AN ANALYSIS OF THE CHORALES IN THREE CHOPIN NOCTURNES: OP. 32, NO.2; OP. 55, NO.1; AND THE NOCTURNE IN C# MINOR (WITHOUT OPUS NUMBER) by DAVID J. HEYER A THESIS Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts March 2008 11 "An Analysis ofthe Chorales in Three Chopin Nocturnes: Gp. 32, No.2; Gp. 55, No.1; and the Nocturne in C~ Minor (without opus number)," a thesis prepared by David J. Heyer in partial fulfillment of the requirements for the Master ofArts degree in the School of Music and Dance. This thesis has been approved and accepted by: Dr. S~rson, Chair of the Examining Committee ~ /l'U /O~ Committee in Charge: Dr. Steve Larson, Chair Dr. Jack Boss Dr. Alexandre Dossin Accepted by: Dean of the Graduate School III © 2008 David J. Heyer .. IV An Abstract of the Thesis of David J. Heyer for the degree of Master of Arts in the School of Music and Dance to be taken March 2008 Title: AN ANALYSIS OF THE CHORALES IN THREE CHOPIN NOCTURNES: OP. 32, NO.2; OP. 55, NO.1; AND THE NOCTURNE IN C~ MINOR (WITHOUT OPUS NUMBER) Approved: ----................ oo:=-::::=oo~--------------­ Dr. Steve Larson Several of Chopin's nocturnes contain interesting chorales. This study discusses three such works-the Nocturnes in C~ Minor (without opus number), AI, Major (Op. 32, No.2), and F Minor (Op. 55, No.1). The chorales in the Nocturnes in C~ Minor and AI, Major are introductory. They contribute to the work's coherence by being present in every section of their respective nocturne in multiple ways and on multiple levels of structure. The chorales in the Nocturne in F Minor also provide motivic coherence, but they appear in the middle and at the end. This study examines the function of the chorales in these three nocturnes in light of the theories ofHeinrich Schenker. v CURRICULUM VITAE NAME OF AUTHOR: David 1. Heyer PLACE OF BIRTH: Santa Cruz, CA DATE OF BIRTH: November 13, 1979 GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon; Eugene, OR Lawrence University; Appleton, WI University of Wisconsin at Whitewater; Whitewater, WI DEGREES AWARDED: Master of Arts in Music Theory, 2008, University of Oregon Bachelor of Music in Music Theory and Composition with an Emphasis in Jazz Studies, 2002, Lawrence University AREAS OF SPECIAL n'HEREST: Music theory Music education Jazz improvisation Jazz composition and arranging Vocal a cappella PROFESSIONAL EXPERIENCE: Music engraver, self-employed, 2002-present Trumpet teacher and freelance musician, 2002-present VI ACKNOWLEDGMENTS I wish to express many thanks to my advisor, Dr. Steve Larson, for his invaluable guidance and feedback. I would also like to thank Dr. Jack Boss and Dr. Alexandre Dossin for their thoughtful insights. Thanks also to Dennis Linsley, Jeremy Schropp, Jeffrey Lovell, Leslie Bennett, Dr. Amy Goeser-Kolb, and Professor Dieter Manderscheid for their help, and to my parents for their support. A special thanks goes to my partner, Ali Losik, for her input and for making the "thesis font," which I used throughout this thesis for musical symbols. Lastly, I would like to thank my cat, "Guba Jr." Despite continually insisting that I write "uuuuuuuuuddddd7777777777" in the middle of random paragraphs, I always appreciate her company while I work. VB This thesis is dedicated to the memory ofmy friend Jerry Brindle, who was always there for me when I needed him. V111 TABLE OF CONTENTS Chapter Page I. INTRODUCTICIN 1 Survey of the Literature .. 3 Methodology , 7 II. ANALYSIS OF THE NOCTURNE IN C# MU\JOR (WITHOUT OPUS NUMBER) 10 III. ANALYSIS OF THE NOCTURNE IN AI, MAJOR, OP. 32, NO.2.................. 31 IV. ANALYSIS OF THE NOCTURNE IN F MINOR, OP. 55, NO.1.................... 51 V. CONCLUSION 73 REFERENCES 81 IX LIST OF EXAMPLES Example Page 1-1. The Nocturne in C~ Minor, mm. 27-30................................................. 9 1-2. A strict-use analysis bottom level (from Example 2-14)....................... 9 2-1. The Nocturne in C~ Minor, mm. 1-2..................................................... 10 2-2. A strict-use reduction of mm. 1-2......................................................... 11 2-3. A reduction of mm. 3-10....................................................................... 13 2-4a. Measures 5-6 14 2-4b. Measures 13-14 14 2-5. A reduction ofmm. 11-18..................................................................... 15 2-6. A formal diagram of the Nocturne in C~ Minor 16 2-7a. The Nocturne in C~ Minor, mm. 19-20................................................. 17 2-7b. The Second Piano Concerto, Op. 21, mm. 1--4.................... 17 2-8a. The Nocturne in C~ Minor, mm. 21-22................................................. 18 2-8b. The Second Piano Concerto, Op. 21, mm. 41--42 18 2-8c. The Nocturne in D~ Major, Op. 27, No.2, mm. 10-11......................... 19 2-9a. The Nocturne in C~ Minor, mm. 29-30................................................. 19 2-9b. "The Maiden's Wish," mm. 31-34........................................................ 19 2-10a. The Nocturne C~ Minor, mm. 32-33..................................................... 20 2-10b. Op. 21, mm. 145--46.............................................................................. 20 2-11. The Nocturne C~ Minor, mm. 19-22 21 2-12. Mm. 23-26, "echo" 22 2-13. A reduction ofmm. 19-26..................................................................... 23 2-14. A reduction ofmm. 27-30..................................................................... 24 2-15. A Schenkerian graph the Nocturne in C~ Minor.................................... 25 2-16. Chorale reduction, top level..... 26 2-17. A reduction of the codetta, mm. 31--43 27 2-18. A reduction ofmm. 44-55..................................................................... 28 2-19. A reduction ofthe coda, mm. 55-62 29 3-1. The Nocturne in ~ Major, Op. 32, No.2, mm. 1-2............................. 31 Example 3-2. 3-3. 3-4. 3-5. 3-6. 3-7. 3-8. 3-9. 3-10. 3-1l. 3-12. 3-13. 3-14. 3-15. 3-16a. 3-16b. 3-17. 3-18. 4-1a. 4-1b. 4-2. 4-3. 4-4. 4-5. 4-6. 4-7. 4-8. 4-9. 4-10. 4-11. x Page A reduction of the chorale, mm. 1-2 . 32 The symmetry of the chorale, mm. 1-2 .. 32 A reduction of mm. 3-6 . 33 A reduction ofmm. 7-10 . 35 A reduction ofmm. 11-14 .. 36 The form of the A section . 37 A Schenkerian graph of the A section . 38 A reduction of mm. 27-29 . 39 A reduction of mm. 29-31 .. 41 A reduction of mm. 31-33 . 42 A reduction ofthe first transition, mm. 35-38 . 43 A reduction of the second transition, mm. 47-50 . 45 A formal diagram of the B section, mm. 27-50 .. 46 A reduction of mm. 27-51 . 47 Mm. 23-24 . 48 Mm. 71-72 . 48 The Ursatz of Op. 32, No.2 .. 49 A formal diagram of Op. 32, No.2 .. 49 The first chorale in Op. 55, No.1, mm. 71-72 . 51 The second chorale, mm. 98-101 .. 52 A reduction of the theme, mm. 1-2 . 