In the piece Volksliedchen by Schumann there are many intricate harmonies and chord structures that we have covered this semester in Theory. The first thing that we look at when analyzing the piece is the length of the phrases, typically two measures, as well as the period size, eight measures. If you look at the overall form of the piece it is A B A’. The next thing I looked at was what key the piece was in. The piece changes keys for the middle period. The piece goes from d minor for the first eight measures then moves to
D major for the second eight, only to go back to d minor for the final eight measures of the piece. With the change of the key the feel of the piece changes as well. It starts in Im klagenden Ton, or in a plaintive tone. For the B section it moves to Lustig meaning funny. The
B section sounds major (happier) almost joyful, a direct juxtaposition to the minor less enthusiastic beginning. At the start of the A’ section it gives the direction Wie im anfang or as in the beginning giving the direction to have the feeling of the piece move back to the original minor key as well as to return to the original feel of the piece. In the last third of the piece Schumann makes the chords more complex adding seventh chords and more inversions than are seen in the first third of the piece. It also allows for more non chord tones to be used as seen in the passing tone in the first beast of measure fourteen. However, the most notable “strange” chords are the first chord in measure eleven and the second beat in measure twelve. The first beat of eleven is unusual because it is a