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, youāll 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, JoĆ£o-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 pieceās 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.
āCount the total number of notes in each chord and write the total on the score. (see photo 2).
āIdentify textures, ie. monophonic, biphonic/duet, polyphonic, homophonic, etc. Label changes in texture, ie. āSubito monophonyā (abrupt or instant reduction of voices to a single voice, eg. Romances Op. 28 nr. 2, m. 17.)
āDescribe topics, moods, emotions, instruments, or ideas indicated by textures. Descriptive phrases should metaphorize related elements and point to changing states, eg, āThe harmony ambiguates as texture thins: it sounds like the experience of losing oneās train of thought.ā
āDetermine 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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Hello All,
I will be working on Traumerei from Kinderszenen Op 15, I mean, why not? I'm only learning it now, never having played any Schumann until 3 days ago.
I don't have any tools for documenting my analysis, just blank staff sheets. I assume this will be acceptable.
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Randi Perfectly fine on usual staff paper.
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Jarred Dunn Looks like the link to āphoto 2ā above is not working. Maybe Dominic Cheli can repost it? Thanks.
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Vidhya Bashyam Dominic Cheli Jarred Dunn are the three images are all the same, or am I missing something?
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Harriet Kaplan Looks like they reposted. Pic 2 looks the same as Pic 1 but with the note count at the bottom.
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Vidhya Bashyam that is right! Note count at the bottom is the only difference.
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āFaschingsschwank aus Wienā - IV. Intermezzo. Iām old and will have to use paper and pencil.
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Hereās mine without a note count. I can add that later. Is this on the right track?
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Harriet Kaplan this is good!
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What a great topic! Thank you for all the information.
I was learning some of the Kreisleriana, but i didn't see it on the list. So, I'm going to try Fantasie, Op. 17 3rd movement (Langsam getragen).
Looking forward to joining this TWI with everyone!
Unfortunately, I have to travel end of the week, not sure if i'll have access to piano to record anything.
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What I love about the tone of the TWI is the focus on expression, gesture, and meaning from the moment we first begin to learn a piece. I wish I had learned to play that way as a child.
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Jarred Dunn Dominic Cheli Thanks for uploading this; I had planned to work on Des Abends. Unfortunately, my mother-in-law had some health complications this past weekend, and she will now be staying with us for a couple of weeks until she recovers. Given this, Iāll have less time than I originally anticipated, so I donāt want to take up a spot if someone else could use it. However, if possible, Iād love to observe whenever Iām able in the hopes of absorbing some of the material.
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Blair Boone-Migura Iām so sorry to hear that! I hope your mother in law feels better soon.
By all means observe the TWI, you are not taking up a spot! Happy to have you participate from afar!
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Thanks so much Dominic!
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Hi Jarred Dunn Thank you for the instructions you have given us. It`s just amazing to see how top professional takle with music. Some music terminologies are something I barely heard of... to be very honest. Not quite sure if I`m adequate enough in my skill and knowledge for this TWI. Good to know that it is OK to follow and study from you all. I love leaning something new:)
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Sachi Yes, I'll be lurking here in the background with you! I am not at the level of playing these pieces, yet - my foray into Schumann has been limited to his opus 68 Album for the Young. But I'm sure I'll learn a lot just by watching and reading everyone else.
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Hi Michelle R
I used to practice many of Schumannās op.68. I like sweet calmness in them. Yes, it is interesting and fascinating to observe how musicians think. Iām glad to have opportunity to learn from them and hopefully slowly get strengthened my own piano muscles
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Jarred Dunn Thank you for this wonderful intensive. I'll be working on Kinderszenen No. 1. Before I upload my SATB open score, wanted to check with you on the second part of the piece. For the first 8 bars, I had the same question as Andres and split the triplets into Tenor and Alto. But when I got to bars, 9 through 14, I was wondering if the triplets should be considred a single voice (Alto) instead of split between Tenor,and Alto (which would be different from the way I approached the triplets of the first 8 bars.) Hoping to see if I'm on the right track before I clumsily work on putting everything into Musescore.
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Helen Lee You are right!
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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 wasnāt 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.