52 A reduction of mm. 1-8 and 9-16 .. 53 Measures 16-24 . 54 A reduction of mm. 16-20 .. 55 A reduction ofmm. 20-24 . 56 A formal diagram of the A section, mm. 1-48 .. 57 A Schenkerian graph ofthe A section, mm. 1-48 . 58 A reduction ofmm. 48-52 .. 59 A reduction ofmm. 52-56 .. 60 A reduction ofmm. 57-64 .. 61 Example 4-12. 4-13. 4-14. 4-15. 4-16. 4-17a. 4-17b. 4-17c. 4-18. 4-19. 4-20. 4-21. Xl Page A reduction of nlm. 65-71 . 62 A reduction of the first chorale, mm. 71-72 .. 64 A formal diagram of Op. 55, No. 1. .. 65 A reduction ofmm. 73-76 . 66 A reduction ofmm. 77-81 .. 67 Mm. 77-80 . 68 Mm. 81-84 . 68 A reduction of mm. 81-85 .. 68 A reduction of the beginning of the coda, mm. 85-89 .. 69 A reduction ofmm. 89-91 . 70 A reduction of mm. 92-96 . 70 Measures 98-101 . 71 1 CHAPTER I INTRODUCTION Chopin's Nocturnes in C~ Minor (without opus number), Ab Major (Op. 32, No. 2), and F Minor (Op. 55, No.1) are particularly intriguing works for two reasons: 1) the scholarly community seems to have neglected them, and 2) they contain remarkable chorales with unexplained functions. In his article "Languido--Religioso: Zu Chopins Nocturnes in G-moll Op. 15 No.3 und Op. 37 No.1," Winfried Kirsch writes, We encounter chorale-like parts in Chopin's piano works here and there, and it is curious that the Chopin research to date has very few thoughts on the matter" (Kirsch 1989, 105).1 The Nocturne in C~ Minor begins with a chorale that may simply serve as an introduction. Op. 32, No.2 begins and ends with a short, repeated chorale that may simply provide continuity by being an identical introduction and conclusion. In his book Chopin, The Composer and His Music, John Porte claims the continuity created by the chorales in Op. 32, No.2 is realized "by their being heard again at the end of the piece" I "Choralartigen Partien sehr unterschiedlicher Art begegnen uns im Chopinschen Klavierwerk hin und wieder, und es ist eigenartig, daB sich die Chopin-Forschung dariiber bis heute noch nicht allzu viele Gedanken gemacht hat" (Kirsch 1989, 105, my translation). 2 (Porte 1935, 115).2 But describing these chorales as serving only such a basic function fails to explain their full significance. At first glance, the chorales of the Nocturne in C# Minor and Op. 32, No.2 may seem unrelated to their respective nocturne's primary melody and texture. But as this study will demonstrate, thematic material from these chorales appears in every section of their respective nocturne in multiple ways and on multiple levels of structure. This contributes to the works' unity and coherence. Analysis of Op. 55, No.1 proves useful for comparison. It begins not with a chorale, but a two-measure theme. While its chorales (mm. 71-72 and 98-101) certainly contribute to the work's motivic coherence, they do not serve as profound a function as the chorales in the Nocturne in C# Minor and Op. 32, No.2. Instead, the opening measures of Op. 55, No.1 contain the motivic material that appears throughout the nocturne. In some cases, the motivic material from the chorales (or mm. 1-2 ofOp. 55, No. 1) stands on the surface of the music, altered only minimally by melodic embellishments, rhythmic alteration, or harmonic treatment. In other cases, the motives lie deep beneath the surface, revealed only through reductive analysis. Awareness of such unity enables one to better understand and appreciate these nocturnes. Before proceeding to analysis, this chapter will provide a review of all literature about Chopin's nocturnes and outline the methodology to be used for this study. 2 In his book Chopin: The Man and His Music, James Huneker writes only this about Gp. 32: "As an entirety this opus is a little tiresome" (Huneker 1900,261). Frederick Niecks adds only that Gp. 32, No.2 has "less originality and pith" (Niecks 1888, 264). 3 Survey of the Literature Literature covering all of Chopin's nocturnes can be divided into three categories: historical-based, performance-oriented, and theoretical-based. The following historical-based articles and books discuss Chopin's nocturnes in depth. Branson (1972), Kallberg (1996), Methuen-Campbell (1981 and 1995, 120-125), Chmara (1963,275-280), Siepmann (1995, 126-128), and Valetta (1953,383--406) provide mostly biographical information and discussion about the historical context of his works. The nocturnes are compared (melodically and texturally) primarily to the nocturnes of John Field. The clearest link is drawn between Chopin's Op. 9, No.2 in E~ major and Field's nocturne in the same key. Gerald Abraham (1968) outlines the lyrical influence of Bellini and Italian opera on Chopin's nocturnes, while David Rowland (1992, 32-49) explores the influence of a few other composers, such as Esch and Lipawsky. These authors do not, however, discuss the chorales in the Nocturne in C~ Minor, Op. 32, No.2 or Op. 55, No. 1. Performance-oriented articles discuss topics such as tempo flexibility (Allen 2000), rhythm (Belle 2002), improvisation (Bellman 1990), ambiguity in notation (Goepfert 1981), micro-timing (Kurkela 1997), and phrase rhythm (Rothstein 1989, 214­ 248). In her dissertation on texture and pedaling, Lisa Zdechlik (2001) discusses Chopin's expansion of the sonorous capabilities of the piano and his innovative use of the damper pedal in Op. 9, No.1; Op. 27, No.1; Op. 48, No.1; and Op. 55, No.2. Robert Dumm (1964) wrote performance notes for Op. 27, No. 1. But again, these authors do 4 not provide insight into the chorales in the Nocturne in C~ Minor, Op. 32, No.2 or Op. 55, No.1. Many theorists have written about Chopin's nocturnes. In his article "Structural Momentum and Closure in Chopin's Nocturne Op. 9, No.2," John Rink (1999, 109-126) provides an in-depth analysis with detailed graphs ofOp. 9, No.2. He discusses the nocturne's unusual characteristics and uncovers similarities to Field's Nocturne's Nos. 1 and 9 (both in Eb). In his book Structural Hearing, Felix Salzer demonstrates several theoretical principles using Chopin nocturnes as examples. He graphs Op. 9, No.2 to show an example of an interruption at the end of the middle section (Salzer 1962, 245). He graphs Op. 27, No.2 to show that in its form "the same structural contents are repeated three times in varied versions which become progressively shorter" (p. 251). His graph of Op. 37, No.2 shows what he calls a problematic composition. He writes, "While the musical direction of the whole can be grasped, the melodic events resist an equally satisfactory explanation" (pp. 261-2). A graph ofmm. 1-30 ofOp. 48, No.2 is used to show an example of a "passing motion from I to II as an upward motion of a ninth subdivided into thirds" (p. 210). In his article "Chopin: Nocturne, Gp. 27, No.1," he describes Op. 27, No.1 as an "individual