[Smt-talk] Motivic linkages

gzar at mail2.gis.net gzar at mail2.gis.net
Fri Oct 28 06:35:44 PDT 2011

Thanks to Michael Baker for his interesting, effective, and provocative presentation yesterday! If I may, I would like to add to my suggestion yesterday of a Beethoven op7 mvts1=>2 linkage ex.   

The link I mentioned was the final Allegro up beat-down beats D-Eb of mvt i, followed by the initial Largo downbeat-afterbeat E-F (if I remember correctly) -- continuing in chromatic ascent, but changing not only its durations but also its metric meaning. 

Further, in spite of being an exact pitch transposition, the D-Eb degrees are an "active-stable" pair, ^7-8, while the E-F are the opposite, ^3-4! (one might hear a metric-modulation between the two pairs too!) 

Finally, rather like the start and end of mvt 1 of Eroica, virtually the same G-Eb pitch-rhythm motive AND accompaniment are heard at both the start and end of the mvt--but at the start, G is the focus, with a "down-after" metric -- appropriate for a mvt-start; while by the end it has been transformed into the opposite, Eb focus, up-down meter  to help end the mvt. (Sort of "The same, AND not in the same way"!) 

By the way, this calls to mind pretty much any time a composer (Beethoven!) reaches a sop ^1, then repeats it ("links" it?) with a bass/root shift to bVI...  Or as was mentioned yesterday, when a significant figure recurs, with same staff-letters but changed accidentals, so tonally reinterpreted, such as in the middle section of the Schubert Bb Sonata mvt 1 MT, etc. -- or Prof Baker's Ex 10, where as we discussed yesterday, not only the staff letters recur, with different diatonic focus, but the linked motives change from NT and appogg figures to PT figures...

Again, Prof Baker, thanks for your inspirations!



Gerald Zaritzky
NEC of Music

[Sent from a tiny device on which I am barely competent... Sorry for any odd typing or format!. --GZ]

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