Current location - Music Encyclopedia - QQ Music - Form analysis of Schumann's Fantasy
Form analysis of Schumann's Fantasy

The form of the music is ABA', which is a three-part reproduction of a single piece.

The presentation part A, the development part B and the recapitulation part A are all square two-part movements

The mode is F major, and then the B section is modulated (three times). A section (once)

The theme starts from the pianissimo and goes up from the mode dominant to the tonic

a Motive I is: ①-②, Motive II is: ③-④

Motivation I adopts a circuitous rhythm section, and then jumps upward to form the decomposed main chord. Left hand: the harmony adopts bass continuation , jumping upwards from the long-duration main chord by six degrees, and then descending into the main chord of the next motive.

③-④

Schumann Commemorative Stamps

Motive Ⅱ The melody part, entering the melody part, begins to belong to the main upward progression of the motive, and then descends for the second time The progression is an ascending melody, using an equal part structure, and finally stops on the fifth note of the main chord of the mode (the dominant tone) to form a positive half-stop.

A2 sentences ⑥-⑦ begin to reproduce the motive Ⅰ, and ⑦ adopts expanded expression Forming the same beginning and ending (extended reproduction)

The ⑧-⑨ melody first adopts chord decomposition, then proceeds to the lower second (minor second) and finally descends to the third with a small jump to stay on the modal fifth. The mode is modulated on the last chord of ⑧, ending the section on the dominant tone of C major, and then entering the B section and starting to modulate again.

Summary: The overall structure of the presentation section (A) is parallel, balanced and square, the harmony mainly adopts T-D progression, the harmony is relatively simple, the tonality is relatively stable, there is no more out-of-tune, just at the end of the key. Turning to the dominant tone conforms to the characteristics of the presentation section.

Section B of the Development Department (sections 9-16)

b1: Sections 9-12 b2: Sections 13-16

In the mode, ⑨-⑩, Use a single note introduction (C) to change the mode from F major to the close relative G minor, and in measure 11, change G minor to the relative major B flat major.

b.?-16 bars are the transposed reproduction of sentence A, shifting to D minor in the four-key mode, pushing the music to a climax. Eventually it settled on the key of F major.

Summary of section B: The theme materials in the middle section are all derived from the presentation section, and the structure is relatively simple without any major development. There is no use of music development techniques such as cutting, splitting, and molding, and the texture adopts four-part harmony. Based on the choral texture. Judging from the tonal layout (F-g-B-flat), it is mainly the modulation of the second and third degree relationships, which is the tonal transformation characteristic of the Romantic school, and also belongs to the modulation of the near-related tones.

Recapitulation A': (measures 17-24)

Section A' is a complete reproduction of section A, only the ending is changed from the original shift to C major to back to the main key. In the key of F major, the piece ends with an incomplete cadence.

The structure of this piece is very typical and the use of scale and tonal harmony is relatively traditional. However, Schumann used a very regular and balanced structure and traditional harmony to compose a very romantic and dreamy emotion. A short and concise musical masterpiece.