Wednesday, March 02, 2005
Chopin's Mazurka in g minor Op 67 no. 2
This piece is interesting to analyze due to the multiple choices possible in determining form. The first 4 measures end on an IAC that has modulated to the relative major of B flat. The next could be considered a plagal cadence in g minor due to the constant emphasis of the four chord. I, however, am calling it a another IAC to make a more concrete form. Once again, four measures later, there is another IAC in the modulated key of B flat major. Finally, there is a strong conclusion on a PAC in g minor. I find this section really amazing for a few reasons. First, the phrases are weakened by the harmonic progression, and yet, in the end, there is a very strong double period phrase structure created. Also, the double period is decieving because the second phrase, instead of ending on a half cadence, ends on an IAC that only works because it is weaker than the perfect authentic at the end. The double period is parallel. This section is also interesting because every other phrase goes between B flat major and g minor, yet there isn't ever a sudden, unpleasing contrast. The B section is divided into two big phrases. It too is a parallel period. Then there is a transitional section that fits neither in the A nor the B section. This line is manipulative because it seems to start as a return to the A section, but it is soon discovered that it is very tonally different. This section is monophonic which creates a lot of structural phenomena with change in density, texture, and tonality. This section eventually leads us back into the A section in the original key. This repeated section is identical to the first A section. This makes the piece ternary form. Overall, it is a very fascinating piece to study with more options than many we've studied so far.