 . Em − A7 /G − D/F ] − Em7 /D−
.. d
6 . D46 − A − G/B − B7[9 /A−
..
7 . Em − A7 /G − D/F ] − Em7 /D−
8 ⊥ D46 − A7 − D
9 D − Am − Em/G − Bm− [U] Seq(2×1m;R7 )
11 M2 Bm F ]7 − Bm − G7 − C∆7 − Gr 1/Th 2, Seq(2×6m;R5 ),
..
13 . F ]7 − Bm7 /A − E7 /G] − Am7 /G− Vi1
15 ⊥ D7 /F ] − G∆7 − C∆7 − F ]∅7
17 M2 Em B7 − Em − C7 − F∆7 − 2nd st: WW+Str
..
19 . B7 − Em7 /D − A7 /C] − Dm7 /C−
21 ⊥ G7 /B − C∆7 − F∆7 /A − B∅7
23 M3 A <(E7 − A) Gr 2/Th 1: WW+Str
29 M3 <(B7[9 /D] − Am/E − B7[9 /F ])− Seq(2×4m;R7 )
33 ⊥ <(C][9 [9
7 /E] − Bm/F ] − C]7 /G])
37 M3 F ]7 − B7 − E7 − A/E Seq(3×1m;R7 ), imit
39 ⊥ <(E7 − A/E) [V] WW-Str
43 E7 − E7 /G] − F ]7 /A]− trans 1, WW+Str cresc
45 G]7 /B] − C]m − A7 /C]− PB (%)
46 D − Bm − E7sus4 − E7 − climax, cad
47 E7 − E7 /G] − F ]7 /A]− repeat 8ba
49 G]7 /B] − C]m − A7 /C]− PB (%)
50 D − Bm − E7sus4 − E7 − climax, cad
51 A − Bm7 /A − E/G] − F ]7 /A]− Brs: bell ch, Seq(3×2m;R7 ),
53 Bm − C][9 7 /B − F ]/A] − G]7 /B]− WW+Str scales%
55 C]m − D∆7 /C] − G/B − A7 /C]−
57 M1 A D − B7 /D] − A64 − E7 − final stat
59 ⊥ <(A − E) − A − D/A − A : || plagal cad

Table 9.44: Schumann, Symphony No. 4 in D minor, Mvt. 4 Langsam - Lebhaft (cont’d)
m M R H Comment
62 Bm <(G − F ][9
7 )− Development, trans 2
66 M1’ Bm − <(F ]7 − Bm) [W] Ctp: WW+Str (4 × 3m)
..
69 . Bm/D − F ]/C] − <(C]m7 − F ])−
..
72 . Bm − <(F ]7 − Bm)
..
75 . Bm/D − F ]/C] − Bm − F ]/C]−
76 ⊥ <(G]∅7 /D − C]7 − F ])
78 M1’ B7 − Em − A7 − D− stretto, Seq(4×1m;R5 ),
80 ⊥ G∆7 − C]m − F ]7 − Bm WW+Str
82 M1’ <(Em − Bm) − <(G − D) [X] stretto, plagal cad
86 ⊥ E7 /D − Am/C − D7 /C − G/B trans 3
88 M4/1’ G <(G∆7 − Am/E − D7 /F ])− M1: WW+Str,
90 ⊥ G − Am − D7 /A − G+ M4: Hns+Va
92 M4/1’ Em Em/G− repeat
..
93 . <(F ]m/C] − B7 /D] − Em)
95 ⊥ Am7 /G − Dm/F − G7 /F − C/E− PB (&)
97 F ]7 /E − Bm/D − G][5
7 /D − C] cad
99 M2 F ]m C] − F ]m [Y] trans 3
..
100 . G][5
7 /D − C] − F ]m Seq(3×2m;R7 )
102 ⊥ Em [5
F ]7 /C − B − Em
104 M2 D Gm/B[ − A − D/A Recapitulation, Vi1, P D (a)
..
106 . <(B7 − Em)/A − <(C] − F ]m)/A Seq(3×2m;R7 )
110 ⊥ (D+ − G − E7 − E7[9 )/A P D (a)
113 M3 <(A7 − D)/A WW+Str (ped)
119 M3 <(E7[9 /G] − Dm/A − E7 − B) P T (d), Seq(2×4m;R7 )
123 ⊥ <(F ][9
7 /A] − Em/B − F ]7 /C])−
127 M3 B7 − E7 − imit, Seq(3×1m;R5 )
129 ⊥ <(A7 − D/A) [Z] WW+Str
133 A7 − A7 /C] − B7 /D]− trans 1, WW+Str cresc
135 C]7 /E] − F ]m − D7 /F ]− PB (%)
136 G − Em − A7sus4 − A7 − climax, cad
137 A7 − A7 /C] − B7 /D]− repeat 8ba
139 C]7 /E] − F ]m − D7 /F ]− PB (%)
140 G − Em − A7sus4 − A7 − climax, cad
141 Dm − Em7 /D − A/C] − B7 /D]− Brs: bell ch, Seq(4×2m;R7 ),
143 Em − F ]7 /E − B/D] − C]7 /E]− WW+Str scales%
145 F ]m − G∆7 /F ] − C/E − D7 /F ]−
147 G − E7 /G] − D46 − A7 − cad

Table 9.45: Schumann, Symphony No. 4 in D minor, Mvt. 4 Langsam - Lebhaft (cont’d)
m M R H Comment
149 M1 D D − <(A7 − D) final stat: tutti
152 Em <(C − B7 )− [AA] Coda 1, trans 2
156 M5 D <(B7 − Em − A7 − D) imit: Str+WW
..
160 . C/E − D7 /F ] − G − E7 /G]− tutti cresc, bell effect
162 ⊥ D46 − Dm64 − A7sus4 − A7 − scales%, clim, cad
164 M5 <(B7 − Em − A7 − D) repeat
..
168 . C/E − D7 /F ] − G − E7 /G]− tutti cresc, bell effect
170 ⊥ D46 − Dm64 − A4 − A− scales%, clim, cad
Schneller Coda 2
172 D D − F ]/A] − Bm − B7 /D]− tutti, Σ(cm>)
174 Em − Em7 /G − D46 − A− cad
176 D − F ]7 /E − Bm/D − B7 /A− repeat, parts swapped
178 Em/G − D46 − A− cad
180 D − D/F ] − Em/G − A7 − trans 2, climax, Σ(cm>)
182 F ]/A] − Bm − Em − A7 −
184 D − D/F ] − Em/G − A7 − repeat, climax, Σ(cm>)
186 F ]/A] − Bm − Em − A7 −
188 A7 − . . . − E7[9 /G] − . . . − [BB] tutti clim, stop (194 m.)
Presto Coda 3
1 D A − D − B7 − Em − A[9 7 /C] − A7 /G− scales%
6 D/F ] − D7 − G/B − B7 /D]− cresc, P D (a)
8 Em/G − Em7 − A[9 7 /C] − A7 /G− tutti climax (ped)
10 D/F ] − F ]/A] − Bm − B7 /D]− Σ(cm>)
12 Em − Em7 − D46 − A− cad
14 D − F ]−
15 Bm/D − B7 /A − Em/G − E7 /D− Σ(cm<)
17 D46 − A7 − cad
18 <(D − G/D) − D plagal cad (26 m.)

Mvt. 1 Ziemlich langsam - Lebhaft
Am
- Em Bm F ]m H C]m
6 H
j
C 2 G DY 4 A E
H
HH
H
Cm Gm Dm Am Em Mvt. 2 Romanze

6
? 6
E[ B[ 1 F C G D H 2 A
H 63
YH
?
E[m B[m F m Cm Gm Dm - Am
65 *

3 1

G[ D[ A[ E[ B[ F C
Mvt. 3 Scherzo Mvt. 4 Langsam - Lebhaft

4
Gm 2 Dm Am Em Bm F ]m
?
H 1 I
-F 1 3 C HH
6 6 j 6 @
B[ G 5 D 2 A
@
HH 3
64 H
j
H 6
B[m Fm Cm Gm Dm Am
Figure 9.8: Schumann, Symphony No. 4 in D minor, key relationship diagram
The middle movements have a much simpler key scheme. The 2nd movement A1 section
alternates between Am and F (1), the A2 section has the pattern Dm − Am − A (3), while the
middle section remains in the key of D major (2). Note the focus on the subdominant area
(in line with the local plagal cadences?). The third movement scherzo moves from the tonic
minor key Dm to the relative major key F and back (1); the trio moves along a set of keys
with development character B[ − F − Cm − B[m − B[ − F (2-4).
The closing sonata form movement stays within a limited key compass. The introduction
is in the tonic minor key Dm, the exposition starts in the parallel major key D and moves
through a number of keys (1) before ending on the dominant major key A (2). The develop-
ment section prefers a path along mostly minor keys Bm − G − Em − F ]m − Em (3-4). The
recapitulation is in the major key D, while the coda alternates as D − Em − D (5).

Chapter 10
Johannes Brahms
Biographical data:
∗ 7-5-1833 in Hamburg
† 3-4-1897 in Wien
1600 1700 1800 1900 2000
10.1 String Sextet Op. 36 No. 2 (1866)

h i
3
Mvt. 2 Presto giocoso: scherzo and trio form (Gm − G, 4 , 371 m.)
Scherzo (120 m.)
Presto (130 m.)
Primo tempo (108 m.) C (12 m.)
Figure 10.1: Brahms, String Sextet Op. 36 No. 2
10.1.1 Mvt. 2 Scherzo, Allegro non troppo

Form: ternary song form (Scherzo - Presto - Primo tempo). Both the scherzo and the presto
(the trio) have the ternary ABA’ Coda structure. The M1 theme in the Scherzo A section
splits the sextet into two subgroups: the three upper strings provide a block chord texture
around the theme, the three lower parts play pizzicato bass riffs in hoquetus technique. The
same subdivision returns in the trio A section. The scherzo can also be interpreted in terms of
a sonata form; the B section, with its counterpoint settings, modulations and varied rhythm
has the characteristics of a development. There is even a false recapitulation. The Trio main
theme M4 contains many hemiolas. The Primo tempo section is a repeat of the scherzo, with
a coda (Animato). See Table 10.1 to 10.3 for the analysis.
2005-2017
CHAPTER 10. JOHANNES BRAHMS
Table 10.1: Brahms, String Sextet Op. 36 No. 2, Mvt. 2 Scherzo, Allegro non troppo
m M R H Comment
h i
2
Scherzo [ABA’] Part 1: 4
d
1 M1 Gm || : Gm − D7 − Gm − D − A, Exp (a): Vi1
..
5 . Cm − F7 − B[∆7 − E[ − B[− (b), syncopes
..
9 . A∅7 − D − D7 − Gm − D− (c)
13 ⊥ Am − . . . − A7 − P D (a)
17 M2 Dm Dm − . . . − A7[9 − Vi1+Va1: unis triplets
21 M2 Am − G]◦7 /B − Am/C − E7 /G] − A7 − Vc1, sync
25 M2 Dm − . . . − A7 − Dm : || Vi2+Va2 (repeat)
34 M3 E[ E[ − E[7 − B[[9
7 − E[ B, Dev, imit
38 M3 E [9
E − E7 − B7 − E − B − E
42 M3 C/E − F − G/B − C − F Seq(3×2m;R−i ), imit,
..
44 . Gm C]/E] − F ]m − D/F ] − Gm 16ths, PBi (%)
..
46 . E[/G − E/G] − F m/A[ − A[7 − stretto to climax
48 ⊥ G <(G − D7[9 )− climax
50 I(M2’) G − . . . − <(G − D7[9 )− imit
56 M1 G − D7[9 − G − D79 − [A] False Recap (a): Vi1
.. d
58 . G − C/E − G/D − F7 −
60 ⊥ G − D − Bm − D arp%
66 F ]m − F ]m/A− Σ(cm<)
d
69 M1 Gm Gm − D7 − Gm − D − A’, Recap (a): Vi1
..
73 . Cm − F7 − B[∆7 − E[ − B[− (b)
..
77 . Cm − F7 − Dm7 − (c)
80 ⊥ G7 − Cm − Gm64 − D7 − cad
83 M2 Gm − . . . − D7[9 − Vi1+Vi2: unis triplets
87 M2 Dm Dm − . . . − A7 /C] − D7 − Va1, sync
91 M2 Gm Gm − . . . − D − Gm Va2
97 <(F − B[ − D − Gm)− trans
101 F − B[ − A − Dm − C − F cresc to climax, Σ(cm<)
105 D − A∅7 − D − Gm
109 M1’ (Gm − E[)/G − Cm − F7 − B[ Coda (a’) dim imit, P T (g)
113 M1’ (Gm − E[)/G − G[9 [9
7 − Cm − D7 − (a’) dim imit, (ped)
117 Gm − D7 − Gm − D − Gm closing cad

10.1. STRING SEXTET OP. 36 NO. 2
Table 10.2: Brahms, String Sextet Op. 36 No. 2, Mvt. 2 (cont’d)
m M R H Comment
h i
Presto giocoso [ABA’] Part 2: 34
121 M4.a G <(Am/D − D7 /C − G/B)− A (aab): Vi1+2, P D (d)
127 M4.b Em/G − F ] − Bm − Em − A− tutti climax
134 ⊥ D − A − G64 − D − G cad
137 M4.a <(Am/D − D7 /C − G/B)− 2nd stat (aab’), P D (d)
144 M4.b’ Em/G − A − D − G−
148 ⊥ <(C]∅7 − F ]7 − Bm) cad
153 M5 D7 − . . . − E7 − . . . − [B] B (aaa’): Vi2+Vc1, Seq
160 ⊥ D/F ] − Em/G − A7 − D7 − (b)
165 M4’ <(G − F ]◦7 /C)− (aab): Vi1 dim, P T (g)
169 ⊥ C/E − D − G − A7 /G−
173 M4’ Bm <(G − F ]◦7 /C) − Em− 2nd stat (aab)
177 ⊥ F ]7 − . . . − Bm
181 I(M5) D7 /C − . . . − Bm− [C] (aa): Vi1, Seq.
..
185 . E7 /D − C]∅7 − (a’)
..
187 . F ]7 /E − Bm/D− (b)
..
188 . G∆7 /F ] − C]∅7 /E−
189 ⊥ A7 − . . . − Am − D Σ(cm<)
193 M4.a G <(Am/D − D7 /C − G/B) A (aab): Vi1+2, P D (d),
200 M4.b Em/G − F ] − Bm − Em − A− tutti climax
205 ⊥ D − A − G64 − D− cad
d
209 M4.a’ <(G7 − Am/C − D7 )− trans, Vi1
215 M4.a Am/C − D7 − B7 /F ] − Em− A’, Seq(R7 ), clim, PB (%)
..
219 . C]/E] − D/F ]−
..
221 . E/G] − Am − D7 −
223 ⊥ <(G − Cm)/G P T (g)
227 M4’ G − Gm − D − . . . − [D] Coda, Va1+2: unis dim
231 M4’ G − . . . − Gm − . . . − Va1+2: unis
243 M4’ Gm D − Gm − . . . − Va2+Vc2, unis
247 (M1’) D − A∅7 − D− Vi1 augm

Table 10.3: Brahms, String Sextet Op. 36 No. 2, Mvt. 2 (cont’d)
m M R H Comment
h i
2
Primo tempo [ABA’] Part 3: 4
d
251 M1 Gm Gm − D7 − Gm − D − A (a): Vi1
..
255 . Cm − F7 − B[∆7 − E[ − B[− (b)
..
259 . A∅7 − D − D7 − Gm − D− (c)
263 ⊥ Am − . . . − A7 − P D (d)
267 M2 Dm Dm − . . . − A[9
7 Vi1+Va1: unis triplets
271 M2 Am − G]◦7 /B − Am/C − E7 /G] − A7 − Vc1
275 M2 Dm − . . . − A7 − Dm Vi2+Va 2 (repeat)
284 M3 E[ E[ − E[7 − B[[9
7 − E[ B, imit
288 M3 E [9
E − E7 − B7 − E − B − E
292 M3 C/E − F − G/B − C − F Seq(3×2m;R−i ), imit
..
294 . Gm C]/E] − F ]m − D/F ] − Gm PBi (%)
..
296 . E[/G − E/G] − F m/A[ − A[7 − stretto to climax
298 ⊥ G <(G − D7[9 )− climax
300 I(M2’) G − . . . − <(G − D7[9 )− imit
306 M1 G − D7[9 − G − D79 − [E] False Recap (a): Vi1
.. d
308 . G − C/E − G/D − F7 −
310 ⊥ G − D − Bm − D arp%
316 F ]m − F ]m/A− Σ(cm<)
d
319 M1 Gm Gm − D7 − Gm − D − A’, Recap (a): Vi1
..
323 . Cm − F7 − B[∆7 − E[ − B[− (b)
..
327 . Cm − F7 − Dm7 − (c)
330 ⊥ G7 − Cm − Gm64 − D7 − cad
333 M2 Gm − . . . − D7[9 − Vi1+Vi2, unis triplets
337 M2 Dm − . . . − A7 /C] − D7 − Va1
341 M2 Gm − . . . − D − Gm Va2
347 <(F − B[ − D − Gm)−
351 F − B[ − A − Dm − C − F cresc to climax, Σ(cm<)
355 D − Gm cad
Animato Coda
359 M2’ Gm − . . . − F7 − B[ − D− imit, clim, P T (g)
363 M2’ Gm − . . . − D7 /C−
367 ⊥ Gm/B[ − . . . − D7 − Gm closing (371 m.)

10.2. GERMAN REQUIEM OP. 45
The opening theme has M1(abc) (4 + 4 + 8 m.) structure with dissimilar phrases; the
connecting element is the pizzicato riff in the lower voices. M2 is a four-measure theme in
legato 8th notes, with three statements in an imitation counterpoint setting. On a somewhat
lareger scale the BB section subject has M3(aa’bc) (4 + 3 + 3 + 6 m.) structure.
The Part 2 Presto giocoso first theme has M4(aab) (4 + 4 + 8 m.) period structure. The
stepwise descending motif M5 in legato 8th note rhythmis used in a sequential setting.
10.2 German Requiem Op. 45 (1868)

Source: [12]. Music for orchestra and choir. An overview of the formal analysis is shown in
Fig. 10.2.
Mvt. 1 ‘Selig sind, die da Leid tragen’, Ziemlich langsam und mit Ausdruck:
h i
4
ABABA Coda form (F , 4 , 158 m.)
Intro A B A1 B1 Tr A2 Cod
Mvt. 2 ‘Denn alles Fleisch es ist wie Gras’, Langsam, marschmäßig – Allegro:
h ih i
3 4
ABAC Coda form (B[m − B[, 4 4 , 337 m.)
A1 (75 m.) B (52 m.) A2 (79 m.)
C (105 m.) Coda (34 m.)

h ih i
2 3
Mvt. 3 ‘Herr, lehre doch mich’, Andante moderato: ABC form (Dm, 2 2 , 103 m.)
A B Tr C
Figure 10.2: Brahms, German Requiem Op. 45
10.2.1 Mvt. 1 Selig sind, die da Leid tragen, Ziemlich langsam und mit Ausdruck
Form: ABA1 B1 A2 ’. The opening movement is without trumpets and violins; there is an
optional organ (for pedal points and sustained bass lines). The positioning of A and B sec-
tions yields a bridge form. The tonic pedal point from the introduction section returns in the
transitions and coda. See Table 10.4 and 10.5 for the analysis.
10.2.2 Mvt. 2 Denn alles Fleisch es ist wie Gras, Langsam, marschmäßig
Form: ABAC Coda, with introduction. The orchestra opens with a characteristic subject M0,
full of descending leaps in dotted 8th - 16th note rhythm, that returns as a background be-
hind the choir with the unisono melody M1; hence this section has the character of a chorale
with cantus firmus in the voices.1 The two phrases, M0 and M1/0, are repeated, although M1
1
The opening phrase from the main melody M1 contains four neighbouring chromatic pitches (b[−c−d[−c[);
this pitch class set has been used frequently by Béla Bartók.

Table 10.4: Brahms, German Requiem Op. 45, Mvt. 1 Selig sind, die da Leid tragen
m M R H Comment
h i
1 F (F − F7 − B[ − B[m − F − F◦7 )/F − Intro, 44 , LoStr, P T (f )
7 (C7 − F7 − B[ − G∅7 − F − D[7 )/F − Str imit
11 G[/D[ − D[7 − F46 − C7 − E◦7 /F − F cad
15 M1 (F − F7 − B[ − B[m)/F − A, Ch-Str
..
19 . (F − F7 − B[)/F − Ch
..
21 . Dm − Am − Em − F − Dm
..
23 . Am − C7 /B[ − F/A − G − C−
25 ⊥ F − B[ − C
27 M2 F − B[ − C − C7 − Str+Fl
..
29 . F − Gm7 /B[ − C7 − F − B∅7 /D − E7 − [A] Ch+tutti
..
33 . Am − F7 − B[m − G7 − C − C7 −
..
37 . <(A/C] − C7 ) − (C7 − E◦7 − Dm)/F − (Str+Ob)-Ch
d
43 ⊥ <(F − B[ − C − C7 ) − Ch-(WW+Brs)
47 M3.1 D[ D[ − G[m − A[ − E[m − A[7 − [B] B, Ch+Str imit
..
50 . G[[9
7 − A[7 − D[/F − F7 − B[m/D[− +WW
52 ⊥ B[m − D[7 /F − G[ − E[7 /G− climax
55 M3.2 A[7 − D[7 − G[ − E[7 /G− Ch+tutti imit
..
59 . D[/A[ − . . . − A[7sus4 − A[7 −
62 ⊥ D[ − . . . − G[−
65 M4 F (F − B[ − B[m − F − F◦7 )/F − [C] A1 , Ch+Str imit, P T (f )
..
71 . (C7 − F7 − B[ − B[m − F m − D[7 )/F − Ch+tutti (see intro)
d
75 ⊥ G[/D[ − D[7 − F46 − C7[9 −
80 M3.3 D[ D[/F − G[m − A[ − A[[9
7 /E[− [D] B1 , Ch+Str imit
..
83 . E[[9 +
7 /G − A[ − D[/F − D[ − F7 − B[m
86 ⊥ D[7 − G[ − E[7 /G−
88 M3.2 A[7 − D[7 − G[ − . . . − Eb7 /G− clim, stretto imit
..
92 . D[/A[ − . . . −
94 ⊥ A[7sus4 − A[7 − D[ − E[m7 /D[− cad
96 (D[ − D[7 − G[ − C◦7 )/D[ Str, P T (d[) (see intro)
100 5 D[ − D[7 − (F − B◦7 − C)/C − C7 /E− Ch+Str

10.2. GERMAN REQUIEM OP. 45
Table 10.5: Brahms, German Requiem Op. 45, Mvt. 1 Selig sind, die da Leid tragen
m M R H Comment
106 M1 F (F − F7 − B[)/F − C7 − F − Dm [E] A2 , Ch+WW+Hns
..
108 . Am − Em − Dm/F − Gm7 − C7 −
..
111 . (F − F7 − B[ − E◦7 − F )/F − Dm− Ch+Hns
..
113 . Am − Em − Dm − Am − C7 /B[−
..
116 . F/A − G − C − F − B[ − C− +tutti
..
119 . F − Gm7 /B[ − C − F − Ch+WW
..
122 . B∅7 /D − E7 − Am
..
124 . B[m − G7 − C − C7 − tutti clim
..
127 . <(A/C] − C7 ) − (C7 − E◦7 − Dm)/F − (Str+Ob)-Ch
d
133 ⊥ F − B[ − C − C7 − A/C]− Ch+Str
136 M2 F ]m/A − D − Am − Dm− trans, WW-Str imit
..
138 . Am/E − Dm/F − B[/D − Gm−
140 ⊥ C7 − . . . − F − F ]◦7 − Gm − F/A − C7 − tutti clim, cad
144 M2 F <(F − F7 − B[ − C7 )/F − [F] Coda, tutti imit, P T (f )
..
148 . <(F − C7 ) − F − F/C− Σ(cm<), climax
..
150 . F − F/C − C7 − F
152 ⊥ Dm − B[ − F46 − C7 − F (158 m.)

now is presented as a tutti climax. This entire section is repeated as A’, with in between a
more lively (etwas bewegter) and contrasting B section; here the melody treatment is full of
imitation. After a transition, the C section contains more imitative material; the motto-like
M3 motif returns as echo statements in the coda orchestral backgrounds. The M4 subject
a-phrases are presented in counterpoint with both melodic diminution and augmentation.
Throughout the coda there is tonic pedal. See Table 10.6 to 10.9 for the analysis.
10.2.3 Mvt. 3 Herr, lehre doch mich, Andante moderato

Form: ABC. The M0 motif is used as a rhythmic and melodic ostinato in the bass; it returns
on many scalar steps, also in melodic diminution. The themes M1 and M2 are in a call-and-
response setting for solo bass and full choir. The growing impatience of the pupil is expressed
in ever shorter note duration values in the background (starting with half notes and going
to quarter notes and triplets, and finally 8th notes and triplets). Another motif M2’, derived
from the M2 melody, is used in imitation as orchestral backgrounds. The C section is full of
imitation and counterpoint over a continuous tonic pedal point (supported by the organ).
See Table 10.10 to 10.12 for the analysis.
10.3 String Quartet Op. 51 No. 1 (1873)

Source: [10].
h i
3
Mvt. 1 Allegro: sonata form (Cm, 2 , 260 m.)

h i
3
Mvt. 2 Romanze, poco adagio: ABAB Coda form (A[, 4 , 96 m.)
A B A’ B’ Cd
Mvt. 3 Allegretto molto moderato e comodo: scherzo (ABA) and trio (CDC) form
h ih i
4 3
(F m − F , 8 4 , 146 m.)
A B A’ C D C’ Cd
h i
2
Mvt. 4 Allegro: ABCABCA Coda, sonata form (Cm, 2 , 248 m.)
Exp, A1 B C1 Dev, A2 B C2
Recap, A3 Cod
Figure 10.3: Brahms, String Quartet Op. 51 No. 1

10.3. STRING QUARTET OP. 51 NO. 1
Table 10.6: Brahms, German Requiem Op. 45, Mvt. 2 Denn alles Fleisch es ist wie Gras
m M R H Comment
h i
3
Langsam, marschmäßig Introduction, A 4 ([[[[[)
1 M0 B[m E[m − B[m − F7 − B[m − A[m− (a): WW+Str
..
5 . E[m − C7 − F − E[m−
..
7 . B[m − F7 − B[m − C[/E[− (a’)
..
9 . <(G[ − C[/E[) − G[ − . . . − C7 −
..
13 . <(F − Gm7 )/F − (b) P D (f )
..
17 . (Gm7 − B[m − G[)/F −
19 ⊥ E◦7 /B[ − F − . . . − E[m− halfcad
23 M1/0 B[m − F7 − B[m − A[m [A] (a) LoCh+Tbn unis,
..
25 . E[m − C7 − F − E[m− tutti bg
..
27 . B[m − F7 − B[m − C[/E[− (a’)
..
29 . <(G[ − C[/E[) − G[ − G[∆7 − C7 −
..
33 . <(F − Gm7 )/F − (b), HiCh, P D (f )
..
37 . (Gm7 − G[∆7 − B[m7 )/F − Ch
39 ⊥ (G∅7 − F )/F halfcad
43 M0 (F − C7 − F − G7 )/F − . . . − [B] (a’): Str+WW, P D (f )
.. d
47 . C7 − C7[9 −
..
49 . (D[ − G[ − D[ − D[7 )/F − (a”): +Brs
..
51 . (B[7 − D[7 − B[7 − B◦7 )/F −
53 ⊥ F7[9 − . . . − E[m−
55 M1/0 B[m − F7 − B[m − A[m− (a) tutti climax
..
57 . E[m − C7 − F − E[m− tutti bg
..
59 . B[m − F7 − B[m − A[m− (a’)
..
61 . E[m − F [/A[ − C[ − F [/A[−
..
63 . C[ − . . . − F7 − B[−
..
66 . (A∅7 − B[ − A∅7 − Cm7 − E[m7 )/B[ (b): Ch/(WW+Str)
68 ⊥ (C[∆7 − E[m − A◦7 − B[)/B[ cad
Etwas bewegter B ([[[[[[)
75 M2.1 G[ <(G[ − D[) − C[ − F◦ /A[− [C] (aa’): Ch+Str
80 ⊥ G[ − G[/B[ − C[ − C∅7 − D[7 (b)

Table 10.7: Brahms, German Requiem Op. 45, Mvt. 2 Denn alles Fleisch es ist wie Gras (cont’d)
m M R H Comment
84 M2.1 <(G[ − D[) − C[ − F◦ /A[− (a’): WW
88 ⊥ G[ − C[ − C∅7 − D[− +Ch
91 M2.2 D[ − A[m − G[ − D[/A[ − A[m7 − [D] Ch+Str imit
.. d
95 . Cm7 − B[7 /F − C]◦7 − D/F ] − chr
..
99 . E[m/G[ − B[/F − C − F7 −
103 ⊥ B[ − . . . − B[m − G[
107 M2.1 <(G[ − D[) − C[ − F◦ (aa’): Ch+WW+Str
..
112 . (C[ − C[m − G[)/G[ − C[ − C∅7 (b)
..
116 . (G[ − G[m − D[ − D[7 )/D[−
119 ⊥ G[ − . . . − E[m Ch+Hns
Tempo I. A’ ([[[[[)
127 M0 B[m B[m −→ C7 − F − B[m −→ G[ − C7 − [E] (aa’): see m 3-12
137 ⊥ <(F − Gm7 )/F −→ E◦7 /B[ − F (b): see m 13-22, P D (f )
147 M1/0 B[m −→ C7 − F − B[m −→ G[ − C7 − [F] F (aa;) see m 23-32
157 ⊥ <(F − Gm7 )/F −→ G∅7 /F − F (b), see m 33-42, (ped)
d
167 M0 (F − C7 − F − G7 )/F − C7 − [G] (a’): see m 43-48
173 ⊥ D[/F −→ F7[9 − . . . − E[m− (a”): see m 49-54
179 M1/0 B[m −→ C7 − F7 − B[m −→ C[ − F7 − (aa’) clim, see m 55-64
190 ⊥ B[ −→ (E[m − A◦7 − B[)/B[ (b): see m 65-73
Un poco sostenuto C ([[)
198 Mt B[ B[ − . . . − A − Dm− [H] trans, Ch+WW+Brs
202 ⊥ G − Cm − Cm/E[− +Str arp
203 5 (B[m − F )/F − clim, Fl+Ob+Tpt
h i
4
Allegro non troppo 4
206 M3 B[ − F/A − Gm− B+Bsn, Str sync bg
..
208 . B[/F − E[ − F − E[/G−
210 ⊥ B[/D − Gm7 − F m − B[7 /D − E[−
212 M3 E[/G − B[ − C7 /B[ − F/A − F − B[− Ch+WW+Str
..
215 . C − B[/D − F/A−
..
217 . Gm7 − Cm − F7 /A − B[−
218 ⊥ B[/D − Gm7 − C7 − F7 −
219 M3 F Dm − B[7 − E[ − E[7 /D[ − C7 − [I] tutti, Seq(3×2m;R7 ),
..
222 . F − Dm − B[∆7 − cresc to climax

m M R H Comment
..
225 . Gm/B[ − B[ − G[/B[−
227 ⊥ (F − B◦7 − C7sus4 − C7 )/C − F cad
233 M4 F − C − Dm − C/E − C − Am − F [K] (a): dim+aug, Ch+Ob+FHn
..
237 . C − B[m − C − . . . − (b) Ch, WW+Str sync bg
242 ⊥ C7 /B[ − F m/A[ − F m − D[ − B[m
245 M4 C − F − Gm− (a) dim+aug, Ch+Hns
..
247 . F/A − F − Dm − B[−
..
249 . F/A − C − . . . − Gm− ctp imit
..
253 . C7 − B[m − F ]/A] − F ]7 − (c): trans
257 ⊥ B7 − Am − F7 /A−
261 M3 B[m B[m − B[m7 − G[− [L] stretto imit, Ch+tutti
..
265 . B/D] − B−
..
267 . B[ Em − C − Am − F − Dm− stretto imit, Seq(3×2m;R3 )
..
272 . B[ − . . . − E[/G−
..
276 . <(B[ − E[) − Cm/E[ − B[7 /A[− tutti climax
..
279 . E[ − B[ − . . . − F m − Cm− tutti ctp
..
282 . B[/D − A[ − Gm/B[ − F m
..
284 . <(A[ − E[) − <(B[7 /A[ − E[) rhythm 3-in-4
..
288 . A[/C − B[7 /D − E[− tutti clim, stretto imit
289 ⊥ B[/F − E[/G − Cm − F7 − B[ cad
291 M3 Gm − E[7 − A[ − A[7 /G[ − F7 − [M] tutti, Seq(3×2m;R7 )
..
295 . B[ − B[7 /E[− cresc to climax
..
298 . E[m − C[−
299 ⊥ (B[ − C]◦7 − F7sus4 − F7 )/F − cad, P D (f )
Tranquillo Coda
303 M3 (B[ − . . . − F 4 )/F − WW imit, Seq(4×4m;R5 ),
..
307 ./c (B[7 − E[ − . . .)/B[− Ch imit, Str bg, P T (b[)
..
309 ./c (F7 − B[ − B[m − E◦7 − F )/B[
..
311 ./c (F7 − B[ − . . .)/B[−
.. i (&)
313 ./c (C7 − F − B[7 − E[)/B[− Pm

m M R H Comment
..
315 ./c (B[7 − E[ − . . .)/B[−
..
317 ./c (F7 − B[ − B[m − E◦7 − F )/B[−
..
319 ./c (F7 − B[ − Gm/B[ − F7 − B[)/B[− CH+Str, P T (b[)
321 ⊥ (E[ − F7 − B[)/B[
323 M3/c (Cm7 − . . . − F7 − . . . − B[ − B[7 )/B[− [O] closing (ped)
329 ⊥ (E[ − . . . − F79 − B[)/B[ clim, cad (337 m.)
Form: sonata form. This opening movement shows the Brahms characteristic of already
varying and developing main themes in the second statement of the exposition and recapit-
ulation. Therefore the real development is relatively short and based on the first themes of
both groups, M1 and M3, that also appear in combination. The backgrounds are full of ref-
erences to these themes, using small motifs in counterpoint settings and melodic inversion.
See Table 10.13 to 10.15 for the analysis.
The first subject has M1(abbbb’c) (1 + 1 + 1 + 3 + 4 m.) structure. Both the a- and b-
phrase are based on ascending dotted-rhythm arpeggios in the violins; the b-phrase contains
a downward leap. The c-phrase is a tutti cadence. The second theme has M2(abab) (1 + 1 +
1 + 1 m.) period structure, with the a-phrase in half note, the b-phrase in quarter-note triplet
rhythm. The second group subject has M3(aabbc) (1 + 1 + 1 + 1 + 4 m.) structure, with
the a-phrase in afterbeat quarter note, the b-phrase in stepwise moving 8th-note rhythme,
and the c-phrase in legato quarter note arpeggios. M4 is a through-composed melody. full
of 8th-note arpeggios and dotted rhythm leaps. The last theme has an unbalanced sentence
structure M5(aab) (1 + 1 + 10 m.), with a long-winding tail for first violin.
10.3.2 Mvt. 2 Romanze poco adagio
Form: ABA’B’ Coda. The large-scale structure is binary (AB-AB), the local subdivision is:
A(aaba’)-B(aabaab)-A’(aaba’)-B’(aa’). All quartet members contribute equally to the texture
of this movement; only locally one hears more or less solo instruments emerge. The basic
rhythm is dotted 8th-16th note for the A sections, and 8th note triplets for the B sections;
these sections contain frequent and rapid modulations. The settings are full of contrary
motion, small-scale dynamic curves and melodic variation. See Table 10.16 and 10.17 for the
analysis.
The main subject M1 is through-composed. The B section theme has M2/3(aab) (2 + 2 + 4
m.) sentence structure, with the M2a-phrases in tutti afterbeat 8th-note rhythm returning in
the B’ section and the M3b-phrase containing contrary motion.

Table 10.10: Brahms, German Requiem Op. 45, Mvt. 3 Herr, lehre doch mich
m M R H Comment
h i
2
1 M0 Dm 2 A, bass motif
d
2 M1 Dm − Am − F/A − B[ − F − A − B-Solo, Hns+Str bg
..
8 . B[ − Gm7 − E◦ /G − . . . − A−
13 ⊥ A − Dm − . . . − A − Dm cad
17 M1/0’ F − Am/C − . . . − [A] Ch, Str+WW bg,
..
19 . B[ − Gm − Dm−
..
21 . C − B[ − F − E∅7 − A − Dm M0’: dim
..
25 . E∅7 − . . . − C]◦7 − Dm − B[ − A−
d
30 ⊥ Dm − Am/C − B[ − E∅7 /G − A −
33 M2 B[ B[no 5 − B[7no 3 − E[m− [B] B-Solo, WW bg
..
36 . B[ B[ − . . . −
..
39 ./2’ F ]7 /A] − . . . − M2’: WW+Str, 4ths tripl
..
41 . (Bm − B7 − Em − Bm)/B−
[5/[9 d
45 ⊥ E7 /B[ − A7sus4 − A −
48 M2 B[ − B[7 − Ch, Str bg 4th tripl
..
50 . E[m/B[ − B[7 − B[7 /A[−
..
52 . E[m/G[ − . . . − cresc, Σ(cm<)
..
54 ./2’ B7 − . . . − M2’: WW climax
.. d
56 . Am − A7 /G − B[/F − E[m− cresc, Σ(cm<)
..
60 . C]◦7 /D − F ]m/C]−
62 ⊥ (A7 − Dm − Am − B[∆7 )/A climax, P D (a)
66 M1 Dm (Ano 3 − Dm − Am − F − A)/A− [C] B-Solo, Str bg (ped)
..
73 . Dm − Gm/B[ − E∅7 /G − A−
74 ⊥ Dm − A − Dm − B[ − Dm
81 M1 E∅7 /G − A7sus4 − E∅7 /B[ − A− Ch, WW+Str bg
..
85 . C]m/G] − . . . − A−
..
87 . C]m/G] − A − G◦7 − F ]7 −
89 ⊥ A/F − G]◦7 /D − Dm64 − A− cad
93 M2’ Dm − . . . − trans, Vi, 4ths tripl, P T (d)

Table 10.11: Brahms, German Requiem Op. 45, Mvt. 3 Herr, lehre doch mich (cont’d)
m M R H Comment
h i
3
105 M3/2’ D D − Bm − G]◦7 − A7 − Em− 2 B, B-Solo, WW bg
..
108 . E∅7 /D − C]◦7 − D7 − B7[9 −
..
110 . E7 − D7 − M2’: augm in B-solo
112 ⊥ G/D − E∅7 /G − A7sus4 − A−
114 D − D7 − G/D − E∅7 /G− WW+Hns+Str
116 A7sus4 − A−
118 M1/2’ Dm Dm/A − Gm − Dm − Am − F ]◦7 − [D] B-Solo, WW: M2’ imit
..
121 ./2’ Gm − E◦7 − Dm − Gm Str: M2’ echo
..
123 ./2’ F − C/E − F ]◦7 − Gm − E◦7
126 ⊥/0 <(Dm − Gm)
129 M3 F F − B◦7 /F − [E] Ch, WW+Str: bg
..
131 . C/E − (G∅7 − C]◦7 )/B[− [
..
133 . F/A − D7[9 /C − B◦7 − D[7 − F/C− M2’ imit, (Str 8ths)
136 ⊥ B[/F − (Gm − G◦ )/B[ − F46 − C7 − cad
138 F/C − F − B[/F − (Gm − G◦ )/B[− WW+Hns+Str
140 <(F46 − C7 )− cad
142 M1 Dm A/C] − Dm B-Solo, Str: 8ths tripl
144 M4 A/C] − D7 /C − G/B − G7 /F − [F] Ch, imit
147 ⊥ E7 − E7 /D − A7 /C] − A[9
7 /G−
150 M4/2’ [9
<(D/F ] − F ]7 )− stretto imit, (M2) clim
..
154 . D/F ] − Dm/F −
156 ⊥ E7 − G]◦7 /D− WW: 4th tripl
157 M1 G]◦7 /D − . . . −
164 (A − D − A7 − D − D7 )/A− Ch imit, trans, P D (a)
169 (D] − Em − D − A7sus4 − A7 )/A−

Table 10.12: Brahms, German Requiem Op. 45, Mvt. 3 Herr, lehre doch mich (cont’d)
m M R H Comment
h i
2
173 M5 D (D − D7 − G − A7 )/D 2 C, Ch imit, P T (d)
..
175 . (D − G]◦7 − A − A7 − D − E7 )/D− tutti bg, 8ths
..
177 . (C]◦7 − D − G − A − A7 )/D−
..
180 . (D − G]◦7 − A − A7 )/D−
181 ⊥ (D − G]◦7 − C]◦7 )/D−
183 M5 (D − D7 − G − A7 )/D− [G] tutti repeat, P T (d)
..
185 . (D − D7 − G − Am − D7 − G)/D−
..
188 . C − D7 − G − G7 )/D
..
190 . (C]◦7 − Dm − E∅7 − A − A7 )/D−
..
192 . (Dm − B[ − A∅7 − Gm − D7 − Gm7 )/D−
194 ⊥ (A7 − D − D7 − Gm)/D−
196 M5 (A[9
7 − D − G]◦7 )/D− [H] stretto imit, clim
..
198 . (A − A7 − D − G]◦7 − E7 − A)/D (WW: 8ths)
..
200 . (A − A7 − D − G]◦7 − C]◦7 )/D−
..
202 . (D − D7 − G − D7 − Em7 − G − C)/D− (Str: 8ths arp)
..
205 . (G − G7 − C − C]◦7 − D7 )/D−
207 ⊥ (G − D − Em7 − D)/D tutti climax (208 m.)

Table 10.13: Brahms, String Quartet Op. 51 No. 1, Mvt. 1 Allegro
m M R H Comment
1 M1 Cm || : (Cm − D7[9 − Cm)/C− Exp/Gr 1, Vi1, P T (c)
..
3 . (A[ − F7 )/C − B[m−
5 ⊥ A[ − . . . − G − G[/B[ − F cad, climax
11 M2/1’ (D[ − F m)/A[ − B[m − F m/A[ − G7 − (aa’): Vi1, M1’: bg
15 M2 C/G − G7 /B − C − F m/A[− (a): Vi2
..
17 . C/G − G7 /B − C − F ]◦7 − (a’)
19 ⊥ G − G/B − D/F ]◦7 − G− M1’: Vc
23 M1 Cm − D7[9 /F ] − Cm/G− Va+Vc, Vi1: 8ths bg
.. [5/[9
25 . D7 /A[ − F7 /A − B[m−
27 ⊥ A[ − A[m − E[ − E[m/G[−
31 F7 − B[7 − trans, climax
32 5 E[m F7[9 /E[ − B[ − B[[9
7 − F7 − [A] cad
35 M3 B[7 − E[m/B[ − F m− Gr 2, Vi1+2 par,
..
37 . E[m − D[ − D[7 /A[− Va: 8ths bg
..
39 . G[/B[ − C[ − G[/D[−
40 ⊥ C[/E[ − B[m/F − F7 −
41 5 B[[9 [9
7 − E[m − E[7 /D[ − A[m/C[− Va-Vi1
45 M3’ D]◦7 /C − F ]m/C] − D7 − D]◦7 − i (%)
trans, Σ(cm), Pm
..
47 . A/E − F ]m − A7 /G−
..
49 ./1’ D/F ] − Dm/F − A/C]− Vi, M1’: arp%
d
51 ⊥ <(Dm − A)/A − cad
53 M4 E[ B[7 /A[ − Gm − Cm7 /G − F m7 − Vi1, climax
55 ⊥ B[[9 6 [9
7 /F − E[/G − A[m − E[4 − F7 − B[
57 M4’ B[7 /A[ − Gm − Cm − F m7 − [B] stretto imit
..
59 . B[7 − E[ − A[ − F m−
61 ⊥ F∅7 − F7
63 M5 <(E[/B[ − F7 ) − F7 /E[ − B[/D− Vi1
.. d
67 . B[7 − A[/C − B[7 /D − F7[9 /E[− Vi1 quasi improv
..
70 . F7 /E[ − E[ − F7 /C − E[/B[−
72 ⊥ F7 /A − E[/B[ − F7 /C − E[64 − B[− cad
75 M1’ E[ − E[m/G[ − F7[9 − E[64 − trans, Vc
78 ⊥ B[7 − E[ − E[m/G[−
80 1) F ] − Cm6 − G : || repeat 1), cad
◦7 4 7
80 2) F ] − F − Am6 − Am 2), cad, Σ(cm<)
◦7 7 4

Table 10.14: Brahms, String Quartet Op. 51 No. 1, Mvt. 1 Allegro (cont’d)
m M R H Comment
84 M1 Am Am/E − F7 − B[/D − E7 − Dev, Va
88 ⊥ Am/E − F7 − B[/D − E7 − imit: Vi1-Vc-
92 M1’ Am − Am/C − B∅7 /D− imit, Seq(2×8m;R−5 )
95 ⊥ C/E − F − B◦ /D − C − B∅7 /D−
96 M3 C C − C7[9 − F − Am − B7[9 − Vi1+2
100 M1’ Em Em − . . . − Am/C− imit
102 ⊥ G/B − C/E − D7 /F ] − G − C − D7 /A−
104 M3 G G − G[9 [9
7 − C − Em − F ]7 − Va: 8ths bg
108 M1/3 [9
Bm − G7 − Cm/E[ − G][9 7 − Vc/(Vi1+2)
..
112 . C]m C]m − A/E − <(D − G]7 )−
..
118 . G][9 [9
7 − C]7 − Bm/D−
.. d
120 . G][9 6
7 −→ F ]m − C]m4 − G]7 − cad
122 ⊥ [9
F ]m − Bm − C]7 − Bm−
d
124 M3’ D]◦7 −→ G]◦7 − . . . − E7 − . . . − imit, cresc, Σ(cm<)
129 F ]m7 /C] − D/F ] − A/E − G][9 7 /D]− retrans, climax
133 5 A[/C − . . . − Recap, Vc
137 M1 Cm A[ − D7[9 /A − Cm/G− Gr 1, Vi1
..
139 . D7[9 /F ] − F7 − F7 /E[ − B[m/D[− +Vi2, PBi (&)
..
141 . A[/C − . . . − Σ(cm<)
143 ⊥ A[/C − G − G/B − F ] − F ]7 /A] − Bm− clim, cad
149 D − C]◦ /E − D/F ] − G − A[/C − D−
151 M2 G[9
7 /B − Cm/E[ − G7 −
[9 Vi1
155 M2 C/G − G7 /B − C − F m/A[− Vi2
..
157 . C/G − G7 /B − C − C7 − F/C−
160 ⊥ F/C − E − C7 − imit
164 M1 F m − G[9
7 /B − F m/C− Va+Vc, Vi1: 8ths bg
..
166 . D[7 − B[7 /D − E[m − D[− cresc
..
169 . D[m − A[ − . . . − tutti climax
172 ⊥ <(A[/C − G)− [C] cad
174 M3 G[9
7 − Cm − D7 /F ] − G7 − Gr 2, Vi2+1 par,
..
177 . Cm/G − G7 /D − Cm − E[/G− Va bg
..
179 . B[7 − E[/G − A[ − E[/B[−
..
181 . A[/C − Gm64 − D7 −
182 ⊥ G[9 [9
7 − Cm − C7 − F m−

m M R H Comment
186 M3’ C◦7 − E[m/B[ − C[7 − C◦7 i (%)
trans, Σ(cm), Pm
..
188 . G[/D[ − E[m − G[7 − cresc
190 ⊥ B/D] − Bm/D − F ] − Bm − F ]− climax, stretto imit
194 M4 C G7 /F − Em7 − Am7 /E − Dm7 − Vi1, climax
196 ⊥ G[9 6 [9
7 /D − C/E − F m − C4 − D7 − G−
198 M4 G7 /F − Em7 − Am7 − Dm− [D] stretto imit
..
200 . G7 − C − F − Dm
202 ⊥ D∅7 − D7 −
204 M5 C/G − <(D7 − C) − D7 − Em− Vi1
.. d
208 . G7 − F/A − G7 /B − D7[9 − Vi1 quasi improv
..
212 . D7 /A − C/G − D7 /F ] − C/G − D7 /A−
214 ⊥ C46 − G7 − cad
216 M1’ C − Cm/E[ − D7[9 /F ] − C46 − G7 − trans, Vc
220 M1’ C − Cm/E[ − D7[9 /F ] − Cm64 − G7 − repeat
224 5 Fm C7[9 − F m− Coda, Vc: 8ths bg, P D (c)
226 M3 G[9 [9
7 − C7 − F m − G7 −
[9 Vi1+2
232 M1’ C C − . . . − F . . . − F m − D[/A[− clim, imit: (Vc+Va)-Vi
.. d
238 . Cm64 − G[9
7 − F m − D[/A[−
242 ⊥ Cm4 − G[9
6
7 − cad
244 M1’/3’ <(C − C7 − F − D[/F − . . . −) climax
252 C triplets (260 m.)

Table 10.16: Brahms, String Quartet Op. 51 No. 1, Mvt. 2 Romanze poco adagio
m M R H Comment
1 M1 A[ A[ − D[/F − A[/E[ − B7[9 /F − A (a): Vi1
5 ⊥ A[m+7 /E[ − B[7 /D − E[ − B[7 − E[7 −
7 M1 A[ − F m − Cm/E[ − D[− (a): Vc, Σ(cm<)
..
9 . D[/F − A[/E[ − B7[9 /D−
11 ⊥ A[m+7 − B[7 /D − E[ − B[7 /D − E[−
13 M1 C/E − . . . − E[7 − E[7 /D[− (b): Vi1
17 ⊥ A[∆7 /C − E[7 − B[[97 − E[7 − Σ(cm>)
19 M1’ A[ − A[7 /G[ − D[/F − (a’): tutti, Σ(cm<)
..
20 . A[/E[ − E[7 /D[ − A[/C − D∅7 −
..
21 . A[64 − E[7 − cad
..
22 . A[ − A[7 /G[ − D[/F − D[m/F [− repeat 8va
..
23 . A[/E[ − E[7 /D[ − A[/C − D∅7 −
24 ⊥ A[64 − E[7 − cad
25 5 E[7 − . . . − trans, imit, 8ths tripl
27 M2 A[m (A[m − B∅7 − A[m)/A[ − B[7 /D − E[ [E] B (a): tutti
29 M2 B <(B − A]◦7 )/B− (a)
31 M3 Em F ]/A] − B7 /D] − Em (b) climax, Σ(cm)
.. [5/[9
33 . E[m E◦7 − C[/E[ − F7 /C[−
34 ⊥ 6
E[4 − B[7 − E[m cad
35 M2 A[m (E[7 − B[∅7 − A[m64 − E[[9
7 − A[m)/E[ (a) P D (e[)
37 M2 E (E − D]◦7 )/E − D]◦7 /A − E (a) P T (e), Σ(cm>)
39 M3 Am E/G] − B − (E − E7 )/G] − Am (b): Vc
..
41 . Am − D]◦7 /A − E/G]− I(b): Vi1
42 ⊥ A[m A[m64 − E[7 − A[m cad
43 E/B − A[/E[ − F m − E[/G− retrans, 8ths, PB (%)
47 E[7 − . . . −

Table 10.17: Brahms, String Quartet Op. 51 No. 1, Mvt. 2 Romanze poco adagio (cont’d)
m M R H Comment
49 M1’ A[ A[ − D[/F − D[ − A[/E[ − B7[9 − [F] A’ (a): Vi1, 8ths tripl
53 ⊥ B[[9 [9
7 − B[7 /A[ − E[/G − B[7 − E[7 −
55 M1 A[ − F m/A[ − Cm/E[ − D[ − A[/E[− (a): Vc, Vi1: Mc 16ths
58 ⊥ B[[9
7 − . . . − E[ − B[7 − E[ climax
61 <(C − G) − Cm7 /E[ − E[7 − (b): tutti imit, 16th arp%
64 <(A[ − D[) − A[/C − D[m−
67 M1’ A[ − A[7 /G[ − D[/F − (a): tutti, Σ(cm<) (m 19 ff)
..
68 . A[/E[ − E[7 /D[ − A[/C − D∅7 −
..
69 . A[64 − E[7 − cad
..
70 . A[ − A[7 /G[ − D[/F − D[m/F [− repeat 8va, var
..
71 . A[/E[ − E[7 /D[ − A[/C − D∅7 −
72 ⊥ A[64 − E[7 − cad
73 E[7 − A[7 trans
75 M2’ D[m (A[ − E[∅7 − A[)/A[− B’ (a): tutti, 8ths tripl
..
76 . E[∅7 − E − D]◦ −
.. d
77 . E E/G] − F ]m/A − B7 − PB (%)
78 ⊥ A/C] − F ]m7 /C] − B7 /D] − E Σ(cm>)
79 M2’ E[m (B[7 − F∅7 − B[7 )/F − (a’)
..
80 . F∅7 − G[/B[ − F◦ /A[−
81 ⊥ G[ <(G[/B[ − D[7 /F − G[)
83 A[ E[ − E[7 /D[ − A[7 /C− PB (&)
84 A[7 − D[ − D[m/F [− Σ(cm>)
85 A[ − B[7 − E[7 −
86 M1’ A[ A[ − E[/G − F m − A[7 /C − E[7 − A[7 − Coda, Vi1, 8ths
..
88 . D[ − A[/C − B[m − A[/C − E[7 − A[7 − Σ(cm)
..
90 . C]m − G]m/B − A−
..
91 . E − C[/E[ − D[m−
92 ⊥ <(A[/C − E[7 ) − A[ clim, closing cad (96 m.)

10.3.3 Mvt. 3 Allegretto molto moderato e comodo

Form: scherzo and trio, ABA-CDC Coda. The scherzo part covers the sections ABA, the
trio is the CDC section. The contrast lies in the rhythmic values and the minor-major key
relationship: whereas the basic rhythm of the scherzo is groups of 16th notes (note the de-
scending character of the melodic material), the trio has an 8th note groove (in particular the
8th note a-pedal point for second violin, alternating between fingered note on d-string and
open 2nd string). The scherzo displays key ambiguity; the opening phrase balances between
tonic and dominant minor, the cadential F m chord is postponed until the second A section.
The transition near the end of the trio contains a melody, that is a reference to the M1 subject,
through melodic augmentation. See Table 10.18 and 10.19 for the analysis.
The A section main subject has M1(aab) (4 + 4 + 6 m.) sentence structure, with character-
istic 16th-note appoggiaturas and stepwise motion in the a-phrase and the dotted rhythms
in the b-phrase. The second theme is shorter, with M2(ab) (2 + 2 m.) structure in legato 16th
notes, and pedal point and chromatically descending background voices. The B section sub-
ject has M3(aab) (1 + 1 + 2 m.) sentence structure. The theme M4(ab) (5 + 3 m.) has a stretto
imitation a-phrase (with a one-measure motif, the original in first violin, melodic inversion
in second violin).

Form: A1 BC1 A2 BC2 A3 -Coda. The fast closing movement has elements of both a variation
and a sonata form. Both structures are indicated in the tables. The main theme M1.1 returns
in varied form, in melodic augmentation and as a background. The second group theme M3
contains a number of harmonic sequences. Note the key change in the development section.
The coda has an extended tonic parallel. See Table 10.20 to 10.22 for the analysis.
The first subject has a local M1.1(abbc) (2 + 1 + 1 + 2 m.) structure, on the larger scale
there is a M1.1/1.2(aba’b’) (6 + 6 + 8 + 8 m.) period structure. The second group (B section)
themes are composed from one-measure cells M2(abbb’abab’) in 8th note rhythm for first
violin. M3.1 starts with a stretto imitation in all voices, the first statement of M3.2(abab) has
period structure.

The key relationship diagram is shown in Fig. 10.4. Characteristic for this string quartet are:
• The move towards the minor subdominant near the end of all movements (. or ←
arrow).
• More remotely related keys as the movements progress. Most movements open with
relative/parallel minor and major key changes.
• The chromatically related keys, such as C]m − Cm (Mvt. 1, 4), Em − E[m − Am − A[m
(Mvt. 2, 3) and the Cm − V m − B[m series (Mvt. 3, 1).
• The major third relationships, see C − Em (Mvt. 1, 3), D[ − F (Mvt. 3, 2) and C]m − Am
(Mvt. 4, 3) or Cm − Em (Mvt. 4, 7).

Table 10.18: Brahms, String Quartet Op. 51 No. 1, Mvt. 3 Allegretto molto moderato e co-
modo
m M R H Comment
h i
4
Allegretto 8 ([[[[)
d
1 M1.a Cm F m − || : G[9 [9
7 − F m − G7 − A[/C− A, Vi1, 16ths
3 ⊥ D[ − A[/E[ − B[7 /F − E[ − F m halfcad
5 M1.a G[9 [9
7 − F m − G7 − C7 /E− repeat, var
.. [5/[9
7 . F m − D7 /F ] − Cm/G − D7 /A[−
8 ⊥ Cm64 − G7 − Cm cad
9 M1.b G∅7 − . . . − E[[9 [9
7 /G − F7 /A− Vi2+Vc, Seq(3×R7 )
13 ⊥ G[9
7 /B − Cm − F m7 − G−
15 M2 (Cm − D7 − G7 − C − A[ − B[ − A[)/C− i (&), P (c)
Vi1, Pm T
17 ⊥ E[ − D◦ /F − G7 −
19 M2 (Cm − D7 − G7 − C − A[ − B[ − A[)/C− i (&), P (c)
Vi2, Pm T
..
21 . E[ − A[ − E[ − D∅7 /F − G7 − Cm
25 ⊥ 1) Cm− D[/F − F m : ||2) Cm repeat 1), 2)
27 M3 Cm − C∅7 − F ]7 − Bm/F ]− B, Vc, Seq(2×4m;R−7 )
30 ⊥ Bm C]∅7 − F ]7 − syncopes in bg
32 M3 Bm − B∅7 /A − F7 /A − B[m Vi1
33 ⊥ B[m C∅7 /E[ − F7 − D◦7 − . . . −
38 M4 D[ D[7 − G[7 − C[∆7 − A[97 /C− trans, imit, triplets
43 ⊥ A[7 − . . . − D[ Vi1+Va par, cad
46 M4 F G7 − C7 − F7 − B[∆7 − G7 − imit
51 ⊥ C7 − . . . − F − . . . − D[/A[ − F m Vi1+Vi2
d
56 M1.a Cm G[9 [9
7 − F m − G7 − A[/C− A’, Vi1, 16ths
58 ⊥ D[ − A[/E[ − B[7 /F − E[ − F m halfcad
60 M1.a Fm G[9 [9
7 − F m − G7 − C7 /E− repeat, var
..
62 . F m − C7 /G − Am/A[ − G∅7 /F −
..
63 . F m64 − C7 − F m − G∅7 /F −
64 ⊥ F m64 − C7 − F m − F46 − C7 − cad
66 M2 (F m − G7 − C7 − F − D[ − E[ − D[)/F − i (&), P (f )
Vi1, Pm T
68 ⊥ A[ − G∅7 /B[ − C7 −
70 M2 (F m − G7 − C7 − F − D[ − E[ − D[)/F − Vi2, Pmi (&), P (f )
T
72 ⊥ A[ − G∅7 /B[ − C7 − F m cad
76 M1’ F m − Cm/E[ − B[m− [H] trans, imit
78 ⊥ C7 − B[m/D[ − F m
80 M1’ C7 /E − <(B[m − F m)− plagal cad
83 F B[m − . . . − F

Table 10.19: Brahms, String Quartet Op. 51 No. 1, Mvt. 3 Allegretto molto moderato e co-
modo (cont’d)
m M R H Comment
h i
3
Un poco più animato 4 ([) C
87 M3 F || : F . . . − Am/C − . . . − Dm/F − Vi1, P (a)
..
94 . Am/E − <(Dm/F − A)− Seq(2×4m;R−7 )
..
98 . <(Cm/E[ − G) − B[m/D[−
103 ⊥ F − F + − Dm/F − C46 − G7 − C : || cad, repeat 1), 2)
107 M4 <(C − F − C)/C− D, Vi2+Vc Σ(cm)
..
111 . <(Em − Am − Em)/E−
116 ⊥ Am/E − Em − C7 −
118 M3’ F − . . . − A∅7 /C − . . . C’, VI1+Va var, P (a)
127 (M1) F7 − B[ − D7 /A − Gm− trans
..
129 . F/C − B◦7 /F − F/C − C7 −
..
131 . F7 − Gm − F7 /A − B[ − D7 − Gm−
133 ⊥ F/C − B◦7 /F − F46 − C7 − cad
135 M3” <(F − Dm − F − Am/C)− Coda, Vi1, P (a)
143 F − ... − Fm − ... Allegretto D.C. (146 m.)

Table 10.20: Brahms, String Quartet Op. 51 No. 1, Mvt. 4 Allegro
m M R H Comment
Allegro ([[[)
d
1 M1.1 Cm B◦7 − A[/C − G7 /B − F m/A[ − G− Exp/Gr 1, A1 , unis clim
5 ⊥ G7 /F − Cm/E[ − Cm − A[57 /E[− Vi1, Σ(cm<)
d
7 M1.2 D − Gm − Dm − G7 − Vi1
d
11 ⊥ F m/A[ − G7 − F m
13 M1.1’ F m − E[7 − A[ − F m − B◦7 − Cm− Vi1
..
15 . A[/C − G7 /B − F m/A[ − G− PB (&)
..
17 . G7 /F − Cm/E[ − E[◦7 /C−
..
18 . Cm/G − G−
[5/[9
19 ⊥ B◦7 − D7 /A[ − C46 − G− cad
21 M1.2’/.1’ Cm − . . . − F m − . . . − G − Cm− Vi1, M1.1’: augm
29 G[9
7 − . . . − G− trans, Vi1
33 M2 Cm (Cm − F m − Cm)/C − D[ − E[− Gr 2, B, 3pt unis, clim
..
36 . D[/F − Cm64
− G − Cm − Gm
39 ⊥ E[m E[m − B[
41 M3.1 E[ B[7 − E[ − E[7 − A[/E[ − F7 − [I] imitation
..
46 . B[m B[ − C∅7 /E[ − F7[9 −
48 ⊥ B[m − G[/B[ − C∅7 −
50 M3.2 F7[9 /E[ − B[7 /D − F m/A[ − B[[9
7 − Vi2, Seq(3×2m;R5 )
54 ⊥ E[7 − C7[9 − F m − F∅7 − B[7 −
56 M3.2 E[7 /D[ − C7 − F m − F∅7 − B[7 − Vi1+Va
58 E[ E[ − E[+ − Cm/E[ − A[5 7 /E[ − D− Seq(3×2m;R5 ),
d
60 D7[9 − Gm − G[9
7 − unisono, chromatic
62 A[ − A[+ − F m/A[ − D7[5 /A[ − G−
d
64 G[9
7 − Cm − C7 −
[9
66 D[ − D[+ − B[m − D[−

68 M1.1 B◦7 − . . . − F m − B◦7 Vi1+Vi2, clim
70 M1.1’ E[ F∅7 − (B[7 − . . . − E[[9
7 )/B[− [K] C1 , Vi augm,
.. [5/[9
74 . (F m − D◦7 − E[ − C7 − B[)/B[ P D (b[)
..
76 . B[ − B[7 /A[ − E[/G − E◦7 −
78 ⊥ F m − E◦7 /G − F m/A[ − F7 /A− Σ(cm>)
80 M1.1” B[ − A[/C − E[ − B[ − F imit, Seq(4×1m;R5 )
86 Cm F7 − . . . − D7[9 /F ] − . . . − transition, PBi (%)
90 Cm/G − . . . − E◦ − F m/A[ − . . . −

m M R H Comment
94 M1.1 Cm F m − E[7 − A[ − F m − G[9 7 − Cm Dev, A2 , imit Vi1-Vc

96 ⊥ A[/C − . . . − A[7 − . . . −
d
102 M1.1 C]m C]m − . . . − D][9
7 /F ] − (\\\) 4pt imitation
104 ⊥ E/G] − . . . − E7 − . . . −
d
110 M1.1 Am Am − B7[9 /D] − C/E− Va+Vc, 2pt imit, clim
..
112 . Em F ][5
7 /C − B7 − F ]∅7 /E − B7 /D]−
..
114 . Em − G[9
7 /F − C/E−
.. d
117 . E7[9 /G] − Am − E7 /D − F/A− 2pt imit
.. [5/[9
119 . C7 /G − F − B7 /A−
120 ⊥ <(E − F ]∅7 /C) − E − . . . −
124 M2 Am (Am − Dm − Am)/A − B[ − C− B, 3pt unis, clim
..
127 . B[/D − Am/E − E − Am − Em
130 ⊥ Cm − G
132 M3.1 C G7 − C − C − C7 − F/C − D7 − [L] imitation
..
137 . G − A∅7 /C − D7[9 −
139 ⊥ Gm Gm − E[/G − A∅7
141 M3.2 D7 /C − . . . − G7 /B − D∅7 /F − G[9
7 − Vi2, Seq(3×2m;R5 )
145 M3.2 C − C7 − A7 − Dm − D∅7 − G7 − Vi1+Va, climax
147 C − C7 /B[ − A7 −
148 Dm/F − D∅7 /A[ − G[9 7 −
149 C (C − C + − F − F ][57 )/C − B− Seq(3×4m;R5 ),
d
151 B7[9 − Em − E7[9 − unisono, chromatic
[5/[9
153 Am (F − F + − Dm − B7 )/F − E−
d
155 E7[9 − Am − A[9
7 −
157 +
(B[ − B[ − Gm − B[)/B[−
159 M1.1 B[ − Dm − G]◦7 Vi1+Va, climax
161 M1.1 C D∅7 /A[ − (G7 − . . . − C]◦7 )/G− [M] C2 , Vi1, P D (g)
.. [5/[9 d
165 . (Dm − G[9
7 −C − G − E[)/G−
A7 −
168 ⊥ A[/C − C]◦7 − D − Am − D7 − climax, Σ(cm>)

m M R H Comment
172 M1.1’ G7 − Vi1

..
173 . G]◦7 − (Dm − D]◦7 − A7 )/D− Seq(3×2m;R5 )
..
175 . A]◦7 − (B − E]◦7 − B7 )/B− PBi (%)
.. [5/[9
177 . B7 − Em/B − C − F ]7 /C − F ][9
7 /C]−
..
180 . Em Em/B − G7 /B − C − C]◦7 − transition, climax
184 ⊥ Dm − F7 /C − B[ − F m − B[7 − F m
187 D∅7 − Cm/E[ − D∅7 /F − D7 /F ]−
193 Cm G7 − Recap, A3 ([[[)
194 M1.1’ G7 − C7[9 − F m − G[9
7 /D − Cm− Vi, climax
196 ⊥ [9 [9
D7 /A − Gm − A7 − Dm−
198 M1.1” B[/D − B[m/D[ − F/C − F m/C− Vi1 augm, PBi (&)
..
200 . G/B − Gm/B[ − F/A − F m/A[−
..
203 . G − G/D − A[/C − . . . − climax, Σ(cm>)
.. d
205 . A[/C − G7 /B − F m/A[ − G− see m 3, Σ(cm<)
207 ⊥ G7 /F − Cm/E[ − Cm − A[57 /E[−
209 M1.2 C D − Gm − Dm − G7 − C/G − F m Vi1
..
215 ./1.1’ Fm F m − D[ − A[[9
7 /C − D[ clim, Seq(3×2m;R3 ),
..
219 . B[m7 − F m/A[ − G7 − B[m − F m/A[− see m 12
d
221 ⊥ G[9
7 − . . . − A[ − . . . −
d
225 D7 − G7 /B − F m/A[ − G trans, see m 17-20
[5/[9
227 Cm G[9
7 /F − Cm/E[ − D7 /C − Cm64 − G−
[5/[9
229 G7 − Cm − D7 /A[ − Cm64 − G−
[9 cad
231 M2 Cm <(Cm − F m − G7 )/C− Coda, 3pt unis,
..
235 . (Cm − C7[9 − F m − B◦7 )/C− P T (c), imit
.. [5/[9
239 . (Cm − D7 − Cm − D∅7
241 ⊥ (B◦7 − Cm7 − B◦7 )/C−
244 Cm Σ(cm<)
[5/[9
246 D7 /A[ − Cm64 − G − Cm clim, cad (248 m.)

Mvt. 1 Allegro
Bm F ]m C]m
D A E
3
Dm 4 Am Em Mvt. 2 Romanze poco adagio
?2 ?
F C G G[ D[ 4 A[ E[
6
+ ? 2
Fm Cm Gm G[m D[m A[m E[m
5 ?+ ? ?
A[ E[ B[ A E B G[
1 3 5
6 1
A[m E[m B[m Am Em Bm G[m
Mvt. 4 Allegro
Mvt. 3 Allegretto Bm F ]m 3 C]m
Dm Am Em 1 Bm D A E
4-

F C G D Dm Am Em
6 6 ?
6 * 7
Fm Cm Gm Dm F C @
G
3 8 I
@
@ 5
@
- 6 @
A[ E[ B[ F Fm Cm @ R Gm
2 6
A[m E[m B[m Fm A[ E[ @
I B[
1 6@ @ 2
@
?
B F] D[ A[ A[m E[m @R B[m
@
Figure 10.4: Brahms, String Quartet Op. 51 No. 1, key relationship diagram

10.4 String Quartet Op. 51 No. 2 (1873)

h i
3
Mvt. 4 Finale, Allegro non assai: rondo form (Am, 4 , 359 m.)
A (58 m.) B (57 m.) A1 (45 m.) B1 (35 m.)
A (55 m.) B (42 m.) A2 (41 m.) C (35 m.)
Figure 10.5: Brahms, String Quartet Op. 51 No. 2
10.4.1 Mvt. 4 Finale, Allegro non assai

Form: rondo (A-B-A1 -B1 -A-B-A2 ). See Table 10.23 to 10.25 for the analysis.
The sweeping main theme has M1(aab) (3 + 3 + 6 m.) sentence structure with character-
istic appoggiatura hemiolas, that yield an association with Hungarian national music. This
subject is not only repeated in the later A sections, but also returns in the transitions and
coda. Almost every time this theme is played, it is presented as a tutti climax. The theme
M2, in quarter note rhythm, is in the relative major key and has M2(aa’b) (2 + 2 + 6 m.) sen-
tence structure. At the end of thematic statements we find harmonic sequences with stretto
character.
The B section theme has M3(aab) (2 + 2 + 12 m.) structure, with the a-phrase in contrary
motion 8th note arpeggios and the long b-tail in contrary motion quarter note rhythm. M4
starts with one-measure cells and has M4(aaaab) (1 + 1 + 1 + 1 + 4 m.) structure.
The B1 -section uses the M3 theme for rapid modulations through a set of minor keys.
Then the parallel major key A appears until the return to minor in the coda. It is the A2
section where the main theme is treated in melodic diminution and augmentation. An al-
ternative interpretation of this movement is a sonata form with ABA1 as exposition, B1 the
short development, AB the recapitulation, and A2 the start of the coda.

The key relationship diagram is shown in Fig. 10.6. The finale movement has a fairly limited
compass with closely related keys. Remarkable is the sequence Dm−Em−F ]m−Dm−Am
(4). Near the end of the movement there is a change to parallel major A and its subdominant
(5).
10.5 Symphony No. 3 in F major, Op. 90 (1884)

Detailed score analysis of the Brahms symphonies was complemented with the formal
analysis presented in [22] and [29].

Table 10.23: Brahms, String Quartet Op. 51 No. 2, Mvt. 4 Finale, Allegro non assai
m M R H Comment
1 M1 Am Am − Am/C − E − Em − Em/G − D A (aa’): VI1, clim
9 ⊥ Dm/F − <(E − Am) − E7 − (b), unis
13 M1’ Am − E − Em − D− [A] 2nd stat, (aa’): Va
..
19 . Dm − <(A/C] − Dm) − Bm (b), unis
.. d
25 . A7 − D − G7 − C − F7 − B[/D − E7 − clim cad, Seq(3×R−7 )
..
28 . F − B[7 − E[/G − A7 − D − G7 − C − F7 − dim, Seq(4×R−7 )
..
31 . B7[5 − <(Am/C − B7[5 /F ) − A
d
34 ⊥ Am/C − Dm − Am64 − E − cad, Σ(cm>)
37 F/A − Dm7 − D∅7 − G7 − [B] trans
43 G7 /F − D7 /F ]−
45 M2 C G7 − G7 /F − C/E − C7 /B[− (aa’): Vi1
..
49 . A[9
7 /C] − Dm − G[9− C/E−
7 /F (b)
53 ⊥ F ]∅7 − G − . . . − Gm− halfcad
59 M3 F Gm − C7 − [C] B, tutti clim, Σ(cm)
..
63 . F − Em/G − Am7 −
.. d
65 . G[9
7 /B − C/E − E7 − F
..
67 . B◦7 − C/E − G]◦7 −
.. [5/[9
69 . D7 /A[ − C46 − G7 − cad
71 ⊥ C C − F/A − Dm − C]◦7 −
75 M4 Dm − F ]◦7 − G7 − [D] (aa’): Vc
79 ⊥ C − F − Dm − C]◦7 − (b)
83 M4 Dm − F ]◦7 − G − G7 − 2nd stat, (aa’): Vi1
87 ⊥ C − G7 − Am − G[9 7 − C7 − F − F ]◦7 − (b)
91 G7 − C/E − <(F ]◦7 − G7 /F − C/E)− [E] Seq(2×R7 ),
94 <(G]◦7 − Am − C]◦7 /G − Dm/F )− 3pt syncopes
97 C7[9 /E − F − D7 /F ]−
98 C/G − A7 /G − G7 − cad
100 C − F ][9 [5
7 − . . . − B7 /F − [F] trans, imit, Σ(cm)
108 E − . . . − E7[9 − unisono
116 M1 Am Am − E − Em − D− [G] A1 (aa’): Vi1
..
120 . Dm − <(E − Am)− (b), unis
129 ⊥ E7 − A − D7 − G − C7 − F − B7 − Seq(3×R−7 )

Table 10.24: Brahms, String Quartet Op. 51 No. 2, Mvt. 4 Finale, Allegro non assai (cont’d)
m M R H Comment
132 M2 Em Em − C7 − F − B − Em (aa’): Vi1
..
136 . C7 − F − B7 − E − A7 − D − Gm − D7[9 − (b)
140 ⊥ F Gm − G∅7 /B[ − C7 − [H] cad
144 M2 C7 − (F − F◦7 )/C− (aa’): Vi1, P D (c)
..
148 . (Gm − C7[9 )/C − F − G7 −
154 ⊥ C − Cm − A∅7 /C − A7 /C]−
161 M3 Dm Dm − E∅7 − A[97 − Dm [I] B1 , imitation
164 ⊥ E7[9 − Am − F ]∅7 − B7[9 −
d
166 M3 Em Em − F ][9
7 − G/D − E7 /G]− imit, cresc
..
171 . A − F ]7 /A] − Bm − G][9
7 /B]−
..
175 . F ]m <(C] − G][9
7 /B] − C] − F ]m/C]− tutti climax
.. d
178 . Dm <(A7 /C] − E∅7 /D) − A7 /C] −
..
182 . B[/D − B7 /D] − Am7 /E − A7 /E− PBi (%)
184 ⊥ Dm/F − B7 /F ]− cad
186 Am (E7 − Am − A7 − Dm − E7[9 )/E− [K] P D (e)
196 M1 Am Am − D]◦7 − E − D]◦7 − [L] A (a): Vi1, clim
..
201 . Em − C]◦7 − D − C]◦7 − (a’)
205 ⊥ Dm − <(E − Am) − E − E7 − (b), unis
210 M1 Am − E − Em − D− [M] 2nd stat, (aa’): Va
..
214 . Dm − <(A − Dm)− (b), unis
.. d
222 . A7 − D − G7 − C − F7 − B[/D − E7 − [N] Seq(3×R−7 )
..
225 . F7 − B[7 − E[/G − A7 − D− dim, Seq(4×R−7 )
..
227 . G7 − C − F − B7[5 /F −
229 ⊥ <(Am/C − B7[5 /F ) − Am/C − Dm/F −
234 <(E − D]◦7 )/E− [O] trans, P D (e)
238 M2 A E7 /D − A/C] − A7 /G− (]]]) (aa’): Vc
..
242 . F ][9
7 − Bm − E7 /G] − A−
246 ⊥ D]◦7 − E − Em cad
251 M3 D Em − A7 − D− [P] B, tutti clim, Σ(cm)
..
256 . D − <(E7[9 − A/C]) − D]◦7 −
..
262 . A64 − E7 − cad
264 ⊥ A A − D/F ] − Bm − A]◦7 −

Table 10.25: Brahms, String Quartet Op. 51 No. 2, Mvt. 4 Finale, Allegro non assai (cont’d)
m M R H Comment
268 M4 Bm − E − E7 − [Q] (aa’): Vc
272 ⊥ A − D − Bm − A]◦7 − (b)
276 M4 Bm − D]◦7 − Em − E7 − 2nd stat, (aa’): Vi1
280 ⊥ A − E7 − D − E7[9 − A7 − D]◦7 −
284 E7 − A/C]− [R] 3pt syncopes
285 <(D]◦7 − E − E7 /D − A/C])− Seq(2×R7 )
287 <(C]7 /E] − F ] − F ]7 /E − Bm/D)−
290 A7 /C] − D − B7 /D] − A64 − E7 − cad
Poco tranquillo
293 M1 A A − F ]m − Bm − G]∅7 − [S] A2 , imitation
298 ⊥ E − A7 − D/F ] − B7 − E/G] − C]7 −
301 M1’ F ]m − B7[9 /D]− (a): V1 dim
305 ⊥ A/E − A7 − D − Em − A7 − D
309 (A − F ]7 − Bm − B7 − E − E7[9 )/E− [T] P D (e)
313 A − A7 − F ]7 − Bm − B7[9 −
317 E7 − E7]5 −
320 M1” A − G][9
7 − C]m− [U] (a) Vi1, augm
d
322 ⊥ E7[9 − A/C] − B7[9 − 4pt hemiolas
324 M1” C]m/G] − G][97 /F ] − C]m/E− (a)
..
326 . C][9 [9
7 − F ]m/C] − B7 /A−
328 ⊥ E/G] − Am − E/G]− P D (e)
331 Em/G − F ]m − F∆7 PBi (&)
Più vivace Coda (\\\)
334 M1’ Am Am − E − Em − C]◦7 − D Vi1, dim
337 ⊥ D − A − Dm − D]◦7 −
[5/[9
342 (M1) E − E7 − Am − A[9 7 − Dm − B7 /F − [V] Va+Vc, P D (e)
350 M1’ Am/C − D]◦7 /A− Vi1 dim, climax
352 ⊥ Am/E − . . . − E − Am unisono
356 Am64 − E − Am cad (359 m.)

Mvt. 4 Finale, allegro
Bm F ]m C]m
- 5 4
D A E
6?
Dm - Am - Em
63 6 2
-C 1
?
F G
Figure 10.6: Brahms, String Quartet Op. 51 No. 2, key relationship diagram
h ih i
6 9
Mvt. 1 Allegro con brio: sonata form (F , 4 4 , 224 m.)
Exposition (70 m.) Dev. (49 m.) Recapitulation (61 m.)
Coda (43)
h i
4
Mvt. 2 Andante; ternary song form (C, 4 , 134 m.)
A1 B A2 Cd
h i
3
Mvt. 3 Poco Allegretto: scherzo and trio form (Cm − A[, 4 , 163 m.)
Scherzo Trio Reprise Cd

h i
2
Mvt. 4 Allegro: sonata form (F m − F , 2 , 309 m.)
Figure 10.7: Brahms, Symphony No. 3 in F Major, Op. 90


Form: sonata form. See Table 10.26 to 10.29 for the analysis. The movement opens with
a woodwind hmotto i M0 (there is no introduction): an arpeggio dotted whole note pattern
6
(the meter is 4 ) of an upward minor third leap, followed by an upward major sixth (three
notes covering the interval of the octave). This motto returns as the background in the first
group theme and in the transitions. The motto is also quoted in the last movement of this
symphony.
The Expositon first group subject M1 is a forceful sweeping melody with M1(aa’bb’c)
(2 + 2 + 2 + 2 + 4 m.) 12-measure structure for violins in octaves. Its a-phrase has some
similarity with the motto; at shorter note values we hear a downward arpeggio with the
intervals of minor 6th and major 3rd on the downbeats. It is a varied diminution inversion
of the motto. The first group theme has a characteristic background of continuous quarter
note syncopations, and the motto in both original form and as diminution. The transition
to the second group [A] presents the motto also in ‘disguised’ form, as stepwise ascending
scale, but with the minor 3rd - major 6th pattern still there.
The second hgroupi lyrical first theme M2.1 is played in the first statement by clarinet
9
and bassoon in 4 , in parallel thirds and sixths, over a tonic-dominant pedal point. It has
M2.1(aa’a”b) (1+1+1+1 m.) structure with one-measure cells. The same instrumentation re-
turns prominently in the second movement. A second theme M2.2 with a sequential flavour
[C] leads to the inversion of the theme M2.1 by the strings. The closing group combines the
motto M0 and M1, both in diminution and imitation. h i
The Development [E] starts with the lyrical theme, now in the 64 meter. Theme M2.2
is treated as a two-part canon [F], combining the original and invert form. In [G] there is a
development of the motto M0, over the syncopated quarter notes, and closing with a stretto
imitation of M1. The Recapitulation is straightforward. The Coda is based on the main
theme M1 and could also be considered a secondary development of the first group themes.
There is some new melodic material: M3 is a two-measure motif for woodwind and horns in
imitation over an ascending 8th note background, derived from the M1b-phrase. The same
approach is used in the three-measure theme M4.
An instrumentation aspect is the use of two trumpets three trombones in this symphony:
these are used sparingly around the structural transitions and climaxes or the movements.
In this movement there are trombones in m. 3, 19, 68, 116, 122, 177, 183 and 196. The third
trombone often states the motto theme M0.

Form: ternary song form, ABA Coda. The form of this movement is rather unique: although
the overall structure is ternary, it also shows characteristics of a theme and variations (A
sections) and development (B section). See Table 10.30 to 10.32 for the analysis.
The A1 section contains a four-measure espressivo theme M1 in quarter note rhythm,
played five times by clarinets and bassoons. The first four statements display minor vari-
ation (more 8th note subdivisions), whereas the fifth statement is significantly different with
the doubling in the strings and the busier 16th note background patterns. In [C], still part
of the first A section there is a contrasting episode theme with M2(abab’) (1 + 1 + 1 + 1
m.) period structure, also introduced by clarinets and bassoons. Theme M3 with its step-

Table 10.26: Brahms, Symphony No. 3, Mvt. 1 Allegro con brio
m M R H Comment
h i
1 M0 F F − F◦7 − Exp 64 ([) motto: WW
3 M1/0 F − F m/A[ − D[/F − B◦7 /F Gr 1/Th 1(aa’): Vi, P T (f ),
.. ..
7 ./ . Cm/E[ − F ]◦7 − C7 /G− Sr: syncopes, (b)
.. ..
9 ./ . F/A − B◦7 − F/C − F7 − (b’), PB (%)
.. ..
11 ./ . (B[ − G[ − G◦ − C7 )/B[− (c)
13 ⊥/⊥ <(F/A − F/C − C7 )−
15 M0” F − E◦ /G − F/A− [A] trans Vi, PB (%)P T (f ),
d d
17 ⊥ B[ − B7[5 − CA[9
7 /C] − Dm − G7 − sync, motto ‘disguised’
19 M0 F/A − C 4 − C − F − A[7 WW+Tbn, WW+Vi
23 M0” D[ D[ − E[m7 [B] WW, PB (%)
d d
25 ⊥ G[ − G[5 [9
7 − A[ − F7 /A − B[m − E[7 −
27 M0 D[/F − A[7 − D[/F − E7 − Bsn+DB, Str imit
31 A (A − G]◦7 )/A (]]]) trans, P T (a)
33 A − F − Dm+7 − D]◦7 /D− h i
36 M2.1 <(A − E7 )/A− Gr 2/Th 1 94 (aa’a”b):
Cl+Bsn (1st stat), P (a−e)
40 M2.1 (A − Bm7 − E7 )/A − (A − E7 )/A− (aa’): Ob+Va (2nd stat)
42 ⊥ (A − E7 − A − B]◦ − Bm − E7 )/A− (a”b)
44 M2.2 C] A − C] − G]7 − C] [C] Ob, WW Σ(cm)
45 M2.2 B/D] − F ] − B/D] Cl
46 ⊥ <(A − G]◦7 )/A − A/E − D]◦ /F ]−
47 I(M2.1) E7[9 − A − A]◦7 − Bm/D − G]∅7 /D− Vi, Str Σ(cm>)
48 ⊥ A/C] − D]◦7 − G]◦7 − A−
A − A]◦7 − Bm/D − G]∅7 /D− h i
6
49 M0 A A/C] − F/C − B7 − A/C] 4closing group, Ob
50 M0/1’ F/C − B7 − E7 − I(M1): WW dim imit
.
53 ⊥ / .. A − F/A − B7 /D] − E7 − M0’: Vi
55 ⊥ A7 − D7 − G7 −
56 I(M1’) G7 − G]◦7 − Dm/A − G]◦7 − WW: stretto im, cresc,
..
58 . Gm7 /B[ − Dm/A − G]◦7 − Str: Σ(cm<)
59 ⊥ G]◦7 − E7 /G]− [D]
61 M0’ Am/C − F ]∅7 /C− tutti dim, cresc to clim
d
63 M0/1’ Em/G − F ]◦ − E46 − B7 − Am/C I(M1): WW dim
65 M1’ F/C − Am/C − Dm − D]◦ /A− tutti clim, M1’+I(M1’): Str
68 ⊥ E7 − F ]◦ /A − E7 −
70 I(M1’) Am − . . . − (C) : || closing

Table 10.27: Brahms, Symphony No. 3, Mvt. 1 Allegro con brio (cont’d)
m M R H Comment
d
71 M(1’) Am − D − D7 − Cm − G]7 − Dev, tutti clim
77 M2.1 C]m <(C]m − D] − D]∅7 − B]◦7 )/C]− [E] (a): Bsn+Va+Vc, P T (c])
..
79 . (C] − B]◦ − E]◦7 − F ]m− (a’), Str: Pm (%) (ped)
..
80 . (C]7 − F ]m − F ×◦ −G]7 )/C]−
..
81 . <(C]m − G]7 )/C]− (b)
82 ⊥ G]m7 /B − A − C]m/E − G]−
83 M2.1 <(C]m − D] − D]∅7 − B]◦7 )/C]− (a): Vi1, P T (c])
..
85 . (C] − G]7 − E]◦7 − F ]m)/C]− (a’), Pm (%) (ped)
..
86 . (C]7 − F ]m − G]7 )/C]−
..
87 . <(C]m − B]◦ )/C]− (b)
..
88 . C]m − G]7 /F ] − C]m/E− Str cresc
A7 /G − D7 /F ] − A7 /G−
89 ⊥ D/F ] − B7 /A − E/G]−
E◦ /G − D/F ] − B7[5 /F −
90 M2.2’ A A − E7 − A − E∅7 /B[ − A − C]◦7 − [F] Canon, Seq(3×2m;R5 ),
..
92 . D − A7 − D − A∅7 /E[ − D7[9 − F ]◦ − M2.2: WW, I(M2.2): Str
..
94 . G − F ]◦7 − G − D∅7 /A[−
95 ⊥ G G − D7 − G − D∅7 /A[−
96 <(G − D7 − G − D][57 /F ])− trans
98 G − D7[5 /A[ − F/A − F ][9
7 /B[− Str: Σ(cm>)
99 B − D7 /C − F ]/C] − D7 − cad
101 M0 E[ E[ − G∅7 /D[− [G] ([) FHn, Str: sync
103 ⊥ C7 − F m − E[64 − B[−
105 M0’ E[ − E[m/G[ − B[m − D[7 − Ob+FHn
..
107 . G[ G[ − E[[9 6
7 − A[m/C[ − G[4 − D[−
109 ⊥ G[ − C7 /G − F m/A[ − E[64 − B[7 −
[9 cad
112 M1 E[ E[ − C[m [H] retrans, WW+Str: imit
116 ⊥ A[m7 /E[ − F∅7 /E[−
118 F7 − F m7 − F7 /E[ − C7[5 /G[− P T (f )
120 M0 F F − A[7 − D[ − G[9
7 Rec, motto: Fl+Ob
124 M1/0 F − F m/A[ − D[/F − B◦7 /F Gr 1/Th 1 (aa’): Vi, P T (f ),
.. ..
128 ./ . Cm/E[ − F7 − F ]◦7 − C7 /G− Str: sync, (b), PB (%)
.. ..
130 ./ . F/A − B[7 − B◦7 − C/C − F7 − (b’)
132 ⊥/⊥ (B[ − G[/B[ − G◦ − C7 )/B[ − F/A− (c)

m M R H Comment
136 M0’ F − E◦ /G − F7 /A − A◦7 − B[m [I] trans Vi, PB (%), P T (f )
d
139 ⊥ E[m7 − A[7 − Str: sync, motto ‘disguised’
140 M0 G[/B[ − D[ FHn, Str imit
142 M0 F ]/A] − A− (]]) trans, Ob+FHn+Vi
d
144 ⊥ D − B[+ /D − Gm+7 − C7 /G −
146 D − B[+ − C]◦7 /G− h i
149 M2.1 D <(D − A7 )/D− Gr 2/Th 1 94 (aa’): Cl+Bsn,
151 ⊥ D − Em7 − A7 − D − A7 − P (d−a), (a”b): WW
153 M2.2 F] F ] − C]7 − F ] Cl
154 M2.2 E/G] − B7 − E/G]− Ob
155 ⊥ D D/A − C]◦7 − D/A−
156 I(M2.1) F C7[9 − F − C]◦7 − (Gm − E∅7 )/B[− ([) Vi, Str: Σ(cm>)
157 ⊥ F/A − B◦7 − E◦7 − F −
F ]◦7 − Gm/B[ − E∅7 /B[− h i
6
158 M0 F − D[/A[ − G7 − 4closing group, Ob
160 M0/1’ F − D[/A[ − G7 − C7 − I(M1): WW dim imit
.. ..
162 ./ . F − D[/F − G7 /B− M0;: Vi
163 ⊥ C7 − A7 /C] − D7 − Gm−
166 <(E[ − Gm/D − C]◦7 − Gm/D) stretto cresc
168 Gm/D − A7 /C]− [K] trans, cad
170 Dm Dm/F − B◦ /D−
d
172 Am/C − B◦ /D − Am/E − E7 − cresc to climax
174 M1’ <(Dm/F − B[/F )− tutti clim, M1’+I(M1’): Str
..
176 . Dm/F − Gm − G]◦7 /D−
177 ⊥ A7 − Dm − A7 − Dm
181 M0’ Dm − G]◦7 /B− Coda Bsn+FHn
183 M0/1 F F/C − F7 /E[− (a): Vi, P D (c)
185 ⊥ /⊥ D7[9 /C − (Gm − G7 )/C− (a’)
187 M3 C − D[ − D[7 − B[7 − WW+FHn, (b) Str unis.
.. i (%)
189 . E[ − E − C]7 − F ] − D∆7 /F ]− WW+FHn imit, Str: Pm
..
192 . G − G7 − E7 /G] − A − C]◦7 /B[− cresc, Str: imit, PBi (%)
194 ⊥ A7 − Gm−
195 M1’ C7 − A∅7 − B[/D − Gm− stretto climax
..
197 . C7 − A∅7 − B[ − D − B[m/D[−
200 ⊥ C7 − Am/C − D/B[ − Gm/B[− climax

m M R H Comment
201 M4/2.2’ <(E◦7 /B[ − F/A − C7 /B[ − F/A)− [M] WW+Vi, sync
206 ⊥ C7 /B[ − F/A − F7 − (B[ − G∅7 − F )/F −
211 B∅7 /D − F/C − B∅7 −
214 Am/C − C7 − cad
216 M0 F FHn-WW: imit
218 ⊥ (B◦7 − F )/F − P T (f )
220 M1’ F (a): Vi (224 m.)
wise descending 8th notes is presented by strings and woodwinds in imitation and melodic
inversion.
The B section is not the typical contrasting middle section, but a kind of development of
the theme M1. The A2 section contains even more variations on the main theme M1, with
changes in the instrumentation (more doubling) and a more lively background (16th notes
and triplets. mostly in the string section). There is a second contrasting episode with new
melodic material M4. This has M4(aabc) (1 + 1 + 2 + 4 m.) structure, with contrary closing
motion in the a- and c-phrase. A final, tranquil repeat of the theme M1 occurs in the coda.
The brass section now consists of two horns and three trombones (no trumpets). Trom-
bones play sparingly at m. 80 (climax), 112 and 128.
10.5.3 Mvt. 3 Poco Allegretto

Form: ternary song form, ABA Coda. This moderate tempo movement is a pinnacle of
romantic, lyrical and melancholy writing.2 The scherzo has an internal ternary structure, the
trio has binary structure. See Table 10.33 to 10.35 for the analysis.
The Scherzo main theme (M1, first statement for high celli, in the reprise for solo French
horn) is sheer beauty; a textbook example of a melodic curve, with an extended M1(aabb’)
(2 + 2 + 3 + 4 m.) sentence structure. Note the irregular length phrases and the rhythmic flow
in the background (16th-triplets alternating in the violins and 16th-note arpeggio patterns
in violas). At each repeat of the main theme there are subtle differences in instrumentation
and background (such as the string arpeggios or the solo countersubject Mc). The motif M2
is based on a one-measure 16th note échappée melodic pattern, used in imitation and as a
sequence.
The Trio theme M3, with its upward appoggiaturas, has a hesitant quality, and returns in
the coda, just before the final tutti climax. It has M3(aaba’a’) (1 + 1 + 2 + 1 + 1 m.) structure,
based one-measure cells. The strings answer this with an espressivo subject M4, with M4(aab)
(2 + 2 + 4 m.) sentence structure. Except for the two horns, there are no brass instruments in
this movement.
2
It’s a favourite for documentaries about lost grandeur in the Habsburg empire, or nature in central Europe.
I remember film footage about the river Donau, where the director did not want to end up with good old Johann
Strauß, waltzing along the waterfront.

Table 10.30: Brahms, Symphony No. 3, Mvt. 2 Andante
m M R H Comment
1 M1 C C − B ◦ − C − F − C − F − G7 − A1 , stat 1: Cl+Bsn
3 ⊥ C − G 7 − C − G7 −
5 M1’ C − B◦ − C − (F ]∅7 − G7 − C − Am7 )/C− stat 2: Cl+Bsn
..
7 . D7 /C − G/B − Am7 − D7 −
8 ⊥ B/D] − Em7 − Am7 − D7 −
d
9 M1’ G − Am7 − G − C]◦7 − Dm − F m/C − G7 − stat 3: Cl+Bsn
11 ⊥ Am − E − Am − Em − F/C − Dm − G]◦7 −
13 Am − C/G − F∆7 − Dm7 − G7 −
15 M1’ C − Dm − C − Dm − C − C/E− [A] stat 4: Cl+Bsn
..
17 . G − C/E − G − <(F − B[/D) − C7 −
..
19 . F − F∆7 /E − Dm − Dm7 /C − B◦ − G7 −
..
21 . C − C∆7 /B − Am7 − F ]◦7 −
..
20 . C/G − G7 − C − C∆7 /B−
21 ⊥ Am − F ]∅7 − C46 − G7 − cad
24 M1” C − G7 − C − F − C − F − G7 − [B] st 5: WW+Va (var)
..
26 . C − G7 − C − <(Em − Am) − D7 − cresc
..
28 . G − D7 − G − D7 − G − Dm − E7 − climax
30 ⊥ Am − E7 − Am − <(D7 − G) − Dm − Am/C−
32 Mt B7[9 − Gm/B[ − E∅7 /B[− imit: (DB+Vc)-(Vi+Bsn)
34 Mt A[9 [9
7 − E7 /G] − G7 −
36 G]◦7 − D]◦7 − Am/E−

Table 10.31: Brahms, Symphony No. 3, Mvt. 2 Andante (cont’d)
m M R H Comment
41 M2 D D7 − A∅7 /E[ − D7 − [C] contrast epis: Cl+Bsn
..
44 . G G]∅7 /D − Am/C − A∅7 −
45 ⊥ G/D − C]◦7 − D−
46 M2 G7 − D∅7 /A[ − G7 −
49 ⊥ Bm/F ] − F ]7 − A]◦7 − Bm7 /D− (Ob+FHn)-(Cl+Bsn)
51 M3 (D7 − G − D − G − D − A7 − D7 )/D− Str, P D (d)
53 M3 (D7 − G − D − G − D)/D − A7 − D− WW+FHn
d
55 I(M3’) D − D7 − C Str
56 I(M3’) C − G7 − WW+FHn, P D (g)
57 Mt’ C7 − A7 − D7 − D7[9 − D79 − modul trans, Str unis
63 M1’ G <(G − D7 )/G− [D] B dev: Va+Vc+Bsn, P T (g)
..
65 . C − G − C − D7 − Vi triplets
..
66 . G − G/B − Am/D − D7 −
67 ⊥ G − E[ − G − E[−
69 G/D − G/B − Am/D − D7 −
70 Am/D − D7 − Am/C − D7 /C−
71 M1’ B <(B − F ]7 )− Str
..
72 . B/F ] − F ]7 /E − B/D]−
73 ⊥ (Em − B − Em)/B − G−
74 C − G − C − F−
75 (B[ − F − B[ − F )/F − tutti cresc
76 D[ − F − D[ − B◦7 /F −
77 <(C − G∅7 − C − B◦7 )/C − B◦7 climax, Str: 16ths
80 (C − F ]◦7 − B∅7 − F ]◦7 )/C [E] tr, Str imit, P (c)
82 (Am − F7 − D7 )/C−
85 M1’ C C − F − C − F − G7 − A2 , st 1: WW, Str: 16ths
87 ⊥ C − G7 − C − C − G 7 −
89 M1 (C − G7 − C)/C− stat 2: WW (Str: 16ths)
..
90 . (F ]∅7 − G7 − C − Am7 )/C−
..
91 . D7 /C − G/B − Am − D7 −
92 ⊥ B7 /D] − Em − Am7 − D−
93 M1 (G − Am7 − G)/G− stat 3: WW (Str: 16ths)
.. d
94 . (C]◦7 − Dm − D∅7 − G7 )/G −
..
95 . Am − E/G] − Am − Em/G−
96 ⊥ F − C/E − Dm − G]◦7 /D−

Table 10.32: Brahms, Symphony No. 3, Mvt. 2 Andante (cont’d)
m M R H Comment
97 Am − Am7 /G − F − F∆7 /E−
98 Dm7 − G7 −
99 M1’ C − Dm7 − C − Dm7 − C stat 4: WW (Str: 16ths)
..
101 . G/B − C − G/B − F − Str: triplets
..
102 . B[/D − FB [/D − C7 −
103 ⊥ F − F∆7 /E − Dm − Dm7 − G7 /B−
105 C − C∆7 /B − Am − F ]∅7
106 C/G − G7 − C − C∆7 /B−
107 F ]∅7 − C46 − G7 − cad
d d
108 M4 C − E7 − F − A7 − [F] 2nd epis, Vi
.. d d
110 . B[/D − E7 − F/A − D7[5 − cresc
..
112 . C/E − F ]∅7 − G[9
7 − C7 − tutti climax
114 ⊥ [9
C7 − C7 −
116 Mt’ F7 − D7[5 − G[5 [9
7 − G7 − [G] mod trans, Str unis
122 M1 (C − B◦7 − C − C]◦ )/C− Coda, Cl+Bsn, P T (c)
..
123 . (D7 − B◦7 − C − F ]◦7 )/C−
..
124 . (Gno 3 − F ]◦7 − G − G7 −)/C−
.. i (&)
125 . (C]◦ − A◦ − G − E◦ )/C− Pm
..
126 . (Am − B◦ − C7no 3 )/C−
127 ⊥ (D7 − B◦7 )/C−
128 <(C − F ) − C − A[ − C− Brs
130 A[ − F m − C Ob-Fl (124 m.)

Table 10.33: Brahms, Symphony No. 3, Mvt. 3 Poco Allegretto
m M R H Comment
h i
3
Scherzo – Poco Allegretto 8 ([[[)
1 M1 Cm <(Cm − D∅7 /F )− A, (a): Vc, Str: tripl
..
5 . G[9
7 /B − Cm − F m/A[ − F ]◦7 − (a’)
..
8 . G − Cm − C7 /B[− (b)
..
9 . F m/A[ − B[/F − F m/A[−
..
10 . B[ − E[∆7 − D∅7 /F − (b’)
..
11 . A[ − Cm/G − D7 /F ] − G7 − PB (&)
12 ⊥ G7 /F − A∅7 /E[ − G7 /D− cad, Σ(cm<)
13 M1 <(Cm − D∅7 /F )− 2nd st (aa’): Vi1, Vc: Mc
..
17 . G[9
7 /B − Cm − F m/A[ − F ]◦7 − (b), Str+WW bg
..
20 . G − Cm − C7 /B[− (b’)
..
21 . F m/A[ − B[/F − F m/A[−
..
22 . B[ − E[∆7 − F m−
[5/[9
23 ⊥ D7 /A[ − Cm64 − G− cad
24 M2 C <(C − B◦7 ) − C [A] B, Vc-Vi1
..
29 . F∆7 − B∅7 − Em7 − Am7 − Seq(3×1m;R−7 )
..
31 . Dm7 − B7[5 /F −
32 ⊥ E − . . . − D]◦7 /A−
36 E − Am − B − E7 − Am− trans, Str
38 D]◦7 /F ] − . . . − Str-WW, 16th tripl arp%
41 M1’ Cm <(Cm − D∅7 /F )− [B] A’ (aa’): Fl+Ob+FHn,
..
45 . G[9
7 /B − Cm − F m/A[ − F ]◦7 − (b), tutti bg
..
48 . G − Cm − C7 /B[−
..
49 . F m/A[ − B[/F − F m/A[− (b’)
..
50 . B[ − E[∆7 − D∅7 /F −
[5/[9
51 ⊥ D7 /A[ − Cm64 − G7 − cad
52 Cm − A[m [C]
Trio ([[[[)
54 M3 A[ A[/E[ − . . . − B[∅7 /F [ − B[7 /D− A, WW+FHn,
..
57 . E[7 − B[∅7 /D[− Vc: 16ths arp
.. d
58 . (E[[9 [9
7 − B[∅7 − E[7 )/D[ − repeat 8ba
60 ⊥ F [∆7 − B[∅7 − E[−

Table 10.34: Brahms, Symphony No. 3, Mvt. 3 Poco Allegretto (cont’d)
m M R H Comment
62 M3 A[/E[ − . . . − B[∅7 /F [ − B[7 /D− [D] 2nd st var, WW,
..
65 . E[[9
7 − B[∅7 /D[− Str: 16ths arp%&
.. d
66 . (E[[9 [9
7 − B[∅7 − E[7 )/D[ −
68 ⊥ F [∆7 − B[∅7 − E[ − G]m/B
70 M4 F] C]m7 /E − C]7 /E] − F ] − B7 /D]− B, (a): Str
..
72 . B G]m7 − C]∅7 /G − F ]]5
7 −B (a’)
..
74 . E − D]m/F ] − C][9
7 /G] − F ]7 /A] − B (b): climax, Σ(cm>)
..
76 . B[[9
7 /F −
77 ⊥ A[m/E[ − E[− [E]
79 M3’ A[ A[ − . . . − B[∅7 /D[ − E[[9
7 − A’ 3rd st, WW+Hns,
83 ⊥ B[∅7 − B[7 /D− Str: 16ths arp (doubled)
87 M4’ B[/D − E[7 /D[ − A[/C B’, (a): Str
..
89 . F m7 − B[∅7 − E[+ − A[ (a’)
..
91 . A[∆7 /C − D[ − A[/E[ (b), Σ(cm>)
.. [5/[9
93 ./M3’ B[[5
7 /E − G7 /F − (M3’): WW, PBi (%)
[5/[9
96 ⊥ G[7 − E[/G − D7 /A[−
Scherzo – Reprise ([[[)
99 M1 Cm <(Cm − D∅7 /F )− [F] A, (aa’): FHn
..
103 . G[9 [5
7 /B − Cm − F m/A[ − D7 /A[− (b)
..
106 . G − Cm − C7 /B[−
..
107 . F m/A[ − B[/F − F m/A[− (b’)
..
108 . B[ − E[∆7 − D∅7 /F −
..
109 . A[ − Cm/G − D7 /F ]− PB (&)
110 ⊥ G7 /F − A∅7 /E[ − G7 /D−
111 M1 <(Cm − D∅7 /F )− 2nd st (aa’): Ob, Bsn: Mc,
..
115 . G[9 [5
7 /B − Cm − F m/A[ − D7 /A[− (b), Str+WW bg
..
118 . G − Cm − C7 /B[−
..
119 . F m/A[ − B[/F − F m/A[− (b’)
..
120 . B[ − E[∆7 − F m−
[5/[9
121 ⊥ D7 /A[ − Cm64 − G− cad

Table 10.35: Brahms, Symphony No. 3, Mvt. 3 Poco Allegretto (cont’d)
m M R H Comment
122 M2 C <(C − B◦7 )/C − C [G] B, Bsn-Cl, P T (c)
..
127 . F∆7 − B∅7 − Em7 − Am7 − Seq(3×1m;R−7 )
..
129 . Dm7 − B7[5 /F −
130 ⊥ E − . . . − D]◦7 /A−
134 E − Am − B − E7 − Am− trans, Cl+Bsn
136 D]◦7 /F ] − F ]◦7 − Str-WW: 16ths tripl arp%
139 M1’ Cm <(Cm − D∅7 /F )− [H] A’, 3rd st (aa’) Vi+Vc, Bsn: Mc
..
143 . G[9
7 /B − Cm − F m/A[ − F ]◦7 − (b), tutti bg
..
146 . G − Cm − C7 /B[−
..
147 . F m/A[ − B[/F − F m/A[− (b’)
..
148 . B[ − E[∆7 − F m−
[5/[9
149 ⊥ D7 /A[ − Cm64 − G− cad
150 5 Cm − . . . − [I]
[5/[9
152 M3’ D7 /A[ − Cm/G − G7 − Coda, WW+FHn augm
..
154 . Cm − . . . − B◦7 /F − tutti
..
156 . Cm/E[ − A[/C − F m/A[ − F m− tutti climax, Σ(cm<)
159 ⊥ Cm64 − G7 − Cm Σ(cm>), cad (163 m.)


Form: sonata form. In this final, fast movement the juxtaposition of major and minor is an
essential element. Another feature is the varied treatment of the melodic material; irregular
phrase length, augmentation and diminution. See Table 10.36 to 10.39 for the analysis.
The Exposition first group consists of two thematic subjects: a sentence structure melody
M1.1(aa’b) (2 + 2 + 4 m.) often played by unisono sections, and a contrasting theme M1.2, in
quarter note triplets and with dominant pedal point. On a larger scale this has an irregular
M1.2(aba’b’) (2 + 2 + 4 + 2 m.) period structure.
The second group [C] opens in the dominant major with a strong theme for French horn
and cello, also in quarter note triplet rhythm and with M2(aab) (1 + 1 + 2 m.) sentence struc-
ture. This leads into the closing group with theme M3(aab) (1 + 1 + 2 m.) in the dominant
minor Cm and a tutti climax. The theme M1.1 is also used in imitative variation (fragmen-
tation, stretching) as a transition into the development.
The Development is based on both first group themes. Note the key relations of the third
and the frequent use of dominant pedal point in the development of M1.2. The Recapitula-
tion [K] starts with another variation of M1.1 in minor, to be followed by the second group
in the F major key, and the closing group with M3 in F m (minor).
The Coda section [N] is in three parts in F major, with the first part a secondary develop-
ment of M1.1, using fragmentation, stretching, imitation and the 4th note triplet rhythm (of
the theme M1.2). At the Un poco sostenuto section the main theme M1.1 a-phrase is combined
in a counterpoint setting with the opening motto M0 from the first movement. The second
part of the coda is a brief secondary development of theme M1.2, over continuous 16th note
patterns in the upper strings, while part three presents both M0 (the motto) and M1.1.a in a
final counterpoint combination, before easing down to a close.
Also here the hard brass (trumpets and trombones) are used at deliberate, well-chosen
spots only. The trumpets play more often, in combination with horns. The trombones are
playing in m. 18 (M1.2), 64 (M2) and 207 (M2). Both trumpets and trombones play in m. 73
(M3), 149 (M1.2), 213 (M3) and 280 (M1.2), at the tutti climaxes and in the coda.

The key relationship diagram is shown in Fig. 10.8. This symphony has the following key
relation characteristics:
• The outer movements have a larger key span (note the diagram box size) than the two
inner movements. There is more modulation.
• The opening and closing movement must be interpreted using either harmonic equiv-
alence or double occurrence of a key in the diagrams. This holds for the D[ = C] pair
in Mvt. 1, the D[m = C]m and the E − E pair in Mvt. 4. The latter are labeled with
bezier curves with circles at the end points.
• The opening Allegro movement uses symmetric division of the octave: note the set of
keys F − (D[ = C]) − A (major third, i.e., 4i distance).
• Both outer movements use the Neapolitan neighbouring key: region (E[)−G[−(E[)−
F in Mvt. 1 and F m − G[ − F in the finale movement.

Table 10.36: Brahms, Symphony No. 3, Mvt. 4 Allegro
m M R H Comment
1 M1.1 Fm C − F m − C − B[m7 − C − D[− Exp, Gr 1 (aa’): Str+Bsn unis
.. d
5 . C7 − D[ − F m/C− (b)
7 ⊥ C7 − F m − D∅7 − C7 −
9 M1.1 F m/C − D[∆7 − B[m7 − (a): WW, Str 16th arp
..
11 . E[m7 − A[ − G[∆7 − E[m7 /G[− (a’) elongated phrase
..
13 . G∅7 /B[ − C − D[/F −
..
14 . C7 − D[/F − A[ − D[/F − Str
16 ⊥ C7 − F m/A[ − G − C/G−
18 D[m [A] contrasting section
19 M1.2 (A[ − D[m − A[)/A[− Cl+Bsn+Vi2+Vc, P D (a[)
23 M1.2’ Cm − Cm/E[ − G − Cm/G − A[− 2nd stat: WW+Str
..
26 . D[ − G[ − A[ − D[−
28 ⊥ D[64 − A[−
30 C7 − G◦ /D[ − B[m7 /A[ − E[7 /G− [B] trans
32 M1.1’ Fm C − B[m − F m/C − C7 /B[ (a): Str+Bsn unis
36 F/A − G[/B[ − E[m − A[ maj, N 6
38 D[/F − D[∆7 − G∅7 − C/E−
40 <(C − F m)/C − <(D◦ − F7 )/F − cresc
44 F ]◦7 − Cm/G − A[ − A◦ PBi (%)
46 Cm <(Cm − G7 − Cm − A[)/G− tutti climax
50 G − Cm/G minor
52 M2 C C − Dm/F − G7 − C [C] Gr 2, maj, (aa’): FHn+Vc
..
54 . Em7 − D7 − (b)
55 ⊥ G/B − Em − Am7 /C − D7 −
56 M2 G + 7 − C/E − Dm/F − G7 − C− (aa’): WW+FHn+Vi1
..
58 . Em − D7 −
..
59 . G/B − Em − Am7 − D7 −
d
60 ⊥ G − C − B7 − Em/G − CF ]∅7 − B −
62 (M2’) C/E − E − E7 /D − Am/C − D7 [D] mod trans, (aa): Fl+Ob
66 (M2’) <(G7 − C)/G−
68 G − G7 /F − Cm/E[ − F7 −
70 M1.1” B[/A − A[/C − D∅7 − clos gr, (a”): WW+Str aug,
73 ⊥ B◦7 /F − G7 − tutti climax
75 M3 Cm Cm − F m − D∅7 /A[ − E[/G − Cm7 [E] (aab): Fl+Vi
78 ⊥ Gm7 /B[ − A[∆7 −
79 (G − A[∆7 − A7 − Gm)/G− PLi (%), P (g)
81 G∅7 − C7 − F m − Cm− HiStr, tutti climax (ped)

Table 10.37: Brahms, Symphony No. 3, Mvt. 4 Allegro (cont’d)
m M R H Comment
83 (G − A[∆7 − A7 − Gm)/G− PLi (%), P (g)
85 B/F ] − F7 B[m − G7 −
87 M3 Cm − Cm/E[ − F ]◦7 − D7 /A− (aab): Fl+Vi
89 ⊥ Cm/G − A[∆7 − F7 /A−
[5/[9
90 B[ − E[+ − D7 /F ]− cad
d
91 G7 − A[/C − F m − D[− [F] HiStr arp%
93 D∅7 − B◦ /F − F m/C − D[−
95 B[m − G[ − E[m − Bm−
96 (M1.1’) Bm/F ] − Bm− (a’): WW unisono
98 G7 − Cm − F m7 − B[
100 G7 − C − D∅7 − G7 − maj, tutti clim
102 (M1.1’) Cm/G − D[7 − C7 − D[− min (a’): Vi1+Va
104 (M1.1”) Fm A[ − F m − E◦ − F m − D[7 − [G] (a”): FHn-WW imit
107 F m − E◦ − F m
108 M1.1 C − F m − G∅7 Dev (a): Fl+Ob+Bsn
..
110 . C − D[ − B[m7 − F m/C− (a’)
112 ⊥ F m/C − D[ − C7 − F m/A[ − D[− imit WW-Str
116 A[/C − D[m − A[/C − D[− min-maj
118 C7 − F m/A[ − D[7 −
120 M1.1 C − D[/F − F m/A[ − G∅7 /B[− (a): Ob+Bsn, Str stacc
..
122 . C − D[/F − B[m7 D[ − C− (a’)
124 ⊥ B[m7 /D[ − F m/A[− imit WW-Str
125 B[m7 /D[ − B[7 /D−
126 E[7 − B[m7 /D[ − B[7 /D−
128 E[7 − D[/F − D[7 /F −
d
130 C/E − C7 − D[/F − A[ − D[m/F [− maj-min, plagal
132 A[ − E[7
d
134 M1.1” A[m (A[m − E[7 − F [ − E[m)/E[ [H] maj-min, (a) Str trem
d
136 ⊥ (F [∆7 − C[ − B[[5
7 /E[ − P D (e[)
d
138 M1.1” (A[m − E[7 − F [ − E[m)/E[ (a): LoStr trem+stac
140 ⊥ B[∅7 − B[7 − E[ − E[7
142 (M1.1) A[mno 1 − E[m/G[ − F − F7 /E[− Seq(3×2m;R7 )
..
144 . B[m/D[ − F m/C − G − G7 − (a’): WW-Str-Brs imit
..
146 . Cm − B[/D − A7 /C] − Dm−
148 ⊥ Am/C − B7 − cad

m M R H Comment
149 M1.2 E E − E7 − . . . − [I] WW-Brs imit, P D (e),
153 ⊥ Am Am − Dm/A − Dm7 − E − Dm/F − stretched, Str: triplets
155 M1.2 Cm (G7 − Cm − D − G7 )/G − Cm − G7 − P D (g)
159 M1.2 C]m A[7 /C − A[7 = G]7 −
161 ⊥ C]m − G] − F ]m − C]m−
163 M1.2 Em (B7 − Em − F ]◦ − B)/B− P D (b)
..
165 . <(Em − B)/B − Em − C − F −
..
168 . B[ − A◦ − C7 − F − tutti climax
170 ⊥ F/C − F m/C maj-min
172 Fm C − B[m/D[ − B[m7 /A[ − E◦ /G− [K] Rec, Str unis
174 M1.1’ C − D[∆7 /C − B[m7 − E[7 /B[ Gr 1, (a): HiStr
..
176 . A[7 − D[/A[ − G∅7 − C7 − (a’)
178 ⊥ C7 − F m/A[ − C7[9 − F m/A[−
181 G7 − E[m/G[− Σ(cm<)
182 <(F7 − B[m)/F − <(E◦7 − B[7 )/B[−
186 B[7 − B◦7 − F m/C − D[ − D◦ PBi (%), P T (f )
188 (F m − . . . − C7 )/C− min, climax, P D (c)
194 M2 F F − C7 − F − Am7 /E − G7 − [L] Gr 2 maj,
197 ⊥ C/E − Am − Dm7 /F − G7 − (aa’b): FHns+Vc
198 M2 C − F − C7 − F/A − Am7 − G7 − (aa’b): Ob+FHns+Vi1
.. d
201 . C/E − Am − Dm7 − G7 −
..
202 . Am/C − F − E7 −
203 ⊥ Am/C − F − Bm7 − E7 −
204 M2 Dm (Am − Dm − B[∆7 )/A− (aa’b): Ob+Cl
206 ⊥ A − A7 /G − Dm/F − G7 −
208 M2 <(C7 − Dm7 )/C− maj
210 ⊥ C − C7 − F m/A[ − B[7 − min
212 M1.1” Fm E[/G − D[/F − clos gr, (a”): WW+Str aug,
215 ⊥ E◦7 /G− tutti climax
217 M3 F m − B[m7 − [M] (aab): Fl+FHn+Vi1+Va
219 ⊥ A[/C − F m7 − Cm7 /E[ − D[∆7
221 (C − D[∆7 − D7 − Cm)/C− i (%), P (c)
Pm D
223 C∅7 − F7 − B[m − F m
225 (C − D[∆7 − D7 − Cm7 )/C− HiStr, tutti clim (ped)
227 E/B − B[7 − E[m − C7 − PLi (%)

m M R H Comment
229 M3 F m − B◦7 − (aab): Fl+FHn+Vi1+Va
..
231 . F m/C − D[∆7 − B[7 /D−
232 ⊥ E[ − A[+ − B[m/D[ − B◦7 −
d
233 C7 − D[∆7 − B[m − G[− HiStr arp%
235 B[m/D[ − E◦ /B[ − D[ − B[m − G[−
237 E[m − C[ − A[ − E−
238 (M1.1’) B − Em − Em/G− (a’): WW unisono
d
240 M1.1” C7 − D[ − G∅7 − A◦ − B[m/D[− (aa”): Bsn+LoStr
..
243 . G∅7 − A[+ /C−
.. d
244 . F − F7 /E[ − G[/D[−
245 ⊥ G[ D[ − D[7 − G[ Neap cad
246 (M1.1”) F F − G[7 /B[− [N] Coda Pt 1, (a”): FHn+
250 ⊥ Em9 /G − F ]+ − WW imit, 2nd dev
252 M1.1” Bm F ]7 − Bm− (a”): Vc 4th note tripl var
254 ⊥ Em − B7 − Em − Bm
256 M1.1” Em7 − F ] − Bm − Gm/B[− (a”): Cl+Bsn
258 M1.1” E∅7 − A7 − Dm − B[m/D[ − C− (a”): Ob+FHn
261 M1.1’ Fm C7 − F, /C − D[ − B[m− [O] min (a’): WW,
264 ⊥ E[7 − A[ − G[ − G∅7 /B[ − C− Str 16th arp%
Un poco sostenuto ([) major
267 M1.1’ F C − F7]5 − B[ − G7 /B− (a): Ob-Fl augm var
271 (M1.1) F/C − A/C] − Dm − F7 /E[− imit: LoStr-WW
273 M0/1.1 B[/D − G[/D[ − C7 − ‘Motto’ (Mvt 1): Cl
275 F/C − F + /C] − Dm − F7 /E[− imit: LoStr-WW
d
277 M0 B[/D − G[/D[ − C7 − . . . − Dm
281 F − Am − C− Pt 2, Str 16th notes
285 M1.2 (F − C7 − F )/C − −F Ob+FHn, tutti
289 D − Bm − Gm
293 M1.2 E[7 /G − G∅7 − C7 − G7 − WW+FHn
295 ⊥ D]◦7 /C − C7 −
297 M0/1.1 <(F − D[ − B◦7 )/F − Pt 3 tutti imit aug, P T (f )
301 F − ...− Str trem&
306 F (309 m.)

10.6. SYMPHONY NO. 4 IN E MINOR, OP. 98
• In Mvt. 2 there are only major keys involved, with the remote key of B major before
returning to the tonic key. The Trio in Mvt. 3 has a similar pattern in the A[ − B − (F ] =
G[) − A[ sequence of keys.
Mvt. 1 Allegro con brio
A E B
F]
6
C]
2

Am Em Bm
F ]m
C]m

C 4 G D

A

3

E

Cm
Gm Dm Am Em Mvt. 2 Andante

7 6
?
E[ B[ F C G A E
B

2
E[m B[m
Fm Cm Gm Am Em
Bm

1
5
1
G[ D[

A[ E[ B[ C G D
Mvt. 4 Allegro
9 t 6
Am Em Bm F ]m C]m
C G D A E t
Mvt. 3 Poco 7 4
+ ?
Allegretto Cm Gm Dm Am Em
6
F C E[ B[ F C G
1 6
? 6
- 6
?? 2
Fm Cm E[m B[m

Fm Cm Gm

A[ E[ G[

) D[
A[ E[ B[
8 5

1
tD[m

A[m E[m G[m A[m E[m B[m
2 3
E t

+

B - F] A B F] C]
Figure 10.8: Brahms, Symphony No. 3, key relationship diagram
10.6 Symphony No. 4 in E minor, Op. 98 (1885)

Detailed score analysis of the Brahms symphonies was complemented with the formal
analysis presented in [22] and [29].
10.6.1 Mvt. 1 Allegro non troppo

Form: sonata form. See Table 10.40 to 10.44 for the analysis. The Exposition section of
this movement opens directly with the gentle main subject M1, whose main characteristic is

h i
2
Mvt. 1 Allegro non troppo: sonata form (Em, 2 , 440 m.)

h i
6
Mvt. 2 Andante moderato: AABAB Coda form (E, 8 , 118 m.)
A A’ B A” B’ C
h i
2
Mvt. 3 Allegro giocoso: sonata form (C, 4 , 357 m.)
Mvt. 4 Allegro Energico e passionato: theme and variations / sonata form

h ih i
3 3
(Em, 4 2 , 311 m.)
Exp (64 m.) Dev (64 m.)
Th V 1–3 V 4–7 V 8–11 V 12–15
Rec (124 m.) (Reprise V 1–3) Coda (58 m.)

V 16–22 V 23–30
Figure 10.9: Brahms, Symphony No. 4 in E Minor, Op. 98

the descending leap of the third motif (that becomes a sixth in its inversion). This interval
is used in varied forms of the theme (such as M1’, the secondary statement), as accented
backgrounds and in transitions. The overall structure of the main subject is M1(aa’bc) (4 +
4 + 4 + 6 m.), with the leaps in the a-phrase, the lead pedal point and 8th note rhythm in the
b-phrase, and the cadential closing c-phrase.
The contrasting marcato secondary subject (M2, unisono winds and brass, mixed rhythm
with staccato and 4th-note triplets) also has an arpeggio in thirds flavour. This might al-
ternatively be considered a motto M2(ab) (2 + 2 m.) that introduces the lyrical (stepwise
vs. sweeping character) melody M3. This has M3(aaaa) (4 × 2 m.) structure (based on a
two-measure cell) with half note appoggiaturas as a starting point.
The M4 theme group is used as a transitory episode. On a larger scale this melody has
M4(aaa’bb’a”a”ccd) ((1+1+2)+(2+2)+(2+2)+(2+2)+3 m.) structure: the a-phrase is the
stepwise descending dotted quarter note rhythm, the b-phrase contains chromatic stepwise
motion and quarter note triplets, the c-phrase uses the a-phrase rhythm for a neighbouring
note motif, and the d-phrase concludes with an ascending 8th note legato string arpeggio
over trumpet pedal point.
The Development section starts with a (exceptionally early) false recapitulation, before
taking on the real development of the main theme. This movement is harmonically very rich,
with many sudden, intermediate modulations, (chromatically) ascending and descending
bass lines, dynamic curves, and contrary motion.
10.6.2 Mvt. 2 Andante moderato

Form: AABAB Coda form. See Table 10.45 and 10.46 for the analysis.
The opening motto M0 for doubled French horn is derived from the A section main sub-
ject: M0=Mi.a’. This returns in the transitions and coda. Over a pizzicato string background
the clarinets and bassoon state the main theme, which is repeated in a varied form in A’. The
main subject has M1(abc) (2 + 3 + 3 m.) structure, with the characteristic rhythmic pattern
( 81 + 18 + 16
1 1
. + 32 ).
In the B section, the dominant key contrasting subject M2 is played by espressivo strings,
with a short two-measure phrase undergoing subtle variation. It has the M2(aa’a”b) (2 +
2 + 2 + 3 m.) structure, in 8th note rhythm. The return of the main theme in the A” sec-
tion is enriched with descending arpeggios in the wind section. Then the motto is presented
as a forceful tutti climax. The transitory theme Mt (already used in imitation before) leads
into the second statement of the secondary subject now in the tonic key. The smooth clar-
inets, playing their characteristic parallel thirds over string tremoli and a sustained dominant
pedal point, guide us to the coda, with the final return of the motto for doubled horns.
10.6.3 Mvt. 3 Allegro giocoso

Form: sonata form, with rondo character. See Table 10.47 to 10.49 for the analysis.
The extended main subject in the exposition can be divided into three, completely dif-
ferent phrases M1(abc) (5 + 5 + 8 m.): the a-phrase in 8th notes, with contrary motion and
harmonized with triads; the b-phrase with 16th note staccato patterns and legato arpeggios;
and the c-phrase with sustained accented notes and triplets. The second phrase is presented
in varied form M1b’ as an intermediate group, before the second group theme enters.

