Gallery of Simple Examples, volume 2

I have posted a sequel to the gallery of simple examples (link to volume 1). The title is A Gallery of Simple Examples of Extended Rising Melodic Shapes, Volume 2: link to volume 2.

Here is the abstract:

This second installment of direct, cleanly formed rising lines offers examples from a variety of sources, ranging from a short early seventeenth century choral piece to Prokofiev’s Classical Symphony, and from Scottish fiddle tunes to Victor Herbert operettas.

Here is a combined table of contents for the two volumes, arranged chronologically and with the volume number indicated:

Praetorius, three-voice motet "Preis sei Gott in der Höhe"       -- vol. 2
Johann Heinrich Schmelzer, Partita ex Vienna, Courante      -- vol. 2
Böhm, Suite in F minor, Courante       -- vol. 1
Anon., Chelsea Stage    -- vol. 2
Anon., The Duchess of Gordon     -- vol. 2
Anon., The Kerry Jig       -- vol. 2
Anon., The Nabob        -- vol. 2
Anon., The Runaway Bride   -- vol. 2
Anon., Shepherds Jigg   -- vol. 2
Anon., Yankey Doodle      -- vol. 2
Mozart, 12 Menuets, K176n1       -- vol. 1
Haydn, String Quartet in D Major, Op76n2, III       -- vol. 1
Haydn, Symphony no. 86, III      -- vol. 1
Beethoven, 12 German Dances, WoO8n1       -- vol. 1
Hummel, from 6 German Dances & 12 Trios, op. 16      -- vol. 2
Schubert, Wiener-Damen-Ländler, D734n15       -- vol. 1
Schubert, Valses sentimentales, D779n13       -- vol. 1
Schubert, Ländler, D814n4       -- vol. 1
Schubert, Deutscher Tanz, D769n1       -- vol. 1
Schubert, Grazer Walzer, D924n9       -- vol. 1
Johann Strauss, sr., “Champagner Galop,” Op. 8      -- vol. 2
Johann Strauss, sr., Das Leben ein Tanz, oder Der Tanz ein Leben!, Op.49       -- vol. 1
Johann Strauss, sr., Exotische Pflanzen, Op.109       -- vol. 1
Johann Strauss, jr., Künstlerleben, op. 316       -- vol. 1
Brahms, “Über die See”       -- vol. 1
Tchaikovsky, The Nutcracker, March       -- vol. 1
Herbert,  Sweethearts, n7: "Jeannette and Her Little Wooden Shoes"      -- vol. 2
Herbert, Naughty Marietta, n17: "The Sweet Bye and Bye"      -- vol. 2
Herbert, Babette, n23: Finale III      -- vol. 2
Prokofiev, Classical Symphony, Gavotte      -- vol. 2
Gershwin, Shall We Dance, "Slap That Bass"      -- vol. 2
Waxman, Rebecca, "Hotel Lobby Waltz”      -- vol. 2 

Schubert and the Ländler, part 4

In this final installment of the Schubert series (examples from my PDF essay published on Texas Scholar Works (link)), we look at expressions of ^6 that lead to straightforward rising lines in cadences.

The final number of D 734, the Wiener-Damen Ländler (not Schubert's title—in fact, he specifically objected to it), opens as a ländler but closes more firmly; the second strain very probably would have been used as a promenade to end a session of dancing. At (a), ^6 is an 8th-note escape tone; at (b) ^6 is an accented neighbor note; at (c) an unaccented incomplete neighbor; at (d), the neighbor note opens the second strain, picking up on a motive from the first strain in the same way we saw yesterday in D 779n18; and at (e) the waltz ninth carries ^6 upward to a close on G5.

Much the same happens in D 769n1. The first phrase hangs on a neighbor note figure where ^6 is prominent as part of a rare inverted V9 chord (box).

In the second strain, ^6 is touched on briefly (circled), and the cadence then completes an ascent to ^8 (A5). Note that the first strain was quiet (mit Verschiebung means use the soft pedal) but the rise to the cadence is accompanied by a crescendo (and in performance possibly would have included an acceleration to the end).

In the final dance of D 779, the second strain is heavily preoccupied with ^6. The loud "promenade music" we saw in D 734n15 above features contrast between an upper register and lower register ^6. Repeated versions of ^6-^5 appear throughout till the rise to ^8 that continues and completes the initial fifth-octave gesture (see the arrow).

Finally, D 814n4, in Brahms’s 2-hand transcription of the 4-hand original, reuses the overall pattern of dynamics (from soft to loud), is based on a sharply rising motive (box), and closes with a very direct linear ascent to ^8 (arrow).