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Frank Samarotto, “Plays of Opposing Motion”
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Example 15. Brahms, Meine Lieder, Op. 106, no. 4, sketch
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Supplementary notes:
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Measures 19–22: The low bass A, like the vocal A two octaves higher, is essentially an inner voice, as confirmed by the lower D in measure 22.
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Measures 23–7: The interpretation as a parenthesis is suggested by the voice-leading—one can jump from measure 22 to measure 28—and by the design—the half-note melody is an augmentation of the chromatic descent of measure 21.
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Measures 28–36: Compare the more complete 8-bar unit (with tonic cadence falling on the first bar of the next unit) with the more short-breathed 4-bar units of the opening (and the 8 bars left hanging in measures 15–22). This closing 8-bar unit also reinterprets the opening by placing it entirely within dominant harmony.