BLOGGER RULES!!!!!!!!! YEAH...mAzUrKa NUMERO CINCO!!!!

well....Chop-in'
this is looking like a cinco-part rondo...ABACA

A- m. 1-24
B- m. 24-32
A- m. 33-44-only 1st part of A is repeated...
C- m. 44-52
A- m. 53-64-only 1st part of A is repeated...

Basically there is the A...it is, of course, the expository section and it is played three times...
In between the A section there is a B and then a C... these seem to be developmental because the B seems to be following the exact same melodic patern just on differnt rhythms, and the C is doing it in somewhat of an inverted descending pattern....neato....
Something I think is interesting is the repeat signs...so the true layout it AABABACACA, so that step two and three (BA) are played twice and four and five (CA) are played twice too....

The A is in B-flat major of course...
The B is in F Major...the dom. of B-flat major....of course...
The A is in B-flat major...of course..
The C has static G-flat in the bass..so thats my guess...
The A is in B-flat major...of course....
The end...no mas....it's over...done...HOW ABOUT THAT...

Chopin: Mazurka in B flat

Hooray for Theory! It's sad, tomorrow will be the last class I ever have with you guys...I know most of you are cheering, but really, it's been a blast. No more of my random comments, no more of my witty retorts, I'm sure the place will be much quieter without me (I'm guessing those are songs of praise I hear in the background). Anyway, onto the mazurka. I'm rounding out the year with Chopin, because I'm just in love with those crazy Polish dances. As the chapter states, the form of this doesn't fit into a specific category. The piece has an air of a 5-part rondo, with its ABACA format, but there is one small hitch. For our two unrelated sections we do not have any new material, but rather developmental sections. Our sections are separated by two structural phenomena, a change in dynamic and a change in key. The first key change modulates us to the Dominant key of F and we move from a forte to piano. At the end of the developmental section we have a ritardando, which signals the return of our Expositional material. Our next shift once again has us moving from forte to piano, but this time the key change is to the chromatic mediant key of Gb Major. We once again have the ritardando that reintroduces our Exposition, and voila! A perfect semi-rondoesque mazurka. Chill for 3 hours than serve on a bed of fresh lettuce. Serves 8. I have no idea where i was going with this, I seriously have got to stop watching the food network...

Chopin - Mazurka 5 in Bb Major

This piece is in ABACA, with repeats of the A, BA and CA sections. There are no transitions, so it can't be a Sonata-Rondo ... must be a normal, 5-part rondo!

A section: It's a contrasting, assymetrical period. The first phrase ends on a IAC, and the second has a cadential extension that eventually ends on a PAC. This section is repeated, ending on Measure 24. The double bar lines and change in dynamics from forte to piano signal a change of section.

B section: We move to the dominant, F Major. This section is sort of developmental of the A section. It ends on Measure 33. Afterwards there's a recapitulation of the A section in its original form and key. Again, we have double bar lines and a change in dynamics - to pianissimo.

C section: This is very tonally unstable - no distinct cadences. This section is also developmental, and is in gb minor. This section modulates back to Bb Major, ending on Measure 52. After this we return to the A section one last time!

Changes in tempo also serve as structural phenomena - we always return to a tempo when we get back to the A section.

Mazurka Op 7 No. 1 in Bflat Major

This piece begins with a section in Bb Major that is concevably divided into a repeated phrase. I feel that the first phrase goes 4 m's and then has an IAC and then has a consequent phrase that goes 7m's and then PAC's. (asymmetrical) This is then basically repeated. So the first section is tonally closed.

Then we have a new theme in FM that is another period of 8m (symmetrical). First 4m and then an IAC and then another 4m and a PAC. We then have a return of the first theme. Given that this is in the dominant of the first theme, we get a rather binary feeling so far from this.

But then we have an additional section different from the theme in F. This is in fm and is composed also of approximately an 8m period. I feel the melody suggests as HC after 4m and then the PAC elides with the return of the original theme at m53.

Each section is tonally closed, so there is a strong additive feeling. And were the repeats not taken into consideration this would be very much a candidate for a 5 part Rondo in my opinion. Therefore the main theme or A section acts as an organizing structure.

chopin mazurka

Great piece. It's nice that the sections are divided up by the double bars (for the most part). The A section is from bar 1-24 in b flat major. The B section is from 25 to 32 in f major. The A section returns from 33 to 44 in B flat major. The C section is from 44 to 53 in G flat major. The A section then returns from 53 to the end back in b flat major. Notice the B and C sections being very developmental. The C section is actually an inversion of the principal theme. There isnt enough feeling of section to make this a rondo but it is quite similar to the 5 part rondo.

Chopin Mazurka 5

As far as structural phenomena are concerned, the structural divisions follow period/cadence schemes and dynamics is the most important. This, along with the return of the motive, create a basic rondo type form, ABACA. However, it's not a true rondo because the B and C sections are too dependent on the motive of A.

• A - 1-12, repeated 13-24. IAC-PAC. B flat major, expositional.
• B - 25-32. IAC-PAC. F major, developmental.
• A - 33-44. IAC-PAC. B flat major, expositional.
• C - 45-52. HC. g flat minor. developmental.
• A - 53-64. IAC-PAC. B flat major, expositional.

LAST BLOG EVER chopin mazurka

I'm having a hard time defining the form of this piece, but there seems to be a fairly clear definition between sections. I think it goes something like this: A B A C A. The A section lasts until measure 24, and is expository in nature. Measure 24 brings a change in tonality from B flat major to the dominant, F major. There is also a change in dynamics here with a change from loud to soft. This use of dynamics to define the different sections is seen throughout the piece. The B section begins at measure 24 and continues until measure 32, and is developmental. A returns at measure 33, and continues until measure 44. A is of course back in the tonic key, B flat major. The c section begins at measure 44. Again, there is the dynamic contrast from loud to soft. The tonality also changes to the key of g flat major at measure 44. The C section also seems to be developmental. a returns at measure 53 for the final time in the key of B flat major.

That's it! That's my LAST BLOG! and after tomorrow kids... we are finished with theory!!! It's been fun.... but....YAY!

Chopin Mazurka in B Flizzle Mizzle

Last blog of the year? w00t. Thought I'd make it special, so here's a picture of the letter 'a' made out of the letter 'a':

AAAA
AA AA
AA AA
AA AA
AA AA
AA AA
AA AAAAAAAAAAAA
AA AA
AA AA
AA AA
AA AA
AA AA
AA AA
AA AA


Now on to the Mazurka. To go straight throught the Burkhart questions:
1. There are two major structural divisions (three sections) that occur:
-m. 24 - Change in dynamics from loud to soft, change in tonality from Bb to F major
also there's a PAC that brings the first section to a close nicely
-m. 44 - Change in dynamics - loud to soft, change in tonalit from Bb to Gb major
again there's a PAC that brings the previous section to a nice close.
There are also two less noticeable phenomena - the time slows down in m. 32 and m. 52,
both times this re-introduces the principle theme.

2. Here's a diagram!:
Section: A B A C A
Measures: 1-24 24-32 33-44 44-52 53-65
Tonality: Bb F Bb Gb Bb
Function: Exp. Dev. Exp. Dev. Exp.

3. Basically, this looks a lot like a 5-part rondo. However, the fact that the B and C sections are more developmental, and don't expose new themes that are a contrast to the old ones, is un-rondo like. However, the changing tonality does make the sections contrast with each other in much the way that sections of a rondo do...

4. I'm not sure what this question is asking, but I'll talk about something. I think the relationship between the parts of this piece is that B and C are just developments of A, which really pervades the piece. These two sections venture into different tonal areas. B is in the dominant and C is in VI.

Thanks to all my faithful readers. By the way, I was Prince German Augmented Sixth. w00t.
AM 1337 hax0r. respekt. spoon 00t.

mazurka in Bbmajor, chopin

there are 3 main sections to this-
the expository section is from m.1-24. The melodic line repeated in the first section
the second section (B), plays around with the dominant key (f maj). This section is also very piano and legato compared to the A section. The B section goes until measure33. Then the A section returns wit the same structural phenomena as before. I noticed a slight Pac in meas. 36 (back in Bb) . This whole section repeats again. The third section begins very piano and sotto voce, and is in gb major (it's easy to tell by looking at the bass line) but is very unstable in the right hand. It leads right back into the expository A section at measure 53 and ends on a very stable PAC in Bb on both the first repeat and the final end.

P.D.Q. Bach Prussian Sonata No. 1

This piece appears to be in some sort of Sonata-Allegro-ish form. LAST BLOG!
Bach opens the piece in F major, ending group 1 at the beginning of bar 6 on a PAC. We immediately find ourselves in a transitional section, where Bach flirts briefly with d minor, but moves to the dominant key of c major. There is something of an authentic cadence in the 9th measure, but it quickly moves on to transitional phrase ending on a IAC in c minor. A little more transition and we find ourselves after a half cadence in c major to group 2 in bar 24, lasting 8 measures till 31. Nothing too weird yet.
The developmental section is very...developmental??? It begins with developing group 1, which lasts from measures 32-42ish. This section is very tonally ambiguous. It's hard to pin down a key, there are b naturals, b flats, e flats and naturals, f sharps, g sharps. It's a little crazy. Around measure 6, we see material from the group 2. In measure 55, there is a large half cadence. This would be as expected...however it's a half cadence in the dominant key. There is no re-transition period. WEIRD. Actually, it's not that weird, it just makes the piece sound very abrupt in change, almost like a sonata-rondo. Instead of staying in the tonic key of F major throught the transition to from group 1 to group 2, Bach insists in flirting with C major and minor. Never fear, in measure 75, we hear our group 2 in the right key of F major, ending the piece on a nice PAC. Whew. PS No coda.

Debussy, Canope

The final blog and time for some crazy forms, from crazy Debussy.

The first four measures of the piece consist of block chords on each quarter note. The first chord established that the key is D minor and goes through a series of chords without any cadence for the four bars and the downbeat of the fifth bar brings us back to the D minor chord but it’s hard to call this a cadence because the chord before it was a G Flat major chord. It does sound like a finale for the section though bV-i isn’t a traditional cadence. There is then a two bars of single line quarter notes that basically is a D minor chord that ushers in the next section.

