Schubert Variations, D. 576 (in A Minor)

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Color

The following images use color to indicate pitch/chord roots/keys. Pitches are arranged so that a fifth relationship exists between the adjacent color as shown to the right. Chromatic alterations of the diatonic pitches are related to the color of their unaltered form (e.g.: C# = slightly blue-green). Although this does not relate the distant relation between the keys if E and E-flat for example, this color mapping is most useful for seeing the relationship between keys in a tonal context (such as tonic-dominant key relations).

E Red

B Orange

F Yellow

C Green

G Blue

D Indigo

A Violet

The emphasis on G probably comes from the first cadence in the theme on a G major chord.

Theme
[MIDI]

Var. 1
[MIDI]

Var. 2
[MIDI]

Var. 3
[MIDI]

Var. 4
[MIDI] The first half if the variation cycles through a circle of fifth motion from D (dark blue, bar 3) to G (light blue, bar 4) to C (green, bar 5) then a strong cadence in A minor with vii I64 V I.
The higher level green (C major) is an artifact. The lack of a vertical connection to green below may indicate that it is an artifact as is the orange section in the variation below.

Var. 5
[MIDI] in A Major
The strong occurance of B (orange) in the second half is due to a sequencing phrase in B.

Var. 6
[MIDI] This variation starts in F# Minor (Yellow) and then modulates half way through the variation into A Major.

Var. 7
[MIDI]

Var. 8
[MIDI]

Var. 9
[MIDI] in A Major

Var. 10
[MIDI]

Var. 11
[MIDI] The hint at C major (green) in the first half of the variation is caused by ambiguous C-E dyads (downbeat of bars 1, 6, and 7) and the cadence on G major at the end of the first phrase (bar 4).
The ambiguous dyads are heard as A Minor rather than C Major.

Var. 12
[MIDI]

Var. 13
[MIDI] This variation starts with a rapid presentation of the variation in the first half of the movement. The last half of the variation has much repetition of the note G (light blue) before a final section in A major/minor

Theme [MIDI]
Var. 1 [MIDI]
Var. 2 [MIDI]
Var. 3 [MIDI]
Var. 4 [MIDI]		The first half if the variation cycles through a circle of fifth motion from D (dark blue, bar 3) to G (light blue, bar 4) to C (green, bar 5) then a strong cadence in A minor with vii I64 V I. The higher level green (C major) is an artifact. The lack of a vertical connection to green below may indicate that it is an artifact as is the orange section in the variation below.
Var. 5 [MIDI]		in A Major The strong occurance of B (orange) in the second half is due to a sequencing phrase in B.
Var. 6 [MIDI]		This variation starts in F# Minor (Yellow) and then modulates half way through the variation into A Major.
Var. 7 [MIDI]
Var. 8 [MIDI]
Var. 9 [MIDI]		in A Major
Var. 10 [MIDI]
Var. 11 [MIDI]		The hint at C major (green) in the first half of the variation is caused by ambiguous C-E dyads (downbeat of bars 1, 6, and 7) and the cadence on G major at the end of the first phrase (bar 4). The ambiguous dyads are heard as A Minor rather than C Major.
Var. 12 [MIDI]
Var. 13 [MIDI]		This variation starts with a rapid presentation of the variation in the first half of the movement. The last half of the variation has much repetition of the note G (light blue) before a final section in A major/minor