Diabelli Variations Analysis

Carl Czernÿ

Form: AABB
Tonality: Cmaj
Time signature: 3/4
The harmonic principles of the variation follows Diabelli's model.

– A

Bar 1-4 : melody starts on the 5th (and not the tonic). The melodic motif on bar 1 (G-F#-A-G) is
repeated a minor 3rd down, a 5th down and an 8ct down, followed by an ascendant arpeggio of Cmaj.
The left hand plays bass and chords, the original bass motif is abandoned.

Bar 4-8 : melody starts the same, but on G7. The motif is repeated a 2nd down, a 5th down and an 8ct
down followed by a G7 ascendant arpeggio.
Left hand plays bass and chords.

Bar 8-12 : the original melodic motif is kept on the left hand, played twice each time second time an
8ct down. The right hand plays the same kind of ornementation (ex: C-B-D-C) followed by
descendant arpeggio, played a second time an 8ct down.
Question and answer process.

Bar 12-16 : interesting mouvement by the right hand keeping a high E pedal and playing at the same
time a descending line. Same process on the left hand, keeping a E pedal and playing an ascending
bass line. Ends with cadenca in Gmaj leading to B.

NB: bar 1-8 harmonic writing is very much vertical whereas bar 8-16 use voice leading and
horizontal writing.

– B

Melody is played by the right hand instead of the left in the original. The left hand plays chords and
bass. The melodic motif is similar to the one played in bar 1-8 but ascending instead of descending.
The B uses very similar process as the A (same melodic motif, first 8 bars vertical writing followed
by a horizontal approach, QandA by the right and left hand by repeating motifs an 8ct down, bar 29-
30 pedal point in the right and left hand accompagnied by descending middle voice in right hand
and ascending bass line in left hand).

This variation embellishes the original version by using very clear processes repeatively throughout
the piece, developping counterpoints, melodies without touching the harmonic structure of
Diabelli's work.
Franz Liszt

Form: AABB
Tonality: C minor
Time signature: 2/4
Allegro

– A

Bar 1-4: Harmonicaly Cm. Melody = descending arpegio in Cm starting with the original ornement
(C-B-C). Left hand plays chords, followed by a complexified version of the original bass motif bar
3.

Bar 4-8 : Same idea but in G7. Bar 8, nice ascending arpegio of Cm/Bb and C7/Bb.

Bar 9-16 :

Harmonic analysis; F- C7 / F- D7/C / G- D7 / G- Eb7/Db

Ab D7 / A7b9 / G- D7 / G-

Left hand reminds the original motif that was played by the right hand using repetition an 8ct down
each time. The right hand gives shows the harmonic progression by playing arpegios underlying the
chords.

– B

Bar 17-20 : harmonicaly G7b9. Right hand plays the same descending arpegio as in bar 4-8. The
left hand plays chords, its rhythm reminds me a 3/4 feeling by leaving out the first beat of bar 18.

Bar 21-24 : same principles in C7b9

Bar 25-32 : Left hand use the same motif as in A (bar 9-12), right hand underline the harmony
playing arpegios.

Harmonic analysis ; F- C7 / F- D7 / G7 D7 / G7
C- G7 / C- G7 / C-/G G7 / C-

Bar 29 : Bass plays the same motif as in the original

Franz Schubert

Form: AABB
Tonality: C minor
Time signature: 3/4

– A

Bar 1-4 : Cm, right hand plays the melody, the left hand plays bass and chords giving a feeling of
6/4, bar 3-4 a melodic motif appears on the chord's top voice.
Bar 5-8 : G7, same principles

Bar 9-16 : the melodico-rhythmic motif is very close to the original

Harmonic analysis; / Fm C7 / Fm Bb7b9 / Eb Bb7b9 / Eb F7 /

/ Bbm F7 Bbm / F7 Bbm / Ab Eb7 / Ab /

– B

Harmonic analysis; / Ab7 / Gb / Ab7 / Cdim /

/ C7 / Bbm / C7 / Edim /
/ Fsus4 C7 / Fsus4 C7 / Ebsus4 Bb7 / Ebsus4 G7 /
/ Cm G7 Cm / G7 Cm G7 / Cm G7 / Cm /

Bar 25 : Left hand played the original motif (Bb – Ab) but delayed by one 8th note, this motif
instead of going up a major second goes down a major second.

Bar 17-24 : Left hand takes the harmonic role, right hand plays the melody which is shaped the
same as the original one but the harmonic progression that the melody follows gives it a much more
tender feel.

Bar 25-28 : the melody follows the original mouvement but the shape changes a little

Schubert's shape : Diabelli's shape :

Bar 29-32 :

Schubert's shape :

Diabelli's shape :

Schubert gives a beautiful variation, harmonically innovative, changing the melody but keeping the
connection to Diabelli's original strong.

Joseph Huglmann

Form : AABB
Tonality : Ab maj
Time signature : 3/4
Allegro
 – A

Bar 1-4 : Huglmann keeps the original melody, right hand plays also 2 voices chords inversions of
Ab major. The left hand plays a continous chromatic bass line.

Bar 4-8 : the melody goes to the left hand (playing also 2 voices chords inversions of Eb7). Right
hand plays an ascending chromatic melody echoing the precedent bass line.

Bar 8-12 : Right hand plays the original motif, but instead of repeating it twice each time,
Huglmann develops it finishing with arpegios. Left hands plays a clear harmonic line and chords for
conclusion.

Bar 12-16 : Right hand plays a 8th note melodic line reproducing the general shape of the original
melody adding chromatism. Left hand plays a descending line keeping a C on top of it
(remembering Czerny's version) bar 12-13-14, then showing clearly the hamorny.

Harmonic analysis (bar 8-16) : Ab7 / Db Ab7 / Db Bb7 / Eb Bb7 / Eb C7 /

/ Fmin / C7 Fm / Eb Bb7 / Eb /

– B

Bar 17-20 : Right hand plays a chromatic ascending melodic line. The left hand gives harmonic
support and reproduce the rythmic pattern of the original (without the ending bass line).

Bar 21-24 : The left and right hands exchange roles

Bar 24-32 : Right hand plays a melodic line using chromatism, left hand imitate the Diabelli's motif
giving rhythm and harmony. At the end bar 28-29-30, the left use the same technique as in bar 12-
13-14 keeping a Eb on top of a descending counterpoint showing the hamorny.

Harmonic analysis (bar 17-32) : / Eb7 / Eb7 / Eb7 / Eb7 /

/ Ab / Ab / Ab / Ab /
/ Db Ab7 / Db Bb7 / Eb Bb7 / Eb Eb7 /
/ Ab Eb7 Ab / Eb Ab Db / Ab Eb7 / Ab /

Joseph Huglmann's version plays with the roles of right and left hand, he worked with chromatism
in order to complexified Diabelli's simple melody.