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 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. Youâll find the space you asked about exists in the sound (breaking it wouldnât 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, JĂ€ger 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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Jarred Dunn
For Op. 82 no. 2, here's my SATB open score for the first 12 measures. I was unsure about how to split the voices up, but I tried! The piece sure has lots of transitions from thick textures to thin.
Also uploaded score with chords and topics/moods etc. I'll upload video of the piece dropping the "melody" soon as well (the piece is melodically strange, so I think I'll drop most of the runs and soprano notes).
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Marc M your voice allocations and comments on texture are lucidly on point. The number system for texture explains Schumann's dynamics and helps shape any plans we have for the subtler nuances. Good catch: it's melodically strange and at times ambivalent. Harmonic analysis could be a bit more based in tonicizations (ie. V's and vii's of other keys etc) but your identification of chord names is accurate.
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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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Andres David Ruiz Labra This is wonderful. May I ask what program you are using to create your music?
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Beth Lester Hi, the program is "MuseScore Studio" current version 4.5.1 . It is completely free. Sorry for the late reply.
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Andres David Ruiz Labra Thank you so much!!
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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 After a couple of false starts i think I'm on the right track. I've gotten through only the first line and want to make sure this is correct. I'm open to any input (from anyone!). This is a more intense exercise than I anticipated. A totally new activity for me.
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Randi this is good work. You don't have to follow the same stemming as in the original keyboard-style writing, you can stem per one voice (see photo 1 - all stems fit into their staves, showing they're separate from all others). Next step: write out another phrase and start practicing bass/tenor/alto!
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Jarred Dunn Looks like the link to âphoto 2â 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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âFaschingsschwank aus Wienâ - IV. Intermezzo. Iâm old and will have to use paper and pencil.
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Hereâs 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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Jarred Dunn Here's my early attempt. Not sure if i'm on the right track.
Struggling a bit with the harmonic analysis. mm5-10(theme) is going from Cmajor-> dmin7->Amin ?
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