3: Melody x (mm. 3-6) embedded in the pastoral melody in song no. 1 (mm. 1-10).
In song no. 6 mm. 41-43 and mm. 72-74, melody x appears in the same manner with the one in song no. 1 but in the key of G major, and is played by the English horn (fig. 4). It also serves as a pastoral melody representing the singing nightingale mentioned in the text of the song. Fig. 4: The modified melody x in song no. 6 mm. 72-74.
Song no. 3 and 7 show the expansion and the extension of motive x. In song no. 3 mm. 100-101, the interval between the last two pitches of motive x is expanded to become a perfect fourth interval. Then, a new perfect fourth lower pitch is added at the beginning of the motive x (fig. 5) to extend the motive. However, as for the violins, Shostakovich added a new minor second lower pitch at the beginning of the motive (fig. 5). Fig. 5: The modified motive x in song no. 3 mm. 100-101.
The additional first and fifth scale degrees at the beginning of motive x in song no. 7 extend the motive (fig. 6), while at the same time, its rhythm is also slightly altered at the end of the motive by substituting the eight notes with a dotted eighth note and a sixteenth note (fig. …show more content…
6: The extended motive x in song no. 7 in m. 2, m. 4, and m. 6.
The shortened version of motive x appears in song no. 2 and 3. In song no. 2, the strings play the shortened version in B major in mm. 74-77 and mm. 128-129 (fig. 7). It spans from the first scale degree to the third scale degree with the fourth scale degree as the upper neighbor