Table 10.40: Brahms, Symphony No. 4, Mvt. 1 Allegro non troppo
m M R H Comment
1 M1 Em (Em − Am − B7 − Em)/E− Exp/Gr 1 (a): Str-WW imit
..
5 . C − G − Dm − Am−
..
9 . B7[9 /D] − Am/E − F7 − D7[9 /F ]− (b) PBi (%), Hns: P (c)
..
13 . C/G − G]◦7 − Am − E7 /B− PB (%)
15 ⊥ (Am − F ][5 6
7 )/C − F ]7 − Em4 − B7 cad
19 M1’ Em − C − F ]∅7 − B7 /D] − Em/G− [A] 2nd st, (a): Str imit, var
..
23 . C − F ]◦7 /C − G − C]◦7 − G− tutti imit
..
25 . D − G]◦7 /D − A − Am7 −
..
27 . B7[9 /D] − D7 − F ]m/C] − D7 /C− (b) cresc, PBi (&) , Σ(cm<)
..
31 . B7 − Em/G − A7 − F ][9
7 /A]−
..
37 . B7[9 − B7 /A − Em/G − F ]∅7 − Bm7 − tutti climax
..
40 . Em7 − Am7 − D7 − G∆7 −
d ]5
41 ⊥ F ][9
7 . . . − G − Bm − D7 − P D (f ])
45 Bm [9
G − Bm − F ]7 − Bm/D− [B] Gr 2, trans, Str imit
49 C − G/D − C/E−
51 A∅7 /E[ − G/D − G/B − G7 /F −
53 M2 F ] − . . . − Bm − C] − F ]− WW+Hns unis marcato
d
57 M3/1 F ]7 − Bm − C]∅7 − F ]7 − [C] (FHn+LoStr)/others
63 ⊥ G − Em − C]∅7 − F ]7 − Bm − C]7 −
65 M3/1 F ]7 − Bm − Em7 /G − A7 − D− 2nd st HiStr/others
d d
69 ⊥ Em − F ]7 − G − Em7 − F ]7 −
73 M2 G − . . . − D7[9 − WW+Brs, tutti climax
d
75 G − B7[9 /D] − Em64 − B7 −
77 M2 C − . . . − A[−
80 M1’ C∆7 /B − A]◦7 − Bm7 /A − E79 /G] Str-WW imit, PBi (&)
84 ⊥ G∆7 − A]◦7 /G − F ]7 −
d
87 B (B − F ]7 − C][9
7 )/F ] − [D] tutti, episode gr,
89 E + − C]m − F ]7 − B P D (f ])
91 M4.1 G]m7 − C]7 − F ] − C]7 − F ]7 − HiStr
95 M4.2 B − F ]7 − E/B − F ]7 − B−
97 ⊥ C]m − C]∅7 − F ]7 /E − B/D]−
99 M4.3 Bm7 /D − G]∅7 − C]7 − Ob+FHn, Str: M1’ imit
..
101 . C]m7 /E − F ]7 − D]7 /C]−

Table 10.41: Brahms, Symphony No. 4, Mvt. 1 Allegro non troppo (cont’d)
m M R H Comment
..
103 . G]/B] − G]7 − C] − C]7 /B−
105 ⊥ F ]/A] − B − F ]/A]−
107 <(E7 − G]◦7 )/G] − . . . − G7 − Str arp, P (g])
110 M2 B/F ] [E] closing gr, WW+Hns
114 <(C]7 − E]◦7 )/E] − . . . − E7 − Str arp, P (e]), PBi (&)
117 G]m/D] − E7 /D − C]7 tutti cresc, Σ(cm<)
119 M2 B/F ] − F ]7 − B − E − B − F ]− Str
123 ⊥ (F ] − B)/F ]− WW echo, P (f ])
125 M2 D F ] − D/F ] − A7 − Str
..
127 . D − G − <(D − Bm)− tutti
..
129 . F ] − Bm7 /F ] − F ]−
..
130 . F ]7 /A] − F ]7 − B− tutti climax, P (f ])
133 ⊥ <(E − F ])−
137 5 G − B7 − Em − D7 − B7[9 /D]− [F] Dev, Str-WW imit
145 M1 Em (Em − Am − B7 − Em)/E− False Rec, (a): Str-WW imit
..
149 . C − G − Dm − Am−
..
153 . <(C7 − F )/C− (b)
155 ⊥ C7 /B[ − F/A − A∅7 /G − D7 /F ]− cad, PB (&)
157 M1’ Gm Gm − Cm − D7[9 − Gm− [G] 2nd Dev, WW: var, Vi: Mc
..
161 . E[ − B[ − B[m − D[ − A[−
..
165 . <(E[7 − A[)/E[− (b)
167 ⊥ E[7 /D[ − A[/C − C∅7 /B[ − F7 /A− cad, PB (&)
169 M1” B[m B[m − E[m − A[ − D[ − F7 − var, tutti
..
173 . B[m − E[m − A[ − D[/F − F7 − tutti stretto imit
..
177 . B[m/D[ − G[/B[ − B[7 /D − E[m tutti climax
..
180 . F ]7 /A] − B − F ]/A] − Bm−
.. d
182 . F ]7 − G − F ]7 − Em7 −
d
183 ⊥ F ]7sus4 − F ]7 − cad
184 5 Bm G − ...− [H] Dev 2nd part, Str imit
188 M2 Cm F m − B◦ − C7 − F m − G[9
7 − WW, rapid mod
192 (M1) D[m <(Cm − A[)/C − A[7 /C− Str arp, (a’): WW, P (c)
..
196 . Dm F ]m7 /C] − . . . − (F + − A)/C] P (c]), PBi (%)
200 ⊥ (B[ − G[+ − B[7 )/D−
202 (M2) (B − B7 − . . . −)/D]− WW imit, P (d]−b)

m M R H Comment
206 M2 Em F ]∅7 − B7 − E7 − Am − B − G+ /B− [I] (a) Brs+Str climax
..
210 . <(C − F m) − B[m− WW echo
..
212 . E[7 /B[ − A[ − F m − E[ (b) WW+Str
214 ⊥ G]m D]7 − A]∅7 /C] − D]7 − G]m (b): tutti, P D (d])
217 M2/1 G]m − C]m7 − F ] − B WW/Str
d
221 ⊥ E − B − B7 /F ] − C]m
227 (M1) D]7 − B[∅7 /F [ − E[7 /D[ − C7 − [K] retrans, WW-Str imit
..
231 . F7 − C∅7 − F7 /E[−
..
234 . D7 − G7 − E7 /G] − A7 − Seq(3×2m;R7 )
238 ⊥ F ]7 /A] − B − <(F ]∅7 − B7[9 )− cad
246 M1’ Em Em − . . . − [L] Rec/Gr 1, WW unis aug
249 ⊥ C − . . . − C +− Str arp
254 M1’ D]◦ WW unis augm
..
255 . G+ − Em − . . . − G7 − Str arp
..
259 . C − G − Dm − Am− Str-WW imit
..
263 . B7[9 /D] − Am/E − F7 − D7[9 /F ]− (b) PBi (%), Hns: P (c)
..
267 . C/G − E7 /G] − Am − E7[5 /B[− PB (%)
..
269 . (Am − F ][5
7 )/C − F ]7 −
6 ]5
271 ⊥ Em4 − B7 − cad
273 M1 Em − C − Am − F ]∅7 − 2nd stat, (a): Str imit, var
..
275 . B − G+ − C − D7[9 /C−
..
278 . (G − Gm − C]◦7 )/G− tutti imit
..
279 . (D − E7[9 )/D − A − Am
..
281 . B7[9 /D] − D7 − F ]m/C] − D7 /C− (b), PBi (&) , Σ(cm<)
..
285 . (B7 − G − C∆7 − F ]∅7 )/B− P D (b)
..
286 . B7 − . . . −
288 ⊥ C − Em − G+ − G]5 7 − cad
289 C − . . . − Em/G − F − G97 trans, Str imit
d
294 G7 − F/A − D∅7 /A[ − G−
296 C/E − F ]7 /A]−
297 M2 B − . . . − B − Em − F ] − B [M] Gr 2, WW+Hns unis

m M R H Comment
301 M3/1 B7 − Em − Am − Em − Am − F ]∅7 − (Hns+LoStr)/others
..
305 . Am − F ]∅7 − B7 − F ]∅7 − Am
308 ⊥ F ]7 − B7 /D] − Em64 − F ]7 − cad
309 M3/1 B7 − Em − Am7 /C − D7 /F ]−
..
312 . G − Em − Am − B7[9 − cresc
d
315 ⊥ F ]∅7 − Am7 − B7[9 −
317 M2 C − . . . − G7 − WW+Hns, tutti climax
d
320 ⊥ C − E7[9 /G] − Am64 − E7 −
321 M2 F − . . . − D[− WW+Hns
324 M1’ F∆7 /E − Em7 /D − C]∅7 − Str-WW imit, PBi (&)
328 ⊥ C∆7 − D]◦7 /C − B7 −
331 E (E − B7 − F ][9
7 − B)/B− [N] tutti, episode gr,
333 (F ]m − F ]∅7 − B7 )/B − E− P D (b)
335 M4.1 C]m7 − F ]7 − B − F ]7 − B − B7]5 − HiStr
d
339 M4.2 E − B7 /D] − A − A+ −
341 ⊥ A+ − F ]∅7 − B7 /A − E/G]−
343 M4.3 C]∅7 /G − F ]−
..
345 . D]∅7 /A − G][9
7 /F ]−
..
347 . C]/E] − C]7 − F ] − F ]7 /E−
349 ⊥ B/D] − B − E − B/D]−
351 <(A7 − C]◦7 )/C] − C7 − Str arp, P (c])
354 M2 (E − B7 − E)/B − A − E − B− WW+Brs, P (b)
358 <(F ]7 − A]◦7 )/A] − A7 − Str arp, PBi (&)
361 C]m/G] − A7 /G − F ]7 cresc, Σ(cm<)
363 M2 E/B − B7 − E − A − E Str
367 ⊥ <(E − B)/E− WW echo, P (b)
369 M2 G]m B − G]m − D]7 − G]m− Str
..
373 . F∅7 − B[7 − E[7 − tutti
376 ⊥ A[m − F∅7 − B[7 −
377 M2 Em <(B − Em)− [P] trans, tutti imit
379 ⊥ Am − F ]◦7 /A − G − Em/G − D
381 D7[9 − . . . − D7 − Gm− Str imit
384 M2 F (N/I) WW clim
385 B7[9 − . . . − Str imit
387 <(B7[9 − Em)−
390 (M1) F ][9
7 /A] − . . . − B− tutti climax, Str arp%

m M R H Comment
394 M1 Em Em − Am − F ]∅7 − B7 /D]− [Q] Coda, tutti clim,
..
397 . Em/B − C/E − G − Bm/D− stretto imit
..
400 . D − Dm/F − F − Am/C−
..
402 . B7[9 /D] − Am/E − F7 − D7[9 /F ]− (b) tutti clim, PBi (%)
.. d d
406 . C/G − E7[9 /G] − Dm/A − F ][9
7 /A] −
.. d
408 . Em/B − B7[9 /A − C/G − G[9
7 /F − Σ(cm<)
.. d
410 . C/G − E7[9 /G] − Dm/A − F ][9
7 /A]− repeat, PBi (%)
d
412 ⊥ Em64 − . . . − A]◦7 /C − cad
d
414 (C − Am − B7[9 − Am)/C− [R] tr, WW+HiStr, P (c−e)
d
418 Em − F ][9
7 − Em/G − B7 − Str+WW, Σ(cm>)
420 Am/C − B7 /D] − Em − C − F ]∅7 /A−
421 <(Em64 − C) − Em64 − B7 − tutti, Str arp
426 Em − Cm/E[ − G/D − Cm − G− closing
428 Cm/E[ − G/D − F ]/C] − F ]m − B7 −
431 <(Em − B7 ) − Em/B − Am/C− tutti cresc
434 F ]∅7 − B7 − <(Em − B) − Em tutti climax (440 m.)

Table 10.45: Brahms, Symphony No. 4, Mvt. 2 Andante moderato
m M R H Comment
1 M0 C([VI = N/V ) Intro, Hns-WW unis
5 M1 E E − B7 /D] − E − Am − E − Am − E− A (a): Cl+Vi1, Str pizz
..
7 . B − Am − E − B − Am − E (b)
..
9 . B − E/G] − B − E]◦7 /G]− (c)
..
10 . F ]m − C]m − F ×◦ /A]−
11 ⊥ G]m − C]m7 − G]m
13 M1 E − B7 /D] − E − D7 /A − E − Dm/A − E (a’): FHn+Va
15 M0 B − Bm − Am − B − F ] − B− [A] trans, Cl+Bsn
..
17 . Am − B − Am − D7 − G − C − G − C−
..
19 . G − Em − Bm − A−
..
20 . D − B◦ − C − A]◦ − B−
21 ⊥ A]◦ − B − E7 /G] − F ]∅7 /E−
22 M1 E − B7 /D] − E − Am − E − Am − E A’ (a): FHn+Vi1
..
24 . Bm − Am − E − Bm − Am − E (b): Cl+Vi1
..
26 . (F ]m7 − E − F ]7 )/E − G]m− (c’): Cl, Bsn+Hns
28 ⊥ D]m − G]m − F ]m/A − E/G] [S̄ 6 ]
30 M1’ <(E − A)/E − E − A]◦ − [B] (a’): Vi, tutti, P T (e)
..
33 . (E − F ]7 )/E − B/D] − (E − G]m)/B− 16th triplet accomp
..
34 . C]m − F ]/A] − B − E/G]−
35 ⊥ A]◦7 − D] − G]m − C] − F ] − D]◦
36 Mt C] − (F ] − Bm − F ][97 )/F ]− WW 16th tripl, climax
37 Mt (F ] − Bm − F ]7 )/F ] − (D − G − D)/D− Str-(WW+Hns)
38 Mt <(D − G) − <(F ] − Bm − Em/G)
39 ⊥ <(F ] − G]◦ /B − F ]7 )− P D (f ])
41 M2 B B − A]◦7 − E − F ]7 − [C] B (a): Vc, Str+Bsn
43 ⊥ B − G]m7 − C]7 − F ] − F ]7 /E− (a’) (Vi1: 16th Mc)
45 M2 B − D]7 − B − F ] − G]7 − E7 − (a): Bsn+Vi2
.. d
47 . A7 − F ]7 − G]m7 − C]m7 − F ]7 − (b)
49 ⊥ B7 − E − F ]m7 − B46 − F ]7 − cad
50 M2’ B − F ]7 − B − F ]− (a): Vi2, Vc: 16th note Mc
..
52 . B/F ] − B]◦7 − C]m − A]◦7 − B − G]7 − (a’): Vi1
54 ⊥ C]7 − A]◦7 − F ][9
7 − cad
55 B − B]◦7 − C]m − C ×◦7 −D]◦7 − F ][5
7 /C− WW unis 16ths
57 [5
B − F ]7 /C − B − . . . − Str

Table 10.46: Brahms, Symphony No. 4, Mvt. 2 Andante moderato (cont’d)
m M R H Comment
59 B/F ] − Em/G − A7 − retr, Str+Hns
61 C]/G] − F ]m/A − B7 − Str: 16ths arp
64 M1 E E/B − A − E − A − E [D] A” (a): Va+Vi1, WW arp bg
..
66 . E − A − E − E7 − A − E− (b)
..
68 . B − E/G] − B − E]◦ /G]− (c)
..
69 . F ]m − C]m − G×◦ /A]−
70 ⊥ G]m − C]m7 − G]m − A]◦ /C]−
72 M1 E − B7[9 /D] − <(E − D7 /A) − E (a’): FHn+Va
74 M0 B − Bm − B − D7 /A− trans, WW-Str climax
75 ⊥ B/F ] − <(B − A]◦7 )− Str: 32ths
76 M0 B − Bm − B − Am/C − D7 − Vc+DB
77 ⊥ G − C − <(G − F ]◦7 )−
78 M0 G − <(B[7 − E[) − F7 /C− Vi
79 ⊥ G − B[7 /A[ − E[/G − F7 −
80 M0 B[ − A[7 − B[ − D[7 − [E] (WW+Hns)-Str, climax
..
81 . G[ − A7 − D − C7 −
..
82 . D − F7 − B[ − G]m − C] − F ] − F ]7 − tutti,
83 ⊥ A7 − D − G − C]m − F ]7 − Seq(4×R−7 )
Bm − E7 − F ]7 −
84 Mt B <(B − Em)/B − Am7 − HiStr, tutti clim 16th triplets
..
85 . Em/G − B − Em − Am − G−
86 ⊥ <(C − Am − G) − C − B − E◦ /B[−
88 M2 E E − B7 /D] − A/C] − B7 − B’ (a): Vi1, Str
90 ⊥ E − B − F ]7 − B − B7 /A− (a’)
[5/[9
92 M2 E − G]7 /D − C]7 − A7 /C]− (a): Vi2+Vc
..
94 . D7 − B7 − C]m7 − F ]m7 − B− (a’)
96 ⊥ E − A − B − E/B − B7 − WW+Str
98 M2’ E − B7 /D] − F ]m7 − B7 − (a): WW+Str sync, tutti clim
100 ⊥ E − B − F ]7 − B− (a’)
102 E − E7]5 − A − C]7 − [F] retr, Cl+Bsn
104 F ]m7 − D]∅7 − A/C] − B7 −
106 (G]◦ − G]∅7 = C][9
7 )/B− Cl-Ob, Str 32 ths trem, P D (b)
110 E7 − G]m/B − F ]m/A − E/G] − B7 Cl, [S̄ 6 ]
113 M0 <(E − Am)/E − E − C − G[9 7 − Coda, FHn-Ob, 16th tripl bg
115 ⊥ <(C − B◦7 ) − C − E − F∆7 /E − E (118 m)

Table 10.47: Brahms, Symphony No. 4, Mvt. 3 Allegro giocoso
m M R H Comment
1 M1a C C − Em − F − G − F/A − G− Exp/Gr 1 (a): 8ths,
3 ⊥ C − Em − F − Dm − G − Em − F tutti clim, Σ(cm)
6 M1b B∅7 /F − C/E − C − G − B∅7 /F − (b): Str 16ths
9 ⊥ C/E − F ]∅7 /C − G − E[/G−
11 M1c B[ − E[ − B[7 − E[ − F m7 /A[− (c) WW+Str 8th tripl
16 ⊥ G − G7 − . . . −
19 M1b’ <(G − B∅7 /F − C/E − C) − G− [A] (b): Vi1+Fl,
..
24 . <(G − C/E) − G − G7 − (intermediate group)
..
28 . Dm − Am/C − B∅7 − F/A− Brs: P D (g)
..
30 . Em/G − Dm/F − C/E − B◦ /D− [S̄ 6 ]
32 ⊥ Am/C − F/A − Dm/F − G7 − Str 16ths sc runs
35 I(M1a) C − C∆7 /B − F/A − G − F − G− (a): tutti clim
37 ⊥ C − C∆7 /B − F/A − Dm − E − Am/C−
40 M1b F ]◦ /C − G/B − D − Am/C − G/B − G− (b): tutti clim
44 ⊥ A◦ − E[/G − B[7 − B◦ − [B] trans, LoStr unis
48 Cm − D7 − G halfcad, WW+Str
52 M2 G C − G − D − G − Dm − G − C − G− [B] Gr 2 (aa): Vi1, D
58 ⊥ A − D − B − Em − G7 − (b) Seq(2×2m;R7 )
63 M2’ C − G − D − G − Dm − G − C − G− [C] Var, (a): WW+Vi1
69 ⊥ A7 − D − D7 − G − G7 − <(C − G) Va: 8th tripl
[5/[9
76 G7 /F − C/E − A7 /E[− trans: Str
[5/[9
78 G/D − G7 /D[ − Am/C
80 D − G − . . . − A[5
7 /G
85 G − C]◦7 − Dm − G Σ(cm<)
89 M1a C C − Em − F − G − F/A − G− [D] Dev (a): tutti clim,
..
91 . C − Em − F − Dm − G − Em− 8ths
93 ⊥ F − . . . − Dm/F − . . . − D]◦7 /C− tutti clim, 21 note imit
106 M1b B7[5 /F − C/E − C − G− (b): tutti 16ths
..
109 . D]◦7 /C − B7[5 /F − C − E
..
113 . Am − F − Dm − E− (a): V+Vc, (b): Vi
115 ⊥ Am7 − Dm − B∅7 − E−
117 M1b’ Am Am − G]◦7 /D − Am/C − D]◦7 − A [E] (b): Bsn+Vi1
..
119 . E − G]◦7 /D − Am/C − D]◦7 /A−

Table 10.48: Brahms, Symphony No. 4, Mvt. 3 Allegro giocoso (cont’d)
m M R H Comment
..
121 . E − B◦ /D − Am/C − G/B− (b’): WW, [S̄ 6 ]
..
123 . F/A − Em/G − Dm/F − E− (a’) P D (e)
.. d
125 . A − E∅7 /G − Dm/F − C7 /E − (b’): HiStr, WW: 16th Mc,
127 ⊥ B[/D − Am/C − Gm/B[ − A7 − syncopes
129 M1b’ Dm − Am/E − Gm/D − F∆7 /C− (b’): LoStr
..
131 . Em7 /B − Dm7 /A − C/G − B7[9 −
133 ⊥ E − ...− tutti arp% imit
139 I(M1a) A A − F ]m/A − G] − F ]m/A− (a): WW unis clim, var
d
141 ⊥ A − E/G] − F ]m
143 M1a’ G]m7no 3 − . . . − C]m7 − (a’): Str unis clim
147 F ]m7 − D]∅7 − E − A]◦ /C] − D]−
151 M1a’ C]m G]7 /B] − C]m − A − G]◦ /B− (a’): HiStr unis
d
153 ⊥ G]7 − A − D]∅7 /F ] − G]−
155 C]m/E − B]◦7 /F ] − C]m/E − G]−
157 M1b’ C]m − B]◦7 /F ] − C]m/E − G]7 (b’): Vi1
159 M1b’ C]m7 − F ]m7 − G]7 − (a): LoStr, (b’): Vi1
161 ⊥ C]m7 − F ]m7 − D]∅7 − G]−
163 M1a’ C]m7 − G] − C]m7 − F ]m− (a): LoStr
166 ⊥ D]∅7 − G] − C]m
168 M1’a D[ D[ − G[/B[ − A[− [F] (a’): WW+Hns
171 ⊥ D[ − G[/B[ − A[ − F m
174 M1a’ G[ − C[∅7 (a’): Bsn
177 ⊥ F − F m−
181 M1” D[/F − . . . − D[ − G[ retrans, (a/c”): Bsn+FHn
..
187 . E[7 − D[/F − G7 /F − (a’): WW-Str Σ(cm), P (g)
193 ⊥ G[9
7 − . . . − <(C]◦7 − Dm)/G− (ped)
199 M1c E[ E[/G − B[ − E[− Rec/Gr 1, tutti, 8th triplets
203 ⊥ B[7 − E[ − F m7 /A[ − G7 −
208 M1b’ G − B∅7 /F − C/E − C− (b): Ob-Hn-Vi1,
..
210 . G − B∅7 /F − C − Am/C − G − G7 − (intermediate group)
..
213 . <(G − C/E) − G − G7 −
..
217 . Dm − Am/C − B∅7 − F/A Brs: P (g)
..
219 . Em/G − Dm/F − C/E − B◦ /D− [S̄ 6 ]
221 ⊥ Am/C − F/A − Dm/F − G7 − Str 16th sc runs

Table 10.49: Brahms, Symphony No. 4, Mvt. 3 Allegro giocoso (cont’d)
m M R H Comment
224 I(M1a) C C − C∆7 /B − F/A − G − F − G− (a): tutti climax
..
226 . C − Em − F − Dm − G − Em
..
228 . A7 − Dm − B7 − Em − C7 − F Seq(3×1m;R7 )
231 ⊥ Dm − E − Am/C−
233 M1b E◦ /B[ − F − C − E◦ /B[ − F (b): tutti 16ths
237 ⊥ C − E[7 − A[/E[ − E[7 − C7 /E− [G] trans, Str
242 C7 − F − G7 − C− WW
247 M2 F F − C − G − C − Gm7 − C − F − C Gr 2 (aa): Ob+Vi1, SD
253 ⊥ D − G − B∅7 /D − E − Am − C7 − (b) Seq(2×2m;R7 )
258 M2’ F − C − G − Gm − C − F − C− Var, (a): Hns+Str 8th tripl
..
264 . F m − C7 − D7 − E− Seq(3×1m;R7 )
.. d
268 . Am − E7 − F − F7 − B[ − G−
..
272 . C − Gm − C − C7 /B[−
..
276 . F/A − D7[5 /A[ − C/G − C7 /B[− tutti climax
.. [5/[9
278 . F/A − D7[5 /A[ − C/G − C7 /G[−
280 ⊥ F − E7 − Cm/E[ − D−
282 <(G − C]◦ )/G − Gm− [H] Coda, Str-WW imit,
286 (M1a) (Gm − A∅7 − D7[9 )/G− (a): WW imit, P D (g)
288 <(Gm − C]◦ )/G−
292 (M1a) (E◦ − F m − G)/G− (a): WW imit
295 <(E[ − G)/G− Str cresc 16ths
299 (G − G+ − Cm − C7 − F − F ]◦7 )/G− tutti cresc
305 (G − G7 − Dm − F )/G−
307 (Dm7 − G − Gm)/G − C7 −
311 M1a F − Am − B[ − C − B[/D − C− (a): Str+Bsn+FHn, SD
..
313 . F − Am − Gm−
..
314 . C − Am − Dm − B[ − E[ − C− Seq(3×1m;R7 )
317 ⊥ <(F − G7 )/F − F7 [I] tutti clim, 21 note imit
326 M1b <(F7 − B[)/F − (B[ − Dm)/F − (b): Str P T (f )
331 ⊥ G]◦7 /F − <(E7 − G]∅7 /D − A/C])−
337 M1c C E − C/E − . . . − F/A − . . . − [K] (c): Brs, tutti clim
343 ⊥ Dm − . . . − G7 − cad
347 M1a’ <(C − F − G) closing, (a): Str unis
351 ⊥ F − G − Dm − G − C cad (357 m.)

The secondary theme has M2(abab’) (2 + 2 + 2 + 5 m.) period structure, with the de-
scending arpeggio from the a-phrase continued in the b-phrase. The second b’-phrase is an
ascending 8th note arpeggio in sequence setting.
It is in the development, where the main theme first phrase M1a gets its rondo character;
most of the development is based on variations of the second phrase M1b’. With the third
phrase M1c we have suddenly landed in the recapitulation. The second group now is pre-
sented in the subdominant key, which also holds for the first main theme statement M1a in
the coda, notwithstanding the extended dominant pedal g.
10.6.4 Mvt. 4 Allegro energico e passionato

Form: theme and variations form. On the smaller scale this closing movement is a large set
of variations on a fairly simple passacaglia theme M=MP : an ascending scale in dotted half
notes. A large scale analysis shows a number of sections, that might also be interpreted in
terms of a sonata movement. Here are the two alternative formal analyses:
• Theme and variations form:

h i
– Theme + Var 1–11, all in 34 and the key of Em (minor). During this section the
main theme is both embellished and enriched wit a number of countermelodies.
h i
– Var 12–15: meter changing to 32 and a move towards the major key E. The basic
rhythm now has sarabande characteristics.
h i
– Var 16–22, return to 34 and the minor key. There are new harmonies and a focus
on the dominant area.
– Var 23–30 may be considered a reprise, with a varied return of elements from the
opening variations. The horns now play the theme. The last two variations (29–
30) see the return of the descending third arpeggios in strings and lower wood-
winds; i.e., the characteristic feature of the main theme from the first movement.
– The Più Allegro section is a coda with stretto features: in a rapid succession quotes
and elements from the earlier variations are juxtaposed.
• Sonata form:
– Exposition. Main theme group: Theme and Var 1–3. Secondary theme(s) group:
Var 4–7.
– Development. Var 8–15. Change to different meter and major key.
– Recapitulation: Var 16–30. Return to minor. Note that the reprise in the theme
and variations scheme starts later, at Var 23.
– Coda: Più Allegro.
Variations are based on shifting rhythms (on- and offbeats, syncopations), embellishment
by alternating stepwise (chromatic) notes, appoggiatura chords, arpeggios. Dynamics are
carefully controlled within the variations and yielding overall climax curves over multiple
variations. See Table 10.50 to 10.54 for the analysis.

Table 10.50: Brahms, Symphony No. 4, Mvt. 4 Allegro energico e passionato
m M R H Comment
h i
3
Theme 4 (])
1 MP Em Am/C − F ]∅7 /A − Em − Am/C− WW+Brs, Σ(cm<)
5 ⊥ F ]7 − Em/G − B7[5 /F − E cad
Var 1 beatshift
9 MP Am/C − F ]∅7 /A − Em/G − Am/E− Brs+Str pizz, P D (e)
13 ⊥ F ]7 − Em/G − B7[5 /F − E − E7 −
Var 2 – marcato countermelody
17 MP /M1 A − F ]∅7 /A − Em − A7 − D − Em− (Va+Vc)/WW, Seq(3×2m)
.. .. [5/[9 [9
21 ./ . D − F ]7 /C − B7sus4 −
23 ⊥/⊥ 6
Em4 − F ]7 − B − Em cad
Var 3 – ben marcato [A] steps: & (2)i %
25 MP ’ C − B − Em − D− WW+Str arco, tutti clim
d
29 ⊥ F ]7 − Em/G − B7 − Am/E− Hn sync
Var 4 – ben marcato, largamente melody in bass
33 MP /M2 Em − D]◦7 /F ] − Em/G − D]◦7 /A− (Bsn+LoStr)/Vi1
.. ..
37 ./ . A]◦7 − B7[9 − Em64 − F ][9 7 − M2 : Vi leaps
39 ⊥/⊥ [9
B7 − Em cad
Var 5 [B] 8th+triplet countermel
41 MP /M3 Em − B7[9 /F ] − Em/G − B7[9 /A− (WW+HiStr 8th)/LoStr
45 ⊥/⊥ F ][9 6 [9
7 /A] − Em4 − B7 − Em
Var 6 – espressivo, cresc. 8th+triplet appogg/arp
49 MP /M4 D]◦7 − Em − F ]∅7 − B7[9 /F ]− LoStr/HiStr
.. ..
51 ./ . D]◦7 − Em7 /G − D]◦7 − F ]∅7 /A−
.. ..
53 ./ . F ][9
7 /A] − −Em/B − A7 /C]−
55 ⊥/⊥ D7 − B7 − Em − B − Em
Var 7 – ben marcato [C] dotted rhythm
57 MP /M5 D]◦7 − Em7 − D]◦7 − Em DB arp, Seq(3×2m)
.. ..
59 ./ . D]◦7 − Em − F ]∅7 /A − B7 −
.. ..
61 ./ . F ][9
7 /A] − Em/B− WW+Str climax
63 ⊥/⊥ Am − F ]∅7 − B7 − Em cad
Var 8 16ths + chromatism
65 MP /M6 Em − B7 − Em − D7[9 − LoStr/(WW+HiStr)
.. ..
67 ./ . G − D7 − G − F ]∅7 /A−
.. ..
69 ./ . F ]7 /A] − Em/B − E − F ]7 −
71 ⊥/⊥ E7 − A/E − E7 − A − Am P D (e)

Table 10.51: Brahms, Symphony No. 4, Mvt. 4 Allegro energico e passionato (cont’d)
m M R H Comment
Var 9 16th triplets, clim
73 MP /M6 ’ Em − E7 − Am/E − D]◦7 /F ]− LoStr/HiStr, arp-chrom
.. ..
75 ./ . Em/G − G7 − C − C] − F ]m − A7 −
.. ..
77 ./ . F ][9
7 /A] − E/B− tutti clim, P D (e)
79 ⊥/⊥ E7 − A − Am
Var 10 [D] beatshift, appogg
d d d
81 MP 0 E7 − F ]7 − G7 − A7 − Str-WW, deceptive cad
d d
85 ⊥ F ]7 − Em/G − B7 − Am/E
Var 11 – (molto) dolce 8th triplets, steps: & i %
d d d
89 MP /M7 E7 − F ]7 − G7 − A7 −
.. ..
70 ./ . F ][9
7 /A] − B − E7 − A7 −
72 ⊥/⊥ D7 − G7 − C7 − F ]∅7 − B7 − Seq(5×R5 )
h i
3
Var 12 – dolce 2 embellished mel
97 MP 00 (Em − F ]∅7 − Em − Am)/E− Fl, Hns+HiStr, P D (e)
101 ⊥ (F ][9 [9
7 − Em − F ]7 − Am − B7 )/E−
Var 13 – dolce - espressivo major, appogg+arp
105 MP 00 E (E − A − D]◦7 )/E− Cl-Ob, P D (e)
..
107 . (E − E + − A − F ]m7 )/E−
..
109 . (F ][9 [9
7 − E − F ]7 − B7 )/E− Fl
111 ⊥ (E − F ][9 [9
7 − B7 − F ]∅7 − B7 )/E− Str arp%
Var 14 [E] sarabande, arpeggios
113 MP E − C]m7 /E − F ]m − B7 /F ]− Bsn+Tbn, Str arp%
..
115 . (G]m − E − E7 )/G] − A
.. d
117 . F ]7 /A] − E/B − F ]7 /C] −
d
119 ⊥ G]m/D] − B7 − Am/E
Var 15
121 MP 0 E 9 − E7 − C]7 /E] − F ]m7 − D]7 − WW+Brs, Str arp
..
123 . E7 − A−
.. d
125 . F ]7 /A] − E/B − B]◦7 − A/C]− PBi (%)
d
127 ⊥ C][9
7 /D − B7 /D] − B7 − Am/C

m M R H Comment
h i
3
Var 16 4 (see opening, m. 1 ff.)
129 MP Em Am − D]◦ /F ] − Em − Am/C− tutti climax, Σ(cm<)
d
133 ⊥ F ][9 [9
7 − G − Em − F ]7 −
Var 17 Str 16th triplets trem
d
137 MP Em − C/E − C]∅7 /E − F ] − Vc, N 6 /V
..
139 . G − Em/G − E∅7 /G − A − F ][9
7 /A]−
d
141 ⊥ G/B − Em/G − Em − F ] −
Var 18 [F] WW+Hn unis, Σ(cm)
145 MP 0 Em/G − Am − Em/G − D]m/F ]− Vi2+Va
..
147 . G/B − C − Gm/B[ − F ]m/A− Tbns
..
149 . A]◦7 /E no 3 − F ]7 /C] − G/B− cresc
151 ⊥ D]◦7 /Ano 3 − G − B7 /F ] − Em
Var 19 8ths staccato
153 MP 0 Em − A7 − D − Gm − D Vi1+FHn
d
157 ⊥ F ]7 − B − Am Str unis arp&
Var 20 – marcato 8th triplets
161 MP 0 Em − A7 − D − Cm − Gm − D Vi+FHn
d
165 ⊥ <(F ]7 − B) − Am Str unis &
Var 21 [G] 32th scalar runs
169 MP 0 /P 00 Em − C7 − F − D]◦7 /C− Lo/Hi, tutti climax
..
171 . G − G7 /F − E − A − A]◦ /E−
..
173 . B − D]◦7 /F ] − C.G − D]◦7 /C−
175 ⊥ C − E/G] − Am/C Str 32th runs%
Var 22 8th+triplets staccato
177 MP 0 /P 00 Em7 − F ]m7 − D]◦ /F ]− Str/WW arp&
..
179 . Em − Am − F ]∅7 −
.. d
181 . F ][9 9
7 /A] − G/B − D7 − G
183 ⊥ B7[9 /D] − Em − B7 − Em

m M R H Comment
Var 23 reprise varied, staccato
185 MP Em7 − F ]∅7 /A − Em7 − Am7 /C− FHn+Vi, 8th+tripl Σ(cm<)
189 ⊥ A]◦7 /C] − B − B7 − B7[9 − B7 − tutti climax
Var 24 – marcato beatshift, see Var 1
193 MP 0 Am/C − F ]∅7 /A − Em − Am/C− tutti clim, 8th+tripl, P T (e)
d
197 ⊥ F ]7 − Em/G − B7[5 /F − E − E7 −
Var 25 8th triplets, see Var 2
201 MP /M1 A − F ]7 /A] − Em − D FHn/(WW+Str)
.. .. [5/[9
205 ./ . F ]7 /C − Em/B − B7sus4 − M1 Seq countermel
d
207 ⊥/⊥ B79 − C]∅7 /E − D]◦ − G
Var 26 [I] 8th triplets, see Var 3
209 MP 0 (C/F ]◦7 − C7 − F ]◦7 )/C− FHn steps& 2i %, P (c)
..
213 . C7 − C]◦7 − C]∅7 − D+ − G/D−
215 ⊥ D]◦7 − Em − G7 −
Var 27 – dolce
217 M8 C − C + − D7 − G − G+ − Am7 /C− Va+Vc 8ths, M8 =MP 00
221 ⊥ A7 /C] − G/D − D]◦7 − Em − G7 −
Var 28 [K]
225 M9 C − Dm7 − G7 − C− WW: appogg, M9 =MP 00
229 ⊥ A]◦7 /C] − G/D − D]◦7 − Em Str arp imit
Var 29 – dolce arp, Σ(cm<), see Mvt 1 theme
233 M0 Em − C + − Am − F ]∅7 − B7 − Str pizz arp&
..
235 . G − Em − C − Am7 − D]◦7 −
237 ⊥ C]∅7 − B7[9 − Em Str chr%
Var 30 – marcato [L] staccato, Σ(cm<), see Mt 1
241 M0 Em − C + − Am − F ]m − B7 − Str arp& imit
..
243 . Em − C + − F ]∅7 − D]◦7 −
245 ⊥ D]m − B − B7 − Em − . . . − C + −
Più Allegro Coda - Stretto, tutti clim

d
253 MP /M0 Am − D7 − Cm/E[ − A◦ − Str arp&
257 ⊥/⊥ Gm − E◦ − C7 − Em/B − C

m M R H Comment
d
263 MP 0 C7 − D[ − C]7 − D/F ]− marcato, Str arp&%
.. d d
267 . D7 − E[ − D]7 − deceptive cad, see [D] Var 10
d
270 ⊥ E/G] − E7 − F/A−
273 MP 00 F − B7[5 /F − [M], Tbns: marcato dim,
d
277 ⊥ C − C7 − WW+Str hemiolas
281 M1 Em/B − . . . − F ]m − C]∅7 − D]◦ − WW+Vi imit, see Var 2,
285 ⊥ B7 − Em/B − F ]m − C]∅7 − D]◦ Str triplets, see Var 5–6
[5/[9
289 MP 00 Em − F ]7 /C no 1 − Em/G − B− WW+Str dim, Σ(cm<),
[5/[9
293 ⊥ Em − F ]7 /C − F ]7 − Em/G − B7 − tutti clim
297 MP 00 Em − D − C − D]◦7 /C− hemiolas, tutti clim, Σ(cm<)
..
299 . B7[9 − D]m/A] − B7 /A−
..
300 . A]◦7 /G − F ]7 − B7 −
301 ⊥ <(Em − B7 ) − <(Em − D]◦7 )/E− closing cadences
305 Em − . . . − B7 − Em Str arp& (311 m.)

The key relationship diagram is shown in Fig. 10.10. Only the first and third movement are
displayed in the diagram since the other two have simple and straightforward key relation-
ships: tonic-dominant-tonic E − B − E in the second movement and minor-major-minor
Em − E − Em in the finale.
The opening Allegro with sonata form has two characteristics: the symmetry relations
along the vertical axis with the relative major-minor and the minor third (3i) property. See
the Bm − B − D (1) and the Em − Gm − B[m sequence (2). The other remarkable fact is the
extended (chromatic) ascending key relationship Bm − Cm − D[m − Dm − Em (3).
The third movement is fairly regular, with its alternating moves towards dominant C −
G − C in the opening and towards the subdominant C − F − C in the closing section. The
exception is the middle section with the relative minor-major changes and the sequence
(C] = D[) − E[ − C, which is based on an enharmonic equivalence between two remote
keys.

Mvt. 3 Allegro giocoso
Mvt. 1 Allegro non troppo E B F] tC]

6
Em Bm F ]m C]m G]m Em Bm F ]m C]m
*
5 2 *

G D A E 4 B G D A E
6
- 61 6
Gm Dm Am Em Bm Gm Dm Am Em

I
@ 4 6 1
B[ F C G @D B[ F -C -G
?
B[m Fm Cm Gm Dm B[m Fm Cm Gm
3
t

D[ A[ E[ B[ F D[ A[ E[ B[
2 3

D[m A[m E[m B[m Fm
Figure 10.10: Brahms, Symphony No. 4, key relationship diagram

Chapter 11
Peter Ilyich Tchaikovsky
Biographical data:
∗ 25-3- (17-4) -1840 in Wotkinsk
† 25-10 (6-11) -1893 in St. Petersburg
1600 1700 1800 1900 2000
11.1 Symphony No. 4 in F Minor, Op. 36 (1877)

Source: [69]. An overview of the formal analysis is shown in Fig. 11.1. This symphony is
dedicated A mon meilleur ami (being Nadezhda van Meck). It has received the nickname
”Fate Symphony”, thanks to the brass signalling motif at the introduction of the opening
movement, and returning in other movements.
The outer movements have sonata form, with the opening movement longer than the
closing. Both contain a secondary development section and a coda. Mvt. 1 has a number of
very extended development sections; there is even a main theme development episode in the
exposition. The two central movements display symmetry in the sense that the A sections
are about equally long and significantly longer than the contrasting bridge sections.
11.1.1 Mvt. 1 Andante sostenuto - Moderato con anima

Form: sonata form, with introduction
h i and coda. The analysis is shown in Table 11.1 to 11.8.
3
The slow Introduction, in 4 meter, consists of three statements of the ‘Fate’ signal mo-
tif Ms in brass (horns, trumpets)
h i and high woodwinds. Then the time signature changes
9
to the infrequently used 8 . The Exposition (m. 27 ff.) main theme M1 is played by 1st
h i curve is descending-ascending (& − %, 4 + 4 m.). The rhythm
violins and celli; its melodic
is a syncopated waltz in 98 meter, with many appoggiaturas (in both descending and as-
cending direction). This small-scale and large-scale waving pattern is the central element
of this movement; sighing, disappointment (&) vs. hope and aspirations (%). The second
statement by unisono woodwinds illustrates the process of playing with this idea, as the
ascending phrase is extended (i.e., locally developed).
The bridge section, starting in m. 48, shows another technique. The waltz melody is
played as a diminution rhythm (8th note - dotted 8th note - 16th), and the descending phrase
2005-2017
CHAPTER 11. PETER ILYICH TCHAIKOVSKY
h ih i
3 9
Mvt. 1 Andante sostenuto - Moderato con anima: sonata form (F m, 4 8 , 422 m.)
Intro (26 m.) Exposition (107 m.)
Development (97 m.) FR Development (47 m.)
Recap (29 m.)2nd Development (68 m.) Coda (41 m.)
h i
2
Mvt. 2 Andantino in modo di canzona: ABA form (B[m, 4 , 304 m.)
A (125 m.)
B (71 m.)
A’ (105 m.)
h i
2
Mvt. 3 Scherzo, Pizzicato ostinato, allegro: ABCA Coda form (F − A − D[, 4 , 414 m.)
A (132 m.)
B (37 m.) C (48 m.)
A (129 m.)
Coda (68 m.)
h i
4
Mvt. 4 Finale - Allegro con fuoco: sonata form (F , 4 , 293 m.)
Exposition (59 m.) Development (59 m.) Recap (30 m.)
2nd Developm (51 m.) Interlude (33) Coda (60 m.)
Figure 11.1: Tchaikovsky, Symphony No. 4 in F Minor, Op. 36

11.1. SYMPHONY NO. 4 IN F MINOR, OP. 36
Table 11.1: Tchaikovsky, Symphony No. 4 in F Minor, Mvt. 1 Andante sostenuto - Moderato
con anima
m M R H Comment
h i
3
Andante sostenuto 4([[[[) Introduction
1 Ms Fm Fm − ...− Bsn+Hns unis ‘Fate’ motif
7 Ms C + no 1 /E − E7 /D− 2nd st, WW+Tpts
..
9 . D[ − D[7 /C[ − F m/A[− PB (&)
11 ⊥ E(= F [) − B◦7 /D−
14 Ms D[7 − E/B − A[+ − F m [A] 3rd st, Hns, PB (&)
21 trans, Cl+Bsn
h i
9
Moderato con anima 8Exposition
27 M1 (F m − B[m − F m)/F − Vi1+Vc PL (&), P T (f )
..
31 . C7[9 /E − F7[9 /E[ − B[m/D[ − F7[9 /C− PB (&)
..
33 . B[m − B[[9
7 /[− PL (%)
..
34 . E[m/G[ − B[m/F − F7 /E[− Σ(cm<)
35 ⊥ B[m/D[ − G[5
7 /D[ − C−
36 M1 (F m − B[m − F m)/F − 2nd st, WW PL (&), Str bg
..
39 . C7[9 /E − A◦7 /E[− PB (&)
..
40 . B[m/D[ − E[m7 /D[ − F7 /C− PL (%)
..
41 . B[ − B[7 /A[−
..
42 . E[/G − B7 /F ] − E−
..
43 . E/G] − C7 /G − F
..
44 . D[7 /C[ − G[/B[ − E[7 /D[− Seq(3×R7 )
..
45 . A[/C − F7 /E[ − B[/D−
[5/[9
46 ⊥ B[m/D[ − . . . − G7 /D[− tutti clim
48 Md F m/C − . . . − [B] bridge, WW+Vi PL (&),
50 ⊥ F m/A[ − . . . − C− Md=M1’ dim&
53 Mu F7[9 /A − . . . − LoStr dim%, Hns bg
..
56 . F7[9 /A − A[7 − Cm/G− WW%, Σ(cm<)
..
58 . A[7 /G[ − D[/F − Cl+Bsn, PBi (&)
⊥ A[[5
7 /D − D[ − F∅7 /C[−

Md and upward phrase Mu are used separately. Both fragments are derived from the main
theme (Md = M1’, Mu = M1’) and will create seqeuences of intertwined meandering melodic
curves. Another returning element is the use of contrary motion, usually in combination
with imitation. The third statement (m. 70 ff.) brings a new variation of the main theme; the
descending-ascending pattern is reduced to fast 16th note (diatonic-chromatic) runs, creating
even shorter waves (see m. 78 ff.). The closing 4th statement of the main theme is a tutti
climax (lead for unisono woodwinds and tremolo strings).
The secondary, contrasting theme (m. 116 ff.) consists of a short woodwind phrase re-
peated once M2(aa’) (3+3 m.). The key is the minor mediant A[m. There are three statements
for clarinet, flute and oboe, and bassoon, respectively. The setting is call-and-response, with
the closing glissando fragment answered in the other woodwinds. The countermelody Mc
is in the strings (first viola, later celli) and contains a motif (see m. 122), consisting of three
descending third leaps in 4th-note 8th-note rhythm, that will become a central element in
the first part of the Development (m. 134 ff.).
Violins play a two-part diatonic parallel version S(2p) of the M2 upbeat motif and the de-
scending third motif from Mc (therefore labeled as Mc2 ). This is juxtaposed by the descending
diminution variant of the main theme Md’ in block chord woodwinds, with chromatically
descending lead part. Note the continuous, alternating tonic-dominant pedal point P (b−f ])
in the bass. There are multiple statements of this idea, in various diatonic modes, with an
instrumentation swap in m. 146, where woodwinds play Mc2 and the strings respond with
Md’. The mode labeling is based on the relation to the tonic B (the modes are not played as
complete scales): this yields Ionian - Dorian - Mixolydian (strings), Ionian - Phrygian (with
Neapolitan flavour, since G/B = N 6 /V ) - Mixolydian (woodwinds).
The tempo speeds up to the original (Moderato con anima, m. 159) and there is a tutti cli-
max, with dotted rhythm triple fff brass patterns Mb combined with an upper embellished
arpeggio theme Ma in woodwinds and brass (labeled as Mab ). This launches another devel-
opment episode (m. 165 ff.) with descending-ascending Md-Mu waves. Instrumentation
roles are swapped with unisono horns now playing the arpeggio theme Ma and the dotted
rhythms in woodwinds and strings. This extended wave pattern reaches an apex (m. 185),
before descending in an unisono bassoon and string transition.
Then the ‘Fate’ motto appears, m. 193, but in the tritone-related key Bm! This makes
applying the standard sonata form sectioning labels in this unique movement problematic.
Are we reaching a (false) recapitulation? In fact the development is continuing (m. 201 ff.)
with another set of shorter descending and ascending waves in imitation. The first original
rhythm main theme statement (the descending phrase) appears m. 218, but it is in the domi-
nant minor key Cm. Being part of a sequence, the theme then is repeated in the original tonic
key F m (m. 231); this therefore seems a more likely candidate for a (false) Recapitulation. It
is accompanied by a countermotive M3 (in bassoon and celli). Now Tchaikovky repeats the
approach from the start of the development: a countermotif becomes the main element, as
is the case in another episode, starting in m. 237. Brief fragments in woodwinds suggest the
descending diminution pattern Md’. Both this theme M3 and Mu create more waves, reach-
ing an apex and a climax, supported by the ‘Fate’ signalling motif (m. 253, 263 and 280). This
last climax has the strings in high register in 16th-note patterns, transforming into a fff tutti
climactic statement of the main theme (descending-ascending) over a dominant pedal point
(m. 284 ff.).
Is this the start of the real recapitulation, or the closing statement of the (false) recapitu-
lation (see m. 231)? The current key of Dm lies on the tonic axis F − A[ − B − D, but is not

con anima (cont’d)
m M R H Comment
59 Mu B[7 − . . . − LoStr-WW, Hns bg
..
65 . D[7 − F m/C− PB (&)
..
66 . D7 /C − G/B−
..
. D7[5 /A[ − G − G7 /F − Ob+Bsn, PBi (&)
67 ⊥ <(E7 − B∅7 /A) − E7[9 /G]− WW, PB (%)
70 M1’ Am D]◦7 − Am− [C] 3rd st, Vi+Vc, WW chr&
..
72 . Am− Str unis &, Brs bg
[5/[9
73 ⊥ D]◦7 − Am/E − B7 /F − Am/E− clim, Str%
74 M1’ D]◦7 − Am− repeat, Vi+Vc, WW chr&
..
76 . Am− Str unis &, Brs bg
[5/[9
77 ⊥ D]◦7 − Am/E − B7 /F − Am/E− clim, Str%
78 M1’ <(A7 /G − . . . − A7 )− HiStr, Hns&, WW-Str Σ(cm)

82 M1’ Dm/A − D7 /C − Gm − G− WW-LoStr im, Seq(2×2m;R7 )
84 ⊥ Em/B − E7 /G] − Am/C−
[5/[9
86 C7[9 /G − C7 /G[ − D[7 − . . . − Str-(WW+Hns) accts
92 M1’ Fm (F m − B[m − F m)/F − [D] tutti clim, WW+Str &
[5/[9
95 ⊥ B◦7 − F m/C − G7 /D[ − F m/C− %
96 M1’ (F m − B[m − F m)/F − repeat
.. [5/[9
99 . B◦7 − F m/C − G7 /D[ − F m/C−
100 ⊥ <(F m − D[7 )−
104 <(A[/E[ − B◦7 − A[/A[)− [E] tr, Cl-Bsn imit
107 (M1) A[/E[ − E7 − A − E[7 /G− Bsn, Str bg
..
108 . A[ − F m − C7[9 − F m7 /E[−
..
109 . B[m/D[ − B◦7 /D − F m7 /E[− PBi (%)
d
113 ⊥ F ]◦7 /E[ − E[7 −
114 D[/F − D/F ] − E[7 /G−

m M R H Comment
Moderato assai, quasi Andante contrasting 2nd theme
116 M2 A[m A[m − D[m − A[m Cl, Str bg
..
117 . E[7 − A[m/C[−
..
118 ./c E[7 /B[ − A[m − E[[9
7 /G− Va
.. ..
119 ./ . A[m − D[m − A[m repeat
.. ..
120 ./ . F ]/A] − C]∅7 /G] − F ][9
7 − PB (&)
.
121 ⊥/ .. F ]7 /E − B/D] − F ]7 /C]− Vc
.
122 M2/ .. B − C]∅7 /E − B− 2nd st Fl+Ob, Vc motif
.. ..
123 ./ . D]m − Bm/D − F ]/C]− PB (&)
.. ..
124 ./ . C]∅7 /B − F ]7 −
.. ..
125 ./ . B − C]∅7 /E − B− repeat
.. ..
126 ./ . D]m − Bm/D − F ]/C]−
..
127 . /⊥ C]m7 /B − E[7 −
128 M2/c A[m − B[∅7 /D[ − A[m [F] 3rd st, Bsn/HiWW
.. ..
129 ./ . E[13
7 − A[m/C[− PB (&)
.. ..
130 ./ . E[7 /B[ − D[m/A[ − E[[9
7 /G−
.. ..
131 ./ . A[m − B[∅7 /D[ − A[m repeat
.. ..
132 ./ . E[13
7− A[m/C[−
133 ⊥/⊥ C]m7 /B − F ]7 −
Ben sostenuto il tempo precedente (]]]]]) Development
134 Mc2 B B − C]m/F ] − B Vi1+Vi2 S(2p) Ion
136 Md’ B − ...− WW, PLi (&), P (b−f ])
138 Mc2 C]m7 /B − D]m/F ] − C]m7 /B− Vi S(2p) Dor
140 Md’ A]◦7 /B − F ]7sus4 /B− WW, PLi (&)
142 Mc2 F ]7 − G]m − F ]− VI Mixolyd
144 Md’ C]m7 /E − C]∅7 /E − F ]7 − WW
146 Mc2 B − C]m/F ] − B− [G] WW S(2p) Ion
148 Md’ B − ...− Str
150 Mc2 <(G/B − F ]7 − G/B)− WW Phryg, N 6 /V
152 Md’ (Em − G − Em7 − G)/B− Str
154 Mc2 F ]7 /B − G]m/B− WW Mixolyd
156 Md’ A]◦7 /B − . . . − [H] Str unis, P T (b)

m M R H Comment
Moderato con anima
161 Mab B − C]m7 /B− clim, Ma: WW+Str, Mb: Brs
165 Md’ (C]∅7 − A]◦7 − F ]7 )/B− HiWW+Str, P T (b)
169 Mu/a B − C]m7 /B− [I] Mu: WW+Str, Ma: Hns
.. .. i (&)
173 ./ . C]∅7 − C]7 /C] − F ]7 /B− Hns Pm
176 ⊥/⊥ F ]7 /B− tutti climax
177 Mu/b <(B − D]∅7 /A − G]m− Mu: WW+Vi, Mb: Tpt,
.. ..
./ . C]∅7 /G − B/D])− PB (&)
.. ..
179 ./ . B/D] − Bm/D − C]7 − dominant chord seq
.. ..
./ . F ]7 − B7 − E7 −
.. ..
180 ./ . A7 − D 7 − G 7 −
⊥/⊥ C]7 − F ]7 − B7 −
[5/[9
181 Mu E − C]7 no 1 /E] − B/F ]− Str unis
182 ⊥ C]m7 /E − B/D] − D − F ]7 /C]− WW+Brs accts, PBi (&)
185 Md <(B − F ][97sus4 ) − B apex-descent
189 ⊥ B − ...− [K]
h i trans, Bsn+Str unis
3
193 Ms Bm Bm − . . . − 4 Tpts ‘Fate’ motif
197 ⊥ C∆7 /B − . . . − LoWW+Hns,
h i timp P T (b)
9
201 Md F ][9
7 /A]− [L] 8 Vi1, Seq(2×5m;R−7 )
[5/[9
202 ⊥ F ]7 − Vc imitation
203 Md/u B7[9 /D] − E7 /D − Am/C− Fl/Bsn
205 Mu E7 /B− Ob+Cl
206 Md Am Am − E∅7 − (\\\\\) Vi1-Cb imit
208 Md/u A[9
7 /C] − D7 /C − Gm/B[− Fl/Bsn
210 Mu D7 /A− Ob+Cl
211 Md Gm Gm − D7[9 − [M] Bsn+Cb
..
213 . Gm − D7 /F ]− WW, Seq(2×14m;R5 )
214 ⊥ Gm7 /F − A7 /E − A∅7 /E[ − D7 −
215 Mu G7 − . . . − G[9
7 /B− Cb, Hns sync
218 M1/3 Cm Cm − F m/C − Cm M1: HiWW &, M3: Bsn+Vc
220 ⊥ /⊥ E∅7 /B[ − E◦7 /B[ − F m
224 Md G7 − Cm/E[ − D7 − G7 − [N] Vc+Bsn
226 Md Cm − A∅7 /C − D7 /G− Fl+Cl
227 ⊥ G7 /B − Cm7 /B[ − D7 /A − G[9
7 −
228 Mu C7 − C7[9 /E− Vc+Cb, Hns sync

m M R H Comment
(False) Recapitulation?
231 M1/3 Fm F m − B[m/F − F m M1: Ob+Cl, M3: Bsn+Vc
233 ⊥/⊥ F7[9 /C−
234 Mu B[m B[m − <(G[7 − B[m) Vi1+Va
Development cont’d
237 M3/d’ B[[13
7 /A[− [O] M3: Vi1+Va, Md’ Ob+Cl
.. ..
239 ./ . E[m/G[ − B[7 /F −
.. ..
241 ./ . E[ − E[[9
7 /D[ − A[m − E[7 /B[− Hns bg
.. ..
245 ./ . G]m − B7 /F ]− PB (&)
.. ..
247 ./ . E − E7 /D − C]7 −
.. ..
249 ./ . D7 /C − G/B − D7 /A − G− Seq(2×2m;R7 )
251 ⊥/⊥ E7[9 /D − Am/C − E7 /B − Am− apex
253 Ms E7 − [P] clim Tpt, WW+Str Σ(cm>)
254 Mu Am Am/C − E7 /G] − Am Fl+Hn+Vi, Tbn Pm (&)
256 ⊥ Dm − E7 − Am Bsn+LoStr im
257 Mu F7 /E[ − B[ − F m/C − B[7 /D− (Fl+Vi)-(Bsn+LoStr) imit,
..
259 . E[ − E7 − A+ /E] − D7 /F ]− PB (%)
..
260 . B7 /D] − E−
..
. F7 − B[+ /F ] − E[7 /G−
..
261 . C7 /E − F7 − D7 /F ]−
..
. D/F ] − G − A7 −
262 ⊥ Dm − F7[9 − apex
263 Ms F7 − clim, Tpts, WW+Str Σ(cm>)
264 Mu B[m B[m/D[ − F7 − B[m Fl+Vi, Σ(cm), Tbn Pm (&)
266 ⊥ E[m − F7 − B[m
267 Mu B F ]7 /E − B − F ]m/C] − B7 /D]− (Fl+Vi)-LoStr imit, PB (%)
..
269 . E − F7 − B[+ /F ] − E[7 /G− Σ(cm>)
..
270 . C7 /E − F − F ]7 −
..
. B + /F × −E7 /G]−
..
271 . C]7 /E] − F ]7 − D]/F ]−
..
. G]◦7 − A − A]7 −
272 ⊥ D]m − F ][9
7 − apex

the starting tonic key. A transition leads into the secondary theme M2 (m. 295 ff.) and this
modulates to the tonic major key F in the 2nd statement. Once again there is the counter-
subject Mc, now in horns, with the descending 3rd leap motif. And once again, this becomes
the main element of another (secondary) development episode (m. 313 ff.). This is a repeat
of m. 137 ff. and m. 177 ff., transposed to a new key.
With another statement of the ‘Fate’ signal motif (m. 355 ff.), we are approaching the
Coda (m.381 ff.). In contrary motion a variation of the ascending main theme Mu’ in unisono
strings keeps rising over woodwind and brass accents and brief quotes from the ‘Fate’ motto,
until an apex and climax are reached. String tremoli lead into the final statement of the main
theme M1’ (m. 403) and closing.
11.1.2 Mvt. 2 Andantino in modo di canzona

Form: ternary song form, ABA form. The ternary structure of this slow movement may
be subdivided as follows: A:[A1 B1 A2 B2 ] – B:[C1 D C2 ] – A’:[A3 B3 A4 ] – Coda. The main
theme M1 may be deconstructed at two levels: on a larger scale this melody has M1(abab’)
(4 + 4 + 4 + 8 m.) period structure, where M1.b’ is a melodic sequence. On the smaller scale
the first phrase has M1.ab(ccb) (2 + 2 + 4 m.) sentence structure. The opening statements are
for oboe and celli. In the thematic material there are numerous (descending) appoggiaturas.
another feature are the countermelodies during varied restatements of the melodies; these
are also full of (ascending) appoggiaturas. In the instrumentation there is regular doubling
at the octave.
The theme M2 has similarity to the M1.a motif and has M2(aa’ab) (4 + 4 + 4 + 12 m.) ex-
tended sentence structure. The B section contrasting theme consists of a fourfold statement
of a short motif with appoggiaturas M3(aaa’a”) (2 + 2 + 2 + 2 m.) played first by woodwinds
in octaves (clarinets and bassoons), repeated by unisono strings in octaves. The transition,
leading into M3, has a descending dotted rhythm pattern (dotted 8th - 16th, like M3), that
may be considered as a binary rhythm variant of the opening movement main theme. This is
more obvious in the treatment of M3; in the retransition (m. 173 ff.). Another potential quote
are the 32th note runs in woodwinds in m. 200 ff., that may refer to the secondary theme of
Mvt. 1. The analysis is shown in Table 11.9 to 11.11.
11.1.3 Mvt. 3 Scherzo, Pizzicato ostinato, allegro

Form: ABCA Coda form. The structure of this scherzo movement deviates from the tra-
ditional ternary (scherzo and trio) structure. On a local scale it may be labeled as follows:
A:[A1 B1 B2 A2 ] – B:[C1 D C2 ] – C:[E1 F E2 ] – A:[A1 B1 B2 A2 ] – Coda. This is another great op-
portunity to study instrumentation for separate orchestra sections: section A features the
pizzicato strings, B the woodwinds and C the very soft playing brass. Also note the sym-
metric roots for the different sections: F for strings, A for the winds and D[ for the brass
(R4i , major third). Thematic material is typically divided into 4- and 8-measure phrases with
literal repeats.
The A section full main melody M1 consists of three longer phrases with subdivision
M1.1(aa) + M1.2(bb) + M1.3(cdcdc’) with subphrase lengths M1.a(4), M1.b(4), M1.c(2) and
M1.d(2) measures. The A section climax (m. 57 ff.) contains pizzicato string echoes in ho-
quetus style: groups of three or four 8th notes descending through the string section. The B
section theme M2, featuring the woodwind section, has M2(abab) (2 + 2 + 2 + 2 m.) period

m M R H Comment
273 Mud Bm F ][9
7 /E − Bm/D − F ]7 /C] − Bm [Q] tutti, WW+Str Σ(cm<)
274 C]∅7 /E − Bm/D − G+ /B− Str 16ths, WW+Brs accts
275 Em − C]7 /B − B7 −
276 Em − Em7 /D−
278 Ms <(D[7 − F m/C − D[7 /B)− tutti clim, Timp P D (f )
[5/[9
280 ⊥ E7 no 1 /B[−
282 Dm/A− Str 16th imit
Recapitulation?
284 M1’ Dm (A[9
7sus4 − Dm)/A WW+HiStr&%, Tbn arp%,
.. [5/[9
287 . (A[9
7 − D 7 − G − A7 − D7 )/A− Timp+LoStrP D (a)
..
289 . Gm − Dm/A − A7 −
290 ⊥ Dm/A − G]◦7 − A7 − B[∆7 −
292 B∅7 − D]◦ /C − A/C] trans, PBi (%)
294 Dm − D]◦ − A7 /E−
Moderato assai, quasi Andante ([) contrasting 2nd theme
295 M2 Dm − Gm − Dm Bsn
..
296 . A7 − Dm/F − PB (&)
..
297 ./c A7 /E − Dm − A7 /C]− Mc: Hn
.. ..
298 ./ . Dm − Gm − Dm
.
299 ⊥/ .. C7[9 /E − C7 /B[ − F/A − C7 /G− PB (&)
.
301 M2/ .. F F − G∅7 /B[ − F 2nd st, Fl
.. ..
302 ./ . Am − C/G − G∅7 /F − C7 −
.. ..
304 ./ . F − G∅7 /B[ − F
305 ⊥/⊥ Am − C/G − G∅7 /F − A7 − PB (&)
307 M2/c Dm Dm − E∅7 /G − Dm [R] 3rd st, Cl/Ob
.. ..
308 ./ . A[13
7 − Dm/F − Cl/(Fl+Ob)
.. ..
309 ./ . A7 /E − Gm/D − A[9
7 /C]−
.. ..
310 ./ . Dm − E∅7 /G − Dm
311 ⊥/⊥ A[13
7 − Dm/F − Gm7 /F − C7 −

m M R H Comment
Ben sostenuto il tempo precedente 2nd Development
313 Mc2 F F − Gm/C − F Vi1+Vi2 S(2p) Ion
315 Md’ F − ...− Cl+Bsn+Hns, PLi (&), P (f −c)
317 Mc2 <(Gm7 /F − Am/C − Gm7 /F )− Vi S(2p) Dor
319 Md’ E◦7 /F − C7sus4 /F Cl+Bsn+Hns, PLi (&)
321 Mc2 C − Dm − C Vi Mixolyd
323 Md’ Gm7 /F − G∅7 /F − C7 − Cl+Bsn, Hns P T (f )
325 Mc2 F − Gm/C − F [S] WW S(2p) Ion
327 Md’ F − ...− Str
329 Mc2 <(Gm7 /F − Am/C − Gm7 /F )− WW Ion
331 Md’ F − Gm7 /F − Str
333 Mc2 C/F − C7 − Dm/F − WW Mixolyd
334 ⊥ C/F − C − E◦7 −
335 Md’ E◦7 /F − . . . − [T] Str unis, accts, P T (f )
..
. Allegro con anima
338 ⊥ E◦7 /F − . . . − cresc, Hns+timp sync
340 Mu/b <(F − A∅7 /E[ − Dm− clim, (WW+HiStr)/Brs
.. ..
./ . G∅7 /D[ − F/A)−
.. ..
342 ./ . F/A − F m/A[ − G7 −
.. ..
./ . C7[9 − F/C − B[7 −
.. ..
343 ./ . E[7 − A7 − D7 − seq of dom chords S7
.. ..
./ . G7 − C7 − F7 −
[5/[9
344 ⊥/⊥ B[ − G7 no 1 /B − F/C− Str unis, WW+Brs accts
345 Mu Gm/B[ − A[ − C7 /G−
.. [9
348 . <(F − C7sus4 )− apex-descent
351 ⊥ F − ... Str unis
h i
355 Ms Fm Fm − ...− [U] 34 WW+Tpt ‘Fate’,
359 ⊥ D[/F − . . . − hBsn+Hns,
i timp P T (f )
[5/[9 9
363 D[/F − A[[9 7 /E[ − A7 /D− 8 WW, LoStr PB (&)
i
365 Md D[ 6
(D[ − A[7sus4 )/D[− [V] tr, Str imit, P T (d[)
..
367 . (G[ − B[m7 )/D[−
368 ⊥ (D[ − D[7 − G[)/D[−

m M R H Comment
371 Mu (G[ − A[7 − G[ − D[)/D[− P T (d[)
..
372 . D[ − A[7 /D[ − D[−
..
373 . D∅7 /C − F m/C−
..
374 . C7[9 /B[ − F m/A[ − C7[9 /G − F m
..
377 . D[ − A[7 − D[− repeat
..
378 . D∅7 /C − F m/C−
379 ⊥ C7[9 /B[ − F m/A[ − C7[9 /G − F m
Molto più mosso ([[[[) Coda
381 Mu’ Fm || : <(D[ − F m/C − C7 /B[− HiStr, WW accts
..
382 . F m/A[ − C7[9 /G − F m) Str Σ(cm<)
..
385 . <(C∅7 /B[ − B[m/F − F7 /E[− Str, WW+Hns accts
..
386 . B[m/D[ − F7[9 /C − B[m)− Σ(cm<)
..
389 ./s G[9
7 /B − F m/C − D[− Ms: Hns, cresc, PB (%)
.. ..
390 ./ . B◦7 /D − E[+ − F [− Ms: Hns+Tpts
.. ..
391 ./ . B[/F − Bm/F ] − G− Str apex
.. .. [5/[9 [5/[9
392 ./ . E7 no 1 /G] − F/A − E7 /B[−
393 ⊥/⊥ G[97 /B − F m/C−
395 Md 1) B[m /D[ − C [9 − : ||2) B[m /D[− Str unis
7 7 7
396 F [/C[ − F [+ /A[− PB (&)
[5/[9
398 F [7 − G7 /D[ − F m/C−
401 B[m − . . . − Str apex, WW+Brs arp%
403 M1’ F m − B[m − F m − . . . − clim, closing st, Str unis
h i
3
Più mosso. Allegro vivo 4 closing
412 Fm − ...− tutti, P T (f )
414 Fm − ... − Fm WW+Str arp (422 m.)

Table 11.9: Tchaikovsky, Symphony No. 4 in F Minor, Mvt. 2 Andantino in modo di canzona
m M R H Comment
Andantino ([[[[[)
d
1 M1 B[m B[m − F − G[ − C∅7 /E[ − F − A:A1 , a): Ob, Str pizz
6 ⊥ B[m − E[m − G∅7 − F b), halfcad
d
10 M1’ B[m − F − G[ − C∅7 /E[ − F − a): Ob
..
14 . B[m/D[ − E[m7 − A[7 − D[− b’): Seq(3×2m;R−7 )
18 ⊥ G[∆7 − C∅7 − F7 −
22 M1/c B[m/D[ − F − 2nd st, a): Vc, WW bg
.. ..
24 ./ . B[m − C∅7 /E[ − F7 /E[−
.
26 ⊥/ .. B[m/D[ − C∅7 − F − G∅7 /B[ − F b)
.
30 M1’/ .. B[m/D[ − B[m − C∅7 /E[ − F7 /E[− a)
.. ..
34 ./ . B[m/D[ − E[m7 − A[7 /C − D[− b’): Seq(3×2m;R−7 )
38 ⊥/⊥ G[∆7 /B[ − E[m7 − F7 − B[m
42 M2 D[ A[ − G[ − A[ − E[m [A] A:B1 (aa’): Str unis
..
50 . A[ − G[ − A[ − D (ab)
..
58 . F ]m/C] − F/C− cresc, Σ(cm<)
..
62 . A[/C − . . . − tutti clim, Str in 16ths
73 ⊥ A[+ /C = C + − F7[9 /C− dim
75 F7[9 /C− [B] trans
78 M1 B[m (B[m − F − B[m)/B[ − C∅7 /E[ − F − A:A2 , Bsn, Str var
..
82 . B[m − E[m − F − B[m−
84 ⊥ F − G∅7 /B[ − F halfcad
86 M1’ (B[m − F − B[m)/B[ − C∅7 /E[ − F − Vi+Va unis, WW bg
..
90 . B[m − C∅7 /E[ − A[ − D[− Seq(3×2m;R−7 )
94 ⊥ G[ − C∅7 /E[ − F7 − B[m
98 M2 D[ A[ − G[ − A[ − E[m [C] A:B2 (aa’): Str unis
..
106 . A[ − G[ − A[ − B/F ] (ab), sym roots R3i
114 ⊥ D − F/C− cresc, Σ(cm<)
118 <(D7 − Gm − C − F ) − C7 − . . . − trans, WW+Hns
Più mosso ([)
126 M3 F F − C7 /G − F − C7 /E− B:C1 (aa): Cl+Bsn
130 ⊥ Dm − A7 − Dm − G7 − C (a’a”) halfcad

(cont’d)
m M R H Comment
134 M3 F − C7 /E − F − C7 /B[− 2nd stat (aa): Str unis,
130 ⊥ F/A − C/E − A − Dm − G − C− (a’a”), WW PLi (%), halfcad
141 M3 A[ A[ − E[/G − F m − B[ − E[− [D] clim, st 3, WW unis,
.. i (%)
145 . A[ − D◦ /F − C− Str Mc Pm
147 ⊥ A[m/C[ − B[7 − E[7 −
150 M3’ (E[7 − F m − F7 − B[m)/E[− B:D Str, tutti trans, P D (e[)
..
154 . (E[7 − A[ − F7[9 − B[m)/E[−
.. d
156 . (B[7 − G7 − A[)/E[− (ped)
.. d d
158 . (F7 − E[m7 − G7 − A[)/E[−
..
162 . (F7 − B[m − G7 − Cm)/E[−
164 ⊥ B[7 /D − G[5
7 /D[ − C−
166 M3 F F − C7 /E − F − C7 /G− B:C2 (aa): WW+Str, clim

d
170 ⊥ A7 /E − Dm − G7 − C − (a’a”) halfcad
174 M3’ D[ (D[ − A[7 − F m − E[7 − A[[9
7 )/D[− retrans, Str P T (d[)
..
178 . (D[ − A◦ −)/D[−
..
180 . (B[m − A[7 − E[7 − A[7 )/D[−
..
182 . (D[ − A[7 − D[ − C7 − A[[9
7 )/D[− P T (d[)
.. d
186 . (D[ − A[7 − B[m)/D[−
190 ⊥ A[7 − F7[9 − . . . − rit
Tempo I ([[[[[)
199 M1 B[m B[m − F7 − C∅7 − F A’:A3 , Vi1, Str+WW bg
..
204 . B[m − C∅7 /E[− WW 32ths runs
206 ⊥ F − G∅7 /B[ − F − B[m
208 M1’ B[m/D[ − F7 − C∅7 /E[ − F
..
212 . B[mE[m7 − A[/C − D[− Seq(3×2m;R−7 )
216 ⊥ G[∆7 /B[ − E[m − F7 − B[m
220 M2 D[ A[ − G[ − A[ − E[m [A] A’:B3 (aa’): Str unis
228 ⊥ A[ − G[ − A[− (a)
234 M1’ B[m B[m − A[7 /G[ − . . . − F7 − C◦ /E[− WW, trans
[5/[9 d
244 ⊥ A[7 /D − . . . −

(cont’d)
m M R H Comment
248 M1’ G[ (G[ − D[7 − G[)/D[ − F∅7 /A[− Str, WW bg
..
252 . G[7 − C[ − E[7 /B[−
..
255 . A[m − . . . − E − . . . − A/C] − . . . − Vc
267 ⊥ F7 /C − . . . − F −
d
275 M1 B[m B[m − F7 − G[ − C∅7 /E[ − F A’:A4 , Bsn Str pizz
..
279 . B[m − E[m7 − E[ − F − C7 − F halfcad
..
283 . B[m/D[ − E[m7 − A[/C − D[− Seq(3×2m;R−7 )
287 ⊥ G[/B[ − C∅7 − F7 −
291 M1’ <(B[m − G[7 /B[ − B[m/F )− Coda, Vi1
299 M1’ B[m Cl-Vc (304 m.)
structure. The first statement is by the oboe, the repeats are based in the a-phrase in imi-
tation (flutes and clarinets) and continued variation (flutes). The C section theme for brass
(lead trumpets) has a simple M3(aa) (4 + 4 m.) structure and sounds somewhat like M1.a in
augmentation. After the first statement (m. 170 ff.) all three themes are juxtaposed in rapid
succession. This idea is continued in the coda, with more and more tutti instrumentation.
The analysis is shown in Table 11.12 and 11.13.
11.1.4 Mvt. 4 Finale - Allegro con fuoco

Form: sonata form, also with rondo characteristics. The analysis is shown in Table 11.14 to
11.18. This movement, in the tonic key of F major, sounds like a ‘run to home base’. There
is no introduction. The Exposition main theme M1, played from m. 1, 30, 119, and 249, is a
unisono whirlwind full of 6th note runs. Its opening four-measure phrase is repeated once,
either at the same pitch (m. 5, 34, 119) or modified (see m. 253). The upbeat 16th scalar runs in
strings and woodwinds into the second statement are either unisono or two-part S(2p). The
fact that this main theme M1(aa) (4 + 4 m.) remains static and is not used in the development
sections supports the interpretation in terms of a rondo form.
It is the secondary theme M2(aabb) (2 + 2 + 2 + 2 m.) that is the real main element of this
movement. Its introduction is right after a single statement of M1 (see m. 10), in the mediant
minor key Am. This first woodwind statement of M2 is accompanied by a countermotif, a
16th note run pattern in violins, that seems derived from the main theme.
Melody M2 fully comes into play in the two Development sections (starting in m. 60 and
a secondary in m. 149, respectively). There it receives the following treatments: unisono for
two or more instruments from the same group (see m. 60, 149, 157, 165), two-part diatonic
parallel setting S(2p) (see m. 68, 76, 83, 92), imitation (see m. 104, 173, 186), rhythmic diminu-
tion combined with stretto imitation (see m. 100, 104, 177). Changes in instrumentation will

Table 11.12: Tchaikovsky, Symphony No. 4 in F Minor, Mvt. 3 Scherzo, Pizzicato ostinato
m M R H Comment
Allegro ([)
1 M1.1 F F − <(F − Dm) − C − A − F − Dm − C− A:A1 , Str pizz, Σ(cm)
9 ⊥ F − <(F − Dm) − C − Am − B◦ /F − Am repeat m. 1-8
d
17 M1.2 A A7 /G − B[/F − Am − B[/D − A/E − A [A] A:B1 , Σ(cm)
21 ⊥ A −→ A repeat m. 17-20
25 M1.3 F <(Gm/D − C7 /E − F ) Vc+DB
[5/[9
33 ⊥ (G]◦7 − Am6 − B7 − Am − . . . −)/E− P D (e)
d
49 M1.2 F7 /E[ − G[/D[ − F m7 − G[/B[ − F/C− [B] A:B2
53 ⊥ F −→ F repeat m. 49-52
57 G[13
7 /F − . . . − C◦ /G[− echoes, climax
[5/[9
65 D[/F − G7 /F − C/E − F ][5 7 /E− PBi (&)
69 B/D] − E7 /D − A/C] − D7 /C− (PBi (&) )
71 G/B − C7 /B[ − F/A − B◦7 /D−
73 F/C − . . . − G7 /D − C halfcad
77 M1.1 F F − <(F − Dm) − C − A − F − Dm − C− [C] A:A2 , Str
85 ⊥ F − <(F − Dm) − C − Am − B◦ /F − Am repeat m. 77-84
91 D[7 /B − F − C− [D] echoes, dyn: f −p
95 F ]◦7 /A − Gm/B[ − E◦7 /G − F/A−
99 C]◦7 /E − Dm/F − F/A − B[ − G7 /D−
104 <(C 4 − F )
112 <(F7[9 − B[m − E◦7 − F )/F P T (f )
126 <(F − G∅7 /D[ − C) − F closing cad
Meno mosso (]]])
[5/[9
133 A A − B7 no 1 /F − B:C1
136 M2 (A − E7 − A − A7 − A]◦7 − B7 − E7[9 )/E− Ob, WW bg, P D (e)
..
140 . (A/E − E7 − A7 − A]◦7 )/E− repeat m. 136-139
143 ⊥ Bm7 − G]∅7 − C]7 − F ]m
145 M2’ F ]m <(G]∅7 − F ]m)/F ] − <(Bm − F ]m)− B:D, 2Fl-Cl, P T (f ])
..
151 . <(G]∅7 /B − F ]m) − <(Bm − F ]m) 2Fl
[5/[9
161 ⊥ B7 no 1 /F − [E]
162 M2 A (A − E7 − A − A]◦7 − B7 − E7[9 )/E− B:C2 , WW clim, P D (e)
..
166 . (A − E7 − A − A]◦7 )/E− repeat m. 162-165
169 ⊥ Bm7 − E7 − A[[5
7 /D− cad

Table 11.13: Tchaikovsky, Symphony No. 4 in F Minor, Mvt. 3 Scherzo, Pizzicato ostinato
(cont’d)
m M R H Comment
Tempo I ([[[[[)
170 M3 D[ D[ − A[ − B[m − F m− C:E1 , Tpt, Brs bg
..
172 . B[m − A[ − <(D[ − A[)
174 ⊥ D[ −→ G[ − A[ − D[ repeat m. 170-173
178 M3 D[ −→ B[m − A[ repeat m. 170-177
185 M2 A D[ − A/C] − E − Bm− [F] C:F, Cl, Brs bg
187 ⊥ E7 /G] − A − D]◦7 − E−
189 M2 A −→ E − A − A[ Cl 8ba, rep m. 185-188
194 M3/2’ D[ D[ − A[ − B[m − F m7 − C:E2 , Tpt, M2’: Picc
196 ⊥ B[m − A[ − <(D[ − A[)
195 M1’ D[ WW, Σ(cm)
200 M3/2’ D[ −→ A[ repeat m. 194-197
204 M1’ D[ WW, Σ(cm)
206 (M3/1) D[ − F m − B[m − D[ − . . . − B[m7 − [G] trans, echo: Brs-WW
210 (M3) F − Am − Dm − F Brs
212 (M1) <(F − Dm7 ) echo: WW-Str, Σ(cm)
218 M1.1 F F −→ Am A:A3 , ([) Str pizz (m. 1-16)
234 M1.2 A A7 /G −→ A A:B3 (m. 17-24)
242 M1.3 F Gm/D −→ Am/E Vc+DB (m. 25-48)
266 M1.2 F7 /E[ −→ C A:B4 (m. 49-76)
294 M1.1 F −→ C A:A4 (m. 77-90)
308 D[7 /B −→ C− echoes (m. 91-129)
347 F <(F − G∅7 /D[ − C)− [H] Coda
349 M1’ <(F − Dm7 − D[ − B[m7 ) echo: WW-Str, Σ(cm)
357 M1’ A <(A − F ]m7 − F − Dm) − G]◦7 /B−
365 (M2’) F <(F − C7 − F − G − C7 − F )/C− [I] WW, Str bg, P D (c)
..
373 . (F − G]◦7 − F7 − D7[9 )/C−
..
375 . (Gm − D7[9 − Gm − G]◦7 )/C−
377 ⊥ (Am − E7[9 − Am)/C−
379 B[ − . . . − G − . . . − C − . . . − cresc, echo: Str-WW
387 (M2’) <(F − G]◦7 )/F − tutti climax
395 (M1’) F − ...− WW
399 M3’ D[ D[ − A[ − B[m − D[ Brs
401 ⊥ B[m − A[ − E[m7 /G[ − D[
403 M3’ D[ −→ D[ LoBrs 8ba, rep m. 399-402
407 F <(F − Am − Dm − Am) echo: Brs-Str
411 F (414 m.)

Table 11.14: Tchaikovsky, Symphony No. 4 in F Minor, Mvt. 4 Finale - Allegro con fuoco
m M R H Comment
h i
4
Allegro con fuoco 4 ([) Exposition
1 M1 F F − ... − C − F a): WW+Str unis
5 ⊥ Dm − . . . − G− a’)
8 C − ...− Hns P D (e)
10 M2/s Am <(C − E7 − Am)/C aa): WW, Ms: Vi, LoStr P (c)
.. ..
14 ./ . <(E7 − Am)/C− bb’), PB (%)
.. ..
18 ./ . <(E7 − Am − . . . −)/C− WW app, P D (c)
22 ⊥/⊥ <(Gm7 − C7 )/C−
26 (Ms) C7 − . . . − tr, WW-Str 16ths unis imit
30 M1 F F − ... − C − F [A] a): WW+Str unis, Ob P T (f )
34 ⊥ Dm − Dm7 − . . . − G − C a’)
38 Md C7 /E − B[/F − clim, HiWW+Tpt+Vi, Σ(cm>)
..
. Gm7 − C7 /G − G]◦7 − Σ(cm<)
..
39 . F/A − Dm − B[m/D[ − F/C− PB (&)
..
40 . B◦7 − C7 /B[ − F/A− PBi (&)
..
. B◦7 /A[ − C7 /G − C7[5 /G[−
41 ⊥ F − G7 /B − C− WW+Str run%
42 Md C7 /E − B[/F − repeat, tutti, Σ(cm>)
..
. Gm7 − C7 /G − G]◦7 − Σ(cm<)
..
43 . F/A − Dm − B[m/D[ − F/C− PB (&)
..
44 . B◦7 − E◦ − PBi (&)
..
. A∅7 /E[ − Gm/D−
45 ⊥ <(E◦7 /D[ − B◦7 /A[)− tutti 8ths
47 Mb A − F ]m7 − E[ − E[7 − trans, Bsn+LoBrs+LoStr
49 ⊥ A[m(= G]m7 ) − E7 −
50 Mt <(D[7 − B[m − D[)/D[− WW+HiStr triplets, P (D[)
53 ⊥ D[ − . . . − WW+Str unis
56 Ma E◦ /G − F/A − Gm/B[ − Am/C− WW+Brs [S̄ 6 ] %
57 ⊥ B◦7 /D − C7 /E − D[7 /F − E∅7 /G− HiWW+HiStr PLi (&)
58 G]◦7 − F/C − C7 − F WW+Str runs, cad

yield a different timbre character from a gentle, slightly melancholic tune (in light wood-
winds) to a hammering repeated pitch pattern (pounding lower brass and contrabasses).
Every statement also brings a fresh accompaniment type, e.g., a countersubject, chromatic
middle or upper voice, or contrary motion 16th runs.
The development sections are introduced by transitory sections following a main theme
statement (see m. 38 and 127). These consist of four subsections with different thematic
material and character:
1. Tutti climax (strong, victorious) with dotted rhythm theme Md (lead voice for high
woodwinds, trumpets and upper strings), contrary motion and (chromatically) as-
cending and descending bass.
2. Descending bass patterns Mb moving to remotely related keys A7 − E[7 − A[m − D[7 =
G[5
7 /D[ = II
+6 (augmented 6th chord), with offbeat accents in the accompaniment.
3. Unisono ascending triplets in woodwinds, with real transitory character.
4. Low woodwinds and brass ascending three-part S(3p) figures as a series of 1st inver-
sion chords [S̄ 6 ] %, a concluding fanfare.
The dotted rhythm theme Md becomes the central element in the Coda (m. 223 ff.), where
it receives an imitative and sequential setting, moving between orchestra sections. Other
ideas return in disguise: the triplet pattern Mt as background behind the final main theme
statement (m. 249), the offbeat accents (m. 263), becoming a sequence of syncopated domi-
nant chords along the circle of fifths R5 : G]7 −→ D7 (m. 266), and the final appearance of a
varied M2’ (m. 269) in stretto imitation, tutti unisono, rhythmical diminution.
And, of course, there is the interlude (m. 200 ff.) with the quote of the ‘Fate’ signalling
motif from Mvt. 1, for brass and woodwinds in the tonic minor key F m.

The key relationship diagram is shown in Fig. 11.2. The opening sonata form movement, in
the tonic minor key F m, shows the use of almost the complete tonic axis T(F (m) − A[m −
B(m) − Dm) key set. The exposition main theme 2nd statement is in the dominant area
Am (1). The secondary theme is in A[m (2), then moving to B(m) at the beginning of the
development. This is where we see a chain of minor keys Am − Gm − Cm − F m − B[m (3-6),
before ending in the key of B major (7). We have now arrived at the tritone-related root (note
the F − B relationship). The recapitulation uses the last tonic axis member, the submediant
minor Dm (8), which alternates with the tonic major F . The coda makes a sidestep to the
subdominant area, lowered submediant key D[ major (9), before ending in the tonic minor.
In the ternary song form Mvt. 2, Andantino in modo di canzona, both A sections are in
the tonic minor key B[m, alternating with the relatve major key D[ (1,3). The middle section
starts on the regular dominant major key F , alternating with A[ (2). Near the end there is an
excursion towards the lowered submediant major key G[ = [VI (4).
Mvt. 3, Scherzo, Pizzicato ostinato, clearly reflects the major third (4i, four semitones
symmetric division of the octave) root layout. This yields a focus on the diagonal in the key
diagram. Both A sections start on the tonic major key F . The middle sections start on A
(2) and D[ (4), respectively. All sections move back and forth towards a major third distant

(cont’d)
m M R H Comment
Development
60 M2 B[m B[m − . . . − [B] aabb): Ob+Bsn, P T (b[)
68 M2/s <(B[m − F7 ) − B[m aa): WW S(2p), Str 16th% im
72 ⊥/⊥ <(F − B[m) bb), Str imit
76 M2 B[m − C∅7 − B[m − Cm7 − C7 − a): Hns+Tbn S(2p), Vi PL (%),
..
78 . (B[m − C∅7 − B[m)/B[ WW accts, P T (b[)
80 ⊥ <(F7[9 − B[m)/B[ bb)
84 M2 <(F7 − B[m/D[ − F7 /C − B[m) aa): LoBrs+Cb,
88 ⊥ <(F7 /C − B[m) bb, WW+Str 16ths Σ(cm<)
92 M2’ G[ <(D[7 − G[6 ) [C] a’a’): WW S(2p), Str accts
96 ⊥ <(E[m7 − A[7 − D[97 )− a”a”)
98 M2d F∅7 /C[ − E[m7 /B[− WW+Str imit, PBi (&)
..
. F ]◦ /A − C]7 /G]−
..
99 . Bm/F ] − G7 /F − E7 − B + /D]−
..
100 . E[7 /D[ − F∅7 /C[− Seq(2×5m;R−3 )
..
. E[/B[ − A[7 − E[+ /G−
103 ⊥/s E[ − G7 /B− Bsn+LoStr 16th runs%
104 M2d Cm Cm − G7 − tutti stretto imit
..
. Cm/G − G7 /F − Cm/E[−
..
105 . A∅7 /E[ − Gm7 /D− PBi (&)
..
. B[◦ /D[ − F7 /C−
..
106 . E[m/B[ − B7 /A − A[7 −
..
. E[+ /G−
..
107 . G7 /F − A∅7 /E[ − G/D − C7 −
..
. G+ /B−
108 ⊥ G − B7 /D]− LoWW+LoStr 16th runs%
109 M2d Em Em − B7 /A − Em/G− tutti stretto imit
..
110 . E7 /G] − Am− Brs accts
111 ⊥/s Am − G7 /B − C Ms: Str-WW 16ths imit
113 (Ms) C − E◦7 − . . . − Dm − E◦ − tr, WW-Str 16ths unis imit

(cont’d)
m M R H Comment
Recapitulation
119 M1 F F − ... − C − F [D] a): WW+Str unis
123 ⊥ Dm − Dm7 − . . . − G − C a’)
127 Md C7 −→ G]◦7 − clim, HiWW+Tpt+Vi, Σ(cm>)
..
128 . F/A − Dm − B[m/D[ − F/C Σ(cm<)
..
129 . B◦7 −→ C7[5 /G[− PBi (&)
130 ⊥ F − G7 /B − C WW+Str run%
131 Md C7 −→ G]◦7 − repeat, tutti, Σ(cm>)
..
132 . F/A − Dm − B[m/D[ − F/C Σ(cm<)
..
133 . B◦7 − E◦7 − A∅7 /E[ − Gm/D−
134 ⊥ <(E◦7 /D[ − B◦7 /A[) tutti 8ths
136 Mb A − F ]m7 − E[ − E[7 − trans, Bsn+LoBrs+LoStr
138 ⊥ A[m(= G]m7 ) − E7 −
139 Mt <(D[7 − B[m − D[)/D[− WW+HiStr triplets, P (D[)
142 ⊥ D[ − . . . − WW+Str unis
145 Ma E◦ /G − F/A − Gm/B[ − Am/C− WW+Brs [S̄ 6 ] %
146 ⊥ B◦7 /D − C7 /E − D[7 /F − E∅7 /G− HiWW+HiStr PLi (&)
147 G]◦7 − F/C − C7 − F WW+Str runs, cad
2nd Development
[5/[9
149 M2 Dm <(Dm − E7 no 1 /B[ − Dm − B[) [E] aabb): Vi1, Hns P (f )
[5/[9
157 M2/c B[ <(Dm − E7 no 1 /B[ − Dm − B[) aabb), Mc: Fl 16ths%
.
163 ⊥/ .. Dm − D∅7 /C− Hns P (f )
.
165 M2/ .. G7 /B − B◦7 /A[− a): Vi, Mc: Fl
.. ..
167 ./. C G7 − C a’)
169 ⊥/⊥ <(Amno 3 − B∅7 /D − C/E − C) b’b’), PB (&)
173 M2 Dm A[9
7 − [F] WW+Str imit
..
175 . Dm − Dm7 /C − B7 −
176 ⊥ B7[9 /A − C]∅7 /G − B/F ]−
177 M2d Em <(Em − C7 )− dim imit, Seq(2×2m;R7 )
..
179 . Fm <(F m − D[7 )−
..
181 . <(F m − C]7 − F ]m − D7 )− 16th stretto imit
..
183 . Gm <(F ]m − D7 − Gm − E[7 )−
185 ⊥ <(Gm − G◦ ) − Gm

(cont’d)
m M R H Comment
187 M2+d Gm/D − D7[9 /C − Gm/B[− clim, a): Bsn+Brs+Cb,
..
188 . D/A − E∅7 /G − D7 − Gm/D Hns imit, WW+Str 16ths
..
189 . D − Gm/D − Gm/B[− a)
..
190 . D/A − Gm − D7 − Gm/D−
..
191 . A∅7 /E[ − Gm/D − F7 /C − F7 /A− b)
..
193 . F7 /E[ − Dm − F/C − F7 /A− b’)
..
195 . B[ F − F7 /E[ − B[/D− Seq(3×1m;R7 )
..
196 . G − G7 /F − Cm/E[−
197 ⊥ <(A[ − A[7 /G[ − D∅7 /F )− apex
h i
3
Andante 4Interlude
199 Ms Fm E − D◦ − WW+Tpt ‘Fate’ motif
..
201 . D[ − D[/C[ − F m/A[
203 ⊥ E − B◦7 /D− tutti acct
206 Ms D[7 − WW+Brs
208 Ms E/B − A[+ − F m − D[7 − Hns, PB (&)
214 ⊥ Fm
216 D[7 (= G[5
7 no 1 )/B− trans, Str arp imit
h i
4
Tempo I 4 Coda
223 Timp P D (c)
225 Md (C7 − B[ − C7 − B◦7 )/C− Hns, Cb P D (c)
..
226 . F F/C − Dm − B[ − F
227 ⊥ <(D7 − Gm − C − F − B[ − F )/C WW-Str imit
229 Md (D7 − E[ − D7 − F7 )/C− Hns, Timp+Cb P D (c)
..
230 . (Gm − E[ − Cm7 − Gm)/C−
..
231 . <(Gm − Am − F − WW-Str imit
⊥ B[no 5 − E◦ − Am)/C−
233 Md <(Am − Dm7 − Gm − Am − F )/C Ob+Hns, Timp+Cb P D (c)
..
235 . <(B[ − C7 − Am − B[ − Gm)/C− Hns-(WW+Str) imit
..
237 . (Am − Dm7 − Gm − C)/C−
238 ⊥ (Dm7 − E◦ − Am − Dm)/C−

(cont’d)
m M R H Comment
239 (C7 − Amno 5 − F − B[)/C− [G] trans, tutti 8ths imit
240 (Gm − C − Am − Dm7 )/C− PL (%), Timp+LoStr P D (c)
241 (Gm7 − G − C − C7 )/C−
245 (Ms) C7 − . . . − Str-WW 16ths& unis imit
248 ⊥ Dm7 − C7 − F WW+Str 16th run%
249 M1 F − ...− a): WW+Str unis, Brs tripl
..
251 . Dm7 − Gm − C − F cad, WW+Str 16ths%
..
253 . F − ...− a’)
255 ⊥ Dm7 − Gm − C − F cad, WW+Str 16ths%
257 Md’ <(F/A − D∅7 /A[ − C/G− [H] tutti, PB (&)
..
. A[7 /G[ − Dm/F − C7 /E)−
259 ⊥ F/A − G7 − C7 − D]◦7 /C−
260 B7[9 − B[[9
7 − chr ex par&,
261 [9
A7 − A[7 −[9 WW+Brs accts, Str trem
262 G[9 [5
7 − E◦ /G − B[/F − A7 /E[− PB (&)
263 D − D7 /C − B7 − B7 /A− tutti accts
265 Em/G − G7 /F −
266 C7 /E − G]7 − C]7 − F ]7 − Seq(R5 ), sync
267 B7 − E7 − A7 − D7 − G
268 M2’ Em − G]∅7 /D − C] − C]7 /B− WW+Brs imit
.. [5/[9
270 . E7 /B[ − Dm/A − B◦7 /A[ − G7 − WW+Str Σ(cm<)
272 ⊥ C−
273 M2’ C7[9 no 3 − F m− tutti unis
275 D[7 − C7[9 − cad, HiWW+HiStr 16ths
277 <(F − D[+ /A − D[ − C)− tutti
281 D7 /A − G − G]◦7 /F − F ]◦7 /E[− Σ(cm<)
283 F ]◦7 /E[ − E◦7 − F − E◦ /G− Σ(cm>)
284 G]◦7 − Am − B[ − C7 −
285 <(F − C7 )− tutti clim, cad
287 <(F − C) − F tutti 8ths (293 m.)

Mvt. 1 Andante sostenuto-

Moderato con anima
Am Em Bm t F ]m
C G D A
5 1,4
Cm Gm Dm Am t
t 8
6
?
E[ B[ F C
6 ?
E[m B[m Fm Cm
t Mvt. 2 Andantino in
9
*

A
G[ D[

A A[ E[ modo di canzona
A 2
G[m D[m A A[m E[m E[ B[ F

AA 2
U ?
A E B F] E[m B[m Fm
3 4

* 6

Am t Bm t 7 1,3 ?
?
Em F ]m G[ D[ A[
Mvt. 3 Scherzo,
Pizzicato ostinato
3
Em Bm F ]m
1,2 6? Mvt. 4 Finale - Allegro con fuoco
G D A

9 t 1 4,7
Gm Dm Am Cm Gm 5 Dm Am Em
t Y
H *

? 6 H H

B[
F

C E[ A B[ H F 9
C6 G
5 AAU H 6 t
B[m F m Cm E[m B[m Fm P Cm Gm
j
H
8,10 iP t 3

4
2
D[ A[ E[ G[ D[ A[ E[ B[
Figure 11.2: Tchaikovsky, Symphony No. 4 in F Minor, key relationship diagram

h i
3
Mvt. 3 Valse, Allegro moderato: ternary, ABA Coda form (A − F ]m, 4 , 266 m.)
A1 B
A2 Coda
Mvt. 4 Finale, Andante maestoso – Allegro vivace: sonata form

h ih ih i
4 2 6
(E − Em, 4 2 4 , 565 m.)
Introduction (57 m.) Exposition (70 m.) Development (74 m.)
F.Rec (32 m) 2nd Dev. (62 m.)
C1 (32 m.) Coda2 (61 m.)
Figure 11.3: Tchaikovsky, Symphony No. 5 in E Minor, Op. 64
major key. The closing section moves through all three related major keys F −A−F −D[−F ,
except for the B section, that alternates with the relative minor key F ]m (3).
Mvt. 4 looks like a plate of spaghetti, centered around the tonic major key F . The
exposition and recapitulation sections, or, equivalently, the main rondo elements, remain
fairly static. The secondary theme is in the mediant minor key Am (1). The development
sections use this contrasting theme for a sequence of mostly minor key modulations in
B[m − G[ − Cm − Em (2-4) and Dm − B[ − C − Dm − Em − F m − Gm − B[ (5-9), re-
spectively. The ‘Fate’ motif briefly establishes the tonic minor key F m (10), before closing in
the parallel tonic major key F .
11.2 Symphony No. 5 in E Minor, Op. 64 (1888)

Source: [69]. An overview of the formal analysis is shown in Fig. 11.3. The ternary form
third movement, a waltz, has fairly balanced proportion subsections. The finale is a lengthy
sonata form movement with a secondary development and an extremely long recapitulation
section. The coda is split into two subsections.
11.2.1 Mvt. 3 Valse, Allegro moderato

Form: ternary, ABA Coda. This movement has two nearly identical outer waltz sections and
a middle section trio, in a continuous flow with brief transitions. See Table 11.19 to 11.21 for
the analysis.
The waltz A1 and A2 sections can be subdivided into four subsections a-b-a-b’ (starting
at m. 1, 20, 37 and 57, respectively). This subdivision is based on the use of the related lyrical
and gently flowing waltz character melodies M1.1 to M1.3, containing many appoggiaturas

and based on an 8th note time unit. Note that M1.1 follows an overall descending melodic
line (highest pitch at the start). In contrast, both M1.2 and M1.3 have an apex in the second
part of the melody. The middle section B, with its descending scalar patterns of rapid stac-
cato 16th notes as melody M2, may be subdivided into three subsections c-d-c (starting at
m. 73, 89 and 127, respectively).
Each repeat of the waltz melody sees the introduction of a fresh instrumentation and
doubling (from solo to two and then multiple parts, voiced in octaves). Repeated theme
statements use counterthemes with either arpeggio or chromatic inner voice character.
The coda brings back the central main theme of this symphony, the ‘Fate’ motif; this is
the connecting factor in all movements.
11.2.2 Mvt. 4 Finale, Andante maestoso – Allegro vivace

Form: sonata form. The sonata form is not very evident to identify in this movement. The
main theme from this symphony, i.e., the Fate motif (‘Das Schicksalsthema’), here labeled as
M0, returns prominently in the introduction section, at the end of the development and the
recapitulation section, and in the coda.
The main theme has M0(aabba’a’bb) structure with all phrases of equal length, i.e., two
measures, the a-phrase (dotted quarter note with two 16th notes) as a characteristic motif,
and suggesting a period structure on the larger scale.
The sonata Exposition main theme (m. 58 ff.) also has M1(aabb) period structure with
short two-measure phrases; note the group of accented downbow quarter notes for strings.
The contrasting theme (arch-shaped scalar stepwise motion in dotted quarter note - 8th note
rhythm) then brings four-measure phrasing; this pattern is continued in M3(aa) (4 + 4 m.).
The Development section starts with a new theme, M4, which returns in the secondary
development section. It has M4(abab’) (4 + 4 + 4 + 8 m.) period structure, the last b-phrase
being a sequence. The Coda (m. 546 ff.) brings a closing two-measure signalling motif M5,
first played by oboes and trumpets, and repeated by the horns. See Table 11.22 to 11.24 for
the analysis.
An alternative formal analysis yields MA1 MA2 MA3 (measures 1-57, 58-171, 172-201, 202-
425, 426-471, 472-565, respectively), where M is the main theme and the development theme
is incorporated as closing theme (part of the second group of themes) of the exposition. The
development element is now the elaborated and varied restating of all themes in A2 and in
the coda, A3 .

The key relationship diagram is shown in Fig. 11.4. In movement 3, Valse, both outer sections
A1 ,2 are in the main key A major. The middle section B starts in the relative minor key F ]m
(1). Using imitation phrases of the trio melody the piece modulates in the dominant direction
through a number of keys E − C]m − B − G]m (2–3), returning to the main key and cycling
along A − F ]m − E − A (4). In the coda there is the climax with the sidestep towards the
lowered sixth and third degree chord changes [V I = F ↔ [III = C (6), before closing in
the main key.
The Finale movement in sonata form is based on a major-minor ambiguity. Introduction
and coda are in the tonic major key E (1,12), exposition and recapitulation are in the par-
allel minor key Em (1,9). The latter sections move both to through the same key sequence

Table 11.19: Tchaikovsky, Symphony No. 5, Mvt. 3 Valse
m M R H Comment
1 M1.1 A A − D]◦7 /A − E/G]− A1 , main theme: Vi1
..
5 . C]m − F ]m − B7 − E7 − appogg
9 ⊥ Bm − E7 −
12 M1.1 A − B7 /A − E/G]− [A] 2nd st Vi, CM: Va+Vc
16 ⊥ C]m − F ]m − B7 − E−
20 M1.2 <(B∅7 /F − E7 )− Ob+Bsn
24 ⊥ E79 /D − A/C] − B7 − E Str arco-pizz
28 M1.2 <(B∅7 /F − E7 )− 2nd st: Cl
32 ⊥ E79 /D − A/C] − B7 − E−
37 M1.1 A − B7 /A − E/G]− [B] Cl+Bsn, Str arp
41 ⊥ C]m − F ]m − B7 − E− Hns bg
45 M1.1 A − Bm7 /A − B7 /A − E/G]− [C] WW unis, Str Pm i (%)
..
49 . C]m − C]m7 /B − B7 − E− Σ(cm), clim
53 ⊥ C]m − C]m7 /B − B7 − E− [D]
[5/[9
57 M1.3 E − C]7 /E] − Bm/F ]− Bsn, PBi (%)
..
59 . G7 − E7 /G]−
..
60 . A − Bm7 /D − G][9
7 /D]−
i (%)
Bsn sync, Str Pm
..
62 . A]◦7 /E − Bm/F ] − G7 (= C][5
7 )−
64 ⊥ E7 /G]−
[5/[9
65 M1.3 E − C]7 /E]− 2nd st WW, PBi (%)
..
66 . Bm/F ] − G7 − E7 /G]−
..
68 . A − Bm7 /D − G][9
7 /D] − A]◦7 /E−
i (%)
WW sync, Str Pm
71 ⊥ Bm/D − E7 /G] − A closing cad
73 M2 F ]m F ]m − Bm/F ] − C][97 − F ]m B, stacc 16th Vi, P T (f ])
77 M2 F ]m − Bm/F ] − C][97 − F ]m 2nd st, CM: Bsn arp
81 M2’ E F ]m − B7 /F ] − (G]◦ ) − B7 − E [E] var Va, CM: Bsn
85 M2’ F ]m − B7 /F ] − (G]◦ ) − B7 − E 2nd st, modulations
89 M2” A − B7 − E Str imit
93 M2” A − B7 − 2nd stat

Table 11.20: Tchaikovsky, Symphony No. 5, Mvt. 3 Valse (cont’d)
m M R H Comment
96 M2’ C]m E − G]/D] − C]m − G]7 − [F] Pi+Fl, WW imit,
..
100 . C]m − G]7 − Str bg, arp
..
104 . B C]m − F ]7 − <(B − F ]7 )− [G] WW+Str imit,
..
108 . G]m D]7 − <(G]m − D]7 )− Tpt acc
..
112 . <(G]m − D]7 )− imit cntd, WW+Hns
..
118 . A G]m − E7 − <(A − E7 )− [H] Str imit, WW acc
..
122 . F ]m A − C]7 − <(F ]m − C]7 )−
126 ⊥ F ]m cad
127 M2 F ]m F ]m − Bm/F ] − C][97 − F ]m (=m. 73-80) Vi1
131 M2 F ]m − Bm/F ] − C][97 − F ]m 2nd st, CM: Bsn arp
135 M2’ E F ]m − B7 /F ] − (G]◦ ) − B7 − E (= m. 81-88) Va, CM: Bsn
139 M2’ F ]m − B7 /F ] − (G]◦ ) − B7 − 2nd st
..
142 . E − G]◦ − A − F ]m − G]◦ − A/E− [I] retrans, Va, WW bg
144 ⊥ E7 −
145 M1.1 A A − D]◦7 − E/G]− M1.1: Ob, M2: Str imit,
149 ⊥ C]m − F ]m − B7 − E− themes combined
153 M1.1 A − B7 /A − E/G]− [K] A2 (= m. 12-19) Vi, CM
157 ⊥ C]m − F ]m − B7 − E−
161 M1.2 <(B∅7 /F − E7 )− (= m. 20-27) Ob+Bsn
165 ⊥ E79 /D − A/C] − B7 − E Str arco-pizz
169 M1.2 <(B∅7 /F − E7 )− (= m. 28-36) 2nd st: Cl
173 ⊥ E79 /D − A/C] − B7 − E−
178 M1.1 A − B7 /A − E/G]− [L] (=m. 37-44) Cl+Bsn, Str bg
182 ⊥ C]m − F ]m − B7 − E− Hns bg
186 M1.1 A − Bm7 /A − B7 /A − E/G]− [M] (= m. 45-56) WW,
.. i (%), Σ(cm), clim
190 . C]m − C]m7 /B − B7 − E− Str Pm
194 ⊥ C]m − C]m7 /B − B7 − E− [N]
198 M1.3 E −→ E7 /G]− (= m. 57-65) Bsn, PBi (%)
..
201 . A − Bm7 /D − G][9
7 /D]−
i (%)
Bsn sync, Str Pm
203 ⊥ A]◦7 /E −→ E7 /G]−
206 M1.3 E −→ E7 /G]− 2nd st WW, PBi (%)
..
209 . A − Bm7 /D − G][97 /D]− WW sync, Str Pm i (%)
211 ⊥ A]◦7 /E − Bm/D − E7 /G]− climax

213 (M1’) A − <(A]◦7 − E7 /B) − B]◦7 − Vi, Str, P D (e)

11.3. SYMPHONY NO. 6 IN B MINOR PATHÉTIQUE, OP. 74
Table 11.21: Tchaikovsky, Symphony No. 5, Mvt. 3 Valse (cont’d)
m M R H Comment
219 F C]m − <(F/C − C)− [O] Coda, tutti clim, Timp
223 F − B7[5 /F − A64 − E7 − cad clim
227 (M1’) A − <(A]◦7 − E7 /B) − B]◦7 − (= m. 213-218) Vi, Str, P D (e)
233 C]m − <(F/C − C)− (= m. 219-226) tutti clim
237 F − B7[5 /F − A64 − E7 − cad clim
241 M0 A (A − B∅7 − A − F ]m)/A− [P] ‘Fate’ th Cl+Bsn, P T (a),
..
245 . A − F/A− symphony main motto
247 ⊥ <(A − E7 − E79 − E7[9 )/A−
256 (M1’) <(B∅7 − A)− [Q] Vi1, closing
262 ⊥ A − <(B∅7 /A − A) tutti clim (266 m.)
Em − D − A − D − Em. There are two developments, the first moving towards the low-
ered submediant D − (C = [VI) (4–5), the second (after a false recapitulation) starting with a
tritone-related key leap C −F ] (7), before moving into a sequence of harmonically equivalent
keys (E[m = D]m) − (F [ = E) (8).
The recapitulation takes a new course with the major second (2i) related sequence of
minor and major keys Em − F ]m − G]m − F ] − E − Em (10–11). The coda takes a sidestep
towards the lowered supertonic degree major (Neapolitan) key E − (F = [II) − E (12). This
yields an overall wide key compass.
11.3 Symphony No. 6 in B Minor Pathétique, Op. 74 (1893)

11.3.1 Mvt. 4 Finale, Adagio lamentoso

Form: ABACAB Coda. This movement has a ‘stereo effect’ in the opening string theme (M1.a):
the melody notes switch from first to second violins and back. In the old German seating
arrangement with first violins to the left and second violins to the right of the conductor this
yields a kind of hoquetus effect with the melody notes alternatingly sounding from both sides
of the stage.1 Tchaikovsky uses this effect only in the first A section (the A2 section has the
lead in first violins, the A3 section doubles the string lead in woodwinds).
The main theme has M1(aab) (2 + 2 + 7 m.) sentence structure. The B section contrasting
theme with its descending (appoggiatura) quarter note phrasing also has M2(aab) (2 + 2 + 4
m.) sentence structure.
1
This same string section seating arrangement, with first violins left and second violins stage right should
also be considered for working with digital audio workstations. When using synthesizer or sampled strings I
frequently apply the German string seating, panning both violin groups (hard) left and right, with violas and
celli more in the centre. The position of the contrabasses depends on the musical style (more specifically, on the
presence of a rhythm group with bass). The positioning of both violin groups to the left often yields an orchestral
and acoustic unbalance.

Table 11.22: Tchaikovsky, Symphony No. 5, Mvt. 4 Finale
m M R H Comment
1 M0 E E − A − E − . . . − C]m− Intro, main theme: Str
..
5 . B − D][9
7 − G]m − A]◦7 − B − F ] − B
..
9 . A − E − F ]m7 − D]∅7 − E − C]m−
13 ⊥ B − D][9
7 − G]m − A]◦7 − B − F ]− PB (%)
16 M0’ B − <(C]∅7 − B7 − Em) − B7 − [A] tr, signal: Brs, P D (b)
20 <(Em − G) − Am − F ]∅7 − B7 −
24 M0 E − A − E − . . . − A]◦ − 2nd st: WW, tripl, PB (&)
..
28 . B − D][9
7 − G]m − A]◦7 − B − F ] − B
..
32 . A − D]◦7 − E − F ]m − E − A]◦ − [B]
36 ⊥ B − D][9
7 − G]m − A]◦7 − B − F ]−
d
39 M0’ B − <(C]∅7 − B7 − Em) − B7 − trans, Brs, climax
44 <(C − G) − F ]∅7 − G
46 Em G − <(F ]∅7 − Em)/G − Em/G [C] P (g)
58 M1.aa Em <(Em − Am − Em) − . . . − F ]∅7 − Exp, Gr 1/Th 1: Str, P (g)
63 M1.bb <(Em − F ]∅7 − B)−
65 M1.aa <(Em − . . . − F ]∅7 /A)− 2nd st: tutti cl, staccato
70 M1.bb <(C − D7 )/C [D] WW, P (c)
74 M1.aa C − Am7 − G − Em − G − Em − Am tutti climax, asc bass
80 G − F ]∅7 − Em − C − G − Em − B− trans, Σ(cm<)
82 M2/(1’) D Em − A7 − [E] Gr 2: LoStr/WW
86 ⊥ D − F ]7 − Bm − B7 − Em − B−
90 M2/(1’) Em − A7 − D − F ]7 − Bm/D − B7 − repeat: WW-Str, var
97 M3 A <(E7 − F ]7 − E7 − A]◦7 − Bm)/E− [F] imit: Str, P D (e)
106 M3 D <(A7 − B7 − A7 − D]◦7 − Em)/A− rep: WW+Str var, P D (a)
114 Em (A7 − Em − C]∅7 − B7 )/A− [G] tutti climax, Σ(cm<)
118 Em/G trans, P (g)
128 M4 D A7 /G − D/F ] − A7 /E − D − A7 /G [H] Dev, new th: WW
136 M4 A7 /G − D/F ]− 2nd stat: WW, PB (%)
..
140 . C]7 − F ]m − D∆7 − G − E7 − A− Seq(3×2m;R7 )
d
144 ⊥ F ]7 − Bm − A7 − Bm − F ]m − E− Seq, climax
148 M4.a’ C <(C/E − G7 /F )− [I] imit: Str-WW
156 M4.b’ <(C − Em − F − A7 − Dm7 − G)− Str, PB (%)
164 M4.b’ C − A[9 [9
7 − Dm − B7 − Em7 − A− [K] Seq(3×2m;R7 )
169 ⊥ F ]m − B7 − G7 /B − G7 /D− cresc to climax
172 M0 C − F/A − C − . . . − F − C − Am− Brs, climax, Σ(cm)
180 ⊥ <(G − Am − G − D]◦7 − Em)− [L] PB (%)

Table 11.23: Tchaikovsky, Symphony No. 5, Mvt. 4 Finale (cont’d)
m M R H Comment
188 M0 C − F/A − C F − C − Am− 2nd stat: Brs, Σ(cm)
196 ⊥ <(G − Am − G − D]◦7 − Em)− PB (%)
202 M1.aa Em <(Em − G − D]◦7 ) [M] Rec: tutti, Σ(cm)
206 M1.bb <(Em − F ]∅7 /C − C − D7 /C) WW+Str, P (c)
210 M1.aa C <(C − G − C) − Am7 /G [N] repeat: tutti, clim
214 M1.bb <(C∆7 − Am7 /G)
218 M1/c1 C7 /B[ − . . . − G7 /B − Em/B− WW+Str, Mc: Brs,
..
224 . C7 − . . . − C]◦7 − tutti climax, PBi (%)
227 ⊥ Gm7 /D − C]◦7 /E − B[m7 /F −
230 M1’ C]◦7 /G − F ] [O] trans: WW+Str
234 M4/c2 F] F ]/C] − B − F ]7 /E − B/D] − F ]7 − 2nd Dev, Str, Mc: Cl
242 M4/c <(F ]/C] − B) − B[[9 7 − 2nd stat: WW+Str
250 M4/c2 E[m B[7 /F − E[m − B[7 − E[m − B[[13
[13
7 Bsn+Str, Mc: Fl, clim
258 M4/c B[7 − E[m(7) − A[m7 − D◦7 − E[m [P] WW+Str, PB (&)
266 ⊥ F[ F [ = E − . . . − Em/G− trans, dim
282 Em F ]∅7 − . . . − Am/E − Am − D]◦7 /A− [Q] dim cont’d
296 M1/c3 Em Em Rec, Gr 1, Mc: WW+Vi
304 M1/c3 Em repeat, tutti climax (ctp)
312 M1.bb <(C − D7 )/C WW, P (c)
316 M1.aa C − Am7 − G − Em − G − Em − Am tutti climax, PB (%)
321 G − F ]∅7 − Em − C − G − Em − B− trans, Σ(cm<)
324 M2/(1’) D Em − A7 − [R] Gr 2: WW-Str
328 ⊥ D − F ]7 − Bm − B7 − Em − B−
332 M2/(1’) Em − A7 − D − F ]7 − Bm/D − B7 − repeat, var
340 M3 A <(E7 − F ]7 − E7 − A]◦7 − Bm)/E− [S] imit: Str, P D (e)
348 M3 D <(A7 − B7 − A7 − D]◦7 − Em)/A− rep var: WW+Str, P D (a)
..
356 . (A7 − Em − C]∅7 − B7 )/A− [T] Seq(3×4m;R7 )
..
360 . Em (Em − B7 − C]7 /B − C][97 )/B− cresc to clim, PB (%)
364 ⊥ F ]m (F ]m − C]7 − D]7 /C] − D][9
7 )/C]− tutti climax, P D (c])
368 G]m G]m/B [U] trans, P (b)
378 M4 F] C]7 /B − F ]/A] − C]7 /G] − F ] − C]7 dev th: WW, PB (&)
386 M4 C]7 /B − F ]/A]− 2nd stat
..
390 . F7 − B[m − G[∆7 − C[ − A[7 − D[− [V] Seq(3×2m;R7 )
d
395 ⊥ B[7 − E[m − D[7 − E[m − B[m − A[ Seq, climax
398 M4.a’ E <(E/G] − B7 /A)− [W] imit: Str-WW
406 M4.b’ <(E − G]m − A − C]7 − F ]m7 − B)− Str

Table 11.24: Tchaikovsky, Symphony No. 5, Mvt. 4 Finale (cont’d)
m M R H Comment
414 M4.b’ E − C][9 [9
7 − F ]m − D]7 − G]7 − C]− [X] Seq(3×2m;R7 )
..
419 . A]m − D]7 − B7 /D] − B7 /F ]− cresc to climax
422 ⊥ E7 /G] − Am/E−
426 M0 Em (Em − . . . − Bm7 − Em − B7 )/B− Brs, tutti clim, P D (b)
432 ⊥ Em/B − Am7 − B7[9 − Em− PB (&)
436 M0’ B − C]∅7 − B − Em − B7 − Em − A9 − B Brs, clim, PB (%),
444 M0’ C]∅7 − B7 − Em − F ]m − G+ − A P D (b)
.. d
448 . B79 − Em − B79 − (climax)
452 ⊥ <(C/E − G)− [Y] climax
456 C − G − Am − Em − F ]m − C − D − Am trans, Σ(cm)
460 D − C − F ]∅7 − Em − F ]∅7 − F ]7 −
464 B closing
472 M0 E <(E − A − E) − C]m− Coda, main th: Str
.. d d
478 . B7 − G]m − C]m − B7 − F ]7 − B7 −
..
482 . A − D7 − E − F ]m7 − D − E − C]m [Z]
486 ⊥ B − D]7 − G]m − C]m7 − B − F ]97 − B−
490 M0 <(E − A − E) − F ]97 − [Aa] 2nd stat: Ob+Brs,
.. d
494 . B − D][9 9 [9
7 − G]m − F ]7 − B − D]7 − climax, PB (%)
497 ⊥ [9
<(C]m − B − D]7 )−
499 G]m − B7 − E − B]◦ − [Bb] (climax) PB (%)
501 C]m − E46 − C]m − B− cad, climax, Σ(cm<)
h i
2
504 M1’/2’ E7 − C]7 − F ]m − C]97 − Presto 2 , Σ(cm<)
..
507 . F ]m − A − B − F ]m − C]m − E/B− WW+Str, cresc to clim
510 ⊥ Em − E − A − A]◦7 − B − G] − F ]m
512 M1’/2’ E7 − C]7 − F ]m − C]97 − [Cc] repeat
515 ⊥ F ]m − A − B − F ]m − C]m − E/B− cresc to climax
518 M4’ F <(C7 /B[ − F/A) tutti climax
522 C7 /B[ − (E − C]7 − F ]m)/B− trans
526 E B7 − F ]7 − C] − G7 − B/F ]− [Dd] Σ(cm<)
531 E − B7 − G − C]7 − Am − B−
534 <(E − Bm − C]7 − F∅7 − B)−
538 E P
h Ti(e)
6
546 M5 <(E − A) 4 Brs, clim (ped)
554 E [Ee] desc-asc lead
562 E close (565 m.)

Mvt. 3 Valse
Bm F ]m C]m 2 G]m
1,4 6 HH H 6
j
HH 6
H
j
D A
5 E B

Dm Am Em Bm
6
3
F C G D
Mvt. 4 Finale
D[m A[m

E[m B[m Fm Cm

8
9 6
F[ t B F] C] G] D]
t 11
Em Bm F ]m C]m G]m H D]m
t H
j
H
G D A E B F]
6
? 10 t
Gm Dm Am * Em H
Bm F ]m
1,3,6 HH

12
Y H
H j 4
- A 2,9

B[ F 5,7 C G
H
D
Figure 11.4: Tchaikovsky, Symphony No. 5, key relationship diagram
h i
3
Mvt. 4 Finale, Adagio lamentoso: ABACAB Coda form (Bm, 4 , 171 m.)
A1 B1 A2 C A3 B2 Coda
Figure 11.5: Tchaikovsky, Symphony No. 6 in B Minor Pathétique, Op. 74

The other well-known orchestral effect in this movement is the morendo effect at the end
of this movement. In the Coda the dynamics start at mezzo forte, dying out (morendo) to a pppp
pianissimo level in the low strings (deliberately preventing a closing climax, and supporting
the lamentoso atmosphere of the piece).2 See Table 11.25 and 11.26 for the analysis.

