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These textures appear in No. 2 to a lesser degree, but its initial theme is closely related to the

second theme of No. 3, with chords presented horizontally while appoggiaturas resolve over short

bass notes. However, there is a consonance of bass and melody in the former, but dissonance in

the latter one. This dissonance is instead a feature of the second theme of No. 2, which is related

tonally, texturally and thematically to the initial theme of No. 3. An especially interesting tonal

relationship is the use of the minor subdominant (A flat minor) at the end of the first section in

No.1, and the modulation of the main theme to the minor dominant (G sharp minor) in No.3.

Two such Brahmsian processes connect these Intermezzi through the appearance of a pair of keys

which are enharmonically identical.

Brahms treats ternary form differently in each piece. The first one has a relatively

straightforward ternary structure (as shown in Fig. 2), while No.2 is actually a miniature

modified-sonata movement, with its second theme stated first in the relative major and then

recapitulated in the tonic (shown in Fig. 3). However, Brahms does not carry out the full

expectations of a sonata movement, as the first theme reappears first in the subdominant, not in

the tonic, and a full V- I cadence is delayed until the return of the second theme. The piece does

not exhibit the highly contrasting sectional character of sonata thinking, due to the motivic

connections between the two themes, and the gradual transitions from one section to another by

means of subtle harmonic, rhythmic and temporal processes. The last section, where the initial

theme is finally resolved in the tonic over a dominant pedal, also acts as a coda by bringing

together both themes and unifying the piece. The coda of No.1 functions in a similar way, acting

as a counterbalance to the initial 4-bar transition, giving final meaning to the subdominant and

creating symmetry, as well as a feeling of conclusion (Fig. 2). The coda of No. 3 is actually

another version of the refrain, but it also summarizes a previous large-scale harmonic process

(namely the modulation to G-sharp minor through A-sharp and D-sharp major, and eventual

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