The next section is four measures of a pedal D7 chord which serves as a dominant for the key of G and has some strong dissonances in the melody with C sharps and E flats that are played several times each before moving on to the next note.

This is followed by a six measure phrase with a new melodic idea with some thirty second notes and triplets and eventually makes its way to C major with a V7-I switching in the last couple of bars. This is followed by a short pattern of grace notes for two notes that go down and hit an A9 chord then a really weird chord with a G, A, B, D flat, and F which is the chord that a melody that is similar to the one that was on top of the D7 chord. This is followed by a couple of very fast lines going down followed by really high chords.

And from all that weirdness, the original chordal structure comes back for a recapitulation. The first two measures outline the same chords that happened the first time but the second two measures’ chords are changed and ends up making a plagal cadence of sorts going from F minor to a C major with a 9^th. The C major with a 9^th chord is the final chord of the song, and on top of it is some of the same melodic type content with the thirty second notes and triplet figures.

Though there is some feeling of going back to similar melodies throughout the song, in this Impressionism style form really isn’t important and the only thing Debussy really does form wise is to put a recapitulation in near the end.

Mazurk 5 in B flat Major by Chopin

I'm not exactly sure how to analyze a mazurka but I will try to write about as many things as I notice. The piece is written with a 3/4 dance feel, thus, it is a mazurka. Ha ha. Dah. Anyway, the dynamics really help the listener hear the different sections. The first section starts forte. It's very interesting how this piece is notated. The same notes are used in 3 consecutive phrases but the ryhthm is altered just enough that it makes a very unusual and exciting opening. I feel, however, that this motive gets a bit stale by the end. I counted that this rhythmic same note pattern is played 12 times during this piece and the piece is only 2 pages to begin with. Often the material played between these repetitive motives is very similar as well with and eighth followed by 16th rhythmic pattern. The next section that starts after the double bar line is in the dominant of B flat major in F M. This section adds dotted eighth ryhthms. It's very unusual because the first two phrases are tonally identical and rhythm is also similar except that the second parallel phrase excludes the dots and uses straight eighth note rhythm. Then the theme from the A section returns before the next double bar line. Now I think we're in the key of G flat M. This is my favorite section because it sounds Egyptian in nature. The static bass sounds like drums while the melody sounds like snake charming music. Then the A theme comes back in the original key to close up the piece. It's very difficult to define it by one form because the motive from the A section comes back so often it never allows for a true feeling of a new section. I would say there are slight hints of an A, B, and C section though.

Beethoven Sonata in C minor

This is an awesome piece. It is in Sonata rondo form. The A theme is very easy to pick up on. It usually starts the second half of a measure following a fermata. As is typical of Beethoven, the dynamics are very dramatic in the piece and really highlight the changing sections. The B section goes into triplet motives that are very exciting. This section ends on the dominant before returning to the A section. The A section is pretty identical to the first A section and eventually ends the overall exposition closed. The C section is very large and goes through many keys. It continues ideas from the first A and B themes, particularly highlighting the triplet patterns. This ends with a transition of a long descending scalar pattern that brings us into the recap. and a return of the A section. Then there is a repeat of the B section. The B section is extended this time and makes use of new harmonies. The A returns for the last time. This time it doesn't stand out as much because it doesn't start with the pickup. It does, however, have the same harmonies. There is a closing that leads into a dramatic coda at 193 that is full of big chords and scalar passages. There is one final triplet pattern at the end that seems to be saying, "Good-bye" that concludes the piece on a booming FFF.

Sonata Op. 13 No. 1 in C Minor- BEETHOVEN

.This movement is a sonata rondo form beginning soundly in C minor.
.The form was ABACABA, typical sonata form
.The A section consists of three smaller themes (thats how I hear it anyway)
1. mm 1-8
2. mm 9-12
3. mm 12-18 ending on a PAC in c minor making the A section tonally closed
. There is a somewhat extensive transition, starting in mm. 18-24 and its easy to tell that a change is coming
. Tonality shifts at this point and the B section begins in mm. 37
. The first phrase ends in mm. 43 on a PAC
. The second part of the B section begins in mm. 44 and continues to mm. 50 and imitates some aspects of the first B section phrase ending on an unsteady HC
. The C section begins in mm. 80
. The other two sections repeat to complete the sonata rondo form, ending tonally closed in c minor...

Sorry this blog isn't very extensive but its 5:34 in the morning, I decided to bite the bullet and stay up ALL night writing my pysch of music paper... i don't have much patience.

mozart

Dear Diary,

so, it's 5:19 am, and nope, i haven't been to bed yet. i hate life.

alrighty, movement III....not quite at it's finest, and for that i apologize.

we start in Bb. it's a rondo form. there is a HC at m. 4 and a PAC at m.8. sorry this is kind of random, i'm running off of fumes of the "Sun Juiced Berry Banana Energy Drink from the local Greencastle gas station." to quote Tyler Pawl..."it takes you back to the days...when humans didn't speak." There is another HC at 12 and a PAC at 16. The next four bars make a lovely...actually, kind of boring, transition. B starts in m. 20. the rest clued me in on this.

Jim, "WHAT THE JUNK??!?!?!?!? ABORT, ABORT....THEY'RE CALLED BUI DOI...."
....sorry, i was just trying to type, and then i typed what i heard...which really had nothing to do with mozart at all.

There's a PAC at 36, then another stupid transition. A comes back at 41. at 56 there's another stupid transition...maybe mozart was pulling an all-nighter too...i heard he was under a lot of stress. C comes in at 64. We get transition number 2 at m. 108. A is back at 112, and B's development at 127. I'm sorry that I'm not including anything useful, but it's sort of difficult for me to see right about now. my eyes are blurry. and i laugh a lot.

The mother of all transitions comes at 198. this is impressive, folks. i love it. it makes up for all his boring transitions before them. maybe i'm just so tired that i'll settle for anything right about now. scheise, it's getting light out. i'm never to going to get to bed. i should be pretty happy by the time class rolls around...if i'm still moving. A is back at 200. there's a hot PAC at the end...and a couple before that. I guess A morphs into a terminative section.

The end.
Love,
Lindsey

This is in Sonata rondo form. The main theme, A section, a parallel double period, has a PAC at mm. 8 and mm. 16, with HC at 4 and 12. Then until mm 21 is a transition into the dominant. Thus begins the B section which is the development. This has a lot of 16th runs and such, very typical to Mozart, which ends on a PAC in mm. 36. Then there is a transition, and the A section begins again at mm. 40. I would actually call this A prime because there a few differences. After the second statement of the A section, the C section (mm.64), in the relative minor, begins and really develops its theme. It is very syncopated and chromatic, not light and musical like the original theme. It really slows down towards the end with a modulation that ends at mm 112. The A section is then recapitulated in the original key and then the D section picks up and mimics the B section. At mm. 173 glimpses of A are heard, but it isn't until mm. 189 that the real A section stands up and finishes this piece.

beethoven c minor

This movement is in sonata rondo form, which kind of confuses cuz we have already analyzed it as a rondo. I guess this just shows how similar the two are. The A section has three themes while the B section has two. The C section also has three themes. The A section is in c minor. The B section is in E flat major. The C section is in F minor. This piece is a combination of the rondo and sonata principles because of the number of themes in each section and their ensuing development. There is also a strong binary and sectional feel because of all the development.

MoZaRt: Sonata in b-FLAT maJOR, K. 333, III

WELL...since I'm toooo lazy to walk over to the SOM and get an actual score, I am going to do one from the Burkhart...

The ONE and ONLY.... MoZaRt...SONaTa IN B-FLAT MAJOr....K. 333, III....right..here we go..

well well well...this little movement numero III, is a sonata rondo form....
THE END...
well, not really...

Anyways...CAD.S....I have spotted the first one to be in m. 4...a HC...then a PAC in B-flat major in m. 8. that is our first period, and it is then repeated but with a more developmental feeling under the melody. There is a HC in m. 12 and a PAC in m. 16.

from the middle of 16 to the middle of 20 there is a little transition, and in the pick up to 21 there is an E natural that really tells us we are in the dominate of B-flat major..(F major)..

This B section starts as i just said in the pick up to 21. The first cad. seems to be a IAC in 23, then another in 29, but maybe in 31...then there is a PAC in 36..

The next four bars after the PAC is a transition back into the original key so that there can be a repeat of the A section.....it repeats...the A section, that is...

This repeat of the A last from m.41-56....from 56-64 is a sequencing modulation which ends up cadencing on a D major chord..this is the cad. right before the C section begins...

starting in the middle of 64 is the C section...which last until m. 110 then a little ditty carries us back into the A section in m. 112. This section is what seems to be d minor, which is the relative minor of F major...the dom. of B-flat major...

m.112-127 is the return of the A...then it enters a section which a dev. of B..so...B' or D...depending on how similar to B you hear it...
This section contains more runs..triplets..and last until m. 173 where i believe there is a fake return of A.. at first is sounds as if it might be coming back but soon goes into a very transitional section and then in m. 200 we see the return of A again, but soon turns termanitive to end the piece....

Beethoven Sonata op. 13 no. 1 in c minor

This piece is in sonata-rondo form, though I feel it leans more towards the rondo feel rather than sonata, primarily because the C section doesn't develop previous motives from the movement. Instead, it presents entirely new material, which is in a very different feel from the rest of the movement, which is very stormy and passionate.

It does adhere, however, to the A B A C A B A format. I refer to the different sections with a number after them to indicate which repetition of the section I'm talking about.

The piece begins right away with A1, which has two themes (Aa and Ab). Aa is made up of one phrase which ends with a PAC in m. 8 and is extended to m. 12, where it ends with another PAC in c minor. This begins Ab, which lasts only five measures until m. 18, ending with a forceful PAC in c minor - A is closed tonally. There is a transition in mm. 18-25, which modulates to Eb major and therefore begins the B section.