The key relationship diagram is shown in Fig. 11.6. The Finale’s ternary form structure is
reflected in the key relationships. The outer A sections are in the tonic minor key Bm, the
contrasting middle section is in the relative major key D.
Mvt. 4 Finale
Bm
6
?
D
Figure 11.6: Tchaikovsky, Symphony No. 6, key relationship diagram
11.4 Nutcracker Suite, Op. 71a (1892)

Source: [70]. This suite for orchestra contains pieces from the original ballet music. An
11.4.1 Mvt. 1, Ouverture miniature

Form: binary form, A1 B1 A2 B2 . This overture is known for its string section instrumentation:
there are neither celli nor contrabasses, while all higher string instruments (violins and vi-
olas) are playing divisi. This adds to the light (miniature?) character of the movement (for
a similar instrumentation, see Mendelssohn’s Midsummer Night’s Dream Overture, Sec. 8.1).
The A section main theme has a regular M1(abab’) (2 + 2 + 2 + 2 m.) period structure.
Melody M1.2 is a four-measure motif, acting as middle sentence in a larger scale structure.
The B section presents a new theme with an unfamiliar M2(abb’) (4 + 2 + 8 m.) structure,
where the second b-phrase with its stepwise ascending 16th-note turnaround patterns leads
to a climax. See Table 11.27 and 11.28 for the analysis.
11.4.2 Mvt. 2a, Danses caractéristiques, Marche

Before delving into the details, note that most of these six dances are valuable miniature
studies in the use of pedal point (sometimes throughout the entire movement) and orches-
tration. The diagrams unfortunately cannot reveal the careful use of instrument range and
doubling, melodic variation, accented support and backgrounds.
Form: ternary song form, A1 BA1 CA2 BA2 . Characteristic for this piece is the call-and-
response play between the brass (fanfares with triplet rhythms) and the strings (dotted 8th -
2
This is the perfect moment for the conductor to spot ringing cell phones in the audience.

11.4. NUTCRACKER SUITE, OP. 71A
Table 11.25: Tchaikovsky, Symphony No. 6 Pathétique, Mvt. 4 Finale
m M R H Comment
[5/[9
1 M1.aa Bm <(G]∅7 − F ]7 − C]7 − F ]7 ) A1 , main theme: Str
5 M1.b Em7 − A7 − D − G]∅7 − C]7 − F ]m−
..
8 . Bm7 − E7 − A − D]m7 − G]7 − C]m
11 ⊥ F ]m7 − G]∅7 − C] [A]
12 Bm7 − C][97 − C]∅7 − B7 −
[5 trans, WW+Str climax
15 Em − Bm − C]∅7 − Em − C]∅7 −
[5/[9
20 M1.aa <(G]∅7 − C]7 − F ]7 ) 2nd stat: Str
24 M1.b Em7 − A7 − D − G]∅7 − C]7 − F ]m−
28 ⊥ A]◦7 − G
30 (Em − C]∅7 − A7 )/E [B] Bsn, trans, P (e)
37 B1 , P D (a) triplets
39 M2.aa D <(A7 − D/F ] − Dm/F )− [C] contrast th: Str (ped)
43 M2.b B7 − Em − C]∅7 − B7 − Seq(2×1m;R−7 )
45 ⊥ Em − G − C]◦7 /G − D/F ]
47 M2.aa <(A7 /E − E]◦7 − F ]m) 2nd stat, imit: Str-Brs
51 M2.b’ Em − E7 − F ]m − F ]7 − G − A7 − B [D] Seq(3×1m;R7 ),
[S̄ 6 ] , PBi (%)
55 M2.aa <(A7 − D/F ] − Dm/F )− 3rd stat: Str, P D (a)
59 M2.b B7 − Em − C]∅7 − B7 − Seq(2×1m;R−7 )
61 ⊥ Em/G − C]◦7 /G − D/F ]
63 M2.aa <(A7 /E − E]◦7 − F ]m) [E] 4th stat, imit: Str-Brs
d
67 M2.b’ Em − E7 − F ]m − F ]7 − G − A7 − Seq(3×1m;R7 ),
[S̄ 6 ] , cresc, PBi (%)
71 Bm Bm/D − D − C − F ]∅7 /C [F] tutti climax, retrans
75 C/E − Am7 /E − Am = C 6 − C[N ] desc lead to full stop
82 M2.a’ F ][9 [9
7 /A] − Bm − C]7 /E] − F ]m− Str
87 ⊥ D]◦7 − Em − C]∅7 − Bm/D
[5/[9
90 M1.aa Bm <(G]∅7 − F ]7[9 − C]7 − F ]7 ) [G] A2 , main theme: Str
94 M1.b’ Em7 − A7 − D − C]∅7 − F ]7 − Bm−
98 ⊥ G − Em7 /G − F ]7 − C/E − F ]7 /E
[5/[9
103 M1.aa <(G]∅7 − C]7 − F ]7 ) [H] 2nd stat: Str
108 M1.a’ C]∅7 − Bm − B− Str, Σ(cm<)
..
110 . F ]∅7 − D7 /A − G7 − E− buildup to clim
..
112 . Em7 /D − C − G7 /B− Σ(cm<)
114 ⊥ C]◦7 − Dm/F − E7 −

h i
2
Mvt. 1 Ouverture miniature, Allegro giusto: ABAB form (B[, 4 , 183 m.)
A1 B1 A2 B2
Mvt. 2 Danses caractéristiques

h i
4
2a) Marche, Tempo di marcia: ABACABA form (G, 4 , 88 m.)
A1 B A1 C A2 B A2
h i
2
2b) Danse de la Fée-Dragée: ternary ABA form (Em, 4 , 52 m.)
A1 B A2
h i
2
2c) Danse russe Trépak: ternary ABA Coda form (G, 4 , 84 m.)
A B A Co
h i
3
2d) Danse Arabe: ABABAB Coda form (Gm, 8 , 102 m.)
A1 B1 A2 B2 A3 B3 Cod
h i
4
2e) Danse Chinoise: ABA Coda form (B[, 4 , 32 m.)
A1 B A2 C
h i
2
2f) Danse des Mirlitons: ABACA form (D, 4 , 77 m.)
A1 B A2 C A3
h i
3
Mvt. 3 Valse des Fleurs: ABA Coda form (D, 4 , 341 m.)
Intro (33 m.) A (100 m.) B (84 m.)
A’ (72 m.) Coda (51 m.)
Figure 11.7: Tchaikovsky, Nutcracker Suite, Op. 71a

Table 11.26: Tchaikovsky, Symphony No. 6 Pathétique, Mvt. 4 Finale (cont’d)
m M R H Comment
116 M1.a’/3 (Am − A7 − Dm − C]◦7 )/E [I] C, clim, P (e)
..
120 . Bm (Bm − A]◦7 − Bm − Bm7 − B7 )/E M1: stretto Str,
124 ⊥ Em − C][9
7 /E] M3: asc Bsn+Brs
126 M1.aa Bm − <(G]∅7 − C][9 7 − F ]7 ) [K] A3 , main th: WW+Str
131 M1.a’ <(C]∅7 − F ]7 ) − C]∅7 − Bm/F ] closing
137 Bm/F ] [L] trans: Brs
138 G − E7 − A − Am − F7 − D7 − G− Seq(3×2m;R−7 )
142 C]∅7 /E − C]7 /E] − F ]
147 M2.aa (Bm − C]∅7 − <(F ] − F ]m))/B [M] B2 , Str, P T (b), tripl
152 M2.b (Bm − A]◦7 − Bm − C]∅7 )/B (ped)
155 M2.a’ (Bm − <(C]∅7 − F ] − F ]m))/B− [N] Coda, imit: Str, P T (b)
..
160 . (C]∅7 − Bm − A]◦7 − Bm)/B− closing (ped)
162 ⊥ (Em − Bm)/B− (ped)
164 <(C]∅7 − Bm)/B− cad (ped)
168 Bm (171 m.)
16th note rhythm). The A section main theme has M1(aab) (2 + 2 + 4 m.) sentence structure.
The M1.c phrase for brass is based on the same rhythm (staccato 8ths and triplets) as M1.a,
and M1.d is another response-phrase (staccato arpeggios in woodwinds and pizzicato scales
in violas and celli). The C middle section melody M2 is a two-measure motif in staccato 16th
notes, repeated three times (in woodwinds - high strings dialogue). See Table 11.29 for the
analysis.
11.4.3 Mvt. 2b, Danses caractéristiques, Danse de la Fée-Dragée

Form: ternary song form, A1 BA2 . This dance has become part of the classical music canon.
The unique orchestration aspect is the use of the celesta; the story is that Tchaikovsky saw
this novelty in Paris, liked the sound, and then decided to use the instrument in this ballet
music. Also note the very low bass clarinet, answering the celesta phrases.
The A section main melody has M(abab’) (4 + 4 + 4 + 4 m.) period structure, with the
b’-phrase as a melodic and harmonic sequence. The B middle section has a larger scale
constrasting melodiy with a modified Mc(ababa’) (2 + 2 + 2 + 2 + 4 m.) period structure, and
extended use of pedal point. See Table 11.30 for the analysis.
11.4.4 Mvt. 2c, Danses caractéristiques, Danse russe Trépak

Form: ternary song form, ABA’. The fast folk dance character with bouncy 16th note pairs is
supported by extended tonic pedal point in the A section. The melody for lead violins has
Ma(aa’baa’b’) (2 + 2 + 4 + 2 + 2 + 4 m.) structure, a mixture of a sentence (small scale) and a

Table 11.27: Tchaikovsky, Nutcracker Suite, Mvt. 1 Ouverture miniature
m M R H Comment
1 M1.1 B[ B[ −→ E[/G − E[ − C79 − F − A1 , ab):: Vi1
5 ⊥ B[ −→ E[ − B[ − F7 − B[ ab’)
9 M1.1 B[ −→ E[/G − C79 − F − 2nd stat: Vi1, 16th accomp
13 ⊥ B[ −→ E[ − B[ − F7 /E[ − B[/D
17 M1.2 Gm D7 /F ] − Gm − D7 /C − Gm7 /B[− [A] Fl
19 ⊥ A∅7 /C − Gm64 − D7 − Gm cad
21 M1.2 F C7 /E − F − C7 /B[ − F/A− 2nd stat: Cl
23 ⊥ B[ − F/C − C − C7 − F
25 B[ <(C∅7 /G[ − F ) − F − G[7 /E− Tr1 , dom ext
d
30 G7 /D − A[/C −→ E[7 /D[ − F/C− Σ(cm<), Seq(5×R7 ), clim
33 M1.1 B[ −→ Cm/G − C7 /G − B[/F − F7 − [B] WW, 16th accomp
..
37 . B[ −→ D◦7 − E[ − E◦7 − F − F ]◦7 −
39 ⊥ Gm − A[5
7 /E[ − D− cresc, climax
41 G7 /B − Cm − G − Cm/E[ − C7[9 /E− Tr2 : Str
45 M2 F F − B[ − B[/D − F ]◦7 /E[ − C7 /E− B1 , a): Vi1
..
49 . <(C79 /B[ − F/A − F ) b), 16th-notes
53 ⊥ C]◦7 /B[ −→ Dm/A − G7 − C7 − b’): PL (%), climax
57 M2 F − B[ − B[/D − F ]◦7 /E[ − C7 /E− [C] 2nd stat: Vi1
..
61 . <(C79 /B[ − F/A − F )
65 ⊥ F7 /E[ −→ B[/D − A7 −
70 M2’ Dm Dm − <(D7 − Gm) − <(A7 − Dm) Σ(cm>)
..
75 . Dm − G[5
7 /D[ − F/C − C]7 /B− Σ(cm<), PBi (&) , cresc
..
77 . F Gm7 − C7 − <(F − A7 − Dm − C7 )− tutti climax
83 ⊥ <(C7 − F ) − F − . . . − C7 − F cad
90 M1.1 B[ B[ −→ C7 − F − B[ −→ F7 − [D] A2 : tutti (see m. 1-8)
98 M1.1 B[ −→ C7 − F − B[ F7 − B[ Vi1 (see m. 9-16)
107 M1.2 Gm D7 − Gm D7 − Gm [E] Fl (see m. 17-20)
111 M1.2 F C7 /E − F − C7 /B[ − F/A Cl (see m. 21-24)
115 B[ <(C∅7 /G[ − F ) − F − G[7 /E− Tr1 , dom ext (see m. 25-29)
120 G7 /D − A[/C −→ E[7 /D[ − F/C Σ(cm<), Seq(5×R7 ), clim
123 M1.1 B[ C7 − F7 − B[ D◦7 − WW (see m. 33-38)
..
129 . E[ F ]◦7 − Gm A7 /E[ − D− cresc, climax (see m. 39-40)
131 ⊥ G7 /B − Cm − C7 − F [F] Tr2 : Str (see m. 41-44)

Table 11.28: Tchaikovsky, Nutcracker Suite, Mvt. 1 Ouverture miniature (cont’d)
m M R H Comment
135 M2 B[ B[ − E[ − E[/G − G]◦7 − F7 /A− B2 , a): Vi1
..
139 . <(F79 /E[ − B[/D − B[) b)
143 ⊥ F ]◦7 /E[ −→ Gm − G7 − C7 − b’), PL (%), climax
147 M2 B[ − E[/G − E[ − G]◦7 − F7 /A− [G] 2nd stat: Vi1
..
151 . <(F79 /E[ − B[/D − B[)
155 ⊥ B[7 /A[ −→ E[/G − E[ − D7 −
160 M2’ Gm Gm − <(G7 − Cm) − <(D7 − Am)
..
165 . Gm − C7[5 /G[ − Dm/F − F ]7 /E− Σ(cm<), PBi (&) , cresc
167 ⊥ B[ E[ − C7 /E − F7 − [H] tutti climax
169 <(B[ − D+ − Gm − F7 )
173 <(B[ − F7 ) − B[ tutti climax, cad (183 m.)
period structure (overall layout). The B section bridge theme for woodwinds and strings has
Mb(aab) (2 + 2 + 4 m.) sentence structure, with stretto imitation in the a-phrase (low-middle
register). See Table 11.31 for the analysis.
11.4.5 Mvt. 2d, Danses caractéristiques, Danse Arabe

Form: ABABA Coda form, rondo form. This folk dance has a (g −d)-pedal point (tonic and
dominant) throughout, played by violas and cellos. The introduction A returns twice as a
transitory interlude. The opening motif M0 is a four-measure phrase in three-part sectional
harmony voicing for English horn and two clarinets. The main rondo melody appears in
the B section and has M1(ab) (4 + 4 m.) structure. The oboe countertheme M2 in the B3
section contains a chromatically descending [1 − ∆7 − 7 − [6 − 5]-motif. See Table 11.32 for
the analysis.
11.4.6 Mvt. 2e, Danses caractéristiques, Danse Chinoise

Form: ABA Coda form. In this Asian dance the two bassoons play an 8th note riff throughout
the piece. Bassoon 1 alternates the key tonic and the fifth b[ − f pedal point, the former being
its lowest note (supported by plucked contrabasses). The A section melody has M1(abab)
(2 + 2 + 2 + 2 m.) period structure. Flute and piccolo play the melody a-phrase, occasionally
supported by the glockenspiel. Strings have this funny, eccentric 8th note pizzicato echo
pattern in octaves (the b-phrase). The B section secondary melody M2 is based on the same
idea: an embellished a-phrase answered by pizzicato strings. See Table 11.33 for the analysis.
11.4.7 Mvt. 2f, Danses caractéristiques, Danse des Mirlitons

Form: ABACA form. This dance is a feature for the three flutes, that play 3-part parallel
lines (sectional harmony, as in jazz big band writing) in the A and B sections. The C section

Table 11.29: Tchaikovsky, Nutcracker Suite, Danses caractéristiques, Marche
m M R H Comment
1 M1a G <(G − Em − Bm − G − Em) A1 : Cl+Brs (fanfare-call)
5 M1b Am − D/F ] − G − C/E− Str (response)
7 ⊥ F ]∅7 /A − B7 − Em − Am − A7 /C] − D
9 M1a <(G − Em − Bm − G − Em) [A] 2nd stat: Cl+Brs
13 M1b’ Am − D7 /C − Bm − Em7 /D− Str, Seq(3×1m;R7 )
..
15 . C − Am − D7 /C − Bm−
16 ⊥ Em − Am − F ]7 /A] − B
17 Mc Em B/F ] − Em − Am − F ]∅7 − B [B] B: Brs
19 Md Em − E/G] − Am − F ]∅7 − B WW+Str, Σ(cm)
21 Mc B/F ] − Em − Am − F ]∅7 − B 2nd stat: Brs
23 Me Em − Am − D − D7 /F ] tutti, Σ(cm>)
25 M1a G G − Em − Bm − G − Em [C] A1 : Cl+Brs (see m. 1-16)
29 M1b Am −→ Am − A7 /C] − D Str
33 M1a G − Em − Bm − G − Em [D] 2nd stat: Cl+Brs
37 M1b’ Am −→ D7 − G/B − Am − D7 − G Str, Seq(3×1m;R7 )
41 M2 Em (Em − E7 − Am − B7 )/E− [E] C, P T (e)
43 ⊥ (Em − E7 − A − F ]∅7 − Em)/E
45 M2 (Em − E7 − Am − B7 )/E− 2nd stat
47 ⊥ (Em − E7 − A − F ]∅7 − Em)/E
49 M1a G <(G − Em − Bm − G − Em) [F] A2 : WW+Brs, Str: 16th
53 M1b Am − D/F ] − G Str, Bsn: 16th imit
55 ⊥ F ]∅7 /A − B7 − Em − Am − A7 /C] − D
57 M1a G − Em − Bm − G − Em 2nd st: WW+Brs, Str: 16th
..
63 . C − Am − D7 /C − Bm−
64 ⊥ Em − Am − F ]7 /A] − B
65 Mc Em B/F ] − Em − Am − F ]∅7 − B [G] B: Brs
67 Md Em − E/G] − Am − F ]∅7 − B WW+Str, Σ(cm)
69 Mc B/F ] − Em − Am − F ]∅7 − B 2nd stat: Brs
71 Me Em − Am − D − D7 /F ] tutti, Σ(cm>)
73 M1a G <(G − Em − Bm − G − Em) [H] A2 Brs, Str+WW: 16th
77 M1b Am − D/F ] − G Str, Bsn: 16th
79 ⊥ F ]∅7 /A − B7 − Em − Am − A7 /C] − D
81 M1a <(G − Em − Bm − G − Em) 2nd stat: Brs, Str+WW: 16th
..
87 . C − Dm/F −
88 ⊥ G/B − Am − D7 − G cad (88 m.)

Table 11.30: Tchaikovsky, Nutcracker Suite, Danses caractéristiques, Danse de la Fée-Dragée
m M R H Comment
1 Em <(Em − F ]∅7 − A]∅7 − D]◦7 )/E Intro, Str pizz, P T (e)
5 Ma (Em − F ]∅7 − D]◦7 − A]◦7 − D]◦7 )/E A1 : Cel, (ped)
7 ⊥ (A]◦7 − D]◦7 − Em − F ]∅7 − Em)/E Str: 8th pizz (ped)
9 Mb F ][5
7 /A] − D]◦7 /A − Em/G − F ]7
[9 BCl, Σ(cm<)
11 ⊥ [5
G]∅7 /F ] − F ]7 − B − F ]7 /C − B
13 Ma (Em − F ]∅7 − D]◦7 − A]◦7 − D]◦7 )/E 2nd stat: Cel, P T (e)
15 ⊥ (A]◦7 − D]◦7 − Em − F ]∅7 − Em)/E (ped)
17 Ma’ F ]7 − Em − E7 − A− [A] trans, Seq(3×1m;R7 )
19 D7 − G − B/F ] − Em tutti cad
21 Mc C]∅7 /B − B − Em/G B1 , P D (b)
25 Mc C]∅7 /B − B − Em/G (ped)
29 Mc C]∅7 /B − B − Em/G (ped)
33 B7 − D7 − B7 − F∆7 B2 retrans, Cel
[9/[13
35 B7 − D7 − B7 − D7 − B7 − solo cadenza arp
37 Ma (Em − F ]∅7 − D]◦7 − A]◦7 − D]◦7 )/E [B] A2 : Cel, P T (e),
39 ⊥ (A]◦7 − D]◦7 − Em − F ]∅7 − Em)/E Str: 16th arco (ped)
41 Mb F ][5
7 /A] − D]◦7 /A − Em/G − F ]7
[9 BCl, Σ(cm<)
43 ⊥ [5
G]∅7 /F ] − F ]7 − B − F ]7 /C − B
45 Ma (Em − F ]∅7 − D]◦7 − A]◦7 − D]◦7 )/E 2nd stat: Cel, P T (e)
47 ⊥ (A]◦7 − D]◦7 − Em − F ]∅7 − Em)/E Str: 16th arco (ped)
49 Ma’ F ]7 − B − E7 − A− Coda, Seq(3×1m;R7 )
51 ⊥ D7 − G − B7 − Em tutti cad (52 m.)

Table 11.31: Tchaikovsky, Nutcracker Suite, Danses caractéristiques, Danse russe Trépak
m M R H Comment
1 Ma G (G − C − G − C]∅7 − D7 − G)/G− A: Str, P T (g)
5 ⊥ (D − G − D)/G− P (g−d)
9 Ma’ (G − C − G − C]∅7 − D7 − G)/G− var: Str+WW, P T (g),
13 ⊥ (D − G − C − G)/G P (g−d), plagal cad
17 Ma (G − C − G − C]∅7 − D7 − G)/G− [A] 2nd st: WW+Str, clim, P T (g)
21 ⊥ (D − G − D)/G− P (g−d)
25 Ma’ (G − C − G − C]∅7 − D7 − G)/G− var: Str+WW, P T (g),
29 ⊥ (D − G − C − G)/G P (g−d), plagal cad
d
33 Mb D D − D7 /C − Em − Em7 − [B] B, bridge, imit:
..
35 . A − A7 /G − F ]m − Bm− WW+Str, climax
..
37 . Em − F ] − Em/G − E79 Σ(cm>)
39 ⊥ A7 − C]∅7 /E − D − A7 halfcad
d
41 Mb D − D7 /C − Em − Em7 − 2nd stat
..
43 . A − A7 /G − F ]m − Bm− tutti climax
..
45 . Em − F ] − Em/G − E79 − Σ(cm>)
47 ⊥ A7 − Em/B − A7 /C] − D cad
49 Mc <(Cm/E[ − A7 − D/F ])− [C] retrans
53 ⊥ <(Cm/E[ − D) tutti climax, cad
57 Ma G (G − C − G − C]∅7 − D7 − G)/G− A: WW+Str, clim, P T (g)
61 ⊥ (D − G − D)/G− P (g−d)
65 Ma” (G − C − G − C]∅7 − D7 − G)/G− var: Str+WW, P T (g),
..
69 . (D − . . . − G)/G P (g−d)
..
73 . (D − . . . − G)/G Coda: climax, (ped)
77 ⊥ <(D − G)/G − D − G cad (84 m.)

Table 11.32: Tchaikovsky, Nutcracker Suite, Danses caractéristiques, Danse Arabe
m M R H Comment
h i
3
Allegretto 8 P (g−d)
1 Gm Gm − . . . − A1 , Intro: Va+Vc (mute),
5 M0 Gm − . . . − EHn+2Cl, 2×
14 M1 Gm − . . . − B1 , Vi
22 M1 Gm − . . . − [A] 2nd stat, var
33 M0 Gm − . . . A2 , trans: EHn+2Bsn, 2×
42 M1’ (Gm − G7 − G[9 [9
7 − D7 )/G− [B] B2 , Vi: var
..
46 . (D7[9
− D[7 − C − D[7 )/G−
48 ⊥ (C − D[7 − Cm − Gm)/G
50 M1’ (Gm − A[9
7 − Gm)/G− 2nd stat
..
52 . (Gm − . . . − F ]◦7 − Gm)/G−
..
54 . (Gm − A7 − A[)/G−
57 ⊥ (A7 − A[ − G − . . . − Gm − . . .)/G NB: intermediate major
61 M0 Gm − . . . − [C] A3 , trans: EHn+2Cl,
65 ⊥ Gm − . . . − Str (open), 2 stat
69 M2 Gm− B3 Ob: desc motif
70 M1/⊥ Gm − . . . Vi1+Va, WW: arp response
78 M1/2 Gm − . . . [D] 2nd stat, M2: EHn 8ba
86 M0’ <(Gm − Cm)/G [D] Coda, Cl
88 M1’ G Bsn: app, NB: major
90 M0’ <(Gm − Cm)/G 2nd stat
92 M1’ G
94 M0’ (Gm − Cm − G)/G− 3rd stat, NB: major
97 G morendo (pppp) (102 m.)

Table 11.33: Tchaikovsky, Nutcracker Suite, Danses caractéristiques, Danse Chinoise
m M R H Comment
h i
4
Allegro moderato 4
1 B[ B[ − . . . − A1 , P T (b[)
3 M1 B[ − . . . − Fl
5 ⊥ (F7 − B[)/B[ Str: pizz echoes
7 M1 B[ − . . . − 2nd stat
9 ⊥ (F7 − B[)/B[
11 M2 (F7 − B[ − Cm − F7 − B[)/B[ B 2Fl
15 M2 (F7 − B[)/B[ 2nd stat
17 ⊥ (Cm − F7 − B[)/B[ [A]
19 M1 B[ − . . . − A2 , 2Fl+Glk, Cl: arp
21 ⊥ (F7 − B[)/B[ Str: pizz echoes
23 M1 B[ − . . . − 2nd stat
25 ⊥ (F7 − B[)/B[
27 (F7 − B[)/B[− Coda tutti
29 <(F7 − B[)/B[ cresc (32 m.)
is a contrasting middle section, with the brass dominating this tutti.

The A section main theme has M1(abab’) (4 + 4 + 4 + 4 m.) period structure. The con-
trasting theme in the bridge B, set for English horn, has M2(aa’b) (2 + 2 + 4 m.) sentence
structure. The C section presents a four-measure 16th-note staccato motif M3 for brass sec-
tion with lead trumpets. In the repeat (m. 51 ff.) there is a tutti orchestration with high
strings doubling the trumpet melody at the octave. See Table 11.34 for the analysis.
11.4.8 Mvt. 3, Valse des Fleurs Tempo di Valse

Form: ternary song form,, ABA Coda. Here’s another one from the ‘Best of Classical Music’
CD Collection. It has the right ingredients: an inviting waltz rhythm, velvet leading horn sec-
tion, lyrical strings and playful woodwinds. The larger scale structure of this closing move-
ment is ternary; each section is subdivided into smaller sections (labeled as A::[A1 B1 A2 B2 ]
– B::[C1 D C2 ] – A::[A3 B3 A4 ] – Coda::[E1 E2 E3 ]). All melodies and themes are full of appog-
giaturas, the backgrounds are full of scalar runs in imitation and arpeggios.
The opening theme for woodwinds and horns has M0(aa’b) (4 + 4 + 8 m.) sentence
structure; its a-phrase has much similarity to the main theme a-phrase although in the in-
troduction it has a regular quarter note rhythm. The solo harp cadenza on the dominant 7th
chord is a transition, that launches the waltz rhythm in the lower strings (oom-pah-pah, m. 34
ff.). The A section main melody has M1(aab) (4 + 4 + 8 m.) sentence structure. The b-phrase
has a regular 8th-note rhythm and is full of ascending appoggiaturas. The secondary theme
in the A section bridge (A:B1 ) for string section has M2(aa’aa”) (4 + 4 + 4 + 4 m.) structure;
a single motif is repeated and varied, the last time leading into a climax with chromatically

Table 11.34: Tchaikovsky, Nutcracker Suite, Danses caractéristiques, Danse des Mirlitons
m M R H Comment
h i
2
Moderato assai 4
1 D D − ...− A1 , Str: pizz
3 M1 D − A7 − D − G/D − D/A − E∅7 − A7 − a): 3Fl
..
7 . A97 /C] − D − A97 /E − D/F ]− b), cresc, PB (%)
9 ⊥ E∅7 /G − E7 /G] − A− clim, halfcad
11 M1 D − A7 − D − G/D − D/A − E∅7 − A7 − 2nd stat, a): 3Fl
15 ⊥ A97 /C] − D − E]◦7 − F ]m − G]∅7 − A− b’), cresc, PB (%)
19 M2 A97 − . . . − [A] B, EHn: arp
25 A7 − . . . −
27 M1 D − A7 − D − Bm7 /D − D/A − E∅7 − A7 − A2 , 3Fl, Str: bg
..
31 . A97 /C] − D − A97 /E − D/F ]− cresc, PB (%)
35 M1 D − A7 − D − Bm7 /D − D/A − E∅7 − A7 − [B] 2nd stat: 3Fl
..
39 . C]∅7 − D − C]∅7 /E − D/F ]− cresc, PB (%)
41 ⊥ E∅7 /G − A − D clim, cad
43 M3 F ]m <(F ]m − C]7 )− [C] C, Tpt+Brs, tutti
47 M3 <(F ]m − C]7 )− P (f ] − c])
51 M3 <(F ]m − C]7 )− [D] Tpt+tutti
55 M3 <(F ]m − C]7 )−
60 <(F ]m − C]7 )− 3Fl: retrans
62 M1 D D − A7 − D − Bm7 /D − D/A − E∅7 − A7 − A3 , 3Fl, Str: bg
..
64 . A97 /C] − D − A97 /E − D/F ]− cresc, PB (%)
70 M1 D − A7 − D − Bm7 /D − D/A − E∅7 − A7 − [E] 2nd stat: 3Fl
..
74 . C]∅7 − D − C]∅7 /E − D/F ]− cresc, PB (%)
76 ⊥ E∅7 /G − A − D clim, cad (77 m.)

ascending middle voice and bass.

The B section (m. 134 ff.) presents fresh melodic material: a woodwind melody with
M3(aa’baa’b’) (2 + 2 + 4 + 2 + 2 + 4 m.) period overall structure. This is followed by a
string (violas and celli unisono) melody M4(ab) (8 + 8 m.) melody. In the repeats these
melodies receive new orchestral backgrounds and contrasting instrumental figures (scales
and arpeggios). The detailed analysis is shown in Table 11.35 and 11.36.

The key relationship diagram of the Nutcracker Suite is shown in Fig. 11.8. The key relation
diagrams reveal the characteristic of minimal key movement in the six dances, and more
interest in the opening and closing movements.
Mvt. 1 Ouverture
miniature
1,3 2
Gm H Dm
?6 H j ?
H 6
B[ -F
Mvt. 2a Danses Mvt. 2b Danse Mvt. 2c Danse

Marche de la Fée-Dragée russe Trépak
Em
6
?
G Em G -D
Mvt. 2d Danse Mvt. 2e Danse Mvt. 2f Danse des

Arabe Chinoise Mirlitons
Bm F ]m

*
Gm B[ A
D

Mvt. 3 Valse des Fleurs
Em 3 Bm 1,4 F ]m
*
*

∗

6

G D -A
2,5
Gm Dm Am
6
B[ -F C
Figure 11.8: Tchaikovsky, Nutcracker Suite, key relationship diagram
The Ouverture makes a clockwise key loop B[ − Gm − F − B[ in the A sections. The two
B sections are similar, alternating from the major to the relative minor key, the B1 section

Table 11.35: Tchaikovsky, Nutcracker Suite, Mvt. 3 Valse des Fleurs
m M R H Comment
1 M0 D A − D]◦7 − A − . . . Intro (a): WW+Hns
..
5 . A − D]◦7 − A7 − . . . − (a’) (M0=M1’)
9 ⊥ A7 − B7 − Em − . . . − E7 − A − G]◦7 − (b) P D (a)
16 A7 − . . . − A7 − G]◦7 − A7 − Harp: solo cadenza
34 D A:A1 Str: pizz
38 M1 <(D − C]◦7 − D − . . .)− (aa’): Hns
46 ⊥ A/C] − F ][5 [5
7 /C − Em/B − E7 /B[ − A7 − (b): Cl, Σ(cm<)
54 M1 <(D − C]◦7 − D − . . .) − G][5
7 /D− [A] 2nd st (aa’): Hns
..
62 . F ]m/C] − C]7 /B − F ]m/A − C]7 /G]− (b’): Cl, Σ(cm<)
66 ⊥ F ]m F ]m7 − G][5 6
7 /D − F ]m4 − C]7 − F ]m cad
d
70 M2 D || : D − F ]m/A − Em7 − A7 − [B] A:B1 , (a): Str-WW
..
74 . G/B − A7 − D− (a’) ’C&R’
.. d
78 . D − F ]m/A − Em7 − A7 − (a)
82 ⊥ 1) G/B − G+ /B − C − A /C]− : || (a”) cresc, repeat
7
82’ ⊥ A 2) Bm /F ] − B [5 /F − A6 − E − A tutti climax, cad
7 7 4 7
86 M1 <(D − C]◦7 − D − . . .)− A:A2 (aa’): Hns, WW
94 ⊥ A/C] − F ][5 [5
7 /C − Em/B − E7 /B[ − A7 − (b): Cl, Σ(cm<)
102 M1 [5
<(D − C]◦7 − D − . . .) − G]7 /D− [C] 2nd st (aa’): Hns
..
110 . F ]m/C] − C]7 /B − F ]m/A − C]7 /G]− (b’): Cl, Σ(cm<)
114 ⊥ F ]m F ]m7 − G][5 6
7 /D − F ]m4 − C]7 − F ]m cad
d
118 M2 D || : D − F ]m/A − Em7 − A7 − [D] A:B2 , (a): Str-WW
..
122 . G/B − A7 − D− (a’) ’C&R’
.. d
126 . D − F ]m/A − Em7 − A7 − (a)
130 ⊥ 1) G/B − G+ /B − C − A /C]− : || (a”) cresc, repeat
7
7 7 4 7
134 M3 G D79 − G − Em − Am − A7 − D − G B:C1 (ab): Fl+Ob,

..
142 . D79 − G − Em − C][5
7 /G− (ab’): WW, Str: sc imit
146 ⊥ Bm Bm64 − F ]7 − Bm cad
150 M3 G D79 − G − Em − Am − A7 − D − G [E] 2nd stat (ab): Fl+Cl,
..
158 . D79 − G − Em − C][5
7 /G− (ab’): WW, Str: sc imit
162 ⊥ Bm Bm64 − F ]7 − cresc

Table 11.36: Tchaikovsky, Nutcracker Suite, Mvt. 3 Valse des Fleurs (cont’d)
m M R H Comment
164 M4 Bm Bm/D − C]∅7 − C]∅7 /B− B:D, Va+Vc
.. d
168 . F ][9
7 /A] − F ]7 − Em7 /G − G− PB (&)
172 ⊥ Bm/D − Em7 − F ]7 − Bm PB (%), cad
180 M4 Bm/D − C]∅7 − C]∅7 /B− [F] 2nd stat: Va+Vc
.. d
184 . F ][9
7 /A] − F ]7 − Em7 /G − G− PB (&)
..
188 . Bm/D − Em7 − E]◦7 − PB (%)
192 ⊥ Bm64 − F ]7 − Bm − B7 − cad
196 M3 G D79 − G − Em − Am − A7 − D − G [G] B::C2 (ab): Str+Fl,
..
204 . D79 − G − Em − G7 /F − (ab’) WW: sc imit
..
208 . C]∅7 /E − A7 − cresc, (b’): dim
212 ⊥ A7 − . . . − A[5
7 /E[− climax, PBi (&)
218 M1 D <(D − C]◦7 − D − . . .)− [H] A:A3 (aa’): Hns
226 ⊥ A/C] − F ][5 [5
7 /C − Em/B − E7 /B[ − A7 − (b): Vi, Σ(cm<), clim
234 M1 [5
<(D − C]◦7 − D − . . .) − G]7 /D− [I] 2nd st (aa’): Hns
..
242 . F ]m/C] − C]7 /B − F ]m/A − C]7 /G]− (b’): Vi, Σ(cm<)
246 ⊥ F ]m F ]m7 − G][5 6
7 /D − F ]m4 − C]7 − F ]m cad, clim
d
250 M2 D || : D − F ]m/A − Em7 − A7 − A:B3 , (a): Str-WW
..
254 . G/B − A7 − D− (a’) ’C&R’
.. d
258 . D − F ]m/A − Em7 − A7 − (a)
262 ⊥ 1) G/B − G+ /B − C − A7 /C]− : || (a”) cresc, repeat
7 7 4 7
266 M1 <(D − C]◦7 − D − . . .) − F7 /E[ A:A4 (aa’): Brs+WW, cl
..
274 . B[ <(B[/D − F7 /C − B[ − F7 /E[)− (b”): Vi, Σ(cm<)
..
282 . B[/D − F7 /A − B[ − C7 /B[− (b”): Vi, cresc
286 ⊥ A7 − F ]◦7 − B◦ /F − A7 /C]− cresc, Σ(cm<)
290 M1 F (F − E◦7 − F )/C− C:E1 (aa): Brs+WW,
294 ⊥ (F − E◦7 )/C − F − A7 /E− P D (c), tutti climax
298 M2’ D D/F ] − D+ − Em/G C:E2 (a): Str-WW: C&R
.. d
302 . C]∅7 /E − C]/E] − D/F ] [K] (a)

Table 11.37: Tchaikovsky, Nutcracker Suite, Mvt. 3 Valse des Fleurs (cont’d)
m M R H Comment
.. d
306 . B[/D − E7 /D − A/C] − D7 /C − Em/B− (b’): tutti, Σ(cm<)
..
310 . E7[5 /B[− D/A − Gm cresc, Σ(cm<)
312 ⊥ G]◦7 /F − Am/E − A[5
7 /E[−
314 M2’ D/F ] − D+ − Em/G 2nd stat (a): Str-WW: C&R
.. d
318 . C]∅7 /E − C]/E] − D/F ] (a)
.. d
322 . B[/D − E7 /D − A/C] − D7 /C − Em/B− [L] (b’): tutti, Σ(cm<)
..
326 . E7[5 /B[ − D/A − Gm cresc, Σ(cm<)
328 ⊥ G]◦7 /F − Am/E − A[57 /E[−
330 <(D − F ]m − G − A7 /E)− C:E3 , tutti cl climax
334 <(D − F ]m − G)
338 D − G/B − A − D closing cad (341 m.)
starting on the dominant F (2), the closing B2 section mirroring that behaviour in the tonic
key B[ (3).
The key patterns in the dances are static (no movement) or follow the sectioning of these
movements, going towards the relative minor key G − Em − G or the dominant major key
G − D − G. The exception here is the Danse des Mirlitons, which alternates with the mediant
minor key D − F ]m − D in the middle section.
That same pattern may be observed in the closing Valse des Fleurs, where the A sections
move from the tonic towards the mediant minor key D −F ]m−(D) (1,4), while the B section
copies this pattern, starting from the subdominant major key G (3). Towards the end, there
is an intersting ambiguity created by the key B[ (6), which is both the lowered supertonic
major (Neapolitan) of the dominant key A and the lowered submediant degree major key
in the tonic key: B[ = [II|V = [VI. However, it does not resolve in the dominant key, but
instead moves towards its intermediate dominant key F , which is also the lowered mediant
key of the tonic F = V |[VI = [III. And from there it returns directly to the tonic.


Chapter 12
Edvard Grieg
Biographical data:
∗ 15-6-1843 Bergen
† 4-9-1907 Bergen
1600 1700 1800 1900 2000
12.1 Peer Gynt Suite No. 1 Op. 46 (1888)

Source: [24]. This four-movement suite is derived from the original music written in 1874
for the play Peer Gynt by Henrik Ibsen. The overview of the formal analysis is shown in
Fig. 12.1.
All movements are fairly short and have a straightforward binary or ternary structure.
The exception is Mvt. 4, ‘In the Hall of the Mountain King’, which has ‘triple A’ status. Sub-
sections within the movements are of comparable length. Variation technique is applied
within the subsections, there is no significant development of musical elements. The open-
ing movement ‘Morning Mood’ is the only piece in a major key E, the others are in minor
mode.
12.1.1 Mvt. 1 ’Morning Mood’ Allegretto pastorale

Form: ABA-Coda, ternary song form. See Table 12.1 for the analysis. The gentle, pastoral
main theme has M1(aa’b) (1 + 1 + 2 m.) sentence structure. In the opening section A it is
played five times, alternating between flute and oboe, and the last time played by unisono
strings) The key centres move in ascending direction E − G] − B − E = I − III − V − I. The
last statement (m. 21 ff.) is a tutti climax, which is continued over into the middle section B.
This is a long sequence, with three statements of an 8-measure phrase, Seq(3×8m;R3i ), now
with descending roots at steps of a minor third (three semitones 3i): C]m−B[m−G(m). The
cello theme M2, in combination with the dominant pedal point in the violin, reveals the true
key through a number of similar cadences G] − F ]m/A = V − IV m|C]m (the tonic is never
played). Since the theme is not repeated over the third sequence statement we only hear the
dominant D and therefore the key could be major or minor G(m). The chord progression
D − D[+ − F/C(= N46 = [II|E ) − C + , with the theme in the horn and woodwind 16th
2005-2017
CHAPTER 12. EDVARD GRIEG
h i
6
Mvt. 1 ’Morning Mood’ Allegretto pastorale: ABA-Coda form (E, 8 , 87 m.)
A B A’ Cd
h i
4
Mvt. 2 ’Aase’s Death’ Andante doloroso: AB form (Bm, 4 , 45 m.)
A B
h i
3
Mvt. 3 ’Anitra’s Dance’ Tempo di Mazurka: ABACA form (Am, 4 , 91 m.)
I A1 B A2 C A3
Mvt. 4 ’In the Hall of the Mountain King’ Alla marcia e molto marcato:
h i
4
AAA Coda form (Bm, 4 , 88 m.)
A1 A2 A3 Coda
Figure 12.1: Peer Gynt Suite No. 1 Op. 46
note arpeggios, is a retransition into the main key in the section A’. Timpani, bassoon and
contrabasses play an extended dominant pedal P D (b), the upper strings continue the 16th
note arpeggios, while the main melody M1 is played now by oboe, first bassoon and celli.
The melody is slightly varied in repetitions of the b-phrase, and in juxtaposition of clarinet
and horns (m. 66 ff.). The a-phrase returns in the Coda, which repeats the E − E 6 (= C]m/E)
pattern from the opening measures.
12.1.2 Mvt. 2 ’Aase’s Death’ Andante doloroso
Form: AB,, binary form. See Table 12.2 for the analysis. The movement is for strings only
and displays symmetry and mirror structure. Both sections are of equal length and while the
opening section A is rising in pitch and dynamics, the closing section B follows the reverse
path.
The theme has regular M(aab) (1 + 1 + 2 m.) sentence structure. In the A section it is
played three times in tonic-dominant-tonic key statements. Each statement consists of an
M-M’ pair, the latter with a different harmonisation of the a-phrase (note the augmented
sixth chords) and a variation of the b-phrase with a closing cadence. The rising pitches and
dynamics pattern (p−pp → mf −p → f − ff ) support the climax building.
The closing section B has a (chromatically) descending lead voice (depicting death) with
a rhythm derived from the main theme. The shape of the viola parts most resembles the
original melody. Again, we hear a set of tonic-dominant key statements, augmented sixth
chords and closing cadences. But now the four theme statements start at lower pitches and
softer dynamics (p−pp), with a morendo closing chord.

12.1. PEER GYNT SUITE NO. 1 OP. 46
Table 12.1: Peer Gynt Suite No. 1 Op. 46, Mvt. 1 ’Morning Mood’ Allegretto pastorale
m M R H Comment
h i
6
Allegretto pastorale 8 (]]]]) A
1 M1 E E − . . . − C]m/E = E 6 − E aa’b): Fl, WW bg, Va imit
5 M1 E − . . . − C]m − G] aa’b): Ob, Str bg, Bsn imit
9 M1 G] G] − . . . − E + − G] aa’b): Fl, WW bg, Va imit
13 M1 G] − . . . − C]m − B aa’b): Ob Str bg, Bsn imit
17 M1’ B B − . . . − B7 trans, a’): Fl-Ob imit, cresc
21 M1 E E − . . . − C]m/E − F ]m [A] aa’b): Str unis, tutti climax
..
25 . F ]m − D]◦ /F ] − G]m − E/G]− trans, Seq(3×1m;R7 )
27 ⊥ A − F ]m/A−
30 C]m G]− [B] B, tutti clim, Seq(3×8m;R3i )
32 M2 (A∆7 − F ]m − A − F ]m)/A− Vc, Vi P D (c]), N |G]
..
34 . <(G] − A − F ]m)/A−
36 ⊥ G] − C7 /F − dyn f − p
38 B[m F [C], tutti clim
40 M2 (G[∆7 − E[m − G[ − E[m)/G[− Vc, Vi P D (b[)
..
42 . <(F − G[ − E[m)/G[ dynamics f − p
44 ⊥ F − A7 /E−
46 Gm D − . . . − D[+ − [D] tutti clim
50 M1 F/C − . . . − Dm/A − F/C retrans, aa’b): Hn, WW arp, [II
54 F/C − C + −
56 M1 E E/B − . . . − C]m/G] − E/B [E] A’, aa’b): Ob+Bsn+Vc, P D (b)
..
60 . <(C]m/G] − E/B) b’), HiStr 16th arp
62 ⊥ C]m/G]− b’): Hn augm
64 M1 E/B − F ]m7 /C]− a): Vi1, Str bg
..
65 . E/B − F ]m7 /A− a’), PB (&)
66 ⊥ E/G] − A]◦7 /G − B7 /F ]− b’): Cl, PBi (&) , Pm
i (&)
68 M1’ E − ...− b’): Hns, WW bg

70 ⊥ E/G] − A]◦7 /G − B7 /F ]− b’): Cl, repeat
72 M1’ E − ...− b’): Hns, WW bg
74 ⊥ <(B7 /F ] − E) − B7 /F ] b’): Hns, GP
77 B7 − B7sus4 − [F] Coda
79 M1 <(E − E 6 )− aa’): Fl-Bsn, Str-WW bg
83 ⊥ E − C]m/G] − E tutti (87 m.)

Table 12.2: Peer Gynt Suite No. 1 Op. 46, Mvt. 2 ’Aase’s Death’ Andante doloroso
m M R H Comment
h i
4
Andante doloroso 4 (]]) A
1 M Bm <(Bm − F ])− aa): Vi1, Str only, soft p
..
3 . Bm − C]m7 − Em − Bm/D− b), Σ(cm)
4 ⊥ C]m7 − E7 − F ] Σ(cm>)
5 M’ <(Bm − C][5
7 /G)− aa): Vi
..
7 . C]m7 − E7 − F ] − E7 − C]◦ /E− b’), Σ(cm)
8 ⊥ F ]7 /C] − Bm cad
9 M F ]m <(F ]m − C])− aa): Vi, 2nd st, dyn mf
..
11 . F ]m − G]m7 − Bm − F ]m/A− b), Σ(cm)
12 ⊥ G]m7 − B7 − C]m
13 M’ <(F ]m − G[5
7 /D)− aa): Vi
..
15 . G]m7 − B7 − C] − B7 − G]◦ /B− b’), Σ(cm)
16 ⊥ C]7 /G] − F ]m cad
17 M Bm <(Bm − F ])− aa): Vi1, 3rd st, loud f
..
19 . Bm − C]m7 − Em − Bm/D− b), Σ(cm)
20 ⊥ C]m7 − E7 − F ] Σ(cm>)
21 M’ <(Bm − C][5
7 /G)− aa), climax ff
..
23 . C]m7 − E7 − F ] − E7 − C]◦ /E− b’), Σ(cm)
24 ⊥ F ]7 /C] − Bm cad
d
25 (M) <(C][5
7 /G − D) − D7 [A] B, Vi PL (&), D
28 ⊥ C][5
7 − F ]−
d
29 (M) <(F ][57 − G) − G7 − 2nd stat, T
31 ⊥ F ][13
7 − Bm cad
d
33 (M) <(C][5
7 /G − D) − D7 3rd stat, 8ba, D
36 ⊥ [5
C]7 − F ]−
d
37 (M) <(F ][5
7 − G) − G7 − 4thd stat, T
40 ⊥ [13
<(F ]7 − Bm) cad
44 Bm morendo (45 m.)

12.1.3 Mvt. 3 ’Anitra’s Dance’ Tempo di Mazurka

Form: ABACA form. This dance movement, again for strings only, could also be interpreted
as a ternary form, by reading the subsections as A-(BAC)-A. See Table 12.3 for the analysis.
The A1 section main melody has M1(abc) (4+4+4 m.) structure. The b-phrase is a derived
variation on the closing pattern in the a-phrase (two 8th notes leap + two quarter notes step).
In both the b- and the c-phrase there is the characteristic chromatically descending inner
voice. In the background we find pizzicato and arco string playing, and extended tonic-
dominant pedal point.
The contrasting B section splits the first violin group (divisi). They play a two-part theme
M2 in parallel thirds S(2p). This is stated twice over a sequence and closes with 8th note
imitative patterns in arco and pizzicato string parts. The main theme M1a-phrase returns
in the transitory sections A2 and C, in the latter as an imitation between 1st violins and
violas. Considering the harmony in sections BA2 C in somewhat more detail, we find a
chord progression dovetailed between a number of sequences: (E7[9 − A[9 9
7 )Seq − (D − A7 −
Dm − A[9 [9 [9
7 ) − F7 /E[ − F ]m7 − (B7 − E7 )Seq . Interpreted within the diatonic framework of
the tonic minor key Am this yields (V7 − I7 ) − (IV − I7 − IVm − I7 ) − ([III7 |D = [VI7 |A ) −
V Im7 − (II7 − V7 ). This chord progression illustrates the path towards the subdominant axis
SD and back to the tonic.
A varied form of the main melody M1 returns in the closing A3 section. The b-phrase is
doubled in length, using the Neapolitan chord B[/D = N 6 .
12.1.4 Mvt. 4 ’In the Hall of the Mountain King’ Alla marcia e molto marcato
Form: AAA Coda. The full orchestra returns in the closing movement of this suite. See
Table 12.4 for the analysis.
The division is ternary on the global and local scale: there are three equal length A sec-
tions, with the main theme statements in tonic-dominant-tonic keys. The bass parts are full
of quarter note (tonic-dominant, root-fifth) ostinato patterns, changing to 8th note lower
string riffs in section A3 . The development of this movement obviously lies in the orchestra-
tion, which is building up to an overall tutti climax at the end.
A number of elements and orchestration details contribute to this Bolero avant la lettre:
• Dynamics: the opening is very soft, pizzicato lower strings (celli and basses) playing
p, and bassoons pp. The p piano dynamics continue in the strings (m. 26, A2 ) until the
crescendo e stretto poco a poco in m. 34. Medium loudness is reached in m. 46 with mf in
the strings and f in the woodwinds. Then, after a brief return to p in m. 43 there is the
ff outburst in m. 45, A3 , with triple forte fff in the closing measure.
• Tempo: the movement starts as a somewhat fast march (138 BPM). The tempo picks
up speed in section A3 at the Più vivo, followed by the stringendo al fine in m. 66.
• Octave selection for the melody, which is supporting the title (‘Climb every mountain’):
in section A1 the low strings play in octaves starting on the tonic pitch {B1 , B2 }, dou-
bled with the tonic pedal point in bassoons (2nd bassoon is playing in very low regis-
ter). Section A2 has the violins stating the theme again in parallel octaves, now starting
on pitches {B3 , B4 }, and answered in the same octaves by clarinet and oboe (m. 30 ff.).

Table 12.3: Peer Gynt Suite No. 1 Op. 46, Mvt. 3 ’Anitra’s Dance’ Tempo di Mazurka
m M R H Comment
h i
3
Tempo di Mazurka 4 Introduction
1 Am E− HiStr
3 <(Am − E7[9 no 3 )− pizz, P (a−e)
7 M1 || : <(Am − E7[9 no 3 ) − Am A1 , a): Vi1, P (a−e)
..
11 . F/A − C/E − D]◦7 /A− b)
..
13 . F/A − C/E − B−
..
15 . (F ] − B7[5 no 3 − E − G+ )/E− i (&), P (e−b)
c), Pm
..
17 . (Bm − G[5 7 no 1 − C∆7 − B)/E−
19 ⊥ E − . . . − : || HiStr 8ths%
23 M2 E7[9 − . . . − B, Vi1 S(2p), Seq(2×8m;R5 )
27 ⊥ E7[9 no 3 − . . . − 8ths& imit pizz-arco
31 M2 A[9
7 − ...− VI1 S(2p)
35 ⊥ A[9
7 no 3 − . . . − 8ths& imit pizz-arco
39 D <(D − A97 no 3 )− A2 , P (d−a)
42 M1’ D − A7 − <(D − A97 no 3 )− a): Vi1
46 Dm <(Dm − A[9 7 no 3 )− maj-min
49 M1’ Dm − A7 − <(Dm − A[9 7 no 3 )− a): VI1
53 M1’ F7 /E[ − . . . − [B] C, a): Vi1-Va imit
57 M1’ F ]m7 − . . . − a): Vi1-Va imit
61 M1’ [9
<(B7sus4 − B7 )− a): Vi1-Va imit, Seq(2×4m;R5 )
.. [9
65 . <(E7sus4 − E7 )−
69 M1 Am || : <(Am − E7[9 no 3 ) − Am A3 , a): Vi1-Vc imit, P (a−e)
..
73 . F/A − C/E − D]◦7 /A− b) extended var
..
75 . F/A − C/E − B−
..
77 . B[/D − F − G]◦7 /D− N6
..
79 . B[/D − F − E− N6
..
81 . (B − E7[5 no 3 − A − C + )/E− i (&), P (e)
[C] c), Pm D
..
83 . (Em − F ] − F∆7 − E)/E−
85 ⊥ Am − . . . − E −1) Am : || Coda, HiStr 8ths%
89 Am HiStr (91 m.)

Table 12.4: Peer Gynt Suite No. 1 Op. 46, Mvt. 4 ’In the Hall of the Mountain King’ Alla marcia
e molto marcato
m M R H Comment
h i
4
Alla marcia e molto marcato 4 (]])
1 F ]no 3 − Hns
2 M Bm Bm − D − C] − C − Bm − D A1 , Stat 1, LoStr pizz, Bsn P (b−f ])
6 M Bm − D − C] − C − Bm − D Bsn, LoStr P (b−f ])
10 M’ <(F ] − D+ ) − F ] Stat 2, LoStr pizz D
14 M’ <(F ] − D+ ) − F ]− Bsn
18 M Bm − D − C] − C − Bm − D Stat 3, LoStr pizz, Bsn P (b−f ])
22 M Bm − D − C] − C − Bm − D Bsn, LoStr P (b−f ])
26 M Bm − D − C] − C − Bm − D [A] A2 , Vi pizz, P (b−f ]), Va 16ths
30 M Bm − D − C] − C − Bm − D Ob+Cl, LoStr+Hns P (b−f ])
34 M’ <(F ] − D+ ) − F ] Vi D, P (f ]−c])
38 M’ <(F ] − D+ ) − F ]− Ob+Cl,
42 M Bm − D − C] − C − Bm − D Vi, Bsn P (b−f ]), Vc 16ths
46 M Bm − D − C] − C − Bm − D Ob, Vi+Va 16ths turns, arco
Più vivo A3
50 M Bm − D − C] − C − Bm − D [B], HiStr, Brs P (b−f ]),
54 M Bm − D − C] − C − Bm − D LoStr 8ths runs, WW 16ths
58 M’ <(F ] − D+ ) − F ] HiStr+Brs D, P (f ])
62 M’ <(F ] − D+ ) − F ]− Ob+Cl,
Stringendo al fine
66 M Bm − D − C] − C − Bm − D [C] VI, Bsn P (b−f ]), Vc 16ths
70 M Bm − D − C] − C − Bm − D Ob, Vi+Va 16ths turns, arco
74 B◦7 − Bm [D] Coda, tutti accts climax
76 (M) Bm − F ] − Bm WW cad
78 B◦7 − Bm tutti accts
80 (M) Bm − F ] − Bm WW+HiStr cad
82 B◦7 − . . . − Bm tutti accts (88 m.)

Finally, in section A3 the high strings (violins and viola) are playing in double octaves
{B3 , B4 , B5 }.
• A few orchestration details: the opening low register for bassoon has been mentioned
already. In A2 , m. 26, violas start their dominant pedal, offbeat 16th note turn patterns
in the low register, on pitch F ]3 and later very low C]3 . These offbeat patterns in the
background are picked up by the celli (m. 42 ff.) and violins (m. 46, 16th note quin-
tuplets), and then by the full woodwinds in m. 50 ff. The strings open with pizzicato
playing, gradually changing to arco; note the offbeat patterns in violas in m. 26, vi-
olins in m. 46, lower string ostinato riffs in m. 48. There is measured tremolo in the
string lead parts in section A3 . Horns are playing offbeat dominant pedal accents: half
notes on pitches {F ]3 , F ]4 }, {A2 , A3 }, {C]3 , C]4 } in section A1 , quarter notes in section
A2 . In section A3 horns play very loud tonic pedal pitches {B3 , B4 }, now supported
by offbeat trumpet dominant pedal point {F ]4 , F ]5 }. Timpani have joined the pedal
point group in m. 42 ff.. Full brass and other percussion (bass drum, piatti) complete
the climax setting in section A3 .

The key relationship diagram of the Peer Gynt Suite No. 1 is shown in Fig. 12.2.
Apart from the opening movement, the key envelopes in this suite are very limited.
Movement 2 moves from the tonic minor key Bm to the dominant minor key F ]m and back.
Movement 4 basically remains in the tonic minor key Bm; it is only the 2nd main theme
statement in each section that hints at the dominant major key F ].
The contrasting and transitory middle sections in Mvt. 3, Anitra’s Dance, show a coun-
terclockwise key pattern A − D − Dm from the tonic T to the subdominant axis SD. In the
opening movement, Morning Mood, there is a similar, but now clockwise key pattern through
the dominant axis D in the opening A section: E − G] − B. The middle section B moves from
the tonic major key E towards the relative minor key C]m, then remains on the tonic axis T.
The closing A section is static, in the tonic major key E.
12.2 Peer Gynt Suite No. 2 Op. 55 (1891-2)

Source: [24]. This is the second suite derived from the original music for the play Peer Gynt
by Henrik Ibsen. The overview of the formal analysis is shown in Fig. 12.3.
The two middle movements, depicting scenes with a specific musical mood, are some-
what longer than the outer movements. Movement 2, the ‘Arabian Dance’, has a clear ternary
ABA structure. The ‘Journey Home’ in the third movement is a throughcomposed piece, but
still may interpreted in terms of a three-section ABC structure. For a gentler atmosphere
there are the lamenting opening ‘The Abduction of the Bride’ and the peaceful closing move-
ment ‘Solveig’s Song’, both with a binary AB structure. These movements both have alternat-
ing time signature, and the coda mirroring the introduction.
12.2.1 Mvt. 1 ’The Abduction of the Bride (Ingrid’s Lament)’ Allegro furioso
Form: Introduction AB Coda form. See Table 12.5 and 12.6 for the analysis.

Mvt. 1 ’Morning Mood’

Allegretto pastorale
- B[m F
1
C] G]
2

C]m G]m
6
-E B
Em Bm
Mvt. 2 ’Aase’s Death’
G D Andante doloroso
- Gm -
Dm Bm F ]m
Mvt. 3 ’Anitra’s Dance’ Mvt. 4 ’In the Hall of the Mountain King’
Tempo di Mazurka Alla marcia e molto marcato
D A B
F]
Y
H
? HH
Dm - Am Bm F ]m
Figure 12.2: Peer Gynt Suite No. 1 Op. 46, key relationship diagram
Mvt. 1 ’The Abduction of the Bride (Ingrid’s Lament)’ Allegro furioso:

h ih i
2 3
Introduction AB Coda form (Gm, 4 4 , 82 m.)
Intro) A B Coda
h i
4
Mvt. 2 ’Arabian dance’ Allegretto vivace: ABA-Coda form (C, 4 ,147 m.)
A1 B A2 Coda
h i
6
Mvt. 3 ’Peer Gynt’s Journey Home’ Allegro agitato: ABC Coda form (F ]m, 8 , 192 m.)
A B C Coda
Mvt. 4 ’Solveig’s Song’ Andante - Allegretto: Introduction ABAB Coda form

h ih i
4 3
(Am − A, 4 4 , 76 m.)
I A1 B1 A2 B2 C
Figure 12.3: Peer Gynt Suite No. 2 Op. 55

This movement is based on the contrast between the furioso introduction and coda vs.
the doloroso middle sections A and B. The Introduction itself is already opposing the Allegro
tempo tutti climax opening motif M0 in C Aeolian (note the pitch a[, which is not part of
the tonic minor scale Gm) with the Andante sustained chords for brass and timpani G − Gm
(major - minor).
Section A consists of two statements of the sad, lamenting (doloroso) main theme M1. The
first statement is for strings only, with the 2-part setting S(2p) in parallel thirds of the lead
melody distributed over the violins in low register (on the G string) and the lower strings.
The melody has M1(aa’bb’) (4 + 4 + 4 + 8 m.) structure, with a harmonic sequence in the b-
phrase. Violas are playing an extended dominant pedal point P D (d), in syncopated quarter
note rhythm.
The second statement (m. 35 ff.) repeats the melody. It is transferred to the higher regis-
ter, with violins playing in parallel octaves. The harmony is modified, with more chromati-
cally descending patterns in lead and middle voices. Woodwinds play a sustained harmonic
background. The dominant pedal is now shared by horns (sustained notes) and violas plus
celli (repeated 8th note patterns).
A tutti climax is reached in section B (m. 53 ff.). Trumpets and timpani are playing a
tonic pedal point P T (g) in repeated accented 8th notes. There is parallel descending chro-
matism in the inner voices (woodwinds, horns and violas plus celli). Two quotes from the
main theme b-phrase (m. 57, 61) yield a transition towards the opening material, which now
sounds as a copy in the Coda.
12.2.2 Mvt. 2 ’Arabian dance’ Allegretto vivace

Form: ABA Coda. See Table 12.7 and 12.8 for the analysis.
A percussion groove with the cliché combination of bass-drum (downbeats), piatti and
triangle (offbeats), as is typical for a ‘Marcia alla Turca’ mood, sets off section A1 . A piccolo
and flute pair opens with main theme M1, in parallel thirds S(2p), suggesting a diatonic
parallel harmony Hk ~ . The melody is in C major (Ionian mode, see later) and has structure
d
M1(aabb’) (2 + 2 + 2 + 2 m.). The quasi-Arabian mood is continued with a unisono statement
in woodwinds of a Mixolydian mode theme M2 (m. 12 ff.) in sequential setting. This theme
is answered by forte rhythmical accents in brass and strings (hammering out the 7th of the
chords). Theme M1 returns (m. 21 ff.), now as a variation M1’(ab) for flutes and violins,
and again in parallel thirds. There is tonic-dominant support in the strings and brass, with
added tambourine percussion. The key alternates between the tonic and mediant degree
major C − E − C. This opening section is concluded with a transition (m. 34 ff.) which
juxtaposes a unisono dominant pedal g climax with a quote from the main theme M t (from
m. 21). A brief fanfare motif for bassoons and horns (with a textbook example of the horn
5ths) leads into the concluding unisono statement of M1 with plagal cadence.
The middle section B moves into the relative minor area Am (m. 46 ff.) with a strings only
setting. First violins play a gentle melody with M3(aab) (2 + 2 + 4 m.) sentence structure.
There is a continuous countermelody Mc in the cello, with pizzicato beat-afterbeat 8th note
patterns in the other strings. The second statement is a variation with an extended b-phrase
over a harmonic sequence. The move to the parallel major key A (m. 66 ff.) acts as a transi-
tion, with lead for flute, clarinets and high strings in a three-part setting and a unisono quote
for clarinet and bassoon, suggesting the main theme M1’. The contrasting theme M3 in Am

Table 12.5: Peer Gynt Suite No. 2 Op. 55, Mvt. 1 ’The Abduction of the Bride (Ingrid’s Lament)’
Allegro furioso
m M R H Comment
h i
2
Allegro furioso 4 ([[) Introduction
1 M0 <(D∅7 − F m7 /E[) − D∅7 − hStriunis, tutti clim, C Aeol
3
Andante 4
5 G G Brs+Timp,
h i major
2
Allegro furioso 4
8 M0 <(D∅7 − F m7 /E[) − D∅7 − Str
h iunis, tutti clim, repeat
3
Andante doloroso 4
12 Gm Gm Brs+Timp, minor
15 M1 Gm − D/F ] − D7no 3 /A − Gm A, a): Vi+LoStr S(2p), Va P D (d)
..
19 . Gm/B[ − A[9
7 − D7 /A− i (&), P (&)
Pm B
..
21 . Gm − D7[9 /F ]− a’)
..
23 . B[ − Gm − Dm7no 3 /A − B[ b), Seq(2×4m;R3 )
..
25 . B[ − Gm − Dm7no 3 /A − Gm
..
27 . Gm − E∅7 − D/F ]− b’)
..
29 . Gm − E∅7 − D/F ]−
..
31 . E7 − A∅7 /E[− PB (&)
33 ⊥ D7[9 − Gm cad
35 M1 Gm − D/F ] − D7 /A − Gm [A] a): Vi, Hns+Va+Vc P D (d)
..
39 . Gm/B[ − A[9
7 /B[ − D7 /A − Dm7 /A− a’), WW bg, PB (&), PLi (&)
..
41 . E∅7 /G − E[/G − D7[9 /F ]− [VI|Gm = N 6 |Dm
.. i (&)
43 . (Dm − E◦ − F7 − Dm)/F − b), Seq(2×4m;R3 ), Pm
..
45 . (Dm − E◦ − F7 )/F −
.. [5/[9
46 . Dm/F − E7 − A7 no 1 /E[− PBi (&)
..
47 . (B[ − C]◦ − D7 − B[)/D− b’)
..
49 . (B[ − C]◦ − D7 )/D−
..
50 . B[/D − C]◦7 − A◦ /C− PBi (&)
51 ⊥ B[7 − Gm/B[ − D7 /A− cresc

Table 12.6: Peer Gynt Suite No. 2 Op. 55, Mvt. 1 ’The Abduction of the Bride (Ingrid’s Lament)’
Allegro furioso (cont’d)
m M R H Comment
53 Gm − E[− [B] B, tutti clim, Tpt+Timp P T (g)
55 D − G[5
7 /D[− Pmi (&)
57 (M1) C7 − F ]◦7 /C − Gm − E[− b’): Pi+Ob+Hn+Vi

59 D − G[5
7 /D[− Pmi (&), Hn+Timp P (g)
T
61 (M1) C − F ]◦7 /C− b’): Ob
63 Gm − . . . − Str+LoWW, Timp P T (g)
h i
2
Allegro furioso 4 Coda
68 M0 <(D∅7 − F m7 /E[) − D∅7 − [C]
h i Str unis, tutti clim
3
Andante 4
72 G G Brs+Timp,
h i major, P T (g)
2
Allegro furioso 4
75 M0 <(D∅7 − F m7 /E[) − D∅7 − Str
h iunis, tutti clim, repeat
3
Andante 4
79 Gm Gm Brs+Timp, minor, P T (g) (82 m.)
returns (m. 74 ff.), with minor instrumentation changes: the lead is now in divisi 1st violins,
playing in parallel octaves. The b-phrase is once more extended in the second statement.
The Arabian mood returns in m. 98, section A2 with the Mixolydian motif M2. The
material from m. 20 with theme M1’ is copied in m. 106 ff., as is the case for the transition
and conclusion in m. 120 ff. (copied from m. 34). The Coda mirrors the opening of this
movement: a two-part setting of M1 for woodwinds and upper strings softly finished by the
strings in the lower octave and leading into p percussion only in the final measures.
12.2.3 Mvt. 3 ’Peer Gynt’s Journey Home’ Allegro agitato

Form: ABC Coda, ternary form. See Table 12.9 and 12.10 for the analysis.
This is a journey home not without problems, as the stormy trip at sea depicted in this
movement suggests. Grieg illustrates the seafaring journey with dynamic contrasts and
three melodic motifs:
1. A ‘Signal Motif’ Ms, ascending tonic-dominant leaps with 8th note-rest-note rhythm.
This motif is frequently set as an imitation. It starts the movement and returns later
near the end of section B and in C, in combination with the third theme. There is a
variation on this motif in m. 61-67, where flute and oboe play the signal rhythm, while
1st violins and celli play the same melody as sustained notes, a lead line that suggests
the longing for home port?
2. A ’Turn Theme’ Mt, a connected group of legato 8th notes, meandering around a focal
pitch (often the dominant pedal point), probably depicting sea waves. This is used in

Table 12.7: Peer Gynt Suite No. 2 Op. 55, Mvt. 2 ’Arabian dance’ Allegretto vivace
m M R H Comment
h i
4
Allegretto vivace 4 A1
1 Perc
3 M1 C F − Em − Dm − C aa): Pi+Fl S(2p) C-Ion, Hk~
d
7 ⊥ <(Am − Em) bb’)
12 M2 C7 /B[− WW unis C-Mixol, Seq(2×4m;R−7 )
16 M2 B[7 /A[− Mixolyd, Str+Brs accts
20 C [A] Str+Hns clim, P (c−g)
21 M1’ (F − C∆7 )/C− ab’): (Fl+Vi)-WW S(2p) Ion
24 ⊥ (Dm7 /F − C∆7 )/C− ab’) repeat
27 E E [B] Str+Hns clim, P (e−b)
28 M1’ (A − E∆7 )/E− ab’): (Fl+Vi)-WW S(2p) Ion
31 ⊥ (F ]m7 − E∆7 )/E− ab’) repeat
34 [C] trans, clim, unis P D (g)
35 Mt C C Fl+Vi S(2p), P (c−g)
36 repeat, unis P D (g)
37 Mt C Fl+Vi S(2p), P (c−g)
38 Mf <(Gno 3 − C) Bsn+Hns fanfare
42 M1’ Am7 − Em − F∆7 − C a’): WW+Str unis, plagal cad
46 M3/c Am <(Am − G]◦7 − Am) [D] B, aa): Vi, Mc: Vc
50 ⊥/⊥ <(E − Bm) − E b), Str pizz bg
52 M3/c <(Am/C − C + − F∆7 − G]◦7 ) [E] 2nd stat, aa)
.. ..
56 ./ . B[/D − F7 /E[− c), N 6 , Seq(2×3m;R−7 )
.. ..
57 ./ . B[/D − E7 /D−
.. ..
58 ./ . Am/C − E7 /D−
.. ..
59 ./ . Am/C − D7 /C−
.. .. [5/[9 d
60 ./ . G]◦7 /B − E7 /B[ −
61 ⊥/⊥ F − B[/D − Am64 − E−
62 E − E7 − [F] Hns P D (e)
(]]])
66 A A − F ][9 9
7 /A] − E7 /B − E7 − trans, Ob+Cl+Vi, P D (e)
68 A − F ][9 9
7 /A] − E7 /B − E− repeat
70 (M1’) <(D − A − E)− Cl+Bsn unis
(\\\)
74 M3/c Am <(Am − G]◦7 − Am) [G] B, aa): Vi div, Mc: Vc
78 ⊥/⊥ <(E − Bm) − E b), Str pizz bg

Table 12.8: Peer Gynt Suite No. 2 Op. 55, Mvt. 2 ’Arabian dance’ Allegretto vivace (cont’d)
m M R H Comment
82 M3/c <(Am/C − C + − F∆7 − G]◦7 ) [H] 2nd stat, aa)
.. ..
86 ./ . B[/D − F7 /E[− c), N 6 , Seq(2×3m;R−7 )
.. ..
87 ./ . B[/D − E7 /D−
.. ..
88 ./ . Am/C − E7 /D−
.. ..
89 ./ . Am/C − D7 /C−
.. .. [5/[9 d
90 ./ . G]◦7 /B − E7 /B[ −
.. ..
91 ./ . F − B[/D − Am64 − E−
.. .. d
93 ./ . E7[9 − F/C − E7[9 − repeat
.. ..
95 ./ . F − B[/D − Am64 − E−
96 ⊥/⊥ Am64 − E − Am cad
98 M2 C7 /B[− [I] A2 , WW unis, Seq(2×4m;R−7 )
102 M2 B[7 /A[− Mixolyd, Str+Brs accts
106 C C Str+Hns clim, P (c−g)
107 M1’ (F − C∆7 )/C− ab’): (Fl+Vi)-WW S(2p) Ion
110 ⊥ (Dm7 − C∆7 )/C− ab’) repeat
113 E E [B] Str+Hns clim, P (e−b)
114 M1’ (A − E∆7 )/E− ab’): (Fl+Vi)-WW S(2p) Ion
117 ⊥ (F ]m7 − E∆7 )/E− ab’) repeat
120 trans, clim, unis P D (g)
121 Mt C C Fl+Vi S(2p), P (c−g)
122 repeat, unis P D (g)
123 Mt C Fl+Vi S(2p), P (c−g)
124 Mf <(Gno 3 − C) Bsn+Hns fanfare
128 M1’ Am7 − Em − F∆7 − C a’): WW+Str unis, plagal cad
132 M1 C − C∆7 − C [K] Coda, ab): WW+Hi Str S(2p)
..
136 . <(Am − C∆7 ) bb’), P T (c)
140 ⊥ <(Am − C∆7 ) [L] bb’): Str S(2p)
144 Perc (147 m.)

the opening section A only.
3. A ’Chromatic Scale’ theme Mc, with legato chromatically descending and ascending
phrases. This ‘stormy weather’ theme enters in section B and also is frequently set in
imitiation, transferred from high woodwinds to low strings. The characteristic opening
rising step (from the chord tonic to the minor 9th) is quoted in bassoon and brass
motivic imitations.
In the background we hear various types of string tremolo playing: (un)measured and
fingered. There are many accented downbeat notes for brass and strings, supported by tim-
pani strokes and rolls. And of course, there is extended tonic and dominant pedal point.
Note the tuba part, as bassline support in the middle section.
Formally, the movement can be divided into three sections, with decreasing length. The
opening section A consists of two subsections with thematic statements, first in the tonic mi-
nor key F ]m, later in the dominant minor key C]m (m. 37 ff.). These present the themes Ms
and Mt in juxtaposition, with Ms imitation for woodwinds and horn in the second statement.
Another technique is applied in this section: a diminution effect achieved with shortening
musical phrases: each statement may be split into (4 + 4 + 4 + 4) + (2 + 2) + (4 + 8) measures,
with the last 12 measures as a cadential conclusion.
This diminution effect, creating the impression of acceleration, is also applied in section
B (m. 79 ff.). Now it is a series of shortening sequences over an extended chromatically rising
bass line. Here the subdivision is (8 + 8) + (4 + 4) + (2 + 2) measures, based on the chromatic
scale motif Mc and its brass accent variant Mc’. When this theme becomes a descending
phrase only and is juxtaposed with the returning Ms (m. 107 ff.), this is a repeated tutti
climax on the dominant pedal point that leads into the final section. At the climax, in the
percussion group the bass drum and piatti join in to increase the Sea State and underline the
severeness of the storm, as do the timpani rolls.
The climax is continued briefly in section C, still juxtaposing Ms and Mc, now on the
tonic pedal pitch. Then the mood is calming down (m. 151 ff.). After a final statement of Ms
at the start of the Coda (m. 167) there is a transition with sustained woodwinds quasi-chorale
setting to the attacca closing movement of the second suite.
12.2.4 Mvt. 4 ’Solveig’s Song’ Andante
Form: Introduction ABAB Coda. See Table 12.11 and 12.12 for the analysis.
In the closing movement of the second ‘Peer Guint’ suite there is another alltime classical
music hit. The instrumentation of this elegy is light: a string and harp texture with occasional
sustained chords and pedal point support in woodwinds (flute and clarinet) and horns.
All melodic lines are for 1st violins, playing unisono in sections A1 and B1 , and divisi
into parallel octaves in A2 and A2 . The melody structure is M1(aa’bb’) (4 + 4 + 3 + 4 m.) and
M2(2 + 2 + 4 + 5 m.). The M1b-phrase has the chromatically descending lead and inner voice,
that is so charecteristic for a number of melodies in these suites.
The contrast in the B sections lieshinithe hkeyi selection (parallel major A vs. minor in the
4 3
A sections), the meter changes from 4 to 4 and the tempo from Andante to Allegretto.
The Coda mirrors the Introduction, with a unisono line for strings only.

Table 12.9: Peer Gynt Suite No. 2 Op. 55, Mvt. 3 ’Peer Gynt’s Journey Home’ Allegro agitato
m M R H Comment
h i
6
Allegro agitato 8 (]]]) A
1 Ms F ]m F ]m − . . . − HiWW ‘Signal’, Brs acct, Str trem, P T (f ])
5 Mt F ]m − . . . − LoWW (Cl+Bsn) ’Turn’, LoStr trem
9 Ms D/F ] − . . . − HiWW
13 Mt D/F ] − . . . − LoWW
17 Ms G]∅7 /F ]− HiWW, diminution
19 Mt G]∅7 /F ]− LoWW
21 Ms G]∅7 /F ]− HiWW
23 Mt G]∅7 /F ]− LoWW
25 C]− tutti cresc
27 Ms <(G]∅7 /B − C])− [A] Brs, tutti clim
35 C]− Brs accts, dim
37 Ms C]m C]m − . . . − 2nd stat, WW-Hn imit, Str trem
41 Mt/s C]m/G] − . . . − LoStr/Hn
45 Ms A/C] − . . . − WW-Hn imit
49 Mt/s A − ...− LoStr/Hn
53 Ms D]∅7 /C]− Cl-Bsn imit, diminution
55 Mt/s D]∅7 /F ]− LoStr/Bsn
57 Ms D]∅7 /C]− Ob-Bsn imit, diminution
59 Mt/s D]∅7 /F ]− LoStr/Bsn
61 Ms’ G]∅7 /B] − C]− Fl+Ob+Vi1 ‘Lead’, PB (&)
..
63 . A]◦7 − F ]7 /A]−
..
65 . A − D]∅7 /A−
67 ⊥ G]−
69 Ms <(D]∅7 /F ] − G])− [B] Brs, tutti clim
77 G]− Brs accts, dim
79 Mc F ]m C][9
7 − ...− B, Fl-LoStr imit ‘Chr Sc’, Seq(2×8m;R7 )
83 ⊥ C][9
7 /D − . . . − Vi, Bsn+Hn+LoStr: Mc’
87 Mc D][9
7 − ...− Fl-LoStr imit, PBi (%)
91 ⊥ D][9
7 /E − . . . − Vi, Bsn+Hn+LoStr: Mc’
95 Mc F7[9 − F7[9 /F ]− Fl+Vi1, dimin, Seq(2×4m;R7 )
99 Mc G[9 [9
7 − G7 /G]− Fl+Vi1, Bsn+Hn+LoStr: Mc’
103 Mc’ [9 [9
A7 − A7 /A]− HiWW+Vi, dimin, Seq(2×2m;R7 )
105 Mc’ B7[9 − B7[9 /B]− HiWW+Vi, Bsn+Hn+LoStr: Mc’

Table 12.10: Peer Gynt Suite No. 2 Op. 55, Mvt. 3 ’Peer Gynt’s Journey Home’ Allegro agitato
(cont’d)
m M R H Comment
107 Mc” F ]m/C] − . . . − [C] tutti clim, P D (c])
111 Ms F ]m/C] − . . . − Hn-Bsn imit, LoStr trem
115 Mc” F ]m/C] − . . . − tutti clim, repeat
119 Ms F ]m/C] − . . . − Hn-Bsn imit, LoStr trem
..
123 . D∆7 /C] − G]◦ /B− (Tpt+WW)-Tbn imit, P D (c]),
127 ⊥ C]7 /B − F ]m/A− Str trem, PB (&)
131 Bm7 /A − E]◦7 /G]− tutti accents
133 E]◦7 /G] − F ]m−
134 G]∅7 /D − C]− cad
135 Ms F ]m − . . . − [D] C, HiWW+Brs, tutti clim, P T (f ])
139 Mc A]◦7 (= F ][97 ) − ...− Fl+Cl, Bsn+LoStr: Mc’, Str trem
143 Ms (B 4 − B)/F ]− HiWW+Brs, tutti clim
147 Mc E]◦7 (= C][9 7 ) − ...− Fl+Cl, Bsn+LoStr: Mc’, Str trem
151 Ms F ]m − . . . − [E] Hn, Tbn, LoStr trem, P T (f ])
155 Mc A]◦7 (= F ][97 ) − ... LoStr, Fl: Mc’
159 Ms (B 4 − B)/F ]− Hn, Tbn, LoStr trem
163 Mc E]◦7 (= C][9 7 ) − ...− LoStr, Fl: Mc’
167 Ms F ]m − . . . − [F] Coda, Hn-Bsn imit, LoStr trem
173 Timp+LoStr P T (f ])
179 D/F ] − G]∅7 /F ] − G]◦7 − trans, WW sust
[5/[9
185 E7 /F − Dm/F − C + −
189 E − ...− attacca (192 m.)

Table 12.11: Peer Gynt Suite No. 2 Op. 55, Mvt. 4 ’Solveig’s Song’ Andante
m M R H Comment
h i
4
Andante 4 Introduction
1 Am Am/C − C/E− Str unisono
4 Emno 3 /B − E
8 Am A1 , Harp P (a−e)
10 M1 Am − E7[9 − Am − E − Am a): Vi1, Str-(WW+Hn) bg
..
14 . Am − G − C − Dm7 − a’)
..
16 . G7 − C
..
18 . E7 /D − Am/C− [A] b), PB (&)
..
19 . B7 − E7[5 /B[ −A− A[5
7 /E[− PLi (&), Pm
i (&)
..
20 . D7 − B[7 /D − E/G]−
..
21 . E7 /D − Am/C− b’)
..
22 . B7[5 /F − Dm/F − (A − Am)/E− i (&)
Pm
23 ⊥ (F∆7 − B∅7 − E79 − D)/E − Am
h i
3
Allegretto tranquillamente 4 (]]]) B1
25 M2 A <(E7 − A) aa): Vi1, P (a−e)
..
29 . E79 − A − E7 − A b)
33 ⊥ E79 − A − E7 − h i
4
Andante 4
37 (A − D − A)/A− trans, Str-WW
(\\\) A2
39 Am Am Harp+Hns P (a−e)
41 M1 Am − E7[9 − Am − E − Am a): Vi1 div, Str-(WW+Hn) bg
..
45 . Am − G7 − C − Dm7 − a’)
..
47 . G7 − C
..
49 . E7 /D − Am/C− [B] b), PB (&)
..
50 . B7 − E7[5 /B[ − A − A[5
7 /E[− PLi (&), Pm
i (&)
..
51 . D7 − B[7 /D − E/G]−
..
52 . E7 /D − Am/C− b’)
..
53 . B7[5 /F − Dm/F − (A − Am)/E− i (&)
Pm
54 ⊥ (F∆7 − B∅7 − E79 − D)/E − Am

Table 12.12: Peer Gynt Suite No. 2 Op. 55, Mvt. 4 ’Solveig’s Song’ Andante (cont’d)
m M R H Comment
h i
3
Allegretto tranquillamente 4 (]]]) B2
56 M2 A <(E7 − A) aa): Vi1 div, P (a−e)
..
60 . E79 − A − E7 − A b)
64 ⊥ E79 − A − E7 − h i
4
Andante 4
68 (A − D − A)/A− trans, Str-WW
70 Am Am/C − C/E− Coda, Str unisono
72 F/A − Amno 3 /E − E
76 Am HiStr (76 m.)

The key relationship diagram of the Peer Gynt Suite No. 2 is shown in Fig. 12.4. Three move-
ments are in a minor key, only the second movement, ‘Arabian Dance’ is in major. Like in the
first suite, there is very limited key scope in these pieces. The outer movements remain in
the tonic minor key, Gm and Am, respectively.
In the ternary form Mvt. 2 the outer A1 , A2 sections move from the tonic major key C to
the mediant major key E and back. The middle section B opens and closes in the relative
minor key Am, reaching its parallel major key A in the centre.
In the stormy episode of Movement 3 the major part is in the tonic minor key F ]m. The
opening section 2nd statement is in the dominant minor key C]m.

Mvt. 2 ’Arabian dance’

Allegretto vivace
Mvt. 1 ’The Abduction of the Bride 2 1,3
A E
(Ingrid’s Lament)’ 6?
Allegro furioso Am Em

Gm C G
Mvt. 4 ’Solveig’s Song’

Andante
Mvt. 3 ’Peer Gynt’s Journey Home’
Allegro agitato A
- 6
?
F ]m C]m Am
Figure 12.4: Peer Gynt Suite No. 2 Op. 55, key relationship diagram

Chapter 13
Gabriel Fauré
Biographical data:
∗ 12-5-1845 in Pamiers (Ariège)

† 4-11-1924 in Paris
1600 1700 1800 1900 2000
13.1 Requiem in D Minor, Op. 48 (1877-90)

Source: [20]. Music for orchestra and choir; this is the final version, orchestrated in 1900. An
The orchestration is for winds, brass, percussion, strings and organ; the general setting
is light. In the string section the violas and celli are the main parts, playing divisi in two
subgroups; doubling the register of the choir. Violins are often used for effect, playing coun-
termelody, and contrabasses give local extra support (cello group 2 is playing the bass part).
Although the work is orchestrated for full orchestra, there are many tacet parts in the in-
dividual movements, see the instrumentation overview in Table 13.1 (the score shows all
staves on every page, although many remain empty). The result is a most transparent or-
chestration. The vocal parts are for mixed choir (sopranos, altos, tenors and basses) and solo
soprano and baritone. The organ part contains numerous errors (flats, sharps, compare with
the string parts). There are climaxes in every movement, but no extended loud sections will
be found.
Most melodies are diatonic. The same holds for the harmony. Occasionally there are
exact parallel chord structures on symmetrically distributed roots, especially on dominant
chords under a chromatic melody. This concerns dominant 7th chords S7 with roots dis-
tributed at the (minor R3i or major R4i ) third, e.g., alternating <(D7 − B7 ) sequences (see
Mvt. 7).
13.1.1 Mvt. 1 Introı̈t et Kyrie, Molto largo – Andante

Form: introduction ABC. The longer opening movement has vocal solos (tenors in the A sec-
tion, sopranos in the A and C section), brass tutti support (see the instrumentation overview
in Table 13.1). See Table 13.2 and 13.3 for the analysis.
2005-2017
CHAPTER 13. GABRIEL FAURÉ
h i
4
Mvt. 1 Introı̈t et Kyrie, Molto largo – Andante: ternary song form (Dm, 4 , 91 m.)
Intro. A B C
h ih i
4 3
Mvt. 2 Offertoire, Adagio molto: ternary song form, ABA’ Coda (Bm − D, 4 4 , 95 m.)
I A B A’ C
h i
3
Mvt. 3 Sanctus, Andante moderato: ternary song form, ABA’ (E[, 4 , 62 m.)
A B A’
h i
4
Mvt. 4 Pie Jesu, Adagio: AABA form (B[, 4 , 38 m.)
A A’ B A”
h ih i
3 4
Mvt. 5 Agnus Dei, Andante - Molto largo: ABCA’ form (F , 4 4 , 93 m.)
I A B C A’
h ih i
2 6
Mvt. 6 Libera Me, moderato: ternary song form, ABA’ (Dm, 2 4 , 136 m.)
A B A’
h i
3
Mvt. 7 In Paradisum, Andante moderato: ABACA form (D, 4 , 59 m.)
A B A’ C A”
Figure 13.1: Fauré, Requiem in D Minor, Op. 48

13.1. REQUIEM IN D MINOR, OP. 48
Table 13.1: Fauré, Requiem in D Minor Op. 48, Instrumentation overview. (m: muted strings)
Movement: 1 2 3 4 5 6 7
Introı̈t Offertoire Sanctus Pie Agnus Libera In para-
Instruments: et Kyrie Jesu Dei Me disum
Flute 1-2 +
Clarinet in B[ 1-2 +
Bassoon 1-2 + + + +
Horn in F 1-2-3-4 + + + +
Trumpet in F 1-2 + +
Trombone 1-2-3 + +
Timpani +
Harp 1,2 + + +
Violin 1,2 m + m
Viola 1,2 + + + m + + m
Cello 1,2 + + + m + + m
Contrabass + + + + + + +
Organ + + + + + + +
Soprano solo + +
Baritone solo + +
Sopranos + + +
Altos + + + + +
Tenors + + + + +
Basses + + + + +

Table 13.2: Fauré, Requiem in D Minor Op. 48, Mvt. 1 Introı̈t et Kyrie
m M R H Comment
Molto largo Introduction
1 M1 Dm Dm Am/C − F/C− Choir: Requiem aeternam
..
7 . B[ − F/A − B[ − E[/G − F − F7 /E[ [A] et lux perpetua, climax
.. d
13 . E[ − F7 /E[ − G[/D[ − D[7 − F/C− [B] luceat eis
16 ⊥ A7 /C] − B∅7 /D − A
Andante moderato
18 M2.a <(Dm − Am − A/C])− A Stat 1, T: Requiem aeternam
..
24 . Dm − F − B[9 − C7 − [C]
26 ⊥ F∆7 − B[∆7 − E∅7 /B[ − Dm64 − A7 −
28 M2.a’ <(Dm − Am − A/C]) − Dm Stat 2, T: Requiem aeternam
..
33 . E/G] − Am − Dm7 /C− [D]
34 ⊥ E7 /G] − Am − F −
35 M2.b C/E − B7 /D] − Em − B[/D− T: et lux perpetua
..
37 . Am/C − Am64 − E7 −
..
38 . Am − F ]∅7 − E7 /G] − Am− Brs+Str climax
39 ⊥ C]◦7 /G − F/A − Gm7 /B[
40 A[9
7 − Dm/A − G/B − F7 /C [E] Trans
42 M3.a B[/D − E[/G− Stat 1, S: Te decet hymnus
..
43 . F7 /A − B[+ − C/E − D/F ]−
44 ⊥ Gm − E[ − Cm7 − F7 /A − F7 /E[−
46 M3.a’ B[/D − Dm/F − E[/G− Stat 2, S: et tibi reddetur
..
47 . F7 /A − B[+
− C/E − D/F ]−
48 ⊥ 6
Gm − Dm4 − A − Dm
50 M4 (F − Dm − F − A+ )/F − [F] B Ch: exaudi, clim, P D (a)

..
54 . F ]m/A − A+ − B[m/F − F + −
58 ⊥ B[m/F − F − F + /A − A+ − diminuendo
61 M2.a <(Dm − Am − A/C])− [G] C Stat 1, Ch: Kyrie
..
67 . Dm − F/A − B[9 − C7 − [H]
69 ⊥ F∆7 − B[∆7 − E∅7 /B[ − Dm64 − Am−

Table 13.3: Fauré, Requiem Op. 48, Mvt. 1 Introı̈t et Kyrie (cont’d)
m M R H Comment
d
71 M4 <(F ]◦7 /A − A7 ) − Ch: Christe eleison, clim, P D (a)
..
75 . B[/D − F − C+ − F/A − A7 − [J] Coda, Ch: Christe eleison
..
78 . Dm A− chr asc,
81 ⊥ E[/B[ − B[ − E∅7 no 5 /G − A− choir unisono
82 M4’ Dm A− repeat Ch: eleison
..
85 . E[/B[ − B[ − E∆7no 5 /G − A∅7 [K]
..
86 . D7 /F ] − Gm − E7[5 − Em7 − E7 /G]−
89 ⊥ Dm/A − E∅7 no 3 − Dm (91 m.)
13.1.2 Mvt. 2 Offertoire, Adagio molto
Form: introduction ABA’ Coda, This ternary form movement is harmonically very dense
with all its passing intermediate chords (the harmonic rhythm is typically in 8th notes). The
main key is B minor, with the relative major D in the middle section B with baritone solo,
and the parallel major in the coda.
The introduction for counterpoint strings is based on a motif M0. This returns, slightly
modified, in the canon melody M1. This is a two-part canon in the sixth (the alto opens and
is followed by the tenor at the lower third). There is some voice crossing in the middle of the
melody. In later statements an additional free counterpoint voice is added. The introduction
closes with block chord voicing in 8th note harmonies with a neighbouring note lead voice:
this is labeled as Ms and the element returns frequently. See Table 13.4 to 13.6 for the analysis.
13.1.3 Mvt. 3 Sanctus, Andante moderato
Form: ABA’, ternary song form.

Both A sections are characterized by extended pedal point and the continuous ostinato
16th note arpeggio background patterns in harp and violas. The choir is set as a call-and-
response in M1 and M2, with unisono tenors and basses answering the soprano calls. These
lower voices are accompanied by a countermelody in the high violins (first unisono, later
in octaves). The melody is slightly varied each time reaching slightly higher (first a second,
then minor and major third in [A], and finally a fifth in [B]). In [C], the order changes: first
there is the soprano call, while the violins act as a connection to the lower voices response.
The middle B section is the movement climax with the three unisono brass motif Mb
statements (this Hosanna section never fails to impress and lead to goose bumps), and the
block chords in harp, strings and organ. The coda, the A’ section has the only entrance of the
altos, in a choir tutti over an extended tonic pedal. See Table 13.7 for the analysis.

Table 13.4: Fauré, Requiem in D Minor Op. 48, Mvt. 2 Offertoire, Adagio molto
m M R H Comment
h i
4
Adagio molto 4 (]])
1 M0 C Dm − G7 /F − Em− Intro Str: 3-pt imit, N
..
3 . B◦ /F − G7 − C]◦ /G − Dm7 /A − B◦ − (Va+Vc counterpoint)
..
4 . F/C − Dm − A]◦ /C] − E/B − F ]m/A− Σ(cm<)
..
5 . D E7 /G] − C]◦ /G − D/F ] − C]◦ /E− PB (&)
B/D] − Bm/D − A7 /C] − G/B−
6 ⊥/Ms Bm <(F ] − Em7 ) − F ] 8th note neighb, cad
8 M1 Bm Bm − Em/G − Bm − F ]m7 /C]− A, A-T: canon O domine
..
10 . Bm − Em7 /G − Bm [A] M1=f(M0)
12 ⊥ <(Bm/F ] − (C]∅7 ) − G][9
7 − G]∅7 )− Vi 16th
16 M1 C]m C]m − F ]m/A − C]m − G]m7 /D]− [B] A-T: canon
..
18 . C]m − F ]m7 /A − C]m− O domine, 2nd stat R7
20 ⊥ <(C]m/G] − (D]∅7 ) − A][9
7 − A]∅7 )− [C] Vi 16th
24 M1’ Bm Bm/D − G/D − Bm/F ] − C]◦ /G− (A-B)+T: O domine
..
25 . Bm/D − G/B − C]∅7 − (2pt canon, 3pt, R7 )
D − C]◦ /E − Em7 −
..
26 . F ]∅7 /E − Bm/D − Em − D/F ]−
C]◦ /G − Em7 − E]◦7 −
27 ⊥/Ms F ] − Em − D9 − (G]∅7 /B) − Em7 − wh.t. pattern
29 M2 F ] − Em − D9 − (G]∅7 /B) − Em7 − [D] A+T+B: ne cadant
31 ⊥ <(F ]m − E]◦7 )−
33 F ]m − A]m/E] − A+ /E] − A7 − Vc, cad
h i
3
Andante moderato 4 Baritone-Solo
36 M3/Ms D <(D − (A7 /C]) − F7 /C− B (aa): Bar-S: Hostias
G9 /B − A7 /C]) − A[13
7
.. ..
40 ./ . D − Em11
7 /D − Bm7 − E/B− (b): textitLaudis
..
41 ./⊥ F ]m − C]7 /E] − −C]∅7 /E−
..
42 . A7 /E − D∆7 − B 9 /D]−
A7 /E − C]7 /E] − F ]m− Σ(cm>)
..
42 ./Ms’ <(C] − A7 )− I(Ms)
d
43 ⊥ D/A − G − D/F ] − C/G − A97 − [E] tu suscipe
46 M3/Ms <(D − (A7 /C]) − F7 − (aa): 2nd st illis quarum
G97 /F − A7 /C]) − A[13
7 −

Table 13.5: Fauré, Requiem Op. 48, Mvt. 2 Offertoire, Adagio molto (cont’d)
m M R H Comment
..
50 . D − Em7 /D − D7 − G (b’): memoriam, [S̄ 6 ]
..
51 . Am7 /G −→ D46 − A Σ(cm), cad
52 ⊥/Ms <(D − A7 /C]) − A7 − D cad
54 D − Em7 − F ]m − G/D − A7 /E− [F] trans, Organ
d
56 D+ /F ] − E7 /G] − F ]/A]−
57 Bm Bm − F ]m7 − G]∅7 −
58 M4 (A − Bm7 − A∆7 )/A − E7 /B− (a): Bar-S: faceas, Vc
..
60 . A/C] − B7 /D] − C]7 /E]− PB (%)
..
61 . F ]m F ]m − D]∅7 − G]− cad
..
62 ./Ms <(C] − G]7 /B])−
..
63 . A7 /C] − B]◦7 − C]m − G][9
7 −
..
64 ./Ms <(C] − G]7 /B])− [G] (b): ad vitam
..
65 . A7 /C] − B]◦7 − C]m − B]◦7 − A7 /C]−
..
66 . F F/A − B[∆7 − F/C − Gm7 /D−
d
69 ⊥ F − G7 /D − Am/E − E∅7 /B[−
72 M3/Ms D/A − A7 − F − G97 /F − A[13
7 − [H] 3rd st, (a): promisis
..
73 . D − Em7 /D − D7 − G (b’): et semini, [S̄ 6 ]
..
74 . Am7 /G −→ D46 − A Σ(cm), cad
76 ⊥/Ms <(D − A7 /C]) − D cad
h i
4
1. Tempo adagio molto 4
78 M1’ D D − C]◦ /G − Bm/D − G/B − A/C]− A’, Ch: O domine
..
80 . D − Em/G − F ]m − D/F ]− B-T-A-S: 4pt imit
.. d
81 . Bm7 /D − Em − A7 /E −
Bm − D∆7no 3 − E−
..
82 ./M0’ C]m7 −→ Bm/D − Em7 − G/D M0’: Str unis, [S̄ 6 ]
.. .. d
83 ./ . F ]7 /E − Em7 − C]◦ /E− [J] cresc
Dm/F − Gm7 /F − Σ(cm<)
.. ..
84 ./ . A]◦7 /G − Bm/F ] − C]◦ /E− climax, inferni
D − Bm7 /D−
.. ..
85 ./ . E79 − A/E − Bm7 /F ] − E7 /G]−

Table 13.6: Fauré, Requiem Op. 48, Mvt. 2 Offertoire, Adagio molto (cont’d)
m M R H Comment
..
86 ./⊥ A − G − F ]◦7 /A − G − Em7 − [S̄ 6 ] &, PB (&)
..
87 . F ]7 − Bm − F ]− cad
..
88 . Bm Bm − D]◦7 /C − Em/B− Ne cadant, Vi 16th
..
89 . Em7 /D − C]◦ − D]◦7 /C − Em/B− [K]
90 ⊥ C7 /B[ − Em7 /D − Bm7 /D − F ]7 /C]−
d
91 M5 B B − F ]7 /E − E Coda (]]]]]) Amen
..
92 . F ]7 − E∆7 /B − B− [S̄46 ]
93 ⊥ B46 − E − F ]7 − B clos cad (95 m.)
13.1.4 Mvt. 4 Pie Jesu, Adagio

Form: introduction AA’BA”. Violas and cello play with mutes. The main melody has an
M(abb’) structure. It has a four 8th note turn pattern M0 in the b-phrase that becomes a
frequently returning melodic figure in the accompaniment and the transitions. See Table 13.8
for the analysis.
13.1.5 Mvt. 5 Agnus Dei, Andante

Form: introduction ABCA’ (Coda). This movement opens and closes with a sweet melody
Mc for high strings and organ. This ascending arpeggio-like syncopated becomes a counter-
subject, interwoven with the main melody M1. The A section has an inner AABA structure
(see the three statements of the main theme and the bridge subsection with melody M2. The
transition from the A to the B section is based on symmetrically distributed roots starting on
the dominant chord of the main key R4i : C − E − A[.
The first contrasting B section contains a double statement of M3, with downward chro-
matic lead voice over a harmonic sequence. See Table 13.9 to 13.10 for the analysis.
13.1.6 Mvt. 6 Libera Me, Moderato

Form: ternary song form, ABA. This is the only movement with timpani part, playing an
extended dominant pedal in [H] (see the instrumentation overview in Table 13.1). See Ta-
ble 13.11 and 13.12 for the analysis.
13.1.7 Mvt. 7 In Paradisum, Andante moderato

Form: introduction ABA’CA”. The main characteristic of the closing movement are the con-
tinuous staccato 16th note arpeggio figures in the accompaniment for organ and (later) harp.
There is a long, through-composed melody M1–M6.The mood is light, dolce and express-
ing relief and joy in paradise. The angelic choir obviously is represented by the sopranos

Table 13.7: Fauré, Requiem in D Minor Op. 48, Mvt. 3 Sanctus, Andante moderato
m M R H Comment
1 E[ E[/G− A, Harp+Va: 16ths, P (g)
3 M1 (E[ − E[6 − E[ − A[∆7no 3 )/G− St 1: S: Sanctus
5 M1 (E[ − E[6 − E[ − A[∆7 )/G− TB unis, Vi: 8ths
7 M1 (E[ − E[6 − E[ − A[∆7no 3 )/G− St 2: S
9 M1 (E[ − E[6 − E[ − A[∆7 )/G− TB unis, Vi: 8ths
11 M1’ (E[ − E[6 − E[ − A[∆7no 3 )/G− [A] S: dominus
13 M1’ C7 /G − B[7 /A[− TB unis, Vi
15 M1’ (E[ − E[6 − E[ − A[∆7no 3 )/G− S
17 M1’ C7 /G − B[7 /A[− TB unis, Vi
19 M2 D Gm − Dm/F − E∅7 /G − C7 /G − D/F ]− [B] S: Sanctus
23 M1 (D/F ] − Bm − G∆7 − D)/F ] − B[7 − TB unis: Deus
27 M2’ E[ (E[ − E[6 − Gm − A[∆7 )/G− [C] S: Pleni sunt, P (g)
29 ⊥/Mc E[/G − C7 − Mc: Vi
31 M2’ (E[ − E[6 − Gm − A[∆7 )/G− TB unis: Gloria, P (g)
d
33 ⊥/Mc E[/G − C7 − Mc: Vi
35 M2 B[m B[m/D[ − G[∆7 − D[64 − A[7 − [D] S: Hosanna
..
38 . B[7 /A[ − Gm − B[7 /F −
..
39 . C7 /E − B[7 /F − E[/G − A[∆7 − PB (%)
41 ⊥ B[7sus4 − B[7 − cresc
42 Mb E[ E[ − E[/G − F m7 − E[∆7 /G − A[− [F] B, Brs unis, climax
44 M3/b <(E[ − E[/G − F m7 − E[∆7 /G − A[)− TB: Hosanna
48 M3/b <(E[ − E[/G − F m7 − E[∆7 /G − A[)− S: stat 2
52 E[ − . . . − A’=Coda P T (e[)
53 M4 E[ − . . . − (TB): Sanctus
..
54 . E[ − . . . − (SA): imit
55 ⊥/Mc E[ Vi
57 Mc <(E[ − B[7sus4 )/E[ − E[ (62 m.)

Table 13.8: Fauré, Requiem in D Minor Op. 48, Mvt. 4 Pie Jesu, Adagio
m M R H Comment
d
1 M1 B[ B[ − E[/G − F7 /A − A (a): S Solo: Pie Jesu, Org
.. d
3 . Gm/B[ − C7 /G − D−
..
4 . B[ − Dm7 /F − Dm − Gm (b)=M0 ’turn motif’
..
5 . F − B[ − E[/G − F7 /A−
..
6 . B[ − A◦ /C − D7 /A − Gm/B[− (b’)
7 ⊥ E[/G − F − B[ cad
8 M0 Dm7 /F − Gm− WW+Str
9 ⊥ Dm/F − Cm/E[ − D − E[∆7 − F − B[
d
11 M1’ F B[ − F/A − G7 /B − C − D7 /A − E − [A] A’ (a): S: Pie Jesu, Org
.. d
13 . F/A − B[ − Gm7 − C7 /G − (b)=M0 ’turn’
..
14 . Dm − B[/D − C− halfcad
..
15 . Dm7 /F − Gm7 /D − A − B[− (b’)
16 ⊥ B[/D − C − F
17 M0’ Am/C − Dm − Am/C − Gm/B[− WW+Harp+Str
18 ⊥ Am − B[∆7 − C − F [B] cad
19 M2/0 B[ <(F7 − Dm − F713 − Dm)/F B (aa): dona eis, P D (f ),
.. ..
23 ./ . B∅7 − Am/C− (b), M0: Va+Org
.. .. d
24 ./ . Dm Dm − G7 /D − A − A7 /E −
.. ..
25 ./ . <(B∅7 − Gm7 /B[ − A − A7 /E) [C] (c)
27 ⊥/⊥ F7 − (c)
d
29 M1 B[ B[ − E[/G − F7 /A − [D] A” (a): S: Pie Jesu,
.. d
30 . Gm/B[ − C7 /G − D− WW+Str+Org
..
31 . B[ − Dm7 /F − Dm − Gm (b)=M0 ’turn
..
32 . F − B[ − E[/G − F7 /A−
..
33 . B[ − A◦ /C − D7 /A − Gm/B[− (b’)
34 ⊥ E[/G − F − B[/D − Cm7
35 M2’/0 <(B[/F − Cm7 /G)− [E] (c) sempiternam
.. ..
36 ./ . B[/F − Dm7 /F − B[−
37 ⊥/⊥ <(Dm − Cm7 ) − B[ (38 m.)

Table 13.9: Fauré, Requiem in D Minor Op. 48, Mvt. 5 Agnus Dei, Andante
m M R H Comment
h i
3
Andante 4
1 Mc F F − F∆7 /A − B[9 − E∅7 /G− Intro, Vi+Va unis
.. d
3 . F∆7 /A − G7 /B − F/C − C79 /G − Am/C− [S̄ 6 ]
5 ⊥ Dm − F/A − C79 − Dm − C79 −
6 M1/c F − F∆7 /A − B[9 − E∅7 /G− A, T: Agnus Dei, Mc: Va
.. .. d
8 ./ . F∆7 /A − G7 /B − F/C − C79 /G − Am/C− [S̄ 6 ]
10 ⊥ /⊥ Dm − F/A − C79 − Dm − C79 −
11 M1/c F − F∆7 /A − B[9 − E∅7 /G− [A] st 2, T: dona eis,
.. .. d
13 ./ . F∆7 /A − G7 /B − F/C − C79 /G − Am/C− Mc: Vi+Va unis
15 ⊥ /⊥ Dm − D7 − E7 − Am − D79 − E79
17 M2 Am Am − (Cm7 − F ]◦7 − D]◦7 )/C− [B] bridge, Ch: Agnus dei,
19 ⊥ F ]◦7 /C − G]◦7 /B − Am/C ~ %
Hk i
21 M2’ Am − (Cm7 − F ]◦7 − D]◦7 )/C− [B] bridge, Ch: Agnus dei,
.. ~ %
23 . F ]◦7 /C − G]◦7 /B− Hk i
.. d
24 . F7 /C − Cm7 /B[ − D7 /A − E[/G− tutti climax, Brs, PB (&)
..
26 . B[4− B[ − B[/F − Dm/F − [C]
27 ⊥ Am4 − Am − Dm7 − C7 −
29 Mc F F − F∆7 /A − B[9 − E∅7 /G− Org
31 M1/c F − F∆7 /A − B[9 − E∅7 /G− st 3, T: Agnus Dei, Mc: Va
.. ..
33 ./ . F − F∆7 /A − B[9 − E∅7 /G− Mc: Vi+Va unis
.. ..
35 ./ . F∆7 /A − Dm/F −
.. .. d
36 ./ . B[∆7 − C7 /B[ − Dm7 /A− [D]
37 ⊥ /⊥ E∅7 − Am7 /G − Dm97 /F − C/E − G7 −
38 Mt C C − E/G] − C/E − Em/G − C/E− trans, T: sempiternam
44 M3 S: Lux aeternam, sym R4i
..
46 . A[ A[ − Cm − C[/E[− [E] B, Seq(3×2m;R−7 ),
..
48 . G[ − B[m − A/C] = B[[/D[ Ch, PLi (&)
..
50 . F [ = E − A[m
51 ⊥ A[m/C[ − C[7 − D[m − E[7 −
53 M3 A[ − Cm − C[/E[− st 2, Ch: cum sanctis, Brs
..
56 . G[ − B[m − A/C] Seq(3×2m;R−7 ), PLi (&)
d
58 ⊥ E − G]m/B − A[/C − F m7 /C − E[7 −

Table 13.10: Fauré, Requiem Op. 48, Mvt. 5 Agnus Dei, Andante (cont’d)
m M R H Comment
60 M4 Fm (F m − B[m7no 3 − F m)/F − C/E [F] Ch: cum sanctis, P T (f )
..
62 . (F◦ − F m − D[)/F − E◦7no 5 −
..
64 . (F m − D[ − D◦ − Dm)/F − Brs, tutti clim
66 ⊥ Am7 /E − B[∆7 /D − A−
69 Dm Dm − Am/C − B[∆7 − A− [G] trans, clim, HiStr unis
h i
4
Molto largo 4
74 M5 Dm − Am/C − F/C− C, Ch: Requiem, Brs unis
..
80 . B[ − F m/A[ − D[/A[ − D[/F − [H] Et lux, tutti climax
..
84 . A7 /E − Dm − Dm7 /C − E∅7 /B[− PB (&)
85 ⊥ Dm64 − A7 − cad
h i
3
1. Tempo 4
87 Mc D D − D∆7 /F ] − G9 − C]∅7 /E− A’=Coda, HiStr unis
..
89 . D∆7 /F ] − E7 /G]− [S̄ 6 ]
..
90 . D∆7 /A − C]∅7 /E − F ]m/A−
..
91 . Bm − D/F ] − A97 −
92 ⊥ D − Bm7 − A7 − D Brs, cad (93 m)

Table 13.11: Fauré, Requiem Op. 48, Mvt. 6 Libera Me, Moderato
m M R H Comment
h i
2
Moderato 2
1 M1.a Dm Dm − . . . − A7 /E − Dm/F − D7 /F ]− A BS: Libera me
7 ⊥ Gm − Dm64 − A7 − Dm − B[/D − D7 −
11 M1.b Gm − E∅7 /G − F/A − B∅7 − Am/C− [A]
16 ⊥ B∅7 /D − G7 /D − A − F7 − A − B[69
20 M1.c Gm7 − C79 − A∅7 − D7[9 − B∅7 − E7 [B] Seq(3×2m;R7 )
..
26 . A7 − D7 − G7 − F/A BS: Dum veneris
30 ⊥ B∅7 − E7[9 − A[9
7 − Dm
37 M2 Dm − B[/D − C − Dm7 /C − B[∆7 [C] Ch: Tremens factus

..
40 . Am − A[9
7 /G − Dm7 − Gm7 /D − Dm − C7 −
..
43 . A∅7 /C − D − C/E − D7 /F ] − C7 /G − F/A− [D]
..
47 . C7[9 /B[ − F/A − Dm/A − C7 /G − B[∆7 /F −
50 ⊥ A[9
7 − Dm − E7 − A
h i
6
Più mosso 4
53 B climax, P D (a)
54 M3.a F/A F/C − Cm7 − D7 − Ch: Dies illa
60 ⊥ (Gm − Cm − A∅7 )/G P T (g)
62 M3.a E[/G [E] 2nd stat
..
66 . E[/B[ − B[m7 − C7 /E−
68 ⊥ F m − B[m − G∅7 /F − F m
70 M3.b D[∆7 − D∅7 − G7 /D − G7 − [F] Seq(4×2m;R7 )
72 ⊥ E[∆7 − D∅7 − A7 /E − A7 − (Ch: Requiem aeternam)
74 M3.b F∆7 − F ]∅7 − B7 /F ] − B7 −
..
76 . G∆7 − G]∅7 − C]7 /G] − C]7 −
78 ⊥ F ] − C][9
7 − F]
81 M3.c Dm/F − A7 /E − E7[9 /D [G] Ch: luceat eis

Table 13.12: Fauré, Requiem Op. 48, Mvt. 6 Libera Me (cont’d)
m M R H Comment
h i
2
Moderato 2
..
84 . A − A7 /G − Dm/F − E7[9 /D− [H] A’ P D (a)
88 ⊥ A − A7 /G − F + − A7 /E−
d
92 M1.a Dm − A7 /E − B[/F − Dm/F − D7 /F ]− Ch: Libera me
d
96 ⊥ Gm − Dm/A − A7 − B[∆7 − Gm7 /B[
99 M1.b Dm7 /A − D7 /A − Gm − E∅7 /G − F/A− [J] Ch: In die illa
103 ⊥ B∅7 − Am/C − B∅7 /D − G7 /D − A − F7 −
107 M1.c F7 − B[ − Gm7 − C79 − A∅7 − D7[9 [K] Seq(4×2m;R7 )
.. d
113 . B∅7 − E7 − A7 − D7 − G7 −
..
118 . F/A − B∅7 − E7[9 − A[9
7 −
122 ⊥ Dm − Dm7 /C − E∅7 /B[ − Dm/A − Gm− [L]
124 M1.a D7 /F ] − Gm− BS: Libera me
126 ⊥ Dm − Dm7 /C − E∅7 /B[ − Dm/A − Gm− repeat
128 M1.a D7 /F ] − Gm− 2nd stat
..
130 . Dm − Dm7 /C − E∅7 /B[ − Dm/A − Gm− BS+Ch
132 ⊥ D7 /F ] − C]◦7 /D − Dm (136 m.)

Table 13.13: Fauré, Requiem in D Minor Op. 48, Mvt. 7 In Paradisum, Andante moderato
m M R H Comment
1 D D6 − . . . − A
3 M1 D6 − . . . − <(Em7 /D − A7sus4 ) S: In paradisum
..
10 . <(Em7 /D − A7sus4 )− [A] in tuo adventu
13 ⊥ D6 − A7sus4 − D/F ] − Em7 −
15 M2 D7 − B7 − D7 − trans, et per
18 ⊥ B7 − D7 − [B]
20 M3 G − Bm7 /F ] − E7 B, Ch: Jerusalem
.. d
23 . E7 /D − E7 /B − D/A − F
26 ⊥ F ]m/A − A7 − [C]
28 D6 − Em7 /D − A7sus4 − A’, Harp
30 M4 <(D6 − Em7 /D − A7sus4 )− S: Chorus angelorum
34 ⊥ D6 − A7sus4 −
d
35 M5 F ]m <(C][13
7 − D − Bm7 )− [D] C, S: et cum Lazaro
..
39 . D7 /C − D7 /A − B7 −
.. d
42 . C]7 /G] − D/F ] − C]m7 − cresc
..
44 . F/A − Bm7 − F/C− [E] climax
46 ⊥ F ]m/A − A7 − Ch: Requiem
48 D <(D6 − Bm/F ])− A”=Coda,
51 M6 <(D6 − Bm/F ])− [F] Ch: aeternam
53 ⊥ D6 − . . . − D (59 m.)
(tenor Tony Soprano absent, attending business in another department). The strings play
with mutes. Harmonically there is the two-measure tonic-dominant riff in the A sections.

The key relationship diagram of this requiem is shown in Fig. 13.2. The focus of Mvt. 2
Offertoire is on the relative parallel minor-major key pair Bm − D, with excursions into the
intermediate dominant minor domain F ]m (4) and the supertonic minor C]m (2). The open-
ing is in the lowered minor supertonic (Neapolitan) C, the closing in the parallel major key
B (6). This movement has the largest key compass in the requiem.
In Mvt. 3 Sanctus the A section moves away from the tonic major key E[: once into the
remote key D (1) and then towards the dominant minor B[m (2). The key relations in Mvt. 4
Pie Jesu are straightforward.
The minor third (3i) symmetry axis is the central element in Mvt. 5 Agnus Dei: the intro-
duction is in F , the B section has a minor flavour, starting on the lowered mediant major A[

(3). The closing moves from the relative minor Dm (4) to its parallel major key D.
The closing movement, Mvt. 7 In Paradisum, remains mainly in the tonic major key D,
except for a brief excursion into the mediant minor key F ]m in the C section.
Mvt. 2 Offertoire
6
A E B∗ F] C] Mvt. 3 Sanctus
6 2
Am 1 Em Bm - F ]m C]m C G D
6
? 1
C G D A E Cm Gm Dm
3,5
Cm Gm Dm Am Em E[ B[ F

H
Y
H
4 HH
E[ B[ F C G E[m 2 B[m Fm
j
Mvt. 5 Agnus Dei
D∗∗ A
4 6 1
Dm *

Am

2
Mvt. 4 Pie Jesu F -C Mvt. 7 In Paradisum
Gm 2 Dm Fm Cm Bm F ]m
*
*

1 63

A[∗

B[ F E[ D A
-
Figure 13.2: Fauré, Requiem in D Minor Op. 48, key relationship diagram
13.2 Pelléas et Mélisande, Suite for Orchestra Op. 80 (1892)

The suite consists of fourh short
i movements, which are of comparable length. Three of the
3
four are in triple meter 4 and have ternary form. The well-known Sicilienne seems the
exception in this suite, having different form and meter.
13.2.1 Mvt. 1 Prélude, Andante molto moderato

Form: ABA Coda. See Table 13.14 and 13.15 for the analysis. This movement opens the
A section with a simple four-measure theme M1, with mainly stepwise motion in 8th note
rhythm. The tranquil mood changes with the ascending character M2 (m. 9 ff.), that has
dotted rhythm, parallel motion (an ascending series of second inversion triads [S̄46 ] ), and
thicker instrumentation. The melody has a three-phrase M2(abc) (6 + 4 + 6 m.) structure.
After sequential treatment and two climaxes, the first theme returns (m. 22 ff.).
A sequential transition leads into the middle B section (m. 32 ff.). Over a 8th-note
triplet rhythm in the strings (note 3-part setting S(3p) for 2nd violins and violas) there is
a new melody in woodwinds (flute and bassoon) and solo cello. This has period structure:

13.2. PELLÉAS ET MÉLISANDE, SUITE OP. 80
Table 13.14: Fauré, Pelléas et Mélisande, Suite Op. 80, Mvt. 1 Prélude
m M R H Comment
h i
3
Andante molto moderato 4 (])
1 M1 G G − C∆7 /G − Am − F ]∅7 − Em A, Str, plagal cad
5 M1 G − C∆7 /G − Am − F ]∅7 − Em 2nd stat, repeat
9 M2 Dm7 − E − F∆7 − G− [1] a): Str S(2p), [S̄46 ] %, PB (%)
..
11 . Am7 − B − A]◦7 − G/B − Bm7 − Str+Fl
..
13 . A7 − D7sus4 − D7 − Str
..
14 . G∆7 − F − E7 − Am − F − F ]7 − [2] b): Str+WW, Seq(3×1m;R7 )
..
16 . Bm − A − G7 − C clim
..
18 . <(C∆7 − B/G − A7 )− [3] c): Cl+Hrp, Seq(2×2m;R7 )
..
20 . <(D − A/C] − B7 )− cresc
22 ⊥ E − E7 /D− tutti clim
23 M1 C]∅7 − C∆7 − F ]∅7 /C − Em Ob, plagal cad, PB (&)
25 ⊥ G]◦7 /B = E7[9 − Str imit
26 M1 C]7 − C∆7 − Am/C− 2nd st, Fl+Cl, PB (&)
..
27 . D]◦7 /A − Em
28 ⊥ A97 − D∆7 /A − G∆7 − C][9
7 − [4] tr, Seq(3×1m;R7 ), Pm (%)
32 M3 D <(F ][9
7 − D/F ])− [5] B, ab): Fl+Bsn+Va, P (f ]),
..
34 . E∅7 − C]◦7 /E − C79 − E∅7 − a’), Vi2+Va triplets S(3p)
..
38 . Am − B[/D − F ]m − D]∅7 − b’): Fl+Bsn+Vi1+Va, Str tripl
40 ⊥ A+ /E] − Bm7 /D − A/C]−
[9/[13
42 M3 F ]7 − D/F ] − D/A− [6] a): Cl+Bsn+Vc, Seq(2×2m;R7 )
.. [9/[13
44 . G]7 − E/G] − E− a’): WW+Str imit
..
46 . C]m7 − Bm/D − D/F ]− b’): WW+Hn+Vi1+Vc, clim,
..
47 . E7 − C]◦ − G7 /F − Σ(cm>)
..
48 . F∆7 − G7 /F −
..
49 . C∆7 − D7 − F ]∅7 /C−
50 ⊥ G∆7 − G7 − G6 − PL (&)
51 G7 /F − Dm7 /F − Em− retrans, Str
52 Em7 /D − C − Am
53 F ]∅7 /A − A7 −
54 D − C − B7 − [7] Seq(3×3m;R7 )

h i
3
Mvt. 1 Prélude, Andante molto moderato: ABA Coda form (G, 4 , 96 m.)
A B A Coda
h i
3
Mvt. 2 Fileuse, Andantino quasi allegretto: ABA Coda form (G, 4 , 73 m.)
A B A C
h i
6
Mvt. 3 Sicilienne, Allegretto molto moderato: rondo form (Gm, 8 , 86 m.)
A B C A B’ C A Cd
h i
3
Mvt. 4 La Mort de Mélisande, Molto adagio: ABA Coda form (Dm, 4 , 63 m.)
A B A B’ Cd
Figure 13.3: Fauré, Pelléas et Mélisande, Suite Op. 80
M3(abab’) (2 + 2 + 2 + 3 m.). The second statement is a variation, with tutti instrumentation,

a climax, and contrary closing motion.
The A’ section (m. 55 ff.) has a triple statement of M1, as a sequence, returning to the main
tonic key as Em − F ]m − G. This is followed by the a-phrase from M2, with the same setting
(diatonic parallel chords, building up to climax). The coda (m. 69 ff.) has tonal ambiguity
E[ − G, supported by repeated notes in solo horn and flute. There is a final statement of the
M3 theme (clarinet), before the strings close the movement with M1 in lead violins.
13.2.2 Mvt. 2 Fileuse, Andantino quasi allegretto
Form: ABAC. See Table 13.16 and 13.17 for the analysis. This movement has a rhythmic
drive in the form of 16th-note sixtuplets played by violins (1st violins in the A sections and
moving between 1st and 2nd violins in the B section). Occasionaly these riffs are doubled in
the harp as 8th notes. These patterns are only interrupted briefly during the tutti climax in
the C section (m 59-65).
The A section has a long meandering melody for oboe. It has the structure M1(aabb’) (4+
4+6+4 m.), consists of dominantly stepwise motion in the a-phrase (note the Lydian flavour
c] in the main major key G) and leaps in the b-phrase. The bassoon is adding comments Mc
at the end of phrases. There is a change to the parallel minor Gm in the B section, and the
return to major in the A’ section. The middle section melody has regular period structure
M2(aba’b’) (4 + 4 + 4 + 4 m.). It is written for clarinet and horn, now with leaps (arpeggio
pattern) in the a-phrase and more stepwise motion in the b-phrase. Phrases from both M1
and M2 are juxtaposed in the A’ section. The C section, an extended coda, starts with a tutti
setting with sequential motif M3 (that is derived from the M1a-phrase) leading to a climax,
before returning to the opening texture.

