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Schumann - “piano trio in G minor” - Coggle Diagram
Schumann - “piano trio in G minor”
Sonority
instruments are given fairly equal roles
none of the parts here are particularly virtuosi
Violin and cello use double-stopping
Cello uses pedal notes (bars
73–80
Cello uses material high in its register (bars 134–138
Important melodic material is often presented in a single octave In the piano
middle range of the keyboard is favoured
Structure
movement is in sonata form
o Exposition (bars 1–90) – repeated oDevelopment (bars 91–164)
o Recapitulation (bars 165–288)
First subject 1(a) bars 1–4 and 1(b) bars 5–8 violin in G minor
Bars 22–23 chordal ff idea 1(c) homorhythm
Bars 30–45 music moves towards B♭ major In the transition section
Bars 45–48 second subject 2(a) (syncopated minims) in piano
Development : Opens with material based on rising stepwise figure (bar 91) in violin
Bar 103 cello begins series of contrapuntal entries in dialogue with the violin
Bar 266 final statement of 1(a) in violin/cello
Bar 276 – end sees a series of diminished chords resolving onto chord I, over a tonic pedal. The final cadence in the piano is plagal
Texture
Homophonic textures are common from the beginning (bars 1–8), where the violin melody is accompanied by the piano
counter-melodies in both violin and cello
polyphonically animated homophony
development section contains passages of close imitation
Dominant pedal in cello (bars 73–84)
Dominant pedal in violin and cello (two octaves apart) (bars 155–164)
left hand does use some doubled octaves, in the lower register (bars
99–104)
Block chord textures (bars 45–57)
Octave doubling between the hands (bars 73) and in sixths
Exciting rising and falling arpeggio figures (bars 107–121)
Tonality
G minor
Exposition – first subject G minor (tonic), second subject B♭ major
Development – a very flowing set of modulations including E♭/F
minor/G minor/C minor/F minor
Recapitulation – first subject G minor (tonic), second subject G major
The closing coda – returns to G minor
dominant pedal bars 155–164
tonic pedal bars 276–end
Harmony
predominantly tonal and diatonic, using functional progressions
perfect cadence
augmented sixth chords
dissonant extensions – the chord at bar 83
cycle of fifth progression at bars 139–143
Melody
First subject (a) and (b) (bars 1–8) – an 8-bar theme, made up of two balanced 4-bar sections – antecedent and consequent
(a) bars 1–4 features a plaintive downward fifth
(b) bars 5–8 answers with a more animated rhythm through a rising sequence, and with an upwards octave leap
1(c) and (d) are shorter ideas, but more contrasted
Second subject is made up of two 2-bar ideas
(a) bars 45–47 syncopated descending stepwise ending with an appoggiatura
(b) bars 47–49 repeated ‘chattering’ quaver figures beginning on the sixth quaver
of the bar, against a melodic diminished seventh in the violin
Rhythm, tempo, metre
Allegro moderato
short poco rit. in the second subject group
1(c) has dotted rhythms, and 2(a) is syncopated
1(c) and (d) both open with an anacrusis
much quaver passage work
quite frequent syncopations