Theme and Variations

This is a Theme and Variations. While Passacaglia and Chaconne are typically in triple meter, this is a quadruple meter version.

The theme is a gradually descending sequence. Performers should first identify where the tension is highest within these four measures of the theme (subject).

In terms of pitch, the soprano rises to F in measure 2, but since some subsequent variations do not feature F, do not focus too much on pitch height at this point. Instead, try to find where the tension increases through the chord progression.

When these four measures are divided into measures 1-2 and measures 3-4, measures 1-2 give the impression of ending with a cadence in B-flat major. In the case of G minor, the 7th scale degree is the leading tone F-sharp, but in measures 2, beats 1-2, it becomes F natural. At this point, you may consider the FAC chord as a borrowed chord, specifically V/III, resolving to III. In any case, this section feels warm.

In contrast, in measure 3, F-sharp returns, evoking the austere key of G minor. The chord in measures 3, beats 3-4, is a diminished triad on the supertonic (ii°), and it is reasonable to consider this as a point where tension increases.

From this point onward, the writing style, reminiscent of 'The Harmonious Blacksmith,' features increasingly intricate note values. Therefore, the tension should progressively build, flowing towards a climax of excitement in the final variation.