Once Eb has arrived in m. 25, it is still not firmly established - Beethoven plays around with eb minor just five bars later. Therefore, I hear this as still transitional material. However, it's important to address the measures 25-29 (x) separately because they contain thematic material that will be developed later.

B has two themes (Ba, and Bb). Ba begins in m. 37 and is defined by triplets played in a call-and-response manner between the right and left hands. It ends with a PAC in m. 42, and right away Bb begins. This theme ends with an IAC in Eb major in m. 51 and leads back into Ba, making the B section a small rounded binary form.

The return of Ba is not ended with a PAC in Eb major as it did the first time. Now, it leads into a transition (mm. 56-60), which ends in a HUGE HC in c minor, bringing the return of A (A2).

A2 is replayed much as it is in the beginning - Aa goes from measure 61- 73, and Ab picks up there and finishes with a very strong PAC in c minor in m. 78.

At this point, the C section begins in Eb major. There is a completely new theme - it is characterized by the soft, smooth playing of half notes. It is made up principally of four half notes followed by a quarter-note line that brings it to a close with n IAC in Eb major every four bars. This motive is manipulated - inverted, played in octaves, played in the left hand, etc. It is played a total of four times before a transition begins in measure 95 and lasts all the way until measure 120, ending with a huge half cadence in c minor (it modulated along the way).

A returns (A3). This time, however, after Aa, Ab doesn't come back. Instead, Aa is developed in mm. 128-132, and then x, the transition between A1b and B1a comes back. It's dolce-ness is a nice contrast at this point. As in the beginning, it leads to Ba (this time B2a), which is now in G major. B2a is followed by B2b, which begins in m. 153 and leads into a transtion (m. 162) which leads us to the return of A (A4).

The return of A lacks Ab again, but instead goes into a transition, which leads to a terminative section that begins in 182. This section is very stormy, and lasts until the end of the piece (obviously). There is a REALLY interesting moment in Ab major in mm. 202-205 - after a huge HC in f, a quiet, calm melody cuts in and is played twice. The piece concludes with a huge descending scale, ending with a fiery PAC in c minor that seems all the more furious because of the quiet moment just bars before.

$poon.

Mozart: Piano Sonata in B-Flat, K.333, III

Once again I must say I really love this entire piece and this movement is no exception. However, the Sonato-Rondo form just seems gratuitous. I think that composers ran out of forms around 1770 and decided to just run two things together until it sounded good. Anyway, the A section is a parallel double period, with a PAC at 8 and another very similar one at 16. In between (at 4 and 12) we have half cadences. This is our Primary Theme that will be further developed. From 16 until 21 we have a transition that brings us to our super-fun dominant key. At 21 we begin our B section, which in in the dominant key and feels very devlopmental, since we have a lot of virtuosic fireworks going on, with 16th-note runs keeping the harmonic rhythm moving forward furiously. There is no real cadence until 36, where we PAC in the dominant. The next 4 measures serve as a transition back to our original material and the return of A. This A section is almost an exact copy of the original, with slight variation. The C section begins right after the A section and is significantly longer than the other two sections we've had so far. The movement is also developmental, using heavy chromatics as well as dotted-rhythmic patterns to break up the monotony. The section is in the key of iii (relative minor to the dominant). This section lasts from measure 64 all the way until 112. we have a large ritardando at the end of this section, in which we slowly modulate back to our original key for another repeat of the A section. The following D section somewhat echoes the B section in rhythmic pattern and really gives the piece a rounded feel. D meanders back to A at 173...but we realize it's not in the right key. Pysch-out aside, we return to the transitional section and return to the real A at 189 and bring this heffer back into the barn.

Mozart Sonata B flat Major

The A section consists of 2 periods. The first period has a 4 measure phrase which ends on a HC, and an 8 measure phrase which ends on a PAC. There is then a parallel period which ends the A section on a PAC. There is then a short transition, which modulates to the dominant key by measure 21. This is the primary section. The B section (alternating section) begins in measure 21 and continues through measure 41. The only cadence I was really able to pick out was a PAC in measure 36. The rest of the cadences seem to be disguised by the left hand moving the harmonic progressgion along. There is then a 4 measure transition back to the A section, and we have an exact repeat of A. The C section begins at measure 64 and continues through measure 112. This section is very chromatic and developmental. It modulates to the relative minor of the dominant key. The C section leads back to the A section, where we have another exact repeat. I'm going to call this next part D, but I'm not sure if that is exactly correct. D is very similiar to B, especially as far as rhythmic motives go. There is a false return of A at measure 173. Measures 188-199 serve as a transition back to A.

Mozart Piano Sonata K. 333 III

This movement is in Bb Major and the primary section starts out with a HC at measure 4 and a PAC at 8. This is expository material that is just essentially repeated twice. Next is a transitional area that brings the movement to the dominant at measure 21.

The alternating section is 21-41 where the tonality is a little less structured. There's a PAC at 36, and then a 4 bar transition back into A material in the dominant key. This is basically identical to the first A section.

The C section is much louder and in d minor which is the relative minor to the dominant of the original key. There is a PAC at the end of the first 8 bars of the section. There is alot more chromaticisim going on after that which ultimately brings us back to Bb major and the A section once again.

The D section is somewhat similar to B but not similar enough, So it's stil D....deal with it. It feels as though Mozart has returned to the A section at 173, but he was joking....he finally transitions at 189 bringing us back into A.

Mozart: Sonata in B-flat major, K.333, III

The A section begins soft, has a half cadence after 4 measures , and a PAC after 8 measures.This is period number 1. After this, there is a parallel period which ends strongly on a PAC to end the A section. Now there is a short transition sectionwich brings us to the dominant key by measure 21. This the Primary section. The B section lasts from about m. 21 to m. 41. I don't hear a solid cadence till m. 36, where there is a strong PAC. This is sectional. After the cadence in measure 36 there is a 4 bar transition section back to the dominant key and A section. It is an exact repeat of the A section Then we have the developmental C section. The C section is lasts from m.64 to m. 112. We have modulated to the relative minor of the dominant key, d minor. This section begins with an 8 bar phrase that ends on a picardy third PAC. Mozart flirts with the tonic in bar 87. This section is a very chromatic development section and it leads us to the A section and B flat major. This is an exact repeat of the A section. The next section is D. It is similar to the b section because it uses many sixteenths. But, it is longer and it quotes other sections. We then have a false return of the A section at 173. A transitional section from 189 to 199 leads us back th the A section.

Beethoven Sonata: Op 14, no. 1, III (EM)

This is a very clear example of a Rondo-Sonata form. First we have a sixteen-bar primary section (A) that is a repeated phrase ending on a PAC both times--thus it is sectional. We have approximately 6 measures of transition (which leads us to BM) until we reach the Alternating Section (B). B is a 8m, with two parallel, symmetric four measure phrases. The first ends on a PAC in B, as does the second, though it gets undermined by an A# in the bass moving down to an A natural, suggesting that this B chord is a HC in E. Then it jumps straight back into A, but the second phrase of A changes and acts as an ellision into a small transition into GM, which takes us to the large C (the real development). And this C is considerably larger than any of the individual sections. The ABA formed a sort of sectional binary that did not close but ended open and led into this. At m 82 we've already been dealing with a pedal tone of B for several measures prior, and the d#'s are hinting at an em. Here the piano goes into a long chromatic run ending on a giant half in EM, taking us straight back to A. The return of A is the same, only the transition into B is different, as B is shifted down AM. B ends on a PAC in A that changes into a HC on E. For the final E, we get one phrase of the original 16m--though with different piano texture, and it ends on a HC but doesn't really stop, we get another 4 measures and a nice big HC and then ten measures of a terminative coda.

Mozart, Piano Sonata in B Flat Major K. 333, III

Only two more blogs to go! Whew...
This Sonata-Rondo form crap is confusing

The A section begins quietly, with a half cadence after 4 measures , and a PAC at bar 8 marking the first period. A parallel period follows, to conclude the A section on a strong PAC. A short transition section follows, leading us to the dominant key by measure 21. This the Primary section.
The Alternating Section, or the B section, lasts from about measure 21, all the way to measure 41, 20 bars later. Significantly more chromatic that the previous section, we see fewer obvious cadences and phrases. I hear an IAC at measure 23, but don't hear a definate cadence till measure 36, where there is a strong PAC. The sixteenth notes and light left hand accompaniment push the harmonic motion along, preventing harmonic rests and cadences. This is definately not periodic. I would call this sectional. After the cadence in measure 36, we have a short 4 bar transition section back to the dominant key and the Primary A section
Yay, the A section. It is an exact repeat of the A section, leading us to the developmental C section.
The C section is long, lasting from measure 64 to measure 112. We have modulated to the relative minor of the dominant key, d minor. This section opens loudly to a phrase ending 8 bars later on a picardy third PAC. I'm tired...Mozart plays with sequencing up dotted sixteenths, flirting with the tonic in bar 87. Blah. This section is very chromatic development section, that basically leads us to the A section and B flat major.
Another exact repeat of the A section.
This next section is different enough to be labeled D. It is similar to the b section as it uses many running sixteenths, but is longer and quotes other sections. Notice the triplet sections, and the dotted rhymic patterns. Mozart flirts with a return of the A section at 173, but it is a false return. A transitional section from 189 to 199 leads us back th the A section.
Yay, the end. The A section. It is very terminative. The end....help...blah...need sleep...asdflkjasdf.

Mozart k. 281 mvt. 3

It's sonata rondo time and time to count down the number of blogs left. Just 2 after this one!

The A section of this piece consists of an opening period which is eight measures and has a HC after four measures and a PAC in the eighth measure. This is followed by a five bar phrase that ends with a PAC and then a shortening fo this phrase that lasts only two bars with a PAC that seems to be repeated but the cadence is extended so it makes a four bar phrase ending with a PAC in our key of B flat.

The B section begins with a four measure phrase that is based on the arpeggios of I and V ending with a HC followed by another phrase that has similar triplet lines to the later parts of the A section and after four bars it hits a V-I but it doesn't sound cadential and ends up modulating to F major in the next measure ending in a HC. Now in the key of F there is a four bar phrase that ends with a HC then an extended phrase to seven bars and ends in a PAC. This is followed by four bars of trills that sound very transitory followed by a big dominant chord back in the original key of B flat and a long single line in the right hand that transitions back to A.