Table 13.15: Fauré, Pelléas et Mélisande, Suite Op. 80, Mvt. 1 Prélude (cont’d)
m M R H Comment
55 M1 Em Em− A’, a): Ob, b): Str
57 M1 F ]m Em − D − C]7 − F ]m− Cl
60 M1 G F ]n − E − D7 − G − Am/C− Ob, Str [S̄46 ] %
62 M2 Am7 − B − Am/C − D]◦ − a): Ob+VI1 S(2p)
.. [9/[13
63 . C∆7 − D − G − Em7 − F ]7 − cresc
65 ⊥ G]◦7 = E7[9 −
66 (Dm7 − B◦7 − F − B◦7 )/C− [8] tr, tutti clim, PL (&)
d
68 (B◦7 − F )/C − Dm7 −
69 E[ G+ = E[+ /G − . . . − Coda, Str, Hn-Fl solo
74 M3’ G[13
7 − E[/G − . . . − a): Vc solo
78 M3’ F ][9 [9 [9
7 − G7 − F ]7 − G7 − ab’): Cl, Str bg
.. 9/+5
82 . D79 − D7 − G[9
7 − D7 /G− PLi (%)
85 ⊥ G G
87 M1 C∆7 /G − D − Am/D − Dm − Am/C− Vi1, Str bg
90 ⊥ G plagal cad (90 m.)
13.2.3 Mvt. 3 Sicilienne, Allegretto molto moderato

Form: rondo, ABCAB’CA.
h i See Table 13.18 and 13.19 for the analysis. This well-known dance
6
movement in 8 meter has an A section main melody with regular M1(aba’b’) (2 + 2 + 2 + 2
m.) period structure. The phrases move through the modes: the first b-phrase contains the
e\ = \6 (m. 4) in support of the Dorian mode, in the second a-phrase the a[ = [2 belongs to
the Phrygian mode, while the f ] = ]7 in the closing b-phrase is from the ascending melodic
minor scale. The characteristic descending-ascending bass pattern g − f − e − f and g − f −
e[ − d are confirming the melody mode and another returning element in this movement.
The charm of the piece is strengthened by the harp playing 16th note ascending arpeggio
backgrounds.
The secondary theme M2 in the contrasting B section picks up the rhythm and the shape
from the last b-phrase of the main melody. It is repeated three times as M2(aa’aa’) (2+2+2+2
m.). Again, there is the hovering between major and minor modes, note the b\ − b[ pitches in
the lead (m. 18). This section leads into a bridge climax with theme M3, repeated once. M3
consists of a two-measure motif: descending leap, followed by stepwise descending dotted
rhythm phrase in 2-part parallel setting S(2p).
The second contrasting theme in the B’ section is another M4(abab’) (4 + 4 + 4 + 4 m.)
period structure, with dotted rhythm descending stepwise motion in woodwinds. There is
a countermelody in the solo cello that has similarities to M1. In the last statement (m. 55
ff.) the roles are reversed, with strings taking the lead and flute plus bassoon playing the
countersubject. The repeat of the C section (m. 62 ff.) has some instrumentation changes.
The coda plays variations on the M1 a-phrase.

Table 13.16: Fauré, Pelléas et Mélisande, Suite Op. 80, Mvt. 2 Fileuse
m M R H Comment
h i
3
Andantino quasi allegretto 4 (])
1 G D7 − G69 − D7 − G − D7 − A, Vi1 6-tuplets, Str pizz
3 M1 G − D7 − G − G][9
7 /E− a): Ob
..
5 ./c Bm − F ][9
7 − Bm − D7 − Mc: Bsn
..
7 . G − D7 − G − Em7 − a’)
.. 9
9 ./c G − A7 − D7sus4 − D7 − Dm7 −
..
11 . F/A − Dm7 − F/A − F∆7 − [1] b)
.. i (&)
13 ./c F/C − Am7 /G − F ]∅7 − Am7 /C− Bsn Pm
.. ..
15 ./ . B7 − Gm7 /B[ − A[13
7 −
17 ⊥/⊥ Am/C − D7 −
18 G [2] B, maj-min, Vi1-Vi2 6-tuplets
19 M2 Gm G(m)7no 3 − Dm/G − Dm/F − a): Cl+Hn, Fl P D (d)
..
21 . E[9∆7 − Dm7 −
..
23 . Gm7 /F − G7 /F − B[97 − b): Cl+Bsn+Hn+Vi1
.. d
25 . G7 /B − C7 − D
..
27 . G(m)no 3 − B[∆7 /F − [3] a’): Fl+Cl+Hn+Vi1
..
29 . E[∆7 − E7[9 −
..
31 . B◦7 /F − G7 /B− b’), tutti clim
33 ⊥ C79 − D7 −
34 Gm − D7 − [4] A’, min-maj, Vi1 6-tuplets
35 M1 G G − D7 − G6 − F ][9
7 /E− a): Ob, Harp 8ths
37 ⊥/2 Bm − Bm7 /A − F ]m/A M2a): Hns
39 /⊥ G∆7 − F ][9
7 − D7 − Fl P (f ])
41 M1 G6 − D7 − G6 − B∅7 /F − [5] a): Ob, Harp 8ths
..
43 . E − B[/D−
44 ⊥/2 F M2a): Bsn+Hn, Fl P D (c)
.
45 / .. A[/E[ − Cm/E[ − D[∆7 −
47 /⊥ Cm
48 M1 F m7 /E[ − F7 /E[ − A[97 − [6] b): WW+Hn+Vi1
d
50 ⊥ F7 /A − B[7 − C − Am7 /C

Table 13.17: Fauré, Pelléas et Mélisande, Suite Op. 80, Mvt. 2 Fileuse (cont’d)
m M R H Comment
52 M1’ B7[13 − Am7 /C − B7 − Gm7 /B[− b’): WW imit, Seq(2×2m;R−7 ),
..
54 . A[13
7 − Gm7 /B[ − A7 − Am7 /C− [7] Harp 8ths
..
56 . B7[13 − Gm7 /B[ − A7 − Am7 − i (&)
Bsn Pm
57 ⊥ Am7 /C − D7 − Ob
59 M3 G − Dm− [8] C(oda), tutti,
..
60 . G7 /F − Em7 − A7 /G − F ]m− Str 8ths, Seq(3×1m;R7 )
..
62 . B7 /A − Am − D7 /C − Am7 /C− tutti clim
64 ⊥ Em7 − Am7 /C − C∆7 /E − A97 − Harp 8ths
66 M1’ D − D7 − G69 − D7sus4 − [9] b’): Ob, Vi 6-tuplets
68 M2” G7 /F − D7sus4 − G − D7sus4 Fl+Cl
70 ⊥ G7 /F − D7sus4 − G − . . . (73 m.)
13.2.4 Mvt. 4 La Mort de Mélisande, Molto adagio

Form: ABAB Coda. See Table 13.20 and 13.21 for the analysis. Both A sections start with low
woodwinds (note the very low register flute lead), and gradually rise into higher registers
with a climax at the end. Theme M1 has two phrases M1(ab) (4 + 4 m.); the dotted rhythm
stepwise ascending b-phrase is repeated in a sequence (m. 13 ff.). In between there is a
gently ascending string theme M2 with contrary opening motion (supported by the bassoon
countertheme).
The B section inverts the M1 b-phrase into a single measure motif M3a that is imitated
by various instruments. This initiates an intricate set of sequences, that yield tonal ambi-
guity as they move through various intermediate keys (a tentative tonal centre sequence is
indicated in the table). The overall phrasing of this section is M3(abc) (7 + 4 + 6 m.): the
b-phrase modifies the dotted rhythm into rising ascending leaps (while continuing the se-
quential treatment). The c-phrase has downward leaps in the lead as the dotted rhythms are
transferred to the inner parts.
The second A section (m. 35 ff.) has snippets of M3 inserted as the original theme M1
proceeds, with a modified instrumentation. The b-phrase yields a tutti climax apex pitch
(m. 40), then rises again in a sequence. The closing B’ section restates the M3-phrase, but this
time without the sequences and the tonal instability. It seems to hover between the major
key B[ and its relative minor companion Gm. The coda has the strings playing a variation
on the ascending M2 melody, before the movement dies down, with a final sigh in the lead
flute.

The key relationship diagram is shown in Fig. 13.4. The opening movement (Prélude) A
sections are in the main tonic major key G. The middle section moves to the dominant major

Table 13.18: Fauré, Pelléas et Mélisande, Suite Op. 80, Mvt. 3 Sicilienne
m M R H Comment
h i
6
Allegretto molto moderato 8 ([[)
1 Gm Gm A, main theme,
2 M1 Gm − Gm7 /F − Gm6 /E − Dm/F − a): Fl, Harp 16th arp
..
4 . <(B[ − C7 /B[) − D b), Str pizz
..
6 . Gm − Gm7 /F − F m7 /E[ − G7 /D− a’), PB (&)
8 ⊥ C7 − C◦7 − D7 − Gm b’), cad
10 M1 Gm − Gm7 /F − Gm6 /E − Dm/F − [A] 2nd stat, a): Vi1
..
12 . <(B[ − C7 /B[) − D b): Fl+Vi1
..
14 . Gm − Gm7 /F − F m7 /E[ − G7 /D− a’)
16 ⊥ C7 − C◦7 − D7 − Gm b’), cad
18 M2 E∅7 − E[7 − F713 − B[ − B[7 − B, a): Vi1, Str
..
20 . E∅7 − E[7 − D7 − Gm a’)
..
22 . E∅7 − E[7 − F713 − B[− [B], a): repeat WW+Str
24 ⊥ E∅7 − E[7 − D7 − Gm a’), Σ(cm<)
26 M3 D F79 − E∅7 /G− [C] C, a): tutti , clim
..
27 . A7 − D b): (Fl+Va)/(Cl+Vi1) S(2p)
..
28 . F7 − E∅7 /G− a): Fl+Hn+Str
29 ⊥ Am7 − A7 − D b’) Str, Σ(cm>)
30 M3 F79 − E∅7 /G− repeat. a)
..
31 . A7 − D b)
..
32 . F7 − E∅7 /G− a)
33 ⊥ Am7 − A7 − D b’), Σ(cm>)
34 M1 Gm Gm − Gm7 /F − Gm6 /E − Dm/F − [D] A, a): Fl+(Vi2)
..
36 ./c <(B[ − C7 /B[) − D b): Fl+Vi1, Mc: Bsn
.. ..
38 ./ . Gm − Gm7 /F − F m7 /E[ − G7 /D− a’): Vi1+Fl S(2p)
40 ⊥/⊥ C7 − C◦7 − D7 − Gm − E[ b’): Vi1, Mc: Cl, cad

Table 13.19: Fauré, Pelléas et Mélisande, Suite Op. 80, Mvt. 3 Sicilienne (cont’d)
m M R H Comment
[E] B’ ([[[)
44 M4/1’ E[ E[ − E[7 − M4a): Fl+Bsn S(2p), P T (e[),
.. ..
46 ./. (Cm − F∅7 − E[ − Cm)/E[ M1’)=Mc: Vc solo
.. ..
48 ./. (B[7 − Gm)/B[− a’), P D (b[)
52 ⊥/⊥ B[7 − E[ a”), P D (b[)
55 M4’/1’ (E[ − E[7 − Cm − F∅7 )/E[ [F] M4’: Str, M1’): Fl+Bsn
58 ⊥ <(A∅7 − C[∆7 − E[)/E[− P T (e[)
[G] C ([[\)
62 M3 D F79 − E∅7 /G− a): tutti , clim
..
63 . A7 − D b): (Ob+Vi1)/(Cl+Va) S(2p)
..
64 . F79 − E∅7 /G− a): Ob+Cl+Str
65 ⊥ Am7 − A7 − D b’) Str, Σ(cm>)
66 M3 F79 − E∅7 /G− repeat, a): WW+Str
..
67 . A[9
7 −D b): (Cl+Vi1)/(Fl+Vi2) S(2p)
..
68 . F79− E∅7 /G a)
69 ⊥ D∅7 /F − E[ − D7 − b’)
70 M1 Gm Gm − Gm7 /F − Gm6 /E − Dm/F − [H] A, a): Fl, Harp 16ths
..
72 . <(B[ − C7 /B[) − D b)
..
74 . Gm − Gm7 /F − F m7 /E[ − G7 /D− a’), PB (&)
d
76 ⊥ C7 − C◦7 − D7 − b’)
77 E[ E[ − E[7 − [K] Coda, PB (&)
78 M1’ E[/B[ − B[7sus4 /A[− a’): Cl, Σ(cm<)
.. 9
79 . E[/G − F7sus4 −
80 ⊥ E[ − D7 − cad
81 M1’ Gm Gm − Gm7 /F a’): FHn+Vi2, Σ(cm<)
..
82 . −Cm7 /E[ − D7 −
83 ⊥ Gm − <(Gm − Cm)/G− Cl-Fl, cad
85 Gm (86 m.)

Table 13.20: Fauré, Pelléas et Mélisande, Suite Op. 80, Mvt. 4 La Mort de Mélisande
m M R H Comment
h i
3
Molto adagio 4 ([)
1 M1 Dm Dm − Gm7 − B[∆7 − C7 /B[− A, a): Fl, Cl, LoStr pizz
..
3 . F/A − B∅7 − A7 /C]−
..
5 . Dm − F/G − G− b)
..
6 . B[/C − C7 − D7 −
7 ⊥ Cm/E[ − E∅7 /G − Dm plagal cad
9 M2 Dmno 3 − Gm − Dm − B[/D− a): Vi
11 ⊥ Gm − F/A − G − F − Am a’), Bsn, Σ(cm<)
d
13 M1’ Am − A7 /G − Gm7 /F − A/E− [2] b’): Fl, Seq(3×2m;R5 ),
.. d
15 . Dm − D7 /C − Cm7 /E[ − D/A− Cl, Σ(cm<)
d
17 ⊥ Gm − G7 /F − F m7 /A[ − G/D− tutti clim
19 M3 B[ F79 − E∅7 /G− B, a): Fl+Vi2, Σ(cm>)
..
20 . D7 /A − Cm7 − G7 /D− [3] a): Vi1, Seq(3×1m;R7 )
..
21 . D[m E[7 /B[ − D[m7 − A[7 /E[− a): FHn+Va
.. d
22 . Dm E7 /B − Dm7 − A7 /E − a): Cl+Vi2, Seq(2×2m;R7 )
..
23 . B[∆7 /D − B∅7 /D − A7 /G− Hns+Va
..
24 . Em F ]7 /C] − Em7 − B7 /F ]− a): Cl+Vi2
..
25 . C∆7 /E − C]∅7 /E − B7 /A−
..
26 . Em − D − C∆7 − B7 − [4] b): tutti cl, Seq(2×2m;R−3 )
..
28 . Gm Gm − F − E[∆7 − D7 −
..
30 . F ]m/C] − C] − C∆7 − c): tutti, Seq(3×1m;R−7 ),
..
31 . Em Em/B − B − B[∆7 − PBi (&)
..
32 . Dm Dm/A − A7 − B[∆7 −
33 ⊥ Dm/A − A7 − C/G − Cm7 /G− [5]

Table 13.21: Fauré, Pelléas et Mélisande, Suite Op. 80, Mvt. 4 La Mort de Mélisande (cont’d)
m M R H Comment
35 M1/3’ Gm D7 /F ] − Gm− A, a’): Fl+Hn+Tpt+Hrp,
.. ..
36 ./. B[∆7 − C7 /B[− M3c’): Va
.. ..
37 ./. F/A − B∅7 − A7 /C]− M3c’): Vi1
.. ..
39 ./. Dm Dm − F/G − G− b): tutti cresc, M3c’): Vi2+FHn
.. ..
40 ./. B[/C − F7 − D7 − tutti clim, apex pitch
.. ..
41 ./. G97 − C∆7 − G]◦7 /D− Σ(cm>)
42 ⊥/⊥ A
d
43 M1’ A − A7 /G − Gm7 /F − A/E− [6] b’): Tpt+Vi1, Seq(3×2m;R5 ),
.. d
45 . Dm − D7 /C − Σ(cm<)
..
46 . Cm7 /B[ − D/A−
.. d
47 . Gm − G7 /F − tutti climax
48 ⊥ F m7 /E[ − G/D−
49 M3 B[ F79 − E∅7 /G− [7] B’, a): Fl+Hn+Vi2, Σ(cm>)
..
50 . D7 /A − Cm7 /B[ − Gm7 /D− a): Hn+Vi2
..
51 . F79 − E∅7 /G− repeat, a’): Cl+Vi1
..
52 . D7 /A − Cm7 /B[ − Gm7 /D− a’): Vi2
53 ⊥ F m7 − F7 − E∅7 /G− plagal cad
54 Dm Dm [8] Coda
55 M2 Dm − Gm/D − Dm − B[/D Vi1, Bsn, Σ(cm<)
58 ⊥ B[97 /A[ − Gm7 − apex pitch
60 M2’ E[∆7 /G − Dm/F − E∅7 − Fl, N 6 , plagal cad
62 ⊥ Dm (63 m.)

Mvt. 1 Prélude
2
Am Em Bm F ]m
Y
H
H
9 H
C -G - D1 A Mvt. 2 Fileuse

Cm Gm Dm Am G
6
?
E[ 3 B[ F C Gm
Mvt. 4 La Mort de Mélisande

2
Em Bm D[m t
F ]m

G D A E
6,8 3,5
Gm Dm
- Am Em
6

Mvt. 3 Sicilienne B[ F C G
2,5 1,7 4
C G D B[m Fm Cm Gm

*

Cm
Gm Dm D[ A[ E[ B[
4,7

* 1,3,6
E[ B[ F D[m t A[m E[m B[m
Figure 13.4: Fauré, Pelléas et Mélisande, Suite Op. 80, key relationship diagram
key D (1). Returning to the second A section there is the sequence starting on the relative
minor Em − F ]m − G, and ascending back into the tonic. The coda starts on the lowered
sixth degree major key E[ = [VI.
Mvt. 2, Fileuse, has a simple tonal scheme. The outer sections are in major G, the middle
section is in the parallel minor key Gm. In Mvt. 3 Sicilienne all three A sections are in the
tonic minor key Gm. The contrasting B and C sections both pass through the dominant
major key D (2, 5). The E[ key is the Neapolitan of the dominant ([II/V ) in the C section (4)
and returns in the coda as the lowered submediant degree major key ([VI).
The closing movement, La Mort de Mélisande, remains in the triangle Dm − B[ − Gm for
the greater part. The A section is in the tonic minor key Dm, the second A section moves
from the subdominant minor Gm back to Dm (4), the second B section alternates between
the lowered submediant major key B[ = [VI and its relative minor key Gm (6-8). It is the
heavily modulating first B section, that passes through an extended set of keys applying
sequential treatment (1-5). Most of these intermediate keys lie on the subdominant axis
B[ − D[m − Em − Gm.
13.3 Masques et Bergamasques, Suite for Orchestra Op. 112 (1919)

13.3. MASQUES ET BERGAMASQUES, SUITE OP. 112
h i
2
Mvt. 1 Ouverture, allegro molto vivo: sonata form (F , 2 , 246 m.)
h i
3
Mvt. 2 Menuet, allegretto moderato: ternary song form (F , 4 , 103 m.)
A B A’
Figure 13.5: Fauré, Masques et Bergamasques, Suite Op. 112
13.3.1 Mvt. 1 Ouverture, Allegro molto vivo

Form: sonata. See Table 13.22 and 13.23 for the analysis. The main theme has an overall
M1(ab) (16 + 8 m.) structure, where the a-phrase is subdivided into four statement of a
4-measure a-motif, each time repeated at a higher starting pitch. The b-phrase is a sort of
conclusion, leading into a descent and closing with a cadence.
The second theme M2(aaa) is a melodic sequence, Seq(3 × 4m;R7 ), set in imitation for
woodwinds and strings; it opens with three repeated quarter notes followed by an upward
octave leap. The contrasting theme in the second exposition group has M3(aab) (4 + 4 + 6
m.) sentence structure, with strings instrumentation in octaves. Like M1, the a-phrase is
repeated at a higher pitch.
The development starts with a new theme M4, a staccato arpeggio in quarter notes, pre-
sented in descending and ascending form in imitation for woodwinds. It continues by de-
veloping the theme M2. The main theme M1 returns in the recapitulation, as do the melodic
sequences of M2 and the three a-phrase statements of M3. The coda is based on a constantly
ascending climatic variation of the main theme M1’.
13.3.2 Mvt. 2 Menuet, Tempo di minuetto. Allegretto moderato

Form: ternary song form, ABA. See Table 13.24 for the analysis. The main theme has an
overall M1(ab) (13 + 3 m.) structure. The a-phrase may be subdivided into a M1.a(cc’d)
(2 + 2 + 8 m.) sentence, with the c-phrase in parallel thirds for clarinets and the d-phrase as
a three-part counterpoint setting for clarinets and bassoon.
The contrasting theme has M2(aba’b’) (4 + 4 + 4 + 4 m.) period structure. Note how the
last measure from the statements in the strings is repeated by woodwinds and brass, creating
a call-and-response flavour.

The key relationship diagram is shown in Fig. 13.6. The overture sonata form allegro move-
ment has a conventional key layout: the exposition first theme group is in the tonic major
key F , the secondary theme is in the dominant major key C (2). The second group however
turns towards the relative minor key Am (3), also the mediant minor key of the tonic. The
development alternates between tonic major and relative minor key F − Dm (5), with the
usual excursion of the recapitulation into the subdominant domain B[ (6).
The Mvt. 2 Menuet also has a fairly key scheme: both A sections are in the tonic major
key F , the contrasting middle section is in the somewhat unfamiliar subdominant major key

Table 13.22: Fauré, Masques et Bergamasques, Suite Op. 112, Mvt. 1 Ouverture
m M R H Comment
1 M1.a F <(F − C7 /G)− Exp, Gr 1/Th 1 aa’a”a”: Vi1
..
9 . Am − C713 /B[ − Am − C7 /B[
17 M1.b D79 − C/G − D7 /F ]−
21 ⊥ C − G97sus4 − G13 9
7 − C7sus4 − C7 − cad
25 M1.a <(F − C7 /G) [1] 2nd stat, aa’): WW+Vi1
.. d
33 . F/A − F7 /A − Gm7 /B[ − G[97 /B − a”): climax
37 ⊥ [9 9 13
F/C − D7 /F ] − C7sus4 − C7 − cad
39 (M1’) (F − B[ − Dm)/F − D∅7 /C − C7 − [2] trans, M1: Vi2, Mt : WW
43 F − Dm7 /F − B◦7 /C − C7 −
47 M2 F − F∆7 /A − B[ − B[∆7 − E[ Gr 1/Th 2, imit: Str-WW
..
51 . E[97 /D[ − C − C7]5 /E− i (%)
melodic sequence, Pm
9/+5
55 ⊥ F − F7 /E[ − D − Em7 − D7 /F ]−
59 G <(G − G7 − D7 /F ])− [3] trans: WW
65 M3 C F/A − F − G13 9
7 − C∆7 − Gr 2/Th 1 in D, a) Str
..
69 . C − Am − B7[13 − Em− a)
+
73 ⊥ E∅7 − F∆7 − D7 /F ] − E b)
77 M3’ A E − A − A/E− [4] Fl+Cl
81 M3’ Am E − Am − Em − F∆7 Vi1
..
86 . G7 /F − Am7 /E − G7 /D − F/C− PB (&)
..
88 . B[ − C7 /B[−
89 ⊥ B[/F − F∆7 − G7sus4 − G13
7 −
92 M1’ C <(C − C∆79 − Dm − G )C− [5] cl clim, P T (c)
7 7
102 M4 F C7 /E − F − A7 /C] − Dm− [6] Dev, imit: Vi1, I(M): Bsn

110 M4’ Dm <(Gm7 − Dm) − E[/G − E7 /G] − A motif imit: Vi1-WW
117 (M2’) F F − B[/D − C7 − F/C− [7] motif imit: WW
121 (M2’) Dm Dm − Gm/B[ − A7 − Dm
127 (M2’) G7 − C − Cm F7 − B[ imit: Str
134 M2’ Gm − Dm − Dm/A− [8] Cl+Bsn
..
138 . B[∆7 − G7 /B − F/C−
..
142 . Dm − B∅7 /D − Dm7 − Am/E−
..
144 . Dm7 /F −
145 ⊥ F∆7 − D79 /F ] − C46 − G97 − G7 − climax, cad
146 C − G/B − C79 − [9] retrans

Table 13.23: Fauré, Masques et Bergamasques, Suite Op. 112, Mvt. 1 Ouverture (cont’d)
m M R H Comment
152 M1.a F <(F − C7 /G) Recap, Gr 1, aa’): Vi1
..
160 . Am − C713 /B[ − Am − C7 /B[− a”a”)
168 M1.b’ F/A − F7 /A − B[ − G[97 /B− [10] WW+Vi, climax
172 ⊥ F/C − D7 /F ] − C7sus4 − C713 −
[9 9 PBi (%), cad
174 (M1’) (F − B[ − Dm)/F − D∅7 /C − C − 7 − F trans, Vi1, Mt : WW
179 ⊥ Dm7 /F − B∅7 /D − C7 − cad
182 M2 F − F∆7 /A − G97 /B − Em − Em7 /G− [11] imit: Str-WW
..
188 . Am7 − Am7 /C − Dm7 − Dm7 /F −
192 ⊥ G7 − F/A − A]◦7 − G7 /B−
194 <(C − C7 − B∅7 ) − C − C7 trans, WW
202 M3 B[ B[/D − B[ − F/C − C7 − F∆7 [12] Gr 2: Str
..
206 . F − Dm − E7 − Am
210 ⊥ A∅7 − B[+
∆7 − Em7 /B − A
214 M3’ D A −D [13] WW
218 M3’ Dm A − Dm − Am − F∆7 /A Str
.. d
222 . B[ − C7 /B[ − Dm/A − C7 /G − Dm/F −
d
225 ⊥ E[ − F7 /C − (E[ − Gm7 )/B[ − B[m − C7 − climax, cad
229 M1’ F <(F − Dm − Gm7 − C7 )/F − [14] Coda: Vi, P T (f )
..
235 . (Gm7 − C7 − F )/F − B[−
238 ⊥ F/C − B∅7 /D − C7 −
241 F closing cad (246 m.)

Table 13.24: Fauré, Masques et Bergamasques, Suite Op. 112, Mvt. 2 Menuet
m M R H Comment
1 M1.a F F − <(F − C7 ) − Dm − A7 − Dm − Am− A: Cl
..
8 . C/E − B◦ /D − C − C7 /E − F − C7 /G−
d
11 ⊥ Am − G7 /B − Am/C − C7 − F − C7 /E− cad
d
14 M1.b F − C7 /G − F/A − B[ − F∆7 /C − G7 /D − [1] WW+Vi, PB (%)
17 M1.a’ A − F/A − A7 /C] − A7 − Dm− Vi1+2
.. d
20 . B[ − F7 − B[ − D7 /F ] − D −
23 ⊥ E[ − E∅7 − Dm/F − C46 − G7 − C − F cad
26 M1.a F − <(F − C7 ) − Dm − A7 − Dm − Am− [2] 2nd stat: Fl
32 ⊥ C/E − B◦ /D − C − C7 /E − F − C7 /G− WW
d
35 M1.b F/A − B[ − F/C − G7 /D − F7 /E[ − C7 /E Fl, PB (%)
..
38 . −F − C7 /G − F/A − Gm7 /B[− [3] PB (%)
40 ⊥ F46 − C7 − F cad
42 M2.a B[ B[ − F7sus4 /B[ − B[∆7 /A − Cm7 /G − B[ B, Vi1, P T (b[)
46 M2.b B[ − E7 /D − E∅7 − F7 − B[
50 M2.a’ B[ − F m7 /A[ − Cm7 /G − D∅7 /F − Cm Vi1
54 M2.b’ C − D7 /C − E7 /D − E∅7 − F7 − B[ [4]
58 M2.b B[/F − B[ − C7 /B[ − F/A Seq(2×4m;R−7 )
62 M2.a’ Am/E − A∅7 − B[7 /A[−
d
66 G/D − D7 − Gm D7 − [5] retrans, climax
70 F ]/C] − C]7 − F ]m/C]− P (c])
74 M1.a F F − <(F − C7 ) − Dm − A7 − Dm − Am− A’: Vi1+2
..
80 . C/E − B◦ /D − C − C7 /E−
81 ⊥ B◦ /D − C − C7 /E−
82 M1.b F − C7 /G − F/A − B[− [6] WW
..
84 . F∅7 /C − Gm7 /D − A − Am7 /E−
86 ⊥ F − C7 /G − F/A − B[ − F46 − C − F cad, PB (%)
90 M1.a’ (C7 − B[ − Dm7 − Gm7 )/F [7] Coda Vi1, f -ped
93 ⊥ <(F7 − E∅7 )/F − F7 −
98 (M1’) D7 − Dm7 − Gm7 − F imit: WW, cad (103 m.)

B[.
Mvt. 1 Ouverture. Allegro

3
G D A E

7
? 6
Gm Dm Am Em Mvt. 2 Menuet
6
5 6 1
? 2 ,4
6
B[ F C G B[ - F
Figure 13.6: Fauré, Masques et Bergamasques, Suite Op. 112, key relationship diagram


Chapter 14
Giacomo Puccini
Biographical data:
∗ 22-12-1858 in Lucca
† 29-11-1924 in Brussels
1600 1700 1800 1900 2000
14.1 Opera Madama Butterfly (1902-1904)

Source: [42]. The analysis presented in this chapter is incomplete; it contains major sections
and arias from the first act, and fragments from the second act (to be completed). Return-
ing melodic material is labeled with either characters (e.g., Mb: Butterfly, Mp: Pinkerton) or
with a mood (e.g., Mf: fugue subject, Mj: Japanese pentatonic). Through-composed vocal
melodies are labeled Mv. The lyrics are indicated in italic (first words), to facilitate keeping
track of the vocal parts.
14.1.1 Overture, Atto Primo (#1–4) Collina presso Nagasaki

Form: fugue. The overture starts with a four-part fugue for strings, woodwinds and horns.
The fugue subject Mf consists of two phrases: the a-phrase is the accented repeat of an em-
bellished minor third leap and an ascending scale in 16th notes. The b-phrase is a descending
melodic sequence. This fugue theme will return throughout the first act in brief snippets, in
particular the a-phrase. Writing a fugue as introduction to this late romantic, impression-
istic seems like an anachronism, reminding us of the classical period (in particular Mozart
operas). The fast tempo with its many 16th note patterns and the leaps in the countersubject
leads to a hurried mood.1
The transition motif Mt with its staccato and accented 16th notes is another connecting
element, returning in the first act. In #2 it is played first in a tutti climax setting. Both ele-
ments, Mf and Mt are repeated in #3, but now the fugue subject a-phrase has a chromatically
descending pizzicato 8th note pattern in the high strings as countersubject; this accompani-
ment will return later in the act. See Table 14.1 for the analysis.
1
Maybe the sense of urgency in the opening fugue is meant to expose latecomers in the opera theatre. Car-
riages that got held up in the evening Milan traffic?
2005-2017
CHAPTER 14. GIACOMO PUCCINI
Table 14.1: Puccini, Madama Butterfly, Overture
[#]+m M R H Comment
h i
2
Allegro 4 ([[[)
0 Mf Cm Cm − G7 − Cm Fugue subject, (a): Vi
0+4 ⊥ Gm − F m − E[ − D◦ − Cm (b): Seq(4×1m;R−7 )
0+8 Mf Gm − D7 − Gm (a): Va, countersubj: Vi
..
0+12 . Dm/F − Cm/E[ − Gm/B[ − E∅7 − (b), [S̄ 6 ]
1 ⊥ D7 − Gm
1+2 Mf Cm − G7 − Cm (a): Bsn+Vc, 3pt Str+WW
..
1+5 . Gm/B[ − F m/A[ − E[/G (b), [S̄ 6 ]
1+8 ⊥ G7 /F − Cm
1+10 Mf Gm/B[ − D7 − Gm− (a): Cb+Bsn, 4pt fugue
..
1+13 . Dm/F − B[/D − Cm/E[ − F7 /C− (b): Seq(4×1m;R−7 ), [S̄ 6 ]
1+15 ⊥ B[/D − Gm/B[ − D7 /C−
2 Mt Gm/B[ − F ]◦7 /A− trans, tutti clim,
2+1 ⊥ Gm/B[ − F/A − E[/G− ~ , [S̄ 6 ]
Hk d
2+2 Mt Cm/E[ − B◦ /D−
.. ~ &, [S̄ 6 ]
2+3 . Cm/E[ − B[/D − A[/C− Hkd
..
2+4 . Gm/B[ − F m/A[ − E[/G − D∅7 /F −
2+6 ⊥ Cm/E[ − B[/D − F7 /C−
Si alza il sipario (curtain raising)
2+7 Mf’ B◦7 − . . . − Vi+HiWW unis
2+9 G[9
7 − ...− HiWW 16ths unis&
3 Gm − G[9 7 − 16th asc run
3+4 Mf Cm − G7 /F − Cm/E[ (a): HiWW, HiStr: PBi (&)
..
3+7 . E[∆7 /G − Cm7 /E[ − D∅7 /F − G[9
7 − (b): Seq(4×1m;R−7 )
3+9 ⊥ Cm/E[ − A∅7 /C − G[9
7 −
4 Mt Cm/E[ − B◦7 /D− tutti clim, [S̄ 6 ]
4+1 ⊥ Cm/E[ − B[/D − A[/C− ~ &, [S̄ 6 ]
Hk d
4+2 Mt Cm/E[ − B◦7 /D−
..
4+3 . Cm/E[ − B[/D − A[/C−
.. ~ &, [S̄ 6 ]
4+4 . Gm/B[ − F m/A[ − E[/G− Bsn+Str, Hk d
4+5 ⊥ D∅7 /F − Cm/E[ − B[/D − A[/C−

14.1. OPERA MADAMA BUTTERFLY
14.1.2 Atto Primo, (#5–7) E soffitto e pareti

Vocal parts: Pinkerton and Goro. Form: ABA’, ternary song form. The section opens with
a downward leap motif Ml; the first statement is a downward octave leap, but later other
intervals, such as the (diminished) fifth will occur. The leap pattern is also closing most of the
vocal phrases in this duet. The vocal melody Mv is supported by short fragments from the
overture fugue subject Mf (the embellished minor third motif). The extended tonic-dominant
pedal and instrumentation (woodwinds, muted French horn and pizzicato strings) give the
section lightness and a pinch of humour.
The melodic material from the overture returns more prominently: in #6 it is the fugue
subject a-phrase, in #7 the transition motif. There is also the play with diatonic modes; note
the alternating S∆7 − S7 harmonies and the Mixolydian 7th. See Table 14.2 for the analysis.
14.1.3 Atto Primo, (#8–13) Questa è la cameriera

Vocal parts: Goro, Pinkerton and Suzuki. Form: ABA’. The delicate transition for woodwinds
in #8 is followed by a dialogue between Pinkterton & Goro (#8–9, 12–13) and a solo for Suzuki
in the middle section (#10–11). The overall structure of this section therefore is ternary.. In #8
there is extended use of syncopated 4th notes: first for clarinets and later for middle register
strings. Fugue subject a-phrase fragments Mf underline the dialogue, often in imitation. The
transition in #10 is also based on the fugue subject, as is the retransition at the beginning of
#12. The background to the Suzuki monologue is with light staccato 8th notes with grace-
notes, in #11 briefly interrupted by sustained string chords. See Table 14.3 and 14.4 for the
analysis.
14.1.4 Atto Primo, (#14–20) Qui verran: l’Ufficiale del registro

Vocal parts: Goro, Sharpless and Pinkerton. This is great busy and cheerful party music. The
main melody Mq in #14–15 has M(aabb) structure, with Ionian mode in the a-phrase and
this most characteristic Mixolydian minor 7th in the b-phrase. The use of grace-notes in the
woodwinds supports the happy mood.
When Goro first refers to Butterfly in #16 there is a pentatonic, Asian-flavour simple
melody Mj. The entrance of consul Sharpless in #17 brings a new, more lyrical theme Msh for
unisono woodwinds over the same harmonies as the previous pentatonic theme. The tran-
sition in #18 has a number of dramatic effects and references to the earlier theme from the
overture, Mt (accents and parallel first inversion series), the leap theme Ml, and the fugue
subject Mf. The transition to the next aria is in #20. See Table 14.5 and 14.6 for the analysis.
14.1.5 Atto Primo (#21–26) Dovunque al mondo

Vocal parts: Pinkerton, Sharpless. The structure of this section is that of a song for Pinker-
ton with four slightly varied verses (Mp) and a bridge in #24. This ‘cowboy’ song (il Yankee
vagabondo) is in praise of the good old imperialist nature. The introduction #21 and the coda
#25 are for brass and woodwinds, paraphrasing the U.S.A. national anthem Mu. The mod-
ulating bridge with its shifting roots is a dialogue between the two singers. The connecting
element in both verses and bridge is the transitory subject Mt, quoting the rhythm from the
anthem. See Table 14.7 for the analysis.

Table 14.2: Puccini, Madama Butterfly, Act 1 (5–7) E soffitto e pareti
[#]+m M R H Comment
h i
Allegro moderato A 24 ([[[)
5 Ml E[ E[∆7 − . . . − WW unis, LoStr pizz, P (e[−b[)
5+2 Mv/f E[7 − . . . − P: E soffito
..
5+4 ./l E∆7 − . . . − G: Vanno
..
5+7 ./f E[7 −
..
5+8 ./l E[m7 − . . . − (ped)
..
5+11 ./f E[m6 −
..
5+12 ./l E[m7 − . . . − P: Il nido
5+13 ⊥/ f E[m6 − G: Qui o
Poco animando B
6 Mf A[ A[97sus4 − . . . − A[7 − (a): HiStr imit, Mixolyd, PBi (&)
6+3 Mv D[ − E[7 /B[ − A[/C − F m7 − P: Anch’esso, WW
6+5 ⊥ B[m7 − E[7 −
6+7 Mf A[97sus4 − . . . − A[7 − (a): HiStr, LoStr pizz
6+10 D − E7 /B − A − F ]m7 − WW
6+12 Mv Bm7 − E7 − G: Un fianco
6+13 Mf Am Am − F∆7 − E7 /D− (a): WW, Bsn+Vc PBi (&)
..
6+15 . Am/C − F −
6+16 ⊥ G7 − C/E − Am7 − Σ(cm<)
7 Mv E[ E[/G− P: Capisco
7+1 Mt <(Gm − F ]◦7 − Gm − E[)− Ob+Cl+HiStr, [S̄ 6 ]
Un poco meno come prima A’
7+5 Mv/l E[∆7 − . . . − P: E la di, LoStr pizz, P (e[−b[)
..
7+8 ./f E[7 − G: Salda come
..
7+9 ./l E[∆7 − . . . −
7+12 ⊥/ f E[∆7 −
7+13 Mf E[7 − F ]97 − . . . − Str-Ob imit

Table 14.3: Puccini, Madama Butterfly, Act 1 (8–13) Questa è la cameriera
[#]+m M R H Comment
h i
Andante lento A 34 (]]]]])
8 Mt1 B B − D]m7 /C] − B∆7 − intro, Fl, Cl sync
8+2 ⊥ G]m7 − D]m7 − B∆7 −
8+4 Mv B − ...− G: Questa è, Cl sync
Muovere un poco ([[[[[)
..
8+7 ./f A[97 − . . . − E[m7 /B[ − A[97 − Str, syncopes
8+11 ⊥/ f A[97 − . . . − P: I nomi?
1. Tempo (]]]]])
9 Mt1 B∆7 − D]m7 /C] − B∆7 − trans, 2nd stat, Ob
9+2 ⊥ G]m7 − B− Fl
h i
Allegro B 24 (])
10 Mf Em Em − . . . − (a): HiStr, LoStr pizz, PBi (&)
..
10+3 . C∆7 − B7 /A − Em/G − C−
..
10+5 . (G − Am7 )/G− (b) Seq(2×1m;R−7 ), P D (g)
10+7 ⊥ G − G7 − (a): WW imit
10+11 Mv C C − G/B − Am7 − G7 /D− Suz: Sorride, Fl+Str stacc
10+13 ⊥ C − G7 /D − C − D7 A−
11 Mf 9
G − B7sus4 − ...− WW imit
d
11+4 Mv B − C]m Suz: Schiude, Cl, Str
..
11+6 . E/G] − F ]m7 /A − F ]m7 −
..
11+9 . B7 /F ] − Bm/F ] − Em − Bm/D− Str 8th stacc
..
11+11 . Em C∆7 − Bm7 /F ] − Em − Bm/D−
11+13 ⊥ C∆7
12 Mf B − Em − C∆7 − B7 /A− (a): HiStr, LoStr pizz, PBi (&)
..
12+2 . Em/G − C−
..
12+4 . (G − Am7 )/G− (b) Seq(2×1m;R−7 ), P D (g)
12+6 ⊥ G − G7 −

Table 14.4: Puccini, Madama Butterfly, Act 1 (8–13) Questa è la cameriera (cont’d)
[#]+m M R H Comment
Andante – Allegro moderato A’
12+9 5 C − D7 /C− Pink & Goro
12+10 Mt2 G/B − F/A − E/G]− Fl+Vi, [S̄ 6 ]
12+13 Mv Am Dm/F − Am/C− G: Se non
..
12+14 . Bm7 − E7 − cad
13 ⊥ Am h i
6
13+1 Mv <(G97 − A]◦7 − B∅7 − Dm)/G− 8 , P & G, P D (g)
13+8 B∅7 − Em − Dm − C− Str
h i
2
13+ 10 G7 − C − G7 − 4 trans, Str unis
14.1.6 Atto Primo (#27–28) Una ghirlanda di fiori fresci

Vocal parts: Goro, Pinkerton, Sharpless. This transitory section opens with the pentatonic
theme Mj heard first in #16 (the Butterfly reference by Goro). In #27 it is then combined with
brief quotes from the opening fugue subject Mf and the consul Sharpless Msh lyrical theme
(from #17). The fugue subject carries over into #28. See Table 14.8 for the analysis.
14.1.7 Atto Primo (#37–41) Ecco. – Ah! Quanto cielo!

Vocal parts: Goro, Butterfly, Sharpless and Friends of Buterfly (Le Amiche). The allegro in #37 has
an Asian flavour, with the vocal melody Mg doubled in staccato bassoon and pizzicato violas
and celli. Staccato clarinets and tremolo violins play parallel perfect fifths. The transition
in #38 is a local climax with unisono subject Mt, supported by choral accents (Le Amiche:
Ah!), exclaiming their admiration for the sky and sea. The dialogue between Butterfly (first
appearance in this opera) and the female choir in #39 is a long sequence with impressionistic
augmented chords.
The string and woodwind romance) subject Mr (with its characteristic descending step-
wise contour 1 − ∆7 − 6 = 1) will return at the end of the first act in the love duet between
Butterfly and Pinkerton, based on the love theme Mb=Ml’ first presented here in #40 with two
statements. At the end there is a climax, before the closing pentatonic love theme theme Ml
in the transition in #41 for staccato piccolo and flute, harp and glockenspiel over tremolo
strings; a vey light texture with a tranquil-sad undertone. This is a remarkable section in a
harmonic sense: we see the dominant 9th chords S79 in inverted position, both as first and
second inversion (chordal function 3 or 5 in the bass). See Table 14.9 for the analysis.
14.1.8 Atto Primo (#42–61) Gran ventura

Vocal parts: Butterfly, Pinkerton, Sharpless, Friends (Le Amiche). Section#42 is a transition,
with dialogue and accompaniment in steady 4th notes by juxtaposed woodwind and string
section. In #43 the Butterfly love theme, first heard in #41 is repeated in the strings, with leaps

Table 14.5: Puccini, Madama Butterfly, Act 1 (14–20) Qui verran: l’Ufficiale del registro
[#]+m M R H Comment
h i
2
Allegretto moderato 4 Goro
14 Mq C <(C − G7 /D − C/E − G7 /D)− (aa): Bsn+Va Ion, G: Qui verran
14+8 ⊥ <(C7 − Gm7 /D − C7 /E − G7 /D) (bb) Mixolydian
14+16 C − G/D− cad
([[[) Pink & Goro
15 Mq E[ <(E[ − B[ − E[ − B[]5
7 )− (aa): Vi+Vc, P & G, P (e[−b[)
..
15+8 . <(E[7 − B[m7 )− (b) Mixolyd
9/+5
15+10 ⊥ <(E[ − B[7 ) (b)
16 E[ − C/G− tr, Str+Cl+Bsn unis, G: Quanto
(\\\) Pink & Goro & Sharpl
16+5 Mj C <(Dm − G137 − Em7 /D − C)− (aaa’): WW+Vi stacc, Asian
16+11 Mj Gm/D − C7 − C79 − (aa) cad
16+15 Mj F 6 − C 9 )−
<(F∆7 (aa’): S: E suda
7
17 Msh 6 − C 9 )−
<(F∆7 WW unis lyrical theme
7
17+4 Msh 6 − C 9 )−
<(F∆7 Ob+Vi+S: Ah! quei
7
17+8 B[7 − E[6 − F713 − B[−
d
17+12 Msh C7 − F∆7 − C7 − D[∆7 − A[97 − Ob+Cl+Vi1, P: Presto
18 F7 /A − Cm7 /B[− trans WW+Str accts, PB (%)
18+1 F7 /C − B[∆7 /D−
18+2 Cm/E[ − Dm/F − E[/G− [S̄ 6 ]
18+4 Mt <(Gm − F ]◦7 − Gm − F − E[) WW+Tpt clim, [S̄ 6 ]
18+8 Ml E[∆7 − . . . − HiStr leaps, S: il mare, P (e[−b[)
18+11 Mf E[7 − (a’): Str-Ob imit
18+14 Mv G− trans, P: E una
19 Mf Cm <(Cm − G7 − Cm)− (a): Str fugue, S: Vostra?
..
19+3 . E[/G − D∅7 /F − (b) Seq(4×1m;R−7 ), [S̄ 6 ]
..
19+4 . Cm/E[ − A∅7 /E[−
19+6 ⊥ G7 /F − Cm/E[−
19+8 Mf Gm Gm/B[ − D7 − Gm (a) Str, P: con facoltà
..
19+11 . Dm/F − B[∆7 /D− (b) Seq(4×1m;R−7 ), [S̄ 6 ]
..
19+12 . Cm/E[ − F7 /C−
..
19+13 . B[ − E∅7 /B[ − D7 /C−
19+15 ⊥ Gm/B[ − F ]◦7 /E[− cad

Table 14.6: Puccini, Madama Butterfly, Act 1 (14–20) Qui verran: l’Ufficiale del registro (cont’d)
[#]+m M R H Comment
20 Mt <(Gm/B[ − F ]◦7 /E[)− Fl+Str, P: elastici, P (e[−b[)
20+3 Gm − D7 −→ B[7 − ~ &
tutti clim, Hk e
20+4 A7 − D − Gm − A[ − D[− Str, S: E l’uomo
20+7 Dno 3 − Gmno 3 − A[no 3 − Str unis cad, P: Certo
20+10 D[ D[no 3 − Dno 3 − trans
and arpeggios in the middle voices. The Sharpless text is accompanied by an augmented
version of the transition theme from the overture in #2.
The interview about the family background of Butterfly starts in #44, with various Asian
and pentatonic patterns. In #45 and #46 there is a number closing motion 4-measure pat-
terns moving through various keys. The mood keeps changing rapidly between harsh and
sweet. The death of the father is reported in #49. When Sharpless estimates her age, there is a
sequence of ascending (too low estimate) and descending (too high) exact parallel dominant
7th chords in third inversion.
(In the score there are rehearsal numbers missing: there is a skip from #49 to #55, then
to #59.) The transition in #55 expresses the amazement about the age of Butterfly (15 years
old) by using a tritone symmetry R6i : <(F m − C[), repeated in an 8th note riff with a tutti
climax at the end.
See Table 14.10 and 14.11 for the analysis. Over a somewhat pompous 4th note triadic
background with lead melody Mo, Goro in #59 announces the arrival of the officials and
wedding guests, with the party music Mf (from #11, with the juxtaposition of the Ionian and
Mixolydian modes). The party takes off in #60 with the 8th note afterbeats in the low strings
and the woodwind grace notes, all contributing to a cheerful, somewhat comical mood)
setting in.
14.1.9 Atto Primo (#61–64) Dov’è? Eccolo là!

Vocal parts: Wedding Guests, Ensemble. The festive music Mf (from #11, 59 and 60) is repeated
in #61 in the higher octave (octave imitation between oboe and bassoon) with an intricate di-
alogue (call-and-response) between soloists and divided choir. The friends and relatives of
Butterfly are admiring Pinkerton. The key has shifted to G major, there is a different harmo-
nization with augmented dominant S7]5 chords, and a tonic-dominant pedal in bass clarinet,
harp and timpani. At the last b-phrase there is a tutti crescendo to a climax, with repeated
16th note turn motives.
At #62 there is a change of key, returning to B[ major. with ascending and descending
quintuplets (flute, clarinet and harp) over staccato 8th note patterns, and a dominant f trill
(flute and oboe). The greedy relatives are looking for booze. The party climax is reached
in#63, continuing the symmetric root characteristic: the keys are R3i : B[ − G − D[. The
choir of relatives now sings the theme Mf in imitation, over a steadily stepwise ascending
woodwind scale in quarter notes and the alternating tonic-dominant pedal point pattern.
In #64 normality is returning (’Order in the room, please!’). There is a setting with three-

Table 14.7: Puccini, Madama Butterfly, Act 1 (21–26) Dovunque al mondo
[#]+m M R H Comment
h i
3
Allegro sostenuto 4 ([[[[[[)
21 Mu G[ G[ − G[∆7 /F − E[m7 − B[7 − Intro, “USA”, Tpt+Brs
..
21+2 . E[m7 − A[7 − D[ − D[m− WW+Brs
21+4 ⊥ G[m7 − C[7 − A[7 − D[7no 3 −
21+6 Mt G[69 − D[7 − Vi
21+8 Mp G[ − D[7 /A[ − G[6 /B[ − D[97 /C[− V1, Pink: Dovunque
..
21+12 . E[m7 /B[ − D[/A[ − E[m7 − D[∆7 /F −
21+13 ⊥ A[7 − D[ − D[7 −
22 Mp’ G[69 − D[7 /A[ − G[/B[ − D[97 /A[− V2, Pink: Affonda
..
22+4 . G[6 − D[7 /C[−
.. [9/[13
22+6 . E[7 /B[ − D[m/A[−
..
22+8 . G[m − D[m/A[ − E[[∆7 −
[5/[9
22+9 ⊥ A[7 /E[[no 7 − bitonal flavour
23 Mt D[7no 3 − G[69 − D[7 /A[− EHn+Va
23+3 Mp” G[/B[ − D[9 /A[ − G[6 − D[7 /C[− V3, Pink: Affonda
..
23+7 . E[7 /B[ − A[ − C]m − F ]m− PL (%)
23+11 ⊥ Em7 − F ]m/A− climax
24 Mt D[7no 3 − G[69 − D[7 − D7no 3 − Bridge, Fl+Va, P: La vita
24+3 Mt G G9∆7 − E79 /G] − A − E[no 3 PBi (%)
24+5 Mt A[ A[69 − E[7 /B[ − E7no 3 − Sharpl: È un facile
24+8 Mt A9∆7 − F ]97 /A] − Bm7 − Pink+Sharpl
24+11 Mt D[ A◦7 /C − A[97 −
24+12 ⊥ <(D[9∆7 − A[97 )/D[ − D[− halfcad, P (d[)
25 Mp G[ G[ − D[97 /A[ − G[6 /B[ − D[7 /C[− V4, Pink: Vinto+WW+Str
..
25+4 . E[m/B[ − D[/A[ − E[m7 /G[ − F m
25+7 ⊥ A[97 − D[ − . . . − D[7 − halfcad
25+12 Mt G[69 − D[7 /A[− Str imit
25+14 ⊥ G[7 /B[ − C[ − A[97 /C− Sharpl: È un facile
26 Mu G[ − G[∆7 /F − E[m − B[7 − Coda “USA”, Tpt+Brs
..
26+2 . E[m − A[7 − D[ − D[7 /C[− WW+Brs, P+Sh: America
..
26+4 . G[/B[ − E[m/B[ − F∅7 /C[− tutti climax
26+5 ⊥ B[7 /F

Table 14.8: Puccini, Madama Butterfly, Act 1 (27–28) Una ghirlanda di fiori fresci
[#]+m M R H Comment
h i
2
Allegretto mosso 4 (\\\\\\) Goro
26+9 Mj B (C]m − B)/F ]− (a): WW+FHn, G: Una ghirlanda,
..
26+11 . (C]m − F ] − B)/F ] (a) P D (f ])
26+13 ⊥ (C]m − F ]7 − B)/F ] (a’),
27 Mj/f <(D]∅7 − B79 )− (a)/(a), G: E per nulla, Σ(cm<)
27+4 Mj/sh E 6 − B 9 )−
<(E∆7 Str/Bsn, G: Se vostro
7
27+8 Msh C∆7 − G97 Fl
27+10 E − F ]m − E − . . . − Str, P: Va, conducila
27+12 WW unit scalar run%
27+14 Mf Em Em (a): WW, PBi (&)
..
28 . C (G − Dm7 − Em − Dm7 )/G− (b), Seq(4×1m;R−7 ), P D (g)
28 +4 ⊥ (Dm7 − A − Dm7 )/G−
28+7 C7 − D[ − Cm/E[ − A[− trans, WW+Str stacc, Σ(cm>)
28+11 F m − G[ − A[13
7 no 3 − WW+Str pizz, S: Quale, Σ(cm>)
28+14 F7 /A− P: Non so!
28+17 9
F7sus4 − F7 − WW
part sectional harmony (a jazz big band type of setting with parallel motion in all voices,
stepwise and leaps). The lyrical lead voice has a meandering pattern with embellished as-
cending and descending arpeggios. The abbreviated third statement of this theme closes the
section, while calming down. (The rehearsal numbers jump from #64 to #73). See Table 14.12
for the analysis.
14.1.10 Atto Primo (#100–110) Cio-cio-san!

Vocal parts: Bonze, Ensemble. This section is dominated by the ‘anxiety’ (thrill, suspense,
tension) motif Ma, that is characterized by a whole-tone scale flavour and a 8th note - dotted
16t note rhythm. In #100 it is stated for the first time in the introduction, in an augmented
and altered form (augmented second steps). In #101 it already has the final rhythm, but it
takes its definitive shape in #102.
Uncle Bonzo sets the mood in #100, calling for Cio-cio-san, and giving the choir the creeps.
At the end of #101 there is another characteristic element of the section: the descending exact
parallel chords, with accented octave leaps in the lead (tension climax). Starting in #102 is an
extended formal design, using the anxiety motif Ma, symmetrical root division (first minor
third R3i , then major second R2i and finally semitone steps Ri ) and key descending tendency.
Here is the layout in diagram (rehearsal number, symmetry type and key indicated):
#: 102 103 104 105 (105) 108 109 (109)

Sym: R−3i R−2i R−i
R: Gm− Em− D[m− Bm− Am− Bm− B[m− Am−

Table 14.9: Puccini, Madama Butterfly, Act 1 (37–41) Ecco. – Ah! Quanto cielo!
[#]+m M R H Comment
h i
2
Allegro 4 ([[) Asian
37 Mg B[m B[madd9 − . . . − Goro: Ecco+Ch: Ah!,
..
37+3 . G[∆7 − . . . − Mg: Bsn+Va+Vc pizz,
37+7 ⊥ E[m − E[m6 − F no 3 − Vi trem
38 E[m7 − B[mno 3 trans, WW+Str, clim
38+3 Mt F7[9 − <(B[m6 − G∅7 /D[)− Ch: Ah!, WW+Vi1+Vc
38+8 ⊥ G[∆7 − F Ch
h i
4
Largo 4 ([[[[) augmented ch
39 Mr A[ − A[∆7 − F + − Ch Amiche: Quanto cielo!, Vi
39+2 Mr B[ − B[∆7 − G+ − Seq(5×2m;R7 ), Fl (\\)
39+4 Mr C − C∆7 − A+ − Butt+Fl+Vi
.. 9 /F ] − B [5 /F −
39+6 . D − D∆7 7
39+8 ⊥ E − E∆7 − C + Butt+Fl+Vi
h i
6
Sostenendo a tempo 4 ([[[[[[)
40 Mb/c G[ G[ − G[9∆7 /B[ − D[7 /A[ − D[97 Butt: d’amor+Str sol,
.. ..
40+2 ./ . G[ − A[7 /G[ − F m7 − B[m Ch: Gioa a te
40+4 ⊥/⊥ E[m7 − A[7 − D[97
40+6 Mb’/c’ G[ − G[∆7 /B[ − D[7 /A[ − D[7 − PL (%)
.. ..
40+8 ./ . B[∅7 /F [ − E[m7 − B[m/D[−
.. ..
40+9 ./ . A[m7 /C[ − C∅7 − B[m/D[−
.. .. d
40+10 ./ . A[97 /E[ − G[/B[− Voc+HiStr unis
40+12 ⊥/⊥ A[m − D[13 7 − climax, cad
h i
4
Largo 4 trans (Love theme)
41 Ml (G[6 − A[m7 )/G[− Pentat: Fl+Pi+Harp+Glk,
.. d
41+2 . (G[ − D[97 − E[m)/G[ − B[m Butt: Siam giunte, P T (g[)
41+3 ⊥ E[m = G[6 − B[m/D[ − G[6 Str trem, cad

Table 14.10: Puccini, Madama Butterfly, Act 1 (42–61) Gran ventura
[#]+m M R H Comment
h i
4
Moderato sostenuto 4 ([[[[[[[) B & P & A
42 Mv G[ (G[ − E[m − G[)/B[ Fl+Cl, B: Gran ventura
..
42+5 . A[m7 − B[m − A[m7 − F∅7 − 4th note accomp
..
42+7 . G[/D[ − F∅7 /E[−
..
42+8 . G[/B[ − B[m − D[∆7 /A[ − G∅7 − Str, P: Molto raro
42+10 ⊥ F m − E[m7 − F m/A[ − E[m7 − WW, B: Dei più
43 Ml D[ F m/A[ − A[7 − D[ − D[6 − Vi1, Str, B: Se vi
..
43+3 . D[∆7 − B[m7 /D[ − E[m7 −
..
43+5 . D[6∆7 − G[∆7 − C∅7 − D[6 − D[∆7 −
43+7 ⊥ B[m7 − F m7 − B[m/F −
43+8 Mt’ <(B[m/D[ − F ]∅7 − F ]◦7 ) WW+Va, S: Siete di
43+12 ⊥ B[m/D[ − G[/B[− Str
43+15 D+ − Str pizz, cad
h i
2
Allegretto moderato 4 (\\\\\\) Butterfly
44 Mv Gm Gm − . . . − E[ − . . . − Cm− Cl, B: Nessuno
.. d
44+8 . D7[9 no 3 − . . . − Vla+Vc
..
45 . Cm/E[ − Cm − Gm/B[ − B[+ − Str, B: Eppur, Σ(cm<)
45+3 ⊥ D+ /F ] − <(Gm6 − E∅7 )− cresc, Asian clim
45+8 Gm − E[ − (Dno 3 )− Ob+Bsn unis
45+12 Mv E[ Gm − A[ − B[7 − E[ WW+Str, B: e abbiam, Σ(cm>)
..
46 . A[ Cm − D[ − E[7 − A[ − E[/G− WW+Str, Σ(cm>)
..
46+4 . F m7 − B[13
7 − Str, A: Vero!
..
46+6 . E[ E[ − F m7 − E[ − . . . − Str, B: Non lo
47 ⊥ E G]m − A − B7 − E WW+Str, B: Perchè?, Σ(cm>)
47+5 Mv E − ...− Cl, P: Con quel
48 Mv G[ G[ − D[97 no 3 − G[∆7 − Str, B: Non signore
..
48+3 . <(D[97 no 3 − G[)− B &G
..
49 . G[− S: E vostro
49+2 Mp’ B[m7 − E[m − B[m − A[ WW+LoStr pentat, B: Morto
Moderato
49+9 Mv B7 /A − A∆7 /G] − C]m7 − Cl+Bsn, S: Quant’ anni
.. d
~ %
49+11 . B7 /A − B[7 /A[ − B7 /A − C7 /B[ − B& S, Hke

Table 14.11: Puccini, Madama Butterfly, Act 1 (42–61) Gran ventura (cont’d)
[#]+m M R H Comment
49+14 Mv B[∆7 /A − Dm7 − C7 /B[− S: Venti
..
49+16 . B[]5 ]5 ]5
7 /A[ − A7 /G − G]7 /F ]−
~ &
WW, Hke
49+19 ⊥ G]5 ]5 +
7 /F − D7 /C − C −
55 Mt” Fm <(F m − C[)− Ob-Fl, Str, R6i sym

..
55+7 . <(F m − C[) 8th note tutti riff, cresc
55+11 ⊥ F7 − climax
Poco meno ([[) Goro & Pink
59 Mo B[ B[ − E[ − B[/D − C/E − F Str+FHns, G: L’imperial
..
59+3 . B[ − E[ − B[/D − C/E − F −
59+6 ⊥ Cm − Gm − Cm − G − Cm
59+10 Mt” Gm7no 3 Str unis pentat, P: Fate
59+13 Mf B[ − E[ − B[/D − C7 /E − F (a): Va
59+16 ⊥ B[ − E[ − B[/D − C7 /E − F (a)
60 Mf <(B[ − . . . − F/C)− (aa): Bsn, LoStr, Ion
..
60+8 . B[7 − A[/C − D∅7 − F m7 /C− (b) P: Che burletti
..
60+10 . B[ − A◦ /C − B[7 /Dno 1 − F/C−
..
60+12 . B[7 − A[/C − D∅7 − F m7 /C− (b)
60+14 ⊥ B[7 − F − B[ cresc
61 B[m − A[no 3 − Emno 3 − D− tr, WW+LoStr clim, cad

Table 14.12: Puccini, Madama Butterfly, Act 1 (61–64) Dov’è? Eccolo là!
[#]+m M R H Comment
h i
2
4 (]) B &P & Ch (All)
61+3 Mf G G− − Em − D7]5 −
D+ (a): WW+Va imit, Ch: Dov’è?,
..
61+5 . Em − D7 − G97 − D7]5 − P (g−d)
..
61+7 . G G − D+ − Em − D7]5 − (a) (ped)
..
61+9 . Em − D7 − G97 − D7]5 −
..
61+11 . G97 − Gm7 − G97 − D79 − G7 − D7]5 − (b); WW+Str, Ch: Goro,
..
61+15 . G97 − Gm7 − G97 − (b’)
..
61+17 . <(G7sus4 − G97 ) − G97 − WW+Str, Ch: Ecco
..
61+21 . C79 /G − . . . − F7sus4
9 − ...− tutti cresc
61+27 ⊥ F7 − . . . − h i WW+HiStr: 16ths, G: Per
clim,
2
Lo stesso movimento 4 (]) B &P & Ch (All)
62 Mv B[ B[69 − . . . − WW+Hns+HiStr, Ch: Vino,
62+7 ⊥ Cm − B[69 − F7 − B[69 − P D (f )
([[[[[) B & Ch (Relatives
63 Mf D[ D[ − A[ − B[m/D[ − A[7 − (a) Ch, P (d[−a[)
..
63+2 . D[ − A[7 − D[ − A[97 − WW (4ths%)+LoStr
..
63+4 . D[ D[ − A[ − B[m/D[ − A[7 − (a)
..
63+6 . D[ − A[7 − D[ − A[97 −
..
63+8 . <(D[ − A[m) (b) Hns+Ch,
63+12 ⊥ <(D[ − A[m) (b’)
63+14 Mv D[97 − . . . − F/C− climax, arp&, G: Per
a tempo ([) P & S & Ch
64 Mv F F 6 − Dm7 /C− ‘sect harm’, (a) S: O amico
..
64+2 . C − Dm/A − −Gm7 − Dm/A− WW+Str trem
.. d
64+4 . E∅7 /B[ − Dm4 − C7 − Dm (b)
64+6 ⊥ G7 − C79 −
64+8 Mv F 6 − Dm7 /C− 2nd stat, (a): S: Non più
..
64+10 . Am7 /C − Dm/A − Gm7 − Dm/A− WW+Str trem
..
64+12 . G]∅7 /B[ − A[9
7 − (b’)
64+14 ⊥ D7[9 − G[9
7 − F 6 /C − C −
7
64+16 Mv’ <(F9 − C7 ) − F 6
6 (a’): Vi, B: Mamma, P T (f )

While the voices (Bonzo, Pinkerton and Choir) sing their dialogue (a police enquiry, inter-
viewing the accused), the Ma motif is repeated numerous times in a shrill instrumentation
(low oboes, english horn, clarinets, accented french horns, muted trumpets). In #107 Pinker-
ton has had enough and kicks them all out, accompanied by a tutti unisono pentatonic theme
Mp in #108. An amazed group of relatives and a few more quiet anxiety motif statements in
#109–110 close the section. See Table 14.13 for the analysis.
14.1.11 Atto Primo (#111-115) Bimba, bimba, non piangere

Vocal parts: Pinkerton, Butterfly, Suzuki. This section is a transition to the long final duet of
the first act. After the wedding guests have left, Pinkerton asks Butterfly to stop crying, and
re-assuring her of his admiration. Then there is the prayer of Suzuki in #113, just before the
fugue theme Mf sets in once more in #114, over the chromatically descending pizzicato bass
line. See Table 14.14 for the analysis.
14.1.12 Atto Primo (#116–136) Viene la sera

Vocal parts: Pinkerton, Butterfly, Suzuki. This is the long closing section of the first act. In #116
it starts with a romantic duet Mr1 between Pinkerton and Butterfly that has a three-verse song
form with bridge. Melody Mr1 has an M(aa’b) sentence structure. The verses have extended
dominant pedal point. This is another section with many 9th chords, including dominant
9th chords S79 in second inversion.
In the bridge #118 there are many 8th note syncopations (business, forward drive) and
the figure subject a-phrase Mf returns in woodwind imitation. In #119, near the end of the
third verse, there is the first statement of the whole-tone anxiety motto Ma (threat, suspense,
augmented chords) by the oboes.
In #123, in the Pinkerton monologue, there is a transition to the romance theme Mr, first
heard in #39. The admiration scene in #126 is a continuously rising melody Mt1 with appog-
giaturas over a dominant pedal point, closing with the anxiety motto Ma in a climax at the
start of #127. The admiration continues in #127, with a lush obbligato violin melody full of
leaps, with a 16th-triplet arpeggio background for harp.
The night scene in #128–130 has another romantic theme Mr2 with M(alb) sentence struc-
ture. The background is a continuous series of 4th note syncopations. The third statement
of this theme ends in a climax, followed in #131 by a varied statement of the Mt1 theme (the
ascending line with appoggiaturas).
The love conquest in #132 (Pinkerton has Butterfly now under firm control) is followed by
the transition in #133, copied from #123. This leads into the ecstatic closing statement of the
love and romance theme Mr (from #39, and heard here in #123). In #134 there is a repeat of
the sequence with augmented chords, introduced in #39 (first appearance of Butterfly). The
romantic theme from that section, Mr, is carried over into the great duet between the two
lovers in #134-135, where they also join voices in unisono (as opposed to the other dialogue
passages). We see another application of 9th chords (major and dominant) in inverted po-
sition (third or fifth in the bass), supporting the romantic climaxes. The closing coda of this
act is a statement of the sweet pentatonic theme Ml (Butterfly in love), starting on fortissimo
ff but quickly moving into the lower register at pp dynamics, with the curtain falling. See

Table 14.13: Puccini, Madama Butterfly, Act 1 (100-110) Cio-cio-san!
[#]+m M R H Comment
h i
2
Vivo 4 (\) Bonzo & B & G & Ch
100 Mv A]m − . . . − Vi+Va trem, Bo: Cio-cio-san!
100+6 (Ma) <(B[m − B[m6 /F )− LoWW+Va: anxiety, augm
100+12 (Ma) <(F m − F m6 /C)−
101 (Ma’) <(Cm − Cm6 /G)− Ob+Cl+Vi2 dim, Bo: Ciociosan!
101+4 E[/G − D/F ] − D[/F no 1 ~ &, [S̄ 6 ]
tutti climax, Hki
Allegro moderato
102 Ma/v Gm 9 − D 9 − E )−
<(E∅7 Ob+EHn+FHn+Tpt, Bo: Che hai
7 ∅7
.
102+8 ⊥ / .. D]∅7 − D∅7 − ~ &
oct leaps, climax, Hk i
.
102+10 Ma/ .. Em <(C]9∅7 − B79 − C]∅7 )− Str trem
.
103+6 ⊥ / .. C∅7 − B∅7 − ~ &
.
104 Ma/ .. D[m <(B[9∅7 − A[97 − B[∅7 )− Ob+Cl+Tpt, Ch: Ciociosan!
.
104+6 ⊥ / .. B[∅7 − A∅7 − ~ &
incalzando . . . stringendo
.
105 Ma/ .. Bm G]9∅7 − F ]97 − Ob+Cl+Vi, Bo: Kami
.
105+2 ⊥ / .. G]∅7 − G∅7 ~ &
105+4 Ma/⊥ F ]9∅7 − E79 − <(F ]∅7 − E79 )−
106 F ]∅7 − . . . − tutti climax, 16th arp%
106+3 F ]∅7 − Am − B∅7 − . . . − Str trem, P: Ehi, dico
107 Ma/v Am 9 − E9−
B∅7 FHn+Tpt+Vi, Ch: Ti rinneghiamo!
7
107+2 F ]∅7 − G∅7 − G]∅7 − tutti climax, arp%, Hk ~ %
i
107+5 Mv G]∅7 − C] − . . . − Str trem, P: Sbarrazate
Allegro
108 Mp F ]m7 − Bm − F ]m − Bm tutti unisono, accents
108+7 ⊥ <(F ]m − Bm)
Allegro moderato
108+12 Ma/v Bm G]9∅7 − F ]97 − G]∅7 Ob+Bsn, Ch: Kami
.
109 Ma/ .. B[m G9∅7 − F79 − G∅7 −
109+4 Ma/⊥ F ]∅7 − . . . − E79 − F ]∅7 − Hns-Ob, Str sync, P (f ])
109+12 G]7 /F ] − . . . − WW+Str
110 D/F ]−
110+4 Ma/v 9 /F − C] /E − B /D
B∅7 Tpt, Ch: Ciociosan!
∅7 ∅7

Table 14.14: Puccini, Madama Butterfly, Act 1 (111–115) Bimba, bimba, non piangere
[#]+m M R H Comment
h i
4
Andante affetuoso P & B, trans
4
111 Mv E/G] − E7no 3 − Dm7 /C− WW+Va, P: Bimba
..
111+3 . G/B − E7[5 /B[ − A7sus4 − A7 −
..
111+5 ./a A9∅7 − G97 − A∅7 − Cm7 − Vi,
..
111+7 . Gm/B[ − A∅7 − Cm−
..
111+8 . Gm7 /B[ − A∅7 − Cm−
.. d
111+9 . Gm7 /B[ − A∅7 − Gm/B[ − D7 −
111+10 ⊥ E[ − B[ − Cm − G7 −
a tempo ([[[)
112 Mv Cm Cm7 − F m − Cm/E[− Str, B: Non piango
..
112+1 . B[/D − Gm/B[ − E[ − Cm
..
112+2 . B[6 − Cm − A[∆7 /C − B[/D−
..
112+5 . Cm − B[ − Cm − B[6 −
.. d
112+7 . A[ − G7 /B −
113 ⊥ <(Am/C − G∆7 )− WW+Harp
h i 16th, B: Mi han
2
Un po’ più mosso 4
113+4 Mv Suz: E Izaghi
Allegro moderato
114 Mf Em Em − B7 /A− (a): Vi, PBi (&)
114+3 ⊥ (G − Am7 )/G− (b): Cl Seq(2×1m;R−7 ),
114+5 Mf’ G7 − . . . − (a): WW imit, Str sync
115+ Mf’/v F ]97 − . . . − Bm/E − F ]m7 /E− (a): WW imit, PB (&)
115+5 E713 − E7no 3 − Str &, cad

Table 14.15: Puccini, Madama Butterfly, Act 1 (116–136) Viene la sera
[#]+m M R H Comment
h i
6
Andantino calmo 8 (]]]) Pink & Butterfly
d d
116 Mr1 A A − E79 /B − F ]m7 − B7 − E7 − (aa’): Vi1, P: Viene la, P D (e)
116 +4 ⊥ F ]m7 /C] − Bm7no 3 − E7 − A (b)
d d
117 Mr1 A − E79 /B − F ]m7 /C] − B7 − E7 − (aa’): Va+Vc, B: Si, si, P D (e)
..
117+4 . F ]m7 /C] − A97 /E − D/F ] − Bm97 − (b)
117+8 ⊥ F ]m7 /C] − E7sus4 − A69 (b’): Str, S: Buona notte
118 Mf <(C]m97 − F ]m/C])− bridge, syncop, WW imit
118+4 Mv C]m97 − <(C]m − D/F ])− WW, B: Quest’obi
118+6 ⊥ C]m7 − C]m7 /B − E7[5 /B[no 3 − P: Con moti
d d
119 Mr1 A − E79 /B − F ]m7 − B7 − E7 − (aa’): Cl+Vi, P & B, P D (e)
..
119+4 . F ]m7 /C] − A97 /E − D/F ]− (b) climax
119+7 Ma Dm+7 − C]∅7 − Dm − B∅7 wh.t.-anxiety: Ob
119+9 <(B∅7 /D − C + /E) − Dm− Str+WW, B: Butterfly
119+11 C + − E7 − cad
120 (Mr1) A Vi1
h i
3
Andante lento 4
120+2 Mv A − D∆7 − A − A64 − E − A Str+Bsn, P: Bimba
..
120+6 . E − C]m − Bm7 − F ]m − D− WW+Va+Vc, Σ(cm<)
120+8 ⊥ C]m − F ]m7 − B7 − E clim,
h i cad
2
Sostenendo 4
121 Mv C C/E − B◦ /D − Am/C − B◦ /D −→ B: Somiglio, [S̄ 6 ]
121+3 ⊥ <(Am/C − Gm/B[) ~
hHkid
4
121+5 Mv C − ...− 4 P: E affascina, unis,
..
121+7 . Dm7 /C − . . . − 4th sync, P D (c), PB (%)
.. d
121+9 . F E∅7 − Gm7 /F − C7 /G − B[∆7 /A− B: E via
..
121+11 . C7 /G − Gm7 /F − PB (&)
121+12 ⊥ C7 /E − B[/D − F/C − E◦ /B[−
h i
3
Andante lento come prima 4
122 Mv A A − D∆7 − A − A64 − E − A Str+P: Ma in tanto
..
122+4 . E − A/C] − Bm7 − Str tripl arp
..
122+5 . F ]m − Bm/D − C]m − F ]m7 − climax
122+7 ⊥ G − F/A − E/B − Dm − E713 − Σ(cm>)

Table 14.16: Puccini, Madama Butterfly, Act 1 (116–136) Viene la sera (cont’d)
[#]+m M R H Comment
h i
6
Andante 8 Pinkerton
123 Mv <(A69 /C] − Bm7 − E7 /B)− P: Stolta
123+4 Mr A∆7 /C] − E79 /B− WW+Str+P: ma dà
123+6 Mv A − D]∅7 − E7 −
123+8 ⊥ <(A − E79 /G])− Str, P: come ora
h i
4
Andante mosso ma sostenendo 4(]]\) Pink & Butterfly
126 Mt1 D D96 /A − . . . − WW+Str unis PL (%), P D (a)
126+8 ⊥ G]∅7 −
127 Ma G9∅7 − F7 − G9∅7 − WW+Tpt, tutti climax
Andante animato
127+4 Mv G[ G[ − F/A − F∅7 /A[ − D[69 − Vi+B: Siete alto
..
127+6 . B7 /F ] − C7 /G − D[97 /A[
− D[97 − Harp: 16th tripl arp
127+9 ⊥ 9 9
G[ /B[ − D[7 /A[−
127+11 Mv G[ − F/A − F∅7 /A[ − D[97 − VI+B: Or son
127+13 Mt A[m7 /C[ − E[m6 − B[m6 WW+Va
Andante sostenuto ([[[)
128 Mr2 E[ B[7 /D − F m7 /E[ − B[7 /D− (a); Vi1, Str 4th sync
..
128+4 . B[7 /D − F m7 /E[ − B[7 /D− (a) Str, B: Vogliatemi
..
128+8 . G/D − F/C − E[∆7 /B[ [S̄46 ]
128+11 ⊥ F m7 − B[7 PL (%)
129 Mr2 D[7 − D[97 − D[7 − (a): Vi1+B: Vogliatemi
..
129+4 . B[/F − A[/E[ − G[/D[− (b): WW+Str, [S̄46 ]
129+7 ⊥ A[m7 − D[7 −
129+8 Mr2 B[ F7 − Cm7 /E[ − F7 − ([[\) (a): Str unis+B: profonda
..
130 . F − Cm7 /B[ − F7 /A− (a): WW+Str, cresc
130+4 ⊥ D/A − C/G− (b): tutti clim, P: Butterfly!
Allegro moderato
131 Mt1 B[69 /F − . . . − WW+Vi1, B: Dicon
131+4 Mt1 E[69 /B[ − . . . −
131+8 ⊥ A∅7 − . . .
131+10 Ma G]9∅7 − F ]7 − wh.t.-anxiety: (Ob+Cl)-Tpt
132 (Mt1) G]9∅7 − E79 /G]−

Table 14.17: Puccini, Madama Butterfly, Act 1 (116–136) Viene la sera (cont’d)
[#]+m M R H Comment
poco sostenendo
d
132+2 Mv D[ D[7 /C[ − E[m7 /B[− WW+P, Va 16th arp,
..
132+3 . D[7 /A[ − E[m7 /G[− PB (&)
..
132+4 . D[∆7 /F − A[7 /E[−
..
132+5 . D[ − . . . − B[m/D[ − E[m7 /D[− Str trem
132+9 ⊥ A[7 /D[ − D[ climax, PB (&)(arp)
h i
6
Andante mosso appasionato 8
133 Mv A <(A69 /C] − E9 /B)− P: Via
133+4 Mr A∆7 /C] − E79 /B− WW+Str+P: È notte
133+6 Mv A69 − E79 −
133+8 ⊥ <(A/C] − E79 /B)− Str, P: Vieni
d
133+12 Mr A∆7 /C] − E79 /B − WW+HiStr+P: È notte
..
133+14 . F ]7 /A] − D]◦7 /A − E/G] − Gm+7 −
133+16 ⊥ D/F ] − G]∅7 − C]− h i
4
Andante molto sostenuto 4 augmented ch
134 Mr A − A∆7 − F ]+ − B: Dolce, Seq(5×2m;R−7 )
134+2 Mr B − B∆7 − G]+ − Str trem, Harp: 16th arp
134+4 Mr D[ − D[9∆7 /F − B[[57 /F [−
134+6 Mr E[ − E[∆7 − C + − h i
6
Largamente ‘con calore’ 4
134+8 Mr F F − F∆79 /A − C /G − C − B+P: Oh! quanti
7 7
..
134+10 . F − Dm/F − F∆7 − B◦ −
134+11 ⊥ E∅7 − Am7 − Dm − G13 9
7 − C7 − climax
135 Mr 9
F − F∆7 /A − C7 /G − C7 −
..
135+2 . F79 /E[ − B[/D − Am/C−
..
135+3 . Gm7 /B[ − B∅7 − F/C−
..
135+4 . G97 /D − F/C − F/A− climax, B+P: Ah! dolce
135+5 ⊥ Gm7 − F46 − C713 cad
h i
4
Largo 4
136 Ml (F96 − F∆7 − Gm7 )/F − WW+Harp, P T (f ),
.. 6
136+4 . F∆7− ...− Str trem
136+6 ⊥ 6
Dm − F/A − C7sus4 /G − F∆7 Str, cad

14.1.13 Atto Secondo, Parte Prima (#12–16) Un bel dı̀

Vocal parts: Butterfly. In this lyrical solo aria Butterfly is hoping and waiting for the return
of and re-uniting with Pinkerton (in vain, as it turns out). The main melody Mb1 descends
over one octave, opening with a very light woodwind and (tremolo) high muted strings
background; the solo violin is doubling the vocal lead. After the first statement A1 , there are
several bridge sections (B and C), with the shape of the melody suggesting sighs of hope;
Mb2 and Mb3 both have multiple upward-downward arcing phrases.
The series of woodwind syncopations in #13 underlines the feeling of expectation. as do
the pizzicato afterbeats in the middle strings. This mood is continued in #14 with the syn-
copations now in the muted trumpets and monotonously repeating 16th notes in the vocal
lead. The A2 section in #15 presents the second statement of the main melody, now doubled
with unisono woodwinds and strings (mutes off). The 2-part harmony is subtly moving
from muted trumpets to oboes and then French horns, all in syncopated accent patterns.
With a transitional crescendo and ascending lead there is the final exclamation of Butterfly:
I must keep my doubts and anxiety to myself, while the unisono orchestra finishes the main
theme, this time descending from a very high register downwards over two octaves. This
final statement has a tonic pedal and the syncopated harmonies now in three parts moving
from trombones to horns. See Table 14.18 for the analysis.
14.1.14 Atto Secondo, Parte Prima (#90) Humming Chorus

Vocal parts: Voices offstage. This section for unisono offstage humming choir (mouth closed),
doubled with a viola d’amore, remains at pianissimo pp–p dynamic level. The melody Mv1-
Mv4 has a chorale-like flavour with its sustained notes and stepwise motion. The accompa-
niment is with staccato woodwind and pizzicato string 8th note arpeggio accents. There is
extended tonic pedal point for clarinets and French horn. At the end, in the coda, the melody
ascends in a diminuendo (curtain closing). See Table 14.19 for the analysis.
14.1.15 Atto Secondo, Parte Seconda (#5–12) Oh eh! Oh eh!

Vocal parts: Sailors (Marinai) (tenors in two parts). Most of this section is instrumental, de-
picting dawn. The sailors sing their cries Mm in imitation over an ascending set of exact
parallel dominant chords S79 . The second part of the transition is #5, the mooring of the ship.
Starting from #6 there is environmental mood music, with birds whistling in the garden
background.2 A number of themes and subjects is presented in juxtaposition and imitation
over a set of symmetrically distributed roots. Theme Mh, first presented by muted French
horn, has a quarter note arpeggio and signal character. The sweet Mw theme has a penta-
tonic flavour, a reference to Butterfly (waiting for Pinkerton arriving on the ship). It is in the
high woodwinds and violins, the second statement in parallel perfect 5ths. One could say
the the juxtaposition of Mh and Mw also expresses West-faces-East. Subject Me, first played
in #7 by muted French horn, has an alternating stepwise shape and represents expectation
during sunrise (the same theme has been used in Act 1). The R4i symmetrically distributed
roots are: D − F ] − B[ and the key keeps alternating between these three during the dawn
scene, finally settling on D.
2
Whistling birds: nowadays an easy job with digital sampling. Imagine an 1904 premiere performance with
local varieté artists behind the curtains.

Table 14.18: Puccini, Madama Butterfly, Act 2, Part 1 (12–16) Un bel dı̀
[#]+m M R H Comment
h i
3
Andante molto calmo 4 ([[[[[[)
12 Mb1 G[ G[ − D[/F − E[m − D[− A1 , B: Un bel dı̀, WW+Vi1,
..
12+4 . A[m − F∅7 − B[m7 − E[m7 /G[− Vi2 trem
12+6 ⊥ D[7 − G[
Un poco mosso B
12+8 Mb2 B[m7 − B[m97 − G[ − B[m B: Poi la nave+WW+Vc
12+12 Mb2 F m7 − F m97 − D[ − F m− B: romba+WW+Str
12+16 ⊥ E[m − C∅7 /B[ − E[m7 /D[
h i
2
a tempo C1 4
13 Mb3 Fm <(F m/A[ − G∅7 /D[)−
..
13+4 . <(F m/A[ − G∅7 /D[)−
..
13+7 . F m/C − . . . − G∅7 /B[ − F m WW syncopes
..
13+12 . A[/C − D[ − A[/C Str
13+15 ⊥ A[ − . . . − C−
h i
Sostenendo molto C2 48
14 Mb4 Fm F m − F m7 B: Chi sarà?, Tpt mute sync
Lento
14+4 ⊥ <(D[6 − C∅7 /B[) − D[∆7 −
h i
3
Andante come prima 4
15 Mb1 G[ G[ − D[ − E[m − D[− A2 , B: morire,
..
15+4 . A[m − F∅7 − B[m7 − E[m7 /G[− tutti unis climax
15+6 ⊥ D[97 − G[ H: Tpt→Ob→FHn
15+8 Mb5 B[m E[m − B[m trans, B: Tutto questo, Str trem
15+10 ⊥ <(B[m − E[m) − B[m tutti climax, plagal cad
Largamente closing
16 Mb1 G[ (G[6 − D[ − E[m − D[97 )/G[− A3 , B: l’aspetto, P T (g[)
..
16+4 . (A[m − F∅7 − G[∆7 − D[13
7 )/G[− tutti unis climax,
16+6 ⊥ 13
D[7 − G[ PL (&), cad

Table 14.19: Puccini, Madama Butterfly, Act 2, Part 1 (90) Humming Chorus
[#]+m M R H Comment
h i
4
Moderatamente mosso 4([[)
90 B[ (B[ − F7sus4 − B[)/B[− A, WW+Str pizz, P T (b[)
90+2 Mv1 <(B[ − F7sus4 − B[)/B[− Va+Ch (mouth closed) unis
..
90+6 . (Cm7 − E[∆7 − Cm7 )/B[−
90+8 ⊥ (B[ − F7sus4 − B[)/B[−
90+10 Mv2 <(F − Cm47 − F )/B[ − E[/B[− B1 , Fl+Va+Ch
..
90+14 . D/A − Am47 − D − Gm−
..
90+16 . (F − Cm47 − F − Cm − A◦ − F7 )/B[−
90+18 Mv1 <(B[ − F7sus4 − B[)/B[− A, Va+Ch, P T (b[)
..
90+22 . (Cm7 − E[∆7 − Cm7 )/B[−
90+24 ⊥ (B[ − F7sus4 − B[)/B[−
90+26 Mv3 Gm − F m − Cm − B[/D− B2 , Fl+Va+Ch
..
90+30 . A[ − G − Cm−
..
90+34 . F7 /E[ − Cm7 − F7 − E[
..
90+36 . F7 /E[ − Cm7 − F7 − Cm7 −
90+38 ⊥ D − Gmadd9 − Cm7 − F7 −
90+40 Mv4 <(B[ − F7sus4 − B[)/B[− A’, Coda, P T (b[)
..
90+45 . Gm − Dmadd4 − Gm − B[∆7 /D− PL (%)
90+47 ⊥ Cm7 − B[ plagal cad

Table 14.20: Puccini, Madama Butterfly, Act 2, Part 2 (5–12) Oh eh! Oh eh!
[#]+m M R H Comment
h i
4
Un poco meno 4 (]]]])
4+5 Mm B[97 − . . . − B79 − . . . − trans, Ch: Oh eh!, Cl+Bsn
4=11 ⊥ C79 − . . . − ~
Str, Hk e
h i
2
Meno ancora 4 ([) trans
d
5 Mt1 F (C79 − F − C7sus4 − C7 − Dm7 )/C− Ob, Str, P D (c)
5+5 F/A − B[ − F/A − Dm7 − C/E−
5+7 Mt2 C − F − ... − A...− WW unis
During #9 there is more rhythmic activity (from an 8th note countermelody to 16th and
32th note ascending runs) and a gradual crescendo, to explode in the brillantemente section,
full of tutti themes, imitation and background arpeggios. In #10 there is the climactic sun-
light theme, played by the full orchestra (doubled in hidden form in the descending 16th
note arpeggios in high woodwinds and strings).
After a brief unisono 16th note run transition in #11 the climax returns briefly, now over
the signal theme Mh in imitation. A transitional pentatonic motif Mt3 sets in, with a state-
ment starting in high woodwinds and repeated at the lower octaves, while there is a general
diminuendo as the scene is closing. See Table 14.20 and 14.21 for the analysis.

Table 14.21: Puccini, Madama Butterfly, Act 2, Part 2 (5–12) Oh eh! Oh eh! (cont’d)
[#]+m M R H Comment
h i
2
Allegro moderato 4 (]]]) Birds whistling
6 Mh D D/A − . . . − FHn (mute), LoStr trem
6+5 ⊥ Bm7 /F ] = D6 /F ]−
6+8 Mw (D − D6 − D)/A − E7 /B− WW stacc+Vi pizz
7 Me <(D/A − Bm)− FHn, Str pizz+trem
7+5 Mh F] F ]/C] − F ]9 /A]− FHn (dawn)
7+ 9 ⊥ F ]/C] − F ]6 /A]−
7+13 Mw F ]6 /C] = G[6 /D[ − E[m − G[/D[− Fl+Harp, Str trem
7+15 ⊥ A[/E[− (par perfect 5ths)
8 Mt3 G[/D[ = F ]/C] − D]m− EHn+Bsn+FHn
8+2 ⊥ <(F ]/C] − D]m)−
8+5 Mh/c B[ B[/F − . . . − ([[) WW, Mc: Bsn+Vc: 8ths
9 Mh D D/A − . . . − (]]) Tpt-(FHn+Vc) im, 16ths
9+4 Mh’ F ]/C] − . . . − Ob+Vi2, 32th runs
9+6 Mh’ B[/F − . . . − WW+Vi1, PL (%), cresc
Brillantemente (sunshine)
9+8 Mh’ D6 /A − . . . − tutti imit, Harp+Str: arp
10 Me’ <(Bm − D/A) LoWW+FHn, WW+Str: arp
10+4 Me’ F] <(F ]/C] − E/B) − F ]/C]−
10+8 Me’ <(A[/E[ − G[/D[)− tutti cresc
10+12 Ms D A/E − D − A/E − F ]m LoWW+Brs+LoStr ‘sun’
10+14 ⊥ A7 /G − F ]m − A/E − Bm7 /D− unis, tutti cresc
10+15 Ms A/E − D − A/E − F ]m 2nd stat, tutti climax
10+17 ⊥ A7 /G − F ]m − A/E − Bm7 /D−
10+18 Ms’ A/E − F ]m − Bm7 /D− accented notes
..
10+19 . A/E − F ]m−
..
10+20 . A7 /G − F ]m − A/E − Bm7 /D−
10+21 ⊥ A/C] − F ]∅7 /C no 3 − B7 −
11 G]∅7 − A7 − . . . − WW+HiStr: 16th run unis
11+5 Mh’ D − ...− tutti clim, imit, 16th arp
11+9 Mt3 <(F ]m/A − Bm/D) − F ]m/A− Ob, pentatonic, dim
11+12 ⊥ D6 − D
12 Mt3 <(F ]m/A − Bm/D) − F ]m/A− Fl+Cl, Str pizz
12+3 ⊥ D6 − D
12+4 Mt3 <(F ]m/A − Bm/D) − F ]m/A− Bsn+Va, Vi 16th arp
12+9 ⊥ D96 − . . . − Vi arp, dim


Chapter 15
Gustav Mahler
Biographical data:
∗ 7-7-1860 in Kalischt
† 18-5-1911 in Wien
1600 1700 1800 1900 2000
Detailed score analysis of the Mahler symphony movements was complemented with
the formal analysis presented in [21].
15.1 Lieder eines fahrenden Gesellen (1885)

Source: [31]. Music for solo voice and orchestra. Mahler also wrote the lyrics for this set of
four songs. An overview of the formal analysis is shown in Fig. 15.1.
15.1.1 Wenn mein Schatz Hochzeit macht

Form: ternary song form, ABA’. This slow opening song is full of tempo (including many
fermatas), meter and rhythm changes. It has a melancholic mood; the composer writes for
the singer: ‘Leise und traurig bis zum Schluss’ (‘Soft and sad until the end’). The instrumentation
is dominated by woodwind, strings, harp and occasional French horns. The strings apply
techniques such as muted playing, divisi and some interesting occurrences of violin voice
crossing. See Table 15.1 for the analysis.
15.1.2 Gieng heut’ Morgens über’s Feld

Form: AABC. This medium-to-fast tempo song has a structure somewhat similar to a pop
song: there are three verse-chorus pairs (AAC), with a bridge (the contrasting middle section
B). In that approach the M1c+M2 melody are equivalent to the chorus. Of course, Mahler
does things slightly more sophisticated. The final chorus lacks hit potential, due to its lyrics
(from joy to disappointment) and harmonic twist. The song is full of pedal point, supporting
its folk music character. The (muted) trumpet supplements the instrumentation from the
previous song. See Table 15.2 for the analysis.
2005-2017
CHAPTER 15. GUSTAV MAHLER
Table 15.1: Mahler, Lieder eines fahrenden Gesellen, 1. Wenn mein Schatz Hochzeit macht
m M R H Comment
h i
1 M0 Dm Dm − . . . − A 24 , Cl, P T (d)
5 M1/0 Dm − . . . − Voc: a, P (d−a)
..
10 ./⊥ (E∅7 − Gm7 − E∅7 )/D− (a’), P T (d)
14 ⊥ (Dm − C − B[∆7 − D79 − Gm)/D− [1] (b) P (d−a)
17 M0 Dm − . . . − trans, WW climax
22 M2 <(B[∆7 − A[9 [13
7 )/B[ − B[ − A7 − Voc, P (b[)
.. [9/[13
28 ./0 B[ − A7 − B[ WW, (ped)
..
30 . Gm E[∆7 /B[ − A∅7 − [2] Voc, PBi (&)
..
32 . D∅7 /A[ − D7[5 /A[ − G7 −
34 ⊥ A[∆7 /C − Gm/D − D7 −
38 M0 Gm − . . . − WW+Str clim, P T (g)
h i
6
44 M3 E[ E[ [3] B 8 , P (e[−b[)
.. ~
46 . E[ −→ E[ Voc: a, Str: [S̄ 6 ] ,Hk d
..
48 . (F m − B[ − E[ − B[7 − F m)/E[ P T (e[)
..
50 . <(E[ − B[7 )/E[ − E[6 − B[− (a’)
..
54 . Gm/B[ − Cm − Gm/B[− (b)
56 ⊥ Cm7 − B[∆7 −
57 M4 F Am/C − Gm/D − C7 /E − F − [4] Voc, P D (c)
..
58 . D7 /C − Gm−
59 ⊥ <(C7 − Gm7 )/C− trans, WW+Str
h i
2
64 M1 Dm Dm − . . . − [5] A’ 4 , Voc: a, P (d−a)
..
68 . Gm/D − . . . − (a’), (ped)
..
71 . (Dm − B[∆7 − B∅7 − Am − Dm−)/D (b), Σ(cm>), P T (d)
73 ⊥ (C − D7[9 − Gm)/D− (ped)
74 M0 Dm − . . . − WW climax (ped)
77 M2 (B[∆7 − A[97 − B[)/B[− [6] Voc+Str, P (b[)
..
81 . E[∆7 /B[ − A∅7 − D∅7 /A[ − D7[5 /A[− Voc, PBi (&)
85 ⊥ G7 − Cm − A[/C − Gm/D − D7 −
89 M0 Gm Gm [7] climax, P T (g) (96 m.)

15.1. LIEDER EINES FAHRENDEN GESELLEN
Table 15.2: Mahler, Lieder eines fahrenden Gesellen, 2. Gieng heut’ Morgens über’s Feld
m M R H Comment
1 M1 D D − ...− [8] A, Voc: a, P D (a)
..
5 ./Mc D6 − ...− Mc: BCl+Hrp
..
11 . <(G9 /D − A7 − D)− [9] (b), Str
..
15 . (A97 − D − Bm7 )/A− P D (a)
..
17 . (Em7 − E7[9 − A97 − Bm7 )/A− cresc (ped)
19 ⊥ (A7 − D − A97 − A[9
7 − D)/A− (c), climax
23 M2 G − B − Em− [10] Voc, Σ(cm>)
25 (A97 − Bm7 − B7 )/A − Em − A97 − chr, P D (a)
27 <(A97 − A[9
7 ) − ...− trans, Str clim
30 M1 A97 − D6 − . . . [11] A, Voc: a imit, P D (a)
..
39 . <(G9 /D − A7 − D)− [12] (b)
..
43 . (A97sus4 − D − Bm7 )/A− P D (a)
..
45 . (Em7 − E7[9 − B7[9 )/A − Em cresc (ped)
d
47 ⊥ (A97 − D − A97 − A[9
7 − D)/A − (c), climax
51 M2 G − Em− [13] Voc, Σ(cm>)
d
53 ⊥ (A97 − Bm7 − B7 )/A − Em − A97 − chr, P D (a)
56 C]97 − . . . − F ]/C]− climax, P (c])
60 C]97 − F ]/C] − B trans
64 M1’ B B6 − . . . − [14] B, Voc: a, P (b−f ])
70 M1’ B6 − . . . − (a), imit
75 M3 F ]7sus4 − B − F ]7 − B 6 [15] Voc: a
..
81 . F ]/A] − B − F ]/C] − B/D]− (b)
..
83 . F ] − B − F ] − G]m7 −
..
85 . F] F] − ...− [16] (c), P (f ]−c])
..
89 . (C] − F ] − C]7sus4 − G]m7 )/F ] (c)
94 ⊥ 9
(C7sus4 − F ]6 )/F ]
97 <(F ] − B/F ]) trans, Str+Hrp
103 M1 F] F] − ...− [17] C, Voc: a, imit, P T (f ])
110 B/F ] − . . . −
115 M1 C]97 − . . . − F ]− [18] Voc: d
120 ⊥ B − D][9 9
7 − G]m − C]7sus4 −
124 F] (127 m.)

1. ‘Wenn mein Schatz Hochzeit macht’:

h ih i
2 6
ABA form (Dm, 4 8 , 96 m.)
A B A’
2. ‘Gieng heut’ morgens über’s Feld, In gemächlicher Bewegung:

h i
2
AABC form (D, 2 , 127 m.)
A A B C
3. ‘Ich hab’ ein glühend Messer’, Stürmisch, wild:

h ih i
9 4
ABC form (Dm, 8 4 , 81 m.)
A B C
4. ‘Die zwei blauen Augen’, Mit geheimnisvoll schwermüthigem Ausdruck.

h i
4
Ohne Sentimentalität: AB form (Em, 4 , 67 m.)
A B
Figure 15.1: Mahler, Lieder eines fahrenden Gesellen
15.1.3 Ich hab’ ein glühend Messer

Form: ABC. This stormy, wild (‘stürmisch, wild’) song brings in the full orchestra. The charac-
teristic upward arpeggio opening motif (M0) with tonic or dominant pedal returns a couple
of times, as transitions. The lead voice is characterized by the upward diatonic (a-phrase)
vs. descending chromatic phrases (b-phrase, frequently as the familiar 1 −∆7−m7−6 −[6−5
sequence). Ostinato 8th note patterns in the backgrounds support tension. This is the per-
fect song for the compulsory murderer; only the middle section brings temporary relief. See
15.1.4 Die zwei blauen Augen

Form: two-part song, AB. With this slower closing song we return to subdued orchestration.
Mahler instructs: ‘With mysterious, melancholy expression. No sentimentality’. The opening
dotted 8th-16th note rhythmical motif (M0) in woodwinds and harp return frequently as
background. There’s a subtle play with major and minor harmony, diatonic vs. chromatic
melody. See Table 15.4 for the analysis.
15.1.5 Key relationship diagram

The key relationship diagram is shown in Fig. 15.2. Note how all four movements end in
a different key from the starting point. The first song loops through a set of keys in the
subdominant area, including the Neapolitan (lowered supertonic major key) E[ (2) for the B

15.1. LIEDER EINES FAHRENDEN GESELLEN
Table 15.3: Mahler, Lieder eines fahrenden Gesellen, 3. Ich hab’ ein glühend Messer
m M R H Comment
h i
1 M0 Dm <(Dm − C]◦7 )/D− [19] 98 , arp% ff , P T (d)
5 M1 Dm − E∅7 /G − Dm/A − Dm − B[− A Voc: a (ped)
9 ⊥ E7[5 /G] − A[9
7 − Dm/F − A − A7 − (b)
12 M1’ Dm − . . . − Dm+7 −
16 ⊥ D7[9 /F ] − Gm − Dm/A − E7 /A − A7 −
18 M2 Dm − E∆7 /B[ − E[∆7 − . . . − [20] Voc: aa, P T (d)
..
22 . <(Dm+7 − D7 − G − E∅7 − Dm)/D− (b), chr& (ped)
..
26 . Gm − Gm+7 − Gm7 − E∅7 /G− [21] chr&
28 ⊥ <(A[9
7 /C] − Gm/D)
[5/[9
30 E∅7 − A7 − Gm chr&
33 M0 <(Gm − F ]◦7 )/G− climax, P T (g)
..
35 . (Gm − E◦7 − G[9 7 − E[∆7 − Cm7 )/G
38 ⊥ F ]◦7 /G − . . . −
41 C G − ...− [22] B, trem, P D (g)
46 M2 G − C − . . . − G∅7 − Voc: a, (ped)
50 ⊥ (Gm+7 − G7 − C − A∅7 − Gm)/G (b), chr&
53 M2 C/G − . . . − G[9 9
7sus4 − Dm7 − [23] (a) P D (g)
.. 9/+5
57 . G7 − Dm97 − G97 − Dm97 − (b)
..
59 . E − Em − . . . − C]∅7 tutti climax, chr%
.. [5/[9
h i
4
62 . C]7 − F ]∅7 − D]7 − E − G]m7 − [24] C (b) 4
64 ⊥/M0 [13
C]7 − B[ − <(B7 − B[)
67 D7[9 trans
68 M3 E[m E[m/B[ − A[m7 − . . . − B[∅7 − A[m7 − [25] Voc: &
72 ⊥ A[[9 [5
7 − A[7 − F7 −
75 M0 <(E[m − D◦ )/B[
78 B[7 − E[m arp& (81 m.)

Table 15.4: Mahler, Lieder eines fahrenden Gesellen, 4. Die zwei blauen Augen
m M R H Comment
1 M1/M0 Em Em − . . . − D− [26] A (a): Voc, WW+Hrp
5 ⊥/⊥ G − B7[9 − B79 − Em − B7 − Em (b)
9 M1/M0 Em − . . . −
.. ..
11 ./ . D7 − G − F/A−
13 ⊥/⊥ B∅7 − C − Am7 − B7 −
14 M0 Em − . . . − [27] WW+Hrp
17 M1’ C C − . . . − Cm − C− (a) maj-min, c−g-ped
21 ⊥ G[9
7 − ... − C (b) Pmi (%)
24 M2 Cm − C7[9 − . . . − G∅7 − F m − G[9

7 − [28] (a): Voc, P (c−g)
..
27 . C − Cm+7 − B[ − B[m+7 − F m (b) chr&
29 ⊥ F m − G[9 [5
7 − C − G7 −
i (%)
(c) Pm
31 C − . . . − Cm − C − Cm trans
37 F C7 − F/C − F [29] B, P D (c)
41 M3 F − ...− (a): Voc, P (f −c)
45 ⊥ F − . . . − B[/F − C7 − F [30] (b), (ped)
48 B[/F − C7 − WW+Hrp
50 M2 F m − F − C∅7 − (a): Voc (ped)
..
53 . F − F7 − B[/F − C7[9 − (b) chr&
.. [5/[9
56 . F − C7 (c)
..
57 . F − C7[9 − F − C7 − F − [31] (d) (ped)
..
59 . <(B[/F − F )−
61 ⊥ <(F − C) − F − (ped)
64 F − B[m/F −
65 M0 Fm Fm WW+Hrp, P T (f ) (67 m.)

15.2. SYMPHONY NO. 3 IN D MINOR
section. The others seem to be spiraling outwards to more remote keys. Note how the last
two songs end on the lowered supertonic minor key [IIm.
2. ‘Gieng heut’ morgens über’s Feld’
1. ‘Wenn mein Schatz Hochzeit macht’ B - F ]∗

1,3
Cm Gm∗ Dm Bm F ]m
2 6
E[ B[ F D A
3. ‘Ich hab’ ein glühend Messer’
Dm Am
@
R
@
F C 4. ‘Die zwei blauen Augen’
Fm Cm Dm Am Em

A[ E[ F C

+ G
?
A[m E[m∗ F m∗ Cm Gm
Figure 15.2: Mahler, Lieder eines fahrenden Gesellen, key relationship diagram.
15.2 Symphony No. 3 in D Minor (1896)
Source: [30]. An overview of the formal analysis of this very long symphony in six move-
ments is shown in Fig. 15.3. Note the disproportionate length of the opening movement; the
sonata form is preceded by a very long introduction section. The development section has
roughly three times the length of the exposition. Mahler grouped the movements into two
parts, where the opening movement is Part I (1. Abtheilung), and the other movements are
bundled into Part II (2. Abtheilung). The analysis here covers only the second part.
The movements have subtitles in German, not written in the score. The instrumenta-
tion requires a huge symphony orchestra with quadruple or more winds (4 flutes, 4 oboes, 5
clarinets, 4 bassoons), brass (8 horns, 4 trumpets, 4 trombones, contrabass tuba), a large per-
cussion section, a very large complement of strings (written in the score), alto solo, women’s
choir and boys’ choir. Yet the orchestration is subtle, with limited tutti phrases for a con-
scious acoustic effect. There is a lot of mixed instrumentation, and splitting up longer
melodies into shorter, hoquetus style fragments for solo instruments or sections. Mahler
wants some instruments to sound in the distance (in der Ferne aufgestellt) and from a high
gallery (in der Höhe postiert).1
1
Nowadays this may imply positioning the soloist somewhere in the concert hall corridor, watching the
conductor on a video monitor for coordination. Then off to the bar in the lobby to wait for the finale and the call
to take a bow.

h i
4
Mvt. 1 Kräftig. Entschieden: sonata form (Dm, 4 , 875 m.)
Introduction
Intro (272 m.) Exposition (96 m.) Development
Development (274 m.) Recap
Mvt. 2 Tempo di Menuetto. Grazioso: ABABA Coda, menuet and trio form
h ih ih ih i
3 3 2 9
(A − F ]m, 4 8 4 8 , 279 m.)
A (49 m.) B (41 m.) A’ (53 m.)
B’ (73 m.) A” (43 m.) C (20)

h i
2
Mvt. 3 Comodo. Scherzando. Ohne Hast: ABABCDEBC Coda form (Cm, 4 , 590 m.)
A (68 m.) B (52 m.) A’ (90 m.)
B (45 m.) C (91 m.) D (27 m.) E (58 m.)
B’ (53 m.) C’ (72 m.) Coda (34 m.)

h i
2
Mvt. 4 “O Mensch! Gib Acht!”: ABAB form (Dm, 2 , 147 m.)
A B A’ B’
h i
4
Mvt. 5 Lustig im Tempo und keck im Ausdruck: ABA Coda form (F , 4 , 120 m.)
A B A’ Cda
h i
4
Mvt. 6 Langsam. Ruhevoll. Empfunden. Part 1–4 form (D, 4 , 328 m.)
Part 1 (91 m.) Part 2 (106 m.)
Part 3 (54 m.) Part 4 (48 m.) Cd (27 m)
Figure 15.3: Mahler, Symphony No. 3 in D Minor

15.2.1 Mvt. 2 Tempo di Menuetto. Grazioso

Form: ABABA Coda, menuet and trio form, A1 B1 A2 B2 A3 Coda. The German subtitle is:
“Was mir die Blumen auf der Wiese erzählen”. The main subdivision is into a menuet, played
three times in the Asections, and a double trio in the B sections. See Table 15.5 to 15.8 for the
analysis.
The Menuet is sudivided into two outer sections A1 .A and a bridge section A1 .B. The
menuet is in the major key A. The main subject has M1(aba’b’) (4 + 5 + 4 + 6 m.) period
structure. The phrases undergo continuous variation in the subsequent statements. The first
statement is for solo instruments: oboe, 2nd violins and clarinet. The a’b’-group might also
be considered a second statement of the main subject. The transitory theme Mt consists of
descending 8th note triplet groups. A recurring element in the bass and the middle voice is
the stepwise chromatic descending pattern: root - major 7 - minor 7 - major 6 - (lowered 6 -
5) here labeled as ∗ : (1−∆7−7−6 −[6−5).
The A2 section brings a variation on the main subject. In the instrumentation a solo violin
occasionally is separated from the other first violins (m. 112 ff.). This approach returns in the
transition to and in the A3 section (see m. 211 ff., m. 233 ff.).
The first Trio, the B1 section, is in the relative minor key F ]m. It has a background
consisting of repeated staccato 8th note triads in flutes and 1st violins, where both the ∗-
pattern and its inversion ∗0 : (5 − ]5 − 6 − 7 − ∆7 − 1) (ascending chromatic steps from 5 to
1) occur.2 The stepwise descending inner line in the first flute and viola melody M2 creates
an opening contrary motion with the background. As the staccatohbackgrund i hcontinues,
i we
3 2
hear three themes in rapid succession in changing meter: M2 in 8 , M3 in 4 and M4 in
h i
9
8 . The chromatic descent (Em∗ ) is a characteristic element of the 16th note runs in M4.
Beginning occasionally in the menuet, the first trio sees frequent string divisi (multiple into
two or three parts, and first violins second subsection even split into three parts). Other
string effects are frequent changes between pizzicato (menuet background) and arco, brief
fragments with mute and off-the-string bowing such as sautillé, saltando (spring. Bogen) and
spiccato (mit dem Bogen geschlagen).
In the second Trio, the B2 section, the 8th note background returns behind themes M2
and M3. During M2 the chromatic descent idea now appears as ∗00 : 5−[5−4−3−[3 (from
the 5 to the 3) in the oboe and violin parts.
In the harmonies, there is regular reference to Neapolitan chords, often as an inverted
major seventh chord (e.g., B[∆7 /A = N2 ). The playing with major-minor (note the keys A −
F ]m), as was the case in the menuet vs. trio, and in the bridge sections of the menuet (the A.B
subsections) returns explicitely in the coda, where the dominant chord is used alternatingly
with minor and major 9; see <(E7[9 − E79 ) in m. 272–275.
15.2.2 Mvt. 3 Comodo. Scherzando. Ohne Hast

Form: rondo, A1 B1 A2 B2 C1 DEB3 C2 Coda. The subtitle of this fairly long movement is: “Was
mir die Thiere im Walde erzählen”.3 It is based on the Wunderhorn poem Ablösung. As this
rondo progresses, sections with a different character start to become the returning element:
2
The chromatic stepwise pattern 5−[6−6−[6 on the tonic minor chord has become the signature element of
the John Barry main theme for the James Bond movies.
3
This German subtitle inevitably reminds us of another musical hit song: “Talk to the animals”.

Table 15.5: Mahler, Symphony No. 3, Mvt. 2 Tempo di Menuetto. Grazioso
m M R H Comment
h i
3
Tempo di Menuetto. Grazioso - Menuet 4 (]]]) A1 .A
1 M1 A A/E − E − A/C] − E7 − A a): Ob, Str pizz
..
5 . A − E7 − Bm7 − E − E7 − b)
..
10 . A/E − B7 − E − E7 − A − D]◦7 − a’): Vi2, Hn: P D (e)
..
14 . E − E7 − A − F ]m − D][9
7 /F × b’): Cl, PBi (&)
..
16 . E7 /G] − A − C]/E] − F ]m − E7 /G] − A PBi (%)
18 ⊥ A64 − E7 − A
20 Mt F ]m C][9
7 no 3 − F ]m − Bm − F ]m− [1] A1 .B, trans, Vi1
..
23 . Bm/F ]m − F ]m7 − C][9 7 no 3 − F ]m
i& Fl+Ob, Va∗ : (1−∆7−7−6)
25 ⊥ [9
B7 − F ]m7 /B − B7 − E7sus4 − E7 − Vi1-Vi2-Va imit
9/[13 9/[13
28 (Em7 − A[9
7 − D7 − B7 )/A− Vi1, Hns, climax, P T (a)
32 [5
(Bm7 − E7 no 3 )/A− Vi2: PLi (&), Tpt: Pmi (%)
34 M1 A A]◦7 − Bm7 − [2] A1 .A’, a):Vc, Hns Pmi (%)

..
36 . E7 − A − C]m/E Vi2
.. i (%)
38 . (C]◦7 − E7 − A − B7 /A − E − E7 )/A− b): Vi2+Va, P T (a), Pm
..
42 . A − B7 − E − E79 − a’): Ob+Vi1
..
44 . (A − A+ − D − A − A+ )/A− Vi1, P T (a)
..
46 . (D − E7[9 − A)/A− b’): VI1
48 ⊥ C]m/E − E7 − A − F ]m
h i
3
L’istesso tempo - Trio 1 8 B1
50 M2 F ]m F ]m − . . . − [3] Fl+Vla, Fl+Vln 8ths
0
54 ⊥ F ]m∗ − Σ(cm<)
0
58 M2 F ]∗ − B]◦7 − F ]m∗ Ob+Bsn
64 ⊥ C]m − . . . − Em − G∆7 /F ] − C]7 − Fl-Vi1,
h i clim, N2 , cad
2
4
70 M3 F ]m − . . . − [4] Fl+Vi2, P (f ]−c])
74 ⊥ (G∆7 − F ]m − G]∅7 − F ]m)/F ]− Str+WW,
h i N2 , tutti climax
9
8 (]])
79 M4 Em Em∗ − . . . − A]◦7 − B7 − [5] Ob+Cl∗, Fl+Str 8ths
82 M4 Em − D/A − A7sus4 − D − G]◦7 − Ob+Cl+Vi2, diat runs
..
85 . (A7 − D − D7 − A7sus4 )/A− WW+Str imit
89 ⊥ A7sus4 − A7 − i (%), Σ(cm>)
Fl+Vi1, Hn Pm

Table 15.6: Mahler, Symphony No. 3, Mvt. 2 Tempo di Menuetto. Grazioso (cont’d)
m M R H Comment
90 M1 A]◦7 − Bm7 − E79 − i (%)
a): Vc, Hns Pm
h i
3
a tempo (Wie im Anfang) 4 (]]]) A2 .A
..
93 . A E7 − A − F ]m7 − [6] Vi2, Str pizz
.. i (%)
95 . E7 − A − F ]m − B7 − E − E7 − b), Va Pm
..
99 . A − B7 − E − E79 − a’): Vi1
..
101 . A − D/F ] − E7 − A−
..
103 . D/A − E7[9 − A − A+ b’): Vi1, Pm (%)
..
105 . F ]m+7 − E + − A
107 ⊥ C]m − E7 − A
109 Mt F ]m C][9
7 no 3 − F ]m − Bm− [7] A2 .B, trans, Fl+Vi1
..
111 . F ]m − F ]m7 − B]◦ − Bm/F ]−
113 ⊥ C]7 − F ] − C] − F ]− SVi
117 (F ] − F ]7 )/C]− P D (c])
120 (Em7 − A[9 9
7 − D7 − B7 )/A Vi1, Hns, climax, P T (a)
124 Bm7 /A − B7 − E7[5 no 3 /A
[9 Vi2: PLi (&), Tpt:Pm
i (%)
126 A A]◦7 − Bm7 −

128 M1 A/E − B7 − E7 − [8] A2 .A’, a): Vi, Str pizz
..
130 . A/E − E7 − A − A]◦7 −
..
132 . Bm7 − A − A]◦7 − Bm7 − E7 − b): Vi1
..
136 . A − (B − Bm7 − E79 )/E− a’): Fl+Vi
..
138 . A/E − E7 − A − A]◦7 −
..
140 . Bm7 /A − G]◦7 − A − A]◦7 − b’):Vi1, Mc: Vc
142 ⊥ Bm7 − E7[9 no 3 − A − F ]m
h i
3
Sempre l’istesso tempo - Trio 2 8 B2
144 M2 F ]m F ]m/C] − . . . [9] Ob+Cl, Fl+Vi 8ths
00
148 M2 F ]m∗ − A∆7 − . . . − C]m Cl+Bsn,
h i Ob+Vi: ∗00 : 5 & [3
2
4 (]]]]])
158 M3 G]m G]m − . . . − [10] Fl+Cl, P (g]−d])
..
162 . (A∆7 − F ]m7 − D]m − E + )/G]− Str+WW, N2 tutti clim
164 ⊥ F ]m7 − D]m7 − A − G]m−
9/[5
166 M3’ E/G] − C]7 − F ] Fl, Seq(2×2m;R−7 )
9/[5
168 ⊥ E D]∅7 − B7 − E−

m M R H Comment
170 M3’ D (A97 − D − A97sus4 − A7 )/A− [11] Fl+Cl, Vi 16th, P T (a)
174 M3’ D − F ]m − D − B7 − Vi, tutti climax
..
178 . F ]/A] − F ]+ /A] − D]−
182 ⊥ D]7 − Hrp 16tripl, PB (&), P D (d])
184 M3 G]m G]m/D] − . . . − Ob+Cl, (ped)
188 ⊥ <(D]7 − G]m)/D]− WW+Str
h i imit&
2
4 (]])
192 M4’ F ]m∗ − . . . − [12] Vi2+Va∗, Fl+Vi 8ths
194 ⊥ G][9
7 − C]−
196 M4 D <(D − A7sus4 )− Vi&, Bsn+Vc 8ths
198 M3 (A7sus4 − A7 − D − Em − A7 )/A− Fl+Cl, P D (a)
202 M3’ D − F ]m − D − B7 − [13] Vi2,
..
206 . F ]/A] = G[/B[ − G[+ /B[−
208 ⊥ E[− N
210 M3” E[ − A[ − . . . − trans, SVi, Hrp
214 ⊥ E[ − F7 = B7[5 −
h i
3
Wieder gemächlich 4 (]]]) A3 .A
217 M1 E E − B7 − E − F ]7 − [14] a): Fl+Va, Str pizz
..
221 . B − B7 − E − F ]7 − B − B79 − b): Vi2-(Vi1+Fl)
..
225 . E − A/C] − E − A/E − B7[9 − E− a’): Vi1
229 ⊥ <(B7[9 − E) − B7 − E b’)
233 M3/t C]m G][9
7 no 3 − C]m − B7 − [15] A2 .B, tr, M3: SVi/Mt: Fl
.. ..
235 ./ . C]m− P T (c])
237 ... / ... (F ]m − G]7 − C]m − C]∅7 )/C]m− (ped)
.. ..
239 ./ . (F ][9 +
7 − A − C]m)/C] (ped)
241 ⊥/⊥ C][9 [9
7 no 3 − C]7 −
243 M1’ A A − G]/E − Bm7 /A − B7 /E− i (&)
[16] A3 .A’, a): Vi1, Pm
..
245 . A/E − E7 − A−
..
247 . (Bm7 − A − A]◦7 − Bm7 )/A − E7 − b): Vi1
..
251 . A − G]/E − (Em7 − F ]]5
7 − B7[9 )/E− i (&), clim
[17] a’): Vi1, Pm
..
253 . A/E − E79 − A−
..
255 . F ]m − A/C] − F ]m− b’): Ob+FHn
258 ⊥ A/C] − C]m − E79

m M R H Comment
d
260 Mt’ A − D − A − E7 − A − C]7 − D [18] Coda, Str imit
..
263 . D[ − A[7 − D[ − A[7 − FHn-Fl-Ob imit
265 ⊥ D[ − C]m − E7 − A SVi, cad
266 Mt’ A − . . . − (G] − G − F − D])/A− WW+Str PLi (&)
269 M1” (B[∆7 − E7[9 )/A − B[− Vi1, N
272 ⊥ <(E7[9 − E79 )− Vi1
276 M1” A − <(F − A) − A Ob-Fl imit, Si (279 m.)
three Scherzando A sections are combined with three (unequal) Pastorale B sections, to give
way to two Posthornepisode C sections. The D and E section have some similarity with the A
section. See Table 15.9 to 15.15 for the analysis.
This movement has a number of returning elements, first put forward individually in the
separate rondo sections, later used in variation, juxtaposition, or combination:
• Birdcall. There are three short motifs with a similar total duration (two quarter notes)
and pitch pattern (upward leap – downward leap): B1 with upward fifth – downward
fourth leap in 18 + 16 1 1
+ 16 + 14 rhythm, B2 with upward fourth – downward third leap
in 18 t + 18 t + 18 t + 14 triplet rhythm, and B3 with upward – downward octave leap in
1
4 × 16 + 14 rhythm. The first statement is for either regular B[-clarinet (B1 and B3 ) or
the higher E[-clarinet. Later these birdcall appear in other instrumentats.
• Galloping brass, in polka style. Frequently three (muted) trumpets play a set of triads
in the form of a stepwise moving theme Mg in gallop style (steady 8th notes with after-
beat accents). In the later sections, starting in m. 148 ff., this rhythm is used as a gallop
variation MLg in lower brass and string parts, or in modified form for woodwinds.
• A deliberate indetermination between major and minor. Mahler does this by either
using incomplete chords with the third missing (S(m)no 3 ; there are many open 1–5
fifths), or by manipulating the 9th extension of the dominant seventh chord. When
this is V79 this suggests the major key (e.g., G97 has the addition of the a = 9, the sixth
degree of the C major scale). On the other hand V7[9 suggests a minor key (G[9 7 contains
the a[, the lowered sixth degree of the C minor scale). Interestingly, there is occasional
application of a crossover, i.e., using the V7[9 in a major key context, and the reverse.
• Brass signals. These occur as either short arpeggio signals Ms in solo or section brass
instruments, or as the long solo for the flugelhorn Mf in the Posthornepisoden. Near the
end, these signals take over the character of birdcalls.
• A wide range of moods: see the performance indications Scherzando. Ohne Hast, Sehr
gemächlich, Mit geheimnisvoller Hast!, Lustig, Grob!, Sehr drängend, etc.
The A1 section opens with the birdcall motif B1 against a pizzicato string background.
The piccolo set in with a light, bouncy melody M1 , interrupted by more birdsong (B2 and

B3 ). In m. 20 the next returning idea sets in: the polka gallop theme Mg for three trumpets.
In [1] there is the U-texture, the combination (unification) of the legato 16th patterns from
the M1 melody (with descending lead voice) and the 8th note pounding pizzicato rhythm
from the gallop. The second gallop phrase in m. 30 ff. shows another recurring element:
diatonic parallel triads, either in root position (Hk~ ) or as a series of 1st inversion chords
d
6
([S̄ ] ). During the second U-texture (m. 61 ff.) we hear the first brass signal Ms for horn in F.
Both the M1 theme and the Mg lead part are characterized by embellished descending
stepwise motion: in M1 we find the basic melody structure g − f − e[ − d − c (from 5th
degree to root in minor), in Mg there is d − (e[ − d) − c − b[ − a (1st statement in m. 20) and
g − f − e[ − d − c − b[ − a[ − g (2nd statement in m. 30). Even the second subject M2 [2] has
this melodic shape: (g − c − e[) − g − f − e − d − c − (g), now in major and starting with an
upward arpeggio. This makes M1, Mg and M2 related themes. Within that framework, the
entire A1 section may be considered as the first verse of the birdsong, with the subdvision
(4) + 19 + 10 + 19 + 8 + (7) = 67 m.
The first Pastorale B1 section brings the theme Mp, which is four measures long in its basic
form. It is presented as a counterpoint (5-part imitation) setting for strings and woodwinds.
As it reaches a climax (m. 84 ff.) there are the arpeggio signals in staccato 8th notes for horns
and trumpets, over an extended dominant pedal point.
Returning to the lighter mood of the A2 section [6], the main theme M1 for flutes in
parallel thirds is accompanied by a pianissimo countersubject in first violins. The wood-
winds take over the gallop idea in [7]; because of the instrumentation it also has some of the
character of M2. In m. 140 the clarinets play M3, a four-measure melody, with the opening
dotted 8th – 16th rhythm as a new feature (the rest is a variation of M1). Once again we find
the underlying descending stepwise motion in M3: (g − a[) − g − f − e[ − d. The section
ends with a climax and a hilarious chromatically descending 16th note staccato pattern in
unisono brass, bassoons and low strings. In [9], like in [2], there is the subsection in the
parallel major key, with melody fragments reminding of both M2 and birdcall in clarinet
and oboe. E.g., there is stepwise descending motion in m. 177, 181, 186 and 190, and these
statements open or close with birdcall, see m. 179, 183–184, 185 and 189. The brief cello
fragment in m. 195 contains the M1-stepwise structure, but now there is chromatic descent
(c − d − e − f − g) − a − g] − g − f ] − f − (d), copied in the horn background.
h i The B2 section is an abbreviated variation on the first Pastorale. The meter remains
2
4 , woodwinds and horns are playing 8th note triplets over an extended timpani tonic-
dominant P (c−g) pedal point. The transition [12–13] sums up the previous A section melodic
material, while calming down and preparing for the first C1 section. The flutes in [12] play
descending steps in parallel third, a variation on M1. The C1 Posthornepisode has an extended
solo for flugelhorn Mf over a sustained high strings harmonic background. There are two
interuptions by flutes and strings, playing a lead melody in parallel thirds, M1’ in F major
[15] and M4 in the parallel minor key F m [16], respectively. M4 with its ascending step-
wise motion may als be considered the melodic inversion of M1 in disguise. The second
and third flugelhorn melody statements get support from a horn countermelody in parallel
consonants (3rds and 6ths).
Section D [17] has the descending steps in paralel thirds played by tremolo violins over
a dominant pedal point, with the solo flute answering on the afterbeat. In [19], the E section,
the combination of the ‘bass-gallop’ ML g and the cheerful woodwind melody M3 returns,
first heard in m. 140 and 148 in the A2 section. The section closes with the build-up to a

Table 15.9: Mahler, Symphony No. 3, Mvt. 3 Comodo. Scherzando. Ohne Hast
m M R H Comment
h i
2
Comodo. Scherzando. Ohne Hast 4 ([[[) A1
1 Cm Cm − . . . − Str pizz
3 B1 Cm − . . . − Cl Birdcall
5 M1 1 <(Cm − G7no 3 ) − Cm Fl
9 ⊥ Gm/B[ − B[ − A[6 −
12 B2 <(Gm − E[+ ) E[-Cl Birdcall
14 M1’ A[ − F m − Gno 3 − Cmno 3 Fl
16 ⊥ C − D[ − Cm − Gno 3 − Cl, Bsn bg
18 B3 <(A[ − E[) Cl
20 Mg Gm − E[+ − Gm − A[− Tpt Gallop
22 ⊥ Gm − Dmno 3 − G(m)no 3 −
24 V D − G[5
7 no 3 − Cm− [1] WW PL (&), Str pizz
d
26 ⊥ D − Cm/G − G[9 7 no 3 −
28 B3 <(A[ − Cm/E[) Cl Birdcall, Bsn bg
30 Mg B[ − A[ − Gm − F m− ~
Tpt Hk d
32 ⊥ E[ − D◦ − Gno 3
34 U C (C − G − F − C − Dm7 − G − C)/C [2] (\\\) Str+Hrp, [S̄ 6 ] , P T (c)
..
38 ./M 2 C − G − F − C − Dm7 − G − C)/C Ob, [S̄ 6 ] (ped)
42 ⊥/⊥ <(Am7 − C)/C Cl
0
46 B2 (Em7 − B[+ − C − F ]+ )/G− Fl+Ob, P D (g)
48 M01 /B3 (Am7 − A7 − Am4 − D7 )/G− (Fl+Ob)/Vi1 (ped)
50 (G − Am7 − A]◦7 − G7 )/G − C cad
53 M02 Cm (Cm+7 − Gm − F + − A[+ )/C− [3] Ob, Vi+Hrp bg, P T (c)
55 ⊥ (Am7 − D7 − G7 )/C− (ped)
57 B3 <(Cm − C) tr, Vi1 Birdcall, min-maj (ped)
59 (D∅7 − F7 − B◦ − C no 3 )/C cad
61 U/Ms (D7[5 − G7 − Cm − D[ − Cm)/G− WWPL (&), Ms: FHn, P D (g)
64 B3 G[9
7 no 3 − . . . − C no 3 WW, Str triplets, cad
h i
L’istesso tempo B1 68 , Pastorale
69 Mp C G − C − F − C/G − G7 /B − C [4] P1: LoStr+Bsn
..
73 . G/B − F ]◦ /A − G − Am − D7 − P2: Vi2+Va, ctp imit
..
75 . G − G7 − C
..
77 . G7 − C − F − C− P3: Ob+Cl
..
80 . <(G7 − F ]∅7 − G7 − C)− P D (g)
..
84 . G − C − F − C− P4: Ob+Cl, Hns Mc, climax
87 ⊥ G7 − C − Am − D79 /F ] P5: LoStr+Bsn

Table 15.10: Mahler, Symphony No. 3, Mvt. 3 Comodo. Scherzando. Ohne Hast (cont’d)
m M R H Comment
89 Ms (C − A[∆7 − Em − D[ − F ]◦7 )/G− Ms: Hns-Tpts clim, P D (g)
93 (C − A[∆7 − A7 − D[ − G[ − B[m)/G (ped)
95 Mp’ (C − A[∆7 − A7 − Gm − C − D[)/G− Mp: Str PL (%)(ped)
98 ⊥ (F m − G − F − F ]◦7 )/G− (ped)
101 Ms (G − C − G97 − C − D7 − G7 − C)/G− Ms: Tpt (ped)
106 Mp’ <(Dm7 − G97 − C)/G− Mp: Vi-(Ob+Cl) cad (ped)
111 ⊥ C96 − . . . − tr, Fl, Str imit 1–5, P T (c)
h i
Gut hervortretend A2 24 ([[[)
121 M1/c Cm (Cm − G∅7 )/G − <(Cm − Gm)/G− [6] M1: Fl, Mc: Vi1, P D (g)
124 ⊥/⊥ F m/C − Cm − Gm − B[ − A[6 −
128 B2 <(Gm − E[+ )− Cl+Ob Birdcall
d
130 Gm − A[ − F7]5 − B[7 − Vi, Str+Fl bg
132 M01 Cm − Gm − F m − Cm/E[− Vc, Str bg
134 ⊥ <(D∅7 − Cm)
136 M0g Gm − E[+ − Gm − B◦7 − [7] WW Gallop
d
138 ⊥ C7no 3 − A[ − B∅7 − B[[9
7 − Bsn Pmi (&)
140 M3 Cm − E[7 /D[ − C− Cl

142 ⊥ A[ − D[ − G[/D[ Str Σ(cm<)
144 M0g B[ − A[ − G − D7 /F ]− WW Hk ~
d
146 ⊥ Gm − D7[5 /A[ − F7 /A − B[7 − i (&), P i (%)
Hn: Pm B
148 M3/Lg E[ E[6 − E◦ − E[ − C[− M3: Cl, ML
g : Tbn
150 ⊥/⊥ B/D] − G7 − −B/D] − C
152 Em Em1−∆7−7−!6 − i (&)
Hns, climax, Tpt Pm
154 C − E/B − C − E[ − E[m − E[− (clim)
158 M0g /3 E[ (F◦ − B[7 − E[ − B[[9
7 − E[
(+) )/B[− Mg: Hns, M3: Vi, P D (b[)
162 ⊥/⊥ Cm [9
G7 − Cm Tpt+WW
164 U’ <(D7[5 − G7 − Cm − F ]◦7 )/G− WW+Str, P D (g)
..
168 . D7 /A − G7 /F − D7 /A − G[5
7 /D[− trans, WW+Str
170 ⊥ D7 /A − G7 /F − D7 /A − G7 − climax
172 G[9
7 no 3 − . . . − (WW+Str)/Brs unis i &
176 M2’/B C (C − G − F − C − Dm7 − G − C)/C ~ , P T (c)
[9] (\\\) Cl, Str Hkd
..
180 . (C − G − F − Em)/C− (ped)
..
182 . (Dm7 − G7 − C)/C (ped)
..
184 . (Am − C − A[ − C)/C Pi (ped)

m M R H Comment
..
188 . A (A − E + − D − C]m )/A− Ob, Tpt+Va [S̄ 6 ] , P T (a)
190 ⊥ (B7 − E7 )/A− (ped)
192 (A − B[∆7 − B7[13 − C 6 )/A− Cl+Vi PLi (&), Tpt Pm i (%)(ped)
194 A+ − B[∆7 −
195 (M1’) B − Gm/B[ − F + /A − A[+ − Vc, Hns Pm i (&)
0
197 B1 C (Am7 − D7 − Dm7 − G7 )/C− Tpt Birdcall, cad, P T (c)
199 B3 <(Cm − C∆7 ) trans, Cl, min-maj (ped)
203 U Cm (D7[5 − G7 − Cm − D[ − Cm7 )/G [11] WW PL (&), clim, P D (g)
206 B3 <(G[97 no 3 − Cm) WW
B2 , Pastorale var
211 Ms’ C]◦7 /D[ = E[[9
7 /D[− WW+Hns tripl, Timp P (c−g)
..
213 . <(D[/A[ − B◦7 /F )− Str+WW (ped)
..
215 . B[◦7 /D[ = A7[9 /C]− WW+Hns (ped)
..
217 . F m/A[ − B◦7 /F − WW+Str Σ(cm<)(ped)
..
219 . C no 3 − A[∆7 − D[∆7 − G Brs+WW tripl, climax (ped)
221 ⊥ C no 3 − D[∆7 − G − C no 3
225 Ms” C7[9 no 3,no 7 − . . . − Tpt P T (c)
Ein wenig, . . . , langsamer ([[[[)
229 M1’/c Fm (F m − C∅7 − <(F m − C7 ))/C− [12] tr, M1’: Fl par 3rd, Mc: SVi,
.. ..
232 ./ . (D[∆7 − B[m7 − Cm7 )/C− P D (c)
.. ..
234 ./ . (E[6 − D[∆7 )/C− (ped)
236 ⊥/⊥ <(Cm − D[/A[)
238 (Cm − F m − Cm7no 3 − B◦7 )/C− Vi, P D (c)
240 M1’/c F m − Cm7 − B[m/D[ − F m7 /C Ob/Vc/Vi1
242 ⊥/⊥ B[m7 −
244 M0g /c Cm − A[+ − Cm − D[∆7 − [13] Fl/Cl
246 ⊥/⊥ Cm − G7no 3 − Cm
9/11
248 Ms /1’ A[ − Cm7 − D[ − Gm7 /B[− Tpt/WW
0
252 B1 F m/C − F ]◦ − Gm7 − G]◦ − Cl-Fl, Vi PLi (%)

m M R H Comment
h i
Sehr gemächlich C1 68 ([) Posthornepisode
256 Mf F (G]◦7 − F − . . . −)/C [14] Flg solo, Vi bg, P D (c)
..
263 . (F ]◦ − C7no 3 )/C− (ped)
..
267 . (F − Gm7 − G]◦ − F )/C−
..
269 . (B[ − F − . . . −)/C − C7no 3 /G− (end ped)
..
272 . Am − C7no 3 /G − F − Dm7 /F −
..
274 . C7no 3 /G − F − Am − C7no 3 /G− climax
277 ⊥ F − . . . − C7 /G − . . . − F − . . . −
285 M1” <(F − C7no 3 − F − C)/C− [15] Fl par 3rds, P D (c)
..
289 . F − C7no 3 − F −
291 ⊥ Fm (F m − C7[9 no 3 − F m − F ]◦ )/C− maj-min, P D (c)
293 Mf F (C7no 3 − F no 1 − F − C7 )/C− Flg (ped)
..
297 ./Mc (C − F − C7 − F )/C− Flg/Hns par 3rds
.. ..
301 ./ . (C7sus4 − F − B[ − F no 1 − B◦7 )/C−
304 ⊥/⊥ C7 . . . − F − . . . − cad
h i (end ped)
2
a tempo 4
d
310 M4 Fm F m − C7 − [16] Fl+Vi par 3rds, P D (c)
..
314 . (Dm7 − D]◦7 − C − C + )/C− (ped)
316 ⊥ F (F − C7 )/F − C7 /E− min-maj
318 M4’ F − G[ − A[ − E◦7 − Vi, Str, P D (c)
310 ⊥ F m − G[ − F◦7 − F7]5 ) (ped)
h i
6
Wieder Zeit lassen 8
322 Mf B[ − F − C7no 3 − F −
..
326 . C7no 3 − F −
..
328 ./Mc F − C7 − F − C7 − Mc: Hns par 3rds
.. ..
332 ./ . Am/C − B[ − F no 1 /C − B◦7 −
335 ⊥/⊥ C7 − F7sus4 − C7 − F − . . . −
344 Ms F no 3 − . . . − Tpt

climax in [22], first heard in m. 158 ff.