form." He explains that, as in Op. 27, No.2, "the composer has molded the framework of the outer form in response to the demands of his material" (Salzer 1973, 297). In Paolo Emilio Carapezza's (1995, 126-144) article "Chopin's Nocturne Op. 32, No.1: The Source of Mahler's Sixth Symphony," he compares the two works by examining and comparing their motivic material and harmonic structures. William 5 Rothstein's article about phrase rhythm contains graphs of the first eight measures of Op. 9, No.2 (Rothstein 1988, 119) and the A section of Op. 32, No.1 (p. 126). He also describes two other nocturnes, Op. 48, No.2 and Op. 62, No.1, as examples of an "endless melody" (p. 139). In his article "Genre Connotations, Thematic Allusions, and Formal Implications in Op. 27, No.1," Anatole Leikin (2003,232-242) discusses the nocturne by analyzing its sonata properties and making several comparisons to Beethoven's Sonata in C# Minor, Op. 27, No.2. Lynette De Souza (1988) analyzes Op. 32, No.1 in a master's thesis that I have been unable to obtain. In his book Free Composition, Heinrich Schenker (1979) graphs small segments of several nocturnes to show various theoretical principles. He graphs Op. 9, No.2 to show an example of a typical 3-2 113-2-1 interruption (p. 75). He also graphs the first section of Op. 15, No.1 as an example of a sixth arpegiation to the structural third in m. 4 (p. 46). He graphs two sections of Op. 15, No.2 to show that they reduce to the same middleground structure (p. 96). Lastly, he graphs sixteen measures ofOp. 27, No.1 in his discussion about duple metric ordering. He describes them as a "16-measure group, despite the repetition of the first eight measures" (p. 119). John Rothgeb (1980) analyzes the first part of Op. 48, No. 1. He shows that mm. 9-16 are an enlargement of the first two measures. In her dissertation Chopin's Strategic Integration ofRhythm and Pitch: A Schenkerian Perspective, Alison Hood (2002) graphs Op. 48, No.1 and Op. 48, No.2. In addition to rhythmic elements, Hood discusses hidden repetitions of motivic material that link the two nocturnes. Winfried Kirsch (1995, 105-119) writes about Op. 15, No.3 and Op. 37, No.1, which contain large chorales. He discusses a metaphorical similarity between 6 these chorales and paintings by Casper David Friedrich. Kirsch explains that both are examples of "transcendental manifestation,,,3 and describes the chorale in Op. 15, No.3 as a solution to its preceding material that exhibits a "detailed motivic process.,,4 Charles Horton (1982) analyzes the first eight measures ofOp. 55, No.1, comparing its voice-leading to Brahms's Intermezzo Op. 76, No.7. He does not discuss the rest of the piece, however, which includes both the ending chorale and the syncopated transitional chorale in mm. 71-72. Only one author writes about Op. 32, No.2 (Danuser 2000). That article, titled "Chopin's Nocturne in A-flat Major, Op. 32, No.2, in the Orchestration ofIgor Stravinsky," only touches on some of the theoretical elements I examine, such as the symmetrical nature of both the chorale and the nocturne, which he describes as circular. Few authors provide some insights into the Nocturne in C~ Minor (without opus number). In the score notes ofAt The Piano with Chopin, which is a collection ofpiano pieces that includes the Nocturne in C~ Minor, the editor compares three of the nocturne's primary motives to motives found in Chopin's second concerto (Hinson 1986, 17). Hinson links two additional nocturne motives to Chopin's song "The Maiden's Wish." In his book Frederic Chopin: Profiles a/the Man and the Musician, Alan Walker refers to the nocturne by its other title, Lento can gran espressione. He describes its B section as interesting in view of "the important part that cross-rhythms play in the later nocturnes" (Walker 1967, 171). These authors do not, however, discuss the opening 3 "Transzendentalen Offenbarung" (Kirsch 1995, 110, my translation) 4 "Motivisch detaillierten Verlauf' (ibid., 107, my translation) 7 chorale. In his book Analyse Der Chopin 'schen Klavierwerke, Hugo Leichtentritt (1921) gives only a brief analytic overview of each nocturne (excluding the Nocturne in C~ Minor). He does not, however, explain the theoretical function of the chorales in Op. 32, No.2 or Op. 55, No.1. Upon nearing completion of this thesis, I obtained Andrew Fowler's dissertation Multilevel Motivic Projection, which includes a brief analysis of Op. 55, No.1. While we arrived at many of the same conclusions independently, I have added two of Fowler's observations as a footnote in Chapter 4. Methodology This study employs "strict-use" graphs as the primary analytical tool.5 Strict-use graphs have many benefits over traditional Schenkerian diagrams. Noting a list of advantages in his article "Strict Use of Analytic Notation," Steve Larson writes, "The function of each note is made clear... and the clarity of the notation imposes a consistency within graphic levels that enforces clear thinking." He further writes, "The separation and consistency of analytic levels allow the ear to playa greater role in discovering relationships, confirming or denying them" (Larson 1996, 77). Because this thesis will primary show deeper-level motivic connections, clear analysis that is guided by ear is essential. In his article "Autonomy of Motives in Schenkerian Accounts of Tonal Music," Richard Cohn writes: 5 For information on strict-use analytic notation, see "Strict Use ofAnalytic Notation" (Larson 1996). 8 Although the ultimate demonstration of a high degree of thematic unity may be a desirable result of the analytic process, the analyst should resist the temptation to manipulate the process in order to arrive at such a result (Cohn 1992). Ifmathematicians must show their procedures to justify their answers, shouldn't music theorists show their reductive processes when discussing deeper-level unity? Both Schenkerian and strict-use graphs may show the same reductive information, but the strict-use graph shows more of the reductive process, clarifying "the roles of bottom-up and top-down thinking, and the roles of transformation and reduction" (Larson 1996, 59). A strict-use method of analytic notation most clearly displays the motivic connections and deeper-level unity found throughout various levels of structure.. Spatial constraints, however, are a consideration. Schenkerian diagrams are used when analysis requires visual representations of larger sections, or even entire pieces in one diagram. Reading the following analyses with a corresponding score at hand is recommended.6 The musical examples include the score only when highlighting features directly on the surface of the music or when comparing phrases ofmusic to other phrases or other pieces. To avoid