e-book Sonata d minor - Score

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Misc. Notes, These file(s) are part of the Werner Icking Music Collection. Urtext keyboard edition, revised April-May Purchase. Recordings.
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Get e-book Violin Sonata No. 4 - Piano Score

The second subject, which is in the dominant minor key, instead of being in the relative major F , is in two parts, Bars and The greater part of the succeeding Allegro is of the same character as the regular theme in the connecting episode, which is also formed upon Bars The first subject re-appears, Bar , with the two Largo bars extended to six bars , followed by the rest of the subject as in the original. The connecting episode begins for two bars as the original one; after this, however, it is of quite a different character. A recitative of four bars, Bars , gives place to a passage of four bars in F sharp minor, Bars enharmonic modulation, Bars , repeated Bars in G minor, and imitated, Bars , ending upon dominant harmony.

The Coda is extended Bar The last twelve bars consist of nothing but harmony of the tonic chord. It should be noted that the key of the relative major is not used once during the whole of the movement.

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The first subject consists of two sections: the first eight bars, the second nine bars. The connecting episode commences with a four-bar phrase in the tonic key, followed by a modulation to C major upon a pedal point with a characteristic figure. The second section of the first subject has a very elaborate variation in the bass, Bars The connecting episode is transposed so as to end in the dominant key. The Coda is formed from previous material, the passage, Bars , being taken form Bars , and the following passage, Bars , from the first subject.

The last six bars are upon a tonic pedal point; the subdominant, followed by tonic harmony, forming a plagal cadence which often occurs in Codas in conjunction with tonic pedal. The first subject is founded upon the initial figure of four notes; in fact, the whole movement is constructed upon it and the figure of two notes which commences the second subject. The connecting episode begins in D minor, the initial figure appearing in the bass; at Bar 36 it modulates to C major, in which key it continues to Bar 43, where by means of augmented sixth on F, it modulates to the chord of E major, dominant of A.

A Section --Adagio [m. It is a melody set off by its initial gentle descending gesture. The left hand, after an opening long low octave, plays wide-ranging arpeggios. The syncopations in the third bar help to stretch the first phrase out to five bars instead of four. It ends with the opening gesture in that key, and is a regular four bars, creating a larger period of nine bars. The piano figuration moves to a higher register and low octaves emerge in the bass. The music shifts back to E-flat, but it is the minor version of that key, and full cadences are avoided.


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The violin figures emerge into a confident melody moving to a half-cadence. The violin melody gains in confidence and is spun out more, reaching high and descending on more forceful syncopated notes. The low bass piano octaves emerge in full as the upper figuration remains in the middle range.

Scarlatti Sonata in D minor K.517 - KEYBOARD WITH SCORE

The music remains in E-flat minor. It then works out this gesture as both it and the piano gradually build. The top of the piano line emerges as a countermelody for the first time.

Brahms builds tension by delaying the full cadence on E-flat, which does eventually arrive. The new tempo marking indicates a somewhat faster speed, but the marking mezza voce implies that it should still be subdued. The rhythm is the long-short dotted rhythm this time with rests before the short chords associated with the Regenlied. The chords make a progression in E-flat minor and then repeat it with minimal variation in the upper harmonies, but none in the lower bass octaves.

Sonatas and Partitas for Solo Violin - edited by Leopold Auer

The repetition begins to rapidly build. The second one brings the octaves between the hands closer together, but the notes G-flat and C-flat are the same. A third leap, with the bass again lower, changes C-flat to its equivalent note B, and Brahms changes the key signature from three flats to two sharps. The violin enters after its long rest, playing a passionate fragment above the piano, whose leaps have emerged into full chords in B major. The violin plays the melody, but the piano accompaniment also shadows some of its outlines in the right hand, playing leaping figures in the dotted rhythm with the left.