Section B3 kicks off with a brief gallop and signal statement [23], but then continues
with the second counterpoint imitative setting of the Pastorale theme Mp [24], copying the
approach used in m. 72 ff. After the climax in [25] there is a transition (m. 466 ff.) with
trumpet signals, woodwind birdcall over a violin divisi tremolo background, leading into
the second Posthornepisode. This C2 section [27] is shorter than the first. The parallel third
phrases are now provided by violins [28] and, once again, horns [29]. In [30] fast 16ths string
patterns and woodwind birdcall imitations prepare for the final transition. In [31] there is
a tutti climax, with horns and trombones playing an augmented version of the B3 birdcall,
dying away into a horns only signal in the high register.
The Coda [32] opens with an 8th note (triplet) tonic-dominant pedal point (first timpani,
then low strings and woodwind) and brass signals. The C major key seems clear now, until
the major-minor ambiguity returns for the last time in [33]; this issue is never resolved as the
final chord consists of root and fifth only, no third. Mahlers idea of a cliffhanger, undoubt-
edly!
The strings use a wide range of techniques in this movement: pizzicato vs. arco, bowing
with the wood col legno (batuto) (see m. 24, 247, 418), combination of muted and unmuted
string (see violins in m. 34, 122), off-the-string bowing spring. Bogen (m. 95), multiple divi-
sions getheilt (in particular the violins, which go up to divisi a 4, fierfach getheilt, see m. 248,
466, 541), playing on specific strings (e.g., G-Saite, sul G in m. 69), multiple stops Doppel-
griff (m. 111), on the fingerboard Griffbrett, sul tasto (m. 121) or near the bridge am Steg, sul
ponticello (m. 347), solo playing (solo violin m. 229), tremolo (see m. 466, 541).
15.2.3 Mvt. 4 “O Mensch! Gib Acht!”

Form: song in A1 B1 A2 B2 form. This slow (Sehr langsam. Misterioso) movement has the sub-
title: “Was mir der Mensch erzählt”. The lyrics (11 lines) are from Nietzsche’s Also sprach
Zarathustra. See Table 15.16 and 15.17 for the analysis.
The movement juxtaposes and combines a number of elements:
• Pedal point: the extended tonic-dominant pedal point d−a played by the muted low
strings (celli fingered tremolo fifth leap, and sustained divisi contrabasses), and the
dominant pedal point P D (aN ) with neighbouring notes in the introduction, coda and
transitions.
• The solo vocal melody (Alt-Solo) ML1−11

v : mit geheimnisvollem Ausdruck (with mysterious
expression).
• The (counter)melody in woodwinds and horns in parallel consonants Mp (thirds and

sixths).
• The ascending third motif Mn in the oboe, labeled hinaufziehen. (Wie ein Naturlaut) (pull
up. (Like a natural sound)).
• The free countersubject Mc for solo violin (near the end).

h i h i
2 3
• Irregular phrasing; note the frequent meter changes 2 to 2 .

m M R H Comment
h i
Mit geheimnisvoller Hast! D 24 ([[[[)
347 (M1) Fm (F m − . . . − B[∆7 )/C− [17] Vi trem par 3rds, P D (c)
..
351 . Cm − B[+ − E[/B[ − D[/A[− PLi (&)
..
355 . <(Cm − D[m+7 )/C− min-maj
357 ⊥ Cm − F m7 − G[+ − G[5
7
358 M1’/B F m − G − G[ − F − Vc, Pi+Vi PLi (&)
362 Mg/c Cm − A[+ − Cm − D[∆7 [18] Hns/Ob
364 ⊥/⊥ Cm − G7no 3 − Cm
366 (M1)/c A[/C − Cm7 /B[ − D[∆7 − B[m7 − Cl/SVi
369 ⊥/⊥ Cmno 3
370 Mg/c E[ − D[/F − Cm − B[m− Hns/Vc
372 ⊥/⊥ A[ − G◦ − Cmno 3
Lustig E ([)
374 M3/L
g F F/C − G[/D[ − F/C − E◦7 − C7[9 − [19] WW/(Tpt+Bsn)
378 ⊥/⊥ F/C − G[/D[ − F/C − E◦7 − C7[9 − (Fl+Cl)/Tbn
382 M3/B3 <(A[9
7 − Dm) [20] Vi/Cl, Str bg
386 ML
g (B[ − C◦ − B[7 )/F − WW-imit, Str 16th tppedf
d
388 ⊥ (F − G[∆7 − F7 −)/F − (ped)
390 (M3) (E[ − F − Gm7 − Cm)/F − Hns
392 (B[ − Cm − Gm7 − F7 )/F −
394 MLg B[/F − G[◦7 − F m − C[∆7 − i (&)
LoStr, Vi Pm
396 ⊥ B[/F − Am − A[ − B[+ −
398 M3/Lg B − C◦ − B − G− Cl/Tbn
400 ⊥/⊥ G/B − D]7 − G/B − G+ −
402 M3/Lg A[ A[ − E[7 − [21] ([[[[) Vi/FHn, P (a[−e[)
406 ⊥/⊥ A[ − B[m7 − E[[9 7 − Fl+Vi PLi (&)(ped)
410 A[1−∆7−7−6
[5/[9
412 G[7 − G∅7 − B[13 7 /A[ − B[7 /F [−
[5/[9
414 M3/L
g E[ (B[∆7 − B[7 no 3 − E[ − B[)/B[− [22] Vi/Hns, P D (b[)
416 ⊥/⊥ B[[9
7 − E[/B[ − E[
+
418 Cm G[9
7 − Cm ([[[) WW
420 U’ <(Dminf ive − G7 − Cm − F ]◦7 )/G tutti climax, P D (g)
424 ⊥ D7 /F ] − G[5 [5
7 /D[ − D7 /F ] − G7 /B
[9 trans
429 [9
G7 no 3 − . . . − (WW+Str)/Brs unis i &

m M R H Comment
Grob! B3 (\\\)
432 Mg 0 /s C C − F/A − C/G − C− [23] Hns/Tpts, LoStr 16th
436 /⊥ F∆7 /A − G7 /B − Em7 /G − C/G−
438 Mp D7 /F ] − G − Am7 /E − D7 /A − G− P1: WW ctp
..
441 . C/E − F/C − G7 − C [24] P2: Hns imit
..
447 . Dm7 /F − G7 − C
..
449 . G7 − C − Am7 − F − G7sus4 − C P3: Tpt
..
452 . G − C − F∆7 /A − D7 /F ]− P4: LoStr+Bsn
454 ⊥ (C − A[∆7 − E − D[)/G− [25] Brs, tutti clim, P D (g)
456 (F ]◦7 − F − D − C]◦7 − G[ − E[)/G timp P (c−g)
460 B7 /A − G[/D[ − D[7 /C[ − A[+ /E− buildup Seq(3×1m;R7 )
462 E[]5
7 /D[ − B◦7 − cresc
464 B◦7 − . . . − [26] tutti climax
466 Ms D◦7 − G]◦7 −→ C]◦7 − trans, Tpt, Vi trem Hk~
e
.. ~
470 . B◦7 /C − C7 /B[ −→ − Vi1 trem Hke
..
474 . /B1 F7 /E[ − . . . − Tpt/Cl Birdcall
478 ⊥/⊥ (G∅7 − F m − B[ − G[5
7 )/C− Ob-Cl, P D (c)
h i
Wieder sehr gemächlich C2 68 ([) Posthornepisode
485 Mf F (F − C7no 3 − F − C7 )/C− [27] Flg solo, Vi bg, P D (c)
..
489 . (F − C7 − F )/C (ped)
494 ⊥ B[/F − F
498 M5 (C7 − F − C7sus4 − C7 − G]◦7 − F )/C [28] Vi par 3rds, Str, P D (c)
504 ⊥ (C7[9 − F − F m)/C − G[9
7 − . . . −) maj-min
510 Mf/c <(F − C7 )/C− [29] Flg/Hns par 3rd, P D (c)
.. ..
514 ./ . (F − C7 − F − G]◦ − C7 − . . .)/C− (ped)
521 ⊥/⊥ F − ...− h i
2
Wieder lebhaft, und schneller . . . 4
529 B 30 Fm F (m)no 3 − . . . − [30] Fl, Str 16ths
533 ⊥ F (m)no 3 − . . . − WW imit, cresc
541 E[m − . . . − [31] tutti climax, Str trem
0
545 B3 E[m − . . . − Hns+Tbn augm Birdcall
535 ⊥ D[no 3 − . . . −

m M R H Comment
Sofort wieder Tempo I. Coda (\)
557 Ms’ C C no 3 − . . . − [32] Hns+Tbn, Timp P (c−g)
..
562 . <(C no 3 − Dm7 − C)/C Tpts (ped)
568 ⊥ G97sus4 − . . . − Brs+WW, cresc
575 (Ms/1) (C − A[ − C − Cm − A[+ )/C− [33] WW+Brs imit, clim (ped)
579 ⊥ <(Cm − C)− min-maj (clim, ped)
583 C(m)no 3 (590 m.)
The dynamics are pianissimo (ppp) and many instruments are playing in (exteremly) low
register. The movement opposes major-minor keys (D vs. Dm) on both the global and local
scale. Let’s consider this local process in more detail in m. 83–86 from the transition:
Measure: m. 83 m. 84 m. 85 m. 86
Key: Dm D
H: F − Am − F ]m − A
Step: III Vm IIIm V
Pitch: a − a − a − a
f i& e 2i % f] 2i & e
c − c i% c] i& c
P
Total: ∆i i 3i 3i
The dominant pedal point with alternating neighbouring note <(a − b) suggests the major
key D (pitch b is the 6th degree in the D major scale). The harmonies F − Am then create a
minor key flavour under the the first vocal phrase ‘O Mensch!’. The second statement of this
phrase are accompanied with the harmonies F ]m − A, returning to the major key mood. A
similar pattern is used in the introduction in m. 11–14; the harmonies F − Am − F ]m − Am
remain closer to the tonic minor key domain.
15.2.4 Mvt. 5 Lustig im Tempo und keck im Ausdruck

Form: ternary song form, ABA1 Coda. This cheerful and lively movement has the subtitle:
“Was mir die Engel erzählen”. The lyrics (21 lines) are from the song cycle Des Knaben Wunder-
horn, subdivided into three stanzas (verse 1 to 3). See Table 15.18 to 15.20 for the analysis.
Like the previous movement, here we see the combination of a number of elements:
• The bells motif MB .4 This effect is played by real bells and the boys’ choir (BCh)
singing: “Bimm bamm”, and near the end also by the women’s choir (WCh).
• The main theme, a lively descending scale pattern M0 in staccato dotted 8th note
rhythm. This returns in the vocal solo melody ML1−21
v as the a-phrase, and in melodic
4
Watch hilarious Peter Sellers in the Pink Panther Strikes Again movie, impersonating hunchback Quasimodo
and shouting “The bells, the bells!” on the Paris appartment balcony.

Table 15.16: Mahler, Symphony No. 3, Mvt. 4 “O Mensch! Gib Acht!”
m M R H Comment
1 D <(a−b) A1 , Intro, Vc+Cb P D (aN )
10 ML1 v F − Am − F ]m − Am Alt, Str
..
15 . Am − Bm − Am − Em − Am − G− Hns 4pt
..
16 . F − Cm − F
..
18 . [1] Vc+Cb: P (d−a)
20 ⊥ <(D − A)−
24 Mp (D − Em7)/D− Hns
..
26 . (D − G − D7no 3 − G − D)/D−
..
29 . Em7 /D− Alt+Hns
30 ⊥/MvL2 (C]∅7 − D − Em7 − A − A7sus4 )/D−
32 Mn G]◦7 /D − . . . − [2] Ob (ped)
37 MvL3 Dm <(Dm − Am)/D
41 Mp <(Am − D)/D − (Am − G)/D− [3] Hns (ped)
44 Mn D G/D EHn, P T (d)
45 Mp/MvL4 (G − A − G − A7 − G − A7 )/D− Alt+Cl, P (d−a)
49 ML5 v <(D − Dm) [4] major-minor (ped)
53 Mp (B∅7 − Em47 )/D− Pi+Ob
54 ⊥/MvL6 (B∅7 − E7 − Em7 − Em4 − A7 )/D− Alt+Cl+Bsn (end ped)
57 Mu D− [5] B1 , Mu: Vi, Va trem,
59 Mu/Mp D∆7 = Bm7 − D− LoStr pizz, Mp: Hns
.. ..
61 ./ . A7 /D − Em/A − . . . − A7 −
67 ⊥/⊥ <(D − G)/D − D − Dm/A−
71 Mn Dm/A − . . . − [6] Ob
75 <(a−b) trans, Str imit P D (aN )
82 <(a−b) A2 Vc+Cb arco (ped)
83 MvL7 F − Am− Alt, Str
..
85 . F ]m − A− [7]
86 ⊥ <(A − Bm) − A − Em − A − G− Hns
89 F − ...− LoStr
94 D Vc+Cb: P (d−a)
97 ML7
v Dm <(Am − Dm)/D− (end ped)
101 ⊥ /Mc Dm − . . . − Gm/D − . . . − [8] Mc: SVi
109 ML8
v /⊥ Gm/C − C7[9 − F
112 ⊥/Mp F F − ...− Cl+Hns

Table 15.17: Mahler, Symphony No. 3, Mvt. 4 “O Mensch! Gib Acht!” (cont’d)
m M R H Comment
115 ML9
v /Mc F [9] Alt/SVi, LoStr pizz
118 ⊥ A∅7 no 3 /E[ − A∅7 −
119 ML10
v /Mu D D− B2 Mu=Mv: Alt+Vi
121 ⊥/Mp Bm7 /D− Hns
123 ML11
v A97 /D − A7 − Em/A− [10] Alt+Vi
126 ⊥/ Mu Em/A − . . . − A7 − Alt+Vi/Hns
129 Mp <(D − G)/D− Cl
132 Mn Dm Dm − . . . − 11] Ob
137 D <(a−b) [12] Coda, Str imit P D (aN ) (147 m.)
inversion in the instrumental backgrounds. The opening line in the verses has Mv (aa’b)
(2 + 2 + 2 m.) sentence structure.
• The chorale phrases MC for women’s choir, full of contrary motion.
• In the contrasting middle section there are the staccato 8th note chords in the horns,
combined with the legato ascending 16th note runs MR in (triple) clarinets, later flutes.
A transitory theme Mt in the celli leads into this setting.
• The B section also has a new vocal melody for alto-solo (lines 10, 12, 13 and 14). The
second half of this section leads to an extended tutti climax with chromatically de-
scending middle voices, playing an exact parallel set of triads (F − E − E[) − (F ]m −
F m) − E (m. 70–72).
The harmony consists of mainly triads, with an occasional 7th chord. In the orchestration
there are no timpani, nor violins.
15.2.5 Mvt. 6 Langsam. Ruhevoll. Empfunden

Form: rondo form in four parts. An alternative interpretation yields a sonata form. This
very slow (adagio, Langsam. Ruhevoll. Empfunden) closing movement has the subtitle: “Was
mir die Liebe erzählt”. See Table 15.21 to 15.25 for the analysis.
There is no introduction. The Part 1 through-composed long-winding solemn and tran-
quil (Ruhevoll) main subject enters with the a-phrase in the strings in the tonic major key D.
There is contrary motion. The main melody has M1(abta’t’) (8 + 4 + (8) + 8 + (12) m.) struc-
ture, with the t-phrase as a local transitory motif (M1.t≈M1.a”). The b-phrase has sequential
character, with typical 8th note appoggiatura turns and middle voice chromatism. During
the a’-phrase there is a first countersubject Mc1 in the lead violins.
The transition is based on Mh, a two-measure motif in half notes, set in choral style for
strings in imitation and melodic inversion [4]. This subsection opens in the mediant minor
key F ]m and, playing with major-minor chord changes quickly moves through a number of
minor keys.

Table 15.18: Mahler, Symphony No. 3, Mvt. 5 Lustig im Tempo und keck im Ausdruck
m M R H Comment
1 MB F F6 − ... A1 , BCh+Bells
4 M0 /MB F − Dm− WW
.. .
5 . / .. Gm/B[ − Gm − C/E− Σ(cm<)
.
6 ⊥ / .. F − C7 − cad
..
7 ML1 v /. F − F/A − Gm − F [1] Verse 1, a): WCh+WW
.. L2
9 . /⊥ F − F/A − C − F a’)
11 ⊥L3 F − C − B[/F − F b)
13 MC L4 D − A − D − C/E − G− WCh
15 ⊥/M0,B C − F/C − C − Am − C7 − WCh, WW+BCh, P D (c)
.
17 ML5 / ..
v F − C − B[/D−
19 L5 /⊥
MC C/E − F − WCh
d
20 ⊥ / M0 C7 − Dm − C/E − B[/D− WCh/WW
22 MvL6 F − Am7 − [2] Verse 2, a’) WCh, Σ(cm>)
..
23 . B[/D − F − C7no 3 −
..L7
24 . /I(M0 ) F − Am/C− a’): WCh/M0 : WW, Σ(cm<)
25 ⊥/⊥ B[∆7 /A − E◦ /G − F
26 MC L8 D − A − D − C/E − G− WCh
..
28 . / M0,B C − F − Am − Dm− WCh+WW/BCh
..L9
30 . B[ − A − D − C/E − G−
..
32 ./M
0,B Dm7 /C − F/A − Gm/B[− WCh/BCh+LoWW
34 ⊥/⊥ C − Cm/B[
35 Mt / M0 Dm A[9
7 − Dm/F − [3] B, Str+Hrp
.. ..
36 ./ . Am − Gm/B[ − B[∆7 /A−
.. ..
37 ./ . E∅7 /G − C]◦7 /E − F −
38 ⊥/⊥ E◦ − A[9
7 −
39 ML10 v /MR Dm − Dm+7 −
6 Alt-Solo/Cl, Hns stac
..
40 . /MB,R Em7 Alt-Solo/WCh+Cl
41 ⊥/⊥ E[∆7 − E[7 − E[m7 − Cl-Ob
43 MvL11 /MB <(Dmadd4/9 − D)− WCh/BCh
45 MCL12 Dm − C − B[− ~ , S(3p)
Alt+Str+Harp Hkd
46 ⊥ Am − Gm − Am−

(cont’d)
m M R H Comment
47 MB /M0 <(Dm − B[)− (WCh+BCh)/LoWW, P T (d)
.
49 ⊥ / .. Dm − B[ − Gm − B[/D− (WCh+BCh)/LoStr
51 ⊥ F/A − Cm7 −
52 Mv /MRL13 Dm − D7 − [5] Alt/Fl
..
53 . /MB,R E[∆7 − E[7 − Alt-Solo/WCh+Fl
.
55 ⊥ / .. A4∅7 −
56 ML11 v /MB <(E[madd9 − B[)− Alt/BCh
58 ML14 B[∆7 − C − B[/D− ~ , Σ(cm)
Alt+Str+Harp Hk
C d
..
59 . Am/E − Gm/D − Am/C − B[−
.. L12
61 . Dm − C − B[−
..
62 . Am − Gm − Am−
63 ⊥/M0,B <(Dm − B[)− Alt/BCh+LoWW, P T (d)
65 MB /M0 <(Dm − B[) [6] (WCh+BCh)/LoWW (ped)
.. ..
67 ./ . <(Dm − B[)− tutti, cresc, build, P T (()d)
.. .. [5/[9 ~ & (ped)
69 ./ . Dm1−]7−7−[6 − B[7 no 3 − tutti climax, Hns Hk e
.. ..
71 ./ . E[∆7 /D − Cm7 − F ]m (climax, ped)
.. .. [5/[9 i (&), (ped)
72 ./ . D∅7 − B[7 no 3 − Pm
.. ..
73 ./ . E[∆7 /D − B[∅7 − Dm − B[]5
7 −
i (&), ped)
(Pm
.. .. i (&), ped)
75 ./ . G7 /D − Em7 /D − E[m7 /B[− (Pm
76 ⊥/⊥ <(E7 /D − C 9 − E[7 /C])−
78 M0 Dm − B[ − Gm − Cm7 /E[− [7] trans, Hn+Vcl, Str
81 ⊥/⊥ Cm7 − Am/C − E[∆7 − F7 − cad
82 ML15
v /MB B[ B[+ − E[∆7 /B[ − B[◦7 − B[− A2 , Verse 3, WCh/BCh, P T (b[)
84 ⊥L16 B[+ − Gm/B[ − E[/B[ − B[ (ped)
86 ML18
C D D − A − C − G − D− [8] WCh imit
88 ⊥ A − E − A − Am BCh

(cont’d)
m M R H Comment
90 MvL18 /M0 F F − F/A − C/E − B[/D− WCh/WW, Σ(cm>)
.. L19 ..
92 . /. C/E − Dm/F − C/G− BCh
.. ..
93 ./ . B[∆7 /A − C/G − B[/F −
.. L19 ..
94 . /. F − Gm7 /D − Am/C − C7 /B[− WCh/LoStr
..
95 ./⊥ DmA − E◦ /G − F − Σ(cm<)
..
96 ./ML20
C D − A − D − C/E − G− [9] WCh
98 ⊥/M0 C − G7sus4 /C − G7 /B − C − Am−
100 ML20 L21
0 /MC F − Am − B[/D − F − Gm/B[− BCh/WCh Σ(cm>)
102 M0 /⊥ F/C − C7 − F/A − F − LoStr+LoWW, Tbn
104 ML21
C Dm − C/E − E∅7 − WCh+BCh
..
105 . F − E◦ /G − F/A−
106 ⊥ Gm7 /B[ − C− cad
107 M0 F − Dm7 − [10] Coda WW+Hns
..
108 . B[ − A − Dm − Gm/B[−
109 ⊥ F 9 /C − C7 − cad
110 MB /M0 <(F − Dm/F )− (WCh+BCh)/Hns, P T (f )
.. ..
114 ./ . <(F − Gm7 /F )− (WCh+BCh)/HiWW (ped)
118 ⊥/⊥ F (WCh+BCh)/Cl (120 m.)

Until now the instrumentation is strings only. The secondary subject M2 [5] opens in
C]m and has considerable similarity to the main theme: mainly diatonic stepwise motion
in quarter note rhythm, now in the celli and contrabasses. The oboe enters with a variation
of the chorale motif, imitated by the French horn. In the background there is a long series
of quarter note syncopations in the violas divisi. The transition [6] uses the chorale motif
Mh’ and fragments from the main theme in strings and horns imitation, leading into a first
climax (m. 74 ff.). This may also be considered the end of the exposition.
Part 2, with development character, starts with an embellished variation of the main
subject M1 [9], full of chromatism and the characteristic 8th note appoggiatura turns from
the b-phrase. The instrumentation is once again strings only. The woodwinds (unisono flute,
oboe and clarinet) enter with a countertheme Mc2 a on the second statement of the M1.a’-
phrase [11]. The transition [13] is based on another imitative chorale setting of Mh, now for
woodwinds and horns plus two solo violins. The development of the secondary subject by
woodwinds (flute. oboe) and horn [14] is later combined with the M1.b’-phrase in the 2nd
violins and celli in octaves, yielding a local climax for woodwinds and strings in [15]. The
development carries on with the chorale motif Mh against a violin countermelody Mc3 [16],
with a succesion of modulations. The development reaches a tutti climax in [20] with the
quoted motif Mq from Mvt. 4, m. 105-106, “Tief ist ihr Weh” (“Mitternachtslied”), in brass and
string imitation and augmentation against woodwinds sustained chords.
Part 3 may be considered a false recapitulation in sonata form terminology. The varied
main subject M1 returns in a strings only setting [21]. The M1b-phrase is extended into
what appears a secondary development [22]. The accented chromatically descending quarter
notes in horns and strings in m. 214–219 are a transition towards another tutti climax with
lead trumpets. The imitation motif for woodwinds, horns and violins in [23] is a copy of the
setting in m. 76 ff. This extended climax calms down in [24], before another transition [25]
takes us back to the recapitulation in Part 4. The main subject is played by trumpets and
trombone in another varied statement, against a background of high tremolo violins and a
low strings dominant pedal point. The M1b-phrase [28] is similar to m. 206 ff., although the
lead part is now for French horn and celli. The countermelody Mc2 for unisono woodwinds
to the M1a’-phrase in [29] is a copy from m. 108 ff.
The Coda thematic material consists of the first M1a-phrase motif, played by accented
brass, also in augmentation. The symphony ends in a tutti climax, over a an alternating
quarter note tonic-(dominant) pedal point hammered out by bassoons, timpani and low
strings.

The key relationship diagram is shown in Fig. 15.4. The menuet and trio movement (Mvt. 2)
has two equal A sections with a major - relative minor A − F ]m key pattern (1,3). Both B
sections open in the relative minor key F ]m, but go different ways: the first trio takes the
westward course F ]m − Em (2), the second trio moves in the opposite direction and has
more key movement F ]m − G]m − E − D − G]m − D (4–6). The closing A3 section opens
in the dominant major key E, passes its relative minor key C]m (7), before returning to the
tonic key A major.
Notwithstanding its length, Movement 3 has a limited and fairly straightforward key
relationship diagram. The main vertical tonic key axis is C − Cm − E[ − A. The minor-major
ambiguity is clearly visible from the Cm − C and F m − F pairs in both A sections (1,2,5) and

Table 15.21: Mahler, Symphony No. 3, Mvt. 6 Langsam. Ruhevoll. Empfunden
m M R H Comment
h i
4
Langsam. Ruhevoll. Empfunden Part 1 – Exp (]]) 4
1 M1a D D − A7 − D − A7 /C] − D − A/C]− a): Vi, Str Σ(cm)
..
5 . D − A7 /E − D/F ] − A/E−
7 ⊥ D − E − A− cad
9 M1b D − D+ − G − Em − E − A− [1] b): Vc, Seq(3×1m;R7 ),
11 ⊥ D7 /F ] − B7 /D] − Em − A− Pmi (%)
d
13 M1t (A − D − B7 − A7 − D − A7 )/A − t): Vi2, P D (a)
..
16 . B7[9 /D] − A/E − E]◦7 − PBi (%)
..
18 . F ]◦7 − Cm/E[−
19 ⊥ E7 /G] − A4 − E7[5 /B[no 1 − A7 −
21 M1a’/c1 D − A7 − D − A7 − D7 − [2] a’): Vc, c1 : VI1
.. .. [5/[9
25 ./ . G − D7 /A − G/B − E7 /B[− Σ(cm<)
27 ⊥/⊥ D46 − A7 − climax, cad
29 M1t’ (D − D7 − G − E∅7 )/D− t’): Vi2, P T (d)
..
31 . (D − G − C]◦7 )/D− (ped)
..
33 . (D − E7[9 − E∅7 − A7 )/D− [3] Va-Vc imit, PLi (&)
..
37 . D − F ]m − A/E− Vc+Cb
39 ⊥ Bm/D − D/F ] − Em7 −
Nicht mehr so breit (]]])
41 Mh F ]m F ] − E]◦7 − F ]m− [4] trans, Chorale: Vi
..
43 . F ]m − Bm7 /D − C]− Va
..
45 . C]m C]m − D]m7 − G]7 I(Mc): Vc
..
47 . G]m G]m − E/G] − G]m− Vi2
49 ⊥ F ]m E − G]m/B − A − F ]m/C]− I(Mc): Vc
Noch etwas bewegter, espressivo
51 M2/h’ C]m C]m − G]7 − C]m − F ]m− [5] M2:) LoStr, Mh’): Ob,
.. ..
53 ./ . C]m/E − G]7 − Va sync, Mh’): FHn
55 ⊥/⊥ C]m/G] − A∆7 − D]m7 − G]7 −
59 Mh’ C]m − E7 /B − Am − C7 − [6] trans Vi imit
63 M1a’ F F − C7 − F/C − C79 − a’): Vi-Hns imit
.. d
i (%), P (c)
67 . Fm (F m − D[∆7 − D∅7 − D7 )/C − Pm D
.. d
69 . (Cm7 − C7]5 − Dm7 )/C− PL (%)
.. 4 − F − E)/A
71 . F (D]◦7 − B∅7 [7] VI trem, FHn P (e), cresc

Table 15.22: Mahler, Symphony No. 3, Mvt. 6 Langsam. Ruhevoll. Empfunden (cont’d)
m M R H Comment
..
74 . A[9
7 − ...− Hns+Str imit, clim
79 ⊥ [9
C7sus4 − . . . − C7sus4no 1 − . . . − [8] Hns P (f ), Str trem
89 5 P (f ) Vc
Tempo I. Ruhevoll Part 2 – Dev (]])
92 M1a’ D A7 − B7 /D] − A7 /E − D/F ]− [9] a’): Vc var
..
94 . A7 /G − B7 /D]−
..
96 . A7 /E − E]◦ − F ]◦7 − Em/G− Va, PBi (%)
.. [5/[9
98 . E7 − E7 /B[ − A − C]◦7 /G−
100 M1b’ F ]m − Bm − G − G+ /B − C [10] b): Vi, Seq(3×1m;R7 )
..
102 . A − G/B − B]◦7 − A/C]− PBi (%)
..
103 . B7[9 − A7 /E− Σ(cm>)
104 ⊥ A[9
7 −→ A7 − P D (a)
Sehr gesangvoll
108 M1a’/c2 D D − A7 − D − A97 − D− [11] a’): Vi, c2 ): WW
.. ..
112 ./ . D/F ] − A7 /E − D− PB (&)
.. ..
114 ./ . A7 /C] − Am7 /C − B7[5 − E7[5 /B[− PBi (&)
.. .. d
115 ./ . A−
.. ..
116 ./ . G − B7 − Em − D]◦7 /F ] − Em/G− [12] Vi+Fl, Σ(cm>)
..
118 . /⊥ A97 /G − D/F ] − Bm−
..
120 . G − B7 /D] − Em − D+ /F ]− Str
122 ⊥ Em7 /G − Em7 − D7sus4 − A7 cad
Nicht mehr so breit
124 Mh D − B[/D − Am/C− [13] Mh: FHn, I(Mh): SVi
..
126 . B[/F − Dm/A − Gm7 − E7[5 /B[−
..
128 . Am Am − E7 − I(Mh): SVi+Bsn, Mh: Ob
130 ⊥ C]m − G]m/B − A − F ]m7
a tempo (etwas bewegter) (]]]])
132 M2 C]m C]m − G]7no 3 − C]m− [14] M2:) Ob+Cl+FHn,
.. d d
135 . F ]m − D]◦7 − E − C×◦7 − G][9
7 − Va sync
..
138 . A − A∆7 /G] − D]m7 /F ] − G]7 −
..
140 ./M1b C]m − G]7[9 no 3 /D]− Fl+Ob+FHn/Vi+Vc
.. .. d
142 ./ . C]m/E − C]7 /E] − PB (%), [S̄ 6 ]

m M R H Comment
.. ..
144 ./ . D/F ] − E79 /G] − A − A]◦7 − [15] climax, Vi+Va sync
.. .. d [5/[9
145 ./ . Bm − E7 − F∆7 − B7 /F −
147 ⊥/⊥ F m − B[m/D[ − E[7 −
a tempo ([[[[[[) mod dev
149 Mh/c3 A[m A[ − A[m − G dim −A[m− [16] Mh: Ob, Mc3 : Vi2
.. ..
151 ./ . A[m − G◦7 − A[m− FHn
.. ..
153 ./ . E[m E[m − B[m7 − I(Mh): Bsn, Mh: Fl
.. ..
155 ./ . G[/B[ − B[m7no 3 −
156 ⊥/⊥ E[m/G[ − D[7 −
Sehr leidenschaftlich
157 M2 E[m − B[[9 9
7 − B[7 − E[m − F∅7 /A[− [17] M2): LoStr, Va sync
..
161 . G[/B[ − B[m7 /A[− Vi1
..
162 . C[∆7 /G[ − −D[7 /F − A[m7 /E[−
..
163 . D[m− C[ − E[7 /B[−
166 ⊥ A[[13
7 − D[m − G◦7 −
Etwas breiter wie vorher (]]]]])
d
168 (M1) B F ]7 − G]7 /B] − A7 /C] − B[[9
7 /D− [18] Hns, [S̄ 6 ]
172 ⊥ G]◦7 /D − D[7 − F7 /C − C[7 −
a tempo ([[[)
d
174 (M1) E[ (E[ − B[7 − E[ − F m)/B[ [19] Brs clim, P D (b[)
.. d
176 . (D7 − E[ − B[m7 − C7 )/B[− (ped)
180 ⊥ A7sus4 − A[9
7 − Hns
2/2 taktieren. Sehr bewegt (]]) “Mitternachtslied”
182 Mq Dm E∅7 − C7 /E − Gm7 − . . . − [20] Mq): Hns imit, WW
..
186 . Gm7 /B[ − . . . − G∅7 /B[ Tbn augm
192 ⊥ A[13
7 no 1 − . . . −
Tempo I. Part 3 – False Rec

198 M1a’ D (A7 − D − B7 − G◦ − A7 − D)/A− [21] a’): Vi1, Str, P D (a)
.. d d
200 . (A7 − D − A7 )/A − B7[9 /D] −
..
202 . A7 /E − C]7 /E] − B7[9 /F ] − Em/G− PBi (%)
[5/[9
204 ⊥ E79 /G] − E7 /B[ − A9 −

m M R H Comment
206 M1b D − G − Em − E + − A7 /D− [22] b): Fl+Vi1, Seq(3×1m;R7 )
.. i (%)
208 . F ]m7 − Bm − G7 − C − C∆7 /B− Pm
..
210 . Am7 − A[13
7 − 2nd Dev
..
211 . D/F ] − E7[9 /G] − A97 /C] − B7[13 /D]− WW+Str clim, [S̄ 6 ]
213 ⊥ Em − A[9 7 − cad
214 (D 1−∆7−7 − G − Gm − D)/D i (&), P (d)
trans, Hns+Str, Pm T
216 (D − C]◦ − G − Gm)/D − D imit (ped)
d
218 (D − A[5
7 )/D − Σ(cm<)
d
220 (M1a) (E[ − Gm7 − A[9 7 )/G − Gm7 − Tpt&, tutti climax
.. [9/13
224 . (A[ − E[∆7 − D7 )/D − . . . − [23] WW+Hns+Vi imit, clim
.. [9/13 i (&)
228 . D7 − E[∆7 − D[7 /F − Str trem, Pm
.. [9/[13
230 . Cm/E[ − E[ − D7 −
.. [9/[13
232 . D7 − A[∆7 /E[−
[9/[13
234 ⊥ B7 − ...− [24] Hns, WW-Va trem
Tempo 1. Wieder Viertel schlagen!
245 (M1b) F F/A − C + /E − F/A− i (%), P (a)
[25] trans, Fl, Str Pm
..
247 . B[/D − F/C − E7[9 − Str trem
249 ⊥ E∅7 − E[ − Gm7 − A[9
7
Sehr langsam - 4/4 a tempo Part 4 – Rec

252 M1a D (D − A − G9 − A97 − D)/A− [26] a): Tpt+Tbn, P D (a),
..
254 . (D − A7 − D − A97 )/A− Str trem (ped)
..
257 . (F ]m − Bm7 − E79 )/A− (ped)
.. d
259 . A − A7 /G − F ]7 − G − B7 −
..
261 . Em − B7 /F ] − Em/G−
.. d
262 . A97 /G − D/F ] −
..
264 . Em/G − B7 /D]− PB (%)
..
265 . Em − A7 /E − D+ /F ]
[5/[9
266 ⊥ G − E7 /G] − A PBi (%)
268 M1t A7no 3 /G − D/F ] − E7[9 /F − [27] t): Tpt+Tbn, PB (&)
..
269 . A7 /E − Em7 /D − A7 /C]−
..
271 . B7 /D] − A7 /E − D+ /F ]− PB (%)

m M R H Comment
..
273 . Em/G − B7 /D]−
274 ⊥ Em − D/F ] − Em/G − A−
276 M1b D − D+ − G − Em − E + /G] − A− [28] Hns+Vc, Seq(3×1m;R7 )
..
278 . F ]m − B[ − G7 − C − C∆7 /B−
.. d
280 . Am7 − A[13
7 − Bm − E7 /B− Tpt+Vi2+Va
282 ⊥ A7 /C] − B7 /D] − Em − E∅7 − A7 −
284 M1a’/c2 D − C]◦ − D− [29] a’): Tpt+Tbn,
.. ..
286 ./ . A97 −D− A97 /E Mc2 : WW+HiStr
.. ..
289 ./ . D/F ] − A7 /E − D − E7 /B−
291 ⊥/⊥ A − G]∅7
292 M1t’ G − C]◦7 /G − Bm7 /F ]− t’): Hns+Tpt, Σ(cm<)
..
293 . Em − C/E − Bm/D−
..
294 . C − F ]◦7 /C − Em/B − E7[5 /B[−
296 ⊥ (D − A7 − A97 )/A− [30] Tpt, tutti Σ(cm<), P D (a)
Coda
300 (M1) (D − D∆7 − G − D − Em7 )/D− Tpt+Tbn, P T (d)
..
302 . (D − D∆7 − G − Gm)/D−
d
304 ⊥ (Em7 − A − Bm7 − Em7 )/D− Hns
308 (M1’) (G − . . . − Bm7 − A9 − G)/D− [31] Tpt+Tgn aug, Str trem
..
316 . D − ...− [32] Tpts, clim, P (d−a)
323 ⊥ D (328 m.)

Mvt. 2 Tempo di Menuetto. Grazioso Mvt. 3 Comodo. Scherzando

6 6 A
C]m G]m D]m B[m Fm D E
E B F] C] G] Dm Am Em
2 1,3 4 1,2,5,12 4
8,10
Em Bm F ]m C]m G]m F C G
t 5 7 6
*

6
?

6? 6 ?
G D A E B F m Cm Gm
HH
Y 7,11 3
9- 6
Am Ht Em
?
Gm Dm Bm A[ E[ B[
Mvt. 4 “O Mensch! Mvt. 5 Lustig im Tempo

Gib Acht!” und keck im Ausdruck
D G 2 D
1,2 ?
6 1
Dm Gm Dm
3 ? 6
F B[ F
Mvt. 6 Langsam. Ruhevoll. Empfunden

2,8
Am Em Bm 1,3 F ]m - C]m - G]m
*
t t

C G D H A E B
6,12
6 HH j 7

H
Cm Gm 1 Dm Am Em Bm

11
E[ B[ F C G D
t 5
?6
E[m B[m F m Cm Gm Dm
t

G[ D[ A[ E[ B[ F
4 9

G[m D[mt A[mt E[m
- B[m Fm
A E 10B

F] C] G]
Figure 15.4: Mahler, Symphony No. 3, key relationship diagram

15.3. SYMPHONY NO. 4 IN G MAJOR
the C sections (7,10), respectively. Most modulations take place in the A2 (2–6) and the D-E
section (7–9). The only outlier is the sidestep to the minor key Em (4).
The slow 4th movement ‘O Mensch! Gib Acht!’ plays with the major-minor ambiguity
D − Dm throughout (1–2). In the A2 section there is a brief sidestep towards the lowered
mediant major key F = [III (3).
The lively 5th movement reflects the ternary form in the key structure: the opening A
section is in the major key F , moving to the relative minor key Dm in the middle section
(1). The closing A2 section then progresses through the dominant key B[ and the major
submediant key D (2), before returning to the tonic key. Note that the key range is limited
and that the primary axis F − Dm − D is the same as in the previous movement.
The closing movement, Mvt. 6, has a wide key domain envelope, requiring harmonic
equivalence properties such as C]m = D[m to determine key change proximity. Departing
from the home key D, the movement already starts to wander in Part 1, as the mediant minor
key F ]m triggers the secondary theme (2). After reaching the lowered mediant major key F
(5), there is a return to D for Part 2, the development. Here the path reaches the submediant
major key B (10) and the Neapolitan key E[ = [II before returning to the tonic major key
through its parallel minor key Dm (11). The second half of the movement (Part 3 and 4)
contains no more than the alternating D − F − D pattern (Part 4 and the Coda remain in
the tonic key). The vertical symmetry (3i) tonic axis D − Dm − F − F m − B is a prominent
feature.
15.3 Symphony No. 4 in G Major (1900)

h ih ih ih ih i
4 2 3 3 2
Mvt. 3 Poco adagio, Ruhevoll: ABABA Coda form (G, 4 2 4 8 4 , 353 m.)
A (61 m.) B (45 m.) A1 (72 m.) B1 (43 m.)
A2 (93 m.) Coda (38 m.)

h i
4
Mvt. 4 Sehr behaglich: song form (G, 4 , 184 m.)
Int V1 I1 V2 I2 V3 I3 V4 Co
Figure 15.5: Mahler, Symphony No. 4 in G Major
15.3.1 Mvt. 3 Poco adagio Ruhevoll

Form: ternary song form, ABA1 B1 A2 Coda. This slow movement has a large scale approach.
The first A section, for strings only, introduces and repeats the first subject M1, but each
time the lead voice changes parts, while a new countermelody is added and shorter note
values are used (8ths). Throughout the movement the lower strings change from pizzicato
to arco and back, providing a stable groove in 4th notes. The woodwinds start playing in
the transition to the B section; the oboe takes over the lead part (M4), answered by a most

lyrical violin melody, full of portamento and a perfect melodic curve (M5). The section A1
and B1 develop the earlier subjects, while introducing new countermelodies in polyphonic
settings (either contrasting instrumentation or ranges). A peculiarity of this movement is,
that it contains a theme and variations form (in the A2 section) within a higher level ternary
structure. Returning elements are the chromatically descending theme (Ms, blasted out by
trumpet and oboes during the first climax), and the bell chord effect in lower strings and
harp in the transitions. See Table 15.26 to 15.28 for the analysis.
15.3.2 Mvt. 4 Sehr behaglich

Form: song. The movement is based on an existing poem (Gedicht aus ‘Des Knaben Wun-
derhorn’): Mahler urgently requests the conductor to accompany the solo singer extremely
discreetly.5 In the verse sections the pleasant (‘sehr behaglich’) vocal lead melody (V) is often
doubled in an instrumental, embellished form (Mv), with 16th note durations. The more
lively (‘frisch bewegt’) interlude sections start with a steady tonic-dominant pedal 8th note
rhythm (b − f ]-ped), with upper grace notes. The verses end with diatonic parallel chord
settings in instrumental groups (woodwinds, string or brass). Tension is created in the sec-
ond half of the movement through mixed rhythms and rapid dynamic changes. The restful,
tranquil coda has the pedal note rhythm in steady 4th notes, closing in an extremely low
range. See Table 15.29 and 15.30 for the analysis.

The key relationship diagram is shown in Fig. 15.6. In Mvt. 3, Poco adagio, all A sections start
on the tonic major key G (1,3,5). The contrasting B sections start excursions into remote keys:
the dominant minor key Dm (2) and through the lowered submediant major key E[ = [VI
towards the furthest point F ]m (4). The Variations sections start the alterations with the
submediant major key E (6).
Mvt. 3 Poco adagio

4
Bm F ]m C]m Mvt. 4 Sehr behaglich
6
D A E F ]m C]m
8 G]m
*

2
E∗ H

Dm Am Em A YH B
6 1 H 2,4,7
F C G Am 3,5 Em - Bm
1,3,5 H *
j 6
YH
H HH

Fm Cm Gm C G

H
D

* ?
A[ E[ B[ Cm Gm Dm
In the song, Mvt. 4 Sehr behaglich, the verses start on the tonic major key G, the submedi-
ant minor Em (3) and major key E (7–8), respectively. All interludes start from the mediant
5
Trying to prevent pre-programmed ego conflicts, I guess.

Table 15.26: Mahler, Symphony No. 4, Mvt. 3 Poco adagio Ruhevoll
m M R H Comment
h i
4
1 M1 G G − D7 − G6 − Bm− A.a1, 4 Vc, P D (d)
..
6 . D7 − G − D/F ] − G
..
11 . A]◦7 − Bm − A7 − DB pizz
..
14 . D − D7 /C−
15 ⊥ G/B − Am7 /C − D− cad
17 M2/1 G − D 7 − G6 − A.a2, Vi1 (M2=Mc)/Vc,
..
21 . Bm − G/D − D7 − Vc+DB pizz
23 ⊥ G/B − Am7 /C − D7 −
d
25 M2’/1 G − D7 − Em7 /D − G/B− [1] A.a3, Ob/Vi
.. d
29 . C/E − E7 − Am7 − A7 − D − Bsn+Hns bg
..
33 . Em7 − A7 − D−
..
35 . E7 − Am7 − D7 −
..
37 . <(G − D)− A.b, Str, P D (d)
..
43 . Em − Am/C − G64 − D − G Va+Bsn
47 ⊥ C − Am/C − G64 − D7 − cad
51 M3 G6 − . . . − D7sus4 − G − B− trans, Hrp+LoStr: bell motif
62 M4 Em Em − Am/E − Em − Am7 /E− [2] B.a1, Ob, WW+Hns
d
66 M5 D7[9 − G − D7 − Vi1: aab
..
68 . Em7 − D]◦7 − C/E − G/D− PB (&)
..
70 . A7 /C] − F ]7[5 /C − Em64 − B7 − Ob-Vi1
..
72 . Em − A/E − Am+7 /E− P T (e), chr&
74 ⊥ Em − F ]7 − F ]m − Em
76 M4’ (Em − Am7 )/E− i (%), (ped)
B.a2, Ob, Pm
78 ⊥ (F ]m7 − Em7 )/E
79 M5’ C/E − Am/E − E7 − Fl-Cl
d
81 M5” Am7 − E◦7 − C7[5 /G[
− [3] Hn, Mc: Vi1
83 ⊥ B[/F − G∅7 /F −
84 M5’ Fm (C7 − F m − C7 − Dm7 − C7 )/C− Vi1
..
87 . D[7 − F/C − B◦7 − B[7 −
89 ⊥/Ms Dm Dm7 Gm/D− tutti clim, chr& motif
93 Dm B.b
98 Mc D7 − <(Am − E7 ) − . . . − Fl-Vi1: clos th, FHn: chr&
103 ⊥ Dm − . . . − B[7

Table 15.27: Mahler, Symphony No. 4, Mvt. 3 Poco adagio Ruhevoll (cont’d)
m M R H Comment
h i
2
107 M6/7 G G − D7 − G/D − D7 − C/G − D [4] A1 2 , Cl, P D (d)
..
115 . D − G − B/F ] − F ] − Bm
d
119 ⊥ A7 − D7 − Em − Am − D−
123 M1’ G − D7 − G − G/D − D7 − Vc, development
131 M1’/c G − D7 − G − C − E7 − Am− Bsn+Str, countermel
137 M1’ (G − D − G − D7 − G − D7 )/D− ~ , P D (d)
[5] Cl+Bsn: Hk d
d
143 M1’/c G − D7 − G − D7 /A − G − D7 − Vi1/Vi2 countermelody
..
149 . Em7 − G/D − D7 −
151 ⊥ G − B7 /D]−
153 M1” Em/G − C/G − D7 − WW+Fhn+Str, ctp dev
..
155 . G − D7 − B[ − B∅7 − Bm−
..
159 . Am/C − F ]◦7 /C − G/D − D7 −
163 ⊥ G − D − G − D7[9 − . . . −
171 − . . . − Gm − B[7sus4 − trans, FHn+Ob
h i
179 M4’/M5’ E[ E[ − Cm/E[ − Gm/D− [6] B1 .a1 44 Dev, WW+
183 ⊥ Gm D7[9 − . . . − D − G − Gm FHn: chr&
188 M5’ B7]5 − E]◦7 − B7 − A/C]− Vc-Vi2
d
192 ⊥ C]m C]m/G] − F ] − F ]7 − B7 − [7] B1 .a2 Vi, climax
195 M4’/Mc C]m − F ]m/C] − C]m (Cl+LoStr)/Ob
..
197 . F ]m/C] − A7 /C]−
199 ⊥ E[7 /D[ − E7 /D − F7 /E[−
202 M4”/Mc A/E − E7 /B − E∅7 /B[− Tpt/Vi1
204 ⊥ D/A − Dm/A−
205 M5’ E7 − Am/E − E7 − F ]m7 − E7 − [8] Vi, Str bg
..
207 . B7[5 /F − B7[9 /D]−
210 ⊥ F ]m F ]m7 − tuitti clim, chr& motif
212 F ]m − . . . − F ]− B1 .b trans, Vi+Va, P T (f ])
217 D/F ] − F ] − . . . − D−
h i
3
222 M1’ G G − D7 − G− [9] A2 4 , Vc, P D (d)
..
227 . D7 /A − Bm − D7 /A − G − D/F ]− Theme+variations,
..
230 . B∅7 /F − E7 − E∅7 /B[ − A− Str bg, DB: pizz
..
234 . Cm/E[ − A[5
7 /E[ − D−
236 ⊥ Am/C − Am − D/F ]

Table 15.28: Mahler, Symphony No. 4, Mvt. 3 Poco adagio Ruhevoll (cont’d)
m M R H Comment
h i
3
238 M1’ G G − D7 − G 8 , Var 1, Vi1, P D (d),
..
243 . D7 − G/B − D7 − G − Am/C Str bg, Vc: pizz
..
245 . Am/C − Am − E7[9 −
..
249 . F ]7 − Bm−
251 ⊥ A7 − D − Am/C − D7 /A − D7 −
255 M1’ G − D7 − Var 2, Vi2, P D (d),
..
258 . G − D7 − G/D − C]◦7 −
260 ⊥ D7 − D]◦7 − Vc+DB:
h i pizz
263 M1’ E E/B − B7 − . . . − E/B− [10] 24 , Var 3, Ob, P D (b),
..
267 . B/F ] − C]/E] − A]◦7 /E− Fl, Vi1: ctp
..
269 . B/D] − Dm − A/C] − E + /B]−
270 ⊥ A]◦7 − B− tutti climax
271 M5” D7 − C]7 − F ]7 − Vi1, diminution
275 ⊥ C7 − B − B[7 − F/A − A[7 − PBi (&)
278 M1’ G G/D − Am − D7 − G/D− h i 4, WW+Str, P D (d)
Var
3
282 M5” C/E − E7 − A7 4 Brs: augm, clim
..
283 . G/D − C]◦7 − D− [11] P D (d)
285 ⊥ C/E − A]◦7 − Bm/D − Dm7 − h i
4
287 E7 − Cm − D7 − 4
d
288 Mc G − . . . − D7 /A − G − D7 /F ] − trans, Va (m. 37+m. 131)
..
294 . Em − Am7 − D7 −
296 ⊥ (G − Am − Dm)/G−
299 M1” C − . . . − G− FHn+Va, motif m. 45
303 ⊥ F − C − Dm7 − C
307 M3 G − D7sus4 − G6 Vc+D: bell motif, P D (d)
315 E E [12] Coda, tutti clim, Str: arp
318 M3/S1 E6 DB bell, Brs signal, P (e−b)
320 M3/S2 E 6 − . . . − E − B7sus4 − bell+signal motif
326 M5’ <(E 6 − F ]m7 )/E− [13] Vi1
..
332 . C − . . . − G . . . − F/C
338 ⊥ G D−G
344 M5’ G/D − Em − G/D − Em − D DB+Hrp
353 (353 m.)

Table 15.29: Mahler, Symphony No. 4, Mvt. 4 Sehr behaglich
m M R H Comment
1 M1 G G − . . . − D7 − G − Am 6−7−6 − Intro, Cl -Ob, P D (d)
7 Am − D7 − G/D− WW triplets
9 D7 − G/D − C 9 −
11 D/F ] − C/E − Bm/D − Am/C− [S̄ 6 ] : 16ths
12 V/M1 (G − . . . − D7 − G − D7sus4 − G)/G− [1] Verse 1, V1.a, Cl-Fl
..
17 . /M1 Am Am − Am6 − Am7 Vi1 triplets, P T (a)
..
20 . /M2 (E7[9 − Am)− Fl-Vi2: 16ths (ped)
22 ⊥ /⊥ (B∅7 − B[∆7 − E7 − A∅7 )/A − D7 −
25 V/Mv’ G − . . . − D7sus4 − G − B − G − B− [2] V1.b, Fl-Vi1-Pi: 16ths
31 ⊥ /M2 Bm (F ]7sus4 − B +5−6−7 − Em)/B− Vi1+Pi, Pm i (%), P (b)
T
35 Vc/⊥ (Bm − Em/B) − Bm − C − Am close V1.c, Hns: Hk~ : S5
d
40 M3 Bm Bm − . . . − Am − . . . − [3] Interlude, Vi1+Pi,

.. ~
45 . Bm − D − Bm − G − Bm− P (b−f ]), Hkd
47 ⊥ Am − F − F ]∅7 −
48 M1’ Em Em − . . . − [4] Ob+Cl+FHn, clim
..
53 . Em − F∆7 /E − Em − . . . −
55 ⊥ (Bm − C∆7 − G[5
7 − E]◦ − Bm)/B− P D (b)
57 V Em Em − F ]∅7 /E − F∆7 − F7 − [5] Verse 2, V2.d, WW bg
..
61 . <(F ]∅7 − Em)
64 ⊥ Em − F − C − F ] − B− Str
66 V Em/B − F∆7 − . . . − F7 − [6] V2.d’, WW-Str bg
70 ⊥ B7 /F ] − Am7 − F ]∅7 − Am−
72 Vc Em −→ Em − D ~ : S5
close V2.c, Str+Pi: Hk d
76 M3’ Bm Bm [7] Interlude, WW, Brs bg,

79 ⊥ Bm7 − C∆7 − Bm − Am− clim, P (b−f ])
80 V/M1 G G − . . . − D7sus4 − G− Verse 3, V3.a, Ob+Vi1
84 ⊥/⊥ D9 − G − D7 − G tension↑: dotted rhythms
87 V Bm Bm − . . . − [8] V3.e, WW bg
90 ⊥ (F ]m − G − D[)/F ]− tutti, P D (f ])
93 V Bm/F ] − C]7[9 − F ]m− V3.f, tutti bg
..
95 ./Mv Em Em − Em+7 − E∅7 − A/E − E + − Fl+Vi: 16ths, Voc: chr&
97 ⊥ Em − B/D]−

Table 15.30: Mahler, Symphony No. 4, Mvt. 4 Sehr behaglich (cont’d)
m M R H Comment
99 V’/Mv D D/A − A7 − D/A − E7[9 − [9] var, Vi1
..
101 . /M2 (A7 − D7 − Gm − A[5
7 )/A−
i (%), P (a)
Ob+Vi1, Pm D
[5/[9 d
104 ⊥/⊥ Gm − A7 −
106 Vc Dm B[∆7 −→ Am/C − B[ ~ : Σ(cm)
[10] V3.c, Brs: Hk d
109 Dm −→ Am − B[ ~
WW: Hkd S 5
112 Gm − D(no3)− trans

114 M3 Bm Bm − . . . [11] Interlude, Vi1+Fl, tutti
120 ⊥ Em/B − Bm − Am − C − F − clim, P (b−f ])
122 E E − ...− [12] Str+Ehn bg, tripl, P T (e)
125 M4 E − . . . − C]m7 /E − B7sus4 − Fl+Vi1: triplets (ped)
..
129 . E − . . . − B7sus4 − E − . . . − (ped)
136 ⊥ E − G]7 /B] − C]m/E − B7 − triplet bg
138 M4’ E − B7 − E Vc+Cl: triplets (ped)
142 V/M1 E E − . . . − B7 − [13] Verse 4, V4.a, Vi1
..
146 . E − F ]m−
..
148 . (F ]m7 − D]∅7 − A − D]∅7 )/F ]− triplets, P (f ])
150 ⊥ F ]m − B7 − A − D]∅7 −
153 V/M1’ E [14] V4.a’, EHn-Vi2, P (e−b)
..
158 . G]m E − G]m − D]7 − mixed rhythm, P T (g])
..
160 . G]m − F ]m−
162 ⊥/M4 E B7 − E − . . . P (e−b)
165 V/M4 (C]m − E)/E − . . . − [15] V4.g, Vi1+Fl, (ped)
167 ⊥/⊥ (B7sus4 − B7 − E)/E−
169 Vc’ B7sus4 − E V4.c’ (ped)
171 M4’ E − ...− WW: triplets imit (ped)
174 M4’ E − B7 − E − . . . − Coda, Vc-BCl: imit, P (e−b)
184 E (184 m.)

minor key Bm (2,4,7). The third verse contains the most key changes (4–7). The movement
closes in the major key E, alternating with its mediant minor key G]m (8). The overall com-
pass of this closing movement is limited.
15.4 Symphony No. 5 in C] Minor - D Major (1904)

h i
4
Mvt. 3 Adagietto, Sehr langsam: ABA form (F , 4 , 103 m.)
A1 B A2
Figure 15.7: Mahler, Symphony No. 5 in C] Minor - D Major
15.4.1 Mvt. 4 Adagietto Sehr Langsam

Form: ternary song form, A1 BA2 . This most beautiful slow movement, Adagietto, is also
known for two other reasons: as the gloomy main title music in the Visconti movie Death in
Venice6 and in conductor contests for the longest performance duration (look on the internet
for who’s leading the competion currently). The orchestration is for strings and harp only.
Note how the lead melody is moving through the string parts, with carefully planned octave
doubling in the high range. And there is ample use of appoggiaturas. See Table 15.31 for the
analysis.

The key relationship diagram is shown in Fig. 15.8. In Mvt. 4 Adagietto, Sehr langsam, both
outer A sections are in the tonic major key F . The first section alternates with the mediant
minor Am (1). The middle B section starts in the dominant minor Cm and then starts to
wander into remote key areas: note the major second (2i) descending key sequence G[ − E −
D (2–3).
15.5 Symphony No. 6 in A Minor Tragic (1906)

15.5.1 Mvt. 3 Andante moderato

Form: ABA1 B1 A2 Coda. This moderate tempo movement may have been a textbook exam-
ple for Hollywood composers and orchestrators; there are sweeping melodies (wide leaps,
chromatic steps), polyphonic settings combining main themes with countersubjects (with a
Leitmotiv flavour), melodic sequences, contrasting orchestral densities (tutti vs. thinned out
sections, such as those labeled ‘Elegy’ and ‘Pastorale’), stepwise moving middle voices (horns
6
Remember Dirk Bogarde as ageing composer Gustav von Aschenbach, with died black hair washing out in
the rain, while stalking young Tadzio through the narrow streets of cholera-stricken Venice? That’s the one.

15.5. SYMPHONY NO. 6 IN A MINOR TRAGIC
Table 15.31: Mahler, Symphony No. 5, Mvt. 4 Adagietto Sehr Langsam
m M R H Comment
1 F Am A1 Hrp+Str bell ch ([)
3 M1 F − Dm/C − Gm7 /B[ − F/A − D[7 /A[− Vi1: a, Str
..
6 . G7 − D7[9 − (b)
8 ⊥ Gm − E◦7 − F − F/A − C 4 − C 6 −
12 M1’ F − F/C − E7[9 − Vc: a’
.. d
14 . Am E7 − F − B[/D− Vc: b’, N 6
16 ⊥ Am/E − D]◦7 − E7 − Vi2: c
19 (M1) Am − F/A − Am − . . . − [1] trans
23 M2 F Am − C7 /G − F − F∆7 /A − Gm7 /B[− Vi1: a
d
27 ⊥ D7[9 /F ] − E∅7 /G − E7[9 /G] − F/A− (b) PB (%)
29 G∅7 /B[ − F46 − C7[9 − climax 1, cad, P D (c)
33 (M2) F − Gm7 /F − F − Gm/B[ − C − F Vi2: c, cad
39 M3 Cm Dm/F − B◦7 − Cm − . . . − [2] B, Vi1
.. i (%)
44 . Cm/E[ − C◦ − A∅7 /C − F7 − Va-Vi1, Pm
..
47 . G[ G[ − . . . − A[[9
7 − ([[[[[[) Vi2+Va
..
50 . D[97 − E[m7 /D[− Vi1
..
52 . D[ − E[m − A[−
..
54 . E[m7 /B[ − A[7 /C Vi1+Vi2: 8va par
..
56 . B[m − B[7 − E[m − A[7 − D[7 − C7[9 − climax 2 (%), PB (&)
.. [5/[9
60 . E E/B − B7 − E7 − (]]]]), PBi (&)
.. d
63 . D B7 /A − Bm7 /A − F ]∅7 /A − A7 − Bm7 /A− (]]), Vi1, P D (a)
..
66 . A7 − D+ − E − E7 /D− Vi+Vi2
68 ⊥ (A7 − G][9 [5
7 )/A − C]7 /G] − C]7 /G− PB (&)
72 F F/C − Am7 /G− [3] A2 ([) trans
74 M1 F − . . . − Dm11
7 /C − Gm7 /B[− Vi2: 1
..
78 . F/A − D∅7 /A[ − G7 − G∅7 − PBi (&)
80 ⊥ D7[9 /F ] − Gm − E◦7 − F − F/A− (b)
82 (M3) C 4 − G7 − C Vc, P D (c)
85 M2 C − . . . − C7 /G − F − F/A − Gm7 /B[− [4] Vi1 (c-ped), cresc
..
91 . D7[9 /F ] − E∅7 /G − E7[9 /G] − F/A− Pmi (%), P (%)
B
93 ⊥ F/A − G∅7 /B[ − B∅7 − PBi (%)
95 F 6 /C − . . . − F/A − C7 /G− climax 3, P D (c)
99 F (103 m.)

Mvt. 4 Adagietto Sehr Langsam

t
G D A E
3
Gm Dm 1 Am Em
*

B[ F H C G
HHj
B[m Fm Cm Gm
D[ A[ E[ B[
D[m A[m E[m B[m

t 2
E B G[ D[
h i
4
Mvt. 3 Andante moderato: ABABA Coda form (E[, 4 , 201 m.)
A B A1 B1 A2 Coda
Figure 15.9: Mahler, Symphony No. 6 in A Minor Tragic
and lower brass, for example) and huge dynamic climaxes. Melodic phrases from main
themes are distributed over several parts within a section, most of the time with doubling
between woodwinds and strings. Tonal centres move frequently, although note the larger
structure zones in either major or minor keys. See Table 15.32 to 15.34 for the analysis.

The key relationship diagram is shown in Fig. 15.10. In Mvt. 3, Andante moderato, all three
A sections are predominantly in the tonic major key E[. The first alternates with the mediant
minor key Gm (1), the closing section moves from the lowered submediant major towards
the tonic (B = C[ = [VI) − E[ (7). The contrasting B sections contain more key changes
and widen the key compass: the first opens in Em (2) and ends on the lowered supertonic
major (Neapolitan) key E = [II (3–4), the last B section opens in the submediant major key
C (5) and ends with Bm − B (6–7), the latter being the intermediate Neapolitan chord key of
the dominant B = [II/V . Note the use of the vertical minor third (3i) symmetrical root axis
E[ − C − A and the perfect fifth (7i) horizontal axis Am − Em − Bm.

Table 15.32: Mahler, Symphony No. 6, Mvt. 3 Andante moderato
m M R H Comment
1 M1 E[ E[ − B[[5 [13
7 − E[ − B[7 − E[/B[ A.a, Main theme: Vi 1
..
5 . F∅7 − F m − E[ − B[[9
7 − E[/B[−
.. [5/[9 d [5/[9
7 . B[7 − C∅7 /B[ − C7 /E− Ob: 3rds
9 ⊥ −A[m − B[[97 −
10 M1’ E[ − E[[9
7 − F∅7 /C[ − B[7 − [87] Vi1+2: ctp, P T (e[)
..
12 . (E[ − E[[9
7 − F m7 − F∅7 )/E[−
..
14 . E[ − . . . − B[+ − E[ − F◦ /A[−
[5/[9
17 ⊥/0 F m/A[ − F7 /E[ − . . . − A◦7 − E[ Ob: 3rd/6th-motif
21 M2/0 Gm Gm − . . . − Dm7 − [88] A.b, EHn,WW
..
24 . Gm7 − A∅7 /G − B[∆7 − WW: Seq+ctp (imit)
26 ⊥ Gm − A∅7 − E[/G − A[7 −
]11
28 M1 E[ E[ − B[[5
7 − E[ − B[7 − E[/B[− [89] A.a1 , FHn
.. [5/[9
32 . (F∅7 − F )/B[ − E[ − B[7 − E[ Vi1+WW: ctp
..
34 . B[[9
7 /A[ − E[/B[ − B[7 − WW+LoStr: ctp
..
36 . E[ − E[[9 [5
7 − F m7 /A[ − F∅7 − F7 − [90] Vi2, Fl: chr%
..
38 . E[ − A∅7 − Cm7 /B[ − Eb/G−
40 ⊥/M0 Cm − G − . . . − B[7 − Ob
42 Mt1 E[ − . . . − B[7sus4 − E[ − Cm/E[− [91] tr, EHn+Vc: leaps
45 Mt2 F∅7 − F m7 − C[7 /E[ − E[[9 7 − Cl+Vc: 8th note&
47 Mt1+2 A[/E[ − D◦7 − . . . − E[m− WW+Str
49 Mt1 C[7 /E[ − . . . − E[ closing phrase
56 Mt1 Em Em − . . . − Am7 − Em− [92] B.1,Dev 1, Ob
59 Mt2 Dm − F/C− Cl
60 M2 Am Am − . . . − Em7 − Am − Dm/A − Am ‘Elegy’, FHn
63 ⊥ B∅7 − C∆7 − Am7 − B∅7 − Am WW: Seq+ctp (imit)
65 M3/t2 Em Em − F ]∅7 /A − Em − B7[13 /D]− Fl+Vi1, WW+LoStr
..
68 . A/C] − F ]∅7 /C − E/B − F ][5
7 /A]− climax, PBi (&)
.. [5/[9
70 . /t2 B7 /A − E/G] − Em/G−
..
72 . Bm Bm − . . . − B[/D− [93] tutti climax
..
75 . Gm+7 − C∆7 − F ]∅7 − Bm7 − Em7 − tutti: ctp+Seq (imit)
78 ⊥ /0 <(Am7 − F ][5 7 )/C − Em/B − B∅7 − Vi1-Fl-Ob, closing phrase
81 [9
B7 − . . . − F ]7sus4 /B−

Table 15.33: Mahler, Symphony No. 6, Mvt. 3 Andante moderato (cont’d)
m M R H Comment
84 M4 E E − ...− [94] B.2, ‘Pastorale’, FHns
..
86 . / t1 E − E96 − Tpt, P (e−b)
.. ..
88 ./ . <(B7sus4 − E) FHns/WW
93 ⊥/ ⊥ B −7sus4 −E [95] Vi1, Str bg
95 Mt1’ B7 − . . . − G][9 [5
7 − F7 − closing phrase
100 M1/Mc E[ E[/G − B[[57 − E[ [96] A1 , th+ctp,
103 ⊥ E[ − F m7 /E[ − B[7 − WW+Str
105 M1/Mc E[ − B[[5
7 − E[ − E[7 − WW+Str, P T (e[)
..
107 . E[64 − B[7 − E[ − E[[9
7 −
..
109 . F m7 /E[ − A[m − E[
..
111 . F∅7 − F m − A∅7 − B[7 −
[5/[9 [5/[13
113 ⊥ F7 − B[7 − A∅7 − G7 /D[−
115 M5/Mt C (C − Dm7 − C)/C− [97] B1 .1, Dev ‘Misterioso’
..
117 . (Dm7 − C)/C − C∆7 /B− Str+WW: ctp
..
119 . F/A − G/B − C
121 ⊥ Dm7 /F − (C − Dm7 − C)/C−
124 Mt1+2 A A − F ]m7 − Bm7 /A − E7 − A [98] B1 .2, ‘Pastorale’,
127 ⊥ Bm7 − B∅7 − FHn-(CBsn+LoStr)
128 Mt1 (A − F ]m7 − G][9
7 )/A− P T (a)
.. [5/[9
130 . (B7 − E7 )/A− (ped)
..
132 . <(A − Bm7 )/A − A − F ]m7 /A−
135 ⊥ Bm7 /D − E7[9 /D − A − Dm−
137 M2 Am A − . . . − Am − . . . − Em7/G− [99] B1 .3, ‘Elegy’, Ob
..
141 . F − Dm − Am7 − Dm7 − B∅7 − WW: Seq+ctp (imit)
..
143 . Am − B7[9 − Am − F ]∅7 /A−
145 ⊥ D7 /A − F ]∅7 /A−
146 M2 C]m C]m − . . . − G]9∅7 − [100] B1 .4, ‘Elegy’
..
149 . G]∅7 − (F ]m − C]∅7 )/C]−
.. 9/[13
151 . (F ]7 − F ][9
7 − Bm7 )/F ]− tutti: Seq+ctp (imit)
..
153 . Bm Bm7 − <(C]7 − F ])/C]− tutti climax
..
156 . C][9
7 − F ] − Bm−
158 ⊥ F ]7 − B − F ][5
7 /A]−

Table 15.34: Mahler, Symphony No. 6, Mvt. 3 Andante moderato (cont’d)
m M R H Comment
160 M1’/c B B − F ]m − B − F ]7 − [101] A2 . Main th+ctp,
..
163 . B − C]m7 /B − B − C/E− WW+Str
..
165 . B/F ] − F ]7sus4 − B/F ] − Em
..
167 . B/D] − G7 /D − C]m− PB (&)
..
168 . / t1 F ][9
7 − E]◦7 − Ob+FHns
.. ..
169 ./ . F ]7 − E]◦7 − F ]7 − B7[5 −
[5/[9
171 ⊥/⊥ G]5
7 − C − F7 /C[−
173 Mc/3’ E[ E[/G − F m − E[6 − Cm7 − Gm− [102] WW+Str
..
177 . A[ − B[7 /D − Gm − Cm7 − F7 − Seq+ctp, FHn: chr%
..
179 . B[7 − . . . −
181 ⊥ F m − B[[9 7 −
[5/[9
182 Mt2/1 A∅7 − B[7 − F7 − B[7 − B[[9
7 − Str, closing phrase
185 (M1’) (A[ − E◦7 − F7 − F∅7 − E[)/E[ − F79 /A− [103] Coda, P T (e[),
d
188 (M3’) E[/B[ − G7 /B − Cm − G7 − WW+Str: ctp
190 ⊥ (A[m − F m7 )/A[ − . . . −
194 (M3) E[ Cl, Str ctp
201 (201 m.)
Mvt. 3 Andante moderato

6
Em Bm F ]m C]m G]m
t A
G D 5A E 3A B t
YH A
H
? HAU 6
Gm Dm Am - Em - Bm
2
B[ F C G D
B[m Fm Cm 1 Gm Dm
*

D[ A[ E[

B[ F

C]m 4 A[m E[m B[m Fm
tE 7
B t F] C] G]


Chapter 16
Claude Debussy
Biographical data:
∗ 22-8-1862 in St.-Germain-en-Laye
† 25-3-1918 in Paris
1600 1700 1800 1900 2000
16.1 Deux Arabesques (1888)

h i
4
I Andantino con moto: ABA form (E, 4 , 107 m.)
A1 B A2
h i
4
II Allegretto scherzando: ABAB form (G, 4 , 111 m.)
A1 B1 A2 B2 Cd
Figure 16.1: Debussy, Deux Arabesques
16.1.1 I Andantino con moto

Form: ABA, ternary. See Table 16.1 and 16.2 for the analysis. The form is regular with
three equally long sections. Characteristic for this arabesque are the pentatonic embellished
descending arpeggios in the main theme M1a-phrase, and the triplet vs. 8th notes cross-
rhythms between both hands. Melody M1 has an asymmetric binary structure (ab: 4 + 9 m.).
Melody M2 consists of three phrases (abc: 4 + 3 + 9 m.).
16.1.2 II Allegretto scherzando

Form: ABAB, with a brief introduction and coda. See Table 16.3 and 16.4 for the analysis.
The characteristic 16th note triplet rhythmical motif (alternating step to neighbouring note,
2005-2017
CHAPTER 16. CLAUDE DEBUSSY
Table 16.1: Debussy, Deux Arabesques, I Andantino con moto
m M R H Comment
h i
1 E A6 /C] − G]m/B − F ]m/A − E/G]− A1 44 (]]]]) Intro, [S̄ 6 ] arp
3 F ]m − F ]m7 /E − D]∅7 − F ]m7 /C] − B79 − PB (&)
6 M1a <(E96 − A6 )− pentatonic desc, LH arp
10 M1b F ]m7 − C]m7 /G] − F ]m7 /A − F ]97 − PL (%)
..
15 . F ]97 − . . . − cresc to clim
17 ⊥ A6 /C] − G]m/B − F ]m7 /A − E/G]− ~ , [S̄ 6 ] &
Hk d
19 M2a D]7 /F × −C]m7 /G] − D]7 /F × −A∆7 /E− second theme
..
21 . B7 /D] − F ]m7 /C] − G]7 /B] − F ]m7 /C]− bass chr, lead desc
23 M2b G]7 /B] − Bm7 − E7 /B − B7[9 −
..
25 . E79 /B − E79 −
26 M2c A7 − D − B79 − E∆7 /G]− trans
..
31 . F ]m7 − . . . − LH arp
34 ⊥ F ]m7 /C] − B7 − E RH [S̄34 ] , arp, clim cad
d
39 M3a A Bm7 − E7 − F ]m − E7 − B (]]]) contrast, slower
41 M3b E − 7 − A9∆7 −
43 M3a Bm7 − G]◦7 − F ]m7 − B7 −
45 M3b 9
E/G] − F ]m − B7sus4 − E−
47 D∆7 /F ] − E7 − A9∆7 − D∆7
9 trans, RH arp
49 Bm7 − E7 − A cad
51 D∆7 /F ] − E7 − A9∆7 − D∆7
9 repeat
53 Bm7 − Bm7 /D−
55 M3a E7 − Bm/F ] − E7[9 /G] − A − F ]mA − B7 − 2nd stat
57 M3b E79 − A9∆7 −
59 M3a Bm7 − E7[9 − F ]m7 − B7 −
61 M3b 9
E/G] − F ]m7 − B7sus4 − E−
d
63 (M3) C C/E − F∆7 − G7 − Am − G7 /B − Am retrans, PB (%)diat
d
65 G7 − F − C/E − Dm7 − G7 PB (&), root [V I|E
67 (M3) F C/E − Dm7 /F − C7 /G − F root [II|E
69 C/E − C + (= E + ) − C]m/E−

16.1. DEUX ARABESQUES (1888)
Table 16.2: Debussy, Deux Arabesques, I Andantino con moto (cont’d)
m M R H Comment
71 E A6 /C] − G]m/B − F ]m/A − E/G]− A2 (]]]]) diat [S̄ 6 ] arp
73 F ]m − F ]m7 /E − D]∅7 − F ]m7 /C] − B79 − PB (&)
76 M1a <(E96 − E 6 ) pent desc, LH arp
80 M1b F ]m7 − C]m7 /G] − F ]m7 /A − F ]97 − PL (%)
..
85 . F ]97 − . . . − cresc to clim
87 ⊥ A6 /C] − G]m/B − F ]m7 /A − E/G]− ~ , [S̄ 6 ] &
Hk d
89 M4a A/C] − G]m/B − F ]m/A − E/G]− second theme, [S̄ 6 ] &
..
91 . D/F ] − C]m/E − Bm/D − A/C]− PB (&)
93 ⊥ E]◦7 /B − F ]m/A − E − G]−
95 F ]m7 − G]m/B − B7 − LH+RH arp, cad
99 M1’ <(E − E 6 ) − E96 (107 m.)
followed by descending leap), supporting the scherzando character, is used in the melodic
material in the A sections (M1 to M3) and in the introduction, transitions and coda. Theme
M3 has transitory character, returning in the coda. The B sections are monothematic; M4
opens with an augmented triplet motif (now 8th notes) and closes the phrases with ascend-
ing 4th leaps.
The key relationship diagram is shown in Fig. 16.2. The first arabesque has a I − IV − I
(tonic-subdominant-tonic) key relationship for the three section with intermediate keys on
the lowered submediant and lowered supertonic degree, [V I = C − [II = F in E, just
before the return to the closing section. Both arabesques move to the subdominant area in
the B sections. The second arabesque has brief sidesteps to the remote mediant major area
(III = B ↔ G]m) at the end of the A sections.
II Allegretto scherzando
I Andantino con moto Bm F ]m C]m G]m

6
D A E D A E 2 B
?
Dm Am Em Dm Am Em Bm
4 3,5
C 1

F C G F G D
Figure 16.2: Debussy, Deux Arabesques, key relationship diagram

Table 16.3: Debussy, Deux Arabesques, II Allegretto scherzando
m M R H Comment
h i
1 (M1) G D79 /C − Bm11 9
7 − D7 /A− A1 44 (]) Intro, tripl, Σ(cm<)
5 M1a <(G6 − Am7 /C)− pentatonic PL (&)
7 M1b <(G/B − C∆7 ) − A7 /C] − D79 −
9 M1a <(G6 − Am7 /C)− 2nd statement
11 M1b <(G/B − C∆7 − A7 /C])−
d
13 ⊥ D/F ] − Em7 − D/A− closing
15 M2a <(Am7 − D79 − G9∆7 )−
19 M2b G7 /D − A97 /E− LH triplets, PL (%)
d
23 ⊥ <(G64 − D7sus4 ) − Em7 − D7]5 − cad
28 M3a <(G6∆7 − D7sus4 − D7 )− transition
32 M3b B <(B 6 − G]m)−
34 ⊥ G B − Am − D7 − G closing cad
38 M4a C G7 /D − . . . − F∆7 − G7 /D − G7 − B1 , Σ(cm), leaps%, P (g+f )
42 M4b B∅7 − C/E − C/G−
..
44 . Dm/F − Em/G − D7 /A − B7 − [S̄ 6 ] %
46 M4a G7 /D − . . . − F∆7 − G7 /D − G7 − 2nd statement
50 M4b G]m G]m − F ]m − D]7 /F×)− P (b)
55 ⊥ G]m/B − Bm7 − B[m7 −
58 (M1) E[7 − triplets return
62 M1a G <(G6 − Am7 /C)− A2 , pentatonic PL (&)
64 M1b G/B − C∆7 − A7 /C] − D79 −
66 M1a <(G6 − Am7 /C)− 2nd statement
68 M1b <(G/B − C∆7 − A7 /C])−
d
70 ⊥ D/F ] − Em7 − D/A− closing
72 M2a’ C <(Dm/F − F∆7 − B∅7 )− P (f )
76 M2b <(C/E − B/D])− [S̄ 6 ]
..
78 . <(Am/C − G]m/B)− [S̄ 6 ]
d
80 ⊥ D7 /A − C/G − D7 /F ]− P (d), PB (&)
82 M1a’ G <(G6 − D7sus4 )− trans, augm
86 ⊥ F 6 − C 4/∆7 − F 6 closing

16.2. STRING QUARTET OP. 10
Table 16.4: Debussy, Deux Arabesques, II Allegretto scherzando (cont’d)
m M R H Comment
90 M4’ F C − Em7 − B2 , RH leaps%
91 ⊥ F/C − B[/D − C/E −→ B[/D ~ [S̄ 6 ] %
Hk d
94 M4’ C/E − Dm/F − Gm − E7 /G]− 2nd stat
.. d
95 . Am − Gm/B[ − G/B − Am/C− PB (%)
..
96 . G (Bm/D −→ F ]◦ /A)/D− [S̄ 6 ] %, P D (d)
.. d
98 . D7 /C − Em7 /B − D7 /A − G− PB (&)
99 ⊥ D79 /F ] − C/E − D7 − clim, Σ(cm<)
100 M3a <(G9∆7 − D7sus4 − D7 )− Coda
104 M3b <(B 6 − G]m)−
106 ⊥ B − Am − D7 − G closing cad (111 m.)
16.2 String Quartet Op. 10 (1893)
h ih i
6 15
Mvt. 2 Assez vif et bien rytmé: ABCAD Coda form (D, 8 8 , 177 m.)
A1 B C A2 D Cd
Figure 16.3: Debussy, String Quartet Op. 10
16.2.1 Mvt. 2 Assez vif et bien rytmé
The form of this movement is rather unique, although it might be characterised as ABCAD
Coda form. An opening riff motif is used in many disguises in this piece: as an isolated
theme, as background, as theme in augmentatIon and varied. Other themes are based on a
framework using chord root, major seventh and minor seventh (yielding embellished chro-
matic descending themes). See Table 16.5 and 16.6 for the analysis.
The key relationship diagram is shown in Fig. 16.4. Much of this movement (the B and C
section) involves keys on the subdominant axis C − E[(m) − F ]m. The opening A section
is on the tonic major key G, the second A section starts on the lowered supertonic major
(Neapolitan) A[ (2), quickly returning to the subdominant axis.

Table 16.5: Debussy, String Quartet Op. 10, Mvt. 2 Assez vif et bien rytmé
m M R H Comment
h i
6
1 G G A1 8 (]) pizz
3 M0 G7 − (B[7]5− B[7 )/D Va: riff motif solo
5 M0 G − B[7 /D repeat
9 M1.a <(G − D∅7 = B[97 /D) V1 (Va: riff )
13 M1.a’ <(G − D∅7 ) repeat
19 M1.b <(C − D∅7 /F )
23 F ]∅7 − F∅7 − B[+ − B[m7 − trans
25 D79 /C − D[97 /C[ − G4 −
27 M1.b <(C − D∅7 /F ) repeat
33 E7 /B climax, trans
37 M1.a <(G − D∅7 ) 2nd stat: V2, V1: riff
41 M1.a <(G − D∅7 ) repeat
47 M0 <(G − D∅7 ) − G − D[/F − Vc: riff solo
50 ⊥ <(G − B[7 ) − G7 trans
54 E[ E[ B ([[[), bell ch, 16th trem
56 M0’ E[ − E[◦7 − . . . − B[[9
7 V1: riff motif augm
60 M0’ E[ − E[◦7 − . . . − B[[9
7 repeat
64 <(E[ − F m) − E[ − D[− trans
68 C C bell ch, 16th trem
70 M0’ C − A[7 /C − D7 − B[97 2nd stat, R ~ 2i
74 M0’ C − A[7 /C − D7 − B[97 repeat
78 <(E − F ) − E − D − D[ climax, Hk~
i
86 M2 A[ <(A[/C − B − A[/C − B[7 ) C, Vc: contr th

90 ⊥ E[6 /B[
94 M2 <(A[ − A[◦7 − A[ − B[7 )− 2nd st: V1+Va, V2: riff
98 ⊥ G − D∅7 /G − Cm − D − F m6 −
100 M0 <(Cm − D − B[) riff with Hk~
d
103 ⊥ B[7 trans
108 E[m E[m − G[ bell ch, 16 th trem
112 M0” G[∆7 − G[7 V1: riff -like motif
116 B[m − D[ bell ch, 16 th trem
120 M0” D[∆7 − D[7 2nd stat

16.2. STRING QUARTET OP. 10
Table 16.6: Debussy, String Quartet Op. 10, Mvt. 2 Assez vif et bien rytmé (cont’d)
m M R H Comment
124 M0’ F ]m <(F ]m − B7 )− A2 , V1: riff motif aug
128 ⊥ C]m7 /E
132 M0’ <(F ]m − B7 )− 2nd stat
136 ⊥ C][9
7 to climax
140 (d − g])-tritone unisono clim
145 (d − g])-tritone (cont’d) dim, trans
h i
148 (M0’) G <(G − B − D − D[ − F m) D 158 (]) pizz
150 <(G − Dm7 − Em − F∆7 − Em) irregular meter:
152 <(G97 − G7 − G13
7 − G7 − Dm/G) 9+6 8th notes
154 <(A7 − Em7 − A7 /E − G∆7 −
−A7 /G − Em7 )
156 M3 A7 /G− arco, climax
..
157 . F + − B + /D] − C + /B − C]]5
7
~
Hk i
158 ⊥ C]]5 ]5
7 − A7 − F ]7
]5 ~ 3/4i
R
160 (M0’) <(C]∆7 − C]7 )/E] V2+Va
162 (M0’) <(D∆7 /F ] − D7 /A) V2+Vc
9/11
164 <(G − Bm7 − D∅7 − B[97 ) dim, trans
h i
6
168 B[97 Coda 8 , 16th trem
170 (d − e[)-tremolo
173 G cl cad pizz (177 m.)

Mvt. 2 Assez vif et bien rytmé
Bm F ]m t C]m
3 B
D A B E
B
Dm Am B Em
BBN
F
C
G

Fm Cm Gm

A[ H E[ 1 B[
2 HHj
A[m E[m B[m
B F] C]
Bm F ]m t C]m
Figure 16.4: Debussy, String Quartet Op. 10, key relationship diagram
16.3 Prélude à l’après-midi d’un faune (1895)
Source: [16]. An overview of the formal analysis of this symphonic poem is shown in
Fig. 16.5.
h i h ih i
6 9 12
ABA form (E, 8 8 8 , 110 m.)
A1 B A2
Figure 16.5: Debussy, Prélude à l’après-midi d’un faune
Form: ternary song form, ABC. This is another unique piece, so characteristic for the
Impressionist period (Debussy would not have named it as such). The solo flute depicts the
faune. The root of the piece, E, remains vague. Harmonically, instead of regular cadences
confirming a root key, there are chord sequences in the either subdominant (SD: a − c − e[ −
f ]), dominant (D: b − d − f − a[), or tonic (T: e − g − b[ − d[) axis. See Table 16.7 and 16.8 for
the analysis.
Key relationship overview
The key relationship diagram of the Prélude à l’après-midi d’un faune is shown in Fig. 16.6.
There is one counterclockwise loop with limited envelope: the two A sections are in the
tonic major key E, the Bsection passes through the major third (4i) related key A[ that turns
into an intermediate dominant key of D[ on the tonic axis.

16.3. PRÉLUDE À L’APRÈS-MIDI D’UN FAUNE
Table 16.7: Debussy, Prélude à l’après-midi d’un faune
m M R H Comment
h i
9
1 M1 E A97 − . . . − C]m7 − F ]97 /C] A (]]]]), Fl
h8i
[5/[9 6
5 B[7 (= E7 ) − . . . − F ]97 − B[7 − . . . − 8 SD, plagal cad
11 M1 <(D∆7 − D+ − G7 )/D − B713 − E 6 [1] Fl, Str trem, D, auth cad
14 ⊥ (C]7 − A]7 )/E] − G]7 /D] − F ]9∆7 /C]− Ob
16 G]7 /B] − B7[5 − <(A]7 − C]97 ) Ob+Cl, cresc, Σ(cm<)
19 C]7 /E] climax
h ih 1, T
i
12 9
21 M1 (E 6 − C − C]m7 − C79 )/E [2] 8 8 Fl
23 M1 B79 − Am/C − D79 −→ Cm Fl,
h D ih i
[9/[13 12 9
26 M1 E713 − B7 − <(E713 /B − F79 )/C− 8 8 , Fl, D
28 F ]97 /C] − F ]97 − Fl+Ob
29 G]∅7 /D − F ][5 13
7 /C − F ]7 − B cad
]11
31 M1’ C]7 − A[7 − G7 − A[7 − [3] trans: Cl, Seq(2×3m;R3 ),
32 ⊥ G97 − B79 Cl-Fl:
h i Wh.t.-sc
34 M1’ B[7 − B7 − B[]11 7 − B7
3
4 2nd stat: Cl
35 B[]11 [5
7 − F ]7 Cl-Fl: Wh.t.-sc
37 M2 B79 − . . . − E7 − . . . [4] B, Ob
41 M2 E79 − <(Bm7 /D − E713 ) − D96 WW+Str, cresc, T
d h i
4
h i
3
44 M2’ <(Dm7 − G97 )/D − B[97 − E[97 − [5] 4 (\\\\) 4 , tutti cresc, T
D[6 − <(G[13 13 [13 9 ~ , climax 2
47 M3 7 − A[7 − A7 ) − E[7 − Hns Hk i
51 M3 A[ A[∆7 − . . . − A[7 − [6] ([[[[) Cl
9/]11
55 M4 D[ <(D[ − E[7 /G)− ([[[[[) WW
59 ⊥ F ]m7 − B79 − Am7 − D79 [7] climax 3, D
9/]11
63 M4 <(D[6 − E[7 /G)− 2nd stat: Str, tutti cresc
..
67 . <(E[m7 /G[ − A[7sus4 /E[)− climax (cont’d)
71 ⊥ E[m7 − A[7 − dim
74 M3 D[6 Hns
75 M4 D[97 Str
h i
79 M1 E E − E7 − C]m7 − F ]7sus4 [8] A 44 (]]]]) Fl
83 M5 <(Am7 /E − A97 ) − C79 /E (\\\\) Ob, Str stacc, SD
86 M1 E[7 /G − . . . − Cm7 − F7sus4 [9] Ob
90 M5 <(G]m97 /D] − G]97 )− EHn, D
92 ⊥ G]97 − D7]5 − G]97 D

Table 16.8: Debussy, Prélude à l’après-midi d’un faune (cont’d)
m M R H Comment
94 M1/5 E713 − C79 − E713 − [10] (]]]]) M1: Fls, M5: Vi1,
..
96 . <(D7 − C]m/E)− Str tremolo
98 ⊥ <(D7 − F ][9
7 )
100 M1 <(C]7 − A]7 ) final st: Fl, T
.. h i
102 . C]7 /G]− [11] 98
103 ⊥ C7[9 /E(= F ]7 ) − F ]m − B7sus4
9 − B79 − cad h i
106 M1’ E(7 ) − . . . − E − C F ]7 − E [12] 12
8 Hns
108 ⊥ F ]97 /E − E plagal cad (110 m.)
D[ A[
D[m

A[m
E B
Figure 16.6: Debussy, Prélude à l’après-midi d’un faune, key relationship diagram
16.4 Trois nocturnes (1899)

h i
6
No. 1 Nuages, Modéré: AAABA Coda form (Bm, 4 , 102 m.)
A1 A2 A3 B A4 C
h ih ih ih ih i
6 15 2 9 3
No. 2 Fêtes, Animé et très rythmé: ABA Coda form (A, 8 8 4 8 4 , 279 m.)
A1 B A2 Coda
h i
12
No. 3 Sirènes, Modérément animé: ABC form (B, 8 , 146 m.)
I A B C
Figure 16.7: Debussy, Trois nocturnes
16.4.1 No. 1 Nuages

Form: ternary song form, AAABA Coda. Characteristic for this moment is the repeated
statement of the main theme (M1) by the English Horn. A second element are the moving
4th notes, either in a modal scale (e.g., in the introduction), or as exact parallel harmonies in
cadences. The French horns respond to the main theme with a brief signal motto (Ms). See

16.4. TROIS NOCTURNES
Table 16.9: Debussy, Trois nocturnes, No. 1 Nuages
m M R H Comment
h i
1 M0 Bm Bm − . . . − Intro: 64 (]]) WW b-Aeol sc
5 M1 C∅7 − . . . − A1 : EHn solo
7 ⊥ C∅7 − . . . − G]◦no 5 [1]
11 M0 Bm − . . . − 2nd stat: Str div
14 B79 − A[97 − G[97 − E[97 − C79 − B[97 − ~ ,R
cad, Str: Hk ~ −2i
e
15 B[97 − . . . − G97sus4 − . . . − [2] trans
19 E[97 /G − C7 /B[−
20 B[m/D[ − Cm − B[m cad, Σ(cm<)
9/]11
21 M1 G G7 − ...− A2 : EHn solo, d-mel minor sc
9/]11
23 ⊥/Ms G7 − ...− Ms: Hns (signal motto)
9/]11
24 M1 G7 − ...− 3rd stat: EHn, Str div
9/]11
28 ⊥/Ms G7 − ...− Ms: Hns
29 <(Bm − F ]m − Em − D) − Em ~
[3] Str: Hk d
31 <(C − Em)
33 (M0) C + − D+ − unis WW: chr, Str: Wh.t.-sc
..
37 . E7]9 e-octatonic sc
..
39 . (A[+ − D◦ − F m+7 )/A[ WW, Str: unis, cresc, P (a[)
42 ⊥ <(B[m − A[∅7 − D[m) [4] cad, tutti climax

Table 16.10: Debussy, Trois nocturnes, No. 1 Nuages (cont’d)
m M R H Comment
]11/13
43 M1/(s) G7 /B − . . . − A3 , 4th stat: EHn, Ms: FHn
]11/13
47 M1 G7 /B − . . . − [5] 5th stat: EHn
]11
51 ⊥/(s) G7 /B − B∅7 /A − G97 − F∆7 − Ms: FHn
57 M0 Bm − . . . − [6] WW+Vc: b-Aeol sc
61 G]∅7 − G]7 /F ] − F ]7 /E− ~ ,R
cad, Str: Hk ~ −2i
e
E[7 /D[ − C7 /B[ − B[7 /A[−
9/]11
62 F ]7 /E − . . . −
64 M2 D]m D]m7 − G] − D]m − . . . [7] (]]]]]) B: Fl, d]-Aeol sc,
..
69 . G] − A]m − B∆7 − A]m − D]m− Str div
70 ⊥ G]
71 M2 <(E79 /G] − G]7 )− 2nd stat: Str
75 M2 D]m7 3rd stat: Fl+Hrp
77 ⊥ <(E[7 − B[7 ) [8] Str div
80 M1 G G7 /B − . . . − (]]) A4 : EHn
82 ⊥/Ms C]97 − . . . − Ms: Hns, Str trem
84 M1 G7 /B − . . . − EHn
86 ⊥/Ms E79 − . . . − Ms:h Ob+Hns
i
88 (M1) E7 /D − E7 /B− [9] 64 EHn, Str trem
..
90 . E7 /D − . . . − E/G] − . . . −
94 ⊥/M0 G]11
∆7 − . . . − Bsn
96 M0 Bm B − ...− [10] Coda: LoStr trem
98 M2’ Bm Fl
99 Ms G7 /B Hns
101 B(m) str pizz, cl cad (102 m.)

16.4.2 No. 2 Fêtes

Form: ternary song form, A1 BA2 Coda. Characteristic for this piece is on the one hand the
contrast between diatonic, modal scales (Ionian, Dorian, Mixolydian modes) and chromatic
phrases, and on the other hand the use of cross-rhythms. There are frequent meter changes
h i
and the mixing of straight and triplet 8th notes (the combination of parallel meters 34 and
h i
9
8 ). The middle section B is known for its continuous use of pedal (a[ = g]), modal theme
introduced by muted trumpets (playing parallel triads, with a bitonal flavour), and gradual
buildup to a tutti climax. Subtle references to the middle section are made in the Coda. See
16.4.3 No. 3 Sirènes

Form: ternary song form, ABC. This final nocturne sees the addition of a female choir
(Sirènes), singing (humming) with both closed and open mouth. There is frequent use of
appoggiaturas and arpeggios. The overall mood is very much subdued, mysterious, with
only a single climax (the dynamics is much more on a local scale with sudden crescendos,
immediately followed by diminuendos). See Table 16.14 and 16.15 for the analysis.

The key relationship diagram of the Trois nocturnes is shown in Fig. 16.8. No. 1 Nuages stays
on a major third (4i) symmetrical root axis Bm − G − D]m, alternating between minor and
major modes. This axis type returns in the other low nocturnes.
In No. 2 Fêtes the major third symmetry axis runs along the line D[ − F − A − C]. The
opening minor mode F m (0) is soon attracted by this axis (1–2), passing to the central tonic
key A. The opening A section passes through many keys, with a temporary focus on the R5
(perfect fifth) horizontal line A − B − E − D − E (3–5). The middle section B starts from
the remote A[m (7), returning to the primary axis for the closing A section; there we see the
chromatically ascending key sequence D[ − D − E[ (8-9), that leaps to the tritone-related A,
i.e., back on home base. Note how the key D, the subdominant key, acts as a pivotal point in
both outer sections, balancing the chromatic and the perfect fifth lines with the major axis.
The third nocturne, Sirènes, combines two types of symmetrical root axes: the piece re-
volves about the major third (4i) axis B − G − E[ (2–3 and 6–8) and two minor third (3i) axes
C − E[ − F ] − A (1) and D[ − E − G. The crossing point is the E[, which is skipped from
the introduction, however. There are major modes only. The opening key F ] (0) turns out to
be the intermediate dominant of the central tonic key B of the A and C section. The middle
section revolves along a horzontal line D[ − A[ − E[ (3–6).

Table 16.11: Debussy, Trois nocturnes, No. 2 Fêtes
m M R H Comment
h i
1 Fm F m/C no 3 − . . . − A1 , 44 Vi: triplets
3 M1 F m/C − . . . − <(Dm7 − D[13 7 ) EHn+Cl: f -Dor sc, tripl
9 D[97 − E[97 − D[97 − A97 − B[97 − Str div: exact par tripl
11 M1’ D[97 − E[97 − D[97 − B[97 − Fl+Ob: g-Alt-sc
13 ⊥ D[97 − G[97 − D[97 − E[97
9/]11 9/]11
15 M1’ D D7 − . . . − E[7 − ...− [1] Bsn+Vc: d-Wh.t.-sc
23 <(E[7 − D[)/D[ Brass
h accts
i climax
27 A <(A − E − Gm − F m) [2] 15
8 WW: ex par
h i
9
29 M1’ <(A − G − Em) Fl+Ob: a-Mixolyd, Str: ex par
h8 i
15
33 <(A − E − Gm − F m) 2nd stat, WW: ex par
h 8i
9
35 M1’ <(A − G − Em) 8 Fl+Ob: a-Mixolyd, Str: ex par
39 D[ A[7sus4 − E7 − [3]
41 D[ − A[97sus4 EHn+Cl: d[-Ion sc
44 <(A[97 /D − A[97 /E[)− WW: c-Wh.t.-sc+d[-Ion sc
48 D[ Fl: d[-Ion diat par
50 <(C7sus4 − A[7 )−
53 M2 F <(F − A/C] − D− [4] Ob, Str: chrom
−E[7 /B[ − D79 /A − C79 )
58 ⊥ F − A/C] − D − A − F − D79 − F7
62 M2 A <(A/E − F + − F ]m− Fl+Ob
−D]7 /A] − E7 /B − E7 )−
..
66 . A/E − F + − F ]m−
..
67 . D]7 − C]m/G] − A−
..
68 . A]◦7 − Em/B − C−
69 ⊥ A]◦7 − G]◦ − E7 /G]−
70 M3 B <(F ]m − B79 − G][5 7 /D)− [5] WW: f ]-Dor-sc
78 ⊥ <(A]∅7 /E − D][9 7 − tutti climax, Σ(cm<)
−F ]m7 /C] − D79 /C) − B79 2m repeat, acceleration
82 M4 E E − ...− [6] WW+Hns, dim
86 M3’ E + /B − C]m7 /B− On+EHn: e-Ion-sc
90 M4 D D − ...− [7] WW+Hns
94 M3’ D − F ]m7 /C] − D]◦7 /C − B79 − WW: b-Ion-sc, P (a)
98 M4 E <(E 6 − E7 − E∆7 )− [8] WW, cross-rhythms
102 M3 C]97 − B7[5 /D]− Str, build to climax,
9/]11
104 ⊥ C] C][5
7 /E] − B7 /D]− diatonic+chrom

Table 16.12: Debussy, Trois nocturnes, No. 2 Fêtes (cont’d)
m M R H Comment
106 M3 C]97 − B7[5 /D]− [9] tutti climax
9/]11
108 ⊥ C][5
7 /E] − B7 /D] − A]m/E]−
110 <(E]∅7 − A]m/E] − G]m7 −
9/]11
−C]7 /B − G]97 /B] − B7 /D])− WW+Str: chrom, par
9/]11
114 <(G]97 /B] − B7 /D]) cad
h i
116 A[m A[m6 − . . . − [10] B 24 , Hrp, P (a[−e[)
124 M5 A[m6 − . . . − Tpt (mute): a[-Dor-sc
..
128 . B[7 /A[ b[-Mixolyd-sc, P (a[)
132 ⊥ <(G]∅7 − E7 /G]) − E7[9 /G]− b-Dor-sc (ped)
140 M5 (G]∅7 − E79 − G]∅7 )/G]− [11] WW: b-Dor-sc, P (g])
144 ⊥ D[/A[ d[-Mixolyd-sc (ped)
148 (M5) <(D∅7 − B[7 )/A[ − B◦7 /A[− [12] WW+Hns: f -Dor-sc
156 M5 A[m6 − . . . − [13] Brs: a[-Dor, tutti clim
..
160 . B[7 /A[− b[-Mixolyd, P (a[)
164 ⊥ <(E79 − G]∅7 )/G]− b-Dor-sc
170 <(D[97 /F − E∅7 − D]∅7 − D7[5 )− tutti climax, retrans
h i
174 M1’ D[ D[97 − E[97 − G[97 − E[97 − [14] A2 68 Fl: mixed modi,
178 ⊥ <(D[97 − E[97 − G[97 − A[97 )− g-Alt, e[-Mixolyd, c-Alt
182 M1’ D D79 − E79 − G97 − E79 Fl: g]-Alt, e-Mixolyd, c]-Alt
186 ⊥ <(D79 − E79 − G97 − A97 )
190 M6 E[ <(E[97 − G[97 − [15] Vi, exact par
−E[97 − G[97 − A[97 − G[97 )−
198 ⊥ <(E[97 − G[97 − A[97 − G[97 )− clim, 2m rep, acc
202 E[97 − . . . − [16]
h i Tpt accts b[-Aeol, P (e[)
15
208 <(A − C]m7 − E∅7 − D − B[97 ) 8 , trans, P (e)
h i
9
210 M1 A <(A − G − Em) [17] Fl+Ob: a-Mixol, diat
h i 8
15
214 <(A − C]m7 − E∅7 − D − B[97 ) , repeat, P (e)
h 8i
9
216 M1 <(A − G − Em) Fl+Ob: a-Mixol, diat
8
220 G]7sus4 − . . . − [18] P (g])
224 M2 C] C][9
7 − ...− WW, tutti climax
229 ⊥ <(C]7 − D∅7 − C]7 /E])−
232 C](7) − . . . − [19] LoStr, dim, PBi (&)
236 (M5) B[97 − . . . − Hns-WW: f -Aeol
240 C](7) − . . . − LoStr, dim, PBi (&)
236 (M5) D[97 − . . . − [20] Tpt-WW: a[-Aeol
248 C](7) − . . . − LoStr, dim trans, PBi (&)

Table 16.13: Debussy, Trois nocturnes, No. 2 Fêtes (cont’d)
m M R H Comment
h i h i
3 2
252 (M4) A <(A − E − Gm − D − B[97 )/A 4 + 4 Coda, WW
..
256 . <(A − E − Gm) diat par
260 (M5) A − E − Gm − B[+ − E∅7 /B[ [21] Hns+WW
264 ⊥ <(A − E − Gm)−
266 A(7) − . . . − LoTStr triplets, PBi (&)
269 <(F + − A/E − D]◦7 )
274 A − ...− P T (a) (279 m.)
Table 16.14: Debussy, Trois nocturnes, No. 3 Sirènes
m M R H Comment
h i
1 F] F ]69 − . . . − Intro 12
8 f ]-Mixolyd, tutti app,
4 A A69 − . . . − WW+LoStr: arp
h i
8 C C96 − . . . − [1] A 44 Hns: app, WW+Str: trem
12 M1 <(C79 − E[97 − F ]97 )− EHn+(Bsn): chr desc th
14 C79 − A97 − . . . WW: chr desc, Str: trem
17 M1 <(C79 − E[97 − F ]97 )− 2nd stat, EHn+(Cl): chr desc th
19 C79 − A97 − . . . tutti climax: app+chr+trem
22 E[m7 /B[ [2] WW+Ch: app, Str: trem
26 M1/2 B B713 − . . . − M1: Vi, M2: Ch (b-Octat)
[9/13
30 M1/2 G7 /B − G7 /B − . . . − 2nd stat, g-Octat, b-ped
34 M2 B7 − . . . − [3] Ch: b-Octat, WW+Str: trem,
38 (M1) <(D79 − A97 − C]97 )− WW+Str: tango-rh, ex par
40 (M1) E E79 − D]97 − B79 − D]97 [4] WW, Str: arp
41 ⊥ E79 − D]97 − D]97 − F ][13
7
42 M2 <(B96 − G]∅7 )/F ]
44 ⊥ E79 − B7sus4 − C7]9 − . . . − e-Mixolyd
48 E[97 WW: e[-Mixolyd diat par
50 D[ D[69 − . . . − D[97 [5] B trans, Hns: app, Str: trem
56 (M1) D[97 Hns-Cl
58 M1/3 <(D[97 − . . . − C79 − A97 ) M1: Va, M3:Ch
66 M1/3 E[ E[97 − . . . − D79 − B79 − E[97 2nd stat
72 (M1) A[ <(A[97 − D79 /F ])− [6] tutti
76 (M2) A[97 − A[97sus4 − A[97 Vi: app, climax
78 ⊥ G[/B[ − G]∅7 /B− climax

Table 16.15: Debussy, Trois nocturnes, No. 3 Sirènes (cont’d)
m M R H Comment
80 (M1) G]∅7 /D − . . . − C]7 /B− [7] HiStr, WW: app
82 ⊥ E79 tutti climax
83 M4 <(Bm7 − D7]11 )/D Tpt: Wh.t.-sc
87 M3 D[ <(D[97 − . . . − E[97 − A[97 ) [8] Ch, WW: app, Str: trem
95 M3 E[ E[97 − . . . − F79 − 2nd stat, tutti climax
9/]11
97 ⊥ B7 − E[7 −
101 E◦7 /G − E◦7 /D[ − . . . − [9] C, Ch: closed mouth
103 M2 E◦7 /D[ − . . . − EHn+Bsn: c-Octat, d[-ped
105 M2 E◦7 /D[ − . . . − Ch, WW: arp
107 ⊥ F ]13
7 /C] − . . . −
111 M2/1’ B B7 − . . . − [10] M2: Ch b-Octat,
M1’: Tpt b-WhTSc , Str: trem 5th
115 M2/1’ G7 /B M2: Ch g-Octat, M1’: EHn g-WhTSc
119 M2 B7 − . . . − Hns: b-WhTSc, Str: desc trem
121 M3/2’ B7 − . . . − M3: Ch, M2’: Va
125 M3/2’ B7 − . . . − Galt
7 /B − G7 /B−
129 (M2’) B − G]alt
7 Ch-Cl, trans
9/+5
131 M1 G <(Galt7 − G]7 − Aalt
7 )/G− HiStr, ex par
133 M4 G∅7 EHn, Str trem
135 M1 B <(B7 − G]5 7 )/B− [12] HiStr ex par, b-ped
]11
137 M4 G7 /B − . . . − Tpt, Str trem
139 M2’ G]11
7 Ch (b-ped)
142 B96 (146 m.)

No. 2 Fêtes
t 6,11
A E B F] C] G]

Am Em Bm F ]m
C]m

G]m
1,5,8 3,10
4
C G D A∗∗ E B

No. 1 Nuages Cm Gm Dm
Am Em Bm
9
C]m G]m D]m E[ B[ F

C G D
t

0

E 1 B F] E[m B[m
F m Cm Gm Dm
t
Em
Bm F ]m G[ 2 D[
A[ E[ t B[ F
Y
HH
H 7
G

D A G[m D[m
j
H
A[m∗ E[m B[m Fm
No. 3 Sirènes
2
G D A t E Bt
Gm Dm Am Em Bm
B[ F C G D
B[m Fm Cm Gm Dm
3 4,6
D[ A[ E[ B[ F
5

D[m A[m
E[m B[m Fm
7
0
E B ∗ t

F] C] G]

Em
Bm F ]m C]m G]m

8 1 t
G
D A E B
Figure 16.8: Debussy, Trois nocturnes, key relationship diagram

Chapter 17
Richard Strauss
Biographical data:
∗ 11-6-1864 in München
† 8-9-1949 in Garmisch-Partenkirchen
1600 1700 1800 1900 2000
17.1 Symphonic poem Don Juan, Op. 20 (1888)

Source: [66]. Form: symphonic poem. Music for orchestra. This symphonic poem has the
German title: ‘Tondichtung (nach Nicolaus Lenau) für großes Orchester’ and is dedicated by
Strauss to ‘Meinem lieben Freunde Ludwig Thuille’.
h i
2
Symphonic poem (E − Em, 2 , 606 m.)
Intro+DJ 1 E R 1 G] Countess B R 2 C]m DJ 2 C − A − E[
m1 m 50 m 71 m 123 m 169
Anna Gm − G R3 DJ 3 C Carnival D − G − A − Dm
m 197 m 268 m 313 m 352
M Em DJ 4 E DJ 5 E − C − F − E Death Em
m 434 m 457 m 510 m 586
Figure 17.1: Strauss, Symphonic poem Don Juan, Op. 20
The thematic material can be classified, based on the main characters in the story or
sentiments (labeled with subscripts):
Don Juan: The introduction starts with the vigorous unisono theme in arpeggio ascending
16ths and dotted-8th–16th MVDJ . This is followed in the Don Juan 1 section by the first
2005-2017
CHAPTER 17. RICHARD STRAUSS
heroic theme MH1DJ , stated by the strings. Later in the piece, in the Don Juan 3 section,
there is the second heroic theme MH2 1
DJ for unisono French horns. Motifs from both
heroic themes will return throughout the piece as transitions or in imitative settings.
The vigorous 16ths will also frequently return at the start of a new episode.
Zerlinchen: In some descriptions of the piece there is mention of three romantic conquests,
the first being the peasant girl named Zerlinchen. However, this name is puzzling. Ap-
parently Strauss himself did not give a clue, nor did he use the name. I could not
identify a separate female love conquest theme, unless it is the dotted 8th-16th tran-
sitory motif just before the entrance of the Countess. I will use the label MZ for this
motif.2
Countess: The elegant theme with its characteristic descending 4th note triplets for high
strings and woodwinds is labeled MC . Also this theme is used in shorter fragments,
e.g., for solo violin.
Rejection: This is no real theme but a sentiment, expressed in descending chromatic lead
voices. This can be in standalone mode: MR , but also in the middle or at the end of
the other themes. It represents the rejection by the ladies, both the Countess Elvira
and Anna. The opposite feeling, aspiration of the next amorous conquest is expressed
by ascending chromatism, MiR (inverted rejection), and is usually hidden in moving
middle voices, but occasionally also expressed in melodic solo fragments. The chro-
matic lines also occur in diminution MdR (shorter note values) and augmentation MaR ;
this may also hold for the inverted, ascending chromatic lines. Maybe it is coinciden-
tal, but also the basic 8th note (triplet) riff in the Carnival episode has a descending
chromatic lead voice, similar to the rejection motif in diminution; therefore it will be
labeled as MRc .
Anna: This potential lover is supported by two themes. The first is in minor Gm, with
ascending arpeggios and descending chromatism (get the idea? See the above) and
played by lower strings: M1A . The opening motif from this theme returns in diminution
as repeating instrumental figure below the second theme, which is a gentle theme in G
major: M2A , played by the solo oboe.
Note that all these melodies are through-composed themes; there is no regular sentence
or period phrasing, although short motifs may be identified. Such motifs will appear fre-
quently as separate fragments in transitions and imitative developmental sections., using
mixed instrumentation.
The detailed harmonic and melodic analysis is shown in Table 17.1 to 17.8.
17.1.1 Episode: Introduction and Don Juan 1 (m. 1–49, 49 m.)

This symphonic poem opens with the vigorous Don Juan theme MVDJ , that will return many
times in the piece. The vigour theme consists of four motifs: a) unisono string upward
1
This famous second heroic Don Juan theme, with its well-known unisono horn section instrumentation has
become an alltime Hollywood film composer trick in, well, these heroic moments that require an amplification
through music. Just in case the movie theater audience may have forgotten who will win in the end and which
leading actor was first on the payroll.
2
The possible existence of this separate motif for Zerlinchen (a Bavarian musical avatar?) is of minor impor-
tance. It is not an essential fact in the musical analysis of the Don Juan symphonic poem.

17.1. SYMPHONIC POEM DON JUAN, OP. 20
arpeggio in 16ths (labeled MdVDJ ), b) tutti signal scalar motif in 8th note triplets and opening
contrary motion, c) signal motif as triad with upbeat dotted 8th-16th note leading to the
highest pitch (MVDJs , d) closing motif with cadential feeling.
The a-motif will be used many times in transitions, often in imitative setting. The triad
signal c-motif with its fanfare-like quality will reappear in many sections, in combination
with other motifs. The falling triplet theme with appoggiaturas in winds and imitated by
the strings closes the introduction.3
It is followed in m. 8 by the first Don Juan 1 section, with two statements of the first heroic
theme MH1 DJ in the violins. The eight-measure theme can be subdivided into: a) ascending
arpeggio motif (4 m.), b) highest point motif with long appoggiaturas, descending (2 m.), b’)
varied motif (2 m.). Characteristic here are the repeated 8th-note triplets in the woodwind
background.4
The second statement of this heroic theme a-motif in m. 17 combines it with the triplet
theme Mt from the introduction. This idea is continued in the [A] section, a tutti climax with
themes in combination and imitation. The vigorous theme returns in m. 31. The section
concludes with a transition [B] with both the transitory very brief Zerlinchen motif and the
first announcement of the Countess theme.
17.1.2 Episode: Rejection 1 (m. 50–70, 21 m.)

