I hope you’ve been having fun with the first two-thirds of the Kreutzer #2 so far. It’s a great demonstration of how a variety of melodic techniques can be integrated into a very musical effort, and not sound too “technique-y”.
So here’s the final part of the K2, basically eight bars with a closing bar. We’ll break it down following the tab below:
Picking up where we left off last time: Bar 17 continues the cool melodic shape started in the previous bar. The shape spells out intervallically as 5-6-7-R’-R-R’-7-6 (still continuing with the one-note displacement begun back in bar 9, so the shape really starts with the 2nd note of the bar). This shape can be worked diatonically down the neck for some cool results. Bar 18 is mostly a short G Mixolydian run, with a couple of thirds thrown in, to transition to the next shape.
The next three bars (19-21) utilizes the pedal point technique to great musical effect. Melodic development begins with a G-Em-A-F-B (harmonic minor)- G run, then a couple quick out-of-key nods (A major and B harm. minor) to build additional melodic tension, leading into the finale.
Heading into the homestretch, the first two beats of bar 22 are D Dorian, transitioning from G back to the home key of C. The key gets emphasized for the finale with some cool arpeggios working in the major 7th (B) to add some musical urgency and resolution. Bars 23 and 24 are identical, reworking the arpeggio as a back-and-forth grouping of 4ths and 3rds, rather than straight up-and-down. The final bar (25) is a quick ascending CM7 arpeggio resolving on a final C note.
Hopefully the K2 has provided you with some ideas for skill-building and melodic development. Once you get it up to speed, it’s a really fun piece to play, and should inspire you for a long time to come. To start off 2013, the entire piece will be offered as a PDF e-book, with additional analysis and relevant exercises to work on. Till then, play hard and have fun!