Lessons · Showcase

Der Hölle Rache

The Queen of the Night — rage and coloratura

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% The Queen of the Night enters over CHURNING d-minor triplets —
% the literal opening: the triad rolled low and fast, thunder chords
% above it:
 
bpm 120
key d4 min
 
Churn  ::= .3 .5 1 .3 .5 1 .3 .5 1 .3 .5 1
Storm  ::= {1 _6, 3 _6, 5 _6} - _6
Fury   ::= {Storm Storm {1Min _8, .5 _8}, Churn Churn}
 
Fury
 
 
% THE coloratura: a staccato arpeggio pealing up the F major triad
% — one four-note figure, climbed by triad steps with '@~2', landing
% on the famous high F:
 
key f5 maj
Peal ::= .1/ .3/ .5/ 1/
 
Peal Peal@~2 Peal@~4 '1 _4 Peal@~4 Peal@~2 Peal .1 _4
 
 
% The ladder answers the orchestra — the peals and the tutti hits
% alternate as one structure:
 
{Peal Peal@~2 - _2 Peal@~4 '1 _2 - _2, - _4 {.1Maj _2} - _6 {.1Maj _2}}
 
 
% Between the flights the Queen DECLAIMS: arpeggio outlines hurled
% upward while the orchestra answers with a falling line — both
% straight from the score:
 
key d4 min
Hurl ::= 3 _2 1 _2 3 _2 5 _2 '1 _2 '3 _2
Fall ::= '2 _2 '1 _2 7 _2 6 _2 5 _2 4 _2
 
Hurl
'3 _2 Fall 3 _2
 
 
% The SECOND flight climbs and HANGS — the same ladder, but the
% top notes sustain ('_8') before each release:
 
key f5 maj
Peal Peal@~2 Peal@~4 '1 _8 Peal@~4 Peal@~2 Peal .1 _8
 
 
% The OATH — 'Hört der Mutter Schwur' — slams the door back into
% D minor and hammers it shut:
 
key d4 min
Fury
{.1 _2, .3 _2, .5 _2, 1 _2} - _2 {.1 _2, .3 _2, .5 _2, 1 _2} - _2 {.1 _4, .3 _4, .5 _4, 1 _4}
 
 
% The whole aria: the storm entrance, declamation, the first
% flight to high F, the answering ladder, the second flight, and
% the oath:
 
Fury
'3 _2 Fall 3 _2 Hurl
key f5 maj
Peal Peal@~2 Peal@~4 '1 _4 Peal~@~4 Peal~@~2 Peal~
{Peal Peal@~2 - _2 Peal@~4 '1 _2 - _2, - _4 {.1Maj _2} - _6 {.1Maj _2}}
Peal Peal@~2 Peal@~4 '1 _8
key d4 min
{.1 _2, .3 _2, .5 _2, 1 _2} - _2 {.1 _2, .3 _2, .5 _2, 1 _2} - _2 {.1 _4, .3 _4, .5 _4, 1 _4}
 
 
% THE WHOLE ARIA — the first orchestral voice at full length, all
% 99 measures from the verified grammar, coloratura and all.
 
bpm 120
meter 4
unit 1/4
key f4 maj
mode diatonic
 
% The cast — every motif and chord the lead line uses:
 
M51 ::= - _8 {'7, '6} _8
M79 ::= - _8 {''1, '5} _8
M91 ::= -*32
M26 ::= -*16
  | - _4 '4 _4 {'5, '4b} _4 {'6#, '3} _4 |
M53 ::= {f4, a3} _4 - _12
M20 ::= -*16
  | - _4 {'4, '2} _8 {'4, '2} _4 |
M4 ::= {'5, '2} _2*3
M85 ::= {'3, 7} _2 {'6, '1} _8
M34 ::= {'5, '3} _2 - _2 {'6, '4} _2 - _2 {'5, '3} _4
M78 ::= - _16 {'3, '1} _20
M69 ::= {'1, 5} _3 {'1, 5}
M107 ::= {7, 4} _4 M69@~-1
M57 ::= {''1, '3} _4 - _8
M116 ::= bb4 _2 d5 _2
M35 ::= 6 _2 '1 _2 M116 2 _2 4 _2
M108 ::= 7 _4 {'5, '3} _4
M6 ::= {5, .5} _4 - _4
M29 ::= i-3 _8 i-3 _8 i5 _8 i-7 _4
M74 ::= M6@5 _4 {'1, 1} _16
M47 ::= '5 _2 ''1 _2 '7b _2 '6 _2 '4 _2 '7b _2 '6 _2
S20 ::= '1 _2 '3 _2 '5 _2 ''1 _2 M47 '5 _2 M47@~-2
M102 ::= {'5, '2} _4*2 - _4
M58 ::= - _4 {''2, '7} _4*2 - _4
M88 ::= - _4 {7, 5} _4*2 - _4 M58@-12
M81 ::= {'4, '2b} _4 {'3, '1} _4
M56 ::= {d4, bb3} _4 - _12
M8 ::= M51@-8
  | M81 M81 |
  M56@17
M38 ::= - _7 {''2, '7} {''2, '7} _4 - _3 {''3, ''1}
M64 ::= {'3, '1} _8 - _8
M73 ::= -*24
Run2 ::= 7 _2 '1 _2 '2 _2 '3 _2 '4b _2 '4 _2 '5b _2
 
