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Wednesday, April 27, 2005

Haydn: Sonata in e minor - I
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...

1 comment:

Ed Geyer said...

I did this one too, and I'm in agreement with most all of your coments. I didn't notice the techniques used in the transition to establish the keys, but I agree. One thing I'm in disagreement with is that I see m. 79 as a return of the Group 1 A theme rather than a continuation of the development.