Music 395—Worksheet 12              Name:

Schenkerian Analysis
Score Analysis—Beethoven
Score Analysis—Wagner
Suggested Recordings

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Due Date: Thursday, December 6, 2001


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Schenkerian Analysis

Bach, St. Matthew Passion, “Ich bin’s, ich sollte büssen” (Burkhart, pp. 571-572—listed as "O Welt, ich muss dich lassen," version b)

Provide reduction analysis of both the Soprano and Bass lines of this Bach chorale. Do your reduction in two stages. First, write out all the pitches on a grand staff (Soprano in treble clef; Bass in bass clef) without stems or rhythmic values. Use brackets to show different patterns that prolong the structural pitches (SP, N, S, and so on). Second, once you have decided which are the structural pitches in each phrase, write only the structural pitches on another grand staff (Soprano in treble clef; Bass in bass clef). Listen to a recording of this chorale (see Suggested Recordings below) to double-check your work—if the notes you selected in your reduction don't fit with the music, you probably need to rethink your analysis.

I. Working reduction



II. Structural Notes Only


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Score Analysis I

Beethoven, Symphony No. 5, mvmt. 2 (Norton Critical Edition score)

Using the score and a good recording (see Suggested Recordings below), create an arch map that shows each major section in the second movement of Beethoven’s Symphony No. 5 (don't worry about subdividing—focus only on the largest sections). This movement is a bit tricky—it uses what is sometimes called a “double” theme and variations form. There are two main themes. Normally, both themes would be varied (separately) in this form, but in this movement Beethoven varies one of the themes each time it appears, yet the other theme returns more or less unchanged. To add to the confusion, a few sections of this movement are neither theme nor variation! Add measure numbers to show where each section begins and ends. Label each section to show whether it is related to Theme 1, Theme 2, or neither (a contrasting section).

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Score Analysis II

Wagner, Tristan und Isolde, Prelude (Burkhart, pp. 348-355)

1) In his article (see reading list above), Mitchell divides the Prelude into seven sections. Your first task is to look carefully at these sections in Burkhart, listen to the music (see Suggested Recordings below), and list structural phenomena that distinguish these sections from each other,
1st section, mm. 1-17
2nd section, mm. 17-24
3rd section, mm. 24-45
4th section, mm. 45-63
5th section, mm. 63-74
6th section, mm. 74-84
7th section, mm. 84-94


2) Mitchell labels eight leitmotives that can be found in the Prelude: A1 first appears in m. 1-3; A2 in m. 2-3; B in m. 17-18; C in m. 25-26; D in m. 28-29; E in m. 28-30 (RH); F in m. 36-37; and G in m. 63. Your next task is to comb through each section of the prelude and list the leitmotives you find in each one. Look carefully, and listen often—you may hear leitmotives that are difficult to see. If you wish, make clips of the leitmotives themselves to practice hearing them before you do this exercise. To provide some guidance, I have indicated the number of motives that are clearly stated in each section.
1st section, mm. 1-17 (2 motives)
2nd section, mm. 17-24 (1 motive)
3rd section, mm. 24-45 (5 motives)
4th section, mm. 45-63 (4 motives)
5th section, mm. 63-74 (2 motives)
6th section, mm. 74-84 (3 motives)
7th section, mm. 84-94 (4 motives)


3) Use a letter of the alphabet to represent each section of the Prelude on the time-line below. If two sections use mostly the same leitmotives, both should be labeled with the same letter. If two sections use mostly different motives, each should be labeled with a different letter. Only A, B, C, and D (with or without primes!) will be needed to represent the structure in this way.


4) Look carefully at the structure you just diagramed. Does this Prelude resemble any forms we have studied? If it does, which one, and what principles of that form are at work in this piece?

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Suggested Recordings—


Created 11/26/01 by Mark Harbold—last updated 11/26/01.