little bits of pitch-class collections , more specifically the octatonic and chromatic scales . A portion of the octatonic scale appears in mm.13-14. The notes between the C#?s are members of the Octatonic 1,2 scale (ex.7). The only note that is missing is 5. The chromatic scale is also almost fully represented in ex.5 and 6. In ex.5 the only notes that are missing are 6 and 10. In ex.6 1 and 6 are missing. Overall the chromatic sound is still very easy to hear. Another interesting thing occurs in the opening vocal phrase. Through the use of intervalic analysis , an interesting pattern became visible. The intervals that became visible created trichords. If we exclude the 4 in the second measure , the phrase moves from [026] to [015] to[013] and finally a [012] (ex.8). Overall this shows a shrinking motion as the phrase moves forward. The shrinking of intervals gives us a feeling of great tension. It?s almost like you are getting squeezed by the music. This leads to the topic of text painting. The text by Alfred Mombert is very dark and tense. Mombert gives the false impression of comfort and happiness by talking about sunshine and meadows , yet there severe unrest and tension in the poem. Berg conveys the feeling of the poem with incredible accuracy. Besides the example above of being squeezed there are many more instances of text painting. The most powerful example of text painting occurs in measure 16. The girl?s anger at her male friend is treated with a triple forte and the highest note of the piece (G#). Berg captures her rage and eventual boiling over. Berg then goes on to emphasize the word ?die? in measure 19. The word ?die? occurs on the lowest note (A,-3). The effect is amazing. The girl cries out in anger and then says ?die!?. The music conveys the fluctuation of emotions , through the extreme change in register. The piano part also shares the job of text painting. The piano does more work i...