In [C] our hero starts his first amorous adventure with the abbreviated vigorous theme
and receives the first rejection, expressed by the chromatically descending lead voice in the
woodwinds. Note the harp quoting the a-motif from the first heroic theme. Then there is jux-
taposition of the vigour and variations of the rejection theme. In m. 67 this can be observed
as an extended chromatic descent in augmentation in woodwinds and tremolo strings.
17.1.3 Episode: Countess (m. 71–122, 52 m.) and Rejection 2 (m. 123–168, 46 m.)
In [D] we enter the quarters of the Countess Elvira. The main theme has an ab-structure, but
occurs in two b-variants in imitation: the first b-variant is in the lead voice (clarinet, French
horn and solo violin) and is the characteristic ascending chromatic appoggiatura motif, that
will return in the development of this theme towards climaxes. The second b’-variant is in
the imitating parts (other violins), has the same rhythmic quality, but is more diatonic.
But first, in [D] there is the solo violin stating the a-motif four times over a sustained
woodwind and string background. Middle voices in woodwinds and string play ascending
chromatic triplets in imitation, the melodic inversion of the rejection motif in diminution.
These fragments will occur frequently (later in the piece) as a contrast to the rejection-feeling
3
Appoggiaturas play a major role in the melodic material of Don Juan and its development. In the score there
are a multitude of these, also in simultaneous combinations; it goes beyond the scope of this book, but I did a
statistical analysis of the appoggiaturas in the piece. I created lists showing the type of appoggiatura (upward-
downward, chromatic-diatonic), the chordal function they were applied to (root, third, fifth, etc), and which
combinations were used (direction parallel or contrary). My goal was to compare the practical use by Strauss
with the ‘rules’ from the theory of harmony books. An interesting exercise that was!
4
These woodwind triplets require triple-tonguing (t-k-t, or t-t-k) and good rhythmic coordination in the sec-
tion. The rhythm always reminds me of the opening
movement of the Mendelssohn
2 Symphony No. 4 Italian.
The triplets in the Strauss Don Juan yield a 12 8
flavour (the real meter is 2
) and a slight tarantella dance-like
quality, that will return in the Carnival section.

Table 17.1: Strauss, Don Juan, Op. 20
m M R H Comment
Introduction – Allegro molto Don Juan Vigour theme
1 MVDJ E C − D −→ B − Em/G − B/F ]− a): Str unis, b:) tutti, Σ(cm<)
3 ⊥ E − E/G] − E46 − B7 − E c+d): cresc
5 Mt E − ...− WW-Str: unis tripl&
7 E − E∆7 /D] − C]m − F ][5
7 /C− tutti clim, PBi (&)
Don Juan 1 Don Juan 1st Heroic theme
9 MH1 DJ (E − A]◦7 − E)/B− a): Vi, WW: triplets
..
11 . A∆7 − E/G]−
..
13 . G7 − E7[9 /G] − E7 /B− b)
15 ⊥ G]∅7 − C][97 − F ]m− b’)
d
17 MH1DJ /Mt B − B7 /A − B7[9 − a): Brs/WW, Str triplets
0
21 MH1DJ /Mt (C − D]◦7 − C − F ][5
7 )/C− a): Vi+Va
23 MH1DJ /Mt
6 6
E /B − B7 − E − E7 − [A] tutti climax, triplets
27 MH1DJ A − C]m7 /G] − E7[9 /B − D/A− a): (WW+Str)/Tpt imit
.. d
29 . D7 /A[ − Cm/G− Σ(cm<), PLi (%), PBi (&)
30 ⊥ D7[9 /F ] − F7 − A[9
7 /E−
31 MVDJ G G/D − D7 − G c) Brs+HiStr
33 ⊥ G6 − G6 /B− WW+Brs, HiStr unis tripl
37 MVDJ B[ a): Str unis
38 ⊥ B[/D − E[7 /D[ −→ F ]7 − B7 − b): tutti Σ(cm<), PBi (&)
40 E E − A/C]− [B] trans, accts imit
42 E − C 0 ]∅7 − Em7 /D − C−
44 MZ (D]◦7 − C − F − C)/C Zerlinchen: Vi-Ob
d
46 (MC ) E46 − B7 − Countess: WW+Str
48 MZ C]m − F ]m/C] − C]m− Str
49 ⊥ F ]∅7 /A − G][9
7 /A− WW
Rejection 1 – molto vivo [C]
V 0
50 MDJ C]m/G] − G]/B]− a): HiStr unis
..
51 . G] A]∅7 −→ C]∅7 /G − D]7 − bc): Str+WWΣ(cm<), PBi (&)
52 ⊥ G] − B]m7 − d): HiStr triplets, WW stac
53 MR /MH1
DJ D]◦7 /B] − E]m − G]m7 /F ]− WW /Harp Seq(2×2m;R−i )
55 MR /MH1
DJ D◦7 /B − Em − Gm7 /F − WW/(Harp-Tpt)
.. ..
57 ./ . Gm7 /F − C7 /E − F7 /E[− (LoWW+LoStr)/Brs, PBi (&)
59 ⊥/⊥ B[/D − E◦7 /C] − . . . −

Table 17.2: Strauss, Don Juan, Op. 20 (cont’d)
m M R H Comment
0
62 MVDJ F7 /C − C]∅7 − F ]7 − ab): LoStr unis
64 ⊥ cd): Str unis, PLi (%)
66 M0R (F7 ) − C]∅7 − . . . − Rejection var, Str trem, P (e)
Countess – tranquillo
71 B F ]97 − . . . − [D] Str trem+WW, P D (f ])
73 M0C F ]97 − . . . − F ]7 − a): Solo Vi, LoStr: Pmi (%)
79 (F ]7 − G∆7 − F ]7 − G]m7 )/F ]− Str (P D (f ]))

81 M0C F ]7 − . . . a): Solo Vi, WW: Pm i (%)
83 <(F ]7 − G∆7 − F ]7 − G]m7 )/F ] Str

85 (F ]∅7 − D]7 − E]◦7 − B]◦7 )/F ]− ~
PLi (%), Hk i
89 F ]7 − F ]+ −
90 MC (B 6 − F ]7 )/B− a): Cl+FHn, WW: 4th tripl
..
92 . B 6 − F ]7 /E− a): Vi imit
..
94 . (B − B + − G]m7 )/D] − F ]7 /E− ab’) / b): (Cl+FHn+SVi)
..
96 . (B − B + − G]m)/D]−
98 ⊥ G]m7 − C]97 − F ]7 −
101 MC (B 6 − F ]7 )/B− [E] a): Cl+FHn+SVi+Vc
..
103 . B 6 − F ]7 /E− a): Vi imit
..
105 . (B − B+ − G]m7 )/D] − F ]7 /E− Vi/(Cl+FHn+SVi+Vc),
..
107 . (B − B + )/D] − A]◦7 /C] − B7 − b) / b’)
109 ⊥ (E − D]◦7 − A)/E−
111 MC A A6 − C][9
7 − dev, a:) SVi+Va+Ob
.. d
113 . F ]m − C][9
7 − D/F ]
..
115 . (D − B∅7 )/D− a): Cl+FHn imit
..
117 . E7 /B − E7 /D − F ][9
7 /A]− b): Str chr+appogg, %
Rejection 2 – più vivente
123 ⊥/MiR A7 − . . . − B7[9 /D] − D]◦7 /B]− inv, tutti imit
127 MdC /Ma,i
R G]7 − . . . − a): Cl+Va+Vc
.. ..
129 ./ . C]m C]m − . . . − C]m/E − C]m/G]− [F] (dev) cresc
.. ..
133 ./ . C]∅7 − F ][9 9
7 − F ]7 − Tpt, tutti imit
.. ..
137 ./ . <(B7 /F ] − B7 ) − B7 /A−
.. ..
141 ./ . C]7 /G] − C]7 /B− (stringendo)
145 ⊥/⊥ C]7 − . . . − C]7 /E]−

m M R H Comment
149 Em Em − . . . − tutti clim, P (e − b)
151 MC (Em − . . . − F ]7 − Em)/E− a): Vi, WW+Va: 16ths&
153 MVDJ C7 /E − . . . − ab): Vc
156 MC (Em − F ]7 − Em)/E− [G] (a): Vi, tutti, P (e − b)
tempo vivo e poco stringendo trans
160 MVDJ D]7 /A] − . . . − abc’): Vc, Brs
163 MVDJ E[7 (= A7 )− abc’): Cl, Str
d
166 ⊥ B7 − . . . − d): WW+Str clim (vivace)
Don Juan 2 1st Heroic theme
169 MH1 DJ C (C − D]◦7 − C − Em − C7 )/E− [H] a): HiStr, 8th tripl, P (e)
..
173 . G7 /D − G7sus4 /C − G7 /B− b)HiStr, PB (&)
..
175 . F/A − G7sus4 − G7 − E7 − b’) HiStr ,Str triplets&
176 ⊥/Mid R F/A − Dm7 /A− Tpt triplets%
177 MH1 DJ (A − D]◦7 − A)/A− 2nd stat, a): HiStr
..
179 . E7 /G] − A− PBi (%)
180 ⊥/MidR F ]7 /A] − E7 /B− Tpt triplets%
0
181 Mdi
R (C − G7 − C)/C − B[ − B[7 imit, Σ(cm>)
185 MH1 di0 (E[ − F7 − E[)/E[− [I] a): FHn, PLi (%), clim,
DJ /MR E[
187 ⊥/⊥ E[m (E[m − C[7 − E[m)/E[ P T (e[)
189 MdiR G]7 /D](= A[7 ) − . . . − tutti imit
..
191 . D7 (= G]7 ) − . . . −
193 ⊥ F ]m E]◦7 /D − . . . − triplet climax,Σ(cm>)
195 C]7 − F ]m Str unis tripl%
descending chromatism, and express aspiration, hope and expectation of a new romantic
conquest.
The first full Countess theme is played in m. 90 ff., and repeated more or less in a second
statement in m. 101 ff. In m. 111, in the new key of A major, there is the start of a development
section using repeated statements of the b-motif with the appoggiatures in the lower middle
voices (viola and cello) to support a rising melodic tendency. This runs into the second re-
jection section in m. 123; here we see the combination of Countess motifs with the ascending
chromatic aspiration motif (in fact the melodic inversion of rejection) in imitative setting.
The well-planned melody design by Strauss now reveals the similarity between the appog-
giatura b-phrase of the Countess melody and the chromatically ascending aspiration motif.
This texture keeps developing [F] into the higher register, wave after wave in tutti imitation
(sempre un po stringendo), with the syncopated pounding 4th note triplets in woodwinds and
horns, and occasional doubling in the trumpet.
The relief is in the tutti climax in m. 149, with the aspiration-rejection ambiguity ex-

pressed by chromatic 16th note turns in violas and cello, in m. 156 in 8th note triplet turns.
The rejection is obvious from the descending 16ths in woodwinds and viola (m. 152), de-
scending 8th note triplets in viola (m. 159), although it is interspersed with an occasional
flurry of vigour (m. 161 cello).
Poi Don Giovanni si alza; Don Juan is getting back on his feet, with the vigorous theme in
string-woodwind imitation in tempo vivo e poco stringendo in the transition (m. 160–168). The
climax vivace starts in m. 166. Ready for a new episode of ‘Breaking Bed’?
17.1.4 Episode: Don Juan 2 (m. 169–196, 28 m.)

The first heroic Don Juan theme MH1
DJ is back in [H] (m. 169), as a full abb’-statement against
the familiar woodwind and horns 8th note triplet background we already saw in m. 9 ff. Each
statement is commented by a solo trumpet, playing an ascending chromatic 8th note triplet
scale (new aspirations?). In m. 181 these triplets are picked up in imitation by woodwind
and horns, and there is simultaneous ascending and descending scalar fragments, combined
into closing contrary motion. In [I] the a-phrase from the first heroic theme (trumpets) is
juxtaposed with the aspiration triplets (oboe, violins and celli), leading into a tutti imitation
(m. 189 ff.) and climax (m. 193–196).
17.1.5 Episode: Anna (m. 197–267, 71 m.) and Rejection 3 (m. 268–312, 45 m.)
In [K] there is the first Anna theme in Gm; its four-measure a-phrase is an arpeggiated up-
ward octave leap (viola and cello), followed by a gradual chromatic descent (preplanned
rejection?). The b-phrase is also four measures long, and is backed up by a series of ap-
poggiaturas in solo flute (upward-downward, hope-rejection pairs). The second, slightly
varied statement (m. 208 ff.) already has the b-phrase as an explicit rejection. The appog-
giatura flute is now answering snippets (c- and d-phrase) from the opening vigorous theme
in brass imitation (m. 215–232). Note the subtlety in the 4th note syncopated violin top voice
in the background: twice a chromatic ascent, then twice a descent (once again: aspiration-
disappointment pairs).
In [L] the key changes to G major and the background is set by a combination of the
first Anna theme a-phrase (imitation in cello and viola) and the rejection chromatically de-
scending steps in horns. The solo oboe play the lyrical, gentle second Anna theme with abb’c
phrasing (4 + 2 + 2 + 5 m.). The second statement in [M] is slightly varied.
Rejection 3 starts in m. 268 with two motifs combined: a varied a-motif from the second
Anna theme (clarinet) and augmented rejection chromatic descent in flute, bassoon and harp.
These are developed in imitation, while the a-phrase from the first Anna theme returns in the
cello background riff (m. 274).
Section [N] is a transition molto tranquillo, with flute and first violins quoting the Anna
2 a-phrase, which keeps ascending. A string section upward arpeggio imitation, using the
Anna 1 a-phrase closes this amorous disillusion.
17.1.6 Episode: Don Juan 3 (m. 313–351, 39 m.)

In m. 313 glorious Don Juan is back on the stage, with the unisono horns blaring out the
second heroic theme MH2 DJ (molto espressivo e marcato, bet you!) with its abbb’c-motif phrasing
(4 + 2 + 2 + 2 + 4 m.). Note how the second b-motif is repeated by the tutti orchestra in ff . An

m M R H Comment
Anna 1st theme
197 M1A Gm Gm − . . . − C]◦7 /G− [K] a): Va+Vc, Str sync
..
201 . F m − C]◦7 − D − C]◦7 − b): Va
203 ⊥ (D − D7 − G − C]◦7 )/D− Fl app, Str+Hns, P D (d)
205 (D − D7[9 − Gm − C] − D7[9 )/D−
208 M1A (Gm − . . . − C]◦7 − E◦7 )/G− a): Va+Vc, Str sync
0
213 MR (D[ − B[7 − A[7 )/A[− Vi, Cl+Hns
215 MVDJ F/A − E◦7 /B[ − F/A− cd): Tpt, Fl app
217 ⊥ E◦7 /G − F/C− FHn
221 MVDJ A◦7 − B[m− c’): Hns, Str tripl%
224 MVDJ G]◦7 − Bm/F ] − F7 − Am/E− c’): Tpt, Fl app, PBi (&) ,
226 ⊥ F7 /C − F7[9 − . . . − imit
232 (M1AR )/MR G G − ...− [L] a): Vc/FHn, P (g − d)
.. d
236 . /M2 A G − . . . − D7 /G − . . . − abb’): Ob: 2nd Anna theme
244 ⊥/⊥ C/E − . . . − E7 − c)
0
248 (M2A ) Am − . . . − D7 − a’) FHn augm
d
252 M2A /(M1A ) G − . . . − D7 − . . . − [M] ab): Ob /Vc, P (g − d)
.. ..
258 ./ . (Em − F ][9
7 )/E− ca’): Ob, PB (&)
.. ..
263 ./ . (Bm − E7 )/D− c’): Ob
266 ⊥/⊥ C]◦7 − F ]7 /C]− a’): Ob+Fl
Rejection 3 themes combined
0
268 M2A /MR B − . . . − B7[9 − E7[9 − a’): WW+Harp
272 ⊥/⊥ B7[9 − F ]7 /C] − E7 /G]−
0 d
274 MA 12 /M E[7 /G − E[ − A[ − D7 − th mix, imit, N
R
.. ..
278 ./ . Em − Am7 /C − D7 −
.. .. d
282 ./ . G − E7 − A − D7 −
286 ⊥/⊥ E[ − A[/C− N6
0
288 M2A /MR (G − . . . − Em7 )/D− a’): Ob/WW, Va P D (d)
292 ⊥/⊥ (D7 − Am7 − D7 )/D−
d
296 (M2A )/M1A G − . . . − D7 − . . . − [N] trans, a’): Str+Fl PL (%)
302 ⊥/⊥ (A[∆7 − A∅7 − Am97 )/G − D7 − WW, P T (g)
306 (M1A ) G a): Str imit, arp%

oboe statement of the second Anna theme in diminution briefly spoils the party. The second
statement of the heroic theme in [O] has it doubled in horns and bassoons, in abbreviated
abc-form. In a climax the vigorous theme MVDJ return (unisono lower strings).
Section [P] combines the two Don Juan themes: the second heroic theme MH2 DJ (trom-
bones and bassoons, playing abb-phrasing), and the vigorous theme MVDJ (woodwinds and
viola, ab-motif). The heroic them b-motif is modified from diatonic into chromatic descent,
hence in m. 346–347 becoming the rejection motif MH2 0
DJ , b =MR . So, like with the second
Anna theme, Strauss has carefully designed the melodies for re-use in different moods with
minimal modification. Now, isn’t that a musical Oktoberfest?
17.1.7 Episode: Carnival (m. 352–433, 82 m.)

The Carnival episode sees the return of the rejection ideah ini m. 351 in a new disguise: the
background motif McR has dance-like quality, suggesting 12 8 through the use of woodwind
triplets and staccato notes with auxiliary notes. The lead voice and the auxiliary notes are all
descending chromatically. This carnival riff first is played by oboes, clarinets, second violins
and violas, but will also show up in other string (low strings in m. 355 and 369, high strings
in m. 359 and 377) and woodwind parts (flute in m. 359 and 365). Note that when the Carnival
dance-motif is in the lower strings, the second half of the phrase is chromatically ascending
(hope, aspiration) in a rhythmic quote from the vigorous theme b-phrase. Varied snippets
from the vigorous mood theme MVDJ are played by high strings, with the muted trumpet
suggesting the second heroic theme MH2 DJ . As an obvious contrast to the earlier French horns,
now the glockenspiel is playing the second heroic theme in diminution (m. 357–360).
In the second Carnival section [Q] (m. 365 ff.); the dancing triplet background moves
through the orchestral groups, with violins once again quoting from the vigorous theme
(m. 367–378). The party is reaching a tutti climax in [R]; suddenly the 8th note triplet theme
(see m. 5) is back in woodwind and string imitation and contrary closing motion. Some of the
triplets have the original arpeggio pattern, others are chromatically descending (some more
rapid rejection?). The climax continues in [S] in tempo vivo, where Strauss plays another
melodic transformation trick: the c-phrase from the vigorous theme MVDJ has been varied
in such a way (rhythm, accents and full brass instrumentation) that is has received a heroic
character. After two statements the second heroic theme MH2 DJ gets mixed in (trumpet in
m. 394, ab-phrase).
Both these themes sound simultaneously in [T], a short development section. The Car-
nival motif is added as another layer in m. 409, and the falling triplet motif Mt in m. 411,
yielding interaction between four Don Juan themes. The set of themes reduces to two in
m. 417 (poco più agitato), but now in stretto imitation. Transition [U] starts with a tutti cli-
max, and falling unisono 16th notes in the strings. Over sustained tremolo strings, brass and
woodwinds chords we suddenly hear our old friend Zerlinchen in the flute (m. 431).
17.1.8 Episode: Memories (m. 434–456, 23 m.)

Other friends return in the reminiscences starting in m. 434. The Countess appears twice: first
in English horn and bassoon (a-phrase, m. 437), later in [V] in woodwind imitation (m. 447–
455). The second Anna theme is played by solo violin (m. 443–447), in abb’-phrasing, with the
b’-phrase becoming the rejection motif MR ). The [V] section has sustained tremolo strings
throughout.

m M R H Comment
Don Juan 3 2nd Heroic theme
313 C G − ...− Str trem, P D (g)
315 MH2
DJ G7 /F − C/E− ab): Hns, Str trem
320 ⊥ <(G7 − C)/G − G − . . . b): tutti clim, b’c): Hns
327 M2d
A G − A[∆7 − E[ − F∅7 − ab’): Ob: Anna dim
329 ⊥ A[/E[ − F∅7 − F ]◦7 − G−
331 MH2
DJ G − ...− [O] a): Hns+Bsn/Str trem,
334 ⊥ G7 − /F − C/E − . . . − bc), P D (g)
337 MVDJ C]◦7 /E − F ]m abc): LoStr unis, Seq(2×3m;R7 )
340 MVDJ D]◦7 /F ] − G]m abc): tutti climax
343 MH2,V
DJ G7 /D − . . . − [P] ab): (Tbn+Bsn)/WW combi
347 M0R /MVDJ G7 − . . . − (Tbn+LoStr)/WW, PBi (&)
[9/[13
349 MVDJ F ]7 − ...− a): Str-WW imit, tutti clim
Carnival – a tempo, giocoso
351 McR D D − . . . − Em7 − Str pizz, WW stac, PLi (&)
..
353 . /(MV,H2
DJ ) D − ...− aH2 ): Tpt / bV ): Vi
.. ..
355 ./ . D − D∆7 /C] − D7 /C− Str arco, PBi (&)
356 ⊥/⊥ G/B − Gm/B[ − D/A−
357 MH2dDJ E7 /G] − . . . − abc’): Glk dim, Str trem
359 ⊥/McR E7 /G] − . . . − A − . . . − G−
363 A7 − D 7 −
365 McR G G − . . . − Am− [Q] Str+WW, PLi (&), dev
.. 0
367 . /MVDJ G∆7 − G7 − C7 /E− bc): Vi PL (%)
.. ..
369 ./ . B[ − B[∆7 /A − B[7 /A[− Str+WW imit, PBi (&)
.. ..
370 ./ . E[/G − E[m/G[ − B[/F −
..
371 . /⊥ C]◦7 /E − . . . − C]◦7 /G− Seq(2×2m;R−3i ), PBi (%)
..
375 . /MV
DJ G◦7 /D[ − E[m− Str+WW imit, Seq(2×2m;R7 )
379 ⊥/MVDJ G][9
7 − ...− [R] abc): tutti climax
381 Mt G]7 − . . . − WW-Str 8th tripl&=MZ
..
383 . C]m G][13 [13
7 − B]◦7 − B7 − G]7 − WW+Str imit&Σ(cm)
385 ⊥ B7[9 − G]7 −
386 V0
MDJ C]m − . . . − [S] c’): Brs-Str-WW clim, P T (c])

m M R H Comment
V 0
390 MDJ C]m − . . . − c’): 2nd stat
..
393 . F ]m − E/B − B7 /A−
..
394 . /MH2DJ A E7 /G] − . . . − E − E7 /D− (WW+Str)/ ab): Tpt, P D (e)
398 ⊥/⊥ A/C] − . . . − A/E − . . . − 2 heroic themes combi
402 MDJ V 0 /MH2 A7 − . . . − [T] Hns/Tpt, P D (e)
DJ
404 ⊥/⊥ Dm A7 − . . . − (Bsn+LoStr)/Tpt, imit
409 McR /MH,VDJ Dm − . . . − Am− tutti clim, 3 th combi/imit
411 Mt /MH1 DJ B[∆7 − . . . − WW+Str 8th tripl&
d
413 McR /MHDJ C7 /E − . . . − C7[9 /E − tutti, 3th combi/imit
0
417 Mt /MVDJ D[/F − B[7 − stretto imit
.
419 ⊥ / .. A[7 /G[ − F ]◦7 −
421 ⊥ C]◦7 /G − B◦7 /D [U] trans, Str unis 16th&
424 Em B◦7 − . . . − Em/B− Cb trem, P D (b)
431 MZ Em/B − . . . − Fl-Cl-Bsn Zerlinchen
Memories – poco a poco calando
434 B7[9 − . . . − Tpt+Str, P D (b)
438 MC B∅7 − . . . − a): EHn+Bsn, Countess
441 E◦7 − Cm/E[− WW+Brs, P D (b)
444 M2A Cm/E[ − . . . − abb’): Solo Vi, Anna
446 M0R Cm/E[− Solo Vi
447 MC B7[9 − . . . − [V] a): Pi+Cl Countess,
450 ⊥ B7[9 − . . . − Str trem,WW imit
Don Juan 4 – a tempo primo
457 MVDJ E B7 − . . . − ab-abc’); Str imit, P D (b)
..
464 . B7[9 − . . . − B79 −
..
469 . B79 − . . . − B7 − c’): WW+Brs
474 MVDJ C− [W] a): Str unis
475 ⊥ D −→ B − Em/G − B/F ]− b:) tutti, Σ(cm<)
476 MH1 DJ E − A]◦7 /E − E − A a): HiStr, WW triplets
d
479 Mt E/G] − B7 − WW-Str: unis tripl&
481 MH1
DJ C]m − A7 /C] − C]m − Am/C− a): HiStr, PBi (&)
483 Mt G]m7 /B − . . . − G]◦7 − WW-Str: unis tripl&

17.1.9 Episode: Don Juan 4 (m. 457–509, 53 m.) and Don Juan 5 (m. 510–585, 76 m.)
Mister Don Juan is back in town; the old familiar key of E major has returned, as has the a
tempo primo. Time to wrap up things, starting with string section imitative phrases from the
vigorous opening theme MVDJ over a dominant pedal point; various groupings of ab- and
abc-phrases rise through the strings, with subtle support from woodwind and horns. How-
ever, Strauss plays another trick with the c-phrase: it is modified into two-part descending
diatonic steps (see the horns in m. 464, 466, and then woodwinds and brass from m. 469 on-
wards). It is negating the rejection-disppointment feeling of the chromaticially descending
steps. The diatonic pattern suggests resignation of the aging cavalier (maturity? Done with
cherchez la femme?).
In section [W] the vigorous theme returns in its original form (see m. 1–3), but is inter-
spersed with phrases from the first heroic theme MH1
DJ and the transitory descending 8th note
triplet motif Mt from m. 5. This vigorous theme is further developed [X], where the c-phrase
receives a climax treatment and the diatonic stepwise treatment, introduced in m. 457 ff.
There are tutti instrumentation at ff dynamics, brass section statements of the dotted 8th-
16th rhythm, and stretto imitation between orchestral groups.
The second heroic theme MH2 DJ (first stated in m. 315 in the Don Juan 3 episode) returns in
[Y], with almost the same instrumentation (unisono lead horns, strings tremolo, dominant
pedal point) but now at higher pitch in the tonic key E major. There are two statements:
the original abbb’c-phrasing in m. 510–520, and a second, much longer developing state-
ment with another climax treatment in [Z] and [Aa] (the latter in the subdominant area key
C). However, Strauss has another trick up his sleeve: the phrasing now is (abbb’c)-(bbbcc)-
(bbccc) in (m. 521–531)–(m. 532–542)–(543–555), respectively. Strauss the conductor also in-
dicated in the score Dreitaktig–Zweitaktig (conduct in units of three or two measures). During
both the b- and c-phrases there is imitation of the c-phrase in the lower voices, creating wave
after wave of flowing heroism. And note how the higest pitches in the lead parts of these
phrases also create waves. The whole sounds like the praising autobiography of an elder
statesman.
The [Bb] section repeats some material from [X] and from m. 30 ff., but now in the
Neapolitan key of F major and returning to the tonic major key E with a repeat of the
original vigorous theme in the Don Juan 1 section (see m. 37 ff.). The transition [Cc] takes
us to the coda with ascending 8th note triplet scales in woodwind-string imitation and a
stringendo opening contrary motion full of appoggiaturas (a last reminder of the aspiration-
rejection pairs) and a long set of tutti pounding 4th (triplet) notes on the dominant seventh
chord.
17.1.10 Episode: Death (m. 586–606, 21 m.)
The symphonic poem closes with a plagal cadence in the tonic minor key Em. Sustained
chords support descending string tremoli. In [Dd] there’s a final descendng chromatic step
in augmentation (a sigh of rejection or relief?), followed by the downward bassoon arpeggio
(the inversion of the opening phrase from the first heroic Don Juan theme?) and three short
(pizzicato) tonic chords.

m M R H Comment
486 MH1DJ D D/A − A7 − F ]7 /A]− b): Hi Str, PBi (%)
..
488 . Bm − F ]7 /C]− PB (%)
489 ⊥ Bm/D − F ]m7 /E−
490 MVDJ E G]7 /F ] − . . . − [X] c): Tbn+Vi2, P (g])
d
493 ⊥ G]7 /F ] − C]m/E − B7 /D] − D]7 /C] − tutti Σ(cm<), PB (&)
494 MVDJ E7 /B − . . . − E]◦7 − c): Tbn+Vi1
..
497 . E◦7 /B − F ]m/A − C]m/G]− tutti Σ(cm<)
.. d
498 . D]∅7 /F ] − E/G] − B7 − tutti imit
..
501 . C]m − G]∅7 /D − D]◦7 − Am/E− tutti Σ(cm>), PBi (%)
..
502 . E7[9 − . . . − tutti imit
d
504 ⊥/MH1
DJ G]◦7 /F − D/F ] − G− aH1 ): Brs imit, PBi (%)
506 ⊥ G]∅7 − F ]m/A − F ]7 /A]−
508 MH1
DJ G∆7 /B − E7[9 /D − A/C] − F ][5
7 /C− a): Tbn+LoStr, cresc
Don Juan 5 2nd heroic theme
510 E E/B− [Y] clim, Str trem, P D (b)
511 MH2
DJ E/B − B7 − E/B− ab): Hns+Vc
515 ⊥ <(B7 − E) − . . . − B7 − bb’c): tutti-Hns
521 MH2
DJ (E − . . . − B7 − . . . − E)/B− [Z] ab): WW+HiStr,
tutti climax, P D (b)
..
526 . B7 /A − E/G] − B/F ] − E− bb’)/c) imit, PB (&)
..
530 . E − A/E− c) imit
..
532 . F ]m7 − D]7 /×F − E/G]− b)/c) dev Hi/Lo
..
534 . (D][9
7 − G]m)/G] − B7 /A− b)/c) appogg
..
537 . E/G] − B7 /F ] − C][5
7 /E]− c) imit Hi/Lo, Dreitaktig
..
540 . F ]m − A/E − F ][9
7 /E − Bm/D − G7 − c) imit
..
543 . C <(C − G7 )/C− [Aa] Zweitaktig, climax
b)/c): Hi/Lo, P T (c)
.. [5/[9
547 . C/G − G7 /B − E7 /B[ − Am7 − c) imit, Dreitaktig,
Seq(2×3m;R7 ), PBi (&)
.. [5/[9
550 . D/A − A/C] − F ]7 /C − E/B− c) imit
d
553 ⊥ C7 /B[ − Am7 − A7 − B◦7 /A[ − c) imit, PBi (&)

m M R H Comment
556 F F − ...− [Bb] tutti clim, N/E, P (f )
558 MVDJ F − ...− c’): WW+Brs (see m. 30 ff.)
561 ⊥ Dm7 /F − . . . − F/A− WW+Hns, HiStr unis
564 MVDJ B[− a): Str unis (see m. 37 ff.)
..
565 . B[/D − E[7 /D[ −→ C]m/G]− b): tutti Σ(cm<), PBi (&)
566 ⊥ E A7 /G − F ]7 − B7 − E (c) cad
569 (Mt ) (E − E7[9 )/B− [Cc] trans, P D (b)
..
571 . (B7 − F ][97 )/B− Str-WW tripl% imit,
572 ⊥ (E 6 − C7 )/B− stringendo
573 (MR ) (A7 − G]◦7 − G7 − F ]7 )/B− tutti Σ(cm<), PLi (%)Pm
i (&)
577 ⊥ B7 − . . . − tutti climax

d
581 B7 − . . . − WW+Brs 4th triplets
Death – tempo primo - poco a poco più lento (Coda)
586 Am − . . . − Vi trem&
595 F ]∅7 /A− plagal cad
596 (MaR ) Em (Em − G]◦7 )/E− [Dd] WW+Brs
600 Em − . . . − Bsn arp&
603 Em Str trem+pizz (606 m.)

17.2. SYMPHONIC POEM TOD UND VERKLÄRUNG, OP. 24

The key relationship diagram of the symphonic poem Don Juan is shown in Fig. 17.2. Many
key areas remain on the vertical axis through the main key E (i.e., relative or parallel major
and minor). Note the use of minor third related minor and major keys E − G − E (1),
C]m − Em (4), C − E[ (6), D]m − F ]m (7). As this piece gets to a close there are more keys in
the subdominant area: Dm (12), D (13), F − C (14); the latter being the Neapolitan ([II) and
the lowered submediant key ([VI) of the root key E. One enharmonic equivalence is needed
for the interpretation of the diagram: E[m = D]m.
B F] C] 2 G] D]

Bm F ]m C]m G]m D]m
13
*
t
3 7
D A E B F]
12
6? 11
Dm Am Em• Bm F ]m
1
4,15 10
F - C
G D A
14 5,9 6
Fm Cm Gm Dm Am
8
A[ E[ B[ F C
6 ?
A[m E[m t B[m Fm Cm
Figure 17.2: Strauss, Don Juan, Op. 20, key relationship diagram
17.2 Symphonic poem Tod und Verklärung, Op. 24 (1889)

Source: [66]. Music for orchestra.
The English title is Death and Transfiguration, the full German title is Tod und Verklärung,
Tondichtung für grosses Orchester, meinem lieben Freunde Friedrich Rösch zugeeignet. The poem
by Alexander Ritter was later added as a kind of program note; its five sections are a guide-
line for the formal interpretation of this composition. Form: symphonic poem. This piece
may also be interpreted as a sonata form.
An overview of the formal analysis is shown in Fig. 17.3. The symphonic poem can be
subdivided into four parts, with a very long third section (Part 3: Feverish delirium of life past,
development) that covers sections three and four from the original poem. The themes will
be described in the subsequent sections.
17.2.1 Part 1: Sick man lying on his cot (m. 1–66)

See Table 17.9 for the analysis. The piece opens with the ‘Death Rhythm’ (Todesmotiv) Rd, a set
of afterbeat 8th notes and triplets, played by middle register strings and timpani. The triplet
rhythms will return in the battle with death themes.
In [A] (m. 16) we hear the first theme a short lyrical motif Ml in woodwinds (first flute,
then clarinet) with descending 8th note characteristics (stepwise motion with occasional

h i
4
Symphonic poem (Cm − G − C, 4 , 501 m.)
Part 1 Cm Part 2
m1 m 67
Part 3 G (modulation - development)
m 187 3A 3B 3C 3D 3E 3F
Part 4: C
m 397
Figure 17.3: Strauss, Symphonic poem Tod und Verklärung, Op. 24
leaps). Note the ascending chromatic stepwise motion in the oboe middle voice; this is
another feature of this symphonic poem and it will be used extensively. Section [B] (m. 29)
brings the cantabile main theme Mc for oboe and later first violins, answered by Ml in flute.
The theme Mc is characterized by an unpward octave leap, followed by quarter note down-
ward steps. Sections [C] and [D] are juxtapositions of the death rhythm Rd (the last time in
the French horns) and woodwind imitative statements of Ml. In [D] the ascending middle
voices are in parallel thirds for violins and clarinets, over tremolo low strings.
17.2.2 Part 2: The battle between life and death (m. 67–186)
See Table 17.10 and 17.11 for the analysis. Part 2 opens with a new tempo and mood. Tutti
fortissimo bell chords introduce the feverish agitato theme Mf with its embellished upward
arpeggio character in 8th notes and triplets. The theme Mf is played by low woodwinds
(bass clarinet and bassoons), celli and contrabasses. As a background we hear 16th note
tremolos in divisi first violins and high woodwinds in a varied death rhythm Rd’. This
theme is repeated and elaborated in [E] (m. 79), ascending from the low to the middle reg-
ister (sweeps of fever) and a (chromatically) ascending bass line, answered by local closing
contrary motion in woodwinds and upper strings.
The battle with death starts in [F] (m. 97) with a tutti and partly unisono battle theme
Mb, full of 8th note triplets (a reference to the death rhythm Rd?), an ascending melodic line
and closing with rapid downward legato 16th notes. After a first statement there is another
pair of themes (m. 101 ff.): the chromatically descending motif Md in the high woodwinds,
juxtaposed and combined with the ascending arpeggio-like motif Ma in low strings and
woodwinds. The shortened battle motif Mb’ starts to interact with the pair Mda in imitation
and changing instrumentation and rapid key changes. When the brass play the motif (m. 110
ff.) we enter a stretto imitation, rising in pitch and leading to a tutti climax with the pounding
of the death rhythm Rd in m. 122–124.
A new motif Ms with ascending stepwise scalar character enters the stage in [H], with
first statement for the high woodwinds in m. 126. This has a feverish background in 16th
note patterns (with chromatically descending leading voice and neighbouring notes) for
strings. The following statements (m. 129 ff.) create rising melodic curves, each starting
from a higher pitch, while maintaining the frenetic afterbeat 16th-note patterns in the mid-

Table 17.9: Strauss, Symphonic poem Tod und Verklärung, Op. 24
m M R H Comment
h i
4
Part 1 – Largo 4 ([[[) Sick man lying in bed
1 Rd Cm E[ − Cm/E[ − Cm Rd: Vi2+Va, P T (c)
..
6 . <(Cm − D∅7 /A[)− Rd: timp, Str Σ(cm), (ped)
..
10 . Cm − A[/C − F m7 − Rd: Vi2+Va, (ped)
14 ⊥ <(F m7 − B◦7 /A[) − F m/A[− Rd: timp, Str Σ(cm), (ped)
16 D[7 /C[ [A] harp 16th triplets arp
17 Ml D[7 /C[ − . . . − Ml: Fl-Cl, Ob Pmi (%)
21 Rd Re(D[7 /C[ − C7 /E) − C]◦7 /D− Rd: timp, Str Σ(cm), P T (c)
23 ⊥ E7 − D − D7[5 − E[/G − E[− Rd: Cl+Vi2+Va
29 Mc A[m A[m − . . . − B[∅7 /A[ − E[[9
7 − [B] Ml: Ob, harp%&, SD
35 Ml A[ − . . . − F m Ml: Fl, Hns
37 Mc C (C − . . . − Dm7 − B◦7 )/C− Mc: Vi, Hns Pm (%), P T (c)
42 Ml C7 − . . . − [C] Ml: Fl-Cl, Ob Pmi (%)
..
46 . <(C − B7 /F ]) − Gm7 Ml: Bsn, Str Σ(cm)
48 ⊥ A[13
7 − D7 −
[9 Ml: Cl, Str PLi (&)
[9/[13
49 Rd G7 − ...− Md: timp, P D (g)
52 Ml (G7 − . . . − C − C7[9 )/G− i (%)
[D] Ml: EHn-Ob, Str trem+Pm
58 ⊥ (F − Cm − D7 − G[5 7sus4 )/G−
i
Vi+Cl Pm (%)(ped)
62 Md [5
G7 − . . . − Rd: Hns (ped)

Table 17.10: Strauss, Tod und Verklärung, Op. 24 (cont’d)
m M R H Comment
Part 2 – Allegro molto agitato Battle between life and death
67 Cm <(Cm − D[m/F [)− tutti bell chords
69 Ma/Rd D[m/F [ − . . . − Mf: LoWW+LoStr, Rd: WW
..
74 . C]m/G] − F ]97 /A]− climax, PBi (%)
..
76 . E/B − F ]∅7 /C−
77 ⊥/Rd D7 − D7]5 − G− Rd: Hns
79 Mf/Rd G − . . . − G[9
7 − ...− [E] Ma: LoWW+LoStr, P D (g),
.. ..
89 ./ . B◦7 /A[ − B[∅7 /E − G7 − . . . − Rd: Cl
.. ..
91 ./ . B◦7 − . . . − Rd: Hns, PB (%)
95 ⊥/⊥ G[9
7 /B− climax
97 Mb Cm − A[/E[ − G/B− [F] tutti climax, unisono
..
98 . Cm/E[ − F ]◦7 − F ]∅7 /A−
..
99 . G/B−
100 ⊥ C7[9 /B[−
101 Md F/A − . . . Md: Ob+EHn+Bsn
103 Mda F/A − . . . − Ma: LoWW, WW imit
106 Mb’/da Cm − F7 /A − F 7/E[− Mb: LoStr+WW, Mda: Str+WW
.. ..
110 ./ . B[m B[m − G∅7 − Mb: Tbn, Mda: Str+WW
..
113 . /⊥/Rd Fm C7 /B[ − . . . − D∅7 /A[ − . . . − [G] Mb: Hns, Rd: timp, tutti
..
118 . Am E7[9 /B − B∅7 /A− Brs+Str imit
..
120 . D7[9 /A− stretto, PB (%)
121 ⊥ F ]∅7 /C − G∅7 /D[ − F ]∅7 /C−
122 Mb’/Rd Cm/E[ − . . . − Mb: Brs imit, Rd: tutti clim
125 Ms Gm <(Gm − F ]◦7 )/G− [H] Ms: WW, Str PLi (&), P T (g)
..
129 . Gm − E◦7 /D[ − F7 /C − F7 − Ms: LoWW+Str
..
131 . B[m − G◦7 /F [−
..
132 . A[7 /E[ − A[]11
7 −
..
133 . D7[9 − . . . − Ms: Tpt+WW+Str, tutti climax
135 ⊥ G/D − C]◦7 − Dm7 −

m M R H Comment
137 Ms D7[9 − . . . − [I] Ms: Str+WW
..
139 . A[9 [9
7 /C] − A∅7 /C − D7 /C− dim, PBi (&)
..
141 . G/B − E[7 /B[ − C7[9 − B[−
..
142 . F/A − B[[97 /A[−
143 ⊥ E[/G − A[[9 7 /G[−
144 Ms/Rd D[/F − . . . − Ms: WW+Tu+Str, Rd: WW, clim
148 Mb Cm Cm − A[/E[ − G/B− [K] tutti climax, unisono
149 ⊥ Cm/E[ − F ]◦7 − F ]◦7 /A−
150 Md (Cm − Gm − G7 )/G− i (%), P (g)
Md: HiWW+Str, Pm D
..
152 . (F ]◦7 − G[9
7 − Cm)/G− (ped)
..
154 . (C7[9−F − G[9
7 )/G− (ped)
156 ⊥ (E◦7 − G7 − Gm)/G− (ped)
158 Md/s (F ]◦7 )/G − . . . − Md: WW+Vi1, Ms: Hns+Vc, P D (g)
162 D∅7 /F − . . . − tutti climax
164 Mt’ B[7 /F − . . . − Mt: Brs+Str
166 D◦7 − . . . −
168 Mt’ B[/D − . . . −
170 B[7 − . . . − D D7 [L] transition (calando, rit)
177 B[7 − . . . − Str
180 D− Ob PL (%)
182 D7 − . . . − Vi1 PL (%)

dle register strings. In [I] the next climax is reached in m. 144 with the death rhythm in the
high woodwinds. The battle restarts in [K] (m. 148), followed by a gradual descent of motif
Md from the highest point in m. 150. Combined with Ms there is a final rise to the extended
climax in m. 162 ff. Here, over sustained fortissimo chords in woodwinds and brass and 16th
note tremoli in the strings we here a reference to the Transfiguration theme Mt (that will be
the main element in Part 4). It is played here in a diminution version (quarter note rhythm,
offbeat) by horn, trumpet and trombones. The sick man is surrendering to death.
17.2.3 Part 3: Feverish delirium of life past (m. 187–396)

See Table 17.12 to 17.14 for the analysis. In a feverish delirium the man sees his life passing
by; in Part 3A the cantabile melody Mc reappears in augmentation (half-note rhythm). In
brief transitional phrases (m. 207–212) and [N] (m. 227–235) the lyrical opening motif Ml
(abbreviated version in quarter note triplet imitation) and the battle theme Mb (stretto im-
itation) return, respectively. Part 3B (etwas breiter) develops this 8th note triplet theme Ml,
juxtaposed with the theme Mc, in lighter, somewhat playful mood and as a moment of re-
laxation.
An 8th note triplet descending figure in the violins (m. 254) announces another wave
of fever in Part 3C: in the appassionata section the fever theme Mf (chromatically ascend-
ing triplets, referring to the death rhythm) is combined with an augmented version of the
cantabile (youth) theme. This is continued [P] with Mc now in the original quarter note
rhythm. The death rhythm sounds clearly in trombones and timpani in m. 271. The contin-
uation has development character, with combinations of the feverish theme Mf’ (in varied
form with ascending 8th notes), the battle motif Mb (in unisono trombones) and the death
rhythm (in 2-part settings in either woodwinds of high strings). There is counterpoint and
there rapid changes of instrumentation as the themes are passed on to different orchestral
sections.
Letter [S] is an extended tutti climax, with themes combined, counterpoint setting and
(stretto) imitation. The unisono ascending triplets in low woodwinds and low strings over a
sustained dominant pedal in [T] lead into the first complete appearance of the ‘Transfigura-
tion’ theme Mt (the a-phrase, m. 321)) in Part 3D.5 Note the bell chord setting of the theme in
brass and woodwinds. The a tempo, ma un poco agitato in [U] is accompanied by the offbeat
16th-note patterns in the violins that were heard first in Part 2 [H] (m. 125 ff.), while com-
bining the cantabile theme Mc (but now chromatically descending in quarter notes) with the
other chromatically descending theme Md (8th note rhythm). In [V] the development comes
to a close with another statement of Mt in a tutti climax in m. 356, with both an a- and a
b-phrase, that acts as a retransition.
In a sonata form interpretation [W] may be seen as the recapitulation; the original tempo
and ‘Death Rhythm’ (timpani) from the introduction return, as do the chromatically descend-
ing lead note patterns in juxtaposed woodwinds and strings (in the introduction these were
diatonic and chromatic steps in contrary motion strings). The extended pedal on a turns
out to be a tonic pedal, that kicks-off a set of bell chords when for the last time the Allegro,
molto agitato mood returns as does the battle theme Mf in m. 381. This part concludes with a
combination of the chromatically descending theme Md and the ascending scalar theme Ms.
5
The Richard Strauss ‘Transfiguration’ theme was kindly ‘borrowed’ my mr. John Williams, Hollywood resi-
dent, as the love theme for the movie Superman.

m M R H Comment
Part 3A – meno mosso (]) Feverish delirium of life past
187 Mc G (G6 − . . . − Am7 − . . . −)/G− Mc: Fl augm, Vi2 tripl, P T (g)
.. i (%)
193 . (G]◦7 − A7 )/G− Pm
..
195 . A[9
7 /G − G/D − F ]∅7 /E − F ]∅7 − Pm (%)
..
197 . G/∆7 /F ] − G7 /F − PBi (&)
199 ⊥ Em7 − F ]∅7 /E−
201 Mc’ Em B7[9 /D] − Em6 − A7 − Mc’: Vi1-Vc imit
205 ⊥ Em6 − A7 − Va-Vi1 imit
207 Ml D D − ...− trans, Ml: Va-Vi1 imit tripl
213 ⊥ Am − D7 − D7]5 − Fl-Cl imit par 3rds
215 Mc G (G − . . . − D7 )/G− [M] Mc: Vi2-Vi1 imit, P D (g)
..
219 . G − . . . − G[9
7 − (ped)
223 ⊥ A − D7 −[9
227 Mc’ G − ...− [N] Mc’: Bsn-Vi2 mit

231 Mb’ G[9
7 − D◦7 /F − B[7 − Mb’: WW+Str stretto, Σ(cm<)
Part 3B – Etwas breiter ([[[)
236 Ml’ E[ E[ − B[7 /A[ − E[/G − D − Gm Ml: WW+Hns triplets
238 Mc Gm − D − Gm − C7 − Mc: Vi
240 Ml’ F m − Cm7 /B[ − F m/A[− Ml: WW+Hns triplets
241 ⊥ E[ − A[
242 Mc F m − E[/B[ − B[7 /A[− Mc: Vi
244 Ml’ E[/G − B[7 /A[ − E[/G − B[ Ml: Vi
246 ⊥ E[ − D[ − G[ − D[7 /C[−
247 Ml’ G[ G[/B[ − D[7 /C[ − G[/B[ − D[− [O] Ml: Vi
249 ⊥ G[ − F − B[m
250 Ml’/c’ D∅7 /C − F7[9 /A− Ml: Vi, Mc: Ob+Va+Vc
252 ⊥ E[m/B[ − E[[9 7 −
254 Ml” G7 /F − . . . − Ml: Vi 8th tripl&
Part 3C – Appassionato (\\\)
257 Mc/f’ B B 6 /F ] − F ]7 − Mc: Ob+Hn+Vc, Mf: Fl+Vi
.. ..
259 ./ . B 6 /F ] − F ]7 /C]
261 ⊥/⊥ B − B∆7 /A] − G]m7 − G]7 −
263 Mc/f’ E C]m − F ]7 − [P] Mc: FHn+Vi, Mf: WW
..
267 . /⊥ B7 − E−
271 ⊥/Rd C]∅7 /E− Rd: Tbns+Timp, climax

m M R H Comment
273 Mf C7 − F − C/E− Mf: Vi+Va
276 ⊥ Dm7 − D7[9 −
d
277 Mf’ Gm Gm − D − Gm − G7 − [Q] Hns+Vc 8th%, ctp
279 Rd A[∆7 − A[7 Rd: Tbns
281 Mf’ C]m − G]m7 − C]m− Mf: Str, ctp
283 Rd F ][9 [9
7 − A7 /G− Rd: Tbns, tutti climax
285 Mf D6 /F ] − DmA− Mf: LoWW+Hns+Str imit
..
287 . D/F ] − B[∆7 /D − B[7 −
..
289 . B7 −
..
290 . E <(E 6 − B7 /F ] − B7 )− [R] Mf: Cl+Str, imit
..
294 . E − E∆7 /D]− PBi (&)
295 ⊥ E7 /D − F ]7sus4 /C]−
296 Mb’ B[7 /F − Mb: Tbns
297 Rd D◦7 /F − B[[9
7 /F − Rd: WW, Str trem, clim
300 Mf’ E − E∆7 /D]− PBi (&)
301 ⊥ E7 /D − F ]7sus4 /C]−
302 Mb’/Rd D◦7 /F − [S] Mb: Tbns, Rd: WW, Str trem
.
304 Mbc’/ .. D◦7 /F − Mc’: WW, Rd: HiStr, clim
306 ⊥ / ⊥ B[∅7 /F [ − . . . − tutti climax
310 Mcf’/Rd E[7 − . . . − climax cont’d, P D (e[)
..
313 . E[7 − . . . − stretto imit (ped)
317 Mf” E[7 − [T] Mf’: LoWW+Str unis% (ped)
Part 3D – Tempo I. sehr breit
321 Mt A[ <(A[ − B[7 )/A[ − A[− Mt.a: Tpt+Hrp+HiStr, bell ch,
..
325 . B[7 /A[ − Gm − D[7 /F − climax
326 ⊥ C/E−
327 <(D∅7 /F − C7 /G) − F m/A[− HiStr sync
330 Ml’ D[/F − D◦7 /F − E7[9 − Ml: Fl+Vi1 augm
335 Mt A − A∆7 /G] − B7 /A − A/E− Mt.a: Brs+Va+Vc, clim, PB (&)
..
337 . B7 /A − A∆7 − /G]−
338 ⊥ B7 /F ] − C]7 /E]−
339 <(D]∅7 /F ] − C]7 /G])− i (%)
[U] Vi 16ths, Pm

m M R H Comment
342 Mc/d F ]m7 /A− Mc: WW+Vi PLi (&),
.. ..
343 ./ . B7 /A − B∅7 /A − C] − E7[9 /G] Md: Bsn+Tu+LoStr
.. ..
344 ./ . F/C − Am/C−
.. ..
345 ./ . D7 /C − D∅7 /C − E7 −
.. ..
346 ./ . A]◦7 /E − Em − C]∅7 /B− [V] tutti imit
.. ..
348 ./ . C]7 − A7 /G − A7sus4 /G − F ]7 −
.. ..
350 ./ . C][9
7 /E]−
.. ..
352 ./ . E]∅7 − E − G]7 /D]−
353 ⊥/⊥ D7 − . . . −
356 Mt D[ D[− Mt.a: Ob+Brs+Vi, tutti clim,
..
357 . /Ms E[7 /D[ − D[− Ms: Hns, P T (d[)
..
358 . /⊥ E[7 /D[− (ped)
[5/[9
359 ⊥ (D[[9
7 − G[ − E[7 )/D[− b
360 (B[7 − A[7 − G[ − B[∅7 )/D[− retrans, Str 16th trem
362 F/A − . . . − P (a)
Part 3E – Tempo der Einleitung Largo
365 Am7 − [W] Hns (ped)
366 Rd <(Am7 − D]◦7 )/A − B[∆7 /A− Rd: timp, Str, Cb trem
..
370 . (A[9 [9
7 − Gm − A7 − F m)/A− EHn+Cl, (ped)
374 ⊥ (B∅7 − . . . − A[9
7 )/A − Am7− P T (a)
Part 3F – Allegro, molto agitato
379 (Am − B[m − F m − Am − Em)/A− bell chords (ped)
381 Mb Cm (Cm − A[∆7 − G)/A− Mb: WW+Tpt+Str
382 ⊥ (Cm − A∅7 − D7[9 )/A−
383 Md (Cm − A∅7 − Gm − G[9 7 )/G−
i (%), P (g)
Md: WW+Vi, Pm D
..
385 . (F ]◦7 − G[9
7 − Cm)/G− (ped)
..
387 . (C7[9 − F − D∅7 )/G− (ped)
389 ⊥ (B[∅7 − E◦7 − G7 − Gm7 )/G− (ped)
391 Md/s F ]◦7 /G − . . . [X] Md: WW+Vi, P D (g),
393 ⊥/⊥ F ]◦7 /G − . . . − Ms: Hns+Vc, PLi (%)(ped)

17.2.4 Part 4: Transfiguration (m. 397–501)

See Table 17.15 for the analysis. The closing part Transfiguration (Verklärung) begins with
a most extended tonic-dominant pedal point, over which we hear the augmented opening
motto from the theme Mt. This Transfiguration theme is presented in imitation in the horns,
later also in the woodwinds while it gradually undergoes a diminution from whole notes to
half notes and quarter notes. From m. 411 onwards it is combined with the cantabile theme
Mc from the introduction, which undergoes the same process: imitation in the strings and a
gradual diminution from quarter notes, to 8th note triplets and 16th notes.
The coda tranquillo starts in m. 432 with a full statement of the Transfiguration theme
Mt.ab. It is combined with snippets from the other themes Ms, Ml and Mc in tutti counter-
point setting. The final climax is reached in [Aa] m. 471 with ff brass playing Mt over a
dominant pedal and tremolo string background. Now the theme undergoes augmentation,
starting in quarter notes (all brass) and going to half notes (horns, m. 476) and whole notes
(trombones, m. 477). Now the a- and b-phrase sound in parallel. With imitative statements
of the Mt opening motif the piece dies down over a tonic pedal point.

The key relationship diagram of the symphonic poem Tod und Verklärung, Op. 24 is shown
in Fig. 17.4.
G D A tE 9 B t
4 10
Gm Dm Am Em Bm
A 6 6 HHH j
B[ F C∗ A G D
2 6 12 5
A
*
3 ? AAU
B[m - F m 1 Cm Gm
Dm
7
D[
A[ E[ B[ F
11 1
D[m A[m E[m B[m Fm
tE
8
B t G[ D[ A[
Figure 17.4: Strauss, Tod und Verklärung, Op. 24, key relationship diagram
The key changes throughout this piece show a simple-complex-simple pattern :
• Part1: The piece starts in the tonic minor Cm and follows a clockwise loop through the
fairly remote lowered submediant minor A[m (1) and the parallel major C (2).
• Part 2: This section involves a somewhat more remote excursion into the subdominant
domain, starting with the subtonic minor B[m (3) and then creating a loop F m − Am −
Gm − Cm (4) of minor keys only.
• Part 3: The development character of this sectionis also clear from the modulation path.
Starting in G (5) there first is a clockwise loop with limited envelope G−Em−D−G (6).

m M R H Comment
Part 4 – Moderato Transfiguration
397 C F ]◦7 /C− P (c−g)
402 Mt’ (Dm7 − . . . − G7 − . . . −)/C− Mt.a’: Hns augm imit (ped)
..
411 . /Mc G7 /C − . . . − Mt: WW+Hns, Mc: Va (ped)
.. ..
420 ./ . G7 /C − . . . − [Y] Mc: Str imit (ped)
.. ..
424 ./ . G7 /C − . . . − dim 4th-8th triplets
428 ⊥/⊥ G7 /C− 16ths PL (%)(ped)
430 G7 /C− syncopes
tranquillo Coda
432 Mt <(C − D7 )/C− Mt.ab: WW+Brs
..
435 . (E∅7 − F − B◦7 )/F −
..
437 ./Ms’ C − Am7 /C − G7 Ms: Fl+Vi augm
439 ⊥/⊥ Em7 − Am7 − G7 /B−
441 Mt Am7 − D7 − G7 /F − C/E Mt: Cl+Hns+Str
443 ⊥ Am7 /G − D7 /F ] − C/E − G7 − Σ(cm<)
448 Mt/Ml’ C7 − C]/E − Dm − Am/E− Mt: LoWW+Str, Ml’: Fl+WW
450 ⊥/⊥ Dm7 /F − G − G7 −
453 Mt/Mc C − E∅7 /B[ − A[9
7 [Z] Mt: Cl+Hns+Str, Mc: Vi
.. ..
457 ./ . D − F ]∅7 /C − B7[9 −
.. ..
461 ./ . E − G]◦7 /D − B◦7 /D−
463 ⊥/⊥ F/C − B7 − E[ − F7 /C− PLi (%)
467 Mt’ B[ − A[ [Aa] trans, Mt: LoWW+Str
471 Mt C/G − . . . − C∆7 /G Mt.a: Brs, Str trem, clim P D (g)
..
475 . (G7 − . . . − C)/G− a:) Brs augm (ped), b): WW+Str
477 ⊥ G7 /C − . . . − Tbns augm (ped)
481 C − ...− [Bb]
483 Mt (C − . . . − A[ − . . . −)/C− Mt: Brs+Str imit, P T (c)
..
487 . (C − . . . − Am − . . .)/C− Tpt+Vi (ped)
..
491 . C − ...− [Cc] tutti imit (ped)
495 ⊥ C (501 m.)

But then follow some more distant modulations: we see major third related keys (4i),
see G−E[ (7) and E −A[ (11), intermediate dominant keys, see (G[ = F ])−B −E (8–9)
and A[ − D[ (11), the latter being the Neapolitan (lowered supertonic major) key of the
minor tonic Cm. We need the double occurrence property twice for the interpretation.
And finally, there is the interesting sidestep E − Gm − E (10). The development takes
us to the corners of this key relationship diagram.
• Part 4: The closing part is static in the parallel major key C. This yields a large scale
key pattern Cm − G − C for this symphonic poem.
17.3 Symphonic poem Till Eulenspiegel, Op. 28 (1894-95)

Source: [67]. Music for orchestra. Form: symphonic poem.
The composer labeled Till Eulenspiegels lustige Streiche (the full title, Till Eulenspiegel’s
merry pranks) with the subtitle Nach alter Schelmenweise - in Rondeauform. Well, however hard
you search, it’s impossible to discover rondo form elements in this piece that has more the
structure of the sonata form. Somewhat artificial though, it is possible to find opening theme
statements with an exposition character, development sections (plural), a recapitulation and
a coda (indicated in the analysis). However, it makes more sense to indicate the story-telling
episodes, the Streiche, although Strauss himself refused to give detailed indications about the
depicting of these pranks.
There are two central elements in this piece. Harmonically, there is the juxtaposition
(and sometimes the combination) of diatonic and chromatic settings. But more important,
there is the intricate use of only five themes that support the story-telling. Two of these are
returning frequently in many disguises and are characterized as Till - The Adventurer MA ,
and Till - The Mocker MM . The adventurer theme is the infamous French horn theme MA :
c % f − g − [g]] − a (3×) − b[ − [b] − d & c − a − f − c − a − f − c − f (rising to the top note
d and then descending on a series of harmonic overtones). The mockery theme for clarinet
MM : a & f − [b] % c − [c]] − f & [g]] % a has the reverse shape: descending arpeggio,
followed by ascending (chromatic) leading tones. Note that the mockery theme also contains
a hint towards the Death sentence motif (large downward leap f − g]), that appears at the end
of the symphonic poem.
Variants of these themes will be labeled with a superscript, e.g. ‘hurried variant’ of the
adventurer theme MhA . Both Till themes contain non-diatonic tones (shown above in square
brackets). The other three melodies are the Sermon theme MS (later used by the judges in
court), the Theology Professors theme MP , and the Happy Streetsong MH , both used to help the
story along.
17.3.1 Introduction and exposition (m. 1–50, 50 m.)

The Introduction starts with the Once upon a time variant MoM , the regular 8th note augmen-
tation of the mocking theme, set for the strings (from here on, Till Eulenspiegel is abbreviated
as TE). Then, as a sort of exposition we here four statements of the adventurer theme MA and
then ‘hurried‘ (ascending chromatic 8th note rhythm) variant in #2, ascending to a climax,
before the solo clarinet in D plays the mockery theme MM .

17.3. SYMPHONIC POEM TILL EULENSPIEGEL, OP. 28
Table 17.16: Strauss, Symphonic poem Till Eulenspiegels lustige Streiche, Op. 28
m M R H Comment
h i
4
Gemächlich 8 ([) Introduction
1 MoM F F− F7]5
− B[ − F46 − C7 − Vi1, Str, cad
4 ⊥ F − ...− Cl
h i
6
8 Exp
6 MA F/C − . . . − TE-Adventurer: FHn, Vi trem
12 C −F full cad, WW+Hns+Str pizz
14 MA F/C − . . . − 2nd stat, FHn, Vi trem
20 Dm WW+Hns+Str pizz
21 M0A Dm/F − . . . − F7 − [1] 3rd stat, Ob, Vi trem
26 M0A Am/C − . . . − C7 − 4th stat, Cl, Vi, WW cad
31 MhA C7 − . . . − Gm7 /C− [2] Bsn+LoStr, 8ths chr%, P D (c)
..
35 . C7 − . . . − F m − F ]◦ − WW+Hns+Str, cresc
39 ⊥ C7 − . . . − C− climax on dominant (ped)
Immer sehr lebhaft
]5/[9
46 MM B[∅7 (= C7 no 1 ) − F/A − F TE-Mocker, Cl, WW, tutti
tempo Epis: Market Scene
]5/[9 i (&)
51 A E7 − . . . − E7 −A [3] Str+WW, Pm
[5/[9
55 M0M C] E7 − . . . − G]7 − C] Hns, Str+WW, Pm i (&)
59 M0M F ]m − B∅7 − G][9 7 − C]

i
WW imit, Str PL (%)
61 ⊥ [5
A − Dm − D]7 − G]7 −
63 MM /MsM F (F − E7 − F − F ]◦7 − Dm7 )/C [4] FHn+Vc, WW imit, P D (c)
.. ..
66 ./ . (B7 − C79 − B7 /C−
68 ⊥/⊥ C79 − B7 /A − A[7 − C7 − cresc, PL (%)
71 MhM [5] climax, WW+Str unis
..
73 . F − Gm7 − C7 − WW+Str+Hns imit
75 ⊥ F Str unis dim, tutti clim
77 MhA F − C + − F − Gm7 − G]◦ − 8ths chr%
79 ⊥/MhM F Vi-LoStr
81 MtM F/C − C7 − F − F7 − [6] trans, WW imit, str
..
85 . /MsM B[ − Dm7 /A− WW imit, PB (&)
87 ⊥/⊥ C]◦7 /G − Dm/F −
89 MsM E∅7 − B[/D− WW imit, Σ(cm<)
90 ⊥ G∅7 /D[ − C7 − C7 /B[−
91 M0M F/A − C7 − F − C7 − F − C7 − WW+Str imit

h ih ih i
4 6 2
Symphonic poem (F , 8 8 4 , 657 m.)
h i h i
6 2
Introduction 8 F Market Scene F − Dm Sermon 4 B[
m1 m 51 m 179
h i h ih i
6 2 6
Love Scene 8 A[ − Gm − G Theology Professors Am Streetsong 4 8 A[
m 208 m 293 m 375

h i
6
Recapitulation 8 F Grandness Dance F Court Scene F m Epilog F
m 429 m 485 m 577 m 632
Figure 17.5: Strauss, Symphonic poem Till Eulenspiegels lustige Streiche, Op. 28
The closing cadence before #3 demonstrates how the intermediate harmonies are deter-
mined by the (chromatic) voice leading. Let’s consider the woodwind and string section
voicing in m. 47-51 in more detail:
 
m. 47 − m. 49 % a m. 49 m. 50 m. 51
   
g]

 g] % a 


 e = f[ % f 


 c & b 

a & g]
 

 e = f[ % f 


 d[ & c 
 




 d[ & c



 b[ & a

 
 f & d 

d] % e
   
 b[ & a   g[ & f  



[5/[9
B[∅7 − F/A G[97 − F B7 /D]no 1 − E7
The two upper voices in the left diagram are chromatically ascending, the two lower
are descending; this yields the intermediate leading tone chord B[∅7 that is equivalent to
]5/[9
the dominant 7th chord C7 no 1 (root missing). The target chord is the tonic chord in first
inversion S 6 = F/A. The diagram in the centre shows the same procedure for approaching
[5/[9/[13
the tonic chord in root position; now the cadence yields G[97 (= C7 no 1 ) − F . Finally,
on the right we see the combined reading of m. 49-51 (although the actual string section
setting of the target chord is different); here the combination of m. 49 and 50 yields the chord
[5/[9
B7 /D]no 1 = F/D], i.e., the inverted German augmented 6th chord in the new key of A
major. Similar intermediate chords will occur many times in the harmonic analysis of this
symphonic poem, and are part of the chromatic setting.
17.3.2 Episode: Market Scene (m. 51–178, 128 m.)

TE is definitely not the guy to have on your premises; he is bad for business. In #3 hthei
market square vendors are faced with TE riding on horseback; the bouncing rhythm in 68
meter is prominent in #3 and #10. The section is characterised by symmetrically distributed
roots R4i : F − A − C]. The following sections are a sequence of contrasting dynamics and
tension: climax in #5, relief in #6, rebuilding mockery in #7, climax and relief in #8, and then
the buildup (chromatically ascending swooshing clarinets, ratchet and cymbal clashes) to
the final market disaster in #9. Here we also hear the minor 2nd clash (a − b[, m. 135, 143)

repeating in the oboes, in #10 fortissimo horns, the flutter tonguing in the trumpets, and
whirlwind imitations of the shortened (first tree notes) mockery motif MsM . The minor keys
move along the circle of fifths: Dm − Am − Gm. The minor second clashes continue in the
transition in #11, imitated in the woodwinds. Hearing the solo clarinet in #12 indicates, that
TE is preparing for another prank.
17.3.3 Episode: The Fat Prior’s Sermon (m. 179–207, 29 m.)

The next episode is the Fat Prior’s Sermon with a gentle mock sermon theme MS (that will
later return more aggressively as the accusation by the judges). The sermon theme has sen-
tence structure MS (aa’b). The mockery starts in #13 in the counter bassoon and contrabasses
and as the closing turn of the main melody (clarinets and first violins). See Table 17.17 for
the analysis.
The sermon ends in #14 with a suspenseful mood in muted horns, trumpets and first vio-
lins. A solo first violin has the lead, repeating the shortened mockery theme MsM and closing
with a descending chromatic glissando. Then there is the transition to a more romantic mood
with the appropriate variation on the mockery theme MrM .
17.3.4 Episode: Love Scene (m. 208–292, 85 m.)

The Love Scene episode main theme in #15–17 is another variation on the adventurer theme
MlA , with a sentence structure MlA (aa’b). The 2nd statement, in #17, starts in G major, is
combined with the romantic version of the mockery theme MrM , and at the end returns to G
minor. In #18 his efforts turn out unsuccessful and TE gets upset. He gets into a rage and the
low voices play the angry variant of the mockery theme MaM . This mood of anger reaches a
climax in #19, with four statements of MaM , with alternating directions of the bass part. See
17.3.5 Episode: Theology Professors Scene (m. 293–374, 82 m.)

Strauss always excels in his distrust of the academia. Once again (like in Also sprach Zarathus-
tra) he writes intricate counterpoint, but this time it is in a shrill contrasting kind of canon
on the theology motif MP . TE is defendingh his i doctorate thesis, and gets into a serious argu-
6
ment. The rhythm is a bouncing dance in 8 meter (the same bounce was used in the horse
riding scene on the market in #3 and #10, and will return in the triumphant dance in #32 and
#36). The mockery theme is adapted to the dance rhythm in the form of MdM . In #22–23 the
stretto imitation, representing the theology professors’ voices, leads to many intermediate
harmonies, with a floating tonality as result. The analysis here shows the entry notes of the
theme MP ; note that the second voice starts at either a semitone or a major second above the
first voice. The resulting dissonant clashes are resolved through chromatic descending mo-
tion. Occasionally there are key centres, indicated in the table: Am − (F ) − C]m − D[ − Em.
In #24 there is TE’s comment, as he juxtaposes the mockery theme MM to the hammering
statements by the professors. An abbreviated variation on the MP theme is set as a contin-
uously rising sequence in #25, where the discussion gets out of hand in a tutti climax. See

Table 17.17: Strauss, Till Eulenspiegels lustige Streiche, Op. 28 (cont’d)
m M R H Comment
97 MsM F ]◦7 /A − E7[9 /G] − F◦7 − [7] Fl, Str pizz, Seq(4×R7 )
..
98 . F ][9
7 /A] −→
101 ⊥ B7 /F ] − B[m/F − Em−
102 MsM A[ A[64 − B[∅7 − A[/C − B[∅7 − Cl-Vi imit
105 MhM F F − B[∅7 − [8] WW+Str unis, clim
109 E/G] − C7 −
111 F Dev, Va trem, P T (f )
113 M0M F − Gm7 − LoStr
117 M0M Gm7 − C − C7no 3 − Fl, Va trem, P D (c)
123 F/C − . . . − C7 −
129 F [9] Va trem
131 M0M F LoStr
133 Dm Dm − B[∆7 /D− Cl chr%, Ob, Perc, cresc
137 M0M B[∆7 /D climax, Str unis
139 MsM G7 − <(B[7 /A[ − Em7 /G)− Hns, WW imit, clim
B[7 /A[−
141 [9
E7 − Cl %, Str+Brs
143 Am Am [10] Ob, Bsn+Str unis
145 M0M Am Bsn+Str unis, Cl%, Tpt flut
147 MsM Am − <(B∅7 − Am7 )− Hns, WW imit
149 D7[9 − . . . − Hns+Str
151 MsM D7[9 − . . . − Tbns, WW imit, unis chr&
155 Gm Gm − . . . − E[∆7 /Gno 5 [11] trans
[5/[9
159 MsM A7 /C]− Bsn-Cl-Ob
..
167 . E79 /B − F79 [12] Cl-Fl
172 ⊥ E79 /B − F79 − Cm7 /F −
174 F7 − E79 /B − F79 − G]◦7 /B−
176 Am7 /C − E◦ − F7 −
h i
2
Gemächlich 4 Epis: Fat Prior’s Sermon
179 MS B[ B[− (a): Cl+Bsn+Va
..
181 . <(F7 /A − B[)−
Cm7 /E[ − C7 /E − F − cad
..
182 . B[ − . . . − C7 − F (a’)
.. d
187 ./M0M F7 − . . . − E◦7 − [13] (b), MM : CBsn+Cb
.. ..
189 ./ . B[/F − E[∆7 − C7 /E−
190 ⊥ /⊥ C]◦7 − B[∆7 − B[7 −

m M R H Comment
d
191 MsM E[ − C7 /E − Cl, Str
192 M0M B[/F − E[ − C]◦7 − Dm− Bsn
193 ⊥ Gm7 − F7 − cad
0
194 MsM B[ − B[64 − F7 − trans, Vi1, cad
196 <(B[ − Gm/B[) − D/F ] [14] Hns+Tpt+Vi1 (mute)
199 D/F ]− Str trem
0
203 MsM B[64 − F7 − B[ − Gm/B[ Vi1
..
205 . B[ − B[7 /D − C]∅7 −
207 ⊥ A[ A[64 Vi1 gliss&
h i
6
208 Erstes Zeitmass 8 Epis: Love Scene
209 MrM G − Am7 /G − G Cl, WW, Romance
211 MrM A[ − B[m7 /A[ − A[6 − E◦7 − Ob, WW
213 MrM D[/F − B[m7 /F − A[ − E◦7 −
215 MsM D[ D[/F − (G[6 − D[∆7 − E[m7 )/D[− ~
Fl, WW+Str Hkd
d
217 ⊥ D[6 − A[7 −
218 MrM A[ B[m − A[6 −
219 MrM D[/F − B[m7 /F − A[6 − E◦7 [15] Ob
221 D[/F − Dm7 − B7 − mod
222 (MlA ) B7 − Vcl+Hns,
223 ⊥/MsM B79 − . . . − WW+Vi imit
225 MrM /MsM E E − B 6 − D][9 +
7 − C − D7 − [16] WW+Str imit
229 MlA Gm Gm − D7 − E∅7 − D7 − (a): Fl+Vi1, Love affair
..
232 . Gm − D7 − (a’)
..
236 . Gm − Cm− (b)
.. ~ , PL (%), P D (d)
241 . (D7 − Gm − Am − B[)/D− Hk d
243 ⊥ (C − D7[9 )/D− climax
245 MlA G G − Em − G/D − D7 /A − D7 − [17] 2nd st, (a): EHn+Via
..
249 . /MrM G − D7 /A − G64 − D− (a’), MM : Fl+Cl imit
..
253 . G/B − Gm− maj-min, climax, Σ(cm<)
255 ⊥/MhA Gm Cm MA : BCl+Bsn+LoStr
0
257 MhA Gm/D − D7[9 − [18] Hns-WW, Σ(cm<)
261 ⊥ G[9
7 /B− TE is rejected
263 MaM /MhA Dm C]◦ − Dm − E/B− MM : Bsn+Brs+LoStr,
265 ⊥/⊥ Cm − F ]/C] − F + − E79 /G]− MA : WW+HoStr

m M R H Comment
267 MaM /MhA Dm/A − G]◦7 /B− 2nd stat, cresc
269 ⊥/⊥ F/C − F −
271 MaM F + /C] − F + − G]◦7 − [19] climax, Tpt+Vi, PBi (&)
..
274 . Cm+7 − F ] − B[m+7 /F − E7[9 − (augm chords)
d
276 ⊥ B7[9 /D] − A7 /E − WW sc runs&
277 MaM B[/F − B 6 /F ] − C/G − C]7 /G]− 2nd stat, PBi (%)
279 ⊥ F7 /A − E7[9 − B − B7 − F ]m− WW sc runs&
281 MaM C] − Em − A[ − B[m− 3rd st, Ob+Tpt+Vi2, PB (&)
283 ⊥ Dm − F m − A7 − B∅7 −
285 MaM F + /C] − E − Cm/G − B[∅7 − WW+Tpt+Vi1, clim, PB (%)
287 M0A B[/D = (N 6 /A) trans, Hns
289 MM Cl
291 ⊥ A]∅7 − C]m/G] − G]7 /F ] − E7 − Str, PBi (&)
Epis: Theology Professors
[5/[9
293 (MP ) Am Am − <(B7 /D]no 1 − Am)− [20] BCl+Bsn
297 ⊥ F7 /E[ − B[/D − Am64 − E− augm 6th, N 6 , cad
299 M00A Am − Am7 /G − F ]◦ − F/A− FHn+Vi1
303 M00A F ]m D]7 − F ]m − F ]m7 /E − D]◦ − Tpt+Vi1
306 ⊥ D/F ] − F ] − D]◦7 − Am
[5/[9
308 MP /M00A Am Am − <(B7 /D]no 1 − Am)− [21] (Bsn+LoStr)/(Ob+Vi)
311 MdM F7 /E[ − B[/D − Am64 − E7[9 − WW+Tpt+Vi1 ‘dance’
313 MhA Am7 − . . . − B∅7 − E7 − tr, WW+Va, stretto imit
319 MP Ctp: M(e − f : f ] − g]) [22] stretto Hns+Str
..
324 . C]m Ctp: M(f ] − g]) Bsn-Tpt
326 ⊥ D[ Ctp: M(g − a[ − b[) Cl-Ob, Σ(cm<)
329 M0P Ctp: M(d[ − e) [23] Tbn-Tpt (ctp cont’d)
331 MP Ctp: M(b[ − f − g[) Bsn+Str-Cl
335 M00P Em Em/G − C∆7 /E− Hns+Ob
337 ⊥ Ctp: M(f ] − g)
339 MP Ctp: M(e[ − e) Hns+Cl+Bsn
341 ⊥ Em − A7 − G7 − E7 − PLi (%), cresc
[5/[9
344 M00P /MM Am Am − B7 /D] − B∅7 − Am [24] LoBrs/HiWW, Str,
348 M00P /MM F∆7no 3 − B[m − G[[97 /E − F climax
350 ⊥/⊥ B[∅7 − Am
352 M0P B[∆7no 3 − E[m − B7 /A − B[− LoBrs+LoStr
..
354 . C[ − B[m7 − C]◦7 − F ]7 /C]− tutti
356 ⊥ G∆7 /D − C]∅7 − Em7 − F ]/C]−

m M R H Comment
358 M00P Em/B − G]m − Dm7 − Em7 − [25] 2-pt seq LoBrs+Lostr
.. i (%), cresc
360 . F∆7 − G7 − Am7 − B∅7 − Va Pm
362 ⊥ C∆7 − G[/D[−
363 Am/C − Cm − Dm − G∅7 − Gm7 − HiStr [S̄ 6 ] , PLi (%)
365 C∅7 − Em − A∅7 − Am
[5/[9
366 MhM B7 /D]no 1 − . . . − HiWW+HiStr, tutti clim
370 ⊥ F <(B[∅7 − F/A) − B[∅7
h i
2
leichtfertig 4 Epis: Happy Streetsong
d
375 MH A[ <(E[7 − A[) − A[7 − [26] (aa’): Cl+Vi1
379 ⊥ B[m/D[ − A[64 − E[97 − A[ (b), cad
383 MH <(E[7 − A[)− 2nd st, (aa’)
387 <(F ]7 /A − F∅7 )− ‘death’
396 M0M F ]◦7 /A − F∅7 − B7[5 − BCl+CBsn+LoStr augm
..
399 . A[+ /C − D[∅7 − D[7 /F −
402 ⊥ F m/A[ − . . . − D7[5 /A[ − D7 /A− [27]
h i Ob+Str
6
etwas gemächlicher 8
410 (MA /M0M ) C <(C 6 − G13
7 )/G − C/G trans, Cl+Hns+Str, P D (g)
416 ⊥/⊥ Dm/F − D7 /F ] − G7 − imit
418 (MA /M0M ) <(C 6 − G13
7 )/G − C/G− [28] 2nd stat
.. ..
423 ./ . Em/G − Dm/F − D7 /F ] − G7 −
426 ⊥/⊥ C46 − G7 − C− cad
almählich lebhafter Recapitulation
d
429 MA F F − F/C − . . . − C − Adventurer: FHn, Vi trem
436 MA D D − D/A − . . . − B[− 2nd stat, FHn, Vi trem
443 MrM B[ B[ − Am7 − Mockery: Cl imit
445 MhM F (Fl+Vi1)-LoStr imit
549 M0A F 6 /C − . . . − [29] FHn, WW+Str, PBi (&)
453 M0A B7 − . . . −
457 M0A E[/B[ − . . . − cresc
461 M0A A7 − D[/A[−
465 MM /MsM (F − E − F − D7[9 − B7 − C)/C− [30] imit, P D (c) (m. 61–69)
469 MsM <(C79 − B7 ) − A[ − C7 − cresc, PL (%)
475 MhM F − . . . − Gm7 − C7 − clim, unis+imit (m. 71–80)
479 ⊥ F Str unis dim, tutti clim

17.3.6 Episode: Happy Streetsong (m. 375–428, 54 m.)

However, TE is not in the mood for long arguments and escapes in a lighthearted, happy
and cheerful streetsong in #26. The new theme is MH , with a sentence structure MH (aa’b),
and played by violins and clarinets. The second statement ends early with a foreboding of
the death sentence motif (downward leap) in the clarinets. Then, an augmented version of
the mockery theme leads into the retransition of #27–28, with cadences on the dominant key
C major.
17.3.7 Recapitulation (m. 429–484, 56 m.)

The original material returns in the recapitulation, with the horn adventurer theme MA over
tremolo high strings. After three statements in F − D − B[ there is the romantic version of
the mockery theme MrM for the clarinets. The transition in #29 repeats the horn theme over a
slowly chromatically descending bass, and with a crescendo. In #30 there is the exact repeat
of segments from the exposition, including the unisono climax in m. 475 ff., preparing for
another prank.
17.3.8 Episode: Grandness (m. 485–576, 92 m.)

In #31 TE starts off to display his arrogant self in glorious grandness. In sonata form termi-
nology, this section might be considered as a sort of secondary development. The thematic
material is a grandness-flavoured modification of the adventurer theme MgA (aab) with sen-
tence structure, with molto marcato 2-part horns and trombones, and trumpet pedal point
fanfares. In parallel it is commented with the shortened version of the mockery theme MsM
in 16th descending arpeggios (imitation in both woodwinds and strings; the same version
was used in the transition in m. 81). This isha itutti climax, leading into TE’s dance in #32, with
the by now familiar rhythmic bounces in 68 meter, beneath the dance version of the mock-
ery theme MdM and the hurried chromatically ascending version of the adventure theme MhA .
There seems to be some relief in dynamics in #33–34, as TE is demonstrating acrobatics,
combining both themes. Note the symmetric roots R3i : B[ − D[ − E−, while the target
key A never materializes. This section picks up momentum in #35 with downward tum-
bling imitations of the shortened version of the mockery theme MsM in the woodwinds, over
an ascending bass. This yields waves of contrary motion, with the whole rising steadily,
preparing for the next tutti climax in #36, where the bouncing dance rhythm returns. The
hurried mockery theme MhM is then presented in #37 as a stretto 2-part imitation in two strata
S(3p)/S(p) (i.e., three parts in the upper, one part in th lower stratum). Like in the earlier
intricate counterpoint section (compare the theology professor scene) there are very many
intermediate harmonies, and the root is shifting on a local scale. However, all voices start
to rise to the final climax, where horns and trumpets are blurting out the Judges theme, a
disguised sermon theme MjS (heard before in #12), as TE is dragged to court.
17.3.9 Episode: The Court Scene (m. 577–631, 55 m.)

The atmosphere turns sour in #38, the key changes to F minor. The judges, trombones,
horns and string in the lower register with hammering offbeat accents, do the interrogation,

m M R H Comment
481 MhA F − ... − F6 8ths chr%
484 ⊥/MhM F6 Vi-LoStr
Epis: Grandness (2nd Dev)
485 MgA /MsM <(F/C − . . . − C7 )− [31] (aa): Brs/(WW+Str), P D (c)
.. ..
494 ./ . B[/F − F◦ − F7 − B[− (b) tutti climax
497 ⊥/ ⊥ Gm − F46 − C7 − cad
500 MdM /MhA <(F − B◦7 ) − C7 − F [32] Dance Ob+Cl+Vi/Hns+Va
504 MdM /MhA <(C7 − B7 )/C− P D (c)
507 ⊥/⊥ (C7 − F ]◦7 − G − C7 )/C− cad
508 MdM /MhA <(F − B◦7 ) − C7 − F [33] 2nd st, HiStr/Bsn+Va
512 ⊥/⊥ C − B7 /C − C−
514 MsM F7 − Fl, Str
516 MhA /MsM B[ B[ − . . . − F7 − (FHn-Vi1)/Fl
520 MhA /MsM B[ − . . . − A7 − 2nd st
524 MhA /MsM D[ D[ − . . . − B7 − [34] (FHn-Vi1)/Fl
d
528 MhA /MsM E E − G − G/D − D7 − 2nd st
530 ⊥/⊥ A F ] − F ]m7 − A64 − A7 − cresc
[9/13
532 MsM C]◦7 − D7 − D7 − [35] clim, WW imit, Σ(cm>)
..
534 . C]◦7 − B[ − E◦ − D[/F − Σ(cm>)
..
538 . E◦7 − D/F ]− Σ(cm>)
540 ⊥ G]◦7 − F ]◦7 /C − D]◦7 − Hns-WW imit, cresc
544 A/E − C7 − [36] tutti climax
546 MhA F <(F − C7 )/C − F/C − Cm7 − WW+Hns, P D (c)
551 ⊥ B◦ − A∅7 − C]m/G] − G97 Σ(cm<)
immer ausgelassener
554 MdM /MhA F/G − G]◦7 − F/C − B◦7 − F (WW+Tpt+Vi)/LoBrs+LoStr
558 MhM F/C − B∅7 − F/C −→ [37] final dance clim, S(3p)/S(p)
..
563 . A/C] −→ E◦7 /G − D[/A[ −→ PL (%), PB (%)
..
565 . A[7 /C − F −→
566 ⊥ C7 /E − Em/G − E/B−
567 MjS D D/A − . . . − A7no 3 − D/A− Hns+Tpt Judges, P D (a)
575 ⊥ D7[9 /C

and TE answers (mockery theme in clarinet and woodwinds, but becoming more timid by
the third question). In #39 the threatening mood from #14 returns, and then there is the
death sentence, depicted by the unisono major 7th leap downward in bassoons, horns and
trombones. The hanging from the gallows happens in #40; note the downward woodwind
arpeggios, but then, subtly, there is the reappearance of the major key in the pizzicato strings
and muted horns. See Table 17.22 for the analysis.
17.3.10 Epilog (m. 632–657, 25 m.)

The closing section, the epilogue or coda (in sonata terms) brings back the opening Once
upon a time variant of the mockery theme MoM in gentle strings. This time it is an extended
melody with MM (abb’c) structure. At the end there are snippets of the adventurer theme M00A
and the mockery theme MsM in the horns and clarinets. Signs from TE? And yes, the final
measures, after a crescendo trill, blatantly state the full mockery theme in the woodwinds,
ending the piece in a tutti climax.

The key relationship diagram of the symphonic poem Till Eulenspiegels lustige Streiche is
shown in Fig. 17.6. It is a hard to read dagram, since so many keys were used in this piece.
However, note a few characteristics:
• Although the span of the diagram is wide, most keys stay close to the fundamental key
of F major.
• When the key gets very remote at the edges of the diagram, there is a return to closer
keys through a double occurrence or an harmonic equivalence in the diagram: A[ (5),
A[ = G] (7), and E (19).
• There is a lot of key movement along vertical axes (parallel or relative major/minor),
or minor third (3i) symmetrically distributed roots: e.g., F − A[ − F (2), Gm − G − Gm
(9), Am − F ]m − Am (13), B[ − D[ − E (18), and F − D − F m − F (21–22).
• Also major third (4i) symmetrically distributed keys have been used: F − A − C] (1),
G] − E (7) and D − B[ (16).
• The use of intermediate dominant keys is rare: we observe C − F (15) and E − A (20).
17.4 Eine Alpensinfonie, Op. 64 (1911-15)

Source: [68]. Form: symphonic poem. Music for orchestra. See Table 17.23 to 17.24 for the
analysis. Currently the analysis covers only the beginning of the symphony and includes
the sections: Nacht, Sonnenaufgang and Der Anstieg.

17.4. EINE ALPENSINFONIE, OP. 64
m M R H Comment
Epis: Court Scene
577 Fm Fm − ...− [38] LoWW+Brs+Str accts
582 MM F − B[∅7 − F/A Cl, WW TE answers
585 F m − . . . − D[ 2nd question, accts
590 MM F − B[∅7 − A Cl, WW
594 Fm − ...− 3rd question
597 M0M F Cl (short answer)
598 F m − . . . − B◦7 /F −
602 F m − A[/C − F m/A[ [39]
h i
2
etwas breiter - kläglich 4 ‘threat’
605 <(F m − A[97 )F m (Hns+Tpt+Vi) mute (#14)
608 C[/E[ − C7 /G − F m/C − . . . − Str trem
613 unisono leap: f & g[ [40] Bsn+LoBrs, Death sentence
615 M0M F/G[ − . . . − Cl, Tbns
618 G[97 − . . . − Cl+WW, Hanging
624 F − ...− min-maj, Str pizz
h i
4
Epilog. Doppelt so langsam Coda 8
632 MoM F F − F7]5 − B[ − F46 − C7 − F (a) Str
..
637 . F − . . . − C − . . . − B∅7 /D− (bb’) Σ(cm<)
..
641 . A[/C− (c) Str+WW, [S̄ 6 ]
..
642 . F ]◦7 /A − Gm/B[ − G]◦7 /B−
643 ⊥ F46 − C7 −
644 M00a F − ...− Cl+Hns
647 (MsM ) F − ...− BCl
h i
6
Sehr lebhaft 8
650 C7 − . . . − tutti cresc
652 MM F − B[∅7 − F WW unis, TE lives
555 F − B[97 − F − D[7 − F tutti climax (657 m.)

Table 17.23: Strauss, Eine Alpensinfonie, Op. 64
[#]+m M R H Comment
h i
4
Nacht - Lento 4 - ([[[[[)
0 B[m B[-Aeol desc scale
1 M1 B[m − E[m − F m/A[ − E[m7 − Brass, asc signal
1+4 Dm − Gm − F7 − B[m
2 <(B[m11 11
7 − G[∆7 − B[m7 ) low arp, P T (b[)
3 <(B[m11
7 − B[m) triplet arpeggios
4 M1 B[m11
7 G[9
6 asc signal, dim imit
..
5 . G[69 16th nt arp, G[-Ion sc
6 ⊥ D[97 − B[/F arp+asc sc runs
h i
4
Sonnenaufgang - Festes Zeitmaß, mäßig langsam 4- (\\\\\)
7 M2.1 A A/E − E7 − A− Desc sc theme
7+4 ⊥ D/A − E7 − Bm7 − E7 −
8 M2.2 (A − G]◦7 − A6 − G]∅7 − E7 − A− P T (a)
8+4 M2.2/2.1 D/A − E7 − A)/A (ped)
9 M2.2/2.1 D[ D[ − A[7 − D[ − B[m/D[ − A◦7 − ([[[)
10 M1/2.2 B[m/D[ − B[ − <(G[ − G[◦7 )
11 E◦7 − B[7 /F − F ]m − G◦7 − E−
11+2 M1 B[ E[/B[ − B[4 − B[ signal dim, climax
h i
4
Der Anstieg - Sehr lebhaft und energisch 4 - ([[[)
11+5 M3.1 E[ E[ B[ − B[7 /A[ − E[/G − A[
12 B[ − E◦7 − F m − Em/G−
12+2 D[/A[ − Cm − B[−
13 M3.1 B[ − E◦7 − B[7 E[[5
7 − B[7
14 M3.2 G[ − F m/A[ − Cm − E[/G − D[− imit
14+3 ⊥ F m − A[ − Em − F ]mB[7
14+5 M3.1/3.2 E[/G − B[7 −
..
15 . E[/G − E − F m − B[ − E[−
◦7 7
15+2 ⊥ E[/B[ − B[7 − E[/B[ B[ − E◦7 −
16 F m − A[[9
7 − D[ − B◦7 − Cm − E◦7 trans
16+2 D[/A[ − F ]m − <(F ]◦7 /G − Gm) climax
17 M3.1 Gm − F ]◦7 − E[/G − E◦7 − B[[5
7 imit
..
17+3 . E[7 /G − A[/C − B◦7 −
..
17+4 . Cm/E[ − D[ − A◦7 /C−
17+5 ⊥ E[/B[ − B[7 − P D (b)

17.4. EINE ALPENSINFONIE, OP. 64
Table 17.24: Strauss, Eine Alpensinfonie, Op. 64 (cont’d)
[#]+m M R H Comment
18 M3.3 E[ E[ B[ − E[ Distant horns
19 M3.3/3.4 E[ triplets and arp
20 ⊥ E[ <(B[7 − E[)
h i
4
Eintritt in den Wald 4 - ([[[)
21 M4 Cm Cm arpeggios, Hns
21+9 ⊥ Am − F m (arp)
22 M3.1/4 Fm (arp)
22+7 ⊥ Em − F m − D[ (arp)
23 M4 B◦7 /F (arp)
24 M3.1/4 Cm (arp)
25 M4 A[m − E◦7 − E − B/F ] − F ]7 −
25+5 ⊥ B[/F − A◦7 − B[ − E[ − D[ − E[7 − h i
3
26 A[ − A[/C− 2 trans
26+3 F m − D[ − CmA [ − E[7 − F ]◦7 h i
2
27 M4 A C 2
28 E[ − F m − A[m − F ]◦7 − E[ − C[ trans
28+3 C[ − F [ − F − B7 − Em − Em7 /D − C◦7 −
29 M4 E[ P (e[)
30 M4 E[ − F7 /E[ − E[ (ped)
30+8 ⊥ <(A/C] − E[) − G7
31 M3.1 A[ A[ − E[7 /B[ − A[/C − B◦7 − ([[[[)
..
31+2 . A[/C − F [/A[ − E[7 − A[ − E[7 /B[−
..
31+5 . A[/C − F [/A[ − E[7 /G − A[ − D−
..
32 . Gm <(F ]◦7 − Gm) − A7 /E[ ctp dev
..
32+4 . D − A∅7 /C − D − F ]◦7 − Gm−
..
32+6 . E[/G − C7[9 /G − F m7 /A[−
33 ⊥ G7 /B A[/C − B[7 /D − E◦7 − E[7 /G
34 M3.1 A[ − E[7 /B[ − A[/C − A[7 /G[−
..
34+2 . E[ B[/F −
..
35 . B[7 − E[ ctp dev
(To be continued)

D A 19 E t B F ] 1,11 C] 7 G]
t
6
Dm Am Em Bm 13 F ]m C]m G]m
t
F C G 16,21D A E B
20
9 6 ?

Fm Cm t Gm Dm- - Am Em Bm
5 ? 6 3,10,12
A[ t E[ B[ - F C G D
4,17 6 22 15 8
A[m E[m B[m F m Cm Gm
t Dm
6,18 2,14
C[ G[ D[ - A[ t t
E[ B[ F
C[m G[m D[m A[m E[m B[m Fm
Figure 17.6: Strauss, Till Eulenspiegels lustige Streiche, Op. 28, key relationship diagram

Chapter 18
Jean Sibelius
∗ 8-12-1865 in Hämeenlinna
† 20-9-1957 in Järvenpää
1600 1700 1800 1900 2000
18.1 En Saga, Op. 9 (1892, rev. 1901)

Moderato assai - Allegro

h i
- Lento assai - Moderato- Allegro molto - Moderato e tranquilo
2
(E[ − Cm − E[m, 2 , 810 m.)
Intro (30 m) Exposition (66 m.)
Exposition - Allegro (175 m.)
Development 1 (98 m.) Development 2 (111 m.)
Development 3 (26 m.) Recap (54 m.)
Coda (85 m.)
Figure 18.1: Sibelius, En Saga, Op. 9
Although this work is an extended tone poem it may also be analysed in terms of a sonata
form. This alternative is indicated in the tables and in the overview figure. The main tonality
circles around E[ major and its relative and parallel minor keys: Cm and E[m. Various key
relationships can be identified: there is the tritone between the opening Am and closing E[m
keys. There are symmetrically distributed roots in the introduction Am − C]m (R−4i ) and
middle section [K-M] at the first development and counterpoint section (development 2):
2005-2017
CHAPTER 18. JEAN SIBELIUS
E[m − F ]m − Am (R−3i ) and G]m − Em − Cm (R4i ), respectively.

There are five main themes M1 to M5. Theme M1 first appears hidden in a woodwind
rhythmic 4th+8th note pattern in the introduction; its first explicit statement is by the strings
in the Allegro [F], where it has a melodic sequence character. M2 has sentence (aa’b) structure
in Dorian mode. M3 is a variation of the M2 b-phrase in shorter note values (diminution)
and becoming an independent theme. M4, appearing in [G] in the relative minor, combines
the melodic shape of the M2 b-phrase with the 4th note triplets introduced in M1b in [F].
Main theme M5 has a strong heroic character and is often played by the full brass section in
a climax setting. Looking at the melodic material, there is also the character of a bridge form.:
the first main theme M2 in the exposition returns as a number of slightly varied statement in
the coda for solo clarinet and sustained strings, and the piece concludes with snippets from
the M1 melody and rhythm.
There are three sections with a development character, based on combinations of M2 and
M3, see [C]-[E], M1 and M3, see [K]-[L], M1 and M5, see the second half of [N]. In [M] there is
a complex counterpoint setting of M5, that opens in combination with a scalar run motif Ms.
The heroic theme M5 is played as a full statement by either woodwinds or brass and doubled
in the violas. A fascinating counterpoint is created by the other strings: unisono violins and
the combination of celli and contrabasses play a two-part counterpoint in contrary motion
based on a fragment Mc from the M5 theme and repeated on either ascending or descending
scalar steps. This all happens over a symmetrically distributed harmonic background (see
the root distribution above), that has the basic harmonic progression:
d 9/[13 d 9/[13
H: <(G]m − D]7 ) − C]m7 − B7 − Em − B7 − Am7 − G7 − Cm6
d d
im − V7 − ivm = vim − V7 − im − V7 − ivm = vim − V7 − im
R: G]m Em Cm
There is frequent use of imitation and melodic variation in the form of rhythmical al-
terations and the use of diminution and augmentation (shorter and longer note duration
values). Then there is the extended use of the descending appoggiatura pattern Ma, used
first in the transition in [H]: either as [9 − 1 and [6 − 5 on V7[9 − im cadences in minor or major
second 9 − 1 and 6 − 5 in V − I major cadences (typically as repeating riff-like patterns).
In [Q] the dominant pedal appears as an octave jump motif Mo in (stretto) imitation in the
woodwinds. There is extended use of (dominant and tonic, and even the thirds) pedal point
and inverted chords, especially second inversion dominant 7th chords S34 . Pedal point may
be used in any voice: bass, middle or top.
String multiple division in the introduction: up to violins in four plus two and violas in
two subgroups in [A], violins in four plus four and violas in two in [C]. Strings start muted
in the introduction, removing the mutes midway through [C] as the Allegro sets in. There is
a lot of tremolo playing: e.g., see the extended transition with all strings in parallel thirds sul
ponticello before [M]. There is playing on the lower strings sul G in [D] on M3. Another string
effect is the combination of a solo viola with the rest of the section in [F] and in the second
half of [N]; the solo player has a slightly different rhythm from the rest. See Table 18.1 to 18.5
for the analysis.

18.1. EN SAGA, OP. 9
Table 18.1: Sibelius, En Saga, Op. 9
m M R H Comment
h i
Moderato assai Introduction 22
1 Am Amno 3 Str: 16th arp and tremolo
9 (M1) C 6 = Am7 /C Ob+Cl+Bsn, P (c)
16 Cm(add]11) − A[/C− Ob+Cl+Bsn app chord
18 (M2) A[97 /E[− augm: mute Tpt, HiStr trem
21 Cm(add]11) − A[/C− Ob+Cl+Bsn app chord
23 (M2) A[97 /E[− augm: mute Tpt, HiStr trem
26 C]m <(Cm(add]11) − A[/C)− [A] Ob+Cl+Bsn app chord
30 D]∅7 /F ] Exp, Str: div arp, P (f ])
34 M2 <(G][9
7sus4 − D]∅7 /F ])− (aa’): Bsn+LoStr augm
..
42 . D]∅7 /F ] − C]m− (b) Dorian mode
d
46 ⊥ G][9
7 /D] − F ]/C]
50 E7 − E713 − Dm7 − [B] trans, tutti, PLi (%), P (e)
54 Dm Dm7 − HiStr: 16th arp and div, P (d)
58 M2’ Dm7 − (aa’): FHns+Vc
..
66 . D∅7 /G] − Dm7 − G7 − (b’) Dorian mode
72 ⊥ G7 − Dm7 /A − G7 − Dm7 /F −
78 F ]7 − F ]13
7 − Em7 trans, tutti, PLi (%), P (f ])
82 Em7 [C] Str: 16th arp and div, P (e)
85 M2” Em7 − C∆7 − Em (a): Bsn+Tu+CB
89 ⊥ C∆7 − Em − G − C/E trans (a’): Bsn+LoStr dim
Allegro Str: mutes off
96 M3 (G7 − Em7 − G97 )/D M3=M2b’: Cl+Vi1 Dorian
100 M2’ Dm7 − (aa’): Bsn+LoStr dim
104 M3’ (G7 − G13
7 − F7 − Dm7 )/D Cl+Vi1
110 M2’ Dm7 (aa’): Bsn+LoStr
114 M3 Cm7 − F/A − F7 /A − D∅7 /A[− Ob+Cl+Vi1
118 M2’ Gm − B[ − B[7 /F − (a): Bsn+LoStr, (a’): Cl+Vi1
122 (M2) E[ E∅7 − ([[[) tr, Cl+LoBrs im, Str Σ(cm>)
126 M3 (B[[9 9
7 − B[7 )/F − HiStr sul G
130 (M2) E∅7 − Cl+LoBrs imit, Str Σ(cm)
134 M3’ (B[[9 9
7 − B[7 )/F − [E] HiStr+WW: 8va imit, clim
..
137 . <(B[7 /F − F m7 /A[) − B[7 /F −
141 ⊥ E[/G − F m7 /A[− CB: 4ths%
146 F m7 /E[− Str: app, asc%
150 M1 (E[ − A[ − Cm)/E[− [F] Va, Vc 4th arp, P T (e[)
157 M3 (A[ − B[7 )/E[− Vi (extended ped)

Table 18.2: Sibelius, En Saga, Op. 9 (cont’d)
m M R H Comment
160 M1 (E[ − A[ − Cm)/E[− (a): Va solo+tutti, Vc arp
..
166 . <(A[ − Cm)/E[− (b) 4th note triplets
d
170 ⊥ (A◦ − Cm7 )/E[ − F7 −
173 M4 Cm G97 − G[9
7 − Cm/G − Gm [G] HiStr, P D (g)
177 (M1) (E[ − A7 − A∆7 )/G− Va+Tpt rhythm
181 M4 G97 − G[9
7 − Cm/G − G7 /F − HiStr
185 M1 (Cm − A[ − F m7 − Cm)/E[− (a): Vi solo+tutti, P T (e[)
190 ⊥ (Cm − F m − Cm)/E[− trans
197 M5 <(Cm − B◦7 )/E[− [H] (aaa’): Vi+Va, P (e[)
208 ⊥ <(B◦7 − Cm)/E[− (b)
210 M5 <(Cm − B◦7 )/E[− (aaa’b): Brs, climax
222 ⊥ <(B◦7 − Cm)/E[ − Cm/E[− (b)
[9/[13
227 Ma <(G7 − Cm)/E[− tr, Str: app (i), P (e[−g)
.. 9/[13
235 . <(G7 − Cm6 )/E[− Str: app (2i), WW: imit sc
..
241 . (Cm6 − Cm7 − Cm6 )/E[− Str: app (2i − 3i)
[9/[13
247 M5/a <(Cm − G7 )/E[− (aaa’): Brs, P (e[−g)
..
259 . B[/E[− (b) Brs+Str climax
..
261 . Cm/E[ − <(B[7 − Cm)/E[− [I]
267 ⊥ B[7 − Brs+Str climax
271 M1 E[ E[ − B[7sus4 − [K] Dev 1, WW, Str 4th%
..
273 . (E[ − Cm − A[ − B[7sus4 )/E[−
275 ⊥ (F m7 − E[ − B[7 − E[)/E[−
277 M1’ Gm7 FHns
278 M3 (F m7 − B[97 )/E[− Vi1+Vc
281 M1 E[ − B[7sus4 − WW, Str 4th-note%
..
283 . (E[ − Cm − A[ − B[7sus4 )/E[−
285 ⊥ <(F m7 − E[)/E[ − Cm7 −
287 M1’ E[∆7 FHns
288 M2’ F m7 − LoWW+LoStr
290 M1 E[m E[m7 − A[m7 − E[m− Ob+Tpt, Str %, P T (e[)
294 ⊥ <(E[m − F∅7 ) − E[m7 −
298 M1 (E[m − E[m7 − A[m7 )/E[− (a): Cl+HiStr, Vc arp (ped)
..
304 . <(A[m − E[m)/E[− (b)
308 ⊥ (A[ − E[m7no 3 − A[)/E[−

m M R H Comment
311 M4 (B[7 − E[m − B[m)/B[− Vi, Vc 4th arp,P D (b[)
315 (M1) (G[ − C7 − C[∆7 )/B[ Tpt rhythm
319 M4’ (B[ − D]∅7 )/B[ − C]7 /B− Vi
323 M1 F ]m F ]m/A − F ]m7 /A − G]∅7 (a): Va, Vc 4th arp
..
327 . <(F ]m/A − G]∅7 − (b)
331 ⊥ (F ]m7 − B7 − F ]m7 )/A − B PB (%)
335 M4’ Am C] − D]◦7 − E− Vi, PB (%)
339 (M1) (C − F ]7 − F∆7 )/E− Tpt rhythm,
343 M4’ E − F ]◦7 − G− Vi, PB (%)
347 (M1) (E[ − A7 − A[∆7 )/G− Tpt Rhythm, P (g)
351 M4” G − F ]◦7 − A◦ − G7 − trans, Str: trem in par 3rds
..
355 . C ◦ − B ◦ − A◦ − G 7 − C ◦
..
359 . D◦ − F◦ − E◦ − B[m − A[m− gradually ascending
..
362 . G◦7 − A◦7 − C]◦ − B]◦ − A]◦ −
366 ⊥ A◦7 − C]◦ − B]◦ − A]◦
369 M4” G]m B]◦7 − C]m − G]m/D]− [M] (]]]]]) Dev 2, Ob, Str trem
373 Ms <(G]m − D])/D]m− Bsn-Cl: scale%, P D (d])
377 M5/s G]m/B− (a): Va+Vc, Ms: WW-imit, P (b)
379 Mc/s <(D] − G]m) − C]7 /E]− Mc=(M5’): Str 2pt ctp Σ(cm<)
383 M5/c D]7 − G]m − C]7 (a): Cl+Bsn+Va
.. ..
387 ./ . −F ]m − D]7 −
.. ..
389 ./ . G]m − D]7 − (b): Fl+Bsn+FHn+Va, P D (d])
. d
394 ⊥ / .. <(G]m − D]7 ) − Str: ctp Σ(cm>), P D (d])
.
M5/ ..
9/[13
401 Em C]m7 − B7 − (aa’): WW, Hns: P D (b)
.
⊥ / ..
9/[13
405 B7 − Em (a’): W+Va, Str: ctp Σ(cm<)
. d
409 / .. B7 − [N] ([[[) Str: ctp Σ(cm>)
.
M5/ ../a
9/[13
411 Am7 − G7 − (a): WW+Hns, Ma: Fl, P (e[−g)
.. .. .. 9/[13
415 ./ ./ . Cm G7 − Cm6 − climax, Str: ctp Σ(cm<)
.. .. ..
420 ./ ./ . Cm/E[ − G[97 no 3 − F m7 − (b): WW+Brs (ped)
425 ⊥/⊥/⊥ B[ − Cm7 − cresc to climax
429 (M1) Gno 3 tr, tutti clim, M1 rhythm, P D (g)
433 (E[ − A7 − A[∆7 )/G − G Str+LoBrs
441 (E[ − A7 − A[∆7 )/G−
445 G Str unis rhythm, P D (g)

m M R H Comment
457 M1 Cm Cm− (a); Bsn+Va+Vc, Vc: arp, P T (c)
..
459 ./5’ (Cm − F m7 − D∅7 − Cm)/C− (b’); Va solo+tutti, M5: Fl
..
464 . F m7 /C M1: Vi1-2 imit
467 M1/5’ (Cm − D∅7 )/C− (a): Cl+Bsn+Va, M5: Fl-Ob
..
472 . <(Cm − D∅7 )/C− (b)
476 ⊥ (Cm − F7 − Cm7 − F7 )/C−
poco rit. - a tempo Dev 3
9/[13
480 M4 (G7 − Cm)/E[− [O] Vi1+2 par 6ths, P (e[)
484 M1 (Cm − D∅7 )/E[− (a): Va solo+tutti, Vc: 4th arp
488 ⊥ <(Cm − D∅7 )/E[ − Cm/E[− (b)
500 M5 <(Cm − G[13 7sus4 )/E[− (a): WW imit, LoStr half notes
511 ⊥ /a [13
(G7sus4 − Cm)/E[ (b): Ob, Ma: Vi1 (i)
518 M5 /a <(Cm − G[13 7sus4 )/E[− (a): WW imit, LoStr half notes
.. ..
528 ./ . (Cm − G[13
7 no 3 )/E[− (b), Ma: Vi2 (i)
.
541 ⊥ / .. Cm/E[
548 /⊥ Cm/E[ Ma: Vi2 augm
Lento assai retrans
551 Ma’ <(A[◦7 − A[)/E[ − F m7 /E[ [P] Ma: 4 violins augm
559 Ma’ Ma: FHns (2i)
563 Ma’ <(F [◦7 − F [∆7 )/E[− Ma: 4 violins augm (i)
568 Ma’ D[m D[m/F [ Ma: FHns (2i)
Moderato Recap
571 (M5/a) D[m <(F m − D[m) M5: Ob, Ma: Bsn, WW
579 D[mno 3 WW unisono
581 Ma D[m − D[mno 3 − E[7 /B[− Ma: Bsn, WW unisono cresc
586 E[7 /B[− Str+WW, P (b[−e[)
589 (M3’) E[[9 9
7 /B[ − E[7 /B[− [Q] Tpt+Brs: augm, tutti clim
593 (M3’) G[9 9
7 /D − G7 /D− Tpt+Brs: augm, P (d−g)
Allegro molto
597 Ms/Mo Cm (G7 − Cm)/G Ms/Mo: WW+Str, P D (g)
. .
M2/ ../ ..
9/[13
600 <(Cm − G7 )/G− (aa): Hns, Mo: WW imit,
.. .. .. 9/[13
609 ./ ./ . <(Cm − G7 )/G− (b), Ms: Vi1-Va imit (ped)
. .
⊥ / .. / ..
9/[13
617 G7 − Cm/G− Ms: WW+Str imit

m M R H Comment
. .
M2’/ ../ ..
9/[13
621 <(G7 − Cm)/G− (a): FHns+Tpt, P D (g)
9/[13
629 ⊥/ ⊥/ ⊥ <(G7 − Cm)/G− (b)
9/[13
637 M2”/Mo <(G7 − Cm6 )/G− [R] (b’): Brs, tutti clim,
645 ⊥/ ⊥ 6
Cm /G WW: stretto imit
9/[13
647 M3”/Mo G7 − Brs: augm, tutti clim,
.. ..
655 ./ . <(A∅7 − G[13 )/G− Mo: WW unis (ped),
.. ..
659 ./ . <(Cm − G[13 7 no 3 )/G− Str: M1 rhythm
663 ⊥/⊥ E[/G−
667 M3 E[m B[[9
7 /F − [S] HiStr, tripl, P (f −b[)
675 M2’ E∅7 − (a): Brs imit, Str: 4th tripl
683 M3/Ma B[[9
7 /F − F∅7 − (ab): Str, Ma: Hns augm, P (f −b[)
695 M3/Ma [9
B[7sus4 /F − [T] (b): Brs imit, Ma: Str, tutti clim
701 M3/Ma B[[9
7sus4 /F − [T] (b): Brs imit, Ma: Str, tutti clim
707 M3’/5’ [13
B7sus4 /F − M3: Ob, M5: Ob, WW+Hns
715 ⊥/⊥ [13 /F −
B7sus4 trans
Moderato e tranquilo Coda
725 <(B[7 − E[m)/B[− [U] Str, P D (b[)
729 M2 <(B[7 − E[m)/B[− (aa’): Cl, Str
737 ⊥ (B[97 − E[m6 )/B[ (b)
745 M2’ <(B[7 − E[m)/B[− (aa’): Cl, Str
..
737 . (B[97 − E[m)/B[− (b)
..
761 . <(B[97 − E[m)/B[ (b’)
775 ⊥ B[7 −
779 M1’ E[m− [W] Vc, Str, P T (e[)
787 M1’ E[m− Vc (ped)
795 M1’ E[m− Vc (ped)
803 (M1’) E[m Vc solo rhythm (810 m.)

The key relationship diagram is shown in Fig. 18.2. The key movements are focussing on
the vertical symmetry axis R3i , opening in Am and closing in the tritone related key of E[m.
There are moves to chromatically related keys: (1) C]m − Dm, and (5) Cm − D[m (the latter
key is enharmonically equivalent to C]m). Another axis touched upon is the symmetrical
distribution R4i in (4): G]m − Em − Cm. In (2) there is the parallel and relative minor-major
relationship.
Em Bm F ]m C]m
G]m
3 1
G D A E B
4

?
Gm Dm Am
Em Bm
B

B[ F B
B C G D
B
B[m Fm B Cm Gm Dm
B 6 ? 2
D[ 5 A[ BN E[ B[ F
?
D[m A[m E[m• B[m Fm
Figure 18.2: Sibelius, En Saga, Op. 9, key relationship diagram
18.2 The Swan of Tuonela, Op. 22 (1893, rev. 1900)

h i
9
Andante molto sostenuto: rondo form (Am, 4 , 102 m.)
S1 S2 Sf S3 Sf0 S4
Figure 18.3: Sibelius, The Swan of Tuonela, from the Lemminkäinen Suite, Op. 22
This piece, a tone poem, with rondo form characteristics, is part of the Lemminkäinen
Suite, Op. 22. The characteristic feature is the solo English horn against various string section
textures (muted, tremolo, col legno). The English horn plays a returning main theme (M1)
and a quasi improvised free melody (Mf). The strings answer with contrasting themes (M2,
M3, and M4). See Table 18.6 for the analysis.
The key relationship diagram is shown in Fig. 18.4. This diagram shows the following char-
acteristics:

18.2. THE SWAN OF TUONELA, OP. 22
Table 18.6: Sibelius, The Swan of Tuonela, from the Lemminkäinen Suite, Op. 22
m M R H Comment
h i
1 Am Am Intro, 94 , str sordegno
5 M1 B[m Gm − B[m/F − G[ − E[m7 /D[ 1st solo stat, Seq(2×7m;R7 )
7 M2 B[m+7 /F Low str, arp motif
9 M3 Em F ]m7 − Em/G − B/F ] − Em7 [1]
11 M2 Bm+7
12 M1 Am Am − Cm/G − A∅7 /G − A[ − F m7 2nd solo stat
14 M2 Cm+7 /G
16 M3 C] G]m7 − F ]m − C]/G] − A+ − C + [2] climax
18 Mf C F ]∅7 /E − C Bm − Am/C Free solo mel, quasi improv
..
23 . <(Dm7 − G7 ) − D[7 − G[∆7 − [3]
..
27 . G[ C∅7 − E[m7 /B[ − A[7 −
29 ⊥ E[m/G[ − C[∆7 − G[/D[
31 F∅7 str tremolo
36 M1 Am <(F ]∅7 − Em) − F ]7 − Bm F ]m [4] 3rd solo stat
44 M1 B∅7 /D − Am/E − D∅7 /F Seq(3×3m;R−3 )
..
47 . D∅7 /F Cm/G − F∅7 /A[ (str tremolo)
49 ⊥ E[m F∅7 /A[ [5] (str tremolo)
54 G]m F ]m − C]m − D] − Em − G]m−
58 Mf G]m = A[m − F∅7 Gm7 Free solo melody, str pizz
..
61 . F∅7 − G]m7 F ]m7 − A
65 ⊥ A A − C F ]7 [6] climax
70 M2 Am Am+7 imit
73 ⊥ Am [7] a-ped
75 M4 (F ]∅7 Am − E7 − Am)/A Str unis, (a-ped)
82 M4 Am Solo lead
84 ⊥ F ]∅7 [8] col legno+trem, (a-ped)
93 Am [9] Coda
97 M3 Em7 − Dm − A/E − E7[13 − Am/E str lead, climax
98 M2 Am+7
101 ⊥ Am (102 m.)

• This short pieces covers a wide range of remote keys.
• A chromatic key shift is followed by a move towards the tritone-related key, e.g., Am −
B[m − Em (1), C] − C − (G[ = F ]) (3)
• For the interpretation the enharmonic equivalence of certain keys is required: G[ = F ]

(3) and E[m = D]m (4).
A E B tF ] 2 C] G] D]
5
Am Em Bm F ]m C]m G]m D]m
t

C G D A E B F]
?
Cm Gm Dm Am Em Bm F ]m
E[ B[ F C G D A
4 1
E[mt B[m Fm Cm Gm Dm Am
t 3
G[ D[ A[ E[ B[ F C
Figure 18.4: Sibelius, The Swan of Tuonela, Op. 22, key relationship diagram
18.3 Finlandia, Op. 26 (1899, rev. 1900)

Andante sostenuto
h ih i
- Allegro moderato: introduction ABC1 DC2 Coda form
2 4
(F m − A[, 2 4 , 214 m.)
A B C1 D C2 Cd
Figure 18.5: Sibelius, Finlandia, Op. 26
Form: Introduction ABCDC’ Coda. This symphonic poem has a rather unique form.
The introduction is fascinating in two aspects. First, it is a textbook example of brass only
orchestration. The three statements of the opening motif M0 are assigned to trombones
first, then to trumpets and doubled French horns, and finally to trumpets and trombone
in octaves. The only other instruments participating are the bassoons and contrabasses in
the opening four measures. Harmonically, the intro is based on R−3 (upward minor third)
symmetrically distributed roots; the chord sequence is repeated three times (slightly altered
the third time), with the final lead melody note continuing into the next phrase. The root
sequence is: F ]m − . . . − A −→ Am − . . . − C −→ Cm − . . . − D[]5
7 − C (the last chord being
the dominant of the real root key of this piece: F m). There is also frequent contrary motion
in this opening.

18.4. VALSE TRISTE, OP. 44
The sections are labeled with nationalistic terms, such as “Chorale Episode, “Battle”, In-
dependence, Hymn”, to indicate the general mood. The “Chorale Episode” [A] opens with
woodwinds only. Enclosing flutes with oboes yields the following top-down voicing: Ob1-
Fl1-Fl2-Ob2-Cl1-Cl2-Bsn1-Bsn2. At the Allegro moderato [D] (“Battle”) the trumpet, trombone
and timpani accents over a low string tremolo set the battle mood, in the dominant minor
key Cm. The motto M0 is played twice, before the brass accents and the 16th triplet ascend-
ing arpeggios conclude this section.
The C1 section (“Independence”) opens with a triple unison statement of the forcefulhM4 i
theme in the relative major key A[: the five quarter note beats create a cross-rhythm in 44 .
Then, at [F] there is a tutti climax, with a brief sequence and dominant pedal point. The
D section (“Hymn”) has two statements of a long dignified hymn melody M5, first played
by woodwinds, then by first violins and cello in octaves. There is string tremolo playing
throughout. The C2 section is a slightly modified repeat, with another tutti climax in [N],
before the coda [O] has a final quote from the hymn melody, ending in a closing climax. See
The key relationship diagram is shown in Fig. 18.6. The piece does not open in the main key,
which is F m. The closing key is the relative major A[. The opening section moves through
a set of symmetrically related minor keys F ]m − Am − Cm along the vertical (minor third,
3i) axis.
Bm F ]m
D A 1
Dm Am
F C
2
F m - Cm

A[• 3 E[
Figure 18.6: Sibelius, Finlandia, Op. 26, key relationship diagram
18.4 Valse Triste, Op. 44 (1903, rev. 1904)

Source: [65]. This music for orchestra is from the incidental music for Kuolema. An overview
of the formal analysis is shown in Fig. 18.7.
Form: ABA’B’C Coda. The instrumentation is for flute, clarinet, two French horns, tim-
pani and muted stings. The string section dominates the setting; the other instruments enter
with the elegant, lyric waltz melody M2. The timpani only play during the coda.
Harmonically the piece centers around the key of G major, its relative minor Em and
towards the end also the parallel minor Gm. The opening melody M1 in the low-mid register,

Table 18.7: Sibelius, Finlandia, Op. 26
m M R H Comment
h i
2
Andante sostenuto Introduction 2 (\)
[5/[9
1 M1 F ]m <(F ]m64 − G]7 /Dno 1 ) (aa): Tbn, Brs, Σ(cm)
.. [5/[9
5 . F ]m64 − G]7 /Dno 1 − F ]m64 − (b)
7 ⊥ G]◦ /B − A Σ(cm<)
[5/[9
10 M1 Am <(Am64 − B7 /F no 1 (aa): Tpt+FHn, Brs, Σ(cm)
.. [5/[9
14 . Am64 − B7 /F no 1 − Am64 − (b)
16 ⊥ B◦ /D − C Σ(cm<)
17 M1’ Cm Cm − A[7 − Cm/G − F m − A∅7 /G− (b): Tpt+Tbn, Brs
20 ⊥ F m − D∅7 − Cm/E[ − D[[5
7 − C− halfcad
24 M2 Fm B[m/D[ − A[/C − E[7 /B[ − A[ − D[− [A] A ([[[[) (a): Ob,WW,
..
27 . B[mno 3 − C − F m (“Chorale Episode”)
.. d
30 . G[/B[ − F◦ /A[ − G[ − F m64 − C − (a): Vi1, Str
..
34 . D[ − D[/F − A[ − A◦7 −
36 ⊥ B[m − B[m/D[ − F m64 − C
38 M3 F m − D[ − B[m7 − (a): Vc, Str+Bsn,
..
49 . F m − D[ − F m (a): plagal cad
..
43 . F m− [B]
..
44 . D[ − A[/E[ − E◦7 − F m [B] (b): WW+Str, Σ(cm>)
47 ⊥ G◦ /B[ − F m64 − C − F m Cl
51 M3 F m − D[ − A[/E[ − E◦7 − F m (ab): Str unis+WW 8va, FHn
..
55 . G◦ /B[ − F m64 − C − F m Ob+Cl
59 ⊥ E[ − A[ − G− WW+FHn
62 Cm Cm − D∅7 − Cm64 − G− [C] trans, Str+WW+FHns
66 Cm − D∅7 − Cm64 − G−
79 Cm − D∅7 − A[∆7 /E[ − F m97 − G− climax
h i
4
Allegro moderato 4
74 Cm Cm − . . . − [D] B, ”Battle” Brs accts
82 M1’ <(Cm − B◦7 /D) − Cm − B◦7 − Cm (ab): HiStr+Ob, Σ(cm)
86 M1’ <(Cm − B◦7 /D) − Cm − B◦7 − (ab):
89 <(E[/B[ − A◦7 ) − E[/B[− [E] Brs accts, Str tripl arp%
Allegro ”Independence” motto
95 M4 A[ A[ − . . . − C1 , unis: Bsn+Tu+LoStr

Table 18.8: Sibelius, Finlandia, Op. 26 (cont’d)
m M R H Comment
99 M4 A[ || : A[ − (A[ − E[97 − A[−)/E[− [F] (a): Bsn+LoBrs+LoStr, climax
101 ⊥ (B[m − A[ − E[)/E[ − E[7 − (b): FHn+WW
103 M4 A[ − (A[ − E[97 − A[−)/E[− (a): Bsn+LoBrs+LoStr
105 ⊥ (B[m − A[ − E[no 3 )/E[ − A[− (b’): FHn+WW, Str trem
107 E[ − (Cm − B◦7 − Cm)/C− Str
109 E[ − Cm − D◦7 − E[7 /B[− Str+WW
111 M4 A[ − (A[ − E[97 − A[−)/E[− [G] tutti, Seq(3×1m;R7 ), P D (e[)
..
113 . (F7[9 − B[m − G[9
7 − Cm)/E[−
..
115 . F m − D[m/F [ − E[7 − Tpt, climax, P D (e[)
118 ⊥ A[/E[ − . . . − HiStr
121 <(A◦7 − E[/B[)− : || Brs accts, Str: triplet arp%
125 A◦7 − C◦7 /A − E[7 − A[ − . . . − [H] Brs accts, Str: tripl arp
132 M5 A[ − <(E[7 /D[ − A[/C)− [I] D,“Hymn” (a): WW stat 1,
..
134 . D[ − G◦ /B[ − E[/B[ − A[− Str: trem
..
136 . A[ − <(E[7 /D[ − A[/C)− (a)
..
138 . D[ − G◦ /B[ − E[/B[ − A[−
..
140 . A[ − A[∆7 /G − F m− (b)
..
142 . F m − A[/C − E[ − B[m−
..
144 . B[m − A◦ /C − B[m/D[ − A[/E[−
..
146 . D[ − G∅7 /D[ − C−
..
148 . A[ − A[∆7 /G − F m− (b)
..
150 . F m − A[/C − E[ − B[m
..
152 . B[m − A◦ /C − B[m/D[ − A[/E[−
154 ⊥ E[7 − A[/E[ − A[
156 M5 A[ − <(E[7 /D[ − A[/C)− [L] (a): Vi1+Vc stat2,,
..
158 . D[ − G◦ /B[ − A[− Str trem+Cl+Bsn
..
160 . A[ − <(E[7 /D[ − A[/C)− (a)
..
162 . D[ − G◦ /B[ − A[−
..
164 . A[ − A[∆7 /G − F m− (b)
..
166 . F m − A[/C − E[ − B[m−
..
168 . B[m − A◦ /C − B[m/D[ − A[/E[−
..
170 . D[ − G∅7 /D[ − C−

Table 18.9: Sibelius, Finlandia, Op. 26 (cont’d)
m M R H Comment
..
172 . A[ − A[∆7 /G − F m− (b)
..
174 . F m − A[/C − E[ − B[m−
..
176 . B[m − A◦ /C − B[m/D[ − A[/E[−
178 ⊥ B[m7 − E[7 −
179 M4 A[ || : A[ − (A[ − E[97 − A[−)/E[ − A[ [M] C2 (a): Bsn+Tu+LoStr
..
184 . (A[ − E[97 − A[−)/E[− tutti, Seq(3×1m;R7 ), P D (e[)
..
185 . (F7[9 − B[m − G[9
7 − Cm)/E[−
..
187 . F m − D[m/F [ − A[/E[7 − Str, climax, Σ(cm<), P D (e[)
..
190 . B[m/D[ − F/A − B[m − F7 /C no 3 [N] Str+Brs
..
192 . E◦ − F m − E◦ /G − F m/A[ FHns+Tpt, PL (%), PB (%)
193 ⊥ G◦ /B[ − A[/C − E7 /D − . . . − tutti climax
196 A[/E[ − <(E[97 − A[ − B7[9 )/E[− P D (e[)
200 <(A[/E[ − E◦7 − F m − D◦7 )−
h i
202 A[/E[− [O] Coda 22
204 M5 E[7 /D[ − A[/C − E[97 /B[/A[− (b): Tpt+FHns, P D (e[)
207 ⊥ B[m/D[ − Cm − B[m7 − E[7 − A[ tutti climax (ped)
210 B[m7 /A[ − A[ plagal cad (214 m.)
h i
3
Lento: ABABC form (G − Gm, 4 , 202 m.)
A1 B1 A2 B2 C Coda
Figure 18.7: Sibelius, Valse Triste, from the incidental music for Kuolema, Op. 44

transitory melody Mt and the bridge melody M3 are all in octave doubling between first
violins and celli. Another characteristic feature is the closing of many sections of the 9-4-3
‘turn’ in the celli.
The somber, sad (triste) mood of the opening is broken by the lighter setting of the wood-
wind and violin waltz in the B sections. However, after the second effort (melody M4 in the
C section), the minor mood finally sets in and wins after the climax in [I]-[K]. See Table 18.10
and 18.11 for the analysis.
The opening statement M1 is repeated at a semitone higher, ending with a cadence on
the Neapolitan chord A[. The analysis of those fascinating measures, that seem to wander
about harmonically without a stable key, is shown in Fig. 18.8.
d
H: G]∅7 −C][9 13 6
7 − Bm−E7 −A− E/B−C]∅7 −D]◦7 −Em− Em7 −G4 − D7 − G
Key: F ]m A Em G
d
H: ii∅7 − V7[9 − I46 − vi∅7 − vii◦7 −im −
iim − V713 −I− iim7 − I46 − V7 − I
Key: Gm B[ Fm A[ (N − V7 )/G
d
H: A∅7 − D7[9 − Cm−F713 −B[−F/C−D∅7 − E◦7 − F m− F m7 −A[64 −E[7 −A[ − D7 −
Figure 18.8: Sibelius, Valse Triste, Op. 44. Harmonic progression, structural functions and
key relationships in the opening measures. (See description in the text.)
The first and last line show the harmonies of measures 9-24 and 25-40, respectively. The
structural functions are shown in the centre while the local keys are shown on lines 2 and 5.
Note how these lead to four pairs of a major key and its relative minor (F ]m − A, Em − G,
etc.). The three boxed keys yield the combination of major key, relative minor and parallel
minor, that are also the global keys of this piece. And finally the closing major key A[ of
the opening, through this semitone transposition approach, is the Neapolitan chord of the
fundamental key G major. Clever design or just inspired by smoking a good cigar, who
knows?