key d4 harm
key g4 harm
key f4 maj
key bb4 maj
key f4 maj
key d4 harm
% mm.1-6 — in the relative minor; Ped sequenced through 5 transpositions; Trill stepped through the scale, diminished; M6 sequenced through 3 transpositions, in retrograde, augmented · 14 voices.
F1a1 ::= -*16
  | ''1 _16 |
  -*16
  | - _8 {'5, '3} _8 |
F1a2 ::= M51 M79
F1a1 F1a2
 
key g4 harm
% mm.1-6 — in the relative minor; Ped sequenced through 5 transpositions; Trill stepped through the scale, diminished; M6 sequenced through 3 transpositions, in retrograde, augmented · 14 voices.
F7a ::= M91 M26
F7a
 
 
% ——— Part 2, from m.1 ———
 
key f4 maj
% mm.1-6 — in the relative minor; Ped sequenced through 5 transpositions; Trill stepped through the scale, diminished; M6 sequenced through 3 transpositions, in retrograde, augmented · 14 voices.
F11a1 ::= M53@24 -*16 M20
F11a2 ::= M20@~-1
F11a1 F11a2
 
key bb4 maj
% mm.1-6 — in the relative minor; Ped sequenced through 5 transpositions; Trill stepped through the scale, diminished; M6 sequenced through 3 transpositions, in retrograde, augmented · 14 voices.
F17a ::= {'1, 5} _4 - _12 M91
F17a
 
 
% ——— Part 3, from m.1 ———
 
key f4 maj
% mm.1-6 — in the relative minor; Ped sequenced through 5 transpositions; Trill stepped through the scale, diminished; M6 sequenced through 3 transpositions, in retrograde, augmented · 14 voices.
F20a1 ::= -*64
F20a2 ::= -*16
F20a3 ::= - _2 M4 M4 M85@~2 - _10 M4@~-2*2 M85 - _32 M34 - _4 M34 - _12
F1h2 ::= -*32
F20a1 F20a2 F20a3 F1h2
 
 
% ——— Part 4, from m.1 ———
 
% mm.1-6 — in the relative minor; Ped sequenced through 5 transpositions; Trill stepped through the scale, diminished; M6 sequenced through 3 transpositions, in retrograde, augmented · 14 voices.
F35a3 ::= M78 '3 _3 '3 M107@~5 '1 _4 - _8 {'7, '4} _4
F35a4 ::= | M57 {'7, '4} _4 |
F35a5 ::= {''1, '3} _4 M35@12 M108 {'4, '2} _4 {'2, 7} _4 '1 _4 - _12 M6@17 _4*3 {''1, '1} _16 '7b _8 M29 - _12 M74@14 ''1 _8 M29 '3 _8 '3 _4
F20a2 F20a3 F35a3 F35a4 F35a5 F20a1 F1h2
 
key d4 harm
% mm.1-6 — in the relative minor; Ped sequenced through 5 transpositions; Trill stepped through the scale, diminished; M6 sequenced through 3 transpositions, in retrograde, augmented · 14 voices.
F20d4 ::= -*48
F74a2 ::= - _2 S20 '3 _2 '5 _2 '1 _2 '3 _2 '2b _28 '1 _4
F74a3 ::= 7 _4 M102 M88@12 - _16
F74a4 ::= | - _4 '6 _8 '6 _4 |
  | '5 _8 - _8 |
  | - _8 ''1 _8 |
  | - _8 ''3 _8 |
F74a5 ::= M8@12 M38
F74a6 ::= M64@12 M73 '7 _8
F74a7 ::= ''1 _2 Run2@12 ''5 _4 - _4 '5 _4 - _4 {''1, '5} _8
F20d4 F74a2 F74a3 F74a4 F74a5 F74a6 F74a7

