Week 1: Voicing, Texture in Schumann's Music
Welcome to Week 1 of the latest Two-Week Intensive!
https://www.youtube.com/watch?v=5RJ1WsNPulY
This week, youâll choose one or two pieces and study the harmonic colours, voices, and texture. This should help you memorize the text and understand its shape.
Preparatory Step: Gather Information
A) Listen to the repertoire list and choose the piece(s) you'd like to focus on for this TWI. (from Kinderszenen 3-4 pieces may work). Recommended pianists: Virsaladze, Argerich, Cortot, Horowitz, Richter, JoĂŁo-Pires, Arrau, Ashkenazy, Lupu, Perahia, Gavrilov, Merzhanov, Uchida, Grimaud, Nikolayeva
B) Research your chosen piece on G. Henle Verlag website. Click on Preface and Comments under the cover picture.
C) Watch any of these videos about Schumann and his music:
Overview of Schumann: https://www.youtube.com/watch?v=SbF86ag4Rvk
Claudio Arrau on Schumann: https://www.youtube.com/watch?v=o4ty6yJjF8U
Simon Rattle on Schumann and Brahms: https://www.youtube.com/watch?v=yXTTlKdy5q4
Mitsuko Uchida on Schumann: https://youtu.be/u1vYu56xY9w?si=Ney0HGSqBkYZI8zs
- Anatomy of Poetry: Voices of Harmony
A. Write the main theme in SATB open score. Each layer/voice should have its own staff (see photo 1).
B. Label chords (symbols, Roman Numerals, etc).
C. Play from your open score and singing in solfege or open syllables, in the following order:
Alto
Tenor
Bass
Alto + Tenor
Tenor + Bass
Alto + Tenor + Bass
Memorize Alto+Tenor+Bass
*If your pieceâs melody is in Alto, Tenor, or Bass, work on the other voices. Learn harmony first.
For TWI Forum:
Upload your open score to the chat for comments.
- Anatomy of Poetry: Texture
Study the texture and consider the following as you work.
âCount the total number of notes in each chord and write the total on the score. (see photo 2).
âIdentify textures, ie. monophonic, biphonic/duet, polyphonic, homophonic, etc. Label changes in texture, ie. âSubito monophonyâ (abrupt or instant reduction of voices to a single voice, eg. Romances Op. 28 nr. 2, m. 17.)
âDescribe topics, moods, emotions, instruments, or ideas indicated by textures. Descriptive phrases should metaphorize related elements and point to changing states, eg, âThe harmony ambiguates as texture thins: it sounds like the experience of losing oneâs train of thought.â
âDetermine where sustain and/or sostenuto pedal will be necessary and the quantity needed: full-/half-/quarter-sustain, fluttering, no pedal, etc. Record the harmony using a variety of approaches to pedal.
For TWI Forum:
Upload a performance of the harmonic voices
Upload a performance of the different pedal changes (say aloud "change" or "quarter pedal" or "flutter" so it's clear where you're doing these)
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Hi TWI friends and Jarred Dunn
I did a little research by using almost
all my resources 
(theory book, Wiki and chords finder) and gave it a try.This is from Kinderszenen: Wichtige Begebenheit. The first 4 bars here, I wasnât sure if Alt part should be one voice and Tenor part two voices? You probably mean that I should make informed dicision, be aware of which voices come foreward.
Musical texture: homophony in these 4 bars
Mood: this piece gives me feel of almost victorious, pompous...I envision Clara asks to prepare their houshold for important visitor, Liszt is coming over for dinner. Kinderszenen was written before Robert and Clara got married, so this is just my fantacy. I enjoyed reading preface on Henle, thank you for that, too Jarred.
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Sachi I love your description of of the mood of this piece. It makes for a very distinct transition into Traumerei which comes next, doesn't it?
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Jarred Dunn Thank you for this TWI - the first time I have attempted splitting up the voices; also the first time using a notation software (MuseScore) :)
I have taken the first 8 bars of Of Foreign Lands and Peoples. Next step (for me) is to play these voices separately as in the assignment (and record). Before I do that, I think I should write down the fingering as I would use for the piece first?
Thanks again
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Ah, noticed an error- the F#s have become natural. I think because I changed the key signature after entering the notes!
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Jarred Dunn
Have tried to work out the chords, with some success I hope. Bars 1-4, the progression is I-V-I-V if I take only the first beat of each bar; similarly Bar5-8 it is I-IV-?V-I. Am I getting this?Of Foreign Lands and Peoples I chords
Thanks again. Finding the exercise quite enjoyable :)
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Rashmi Lahiri The chords you're missing are:
m1 and 3, beat 2: vii diminished 7th of V (d major)
m5: I6 (first inversion tonic chord, g major)
m7: V64 - 53 (cadential dominant)
The so-called "functional" view of m1-4 is what you wrote: I - V - I - V (tonic function - dominant function - tonic function - dominant function). You are right about m5-8: I - IV - V - I (tonic - predominant - dominant - tonic).
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Jarred Dunn Amazing - thank you!
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Iâm planning to work on the Romance 28/2. Iâm currently out of town but will be home on Sunday. This is my first TWI and I wasnât sure what to expect! May not have been the best timing, but I am excited to join in as much as possible. I saw that my edition is Bauer, so Iâve downloaded the Clara Schumann edition. I will look for manuscript paper while weâre out today! Any suggestions on music notation apps?
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Kakie Roberts thanks for joining and for getting the better edition. For notation apps⊠pencil and staff paper!
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