In the last lesson we spoke about the song Morgengruss of
Schubert (Die Schoene Muellerin, Nr. 8). I gave you also another song,
Des
Baches Wiegenlied (Die Schoene Muellerin, Nr. 20).
| 1 |
about Morgengruss
| a |
We could consider the chord in bar 2 to be a passing chord: and
as such it is 'weaker' then the chords in bar 1 and bar 3. The same situation
happens in the moment the singer starts: the bars 5-7 seem to belong together
more or less, harmonically.
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Explain why the harmony untill the first beat of bar 3 could be seen as
a tonic-prolongation.
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What is the most important functionexpressed in bars 5-7? And in
bar 8? And in 9 and 10?
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What kind of an ending we see in bar 10?
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When we consider the bass in bars 5-10 (and in fact also in bars 1-4) as
a melody we see a typical movement/motion. Which?
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| b |
In bars 12/13 and 14/15 there is a model and a sequence. In these bars
we could say that both times the second of the two harmonies is
the 'most important' (in the sense that the second harmony is more or less
a resting point). And both times an ending is at least suggested.
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what kind of an ending we encounter in bar 13 and 15?
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| c |
In the bars 16-20 the bass doesnt move at all (while on top of
the bass there are some harmonic changes).
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how is a situation like this called?
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which two functions are used all the time in thes bars?
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| d |
Make a complete harmonic analysis of Morgengruss (that
is: indicate the degrees and their inversion - maybe it is most practical
to do that in the score, and give me that next friday). Try to avoid in
your harmonic explanation any modulation; maybe you will then find
the bars 12-15 difficult to explain - then try a description in words rather
then in degrees.. |
| e |
In the end we could say that the bass of the whole is based upon a
large Sekundgang-motion. Make (in a music example) a sketch of this
Sekundgang. |
| f |
The end of the singers melody is more or less a question mark.
-
Explain why there seems to be no definite ending, though the harmony is
ending on a clear tonic triad.
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| 2 |
about Des Baches Wiegenlied:
| a |
The bass in the piano introduction of this song is all the time the
c - and even longer so.. untill bar 8! Nevertheless there is some
harmonic motion on top of this bass.
-
explain which harmonies are used in thes first 8 bars.
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Is there a connection possible with the (beginning of) the text?
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| b |
After bar 8 Schubert seems to modulate..
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to which key we seem to modulate in bar 9/10? What kind of ending is audible
in bar 10. Could you think of a reason why it would be better to consider
the situation in bar 9/10 not as a 'real' modulation?
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Together with the chord at the beginning of bar 11 the ending could be
're-interpreted'.
When
you take the last chord of 10 and the first of 11 together: what kind of
ending is this? (and: do you like this idea..?)
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After bar 11 again a new key is suggested. Which key is that? Could you
think of any reason to consider this key as more 'real' then the key in
bars 9/10? Which dgree would this new key be in the main key?
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In bar 16 we seem to return to the main key. How is it that we hear this?
Could you explain how bar 16 is harmonically connected with 15?
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