Beethoven String Quartet Movement 3 Flashcards
What is the overall structure of the 3rd movement of the string quartet?
1-40: Scherzo (with repeat)
41-102: Trio
103-144: Scherzo (with no repeat but an additional 2 bars at the end of the section)
145-182: Trio
183-206: Scherzo (same as 17-40 but faster)
Describe the scherzo theme in the third movement.
Constructed from a short dotted rhythm motif announced in the first bar, and followed by silence, alluding to the textural shifts to follow later on in the Scherzo, with frequent fluctuations between Homophonic and Polyphonic texture.
It gives string emphasis to the second beat of each bar..
How is the scherzo theme developed in bars 9-16?
The theme is repeated but only in the home key of F minor.
There is antiphonal writing between the higher and lower strings in bars 9-12, replacing the use of silence.
The lower strings play an ascending pattern a 3rd apart, whereas the upper strings play a descending pattern a 6th apart.
Final bar of the phrase (16) has all four parts playing in contrary motion.
How is the scherzo theme developed in bars 17-28?
Most of this section is development of the material played by Violin I in bars 5-8, however it is not played by all parts, laying out a primarily polyphonic texture to begin, which gradually becomes more and more homophonic, particularly in and after bar 29.
Dynamics are louder than the introduction, and remain consistently so with frequent use of sforzando markings to add emphasis to certain beats/bars.
The key of this first section is F minor apart from bars 25 + 26 which see a brief modulation to Gb major and bars 27-28 which are C major, acting as dominant preparation for the next section (29-40) which returns to F minor.
Due to the use of polyphony, pointing out specific harmonic structures is difficult in the first section, but there is a clear emphasis on the key of F minor at bars 18+19. Following this, the melodic devices are primarily used over all others to drive the music forward, using mostly diatonic harmony until 25 + 26 where there is a clear perfect cadence in Gb major.
How is the scherzo theme developed in bars 29-40?
Dynamics reach fortissimo and stay there until the trio.
Texture becomes more homophonic as it thins out and the main melody appears to be carried in the first violin.
The use of homophony creates clearer indications of harmony, as the use of chords I (Fm) and V (Cmaj) can be seen, with the occasional vii7 (Edim7) as a dominant substitute to create imperfect cadences. The final few bars before the trio focus intently on chord I to emphasise a perfect cadence to finish the section.
Describe the trio theme in the third movement.
The trio provides immediate contrast from the scherzo with use of sustained melodic line, using longer note values such as dotted minims so the focus can be on expression rather than virtuosic fast playing.
The dynamics are far quieter to support this more expressive nature.
The key is Gb major, and the harmony focuses on this with frequent use of chord I in numerous inversions, as well as occasional support from chords ii, IV, V and VII.
The melody is primarily played in the second violin (40-49) and cello (53-61). The viola and cello use the rhythm of the melodic line, whereas the first violin uses an arpeggiated accompaniment figure.
How is the trio theme developed in the second section (bars 65-102)?
Key change to D major.
Second half of the trio begins with the melody in second violin.
Has more 5-part harmony as the viola has significant amounts of double stopping.
The harmony is almost identical to that used in the first section of the trio, with the exception of the key being D major and the occasional 7th chord being used.
The section of bar 77-95 is an extension of the trio material as Beethoven modulates to B minor at bar 80. The harmony focuses on the use of diatonic primary chords (I, IV, V) with occasional added 7ths.
This section concludes with a clear perfect cadence at bars 90-95. Chord V is bars 90+91, and chord I at 92-95.
Bar 102 is a pivot chord to allow Beethoven to return to the scherzo, a direct repeat of bars 1-40, with two additional bars at the end of the section.
How does the second scherzo differ from the first?
A repeat of bars 1-40 with an additional two bars to close.
Compare the Scherzo and Trio.
S: extreme dynamics, dotted rhythm feel, quicker harmonic rate of change, short 2-4 bar phrases, minor key, highly dissonant, polyphonic, scalic + rhythmically disjunct, violin 1 plays melody.
T: consistently quieter dynamics, sustained note values, slow harmonic rate of change, 9 bar phrases, major key, diatonic, homophonic, conjunct + legato, violin 2/cello melody.
How does the second trio differ from the first?
Bars 145-164 Dmaj/Cmin; a repeat of bars 65-76.
Evidence of move to Cmin can be seen at bar 159 with Cnat in Cello. This is continued with more Cnats as well as Ebs.
165 concludes modulation to cmin but doesnt stay long, as 166 sees arrival of Enats shifting to cmaj.
How does the final scherzo differ from the rest?
Fmin, repeat of bars 17-40 but faster at piu allegro.
