![]() ![]() ![]() On an even larger level, Shostakovich occasionally uses third relations to link pieces written years apart from each other. For instance, Figure 1 lists all of the string quartets in which Shostakovich begins by modulating up or down by third from the original key-a total of eight out of fifteen, or just over half. On a larger scale, Shostakovich conveys a strong preference for modulating to the mediant or submediant. On a local level, for example, a passage might blend a pair of third-related keys, such as a major key merged with its relative minor. Shostakovich’s music often features third relations in various forms and at various levels of structure. A recurring, small-scale expression ofįigure 10. 1, first movement, large-scale tonal structureįigure 6. Piano part starting two measures before R9: explicit presentation of the axis E-G-B-Dįigure 5. Straus's summary of large-scale tonal motion in Stravinsky, Symphony of Psalms, first movementįigure 4. Inter-opus third relations among theįirst six string quartets, and the last sixįigure 3. Opening modulations in several ofįigure 2. ![]()
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