& # 8220 ; Warm Die Lufte & # 8221 ; Essay, Research Paper

An Analysis of Berg? s? Warm dice Lufte? from op. 2

Berg? s? Warm dice Lufte? from op. 2 is a alone vocal. Within it, Berg weaves unkeyed and tonic authorship tools to make a really interesting sound. The soft portion suggests harmonic gesture and recognizable keies while the vocal line characteristics abstract dealingss to other musical extracts throughout the piece. The inquiry so arises, ? How does everything work together? ? Through musical analysis one will happen that the piano portion and the vocal line have small if nil to make with each other tonally or atonally, therefore it is best to detect each portion individually.

The vocal line is by far more abstract so the piano portion. It appears to be really sporadic yet carefully crafted. There are several things Berg did to make a sense of integrity and motion throughout the vocal line. The first facet that Berg paid particular attending to was his pick one peculiar interval. The interval of importance is the half-step or 1. In the vocal line there are 26 1? s ( including 11? s ) . There are 107 intervals in the vocal line. This means that approximately 25 % of all the intervals are 1? s. What we hear because of this, is a really tightly knit vocal line. Berg? s usage of 1? s lends itself to his penchant of a bit by bit changing motion through out a phrase. This is really different from Shoenberg? s disjointed 18? Thursday springs and things of that kind. Overall it creates an interlacing consequence. An illustration of his usage of 1? s occurs between millimeter. 9 through 14 ( ex.1 ) . The vocal line serpents around traveling from chromatic neighbour notes for five long steps bit by bit constructing to the flood tide of the full vocal ( m.16 ) While non a utmost interval, the 1 is basically the chief edifice block of the vocal line. Without it, the vocal line would be wholly disjointed. The scope of the vocal portion besides contributes to this statement. When the lowest note A ( m19 ) and highest note G # ( m.16 ) are put together, a 1 appears. It could be a happenstance, but the accent on the 1 leads me to believe it was planned. There are many other intervals in the vocal line, but none have the importance that 1 has.

The lone other interval influences the sound of the vocal line is the 6. The tritone is established as an of import interval from the really beginning of the piece. In the gap phrase there is three tritones. Ex.2 shows the tritones. In about every other phrase has at least one tritone. The tritone and 1 work together to specify the sound of the vocal line. ( see Ex 2 for more illustration of tritones ) The tritone creates the tenseness of the vocal line and the chromatic half-step helps to make a feeling of decelerating edifice choler.

Another country of careful consideration is Berg? s usage of disordered pitch-class relationships. On the outside, many of the vocal phrases look different in length and existent pitches. When you send certain phrases through normal signifier and into premier signifier, the intervals show the true relationships. The first relationship occurs between ex.3 and ex.4. When reduced to their premier signifier, these two illustration output similar interval content. Ex.3? s interval content is *13112* and ex.4? s interval content is *21131* . Ex.3 and ex.4 are inversions of each other, therefore they are related. Any realtion helps add integrity to this piece.

One more illustration of relationships by disordered pitch category occurs between ex.5 and ex.6. Once once more we can detect how premier signifier reveals an indistinguishable interval content. Ex.5 and 6 both have the interval content *111112111* . Although ex.1-4 appear to be different, analysis proved that they do hold an internal relationship which was planned by Berg. I like to believe of it as musical franchising. It? s the same nutrient and ingredients, but in a different edifice and location.

Besides the above there are besides some smaller and less important vocal characteristics. In some subdivisions, the vocal line uses small spots of pitch-class aggregations, more specifically the octatonic and chromatic graduated tables. A part of the octatonic graduated table appears in mm.13-14. The notes between the C # ? s are members of the Octatonic 1,2 graduated table ( ex.7 ) . The lone note that is losing is 5. The chromatic graduated table is besides about to the full represented in ex.5 and 6. In ex.5 the lone notes that are losing are 6 and 10. In ex.6 1 and 6 are losing. Overall the chromatic sound is still really easy to hear.

Another interesting thing occurs in the gap vocal phrase. Through the usage of intervalic analysis, an interesting form became seeable. The intervals that became seeable created trichords. If we exclude the 4 in the 2nd step, the phrase moves from [ 026 ] to [ 015 ] to [ 013 ] and eventually a [ 012 ] ( ex.8 ) . Overall this shows a shriveling gesture as the phrase moves frontward. The shrinkage of intervals gives us a feeling of great tenseness. It? s about like you are acquiring squeezed by the music.