any distortion in my analyses, great care was taken to provide an accurate "bottom level" to construct my strict-use graphs. Only undeniable embellishments, such as repetitions, trills, grace notes, or anticipations are eliminated to construct the soprano for each bottom level. Example 1-1 shows the score for mm. 27­ 30 from the Hinson (1986) edition. Example 1-2 shows the bottom level of Example 2­ 6 The Palmer (1984) edition is convenient because it contains all three nocturnes, while the Hinson (1986) contains information about the Nocturne in C~ Minor. The Paderewski (1956) edition re-copies mm. 1-2 (the repeated chorale) of the Nocturne in C~ Minor as mm. 3-4. This offsets Paderewski's measure numbers by two. 9 14. All slurs, dynamics, articulations, and time signatures (all of which were added or altered for the Hinson edition) are removed. While preserving the basic spacing, no rhythmic values are portrayed. The chordal "filler" in the left-hand accompaniment is represented by the Roman numerals and figures, the bass retaining only its primary structural pitches. Example 1-1, the Nocturne in C~ Minor, mm. 27-30. Example 1-2, mm. 27-30, a strict-use analysis bottom level (from Example 2-14). ~I-- I I " u II , - - U n ~ " : / 7 -'I I I Ir r r ooo7N y8 -- 7Fr6 y Vll 6 -- 5 Fr6 G~M: ~ 4 -- 3 27 28 29 30 This method provides a practical bottom level for analysis, as this study will not address score indications such as articulations, dynamics, slurring, trills, etc. unless such indications are relevant to analysis. ----- 10 CHAPTER II ANALYSIS OF THE NOCTURNE IN C~ MINOR (WITHOUT OPUS NUMBER) Chopin's Nocturne in C~ Minor (without opus number) opens with a two-measure chorale (Example 2-1). The chorale's melody descends from the tonic to the raised 4 before arriving on the dominant in the second measure. Example 2-1, the Nocturne in C~ Minor, mm. 1-2. Lento con gran cxprcssione ,., .. ~-. pp Example 2-2 shows a reduction of the chorale. The raised 4appears in parenthesis because it is sometimes absent from subsequent hidden chorale motives. The melody is supported by harmonic motion to the subdominant and embellished by a German augmented sixth chord in the second measure. Instead of progressing to a cadential vt the German augmented sixth chord resolves directly to the dominant, 11 resulting in parallel fifths, or "Mozart fifths" between the bass and alto voice.7 Level b shows a chromatic voice exchange over the subdominant. Level a shows the upper-most structure of the chorale: a C~ over the tonic, A over the subdominant, and G~ over the dominant. Example 2-2, a strict-use reduction ofmm. 1-2. " J.l ftl~: i V " J.l ft U >< /' '--. : a b i iv V Chorale motive "- "- "- "­8 7 6 5 (#4) 5 " J.l ft .. .. .p• c 115thsI~: " r I.~ r i (V7/iv) iv (i) Gr6 V 7 In his article on consecutive fifths in The New Grove Dictionary ofMusic, William Drabkin offers this definition: "A special type of consecutive 5ths, called 'Mozart' 5ths (Ger. Mozartquinten), occurs when the German 6th chord resolves directly to the dominant" (Drabkin, 200 I). 12 On the surface, the chorale's melody (8, 7, 6, 5, ~4, 5) may seem unrelated to the primary melody, which begins in m. 3 (5, 4, 5, 1). But removal of all embellishment shows a deeper-level connection. Level d in Example 2-3 shows the embellishments in the melody with unstemmed noteheads. In the first phrase (mm. 3-10), this includes a lower neighbor in m. 3, an upper neighbor in m. 5, an anticipation from m. 5 to m. 6, an embellishing leap in m. 8, and a lower neighbor in m. 9. Level c shows primarily harmonic embellishments, which include a prolongation of the tonic in m. 4 and a secondary dominant in m. 5. Level c also shows an initial ascent in the alto voice to the structural third in m. 8. After removing these embellishments, a deeper-level connection to the chorale (shown at level b) emerges. If one considers the initial G~ to be a cover tone, a clear alto line descends from the C~ (8) in m. 3 to the G~ (5) in m. 7. The beaming shows the hidden repetition of the chorale motive.8 8 Heinrich Schenker defines a cover tone as "a tone of the inner voice which appears above the foreground diminution. It consistently attracts the attention of the ear, even though the essential voice-leading events take place beneath it" (Schenker [1935] 1979, 107). -------- ------------ -------------------------------- -- - - -- --- -------- 13 Example 2-3, a reduction of mm. 3-10. "2 II ..1, I " "II tJ .j - II ": i Y " - - ­5 (cover ton:~ --- - -­ ~ i Y 3- 2 " " II .J,,-~~ ---. II tJ Chorale motive " II : /-------~ II , .J. ; .I 1-------- I " II .I tJ : II~ ~ I ~ y 6i ( ii"~) i iv i Y5 1 " " II .J~.J----......., ,,--J tJ / : -­ .J~... r; .J~ / II II I~ ( ii"~) y7/iv iv y65 jj"j Y4 -- 3 3 4 5 6 7 8 9 /0 With the exception of the B# in m. 7, the bass pitches in mm. 3-10 (Example 2-3, level d) are the same bass pitches found in the chorale. The beginning of the consequent phrase of the A section (m. 11-19) repeats the beginning of the previous phrase, with alterations and embellishments that are typical of Chopin's repeated passages. Because they are simply embellishments, they have no =----­ / II 14 effect on deeper-level analysis. For example, Chopin uses a y 7 in the left hand in m. 13 instead ofY (as he did in m. 5). He uses a N6 as a pre-dominant extension in m. 15 instead of moving to Y~ (as he did in m. 7). He also alters the melody by descending through the fiI harmonic minor scale in m. 13, making the arrival on A in m. 14 an octave lower (Example 2-4a and b). While this discrepancy has no effect on deeper-level analysis, it makes the alto-like nature of the A in m. 14 more obvious. Example 2-4a, mm. 5-6. Example 2-4b, mm. 13-14. J V/iv iv V7/iv iv Example 2-5 is an analysis of rom. 11-18. While the beginning of this section is identical to the beginning of the previous eight measures, it ends with a perfect authentic cadence (PAC) in m. 18. The G# (5) in m. 17 is a register transfer of the cover tone (5) from m. 11. The implied structural second above the G# further supports its reading as an inner voice (as shown at level c). Level c shows the structural second scale degree appearing over the Neapolitan chord in m. 15, although verticalization at level c aligns this pitch with the subdominant (iv) in m. 14. Lastly, while the third scale degree in m. 8 functions as the structural third of the piece, it functions as an upper neighbor in m. 16 (shown at level b). While all of this is important to uncover both the bass and soprano 15 voice's function (shown at level a), it has no impact on the alto voice, which again replicates the chorale's melody (shown at level b). Example 2-5, a reduction ofmm. 11-18. 