Moving on to measures 13 to 16, a similar modulatory motion can be observed, going from Bb to a (b9) before resolving to D. For two measures. The last beat of measure 16 then moves on to C. In order to resolve to the initial tonality of F major for a repetition of the original theme.
It should also be noted that the final cadence is much stronger than any other cadence found in the piece; the other cadences were leading into something more, a new tonality, an answer to a question, while the final cadence makes a good point of leaving nothing left to be heard. (ed. Johnson 1924, p. 115)
Texture and Rhythm
Traumerei's texture is hard to define, as it closely resembles a combination of polyphony and homophony. As defined by the Free Dictionary, polyphony consists of two ore more independent melodic parts sounded together while homophony is a unique melody carried by a unique voice supported by a chord accompaniment. For example, it is clear that the upper voice is the main melody, which at many instances, seems to be supported by a harmonic progression; however, within this harmonic progression...
The harmony is used for particularly dramatic effect in Bar 4, where four eight notes can be heard under beats 3 (the second half of a half-note) and 4. Schumann again creates movement in a similar way in Bars 8, 12, 14, and 20, where there is much more movement for the left hand than for the right. Schumann keeps most of his chords in the register below middle
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