||Subject based on
tonic chord only.
||The subject is built
entirely on the notes of an A major chord. There is no attempt to introduce any
other harmony – Shostakovich is deliberately frustrating the ‘expectant’
||RH countersubject. LH
real answer in dominant. The countersubject and subject interlock rhythmically
so there is a note on every quaver of the bar, forming perpetuum mobile
||Like the subject, the
countersubject is built entirely on the notes of the dominant chord (E
||Episode, which takes
the music from E major (IV), through a D major (V)/A major (I) cycle.
is frustrating the ear by using an A major chord to precede the subject’s tonic
entry at bar 11, rather than by setting up a dominant.
counterpoint, hovering around C-sharp and A. Middle part (alto) countersubject
in LH (bass) subject in tonic.
remaining diatonic, and moving through repetitions of E major and b minor
||This music is
thematically related to the subject but does not form part of its tonal
||A major and b
||A major/E major
progression (twice) preparing for an entry of the subject in the
||Chordally, this is
the same as an imperfect cadence (I-V-VI), and, despite that one might have
expected a new entry in the tonic, he goes to
Modified subject in treble, similarly modified countersubject (CS) in
||Note how the rhythmic
figuration of the countersubject in the alto is compacted from the original
subject; similarly, the bass line is a compaction of the original
(until bar 51). RH ‘link phrase’; its rhythm and shape come from the original
subject. LH single-line accompaniment, based on original
||Repeat of bars 11-14
without soprano, in the tonic key.
prepares the A major entry with a tonic chord in the preceding beat rather than
using a dominant
||RH tonal answer in
dominant. LH countersubject.
||As bars 29-30, but a
||Derived from bars
31-32, but chromatically altered to modulate into F major.
establishing F major.
||Subject in F major,
beginning in LH on beat 1, but continued in RH at beat 3.
Alto: Countersubject in B-flat major (IV of F major); Bass (new entry): Real
answer in B-flat major.
||Episode in E-flat
increases sense of excitement, taking the harmony through
||a juxtaposition of
major and minor modes that play on chordal relationships.
reinforcement of E-flat major.
D-flat major is the flattened leading note of E-flat major. C# major is the
dominant of f-sharp minor, which is the relative minor of A major.
||Subject and episode
over dominant pedal point.
oscillation between chords (see also 58): E major, e minor, C
||…A major. Imitative
(quasi-canonic) subject entries at the octave
||RH modified subject,
moved up the triad by an inversion
||Bass: Subject in D,
||Treble: Subject in A
||Episodic writing. C
major 1st inversion…A major…C-sharp major…F-sharp major/minor
alto crotchet movement
||Implied cadence into
||…and back to A
||Crotchets return (as
in 89-90), over brief dominant pedal
||Repetition to flag
ending: repeat of 92-93
||Diatonic, triadic A