1 I " " H " " H i ----------------­ A 5 (cover tone) ~ 1 A 2 ---------­ Chorale motive v A -_,- ­ - - - - - - 2 v ~ --------------------­ ~ "---­ I J 5 (alto voice) " " H / ',,------ r iv N6 8'" ,-~--'~-"-" / r~r ijO~ V ~ I 1______ Chorale melody tail / r T I y7/iv iv N6 oj v~ ==== j i 11 12 13 14 15 16 J7 18 The alto voice in the A section mimics that of the chorale: they are both restated without alteration, and they both contain an interruption via a Phrygian half cadence ---_~_~_-------- 16 --_._----­ (PHC). These similarities are shown in the alto voice at level b in the strict-use examples (2-3 and 2-5). The F-double sharp in the chorale, however, is missing. This component, identified as the "chorale melody tail," appears in the bass in m. 16 (Example 2-5, level d). It is important also to acknowledge the differences between the chorale and the nocturne itself, which are most apparent at levels a and d. For example, a ii"j is used in m. 8 in lieu of the German augmented sixth chord used in the chorale (shown in level d in Example 2-3). Also, the half cadence (HC) in the chorale is unresolved, while the interruption in m. 10 resolves with the perfect authentic cadence (PAC) in m. 18. This produces a third progression (shown in level a in Example 2-5). Because the chorale ends on 5, the end of the hidden chorale can accommodate either a HC (as in m. 9) or a PAC (as inm. 18). The PAC in m. 18 ends the large A section, and completes a third progression. Due to the melodic alterations and contrasting cadences, the second small a section (mm. 11-19) requires a designation as a'. Because both small a sections begin with identical material, the large A section is a parallel period (Example 2-6). Example 2-6, a formal diagram of the Nocturne in C~ Minor. A B A ~ ~ r-,+2------~/;'\,~~> .~~, Chorale I I I I 'I I Codetla I I Coda II I 3 I I 19 23 27 31 44 55 62 elm: ~ ~ IE9 AM: IE9 FIIm:~J IE9 _v IIE9 elm: fiv GIM:["I elm: IE9 (Tonic prolongation) 17 Like the A section, the B section is divided into two parts. The first part spans mm. 19-26; the second, mm. 27-43. According to the Palmer edition of the Nocturne in C~ Minor, at the top of the first edition Chopin inscribed the following: "For my sister Louise to play, before she practices my second Concerto" (Palmer, 122). While the A section of the nocturne displays no relation to the second concerto, the B section contains multiple quotes. A connection to the chorale materializes only after extensive reduction. In mm. 19-20 of the Nocturne in C~ Minor (spring of 1830, Example 2-7a), Chopin borrows the melody from the finale (mm. 1-4) of the second concerto (autumn 1829 to early 1830, Example 2-7b).9 Chopin uses a different meter (common time instead of i), accompaniment (broken vs. blocked chords), and mode (A major instead of F minor). The melody and harmonies, however, remain essentially the same. Example 2-7a, the Nocturne in C~ Minor, mm. 19-20. I'l II \I 19 ---­ ~ 20 .----:­ '"""" -­ u ---r-' I - ""'3 I ~ ~. ~ ~ :l 567123432 5 432 1 343 2 AM: 16 Y-7 16 Y-7 Example 2-7b, the Second Piano Concerto, Gp. 21, mm. 1-4. 567123432 543213432 I'l I ;:'/1­ ___ ~ u : ! ~~ qrE ! ~~ I qri1 Fm:i Y-7 Y7 9 Composition dates are from Brown's "Index of Works" (Brown). 18 In the consequent phrase, which spans mm. 21-22 (Examples 2-8a and b), Chopin borrows from the first movement of the second concerto. Again the mode and accompaniment differ, but the melody and harmonies remain the same. Example 2-8a, the Nocturne in C# Minor, mm. 21-22. A A 5 3 2 I 2 3I 21 U 101 ~~ f' fL' .. fL' ~-9 '­ ~ ~ ~ .. : I I I I I I I I I I I I AM: Ped.- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ­ (V7 J V7 J) Example 2-8b, the Second Piano Concerto, Op. 21, mm. 41-42. 5 A 2 1 2 3 I ~------ 41 fI I ~ rlJ - !~. fL~' ~'p- t.J I d.------------ill ~... d ~- .. L­ .. L-­ .I Bbm:V6-7 V6- 7 The melody in these two examples also bears similarity to the melody in the B section of Chopin's Nocturne in D~ Major, Op. 27, No.2 (autumn 1835, Example 2-8c). Although the scale-degree pattern of the melody differs, the melody (right hand) inverts from thirds into sixths. 19 Example 2-8c, the Nocturne in Db Major, Op. 27, No.2. mm. 10-11. 10 '" - : JI I u """-= ~~ I.­ ~. ~~ ~I. !~ !.! .. ~ : 6= As Hinson points out in the score notes of his edition, a quote of Chopin's song "The Maiden's Wish" (1829) appears in mm. 29-30 (Hinson, 17). Again the meter and accompaniment differ, but the chords are identical, and the melody differs only by one embellishing pitch. This pitch appears as an upper neighbor at the beginning of the phrase in the nocturne (Example 2-9a), but as an appoggiatura at the end of the phrase in the song (Example 2-9b). Example 2-9a, the Nocturne in C~ Minor, mm. 29-30. 5 4 6 71 G#M: vii °7/V v~--- ~ 4 3 Example 2-9b, "The Maiden's Wish," mm. 31-34. A A A I 7 5 3/ 1\ JO r"1. .App· U ~. ~. .J r r \~. . ~ .. :l I I I I GM:vii07/V v~---~ 4 3 20 Hinson also points out that Chopin borrows the material for the codetta (mm. 31­ 44) from a triplet motive in the finale of the second concerto (Hinson, 17). Both excerpts are in the same meter and enharmonically in the same key (G# major and AJ, major). The second half ofthe motive is similar in contour, but has different scale degrees (Examples 2-10a and b). Example 2-10a, the Nocturne, mm. 32-33. Example 2-1 Ob, Op. 21, mm. 145-46. Now that the sources for the material in each phrase of the B section have been uncovered, more can be said about the B section as a whole. Chopin's method of linking these phrases is interesting, and a possible connection to the chorale materializes after reduction. - - --- 21 Measures 19-22 of the nocturne are a 2 + 2 antecedent/consequent phrase with a melodic structure that suggests a contrasting period (Example 2-11). As mentioned earlier, the antecedent phrase is borrowed from the third movement of the second concerto, while the consequent phrase is borrowed from the first movement. I I Example 2-11, the Nocturne in C~ Minor, mm. 19-22. contrasting material ,J A 3 - 1\ u l+ I - - I­ -'1,-...,. I II - I 1\­ ~..