What are the characteristics of the musical structure of Mendelssohn's "Venetian Boat Song"?

Structural Analysis of Three Songs of the Boat

1. Song without words, Op. 30 6th.

The work is a one-part musical form, with introduction, connection, ending, middle expansion and static reproduction (abbreviated spectrum).

There are six bars in the "Introduction" section, and the fixed sound pattern of the left hand indicates the characteristics of the whole song, which is dynamic like the gentle ripples of the quiet river, and can keep quiet and stable in harmonic progression. There are two vocal melodies in the high notes of the third and fourth bars, which are marked as fading, as if the boat had cut through the water and the ripples gradually dispersed. Therefore, the left-handed sound patterns of the fifth and sixth bars also change, thus depicting a swirling flow.

Section A: The bass area remains unchanged. The melody of singing began to appear in high notes, consisting of two similar Changle sentences, from strong to weak, with a long sense of breath, thus showing a soothing melancholy mood and reminiscent of the boatman's singing.

B: It's the climax of the whole song. In the second and third bars, the tone is gradually strengthened, and the atmosphere is enhanced by out of tune. Then the work is brought back to the original melody through a weak vibrato, and compared with the first part in the form of a duet, thus making the work more vivid. Harmony changed from the second and fourth bars to A major. After the negative seventh chord to the 28th bar of the subordinate chord, the volume increased to the strongest, and the sound became very cheerful and excited, reaching a climax. During this period, the gradual strengthening and weakening of music has an obvious sense of hierarchy, and the strongest part is clear, exciting and not excessive.

In the conclusion, from the beginning of the 49th bar to the end of the music, Beijing is still a fixed rhythm in the bass area, and there are two motivations for compressing the theme starting with vibrato, which gradually weaken and disappear in the harmony of the main chord, as if the boat were drifting away. In the end, there was only a quiet water surface.

2. Songs without words op. 19. Sixth

The work is a parallel trilogy with an introduction and an ending (abbreviated score).

Introduction: 7 bars, musical form, this work is different from the last one in sound form, and its image is more dynamic, which seems to describe the scene of a large number of ships rushing on the water surface of Venice town as dusk approaches. Similarly, there are two singing melodies in the high notes of the third and fourth bars, but both of them are labeled as "sf", and then they quickly weaken to P, as if the paddle quickly and forcefully paddled across the water to splash and cause waves. The bass mode is also very soft and dynamic. The high-pitched areas in the third to fifth sections have the performance of "P-sf-P", which makes people imagine the process of "paddling across still water".

Paragraph: from section 8 to section 17. A parallel, square and modulated program. After a long introduction, phrase A slowly exhales a falling singing melody, as if someone was softly singing nursery rhymes on the boat, with a "melodious" temperament of singing; But the first half of a 1 phrase is obviously repeated and sung, and the second half is like the wind blowing, with a soft roar. The melody of this part, especially the contrast at the beginning of the two phrases, is weaker than the phrase A from the "P" marked on the spectrum, giving people a feeling of flickering.

Section B: It is a regular section from 18 to 25, parallel, square and transposed. B phrase, starting from the subordinate tune of the main theme, gives people a fresh and unique feeling; B 1 phrases return to the main theme, ending with an open and semi-ending, which strengthens the continuity of the works and paves the way for the later melody development. To a great extent, this part has played the role of connecting the preceding with the following, adding fuel to the flames. The overall strength changes are more complicated.

Section C: It is a set of sections from No.26 to No.34, parallel, square and adjustable. The whole paragraph unfolds in the main melody, that is, it returns to the main melody in tonality, and the two phrases are parallel and the tail echoes. At the end of the whole paragraph, it enters the subordinate chord by out-of-tune technique, followed by K46-D7-T, which is a typical traditional harmony technique. There are a large number of "Legato staccato" symbols in the whole paragraph, that is, they are not completely staccato or staccato, but staccato on a coherent basis, vividly showing the scene of "the sun sets, the boatman returns, and the whole water town is noisy and peaceful", and the appropriate limits are well grasped.

Conclusion: From the beginning of the 35th section to the end of the music, the theme of paragraph A reappears, echoing the first half, which indicates that the whole town will be calm at night at sunset, but there is a song echoing in my ear, which is called "the lingering sound".

3. Song without Words Op. 62-5

The work is a trilogy, with introduction, connection, middle ending and change reappearance (simple notation).

Introduction: 4 bars, the sound type is the same as the last one, and the bass "pp" is very different from the treble "ff". Pay great attention when playing. But the difference between them lies in the coherence between the sound pattern (broken chord) and the long sound. Describe a beautiful picture: the calm lake (in a low voice) is taking a bath, and the church by the lake is ringing loudly (loudly), which seems to have an echo (loudly). Tonality develops in a minor, giving people a peaceful and slightly sad artistic conception.

A and Al: Section 5, 2 1, is a typical parallel, square, correct and repetitive routine paragraph. For a while (from paragraph 5 to paragraph 12), the weak singing melody gives people a faint sense of vicissitudes, as if telling people the history of this town. Al (sections14 to 22) is a repetition of paragraph a. In particular, the beginning of the Al section is in the form of a band melody, which is to thicken the A section in parallel octaves. There is a clear contrast between these two paragraphs. One paragraph seems to be said by a voice, while the Al paragraph seems to be echoed by more people.

Paragraph B: refers to paragraphs 26 to 49, which are parallel, square and transposed regular paragraphs. The phrase B is developed from the dominant tone of the main theme and has a strong functional layout; B 1 phrases return to the main theme after short zhe connection, and Napoli chords represented by bll appear at the end. The whole passage gives people a feeling of turbulence, and the mood fluctuation is greater than the first two songs.

Conclusion: From the beginning of the 50th bar to the end of the music, the fragments of the theme material in paragraph A reappeared, and the main chord was decomposed in a colorful way at the end, and the ending ended in the major of the same name in the way of Picardy, which made the style of the work suddenly clear. And this should be the real tone of the whole song.