Sorry about the repetition kids... but I only have the Burkhart. So here we go... short and sweet:
The expository section begins with measures 1 and 2. This section consits of the motive being passed between the left and right hands... it is very fugal sounding. Measures 7-10 seem to develop the motive... or "noodle around." The left hand then takes the motive until measure 18, where we have a PAC in F Major.
The second section begins at measure 18 and goes until measure 37. The left hand carries the motive until measure 22, where the right hand takes over. Again, lots of just passing the theme back and forth. There is some scalar action going on... and the piece modulates to a minor... at least I think :-) There is a PAC in measure 37.
The final section ends on a PAC in d minor. It feels like it is coming to a PAC in 48... but instead we get a 4 measure cadential extension.
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Hello there Katie, I found these mini analysises (is that word?) on google, and they've saved me a little time on my essay. A little dissapointingly I still feel the need to go through the harmony myself, but we can't have everything. Still, I have a question:- The 3/8? If I am talking about 'time' as an element, and its effects, what can i say? The prevalent grouping of sextuplet 16th notes results in a neither straight nor swung feel? I'm studying jazz! What do i know bout the ole baroque n roll? I'm quite confused.
Any help would be much appreciated!
My email is joeljjison@gmail.com. Ps- is polyphony the correct word for the texture?
Cheers!
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