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7 Cards in this Set
- Front
- Back
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Melody |
-All 3 pieces use diatonic melodies. Kinderscenen 1: -Combination of step wise movements and leaps, including the thematic rising minor 6th leap followed by a stepwise descent at bars 1-2 and elsewhere. -Melodic sequencing bars 9-12. -Bass borrows parts of opening melody in bars 9-12 Kinderscenen 3: -Combination of steps and leaps with much use of scalic work. -Descending sequence in bar 2. -Unusual descent of minor 7th in bar 9 Kinderscenen 11: -Mainly diatonic except for chromaticism in 2nd bar of A section. -Section B has a very disjunct melody which is treated in sequence. - The second half of the C section (25-28) has a 2 bar phrase with semitonal movement which spans a diminished 4th and is then treated in sequence, with one semitone expanding to a tone. |
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Rhythm |
-All use simple rhythms, and simple duple time throughout. Kinderscenen 1: - triplet figures used in the inner accompaniment. -Melody uses dotted rhythms (due to limitations of contemporary notation, could have sounded like a crotchet-quaver triplet). Kinderscenen 3: -Much use of semi-quavers -Recurrence of same 2 bar rhythmic pattern throughout the piece with brief deviations for use of more sustained notes in 13-16. Kinderscenen 11: -Dotted rhythms appear regularly in the A section. - Elsewhere semiquavers are used either in pairs (B section) or groups of 4 (C section). -Offbeat rhythms - every second semiquaver in the B section and every second quaver beat first half of C section. |
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Texture |
-All use melody dominated homophony Kinderscenen 1: -3 textural layers in the A section consisting of upper melody, inner quaver triplets and bass line. -B section (9-14) differs; the melody is played mainly in thirds and the bass acts as a countermelody. Kinderscenen 3: -Right hand melody is accompanied by the aforementioned 'stide-bass'. Exceptions to this are the open 5th double pedal in 13'2 - 15'1 and sustained chord with inner ascending scale at 15'2. Kinderscenen 11: -Opening almost sounds like three part counterpoint with lower two parts descending in thirds. -By bar 4 reasonably independents parts have emerged. -Bar 5 establishes melody dominated homophony with tune in lowest part. -B section (9-12) has bass tune with single bass notes and full 5 part chords. -C sction 21-24 has three contrasting textural elements which alternate: fast semiquaver movement in 6ths, single bass notes and full 5 part chords. -Melody dominated homophony 25-28 with stride-like accompaniment that reminisces no3. |
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Structure |
Kinderscenen 1: -Rounded Binary A:BA with repeats. Kinderscenen 3: -Rounded Binary A:BA with written out repeats of first four bars but conventional repeat of BA section. Kinderscenen 11: |
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Harmony |
-All use functional harmony, mainly diatonic harmony with occasional chromatic chords. -All use clearly defined cadences Kinderscenen 1: -Perfect cadences e.g. 21-22. -Chord 5 usually has added 7th -Diminished 7th bar 1'2 -Unusual chhord progression in 11'2-12. Instead of II-V (in e minor) being followed by the expected tonic chord, harmony shifts unexpectedly to a G Major triad initially missing its 3rd. -4-3 suspension in inner part of the writing in bar 7. Kinderscenen 3: -Perfect cadence at bar 20. -Appogiatura in bar 2 (accented semiquavers). -Use of 7th chords, mainly dominant 7ths but II7-V7 chord progression used in bar 10. -Prolonged neopolitan 6th chord in root position 13-15'1 with dissonant harmony on the 2nd beat which creates a pedal effect. -Due to neopolitan 6th being in root position natural change to dominant 7th in bar 16 involves the leap of a tritone in the bass. Kinderscenen 11: -Cadences are common but traditionally placed perfect cadences in root position are rare - the best example is at the end and even this is diluted by feminine cadence treatment. -Most perfect cadences close on a weak beat e.g. bar 10 and 12 and even more dramatically in bar 24'2. -Secondary dominant chord in bar 28'1. -Imperfect cadences are frequent, for example Ic-V in bars 4 and 8. -Use of chromatic harmony - such as opening two bars highly chromatic and include diminished triads on 2nd and 4th quavers of bar 2 (former includes a 7th). |
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Tonality |
-All modulate to related keys -All use functional tonality. Kinderscenen 1: -G Major -Modulation to E minor at bar 12 but the resolution to the tonic is surprisingly avoided. Kinderscenen 3: -B minor -Modulation to G major at bar 9. -Lengthy dominant preparation at bars 15'2-16. Kinderscenen 11: -E minor is suggested by the I-Vb progression at the beginning. - G major is established by bar 4. -Modulation to E minor at bar 10, and, sequentially, C major at bar 12. -Brief excursions to A minor at bar 22 and B minor in 24. |
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Instrumentation |
-Early romantic period meant changes to the piano - felt mallets instead of leather which gave piano a mellower and less strident quality, iron frame which helped with sustaining power and resonance. -Piano writing features which are placed stylistically in the romantic period: -> No1: two hands generate three clearly identifiable textural layers // Importance of sustaining pedal -> no3: accompaniment leaps in dramatic fashion between bass notes and chords like the jazz stride-bass // 15-16 unusual effect of a sustained chord within which a chromatic melodic ascent is placed. ->no 11: starts with both hands very close and in the treble clef // section starts bar 9 places melody in bass and has an off beat semiquavers chords as right hand accompaniment. |
