The Foreshadowing o risis: Emerging Middle Keys in Schubert s Develoment o the Three-Key Exosition aer or the 38th Annual Meeting o the Society or Music Theory By Aaron Grant (Eastman School o Music) agrant6@u.rochester.edu Examle 1a: The Essential Exositional ajectory rom Heokoski and Darcy (2006, 17) Launch ontinuation modules (series o energy-gaining modules) M TR S Energy-gain + Accetance o Oten orte Either modulatory or nonmodulatory Relaunch New Key Usually iano Oten lyrical, etc. A ostcadential Aendix or set o accessory ideas May be multisectional and o varying lengths; usually orte or gaining in rhetorical orce inal cadence rooses the main idea or the sonata Tonic Key in V (or, i was in minor, in III or in v) Nontonic Key Exosition, art 1 Exosition, art 2 Examle 1b: The Essential Exositional ajectory or Exositions with imodular Blocks Launch ontinuation modules (series o energy-gaining modules) TR Energy-gain + Accetance o Oten orte Either modulatory or nonmodulatory M M TM1 TM2 TM3 Aarent S-theme Fails to achieve Energetic TR-like section ue S-theme New Key Usually iano Oten lyrical, etc. A ostcadential Aendix or set o accessory ideas May be multisectional and o varying lengths; usually orte or gaining in rhetorical orce inal cadence rooses the main idea or the sonata Tonic Key in V (or, i was in minor, in III or in v) Nontonic Key Exosition, art 1 Exosition, art 2
Examle 1c: The Essential Exositional ajectory or Three-Key Exositions Launch rooses the main idea or the sonata M or MS ontinuation modules (series o energy-gaining modules) TR Energy-gain + Accetance o Oten orte Either modulatory or nonmodulatory M or MS S1 Subversive S-theme Fails to achieve Dissolving continuation modules Oten initiated by original tonic. S2 roer S New Key Usually iano Oten lyrical, etc. A ostcadential Aendix or set o accessory ideas May be multisectional and o varying lengths; usually orte or gaining in rhetorical orce inal cadence Tonic Key Exosition, art 1 Exosition, art 2 TR S = rimary Theme/Zone = ansitional Theme/Zone = Secondary Theme/Zone = losing Theme/Zone M MS ES = Medial aesura = Medial Structural adence = Essential Exositional losure = Essential Structural losure
Examle 2: Franz Schubert, iano Sonata in Bß Major, D. 960 (1828) Oening hra e mm resents only three chords, reresenting the exosition s three keys Molto moderato { { &b b c ligato? b bc n b &b b? b b Œ b w j U Œ Ÿ U j Œ b w Intrusion o third key with ortentious trill Key = Subversive gesture = Restoration o tonal trajectory S ß i S2 1 8 15 20 Bß: A Gß: B 36 41 48 70 80 99 124a Bß: A ß i A M A MS Gß subdued: incororated into chromatically descending bass. Bß recovers: lawed due to coming in over dominant edal. Gß raised to level o key area. F-Major established with celebratory anare. secures F Major, resolves conlict. Gß trill: exosition reeats, restarts conlict. Gß trill: introduces new key and intrudes on Bß tonality. Gß takes over tonality o the -theme: restatement o the trill, now on Bß (^3 in Gß Major), orces iece to modulate. Gß subdued: incororated into bass, but iece is too unstable and dissolves into TR. Bß returns over dominant edal, and quickly dissolves into dominant lock o F Major.
Examle 3: Franz Schubert, Octet in F Major, D. 803 (1824) Key: = Subversive gesture D emhasized D subdued = Restoration o tonal trajectory 1 Intro 19 40 49 S1 i 89 S2 123 1 2 4 19 23 34 37 45 57 60 73 89 123 vi: H M : A MS A B A D subdued: incororated into Dß bass note; hels reestablish original key. D minor raised to level o key area. F major tonicized: tries to retake exosition. major raised to level o key area. secures major; resolves conlict. D emhasized. D minor marks disruted cadential attemt; leads to dissolve o B. major tonicized: launches section in F major D minor regains control: attemts to cadence, but dissolves into minor.
Examle 4: Franz Schubert, String Quartet in Bß Major, D. 68 (1813) ening hra e mm - re ent initial n i t Allegro Violin I Violin II Viola Violoncello &b b.......... c # Œ # j Ó Œ j b &b b c... #. Œ. j Ó..... Œ b j b Bb b c... #.. Œ j Ó..... Œ j Ó Œ æ? c b b 6 6....... 6 6 # Ó... j Ó Ó j Ó Œ Œ æ æ Third key tries to take control G subdued: Gß ulls down to F. n n Œ Œ æ Œ oint driven home with arenthetical insertion. Key = Subversive ge ture = Re t rati n t nal tra e t ry 1 2 7 11 16 29 51 56 59 60 72 84 i G usurs roer tonic. G suressed into note: Gß ulls music towards H in Bß G chord derails, orces reemtive TR & V: M declined. Oening motive returns without harmonic emhasis o G; F again reinterreted as Gß to ull down to F, not u to G. Modulation to dominant derailed, M ill ulls tonality down, creates V: A M declined; leads to dominant lock and vi: H M. G raised to level o key area. Bß 53 S i F raised to level o entire key area. F grabs control, sets u S2 with V: A M. S2 G orces deerred. EE 85 secures F Major, resolves conlict.
Examle 5: Franz Schubert, String Quartet in Bß Major, D. 36 (1813) ening hra e mm - re ent nly three h r re re enting the eiti n three key Violin I Violin II Viola Violoncello Allegro &b b c? c b b Œ Œ Œ J J Œ &b b c Œ j j Œ Bb b c Œ J J Œ Œ J J Œ resentation o the three characters n Œ Œ Third key tries to take control J j Œ j j Œ ey Suer i e ge ture Re t rati n t nal tra e t ry 1 42 56 S1 62 S2 1 5 9 13 17 21 36 43 54 59 61 77 87 Theme Var. 1 Var. 2 Var. 3 Var. 4 Var. 5 Var. 6 ii: H M M 87 strongly emhasized & harmonically. strongly emhasized & harmonically. Melodic & harmonic emhasis o returns; Bß barely recovers. major raised to level o entire section (lawed: no rootosition tonic). F Major becomes key area; still revalent. derails. hrase begins with tonicization o ; Bß quickly recovers. subdued: still somewhat emhasized. m grabs hold o transition. Flaw roves too much; key-area dissolves. secures F Major, resolves conlict.
Examle 6: Franz Schubert, String Quartet in Bß Major, D. 112 (1814) Key Suer i e ge ture = Re t rati n t nal tra e tory 1 35 45 S1 i 103 S2 1 34 35 39 41 45 66 93 99 103 136 145 i A A MS MS 146 onsequent halted; no cadence to secure key. iece thwarts vi: A M attemt. G minor raised to level o key area. Sorzando dominants attemt to regain control or G minor. F major raised to level o key area. iece stumbles on attemt; causes evaded cadence. F major secures ; resolves conlict. G minor orceully takes control o exosition; launces TR. V: A M attemted; G minor subverts attemt. G minor attemts ; thwarted by tonic, which takes control o section. G minor subdued to chord; sets u V: A M.
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