Music Theory II Assignment — Schubert’s "Das Fischermädchen" from Schwanengesang

1. Explain the two D–naturals in the piano introduction. They may each have a different function.

2. Schubert tonicizes the same key area repeatedly through the same verse. We hear it in mm.14–15, again in m.18–19, and finally just briefly at the end of m.21 going into m.22. What is this key area? If mm.14–15 were treated as a modulation rather than a tonicization, which modulation type would this be?

3. Do a Roman numeral analysis showing the tonicizing chords (i.e. secondary chords) in the sections listed in Question #2. How is the unusual chord at the end of m.13 functioning? (Let your ears guide you here!) Also, how do you explain the chord on beat two of m.14 which seemingly has Bb, A–natural, Eb, & F in the piano, and Db–C in the voice part? Which are NCTs and which NCTs are they?

4. What roman numeral would you give to the last chord in m.19? (This is a chord type we have not yet discussed, but see what you can come up with. Be experimental. How is it functioning?)

5. Measure 25–26 has a cadential figure (mirroring the opening) which confirms Ab major, the home key. However, measures 27–28 contain a modulation which is confirmed on the downbeat of m.29. What type of modulation is being used here? Attempt a Roman numeral analysis of mm.26 to the downbeat of m.29.

6. The cadential figure in mm.46–47 confirms the key of the middle verse. Immediately following in mm.48–49 is a modulation back to the home key. How would you categorize this modulation? Also, can you explain the F-flats that appear in these measures? (You might think about what F-naturals would sound like here. You might also look at the last chord in m.19 from Question #4.)