This leads to the subject of text picture. The text by Alfred Mombert is really dark and tense. Mombert gives the false feeling of comfort and felicity by speaking about sunlight and hayfields, yet there terrible agitation and tenseness in the verse form. Berg conveys the feeling of the verse form with unbelievable truth. Besides the illustration above of being squeezed there are many more cases of text picture. The most powerful illustration of text picture occurs in step 16. The miss? s choler at her male friend is treated with a ternary strong suit and the highest note of the piece ( G # ) . Berg captures her fury and eventual boiling over. Berg so goes on to stress the word? dice? in step 19. The word? dice? occurs on the lowest note ( A, -3 ) . The consequence is astonishing. The miss cries out in choler and so says? dice! ? . The music conveys the fluctuation of emotions, through the utmost alteration in registry.

The piano portion besides portions the occupation of text picture. The piano does more work in making a scene for the voice to brood in. It functions like particular effects in a manner. One of the neatest illustration of text picture in the piano portion occurs in step 6. The piano floats around in the high registry, so rapidly tumbles down about three octaves. This sounds like a bird winging high and so pouncing to the land. This relates to the line that says? listen -the Luscinia megarhynchos is singing, I will sing? . We have the bird up high and so we swoop down to anchor degree were a individual would sing. ( ex9 ) Another illustration of text picture coincides with? he makes me wait & # 8230 ; . ? After this line is sung the piano plays six low pedal B flats in a row. This represents waiting. It sounds like a gramps clock chiming on the hr. The B flats besides create a great scene for the word? dice? . It is really baleful and evil sounding. ( ex10 )

Text picture is the lone country where the piano and voice portion a relationship. As I mentioned in the first paragraph, the voice maps in a more unkeyed manner. On the other manus, the piano portion has more tonic links that hold it together. Time intervals play a really of import portion in the piano music. The interval of a 6 occurs really frequently and in the same manner of an up and down gesture. The illustrations of this occur in steps 6-8, 10-11, and 17. In steps 6-8 the piano repeats a 6 between E level and A s

nine times. One step subsequently the up and down 6 occurs once more except this clip in a 7 diad made up of F # and C # and a 7 diad of C and G. An interesting facet of these diads is that the notes of the old up and down 6 are the minor tierces of each diad. ( A creates a f # minor three and the e level makes a hundred minor three. The concluding illustration of the up and down 6 occurs in step 17. This clip the gesture is between a 4 interval of C and E and G level to B flat. ( ex11 )

This leads to the following of import interval, the 3rd. In many cases he uses tierces to alter the colour of disordered pitch sets. One illustration of this is in steps 9 and 10. ( ex12 ) The two chords that go back and 4th would be a G major three and an A child three both in first inversion When the minor tierce is stacked on top of the threes the ear is wholly thrown of and the three are disguised. This besides happens in steps 22 and 23. ( ex13 ) If Berg had left out the c/eflat 3rd, an E minor three would be heard. In the following step an A minor three would sound.

One of the most of import intervals in the piano portion is the fifth. The first plangency we hear in the piece is a fifth of C and G. This fifth is repeated for three steps. ( ex14 ) The accent creates a association with C as a halfway note. Everything moves above the low C. This is farther emphasized in step 5 and 6 where another fifth built on C is held out for about two steps. It comes back once more in steps 10 and 11, but something interesting happens before the 5th sounds. In step 9 and 10 there is a mini harmonic patterned advance to C. ( ex15 ) First we hear a G major three and A minor three as mentioned above. These two plangencies are to a great extent rooted around C, G being V and A being the comparative minor VI. It is non Bach harmonic patterned advance but it has tonic deductions.

One of the interesting was Berg uses the 5th occurs in steps 22 and 23. ( ex16 ) Within these steps Berg creates two cases of V to I gesture. In step 22 the top 3 notes in the right manus organize a A level major three in first inversion. In the following step on the eight note of round two, a D level major three in first inversion sounds in the top three voices of the right manus. The A level major three is the V of D level major. There is besides another similar relationship like this one. In the same topographic point as the A level major three sounds, an vitamin E minor three besides occurs. This besides is the V of the a minor three in the following step in the left manus.It is difficult to hear these dealingss at a really slow rubato pacing, but in recordings that move a small quicker it is more hearable.

