schubert harmonic analysis

In this video, I analysed the harmony of the first section of Franz Schubert's Impromptus Impromptu in A-Flat Major Op. Although B minor is very closely related, its easy to see the lengths composers will go through to have that modulating effect in the transitions. Schubert: Der Erlknig | Music Appreciation | | Course Hero 0000000016 00000 n The first third covers a huge range, both instrumentally and harmonically, moving from C major to E-flat to B major and, eventually, back to C. In between, Schubert introduces some surprising and wonderfully colorful dissonances that heighten the magic and energy of the movement. Erlknig, also referred to as Elf-King or Erl-King, is a song that was composed by Franz Schubert in 1815. This of course supports the voice while still moving harmonically. The syphilis that would kill him six years later had its first serious effects on Schubert's health in 1822, and while it's an affront to his achievement in this symphony (or, say, the A minor piano sonata written at the start of 1823, whose expressive world and musical rawness are, if anything, even bleaker) to limit the music to an interpretation that ties it too closely to the biography, there's a fearlessness and directness about this symphony that may come from Schubert's experience of a world of darkness and pain he had not previously encountered. The opening measures of the first movement which go from the tonic, C major, to a dominant seventh chord and back to the tonic again outline the overall harmonic character of the movement, which moves through a bewildering number of key areas before finally coming to rest (again) in C major. [Extra] Harmonic Functions - A Schubert Analysis - YouTube 3 is a Lied composed by Franz Schubert (1797-1828) in 1823. Ashgate: England, 2003. The singer's rhythm is . . Das Wandern | song by Schubert | Britannica At the fermata at the end of the third system on the second page, Schubert ends with a musical question with the Major III, and he answers it as he slowly modulates to the dominant of the minor vi chord at the fermata in the fourth system of the second page- we expect it to resolve to the minor vi, but magically the transition smoothly melts away and we come right back in to F Major with a Major I chord in the last section of the piece, and the piece finishes with a soft I chord dying off in the distance.

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