During this A section, the first period is exactly the same as it was during the opening but it moves from here straight to the C section.

The C section starts with a long eight measure phrase in the relative minor key of G minor that ends with a HC and is repeated. This is followed by an eight measure period with a HC after four bars and a PAC in the eighth bar. This section has many of the same feeling of turns and whatnot of the A section. A series of chords in three measures transition the music back the A section.

This time the A section is exactly the same as the first time except the little joke at the end with an grace notes into tones F and A flat after the PAC in B flat.

The next section is unique so I'll call it D and has three four measure phrases in the key of E flat major that end with a HC, IAC and PAC. The melody of this section harkens back to earlier sections. The next part takes transition feel with triplet lines and has a HC after four bars and an IAC back in F after five bars. This doesn't mean the transitory feeling goes away because the crazy triplet lines continue for four more bars ending with a HC.

We have the return of the A melody but the return doesn't seem complete becasue of the trills that accompany the melody with the other hand. There is an IAC after four bars then the hands switch and do the same thing for four bars ending with an IAC. This is followed by an eight bar phrase that first sounds like the B theme but then goes back to the ending parts of the A melody and ends with a PAC. This is followed by another transitory section with two six bar phrases that end with 2 HC's that go into the true A.

The true return of the A is the same as the original except there is a little cadential extension at the end that emphasized the V-I relationship a couple of more times for a tiny little coda.

Che Faro Senza Euridice - Gluck

And so, as a nice rounding out of the year, we return to Orfeo ed Euridice. To the very aria quoted in the Offenbach--I even got to sing part of! This is a five part rondo: ABACA

The primary section is in CM (it's the part we quoted). I see it as composed of a period of two major phrases, the first four measure ending on an IAC, and then a six measure ending on a PAC. Though these two phrase groups, I feel could be divided further, as there is a HC half way through the first one, and the second is composed of four sub-phrases, the first two parallel and the second two parallel.

The first alternating section is in GM, the dominant. It has a tempo change in the middle. You could divide it up into two main phrases that form a period: the first a seven measure ending on a HC, and the second, a five measure in adagio, ending on a PAC--but this too could be broken down into smaller phrase groups.

Then we have the return of A (same).

C is in cm, and changes tempo. It ends on a HC and is shorter than B.

Then A again.

So this was a five part Rondo with I V I i I scheme.

Haydn Piano Sonata in D

Here we have a 5 part rondo form - ABACA. A is the same every time. It's rounded binary and each part of it is played twice. It begins and ends in D major, making it tonally closed. The last instance of A is varied in the piano's left hand part. There are sixteenth notes instead of the eighths as before. Part B is the same length as A. It's in d minor, the parallel key. There's a lot of dynamic contrast in the section - it goes from forte to piano quickly. It's also rounded binary and has the same repeat scheme as the A section. After the second A comes C. Again, this is also rounded binary and the amount of measures it takes up is the same as all the previous sections. Bars 61-80 are all in G major. Then measures 80-94 are transitional and lead us into the final statement of the A section. These in-between bars are part of the C section but are clearly independent of the material from C. After the last A section, the piece closes with a couple I chords.

Les Moissoneurs - Couperin

ABACADA- Seven part rondo.....

The first A last for the first 8 measures. I begins in B flat major and has a IAC in m. 4 and a PAC in m. 8. This first part is a repeated period.

The B is in the dom. key of B flat...which is F major. this section begins in m. 9 and last till m. 12 which is where the only cadence is located... A PAC in the key of F

then there is a return of the A just as it was first played.. Bflat major..IAC in 16 and a PAC in 20.

then the C section is similar to the B, but is kind of developmental of the B so i called it C.. It last from m. 20-28 in the parallel minor ..g minor.. it has a HC in m. 24 and a PAC in m. 28..

Then the return of the A in measure 28-36. the same thing again..in bflat major.. an IAC after four measures, and a PAC after the next four..

Section D possibly goes into c minor from m. 36-44.. there is a HC in 40 and a PAC in 44...then from 44-50 is a transition modulating back to bflat major.

M. 50 is the final repeat of the A section...a HC in 54 and a PAC in 58..

Haydn- Symphony 101

So I guess maybe there’s a reason nobody else took this piece. It’s quite difficult to follow the music, but I’ll give it a shot. This piece is in Rondo form. It begins with the expository A theme in forte. The first sub phrase is in forte and chordal structure, and the second is piano, changes texture, and is less dense, and ends on a half cadence. The first motive is repeated again in forte and a change in texture leads to a PAC in the new key of A major. There is then a closing section that extends the final cadence out. This entire section, which comprises the primary theme, is then repeated. The new B section is marked by a new change in texture and decreasing dynamics. The structure of this section is made clear by the alteration from piano to forte and larger density. There is a short transition leading back to D major and the A theme. The structure in this return is made clear again by textural change. The B and A themes are then repeated.
Then theme C comes in with textural and dynamic change. The motive is very simple and tonally centered. Then the texture, melody, and dynamics change once again leading to another new theme, D. There is then a Men. D.C that goes back to the beginning A section.
Then comes the Finale, where things got a little fuzzy to me. It seems to be separate here with a new primary theme stated at the beginning. I never really felt any return back to A and so it seemed to me to be another Rondo form: ABACA.

piano sonata D Major

This is a 5 part rondo. Since everybody seems to like my outline format, I guess I will just use it again!

A:
-Lasts from measure 1 to measure 20
-Begins in the key of D Major
-Begins very softly and slowly moves from p to f.
-This is a rounded binary form. The b of A is in the dominant key, A Major.
-Ends in tonic key, D Major.

B:
-Lasts from measure 21 to measure 40.
-Tonality shifts to the parallel minor.
-Another rounded binary form!

C:
-Key changes to G Major... and many other keys. What the heck is going on here?
-Tempo changes a bit with the use of fast 16th note figures
-rounded binary, AGAIN.

Haydn Piano Sonata

Ok, enough of this "sonata form actually being rondo crap." If it's gonna be a rondo, why didn't he just call it Haydn Piano Rondo? Seriously!
Anyway, this composite 5 part rondo in D major is rather simplistic. Without delay Haydn leads us to the rounded binary A section. In the b part of the rounded binary A section, we have modulated to the dominant key of A major. After several authentic cadences we find ourselves back in the key of D major by the end of this section.
Bar 21 is the beginning of the B section of this composite rondo. We have modulated to the parallel minor key of D minor. Not much to comment here, but notice Haydn's humor when he throws in the out of place deceptive cadence.
Back to the A section.
The C section follows the circle of fifths in the opposite direction landing us in the key of G major. This section is full of half cadences, finally ending on a PAC sending us into an extensive transitional section that modulates us back to our tonic key of D major.
Haydn doesn't go down without a fight, the final repeat is not literal. The composer embellishes the A section and adds a terminative phrase the end instead of a coda to finish the piece.

haydn piano sonata

this piece is a 5 part rondo in D major. it is composite because the A section is a rounded binary form. The a section is a double period. The B section is in the parallel minor of d minor. It is somehwat unstable and is a string of phrase groups. The A section returns with no transition and repeats as expected. The C section comes in as the subdominant of D, that is G. The style is different here and we see more uses of 16th notes. It is also a string of phrase groups. Then at bar 81 we see a transition occuring to bring us back to our final statement of A. The A section repeats as expcted and ends quite full with a very terminitve feeling.

Less Moissoneurs - Couperin

There can be little disagreement as to where the parts of this form begin and end, because the composer clearly lays them out, calling them couplets.

The A section, or the main theme, is a closed, 8-measure long period consisting of two symmetric phrases that are antecedent-consequent in nature because the first ends with an IAC in Bb and the second ends in a PAC.

The B section begins in m. 9, still in Bb majort. This theme lasts only four measures, ending on a HC in Bb in m. 12, which leads well into the return of the A section, which is repeated exactly as it was in the beginning.

The C section could be considered a B', because the melody in the right hand is the same as B for two measures (mm. 21-22). The harmony, however, is quite different - instead of staying on diatonic chords in Bb, Couperin modulates this section to minor - the relative minor. The A section returns again in m. 28 and again it is repeated as it was played in the beginning.

The D section could be considered a type of A' - the melody in the right hand is the same as the A theme for the first three measures of this theme (mm. 36-38). Once again, however, the harmony is different and Couperin modulates this section to F major, which is a closely related key. The A section returns again in m. 51 and is exactly the same as it has been in the entire piece.

Overall, this is a VERY straightforward seven-part rondo (ABACADA). The only unusual thing about this piece is Couperin's use of other thematic material in the C and D sections, giving this piece more organic continuity than would normally be found in such a strictly sectional piece.

Les Moissonneurs- COUPERIN

I liked this piece, its organization and general concise nature really made it easy to identify the rondo form. There are seven different parts to the form and they are easily recognizable in the divisions and transitions that Couperin created.
The A theme begins in B-flat major, I really like the mordents btw, I'm I fan of the ornamentation. There is kind of an antecedent\consequent phrase that is repeated and then at measure 8 we get new material with a HC in mm.11 and then the repeat. The A theme comes back in mm.12 and ends like it did originally in mm.7 with a PAC. In mm.20, what looks like it could be the B theme again comes back but it turns into something new, the C material. Things change in mm.22 with the eighth note passage in the second half of the measure and continue on as the tonality shifts a little bit, to g minor I think, and there is a PAC in g minor in measure 28 as that section ends, at the end of the measure there is an ellision where the A theme comes back into the picture and ends in the original key, with another PAC in mm.36.
What I kind of feel like is the terminative section begins in mm. 36 and this transition\termination extends to measure 50 where there is another ellision and return to the A theme in the original key. It ends, of course on a PAC in the original key of B-flat, making it tonally closed as well.

