Mahler Symphony No. 6: First Movement – Doubling with Different Playing Techniques VII

In this study,  we will look at a more complicated example and see how Mahler uses mixed playing techniques in his doubling beyond the foreground (main melody) layer.

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Mahler Symphony No. 6: First Movement – Doubling with Different Playing Techniques VI

In this study, we are going to further analyse how Mahler uses mixed playing techniques in his doubling beyond the foreground (main melody) layer.

Example 1. melody and accompanying layer in mm. 34-36 (showing instruments involved in the layers only)M6-I-21

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Mahler Symphony No. 6: First Movement – Doubling with Different Playing Techniques V

In this study, we will continue to look at how Mahler used mixed playing techniques when doubling a melodic line. The examples we have seen so far involve only the woodwinds and strings, yet the same techniques can also be found in other families of instruments. The following example involves all four families – woodwinds, brasses, percussion, and strings.
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Mahler Symphony No. 6: First Movement – Doubling with Different Playing Techniques IV

In our last study, we looked at a sophisticated example of how Mahler mixed playing techniques when doubling a melody. We have covered how the clarinets, bass clarinet, bassoons, contrabassoon and double bass parts are treated; in this study, we will continue to look at the same example, focusing on the remaining cello line which performs materials of a different character.

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Mahler Symphony No. 6: First Movement-Colouring a Single Note II

In this study, we will continue to analyze how Mahler creates a multitude of colors for just a single note. While the last example comes from the second theme in the recapitulation, the following comes from the second theme in the exposition. It is essentially the same phrase as in the example of our last study, but this time the melodic note – B♭ – is even more colorfully orchestrated.

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