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Mendelssohn Violin Concerto - Some More Annotations (2)

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Text of Mendelssohn Violin Concerto - Some More Annotations (2)

  • AndSticky NoteWorth mentioning the sustained chord outlining the harmony?Bar 11-12 EminorBar 13 - A minorBar 14 - E minor

    AndSticky NoteLeading note at this point? Doesn't resolve to the tonic.

    Also have you talked about the descending pattern or minor 3rd and perfect 4ths which is a feature of the violin melody?

  • AndSticky Note1st inversion Am

    AndSticky Note2nd inversion E7

    AndSticky NoteAm

    AndSticky NoteF7

    AndSticky NoteChords in different inversions create descending bass line.

    AndSticky NoteB7 1st inversion creates a perfect cadence to go back to the tonic key at bar 25.

    AndSticky NoteSequence (21-24)

  • AndSticky NoteSequence and sort of a mini cadenza.

    AndSticky NoteOutline the Em chord V of Am in preparation of the Am key at 28

    AndSticky NoteSame idea as 26-28 as a sequence in the

    AndSticky NoteOutlines the f7 chord (sort of when it gets to SF chord, creating a perfect cadence to the B chord (bar at the start of the next page).

  • AndSticky NoteThe three bar quasi cadenza figure from above is now extended to 8 bars as an ascending sequence and heard over a (nearly but not quite chromatic) ascending figure in all the instruments wit

    AndSticky NoteLeading note resolves to tonic before the phrase descends (do they need to know each chord?) to end on a diminished chord at bar 40.

  • AndSticky NoteAscending diminished arpeggio - double stopping, leading to the high B and descending a semitone to another diminished chord 44 (false climax) Followed by the same diminished idea in octaves.

  • AndSticky NoteThis time the V7 chord creates the perfect cadence to go back into the tonic key.

  • AndSticky NoteCall and response with the idea based on the second phrase of the 1st subject.

    AndSticky NoteSequence of V-I notes ascending

    AndSticky NoteDiminished chord

    AndSticky NoteDiminished

    AndSticky NoteAccented passing notes.

  • AndSticky NoteTutti upper woodwind and strings against the bassoon and cello. This then swaps over 66-69 where the basson and cello play what the strings were playing and upper stings play what the cello and basson was playing while the upper woodwind hold the pedal (dominant pedal at this point?)

    AndSticky NoteAnother rising sequence with acciaccaturas

  • AndSticky Notequaver fiqure continues in the woodwind (do they know that's what the line through the note means?).