Where is each voice going in this passage?

[neueliteratur]

Hello,

in passages like this one, what do you think is the trajectory of each voice?

The number of notes goes from 6 to 5 to 6, so I guess there are two notes that are becoming one, but which ones?

I'd like to hear your opinion.

Thank you.

[Ogg Vorbis]

As idiomatic to 19th century piano music, the texture is as much of a result of a desired sonority as it is voiceleading. So chordal passages exhibit some freedom of voice treatment in order to get a fuller sound.

Plus passages like this are written for the pianists hands which are able to grab either extra or (or in some cases fewer) notes. It's "pianistic" writing. (Look that term up for elucidation.)

[neueliteratur]

the texture is as much of a result of a desired sonority as it is voiceleading.

Thanks. So it's like jazz, I guess? (thinking in terms of color rather than strict voice leading)

[Ogg Vorbis]

Yeah, so in the 19th century you start to see the rise of the ethos of "the sound is the thing." All this is just my opinion, tho.

[neueliteratur]

Yeah, so in the 19th century you start to see the rise of the ethos of "the sound is the thing." All this is just my opinion, tho.

Kind of off topic, but do you see the same ethos in the 19th century string quartets? (if so, can you recommend me some?)

(I've been looking for strings quartets that are not as classical as Mozart/Beethoven, and not too modern like Bartok/Schoenberg, something in between.)

[Ogg Vorbis]

Try Debussy quartet in G minor. Lots of "coloristic" use of harmony (but still functional)

[neueliteratur]

Cool, thanks! Didn't know Debussy had written a string quartet!

[geroyannis]

I've been looking for strings quartets that are not as classical as Mozart/Beethoven, and not too modern like Bartok/Schoenberg, something in between.

Have you listened to the late quartets of Beethoven? If not, you'll be surprised that he wrote them. The joke says that Beethoven was completely deaf by the time he wrote them so they're full of mistakes. That's why they sound so ahead of their time.

I have a cd with that Debussy quartet coupled with a Ravel quartet in F major and they're both beautiful.

[NKF]

it is rather simple if you consider that this is piano writing therefore any doubling at the unison does not reveal itself unlike an orchestral score and both occur over pedal tones which are not written for the middle triplet but i think it is safe to say it is there in that you just heard it and you hear it again and it will stay in the listeners head even when it is not there not to mention it is there in the second example. Also the way it is notated as well, shows that the middle notes are added and not meant to sound distinct .

Much of how to interpret a score relies on other information in the score so it is impossible to know for sure without the complete score but ya,



and the F goes to Eb.

Then it is just repeated but over the dominant rather than the tonic.

[neueliteratur]

Interesting. Thanks.