The volume rapidly increases and the piano speeds up, playing broken octaves in triplets and then plunging downward in a rapid arpeggio. It now sounds martial and defiant. The piano accompanies the violin with chords, while its left hand loosely imitates the rising dotted-rhythm. The scoring and octave placement is similar. It seems at first that there will be an analogous motion to G major from B minor, but the expected G major on the third leap is thwarted harmonically and diverted instead toward D minor.

The violin, in a low register, also combines these elements in alternation with the piano bass. At the intensification, the violin speeds up even more rapidly than the piano had done and emerges into the plunging arpeggio formerly taken by the piano. The piano seems to begin the martial version of the dotted rhythm again in D minor, and the violin begins to imitate the piano bass in a reversal of [m.

This time, however, the imitation remains strict and the dotted rhythm begins to move upward in sequences. At its peak, the imitation breaks and the violin begins to play leaping octaves. The piano has thick chords over plunging bass octaves. The music moves to a huge arrival on an A-major chord. The A-major chord is followed by similar arpeggios on a B-flat major harmony. Against these, in double-stops, the violin begins to hesitantly hint at the main theme of the A section.

The fragments of the main theme continue in the violin double stops, but they are then shortened. There is a slowing and a diminishing of volume over the last dissonant arpeggio. The violin simply holds its last double stop without moving, and there is an extremely intense pause. The violin now plays the main theme in warmly harmonious double stops while the piano provides a new undulating accompaniment in triplet rhythm.

The piano bass still plays the wide arpeggios, clashing with the triplets in a two-against-three conflict. As before, it moves to B-flat. The violin continues its double stops, the piano its decorative accompaniment and clashing two-against-three rhythm.

The phrase ends with a descending B-flat piano arpeggio in the triplet rhythm. The difference is in the piano accompaniment, which is still playing the florid triplet motion. The same low octaves emerge in the bass. As before, the music moves to E-flat minor and to a half-cadence. The violin melody gains confidence and builds, as at [m. New syncopation is introduced in the flowing piano triplet rhythm. The bass octaves are as before.

The piano is still playing the triplets in the right hand, at first with irregular groupings that cross bar lines, continuing the syncopated effect from the previous passage. The countermelody is embedded in the flowing triplets. There is a building, with a delay of the cadence in E-flat, as in the first A section. The low bass octaves remain in pure E-flat major, but the supporting chords introduce the chromatic note D-flat, which creates the necessary tension. The entire passage is very soft, even softer than the beginning of the B section. It continues constantly in the dotted rhythm, with notes held across bar lines.

Above this, the right hand plays middle-range chords that do change, but quite slowly. The right-hand chords introduce more notes in addition to the D-flat that give the music an inflection toward the minor key. Above all of this, the violin surreptitiously enters after its long rest and plays the expressive, winding melody from [m. The violin departs from the melody after two sequential phrases, breaking into arching arpeggios over the piano pedal point and chords.

The violin, in double stops, begins a statement of the main theme from the A section in that key. The piano bass moves down and up by half-steps. The right hand begins to respond to the violin, and there is a sudden buildup. The main theme in G-flat breaks and reaches higher. As the buildup reaches its climax, E-flat major brilliantly emerges again on the opening figure of the theme.

The violin moves down an octave, and both hands of the piano move up an octave. The arpeggios continue a bit farther than before and reach a quiet, warm cadence. Two sighing reiterations of this cadence, the second with the piano rising, end the movement in a very peaceful manner. The first two bars are directly derived from the minor-key Regenlied melody. The violin plays the melody itself, beginning with the distinctive dotted-rhythm upbeat. The piano plays an accompaniment derived from the song, the skittish upward motion and the winding downward motion.

The piano bass has isolated dotted-rhythm upbeats, and the left hand once leaps above the steady accompaniment to play them higher. After the second bar, the melody deviates from the song, but retains the same quiet, agitated character. It is extended to five bars by an insertion of a bar with triplets in the violin. The left hand abandons the dotted upbeats for low octaves. The phrase moves through A minor to D minor for a cadence. The piano skips upward in a bridge, moving back to G minor.