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Wednesday, April 27, 2005

Hindemith piano sonata 2, I

I think I picked the worst piece in the homework assignment as far as tonality goes, so i'm going to focus on structure and all that good stuff. In the exposition for group I there is an asyemmetrical contrasting period that ends on G in measure 26. This is also where I consider the transition into group II to be primarily because from 26 to 40 there is a two eighth and one quarter idea that is carried out (measure 26,30, 35). When the 2/4 meter starts at 37, the piece leads down into the group II which ultimately starts at measure 41. The structure of group II is somewhat similar to group I in that it is an asymmetrical contrasting period. The main theme is played for 15 measures and then repeated an octave up for 7 measures. There is a small resolution on F for an eighth duration and then the piece goes straight into development. The development consists of a sixteenth and eighth note idea that is drawn out and then condensed as the development continues ultimately leading to a sixteenth run leading into the recapitulation in the original key. The recap. brings in ideas of the development as well; the bass line is playing an eighth note idea that was originally introduced in the beginning of the development for six measures and then switches to exact material as in the exposition. The last half of the recapitulated group I brings back the bass line from the development and there is then a transition for four measures into the recapitulated group II in the original key. To close out the movement, there is a coda finally ending on G.

2 comments:

Martin Buber said...

It really hovers on the tonality edge, like it wants to be...has some nice sequences and some real modal feels. Kudos for having tried something different.

Keef said...

The trick here is to adjust your thinking. This is actually a rather simple piece tonality wise, in Hindemith's structure.

You see, it's not tertian (obviously). Go through the phrases and look at the intervals between the notes (both vertically and horizontally) and you will see Hindemith's hierarchy (octave strongest, follows harmonic series with tritone being the weakest interval). This is where the harmonic tension comes from, and I think it's absolutely extraordinary.