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, you’ll 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, João-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 piece’s 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.
—Count the total number of notes in each chord and write the total on the score. (see photo 2).
—Identify textures, ie. monophonic, biphonic/duet, polyphonic, homophonic, etc. Label changes in texture, ie. “Subito monophony” (abrupt or instant reduction of voices to a single voice, eg. Romances Op. 28 nr. 2, m. 17.)
—Describe topics, moods, emotions, instruments, or ideas indicated by textures. Descriptive phrases should metaphorize related elements and point to changing states, eg, “The harmony ambiguates as texture thins: it sounds like the experience of losing one’s train of thought.”
—Determine 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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Is there a video to accompany week one? Thank you!
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Pat Van Buskirk I made one! Will check with Dominic about it.
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Jarred Dunn Pat Van Buskirk video was just posted above! Sorry, seemed to take slightly longer processing it!
Thanks!
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Dominic Cheli Jarred Dunn Thank you for presenting this. Had an accident this weekend resulting in mild concussion, so not sure how much I can participate, but I'll be following along.
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Pat Van Buskirk Oh no! Hope you feel better soon.
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Dominic Cheli Jarred Dunn My meager attempt at Forscore, first two bars of Romanze, Op 28, No. 2, with extraneous notes whited out in each staff. For Soprano/Alto and Tenor/Bass, please ignore the other staff.
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Pat Van Buskirk This is a shortcut I never considered; I would still rather see it in open score and wouldn't recommend using Bauer's edition - use Clara Schumann's instead (on IMSLP as Breitkopf).
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Jarred Dunn Thank you so much for your input. Do you agree with the voices I've chosen? Also, I have difficulty in labeling chords and wondered if you have a good reference for learning this - books, course, etc. I have really enjoyed all your courses on Tonebase, plus learned a great deal - thank you for doing those!
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Hello everyone! I’m really excited about the opportunity to dive deep into this Schumann music course. For this first week I've chosen "Kind im Einschlummern" (Child fallin sleep), number 12 of the Kinderszenen op 15, a beautiful and enigmatic piece full of nuances.
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If the piece is in three voices, should we write it that way or add an implied bass line on the bottom? (I am working on Des Abends from Op 12.)
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Harriet Kaplan here’s my old copy. I thought in four voices although only three are written/stemmed (highlighter colours per voice).
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Hi everyone! Looking forward to this TWI! Sounds very exciting! I will use the opportunity to work on the second movement of the G-Minor Sonata op 22. Can't wait to get started.
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Andrea Buckland that piece has a fascinating history and the andante is cunningly connected to the first movement. I’m so glad you chose it!
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Jarred Dunn it’s such a gorgeous piece! I already did a little bit of research (thank you for the Henle tip!), found the song and started to annotate the score. I would really like to study the other movements as well - if only for context.
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Andrea Buckland great sleuthing. The new Henle has Im Herbst at the back (as it does for op11 with An Anna). Good start, and yes to your playing the entire sonata.
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Hello TB friends! Looking forward to learning more about Schumann. I will work on Waldszenen- maybe focusing on Eintritt to start.
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Good afternoon, TB Schumann team! I'm going to start with the final piece in the Kinderszenen set, The Poet Speaks. Once I get the feel for this TWI, I'll add a few more movements.
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Hi Jarred,
Vogel als Prophet will be my choice and I have questions about...the opening few measures:
1. The 32nds notes ARE triplets, aren't they?
2. Instead of tying the dotted notes to the 32nds, how about inserting the smallest, tiniest of spaces for clarity. It's like the moment a bird takes off to fly to the next branch.
3. Would you be SHOCKED if I redistributed? It works soooo much better and sounds so much more bird-like.
Thanks, Jarred.
Monika
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Monika Tusnady
1. Yes
2. No (but cute image)
3. Far from shocking, that's expected.
Great questions!
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Jarred Dunn thanks, Jarred! I'm disappointed about No.2...
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Monika Tusnady
the score is explicit. You’ll find the space you asked about exists in the sound (breaking it wouldn’t achieve this). Listen to Eliso Virsaladze, who captures the effect you envision.
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Hi Jarred! I'm excited to delve into Schumann for this TWI. The assignment looks slightly scary to me--I've never split up anything into SATB. I will give it a go nonetheless!
I plan to do the 2nd piece from Waldszenen, Jäger auf der Lauer. I didn't like it at first, but then I listened to Richter play it and I was sold. I wonder how it will translate into SATB.
I'm tempted to do Abscheid also but not sure I'll have the time. Actually it would be cool if I could play all of them eventually, haha.
Edition question: last week I started learning the piece with the Harold Bauer edition, since I like him (his book, called His Book, is really funny). Now that I'm familiar with it and I look at Clara Schumann's edition, I'm noticing some dynamic indications are different. What edition would be best?
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Marc M Do not use Bauer! Use Clara Schumann's (on IMSLP as the Breitkopf) or the updated Barenreiter (not on IMSLP, but excellently sourced). I agree Bauer's book is funny but his editions are too.
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Hello everyone! I'll be working on Kinderszenen no. 1.
I just have a question. I separated the triplets into two voices (tenor and alto) is that ok or are they just a single voice?
I separated them because the stem on the third note is pointing downwards. That was my reasoning. I'd also like to know if that is correct.
Thank you very much.
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Andres David Ruiz Labra This is exactly how to do it. You're on the right track. Smart to separate into Alto and Tenor: creates colours and subtlety.
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