Moving on to measures 13 to 16, a similar modulatory motion can be observed, going from Bb to a (b9) before resolving to D. For two measures. The last beat of measure 16 then moves on to C. In order to resolve to the initial tonality of F major for a repetition of the original theme. It should also be noted that the final cadence is much stronger than any other cadence found in the piece; the other cadences were leading into something more, a new tonality, an answer to a question, while the final cadence makes a good point of leaving nothing left to be heard. (ed. Johnson 1924, p. 115)

Texture and Rhythm

Traumerei's texture is hard to define, as it closely resembles a combination of polyphony and homophony. As defined by the Free Dictionary, polyphony consists of two ore more independent melodic parts sounded together while homophony is a unique melody carried by a unique voice supported by a chord accompaniment. For example, it is clear that the upper voice is the main melody, which at many instances, seems to be supported by a harmonic progression; however, within this harmonic progression...

One thing that is interesting to note is that the interpretation of Traumerei is subjective to each pianist; experienced pianists often have their own interpretation, using rubato and taking liberties when it comes to tempo, which adds a new dimension to the listener's experience.