Analysis of the Third Movement of 'Scheherazade' by Rimsky-Korsakov

摘要

"The Arabian Nights", also known as "Shechra Chard", is the 19th century Russian composer Rimsky representative works, this article through the third part of the work of the piano version of the piano version of the analysis, Composer techniques, harmony layout, tonal layout, the study of the law, the depth of mining works of the creative skills, in order to understand this era of Russian music works to provide valuable clues. Rimsky Korsakov is an outstanding composer in Russia in nineteenth Century. Moussorgski, Borodin, Balakirev, CesarCui and Rimskyfored the strong group. Their music is very influential at that time, they have made a great contribution to Russian music. Rimsky was born ina noble family. He is also a naval officer, composer, music educator. He has different identities at the same time, which make him a special person. His works still have fresh vitality today. He also trained Prokofiev, Stravinsky and some other great excellent composers. "Scheherazade" is one of Rimsky's masterpieces. "Scheherazade" is also called Arabian Night. The article will analysis the third movement of "Scheherazade". This piece is selected from one thousand and one nights. This piece is slight and gentle with Arabia style which tell a warm love story of the prince and princess. This piece is a sonata form without development. Exposition: The first tonal area A: a period of two parallel phrases The tonic chord that starts from the theme of G major indicates the modal tonality. The theme motivation is different from the previous sonata form. In the past, the theme of heroism was adopted frequently, while the song adopted the gentle Arabia style, and the melody was broad and gentle. The theme of the first tonal area use the music material of second sequence, interspersed with the combination of dotted eight note and sixteen note, which make the original broad gentle melody line more lively. The phrases go like the declarative, which continue to strengthen the theme of the similar melody. In the base, the long chords are used as the support of the melody, while the use of the combination of the steps makes the melodic lines elongate, deep and long. The eighth bar is a perfect cadence. After entering the phrase of A2, tonality turns frequently. In the first half of the phrase of A2 tonality turn from G major to e minor. The tonality of the second half of A2 turns to subdominant minor of G, and few changes the use of music, melody is full of Arabia style. The accompaniment still uses the column chord, with the note becomes shorter, the low tone melody line goes down into scale, which is more flowing. In bar 20, it is a perfect cadence in the tonic chord. After that, four bars of supplemented by continuous step movements bring the first tonal area A'period. The first tonal area A 'is a change of the first tonal area A, the tonality turns into the major of dominant G. The first tonal area A' is similar to the first tonal area A, using the same narrative techniques. Melody is more clear and quiet which shows the prince's gentle and elegant image. The repeat of period A', not only further consolidate the theme, the change of the tone making the theme more fresh. The accompaniment uses the column chord, and adds melody line to the inner voice, which makes the music image more vivid and interesting C. This section adopts the same cadence as the first tonal area A. After the perfect cadence, 4 bars bring the transition out.