Berg besides used disordered pitch sets to make strong harmoniousnesss in the vocal. One of import disordered pitch set that dominates the terminal of the piece from step 22 to the terminal is { B, F # , Eflat, A, D } or { -25, -18, -9, -3, 2 } . ( ex16 ) This chord sounds six times in the last four steps. This repeat creates a centre around B, merely like the focal point of the first subdivision was around C. Overall this can be seen as an overall motion from C to B. Once once more the half -step reappears.

The piano besides has some of import motivations. One interesting motor occurs in the right manus of the soft portion from steps 13 to 15. ( ex17 ) The motor Begins on a C and goes up to an F # to from a tritone. This repeats four times except each clip the excess note on top goes up by a half measure. Overall it forms the tritone patterned advance of [ 016 ] to [ 026 ] to [ 036 ] and eventually [ 026 ] . This motivation with the spread outing top adds to the physique up to the flood tide of the piece. It besides emphasizes the importance of the tritone. The tritone sounds each clip.

This motor leads into another interesting subdivision of the piano portion. In step 15 there is an interesting black and white cardinal tally. ( ex18 ) The black keys ascend in a pentatonic graduated table while the white keys descend down in a G mixolydian graduated table. The most interesting facet of the tallies is what notes they star and terminal on. The black key run begins on an A # and ascends two octaves to A # once more. The white cardinal tally descends two octaves from a B to a B. Once once more a half-step is formed. It is besides of import to observe that every individual pitch in the chromatic graduated table is represented in the 2nd half of all in one. These tallies with all the chromatic notes suggest the breakage point for the miss in the verse form. There are to many notes to manage, merely like her friend non demoing up was to much to manage.

When discoursing high and low points of emotion in the vocal, signifier must be observed. Overall the piece is divided into three subdivisions. These subdivisions are separated by a fast moving falling soft interlude. The first subdivision stopping points from step 1 to7. The 2nd is from step 7-16 and the concluding subdivision is from step 17 to the terminal. Each of these subdivisions progress really of course and swimmingly from one to another. The 2nd intensely builds up to the 3rd. Berg? s usage of effectual kineticss makes the subdivision have their ain spirit and adds to the strength of the physique up to the 3rd subdivision. Up until the physique up, we are merely allowed a piano at the most. The quiet kineticss and intense plangencies truly make really intense feeling. When the overall signifier is observed the emotional map of the piece becomes really obvious. We can track the patterned advance of emotions from contentment to worrying to anger, and eventually unagitated yet morose.

There is one more facet of this vocal that must be address.In the the 3rd subdivision a really interesting tonic form occurs. ( ex19 ) In steps 20 and 21 there is some kind of sequence go oning with falling 5th bass line. The most interesting thing about this sequence is that he copied it straight from Debussy? s Six epigraphs old-timers, an andantino for piano couple titled Pour La ballerina aux crotales. This sequence in note for note the same exact thing. The lone difference is rhythmic. Why would he make this? I interpret this as a definite attempt to retain tonic features. I believe he merely truly liked the patterned advance and wanted to utilize it himself. I besides think it is important that he was interested in Gallic music. When I foremost heard the piece I thought the music had many Gallic influences sing harmoniousnesss that occurred throughout the piece. Overall I like the mixture of Schoenberg & # 8217 ; s and Debussy? s influence. It is a wholly alone sound.

All of the above analysis have led to this decision: Berg? s? Warm dice Lufte? from op. 2 has captured the kernel of life through originative usage of unkeyed and tonic techniques. The blend of the old and new nowadays a perfect balance between order and pandemonium in day-to-day life. Through the usage of unkeyed and tonic analysis intricate inside informations and forms appear from the well within the woodwork. One is able to see that there were rigorous rules of unkeyed theory and a freer usage of tonic techniques that Berg was runing by. The freedom that Berg wrote with merely flushs out through the natural emotion of this vocal. His wise man and instructor Schoenberg sounds dry and foreign to me. Schubert on the other manus sounds unrealistic and cockamamie. Berg? s balance of unkeyed and tonic techniques lets the hearer grasp the music, but non to tight. This lends itself to a really intense world experience through his music.