­ u " : I~-------- 6-5AM: I (Ped) v~ j V4 -3 V7 V7= antecedent phrase consequent phrase 22 Measures 23-26 echo the previous four bars with a few melodic alterations and a different cadential structure. The harmonic alteration (remaining on the tonic in m. 24) allows for a smooth pivot back to the home key ofC~ minor (Example 2-12). The two melodic alterations are required to allow for agreement with the harmony. Example 2-12, mm. 23-26, "echo". Transposed down a 3rd Transposed down a 6th ,., II II , _----------.1 2 1 I I u ... -II cr r I r- I . altered pitches : 1\ 1\1\ 1\3 23 1I I '-----'I r I r-----~~i r r y7 y7~m:i (Ped) y~= ~ (y) iJ C~m:~ Altered hannonies There are two transposition levels in the echo (mm. 23-26). With the exception of the two altered pitches, the two measure antecedent phrase (mm. 23-24) is transposed down a third. The return to the home key is achieved by transposing the two-measure consequent phrase (mm. 25-26) down a sixth. In the analysis of mm. 19-26 (Example 2-13), a chorale motive appears on a deeper level of structure. Level b shows three descending third progressions: the first occurs over the consequent phrase of the A major section (mm. 21-22), the second occurs over the echo in F~ minor (mm. 23-24), and the third occurs over the C~ minor cadence (mm. 25-26). When connected, these pitches form the chorale melody (level b). The F~ in m. 24 is a chromatically altered representation of the F-double sharp in the chorale. --------------- --- -------- ----- 23 The chorale melody is also present in m. 24, but is on the surface of the music and is compressed into two beats (level d). In mm. 24-25, the chorale melody functions as a confirmation of the hidden chorale spanning mm. 21-25. Example 2-13, a reduction ofmm. 19-26. 4 3 A I~ I II' II ~ • II r• ~r OJ r ________. r : ------ AM:l (Ped) Flm: i(Ped) dim:; y7 i Chorale melody ~ I~ ~I.-- ~ ~ ~ 1 ~ .J 1~ 1 .___________ r r -·~r r -­ I Ir ­ ,Ir r I ----------- r------..- ------ .---- r II ~ oj : AM:! (pcd) (y) I (y) I y7 I Flm: i (Ped) V n!J i y7 ; elm: ;v I" 1 ~~ .oJ 1II " ~ I 1 J '-I I'-- I­ r 1----- ~ - - r ---------- r------..-·------ -------- r AM: l (Ped) (y) ! (Y) y7 I y7 I Flm: i (Ped) y~=l n!J i y7 i elm: iv Chorale melody -------------'1.--.. 1 d .J.:J~J ------ - - 1 I LII H . - ­ - I -II I­ I d l", 1----­ r~------ Chorale me~dy .---- r I I AM: I (ped) y~= 1 I y~=l y7 I Flm:; (Ped) 4-3 - y7 y6-5 y7 y7 19 20 21 22 23 25 26 -- 24 On the deepest level, the F~ (4) in m. 24 resolves to E (3) in m. 25 and then continues as a third progression to C~ (1) in m. 26 (Example 2-13, level a). This does not conclude the B section, however. Instead, Chopin modulates with a pivot chord to G~ major and inserts the "Maiden's Wish" melody. This produces another descending third progression (Example 2-14). Example 2-14, a reduction ofrnm. 27-30. 1v 3 2 I I a " M GiM:1 y 1 " M U : 1 1 1 I r Y~== j I 4-3GiM:~ " '" M ~ 1v /v--­ _____ -.r r IIr --.-Y r~'1 r y viio7/V Y~== j [ 4-3GiM:~ " Mil _____ 1- - 1 1 1", . . / ~ .~ d /' ~j 'I r 1 r r- ____ ·-' Fr6 y Fr6 yj y8-- 7 6--5 GlM: II 4--3 27 28 29 30 31 25 A Schenkerian graph is helpful to identify the chorale melody on the nocturne's deepest level of structure. Example 2-15 is a Schenkerian diagram of the nocturne (minus the introductory chorale). Two hidden chorale melodies in the B section are shown with horizontal brackets. A hidden chorale melody spanning mm. 26-30 emerges if one connects the C# in m. 26 to the G# in m. 30. The F-double sharp (shown at level c as an alto voice in Example 2-14) also belongs to the hidden chorale melody. In m. 30, it functions as the leading tone resolving to the tonic, while in the chorale it functions as U resolving to.5. While each pitch name in this hidden chorale melody is represented in mm. 26-30, the A and B are raised to A# and B# to conform to G# major. Example 2-15, a Schenkerian graph of the Nocturne in C# Minor. .-------, = Hidden chorale melodies Codetta A Coda !~ C~m:i v 1/ 31 44 55 AM: I (Ped) (y7)Fllm:i (Ped) (y7) i C~m:i y7 i G~M: I y7 I /9 26 The chorale also predicts the nocturne's primary key areas. Example 2-2 reduces the chorale melody to its primary pitches: C~, A, and G~. The bass also contributes F~ for the iv chord. Example 2-16 reproduces the top level from that example. The A section of the nocturne is in the key of C~ minor (i). The B section is in the key of A major but then modulates to F~ minor (iv). Lastly, the codetta (including the last two measures of the B section) is in the key of G~ major (V). It is interesting that Chopin establishes the key of G~ major in m. 30 with a melody that resolves to the tonic via an F-double sharp (functioning as 7in G~ major), the same pitch that resolves to the G~ in the chorale (functioning as ~4 in C~ minor). Example 2-16, chorale reduction, top level. 1\ u f! 'J (iv) V ...._ ...-------- 27 The codetta (mm. 31-43) prolongs G~ major by outlining its triad (Example 2-17, level a). An arrival on 5(G~) occurs in m. 42. Each pitch of the chorale appears in this section, including the F-double sharp, found here in the alto voice in m. 41 (level b). The chorale pitches are shown with asterisks, and the chorale motive is shown with a horizontal bracket. Again the A and B are raised to A~ and B~ to fit into G~ major. Example 2-17, a reduction of the codetta, mm. 31-43. A " H oj ~ - : i _______________ ~ ----------' ------------ -----------­c1mo V *.------;;J~J~J~J~j~/_------- -;4 : ~ ~ - - - - - - - - - : '-----------i~ ______ i ___________ r--------------'_____ r ~ r~ r I A"" ~ OJ .--; I.~ I~ I.~ .--; : ~~ I.,~ 10.­liI~ I.~ I.~ IH.­ ,H,cl,.) i- --- 1- --- 1---- i- --- r----- ­r r r r rG~M: c.l. Fr6 v C.1. Pr6 v v v 3/ 32 33 34 35 36 37 38 39 40 4/ 42 43 --------- ---- 28 The last A section of the nocturne contains a repetition ofthe first a (small a) section and a coda (as shown in the formal diagram, Example 2-6). The repetition of the small a section includes the hidden repetition of the chorale (mm. 44-48), again shown in the alto voice at level b (Example 2-18). The bass adds the "chorale melody tail" in mm. 50-52, a component absent from the hidden chorale melody in the alto voice. The structural third is reintroduced in m. 53, and a PAC follows two measures later. Example 2-18, a reduction ofmm. 44-55. ~ , ~ ,J, ;------ 2 I V ~ - : - I i i 5 (cover tone) i ------ ------------ Y -----1 3 1~ .. , ~ J: ---- ­ Chorale motive 11", , i ~ ,y'-----------~---- i Y i ,--------;,) ,,--r:!J~ 1 .J J 1- ~~ IIL~ I~ " Chorale melody tail /11", / , - ,-------' '---- ,"r i iv y"5 i y' viio? Y i Y i J---------- J ---... ,," -~ .J.~~.J / / 1 , "r________ J~ 1 ~'d~ (2 It.e-~ r':" ~ " '"' jo', / IX I , ,~ 1 i (ii.¢i) i V7/iv iv y' ii.¢j V7 viio7N V7N V- 6 ii~j V5 44 45 46 47 48 49 50 51 52 53 54 55 -- 29 The coda consists of a series of scalar runs. While these runs differ in starting pitch, range, rhythm, and articulationlO, they each end with a condensed repetition of the chorale melody (Example 2-19). These repetitions are shown with horizontal brackets at level b. The C~ in the chorale functions as the root of a tonic chord, which descends to a G~ functioning as the root of a dominant chord. Here, the C~ functions as the seventh of a iti chord, which descends to a G~ functioning as the fifth of a tonic chord. Reduction shows the tonic being prolonged in the soprano over G~ in the alto voice (level a). Example 2-19, a reduction of the coda, mm. 55-62. ~ --~ -". 1°' ------------ -----------I ~I .