The key relationship diagram is shown in Fig. 18.9. The piece opens in G major and closes
in the parallel minor key Gm (3). The opening has been discussed in the previous section.
Later in the pieces there are two excursions into the dominant domain: Bm and F ]m are the
(sub)mediant minor chords in the dominant key D.

Table 18.10: Sibelius, Valse Triste, from the incidental music for Kuolema, Op. 44
m M R H Comment
Lento
1 G]∅7 − . . . − Intro, Str pizz-arco
d
9 M1 G]∅7 − C][9 13
7 − Bm − E7 − [A] A1 (a): Vi1+Vc
..
13 . A − E/B − C]∅7 − Σ(cm>)
..
17 . C]∅7 − D]◦7 − Em − Em7 − (b), Σ(cm>)
21 ⊥ G G64 − D7 − G cad, Vc ‘turn’
d
25 M1 A∅7 − D7[9 − Cm − F713 − [B] (a): Vi1+Vc 2nd stat
..
29 . B[ − F/C − D∅7 − Σ(cm>)
..
33 . D∅7 − E◦7 − F m − F m7 − (b), Σ(cm>)
37 ⊥ A[ A[64 − E[7 − A[ − Am7 − D7 − cad on Neap, Vc ‘turn’
a tempo
41 Mt G G − G/D − D7 /A − D7 − [C] trans, (a): Vi1+Vc stac
..
45 . G∆7 − Em7 /D − Am − D7 − (b)
..
49 . G − Em7 /G − Bm/F ] − Bm/D− (a’)
53 ⊥ Bm F ]7 /C] − F ]7 − Bm − D7 /A−
57 Mt G − G/D − D7 /A − D7 − [D] 2nd stat (a): Vi1+Vc
..
61 . G∆7 − Em7 /D − Am − D7 − (b)
..
65 . G − Em7 /G − E7[9 /G] − Am − A◦ (a’)
69 ⊥ G G64 − D7 − G cad, Vi1+Vc ‘turn’
73 M2 G − G/B − Am47 − D79 − [E] B1 Fl+Vi1+Va
77 ⊥ G − G/B − Am47 − D7 − Ob+Va
81 M2 G − G/B − Am47 − D79 − i (%), P i (&)
2nd stat; Fl+Vi1, Pm m
85 ⊥ G − G/B − Am47 − D7 − Ob, Pmi (%), P i (&)
m
89 M3 G − C]∅7 /E− [F] Bridge, Vi1+Vc
..
91 . B7 /F ] − Em/G − F ]∅7 /A−
93 ⊥ Em (Em − B7 − B∅7 )/B− P D (b)
99 (M1) B∅7 − C]◦7 − Dm retrans, (b): Vi1+Vc Σ(cm>)
Lento
103 ⊥ F ]m F ]m64 − C]7 − F ]m cad, Vc ‘turn’
a tempo
d
107 M1 G]∅7 − C][9
7 − Bm − E7 − [G] A2 (a): Vi1+Vc
111 ⊥ A − E/B − C]∅7 Σ(cm>)

Table 18.11: Sibelius, Valse Triste, from the incidental music for Kuolema, Op. 44 (cont’d)
m M R H Comment
115 M2 Bm/Dno 5 − G/B − Am47 − D7 − i (%), P i (&)
B2 , Fl, Pm m
119 ⊥ G − G/B − Am47 − D7 − i
Cl, Pm (%), Pm i (&)
123 M3 G − C]∅7 /E− Vi1+Vc

..
125 . B7 /F ] − Em/G − F ]∅7 /A−
127 ⊥ Em Em64 − B7 − Em
poco risoluto
130 M4 G Am − D79 − G [H] C (a): Vi1+Va
..
134 . Em F/A − Em64 − B7 − Em
..
138 . G Am − D79 − G (a)
..
142 . Em F ]◦ /C − G/B − A]◦7 − B7 /A (b’), cresc, Σ(cm<), P D (b)
..
146 . (Em − B − G − C]∅7 )/B− tutti climax (ped)
..
150 . <(C∆7 − B)/B−
..
154 . Gm Cm − (D − B[ − E7 )/D− [I] P D (d)
158 ⊥ <(E[∆7 − D)/D−
Più risoluto e mosso
162 G7 − F79 − E79 − D7[9 − ~
[K] trans, tutti climax, Hk d
166 D − C79 − B[9 − A[97 −
Stretto
170 M1 (Gm − C]◦7 − Gm)/D − E∅7 /G) [L] Coda Fl+Cl+Vi1, P D (d)
..
178 . (Gm7 − E∅7 − E[∆7 )//D−
186 ⊥ (E[∆7 − Gm − C]◦7 )/D− [M]
Lento assai
195 (M1) Gm64 − D7 − Gm − F ]◦7 − Gm Vc ’turn’ (202 m.)
2
Dm Am Em Bm F ]m
6
?
F C G D A
3
Fm Cm Gm• Dm Am
1
A[ E[ B[ F C
Figure 18.9: Sibelius, Valse Triste, Op. 44, key relationship diagram


Chapter 19
Maurice Ravel
Biographical data:
∗ 7-3-1875 in Ciboure (St.-Jean-de-Luz)

† 28-12-1937 in Paris
1600 1700 1800 1900 2000
Compositions by Ravel still can be approached with a classical music harmonic analysis
approach. Chord structures are based on the interval of the third and root progressions can
be identified in terms of positive and negative cycles. However, labeling the diatonic modes
of the lead voices often is a better tool to classify the structure of his compositions. Extended
chords and diatonic parallel chord movement are then derived from these modes. Since
there is frequent use of extended pedal point, indicating this pitch makes more sense than
labeling the root of the current key. We also regularly see the use of bitonal chord structures.
19.1 Pavane pour une infante défunte (1899)

Source: [46, 48]. This piece exists in two versions: for solo piano and for orchestra. An
h i
4
Pavane pur une infante défunte, Lent: rondo ABACA form (G, 4 , 72 m.)
A B A’ C A”
Figure 19.1: Ravel, Pavane pour une infante défunte
Form: rondo form, ABACA. The main theme consists of an a-phrase, that is answered by
a similar b-phrase with a melodic sequence (stepwise downward). The woodwinds present
M3 with oboe and bassoon as outer voices in contrary motion; this effect is repeated by
the strings. The melodic material is in Ionian (major) and Aeolian (minor) mode. Closing
cadences at the end of phrases use diatonic and exact parallel. See Table 19.1 for the analysis.
2005-2017
CHAPTER 19. MAURICE RAVEL
Table 19.1: Ravel, Pavane pour une infante défunte
m M R H Comment
1 M1 G G − C∆7 − Bm/D − Em − C∆7 − Am− A (]), (a): Hns, G-Ion
..
4 . D7 − G∆7 − C∆7 − F ]∅7 (b): Seq(3×1m;R−7 )
6 ⊥ Bm − F ]∅7 − Bm
d
8 M2 Am97 − D713 − Em − D7 − [A] Hns+Vi1
11 ⊥ Em − E79 − D79 − Bm
13 M3 (G∆7 − C]∅7 − Em7 − Am9 )/B − Bm9 − B, WW, D-Ion, P (b)
17 ⊥ Bm7 /A − <(Em97 − A97 no 3 − D) diat par, halfcad
20 M3’ B∆7 − C∅7 /E − Em7 /A− [B] Str
..
23 . A97 − D∆7 − G∆7 − Bm7
25 ⊥ <(E79 − A97 − D) − E79 − D79 −
27 C79 − D79 − E79 − G7 − D7 − [C] exact par, cadence
28 M1 G G − C∆7 − Bm/D − Em − C∆7 − Am− A’, (a): Fl+Cl, G-Ion
..
31 . Bm − G∆7 − Am97 − F ]∅7 (b): Seq(3×1m;R−7 )
33 ⊥ Bm − F ]∅7 − Bm
d
35 M2 Am97 − D713 − Em − D7 − [D] Fl+Ob
38 ⊥ Em − E79 − D79 − G∆7 cadence
40 M4 Gm Gm7 − <(Dm7 − G13 7 )/G − C/E C ([[), WW-Str, G-Aeol
13 [9/[13
44 M4’ Cm7 − <(Gm7 − C7 ) − F − G7 − cresc to climax
[9/[13 9 i (&)
48 ⊥ C − D7 − D7sus4 − D7 − Gm [E] Pm
50 M4 Gm7 − <(Dm7 − G13 7 )/G − C 2nd stat: WW-Str
13 [9/[13
54 M4’ Cm7 − <(Gm7 − C7 ) − F − G7 −
[9/[13 9 i (&), cadence
58 ⊥ C − D7 − D7sus4 − D7 − Gm clim, Pm
60 M1 G G − C∆7 − Bm/D − Em − C∆7 − Am− [F] A” (]), (a): Fl+Vi, G-Ion
..
63 . Bm − G∆7 − Am97 − F ]∅7 (b): Seq(3×1m;R−7 )
65 ⊥ Bm − F ]∅7 − Bm
d
67 M2 Am97 − D713 − Em − D7 − Hns+Vi1
70 ⊥ Em − E79 − D79 − G∆7 closing cad (72 m.)

19.2. STRING QUARTET IN F MAJOR

The key relationship diagram of the ‘Pavane pour une infante défunte’ is shown in Fig. 19.2. All
A sections are in the tonic major key G, the contrasting C section is in the parallel minor key
Gm.
G
6
?
Gm
Figure 19.2: Pavane pour une infante défunte, key relationship diagram
19.2 String Quartet in F Major (1903)

h ih i
6 3
Mvt. 2 Assez vif - très rythmé: ABA’ form (A, 8 4 , 198 m.)
A B A’
Figure 19.3: Ravel, String Quartet in F Major
19.2.1 Mvt. 2 Assez vif - très rythmé

Form: three-part form, ABA’. This movement is a frequent flyer in art documentaries about
French impressionist painting. Obviously, it has the right ingredients: a strong groove (cross-
rhythms), rapid mood change through alternating pizzicato and arco playing, switching
modal key and root, and contrasting melodies. These return in fragmented form in transi-
tions and backgrounds. See Table 19.2 and 19.3 for the analysis.

The key relationship diagram is shown in Fig. 19.4. The second movement opening A section
starts with the ladder-like pattern Am − C]m − A − C] (1–2). Then there is the move towards
the relative major key C, before returning through the lowered supertonic degree major
(Neapolitan) key B[ (3) and the dominant key E (4).
The B section opens in the lowered submediant major key F = [VI. From there it modu-
lates to the remote key D[m = C]m (6), and returns to the tonic along the path C − F − Am
(7–8). The A’ section repeats the ladder pattern of keys.
19.3 Miroirs (1905)

Source: [46]. Music for piano, music for orchestra. An overview of the formal analysis is
shown in Fig. 19.5. Note the length of the contrasting middle section, relative to the outer A
sections.

Table 19.2: Ravel, String Quartet in F Major, Mvt. 2 Assez vif - très rythmé
m M R H Comment
1 M1 Am <(Am − Am7 /G − F∆7 − A, Aeol: Vi1, pizz,
..
. Dm7 − Em)− modal cad
..
5 . F∆7 /A − . . . − G7 /F −
7 ⊥ Dm7 /F − B7 − B7alt −
8 <(E7 − D7 − C7 ) − E7 trans, ex par, climax
13 M2 C]m C]m6 − F ] − C]m6 − E7 − [A] (]]]), Dor: VI1, arco
17 M2 C]m6 − F ] − C]m6 − E7 − 2nd st: Va
21 M2/1’ A <(A∆7 − F ]7 ) [B] M2’: Va, M1’: Vi1 (fragm)
28 ⊥ E713 climax
30 C] <(C]7 − G]m7 ) [C] trans, tremolo
35 C]7 − . . . − C]m6
40 M1 Am <(Am − Am7 /G − F∆7 − G7 )− [D] (\\\) Aeol: Vi, clim,
..
46 . Dm7 − B7alt − <(E − G7 − F7 )− pizz, cresc
50 ⊥ E climax
52 M2 C C713 − F ] − C713 − F7 − [E] Vi1, arco
56 M2 C7 − F ] − C7 − F 7 − Va
60 B[ <(B[∆7 − G7 ) [F]=T[B]
67 F7 climax
69 E E7[9 − G]7 − C7 − E7 − ~ −4i ,
[G] trans, trem, R
77 (M1’) <(Am7 − Em/G − D7 /F ]− chr desc lead, M1’: Vi2,
F∆7 − A∅7 /E[)− PBi (&)
81 Am − . . . −
89 M3 F F/A − B[m/F − B[/F − D∅7 [H] B ([[) M3:Vc, lyrical,
chr par (M2’) accomp: Vi2+Va
96 M3 B[7 − E[ − E[7 − Va
99 B[ <(D7 − C)F7 − B[ Via, trans
104 (M2’) C]m A[7 − . . . − [I] Vi1-Va
111 ⊥ C]m6 − C]∅7 − C]m6 − C∆7 −
]11
115 M1/2’ C C∆7 − . . . − F ]7 [J] pizz, imit (fragm)
119 ⊥ C7 − F ][97 − trans
120 M3/1 F F7 − . . . − G7 /F [K] 2nd stat: Vi1, M1: Vi2 (bg)
..
122 . Gm7 /F − G7 /F P T (f )
124 ⊥ <(E7 − G7 ) − E7 − M1: Vc (fragm)
129 E − ...− [L] A’ (\\) retrans, pizz
134 <(E − D713 )−
140 <(G] − F ]7 )
139 E − D 7 − C7 − cresc

19.3. MIROIRS
Table 19.3: Ravel, String Quartet in F Major, Mvt. 2 Assez vif - très rythmé (cont’d)
m M R H Comment
150 M1 Am <(Am − Am7 /G − F∆7 − G7 )− [M] Aeol: Vi1, clim, pizz
154 ⊥ F∆7 /A − Dm7 /F − B7 −
157 <(E7 − G7 − F7 )− trans, ex par, cresc
159 E7 − D7 − C7 − E ex par, climax
162 M2 C]m C] − F ] − C]m − E7 [N]=[A] (]]]) Dor: Vi1
166 M2 C]m − F ] − C]m − E[7 − 2nd stat: Va
170 M1/2’ A <(A7 − E[7 ) [O] trans, imit (fragm)
175 ⊥ E[7 − C]∅7 − cresc
C7 − E7 − G[9 ~ −4i ,
179 7 − B[7 − [P] trans, trem, R
187 M1’ <(Am − Em/G − D7 /F ]− chr desc lead, M1’: Vi2,
F∆7 − A∅7 /E[)− PBi (&)
193 M1’ Am Am − D7 /F ] − F∆7 − E7 − D7 − Vi1+Vi2, cresc
195 ⊥ C7 − C7 /E climax
197 B[]11
7 − Am cad, pizz (198 m.)
Mvt. 2 Assez vif - très rythmé

4 t 2
E B F] C]
1
Em Bm F ]m C]m t
t

G D A E

Gm Dm 5,8 Am Em

*
7 ?
B[ F∗ C G
3
B[m Fm Cm Gm
D[ A[ E[ B[
6
D[m t A[m E[m B[m
Figure 19.4: Ravel, String Quartet, key relationship diagram
h ih ih i
6 9 3
Mvt. 4 Alborado del Gracioso, Assez vif: ABA’ form (D-modal, 8 8 4 , 229 m.)
A B A’
Figure 19.5: Ravel, Miroirs

19.3.1 Mvt. 4, Alborada del Gracioso, Assez vif

Form: ternary song form, ABA’. In the outer sections this piece in Iberian mood is full of
two-measure harmonic riffs and rhythmical accents in the introduction and transitions. The
middle section B uses longer note values (typically quarter and 8th notes) and a lyrical,
quasi-improvising solo melody at a slower tempo in order to create contrast. The typical
Spanish flavour is supported by the minor modes, such as the Phrygian mode. This piece
also exists in an orchestral version. See Table 19.4 and 19.5 for the analysis.

The key relationship diagram is shown in Fig. 19.6. In Mvt. 4, Alborada del Gracioso, two
vertical minor third (R3i ) symmetry axes shape the diagram: C]m − B[m − Gm and Dm −
Bm − G]m. Remember that the roots indicate either a major or minor diatonic mode. There
are several changes from major to relative minor mode B[ − Gm (1) and D[ − B[m (2) or the
reverse Bm − D − Bm (4–5). All sections open in a minor mode and end in a major mode:
the opening A section from d-Phrygian to d-Mixolydian, the middle section from b-Aeolian
to d-Mixolydian, and the closing A’ section from c]-Phrygian to d-Mixolydian; this yields an
overall key pattern d-Phrygian to d-Mixolydian (minor to parallel major mode).
Mvt. 4 Alborada del Gracioso
C]m 6 G]m t
A
E A
A B
AU 4
Em Bm
6
?
G D∗ 5,7
Gm Dm

6 1
B[ F
B[m Fm
A
2 A
6
D[ A A[
AU 3 t
D[m G]m
Figure 19.6: Ravel, Miroirs, key relationship diagram
19.4 Rapsodie Espagnole (1907)

Source: [48]. This music for orchestra, a collection of three Spanish dances and a prelude,
is an orchestration masterpiece; it contains so many delicate effects and should be study
material for every orchestrator. An overview of the formal analysis is shown in Fig. 19.7.

19.4. RAPSODIE ESPAGNOLE
Table 19.4: Ravel, Miroirs, Mvt. 4 Alborada del Gracioso, Assez vif
m M Scale/Mode H Comment
h i
6
1 d-Phryg <(D7alt − . . . − A]9 − E ]9 )− A (a) 8 ([) intro
5 <(D7alt − . . . − Aalt alt
7 − D7 )−
9 Dno 3 − . . .
12 M1 b[-Ion/g-Aeol Cm97 − Gm97 − Cm97 − (b)
16 M1 Cm97 − <(B[∆7 − E[∆7 /B[)− 2nd stat 8ba
22 b[-Phryg <(B[alt
7 − . . . − F7 )−
alt (a) trans riff, P T (b[)
26 B[ − . . . − h i
[9/13 9
31 M1’ d[-Ion/b[-Aeol <(B[∆7 − F7 − F79 )− [b’] 8 climax
35 ⊥ B[ − B[∆7 /A − F7alt −
37 M1’ <(D[∆7 − D/D[ − E[m7 /D[)− climax
..
39 . <(D[ − A[7 − D[97 − A[13
7 ) h i
6
41 ⊥ D[ − E7 − 8
43 (M2) g]-Phryg <(G] − C]m97 − (c) (]]]]), P T (g]):
47 G] − . . . − 16th triplets
9/11
52 M2 <(C]7 − F ]m7 − G]7 − (]])
..
. C]7 − F ]m)−
56 ⊥ G∆7 − Em97 − E7 − G∆7 − C]7 −
58 M1 b-Aeol/d-Ion Em97 − . . . − A7 − . . . − (b)
62 d-Mixolyd <(D7alt − . . . − Aalt
7 − E7 )−
alt (a) trans riff
66 D − ...−
h i
71 M3 b-Aeol (Bm7 ) B (a) 34 (]]) solo
75 Bm97 − . . . − block chords
79 M3 (G]◦ ) solo
82 Am7 − . . . − block chords
85 M3 (Em) solo
89 G69 − . . . − block chords
91 M3 (Em7 − C]∅7 )−
97 F ]alt
7 − ...−
105 M4 C][5
7 − ...− (b) LH
111 P (b−f ])
115 M4 C]alt 9
7 − ... − F] − LH
120 P (b−f ])
126 M5 A7sus4 − A97 − A7 − (c) climax, P D (f ])
.. [5/13
127 . E7sus4 − E7 − E7 − (ped)
..
128 . A7 − F ]97 − B7 /F ]− (ped)
129 ⊥ F ]7sus4 − F ]97 − . . . − (ped)

Table 19.5: Ravel, Miroirs, Mvt. 4 Alborada del Gracioso, Assez vif (cont’d)
h i
6
131 8 (ped)
137 M4 C][5
7 − ...− (b) LH
141 P (b−f ])
145 M4 C]alt
7 − ...− LH
151 d-Ion D6 − . . . − P
h (d−a)
i
9
8 P D (a)
157 M5 <(Bm7 − A[9
7sus4 − A7 )− (c) climax
162 D/A − A7 − D/A− retrans, P D (a)
166 <(E[ − F7[5 − E[alt7 )− A’ (a’) (\\)
168 E[ − . . . − h i
6
170 <(F ] − G]alt 7 )− 8
172 F ]7 − . . . −
174 (M2) c]-Phryg C] − C]alt7 − C] − Am− (c) P T (c]): 16th triplets
..
178 . C] − G97 − . . . − climax, glissando
181 ⊥ C] − . . . − (]]]]) P T (c])
185 M2 <(C]7 − F ]madd9 )− (]])
189 ⊥ <(G∆7 − Em97 )−
191 M1 b-Aeol Em97 − . . . − (b’) cresc to climax
196 d-Mixolyd <(D7alt − Aalt7 )− (a) trans riff
200 M1’ Am7 − . . . −
202 (M4’) E[[5
7 /A − . . . − LH
206 B7 /A − . . . −
[9/13
209 M1’ G]97 no 3 − F ]7 −
13 [9/13
211 ⊥ E7 − D7 − hclimax
i
[9/[13 [5/[9 9
213 G7 /C − . . . − G7 − 8 riff
h i
6
219 d-Mixolyd <(D − Aalt
7 )−D (a) 8 climax
222 <(D − A7 ) − D
[9/13
225 A7 − ... − D (229 m.)

h i
3
Mvt. 1 Prélude à la nuit, très modéré: ABA’ form (D-modal, 4 , 63 m.)
A B A’
h i
3
Mvt. 2 Malagueña, Assez vif: ABB’A’ form (A − D-modal, 4 , 94 m.)
A B B’ A’
h i
2
Mvt. 3 Habanera, Assez lent et d’un rythme las: ABAC form (F ]-modal, 4 , 61 m.)
A B A’ C
h ih i
6 3
Mvt. 4 Feria, Assez animé: ABA’ form (C − F ]-modal, 8 4 , 190 m.)
A B A’
Figure 19.7: Ravel, Rapsodie Espagnole
The outer sections are in ternary form; the fourth movement is the longest. Note the
relative length of the middle section in the closing movement. The second movement has a
varied ternary structure,
19.4.1 Mvt. 1 Prélude à la nuit
Form: ternary song form, ABA’. Characteristic for this movement is the four-note ostinato
riff (M0: f −e−d−c], downward scalar steps in the octatonic scale), sounding in the strings
and occasionally doubled in other instruments. This motif returns in the later movements of
this Rapsodie Espagnole. The scales and harmonies are specified in Table 19.6. See Table 19.7
for the analysis.
19.4.2 Mvt. 2 Malagueña
Form: ABB’A’. The A sections present the Aeolian ostinato riff pattern (M0) in pizzicato
contrabasses and cello (accents). The B sections have frequent tempo changes, following the
solo leads. The scales and harmonies used are specified in Table 19.6. See Table 19.8 for the
analysis.
19.4.3 Mvt. 3 Habanera
Form: ABAC. The habanera rhythm ( 18 triplet + 18 + 18 ) and frequent use of pedal point (in
middle and upper voices) characterize this movement. Strings use a wide range of playing
techniques (muted, on the fingerboard, pizz, portamento, harmonics, on a specific string,
divisi). The scales and harmonies used are specified in Table 19.6. See Table 19.9 for the
analysis.

Table 19.6: Ravel, Rapsodie Espagnole, scales and modes
Scale/Mode Pitch content Harmonic structures Used in [#]

Mvt. 1
d-Gypsy d e f g] a b c] B∅7 C]m7 C]7 0, 1, 2, 7, 9
d-Octatonic d e f g g] b[ b c] [T]: B[7 E7 C][10
7 , 0, 1, 3, 5, 6, 8, 9
[SD]: E[[9
7 C [9
7
d-Aeolian d e f g a b[ c Gm7 C7 F 6 4
Mvt. 2
a-Aeolian abcdef g 0, 6
d-Gypsy See above 2, 13
d-Octatonic See above 2, 13
d]-Phrygian d] e f ] g] a] b c] 10
c]-Octatonic c] d] e f ] g a b[ c 11
Mvt. 3
f ]-Aeolian f ] g] a b c] d e E7 C]7 1, 5
f ]-Phrygian f ] g a b c] d e] G7 2, 6
f ]-Ionian f ] g] a] b c] d] e] 3
a-Aeolian See above 7, 9
f -Aeolian f g a[ b[ c d[ e[ 8, 10
Mvt. 4
c-Mixolydian c d e f g a b[ 0, 3, 4, 5, 10, 11, 19, 20, 25
c-Ionian See above 6, 21, 31
f ]-Phrygian See above 12, 13, 15, 30
f ]-Gypsy See above 12

Table 19.7: Ravel, Rapsodie Espagnole, Mvt. 1 Prélude à la nuit, très modéré
1 M0 d-Gypsy-Oct Intro, M0: Str & scalar riff
..
4 . B[7 − B∅7 Str+Ob
..
8 . B[7 − B∅7 [1] Str+EHn
..
14 ./M1 d-Gypsy [2] A, D, M0: Vc+EHn, M1: Cl
..
16 ./⊥ C]m
..
18 . d-Oct A]7 − E7 − B[7 HiStr trem
..
22 . A]7 − E7 − B[7 [3] Vi+Cl, LoStr trem
..
28 ./M2 d-Aeol Gm97 − A[10
7 − D7 [4] B, M2: Str, M0: WW, climax
32 ⊥/M2 Gm97 − Aalt
7 − D7 2nd stat
37 (M0) d-Oct [9
C7 [5] Vi+Fl
41 ⊥ F6 Va
44 g-Oct E[alt
7 [6] SD, Clarinet cadenza
46 M0/M1 d-Gypsy C]alt
7 − ...− [7] A’, M0: Cel, M1: Vi+Va
54 d-Oct B[alt
7 [8] T, Bassoon cadenza
56 M0 d-Oct-Gypsy B[7 − B∅7 [9] VI+Va
61 ⊥ A (63 m.)

Table 19.8: Ravel, Rapsodie Espagnole, Mvt. 2 Malagueña, Assez vif
1 M0 a-Aeol Am7 − . . . − A, M0: DB+Vc riff
..
7 . [1]
..
13 . d-Oct/Gyp A7 − . . . − C∆7 − D+ [2] chr middle voice
..
16 . A[13
7 − . . . − C∆7 − D
+ tutti
19 ⊥ <(A97 − A[9 7 − B[/D)− [3] WW: chr scale
25 (M0) <(A7 − Aalt 7 ) [4] WW: chr sc%
28 Aalt
7 − . . . − A7 /G− [5] Str
35 M1 b-Aeol F ][9
7 − . . . − G∆7 /F ] [6] B (]]) Tpt
40 M1 F ]7 − Bm7 − F ][9
[9 9
7 − B7 − [7] 2nd stat: Vi
43 ⊥ [9 [9
E7 − <(D7 − A7 )− 9
46 <(F ]7 − Am/E) [8] Brs-WW

50 F] − ...− tutti
52 <(F ][9 9
7 − G7 /B − G]7 − [9] tutti, Str trem
A7 /C] − B[[5
[10
7 /G])
56 alt
F ]7 − . . . − E7 − chr desc lead
62 M1’ d]-Phryg D] − E − F ] − G]m − B∅7 [10] B’ (]]]]]) Tpt+Hn
65 M1’ A]m − B − C]m − D] − E − F ] Tbn, cresc
68 c]-Oct <(D] − C]m7 ) [11] tutti climax
73 M2 <(D]m − C][97 ) − C]7 [12] EHn
79 ⊥/M10 d-Oct/Gyp B[7 /D (M10 : riff Mvt 1) [13] A’ (\\\\\) Cel+Str
83 M0 alt
<(A7 − B[7 )− [14] Db+Vc, WW: chr desc
88 Aalt
7 − ...− [15] lead chr&
93 Am − F/A − A/C] cad (94 m.)

Table 19.9: Ravel, Rapsodie Espagnole, Mvt. 3 Habanera, Assez lent et d’un rythme las
1 <(D7 − G7 /C]) A, Str, Cl: P D (c])
7 C] [1] Hns+Tpt: P D (c])
9 M1 f ]-Aeol C]7 − D7 − E7 − D7 − E7 − F ]− WW, Fl+Str: P D (c])
..
12 . f ]-Phryg G7
..
14 . F ] − G 7 − . . . − F ] − D7 [2] P (f ]−c])
[5/[9
16 ⊥ C]7 − F ] − D7 (ped)
19 M2 f ]-Ion F ] − D]m7 − A/C]− [3] B, HiStr, P D (c])

21 ⊥ G]m7 − C]7 − F ] (ped)
25 F ]m − . . . − F ] − . . . − [4] mode change (ped)
30 M1 f ]-Aeol C]7 − D7 − E7 − D7 − E7 − F ]− [5] A’, Cl+HiStr
..
34 . f ]-Phryg G7 BCl
..
35 . F ] − D7 [6] P (f ]−c])
[5/[9
37 ⊥ C]7 − F ] − D]m7 /F ] BCl (ped)
[9/]11
40 M3 a-Aeol E7 − <(F7 − E7 )/E − F7 −A [7] C, WW+Hrp, P D (e), T
44 M3 f -Aeol [5 [9
G7 − <(C7 − G7 )− [5 [8] Fl, P D (c]), SD
47 ⊥ B[/D − D7 − F ]
48 M3 a-Aeol E7 − <(F7 − E7 )/E − F7 − A [9] Str+Hrp, P D (e), T
44 M3 f -Aeol G[5 [9
7 − <(C7 − G7 )−
[5 [10] Hns, P D (c]), SD
55 ⊥ B[/D − D7 − F ]
56 F ]m − . . . − F ] [11] P D (c]) (61 m.)

19.4.4 Mvt. 4 Feria

Form: ternary song form, ABA’. Ths fast closing movement launches the dance rhythm with
a 16th pedal note pattern in octaves. There are various short motives, with M2, M4 and
M5 building up through alternating instrumentation towards orchestral tutti climaxes. The
middle section, B, takes a break at slower tempo, before taking up speed for the second A
section. The first movement riff (M10 ) returns in the middle section and just before closing
this exuberant dance movement. The scales and harmonies used are specified in Table 19.6.

The key relationship diagram of the Rapsodie Espagnole is shown in Fig. 19.8. Most of the
modes used in this suite have a minor character: Aeolian, Phrygian, Octatonic. The opening
movement, Prélude à la nuit, remains in the tonic minor modes Dm for most of the time,
except for a brief excursion into the subdominant domain in the B section. In the Malagueña
all diatonic modes are minor. The B section starts in the tritone-related minor mode D]m (2)
and the movement ends in the D minor mode (Octatonic, Gypsy).
Mvt. 2 Malagueña
2
G]m D]m A]m
A
B F] A
A C]

AU
Bm F ]m C]m
3
Mvt. 1 Prélude à la nuit D A E
1
Gm - Dm Dm∗ Am Em
Mvt. 4 Feria
2,5
Mvt. 3 Habanera B F] C]
3
1 6 6 4
B F] Bm F ]m∗ - C]m
6
Bm F ]m D A A E
A
D A Dm A Am Em
A
Dm 2 Am F AU C G

F
C Fm Cm Gm

1
F m∗ Cm A[ E[ B[
Figure 19.8: Ravel, Rapsodie Espagnole, key relationship diagram
In the third movement, Habanera, the A and C sections remain in the minor modes. The
middle section moves to the parallel Ionian (major) mode F ] (1). The C section alternates

Table 19.10: Ravel, Rapsodie Espagnole, Mvt. 4 Feria, Assez animé
h i
1 c-Mixolyd A 68 Pic: P D (g), Str trem
4 M1 Cm7 − C79 − Fl, Str gliss (ped)
7 C7]11 − . . . − [1] Str: trem, P (c−g)
11 C7]11 − . . . − DB: PBi (&) riff
14 M1 C79 − E[97 /G− [2] Cl, Pic: P D (g), Str gliss
17 e[-Mixolyd E[7 − . . . − [3] Str: trem, P (e[−b[)
19 E[7 − . . . − DB: PBi (&) riff
27 M2 E[97 [4] Tpts-WW, DB: PB (%)riff
30 M1 f ]-Mixolyd E[97 − F ]7 − Fl
33 M2 <(F ]7 − A7 /C] − F ]7 − B7 ) [5] FHn
34 M3 b-Mixolyd <(F ]7 − A7 /C] − F ]7 − B7 ) WW, SD
..
36 . <(F ]97 − B713 )−
37 ⊥ d-Mixolyd D79 /F ]− tutti cresc
40 M2 c-Ion C6 − . . . − [6] tutti clim, P (c−g)
43 M4 <(C 6 − G97sus4 )− Cl+Bsn+Va+Vc
47 M4 <(C 6 − G97sus4 )− [7] WW+HiStr
51 M5 <(C 6 − G97sus4 )− [8] Fl-Tpt
55 M5 <(C 6 − G97sus4 )− [8] WW
59 M5’ <(C 6 − G97sus4 −) [9] WW, Hns: P D (g)
62 M5’/4 <(C 6 − G97sus4 )− M4: Hns+Va+Vc, M5: WW
66 M2 <(C − G97 )− [10] tutti climax
69 M1 c-Mixolyd <(C − G97 − Gm7 )− (climax)
9/]11
71 C7 − . . . − C7 [11] (climax), PBi (&) trem
h i
3
77 f ]-Phr/Gyp F ]m7 − C]7 − [12] B 4 (]]])
79 M6 <(F ]m7 − C]7 )− EHn
..
84 . B7 − Em7 − A7 −
[9/]11
87 ⊥ B∅7 /D − A7 − F7]11
89 <(F ]m7 − C7 ) [13]
93 M6’ c]-Phryg F ]m7 − C7 − F m7 − B[7 Cl
.. 9/]11
97 . Em7 − G]7 −
99 ⊥ <(C]7 − G7 )− [14]
103 M7 f ]-Phryg C][9
7 − G7 − [15] Str
106 M10 G7 − . . . − M10 : Fl+Hrp (riff Mvt 1)
109 M7 C][9
7 − G7 − C]7 − [16] WW+Str, climax
112 M10 B[7 − . . . − [17] Cel+Str
116 ⊥/M2 B[7 − . . . − [18] Tpts

Table 19.11: Ravel, Rapsodie Espagnole, Mvt. 4 Feria, Assez animé (cont’d)
h i
121 B[7 − . . . − [19] A’, 68 (\\\)
123 M2 f ]-Mixolyd <(F ]7 − A7 /C] − F ]7 − B7 ) FHn
124 M1 <(F ]7 − B7 ) Fl
[5/[9
126 M3 F ]7 − ...− [20] Ob
131 ⊥ d-Mixolyd 9
D7 /F ]− WW
133 M2 c-Ion <(C 6 − G7 )− [21] WW-Brs, T
137 M5 <(C∆7 − G7sus4 )− [22] Cl
141 M5 <(C∆7 − G7sus4 )− WW
145 M5’/4 <(C∆7 − G97sus4 )− [23] M4: Hns+Str, M5: WW
149 M4/2’ <(C −→ G97 )− ~
[24] tutti cresc, Hk d
154 M2 c-Mixolyd C7 [25] tutti climax
..
156 . <(C7 − Gm7 )− (clim)
..
158 ./M1 <(C7 − Gm7 )− (clim)
9/[13
160 ⊥ E7 − A[9 7 − ...− [26] (clim) decr
164 M10 <(Dm7 −+5 −6 − D7 ) [27] Vi2 (riff) SD, P (d)
166 M3/M10 <(Dm7 −+5 −6 − D7 ) M3: EHn, chr middle voice
168 M3/M10 <(Dm7 −+5 −6 − D7 ) M3: Bsn+Tpt
172 ⊥ <(G137 /D − D7 )− [28] WW, tutti cresc
175 M1 F79 − . . . − Brs, tutti climax
177 ⊥ E[ −→ D]97 [29] Σ(cm<)
181 M2 c]-Phryg <(C]m − E79 /G]) [30] tutti climax, D
185 ⊥ c-Ion C − ...− [31] (clim) T
189 B[]5
7 /A[ − C [32] (190 m.)

19.5. GASPARD DE LA NUIT
between two Aeolian modes Am − F m (2). In the closing movement, Feria, the major modes
(Mixolydian and Ionian) revolve around the central minor third symmetry (R3i ) axis F ] −
E[ − C (1–2). This symmetry returns in the subdominant area, see the B − D move (3). The
middle B section opens in the Phrygian minor mode F ]m, alternating with its intermediate
dominant minor mode C]m (4).
19.5 Gaspard de la nuit (1908)

Source: [46]. Music for piano. An overview of the formal analysis is shown in Fig. 19.9.
h i
4
Mvt. 2 Le gibet, Très lent: ABA’ form (E[m, 4 , 52 m.)
A B A’
Figure 19.9: Ravel, Gaspard de la nuit
19.5.1 Le gibet
Form: ternary song form, ABA’. This very slow tempo piece is kept at low volume: between
ppp and mf (climax in m. 17). Three short motifs return various times; the A section subjects
M0 and M1 are treated with parallel chord settings. Remarkable is the continuous use of the
b[ = a] pedal note throughout the piece. See Table 19.12 for the analysis.
19.6 Ma mère l’oye, 5 Pièces Enfantines (1911)

Source: [48]. Music for orchestra. This suite contains five fairy tales from Mother Goose. An
19.6.1 Mvt 1 Pavane de la Belle au bois dormant, Lent

Form: ternary song form, ABA’. The opening slow movement is a miniature dance (pavane),
with very light orchestral textures (solo lead instruments, muted and pizzicato strings); there
is a slight increase in tension towards the end through interval relations between melody and
other middle voices and 9th chord structures. The second melodic statement, M2, is a varied
melodic inversion of M1. See Table 19.13 for the analysis.
19.6.2 Mvt 2 Petit Poucet, Très modéré

Form: ternary song form, ABA’ form. Another short slow movement with subdued textures
(muted strings, solo woodwind leads). The main characteristic of this piece is the extended
use of diatonic parallel triadic chords (in all inversions). The middle, contrasting section is
a textbook example of string harmonics and glissandi. In the coda there’s a quote from the
opening movement (the chromatic middle voice). Also note the frequent meter changes. See

Table 19.12: Ravel, Gaspard de la nuit, Mvt. 2 Le gibet, Très lent
m M R H Comment
h i
4
Très lent 4
1 E[m A [[[[[[[] intro, P D (b[)
3 M0 <(E[m7 − C[∆7 − − A[[9D[6
7 ) − E[m7 e[-Aeol, LH: exact par
]11 [9 [13
6 M1 G[7 /B[ <(B[7sus4 − B[7 ) RH (ped)
8 M0 E[m7 − C[∆7 − D[6 − A[[9
7 − E[m7 LH: exact par (ped)
]11
10 M1’ G[7 /B[ RH: 2pt (ped)
12 M0 <(B[[9 [13
7sus4 − B[7 ) RH+LH (ped)
15 <(E[7sus4 − B[7sus4 )−
17 M0 <(E[[9 [13
7sus4 − E[7 )− RH+LH, climax
19 ⊥ E[[9
7sus4 − E[7 −
[9
20 9
F [7 /A[ − . . . − trans, par ch Σ(cm>)
9/[13 ~ &
21 <(F [97 − B[m7 − D7 − A[[9
7 )/A[ Hk i
[9/13 [9/13
23 E7 /G = G7 − ...− B [\\\\\\] par ch Σ(cm>),
G7 − C7 − F ]7 − B[13
13 13 9 ~ &, P (a])
24 7 − Hk i
25 [10
<(D]7 − G]7 )− 13 (ped)
[9/13
26 M2 C]7 − RH, c]-Alt sc= g-Ac sc
[9/[13
28 ⊥ −A7
[9/13
30 M2’ C]7 − B[]117 − LH (ped)
11 9 [9/]11/13
32 ⊥ Gm7 − E[7 − E[7 − RH, P D (b[)
35 M0’ A[97 /C A’ [[[[[[[] RH+LH (ped)
..
37 . A[97 /C (ped)
40 ⊥ G[13
7 /B[ trans, contrary par ch
42 M1 G[7 /B[ − G[13
9
7 LH, c-Alt sc, (ped)
9/]11
43 ⊥ (G[137 − B[ 7sus4 − A[7 )/B[ (ped)
48 M0 <(E[m7 − C[∆7 − D[6 − A[[9 7 )− close, LH (ped)
50 ⊥ E[m7 (52 m.)

19.6. MA MÈRE L’OYE
h i
4
1. Pavane de la Belle au bois dormant, Lent: ABA’ form (A-modal, 4 , 20 m.)
A B A’
h ih i
2 3
2. Petit Poucet, Très modéré: ABA’ form (C-modal, 4 4 , 79 m.)
A B A’
3. Laideronnette, Impératrice des Pagodes,

h i
Mouvement de Marche:
2
ABA’ form (F ]-modal (Pentatonic), 4 , 204 m.)
I A B A’
4. Les entretiens de la Belle

h i
et de la Bête, Mouvement de Valse modéré:
3
ABA’ Coda form (F ), 4 , 172 m.)
A B A’ Coda
h i
3
5. Le jardin féerique, Lent et grave: ABA’ form (C, 4 , 56 m.)
A B A’
Figure 19.10: Ravel, Ma mère l’oye, 5 Pièces Enfantines
Table 19.13: Ravel, Ma mère l’oye, 1. Pavane de la Belle au bois dormant, Lent
m M R H Comment
1 M1 Am <(Am7 − G7no 3 ) − Am− A, Fl: a-Aeol, pizz muted Str, 2pt-S
5 M2 Em <(Em7 − F ]∅7 )/E − . . . − Fl, arco Str, chr middle voice
9 M3 Em7 − C − C∆7 − F − Em/G− B, Cl, pizz Str
..
11 . C∆7 − Dm/F − Em7 −
12 ⊥ A7 − Am−
13 M1 Dm <(Dm97 − G)− [1] A’, Fl: a-Aeol, mel tension, S 9
16 ⊥ Em Em
17 M2 Am <(Em7 − F ]∅7 )/E − Am Vi1, arco Str (20 m.)

Table 19.14: Ravel, Ma mère l’oye, 2. Petit Poucet, Très modéré
m M R H Comment
9/[13 ~
1 Cm G97 − Cm+7 − G7 − Cm+7 − G[13
7 − A, muted Str: c-Aeol, T, Hk d
5 M1 Cm − F m/A[ − F − F m/A[ − D∅7 /F − ~
Ob: c-Dor/Aeol, Hkd , [S̄ 6 ]
..
7 . B[7 /D − F∅7 /F − Cm/E[−
9 ⊥ Cm − F m/A[ − B[7 − E[ ~ , [S̄ 6 ]
Hk d
12 M2 E[ <(E[∆7 − Cm7 − A[)− [1] EHn: e[-Dor, T
.. ~
18 . Gm − B[7 − B[ − A[ − B[/F − Hkd
21 ⊥ B[ − E[/B[−
22 M1’ G G7 − . . . − [2] Cl-Fl, [S̄ 6 ] , P T (g), D
27 M3 (G7 − Gm7 − F )/G− Str buildup (ped)
.. ~
30 . (G7 − F m7 )/G− cresc to climax, Hkd
..
32 . Cm Gm − Cm − E[∆7 − Cm− [3] unisono clim: c-Aeol, T,
..
35 . E[ Cm/G − B[/F −
..
36 . Gm − A[ − B[/F − F m/C−
37 ⊥ F m7 /E[ − F m/C − D∅7 − B[7 −
40 M2 A[ A[ − F m7 − D[− [4] EHn: a[-Dor, SD
..
42 . F m/A[ − A[ − F m7 −
..
44 . F m7 − D[ − F m/A[ − A[ − Cm−
47 ⊥ E[7 − . . . − A[
51 M1’ Dm D7[10 − . . . − [5] B, Bsn+Va: d-Aeol, P T (d),
contrast, (open) Str gliss
55 M3 (D7 − Dm7 − Cm − D7 )/D− [6] buildup (ped)
59 ⊥ G7 − climax, D
60 M1 Cm Cm − Cm/G − F m − F m/C− ~ ,T
[7] A’, Fl+Str: c-Dor, Hkd
.. ~
62 . F m − D∅7 − B[ − F m/C− Hkd
64 ⊥ E[∆7 − B[ − F m/C − Cm
67 Fm F m97 − . . . − A[/C [8] Fl+Str, SD, quote Mvt. 1
9/[13 ~ , T, intro (79 m.)
75 Cm <(Cm/E[ − G7 )−C [9] Str: Hk d

19.6.3 Mvt 3 Laideronnette, Impératrice des Pagodes, Mouvement de Marche
Form: ternary song form, ABA’. This lively march is full of pentatonic melodies (M1, M2,
and M4) and motifs (Mt and M3), using the f ] pentatonic scale (the piano, ‘black keys’).
While the A sections move in lively 16th note rhythms, the middle section eases down, with
its quarter and half note rhythms and lyrical, quasi-improvising flute lead melody. And
once, again, there are brief quotes from the first movement (the chromatic middle voice).
19.6.4 Mvt 4 Les entretiens de la Belle et de la Bête, Mouvement de Valse modéré
Form: ternary song form, ABA’ Coda form. The instrumentation tells the story in this slow
waltz: higher woodwinds, in particular the solo clarinet, represent The Beauty (La Belle),
while the grunting counterbassoon is the longing Beast (La Bête). During the dialogue be-
tween the two main characters the Beast motif is inverted and gradually ascending towards
a climax (this happens twice), before settling into resignation in the coda. See Table 19.17
and 19.18 for the analysis.
19.6.5 Mvt 5 Le jardin féerique, Lent et grave
Form: ternary song form, ABA’. The closing slow movement has two highly lyrical outer
sections, that are full of diatonic parallel chords and a stepwise ascending bass in the string
section. Then, through a repeated ascending motif M2, these lead to a maestoso tutti climax.
The contrasting middle section presents a number of modal scales, played by solo string
instruments and doubled with celesta. In the coda the climax is supported by the pedal
notes played as a bell chord effect. See Table 19.19 for the analysis.
The key relationship diagram is shown in Fig. 19.11. The opening movement, Pavane de la
Belle au bois dormant, passes through a number of minor mode keys (Aeolian). In Mvt. 2 Petit
Poucet most of the keys lie in the subdominant area. From the tonic minor (Aeolian) Cm
there is a move towards the relative major E[ (1), and later the lowered submediant major
A = [VI (4). The harmonies are in major, while the melodies are in Dorian minor mode. The
B section is in Dm, while the closing A section alternates with the subdominant minor F m
(6).
The central movement, Laideronnette, Impératrice des Pagodes, opens in major C], then
changes to parallel minor C]m (1), and continues to the subdominant major F ]. All these
keys support the f ]-pentatonic theme. The contrasting middle section is in D]m (2–3), and
in the closing A section once more passes C]m and ends in F ] (4). The keys in the fourth
movement, Les entretiens de la Belle et de la Bête, are static, respecting the form. The outer sec-
tions are in F , the B section is in D major. The same set-up is used in the closing movement,
Le jardin féerique, with the outer sections in C major and the contrasting middle section in the
miediant minor key Em.

Table 19.15: Ravel, Ma mère l’oye, 3. Laideronnette, Impératrice des Pagodes, Mouvement de
Marche
m M R H Comment
6/9
1 C] C4 − . . . − Intro, muted Str trem, P T (c])
6/9
9 M1 C]4 − . . . − [1] A, Pi: f ]-Pent (ped)
13 ⊥ C]97sus4 − . . . −
6/9
16 M1 C]4 − . . . − [2] Pi-Fl: f ]-Pent (ped)
21 ⊥ G]97sus4 Fl
24 Mt <(C]97sus4 − G]m7 /B) − C]7sus4 − [3] Pi+Fl+Cel, trans
32 M2 C]m <(C]m7 − D]m7 )/C] − F ]97 − [4] (a): Ob, f ]-Pent
.. 9/]11
38 . <(B/F ] − F ]7 )− [5] (b): Fl, Pent-WhTSc
..
46 . C][9 [9
7 /E] − A]7 [6] (c): Fl-EHn, quote Mvt 1
..
50 . G]97sus4 − . . . −
.. 6/9
54 . C]4 − C]7sus4 − C]7 −
..
56 . F] <(F ]69 − E∆7
9 )− [7] Flts, cresc, f ]-Pent
65 ⊥ 6
F ]9 tutti climax
69 M3 D]m D]m11
7 − ...− [8] B, WW+Str unis, f ]-Pent
83 M3 D]m11
7 − ...− [9] Cl, Str bg, P (d]−a])
93 M3 D]m11
7 − ...− [10] Cel-Cl imit, 3rd st, (ped)
109 M4 (A]m97 − . . . − C]m7 )/A]− [11] Fl, P D (a])
..
113 . (D] − A]m7 − D]m7 − F ]m7 )/A]
..
115 . (A]m97 − . . . − C]m7 )/A]− (ped)
..
119 . (D]m7 − G]7 − D]m7 − C]m)/A]−
..
121 . (D] − C]m − D] − A]m7 )/A]−
..
123 . <(D][97 − . . . − G]m)/A]− [12]
135 ⊥ (F ] − A]m7 )/A]−
137 M3 D]m7 − . . . − [13] Cl+Va, P (d]−a])
142 M1 D]m D]m11 7 − ...− [14] A, Cel: f ]-Pent, P T (d])
149 M1/3 G]97sus4 − . . . − WW+Str imit, tutti bg
157 Mt <(C]97sus4 − G]m7 /B) − C]97 − [15] Pi+Fl+Cel, trans

Table 19.16: Ravel, Ma mère l’oye, 3. Laideronnette, Impératrice des Pagodes, Mouvement de
Marche (cont’d)
m M R H Comment
165 M2 C]m <(C]m7 − D]m7 )/C] − F ]97 − [16] (a): Ob, f ]-Pent
.. 9/]11
171 . <(B/F ] − F ]7 )− [17] (b): Fl, Pent-WhTSc
..
179 . C][9 [9
7 /E] − A]7 [18] (c): Fl-EHn, quote Mvt 1
..
183 . G]97sus4 − . . . −
.. 6/9
187 . C]4 − C]7sus4 − C]7 −
..
189 . F] <(F ]69 − E∆7
9 )− [19] Flts, cresc, f ]-Pent
198 ⊥ 6
F ]9 tutti climax (204 m.)
Mvt. 2 Petit Poucet

t
Dm Am Em Bm
5
2
F C G D
Mvt. 1 Pavane de la Belle
t
6
au bois dormant F m - Cm Gm Dm
2 1 4 ?1,3
Dm Am - Em A[ E[ B[ F
Mvt. 3 Laideronnette, Impératrice Mvt. 4 Les entretiens de

des Pagodes la Belle et de la Bête
2 t Mvt. 5 Le jardin
D]m A]m Fm Cm D féerique
6
F ]∗ C] G] D] Dm Am Em
4 Y
HH 1
? t 3
*

F ]m H C]m G]m D]m F C G
Figure 19.11: Ravel, Ma mère l’oye, key relationship diagram

Table 19.17: Ravel, Ma mère l’oye, 4. Les entretiens de la Belle et de la Bête, Mouvement de Valse
modéré
m M R H Comment
1 M1 F F − F∆7 /E − Dm − F/C− A ([) (a): Cl (La Belle)
..
5 . F∆7 − . . . −
.. 9
9 . <(F∆7 − C7sus4 ) (b)
..
13 . Em/A − A97 − Dm7 − D7 −
..
17 . <(Gm97 − E◦7 − B◦ )− [1] (c)
21 ⊥ Gm7 − C7]11
24 M1 F∆7 /E − Dm − F/C − F∆7 − . . . (a) Cl
..
31 . <(Am7 − Em97 )− (b)
..
35 . Am97 − Em7 /D − A97sus4 − . . . −
42 ⊥ <(G7sus4 − C) − C
[9/]11
49 M2 D E[+ − . . . − E7 − ...− [2] B (\) CBsn (La Bête)
+ [9/]11
60 M2 F − . . . − F ]7 − ... 2nd stat, Str: pizz-trem
9/[13
70 M1 F ]7 − ...− [3] Fl, Seq(3×8m;R7 )
73 ⊥/I(M2) Bm/D − B7[9 Fl/CBsn, Str: chr desc par
78 M1 G]97 − . . . − Ob, 2nd stat
81 ⊥/I(M2) C]m/E − C]7 − . . . CBsn, Str: chr desc par
86 M1 B[97 − F7[5 /B[− Cl, 3rd stat
.. [9/13
89 ./I(M2) E[m/B[ − D[7 − E[m7 /D[− Str+WW
.. .. 9/[13 9/13
94 ./ . F7 − A[7 tutti cresc
98 ⊥ /⊥ A7 /C] − . . . − A13
9
7 /F ]− climax, PBi (%)
102 A13
7 /G − . . . − C]9 /G]−
7
107 M1/M2 F F − C]]5 9

7 − F − D7 − . . . − [4] A’ ([) Cl(a)/CBsn
.. ..
114 ./ . A[9
7 /G − . . . − G7 − (b)
..
118 ./⊥ A97 /C] − C]]5
7 − D7 −
..
122 ./I(M2) G7 − B7 − C]]5 9
7 − F7 − (c)
..
126 ./⊥ F ]alt
7 − E7 − C7 −
129 M1/I(M2) (Cm97 − D7[9 )/C− [5] Ob(a’)/CBsn
.. .. 9/13
133 ./ . E[∆7 − E[7 − E[97sus4 − E[[9
7 − (Fl+Cl)/CBsn
.. .. 9/[13
137 ./ . F79 − F ]7 − Aalt
7 /G− cresc to clim, PBi (%)
141 ⊥ /⊥ C]7 /B − . . . − E7[9 /B−

Table 19.18: Ravel, Ma mère l’oye, 4. Les entretiens de la Belle et de la Bête, Mouvement de Valse
modéré (cont’d)
m M R H Comment
148 M2’ Dm7 /C − F ]7 − A7 − [6] Coda Vi1, Str bg
9/]11 [9/13
152 ⊥ D79 − . . . − G7 − . . . − C7 −
160 M1’ 6 [9 9
F9 − . . . − <(F7 − G7 )/F − Pi+Cel
[9/13
167 ⊥ F ]alt
7 = C7 −F closing (172 m.)
Table 19.19: Ravel, Ma mère l’oye, 5. Le jardin féerique, Lent et grave
m M R H Comment
1 M1 C C − C∆7 /E − Dm9 − Em7 − F 9 − ~ , PB (%)
A (a) Str, Hkd
..
3 . G7 − F/A − G7 /B−
..
4 . Am7 /C − Em/G−
..
5 . Am97 − Em97 − Am97 − Dm9 − G/D− (b)
9 ⊥ Dm7 − Am7 − Dm7 − G7sus4 (b’) cresc to climax
14 M2 9 − G9 − F )/F
<(F∆7 [1] Cl+Va, EHn+Va, P (f )
7
.. 9 − G9 )/F −
18 . (F∆7 7 Fl+Vln, 3rd stat
20 ⊥ Em − G97 − Em tutti climax
23 M3 Em Em − Dm7 − [2] B (a): Cel+Vi1, e-Phryg/Aeol
..
25 . C]m − Bm − E7 − (a’): e-Mixolyd
..
26 . C]m − F ]m97 − Bm7 −
27 ⊥ <(D∆7 − C]m − Bm7 )− ~
(b) climax, Hkd
29 M3’ <(E − C]m7 − Bm7 )−
..
31 . <(G]m − F ]m − D]∅7 )− (a): Va, e-Ion
..
33 . G − F − Dm − <(G − Em − Dm) [3] Vi+Va+Cel, e-Phryg, cresc
36 ⊥ <(G − Em − Dm7 )− tutti climax, Σ(cm<)
40 M1’ C C∆7 − Em7 − F∆7 − G − Am [4] A’, Str, Σ(cm>)
42 ⊥ Dm7 − Em − F∆7 − G − Am97 −
44 M2 9 − ...−
F∆7 WW+Str, P (f −c), cresc
.. 9 −
48 . F∆7 tutti
50 ⊥ <(C 6 − G7sus4 )/C − C [5] tutti climax, P T (c) (56 m.)

Table 19.20: Ravel, Daphnis et Chloë, Introduction
[#]+m M R H Comment
h i
4
Lent 4 (]]])
6/9/]11
0 A A∆7 − . . . − (E-Ionian scale) A, Str: bell chord in 5ths
6/9/]11
1 Mb A∆7 − ...− Fl: birdsong, Ch: ch in 4th
6/9/]11
1+3 ⊥ A∆7 − ...− Hns in 4th
1+5 M0 F79 /A − . . . − FHn: main theme D&C
9/]11
2 Mb G7 − ...− Ob: birdsong
9/]11
2+4 M0 D[7 /F − . . . − Fl+Bsn: 2nd stat, Str: trem
3 M1 F79 − <(Cm7 − F7alt )/F B, FHn, triplets
..
3+4 . <(B713 − D]alt
7 )/D]− WW+Str, build-up to clim
..
4 . A6 /C] − . . . − Str: triplet trem
.. 9/]11/13
4+3 . G7 /B − . . . − tutti climax
9/]11
4+7 ⊥ G7 /B − . . . − easing down
19.7 Daphnis et Chloë, Ballet in three parts (1912)

Daphnis et Chloë is a ballet in three parts. Source: [47]. Music for orchestra and choir. The
analysis presented here is incomplete. However, it contains all the dances and sections that
Ravel used in his two orchestral suites, plus a number of additional ballet scenes.
19.7.1 Introduction
Form: binary, AB. The main characteristics are the long note opening string bell chord,
adding overtones in 5ths (1 − 5 − 9 − 6 − 3 − ∆7 − ]11, yielding the E-Ionian scale), birdsong
for solo woodwinds and the Daphnis et Chloë main themes (M0 and M1). Parallel chords on
neighbouring steps for choir and horns. The B section is a build-up to the main theme M1 in
tutti climax. See Table 19.20 for the analysis.
19.7.2 Danse Religieuse

Form: AB. This moderate dance is based on a mixed rhythm (8th note vs. triplets) and el-
egant, mainly stepwise melody with a pentatonic flavour. Melodic phrases are stated in
mixed instrumentation (woodwinds and string), leading to a tutti climax in both A and B
sections, with the choir joining the orchestra. The parallel neighbouring note chords in the
choir are also a prominent feature in the transitions. See Table 19.21 for the analysis.
19.7.3 Nymphs dance

Form: ABAC. In this scene the theme from the introduction returns in three statements,
depicting the nymphs, that will start a slow dance, until they discover Daphnis. Tremolo

19.7. DAPHNIS ET CHLOË
Table 19.21: Ravel, Daphnis et Chloë, Danse Religieuse
[#]+m M R H Comment
h i
4
Modéré A 4 (]])
6/9/]11
5 M2.1 A A∆7 − ...− (aab) Str+Hrp: dance th
9/13
5+4 ⊥ F ]7 WW+Str
6 M2.1 <(B/B − A7 − B/F ])− (aab’) WW: 2nd stat
..
6+2 . G]97sus4 − C]− WW+HiStr
6+4 ⊥ C]m7 − G]97sus4 − C]m
9/]11
7 M2.2 A7 /C]− tutti cresc
9/]11
7+2 ⊥ C7 /E − . . . − climax
6/9/]11
8 M2.1 A∆7 − ...− WW
8+4 ⊥ A97 − . . . − WW+Str
9 M2.2 Dm7 − . . . − C]97 /E] − . . . − tutti cresc to clim
.. 9/]11 9/]11
9+4 . C]7 − A7 −
9+6 ⊥ D]m7 /F ] − D7 − Bm97 − A− trans
10 M0 Gm D79 − D7alt − B, Ob: Daphnis et Chloë
9/13
10+1 ⊥ D7 − G7sus4 /]5 /D − D79 −
10+3 M2.1 Gm7 − . . . − Str+Ch
9/13
10+5 M0 C79 /G − E[7 − C7 − F7sus4 /]5 /C− Fl: D&C
10+6 ⊥ 9
C7 − G7 −
11 M2 F ]7 /E − E7alt − WW: themes combined
11+4 ⊥ D7 /F ] − . . . −
12 M2.1’ G]]11
7 − ...−
9/]11
12+3 ⊥ B[7 − C7]11 /E− gradual build-up
13 M2.2 C7]11 /E − F ]97 /A] − . . . − to climax
6/]11
14 M2.2 D D9 − ...− tutti climax
h i
4
Un peu plus lent 4 (]]) trans
9/]11 9
15 M0 A (B7 − E7sus4 − WW, Str: trem, P (b)
9 9/]11
15+2 ⊥ <(B7 − D7 ) − G7 )/B−
6/]11
16 Mb A9 − ...− Vi1: birdsong

strings provide the background. Then there is the beautiful, somewhat haunting choir, hum-
ming in the distance, with lots of parallel chromatic stepwise movement. See Table 19.22 for
the analysis.
19.7.4 Danse Guerrière

Form: ternary song form, ABA’. The war dance opens with its hammering 8th note ostinato
diminished fifth pattern M0 (derived from a whole-tone scale b−c]−d]−f−g−a, the B7[5 = B7]11
chord). This ostinato pattern returns in a varied form in high woodwinds and on other,
similar chord structures. Two other motifs enter and are juxtaposed and combined: the
brass signal motif (M2, 8th notes)) and the high woodwinds minor Gypsy scale (M3, 16ths).
Throughout the movement there is use of extended pedal point. See Table 19.23 and 19.24
for the analysis.
19.7.5 Lever du jour

Form: ABAC. The main features of this scene are the virtuoso whirlwind arpeggios (32ths),
the slowly rising melodic lightwaves through the strings and woodwinds and the intertwin-
ing birdsong, until finally the main theme emerges. See Table 19.25 for the analysis.
19.7.6 Pantomime
Form: AB. The A section is a transition to the long flute solo in section B. In the transi-
tion there is the juxtaposition of parallel chords with a solo melody. The flute solo is long-
winding, mixed rhythm, quasi improvisation, supported by string section accents and pedal
notes in the horns. See Table 19.26 for the analysis.
19.7.7 Danse Générale

Form: ternary song form, ABA’. The chord structures
h i in this closing movement, a fast ex-
5
uberant and ecstatic dance in irregular meter 4 , are based on two octatonic scales on the
tonic and subdominant step, as demonstrated in Table 19.27. Ostinato triplet patterns are
juxtaposed with 16th note runs, and both appear as series of chromatic parallel 3-part chords
(extended chord functions). The main Daphnis et Chloë theme returns here as M0 in the mid-
dle B section. The choir joins the orchestra in the second A section, gradually building up
to an enormous closing climax. Note the diminished fifth relationship between chords and
roots in #219. See Table 19.28 to 19.30 for the analysis.

Table 19.22: Ravel, Daphnis et Chloë, Nymphs dance
[#]+m M R H Comment
h i
4
Modéré 4 Three nymphs
70 <(G]alt alt
7 − F ]7 ) Str: tremolo
70+4 M alt
G]7 − . . . − Fl: intro theme (see #1)
71 M’ F ]alt
7 − ...− FHn: 2nd st, PB (&): WhTSc
72 M” E7alt − . . . − Cl: 3rd stat
73 B[13 9
7 /D − . . . − B[7 /D− WW+Hns, Str: gliss
h i
6
Lent et très souple de mesure 8 ([[[[[) 3 nymphs dance
74 M1b d[ D[6∆7 − . . . − WW: S7 parallel (see #4)
74+4 D[+ − . . . − Tpt, Str: desc trem
[9/]11/13
75 M’ D[7 − D[alt
7 − ... Ob+Cl
76 <(E[m7 /G[ − D[]5 ∆7 ) − E[m7 /G[− Str: desc trem
[9/]11/13
77 E[7 − ...− Str: S5 parallel
78 M’ g G97 − G7 − . . . Fl: intro th, Str: trem
9/]11/13
79 M0 D[7 /F − . . . − Cl+Va: main theme D&C
80 9
B7 /D] − . . . WW: S5 par
h i
9/]11 3
81 c C7 − ...− Str: asc trem, 4 (\\\\\)
[9/]11
82 A[13
7 /C − C7 − ...− WW+Str
Même mouvement Choir: distant voices
83 Mv a Am − C]97 − Gm − B79 − Am6/+7 − T: 1st stat (par desc)
83+5 Mv Am6 − C]97 − Gm7 − B79 − F m6 − A: 2nd stat
84 Mv F m6 − A7 − E[m7 − G97 − C]m6 − S: 3rd stat
84+4 A − A]m − F ]− Σ(cm<)
85 <(G7 − . . . − G]∅7 )/B − . . . − climax, P (b)
86 Mv Bm97 − G]m97 − Am − F ]97 − Em− S; 4th stat
87 Em − C/E − E7sus4 9 − par S5
87+2 Em7 /D − Am7 /C − Am7 /C−
87+3 Bm7 − Am97 − F ]∅7 /A− par S7
87+4 G∆7 − Am7 /G−
9/[5
88 Mt c F ][13
7 − C7 − trans, FHn-Tpt
[5 9/[5
88+2 C]7 − . . . − D∅7 /C − C7 − . . . − chr asc, P T (c)
9/[5
89 (C7 − B7[5 − C7[5 − C][5 7 )/C− PBi (%), (ped)
89+2 Mt’ (F m7 − F∆7 − G)/C− Tpt
90 (F + − B[ − B − C − A]m − B[)/C chr asc, P T (c)
90+2 Mt (D]m − F ] − G] − D7 )/C− FHn-Tpt
91 (B − A − D]m+7 − D+ )/C− Str: gliss, chr%
91+2 (A]m − C − A[ − F − D]m)/C−

Table 19.23: Ravel, Daphnis et Chloë, Danse Guerrière
[#] M Ped H Comment

h i
[10/]11 2
92 M0 b B7 − A 4 (]]) Bsn+LoStr, T
.. [10/]11
93 ⊥ . B7 −
.. ]11/13
94 M1 . C7 /B− Bsn+Tbn, tutti clim, D
..
94+4 . (C7 − D7 − C7]11 − C7 − D7 )/B−
..
95 M0’ . <(C7 − D7 )/B− WW, T
95+4 ⊥ ⊥ <(C7 − A13 alt
7 − (E7 − Bm7 )/D)−
]11
96 M0 f] F ]7 − WW+LoStr, Tpts-Hns, D
..
97 ⊥ . F7]11 − F ]7 − cresc, P (f ]−c])
.. ]11/13
98 M1 . G7 − ,Bsn+Tpt, tutti clim, V/V
..
98+4 . <(G7 − A7 )/F ]−
..
99 M0’ . <(G7 − A7 )/F ]− WW
.. .. 9/[13
99+4 . . <(E79 − F ]7 )/F ]−
9 9/[13
100 ⊥ ⊥ E7 − F ]7 − <(G97 − A13
7 )/F ]− tutti cresc
9/]11
101 M0 c C7 − D
102 M1 b B7 − Cl+Tpt+HiStr, T
..
102+4 ⊥ . B7 − Bsn+Tbn+LoStr
.. ]11/13
103 . G7 /B− cresc, V/V
]11/13
103+3 M2 ⊥ G7 /B− Brs, tutti climax
104 a A− B Str: triplets (6/8), D
.. ]11
104+7 . A 7 − Tpt: triplets
.. ]11/13
105 M3 . A7 − Pi: minor Gypsy scale
.. ]11/13
106 M3 . A7 − 2nd stat
.. ]11/13
107 M0 . E[7 − Bsn+LoStr
]11/13
107+7 ⊥/M2 ⊥ E[7 − FHns, tutti climax
108 f] F ]∆7 − trans, Str+Hrp: triplets (6/8)
..
108+4 . F ]]11
7 − Tpt: triplets
.. [9/]11
109 M3 . F ]7 − Cl: minor Gypsy sc
.. [9/]11/13
109+4 ⊥ . F ]7 −
.. [9/]11/13
110 M3 . F ]7 − Cl: 2nd stat
[9/]11
110+2 ⊥ ⊥ F ]7 − climax

Table 19.24: Ravel, Daphnis et Chloë, Danse Guerrière (cont’d)
[#] M Pedal H Comment

]11/13
111 M0 <(C7alt /G[ − E[7 )− Bsn+LoStr
alt ]11/13
111+4 ⊥/M2 <(C7 /G[ − E[7 )− Tpt+Tbn, tutti clim
]9
112 c C7 − trans Str+LoBrs, D
..
113 . C7alt − Hns
..
114 M3 . C7alt − AFl: minor Gypsy scale
..
115 M3 . C7alt − Fl+Cl
..
115+4 ⊥/M0 . C7alt − WW+Tpt
.. 9/]11
116 M2/3 . F7 /C− Tpt/Ob, T
.. 9/]11
117 M3 . F7 /C− Ob
.. 9/]11/13
117+4 ⊥/M0 . F7 /C− WW+Tpt
.. 9/]11
118 M2/3 . A[7 /C− Tbn/Cl
.. 9/]11
119 M3 . A[7 /C− Cl
.. 9/]11
119+4 ⊥/M0 . A[7 − WW+HiStr
.. 9/]11
120 M3/2 . D[7 /C− (Ob+Cl)/Tpt, SD
.. .. 9/]11
120+4 ./M0 . D[7 /C− WW+HiStr
d
121 ⊥/M2 ⊥ <(C7alt − C713 ) − WW/(Hns+Tbn), D
[9/]11
122 M0 B[7 − E7 A’ Brs+Str, SD
122+2 h(B[m − Cm − Dm − Em)|B[7 i − WW: Hk~
e
122+4 M0 <(E7]11 /G] − E7sus4
9 )− Brs+Str
122+6 h(E − F ] − G] − A])|E7 i − WW: Hk~
e
123 M0 A13 13 9
7 − F ]7 − G7 /B − G]m7 /B− WW, tutti climax
123+2 ⊥ B713 − G]13 [5
7 − A7 /C] − B[m7 /D[−
9/]11/13
124 M0 b[ <(B[7 − C7 )/B[− WW+Str, cresc
125 M2 F ]97 /A]− (]]]]]) Brs, tutti clim, D
126 c] <(C]9∅7 − C]97 )− Str+Hns: tripl, SD, II7
..
126+4 M3 . <(C]9∅7 − C]97 )− Cl
..
127 M3 . <(C]9∅7 − C]97 )− EHn+Bsn
9/[5
128 M3 ⊥ C]97 − C]9∅7 − C]7 − WW, cresc, II-
.. [9/13
129 . f] F ]7 −D tutti, cresc, D, V-III
129+4 ⊥ D]]5
7 − cresc
130 M0/2/3 b B7]11 − . . . − B tutti climax, I

Table 19.25: Ravel, Daphnis et Chloë, Lever du jour
[#]+m M R H Comment
h i
4
Lent 4 (]])
155 D <(D79 /A − C79 /F ]) Mixolydian i Fl-Cl: 32ths, Str bg
hA1,
]11 3
155+4 D][9 [9
7 − C7 /F ] − D]7 − 4
156 M1 G69 /D− Bsn+DB: theme, Vi1: birdsong
..
156+2 . G69 /D− Bsn+LoStr, Vi1+Pi: birdsong
..
156+4 . G69 /D− EHn+Bsn+LoStr+Va
157 ⊥ D96 − clim, Pi: birds, WW+Str: 32ths
158 M2 D96 − Cl+Va, Str bg+32ths
..
158+3 . D96 − Bcl+Vc: countersubject
159 ⊥ Am97 − B Pi: birdsong, Str bg+32ths
159+1 M2’ Am97 − Em97 − Bm97 − Em97 − Cl+Bsn+Va+Vc
160 M2 G]m97 − C]97 /E] − B96 /D] − C]97 − BCl+Va, ECl: birds, Pmi (%)
160+4 ⊥ B79 − Am97 − F ]alt 9

7 − C]∅7 /E − D]7 −
9 cresc-decr
161 M2 D96 − A2, Vi1+2, Choir: ch in 4ths,
..
162 . C96 − WW: 32ths, build to climax
162+2 ⊥ Am97 − A13 9
7 − A7sus4 − Vi+Fl+Bcl, Pm (%)
163 13
C]7 /E]− tutti climax
[5/[9
164 C]13
7 /E] − B7 /E]− trans, Str: 32ths
165 M0 Em97 − C, theme D&C, WW: 32ths
166 E79 − Cl: 32ths, Str bg
167 M1 A97sus4 − Bsn+LoStr: theme,
..
167+2 . A97sus4 − +Va, WW: 32ths
..
167+4 . A97sus4 − G69 − +Vi2, build to climax
..
167+6 . G69 − Em11
7 − +Vi1+Brs, all WW: 32ths
..
168 . D96 − tutti climax, WW+Str: 32ths
..
169 . D96 −
169+3 ⊥ D96 − BCl+Va, Str bg
h i h i
3 9
Retenez 4 + 8
170 Mt D7 − C7]11 − trans, Ob
[5/[9
171 ⊥ F ]∅7 /A − F ]7

Table 19.26: Ravel, Daphnis et Chloë, Pantomime
[#]+m M R H Comment
h i
Lent A 68 (]])
172 M1 <(F ]97 − E79 )/F ] − F ]97 − Ob+EHn: par S46 , Str+Hrp bg
173 M1 D <(F m97 − D713 − A13 ~
Str: Hk
7 )− d
173+2 ⊥ C]13
7 − C] [9 −
7
174 M2 B713 − E713 − A− Ob-Fl-Str
174+2 M2 A6 − D7 − C][5 7 − Cl-Ob: 2nd stat
175 M1 A7 − B7 − ~ , climax
Str: Hk d
h i
2
Très Lent B 4 (]]])
176 f] D7]11 /F ] − ...− Str: pizz, Hns: ped, P (f ]−c])
..
176+3 M3 . D7]11 /F ] − ...− Fl: solo
.. ..
176+6 . . B79 /F ] − F ]7 −
.. ..
177 . . (A13 9
7 − Em7 )/F ] − . . . −
i (%)
Hns: ped Pm
.. ..
177+4 . . (E79 − C]13 13
7 − B7 − D]m)/F ]−
..
177+8 . ⊥ F ][9 9
7 − F ]7 −
.. 9/]11
178 . Cm97 − A[7 − (Fl: solo), Str: arco-pizz
..
179 . F ]6 /C] − F 6− Str: arco, Hns: ped
..
179+5 . D]m7 /C]−
..
180 . D]7 − A97 − C]7 − G97 − clim, Str+Cel: Seq(4×R−7 ),
..
180+1 . B7 − F79 − A7 − C]m/E− lead: chr&
.. [10/[13
180+2 . E[13
7 − A7 − Am97 − i (&)
Str: pizz, Hns: ch Pm
..
180+4 . C]13 9 9
7 − Gm7 − E[7 −
..
181 . D]7 − A97 − C]7 − G97 − clim, Str+Cel: Seq(4×R−7 ),
..
181+1 . B7 − F79 − A7 − C]m/E− lead: chr&
..
181+2 . C]13 9
7 − Gm7 − C]m7 /E−
i (&)
Str: pizz, Hns: ch Pm
..
182 . F ]13 9
7 − B∆7 − A]m7 − Fl-Pi, WW+Str: bg
En animant toujours davantage transition
..
183 . g <(G9 − F ]9 − E[]11 )/G− 7 ∆7 7 Pi, Str+WW: accts, FHn: P T (g)
183+4 ⊥ ⊥ (G97 − C]∅7 − D∅7 − E[7 )/G−

Table 19.27: Ravel, Daphnis et Chloë, Danse Générale chord structures
Scale Pitch content Chords Comment

c]-Oct c] − d − e − f − g − g] − a] − b B[7 T
Gm7 used in [217]
C]7
B[m
f ]-Oct f ] − g − a − a] − c − c] − d] − e A, Am SD
F ]7 , F ]m used in [203]
C7 used in [204]
E[7 used in [207]
D]m7 used in [213]

Table 19.28: Ravel, Daphnis et Chloë, Danse Générale
[#] M R Ped H Comment

h i
4
Lent 4 (]]]) transition
6/]11 ~
193 A9 − Tpt, tutti, Hk d
h i
5
Animé A 4
]11/13 ~
194 V F7 /A− A, WW: triplets Hk i
9/]11
195 M0 F7 /A− AFl+Vi
9/]11 ~
195+1 F7 /A− WW: tripl Hk i
9/[5
196 M1 I c] C]7 − Cl+Va
9/]11 ~
196+4 ⊥ C]7 − Hns+Tpt: tripl Hk i
]5
197 M1 <(G7 − G]7 /B])− AFl+Vi2, Str: tripl
.. h i
197+2 . <(G]57 − G]7 /B])−
2
4
197+4 ⊥ <(D]]5 9
7 − B7 )− tutti cresc
h i to clim
198 D]]5
7 − trans 54 WW+Str: tripl Hk
~ &
i
198+2 D]]11
7 − A]m− Tpt-Hns: tripl Hk~
i
199 IV a A]m/A− WW: triplets
.. ~ , a−e-bass riff
199+1 . A]m/A− Str: tripl Hki
.. [9/]11/13
200 M2 . A]m/A − (= Eno 7 ) ECl
.. ~
201 M2 V . A]m/A− Cl+Tpt, Str: tripl Hk i
.. .. ~
201+2 . . A]m/A− WW+Str: 16th/tripl Hki
.. .. h i
3
201+4 . . (A]m − B7 − F7 − D7 )/A− cresc
h4i
5
201+7 ⊥ ⊥ (B7 − D7 )/A− 4
202 M2 IV a A]m/A− tutti clim, Brs: tripl (a−e-riff)
.. .. ~ , cresc
202+2 . . A]m/A− WW+Str: 16th/tripl Hki
.. ..
203 . . <(F ]m7 − Am7)/A− tutti climax, triplets (a−e-riff)
.. .. ~
203+2 . . <(F ]m7 − Am7)/A− clim, WW+Str: 16th+tripl Hk i
203+5 ⊥ ⊥ A− ~ &
Tpt: tripl Hki
204 IV f] C/F ] B, Hns+WW: triplets

..
204+1 Mt . C7 /F ] VI+Va: D&C
..
204+3 ⊥ . (C7 − C7[9 − F ][9
7 )/F ]− Bsn+Vc, WW: 16th&
..
205 Mt . (D∆7 − D7 − Bm7 − F ])/F ]− Vc: 2nd stat, WW: tripl
205+2 ⊥ ⊥ (D − Bm7 )/F ] − Dm/F − Bsn+Vc, WW: 16th&

Table 19.29: Ravel, Daphnis et Chloë, Danse Générale (cont’d)

206 M3 I e B[7 /E− Bsn+Hns+Vc: Dorcon,
206+1 ⊥ (B[7 − E7[10 )/E − B[7 /E− Tpt-WW: triplets
207 M3 IV-I E[97 − E7 WW+Hns+Str: 2nd st
207+1 <(E[97 − E7[10 )/E[− WW+Brs: tripl, clim
208 IV-I <(E[97 − E7[10 /G])− ~
WW: tripl Hk i
208+2 <(B[97 − Gm7 ) h i
3
209 M0 I c] C]97 − 4 Tpt+Str: th D&C
.. .. ]11/13 ~
209+6 . . C]97 − C]7 − tutti clim, tripl Hk i
.. ]11/13 ~ &
209+10 ⊥ . C]7 − Str+WW: tripl Hki
.. h i
5
210 I . C]7 A’ 4 Str bg
.. [5/[9
210+2 M1 . C]7 − BCl+Vc
.. [5/[9 ~
210+4 . C]7 − Hns: triplets Hk i
.. [9/]11
211 M1 . G]7 /C]− Cl+Va
.. ~
211+2 . G]7 /C]− Tpt: triplets, WW: 16th Hk i
.. [5/[9
212 M1 . C]7 − Tpt+Vi2, Choir
.. [5/[9 ~
212+2 M1 . C]7 − Cl+Vi1, Tpt-WW: tripl Hk i
.. ~
213 M1 . G]97sus4 /C] Cl+Vi1, Tpt-WW: tripl Hk i
213+2 ⊥ G]97sus4 /C] ~
Str+WW: 16th/tripl Hki , cresc
214 M2 I7 e A]m/E7 − WW unis, Brs+Str: triplets
.. ~
214+2 ⊥ . (A]m − B[+ )/E− WW: 16ths, Brs+Str: tripl Hki
..
215 M2 . E∅7 − WW: unis, tutti climax
215+2 ⊥ ⊥ E∅7 − B[7 /E ~ , cresc
WW: 16ths, Str: tripl Hk i
216 V Bm7 /A− tutti climax
216+1 B7 /F ] − A[7 /E[ − F7 /C− WW+Str: 16ths Σ(cm<)
D7 /A − B/F ]
216+2 A[7 /E[ − F7 /C − D7 /A− cresc
B7 /F ] − A[7 /E[−
216+3 M2 IV C7 − WW, tutti climax

Table 19.30: Ravel, Daphnis et Chloë, Danse Générale (cont’d)

217 Gm7 − tutti climax
217+1 G7 − E79 − C]7 − WW+Str: 16ths Σ(cm<)
B[7 − G7 −
217+2 E79 − C]7 − B[7 − cresc
G97 − E79 −
217+3 M2 I C]7 − WW: unis, tutti climax
h i
218 V b <(C]7 − B7 )/B− Coda 34 b−f ]-riff,
218+4 <(E]m7 /G] − D]m)− Brs: tripl, WW: 16th, g]−d]-riff
218+6 G][13
7 /F ] − F ]/C−
219 I B[/E − E/B[− tutti, cresc, Σ(cm<),
219+1 A[/D − B[7 /A[− WW: 16ths, Brs+Str: tripl
219+2 G[/C − C/G[− build-up to final climax
219+3 E/B[ − B[/E−
219+4 D/A[ − E7 /D−
219+5 C/G[ − F ]/C−
219+6 V/IV A/E[ − Gm/B[ − E7 /B[−
220 M2 IV=I a <(B[m/A − E7alt )− tutti climax
..
220+4 ⊥ . B[m/A− Hns: tripl, WW: 16ths
..
221 I-V-I . <(A − G]5
7 )/E tutti climax
221+4 ⊥ A

Table 19.31: Ravel, L’Enfant et les Sortilèges, Opening scene
[#]+m M R H Comment
h i
8
Tranquillo 8 (])
0 G g-pentatonic scale (par 4ths/5ths) Introduction, 2Ob
1 g-pent. DB: harmonics countersub
2 [V] g-pent. VMS : L’Enfant
h i
4
Più animato 4
3+3 M1 Am97 − Bm/D− WW: Maman motif,
..
3+4 . Bm97 − C]m/E − C]m97 dim, Seq(3×R7 )
3+5 ⊥ D]m7 /F ] − E[m97 − A[7 − F m97 −
4 B[m97 − F m97 − Str bg
[10/]11 [9/13
4+2 B[m97 − E[7 − A[7 − Hns+WW
9 ]9
5 <(C] − F ]7 )− WW+Str accts
5+4 <(E − B[m) − A∆7no 3 − WW
6 F ]m7no 3 − C]m7 − G]m7 − A∆7 Str: diat par
6+3 M1 F ]m7no 3 − Am97 − Bm/D WW
19.8 Opera L’Enfant et les Sortilèges (1925)

Source: [44]. This opera is full of unique orchestration effects, that support the story and
its set of haunting and comical wallpaper characters, that come alive in the nightmarish
dream of the main character, the child (national TV news banner: ‘Youngster on lude; sniffing
wallpaper glue, or, how safe are our homes?’). In the analysis diagrams the beginning of vocal
lines is indicated as [V] (due to the operatic, story-telling and fragmented character of the
vocal lines, the individual statements have not been marked in the tables). The melodic
material for the orchestra instruments is labeled as usual with M1, etc. This analysis covers
the first half of the opera.
19.8.1 Opening scene

Vocal parts: L’Enfant (mezzo-soprano) and Maman. Two hoboes, playing meandering high
8th note patterns in parallel fourths and fifths set the (Oriental) mood. The Maman motif is
characterized by a falling fourth in the lead voice; it is an instrumental (non-singing) part.
19.8.2 Scene L’Enfant: ‘Ça m’est égal!’

Vocal parts: L’Enfant (mezzo-soprano). This playful and fast movement depicts the child’s
protest against homework assignments (singing and shouting). The piano enters the stage
with accents and pentatonic arpeggios. Woodwinds and trumpets play tremoli to support
the chaos. There is frequent use of bitonal harmonies. See Table 19.32 for the analysis.

19.8. OPERA L’ENFANT ET LES SORTILÈGES
Table 19.32: Ravel, L’Enfant et les Sortilèges, Scene L’Enfant: ‘Ça m’est égal!’
[#]+m M R H Comment
h i
2
Presto 4 (\)
7 hA|B[i − WW+Brs: trem, bitonal
[5/[9
7+2 [V] <(E∆7 − F ]7 /E)− L’Enfant, WW+Pno accts
7+6 G[5
7 − Am − G7
[5
8 Am − B[m+7 − Bm − B[m WW accts

8+2 Bm+7 − Cm7 − C]∅7 − Cm
8+4 C]m − . . . − C]m ~ %
Hki
9 M2 hB|Ci − . . . − Pno: pentat arp
Agitato
9+4 ⊥ hD[|Dmi Pno+WW accts
10 <(hC]m|Dmi − hCm|C]mi) climax, WW+Brs: trem
10+3 Dm+7/9 − B[7 − E[9∆7 Pno arp, Hns
10+6 [V] VMS : shouting
11 M2 hD[|Ci Pno: pentat arp
11+4 ⊥ E[ hG|E[i Pno+WW accts
12 F 9
C7sus4 − Pno: arp
12+1 F −→ C]+ −
+ WW+Hns: Hk ~ , Σ(cm>)
i
13 M2’ D]m hB|Ci − F ] − hB|Ci − D]m Pno: Aeol, WW: arp&
.. ~ %
13+4 . Am − B◦ − Am − C − Dm − Em− WW: Hk d
..
13+6 . F − G − Am − B◦ − (diat par)
13+7 ⊥ C − Dm − Em − F
13+8 hG|G]i climax, WW: arp&
]11/13
14 <(Em+7 − E[7 no 3 ) clim, Brs, Tbn: gliss
14+4 [V] VMS : singing
14+5 <(hE[+ |F i − hD+ |F i) climax, WW+Tpt: trem
]11/13
15 <(hE[+ |F i − hD+ |F i) = E[7 tutti climax

Table 19.33: Ravel, L’Enfant et les Sortilèges, Scene Le Fauteuil et La Bergère
[#]+m M R H Comment
h i
2
Presto 4 (\)
16 diminished 5th intervals trans, intro, Bsn
16+4 octave leaps CBsn
h i
3
Lento maestoso 4 ([[) Duet: Fauteuil/Bergère
17 M3.1 Gm <(Gm+7 − A[5 9
7 − D7 )− A, Pno+VB +VS , P (g−d)
17+2 ⊥ (F − A[ − B − E[m)/D− Pno: RH arp%&
17+4 M3.1 <(Gm+7 − A[5 9
7 − D7 )− 2nd stat
..
17+6 . (F − A[ − B − E[m)/D− Pno: RH arp%&
..
17+7 . Em+7/9 −
..
17+8 . (E[+ − D+ − D[)/A Pno: RH
17+9 ⊥ Am − Dno 3 cad, Pno+Str pizz
B, Le Fauteuil
18 M3.2 Cm97 − (Dor scale) EHn+Vi, Seq(3×2m;R7 )
..
18+2 . B[m97 − Cl+Hrp
18+4 ⊥ A[m97 − ...− Bsn+Pno
18+8 D7[9 Tbns
19 M3.1 <(Gm+7 − A[5 9
7 − D7 )− A’, Pno repeat, P (g−d)
20 ⊥ <(Gm+7 − A[5 9
7 − D7 )− Duet, WW accts
20+2 9
C∅7 − . . . − C∅7 −
20+8 9
D7sus4 − cad, Str acct
19.8.3 Scene Le Fauteuil et La Bergère

Form: ternary song, ABA’. Vocal parts: Le Fauteuil (bass) and La Bergère (soprano). This
is a charming and elegant dialogue between soprano and bass, accompanied by piano. The
middle section is a harmonic sequence with descending stepwise melody in woodwinds and
doubling. See Table 19.33 for the analysis.
19.8.4 Scene L’Horloge Comtoise

Form: ABCA’. Vocal parts: L’Horloge Comtoise (baritone) and L’Enfant (mezzo-soprano).
See Table 19.34 for the analysis. In this humorous fast march the ticking of the clock is rhyth-
mically supported by percussion (bass drum and cymbals), and by staccato pounding low
winds (bass clarinet, bassoons, counterbassoon), and a muted trombone.1 A short motif
from the vocal line (triplet 8ths - 4th note, ascending arpeggiated triad) is passed on to var-
1
This combination of low woodwinds is also a favourite of film music composer Bernard Herrmann; e.g.,
note the opening music of the movie classic Citizen Kane by Orson Welles.

19.8. OPERA L’ENFANT ET LES SORTILÈGES
Table 19.34: Ravel, L’Enfant et les Sortilèges, Scene L’Horloge Comtoise
[#]+m M R H Comment
h i
4
Allegro vivo 4 ([[)
21 M4.1 E <(B[ − B[]9 )/E− A, L’Horloge, P T (e),
..
21+5 . B[/E − Dmno 3 − LoWW+LoStr, Perc
22 ⊥ Cm97 − <(F7 − Cm97 )/C− P (c)
22+3 (M4.1) 9
F7sus4 − clim, L’Enfant, WW+Str accts
22+4 ⊥ E[ 9 closing, CBsn
23 M4.2 <(E[9 − Dm7 )/E[− B, L’Horloge, Str
..
23+3 . D7 − . . . − Hrp+LoWW+LoStr
..
24 . hE|Dmi − . . . − WW+Str accts, P (d)
.. ~ %
24+3 . hE|F i − hF |F ]i − Hns: Hk i
24+4 ⊥ hF ]|Gi − hF ]|Gi /D WW+Str accts (ped)
[5/[9/13
25 M4.3 E7 − ...− C, Tpt, Str bg, P T (e)
..
25+4 . E7alt − . . . − WW+Str
..
9

26 . B|F7 /A− Pi-FHn-Bsn, WW+Str, P (a)
..
26+4 . F79 /A− Str accts
..
26+9 . C∅7 − climax, acct
26+10 ⊥ E[m Cl+Bsn: asc
27 M4.1 <(B[ − B[]9 )/F − . . . − A’, Tpt+Fl, tutti climax
27+5 ⊥ <(Dm+7 − B[∆7 − G[∆7 ) closing cad, WW+Fl: desc accts
ious solo instruments. In the middle section the steady 4th note groove is taken over by the
string section. The brief closing section repeats the main theme in a tutti climax setting.
19.8.5 Scene La Théière et La Tasse
Form: ternary song, ABA’. Vocal parts: La Théière (tenor) and La Tasse (mezzo-alto). See
After being launched by a grunting trombone and counterbassoon, here’s another dia-
logue, in a competitive high tea setting, over a Cakewalk dance rhythm. The contrasting
middle section is pure Oriental parody (fake Japanese lyrics over celesta in pentatonic par-
allel fourth triplets and string pizzicati). In the closing section the two elements (British and
Oriental) are united in a tutti climax.

Table 19.35: Ravel, L’Enfant et les Sortilèges, Scene La Théière et La Tasse
[#]+m M R H Comment
h i
Allegro non troppo A 44 ([[[[[[[) ‘British’
28 [V] B[m B[m intro, Tbn-CBsn
28+8 <(B[m − G[7 )− LoBrs: muted riff
29 M5.1 E[7 − A[m6 − C[+ − La Théière, WW+Brs+Pno
29+4 ⊥ E[7 − hBm|A[mi Fl+Hns+Tpt: accts
30 M5.1 hBm|A[mi − F∅7 − D[∅7 /F [− 2nd stat
..
30+3 . C[ Tpt-Bsn: accts
..
30+4 . Cm/G − G97 −
30+6 ⊥ C7 − Gm/D − E[7 − C7 climax
B ([) ‘Oriental’
31 M5.2 F Gmadd4 − C79 no 3 − La Tasse, Cel: tripl par 4ths,
..
31+2 . F 6 − . . . − F7 − B[6 − . . . − Str: pizz
..
32 . <(Am7 − Gmadd9 ) − Em11
7 −
..
32+2 . Am7 − E∅7 − Am7 − B∅7 /D−
..
32+4 . G7 − Dm7 /C − D7 −
32+6 ⊥ <(G97 − Gm7 ) − C79 − F cad
A’ ([[[[[[[) Instrumental
]11/13
33 M5.1’ B[m B[m6 − E[7 − Tbn: solo
..
33+3 . A[m6/11 FHn-Tpt-Tbn: accts
33+5 ⊥ hGm|E[7 i − E[97 − A[m6/11
34 M5.1 A[m6/11 − Tbn: solo
.. 9/11
34+2 . F [m7 − FHn-Tpt-Tbn: accts
..
34+4 . Cm/G − A[∆7 − F7 /A− WW+Brs
..
34+6 . G∅7 /B[ − G/B − C7 − D[]11
7
..
35+1 . G7 − Dm7 /C− ([) Duet: Tasse/Théière
35+3 ⊥ 9
D7 − G7 − Gm7 − C7sus4 −
36 <(A[m]11 − F ) Coda, tutti, triplets
36+4 A[m]11 − Bm]11 − Dm − F ]m − A climax
36+6 9 −F
C∆7 cad
h i
3
Interlude 4 Transition
37 f -pentatonic scale L’Enfant, Cel
38 A9 /C] LoWW+Hrp+Pno+DB

19.9. PIANO CONCERTO IN G
19.8.6 Scene Le Feu

Form: ternary
h i song, ABA’ Coda. Vocal parts: Le Feu (soprano). The A sections are based
on a lively 68 dance rhythm, played by either horns, woodwinds or strings. Note the use
of virtuoso coloratura in the middle section B, and coda. The A’ section restates the dance
rhythm, this time in tutti climaxes, and with additional percussion. See Table 19.36 for the
analysis.
19.8.7 Scene Les Pastoures et Les Pâtres

Form: binary form, AB Coda. Vocal parts: Les Pastoures et Les Pâtres, choir. The intro-
duction is a 16th note triplet exact parallel glissando in flutes and clarinets. A small drum
provides the groove for this pastoral folk dance. The choir is divided into humming voices for
continuous harmonic support and parts with lyrics (sections or solos). The accompaniment
is mainly by piano (playing ringing open intervals in bith hands) and woodwinds.
The middle section is for the orchestra instruments, playing in parallel S46 triads and
parallel thirds (the choral harmonic support carries on here). Note the continuous use of
root-fifth pedal point (1−5-ped) and the frequent use of diatonic parallel in this scene. See
19.8.8 Scene L’Enfant et La Princesse

Form: ternary song, ABA’. Vocal parts: L’Enfant (mezzo-soprano) and La Princesse (so-
prano). The introduction contains the main element of this free and through-composed
scene: arpeggios. In the intro and coda these are played by the harp (from longer to shorter
note values), over a sustained trombone chord and string bell chord. Both A sections are a
recitative for soprano and flute solo, in 8th note rhythms and irregular meter. In the B section
the arpeggios return as virtuoso 32th note arpeggios in woodwind and harp over long notes
in the strings. See Table 19.38 for the analysis.
19.8.9 Scene L’Enfant: ‘Toi, le coeur de la rose’

Form: binary song, AB. Vocal part: L’Enfant (mezzo-soprano), aria. This is a lovely, delicate
short ballad, full of melancholy, with tonal character and popular hit potential. The accom-
paniment is brilliant in its simplicity and beauty: three solo violins play steady 4th notes,
doubled with sustained chords in woodwinds and occasionally a single French horn. That’s
enough to move a sensitive listener. See Table 19.39 for the analysis.
19.9 Concerto pour Piano et Orchestre (1932)

Source: [45]. An overview of the formal analysis of the three-movement piano concerto is
shown in Fig. 19.12. The fast opening sonata form movement has a long recapitulation sec-
tion with the character of a secondary development. The slow middle movement has ternary
form. The very fast closing movement is another sonata form. Key areas are determined by
the melodic modes used; there is use of bitonality (as two parallel modes) and polychords
(e.g. as a triad over an independent root).

Table 19.36: Ravel, L’Enfant et les Sortilèges, Scene Le Feu
[#]+m M R H Comment
h i
6
Allegro Introduction 8 (\)
39 [V] C]alt
7 − ...− Str+Pno
39+6 G7 − cad, cresc
40 M6.1 C C− A, dance rhythm, clim
..
40+1 . <(G97 no 3 − C∆7
9 )− Str
.. ]11
40+5 . F∆7 − Ob
40+9 ⊥ 9
G7sus4 − C∆7 WW+Tpt accts
41 M6.2 C∆7 /E − A97 − B, coloratura, clim,
..
41+3 . A13 9
7 − D∆7 − <(F ]m − B7 )−
41+7 ⊥ 13
B7 −
42 M6.3 C]m/E − <(B79 − E∆7 )− dance rhythm, WW+Str
42+3 ⊥ <(B79 − C]97 /E]) cresc to climax
43 M6.4 <(F713 − B[9∆7 )− tutti climax
..
43+2 . <(G97 no 3 − C∆7 )− coloratura+Fl
..
43+7 . G97 no 3 − <(C∆7 /E − A7 )− (col)
..
44 . Dmadd9 solo coloratura
45 ⊥ B7 climax
46 <(hE|Ci − F∆7 ) − <(hA|F i − B[∆7 ) A’, dance, tutti
47 D79 − D79 /F ] climax
h i
Moderato Coda 22 ([[[[)
48 D∅7 , (d−e[−f −g−a[−b[−b−c)-scale trans, P (d)
48 M6.5 (E − F m − G − A[m)/D− Str asc, Pno + col
..
48+2 . (B[ − Em − F m − B[)/D−
..
48+4 . (E − A[ − G − A[m/D− P (d−a[)
..
48+6 . (B[ − Em − F m − B[)/D−
..
48+8 . (E − F m − G − Em)/D (ped)
..
48+10 . (F m − Em − F m − E)/D−
49 ⊥ F m/C clim, Str gliss

Table 19.37: Ravel, L’Enfant et les Sortilèges, Scene Les Pastoures et Les Pâtres
[#]+m M R H Comment
h i
Moderato Introduction 24 (\)
50 Am C 9− Hns+Vln
50+1 hE|Ci ~ S 5 %&
Fl+Cl: Hki
51 [V] Am11
7 P (a−e) A, folk dance, Ch+Pno
51+4 M7.1a Am711 P (a−e) Choir
52 M7.1bb <(E7[10 − D7[10 − E7 − D7 − Am) cad, +Bsn+Cl, 1−5-ped
53 M7.1c <(Dm − D) − Am11 7 − Em7 − Pno+WW, P (d−a)
]11
54 M7.1b <(Am − C∆7 ) Ob, P (a−e)
55 M7.1c 6
F∆7 P (f −c)
55+4 ⊥ Dm − D − Am11 7 − Em7 − Am cad, Fl, 1−5-ped
B (]]]) Instrumental
56 M7.2 A hBm − A − C]m|Ai WW+Tpt par, P (a−e)
57 M7.3 hBm − A − C]m|Ai ECl (ped)
58 M7.2 hBm − A − C]m|Ai Solo Voice, Pno+WW
59 ⊥ hBm − A − C]m|Ai 2 Soli, +Tpt (ped)
Rallentando – Più lento C (\\\)
60 M7.1b’ Am Am11 9
7 − Dm7 − C/E Cl, WW+Hns
60+7 C/E Str
61 M7.1a Am11
7 Pno, P (a−e)
61+5 M7.1b <(E7[10 − D7[10 − E7[10 − D7[10 − Am) Pno+WW
h i
2
Mvt. 1 Allegramente: sonata form (G-modal, 2 , 323 m.)
Recapitulation + 2nd Dev (123 m.) Cd (28 m.)

h i
3
Mvt. 2 Adagio assai: ABA’ Coda form (E-modal, 4 , 108 m.)
A B A’ Cd
h i
2
Mvt. 3 Presto: sonata form (G-modal, 4 , 306 m.)
Intro (36 m.) Exposition (117 m.) Development (60 m.)
Recap (54 m.) Coda (38 m.)
Figure 19.12: Ravel, Concerto pour Piano et Orchestre

Table 19.38: Ravel, L’Enfant et les Sortilèges, Scene L’Enfant et La Princesse
[#]+m M R H Comment
h i
Introduction 44 (\)
62 hE|F mi Tbn, Hrp: arp, Str: bell ch
62+4 M8.0 hE|F mi − L’Enfant
62+6 hEm|B[7 i
h i
Lento A, Recitative 12
8 ([[[)
62+8 M8.1 E[ E[ Princesse+Fl solo
..
63+3 . F7 − B[m7 − E[7 − A[ − . . . − F7 − (irregular meter)
64 ⊥ B[ − . . . − C7 − . . . − F∅7 − P (f )
h i
Moderato B, Duo 44 (]]]])
65 M8.2 E <(E79 − C])/G] La Princesse, P (g]), LoStr+
..
65+3 . <(F ]m97 − C]97sus4 ) WW: 32th arp, P (a)
65+5 ⊥ F ]m − F ]∅7
66 M8.3 <(C7 − C79 − A7 )/E− l”Enfant, P T (e)
..
66+2 . <(C − A7 )/E La Princesse, (ped)
..
67 . <(Dm − Dm7 − Em7 )/D L’Enf & Princ, P (d)
h ih i
2 4
Meno mosso 2 4 ([[[)
..
68 . E[ (D∅7 − <(Gm7 − B[97 ))/D l”Enfant, P (d), HiStr+
..
69 . Cm (Cm − Cm7 ) WW+Hrp: 32ths arp, P T (c)
..
69+1 . <(Dm7 − Cm)/C−
69+3 ⊥ Cm7 /B[ − F/A − B[97 /A[ climax
h i
A Tempo – Lento A’, Recitative 12
8
70 M8.4 E[ E[7 /G − B[m7 /F − A[/C Princesse+Fl solo
70+3 ⊥ B[7 − Cm7 − Gm7 − . . . − C7 −
h i
Accelerando – Molto animato Coda 68
71 M8.0 hE7 |F mi Tbn, Hrp: arp, Str: bell ch
72 ⊥ hE7 |F mi L’Enfant, tutti climax

Table 19.39: Ravel, L’Enfant et les Sortilèges, Scene L’Enfant: ‘Toi, le coeur de la rose’
[#]+m M R H Comment
h i
4
Andante 4 ([[[) L’Enfant
73 M9.1 E[ <(E[ − E[69 − E[∆7 )/B[ A, 2Cl+Bsn+3Vi1, P D (b[)
..
73+5 . <(E[ − B[7sus4 − Cm7 )/B[
73+7 ⊥ Cm7 /B[ − A[/C − E[
74 M9.2 Gm − Gm7 /F − B, Ob+2Cl+FHn+3Vi1
..
74+1 . Cm7 /E[ − E[∆7 /D − Gm7 −
..
74+2 . E[∆7 − Cm7 − B[97 /C−
..
74+3 . Cm Cl+Bsn+Vi1
..
74+4 . Cm − Cm7 /B[ − A[∆7 −
74+6 ⊥ A[∆7 − F m7 /A[ − A[∆7 /C
74+7 <(E[ − . . . − A[6∆7 ) − E[ closing cad
h i
3
Poco animato 4 ([[[) trans
74+11 M9.3 E[+ − . . . − hF |E[7 i Voc, tutti climax
19.9.1 Mvt. 1 Allegramente

This fast opening movement of the piano concerto has no introduction. The harmony in
the first measures of the Exposition is a polychord: a G major triad over a D]7 chord, notated
as hG|D]7i (this notation is defined in Chapter 1, and more specifically in Section 1.3.1; see
below). This harmony is found explicitly as triplet arpeggio patterns in the piano. Although
the concerto is in the key of G major, there is a dominant pedal point d in the bass (m. 1-
13), until the descending diatonic parallel triads in G-Lydian take over. So the complete
harmonic texture may be notated as hG|D]7 /DiR .
The Group 1 theme M1 has the lead part for piccolo (m. 2 ff.) and consists of C- and
G-pentatonic motifs. It has structure M1(abc) (4 + 4 + 6 m.). The M1c-phrase with the
many descending fourth leaps will return as an independent element; therefore it is labeled
Mf =M1c. The second statement is for trumpet in [2] (m. 25 ff.). The descending fourth motif
Mf appears in variation in B-Aeolian [3] (m. 37 ff.).
Thematic Group 2 starts in [4], also with a mix of modes: in M2.1 for solo piano we find
F ] : {f ]−g −a−a]−c]−d−e}, an altered scale (with \5, m. 44) also known as F ]-Mixolydian
with [9, ]9. Then in M2.2 for E[ clarinet there is F ] : {f ] − g] − a − a] − c] − d] − (e)}, a
Mixolydian mode with [10 (m. 52); this scale has Blues flavour because of the lowered third
degree [3 = [10. The lowered ninth and third (tenth) continue in M2.3, again for solo piano;
the chordal functions (e = 7, g = [9, a = [10, d = [13) yield an F ]alt
7 chord. The lyrical theme
M3 in [7] (m. 75 ff.) mixes the E-Mixolydian mode (the E major pentatonic theme) in the
piano melody over harmonies from a variation on an altered scale E : {e − (f ]) − g − g] −
a] − c] − d} (with \9, \13, m. 78), with C]-Aeolian (m. 88 ff.). The second statement is for

bassoon in [9] (m. 96 ff.). The stepwise ascending closing phrase for trumpet (m. 104), with
opening contrary motion in the brass and lower strings leads into the development.
As we have seen, an important element are the melodic modes in the lead parts (piano
or orchestra instruments); harmonies will be derived from these modes. Frequently these
are unconventional chords, not built completely from thirds. In this fast opening movement
there are a number of polychords as triads (or 7th chords) with independent bass. Before
continuing the description of the movement, let’s list these chords and their companion
modal scales:
1. [G]/E]R (m. 142) yields the E-Lydian-augmented scale (Ionian with raised 4th and 5th
degree, ]4, ]5): e − f ] − g] − (a]) − b] − (c]) − d], or, equivalently, G]-Mixolydian with
lowered 6th ([6) g] − (a]) − b] − (c]) − d] − e(= f [) − (f ]). Some degrees are shown in
brackets, since they do not appear explicitely in the score.
2. [G]/A]R (m. 146) yields the G]-Mixolydian scale with [9: g]−a−b]−(c])−d]−e−(f ]).
This type returns in m. 156 as [E 6 /F ]R .
3. [G]/D]R (m. 146) yields G]-Mixolydian with [9, ]11, [13: g] − (a) − b] − d(= ×c) − d] −
(e − f ]). This type returns in m. 169 as [A]9
7 /E[]R .
4. [A/F ]R (m. 156) yields the A-Lydian scale with lowered 6th degree [6: a − (b) − c] −
(d]) − e − f − (g]) or A-Mixolydian with 9, ]11, [13: a − (b) − c] − (d]) − e − f − (g),
or F -Lydian-augmented f − (g) − a − (b) − c] − (d) − e. This type returns in m. 160 ff.
as [A/F ]R − [D/B[]R − [G/E[]R , in m. 229 as [F ]/D]R in m. 234 as [B/G]R in m. 249 as
[B7 /G]R .
5. [F ]/A]R in m. 255 yields F ]-Mixolydian with [9, ]9: f ] − (g) − a − a] − b − c] − (d]) − e,

or F ]-altered with \5: f ] − (g) − a − a] − (b) − c] − (d) − e. The same scale type is used
in m. 44 in M2.1.
The Development ([10], m. 107 ff.) picks up speed with the original tempo and the 8th
note groove in the piano; this hints at the fourth leap theme Mf , but now set in two parts
S(2p). There is extended pedal point P (f ]) (m. 108-141). From [12] (m. 123) a number of
statements with material from the Mf and M2.2-phrase (Blues). The transitory episode in
[14] (m. 142) continues the piano 8th note rhythms over E-Lydian-augmented (Ionian with
raised 4th and 5th degree, a] = ]4, b] = ]5) and Mixolydian with [9 modes. The bass moves
through an extended circle of fifths pattern in m. 142-170: e − a − d − g − c − f − b[ − e[, with
added 6th chords in the right hand B 6 − E 6 − A6 . The ascending fourth leaps in the bass are
imitated in the 3-part S(3p) woodwind chords (m. 160-161). The conclusion in [16] (m. 162)
for piano and strings is in E[-Mixolydian (the [7 also contributes to the Blues flavour). There
is a solo phrase [17] (m. 171) for the piano in 8th notes in parallel octaves at the end. The
cadence E[7 − G may be considered as plagal, since the pitch e[ lies on the subdominant axis
SD: c − e[ − f ] − a.
The opening theme M1 returns in the (False) Recapitulation in [18] (m. 172) as block
chords in the piano with offbeat accents in the orchestra. The M1b-phrase and M1c=Mf -
phrases are played by woodwinds. In [19] Mf is repeated, doubled by piccolo and trumpet.
This section might also be considered a genuine recapitulation, were it not that the Group
2 themes M2 and M3 are treated with significantly different settings and instrumentation.
Note that the key centres in the exposition are G − Bm − E (all related to G-major or Ionian

Table 19.40: Ravel, Concerto pour Piano et Orchestre, Mvt. 1 Allegramente
m M R H Comment
h i
Allegramente (]) 22 Exposition, Group 1
1 G hG|D]7 /DiR Pno+Str, P D (d)
<(hG|D]7 /DiR − D7no 3 |G]4 /D R )

2 M1 ab): Pi, Pno 8th triplet arp
..
. Pno RH/LH G-Ion/C]-Dor
..
<(hG|D]7 /DiR − D7no 3 |G]4 /D

10 . (f ) R) c): Pi, P D (d)
..
D7no 3 |G]4 /D

13 . R − Bm− Pi+Fl
.. ~ &, G-Lyd
14 . A − G − F ]m − Em− Str+Pno LH Hkd
15 ⊥ F ]m − G − F ]m − Em−
16 (M1) 9
D − D7sus4 − ...− [1] tr, Cl-(Fl+Pi), Pno glis, P D (d)
.. 9
20 . D7sus4 − . . . − C − Bm− Ob+Cl, Hns+Tpt
.. ~ , Σ(cm<)
23 . Am7 − G9∆7 − F ]∅7 − Em− tutti, Hk d
24 ⊥ D − C − Bm − Am7 − D-Mixolyd
25 M1 G − <(G − D7sus4 )/D− [2] ab): Tpt, Brs+Hrp appogg
..
33 (f ) . <(G − D7sus4 )/D c): Tpt, P D (d)
36 ⊥ D7sus4 − G/D − Bm/F ]−
(]]) B-Aeol, climax
37 Mf Bm <(Bm − C]m)/F ]− [3] WW+Tbn+Vi P D (f ])
..
40 . Bm/F ] − C]m/G] − D− Bsn+Brs [S̄46 ] %
41 ⊥ E/B − F ]m/C] − G/D−
42 Mt F ]m/C] − D∆7 − Hn, Str pizz
43 ⊥ D]∅7 − [G]m/C]]R −
Meno vivo
[9/[13
44 M2.1 F] F ]7 − ...− [4] Gr 2, Pno solo F ]-alt’, P (f ])
52 M2.2 F ]9 − . . . − [5] Cl-Tpt F ]-Mixolyd’, Str bg
55 M2.3 F ]alt
7 − ...− Pno solo F ]-alt’
63 M2.2 F ]9 − . . . − [6] Pi-Cl-Tpt F ]-Mixolyd’, Str bg
[9/[13 i (&)
67 M2.3 B7 − ...− Pno B-alt, Hns Pm
(]]]]) B-Aeol, climax
75 M3 E 9 − ...−
Em − E∆7 [7] a): Pno solo E-Mixolyd
.. [9/]11
78 . E7 − ...− E-alt’, Str bg
.. [9/]11
80 . E7 − . . . − hE∆7 |Ami − . . . − b)
..
84 . Am+7 − A9∆7 − . . . − [8] c): Pno solo
..
88 . <(C]m97 − D]m7 − C]m7 )− d), C]-Aeol
91 ⊥ E − G]m − F ]m97 − B79 −

Table 19.41: Ravel, Concerto pour Piano et Orchestre, Mvt. 1 Allegramente (cont’d)
m M R H Comment
96 M3 9 − ...−
Em − E∆7 [9] 2nd stat, a): Bsn, WW+Hn bg
.. [9/]11
99 . E7 − ...− E-alt’, Pno arp
.. [9/]11
101 . E7 − . . . − hE∆7 |Ami − . . . − b)
..
103 . Am+7 Str bg, WW accents
104 ⊥ A9∆7 − . . . − F ]97 /C]− a’): Tpt, Bsn+Brs Σ(cm<), clim
Tempo primo (]]]]]) Development
107 (Mf ) B C]m+7 − [10] trans, Pno S(2p)
..
108 . <(C]m+7 − F ]97 )/C]− Str-WW accts
..
111 . B/F ]− b’): Pno, P D (f ])
..
112 . <(E∆7 − B∆7 )/F ]− Str-WW accts
..
115 . E + /F ]− [11] c’): Pno, P D (f ])
..
116 . <(F ]97 − C]m+7 )− Str-WW accts
..
119 . (D]m7 − B∆7 )/F ]− c’): Pno
120 ⊥ <(E∆7 9 − B )/F ]− Str-WW accts
∆7
123 Mf D D/F ]− [12] (]) Pno, D-Mixolyd, P (f ])
124 ⊥ (D79 − Bm7 )/F ] Str+WW accts
127 M2.2 D]9 − . . . − Pno D-Blues
131 Mf D7]9 /F ]− [13] Pno
132 ⊥ <(D7]9 /F ] − Cm) − D7]9 /F ] Str+WW accts
135 M2.2 D7]9 /F ] − . . . − Pno F -Blues
139 Mf G]7 /F ] − . . . − (]]]]) tr, Pno S(2, 3p)-Tpt
142 E [G]/E]R − . . . − [14] Pno E-Lyd-augm
146 [G]/A]R − . . . − [G]/D]R −
0
150 Mf Dm/G − . . . − [15] (\) Hn
152 [B 6 /C]R − . . . − Pno B-Mixolyd-[9
156 [E 6 /F ]R − . . . − [A/F ]R − Pno E-Mixolyd-[9
160 [A/F ]R − [D/B[]R − [G/E[]R − WW S(3p) 4ths%
163 E[97 − . . . − [16] Pno E[-Mixolyd, P (e[)
169 M1’ E[ [A]9
7 /E[]R − Fl+Tpt
171 E[[13
7 − ...− [17] Pno solo cad

mode), now they are G−B[−Dm (G-minor or Aeolian mode). After the oboe lead transition
(m. 189-190) the solo piano once again takes responsibility for the first Group 2 theme M2.1
and M2.2 in [20] (m. 191 ff.), now varied and embellished. However, it is the harp harmonics
playing M2.3 in [22] (m. 204) in the new 3/4 meter and tempo (Andante) which gives this
section the flavour of a secondary development. There is extended pedal point P (a) (m. 191-
225).
The number of statements of M2 is the same as in the exposition; that also holds for
M3 (two statements). The piano seems to comment on theme statements; see the arpeggios
behind M2.2 in [24]. This role is fulfilled by the 32th notes arpeggios and (chromatic) scalar
runs in the woodwinds when the horn takes the lead for M2.3 in [25] (m. 221 ff., but now
starting on the pitch c = [10). The piano plays a variation on M3 in the first statement [26]
(m. 230 ff., 16th note left hand arpeggios) and is doubled with first violins in the second
statement [27] (m. 243 ff.). This may be considered a solo cadenza in the piano concerto
context. Meanwhile, the descending 5th pattern in the roots R5 : a − d − g − c has been
leading us into the subdominant area.
The original mood and tempo return in the transitory section in [29] (m. 255 ff.) with the
virtuoso 8th note groove patterns in the piano, and occasional downbeat accents in (pizzi-
cato) strings and woodwinds. It feels like executing a homerun; the piano lead tones create
ascending arpeggio patterns, such as b − e − g − b − c] in m. 257-259, that remind us of the
woodwind accents in m. 109-111 (beginning of the development). The bassline starts on a
(m. 255-268) and then ascends as b[ − c − d − e[ − e − f (reached in m. 275); there is another
sequential cycle-of-fifth pattern in m. 275-289: (f −b[)−(g−c)−(a−d)−(d−g−c−f −b[−e[).
The Mf motif emerges in m. 269 in the piano, and is taken over by the trumpet in [31]. The
transition in [32] and [33] (m. 281 ff.) is the equivalent of m. 151 ff. (at the end of the devel-
opment section).
The Coda [34], m. 295 ff., is an orchestral tutti, beginning with stretto imitations of M1
phrases and motifs. The piano is continuing the transition pattern in 8th note block chords.
In the lead there is the major pentatonic 8th note pattern (m. 298), that is harmonised differ-
ently four times: m. 298-300 over alternating bass part patterns c − g (stressing the subdomi-
nant domain), then m. 301-304 over bass e−b, then [35] m. 305-308 and 309-312. This is when
the descending root-by-fifth pattern a − d − g in the bass establishes the starting point tonic
root, and a tutti climax in [36] concludes the movement. In this climax bassoon and horns
play diatonic parallel triads Hk~
d that pass through major-minor modal variants: G-Lydian
and G-Aeolian. The final measures copy this idea to the full orchestra, but now there is the
juxtaposition of G-Lydian (major mode) and G-Phrygian (minor mode).
19.9.2 Mvt. 2 Adagio assai

Form: ternary song form, ABA’. See Table 19.44 to 19.46 for the analysis.
In the opening section A1 the solo piano plays the gentle, melancholic main theme M1 in
the tonic major
h i key E (E-Ionian mode) in the right hand; the accompaniment in the left hand
suggests a 68 meter, a cross-rhythm with the other hand. The melody structure is M1(abc)
(4 + 4 + 9 m.), with the apex pitch in the c-phrase (m. 11). The bass consists of a number of
descending and ascending patterns. The melody continues as M2 in the relative minor key
C]m (C]-Aeolian mode) in m. 19 ff., structured as M2(abcd) (4+6+2+5 m.). This best-guess
structuring of the melody has to do with the return of the c-phrase with the melody apex in

m M R H Comment
[18] (]) (False) Recap
172 M1 G <(G − D7sus4 )/D− ab): Pno-Pi, tutti, P D (d)
..
177 . D7no 3 − . . . − Pno+HiWW
..
180 . (f ) (G − . . . − G69 )/D− c): Pn+Cl (see m. 10)
182 ⊥ (G − G69 )/D− Pno+HiWW
9/]11
184 Mf B[ <(B[]9
7 − F7 )− [19] ([) Fl+Cl+Tpt
187 B[/F − C7 /G − B[∆7 /A− [S̄46 ] , PL (%)
188 E[/B[ − F/C − G/D−
189 Mt Am/E − F∆7 − F ]∅7 − Em97 − Ob, Bsn+Hns bg (see m. 42)
Meno vivo [20] 2nd Development
[9/[13
191 M2.1 A A7 − A]9 7 − Pno solo A-alt’, P (a)
199 M2.2 A]9
7 − . . . − [21] h i
Andante [22] 34
204 M2.3 A7 − Aalt
7 − Harp harmonics, A-Myxol-alt’
..
210 . Aalt
7 − [23]
212 ⊥ A − D7 /A− Str harmonics
h i
Tempo 1o [24] 22
216 M2.2 A]9
7 − Pi, tutti climax, Pno arp
217 ⊥ Aalt
7 − ... Cl-Tpt,
h iStr gliss
Andante - a piacere [25] 34
221 M2.3 A]9
7 − Hn, Bsn-Fl 32ths, P (a)
..
226 . D7[10 − D79 − D7[9 − Cl-Ob PLi (%), Pm
i (&)
229 ⊥ [F ]/D]R − h i
[26] 44
230 M3 C [F ]/D]R − G − G7 − a): Pno solo G-Mixolyd
..
234 . [B/G]R − C∆7 /G− b), LH 16th arp
.. 9 /B − Em9 − Bm −
238 . C∆7 7 7 c), E-Aeol
242 ⊥ <(Am97 − Em97 ) − Dm7 − [F ]/D]R −
247 M3’ G − G9∆7 − G13
7 − [27] a’): Pno+VI1, P (g)
..
249 . [B7 /G]R − C − A7 − E−
252 ⊥ A13
7 /E − . . . − [28] tutti
h i clim, Pno arp
Tempo primo [29] 22
255 A A2 − [F ]/A]R − [Em/F ]R trans, Pno solo polymod, P (a)
263 F∆7 /A − [C7sus4 /A]R − WW accents

m M R H Comment
267 (F ]∅7 − D)/A − Gm/B[− [30], Pno, Str bg, PB (%)
269 (Mf ) Gm7 /B[ − . . . −
273 ⊥ Am/C − C/D − Cm/E[ − C7 /E− [S̄ 6 ] %
0
275 Mf F7no 3 − B[/F − G[[9
7 /B[− [31] Tpt (see m. 150 ff.)
[9/13
278 [A6 /B[]R − G7 /B− Pno A-Mixolyd-[9,
Seq(2×4m;R7 )
[9/13
281 [B 6 /C]R − A7 − [32] Pno B-Mixol-[9
284 [C]/D]R − F ]/D − B/G−
287 [E/C]R − [A/F ]R − WW S(3p) 4ths%
288 [D/B[]R − [G/E[]R −
289 E[ E[97 − [33] tr, Pno E[-Mixol, P (e[)
295 M1’ C C− G13
7 − G7sus4 − G7 − [34] Coda, a’): imit Tpt-WW
..
298 . (f ) C∆7 − G7 − C/G − G9 − c’): imit Tpt-WW
..
301 . C − G7 − <(Em7 − Bm7 )− b)
..
305 . A97 − . . . − [35] b): Bsn
.. 9
309 . G D7sus4 − ...− b): imit WW
..
313 . <(G − [F ]/G]R − hE|Gi − [F ]/G]R )− [36] Tpt+HiWW, tutti clim
.. ~
315 . <(G − [F/G]R − hE[|Gi − [F ]/G]R )− G-Aeol Hkd
..
317 . <(G − [F ]/G]R − hE|Gi − [F ]/G]R )− repeat, G-Lydian
..
318 . <(G − [F/G]R − hE[|Gi − [F ]/G]R )− G-Aeol
..
319 . <(G − [F ]/G]R − hE|Gi − [F ]/G]R )−
..
320 . <(G − [F/G]R − hE[|Gi − [F ]/G]R )−
321 ⊥ G − F ] − E− ~ & G-Lyd
Hk d
322 D − Cm − B[m − A[− ~ & G-Phryg
Hk d
323 G (323 m.)

the closing section.

