Schumann - Melody Flashcards
How does Schumann ensure her use of melody in the trio fulfils the purpose of sonata form?
Sonata form is also about melodic contrast and Schumann ensures that there is sufficient contrast of character between her main melodic ideas.
What is an antecedent and consequent phrase structure?
Begun in the classical period, this is where melodies are symmetrical in length, containing 2 equal phrases. The first half is called the “antecedent” and the second, answering phrase, is called the “consequent”.
How would you describe the melodic structure of ideas 1(a) and 1(b) of the first subject group?
1(a) is the antecedent and 1 (b) the consequent.
How do Schumann’s antecedent and consequent melodic ideas 1(a) and 1(b) contrast each other?
Idea 1(a) bars 1–4 is plaintive (sad sounding) downward fifth and a tied rhythm on the way to its concluding imperfect cadence. Idea 1(b) bars 5–8 answers with a more animated rhythm through a rising sequence, and with an upwards octave leap.
Which Romantic composer wrote melodic material similar to the first subject idea 1 (c) that has a distinctive dotted rhythm?
Johannes Brahms
How does first subject idea 1(d) contrast and answer the Brahms-like idea 1(c)?
It is a more lyrical answer that goes through a falling sequence
What rhythmic feature is used in idea 2(a) of the first subject group?
Syncopation.
How would you describe the shape of 2nd subject idea 2(a)?
Stepwise.
What melodic ornament is used at the end of the 2nd subject idea 2(a) and what is its effect?
Appoggiatura. It adds a bit of expression and arguably creates a sighing effect.
What effect does 2nd subject idea 2(b) create as it follows idea 2(a)?
It is like chattering, due to the moving quavers in the piano.
What sustains a slightly unsettled mood when the 2nd subject idea 2(b) is stated?
Rising diminished 7th chords in the violin that accompany the piano.
Which melodic idea does Schumann focus on the most in the development section?
1st Subject idea 1(a).
What aspect of idea 1(a) does Schumann particular explore in the development section?
The interval of the falling 5th.
How does Schumann develop the falling 5th interval from idea 1(a) in the development section?
She contracts it (makes it smaller) so it fits with the various keys used. She also passes around the ensemble. It becomes “motivic”.