Haydn: Piano Sonata in D Major

A cute little rondo piece to brighten this long day... the piece starts without introduction with our opening A section. This second acts as a small rounded binary form, with a parallel period ending on a PAC, then contrasting material before a return of our original thematic material and a fortissimo dynamic as we terminate on a PAC in D. This secondary section is repeated, much like a rounded binary period. For our B section we move to the parallel minor, d minor, and bring in new thematic material. This sections is tonally unstable in nature, with the repeating theme of three quarter notes flares, followed by a meandering two-voice passage. This stylistic change allows us to make slight key changes seem less drastic. We cadence here in F major, but continue back to a PAC in d minor, which signals the end of this section. The entire A section repeats fully, with no embellishment. Now our C section is once again different, modulating to the super-fun sub-dominant of G and remains there for its entirety. It's a repeated period, with an extension in the second half to make it assymetrical. This section ends on a PAC in G, and leads into a long trasitionary/terminative passage which returns us back to our A section. This time it feels much more terminative, with embellishment in the bass (running 16th notes) and a repetition of the final chord, signaling the end of this fast-paced, very fun piece.

Couperin "Les Moissonneurs"

This is a 5 part rondo. This piece begins in B flat major and ends on a PAC in B flat major after a 9 measure phrase. Then there is a tiny 5 measure phrase that repeats and is a B section. Following this, the A theme returns identical to the first time it was played. Then there is a C section that starts similarly to the B section but is different harmonically in the left hand. Then in measure 28 the A theme returned once again. In measure 37 the theme returns but is an octave higher. This goes into a variation and expansion on the theme. It has a lot of eigth note motion until the return of the A theme in the regular range, ending on a PAC. It's impressive how so much was squeezed into such a short piece. Perhaps it could even be considered a 7 part rondo with the last octave up A section actually being a D section. Then at the end there is another A section. I didn't notice any huge structural phenomena. Rhythm and articulations were similar through out. It is a simple rondo form.

piano sonata in d maj.

5 part rondo. ABACA. let's talk about it.

the A section lasts for 20 measures. it begins in d major , very quietly but loudens by measure 12 to the dynamic level forte. the a section seems to be in rounded binary form, with the first 8 measures ending in a perfect authentic cadence in the key of A (or the dominant). a new melody enters for a few measures, but the expository melody heard at the beginning eventually returns. at the end of the A section, however, it is back in the tonic key of d.
the B section arrive ast measure 21 and lasts until 40 where the A section returns. in the B section, the key changes to the parallel minor (as indicated by the key signature). by the end of the first phrase, however, it feels relatively major (in the relative major!). again, the B section has a rounded binary feeling, as the melody from the beginning of the B section returns in the bass line (inverted counterpoint, anyone?).
the C section is in G major, and wow, Haydn just jumps from one key to the next now doesn't he. that tricky bugger. this section feels much livelier than the first, probably due to the fast moving 16th notes. this section is in rounded binary (notice a trend, anyone?) . by measure 85 the tonicity changes. it feels like the dominant key (D, in this case) is being tonicized again as the half cadence ends the section.
the A section returns at the end to round out this rondo. the running 16th notes in the bass line feel very terminative. thank god!

Haydn, Sonata in D major

Time for a double dose of Haydn rondo form (and printing out all those pages of that symphony won't be fun)

The A section of the rondo form is in rounded binary form. The first section of the A part consists of one period, with an IAC in the original key of D in the fourth bar, and modulating to a PAC in the dominant key of A major in the key of A major. This section repeats. The second section of the A section is only four bars long and ends with an IAC in the key of A major which serves as the dominant to the key of D where the first section of the A part returns. This first section is higly elaborated and has an IAC in the key of D after four bars, and the second part of the period doesn't modulate and ends with a PAC in the key of D.

The B section modulates to the key of D minor. Haydn throws a little joke with the deceptive resolution to the b flat chord during this The first section is a period and has a HC in d minor and then modulates to a PAC in F. The second section has two six measure phrases rather than three four measure phrases. The first half modulates back to d minor and ends with a HC and then the second half stays there and ends on a PAC.

The A section returns again like any good rondo and isn't embellished.

The C section is next and immediately goes to the key of G major and stays there for the whole C section. The first section of this part has a HC and PAC in the key of G, and the second part has three phrases again, ending on a HC, HC, and PAC in four bar intervals.

After this there is a very extensive transition which is easy to tell in this song becuase it's the first non-repeated section. It quickly modulates back to D major with a HC in the fourth bar and eighth bar and then as another joke he repeats the A for a very long heightening the expectation of returning to the A section again.

The A section starts out the same, but Haydn starts embellishing it the second time through the first section and continues this through the second section, mostly by having fast running sixteenth notes in the bass. There is no real coda to this piece, he just emphasizes an ending by repeating the final PAC in D three times.

"Les Moissoneurs"...couperin

Les Moissoneurs is an example of a seven part rondo.

The "A" theme is seen in measures 1-8. There is an IAC at measure 4 (though if you're counting beat 2 as the chord, then it's a PAC) and a PAC at measure 8 in the key of Bb.

The "B" theme is from measures 9-12 and has modulated to the dominant key of F. There is a PAC at measure 12. This is notably the shortest theme, but I guess it slides because it's the first variations of sorts.

"A" comes back at measure 12 and continues until measure 20. Again, there are 4 bar phrases ending with an IAC at 16 and a PAC at 20 in Bb.

The "C" theme is from measures 20-28. There is a HC in the key of g minor at measure 24 and a PAC at measure 28.

"A" comes back from 28-36. Again, IAC in 32, PAC in 36 in the original key of Bb.

The "D" theme is from measures 36-50. The first four measures are modulating to the key of c minor, and end on a HC in measure 40, followed by a PAC in 44 in the key of c minor. The next next 6 bars are modulating back to the original key of Bb and ending on a PAC in measure 50.

The last 8 bars are the final playing of the "A" theme. One last time, HC in measure 54 and a PAC to end it off in the key of our original Bb.

ummm....short, sweet, to the point.

Piano sonata in D major, Haydn

This piano sonata is in 5 part rondo form (ABACA). The A section is in ronded binary form, from meausures 1-20. It starts off very quiet, but then the dynamics changes to forte, emphasizing the expository section once again. The first A section ends on a PAC in D.

The B section lasts from m. 21-40, and modulates to the parallel minor. The motive changes, as well as dynamic use, but it's still in rounded binary form.. It feels very unstable in this section (well actually, really only in measures 21-28), feeling like measure 28 ends on a PAC in f major. Anyway, the B section ends on a pac in d minor.

The exact A section returns again, meaning the key changes back to D major. The A section lasts from measures 41-60.

A new alternative section is heard (the C section), and is from m. 61-80 in rounded binary form again.. It sounds like its in G major. It also sounds very jumpy and hurried, playing around with the rhythm and running 16th notes, so the motive is very differen t from the a section. It doesn't have as clear of a structure as the A section.

Measures 81-93 seem like a retransition back to the A section, with a very terminative feeling from 88-92.

The A section returns for the last time, this time with no repeat signs because the bass line is now playing these running 16th notes, which help create tension and makes it feel like an ending section. It ends on a PAC in the original key.

This piece seems very spirited and whimsical with many suprising leaps and mood changes, so the term innocentemente is appropriate. Good word. Good job Haydn.

Les Moissonneurs - Couperin

This piece is a seven part rondo form. It begins with the A section in Bb major. It is made up of two phrases, both of which are 4 measures with the first ending on an IAC and the second ending on a PAC. Therefore, the A section is a parallel period. It is then repeated. The B section is clearly in the dominant key of F major. This is also a parallel period, but it is not symmetrical. The first phrase is 4 measures long ending on an IACand the second phrase is 2 measures long ending on a PAC. The A section comes back exactly the same at measure 12. The next section is C, beginning at m. 20. This section is in the key of g minor, the relative minor to the original tonality of the piece. A contrasting period makes up C. Phrase 1 ends on a half cadence and phrase 2 ends on a PAC. The A secton comes back at m. 28. Section D is in c minor, being made up of a parallel period with a HC in m. 40 and a PAC in m. 44. Then there is a transitional section from the end of m. 44 to the beginning of m. 50. The transition brings us back to the tonic key of Bb where the A section returns and finishes off the piece.

Piano Sonata in E minor, Hob 34 HAYDN

This begins in a presto 6/8 in the key of e minor. The initial theme of group one makes me think of Beethoven's Sonata in fm.

Group one is a progressive, parallel, symmetric period. The first eight bars are in e minor and end on a half cadence, while the second modulate to G major and end on a PAC. Then it is followed by twelve measures of transition leading to a HC of G, what is peculiar about the transition is that it could be considered more thematic material belonging to Group one, but since it seems to lead to the HC at the end, I see it as transitional. Lots of sixteenth notes flying around.

Group 2 is in GM and again begins on piano as did group 1. Group 2 would also be a parallel, symmetric period, though it ends twice with an IAC, and the second IAC in my opinion is even weaker than the first given the chromatic notes that lead up to it and I64 and how the mi's move down to re's. As it is, it's just a repeated phrase. Then we have four measures of terminative section at forte, clearly signalling the end of the exposition. We end on a PAC in GM, having spent most of this minor sonata thus far in the Major.

The Development begins with the first theme of group one, except in EM instead of em, though you have these funny d naturals. It's just the initial theme in the first four bars of each phrase of Group one that's getting developped. After five measures we get a PAC in EM, then dive into the last bit of thematic material from the end of Group one, and Haydn uses this motive in a number of repetitive sequential passages to really keep things moving. Then the transition between group one and two reappears, and we have a textural inversion of group one starting with a b minor triad up the right hand. This goes on for 8m ending on an IAC in BM.

Here the recap begins. This time we use only the first phrase of Group one which is modified, ending on a PAC in em after five measures, then going straight into the transition which keeps us in e and takes us to a HC in e after 11m. Group two comes in and cadences after 6 m's in an IAC. It then goes into the second phrase of 9 m's cadencing on a PAC which elides straight into the cadencial coda which brings back the transitional material from between group one and two one last time, and then concludes with three bars of the first theme of group one and then a nice PAC resolution at p.

