Symphony No. 5Throughout the entire symphony, the music is battling between e minor, E major, and D major. The entire symphony is based on plagal progressions and is based off of a harmonic minor scale. This is shown in the lower string part throughout the piece. The lower string parts consist of variations on all of these scales through melodic sequencing.
The second movement of the symphony, Andante cantible, is in D major instead of E minor like the other movements. The melody is played by a solo horn and the harmony is diatonic with an increase in note division as the melody develops. Later is in the solo, the key modulates to F# major. The harmonic structure consists of chromatic lines in the strings with diminished 7th and 9th chords, which allow the overall tonality to be in D major. Throughout this section, the tonality is major with very brief minor interludes with a minor conclusion. Unlike Havah Nagilah, which has a constant minor tonality, this section's pseudo major tonality gives a different mood that Havah Nagilah. Additionally, rather than having a definite ending like Havah Nagila's E major V chord, the piece continuous into a new idea, very characteristic of Tchaikovsky. (3:34)
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Havah NagilahHavah Nagilah is structured in a phrygian dominant scale however, unlike Symphony No. 5, it is based on a melodic minor scale rather than a harmonic minor scale. The melodic minor scale is a characteristic of middle eastern music. This is shown from the successive half steps throughout the piece which outline an a minor scale and E major V chord.
The phrygian dormant scale is based on the Ahava Rabbah prayer which precedes Torah teachings. Because of the minor tonality, the piece has a solemn tone which corresponds to its purpose as a psalm. |