~ -.. i ~~~ 1S"'~ ~~ ~~i· 1 I ~ ~ - ~ ~ - I 8" ,'---;~--i X I - i (ii"11 subs for iv6/ 4 55 56 57 58 59 60 6/ 61 Chopin ends the nocturne with an ascending C~ major arpeggio (containing a picardy third). The chorale in mm. 1-2 connects the tonic to ,) with descending motion. The last two measures (mm. 61-62) connect,) to the tonic with ascending motion. This framework gives the nocturne symmetry and balance, a feature that Chopin highlights in the Nocturne in Ab Major, Op. 32, No.2, which will be analyzed in the next chapter. 10 The Palmer edition indicates staccato articulations on the descent of two ofthe runs (Palmer, 124). 30 Thematic material from the chorale of the Nocturne in C~ Minor appears in the body ofthe nocturne in multiple ways and on multiple levels of structure. In some areas, such as the coda, the chorale motive is present on the surface, altered only by harmonic and rhythmic treatment. In other areas, such as the A sections, the chorale motive lies beneath the surface, uncovered by removing melodic and harmonic embellishments. Lastly, in the B section (a section created by connecting recycled material), the chorale's thematic material materializes only when looking at the deepest levels of structure. 31 CHAPTER III ANALAYSIS OF THE NOCTURNE IN Ab MAJOR, OP. 32, NO.2 Much like the Nocturne in C~ Minor, Chopin's Nocturne in Ab Major, Op. 32, No.2 opens with a two-measure chorale (Example 3-1). Unlike the chorale in the Nocturne in C~ Minor, this chorale frames the piece by also appearing at the end. Example 3-1, the Nocturne in Ab Major, Op. 32, No.2, mm. 1-2. Lento~ fl I ~t:'\ l~) )p 'l~I~t:'\1~: Ii I ( I I The melody of the chorale descends from 3by a leap of a third and then returns by ascending through a passing tone. Example 3-2 indicates the soprano as the "chorale motive." The second scale degree appears in parenthesis because it is sometimes absent from the hidden chorale motives. Two other important motivic features labeled are: a "chromatic descent" in the alto voice and a "fourth leap" in the bass. 32 Example 3-2, a reduction of the chorale, mm. 1-2. Chorale motive , j 1\ ~ . ______ Chromatic desce~ :.. ;/ ! ,'------I Fourth leap I IV (ii"~) The chorale ends with a plagal cadence. The passing tones (B~ and F~) imply ii"~ and resolve to I in m. 2. Removing these passing tones exposes the symmetry of the chorale (Example 3-3). Example 3-3, the symmetry of the chorale, mm. 1-2. I C A~ __ C 1\ ':' I I I I IV After the introductory chorale, the first measure of the nocturne's melody may be heard as an inversion of the chorale motive around C, although the melody ascends by a minor third. While this might be a loose connection to the chorale, it is not the only motivic link in this phrase. The analysis in Example 3-4 shows four levels: Level d reveals a prolongation of the tonic and identifies several melodic embellishments. The - --- --------------------- --- -- ------ 33 embellishments in mm. 3-5 are a B (a lower neighbor), and two embellishing leaps to Eb (ascending in m. 4, descending in m. 5). Level c indicates how the dominant chord connects to the tonic chord in m. 4. Level b shows that when the embellishments are removed, and its register "corrected," the chorale motive appears as the underlying structure ofmm. 3-5. Example 3-4, a reduction ofmm. 3-6. ,., II a tJ : 1--_--- II I Chorale motive II ------­ II ----­ ,., ----­ 1., 1------. b y7I Chorale motiv,e ,., - ~ : II II I-~-I I I I y7 - .... , .~I I.~· (I c.I.°7 I y7 [) ~ AbM: I Ped. - ­ - - - - - - - - - - - - - - - Y I --­ r y iil"~=j y7 Chromatic descent ~ -- , ... _----­ Inverted chorale motive ,., ~ , .. ­ 1·, • 1----­ 1 I~ d 3 4 5 6 34 Like m. 3, m. 5 contains a surface-level variation of the chorale melody. After removing the embellishing leap (Eb) in m. 5 and placing the C an octave higher, the chorale emerges (level c). Here the chorale melody is compressed into three beats. The phrase ends with an interruption in m. 6. The second scale degree is prolonged with a ii0~, which becomes a ii0~ when the bass moves to Fb (shown at level d). The in is the same harmony used to support the second scale degree in the chorale. The leap in the bass to Fb (which resolves to Eb) allows the bass to copy the alto voice's chromatic descent. Chopin employed the same technique (the transfer of the chorale's alto voice to the bass) in m. 16 of the Nocturne in C~ Minor (Example 2-5, p. 15). The next phrase (mm. 7-10) contains multiple instances of the chorale motive on the surface. Measure 7 repeats m. 3 (inverting the chorale melody around C). In m. 8, the chorale's melody appears nearly unaltered and includes the Bb passing tone (Example 3-5). Again a it~ supports the Bb (shown at level d), this time functioning as it~ in the key ofF minor. The phrase ends in m. 10 with a transposition of the chorale motive down by a third (also shown at level d). 35 Example 3-5, a reduction ofmm. 7-10. " I ---­ a 1'--------------­ u : -~ -­ ~ I " :3 A 2 I b ~ : I 1 I y7 I Chorale motive 3---------------------------------­ 3 A I2 " --­ - --­ -..... u : I~ - I I I iig v 7 I Chorale motive (inverted) Chorale motive Chorale motive (transposed) " " .--., .'" ~------------­ ~ Chromatic desce~ (transpc ~ed) : d 1-----/ I' 1-­ I Ped. vi iifl~Jvi V7/vi vi y7 1----- - 6 7 8 9 10 Level c shows the chorale motive prolonging the structural third from m. 7. The cadence that follows produces a third progression. Much like the chorale frames the nocturne, the surface-level chorale motives in this phrase frame the third progression of m.9. ---- 36 The next phrase contains no significant chorale material on the surface, nor does the phrase reduce to a hidden repetition of the chorale (as did the first phrase). Instead, this phrase simply contributes the second scale degree as its primary structural pitch. As further analysis will demonstrate, this is an important contribution. The phrase begins on a pivot chord, a y6 in Ab major functioning as Iy6 in the new key ofBb minor. The melody ascends from the tonic to the mediant in m. 11 and back to the tonic in m. 12. Much like in the chorale, ii"j supports 2here (Example 3-6). Example 3-6, a reduction ofmm. 11-14. II 1~: AbM: f\ tJ : f\ --------_ 7 a ..-------- ·v~ ---------..ii V II I~ I I 5-- 6-- 5b 3-- 4-- 3 I I , -----------·-t Bbm:i v 7 i AbM:V ,., 1.--­ I I I - "­ II c tJ : I ~ ~ I 10· 10 - 1O-10-lI0) I I - '---.-·V Bbm:i 11··.65 y7 i AbM:Y 16 1 [; II " I I I I~ 1.: \ / J I ­ I d / I I I I /I r- , ··.6-4 4ii.~ y7 i II 5-3 y7 i I ii~~ y7 2 y~ 1 y7 AbM:1ii 11 12 13 14 37 The entire phrase prolongs B~ (the structural second). The perfect authentic cadence in B~ minor (m. 12) is the only PAC in the phrase, which strengthens this interpretation. After modulating back to ~ major, measures 13-14 prolong the dominant by passing through tonic harmonies in parallel tenths. To show the role of the soprano's B~, one must consider all other phrases in the A section as well. The form of the A section is rounded binary (Example 3-7). Example 3-7, the form of the A section. A Rounded binary form //period ~. a ~..