Tchaikovsky Serenade for Strings, form of Waltz movement
An analysis of the form of the second movement of Tchaikovsky’s Serenade for Strings Op. 48. This is the waltz movement.
Tchaikovsky Serenade Mvt. II Waltz
|Section||bar numbers||number of bars||key||comments|
|A1||1-20||20||G major bars 1-13
D major bars 14-20
theme in vln I
|B||21-52||32||D major bars 21-33
G major bars 34-45
b minor bars 46-52
|A2||53-72||20||G major bars 53-65
D major bars 66-72
theme in vln II, countermelody in vln I
|C||73-113||40||D major bars 73-79
e minor bars 80-83
D major bars 84-85
b minor bars 86-95
e minor bars 96-98
modulating bars 99-108
G major bars 109-113
|A3||114-133||20||G major bars 114-126
D major bars 127-133
theme in vln I & vln II, countermelody in violas
|B||134-165||32||D major bars 134-146
G major bars 147-158
b minor bars 159-165
the same as the first B
|A4||166-189||24||G major||rondo theme|
|coda||190-223||34||G major||begins with tonic pedal in the bass|
The movement uses a classical rondo form, which is not a typical form c.1880 when the work was composed. This might even be considered a neoclassical element, perhaps inspired by Tchaikovsky’s great admiration for Mozart.
The rondo theme begins in the tonic every time.
Sections A & B are always the same length.
Section B is in the same key each time.
Section C modulates more than any other section.
There is a simple tonal scheme that keeps coming back to the tonic G.
Modulations are mainly to nearly related keys.
There are some variations in texture in repetitions of the rondo theme.