% The Queen of the Night enters over CHURNING d-minor triplets —
% the literal opening: the triad rolled low and fast, thunder chords
% above it:

bpm 120
key d4 min

Churn  ::= .3 .5 1 .3 .5 1 .3 .5 1 .3 .5 1
Storm  ::= {1 _6, 3 _6, 5 _6} - _6
Fury   ::= {Storm Storm {1Min _8, .5 _8}, Churn Churn}

Fury

% THE coloratura: a staccato arpeggio pealing up the F major triad
% — one four-note figure, climbed by triad steps with '@~2', landing
% on the famous high F:

key f5 maj
Peal ::= .1/ .3/ .5/ 1/

Peal Peal@~2 Peal@~4 '1 _4 Peal@~4 Peal@~2 Peal .1 _4

% The ladder answers the orchestra — the peals and the tutti hits
% alternate as one structure:

{Peal Peal@~2 - _2 Peal@~4 '1 _2 - _2, - _4 {.1Maj _2} - _6 {.1Maj _2}}

% Between the flights the Queen DECLAIMS: arpeggio outlines hurled
% upward while the orchestra answers with a falling line — both
% straight from the score:

key d4 min
Hurl ::= 3 _2 1 _2 3 _2 5 _2 '1 _2 '3 _2
Fall ::= '2 _2 '1 _2 7 _2 6 _2 5 _2 4 _2

Hurl
'3 _2 Fall 3 _2

% The SECOND flight climbs and HANGS — the same ladder, but the
% top notes sustain ('_8') before each release:

key f5 maj
Peal Peal@~2 Peal@~4 '1 _8 Peal@~4 Peal@~2 Peal .1 _8

% The OATH — 'Hört der Mutter Schwur' — slams the door back into
% D minor and hammers it shut:

key d4 min
Fury
{.1 _2, .3 _2, .5 _2, 1 _2} - _2 {.1 _2, .3 _2, .5 _2, 1 _2} - _2 {.1 _4, .3 _4, .5 _4, 1 _4}

% The whole aria: the storm entrance, declamation, the first
% flight to high F, the answering ladder, the second flight, and
% the oath:

Fury
'3 _2 Fall 3 _2 Hurl
key f5 maj
Peal Peal@~2 Peal@~4 '1 _4 Peal~@~4 Peal~@~2 Peal~
{Peal Peal@~2 - _2 Peal@~4 '1 _2 - _2, - _4 {.1Maj _2} - _6 {.1Maj _2}}
Peal Peal@~2 Peal@~4 '1 _8
key d4 min
{.1 _2, .3 _2, .5 _2, 1 _2} - _2 {.1 _2, .3 _2, .5 _2, 1 _2} - _2 {.1 _4, .3 _4, .5 _4, 1 _4}

% THE WHOLE ARIA — the first orchestral voice at full length, all
% 99 measures from the verified grammar, coloratura and all.

bpm 120
meter 4
unit 1/4
key f4 maj
mode diatonic

% The cast — every motif and chord the lead line uses:

M51 ::= - _8 {'7, '6} _8
M79 ::= - _8 {''1, '5} _8
M91 ::= -*32
M26 ::= -*16
  | - _4 '4 _4 {'5, '4b} _4 {'6#, '3} _4 |
M53 ::= {f4, a3} _4 - _12
M20 ::= -*16
  | - _4 {'4, '2} _8 {'4, '2} _4 |
M4 ::= {'5, '2} _2*3
M85 ::= {'3, 7} _2 {'6, '1} _8
M34 ::= {'5, '3} _2 - _2 {'6, '4} _2 - _2 {'5, '3} _4
M78 ::= - _16 {'3, '1} _20
M69 ::= {'1, 5} _3 {'1, 5}
M107 ::= {7, 4} _4 M69@~-1
M57 ::= {''1, '3} _4 - _8
M116 ::= bb4 _2 d5 _2
M35 ::= 6 _2 '1 _2 M116 2 _2 4 _2
M108 ::= 7 _4 {'5, '3} _4
M6 ::= {5, .5} _4 - _4
M29 ::= i-3 _8 i-3 _8 i5 _8 i-7 _4
M74 ::= M6@5 _4 {'1, 1} _16
M47 ::= '5 _2 ''1 _2 '7b _2 '6 _2 '4 _2 '7b _2 '6 _2
S20 ::= '1 _2 '3 _2 '5 _2 ''1 _2 M47 '5 _2 M47@~-2
M102 ::= {'5, '2} _4*2 - _4
M58 ::= - _4 {''2, '7} _4*2 - _4
M88 ::= - _4 {7, 5} _4*2 - _4 M58@-12
M81 ::= {'4, '2b} _4 {'3, '1} _4
M56 ::= {d4, bb3} _4 - _12
M8 ::= M51@-8
  | M81 M81 |
  M56@17
M38 ::= - _7 {''2, '7} {''2, '7} _4 - _3 {''3, ''1}
M64 ::= {'3, '1} _8 - _8
M73 ::= -*24
Run2 ::= 7 _2 '1 _2 '2 _2 '3 _2 '4b _2 '4 _2 '5b _2

