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Ex. 19 Vasyl’ Barvins’ky, Romance “In Wood”, the last section
In the romance there is an interesting interpretation of a tonal center, fulfilled by superposition of e minor (t) and A major (S major, VI degree of Dorian mode) triads. Thus a tonal center has turned into consolidated for appointed register harmonic colour with the tones of chord specific accommodation, where there are accentuated “empty” perfect fifth and changeable twinkling of succession consisted of major triads. All these circumstances strengthen perception of a tonal center as a timbre-harmonic colour. From the point of view of the modal peculiarities there is revealing weakening of functional connections14. First of all it`s underlined by avoidance of VII sharp degree and by authentic cadence, involving of “a modal addition”15 principle, or poly-modality – within the bounds of the one scale – modal transitions as game of light and shadow. (Ex.20) Ex. 20 Vasyl’ Barvins’ky, Romance “In Wood”, from the first section 
Texture of the romance is very important means: here there are integrated harmony, rhythm, register layers. Two textural images have arised through that: fluctuating textural ostinato based on fifth with gentle parallel steps of the triads, the chords of sixth (1st section), and transparent streams of the figurations remembering images of “water game” (Ex.21), Ex. 21 Vasyl’ Barvins’ky, Romance “In Wood”, the second section 
which dissolve inside hardly marked dramatic character and draw a veil over culmination (on the words “Last flowers have dried up out”). However, an idea of a form in Barvins`ky`s individual manner remains in a classic tradition: a ternary form dominates both in “Prelude” in F sharp major and in a romance “In Wood”. Clearness of an arch form construction is inherent in the second part of Download 3.96 Mb. Share with your friends:
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