emotion in the song , form must be observed. Overall the piece is divided into three sections. These sections are separated by a fast moving descending piano interlude. The first section lasts from measure 1 to7. The second is from measure 7-16 and the final section is from measure 17 to the end. Each of these sections progress very naturally and smoothly from one to another. The second intensely builds up to the third. Berg?s use of effective dynamics makes the section have their own flavor and adds to the intensity of the build up to the third section. Up until the build up , we are only allowed a piano at the most. The quiet dynamics and intense sonorities really create very intense feeling. When the overall form is observed the emotional map of the piece becomes very obvious. We can track the progression of emotions from contentment to worrying to anger , and finally calm yet morose. There is one more aspect of this song that must be address .In the the third section a very interesting tonal pattern occurs.(ex19) In measures 20 and 21 there is some sort of sequence happening with descending fifth bass line. The most interesting thing about this sequence is that he copied it directly from Debussy?s Six epigraphs antiques, an andantino for piano duet titled Pour la danseuse aux crotales. This sequence in note for note the same exact thing. The only difference is rhythmic. Why would he do this? I interpret this as a definite effort to retain tonal characteristics. I believe he simply really liked the progression and wanted to use it himself. I also think it is significant that he was interested in French music. When i first heard the piece I thought the music had many French influences regarding harmonies that occurred throughout the piece. Overall I like the mixture of Schoenberg's and Debussy?s influence. It is a completely unique sound. All of the above analysis have led to this conclusion : Berg?s ?Warm d...
