Musical Structure

The musical structure is a single-theme, one-part form:

• Introduction (measures 1-3)
• A [a (measures 4-12) + b theme development (measures 13-19)]
• A1 [a1/Variation 1 (measures 20-31) + a2/Variation 2 (measures 32-36)]
• Coda (measures 37-47)

In the introduction at the beginning of the piece, a school chime motif, familiar to everyone, is presented in single notes. Although the main key is A minor, the chime motif itself is in C major, which might be why it is marked mf (mezzo forte) rather than p (piano), perhaps to reflect this brighter tonality. This motif, E→C→D→G, is partially utilized in measure 3. The descending figure D→G becomes the ascending G#→B. This suggests that the motif foreshadows a two-part structure, both ascending and descending.

The G# in measure 3 is the leading tone in the main key of A minor. It ascends a semitone from the dominant G of C major in the previous measure, but at this point, modulation is not established by a mere pivot chord; it simply indicates something unusual, leaving a mysterious question mark. This resembles Beethoven's technique of beginning with the dominant in the first movement of his Piano Sonata Op. 31 No. 2 in D minor, "The Tempest". Since the dominant chord itself is a major triad, it always has a bright sound; when this chord is highlighted at the beginning (e.g., with a fermata), the sense of tonality becomes ambiguous. A clear harmonic resolution by the subsequent tonic chord creates contrast, leading to a dramatic development.

The theme is presented from measures 4 to 12. The two quarter notes in the accompaniment likely represent the throbbing heartbeat upon entering a classroom at night. This tension is conveyed through the frequent use of perfect fifth intervals in its construction. The melody line in measures 5-6 is a chromatic descending progression, but it is a partial utilization of the motif in retrograde. The E♭ in measure 6, though harmonically it should be D#, is intentionally notated as E♭ for a reason: it emphasizes the descending stepwise progression of E→E♭→D→C from measures 5 to 8. Consequently, although this note is harmonically the leading tone of a double dominant, it does not resolve as a strict tendency tone. This suggests that the horizontal flow should take precedence over functional harmony as an expressive element.

From measure 13, there is a partial modulation to the relative major, C major, brightening momentarily. However, from measure 17, it returns to the main key, reaching a half cadence in measure 19. Notably, in measure 18, despite a chromatic ascent, the note is notated as E♭. This notation is puzzling, especially given that the leading tone is functioning here, and the convention for chromatic ascents is to use sharps or naturals. As indicated by the crescendo towards the dominant chord from measures 17 to 19, this section should express increasing tension through the harmonic function of the leading tone, even if notated as E♭.

From measure 20, the theme is restated, but inverted compared to its initial presentation. This is a common technique seen in Bach's Inventions. A significant change in timbre is also expected due to the altered melodic range. From measures 25 to 28, the school chime motif is abruptly placed, as if interrupting the theme. First, in measures 25-26, the constituent notes of the tonic chord (I) are presented lowered by a semitone. Since only one chord exists across these four measures, the establishment of a new key cannot be indicated. What is actually happening is a progression from E→E♭→E between measures 24 and 29, resembling an embellishing tone (neighbor tone) where the note descends a semitone and then ascends back. Thus, the entire four-measure section functions like an embellishing tone, and its nature is akin to a transitional passage.

From measure 32, the theme moves to the upper voice and is recapitulated. It is restated an octave higher compared to its initial presentation at the beginning. This is effectively a theme variation serving as a concluding section. In measure 33, the upper voice features a double stop of A and E, forming a perfect fifth. This change likely expresses a more powerful sound, with both upper and lower voices in perfect fifths, ascending with a crescendo in an anacrusis-like upbeat.

The Coda, from measure 37, proceeds through a long ascending chromatic scale spanning four measures. From measure 41, the school chime motif is developed. From measure 43, it is a double dominant of C major. A fermata is seen in measure 45, but since the harmonic cadence is not completed here, although a double bar line appears after the fermata, indicating a division, it would be better to perform it with a conscious connection.

Throughout the piece, it is believed that various elements written in the score depict the scene suggested by the title. We encourage you to carefully examine these various passages in the score and imagine what they signify, which will enhance your enjoyment.