Beethoven Sonata op. 14, no. 1

This appears to be a String Quartet Sonata. For some reason, it has multiple opus numbers. I'm a little confused, but I'm gonna blog anyways.
The Exposition opens up with the first violin sweetly playing the melody, with the rest of hte quartet accompaning. . A parallel period forms the FTA section, modulating to what appears to be the key of G major. Ending on a PAC, there is a disctinct separation between sections. It appears that the STA section is significantly longer than the previous, and begins much less dense, with the solo violin outlining the new melody. This section up until measure 43 may be transitional in nature, with the real STA section entering as the strings converge. The section ends on a PAC back in our original key of F, and the entire exposition section is repeated.
After the repeat, we seem to have another simple binary form section in the development. The A section is evolved using a quicker more chromatic melody in the first violin with a quick 16th note accompaniment. Ending on a HC in F major in measure 81, the b section reminds me a lot of the exposition. A short transition to measure 91, we see the b section enter. The b section goes all the way to bar 113, ending on a C major chord.
I think this section acts as a false return, because it is very similar, and ends practically the same as the FTA section of the expostion. However, it appears to be in the wrong key. Next ther is false return of the STA section that lasts until the real recapitulation of the FTA section occursing in bar 148, taking us to the end.

beethoven c minor sonata

this piece is in sonata allegro form. the exposition is from bars 1 to 47. the group 1 melody is heard in the very beginning. the group 2 melody is in the riht hand starting after the furmata in bar 16. the gesture is 8th notes and it is inverted in bar 24. group 2 is in the dominant. there is then a subsequent transition material taking us through a variety of keys leading us back to e flat at bar 46. The development starts at 47 and goes until bar 57...a very short development. Only the group 1 melody is developed. The recap starts at 57 after the furmata. the recap is pretty much the same up till around bar 103 where there is a false ending as the group 2 melody is developed a bit. The official coda starts in bar 114where the main melody is the primary focus though embellished a bit. another decrescendo sounding like a false ending but ends the piece on a c major chord.

Mozart Sonata in D Major

This happy sonata obviously begins with the expository section. Group one is a contrasting period. The first phrase ends on a HC while the second ends on a PAC. The next phrase modulates and ends on an IAC in the dominant key of A Major. Then Group two begins. This group begins on the dominant of A major in the key of E Major. It is an assymetrical period. I like this subtle circle of fifths pattern. The next phrase ends on a HC back in the key of A Major. Then the entire section repeats returning to D Major. This circular feeling of building up in 5ths and then completeing the circle by returning, adds to the happy feeling of this sonata. The dvelopment reintroduces the second half of group 1. It is in the parallel minor of d. Ironically, the circle of 5ths sequence in this section is replaced by an actual sequence. This then turns into a monophonic scalar section. I love the huge shift in density when it's pulled off properly in pieces. Another irony, even though there's less density in these monophonic passages, there's more intensity through the lack of density. This leads back to the recapitulation in the original key of D Major. The piece ends with a cadential extenion stabilizing the final key with a strong PAC.

haydn sonata in e minor

Well, the piece starts in e minor. group 1 lasts for the first 8 bars and ends on a HC in the key of e minor. the following bars seem as though they're going to repeat the theme, but then begin modulating to the key of G Major (relative major) as is evident by the IAN in measure 14.

the next 16 bars seem to be a transition to the group 2 theme. they are modulating the now dominant key of D Major as is made strikingly obvious and then is reaffirmed in measure 25 with the viio7/V followed by a V (we modulated to the key of V).

Group two is from measures 30-35 and in back in G Major. There is a restatement of the group two theme after a beat of extended rest. There seems to be a PAC in m. 42 but with the cadential extension/transition to the development, there is an IAC in the key of G major in m. 45.

The development begins in m. 46 and is in a minor. There is a HC in a minor at measure 50. 51 seems to go the relative major key of C Major. At measure 71 Haydn develops group 1 by inverting the structure. Here is a HC in the key of e minor at measure 78. the original structure comes back in measure 79 and in e minor. we then modulate to the key of B major in the next transitional period and ends with a PAC in B major.

in measure 95 it's back in e minor with a small development section. there is a PAC in 100 and in measure109. The rest of the piece is clearly the terminative section that ends with a PAC in e minor.

this is a pretty bad blog...i'm tired...what can i say?

Haydn- Sonata in E minor

This piece begins in E minor and starts right off with the Group 1 motive. The motive involves a 4 eighth-note ascending arpeggio cut off by a 8th note answer in the RH. The end of the motive and the beginning of the next overlap. This first phrase ends in a half cadence. Then, in measure 9-13 the motive continues, but is quickly cut off by new material, with an increase in volume and density and changes in rhythm and texture making the end of Group 1 very clear. The section from m. 14- 28 is transitional and establishes the piece into the new key of G major, ending on a half cadence. Then Group 2 of the A section begins in the new key, with a decrease in volume and a change in rhythm and texture highlighting the new material. The new motive is repeated twice with the first phrase ending on a PAC an the second being extended out in a loud terminative section that ends the section on an IAC in G. As usually the entire A section is then repeated again.

The B section begins very similar to the Group 1 in A, but with the motive in the parallel Major. This motive only lasts for the first five measures though and it then develops on the material introduced in transition of A up to m. 70. It then again develops the group 1 motive by inverting the hands, with a gradual crescendo from piano to forte capitalizing the end of the B section (ends on a HC). Then the A motive returns in the original key before moving to the transitional material, which ends on a PAC in m. 94. Then the group 1 motive returns for the next 12 measures, and a long coda section ends the piece on a PAC in e minor.

Haydn: Sonata in e minor - I

so..so..so...sonata
There is not intro to this piece. Group 1 starts in measure 1 and ends in measure 8 where there is a HC in e minor. This next measure looks a lot like group 1 repeating itself, but really the bass stays static while the treble is changing and modulating to the relative major, which is G major. We then get an IAC in G major in measure 14. This part seems to be doing a lot of transition with the key and all modifying previous melodic structures. Through measure 9 - 29 I notice key changes, sequencing through melodic structure, exact repetition of measure which is trying to gain a sense of stability, and then octave runs bringing us to the end of the transition on a HC in the key of G major.

Then in measure 30, after a long rest, we start group 2 in the relative major, G major. This theme last from measure 30-35 where is ends on a PAC in G major. then there is a repeat of the theme which also has a cadencial extension hooked on the end which makes the last PAC of group 2 last from measure 42-45.

Then these groups repeat.

Second time through they continue on to the B "developmental section." There is a direct modulation from the ending G major of group 2 to E major (mode change) in the dev. section. The dev. section starts in measure 46 with the group 1 theme in the major, and ends in measure 50 on a PAC in E major. It keeps going on doing different developmental things with group 1. Then in measure 95 there is the dev. return of group 2 which is exactly the same until measure 100 where there is a PAC in e minor. I continues from this point till it hits another PAC in measure 109...this seems to be stretched out for the next few measure till measure 114..I would consider this a cad. extension...In measure 114 I feel it start so signal the end because of the sequencing downward in the bass, and then the repeat of the cad. extension.. then to end it all he throws in a little recap. of group 1...then a PAC in e minor...

Prussian Sonat No.1 in F

I like this poco allegro beginning in F major, I feel like the tonic key has really been firmly established and that things are stable. There is an IAC in measure 6 which is adds to the stability.. not as stable as a PAC would be which kind of leaves room for some harmonic elasticity. There is a little bit of a dominant feel that gets played with around measure 9, maybe thats just me. There is some transition material around meausres 17-23 and then a PAC in measure 24 where the forte dynamics also emphasize this finalization.
The developement starts in measure 32 and suddenly things are less stable and the keys seem to shift all over the place. There is an elision in measure 38and then this section ends on a PAC in measure 55. The A theme returns in measure 56 shortly thereafter and is pretty much a repeat of the same A material that was first introduced. I did like it though in measure 50 when the hands kind of switch roles, thats always a cool one.
There is even the same little transitional material and everything repeated the same as it was initially played all the way until the end of the movement with some added stuff like measures 74 to the end were terminative, but other than that, the same until the final PAC in F major at the end of the movement.
The sonata is presented in Sonata Allegro form...

Haydn, Piano Sonata in e minor, H. 34 I

w00t for Sonata form.

The piece starts right in with group 1, which is only 8 measures long. After a half cadence in e minor, Haydn begins to restate the main theme from Gr. 1 but it soon begins to move to the relative major, G, with an IAC in that key in measure 14. This section, from measures 9-28, is a transition to Group two. It ends with a PAC in D major, which is the dominant of G major, so, after a fermata, when Group 2 begins in G major, it makes tonal sense.

Group 2 is very similar to Group 1, in that the main theme is short (six measures long). Again, Haydn states it, ending with a PAC in G major, then pausing and beginning a restatement of the theme. This time, however, it does not modulate, which keeps this piece true to sonata form, ending with a PAC in G major in measure 42. The cadence is extended until measure 45.

The development begins with material from Group 1, though now it's in a minor. This lasts for 5 measures, and then the piece pauses before continuning on to develop the material from the first transition (between Groups 1 and 2). In measure 71, Haydn begins to redevelop the theme from Group 1. However, it's inverted - the right hand begins each call-and-response. This section ends in measure 78 with a half cadence in e minor, bringing us back to a strong sense of tonic for the recapitulation.

Group 1 comes back in measure 79, though this time it's not completely restated. Instead, Haydn begins a transition which lasts until measure 94, ending with a pause on a PAC in B major, preparing the listener for e minor in the recap of Group 2 material, which begins in measure 95.

Group two, modified, is recapitulated from m. 95 to 100, ending with a PAC in e minor and pausing before Haydn develops the material that had previously been the transition between group 2 and the development. This concludes with a PAC in e minor in measure 109, which begins a long terminative section. One could argue that the terminative section doesn't begin until later, perhaps measure 118, but I hear it as beggining in measure 108 because the long harmonic progression that follows is just leading back to e minor - nothing new comes of it.