Woodwinds and strings enter in m. 34, with the M2d-phrase repeated in flute and in
rhythmic diminution in oboe. This transitory section continues the 8th note groove in the
piano, a sustained string background, and an arpeggio type countertheme in clarinet and
flute.
The middle section B brings new melodic material. The piano starts a quasi-improvi-
sation with melody M3(aab) (4 + 4 + 4 m.), a sentence structure, over a harmonic sequence. It
is adding 16th note patterns in the right hand. The countermelody Mc is for solo horn. Har-
monically the transitory section (m. 58 ff.) brings another sequence, but now with bitonality.
The orchestra plays series of second inversion chords [S̄46 ] in ascending patterns in Aeolian
mode (first bassoons and horns, then the other woodwinds), while the piano plays descend-
ing 16th-triplets patterns in the tritone-related Ionian mode. First violins juxtapose a quote
from melody M2b (m. 62). The exchange of harmonic minor, Aeolian and Ionian modes con-
tinues in m. 66 ff., with the build-up to the tutti climax in m. 72-73. This brings along the
minor-major key change Em − E; note the pitch g in the bass and G] in the upper structure,
with polychord notation [G]m/G]R ), as the return to the original material.
In the closing section A2 the main melody is played by solo horn, as the piano continues
a counterpart in 32th notes (arpeggios and scales). The horn proceeds with the M2c’-phrase
in the relative minor key (m. 91 ff.), with a gradually descending piano line. In the Coda
the lower woodwinds and horns provide a sustained background for the countermelody in
high woodwind imitation (flute, oboe and clarinet, referring to m. 38). The piano still is in
32th note rhythm, but now in a register below the winds. The movement concludes with the
8th note left hand piano rhythm from the opening, over string section background.
19.9.3 Mvt. 3 Presto

This very fast closing movement opens the Introduction in m. 1-4 with a cadence, set as
accented tutti quarter notes. This structuring element returns in m. 33-36, m. 69-73, and in
the closing measures 303-306. The opening cadence introduces the first (major) modal scale:
G-Lydian (g]−a−d−c]−d−e−f ]). The piano continues in this mode with a riff motif Mr ; the
16th note ‘groove’ will provide the drive for much of this (whirlwind character) movement.
The first thematic material, the ascending scale in 16th note triplets, and 8th note triplets
descending arpeggios, brings in the minor modes in a polytonal setting. In [1] (m. 17) we
hear the high E[ clarinet with the M0 motif in E[-Dorian over the G-Lydian in the piano, in
[2] (m. 15 ff.) this role is taken over by the piccolo in G]-Dorian.
As a transition there are the inner voice trombone 16th note glissando and 8th note as-
cending chromatic scale patterns for horn and trumpet in m. 29-32. This element returns in
ascending and descending direction in mm. 90-93, 109-113, 258-260, and 264-267.
The main theme M1 in the Exposition [3] (m. 37 ff.) is in the D-Dorian mode and has
structure M1(aaa’bb’) (1 + 1 + 2 + 2 + 2 m.). It is set in its first appearance as diatonic
parallel triads S(5) = S(3p), repeated by the strings in [4] (m. 46 ff.) and then once more by
woodwinds, horns and strings in E-Dorian in a climax setting.
The transition starts in m. 57 [5] with the 16th groove in woodwinds and piano. First
there are piccolo and flute, later clarinets in two parts, with the lower part playing arpeggio
triads, the upper part scalar patterns. The piano rises into the extreme treble register, when
another cadence concludes the 1st group material. Group 2 [7] (m. 74 ff.) is in the mediant

Table 19.44: Ravel, Concerto pour Piano et Orchestre, Mvt. 2 Adagio assai
m M R H Comment
h i
Adagio assai A1 (]]]]) 34
1 E E Pno solo E-Ion, P T (e)
2 M1 E − C]m/E − G]m a)
..
6 . A∆7 − F ]m− b), PB (&)
..
8 . F ]m7 /E − D]∅7 − G]m/D]−
..
10 . C]m7 − C]m7 /B− c), climax, Σ(cm<)
..
12 . A∆7 /G] − F ]m7 /E − B7sus4 − PB (&)
..
14 . B7 /D] − F ]m7 /C] − B7 −
..
16 . B7 /A − E/G] − B7 /F ]−
18 ⊥ G]7 −
19 M2 C]m C]m − B7 − D]∅7 /C]− a): Pno solo C]-Aeol, P T (c])
..
21 . F ]m/A − G]7 − C]m − C]m7 /B− PB (&)
..
23 . E/G] − F ]m7 − E − F ]m7 b)
..
25 . A∆7 /G] − E7 /G] − A − C]7 −
..
27 . F ]m/A − F ]7 /A] − B − G]7 /B]− PBi (%)
..
29 . C]m − C]m7 /B− c), Σ(cm<)
..
30 . F ]7 /A] − F ]m7 /A − B7 /A− apex pitch, climax
..
31 . E7 /G] − A∆7 − B7 /A− d)
..
33 . F ]m7 − B7 /F ]−
34 ⊥/c B7 − E713 − [1] cad, Mc=M2d): Fl, Str bg
36 /⊥ E A∆7 − C]m7 − trans, M2d’): Ob dim, PB (%)
38 Mc G]m/D] − E∆7 Mc): Cl
.. d
40 . C]m7 − F ]7 /C] −
..
41 . G]m − G]m7 /F ]− Fl imit diminution, Σ(cm<)
..
42 . E]∅7 − D]m/F ] − G]m
44 ⊥ A]m − D] [2] cad

Table 19.45: Ravel, Concerto pour Piano et Orchestre, Mvt. 2 Adagio Assai (cont’d)
m M R H Comment
46 M3/c C]m G]]9
7 /B] − C]m7 B, M3a/c): Pno/Hn, Seq(2×4m;R−7 )
(]]) C]-Aeol → B-Aeol
..
50 ./⊥ Bm F ]]9
7 /A] − Bm7 [3] M3a/c): Pno/Bsn
..
54 . D7 /F ] − G∆7 − b): Pno, Str bg
56 ⊥ D Em − A7 − D∆7 cad
(\\) trans, bitonality
58 Cm D∅7 − B[[9
7 − [4] trans, Seq(2×2m;R7 ), PBi (%)
Pno RH: 16th triplets, G[-Ion,
WW+Hn: [S̄46 ] C-Aeol, Σ(cm<)
60 C]m E[∅7 − B7[9 − Pno RH: G-Ion,
WW+Hns: [S̄46 ] C]-Aeol
62 M2’ Em Em − G7 /B − C∆7 b’): Vi1
64 ⊥ G Am − D7sus4 − G∆7 cad
[9/[13 9/[13
66 C G7 − C7 /G− [5] biton, Pno: Cm − F m, Str: C-Ion
68 G∅7 − Pno: A[-Ion, Str: [S̄46 ]
69 Em Em/G − . . . − PL (%), build, Pno+Str E-Aeol
71 Em/G − [G]m/G]R − . . . − tutti clim, Pno 32ths
73 [G]m/F ]R −
A2 (]]]])
74 M1/c E E − C]m/E− [6] a): FHn, Mc: Pno 32ths, Str bg
..
76 . G]m
..
78 . A∆7 − F ]m− b), PB (&)
..
80 . F ]m7 /E−
..
81 . D]∅7 − G]m/D]−
..
82 . C]m7 − C]m7 /B− c), clim, Σ(cm<)
..
84 . A∆7 /G] − F ]m− [7] PB (&)
..
85 . F ]m7 /E − B7sus4 −
..
86 . B7 /D] − F ]m7 /C]−
..
87 . B7 − B7 /A−
..
89 . E/G] − A∆7 /G] − B7 /F ]−
90 ⊥ G]13
7 −

Table 19.46: Ravel, Concerto pour Piano et Orchestre, Mvt. 2 Adagio Assai (cont’d)
m M R H Comment
91 M2/c C]m C]m7 − C]m7 /B− [8] c): FHn, Mc: Pno 32ths, Σ(cm<)
..
92 . F ]7 /A] − F ]m7 /A − B7 /A− apex pitch, climax
..
93 . E7 /G] − A∆7 − B7 /A− d)
..
95 . F ]m7 −
d
96 ⊥ B7sus4 − B7 −
97 C] C]97 − [9] Coda, Pno C]-Mixol, WW bg
98 Mc C]97 − . . . − Fl
..
100 . F ]m7 − . . . − Ob-FHn
102 ⊥ G]m − F ]m7 −
103 (M1) E E-. . . - [10] Pno 8ths, M1a’): Va+Vc
105 ⊥ E Bsn (108 m.)
degree area, with a theme M2 in B-Mixolydian mode (b − c] − d] − e − f ] − g] − a, the root is a

pitch on the dominant axis D: d − f − a[ − b). This theme is for two-part horns, answered by
trumpet; it has structure M2(aabaa’b’) (1 + 1 + 2 + 1 + 1 + 4 m.), and a ‘hunting signal’ flavour.
The last phrase M2b’ is in another minor mode, C]-Aeolian. The piano repeats this theme in
[9], m. 95 ff., now as 3-part chords. The transition in [10] (m. 108 ff.) contains chromatic inner
voices, piano and woodwind in rhythmic augmentation. Then from [11] on the piano takes
the lead role in a long transitory conclusion of the exposition, with chromatic scale runs and
arpeggios. The background consists of downbeat accents in woodwinds and horns. The
piano rises into the high register and is occasionaly answered by ascending 16th note runs
through the string section, and ending with the climax in m. 152-153.
At the beginning of the Development [14], m. 154, the movement has landed with the
key of E[ on the subdominant axis SD: c − e[ − f ] − a. The contrabasses and second half of
the cello group start playing quarter note ostinato patterns from m. 154 (with higher chordal
functions 3, 5 in [18], or 7 in [19] in the bass). In fact they will continue this element into
the recapitulation (until m. 229). The 16th note groove is now in the lower strings (celli,
bassoons), while gradually single part phrases from M1 and M2 are added. The groove is
taken over by other instruments, supporting the piano: bassoons (as arpeggios) in [15], celli
in [16, 18, 19], violas in [17, 18], and violins [19]. The density of the M1 and M2 phrases in-
creases: two-part horns in m. 188-189 and 195-196, 206-207, three-part for horns and trumpet
in [19] m. 208-212, stretto in m. 193-196 (including the trombone glissando), m. 202-205, and
210-212. The latter is also a concluding tutti climax.
Right at the beginning of the Recapitulation [20] (m. 214 ff.) the piano plays the bitonal
motif M0 from the exposition, but here as cluster chords. We now have D-Dorian, over G-
Lydian in the strings. In [21] (m. 229 ff.) theme M1 is played in a three-part setting S(3p) for
woodwinds in A-Dorian. Theme M2 is played as three-part piano chords in B[-Mixolydian
in [22], concluding with a tutti climax in B-Mixolydian (m. 253-254). In [23] the transition

Table 19.47: Ravel, Concerto pour Piano et Orchestre, Mvt. 3 Presto
m M R H Comment
h i
Presto (]) 24 Exposition - Group 1
1 G G6∆7 /D − D∆7
9 −G
∆7 Brs+Str accents, cad
]11
5 Mr <(G∆7 − D∆7 )− Pno 16ths G-Lyd
.. 9/11
14 . Em97 − G∆7 /D − Em7 − A13
7 −
..
17 ./0 <(G]11
∆7 − D∆7 ) − G7 − [1] M0): Cl E[-Dor, polytonal
.. 9 −
23 . C∆7 Tbn gliss
.. ]11
25 ./0 C∆7 − . . . − Em97 /G− [2] M0): Pi G]-Dor
..
29 . Am97 − C∆7
9 − C 9 /E−
∆7 Tbn glissando
31 ⊥ 9
<(Am7 − C∆79 )− Hn-Tpt gliss
33 C/E − G6∆7 /D − D∆7
9 −G
∆7 Brs+Str accts, cad
[3] (\) Exposition - Group 1
6/9/]11
37 M1 F∆7 − ...− aaa’): Pno D-Dor,
6/9/]11 ~ , P (f −c)
41 ⊥ F∆7 − ...− bb’), S5 Hk d
46 M1 Dm7 − G97 − [4] aaa’): Str D-Dor, P (g−d)
46 ⊥ Am/C − D7 /C− ~ , Pno 16ths
b’), Hk d
51 M1 F ]∅7 − Em7 − aa’): Str+WW+Hn E-Dor, P (a−e)
55 ⊥ Bm7 − E− cad
0
57 Mr Em97 − . . . − [5] (]) trans, Seq(2×5m;R−7 ),
..
. (Pi+Fl)-Pno S(2p), E-Dor
..
62 . Dm97 − ...− Cl-Pno S(2p), D-Dor,
..
66 . Dm7 − G97sus4 − C∆7
6 − [6] Pno 16ths, Str accents
.. ]11
68 . C∆7 − C7 − F∆7 − Pno C-Lyd
]11 i (%)
72 ⊥ F∆7 − F ]∅7 − Pno F -Lyd, Hn Pm
76 B − G7 − B tutti climax, cad
[7] (]]]]) Group 2
79 M2 B B7[10 − B79 − a): Hns S(2p), B-Mixolyd
..
81 . F7]11 − Tpt
..
83 . B7[10 − B79 − a’): Hns
85 ⊥ <(A]◦7 − E∆7 6 ) − E6− b’): Tpt C]-Aeol
90 G]m/B − E 6 − E∆7 − E7 − i (&)
[8] Tbn glissando, Cl Pm
93 B79 − Pno 16th arp%

Table 19.48: Ravel, Concerto pour Piano et Orchestre, Mvt. 3 Presto (cont’d)
m M R H Comment
95 M2 B7[10 − B79 − [9] a): Pno S(3p), WW accts
..
97 . F7]11 − b): Pi
..
99 . B7[10 − B79 − a’): Pno
.. 6 ) − E6−
101 . <(A]◦7 − E∆7 b’): Pno C]-Aeol
104 ⊥ 13
<(E7 − A) b’): Pno F ]-Aeol
108 A [10] HiW+Tpt arp&
109 C]m7 − C]m+7−7−6 Pno, Pmi (&)
9−7−13−[13 − B 9 i (&), Pno arp%
111
00
F
D] E −
7sus4 WW Pm
115 Mr +
C] |Em +7/add[5 − ...− [11] WW+Hns acct, Pno 16th chr
]11/13 ]11/13
124 ⊥ B7 − B7alt − B7 − Str 16ths scales%
00 +7/add[5
128 Mr Em − ...− [12] WW+Hns acct, Pno 16th chr
]11/13
132 ⊥ C]7 /E] − . . . −
136 G]m/D]− Str 16ths sc%
138 A]m/E] − G]m/D]−
00 ]11/13
140 Mr G]∅7 − C]7 − F ]m [13] (\) Pno 16th, Seq(2×4m;R−3 )
.. ]11/13
144 . B∅7 − E7 − Am+7 −
.. [9/[13 d
148 . B7 /A − D7[9 /C − i (%)
Pno 16ths chr, Pm
152 ⊥ E[ tutti clim
0
154 Mr E[ E[/G − . . . − [14] ([[[) Dev, Pno E[-Lyd-Aeol
..
158 . E[6∆7 /G − . . . − Bsn C-Aeol
..
162 ./1 E[]11
∆7 /G − . . . − M1): Hrp+Va C-Aeol
167 ⊥/2 E[69 /G − E[∆7 /G− M2): Hn
0 6 /E − . . . −
170 Mr C C∆7 [15] (\) Pno+Bsn 16ths
.. ]11
174 ./1 C∆7 /E − . . . − M1): Hrp+Va A-Aeol
178 ⊥/2 6
E9 /E − C∆7 /E− M2): Hns S(2p)
0
182 Mr A A6∆7 /C] − . . . − [16] (]]]) Pno+Vc 16ths
..
184 ./1 A6/]11 /C] − . . . − M1) Cl+Va C]-Aeol
187 ⊥/2 A6∆7 /C] − . . . − M2) Hns S(2p)

starts as a sequence in the subdominant axis pitch E[; the chromatically descending middle
voices, heard in m. 90 ff., reappear as a background to piano arpeggio chords.
In the Coda [24] (m. 268 ff.) the piano takes the lead with the 16th note groove chromatic
runs (right hand) over arpeggio chords (left hand). There is a number of R(−3i) sequences,
i.e., with the roots as a series of ascending minor thirds, on the subdominant SD: a − c− and
tonic axis T: a]−c]−e−g. These sequences also contain bitonal chords in the piano part such
as hBm|A∅7 i (m. 269) and a chromatically ascending bass (m. 276-283). In the background
there are string downbeat pizzicato accents. The movement closes in [25] with a climactic
statement of M1 for woodwinds in G]-Dorian (the local root is the dominant axis pitch B),
and lands on the tonic key G in [26] (m. 300 ff.). The opening cadence is repeated here at the
end.

m M R H Comment
0
190 Mr /2’ B[m B[m6/+7 /D[ − . . . − [17] ([[[[[) Pno+Va,
..
. M2’): Tpt G-Aeol
..
193 ./1 B[m6/+7 /D[ − . . . − M2): Hrp+Cl: B[-Minmel
..
194 ./1/2 B[m6/+7 /D[ − . . . − M1): Hns S(2p)
196 ⊥/2 B[m6/+7 /D[ − . . . − M2): Tpt, Tbn glissando
0
198 Mr /2’ F ]m F ]m+7 /C] − . . . − [18] (]]]) Pno+Vc 16ths
..
. M2’): Cl E[-Aeol
..
202 ./1 F ]13
7 /C]− M1): Pi+Hrp C]-Aeol
204 ⊥/2 F ][10
7 − M2): Tpt, Cl glissando
0 ]11/13
206 Mr /1 E[ E[7 /D[ − . . . − [19] ([[[) Pno+Vc 16ths
.. ..
./ . M1): imit Hns-(EHn+Vi1) E[-Mixolyd
.. ]11/13
208 ./⊥ E[7 /D[ − ...− M1): Tpt+Hns S(3p)
..
210 ./1/2 C]∅7 − (]) M1): Hns+Tpt, M2): Cl S(2p), E-Aeol
212 ⊥/2 A97 /C]− M2): Pi+Fl+Hns+Tpt, clim
[20] Recapitulation
214 Mr /0 G G6∆7 /D − . . . − Vi 16ths G-Lyd, M0): Pno D]-Dor
220 Mr /0 E79 /D − E7[13 /D− M0): C-Aeol
.. ~ %
223 . G6∆7 /D − D713 − Pno S5 : G]m → Bm Hk i
225 ⊥ D713 − . . . − ~
Pno S5 : Cm → Am Hki %
229 M1 <(C − [D79 /G]R )− ~ , A-Dor
[21] aaa’): WW S(3p) Hk d
233 ⊥ <(C − [D79 /G]R ) bb’)
237 M1 <([D79 /G]R − C)− ~ , A-Dor
aa’): WW S(3p) Hk d
..
242 . C − B − A − G− b’), Σ(cm<)
244 ⊥ F ] − D− tutti climax
245 M2 <(G/D − B[/F )− [22] aa): Pno B[-Mixolyd
247 ⊥ B[7 /D− b): Tpt
249 M2 <(G/D − B[/F )− aa): Pno
..
251 . B7 − b): Tpt
253 ⊥ G] − C − A− b): WW+Tpt, clim
255 E[ E[9∆7 − [23] Pno arp&, Seq(2×6m;R−3i )
258 C79 − C1−∆7−7−
9 Cl-Bsn Pmi (&)
261 F ]m − F ]6∆7 − . . . − Pno arp&

264 E[97 − E[91−∆7−7− i (&)
Tbn glissando, Hns Pm
267 Am WW 16th sc%

m M R H Comment
[24] Coda
268 Mr A∅7 − hBm|A∅7 i − Pno 16ths chr, Seq(2×4m;R−3i )
..
270 . hE|D7 i − hF ]|Gmi − Str accents bg
..
272 . C∅7 − hDm|C∅7 i −
..
274 . hG|F7 i − hA|B[mi −
..
276 . A]∅7 − E/B − E + /B]− PBi (%), Seq(3×2m;R−3i )
..
278 . C]∅7 − G/D − G+ /D]−
..
280 . E∅7 − B[/F − B[+ /F ]−
282 ⊥ G7 − . . . − Str Pmi (%)
284 M1 B <(B∆7 − [C]/F ]]R )− aab): WW S(3p), G]-Dor, clim

287 D] − D]+ − [25] Bsn+Pno 16th chr%
290 D]+ − . . . − Cl-(Fl+Pi) 16th chr%
295 G G − ...− [26] Pno 16ths S(3p)
299 G − ...− WW-Str 16ths cresc
303 G/D − D∆7 9 −G tutti clim, cad (306 m.)

Chapter 20
Sergei Prokofiev
Biographical data:
∗ 11 (23) -4-1891 in Sonzowka

† 5-3-1953 in Moscow
1600 1700 1800 1900 2000
Classical harmonic analysis will fail in many pieces by Prokofiev. His chord structures
and progressions are frequently based on non-traditional principles (non-diatonic chord
structures, bitonality, etc.); see [35] for an overview of his techniques. Formal analysis and
key/root identification is still applicable to a subset of his compositions, deliberately written
in a more or less tonal style.
20.1 Classical Symphony (No. 1), Op. 25 (1917)

Source: [41]. This symphony is based on the classical template four-movement form: sonata
allegro – slow second movement – scherzo and trio – very fast closing sonata movement.
The harmonic idiom is kept very simple (and therefore atypical of later Prokofiev compo-
sitions): note the use of triads, 7th chords and the rare use of extensions and chromatic
alterations. The instrumentation has an early Classical Period (Haydn) flavour, with strings
and two-player woodwind section dominating. An overview of the formal analysis is shown
in Fig. 20.1.

Form: sonata form. This opening movement obeys closely to the classical sonata form model.
The Exposition contains two thematic groups, in the tonic and dominant key respectively.
The Development contains modulating sections, melodic augmentation and imitation (in-
cluding a stretto). There is a Recapitulation with coda closing. The instrumentation is light,
with strings and woodwinds dominating, and occasional brass support for climaxes. A re-
markable feature is the key sign change in the development, that only returns to the original
two sharps (D major) during the recapitulation. See Table 20.1 and 20.2 for the analysis.
The Exposition first group theme has M1.1(ab) (4 + 4 m.) structure. The a-phrase is in the
tonic major D, in 8th note rhythm over a simple tonic-dominant-tonic I−V −I harmony. The
2005-2017
CHAPTER 20. SERGEI PROKOFIEV
Table 20.1: Prokofiev, Classical Symphony, Mvt. 1 Allegro
m M R H Comment
1 D D− Intro (]]) Str unis
d
3 M1.1 D/F ] − A7 /E − D − A − D − A/E − Exp, Gr 1 (a): Vi1, HiStr bg
7 ⊥ <(Bm/D − A/E − Bm/D) − D− mod trans, P (d)
11 M1.1 C C − G/D − C − G7 − C − G/D− [1] 2nd stat, (a): Vi1
]5
15 ⊥ F ]∅7 /B − C∆7 − A7 /C] − A− mod trans, P (b)
19 M1.2 D <(D − A7 )− [2] (a): WW
.. d
23 . <(D − A7 ) − F ]7 − (a’): Bsn+Vc
d
26 ⊥ G − F ]7 − G − A]◦ /E − Bm cad, Σ(cm<)
28 M1.2 Bm <(Bm − F ])− [3] 2nd stat, (a): WW
32 ⊥ <(Bm − Bm7 /F ]) − Bm − E (a’): Bsn+Vc
36 (M1.2) <(E7 − F ]m − E7 )− [4] trans, Fl+Vi1, P (d)
40 ⊥ E7 − F ]m − E − D∆7 − Bm
42 E7 − . . . − [5] trans lead%, P D (e)
46 M2 A A − G]∅7 − F − [6] Gr 2 (a): Vi1
52 B [7] Hns+LoStr unis arp
54 M2 A − G]◦ − 2nd stat, (a): Vi1
..
58 . C <(F − C)− [8] (b), plagal cad
..
62 . F ]m − C] − F ]m7 − A− (b): Fl
65 ⊥ C] − Bm − E− cad
66 M2 A A − G]◦ − D∆7 − [9] 3rd stat, (a): VI1
72 ⊥ Bm97 − E713 − E7 −
74 A − . . . − D∆7 − Bm7 − E7 − [10] tutti clim, cad
78 A − . . . − D∆7 − Bm7 − E7 −
d d
82 A − E7 − F ]m − E7 − D − E7 − A [11] tutti clim, closing
87 M1.1 Dm Dm − A − Dm − Am/E− [12] Dev (\\) (a): Vi1
d d
91 ⊥ <(G7 − Am7 /C) − G7 − mod trans, P (g)
d
95 M1.2 A[ A[ − . . . − E[[9
7 − [13] imit: WW+Str
d
99 M1.2 F F − ... − − A[9
7 imit (cont’d)
103 (M1.1) <(F ]∅7 /B − Em7 − F ]∅7 /B) [14] mod tr, (b): WW
107 ⊥ <(B7 − F ][5
7 /C − B7 )− (b): WW+Str
d
111 M2 E E/B − . . . − B7 /A − [15] Hns+LoStr aug, climax
115 M2 C C/G − . . . − F ]7 − Vi+Fl (augm)
d
119 M2 B B/F ] − . . . − F ]7 /E − [16] Hns+LoStr
d
123 M2 G G/D − G − D7 /F ] − [17] Fl+Vi (sync, 1beat del)

20.1. CLASSICAL SYMPHONY (NO. 1), OP. 25
Table 20.2: Prokofiev, Classical Symphony, Mvt. 1 Allegro (cont’d)
m M R H Comment
127 M2 C C7 /G − E◦ /G − F stretto, tutti climax
d
131 Am − C/G − Am7 /G − G7 − [18] retrans, climax
134 Am − Dm97 − D/G − G7 − cad
138 C − ...− [19] clos, unis arp↑
142 M1.1 C C − G7 /D − C − G − C [20] Rec, Gr 1 (a): Vi1
..
146 . <(F ]∅7 /B − Bm)− mod trans, (b): Vi1
148 ⊥ F ]∅7 /B − C]m − A7 /G − A− cad, Σ(cm<)
150 M1.2 D <(D − A7 )− [21] (]]) (a): WW
..
154 . <(D − A7 ) − F ]7 − (a’): Bsn+Vc
d
157 ⊥ G − F ]7 − G − F ][5
7 /E − Bm cad, Σ(cm<)
d
159 M1.2 B B − C] − B − F ]7 − B − B7 − [22] (a): WW
..
163 . C − C/E − Em7 − WW-Va imit
167 M1.2’ A[9
7 [23] Cl+Vc-Va
169 ⊥ A7 − Em − A7 − cad, Σ(cm<)
171 M2 D D − C]◦ − B[− [24] Gr 2 (a): Vi1
177 ⊥ E [25] WW+LoStr unis arp
179 M2 D − C]◦ − (a): Vi1
..
183 . B[ − F − B[ − F [26] (b)
..
187 . Bm Bm − F ] − B (b): Fl
d
189 ⊥ m7 − F ]7 − G∆7 Em97 − A7 − [27] cad
194 D D − G∆7 − Em − A7 − [28] Coda tutti climax, cad
198 D − Bm − Em97 − A7 −
d d
202 D − A7 − Bm − A7 − G − A7 [29] cad closing
205 D climax, Σ(cm<) (207 m.)

h i
2
Mvt. 1 Allegro: sonata form (D, 2 , 207 m.)
Exposition Development Recapitulation Cd

h i
3
Mvt. 2 Larghetto: ABA’B’A” form (A, 4 , 71 m.)
I A B A’ B’ A”C
Mvt. 2 Gavotte (expanded version),

h i
non troppo allegro: scherzo and trio form,
4
ABABAB Coda form (D − G, 4 , 120 m.)
A B1 A’ B2 A” B3 Coda
h i
2
Mvt. 4 Finale. Molto vivace: sonata form (D, 2 , 225 m.)
Figure 20.1: Prokofiev, Classical Symphony, Op. 25
melodic curve is descending, using stepwise motion in the first measure, leaps in the second
and then a closing arpeggio on staccato notes. The instrumentation is violins and violas;
note the closing contrary motion in the first two measures. The b-phrase is in the relative
minor Bm, over a tonic pedal and changing the instrumentation (adding low strings and
woodwinds).In its basic form the theme M1.2 is two measures long with structure M1.2(ab):
the a-cell has the characteristic upward sixth leap at the end on beat 3 and 4, the b-cell has
diatonically descending motion. Prokofiev plays with these two elementary cells already in
the exposition. The first statement is in imitation in the woodwinds: flute-(oboe+clarinet)-
(bassoon+cello), yielding a total melodic structure M1.2((ab)+(ab)+(aab)). This approach is
repeated in the second statement in [3], m. 28. In the transition [4] the total length is stretched
by fragmenting the cells.
The secondary group theme has sentence structure M2(aab) (2 + 2 + (2 or 4) m.): the a-
phrase contains the light and playful downward octave leaps, the b-phrase is a downward-
upward arpeggio in the first statement in [6] and a more lyrical four-measure phrase in the
second statement [7–8]. So the overall structure is M2(aab1 aab2 b2 ). In the third statement
[9], the b1 -phrase is varied, becoming arpeggio-flavoured cadences with tutti climax at the
end of the exposition.

Form: ABABA Coda form. This is quasi-baroque gallantry in a bridge form: the introduction
is repeated at the end, three A sections with main rhythm in 8th notes are bridging two
contrasting B sections with 16th note rhythm. The last A section uses thematic material
(16th note runs) from the B sections as a contrasting theme in the oboe. Again, strings and
woodwinds dominate the very light instrumentation, with brass used only sparingly. See
The A section main theme for first violins has M1(abc) (3 + 2 + 3 m.) structure. The
a-phrase is a diatonically stepwise descending pattern in 8th note rhythm, the b-phrase con-

Table 20.3: Prokofiev, Classical Symphony, Mvt. 2 Larghetto
m M R H Comment
1 M0 A A − F ]m/C] − Bm7 − E7 − Intro (]]]) Vi, Str bg
.. d
2 . A − F ]m/C] − D/F ] − E −
3 ⊥ D − F ]m/C] − G]◦ /B − A
d
5 M1 A − A∆7 /C] − D − Bm7 − C]4 − C]7 − [1] A, stat 1, (a): Vi1, Str 8ths
..
8 . (D − E]◦7 − D − B∅7 )/D (b)
9 ⊥ A/C] − E7 /B − A (c), Σ(cm<)
13 M1 A/C] − D − C]m7 /E− [2] stat 2, (a): Fl+Vi1, Σ(cm>)
..
16 . F ]m7 − D]◦7 /F ] − D (b)
..
17 . A∆7 /C] − D − E − F ]m7 − tutti cresc, PB (%)
19 ⊥ Bm7 − C]m7 /E− cad
20 M2 A − F ]m7 /C] − A/C] − F ]m7 − E7 /G]− [3] B, Bsn+LoStr, 16ths
..
23 . C]m/E − C]m7 /G]
24 M3 A − C]m7 /G]− HiStr
25 ⊥ Bm7 /F ] − A/E − C]m7 − [S̄34 ]
26 M3 G]m7 /B − F ]m7 /A − E7 /G]− LoStr, [S̄56 ]
27 M2 Bm7 − A − G− [4] stat 2, Bsn+LoStr, ctp
..
29 . C B∅7 − G7 − C − B[ − B∅7 − (\\\) Σ(cm<), Brs
32 ⊥ G7 − C− [5] tutti clim, Σ(cm<), P (c)
34 M3 C − ...− WW, (P (c))
36 ⊥ 9 − C) − C − F 9 − C −
<(F∆7 [6] retrans, imit, plagal cad
7 ∆7 7
42 M1 F F (N/V ) − C]7 − F ]m7 − [7] A’ (]]]) (a): Vi1, Str+WW

.. d
44 . G]∅7 /D − C]4 − C]7 −
..
45 . (D − E]◦7 − D − B∅7 )/D− (b)
46 ⊥ A − G]∅7 /B − E7 − A (c), cad, imit, Σ(cm<)
50 M3 A A − F ]m7 /A − E7 /G] − D∆7 /F ]− [8] B’, Str 16th, [S̄56 ]
53 M3 C]m7 /E − B7 /D] − Em7 /D− WW
54 M4 (C −→ C∆7 )/C− ~
[9] Str, Hk d
55 M4 (B∆7 −→ B)/B− WW, Hk ~
d
56 M4 (C]m7 −→ E∆7 )/E− ~
Str, Hk d
57 M4 (D]∅7 −→ C]m7 − F ])/C]− WW, Hk ~
d

Table 20.4: Prokofiev, Classical Symphony, Mvt. 2 Larghetto (cont’d)
m M R H Comment
d
58 M1/c B7 − G]7 /B] − [10] A” (a): Fl+Vi1, PBi (%)
..
59 . F ]m/C] − G][10
7 /D] − C]m7 /E− Σ(cm>), Mc=(M2/3) 16th
..
61 . F ]m7 − B7 − D∆7 − (b)
..
62 . A/C] − D − A∆7 /E − D − E − F ]m7 [11] (b), PB (%)
64 ⊥ Bm7 − C]m7 /E − E7 (c), cad
65 M0 A A − F ]m/C] − Bm7 − E7 − [12] Coda Vi, Str bg
.. d
66 . A − F ]m/C] − D/F ] − E −
..
67 . D − F ]m/C] − E7 /B−
68 ⊥ <(A − C]m) − A clos cad (71 m.)
tains leaps in 16th note triplets, the legato c-phrase ascends stepwise in 16th note rhythm.
The second statement repeats the a- and b-phrase.
In [3] the B section new theme M2 has similarity with the M1c-phrase: there are the
ascending 16ths, but now they are pizzicato patterns, starting in the low strings. Theme
M3 may also be considered the closing phrase of M2; the new characteristic is the two-part
parallel thirds pattern in the violins (with unisono repeats in the celli and contrabasses).
The B’ section M4 theme is another idea, based on 16th note patterns: staccato descending
third leaps in intermediate harmony, three-part diatonic parallel chords over a pedal point.
In the closing A” section [10] the staccato 16th notes return once more, now as an oboe
countermelody to the final statement of M1.
20.1.3 Mvt. 3 Gavotte

Form: scherzo and trio, ABABAB Coda form. This gavotte is the new expanded version. See
The A section theme M1.1(ab) (2 + 2 m) is characterized by the pesante 4th note octave
leaps and contrary motion. The M1.2 subject is derived from the first theme, but contains
more scalar, stepwise motion in 8th notes. It has M1.2(aab) (2 + 2 + 4 m.) sentence structure.
A characteristic feature of this section are the many deceptive cadences. Once again, strings
and wind dominate the orchestration, with occasional brass support in the cadences.
The B sections act as contrasting trios, and contain extended tonic-dominant pedal point,
with continuous 4th note rhythm. The B1 melody [2] has regular period M2(abab’) (2 + 2 +
2 + 2 m.) structure. The theme in B2 [6] has M3(ab) (4 + 4 m.) structure.
20.1.4 Mvt. 4 Finale

Form: sonata. The very fast closing movement is another tribute to the classical sonata form;
exposition with two thematic groups, development and recapitulation. However, the coda

Table 20.5: Prokofiev, Classical Symphony, Mvt. 3 Gavotte. Non troppo allegro
m M R H Comment
d
1 M1.1 D D − Em − B/F ] − F ]7 − G A (]]) (ab): Vi+WW, Σ(cm>)
d d
5 M1.2 || : D − A − Bm − F ]m − C]7 − D [1] stat 1, (aa’): HiStr
d
9 ⊥ D − A7 − C]/G] − G] − A7 − D (bb’): Str+WW, clim, cad
d d
13 M1.2 D − A − Bm − F ]m − C]7 − D stat 2, (aa’): HiStr
d
17 ⊥ D − A7 − C]/G] − G] − A7 − (bb’): Str+WW, clim
20 D − Gno 3 : || cad
21 M2 G (G − G[9
7 − Em7 − Bm7 )/G− [2] B1 , (a): WW 4th, P (g−d)
25 ⊥ (G − G[9
7 − Em7 − F ]∅7 − G)/G− (a’): WW
29 M2/c [9
(G − G7 − Em7 − Bm7 )/G− [3] (a): Str, Mc: WW P (g−d)
33 ⊥/⊥ (G − G[9
7 − Em7 − F ]∅7 − G)/G− (a’): WW
d
37 M1.1 D D − Em − B/F ] − F ]7 − G [4] A’ (]]) (ab): Vi+WW, Σ(cm>)
41 M1.2’ D − Dm − A/C]− var, (a): HiStr+WW
d
43 ⊥ C]m − C − Bm117 −A− (a’)
45 M1.1 Bm/D − F ]m7 − C]/E]− (a): Str+WW, clim, cad
47 ⊥ G] − A[5
7 /E[ − D (b): WW
d d
49 M1.2 D − A − Bm − F ]m − C]7 − D [5] stat 2, (aa’): HiStr
d
53 ⊥ D − A7 − C]/G] − G] − A7 − D (bb’): Str+WW, clim, cad

Table 20.6: Prokofiev, Classical Symphony, Mvt. 3 Gavotte. Non troppo allegro (cont’d)
m M R H Comment
57 M3 G (G − Em7 − Dm7 G∆7 − Am7 )/G− [6] B2 (]) (a): Str, P (g−d)
..
59 . C − G7no 3 − C−
61 ⊥ G/B − Am − E7 /D − D/G− (a’)
65 M2/c (C − G7sus4 − C − G − E◦7 )/G− (a): Str, Mc: WW, P (c−g)
67 ⊥/⊥ (F − Am7 − Em − F − G)/C−
69 C − G]◦ /B − Am− retrans
71 E7 /D − D − G − G7 /F −
d
73 M1.1 B[ − Cm − G/D − Dm − D7 − E[ (ab): Str+WW, cad
77 M1.1’ D A[5
7 /E[ − Em7 − B/F ]− [7] A” (]]) (a): Vi1+WW, Σ(cm>)
.. d
79 . C]m − F ]7 − G (b)
81 M1.2’ D/F ] − Dm − A/C]− var, (a): HiStr+WW
d
83 ⊥ C]m − C − Bm11
7 −A− (a’)
85 M1.1 Bm/D − F ]m7 − (a): Str+WW, clim, cad
..
86 . C]/G] − A]m − C]/G]−
87 ⊥ Em7no 3 /A − A − D (b), cad
89 M3 G (G − Em7 − Dm7 G∆7 − Am7 )/G− [8] B3 (]) (a): Str, P (g−d)
..
91 . G − G7 − (C − G7no 3 − C)/C
99 ⊥ G/B − Am − E7 /D − D/G− (a’)
97 M2/c (C − G7sus4 − C − G − E◦7 )/G− (a): Str, Mc: Bsn, P (c−g)
.. ..
99 ./ . (F − Am7 − Em − F − G)/C−
101 ⊥/⊥ C − G]◦ /B − Am− retrans
103 E7 /D − D− cad
104 M1.1’ D G − Em − A[5
7 no 3 /E[− [9] Coda (]]) (a): WW, Σ(cm>)
..
105 . D − C/E − B ]9 /D−
d
107 ⊥ C]mF ] − F ]7 − G (b): WW
d
109 M1.2’ D − A − Bm var, (a): WW
.. d
111 . F ]m − C]7 − D
.. d
113 . D − A7 − C]/G] − G] − A7 (bb’): Str+WW
..
117 . D − . . . − C] − A]m − C]/G]− (b): Bsn+DB
119 ⊥ Em7 /A − A7 − D cad (120 m.)

20.2. PETER AND THE WOLF OP. 67
is missing. See Table 20.7 and 20.8 for the analysis.

The Exposition first group subject has M1(aa’b) (4 + 2 + 2 m.) sentence structure. The
a-phrase is an embellished triad arpeggio, closing with a descending scalar b-phrase. There
are repeated statements in the lead violins, until the point [4] where the 8th note woodwind
background arpeggios enter. These will return frequently (and prominently in the transi-
tions) and give this movement a turbulent whirlwind flavour.
The second group opens with a woodwind section (octava) unisono melody with regular
M2.1(abab) (2 + 2 + 2 + 2 m.) period structure. The second subject M2.2 is a four-measure
theme, first stated by solo flute and repeated by first violins. It’s the second group scherzando
theme M2.2, that opens the Development, undergoes a number of modulations, then to
be combined with the first group theme M1 in (stretto) imitation before the retransition.
The arpeggio motif from M1 is repeated as a set of brief variations in the exposition and
Recapitulation.

The key relationship diagram is shown in Fig. 20.2. In a true classical symphony sense the
outer movements with their development sections pass through wider key ranges, as is ob-
vious from the diagram. The opening Allegro is characterized by key patterns along the
vertical symmetry axis (symmetrically distributed keys at the minor third, i.e., 3i): D − Bm
(2,11), A − C − A (3), and Dm − A[ − F (4,5). Also note the move towards the subdomi-
nant domain (G and lowered subtonic [VII = C) and submediant area (B and Bm) near the
opening and closing of the movement.
The second movement is characterized by passing through the lowered mediant ([III =
C) and submediant major ([VI = F ) of the main key A, which is the dominant of the main
key D major of this symphony. The ternary form Gavotte alternates between the main key
D and the subdominant key G major.
The finale then moves towards more remote keys in the development. In its use of keys
it is more or less summarizing the features of the previous movements. Once again we see
the excursion into the subdominant area (now Gm, the minor subdominant, and [V II = C)
in the opening (1) and closing (6) sections of this sonata form. Then there is the return of
the lowered mediant [III = F (3) and submediant [VI = B[ major key (4) during the
development section. Also note the outward spiraling tendency A − F − A − B[ − C − F ]
(2–5), with the direct return from the major mediant key to the main key D major.
20.2 Peter and the Wolf Op. 67 (1936)

Peter and the Wolf is both a ballet and an introduction to the instruments from the orchestra.1
Source: [41]. An overview of the formal analysis is shown in Fig. 20.3. The piece may be
subdivided into a number of sections. The long opening section introduces the characters
and instruments. Then the story develops in the next three sections.
1
This piece is so well-known as a music education tool for children, that it suffers somewhat from overexpo-
sure. Many celebrities have lent their voice to the story-teller part. Global dumping of CD releases enables the
customer to find this piece as bonus gift with used car sales (‘Peter and the Golf’). Rumour has it that there exists
a Michael Jackson adaptation, probably called ‘Pete It’.

Table 20.7: Prokofiev, Classical Symphony, Mvt. 4 Finale. Molto vivace
m M R H Comment
1 M1 D D − || : D − . . . − Exp, Gr 1 (]]) (ab): Vi1, P (d)
9 M1’ G − ...− [1] (ab): Str-WW, trans
15 ⊥ A − D∅7 − Em/B − A[9 7 /C]− [2] cad, Σ(cm>)
16 D − A−
17 M1 D − ...− stat 2 (a): Vi1
..
21 . A[ − E[7 /B[ − F m7 /E[ − E[− [3] (\\) (b): Str+WW, N/V
22 ⊥ A[ − E[7 /C − B[m7 /A[−
23 M1’ G − . . . − G/B − Dm7 − G7 − (ab’): Str-WW, trans, cad
27 M1’ C C − ...− [4] I(a): Str
31 M1’ B[ − . . . − B[+ − I(a)
35 M1” G − ...− [5] I(a’): Str+WW
39 M1” F − ...− I(a’) augm
43 A E7 /D − A/C] − C]m − E7 /B− [6] (]]]) trans, WW+Str, P (e)
50 M2.1 E7 /B − A − E/G]− [7] Gr 2, WW unis
54 ⊥ B/F ] − C]m7 /E − E − B/F ]−
59 E7 /D − A/C] − C− [8] trans, climax, PB (&), P (e)
64 M2.1 F C −F −A stat 2: WW+Vi1
67 ⊥ <(Am − A)− [9] minor-major
71 D − G]∅7 /B − E7 /B−
75 M2.2 A A − D− [10] Fl
79 M2.2 A−D Vi1
83 <(A − B[]5 ∆7 /D − A − E7 )− [11] tutti clim, cad
87 A − . . . −1) A − D : ||2) A closing cad
92 C]◦7 /G − G]◦ − A/E − Em [12] Dev, trans
d
95 F ]m/C] − C]◦ − D46 − A −
98 M2.2 B[ B[ − E[ − B[− [13] ([[) Cl-Str imit
103 ⊥ B[ − G − G7 − WW imit
106 M2.2 C C −F [14] (\\) WW par, imit
d
110 M2.2/1’ C − F − Dm − G7 − Str+WW, ctp
114 M2.2/1’ A[ − E[∆7 [15] WW-Str stretto imit
118 ⊥/⊥ F] F] − B WW-Str stretto imit
122 G/B − C]◦ − G/B − G/D− [16] retrans, P (g)
126 A/C] − D]◦ −
128 A/C] − A/E − A7 /C]−

Table 20.8: Prokofiev, Classical Symphony, Mvt. 4 Finale. Molto vivace (cont’d)
m M R H Comment
130 M1 D D − ... − D6 − [17] Rec, Gr 1 (]]) (ab): Fl
139 M1’ G − ...− [18] (ab) Vi1, Str+WW
..
143 . C]◦ /G − G∆7 − A7 − Em7 /D−
144 ⊥ F ]m/A − B◦ /A[− [19]
Em/B − A[9 7 /C]−
145 D − A− cad
146 M1’ D − ...− stat 2, (a): Vi1, Str bg
150 ⊥ F ] − G]m7 /F ]− [20] (b): Str+WW
152 M1’ F − F/A − Cm7 − F7 − (\\) cad
156 M1’ B[ B[ − . . . − [21] I(a): Str+WW, imit
160 M1’ A − ...− I(a)
164 M1” C − ...− [22] I(a’): Str+WW, imit
168 M1” B[ − . . . − I(a’) augm
172 D A7 /G − D/F ] − F ]m − A7 /E− [23] (]]) tr, WW+Str, PB (&), P (a)
179 I(M2.1) A7 − Em7 /D − D − C]m− [24] Gr 2, WW unis
183 I(M2.1) E7 /B − D/A − A − E/G] stat 2: WW unis
188 A7 /G − D/F ] − D − F − [25] trans, climax, P (a)
194 B[∆7 −
196 (D − G]◦7 − D − B◦7 )/A− [26] trans, lead chr%, P (a)
200 Am7 − F/A − Am − A7 − cad
202 M2.2 D − G− [27] Fl
206 M2.2 D − G− Vi1
210 M2.2’ D−G [28] WW imit
214 M2.2 D − G− Vi1-Fl imit
218 <(D − E[]5 ∆7 /G − D − A7 )− [29] tutti clim, cad
222 D closing (225 m.)

Mvt. 1 Allegro
t 8,10
A E B F] C]
2,11
Am Em Bm @ F ]m C]m
6
? @ t
C G D RA
@ 6 E
1,7,9
Cm Gm 4 Dm Am Em Mvt. 2 Larghetto
E[ B[ F C G D A
3
E[m B[m Fm Cm Gm Dm Am
1
G[ D[ 5 A[ E[ B[ F C
Mvt. 4 Finale
t 5
A E B F]

Am Em Bm F ]m
t 2
C G D A
1
*
6

Mvt. 3 Gavotte Cm Gm Dm Am
- 4 3
G D E[ B[ F C
Figure 20.2: Prokofiev, Classical Symphony, key relationship diagram
Introducing the characters (226 m.)
Peter Bird P+B Duck B+D Cat Grandfather Wlf
The story develops (91 m.)
Cat Duck Cat WCB
Catching the wolf (175 m.)
Peter P+B W Peter W Hunters Bird
Triumphal Procession (March) - Coda (71+47=118 m.)
Peter Hnt+Wlf GC Coda
Figure 20.3: Prokofiev, Peter and the Wolf Op. 67

Form: symphonic tale. See Table 20.9 to 20.11 for the analysis. Each character in the story
has its own theme and instrumentation: [1] M1, Peter, strings; [2] M2, Bird, flute; [6] M3,
Duck, oboe; [11] M4, Cat, clarinet; [15] M5, Grandfather, bassoon; [9] M6, Wolf, French horns;
[35] (M7), Hunters, percussion.
20.2.1 Introducing the characters (#0–19)

The Peter subject has M1(abab) (2 + 2 + 2 + 2 m.) period structure in 8th note rhythm;
the first statement is in first violins, the repeat in the second violins. The Bird theme has
M2(aa’b) (2 + 2 + 4 m.) sentence structure. The a-phrase is in staccato 8th note rhythms, the
b-phrase consists of legato 16th note arpeggios. This theme nicely illustrates a procedure that
Prokofiev uses in the quasi-tonal composition style: creating sequences of non-diatonically
related triads (or more generally, chords in thirds) by chromatic pitch alteration in the voices.
In M2, this implies the harmonic progression:
 
[2] [2]+4 [2]+6

 g % g] & g % a[ & g & f] 

e − e − e & e[ & d − d .
 

c % & & −
 
 c] c c[ = b b 
C − C]m − C − A[m − G − Bm
After the second statement of the Bird theme, M1 and M2 are combined [4] by segmenting
both themes into their individual phrases.
The Duck subject for low register oboe (‘quack’) [6] is another sentence, M3(aab) (2 +
2 + 4 m.). The quacking is even more obvious in M3.2 [9] with the accented e[ pedal. The
low clarinet plays the Cat theme [11], a regular period M4(abab’) (2 + 2 + 2 + 2 m.). The
Gransfather theme for bassoon [15] is irregular M5(ab) (4 + 2 m.). Finally, the Wolf theme for
three French horns [19] is presented: it consists of two one-measure cells that are juxtaposed
M5(abaa’aba’). The harmonies illustrate a combination of diatonic parallel triads and the
abovementioned chromatic voice movement:
 
[19]+1 diat chrom chrom diat [19]+7

 b[ & a[ − a[ % a & g 

g & f − f − f & e .
 

& % % &
 
 d c d[ d c 
Gm − Fm − D[ − Dm − C
In a sonata form interpretation, the first section might be considered the exposition.
20.2.2 The story develops (#20–27)

Where the previous section has some similarity to an exposition, this and the next section
has developmental character, although that is limited and not too obvious. However, the
themes are varied and combined, and new instrumentation is used. The key pattern during
the animal panic and danger scenes is in major (A − A[ − G − C) [20–26], and then changes
to minor F m when the Wolf theme sounds [27]. The Duck is down in [22], Bird is up in [26].2
2
This gives a new meaning to the graffiti on jazz club walls “Bird lives”, normally referring to the legendary
bebop alto saxophone player Charlie Parker.

Table 20.9: Prokofiev, Peter and the Wolf Op. 67
[#]+m M R H Comment
Introducing the characters
C Cm |A[ − E[6 −
+7

M1 C Peter (Str.)
1-2 ⊥ E[
Bm − D7 /A − G − G7 −
C Cm+7 |A[ − E[6

1 M1 2nd stat
⊥ E[ Bm − D7 /A − G − G7 −
1+8 C − <(G]7 − C]m − G − G7 − C trans
2 M2 (C − C]m) C − A[m+7 Bird (Fl solo)
2+4 ⊥ C − A[m+7 − G∆7 − G
3 M2 <(C − C]m − G) − <(C − G+ )
3+6 ⊥ G∆7 − G−
4 D7 − G7 − C − G7 − C7 − F trans
4+4 M1’/2 F F D[ − D[∆7 − D[9∆7 − A[ Peter & Bird
5 M1’/2 A[ A[ Em − G7 − C
5+5 C − C]m − G − G7 − C trans
]5
6 M3 A[ A[6 − B[[9 6
7 − E[7 − A[ − E[7 − G Duck (Ob)
6+4 ⊥ 6 6
A[ − B[m7 − A[ − E[−
6+9 M3 A[6 − E[7 − A[6 − G7 − 2nd stat
6+13 ⊥ A[6 − B[m7 − A[6 − E[ − E[/D[−
7 Bm − G7 /B − C trans, P (c)
7+8 (M3) C − G+ /B − E[7 /B[− (Str)
8 (M2/3) <(A[6 − E[)− Bird & Duck
]5
8+4 (M2)/3 A[6 − B[[9 6
7 − E[7 − A[ − E[−
8+8 (M2)/3 6
A[ − G7 − A[ − E[−
8+12 trans, e[-ped
9 (M2)/3.2 A[ − F7 /A − B[m4 − G/B− Bird & Duck, P D (e[)
9+4 ⊥ Cm − A/C] − Dm − C[/E[− PBi (%), climax
10 E <(E 6 − Em)
11 M4 G G − C − Am/C − A7 /C] − D − G Cat (Cl)
11+4 ⊥ G − C − A/C] − G/D − D − G−
11+8 <(D7 − G) trans
12 M4 C G7 − C − F∆7 − Dm97 − D79 − G7sus4 2nd stat
12+5 ⊥ C − F∆7 − D7]9 − Am7 − G7 − C
[5/[9
13 F ]7 − F ]/A] − F ]7 /A] trans
13+7 G7 /D − D7 /C − G7 /B − (F ])−
13+11 G7 /B − D7alt /C − G7 /B − F ]7
14 M4 B B − E∆7 − C]7 − F ]7sus4 − B 3rd stat
14+4 <(F ]7 − B) − B7 −
14+7 M4 E E − A∆7 − F ][10
7 − B7sus4 − E Duck & Bird

Table 20.10: Prokofiev, Peter and the Wolf Op. 67 (cont’d)
[#]+m M R H Comment
15 M5 Bm Bm(7) − A7 − F ]7 − F ][9
7 − C]∅7 Grandfather (Bsn)
15+7 M5 Bm − F ]m − A7 − F ]7 − 2nd stat
16 ⊥ F ][9
7 − C]∅7 − B[ − A − B[/D − A/C]
17 B[ B[ G[9∆7 − D[ Am − C7 /G − F trans
18 M5 Bm Bm(7 ) − A7 − F ]7 − 3rd stat
18+5 ⊥ F ][9
7 − C]∅7 − Dm − F ] − Bm P D (f ])
19 M6 Gm Gm F 9 /G − F m − D[∆7 − Am7 − Wolf (Hns)
19+5 M6 Dm C 9 /D − C − D7 − 2nd stat
19+9 M6 Gm F 9 /G − Gm 3rd stat
The story develops
20 M4 A A/C] − D − <(D∅7 − E◦7 ) − D]∅7 /F ] Cat
20+7 ⊥ <(A[7 /E[ − E[7 )
21 M3.2 A[ A[ − F7 /A − B[m4 − G7 /B − Cm− Duck
21+5 ⊥ A[5
7 /C] − Dm − C[/E[−
21+8 <(C]m7 /E − Em)− trans
[5/[9
22 C]∅7 − <(F ]7 − F ]7 ) cresc to climax
23 Cm − A[/C dim
24 M3 A[ <(A[6 − G7 − E[ − G7 )− Duck
24+4 ⊥ (A[ − Cm − G − E[)/E[ − A[
25 M4 G G − C − Am/C − A7 /C] − D7 − Cat
25+4 G − D∅7 (no3) − G
26 M4 C C − F − Dm7 − D7 − G − G7 − C−
26+4 G∅7 (no3) − C
27 M6/4 Fm (F m E[7 )/F Wolf & Cat
27+8 M6/(1) (F m − E[7 )/F Wolf & Bird
Catching the wolf
28 M1 D D − B[]9
∆7 − F Peter
]11
28+4 F∆7 − Dm97 − Dm7 /G − (Am − F )/C− trans
29 (M1) C]∅7 C∆7 G Peter
30 M1/(2) C C − A[∆7 − (Bm − . . . − F m) Peter & Bird, chr
30+3 ⊥ A[m − Gm − F ]m − F m− chr desc
30+4 M1/(2) E[ A[
30+8 ⊥ (G]m − . . . − C]m) − Bm chr desc
[9/13
31 M6 Gm Gm − G7 − F∆7 − Wolf, climax
[9/13
31+3 ⊥ Dm Dm − D7 − C∆7
32 M1 C C (Cm − . . . − F m) − E[6 Peter, chr desc

Table 20.11: Prokofiev, Peter and the Wolf Op. 67 (cont’d)
[#]+m M R H Comment
33 hB|Gi − (C − hB|Gi) − C climax (Brs mute)
34 ... − G trans, Vi solo
[9/[13 [9/[13
35 M7 <(A[m − G7 /B) − F m − G7 − Tbn, Wolf struggling
[9/[13
35+7 M7 F m − E[7no 3 − E[m − F7 − Tbn (Brs mutes off)
35+11 Dm F∆7 Str downbows
36 F∆7 − E[9∆7 − D∅7 − F∆7 − G7 /F trans, dim
37 Dm7 /C Wolf
38 <(D[ − C/G) Hunters (Perc)
39 M8 <(D[ − C/G) WW, cresc, clim (Timp)
40 M8 Am − <(D − C]/G]) − G7 − C Tpt+Hn+Perc
41 A[ A[ − Cm − E[7 − G7 − A[ − E[ − A[ trans
42 E E∆7 − G]m/B − B7 /A − D]7 − E Bird
42+12 B − C]m − B − D]m7 − E
43 E/G] − Em/G − D/F ] − Dm/F − trans
Triumphal procession - March
43+4 C <(C − G+ ∆7 )
44 M1 <(C − Am7 /G) − A[]9 ∆7 − E[
6 Peter, Hns 3-pt augm
44+8 M1 E[ − Bm − D7 /A − G − G7
45 M8 <(C − G+ ∆7 ) − <(C − B/F ]) Hunters, Tpt
46 M6 Em − D9 − Em − G+ /D] − B◦ /D with Wolf
47 M8 <(D[ − C/G) − D[ − G7 − C
48 M5/4 Bm Bm − B − E∆7 − C]97 − F ]97sus4 − B Grandfather & Cat
48+5 M5/4 B − C]97 − C]m7 − G]m7 −
48+7 ⊥ B/F ] − F ]7 − B
Conclusion - Coda
49 M1 C C − A[]9 ∆7 − E[ Peter tutti
50 M1 E[ − BmD7 /A − G − G7 − (Brass, tutti)
51 <(D[ − A[+ 9
∆7 ) − <(D[ − C/G) trans, Bird
51+11 D[ − C/G − D[ − G7 −
52 <(C − hB|Gi) − Em trans
53 M3 A[ <(A[6 − G − E[7 − G7 ) − A[/E[ Duck
[9/]11
54 C G[7 − E[m117 no 3 − Cm/E[ Σ(cm<)
54+1 Em7no 3 − Dm7 − Em7 /B − F ]m7 /A (tutti)
54+3 B[m/ D[ − A[m7 − B[7 /D − G9∆7 − C
54+4 C − F m/C − C Closing climax

20.2.3 Catching the wolf (#28–42)

In this section Peter gets involved in the fight; the first statement is played by clarinet and
violins in the key of D major [28]. When he teams up with Bird the original key C major
returns [30, 32], as a contrast to the minor keys for the Wolf theme [31, 35, 37]. The struggling
of Wolf in order to free himself from the rope is accompanied with a minor key motif M7 for
trombone [35], juxtaposed with repeated fortissimo chords in all orchestral sections. Note
the string section series of downbows in [35+11].
In [38] the Hunters come on stage, with support from the percussion (bass drum, piatti,
snare drum, tambourine and timpani patterns). There is a pizzicato quarter note riff for the
strings on alternating chords <(D[ − C/G) with a diminished fifth leap downward in the
bass and wide upward leaps in the lead violins. On top of this riff pattern we hear a forceful
theme M8(aabccddd’) ((1+1)+2+(1+1)+(1+1+2) m.), played first by unisono woodwinds
[39], later horn and trumpet [40].
20.2.4 Triumphal procession - March (#43–48)

The riff idea is continued during the triumphal procession to the zoo. The strings and wood-
wind play alternating <(C − G]5 ∆7 ) chords [43]. The riff changes to <(C − Am7 /G) as the
horn section plays an augmented three-part version of the Peter melody M1. And it changes
once more to <(C − B/F ]) and the original <(D[ − C/G) when the muted trumpet plays
the Hunters theme M8 in [45] and [47], respectively. Since the Peter theme opens this section
and the orginal key is back, this might be considered a recapitulation in the sonata form
interpretation.
20.2.5 Conclusion - Coda (#49–54)

All is well in the coda, returning to the initial key C major with another ben tenuto, energico
statement of the Peter theme for brass, over a steady quarter note riff in the strings and
sustained chords in the woodwinds (tutti orchestration). This setting is briefly interrupted
by Bird [51] and Duck patterns [53]. The piece closes in a tutti climax, starting with contrary
opening motion in [54].


Chapter 21
Dmitri Shostakovich
Biographical data:
∗ 25-9-1906 in St. Petersburg

† 9-8-1975 in Moscow
1600 1700 1800 1900 2000
With Dmitri Shostakovich traditional analysis, especially classifying chord structures

and progressions, becomes troublesome. Many of his chord structures are not built on thirds,
there are bitonalities, and non-diatonic additions to chord structures (determined by voice
leading). However, formal analysis (classifying phrases and sections) and key root sequence
identification is still possible. But always keep in mind that the value of traditional analysis
is limited in his music.
21.1 String Quartet No. 1 in C Major, Op. 49 (1935)

Source: [62]. An overview of the formal analysis is shown in Fig. 21.1. Note the short
development section in the opening sonata movement.
h i
3
Mvt. 1 Moderato: sonata form (C, 4 , 121 m.)
Exposition Dev. Recapitulation

h i
4
Mvt. 2 Moderato: Theme and variations form (Am, 4 , 85 m.)
Th. V1 V2 V3 V4 V5 V6 V7
Figure 21.1: Shostakovich, String Quartet No. 1 in C Major, Op. 49
2005-2017
CHAPTER 21. DMITRI SHOSTAKOVICH
21.1.1 Mvt. 1, Moderato

Form: Sonata. The exposition first group divides the string quartet into upper three string
parts (note the equal rhythms, chromatism and the series of first inversion chords) and the
cello (diatonic, stepwise axcending motion). The second group starts with a groove, pre-
sented by the cello (upward glissandi leaps) and the viola (steady 8th note pedal point),
with the melody M2 in the lead violin. The roles are reversed in the second statement.
The brief development section opens with the second group h groove.
i After the transition
4
there is a varied statement of the main theme M1 in the new 4 meter. The recapitulation
continues this meter, until the secondary theme is presented in the original triple meter. See
21.1.2 Mvt. 2, Moderato

Form: theme and variations. The theme has M(aa’b) (2 + 2 + 6 m.) sentence structure. The
first statement i by the viola; it then is handed over to the other string parts. Variations 2 and
3 have a oounterpoint melody Mc for second and first violin, respectively.
Variation 4 changes the background rhythm from quarter note to 8th note triplet pat-
terns. In the 5th variation these are presented in hoquetus style between first violin and viola,
while the cello takes the lead. The quarter note rhythm returns in Variation 6, with pizzicato
afterbeats in the second violin. These become arco afterbeats in the tranquil, relaxed final
statement. See Table 21.2 for the analysis.

The key relationship diagram of the first string quartet is shown in Fig. 21.2. The opening
movement in sonata form has the first group in the tonic major key C and its parallel minor
key Cm (1). The secondary theme is in the lowered mediant major key E[ = [III (2), also
the opening key of the development. The return to the tonic key is through the mediant
minor key Em. The recapitulation has the traditional excursion into the subdominant area,
here represented by the lowered submediant major key A[ = [VI (3).
Mvt. 2 Moderato
1
Mvt. 1 Moderato E[m B[m
B
Dm Am Em F] B
B C]

B
F C G F ]m B C]m

6
?1 BN
F m Cm Gm A E
3 2

A[ E[ 2 B[ Am Em
Figure 21.2: Shostakovich, String Quartet No. 1, key relationship diagram
The theme and variations have a regular key scheme, suggesting a ternary overall struc-
ture with tonic minor key Am outer sections (Theme, Variations 6 and 7) and a dominant

21.1. STRING QUARTET NO. 1 IN C MAJOR, OP. 49
Table 21.1: Shostakovich, String Quartet No. 1, Mvt. 1 Moderato
m M R H Comment
h i
3 i (&), Σ(cm>)
1 M1.1 C C − . . . − F/A− 4 Exp, Gr 1, Vc, Pm
6 ⊥ Dm − . . . − G− [S̄ 6 ]
11 M1.1 C7 − F − G− [1] 2nd stat, Vc, [S̄ 6 ] , PB (%)
15 M1.1’ C − F m/A[ − . . . − trans, [S̄ 6 ]
20 ⊥ F ]◦7 −
21 M1.2 Cm Cm − . . . − [2] Vi1
..
24 . (E − F∆7 − Em7 − A)/E− [S̄ 6 ] , P (e)
28 ⊥ G− Pm i (&)
29 M1.1’ C C6 − . . . − G [3] trans, Σ(cm)

37 M2 E[ <(E[6 − B[9 )− [4] Gr 2, Vi1, P (g)
47 Mt G7 /F − Cm/E[ − B[/D− [5] trans
51 ⊥ B[m7 /D[− imit Vi1-Va
54 M2 <(E[6 − B[9 ) [6] 2nd stat, Vc, P (g), ‘groove’
62 M2’ D[ − Dm [7] trans
65 D[ − B[7 − [8] cad.
67 M2’ E[ <(E[6 − B[9 ) Dev, Gr 2, Vi1, P (g), ‘groove’
71 Mt E[7 /D[− trans
h i
74 M1.1’ Em Em − B◦ − [9] 44 Gr 1
77 ⊥ Em/B − F∆7 /E − B◦ /D−
80 D]◦7 − C]◦7 − i (&)
[10] retrans, Pm
85 G/D − C/E − G7sus4 /D−
88 M1.1 C C − . . . − F/A − G◦ − F/A− i (&)
[11] Recap, Gr 1, Vc, Σ(cm>), Pm
94 ⊥ Em/B− h i
97 A[ A[ − E[7 − [12] 34 Gr 2, ‘groove’, P (c)
99 M2 <(A[6 − E[9 ) Va
107 B[m − Gm − F m − Em− [13] trans
108 G[5
7 −
110 M2’ C <(C − G)/C [14] Coda, P (c−g)

118 ⊥ C closing (121 m.)

Table 21.2: Shostakovich, String Quartet No. 1, Mvt. 2 Moderato
m M R H Comment
1 M Am Am − C − Am F∆7 − [15] Theme: Va
6 ⊥ Em7 /D − E◦ − F Am
11 M Am − Am7 − Dm− [16] Var 1: Va
15 ⊥ F∆7 − B◦ /F − C/E − F/C − Am
18 M/c E[m E[m − B[m7 − [17]+1 Var 2: Vi1, Mc: Vi2
..
22 . C[ − G[/D[ − E[m − E[∅7
..
25 . B[[9
7 /D − E[m7 − [18] climax
27 ⊥ D[7 /F − A[ − F/A
29 M/c E[m − B[m7 − E[m − . . . − [19] Var 3: Va, Mc: Vi1
34 ⊥ A[/E[ − . . . − A[7 − E[m7 climax
37 E[m − . . . − [20] trans
40 A[7sus4 − E[m7 − B[+ /F ] − B7 −
42 M E E − B − G]m − F ]m− [21] Var 4: Vi1, P T (e),
..
44 . E−A−E 8th triplets
..
46 . A − Em7 /D − G − Dm47 /C−
48 ⊥ F − E[7 − F ]∅7 − B7sus4 −
d
50 M E − F ]m − G]m − B79 − [22] Var 5: Vc
..
52 . C]∅7 /B − A/E− Vi1-Va triplets
..
54 . F ]m − E − B7 − E − B∅7 − G]◦ − climax
56 ⊥ F m − B[m − A/E− [23]+1
58 A/E − F + − E − E7 /D− retrans
63 M Am Am− [24] Var 6: Va, P D (e)
..
65 . Em − C − Em − Am − Am7 −
..
67 . Dm/F − Am/C − Dm − Am − B◦
..
70 . Gm − Am/C − Dm7 −
72 ⊥ F − C − Am
74 M Am − Bm7 − Gm/D− [25] Var 7: Vi1
..
76 . A/C] − G − C−
..
78 . B◦ /D − Am7no 3 /E − F − C7 /G−
80 ⊥ B∅7 /A − B[m E◦7 − Am (85 m.)

21.2. STRING QUARTET NO. 2 IN A MAJOR, OP. 68
major key E (2) in the middle section (Variations 4 and 5). The unexpected move is the
change towards the tritone-related minor key E[m in the Variations 2 and 3 (1).
21.2 String Quartet No. 2 in A Major, Op. 68 (1944)

h i
3
Mvt. 2 Recitative and Romance: ternary song form (B[, 4 , 123 m.)
Rec. Romance Recit.
Figure 21.3: Shostakovich, String Quartet No. 2 in A Major, Op. 6
21.2.1 Mvt. 2 Moderato con moto

Form: ternary song form, ABA’-Coda. This movement features the lead violin, that plays
long through-composed melodies (M1, M2, and M3), that may be subdivided into shorter
phrases. The background in the outer sections consists of sustained harmonies in the lower
three string parts, with subtle dynamic markings and changes (a series of dcrescendi).
The middle section contains more movement in the supporting voices. The rhythm is
synchronised, when all strings play sectional harmony in series of first inversion chords
([S̄ 6 ] ). From [42] onwards, there is a build-up to the main climax; note the use of more 8th
note patterns, the off-beat and syncopated rhythm. The key remains static: B[ major. See
21.3 String Quartet No. 3 in F Major, Op. 49 (1946)

h i
3
Mvt. 2 Moderato con moto: ternary song form (Em, 4 , 196 m.)
A B A’
Figure 21.4: Shostakovich, String Quartet No. 3 in F Major, Op. 73
21.3.1 Mvt. 2, Moderato con moto

Form: ternary song form, ABA’-Coda. The character of this movement is a great deal deter-
mined by the background rhythms, that also help distinguish the formal subdivisions; the
outer sections have the gentle quarter note arpeggios [29–31, 33, 35, 43–45, 49–50], and the
ostinato riffs [32, 34]. The middle section [36–42] has the misteriously sounding synchro-
nised on-the-beat staccato 8th notes over extended tonic pedal point, with the chromatic
neighbouring notes in the lead violin. This idea returns briefly in the closing section [47–48].

Table 21.3: Shostakovich, String Quartet No. 2, Mvt. 2 Recitative and Romance
[#]+m M R H Comment
Adagio (recitative)
31 M1.1 B[ F7 /E[ Vi1 recitative
32 M1.2 F − C/E − C7 /E
33 M1.3 F7 /E[
34 M1.4 F − B[ Vi1, Vc
h i
3
(romance) 4
35 M2.1 B[ − . . . − B[[9
7 Vi1, P T (b[)
..
36 . G[/B[ − E[m7 /D[ − B[ − A∅7 − A[7 /G[−
.. d
37 . G[9
7 /F − A[m − E[∆7 /E − E7 /D − Dm7
37+5 ⊥ F − E[ − Dm − E[m − Cm − A[ [S̄ 6 ]
38 M2.2 D∅7 − Cm/E[ − B[97 − B[ − Dm7 /F − Gm climax
..
39 . Am7 /G − B[∆7 −
39+4 ⊥ F ][10
7 no 1 − B∅7 no 3 − A◦ /C−
40 M2.3 A◦ /C − D∅7 /C
40+4 D∅7 /C − E[∆7 /D − F m97 − F7 /C − E[∆7 /D S2 -series
40+5 M2.4 Cm97 /B[ − A◦ − Am11 7 Vc
..
40+6 . D7 − Dm7 − D∅7
..
41 . Dm7 − E[m − B[7 /F
41+6 ⊥ F/A − G/B − A[/C − B[/D − E∅7 /D − G/D [S̄ 6 ]
42 M2.5 G[/D[ − F 4 − E◦7 −
42+3 ⊥ G[ − B[m − Em7 − B[7 − D7[9 − B[7 − Va syncopes
43 M2.6 E[m+7 − B[[97 − E[m7 Vi1+Vc, climax
.. d
44 . G[ − B − C/G − A − A7 − climax
..
45 . G/D − G[ − F m − Em − E[m ex parallel
45+4 ⊥ B[/D − A/C] − A[/C − G/B − B[/F [S̄ 6 ]
Adagio (recitative)
45+8 M3.1 B[7 /A[ Vi1 M3.1=M1.1’
46 ⊥ B[7 /A[
47 M3.2 B[/F
48 F − E[ − Dm − E[m − F [ [S̄ 6 ]
48+2 M3.3 F7[9 /C − F7 /E[
49 F7 /E[ − F − B[ (123 m.)

The main theme has M1(ab) (4 + 8 m.) structure; as this melody is passed on from the
first violin to the other string parts, the a-phrase motif remains almost constant, while the
b-phrase undergoes significant variation. The background to the contrasting viola melody
M2 [32] is full of descending violin appoggiaturas over the cello ostinato riff.
The middle section lead violin melody [36] has M3(ab) (4 + 2 m.) structure. The b-phrase
(descending 3rd leap) is used in the transitions [39 and 42]. All melodies return in the closing
section. See Table 21.4 for the analysis.

The key relationship diagram is shown in Fig. 21.5. The ternary form of the Mvt. 2 is reflected
in the keys used. The outer sections are in the tonic minor key Em, the middle BB section
in the supertonic major key F ] (1). The closing A section moves to the parallel major key E,
when the B section texture returns (2).
Mvt. 2 Moderato con moto
E2 B 1
1 F]
6
?
) Bm
Em F ]m
Figure 21.5: Shostakovich, String Quartet No. 3, key relationship diagram
21.4 Symphony No. 1 in F Minor, Op. 10 (1924-5)

h i
4
Mvt. 3 Lento: ternary song form (D[, 4 , 120 m.)
A B A’
Figure 21.6: Shostakovich, Symphony No. 1 in F Minor, Op. 10
21.4.1 Mvt. 3 Lento

Form: ternary, ABA’. See Table 21.5 and 21.6 for the analysis.1 The main element in this slow
movement is the combination of chromatic stepwise movement (both in the lead melody
M1 and in the bass and inner voices) and the melodic interval of the minor third (three
chromatic steps, also in the melodic brass motto M0 and in lower voices). Although here
only one movement from the symphony is analysed, the same melodical material returns in
the other movements.
The main theme is stated twice by the solo oboe, with a string section bowed tremolo
background (sustained notes in celli and bass). At [1] a solo cello takes the lead with M2,
1
Analysis of this movement was suggested to me by Bill Dobbins, professor at the Eastman School of Music,
and jazz composer and arranger.

Table 21.4: Shostakovich, String Quartet No. 3, Mvt. 2 Moderato con moto
m M R H Comment
1 M1 Em Em − . . . − B◦ /D − . . . − Em [29] A, Theme Vi1
15 M1’ Em − B/D] − B[/D− [30] Var 1: Vi1
19 ⊥ (Am9 − F◦ − Bm7 )/C− P (c)
23 M1’ Em − . . . − B◦7 /D − . . . − Em [31] Var 2: Vi2, PLi (&)
32 M2 Em7 /D [32] Va, Vc ostinato riff
42 C] − Em7 /D − . . . − [33] trans, climax, P (d)
47 D]m7 − D]◦7 −
49 Bm7no 3 /F ] − Em
51 M2 Em7 /B [34] 2nd st: Vi1, ostinato riff
61 M1’ Em − Em/B− [35] closing stat: Vi1
66 ⊥ C∆7 − B∅7 /D − Em
70 M3 F] F] − ...− [36] B, staccato ostinato, P T (f ])
76 I(M3) F] − ...− [37]
83 M3 F ] − . . . − Bm/F ] − . . . − F ] [38]
93 (C] − F ]m7 − C]◦7 − C]7 )/C] [39] trans, P D (c])
99 Gm/D − . . . − Em7 /D− [40]–2 P (d)
105 C − G − Dm7 − F ]
110 M3 F ] − . . . − D/F ] − . . . − [41] closing stat: Vi1+2, P T (f ])
117 F ] − . . . − D/F ] − . . . − [42] retrans
126 M1’ Em Em − B − B[ − A − Em/G− [43] A’, stat: Vc
134 M2 Dm − Cm − Dm − C]m − Dm− [44] stat: Vi1
..
139 . Cm − B[ − B[7 /F − C/G− cresc to climax
145 ⊥ F/C − Bm/F ] − E[no 3 /B[ climax
148 B[/A[ − . . . − Em7 [46] trans
154 B[m − A − B◦no 3 − solo Vi1
160 M3 E E − . . . − Am/E [47] stat: Vi1+2, P T (e)
167 M3’ E − . . . − Am/E [48] retrans (ped)
174 M1’ Em Em − . . . − Em/G − . . . − F m− [49] closing stat: Vc
182 ⊥ E[/G − Em
187 Mc Em [50] Coda, Va, desc chr
192 Em (196 m.)

Table 21.5: Shostakovich, Symphony No. 1, Mvt. 3 Lento
m M R H Comment
Lento A ([[[[[)
1 M1 D[ D[ − G7/D − E[ − E[m− Ob PLi (&), Str bg, PBi (%)
5 ⊥ F7 − G[ − E[/G − A[+ − A[[9
7 −
9 M1’ D[ − C[m/D − E[ − D[m7 /E− 2nd stat, Ob, PBi (%)
..
13 . B[7 − G[+ − Cm7 − D[−
d
15 ⊥ F7[13 /E[ − C79 /E −
16 M2 Dm/F − D/F ] − B7sus4 − [1] tr, Vc PLi (%), Seq, PBi (%)
19 ⊥ E/G] − D][137sus4 /A−
21 M2 G[/B[ − E[ − C/F ]− ~ &
[2] Fl+Vi, Hns Hk i
24 ⊥/0 F ][9
7 − Tpt: ”Minor 3rd motto” (3i &)
25 M2’ C/F ] − C7 /F − E− [3] Ob+Vi2, PBi (&) ,
27 ⊥ A[m/E[ − A[7[5 /D− cresc to clim
29 M1/3 D[ − B[[97 /D− [4] M1: WW+Vi, M3: Hns,
31 ⊥/⊥ E[7 − A[7 − tutti climax
33 M1/0 D[∆7 − C[m/D− [5] M0: Tpt, PBi (%)
.. ..
35 ./ . Gm/D − F713 /E[−
37 ⊥/⊥ D[m/E − B[∅7 − C∅7 − C]◦7 − PBi (%)
39 M0 B[/D − . . . − [6] closing, M0: Tpt imit
42 ⊥ D[[9
7 − ...− LoStr echoes
]11/13
44 M4/0 B[mno 3 − F ]7 /A] − B7 − [7] Bsn+Va, M0: Tpt
Largo B (\\\\\)
47 M5 Em EmG − F ]/C]− [8] lyrical th: Vc+Db
49 ⊥ Em/B − C7]5 /E−
51 M6 Em − B[m/F − E[7 /C − F/F ]− [9] Ob signal theme
.. i (%), P i (%)
55 . Am/E − A7 /E− Str bg Pm B
57 ⊥ B[m/F − B7 /F ] − Em
59 M5/0 F ][5 [5
7 /A] − B7 [10] M5: HiStr, M0: Tpt
..
61 . /0 E79 /G] − B[m+7 /A− M0: Bsn+LoStr
.. ..
63 ./ . G[ − F/A − E[ − D/F ]− [11] symmetrical roots, PLi (&)
.. ..
65 ./ . C − F ]m − B[/D − Cm unis chr&
66 ⊥/⊥ E/G] − E[ −→ B[ −→ Bm
67 M6 E7 − F ][10
7 − [12] Tpt
69 I(M6) G/C] − F ]/D − A[/E− Hns, PLi (%), climax
71 F m7 − G7 /F − F ]−

Table 21.6: Shostakovich, Symphony No. 1, Mvt. 3 Lento (cont’d)
m M R H Comment
73 B/F − G]/E− [13] Str PLi (&), Σ(cm>)
75 M5 Em − G − F ]/C]− [14] Vc+DB, HiStr trem
77 ⊥ Em/B − E/B[ − A − F ]m/B−
79 M4/0 F ]7 /E − A[[5
7 /D− [15] M4: Cl, M0: LoStr
Lento A’ ([[[[[)
81 M1/3’ D[ D[ − D◦7 − E[− i (&), P i (%)
[16] Solo Vi, Pm B
.. ..
84 ./ . E[m7 − F7 − G[
87 ⊥/⊥/0 E[/G − A[+ − A[[9 7 M0: Tpt motto
89 M1/3 D[ − C[m/D − E[− [17] M1: HiStr+WW, M3: Hns
92 ⊥⊥/0 D[m/E − B[∅7 − C∅7 − C]◦7 − [18] M0: Tpt
95 M0 B[/D − . . . − [19] trans, motto: Hns-Tu imit
99 ⊥ B[m7 − . . . − LoStr
101 M1/6 E[ − F7[9 − B[[5 7 − B[7
[9 [20] M1: LoStr, M6: Tpt
104 ⊥/⊥ [5
E[∆7 /D − F7 /B − B[−
106 M6’ E[]5
∆7 − E[m7 − A[7 −
9 i (&)
Tpt, WW par Pm
111 M1’/0 <(D[ − A[7sus4 )/D[− [21] Coda, div Str + WW imit,
115 M0 D[ P T (d[), Str imit (120 mm.)

21.5. SYMPHONY NO. 9 IN E[ MAJOR, OP. 70
which has similarities with M1; alternating chromatically ascending and descending motives
are juxtaposed. Just before [3] there is the first statement of the descending minor third motto
M0 by the trumpets. From here on it is combined with the other thematic material.
The middle section [8] presents the lyrical theme M5 in the lower strings; this creates a
melodic arch, consisting of wide leaps and groups of chromatically ascending and descend-
ing steps. The oboe sgnal theme M6 [6] leads into the seond statement of the lyrical theme in
the high strings, which now has the M0 motto as a countertheme in bassoon and low strings.
In the last A section and coda themes are combined, and the motto M0 is transferred from
brass to strings (imitations from high to low).

The key relationship diagram is shown in Fig. 21.7. In the slow third movement the key rela-
tions are straightforward: the outer A sections are in the tonic major key D[, the contrasting
middle sections are in the mediant minor key Em = F [m.
Mvt. 3 Lento
D[
D[m
Em
Figure 21.7: Shostakovich, Symphony No. 1, key relationship diagram
21.5 Symphony No. 9 in E[ Major, Op. 70 (1945)

h i
2
Mvt. 1 Allegro: sonata form (E[, 2 , 247 m.)
Figure 21.8: Shostakovich, Symphony No. 9 in E[ Major, Op. 70

Form: sonata. This movement has a light, humorous character with a classical form (note
the repeat of the exposition, which is a reference to the classical period) and Mozartean
lightness. It’s the second half of the development, where dynamic climaxes and dissonance
temporarily change the mood of this movement. See Table 21.7 and 21.8 for the analysis.
The Exposition main theme (M1.1) is based on an arpeggio chord and its inversion, and
also appears in melodic augmentation. It has M1(abab) (2 + 2 + 2 + 2 m.) period structure,

where the a-phrase is the quarter note arpeggio. Scalar phrases contain segments of octatonic
scales.
Group 2 is characterized by the pompous trombone signal motif (Ms) and the humor-
ous piccolo lead (later violins). Extended (tonic-dominant) pedal point basses add to this
atmosphere. Phrases are frequently ended by unisono cadences with either symmetric or
chromatic harmonies. The secondary theme has M2.1(aa’b) (2 + 2 + 4 m.) sentence structure,
with two piccolo statements. The theme M2.2 in parallel thirds is played by the woodwinds.
The Development opens with an inverted melodic augmentation I(M1.1)A of the the
main theme, set for fortissimo high strings with a quarter note pounding background for
horns and low woodwinds. The quarter note background rhythmic patterns continue as
the secondary theme M2.1 is developed in a tutti climax setting. Then the ‘hunting’ rhythm
( 14 + 18 + 18 ) sets in (m. 134), first played by the violins as a high pedal background to the
main theme in the low strings, later also in the woodwinds (m. 143) with the unisono M2.1
statement in the brass. The fortissimo parallel chords in the brass in m. 147 prepare the
unisono hoquetus style retransition into the Recapitulation.
The Coda combines the first group theme M1.1 in the clarinet with a varied form of
the secondary theme M2.2; note the parallel thirds in the bassoons, later in the oboes. The
pounding quarter notes return once more as secondary group background (the climax in
m. 230).

The key relationship diagram is shown in Fig. 21.9. The opening movement sonata form
structure is respected in the scheme of keys. The exposition has the first group in the tonic
major key E[, the secondary group in the dominant key B[. Both keys take a sidestep to
their relative submediant major key, C (1) and G (2), respectively.
Mvt. 1 Allegro
8 1 2
F C G
A
Fm A Cm
A
Gm
A
A[ AU E[ - B[
H
YH
A[m E[m B[m
4
G[∗

C[ C]
C[m G[m D[m

5 3,6 7
H
D -A E
j
H
Figure 21.9: Shostakovich, Symphony No. 9, key relationship diagram
The development starts in the key of G[ = F ] and moves outward into more remote keys
(3–6). The recapitulation first has a sidestep into the lowered supertonic (Neapolitan) major
key E = [II (7), before taking the familiar excursion into the subdominant domain A[ − F

Table 21.7: Shostakovich, Symphony No. 9, Mvt. 1 Allegro
m M R H Comment
1 M1.1 E[ || : E[ − F m7 /E[− Exp, Gr 1, M1.1: Vi1
..
3 . Cm − F7[9 no 3 − Str unisono
d
5 ⊥ E[ − C/E − B[7no 3 − I(M1.1), Str unis
8 M1.2 Cm − (E[∆7 − B[)/D− M: Fl, Str pizz, PB (%)
10 ⊥ F m7 /E[ − C/E − F m7 − B[7 −
12 M1.1’ E[ − A[ − Dm7 − G7 − C∆7 − B[ − E[ M: Vi1
[5/[9
16 (M1) B[7 − E[7 − A[ − Em7 − C7 Bridge, M: Ob, Σ(cm<)
20 ⊥ Em − Bm−
22 M1.3 C <(Am − G97sus4 ) − F ]7sus4 − M: Vi1, sym harmony
.. 9/11
25 . Dm7 − F ]7sus4 /E − Cm7 − F ]m97 − climax
27 ⊥ −Gm − Am str unis cad
30 F ]◦ − E ]9 /G] − B ]9 /D]− [A] trans, WW+Str
33 G7 lead: Vi1, Σ(cm>)
37 M1.1 E[ E[ − F m7 /E[− 2nd stat: Vi1
..
41 ⊥ E[ − C/E− I(M1.1), Str unis
43 −Em str unis cad
45 Ms B[ B[ Gr 2, Ms: Tbn, P (b[−f )
47 M2.1 B[ − F7 − B[ M2: Pi
51 ⊥ F/A − Gm7 − C7[5 /B[ − Dm/F − C
55 Ms B[ [B] 2nd stat: Tbn
57 M2.1 B[ − F7 − B[ M2: Pi
..
61 . F m7 /A[ − E[∆7 /G − E[m7 /G[ − F m7 − [S̄ 6 ]
..
63 . F m+7 /A[ − E[7 /G − Dm7 /C−
d
65 ⊥ Gm − F79 /A − B − Em − F ][5 7 − cad
68 M2.2 G G − . . . − <(C]7 − F ]) − F ]7 M: WW, P (g−d)
76 Ms B[ B[ 3rd stat: Tbn
[9/]11
78 M2.1 B[ − . . . − Bm7 /A − F7 /E[− M: Tpt, P (b[−f )
81 A − D − B − B[− : || trans, unis WW-Str-Brs ff
86 I(M1.1) G[ (G[ − C[)/G[ [C] Dev, aug: Vi, P T (f ]),
90 M1.1 F] (Bm − F ][5 [9
7 − D7 − D7 )/F ] Hns+LoWW bg (ped)
98 I(M1.1) F] (ped)
102 M1.2 G∆7 /F ] − A[7 /E[ − hD[|Di − D/F ]− (ped)
104 Cm − F ][5 [5
7 /C − Dm7 /C − B7 − P (c), bridge
108 I(M1.1) A A − Bm7 [D] aug, tutti clim, P T (a)
112 M1.1 B[ Dm − E[m − <(G − D∅7 ) (ped)

Table 21.8: Shostakovich, Symphony No. 9, Mvt. 1 Allegro (cont’d)
m M R H Comment
118 (M1) tr, oct-sc: Hns, Σ(cm<)
123 M1.3 Em − Dm − Em − E7[10 M: Vi1
126 M2.1 C] C] − E7[5 − C][97 − E7
[5 [E] clim, PBi (%), P D (g])
130 ⊥ C]m/E − E7[9 /F − E7[10 − (tutti climax)
134 M1.1 D D]9 − . . . − B◦7 − . . . − M: lo Str, P D (a)
143 M2.1 A <(A − E7 /G]) − A E7 [F] aug, clim, P T (a)
147 (Am/C − B∅7 /D − C/E − Dm/F −) diat-par: Brs, [S̄ 6 ] ,
149 Em/G − F/A Σ(cm>)
150 Bm − Cm7 /G − F ]m/C] − A− retrans, unis Str-WW-Brs
154 M1.1 E[ E[ − F m7 /E[ [G] Rec M: Str unis, clim
..
d
158 ⊥ E[ − C/E − B[7no 3 − I(M1.1), Str unis
161 M1.2 E C]m − A − B − C] − F ]m
166 (M1) Gm − E[ − D∅7 − F [ − D7 Bridge: Vi1
170 M1.3/s E[ E7 /G] = B[7 − Em − B[∆7 − Dm7 Ms: Tbn, P (a[), symm
174 M1.1 E[ − D∅7 − F m7 − E[ M: Bsn+Vc+DB (ped)
..
178 . E[ − A − B7[9 − E Σ(cm>), cad
184 Ms A[ A[ Ms: Tbn, clim, P (a[−e[)
186 M2.1 A[ − E[97sus4 − A[ − E[/G − F m7 M: Pi, P (a[)
189 ⊥ B[ − Cm7 /E[ − B[ cad
192 Ms A[ [H] Ms: Tbn, P (a[−e[)
194 M2.1 A[ − E[97sus4 − A[ M: Vi1 (ped)
..
198 . E[m7 /G[ − D[/F − D[m7 /F [ − E[m7 PBi (&) , P D (e[)
..
200 . E[m7 − D[]9 /F − B[97sus4 −
202 ⊥ F m7 − E[7 /G − A cad
204 M2.2 F F − . . . − <(B7 − Em) − B[7 − M: Tpt, P T (f )
212 M1.1/2.2 E[ E[ − D[/F − Cm7 /G − A[ − E[ Coda M1: Cl, M2: Bsn
218 E[ − G7 − . . . − Am − Gm − D/F ] [I] Trans 1, lead: Fl
224 A[m − Gm − Am − Cm7 −
226 B[]9 − Bm]9
228 M1.1 E[+ /G − B[7 − M: Vc+DB
230 M2.1 <(E[ − Am[5 ) − <(E[ − Am7 ) [K] M: Vi1+2, climax
244 M1.1 G7 /B − A[7 /C − B[7 /D − E[ cl stat, climax (247 m.)

(8) before returning home. Note the many occurrences of groups of minor third (3i) related
keys, used in this movement.


Bibliography
[1] Johann Sebastian Bach. Eleven Great Cantatas. Dover Publications, Inc., New York, 1976.
ISBN 0-486-23268-9. 350 pp.
[2] Johann Sebastian Bach. The Six Brandenburg Concertos and the Four Orchestral Suites.
Dover Publications, Inc., New York, 1976. ISBN 0-486-23376-6. xi + 273 pp.
[3] Johann Sebastian Bach. 388 vierstimmige Choralgesänge. Number Z. 40 101 in EMB Study
Scores. Editio Musica Budapest, Budapest, 1988. ISBN 0-486-23268-9. 239 pp.
[4] Ludwig van Beethoven. Complete String Quartets. Dover Publications, Inc., New York,
1970. ISBN 0-486-22361-2. 206 + 227 pp.
[5] Ludwig van Beethoven. Symphonies Nos. 5, 6 and 7 in Full Score. Dover Publications,
Inc., New York, 1989. ISBN 0-486-264034-8. 257 pp.
[6] Ludwig van Beethoven. Symphonies Nos. 8 and 9 in Full Score. Dover Publications, Inc.,
New York, 1989. ISBN 0-486-264035-6. 252 pp.
[7] Ludwig van Beethoven. Sonaten I für Klavier. Number K 107 in Urtext. Könemann
Music, Budapest, 1994. ISBN 963-8303-20-4. 237 pp.
[8] Ludwig van Beethoven. Sonaten II für Klavier. Number K 108 in Urtext. Könemann
Music, Budapest, 1994. ISBN 963-8303-21-2. 223 pp.
[9] Hector Berlioz. Symphonie Fantastique and Harold in Italy in Full Score. Dover Publica-
tions, Inc., New York, 1984. ISBN 0-486-24657-4. 320 pp.
[10] Johannes Brahms. Complete Chamber Music for Strings and Clarinet Quintet. Dover Pub-
lications, Inc., New York, 1968. ISBN 0-486-21914-3. viii + 262 pp.
[11] Johannes Brahms. Complete Symphonies in Full Score. Dover Publications, Inc., New
York, 1974. ISBN 0-486-23053-8. 344 pp.
[12] Johannes Brahms. German Requiem in Full Score. Dover Publications, Inc., New York,
1987. ISBN 0-486-25486-0. xvi + 192 pp.
[13] Grosvenor Cooper and Leonard B. Meyer. The Rhythmic Structure of Music. The Univer-
sity of Chicago Press, Chicago, MI, 1960. ISBN 0-226-11522-4. ix + 212 pp.
[14] Claude Debussy. Quartet for 2 Violins, Viola and Violoncello, Op. 10. Number 210 in
Edition Eulenburg. Ernst Eulenburg Ltd., London, 1969. v + 50 pp.
999
BIBLIOGRAPHY
[15] Claude Debussy. Piano Music (1888-1905). Dover Publications, Inc., New York, second
edition, 1973. ISBN 0-486-22771-5. 175 pp.
[16] Claude Debussy. Three Great Orchestral Works in Full Score. Dover Publications, Inc.,
New York, 1983. ISBN 0-486-24441-5. 279 pp.
[17] Jonathan Dunsby and Arnold Whittall. Music Analysis in Theory and Practice. Faber
Music, London, 1988. ISBN 0-571-10065-1. 250 pp.
[18] Gabriel Fauré. Masques et Bergamasques, Suite for Orchestra, Op. 112. Number 1387 in
Edition Eulenburg. Ernst Eulenburg Ltd., London, 1981. xi + 61 pp.
[19] Gabriel Fauré. Pelléas et Mélisande, Suite for Orchestra, Op. 80. Number 1386 in Edition
Eulenburg. Ernst Eulenburg Ltd., London, 1981. xiii + 61 pp.
[20] Gabriel Fauré. Requiem in Full Score. Dover Publications, Inc., New York, 1992. ISBN
0-486-27155-2. 128 pp.
[21] Constantin Floros. Gustav Mahler III: Die Symphonien. Breitkopf & Härtel, Wiesbaden,
1985. ISBN 3-7651-0210-5. 336 pp. (in German).
[22] Constantin Floros, Christian Martin Schmidt, and Giselher Schubert. Johannes Brahms:
Die Simfonien, Einführung und Analyse. Number ED 8711 in Studienbuch Musik. Schott
Musik International, Mainz, 1998. ISBN 3-7957-8711-4. 276 pp. (in German).
[23] Hans Gál. Schumann Orchestral Music. BBC Music Guides. BBC Publications, London,
1979. ISBN 0-563-12423-7. 64 pp.
[24] Edvard Grieg. Peer Gynt Suites Nos. 1 and 2 in Full Score. Dover Publications, Inc., New
York, 1997. ISBN 0-486-29582-6. 92 pp.
[25] Joseph Haydn. Eleven Late String Quartets, Opp. 74, 76 and 77, Complete. Dover Publica-
tions, Inc., New York, 1979. ISBN 0-486-23753-2. 308 pp.
[26] Joachim Kaiser. Beethovens 32 Klaviersonaten und ihre Interpreten. Fischer Taschenbuch
Verlag, Frankfurt am Main, 1999. ISBN 3-596-23601-0. 661 pp. (in German).
[27] Konrad Küster. Beethoven. Deutsche Verlags-Anstalt GmbH, Stuttgart, 1994. ISBN 3-
421-06690-6. 448 pp. (in German).
[28] Fred Lerdahl and Ray Jackendoff. A Generative Theory of Tonal Music. The MIT Press
Series on Cognitive Theory and Mental Representation. The MIT Press, Cambridge,
MA, 1983. ISBN 0-262-62049-9. xiv + 368 pp.
[29] Julian Littlewood. The Variations of Johannes Brahms. Poetics of Music. Plumbago Books,
London, 2004. ISBN 0-9540123-4-8. xiv + 369 pp.
[30] Gustav Mahler. Symphonies Nos. 3 and 4 in Full Score. Dover Publications, Inc., New
York, 1989. ISBN 0-486-26166-2. 353 pp.
[31] Gustav Mahler. Songs of a Wayfarer and Kindertotenlieder in Full Score. Dover Publications,
Inc., New York, 1990. ISBN 0-486-26318-26318-5. xiv + 142 pp.

BIBLIOGRAPHY
[32] Gustav Mahler. Symphonies Nos. 5 and 6 in Full Score. Dover Publications, Inc., New
York, 1992. ISBN 0-486-26888-8. v + 505 pp.
[33] Felix Mendelssohn-Bartholdy. Major Orchestral Works. Dover Publications, Inc., New
York, 1975. ISBN 0-486-23184-4. 406 pp.
[34] Leonard B. Meyer. Style and Music: Theory, History and Ideology. Studies in the Criticism
and Theory of Music. University of Pennsylvania Press, Philadelphia, 1989. ISBN 0-
8122-8178-0. xi + 376 pp.
[35] Neil Minturn. The Music of Sergei Prokofiev. Composers of the Twentieth Century. Yale
University Press, New Haven and London, 1997. ISBN 0-300-06366-0. xiii + 241 pp.
[36] Wolfgang Amadeus Mozart. Complete String Quartets. Dover Publications, Inc., New
York, 1970. ISBN 0-486-22372-8. 277 pp.
[37] Wolfgang Amadeus Mozart. Later Symphonies, Full Orchestral Score of Symphonies 35-41.
Dover Publications, Inc., New York, 1974. ISBN 0-486-23052-X. 285 pp.
[38] Wolfgang Amadeus Mozart. Complete String Quintets with the Horn and Clarinet Quintet.
Dover Publications, Inc., New York, 1978. ISBN 0-486-23603-X. 181 pp.
[39] Wolfgang Amadeus Mozart. The Magic FLute (Die Zauberflöte) in Full Score. Dover Pub-
lications, Inc., New York, 1985. ISBN 0-486-24783-X. 225 pp.
[40] Wolfgang Amadeus Mozart. Sonaten, Fantasien und Rondi I für Klavier. Number K 103
in Urtext. Könemann Music, Budapest, 1993. ISBN 963-8303-33-6. 222 pp.
[41] Sergei Prokofiev. Four Orchestral Works. Dover Publications, Inc., New York, 1974. ISBN
0-486-20279-8. 442 pp.
[42] Giacomo Puccini. Madama Butterfly in Full Score. Dover Publications, Inc., New York,
1990. ISBN 0-486-26345-2. 483 pp.
[43] Maurice Ravel. Quartet in F major, for two violins, viola and cello. Number Score no. 539
in Full & Study Size Scores. International Music Company, New York, 1903. 48 pp.
[44] Maurice Ravel. L’Enfant et les Sortilèges. Number 13019 in Editions Musicales. Durand
S.A., Paris, 1925. 212 pp.
[45] Maurice Ravel. Concert pour Piano et Orchestre. Editions Durand & Cie., Paris, 1932. 95
pp.
[46] Maurice Ravel. Piano Masterpieces. Dover Publications, Inc., New York, 1986. ISBN
0-486-25137-3. 126 pp.
[47] Maurice Ravel. Daphnis et Chloë. Dover Publications, Inc., New York, 1988. ISBN 0-486-
25826-2. 315 pp.
[48] Maurice Ravel. Four Orchestral Works in Full Score. Dover Publications, Inc., New York,
1989. ISBN 0-486-25962-5. 225 pp.

BIBLIOGRAPHY
[49] Charles Rosen. The Classical Style: Haydn, Mozart, Beethoven. Faber and Faber, London -
Boston, revised edition, 1976. ISBN 0-571-04905-2. 467 pp.
[50] Charles Rosen. Sonata Forms. W.W. Norton & Company, Inc., New York - London,
revised edition, 1980. ISBN 0-393-3-219-9. x + 415 pp.
[51] Charles Rosen. The Romantic Generation. Fontana Press, London, paperback edition,
1999. ISBN 0-00-255712-6. xv + 723 pp.
[52] Carl Schachter. Unfoldings: Essays in Schenkerian Theory and Analysis. Oxford University
Press, Oxford, New York, 1999. ISBN 0-19-512013-2. 294 pp.
[53] Joseph Schillinger. The Schillinger System of Musical Composition, volume I and II of Da
Capo Press Music Reprint Series. Da Capo Press, New York, fourth edition, 1946. ISBN
0-306-77521-2 and 0-306-77522-0. xxiii + 1640 pp.
[54] Arnold Schoenberg. Structural Functions of Harmony. Faber & Faber, London, Boston,
second (revised) edition, 1969. ISBN 0-571-13000-3. xvi + 203 pp. (edited by Leonard
Stein).
[55] Arnold Schoenberg. Fundamentals of Musical Composition. Faber & Faber, London,
Boston, second (revised) edition, 1970. ISBN 0-571-09276-4. xiv + 224 pp. (edited by
Gerald Strang).
[56] Arnold Schoenberg. Theory of Harmony. University of California Press, Berkeley, Los
Angeles, third edition, 1978. ISBN 0-520-04944-6. xxi + 441 pp. (translated by Roy
E. Carter).
[57] Franz Schubert. Complete Song Cycles. Dover Publications, Inc., New York, 1970. ISBN
0-486-22649-2. 217 pp.
[58] Franz Schubert. Complete Chamber Music for Strings. Dover Publications, Inc., New York,
1973. ISBN 0-486-21463-X. 347 pp.
[59] Franz Schubert. Four Symphonies in Full Score. Dover Publications, Inc., New York, 1978.
ISBN 0-486-23681-1. 262 pp.
[60] Robert Schumann. Complete Symphonies in Full Score. Dover Publications, Inc., New
York, 1980. ISBN 0-486-24013-4. 405 pp.
[61] Klaus Schweizer and Arnold Werner-Jensen. Reclams Konzertführer. Philipp Reclam Jun.
GmbH & Co., Stuttgart, 1998. ISBN 3-15-010434-3. 1140 pp. (in German).
[62] Dmitri Shostakovich. String Quartets Nos. 1-5. Dover Publications, Inc., New York, 1994.
ISBN 0-486-28140-X. 214 pp.
[63] Dmitri Shostakovich. Symphonies Nos. 1 and 5 in Full Score. Dover Publications, Inc.,
New York, 1995. ISBN 0-486-28368-2. 252 pp.
[64] Dmitri Shostakovich. Symphonies Nos. 9 and 10 in Full Score. Dover Publications, Inc.,
New York, 1995. ISBN 0-486-28801-3. vi + 297 pp.

BIBLIOGRAPHY
[65] Jean Sibelius. Tone Poems in Full Score. Dover Publications, Inc., New York, 1991. ISBN
0-486-26483-1. 312 pp.
[66] Richard Strauss. Tone Poems Series 1: Don Juan, Tod und Verklärung, Don Quixote. Dover
Publications, Inc., New York, 1979. ISBN 0-486-23754-0. 286 pp.
[67] Richard Strauss. Tone Poems Series 2: Till Eulenspiegels Lustige Streiche, “Also Sprach
Zarathustra”, Ein Heldenleben. Dover Publications, Inc., New York, 1979. ISBN 0-486-
23755-9. 315 pp.
[68] Richard Strauss. Eine Alpensinfonie and Symphonia Domestica in Full Score. Dover Publi-
cations, Inc., New York, 1993. ISBN 0-486-27725-9. 284 pp.
[69] Peter Ilyitch Tchaikovsky. Fourth, Fifth and Sixth Symphony in Full Score. Dover Publica-
tions, Inc., New York, 1979. ISBN 0-486-23861-X. 470 pp.
[70] Peter Ilyitch Tchaikovsky. Nutcracker Suite in Full Score. Dover Publications, Inc., New
York, 1987. ISBN 0-486-25379-1. 117 pp.
[71] Dmitri Tymoczko. A Geometry of Music; Harmony and Counterpoint in the Extended Com-
mon Practice. Oxford Studies in Music Theory. Oxford University Press, New York, 2011.
ISBN 978-0-19-533667-2. xviii + 450 pp.
[72] Arnold Werner-Jensen. Reclams Kammermusikführer. Philipp Reclam Jun. GmbH & Co.,
Stuttgart, 1997. ISBN 3-15-010437-8. 1168 pp. (in German).
[73] Christoph Wolff. Johann Sebastian Bach. Fischer Taschenbuch Verlag, Frankfurt am Main,
2007. ISBN 978-3-596-16739-5. xxviii + 625 pp. (in German).

Index
AA form, 365 ABCABC form, 263, 489

AAA form, 356, 705 ABCABCA form, 345, 603, 739
AAABA form, 836 ABCACA form, 554
AAB form, 191, 363, 384 ABCAD form, 831
AABA form, 198, 728 ABCBCB form, 457
AABAB form, 633 ABCD form, 185
AABC form, 779 ABCDC form, 894
AB form, 37, 39, 198, 207, 214, 221, 279, 361, Alberti bass, 76, 259
365, 370, 384, 702, 708, 782, 928, 930, antecedent, 14
945 aria, 185, 201, 207, 214, 221, 945
ABA form, 14, 25, 32, 43, 52, 56, 63, 93, 98, da capo, 25
125, 130, 152, 157, 164, 198, 201, 207,
ballet music, 684, 928, 973
252, 263, 290, 361, 363, 376, 378, 384,
Baroque music, 1, 560
425, 430, 452, 536, 544, 554, 560, 570,
basso continuo, 25, 39
583, 603, 615, 619, 659, 675, 687, 689,
bell chord, 365, 570, 578, 814, 821, 832, 860,
694, 701, 710, 725, 728, 736, 747, 755,
864, 923, 928, 945
779, 800, 820, 827, 834, 839, 905, 908,
binary form, 37, 39, 81, 86, 103, 111, 139, 256,
911, 916, 919, 923, 930, 942, 943, 945,
263, 302, 306, 326, 448, 489, 536, 594,
953, 987, 989
684, 702, 928, 945
ABAACB form, 448
bitonality, 11, 945
ABAB form, 76, 81, 86, 103, 111, 139, 241, 256,
Blues, 949
306, 326, 370, 398, 430, 505, 594, 684,
bourrée, 39
715, 741, 797, 827
bridge form, 886, 968
ABABA form, 343, 452, 587, 689, 787, 813,
820, 968 cadence, 13
ABABAB form, 970 deceptive, 6, 356, 970
ABABC form, 895 cadential formulas, 1
ABAC form, 356, 376, 378, 560, 587, 738, 911, call-and-response, 6, 13, 32, 98, 123, 139, 163,
928, 930 164, 168, 185, 191, 223, 231, 263, 306,
ABACA form, 525, 536, 689, 705, 728, 903 400, 430, 454, 461, 466, 521, 525, 590,
ABACAB form, 679 654, 684, 725, 747, 760
ABACABA form, 252, 684 canon, 25, 52, 615, 725, 873
ABACABAD form, 290 cantate, 19, 25
ABACB form, 103 cantus firmus, 63, 223, 587
ABBA form, 911 chaconne, 25
ABC form, 181, 185, 191, 198, 207, 214, 221, choir music, 19, 207, 214, 221, 587, 721, 758,
356, 361, 376, 382, 590, 712, 721, 782, 760, 762, 773, 839, 928, 945
839, 945 chorale, 3, 19, 25, 122, 479, 525, 587, 802, 806,
ABCA form, 32, 659, 728, 942 895
1004
INDEX
chorale setting, 63, 207, 308, 334, 339, 400, exposition, 6, 12

425, 489, 536, 544, 806
chord structures in 3rds, 1 finale, 14, 63, 130, 143, 191, 221, 263, 610, 665,
chords 676, 970
augmented 6th, 10, 333, 702 form, 1
extended, 10 fugue, 6, 8, 164, 181, 306, 461, 544, 753
parallel, 10
gavotte, 37, 39, 970
circle of fifths, 15, 669, 873, 950
gigue, 39
clarinet quintet, 122
group, 13
Classical music, 4, 43, 753
coda, 164, 185, 198, 214, 221, 252, 256, 263, habanera, 911
279, 290, 306, 314, 326, 339, 345, 400, harmonic progression, 3
448, 452, 457, 489, 505, 525, 554, 560, harmony
583, 594, 603, 619, 665, 676, 684, 689, functional, 1, 4, 15
694, 702, 705, 710, 712, 715, 725, 738, sectional, 84, 689, 762, 987
741, 767, 787, 797, 806, 813, 820, 831, theory of, 11, 356
836, 839, 856, 868, 880, 886, 895, 923, tonal, 1, 356
968, 981 hemiola, 157, 554, 583, 610
coda section, 12, 76, 98, 111, 122, 143, 157, 168, hoquetus, 448, 454, 466, 525, 583, 659, 679,
248, 259, 274, 279, 300, 306, 316, 326, 785, 984, 994
334, 393, 421, 443, 472, 482, 489, 495, horn 5ths, 482, 710
505, 515, 525, 544, 554, 567, 570, 578,
610, 615, 626, 659, 669, 747, 880, 953, Impressionism, 1, 4, 11, 753, 758, 834
962, 965, 994 instrumentation, 3
coloratura, 185, 214, 945 introduction, 43, 181, 201, 221, 352, 448, 452,
common practice, 1 454, 457, 489, 587, 689, 710, 715, 721,
concerto, 25, 32, 945 725, 728, 753, 797, 827, 836, 845, 846,
counterpoint, 6, 13 870, 894, 908, 928, 945, 968
countersubject, 13 introduction section, 12, 25, 81, 111, 122, 129,
cross-rhythm, 326, 505, 827, 839, 895, 953 139, 181, 248, 262, 302, 314, 325, 389,
441, 443, 479, 521, 525, 536, 544, 567,
578, 587, 651, 676, 785, 864, 885, 956
dance, 37, 43, 198, 262, 457, 504, 505, 578, 684,
687, 689, 705, 739, 847, 853, 873, 878, inversion
928, 930 harmonic, 7
melodic, 5
Arabian, 689, 710
Cakewalk, 943 key relationship diagram, 15
Chinese, 689
folk, 687, 689, 945 main motif, 52
German, 263 malagueña, 911
Russian, 687 march, 201, 223, 231, 398, 452, 505, 684, 705,
Spanish, 908 923, 942, 981
development, 6, 12 Mazurka, 705
secondary, 6, 12, 111, 168, 181, 274, 279, melody, 3, 13
316, 322, 421, 472, 482, 489, 495, 505, menuet, 747
525, 534, 544, 615, 626, 651, 659, 665, menuet and trio form, 15, 48, 52, 63, 84, 93,
676, 878, 953 98, 111, 125, 143, 157, 164, 245, 787

INDEX
modal music, 16 567, 570, 587, 590, 603, 615, 626, 633,
mode 654, 684, 687, 689, 701, 705, 708, 710,
Aeolian, 16, 570, 710, 903, 908, 916, 923, 712, 715, 725, 760, 767, 773, 779, 792,
949, 953, 956, 959 797, 800, 806, 856, 868, 878, 886, 895,
Dorian, 16, 654, 739, 839, 886, 923, 956, 903, 911, 930, 945, 949, 950, 953, 970,
959, 962 984, 987, 994
Ionian, 16, 654, 710, 755, 760, 839, 903, period, 5, 14, 84, 86, 93, 103, 110, 122, 125, 139,
916, 919, 950, 953, 956 143, 152, 157, 163, 164, 191, 198, 207,
Lydian, 16, 738, 949, 950, 953, 956, 959 214, 308, 314, 389, 448, 454, 479, 489,
Lydian augmented, 950 521, 534, 536, 544, 554, 560, 570, 587,
major, 16 594, 603, 615, 626, 644, 659, 676, 684,
minor, 16 687, 689, 694, 696, 736, 738, 739, 747,
Mixolydian, 16, 654, 710, 712, 755, 760, 787, 970, 973, 977, 993
839, 908, 919, 949, 950, 959 phrase, 14
Phrygian, 654, 739, 908, 916, 919, 953 piano music, 73, 241, 248, 256, 352, 827, 903,
modulation, 13 905, 919
monothematic, 13, 59, 84, 98, 143, 245, 302, pivot pitch chord change, 12, 356, 382, 389,
343, 560, 829 393, 400, 407, 415, 421, 425
motif, 14 polychord, 11, 945, 949, 950, 956
music polytonality, 11, 956
folk, 779
musical analysis, 1 quintet, 207
Neapolitan chord, 4, 7, 63, 214, 252, 256, 300, recapitulation, 7, 12

321, 332, 365, 382, 389, 400, 415, 421, false, 12, 13, 39, 63, 129, 163, 175, 443, 482,
626, 654, 679, 699, 705, 735, 746, 782, 495, 504, 515, 525, 534, 544, 554, 570,
787, 813, 822, 831, 856, 859, 870, 899, 583, 633, 654, 679, 806, 950
994 recitative and aria, 185
requiem, 587, 721
opera, 176, 753, 940 ritornello, 231
orchestral music, 25, 32, 471, 472, 587, 684, Romantic music, 1, 4, 753
701, 708, 721, 736, 779, 836, 845, 859, rondo form, 56, 103, 111, 231, 252, 290, 314,
870, 880, 885, 892, 894, 895, 903, 905, 345, 389, 398, 430, 441, 457, 525, 536,
908, 919, 928, 973 554, 560, 610, 633, 665, 689, 739, 787,
ostinato, 25, 65, 223, 302, 316, 334, 343, 461, 802, 870, 892, 903
590, 659, 705, 708, 725, 782, 911, 930, root cycle, 1, 4, 162, 164, 168, 334
987, 989
overture, 32, 181, 471, 472, 684, 747, 753 saltarello, 489, 505
scale
passacaglia, 25, 644 altered, 949, 950
pavane, 903, 919 Gypsy, 916
pedal point, 4, 5, 7, 10, 52, 56, 86, 111, 129, octatonic, 7, 837, 911, 912, 916, 930, 994
130, 139, 152, 164, 168, 181, 185, 191, pentatonic, 755, 758, 760, 767, 773, 776,
201, 207, 223, 231, 248, 274, 300, 302, 827, 923, 928, 940, 943, 949, 953
306, 308, 314, 316, 334, 339, 343, 345, scherzo, 536, 659
356, 363, 370, 376, 378, 382, 384, 393, scherzo and trio form, 15, 256, 263, 279, 290,
398, 407, 412, 415, 430, 439, 443, 448, 308, 339, 407, 430, 525, 570, 583, 603,
452, 454, 457, 461, 466, 495, 525, 554, 619, 970

INDEX
section, 12 125, 130, 143, 152, 157, 164, 185, 201,

sentence, 5, 14, 81, 84, 86, 93, 98, 103, 110, 116, 207, 252, 263, 279, 290, 352, 361, 363,
122, 125, 130, 139, 143, 152, 157, 163, 376, 378, 384, 425, 430, 479, 536, 544,
164, 168, 185, 191, 236, 302, 326, 334, 554, 560, 583, 615, 619, 659, 684, 687,
407, 412, 443, 448, 479, 482, 525, 536, 694, 701, 725, 728, 747, 755, 779, 820,
544, 567, 578, 594, 603, 610, 619, 626, 827, 834, 836, 839, 905, 908, 911, 916,
659, 679, 687, 689, 694, 701, 702, 710, 919, 923, 930, 942, 943, 945, 953, 987,
747, 767, 802, 873, 878, 886, 956, 968, 989
970, 973, 977, 984, 994 da capo, 25
sequence, 4 theme, 13
sonata form, 12, 43, 48, 52, 56, 59, 63, 73, 76, theme and variations form, 63, 125, 279, 306,
81, 84, 86, 93, 98, 110, 122, 129, 130, 334, 536, 644, 814, 984
139, 143, 151, 157, 163, 164, 181, 241, tonal centre, 3
245, 248, 259, 262, 263, 279, 290, 302, tonal music, 1
314, 322, 325, 332, 389, 398, 412, 425, tone poem, see symphonic poem
430, 443, 471, 472, 479, 482, 489, 504, transition, 8, 13
505, 521, 525, 536, 544, 551, 560, 567, trio, 214, 221
578, 594, 603, 610, 615, 626, 631, 633, vocal, 767
644, 651, 665, 676, 747, 802, 859, 870, two-part song, 782
885, 949, 956, 965, 970, 977, 984, 993
song, 185, 797, 814 variation, 13
song cycle, 352, 779 vocal duet, 25, 176, 191, 198, 207, 231, 755,
string quartet, 14, 43, 52, 59, 81, 86, 262, 332, 758, 767, 942, 943, 945
590, 610, 831, 905, 983, 987 vocal quartet, 181
string quintet, 98, 110, 425 vocal quintet, 185
string sextet, 583 vocal solo, 185, 352, 762, 773, 779, 797, 802,
subject, 13 814, 940
secondary, 13 vocal trio, 191, 755, 758, 767
suite, 684, 736, 746, 919 voice leading, 3, 332, 872, 983
symmetric octave division, 10, 151, 263, 382, waltz, 441, 448, 466, 651, 675, 694, 895, 923
421, 425, 534, 626, 659, 669, 721, 728, whole-tone scale, 8, 393, 762, 767, 930
760, 762, 773, 822, 839, 872, 878, 880,
885, 892, 894, 895, 973, 994
symmetric root movement, see symmetric oc-
tave division
symphonic poem, 441, 443, 834, 845, 859, 870,
880, 885, 892, 894
symphonic tale, 977
symphony, 14, 125, 130, 151, 162, 274, 283,
300, 322, 325, 384, 441, 479, 504, 521,
534, 551, 567, 610, 631, 651, 675, 679,
785, 813, 820, 965, 989, 993
tarantella, 345, 847

ternary form, see ternary song form, 98, 139,
448, 452, 570, 675, 705, 712, 725
ternary song form, 14, 32, 43, 52, 56, 63, 111,

Musical - Analysis (Obras Analizadas)

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Musical - Analysis (Obras Analizadas)

Uploaded by

Copyright:

Available Formats

n œ œ œ œ œœ ..

Note to the document owner:

ii Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com)

List of Figures xvi

2 Johann Sebastian Bach 19

4 Wolfgang Amadeus Mozart 73

iv Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com)

4.5.3 Mvt. 3 Adagio ma non troppo . . . . . . . . . . . . . . . . . . . . . . . 111

Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com) v

4.11.15 No. 14 Aria ‘Der Hölle Rache’ . . . . . . . . . . . . . . . . . . . . . . . . 214

5 Ludwig van Beethoven 241

vi Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com)

5.6.6 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 290

6 Franz Schubert 325

Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com) vii

6.4 Symphony No. 9 Große, D944 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

7 Hector Berlioz 441

8 Felix Mendelssohn-Bartholdy 471

9 Robert Schumann 521

viii Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com)

9.2.2 Mvt. 2 Scherzo. Allegro vivace . . . . . . . . . . . . . . . . . . . . . . . 536

10 Johannes Brahms 583

Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com) ix

11 Peter Ilyich Tchaikovsky 651

12 Edvard Grieg 701

13 Gabriel Fauré 721

x Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com)

13.1.7 Mvt. 7 In Paradisum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 728

14 Giacomo Puccini 753

15 Gustav Mahler 779

Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com) xi

15.3.2 Mvt. 4 Sehr behaglich . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 814

16 Claude Debussy 827

17 Richard Strauss 845

xii Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com)

17.3.4 Episode: Love Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 873

18 Jean Sibelius 885

19 Maurice Ravel 903

Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com) xiii

19.8 Opera L’Enfant et les Sortilèges . . . . . . . . . . . . . . . . . . . . . . . . . . . 940

20 Sergei Prokofiev 965

21 Dmitri Shostakovich 983

xiv Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com)

Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com) xv

xvi Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com)

1.1 History timeline with classical music periods and composers . . . . . . . . . 2

2.1 Bach, Cantata No. 12 Weinen, Klagen, Sorgen, Zagen, BWV 12 . . . . . . . . . . 19

3.1 Haydn, String Quartet Op. 76, No. 1 in G Major . . . . . . . . . . . . . . . . . 47

4.1 Mozart, Sonata in F Major KV 332 . . . . . . . . . . . . . . . . . . . . . . . . . 73

4.20 Mozart, Symphony No. 41 Jupiter, key relationship diagram . . . . . . . . . . 176

5.1 Beethoven, Sonata Op. 2, No. 1 in F Minor . . . . . . . . . . . . . . . . . . . . 243

6.1 Schubert, Symphony No. 8 Unvollendete, D759 . . . . . . . . . . . . . . . . . . 325

7.1 Berlioz, Symphonie Fantastique Op. 14 . . . . . . . . . . . . . . . . . . . . . . 442

8.1 Mendelssohn, A Midsummer Nights’ Dream Overture Op. 21 . . . . . . . . . . 471

xviii Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com)

9.1 Schumann, Symphony No. 1 in B[ Major Frühling, Op. 38 . . . . . . . . . . . . 522

10.1 Brahms, String Sextet Op. 36 No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . 583

11.1 Tchaikovsky, Symphony No. 4 in F Minor, Op. 36 . . . . . . . . . . . . . . . . 652

12.1 Peer Gynt Suite No. 1 Op. 46 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702

13.1 Fauré, Requiem in D Minor, Op. 48 . . . . . . . . . . . . . . . . . . . . . . . . . 722

15.1 Mahler, Lieder eines fahrenden Gesellen . . . . . . . . . . . . . . . . . . . . . . . . 782

Copy issued to Lluı́s Ferreiro Carbonell (lluis.ferreiro.carbonell@gmail.com) xix

15.8 Mahler, Symphony No. 5, key relationship diagram . . . . . . . . . . . . . . . 822

Sonata form: [Optional] -

Ternary (song) form: [Optional] -