Bartok
Mikrokosmos 72
Mm.1-2
starts with G in both melody and bass part and added 2 semitones vertical
harmony to inwards so there is a chord GAFG. The chord has one octave and one 8
semitones. Bass parts and melody parts range distances are 6 semitones to C#.
Both G is a boarder and stable that we
can look tenor and alto part for contour. Both in this parts contours distances
are same and inwards. Contour starts in same time with G and two semitones away.
Next step is climax point C# by 4 semitones. We are 6 semitones away from
boarder. Intervals in contours are same and moving by 4 semitones up/down and
back in five times. Vertical distances are 0-0-8-0-8-0. Shape is zigzag.
Mm.
3-4 is qualitative as an answer of mm1-2. G is still boarder and F and A shown
in weak beat differ from G. Climax pointd are C(alto) and D(tenor) in 7
semitone distance. Contours has own same intervals each other and they are
2-4-1-1-4. Intervals between contours are 0-8-0-2-0-8. Shape is envelope.
Mm.
5-6 is variation of 1-2.
Mm 7-8 is starts like 3-4. In Measure 7, lines are
straight and outwards and reaching boarders next measure. Measure 8 has accented and hanged in same
points in intervals of 5 and 7 semitones. Its like a fight won by fifths! We can say fist idea is end.
Second
idea is different in contours way and boarders position. Contours are going
outwards and boarders in tenor and alto part.
Mm.
9-10 Contour intervals are 2-4-1-1-4. Contours are drawing to climax point and
return back once. Interval between contours are 8-0-8-8-8-0 semitones. Shape is
envelope.
Mm
11-12 similar with the last two measure. Climax distance is 7. Contours are
still same and intervals by moves are 2-4-1-1-4-5. Climax point occured two
times. Interval between contours are 8-0-8-2-8-0-2. Shape is envelope and
zigzag.
Mm
13-14 This measures can be considered it is a small development of mm 9-10.
Ranges are similar. Until this measures whole pieces bass and treble parts drawn
contrast line with same intervals. This measure, bass and treble parts has same
line contrast but intervals are irrevelant. Treble drawn 4-4-1-2-4-2-4 and bass
drawn 3-3-2-2-3-3-4. Vertical intervals are 8-0-7-4-8-0-4-2. Shape is zigzag
and envelope.
Mm
15-16 They are looking like some kind of a closing. E and G still draw out. A#
and D diminished interval shown. Treble clef
starts with 6 semitone vertically.. Melody has 4 and 2 semitones
intervals. Bass part is first time
rhytmically different. Its start with 5 semitones interval vertical. Line
intervals are 2-2-2-2. Two measure has same motivic movements and drawing to
only one way direction up is for preparing via shifting register the new idea
in higher register.
Mm
17-18 Has intervalic differences in treble and bass part. Lines are drawn
similar and still inward. Treble part is 7 semitone distance. Bass part has 4
semitone distance. Treble melody interval is 2-4-1-1-4. Bass melody interval is
2-1-1-1-1. Vertical intervals are 8-4-2-2-1-4. Lines are in tenor and alto
part. Shape is envelope.
Mm
19-20 Treble part range is 6 semitones. Bass part range is 3 semitones. Treble
melody interval is 1-4-2-2-4. Bass part melody interval is 1-1-1-1-1. Vertical
intervals are 2-0-5-4-5-0. Shape is envelope.
Mm
21-22 Melody parts changed to bass and sophrano part. Bass clef register
shifted up. It is the first time flats are observed. Treble and bass melody
range is 7. Bass melody interval is 2-4-(6)-7-1-4. Treble melody starts in
first weak time and interval is 2-4-1-1-4. Vertical intervals are
2-6-2-3-4-5-6. Shape is envelope.
Mm
23-24 Both parts are starting in first weak time. Only two part shown that
reach the end of the piece in envelope shape. Measure 24 is similar with
measure 8. Bass part is in bass clef again. Treble and bass melody interval is
5-1-1 to reach last measures tenor and alto parts. Measure 24 is a four part
chord consist of 7 and 5 semitones.
