Schumann

Question 1

Structure of No. 1?

Answer 1

Rounded Binary Form (A:BA) with repeats

Question 2

Tonality of No.1

2

Answer 2

G major

Modulation to E minor at bar 12 but resolution to tonic is surprisingly avoided.

Question 3

Harmony of No. 1

5

Answer 3

1. Perfect cadences e.g. bars 21-22
2. Chord V usually has a 7th added
3. Diminished 7th chord in bar 12
4. Unusual progression in bars 112-12: instead of II-V (in E minor) being followed by
   the expected tonic chord, the harmony shifts unexpectedly to a G major triad
   which initially is missing its third
5. 4-3 suspension in the inner part writing of bar 7

Question 4

Melody of No. 1

3

Answer 4

1. Combination of steps and leaps, including thematic feature of rising minor 6th leap followed by stepwise descent in bars 1-2 and elsewhere.
2. Melodic sequence in bars 9-12
3. Bass line in bars 9-12 borrows features of the opening melody

Question 5

Texture

3

Answer 5

1. Melody-dominated homophony
2. Three textural layers in A sections consisting of upper melody, inner quaver triplets and an independent bass line.
3. B section (Bars 9-14) differs; the melody is played mainly in thirds and the bass line acts as a countermelody

Question 6

Rhythm and Metre

4

Answer 6

1. In 2/4
2. Metronome mark 108 crotchets
3. Triplets are used in the inner accompaniment
4. Melody features use of dotted rhythms

Question 7

Structure of No. 3

Answer 7

Rounded Binary Form (A: BA) with written out repeat of opening four bars but conventional notated repeat of the following BA section.

Question 8

Tonality of No. 3

3

Answer 8

1. B minor
2. Modulation to G major at bar 9
3. Lengthy dominant preparation at bars 15-16

Question 9

Harmony of No. 3

5

Answer 9

1. Perfect cadences e.g. bar 20
2. Appoggiaturas in bar 2 (the accented semi-quavers).
3. Use of 7th chords, mainly dominant 7ths but II7-V7 progression is used in bar 10.
4. Prolonged ‘Neapolitan’ chord in root position in bars 13-15 with dissonant harmony on the second beat also creating a pedal effect
5. Because the Neapolitan chord is, unusually, in root position the natural move to Dominant 7th in bar 16 involves a leap of a tritone in the bass.

Question 10

Melody of No. 3

4

Answer 10

1. Stepwise (conjunct) and also some leaps
2. Descending sequence in bar 2
3. Unusual descent of a minor 7th in bar 9
4. Scalic passagework.

Question 11

Texture of No. 3

2

Answer 11

1. Generally, right hand melody is accompanied by the “stride bass” patterns in left hand.
2. The exceptions to this are the open 5th double pedal in bars 132-151 and the sustained chord with inner ascending scale in Bar 152.

Question 12

Rhythm and Metre of No.3

2

Answer 12

1. Frequent use of semi-quavers
2. The same 2-bar rhythmic pattern occurs in the melody throughout the piece,
   apart from the use of more sustained notes in bars 13-16

Question 13

Tonality of No. 11

4

Answer 13

1. E minor is clearly suggested by initial I-Vb progression at the start
2. G major is established as the key of the piece by bar 4.
3. Modulation to E minor in bar 10 and C major in bar 12.
4. Brief modulations to the keys of A minor in bar 22 and B minor in bar 24.

Question 14

Structure of No. 11

Answer 14

Symmetrical Rondo Form (A B A C A B A) with some sections repeated

Question 15

Harmony of No. 11

5

Answer 15

1. Cadences are common but traditionally placed root position perfect cadences are rare.
2. Most perfect cadences close on weaker beats (e.g. bars 10 and 12 and even more dramatically in bar 24).
3. A secondary dominant chord is used in bar 281. 4. Imperfect cadences are frequent (e.g. Ic-V in bars 4 and 8).
4. Chromatic harmony - the opening two bars are highly chromatic and include diminished triads on 2nd and 4th quavers of bar 2 (including a 7th).

Question 16

Melody of No. 11

4

Answer 16

1. Mostly diatonic apart from chromaticism in the 2nd bar of the A section.
2. B section (bar 9) has a very disjunct bass melody which is treated in sequence.
3. The second half of the C section (bars 25-28) has a 2 bar phrase with semitone movement which spans a diminished 4th and is then treated in sequence, with one semitone expanding to a tone.
4. Irregular phrasing

Question 17

Texture of No. 11

6

Answer 17

1. The opening almost feels like three-part counterpoint with the lower two parts descending in thirds.
2. By bar 4 four reasonably independent parts have emerged.
3. Bar 5 establishes melody dominated homophony with the tune in the lowest part.
4. The B section (bars 9-12) has a bass tune with short off beat chords accompanying above.
5. At the start of the C section (bars 21-24) three contrasting textural elements alternate – rapid semiquaver movement in 6ths, single bass notes and full 5-part chords.
6. The melody dominated homophony texture at bars 25-28 uses a stride-like accompaniment pattern reminiscent of No.3.

Question 18

Rhythm and Metre of No. 11

3

Answer 18

1. Dotted rhythms appear regularly in the A section.
2. Elsewhere semiquavers are either used in pairs (B section) or in groups of four (C
   section).
3. Offbeat rhythms feature (on every second semiquaver in the B section and on
   every second quaver in the first half of the C section).