key d4 harm
key g4 harm
key f4 maj
key bb4 maj
key f4 maj
key d4 harm
% mm.1-6 — in the relative minor; Ped sequenced through 5 transpositions; Trill stepped through the scale, diminished; M6 sequenced through 3 transpositions, in retrograde, augmented · 14 voices.
F1a1 ::= -*16
  | ''1 _16 |
  -*16
  | - _8 {'5, '3} _8 |
F1a2 ::= M51 M79
F1a1 F1a2

key g4 harm
% mm.1-6 — in the relative minor; Ped sequenced through 5 transpositions; Trill stepped through the scale, diminished; M6 sequenced through 3 transpositions, in retrograde, augmented · 14 voices.
F7a ::= M91 M26
F7a

% ——— Part 2, from m.1 ———

key f4 maj
% mm.1-6 — in the relative minor; Ped sequenced through 5 transpositions; Trill stepped through the scale, diminished; M6 sequenced through 3 transpositions, in retrograde, augmented · 14 voices.
F11a1 ::= M53@24 -*16 M20
F11a2 ::= M20@~-1
F11a1 F11a2

key bb4 maj
% mm.1-6 — in the relative minor; Ped sequenced through 5 transpositions; Trill stepped through the scale, diminished; M6 sequenced through 3 transpositions, in retrograde, augmented · 14 voices.
F17a ::= {'1, 5} _4 - _12 M91
F17a

% ——— Part 3, from m.1 ———

key f4 maj
% mm.1-6 — in the relative minor; Ped sequenced through 5 transpositions; Trill stepped through the scale, diminished; M6 sequenced through 3 transpositions, in retrograde, augmented · 14 voices.
F20a1 ::= -*64
F20a2 ::= -*16
F20a3 ::= - _2 M4 M4 M85@~2 - _10 M4@~-2*2 M85 - _32 M34 - _4 M34 - _12
F1h2 ::= -*32
F20a1 F20a2 F20a3 F1h2

% ——— Part 4, from m.1 ———

% mm.1-6 — in the relative minor; Ped sequenced through 5 transpositions; Trill stepped through the scale, diminished; M6 sequenced through 3 transpositions, in retrograde, augmented · 14 voices.
F35a3 ::= M78 '3 _3 '3 M107@~5 '1 _4 - _8 {'7, '4} _4
F35a4 ::= | M57 {'7, '4} _4 |
F35a5 ::= {''1, '3} _4 M35@12 M108 {'4, '2} _4 {'2, 7} _4 '1 _4 - _12 M6@17 _4*3 {''1, '1} _16 '7b _8 M29 - _12 M74@14 ''1 _8 M29 '3 _8 '3 _4
F20a2 F20a3 F35a3 F35a4 F35a5 F20a1 F1h2

key d4 harm
% mm.1-6 — in the relative minor; Ped sequenced through 5 transpositions; Trill stepped through the scale, diminished; M6 sequenced through 3 transpositions, in retrograde, augmented · 14 voices.
F20d4 ::= -*48
F74a2 ::= - _2 S20 '3 _2 '5 _2 '1 _2 '3 _2 '2b _28 '1 _4
F74a3 ::= 7 _4 M102 M88@12 - _16
F74a4 ::= | - _4 '6 _8 '6 _4 |
  | '5 _8 - _8 |
  | - _8 ''1 _8 |
  | - _8 ''3 _8 |
F74a5 ::= M8@12 M38
F74a6 ::= M64@12 M73 '7 _8
F74a7 ::= ''1 _2 Run2@12 ''5 _4 - _4 '5 _4 - _4 {''1, '5} _8
F20d4 F74a2 F74a3 F74a4 F74a5 F74a6 F74a7

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