2. Schimmy

The “Schimmy” is a dance popular from the 1910s to the 1920s, characterized by rapid back-and-forth shoulder movements.

Structure

Part 1 (ABA' Form): Measures 1-45

A: Measures 1-16 (2/4, 2/4)

The introduction begins with an anacrusis (mm. 1-2). Similar to the preceding movement, syncopation is frequently employed throughout, and ornaments appear at various points (e.g., mm. 4, 10, 12). Furthermore, the right-hand phrase creates a three-beat rhythm against the left-hand's two-beat accompaniment, forming a polyrhythm (e.g., mm. 5-6).

B: Measures 17-30 (2/2, 2/4)

The introduction is transiently recapitulated (mm. 17-18), leading to the B section, characterized by syncopation in the right hand and an accompaniment figure in the left hand consisting of octaves plus a sixth chord. This left-hand accompaniment figure also forms syncopation through ties (mm. 21-22, 24-25).

A': Measures 31-43 (2/4, 2/2)

Contrasting glissandos on white keys (right hand) and black keys (right hand) signal (m. 31) the return of A. Up to measure 40, it is almost identical to A (mm. 4-12), but from measures 41-43, the motif from the preceding measure is repeated.

Part 2 (C + Coda): Measures 44-78 (2/4, 2/2, 3/2, 5/4, 4/4)

The introduction is transiently recapitulated (mm. 44-45), transitioning into the improvisatory and fantastical C section. Glissandos, also seen in the previous movement, are frequently used (e.g., mm. 49-50, 54-55). The relatively quiet and introspective musical character up to measure 61 undergoes significant development in measure 62, both in terms of dynamics (mf→f) and register. From measure 63 onwards, which can be considered the coda, the notation changes to a three-stave system, and the music progresses with greater dynamism, accompanied by the indication “Breit” (broadly). Harmonically, seventh chords (e.g., mm. 63-65) and chromatic progressions are prominent, revealing an affinity with jazz. In measure 69, the movement reaches fff for the first time, and in measure 71, it attains its highest register, forming the climax of the musical development. The relentless pounding of dissonant chords in triplets, combined with the extreme dynamics and register, creates a stimulating sound (effective discomfort). The movement concludes abruptly with a series of dissonant chords, giving a dismissive impression.