~,0~~. I I I I I I / 3 7 II /5 /9 23 26 A~M:lEJ IE9 \PAcl IE9 IPACI IE9 IPACI 38 Example 3-8 is a graph ofthe A section shown in Schenkerian format. The primary structural pitches in each sub-section are shown with long stems. A third progression spanning the A section ends with the PAC in m. 26. The other primary structural pitches create chorale motives at the A section's deepest level. While the b sections may seem to contain no connection to the chorale, their primary structural pitch (B~) contributes the Bb in the repeating chorale motive. Example 3-8, a Schenkerian graph ofthe A section. a at b at b at Chorale motives A A A 3 2 1=============-­I II I I I I~ '-V II~ II·~ ------- ~ ii V JI Y I I I y7 3 7 II 15 19 23 26 I I 39 The B section (mm. 27-50) ofthe nocturne is in a contrasting meter (12/8) and mode (F minor) from the A section. It opens with a melody that leaps to an inner voice, followed by a chromatic descent (Example 3-9, level c). While the chromatic descent functions as 6~6 .5 in the chorale, here it functions as i G7 ~7 in the key of F minor. II Example 3-9, a reduction ofmm. 27-29. Chorale motive 1\ .­ a 1~: . ,,- ­~~-----------------------------'" i Chorale molive 1\ b 1~: . - Fourth leap , r -------------- - i V i V (1-7-~7) V7Fm:i .....---711\ --­ - I I I U ~C~desce:/V '7' , Fourth leap , I : r I I c 27 28 29 The C-B-C lower neighbor motive from m. 3 (3 ~2 3) begins the B section, but as .5 G4 .5 in the key ofF minor. The fourth leap (1 to 4) appears in the bass. The chorale motive in this section lies beneath the surface in the next measure. The G on the first .I. II Gerald Abraham notes the similarity of this phrase to a passage in Field's Nocturne No.5 in B~ (Abraham 1968, 75). 40 of measure 28 (with an F~ lower neighbor) functions as an inner voice. The G on the third .I. is a lower neighbor to the AJ,. Level b shows the chorale motive, decorated with passing tones, over the fourth leap in the bass. While the fourth leap in the chorale functions as 1to 4, here it functions as 5to L The phrase reduces further to produce the chorale motive (spanning all three measures) at level a. While the chorale motive functions as 313 in the chorale, here it functions as 535 in F minor. The chorale motives that repeat for the remainder of the phrase require even less reduction. In m. 29, the motives are embellished with D~ upper neighbors and B~ passing tones (Example 3-10, level c). The bass supports these motives with fourth leaps. Level c also shows the chromatic descent in the bass, which connects F minor to the dominant of AJ, major. While the melody in m. 30 is an exact repetition ofm. 29, Chopin's harmonic treatment differs. The AJ,s in m. 29 are stemmed because they are chord tones (the root of the tonic triad). The AJ,s in m. 30 are unstemmed and eliminated at level b because they are lower neighbors ofB~ (over V\ This prevents the chorale motive from materializing at level b in m. 30; however, the B~ on the second beat of that measure contributes to a deeper-level reproduction of the chorale motive (shown at level a). ---- 41 Example 3-10, a reduction of mm. 29-31. Chorale motive I I ~ / -- I·~·i V 7/111 III I Chorale motive Chorale motive , I I Fm:V I r r Fm:~ fl I Chorale motive Chorale motive Chorale motive Chorale motive c Fourth leap ( / ~ Chromatic descent Fm:V7 I iv6 V7 r&J Al>M: VI 29 Fr6 V~~ 7 5 4-- 3 I Fm:~ 30 r V4 3 r 31 --- ----- 42 Measures 31-34 repeat the previous four measures with one alteration that has no affect on deeper-level analysis. The leap to AI, (instead ofF) in m. 31 results in an arrival on B~ in m. 32 instead ofG (as in the previous phrase). Because this pitch is simply an inner voice, it does not affect the chorale motives present on deeper levels (Example 3­ 11). Example 3-11, a reduction ofmm. 31-33. Chorale motive " a 1~: . ­ .. ­~--------------------------------- I Chorale motive - b Fourth leap 1~: " ­ '---.r , ~ i V i V trans, up a 3rd (from m, 27) - - - - - - - - - - - - -, ..1\ ~ I I I I I I~ ~ Chromatic descent c ~~ /, : r I Fm:i V7 3/ 32 33 I - - 43 The second half of the B section is a transposition of the first half to the key of F# minor. Chopin modulates there with a complex four-measure transition (Example 3-12). Example 3-12, a reduction ofthe first transition, mm. 35-38. --------­ ---------­~[)/,M:J --------~~- FIlm: IV ----+- 65 51010 10 5 10 5 J [)/,M:I OM:I FIlm: FJ,7/A~ B7/G D7/FII V6 J [)/,M:I OM:IEbm: i 7-10-57_10_5 ~ -----­[)/,M:I Chromatic descent I J J ~J I.~J 1 V7 6--6-6-66 ------ 5 6 ------ 5 ~~~J ~~~ ""J J bJ ,.J - I I Hi v~ V7 v~ V~ v~ fl,7/Aj, B7/G v~ = ~ 3 - 3 ~~[)/,M: E&m: ~ FIlm: 35 36 37 38 The transition contains a 6-5 linear intervallic pattern that liquidates (level d). The first measure sequences up by a second in m. 36, tonicizing E~ minor. Truncation of the linear intervallic pattern occurs in the third measure (m. 37), with only the second half (6-5) being retained and repeated. The speed of the stepwise decent doubles in measure m. 38 when additional liquidation retains only parallel sixths (first inversion dominant 44 chords) in the outer voices. 12 The descending parallel sixths feature the chromatic descent in the melody that functions as a covering progression on a deeper level of structure.13 Level b shows the embellishing leaps in the melody that decorate the ascending tenths. The linear intervallic pattern obscures the parallel fifths in m. 37. At level a, the tonic chord in C~ major is respelled as a pre-dominant in F# minor, thus establishing the new key. While the c section repeats without alteration (except for being transposed to F# minor), the second transition (Example 3-13, mm. 47-50) does not restate the first exactly. The transposition level in the third measure is altered, which allows for a smooth modulation back to the home key of M Major. 12 In Fundamentals ofMusical Composition, Schoenberg describes the process of liquidation as "gradually eliminating characteristic features, until only uncharacteristic ones remain, which no longer demand a continuation" (Schoenberg 1967, 58). 13 Allen Forte defines a covering progression as "a succession of cover tones." He notes that this is a term that "seems appropriate even though Schenker does not use it" (Forte 1982,224). 45 Example 3-13, a reduction of the second transition, mm. 47-50. ~ " --~ ~ - u 10 10 : .. _-­ DM:I ~ "J~# ~.J~L 1", 10 5 10 S I 5 5 6 ~ ----- '[ A>M:JY Y6 J ~J DM:I [i J IJ,M:I AbM~6 ~ "r~~r J~} d 1 .l ~J Chromatic dcsccnl . k..---------­ I 1", 7_I