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Thursday, March 10, 2005

Handel- Where'er You Walk

To be honest, I’ve had trouble trying to hear this as Composite Ternary form. I’ve been thinking about what to look for each time that I listen, but it just don’t hear it. While the form does go from an A section to a B section and then back to an exact repetition of A, I guess that I just feel like the A and B section produce a sound and feeling and move in a way that is too similar to he A section, and I therefore find it very difficult to separate the two sections as unrelated identities. In addition, I’m unable to separate section A into Binary, so I definitely cannot see it as composite. Also having a recording in G major might be throwing me off. But I’ll try to analyze it as if it is in Ternary Form. The A section, contrary to the entirety of the piece, is made very clear in structure from sharp cadential motion. The voice part of this section revolves around he tonal center of B-flat, making the key very apparent and giving it a simple feel. The first 7 measures constitutes a contrasting period, a question and answer sort of section ending both times on the f major chord, but the 2nd time sounding as a PAC. The next group is very similar, this time with other phrases ending on the B-flat chord, the first as a half cadence and the second as a PAC. This time the period is very asymmetrical, ending with a very long cadential extension. The section is then ended with a loud ternary section ending on a fermata not as a PAC. This causes the section to be very closed and able to end at that moment. But the piece continues on, beginning in piano. It eventually becomes established in the key of c minor, a quite usual modulation to the ii of the original key. This section consists of a phrase group delaying any cadences until the PAC at the end. The fact that the A section was very closed and that the B section begins softer, the voice part consists of more leaps and less tonal center, and the lack of cadences all contribute to a feeling of an independent B section. However, the lack of change in the rhythm, meter, pace, and fell of the piece makes it hard for me to hear. I think that there are arguments both for ternary and rounded Binary. At the end of the B section, a Da Capo signals a return to the beginning of the piece, and the Finale of the piece occurs at the terminative section of the A section.

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