Grieg's Nutturno Flashcards
A Melody Bars 1 - 4
Right hand crosses over with a descending bass line (b1)
Acciaccatura C sharp to resolve to D (b2)
Bar 4 is a variation of bar 2
A Bars 5 - 14
2 against 3 rhythm (b5-6)
Phrase builds towards an E flat in bar 10 and towards E natural in bar 12 [intense]
Imperfect cadence ends the A section, despite the suspension and resolution chord (b13-14)
B Bars 15 - 17
Introduces bird like trilling (b15)
Pitched at a high register with semiquavers, slipping into triplets before a trill followed by two bass notes (15-17)
B Bars 18 - 20
Sequence of 15-17 a minor 3rd higher
B Bars 21 - 33
Rhythmic pattern below is heard 10 times in the next eight bars, against a flowing arpeggio accompaniment
Heard at ever high pitches culminating in an intense moment in bars 29-31
B Chords in Bar 21 - 32
E7/9 (bars 21-22) E7/9/11 (bars 23-24) Ab7/9 (bars 25 - 26) D7/9 (Bars 27 and 28) Dm7/9 (Bars 29 - 32)
B Bars 31 - 32
Release from tension, with slower-moving quavers, a diminuendo and poco rit followed by a 3/8 bar of total silence in 33
Brings an end to the contrasting B section
A ii Bars 34 - 42
Exact same as bars 1 - 9
A ii Bars 43 - 50
Two against 3
Use of apogiatura in bars 43 and 45
Accented passing note bars 47
Accented auxiliary note bars 49
A ii Rhythm Bars 51 - 54
Triplet Accompaniment (b51) Dotted crotchets (b51) Harmonic rhythm changes from two chords per bar (b51-52) to 3 (b53-54)
A ii Harmony Bars 51 - 54
Harmonies chromatically descending dominant 7th chords, coming to rest on V7 of C
Chords are arpeggiated
Coda Bars 55 - 61
Uses the music of bar 1, up an octave and without the first C on the first beat (b55)
He uses the trilling motif from b15-17, even higher than before (b56-57 and 59-60)
He uses the bar’s 3/8 silence from bar 33 (b59 and 61)
Coda Chords Bars 62 - 63
I/C, V, I
Perfect cadence
