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MTO 13.3: Ricci, The Progress of a Motive in Brahms 's Intermezzo op. 119, no. 3
Volume 13, Number 3, September 2007 Copyright © 2007 Society for Music Theory
Adam Ricci*
The Progress of a Motive in Brahms’s Intermezzo op. 119, no. 3*
ABSTRACT: Brahms’s Intermezzo op. 119, no. 3 is structured around a motive with two components—one melodic, one harmonic—that operate sometimes separately and sometimes together. The global harmonic trajectory of the piece is embodied in the combination of these two components; local harmonic motion proceeds through an expanded LR-cycle, with periodic short cuts from one zone of the cycle to another. The A section unfolds a double-tonic complex while introducing chromatic pitch classes in
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In this first appearance, the descending third is minor. Moreover, the total pitch-class content of the progression in its first appearance is diatonic. www.mtosmt.org/issues/mto.07.13.3/mto.07.13.3.ricci.html (click to enlarge)
Example 1. The Form
Example 2. The Two Components of the Motive
(click to enlarge)
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MTO 13.3: Ricci, The Progress of a Motive in Brahms 's Intermezzo op. 119, no. 3
[7] The melodic cell and harmonic progression—J and DOWN-THIRD-UP-FIFTH— sometimes occur independently, but for the most part interact to create a larger unit. This larger unit, given at the bottom of Example 2, is the motive of my title.(8) Again, the fact that the motive is exclusively diatonic is significant, because it makes the chromatic pitch classes especially salient. [8] The opening of the piece animates the motive by repeating and varying the duration of J while arpeggiating the chords of DOWN-THIRD-UP-FIFTH. Example 3 annotates the melody of m. 1 through the downbeat of m. 3, which fuses together three Js.(9) By fusing together three Js and altering the duration of the final pitch of each J (the durations are , , and , for the three occurrences, respectively), Brahms creates a symmetrical rhythmic structure.(10) The dots below the staff indicate metric position: two dots indicate a strong beat, one dot a weak beat.(11) The first J starts on a strong beat and concludes on a weak beat. The third J starts on a weak beat and
Section A’’ (mm. 51-65) repeats the MT with variation mostly in rhythmic changes leading up to the PAC in A♭ major at m. 66 where the coda (m. 66-73) begins. The coda essentially acts as a tonic expansion with some added 9ths to the dominant as seen in m. 67 and m.69. The piece works the V-I in a decrescendo to the final PAC in A♭ major in m. 73.
Beethoven contributed one of the most significant musical developments through his fifth and ninth symphonies. He used a musical motive as the basic of his entire piece. (Beethoven described the motive as “Fate knocks at the door”.) It was the first time in history that anyone had done such a thing for a multi-movement piece. Beethoven’s contribution has become a norm in the music world, even to this day.
In a variant of sonata form, Beethoven recalls themes from the third movement. Berlioz’s fourth movement is quite dramatic as an execution is portrayed in the music, one must take into account that this was not the finale of the Fantastique as Berlioz decided to add another scene in the text. On the other hand, following the man’s death, there is a roaring triumphant ending; similar to Beethoven’s extended coda. (Please see next page for example).
Section B follows a more erratic chord structure when the vocal melody is peaking on the vi-ii progression. This use of the minor second creates tension over two bars before eventually resolving to the C major.
In the second movement, the percussion section is more noticeable, especially at the beginning. This movement is also in D minor. The range of the melodic tune is dramatic. At times, I recognized the downbeat in three measures (da da da). This
It is truly difficult to isolate a dominating theme or melody from part B. In fact, italmost sounds as if Beethoven is wordpainting the act of composing music, of throughrecycling rhythmic, melodic, and contrapuntal ideas. For example, the rhythm in this section is composed of sets of patterns of long and short notes. B_1 starts of with ‘- ‘-,where ‘ represents a short note and – a long note. B_2 becomes -‘’ -‘’, and then
An application of Analysis of Beethoven’s ‘Pathetique’ piano sonata No. 8 inC minor, Op.13 with particular focus on musical features such as melody, thematic content, rhythm, form and structure, and harmony.
Then follows a scherzo with trio - Molto vivace - also in D minor. The scherzo itself is in sonata form with all parts repeated. The octave tuned drums immediately announcing the important role they play in the tonality of the movement as a whole. Then follows a hushed fugato, which serves an introductory purpose as the full force of the orchestra. Then follows a more harmonic path with the utmost vigor. The second subject in C major adds an unusual harmonic flavor. The trio has a quasi-pastoral flavor, The trio is played only once, although Beethoven fools us into believing we will here it once more at the end, like in the first movement but it abruptly ends.
pervasive use of a single motif combine to make the Fifth Symphony, which had one of
Thesis: Wolfgang Mozart’s Symphony No. 40 in G minor has been admired and analyzed numerous times. Although it has been criticized by many, I believe deeply interpreting this piece will aid in a better understanding of the music during the Classical
The sonata begins softly but with unmistakable energy. The trill like sixteenth notes on the third beat of this motif surge the piece forward into the next bar. The two bar motif appears again, and is then varied and
and another lyrical theme, (denoted hereafter by b). It is clear when one looks at the outline of the themes with respect to their placement, theme "a" is transformed into 8 different versions throughout the composition's first movement, and an additional type, that we will call (a) which utilizes C-G-C-G-C timpani-like motive. This one, namely (a) and a derivative called a6 will play primary roles in identifying and linking structurally important keys and harmonic motions related to changes into different subsections (eg. Timpani theme appears from 288-295 into T3/S3 on minor v,
The 1st movement is in sonata form. The slow introduction to this symphony is unusual in that it begins in the subdominant key - E minor, solemnly introduced by the bassoons. It modulates into B minor and the tempo increases for the principal subject. This theme is elaborated and developed, and a march-like motif forms a bridge passage leading to a climax. The strings then introduce an amorous, song-like second subject in D major. The development section enters with a bang. This section brings no startling thematic growth or transformation, but is
As noted by Robert Hughes, "Beethoven was not only the embodiment of all that was before him, but also of that which was yet to come" (Hughes 486). The truth of this may be seen by comparing Beethoven's 5th Symphony in C Minor to Haydn, the father of Symphony, and his 95th in C Minor. While Haydn's symphony is both playful and dramatic, Beethoven's symphony is grander both in terms of scale and vision. He expands the size of the orchestra to incorporate the sounds swirling around, underlying, and depicting the arrival of Fate in a rhythm-driven, thematic symphony that takes Haydn's form and runs with it as though to the top of a mountain peak. This paper will analyze the symphonies by movement, according to form, size, structure, tonalities, melodies, orchestral sound and overall mood and effect.
28 No. 15 was written during the second period. This movement (III) is in ternary form (ABA). This first A section (A1) is in binary form and consists of 70 total measures in the key of D major. It is made up of two 32-bar sections that are divided into eight 4-bar phrases, a 4-bar extension at measures 45-48, and a 2-bar cadence at the end of the section. The second A section (A2) is made up of nine 4-bar phrases. A1 consists of a repeating theme that follows the chord progression I, ii6, V7, 1 in measures 5-8 and then goes to V6, vi6, V7/V, V I in measures 13-17 and the repeats these same progressions in measures 18-32 except measure 32 ends on the V chord instead of the 1 chord. A2 continues in D with a different and less melodic theme in measures 33-49 before repeating to the main theme in measures 50-70. This section crescendos and grows in