Mozart: Piano Sonata in D Major, K. 284, I

All right, more Mozartian fun with sonatas. The expository section begins right away. The Group I theme begins with a full period. The first four measures bring us to a half cadence, then we have contrasting material to bring us to a PAC in our original key. From here we being our next phrase in the group, which modulates, first with HC in D major which is then followed up by an IAC in A major. The Group II theme begins after a 4 bar transition that helps us modulate into the second major tonal area. Group II is in the key of E (two steps up the circle of fifths). The theme is an assymmetric period, with a 6 bars phrase, followed by a 7 bar one that cadences on an IAC in E. The second theme of this group lasts 10 measures and brings us back closer to our original key, ending on a HC in A, before a closing 8-bar phrase that ends with a PAC in A. As is the usual sonata way, the whole section repeats. As we enter the developmental section we reintroduce the second half of the Group I theme and expand it in the parallel minor key. We cycle through keys quickly, sequencing up the scale, then back down. The section is relatively short and ends with a long monophonic scalar passage that brings us right back the recapitulation. The recapitulation is in our original key (odd) but ingeniously when we transition twe only go up on degree of the circle of fifths and tada, end up back at our original D major (since by the end of the second theme we modulate back down a fifth). The closing theme adds a cadential extension this final time, ending in a great big PAC to end the piece.

CPE Bach Prussian Sonata

Sorry this isn't better you guys... so much to do with proficiencies this weekend. I'm sure most of you understand. Take it easy on me :) Here goes nothing:
This piece is in sonata-allegro form. (I am so smart. I can read the title of the chapter. ha)

Exposition:
-Begins in F Major
-This section is made up of phrase groups. There is no sense of antecedent consequent, or an increase in the strength of the cadences here.
-There is an IAC in m.6
-CPE kind of plays with some other keys, and it becomes really unstable. These keys are: d minor, c minor, and C Major.
-The Bass line is very chromatic beginning at m.11. This makes things even more unstable.
-DC at m. 19
-Then we have a minor i chord in c minor,and a transition to the dominant, but we end up in the parellel major key.
-Then we go to C Major and the whole section ends on a PAC and repeats.

Development:
-Begins at measure 32
-This section is also made up of phrase groups
-I'm not sure what's happening here with tonality, but the retransition is very unstable.
-The hands switch parts at m.50.

Recapitulation:
-Begins at m.56 back in f minor
-It's almost the same as the first time around, but slightly different
-m. 68 modulates to the parallel minor
-PAC at m.74
-Opening melody returns in F Major

CPE Bach prussian sonata

this expository section of this sonata begins in F major, but quickly delves into new keys. in about the 8th bar, there is already a feeling of shifting towards the dominant. the first expository melody in the first section is comprised of a phrase group, with what looks to be an IAC in measure 6. the melody up to measure 16 is what i like to consider "group 1": it is harmonically stable and the premier of the main melodic line. the transition occurs around measure 18, where the key feels minor; the transition ends in measure 24 in a PAC in the key of C. the expository melody is sequenced up to the dominant to end this section.
the development begins at measure 32. it feels harmonically unstable, but returns to the original key for a little while--rather different for a development section which is normally in a key other than the key heard in the expository section. but of course, other keys are played with in this section as the retransition occurs. the transition ends in a PAC in d minor.
the recapitulation begins in measure 56 in the original key of F major. there are some minor variations to the melody, but so rhythmically and melodically insignificant that it hardly makes a difference. peace out.

Beethoven Sonata in C minor, Op. 10, no. 1 - finale

The exposition starts out in c minor with the left and right hands playing in unison. They're in unison for pretty much the entire first period from measures 1-9. It's both parallel and symmetrical containing a HC and a PAC. Measures 9-17 seem to hint at 2 two-bar phrases that make a period, but then there is a long extension of a sixteenth note scale pattern that crescendos into a HC at measure 17. Following this, there is a direct modulation to the relative major, E flat. Starting in bar 17, there is a parallel symmetrical period with an HC followed by a PAC. Then there's a terminative closing section to the exposition which sounds like a repetition with variants of the last phrase. All of this repeats before we move on to the development.

Bars 25-38 sounds like the entire development section to me. There's a lot of tonality changes going on. The same general structure is kept from the exposition, only there are many variants on it.

38 to the end is the recapitulation. From this point until bar 54 there is a near exact repeat of the first period of the entire piece. The runs are changed a little, but other than that I don't see any other changes. 54-80ish is the recap of the second period of the piece. It modulates back to c minor toward the end of the first phrase of this period. Then from 80 to the end we have the closing section. It sounds a lot different than the rest of the piece, primarily because it's really soft and slow compared to everything that was going on earlier. It's all a variant on the second group motive. After a fermata, the last two lines of the piece are suddenly forte and back up to tempo.

CPE Bach

This movement is in sonata-allegro form. The exposition begins in F major. It is made up of phrase groups with the first cadence being an IAC at measure 6. Tonal unstability sets in right after m.6. Here it plays with the keys of d minor, c minor, and c major. There is a deceptive cadence at m. 19. After this there is a i chord in c minor and there is a structural phenominae of dynamics (piano) which is the transition to the dominant. The next phrase ends in a PAC in c minor. The whole thing repeats after the PAC in m. 24.

The development begins in m. 32. It is also made up of phrase groups. This part of the movement develops group 1. And we feel like we're in f again. The retransition gets tonally fuzzy m.38. At m.50 the melody switches hands. The next phrase is in m.55. It's in the key of d.

The recapitulation begins at m.56. It is back in the original key, f. It is slightly different. At m.68 we move to the parallel minor, with a pac at 74. This feels sort of like an elision. Group 1 begins again and it stays in F. Motives from earlier in the piece are also used.

Mozart K. 284 mvt. 1

This is probably going to suck because I'm really busy, but it won't be as bad as Friday's listening journal will be. And it's going to be even worse because I can't get on Naxos right now.

This is why I chose the Mozart because it gives you a lot of the answers.

The first theme of the exposition starts immediately with an 8 measure period with an HC after four bars and ending with a PAC. This is followed by another period that has an IAC in D major that then modulates to an IAC in A major followed by a four bar transitory phrase that I think then modulates to E major which is where the second theme begins. There's a six bar phrase that ends in a very muddled IAC that has a ti re on top of the tonic chord before the resolution. Then there's a seven bar phrase that ends with an IAC in E followed by a ten bar transitory phrase that ends with a HC in A major that ushers in the closing theme. The closing theme is eight bars and ends with a PAC in A major. The exposition repeats.

The development pretty much only deals with the ending part of the first theme with the moving sixteenth notes in one voice and the eighth note lines in the other. I'm sure there are lots of modulations in it and it ends with a long monophonic line that ushers in the recapitulation back in the key of D.

The structure of the recapitulation is similar to the exposition with some of the keys being different. What is somewhat odd is the second theme is not in tonic but instead of going up two dominants like it did in the exposition, it only goes up one dominant. The closing theme is back in the key of G though and is extended to 12 bars to further establish the original key of G.

Well, that's that, and I did try on the Mozart we're turning in tomorrow.

Hindemith piano sonata 2, I

I think I picked the worst piece in the homework assignment as far as tonality goes, so i'm going to focus on structure and all that good stuff. In the exposition for group I there is an asyemmetrical contrasting period that ends on G in measure 26. This is also where I consider the transition into group II to be primarily because from 26 to 40 there is a two eighth and one quarter idea that is carried out (measure 26,30, 35). When the 2/4 meter starts at 37, the piece leads down into the group II which ultimately starts at measure 41. The structure of group II is somewhat similar to group I in that it is an asymmetrical contrasting period. The main theme is played for 15 measures and then repeated an octave up for 7 measures. There is a small resolution on F for an eighth duration and then the piece goes straight into development. The development consists of a sixteenth and eighth note idea that is drawn out and then condensed as the development continues ultimately leading to a sixteenth run leading into the recapitulation in the original key. The recap. brings in ideas of the development as well; the bass line is playing an eighth note idea that was originally introduced in the beginning of the development for six measures and then switches to exact material as in the exposition. The last half of the recapitulated group I brings back the bass line from the development and there is then a transition for four measures into the recapitulated group II in the original key. To close out the movement, there is a coda finally ending on G.

prussian sonata (poco allegro) cpe bach

This movement is in sonata-allegro form. The exposition begins in F major, and is very stable at first. The exposition is made up of phrase groups- The first cadence is an IAC at measure 6. Right after 6 it becomes tonally unstable, "flirting" with d minor, c minor, and c major. It begins tonicizing c in measure 9. The bass line is becomes very chromatic at m. 11 making it sound even more unstable, while the right hand has a melody similar to that of the first phrase group. There is a deceptive cadence at m. 19, going to a minor i chord in c minor, and the dynamic goes to piano- this is the transition to the dominant. However, it moves to the parallel major in measure 22. the next phrase ends in a PAC in c minor. Measure 24 has a change in dynamics, and the key is tonally stable in the key of c major, ending in a PAC. Then the whole thing repeats.

the development begins in m. 32, and is made up of phrase groups also. There are some elements from the beginning phrase of the piece-the beginning of the development feels like we are in f again. There is a very small PAC in d at measure 38, but is hardly noticable because of the elision. This retransition becomes very unstable after 38, and the key is unclear. At 50 the hands switch roles, and the right hand has the quarter note accompaniment, while the left has running eighth notes. The next phrase is not until measure 55, in the key of d.

the recapitulation is at measure 56, back in f-it is almost the same but slightly varied. at 68 it goes to the parallel minor (similar to measure 19 transition), and there's a pac at 74 with a slight elision. The opening melody starts again, this time staying in F, while using motives from earlier.

Beethoven's Piano Sonata in F Minor

This piece begins with a very short group 1 with only one theme. The theme is unusual, however. It starts with an arpeggio in F and a little triplet pattern that is then repeated a sequence of a whole step higher in the next two measures. Then the latter measures of the sequence, the section with the triplets, is repeated in sequence form without the arpeggios. This all ends on a HC. The next section seems to be in c minor. It continues the usage of triplet patterns but also adds huge dynamic contrasts and a pedal bass line. This section soon turns into a huge flourish of scalar passages that dramatically shift between loud and soft. Finally this exposition section ends on a PAC in A flat major with a double repeat bar line. The developmental section begins in A flat major with similar arpeggio and triplet patterns. The pedal bass line returns with a single note melody on top that rises in sequence by whole step. Then the pedal bass is in the upper hand and the melody is down below. When the pedal bass returns to the left hand, octaves and trills are added to add vigor to the conclusion of the development. In measure 94 we have the feeling of return to the five of f minor, the original key. The triplet pattern returns which hasn't happened at all in the development so this is the start of the recapitulation. There is more drama and battle between the dynamics. Then the pedal bass returns, along with the same scalar passages as the beginning. The end, however, has a small coda that terminates the piece with big crashing chords that set off the cadential pattern and cause the piece to end dramatically on FF with a PAC.

Haydn Sonata XVI

We start out in c# minor with the expository section running from measures 1-33. Measures 1-11 are group one. Group two immediately follows and goes until measure 33. We end in E major, the relative major key of c#. Measures 23-33 seem to have a slightly different function, but I'm not sure. The development is next and is from bar 34-65. It begins with the group two motive from the A section, only an octave higher. It stays within the group two ideas until bar 44, where the main motive of the piece is brought back in, but then from 50-64 there's a section that full of a sixteenth note pattern that seems to be primarily transitional. It brings us back to the main motive once again in basically the same form we saw it in originally at the beginning of the piece. This is the recapitulation and it then goes back and repeats from the beginning of the development section in bar 34.

haydn

Ok, after practicing a ton and going home playing with our new puppies...I say sophomore Proficiencies..BRING IT ON! Ok, so Haydn. Well the expoxitory section minor is clearly marked off in mm.33 by the repeat sign. This expositiory section has two groups. Group I is mm.1-8 in c# minor...and little development and modulation and whabam! Group II starts in m. 12 and is in E major. This develops until mm.31 where we have a 2 bar terminative section. After this exposition, the development section begins in mm. 34. This section begins developing the theme from group II and then all of a sudden in mm.44 the theme from group I is heard. Then after a brief snippet the piece begins to develop and transition again, I think around mm. 50, and in the mm. 65 a recapitulation is heard back in c# minor. Only this time both groups stay in c# minor. And then...it ends. As does this post. Yay! I'm going to be in bed by 1:30!!

Haydn, sonata in c# minor

The exposition runs from m. 1-33. within these 33 measures: group 1 takes up m. 1-8 while 9-11 seem to be a modulating phrase taking us from the beginning key of c# minor to E for the group 2 (m. 12-30) with a terminative phrase from measures 31-33. It ends on a PAC in E major.

The double bar notes the continuation to the development in measure 34. it begins with the melody from group 2 up an octave. group 1 melody is heard clearly in measure 44 but it is not until the recapitulation in measure 65 that we get the group 1 melody back in the orignal key of c# minor. The rest of the piece is the recap, ending on a PAC.

that was the worst blog ever...i'm sleepy.

Beethoven- Sonata in F minor

The Piece begins in f minor and in piano. The A motive of an ascending arpeggio is stated in the 1st two measures and is then repeated up a fifth. Then the second fragment of the motive is repeated with the same difference of a fifth in the next two subphrases, leading to a climactic f minor chord at fortissimo. The section then resolves to the half cadence, with a decrescendo strengthening the sensation. This constitutes the 1st group of the A section. The motive then develops in c minor before new, transitional material is introduced, with little direction and no clear tonality. The new theme is begins in measure 20, with a change in texture and dynamics making the separation clear The motive is a descending pattern of two measures in the right hand and is repeated 3 times. Another textural change in m. 25 marks a long transition with fluctuating dynamics, changing tonality, and mostly scalar. Then in measure 41, the terminative section begins, ending on a PAC in A-flat Major. As typical, the Exposition is embedded in a repeat sign. The B section begins like the A, but in A-flat major. There is then a short transition and the 2nd motive comes in, repeating twice in the RH and 3 times in the LH. There is then another transition beginning in m. 74 and ending in m. 100.
Then the 1st A theme returns in m. 101, beginning the recapitulation, with a crescendo leading up to it. There is a coda at the end to terminate the piece with a dense, loud, PAC in the original key.

Group 1 is eight measures, I’d say. It ends with what sounds like a half cadence but it could be an IAC in the new key. But it really only flirts with c minor for a split second before we get back to the original key. I’d say this little section from 9-20 is a transition. Group 2 starts here, but it is unclear to me what key it is in. There are some unneccessary accidentals here that are already in the key signature PLUS an Fb which makes it really confusing. I’m really confused by this sections tonality...So I quit on that part BUT… I believe the transition begins in measure 33 and ends with a PAC in A major in measure 41. Then the terminative section starts and the exposition ends with a PAC and repeats.

The development is obviously elaborating on first theme in the original key. Then the tonality gets to be a little bit amigious. We see bits and pieces of both Group 1 and 2 in the development as well as transitional material. Because of the ambigious tonality it’s really hard to identify where all the cadences are. It goes really fast in the recording I have and there’s hardly even senses of pause and even those don’t sound like anything tonal. So yeah for me and not knowing what the heck is going on. Our friend Mr. Luxury Yacht seems to have given it a stab, but I sort of disagree with some of the keys he talks about. The transition back to the original themes begins with the thinned structure around 73 that leads us back to the Recapitulation

So on to the Recap! I feel like even though the ACTUAL EXACT theme doesn’t come back until measure 101, 95 is where everything is pointing to with big neon arrows. Group 2 comes back in 119 (maybe in Ab major this time? I’m still unsure…Obviously accidentals really throw me off…) followed by a very similar transition and terminative section that look vaguely familiar….hmmmm…And then we PAC it back in f minor at the end!

Ok, I’m totally done with this. Ug.

Beethoven Sonata

Exposition:
-Theme consists of 16th note triplet figures. Theme is 1 eight measure phrase, ends on a HC.
-The HC actually serves as the transition point to our new key.
-There are 6 bars, and then the transition section begins. The piece modulates here, but I am not positive of the key. I think there could possibly be an IAC in Ab Major in m.20.
-2nd theme begins at m.20. This theme brings a change in rhythm, consisting mainly of quarter note figures. There is a PAC at m.28.
-Now we have another transition, which uses several 8th note runs to modulate. There is an IAC in Ab Major at m. 41.
-The final, closing theme begins at m. 41. This theme is full of grace notes. It ends with an IAC, and of course the whole exposition repeats to give the listener more chances to hear the theme.

Development:
-Begins with the material from theme 1.
-The second theme enters at m. 55.
-There is an IAC in G Major at m. 62. Here the second theme sort of appears again, but it is split between the upper and lower parts.
-The piece modulates, and there is an IAC in C Major at m.93.
-Here, the 32nd notes from the 1st theme come back, which allow the piece to modulate back to f minor. There is an IAC at m.101.

Recapitulation:
-The recapitulation begins at measure 101.
-The first theme appears very similiar to how it was in the exposition.
-There is a transition, and the piece modulates to C Major.
-The second theme appears from m. 117-127.
-There is an 8th note transitory section that leads us back to f minor. There is a PAC at m.140.
-The closing theme comes back, but without the grace notes. I believe this is done to clearly establish to the listener what the key is.

Mozart: Piano Sonata in B flat major....fun fun

well...as we all know this is in sonata form...okay now that the tough part is out of the way..(ha ha) .. here I go, trying to figure out how the puzzle pieces fit together to make it a sonata.......

We start out with no intro, and go right into the group 1 of the expository section. This group 1 seems to be set up in somewhat of a rounded bianary form. The first "a" last from m. 1-17, then the little "b" from m. 18-30. The "a" returns but in the dom. key F major. It is a little bit modified compared to the original "a". This brings up into the group 2 in m. 39. The dynamics have changed, and the style and articulation of the melodic line is different than before. I believe that group 2 goes from m. 39 until m.57. Then, the closing comes I think a measure or two before the trill in 58 and takes us to 63 where there is a PAC in F major and a repeat sign to reapeat the expository section.

The B developmental section starts with a pick up to measure 64. This section is still in the dom. of B flat major...F major. This development keeps going seeming like it explores group 1 at first with the theme.. then also including a little from group 2. This last until around measures 87 and 88. I believe this is where is starts to modulate to the IV of B flat major..E flat major. This is what I think would be the transition back to the A (recapitulation).

In measure 93 we see the theme from A come back in, and we are back in B flat major. We see the theme start again in measure 110. All of this is the beginning of the recapitulation. Around measure 134 there is a transition into the group 2 again. Then the closing comes in again somewhere around the trill in measure 160. Then the End in measure 165 with a PAC in B flat major.

Good night ;)

Beethoven Piano Sonata no. 1, Op 2, no 1

I love this one.

This group one launches out in fm (4/4, allegro) and ends on a half cadence after 8 measures. Then the theme partly repeats again in cm, but it changes into transition and brings us to the group 2 theme in abminor starting in m20 (though there's a touch of EbM right before ending on a sort of IAC that elides into m20). The theme seems to want to end in EbM in another IAC, but the closing moves straight in at measure 25 and transitions into the relative major of fm, AbM by measure 33, landing a PAC at the beginning of m41. Then there is a coda that goes for seven measures in AbM, ending on a PAC. The development begins and shoots the rocket group 1 off in cm, which goes to gm and then uses those little triplet motives to get into bb minor for a group 2 development, this continues into cm and then switches into the left hand and into bb where it finally hits some major ground and leaves both the groups' material completely. He continues to transition through keys, and eventually brings back small fragments of the group 1 theme (the triplets) which lead us back to recapitulation in m101 in the original fm. The first eight-measure phrase is still the same, but now the transition to the group 2 has changed. He even substitutes with new material allowing the group 2 theme to stay in fm, though the second downward gesture seems to be in C (like a HC). Then the transition to the coda takes us back to a PAC in fm at the beginning of m140 an dwe have the coda (all the while he's been using FF's and SF's galore and continues to do so, and even writes "con espressione" on the coda). The coda halts on a FF in a V65 of V for a whole measures and then resolves quickly and repeats the same rhythmic gesture only with less cadential feeling chords--a little deceptive, and then leaps on pointy feet to the sharp PAC at the end.