Webern’s Variations for Piano, mvt. 2 Analysis Webern’s Variations for Piano begins with a prime row starting on Bb3. This continues until the Eb4 grace note in measure six. This is primarily consistent in the bottom staff with the exceptions of measures five and six where the rows switch staffs. The switching of staffs occurs in each iteration of the rows and its various forms at one point or another. Wagner also creates an elision with the last note of one row and the first note of another.
The second movement to Variations for Piano is a canon because of the entrance of one note and the response of a related note. In the beginning the top line is an inversion of the prime row beginning on G#, but offset by just one eighth note. This line …show more content…
Webern’s trichords contain a major seventh with a tri-tone, making these chords extremely dissonant to emphasize the atonality. It is noticeable that dynamics are important to Webern because he utilizes them frequently with his two note figures to get the specific sound he desires. The trichords Webern implemented have a fortissimo dynamic marking with the exception of measures three and four. These chords are jarring to the listener of the piece because of both the dynamic contrast and the intervals Webern chose. He never uses the dynamic marking of fortissimo on single note figures. When not used on the trichords they can be used with his grace note figures as well. I believe these were moments to jump out at the listener and contrast greatly from the softer dynamic levels. These terraced dynamics are clever for immediately shocking the listener’s aural …show more content…
It seems to be in binary form. Since there is no tonality it cannot be said if this piece is simple or continuous binary, but it clearly has two parts to the piece separated by double bar repeat signs. The two sections can be considered symmetrical because they contain the same amount of measures. Both the “A” section and the “B” section share similar qualities. The Bb5 and G#3 motif returns from “A” to begin the “B” section and also end the piece. This motif rounding back to the end could qualify the form to be a rounded binary even with such a short motif returning to the end. This Along with this motif the A4 also
The second movement to Variations for Piano is a canon because of the entrance of one note and the response of a related note. In the beginning the top line is an inversion of the prime row beginning on G#, but offset by just one eighth note. This line …show more content…
Webern’s trichords contain a major seventh with a tri-tone, making these chords extremely dissonant to emphasize the atonality. It is noticeable that dynamics are important to Webern because he utilizes them frequently with his two note figures to get the specific sound he desires. The trichords Webern implemented have a fortissimo dynamic marking with the exception of measures three and four. These chords are jarring to the listener of the piece because of both the dynamic contrast and the intervals Webern chose. He never uses the dynamic marking of fortissimo on single note figures. When not used on the trichords they can be used with his grace note figures as well. I believe these were moments to jump out at the listener and contrast greatly from the softer dynamic levels. These terraced dynamics are clever for immediately shocking the listener’s aural …show more content…
It seems to be in binary form. Since there is no tonality it cannot be said if this piece is simple or continuous binary, but it clearly has two parts to the piece separated by double bar repeat signs. The two sections can be considered symmetrical because they contain the same amount of measures. Both the “A” section and the “B” section share similar qualities. The Bb5 and G#3 motif returns from “A” to begin the “B” section and also end the piece. This motif rounding back to the end could qualify the form to be a rounded binary even with such a short motif returning to the end. This Along with this motif the A4 also