![]() ![]() A tone-semitone diminished scale is used. T4 is played by the viola in measures 102 and 110 and by the violin and cello in measure 106:Ī D# pedal with a B dominant harmony is established from measure 102 to 110. The size changes in each appearance but it always appear in sections using the same number of measures. We will use T4 to identify this theme although it is built using previously presented motives: Ravel presents motive m4 in measures 98 to 101, before developing a new theme ( T4) in measure 102. The 7 measures long block is repeated over a F half diminished chord, The T2 theme is now played by the first violin and cello: This theme appeared for the first time in measure 9 in a shorter version: Over a D minor seventh chord the viola presents theme T2. Here are the chords used in measures 69 to 83: The following table resumes the use of T3 and T1 in the first 15 measures: The development begins as a continuation of the exposition. A dominant chord is the main chord in the section: The following measures prepare the second section. In measures 41 to 43 two diminished scales are simultaneously used: Two diminished scales are used, one by the viola, and another by the other instruments:Ī climax is reached with the m5 motive in the first two violins and motive m4 in the cello: A C# sharp minor and an A# diminished chords are used in measures 35 to 36 before returning to the diminished scale in measures 37 and 38. In measures 35 to 38 the first violin develops motive m1. This scale is a symmetric scale, any other transposition will create a scale that shares notes with one them: Ravel has already used the 3 possible diminished scales. The semitone–tone diminished scale starting in C# is used in the A blocks: In measure 32 the block reappear but reduced in size. The T1 motives goes now to the viola and the second violin: The chord is now an E dominant chord with major ninth that changes into a minor ninth. In measures 28 to 31 the two A blocks followed by a B block scheme is repeated. Using the D# as first note the scale is a tone–semitone diminished scale: In beats 3 and 4 the chord changes to a D# diminished seventh chord and the diminished scale reappears. The first violin develops motives from T1. In the first two beats of block B (measure 27), Ravel uses a D half diminished chord. The first A block is based on the diminished scale (semitone-tone) over a C dominant chord with major and augmented ninth, augmented eleventh and major thirteenth: Measure 28 shows two new repetitions of the A block followed by block B: This section is not organized following the time signature: a first 6 beats block is repeated in the third beat of measure 25. A new motive ( m5) is shown in the second violin. We find m2 in the second violin transformed by diminution. In the first measures of the transition to the second section, the first violin makes variations of T1. Recording courtesy of Cassatt String Quartet Measures 21 to 23 use the whole tone scale over a G dominant chord with ninth and sharp eleventh: The motive that appears in measure 21 will be labeled m4 as it will be used later in the movement. Three measures prepare the transition to the second section (measures 21 to 23): The first violin begins with the first two notes of T2 (a confirmation that they are related). This passage ends with the dominant chord of F and leads to a variation of the first theme T1 in measure 17. Motive m2 appears in the ascending scale played by the second violin in measure 9. It may not appear to be a new theme, but Ravel will develop this theme later in the movement so we will identify it as T2 and its first 4 notes as motive m3: The thematic material played by the first violin is a variation of m1. We will label the motive played by the first violin in the first measure m1 and the first four notes played by the cello m2:Īfter the first theme, a dialog between the two violins starts in measure 9: In the first phrase, the cello plays an ascending F major scale doubled by the second violin a tenth above. The second phrase uses the Eb Mixolydian mode: The first phrase uses the notes of the F major scale. The second phrase begins with an Eb and descends to a second line G: The first phrase begins with an A and ascends to a C. This theme has two four measures phrases presented by the first violin. The movement begins with the first theme ( T1). ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |