Schubert’s Moment Musical No. 6 is full of cadential sensations that are heightened by structural phenomena. The most obvious method used by Schubert is the changes in tonality. The Allegretto, for example, begins in A-flat major, changes to D Major, then back, then to D again, and finally to D-flat Maj. Each of these tonal sensations are also enhanced by dynamic changes which are clearly marked by Schubert. For example, the piece goes from forte to piano before the cadence in m. 16 and the notes that follow the cadence are in a new key and are pianissimo. In addition to the dynamic and tonal changes, the piece also includes metric changes. For instance, there are different groupings of notes in m. 29-38 than in 1-28 following the cadence in 27. There are also a few examples of changes in density, as the bottom voices drop out in some of the cadences. The text of the piece is chordal throughout, and there are no fluctuations in the register or tempo.
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Hi, Ed. I think you have your key changes incorrectly posted. I am quite certain that if you look at this piece, again, you will find that th eminuet goes somewhere other than D Major., etc.
Donna
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